Indy Week 6.17.15 issue

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THE DAY THE WRECKING CREW CAME After 70 years, a historic neighborhood is no more. A requiem for Tiny Town

By Tina Haver Currin

JUNE 6TH • PERSON ST. BAR • RALEIGH • • INDYweek.com

JUNE 17, 2015

SHIRLETTE AMMONS HEADS ON STICKS SEE GULLS

JUNE 20TH • MOTORCO • DURHAM

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WHERE WE’LL BE: The best of the week in music, arts

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MUSIC CALENDAR

NEWS: Openly gay teacher resigns from Efland-Cheeks Elementary over book reading; Durham Central Park plan passes, but not without grumbling

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ARTS CALENDAR

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FILM CALENDAR

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PERIPHERAL VISIONS

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CITIZEN: Congressman David Price and reckless trade-deal

The INDY’s Act Now and Food/Farmers Markets calendars can be found at indyweek.com.

and film

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The incredible shrinking boulevard On a road diet, Durham-Chapel Hill Boulevard trims down, to the delight of cyclists By Lisa Sorg

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Bring on the wrecking ball A requiem for Tiny Town, a community crushed by time By Tina Haver Currin

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A R T S , C U LT U R E , F O O D & M U S I C 17

FOOD REVIEW: Casual Mediterranean at Cary’s Pita Bon

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FOOD: The Drinker tries vinyl night at The Glass Jug

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BOOKS: An interview with the authors of Dixie Be Damned

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MUSIC: Drique London almost gave up rapping; his new

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FILM REVIEWS: Exploring the crucial difference of heart in

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FILM: Tom Whiteside and the A/V Geeks bring back the

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F E AT U R E S

TRIANGULATOR: The Legislature: Hating the gays, policing the uteruses and—gasp!—redistributing the wealth, plus ghost bikes in jeopardy

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CHAPEL HILL

VOLUME 32 NUMBER 24

CALENDARS & EVENTS

NEWS & COLUMNS 5

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A trip to Euphoria Chris Stamey’s new album balances details and delight By David Klein

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Design flaw A key element is missing from a current production of The Color Purple By Byron Woods

album will make you glad he didn’t

Jurassic World and Inside Out

drive-in at Scrap Exchange

MORE ONLINE

VISUAL ART: The Southern landscape at Visual Art Exchange

Theater review: Sea Wall at Burning Coal By Byron Woods

ON THE COVER AND THIS PAGE: Tiny Town, a collection of bite-sized, budget-friendly homes built in Raleigh after World War II for returning veterans, has been torn down to make way for a larger, more modern—and more profitable—housing development. PHOTOS BY JEREMY M. LANGE

back talk

Change is coming to Durham Central Park

Change and growth are happening around Durham Central Park (“Why are negotiations between a developer and Durham Central Park being held behind closed doors?” June 10). Over the next few years, there will be construction adjacent to DCP and some changes within it as well.

DCP’s new neighbors have committed to make agreed-upon improvements within the park, including the construction of features that have been in DCP’s master plan for a long time. These elements will enhance the park’s beauty and usability, and it will continue to be an open, welcoming space for the community.

While it is nice that our new neighbors are willing to pitch in money and labor to make these improvements, DCP wouldn’t be what it is now without the hundreds of volunteers who have rolled up their sleeves and gotten their hands dirty to create the

park we see today. Many in our community do not realize that DCP is not operated by the city. The city of Durham owns the land, but Durham Central Park Inc., a nonprofit, manages the space without funds from the city.

This past year, as developments along our boundaries have been proposed, the city manager’s office, recognizing that DCP is a sacred space, asked the DCP volunteer board to meet with prospective developers to make recommendations for the shared property lines so that our longrange vision remained intact. Our focus in these discussions has been how best to assimilate the edges of these new buildings with our green space. An art wall on the Liberty Warehouse and terraced seating on 539 Foster will go a long way to blend our neighbor’s projects with our park. We welcome these new partners in our efforts to complete the long-envisioned master plan.

DCP Inc. board members and volunteers recognize our responsibility as stewards

of the park. The community’s sense of ownership is the park’s greatest asset. We welcome your input and feedback.

Erin Kauffman, Executive Director Morgan Haynes, DCP Board President Curt Eshelman, DCP Co-Founder

The full text of this letter appears at www.durhamcentralpark.org.

Here comes the judge

Twenty states have judicial retention elections. Seven of them, including California, Illinois and Pennsylvania, voted for Obama in 2012, and nine in 2008. (“Meet the N.C. GOP’s latest racket: rigging the Supreme Court,” June 10). The North Carolina Bar Association proposed retention elections in 2011. Early versions of the 2002 judicial election reform bill, which passed back in the days when Democrats controlled both sides of the General Assembly as well as the governor’s office,

had a provision for retention elections.

Remember, in the 1990s then-Chief Justice Jim Exum, a Democrat to the core, proposed eliminating appellate judicial elections entirely, in favor of appointment by the governor and confirmation by the NCGA. Imagine how that would have played out now.

It’s absolutely true that the timing of the Republican initiative is aimed at Edmunds.

But the overall thrust of retention elections has been widely proposed and supported

by Democrats for decades. ct via indyweek.com

CORRECTION

JUNE 3 Because of an editing error, the story “There goes the sun” incorrectly implied that the state chapter of Americans for Prosperity supported a bill that would have prohibited Tesla from selling its cars in North Carolina.

In fact, AFP opposed that legislation.

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EDITORIAL

EDITOR IN CHIEF Lisa Sorg RALEIGH EDITOR Jeffrey C. Billman MUSIC EDITOR Grayson Haver Currin ARTS & CULTURE EDITOR Brian Howe ASSOCIATE EDITOR Curt Fields COPY EDITOR Curt Fields STAFF WRITERS

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ENJOY YOUR MOMENT, HOMOPHOBES Also: More tax cuts! More ghost bikes!

BY JEFFREY C. BILLMAN, JANE PORTER AND LISA SORG

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H HEY, HOMO-HATERS. CONGRATULATIONS! You did a big thing last week, getting the General Assembly to override GOV. PAT MCCRORY’S VETO of Senate Bill 2. (The House muscled through its override by making sure a bunch of Democrats weren’t around when they voted, NBD. The Senate, always a FESTERING BOIL OF WINGNUTTERY, had no such difficulty.) S.B. 2, of course, was the controversial bill—now a law, hooray!—that allows magistrates not to perform weddings for gay couples if doing so violates their “sincerely held” religious beliefs or otherwise makes them feel icky.

This is a major victory for you PUT-UPON RELIGIOUS CONSERVATIVES, who are right now refreshing SCOTUSblog to see if John Roberts has crammed butt sex down your throats and made the BABY JESUS CRY. And seriously, you guys should glory in your very special moment.

It’s not going to last. (Sorry.)

And it’s going to end up costing us A LOT OF MONEY, too. (Thanks for that.)

“Senate Bill 2 invites, begs, pleads for a lawsuit to declare it fundamentally unconstitutional,” says LUKE LARGESS, a lawyer from Charlotte-based Tin, Fulton, Walker & Owen, the firm that served as lead counsel in last year’s case striking down Amendment 1.

McCrory—a Republican of the Chamber variety, a group that tends not to approve of religious vendettas that scare off RICH DUDES’ CHECKBOOKS—made a similar argument when he vetoed the legislation: It’s probably not OK to allow public employees to deny legal services to legally eligible couples because they don’t approve of HOW THEY COPULATE. Already the state ACLU has put out a call for any affected couples to contact them, and HOUSE MINORITY LEADER LARRY HALL, D-Durham, has suggested that a lawsuit is in the works.

“This was legislation by ambush and we continue to have to resort to the court to defend the rights of our citizens because OUR LEGISLATURE FAILS TO DO SO,” Hall said in a statement.

“This law is nothing more than state-sanctioned discrimination,” says JAKE SUSSMAN, also of Tin, Fulton, Walker & Owen. “It is a terribly misguided attempt to rewrite what EQUAL PROTECTION UNDER THE LAW means. … Neither the U.S. Constitution nor the N.C.

sTRI

Constitution permit any such thing. It is terribly Couched within with the tax-cut grab-bag is a unfortunate that this many elected officials provision that restricts counties to a QUARTERangulator CENT SALES TAX INCREASE. Recall that Wake don’t understand that.”

We suspect they’re about to learn their lesson has been banking on holding a referendum next THE HARD WAY—and it won’t be the first time. year to raise the sales tax by a half-cent to pay for Earlier this week, in fact, the U.S. Supreme our fancy-pants new bus and rail transit plan.

Court turned away another N.C. Republican attempt COMMISSIONER JOHN BURNS is speaking our to codify MORAL DISAPPROBATION into law, this language: “The attack on the transit referendum and sales time an ordinance that ordered women who wanted tax reappropriation plan is a missile aimed directly at the to get abortions to sit through a narrated ultrasound of heart of URBAN NORTH CAROLINA,” he said. “We’re their fetus, just so they would know that they are VERY moving the county forward against stiff headwinds.”

NAUGHTY BABY-KILLERS and should probably rethink oes it bother you that people have commemorated their lives. their loved ones by marking the spot near the road Yeah. Turns out that wasn’t quite kosher either.

WHERE THEY DIED? Us neither. The memorials are a sobering reminder of the dangers of traffic. n other legislative news, the state Senate took a break Well, someone was pissed, because he or she griped to from HATING ON THE QUEERS and telling chicks the DURHAM GENERAL SERVICES DEPARTMENT about what to do with their uteruses to pat themselves on two ghost bikes, claiming that they are eyesores. (Really? the back in advance for cutting income taxes (again!) and Has this person looked around lately?)

REDISTRIBUTING SALES TAX REVENUES to prop up How white bicycles adorned with colorful flowers qualify the small, flailing rural counties they come from. This, of as ugly, we’re not sure, but the complaint has forced the course, comes at the expense of metros like Raleigh and city to REMOVE THEM by July 20. (That is the law. It is Durham—you know, the places that actually CREATE JOBS a dumb law.) If no one claims the bikes after another 30 and lure new residents. Who needs that shit? days, they’ll be thrown away.

The Legislature’s SUPPLY-SIDE SHENANIGANS, One bike at University Drive and Durham-Chapel Hill especially its decimation of public school systems, has Boulevard is where 33-year-old JOSHUA JOHNSON was forced local leaders to make difficult budgetary decisions killed in August 2013 when his scooter was struck by a car. to minimize the damage. Exhibit A: the $1.14 BILLION Another memorializes KENT WINBERRY, 52, who died last budget Wake County passed Monday, which allocates October when a driver of a car turned left in front of him at an extra $34.6 million to the county’s school system, a Duke University Road and Chapel Hill Road.

10 percent increase over last year but not quite what the The city didn’t even have a memorials policy until last school board had asked for. Much of the money will go fall. That action was prompted by a memorial erected to toward raising teachers’ salaries and paying bus drivers, JESUS HUERTA in 2013. Friends and supporters of Huerta, cafeteria workers and janitors a living wage. who died in the back of a Durham police car of a SELF“I don’t believe we can sit idly by and watch schools INFLICTED GUNSHOT WOUND WHILE HANDCUFFED suffer because the Legislature has abdicated their (sounds legit), placed a memorial to him on DPD property, responsibility,” said COMMISSIONER MATT CALABRIA. where he had died.

Considering that North Carolina ranked 46th in the That sparked a discussion within the city about where nation for per-pupil spending in a recent report from the and for how long memorials—altars, crosses and GHOST EDUCATION LAW CENTER, and was awarded an F for BIKES, for example—could be placed in the public state spending on education compared to its total fiscal right-of-way. capacity, maybe he’s got a point.

Last year, City Council approved the Memorials on City So now Wake has to invest more in schools, not to Property Policy, which allows markers to remain in these mention all the other things a growing county needs to areas if they posed no safety hazards and if they did not fund. How will this all be paid for? A property-tax hike, of “interfere with PUBLIC USE OR ENJOYMENT” of public course. Expect your property taxes to go up by 3.65 percent, property. In other words, until someone complains. or about $73 A YEAR on a $200,000 home.

There is a third ghost bike in Durham, but we’re not But hey, enjoy the Senate’s proposed 0.2 PERCENT going to say where it is. The ROADSIDE ATTRACTIVENESS INCOME TAX CUT. SQUAD might complain. s And, well, if Wake County can have nice schools, it sure as hell can’t have a nice MASS-TRANSIT SYSTEM, too—or Reach the INDY’s Triangulator team at triangulator@ so the thinking (or lack thereof) goes on Jones Street. indyweek.com. Additional reporting by Billy Ball.

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SLIM-FAST (OR NOT-SO FAST)

Council approves a much-needed road diet for the Boulevard, but sidewalks prove elusive

BY LISA SORG

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HE CYCLISTS ARRIVED AT CITY HALL ON MONDAY NIGHT EN MASSE, FLUSH WITH ENDORPHINS, SPORTING THEIR SUNKISSED BROWS AND CHISELED CALVES.

They, and many other Durhamites—even those who unfortunately had to drive to the meeting—were there to persuade City Council to approve a road diet for Durham-Chapel Hill Boulevard, or as it’s formally known, U.S. 15-501 Business.

Earlier this month, the road diet’s chances seemed precarious after City Council postponed a vote in order to collect more information, especially from business owners who opposed the plan. Many had attended a disorganized and confusing city meeting in April about the proposal, and thus rightly felt they had not been adequately heard.

One of the plan’s opponents, Wayne Lee of Hair by Design, told Council he was concerned about the safety of his customers as they pulled out of his parking lot onto a narrower street. “We’re not the enemy. We want a safer boulevard. But we should have been granted an opportunity to see this plan and be a part of it.”

Meanwhile, Bike Durham had gathered more than 1,000 signatures supporting the road diet; the Boulevard neighborhoods of Rockwood, Tuscaloosa-Lakewood and Longmeadow also asked Council to vote for it.

And by last night, Council didn’t take much convincing, voting 7–0 to approve the re-striping of the Boulevard, as it’s casually known, to reduce the number of car lanes and add two for bikes.

Safety was the primary impetus for the proposal.

Although the number of cars traveling the Boulevard has remained steady for at least 10 years—roughly 14,000 a day—the number of crashes has also remained high, two to three times greater than the accident rate compared with similar roads in North Carolina. Drivers routinely exceed the 35 mph speed limit, traveling as fast as 50 on the mile-long stretch, according to Mark Ahrendsen,

Durham’s transportation director.

Cyclists can’t safely navigate the Boulevard.

Pedestrians do so at their own peril. (I’ve walked the Boulevard many times; it’s harrowing.) Joanne Andrews, an art teacher at Rogers-Herr Middle School—she can see the Boulevard from her classroom window— told Council that administrators even forbid students from walking along or crossing the Boulevard, although many of them still do.

“This is a step in the right direction,” See that car turning left? The driver is a death cheater Andrews said.

PHOTO BY LISA SORG Many low-income people rely on bikes, The Champ Élysées, the Boulevard is not. Several walking or public transit to get around, as council members noted that the original depictions of do people in their 20s and 30s. Nationwide, millennials, unwilling to be saddled with the expense of a car, use them other grand streets with leafy medians, sidewalks and street lights bear no resemblance to the asphalt steppe of less than previous generations, according to the Urban Durham-Chapel Hill Boulevard.

Land Institute. And roads must accommodate everyone.

Yet the Boulevard “is significant to the city of Durham.

“This creates a crucial link, a safe place for all residents It connects six neighborhoods. It’s a road with very regardless of their mode of transportation,” said DeAnna interesting locally owned and operated businesses,” Hall of the Durham Bicycle and Pedestrian Advisory said Claudia Kemmet-Cooper, owner of Guglhupf, who Commission. supported the plan.

That said, if you’re waiting for Phase 2—sidewalks, traffic lights and crosswalks to adorn the Boulevard— A SLIMMER BOULEVARD well, it might happen (late) in your lifetime, but not l The affected portion of Durham-Chapel Hill Mayor Bill Bell’s.

Boulevard runs from the bridge (another landmark is “I still personally have my doubts that this will work the Hardee’s) to University Drive. the way you think it will,” said Bell, who turned 74 this l The number of car lanes will decrease from five to three. year (but doesn’t look a day past 55). You’re not going to l Bike lanes and buffers will be striped on both sides of see Phase 2 in my lifetime, anyway.” the street.

While no one got everything he or she wanted in l Twenty-one on-street parking spaces will be added on the deal, the cyclists took the evening as a win. They the north side of the street near Foster’s Market. donned their helmets and rode off into the night, flashers l The N.C. Department of Transportation, which supports blinking. the plan, will begin repaving and restriping later this summer.

Lisa Sorg is the INDY editor. Reach her at lsorg@ indyweek.com and via Twitter @lisasorg.

LET’S MAKE A DEAL

Durham City Council votes 6–1 in favor of luxury condo complex abutting Durham Central Park

BY LISA SORG

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nother crane will soon crack the skyline near downtown, this time to build a 100-unit luxury condo project at 539 Foster St., which abuts the northern end of Durham Central Park.

City Council approved the development agreement on Monday, by a 6–1 margin, with Don Moffitt the sole opposition.

Under the agreement, the city sells certain easement rights from Durham Central Park to BH-AG Foster Inc. in return for $160,000 and a $41,000 contribution to Habitat for Humanity.

But the deal’s points weren’t solidified until the last few days, after a Council work session in which council members interrogated the two parties privy to the deal—

the developer’s attorney, Patrick Byker, and Morgan Haynes, president of the Durham Central Park board, the nonprofit that privately negotiated most of the terms on the city’s behalf.

The issues included the financial part of the deal, legal liability and affordable housing. continued on page 8

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DEAL continued from page 6

In voting no, Moffitt said he remained unconvinced that the city was getting the best financial deal for the easements. (An acre of land near DCP is going for a cool $1.8 million.)

The Council did receive legal clarity on property boundaries showing who is liable for what: For example, who is on the hook if several gentlemen fall down the outside condo stairs, perhaps after a bachelor party? Answer: The condo’s homeowners’ association.

As for affordable housing, BH-AG Foster Inc., based in Chapel Hill, agreed to make a $41,000 tax-deductible donation

regulations, the project itself did not require Council approval.

Council member Eugene Brown called the development “terrific,” adding, “the city did the right thing” in farming out the negotiations to the board. “This is not a public project.”

However, the development agreement, which involved city-owned and thus public land, did require Council approval. And parts of the deal, including a terraced berm leading to the condo from the park, will greatly affect the public’s experience.

While the board’s decision to close the meetings is likely a matter of political tonedeafness rather than malice, excluding the public and, apparently, key city staff from

Architectural drawing of the 100-unit condo project near Durham Central Park

COURTESY

CITY OF DURHAM

to Habitat for Humanity, which builds affordable housing, marking the first time in recent history that a for-profit developer allocated any funds for that use.

In zoning cases the city can’t compel developers to include affordable housing— or pay in lieu of the units—but it can force their hand in contractual agreements.

“Our responsibility as a council is to lay down some standards and figure out what we want from developers who want public assets downtown and in Durham Central Park,” council member Steve Schewel said.

Last week, the INDY reported on the lack of transparency in the negotiations between the developer and the DCP board (“The big secret,” June 10). None of the weekly meetings or the minutes was public.

Now, because it conformed to zoning

the negotiations created, at the very least, a public-relations problem.

Council member Diane Catotti said she was concerned about how late the city had been brought into the process. “We’ve had this item for only two weeks,” Catotti said.

Schewel agreed, adding Council and staff “should have been involved earlier.

The park board is excellent, but they’re in a funny position in negotiating on behalf of the city. When we have an organization that we love, like Durham Central Park, and city assets are involved, our needs aren’t always consonant. We need to know what the role of the city staff should be.” s Lisa Sorg is the INDY editor. Reach her at lsorg@indyweek.com or via Twitter @lisasorg.

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NOT BY THE BOOK

Teacher resigns over reading of gay-themed fable

BY BILLY BALL

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FTER WHAT OMAR CURRIE SAYS WAS A “HOSTILE” PRIVATE MEETING WITH ORANGE COUNTY SCHOOLS ADMINISTRATORS, the embattled third-grade teacher plus a top administrator at Efland-Cheeks Elementary have resigned.

Currie and Assistant Principal Meg Goodhand stepped down nearly two months after the teacher read the children’s book King & King in the classroom, sparking an uproar that incensed a few local parents and galvanized LGBTQ advocates nationwide.

King & King tells the story of a fictional prince who defies pressure to choose a princess by marrying a man instead. The book closes with the two men sharing a kiss.

Goodhand, who declined to talk about her resignation, provided Currie with a copy of the book when he wanted to teach a lesson about anti-gay bullying in April.

“My reading of King & King was the 100 percent right thing to do,” Currie said Monday. “It’s obvious Orange County Schools is lacking leadership right now.”

After Currie, who is openly gay, read the book, a handful of parents accused him of forcing pro-gay rights opinions on their children. Several parents then filed three formal complaints, prompting a school committee at Efland-Cheeks to review the book twice. Each time, the committee decided to keep the book at Efland-Cheeks.

Goodhand and a number of LGBTQ advocates also defended Currie in a heated public meeting last month.

But this week, a district committee appointed by the system’s Interim Superintendent Pam Jones is expected to conduct its own review of King & King after parents continued to complain.

Currie said he chose to resign after administrators, in a private meeting more than a week ago, threatened him with disciplinary action and accused him of lying when he told the INDY last month that he feared a potentially career-damaging annual evaluation from his principal.

Omar Currie

PHOTO BY ALEX BOERNER

In that INDY story, Currie and other LGBTQ supporters criticized the school system and the Orange County Board of Education for failing to defend or support Currie.

“There was no way I was going to have the support I needed to continue teaching in Orange County,” Currie said.

Orange County Schools spokesman Seth Stephens confirmed the system had received both Goodhand and Currie’s resignations, which were effective Monday, June 15.

“The system certainly supports learning and teaching in the classroom,” Stephens said. “Also, our other staff members and administration know there are policies to be followed and they follow him there.”

However, Stephens said he does not know whether Currie violated any school policies when he read the book.

Currie said he is interviewing in other local school districts and hopes to work in Durham Public Schools.

Orange County Schools’ committee review of the book is open to the public.

It is scheduled for Thursday, June 18, at 6 p.m., at Gravelly Hill Middle School in Efland. s Billy Ball is an Indy staff writer. Reach him at bball@indyweek.com. Follow him on Twitter @billy_k_ball.

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DURHAM • CHAPEL HILL

PERIPHERAL VISIONS • V.C. ROGERS

The INDY’s Guide to Dining in the Triangle

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FREE TRADE ISN’T FREE

‘Reckless’ tactics and the problem with fast-track

BY BOB GEARY

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ONGRESSMAN DAVID PRICE GOT IT HALF-RIGHT, I GUESS. In the dramatic showdown over trade deals in the House of Representatives Friday, the Chapel Hill Democrat was a “no” vote on giving the White House fast-track negotiating authority, a commendable position even if the measure passed anyway.

But on the prior, critical vote that served to derail fasttrack despite its passage—the vote that mattered—Price’s “yes” got it wrong.

Worse, Price issued a statement scolding his fellow Democrats for using an “irresponsible and reckless … political tactic” in order to succeed.

I’m shaking my head.

Consider, if you will, what’s happened to U.S. trade in the era of globalization. As recently as 1975, the United States enjoyed a balance-of-payments surplus—that is, we exported more goods and services than we imported.

The bottom fell out after President Clinton signed NAFTA in 1993.

Then came CAFTA, with Central America, as well as deals with Chile and Colombia—we now have agreements with 20 countries, according to the State Department. The results aren’t pretty (see graph).

Now in theory, free trade should benefit both trading countries equally—otherwise, why make the deal? But U.S. agreements seem designed to benefit corporations and their global investors, not the American public and certainly not American labor, which has seen jobs sent abroad while wages stagnate.

Meanwhile, on the other side of the deals, foreign governments, too, allow corporations to exploit low-wage workers while subjecting them to unsafe and environmentally hazardous working conditions.

Thus, when President Obama sought fast-track authority to negotiate a mega-deal, called the Trans-Pacific Partnership, with Japan and 10 other Pacific Rim nations, organized labor and environmental groups fought back, helped by progressives like Sen. Elizabeth Warren, the Massachusetts Democrat.

“I don’t doubt President Obama’s sincerity when he claims that this [TPP] deal is going to be tough, that it’s going to have unprecedented protections

for workers, or for the environment,” Warren told the Huffington Post. “The problem is that we’ve heard nearly identical promises about trade agreements for more than 20 years now … those trade agreements have failed.”

Or listen to ex-Treasury Secretary Larry Summers, part of the Wall Street wing of the Democratic Party. In the Washington Post, Summers sang the praises of free trade, which “is working spectacularly well for capital and a cosmopolitan elite that moves easily around the world.”

It sure is.

Free trade “is working spectacularly well for capital and a cosmopolitan elite that moves easily around the world”—Former Treasury Secretary Larry Summers

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his was the backdrop as the fast-track bill, called TPA—for Trade Promotion Authority—came to the House floor.

Remember, this was not the TPP itself; the TPP has yet to be finalized, and the secrecy surrounding the negotiations is a whole different disgrace. Suffice it to

citiZEN

say here that enough has leaked (thanks, Wikileaks!) for progressive analysts like economist Bob Kuttner to describe the forthcoming deal as “special interest legislation for elites,” with a series of sub-deals allowing corporations “to do end runs around national regulation.”

TPA would let Obama—or his successor—wrap up the TPP and bring it to Congress for an up-or-down vote, no amendments (or Senate filibusters) allowed. That’s what fast-track means.

And with the Republican majorities in Congress all for free trade—they’re all for corporations, that is—and unconcerned about labor, a fast-track TPP would be a slam-dunk.

But since this is Congress, there was also a TAA—short for Trade Adjustment Assistance. This is money to retrain workers who lose their jobs because of trade deals. Ever since NAFTA, Democrats have insisted that trade deals come with TAA. Republicans don’t care for it, but whatever.

In the Senate, the Democrats once again managed to hook the TPA and TAA together before passing them.

Can’t have one without the other.

So here’s what happened in the House. The TPA was narrowly approved, with 191 Republicans and just 28 Democrats in favor. But the TAA bill failed—and in a most unexpected way.

Most Republicans, as usual, voted against TAA, but there were enough in favor that with the customary Democratic support, TAA should’ve passed. Except that 144 of the 184 Democrats, seeing this as their only chance to stop fast-track and at least slow down the TPP, voted against worker-retraining money, blocking the TAA and thus the whole package.

It was this “tactic” that Price denounced as reckless. He did so after sitting on the fence on the fast-track issue right up to the morning of the vote. Not exactly a profile in leadership.

The Republicans may bring the TAA up for another vote, with more of their members willing, this time, to hold their noses and vote for workers to advance the trade bill. If they need Price’s support the second time around, please tell me he won’t be so reckless as to stand on principle and vote “yes” again—and help fast-track race on through.

Bob Geary is an INDY columnist. Email him at rjgeary@mac.com.

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JUNE 17, 2015

THE DAY THE WRECKING CREW CAME

After 70 years, a historic Raleigh neighborhood is no more. A requiem for Tiny Town

BY TINA HAVER CURRIN • PHOTOS BY JEREMY M. LANGE

I

T’S QUIET BEFORE THE DEMOLITION CREW ARRIVES. Fifty-three bite-size houses sit vacant with their windows boarded up and their doors flung open, while their various remains—kitchen appliances, highschool portraits, sticks of deodorant—pile up on doorsteps like small offerings to the gods of urban development. A family of rabbits, shielded by the overgrown grass, hop unusually close to the buildings to sniff the overturned trashcans.

This small but dense rental community emptied in a trickle of forced emigration after news of an impending sale spread late last year. The place is abandoned now, but the holdouts made their mark.

On the door of 711 Virginia Ave., lyrics to Don McLean’s “American Pie” are written in something that looks a lot like blood, while across the street, I lock eyes with two construction-paper peepers taped to the front of a home.

On the morning of Tuesday, May 5, at the corner of Elm and Sasser streets, a pair of workers begins the demolition. One operates the yellow crane, positioning the jaws directly atop a vulnerable-looking

structure not much larger than the Dumpster next to it. The asbestos siding removed, it’s easy to read the construction notes scrawled across the exposed plywood.

It only takes a moment for the crane to plunge through the roof and crumple the house. A second worker picks up stray bricks and tosses them into the growing pile of debris.

It’s over quickly.

Five weeks later, all that’s left are a few piles of twisted metal and wooden stakes declaring the prospective boundaries of new lots.

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hat we know as Tiny Town took shape in 1945, at the end of the Second World War, to accommodate the crush of returning GIs. That year the Sasser family, which had operated an eight-acre farm at the corner of Wake Forest Road and Sasser Street— about a mile northeast of downtown Raleigh—since the turn of the century, sold the property to James “Willie” York, a developer also responsible for Cameron Village and the expansion of the Raleigh-Durham International Airport. In 1965 York sold his vision of a “veteran’s village” to Kip-Dell Homes, which has owned it ever since.

But on March 26, joint investors Community Properties and Robuck Homes purchased Tiny Town from Kip-

Dell for $6.6 million, citing degradation and a desire to “participate in the revitalization that is occurring in downtown Raleigh”—in other words, dollar signs—as reasons to raze the little houses. That was the plan all along, of course, as downtown density conspires with land scarcity to drive up property values. Residents were informed as early as October 2014 to vacate their homes “at their earliest convenience,” but with dwindling options for affordable housing downtown (two other low-income complexes nearby were sold shortly after Tiny Town), where were they supposed to go?

For Ivy Brooks, that’s a disquieting question.

Brooks lived next door to the house with the unblinking

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eyes more than four decades ago. A quick talker with a thick Southern accent, Brooks recalls the neighborhood as quiet and family-oriented, a place where everyone looked out for one another. Her best friend lived across the street; her sister-in-law lived in a home at the end of the block.

“I was a senior in high school and had just gotten married. I was pregnant,” she says. “We moved to a twobedroom on Virginia Avenue right before my son was born on June 1, 1971—the day I was supposed to graduate. That’s what you did back then.”

Renting in an affordable, centrally located neighborhood allowed her to return to school a year after having her son, as she could walk to nearby Enloe High School while

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friends and family helped out with the babysitting.

“I don’t know what I would have done without my own little place,” Brooks says. “Even though it was a rental, that home was mine. I could decorate it however I wanted, and that was important to me. I don’t think they should tear them down unless they replace them with affordable housing. The cheap price kept us there a long time.”

Tiny Town—officially Brookview, though that was too inelegant a name for such an extraordinary place—comprised 71 rental units housing a few hundred people, singletons and couples and families with waddling toddlers. It wasn’t a black neighborhood or a white neighborhood, a middle-class neighborhood or a poor neighborhood. All that was required to live there was a desire for the independence of a standalone structure without all of the baggage of buying a home. There were mechanics and department store clerks, people employed hourly downtown and those who relied on the bus to get to work.

But it was Tiny Town’s essential promise—that is, a 500-squarefoot rental for under $500 a month—that also led to its demise.

After 70 years of tenant turnover, plus the fact that residents weren’t expected to maintain the buildings the way they would a purchased home, the property sunk into disrepair. The cost of rehabilitating the structures eventually outweighed the cost of tearing them down.

And so the wrecking crew came.

M

any years after Brooks, I learned teenage lessons in Tiny Town, too.

I graduated from Broughton High School in 2005, long before downtown Raleigh found itself atop Forbes lists, before the barcades and the cold-press juices and the pour-over coffee shops.

Fayetteville Street and City Plaza weren’t even part of a Caps’ vernacular. If you wanted to hang out downtown, you either went left, toward the pizzerias and record shops of N.C. State’s main drag, Hillsborough Street, or you went right, following a straight line from Peace Street toward the neighborhoods where many of the high school kids lived.

Though I went to school in the city, my family lived in the commuter shed of Cary. I was 13 and given just enough freedom to roam, so on Friday afternoons, my mostly suburban crew would order two greasy slices from I Love New York Pizza and then walk the mile-and-a-half from Broughton to Tiny Town. We’d thread through Person Street Plaza, past the hair salon and the rundown delivery joint that’s now an artisanal bakery. If we had a few bucks, we’d grab a bag of chips or a Mountain Dew at the Super 10 on the corner—now a jazzy Retro Fitness—and then cruise, walking idly the way that teenagers do best.

The neighborhood tucked between Oakwood and Mordecai was the destination for the urban-curious, the place to visit with friends who didn’t look or act like everyone else in the ’burbs. We dubbed it the “Monopoly District” because most of the houses

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were itty-bitty, painted in pastel blues, greens and yellows. In it, there was the shaggy-haired skateboarder who would become my first boyfriend and the girl named Rachel who’d be a high school confidant. There was the woman who brought my friends tamales for the first time and clotheslines that seemed to stretch on for miles.

Maybe it was because we weren’t old enough to drive, or because the houses were so small that they made the vehicles next to them look massive by comparison, but we could waste away entire evenings watching the neighborhood cars roll by.

There were rusty junkers aplenty, pickup trucks with deflated tires and all manner of sport-utility vehicles. If luck was on our side, we’d catch a Chevy plumped up on wheels much larger than its frame intended, thumping bass all the way down the street.

But being relegated to foot travel had its advantages. It was while walking through Tiny Town that I first saw an urban

“I don’t think they should tear them down unless they replace them with affordable housing. The cheap price kept us there a long time.”

—Ivy Brooks Mike Shumake (pictured with his wife, Stacy) says Tiny Town’s demolition and redevelopment will bolster the property values of those, like him, who live nearby. PHOTO BY ALEX BOERNER

garden, a respectable but by no means expansive plot with a few peppy basil plants and a tangle of cherry tomatoes. In the planned developments of Cary, growing anything but a manicured lawn was unheard of. That you could somehow live in a city and produce food at the same time was a foreign concept— and why would you think to, when you could just buy what you needed at the grocery store?

I was so enamored by Tiny Town’s scrappy, do-it-yourself attitude that I begged my mom for a small tomato plant the next day, which I stuck in a windowsill and promptly killed.

A few years later, cruising on my own set of wheels, I showed my respect to the neighborhood by piling three horn players into a two-seater and then belting out a brass number in the middle of Sasser Street after dark. Rachel and I were both in the Broughton band and spent nearly every afternoon outside, practicing difficult licks and tossing fake rifles into the air.

When we did our impromptu performance in Cary, someone called the cops. In Tiny Town, folks tapped along.

T

he first time I saw Mike Shumake, a homeowner who lives across the street from what was Tiny Town, was during an operation to remove an established yucca plant from what used to be someone’s front yard. An email passed among Oakwood residents recommended grabbing what you could before it all got hauled off to the dump. As my husband dug in the dirt, Shumake emerged from his front door. I first took his “what’s going on here?”

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N E KO CASE

“One of America’s best and most ambitious singer-songwriters.”

—Rolling Stone THE LOVE L ANGUAGE OPENS

T H U R S D A Y, J U N E 2 5 , 8

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posture as a threat, but soon discovered the reason for his curiosity.

Throughout the demolition, Shumake has been collecting the houses’ black steel mailboxes and repurposing them as planters, filling them with marigolds and catnip to keep mosquitos away. It’s a small tribute to the change he views as a natural and positive evolution for the area.

“It’s not about having rich white people live across the street,” he says. “It’s not like that at all. Property value is determined

daughter, Rachel. We’d climb the tall trees behind the little houses, bending the limbs with our weight, or follow trickling streams through downtown drainage pipes. More often than not, we’d end up at the Krispy Kreme a few blocks away with fingers crossed for the Hot Now sign, or perched under the weeping willows in the expansive cemetery at the edge of the neighborhood.

It’s hot in Tiny Town now that there are no porches to duck under. My husband sweats as he rocks the yucca, trying to loosen the

by comparable properties nearby. So, if we knock down a 500-square-foot house and replace it with a $400,000 house, that impacts the assessment value of my property.”

Shumake bought his home three years ago as an investment. What was once an abandoned property with a scrubby brown lawn is now a bright-white ranch with new fencing, potted plants and a trellis for climbing vines near the driveway.

“I think there are a lot of people who are very liberal, like myself, who can identify with the low-income housing issue in Raleigh,” Shumake says. “But at the same time, when you put dollars to donuts and someone says, ‘I can raise the value of your property by $40,000,’ you go, ‘Yeah, I care about the issue, but I’ll take the check.’”

His neighbor a few doors down, Jimmie Davis, isn’t as content to take the check. Davis worries that the increased property tax on his home, which he purchased for $48,000 in 1987, will feel like a second mortgage.

I spent many nights in Davis’ small shotgun house as a kid, working on algebra problems and exploring the nooks and crannies of the neighborhood with his

roots. From across the street, I hear someone call my name, and then I see Rachel’s slender figure emerge from the stoop of her father’s home. She cranes her neck to get a better look and then asks, “Tina? Is that you?”

After all these years, she isn’t expecting to see me here, standing among the ruins of the Monopoly houses, digging up shrubs.

She asks what I’m doing, and I explain the plant’s escape plan and the nice plot of land a few blocks away, out of sight of any wrecking crews, where it will be rehomed.

“That’s so you,” she says with a shrug.

Then, staring at the empty lot of her former neighborhood, she kicks the earth and asks the question we’re all wondering: “What’s going to happen here?”

Unlike her father, Rachel won’t be around to see the pricey new development.

In May, she interviewed for a job in El Salvador, and just found out she landed it. Now, Rachel is here to tell her dad that like most everything else around him—his friends, his neighbors, even this little yucca plant—she’ll be leaving soon. s

pm

KING SUNNY ADÉ A N D H I S A F R I C A N B E AT S

Legendary Nigerian bandleader brings over 20 master musicians and percussionists to the Museum stage.

S A T U R D A Y, J U L Y 1 1 , 8

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PA R I S COMBO

Irresistible mix of jazz, French pop, cabaret, gypsy, Latino, and Middle Eastern rhythms.

TICKETS

ncartmuseum.org/summer or (919) 715-5923 Joseph M. Bryan, Jr., Theater in the Museum Park 2110 Blue Ridge Road, Raleigh

PRESENTING SPONSOR SUPPORTING SPONSOR PARTICIPATING SPONSORS

Tina Haver Currin is a Raleigh-based writer.

Email her at tinacurrin@gmail.com.

music&visual eat drinkarts

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performance books film sports

A CARY OASIS

Fast casual Pita Bon serves enjoyable Mediterranean

BY CURT FIELDS

A

S I APPROACH THE ENTRANCE TO PITA BON, an older gentleman sitting at one of the sidewalk tables of the Mediterranean restaurant cheerfully tells me, “You made a good choice coming here!”

After a couple of pleasantries I make my way in, and as I do he adds, “Finish with the baklava!”

Pita Bon takes some fast casual concepts—counter service, moderate prices—and applies them to such fare as tabbouleh, falafel and kibbeh. There are 20 years worth of Mediterranean cooking experience in the kitchen, according to the family-owned operation’s website, and it shows up on your plate.

The Chicken Shawarma Platter ($9.50) arrives with a flavorful mound of chicken atop a bed of rice. The traditional shawarma spice blend contains cumin, black pepper, cinnamon and more. At times you’ll think you detect a note of this or hint of that, but no single taste overshadows another. Alongside the shawarma is a serving of smooth hummus that I can only describe as soothing. It comes with several soft triangles of bread for scooping it up, plus a ramekin of tahini.

Unlike the Avengers, I hadn’t done battle

firstBITE

with invading Chitauri from space, but the meal felt like a suitable reward for heroically completing (most of) my to-do list that day.

A Pesto Chicken and Sun Dried Tomato brick oven pizza ($7.50) makes a rewarding meal as well. It arrives about a foot long and a hand wide, cut into small horizontal triangles. Pita Bon’s pesto sauce is the foundation upon which they pile tomatoes and chicken, smothered under a coating of melted mozzarella. It’s perfect for one hungry person or two light grazers.

In addition to the various platters and pizzas, menu options include appetizers such as Spicy Feta with Pita, Triopita, Spanakopita and Lentil Soup (most apps are $3.95 and $4.95), salads ($6.25–$8.95) and sandwiches ($6.25–$7.50).

Although you walk up and place your initial order at the counter, the staff brings the food to your table. They are also good about checking on you during your meal to ensure all is well.

With Middle Eastern music playing over the speakers and its walls of bright blue and creamy gold, Pita Bon is a friendly little oasis among the shopping strips of Kildaire Farm Road.

The gentleman is right—it is a good choice. He is right about the baklava too. s Curt Fields is associate editor for the INDY. Follow @IndyWeekFood on Twitter.

Pita Bon’s Chicken Shawarma Platter PHOTO BY ALEX BOERNER

PITA BON 1207 Kildaire Farm Rd., Cary 919-468-1605, www.pitabon.com Sunday–Thursday, 11 a.m.–9 p.m.

Friday–Saturday, 11 a.m–10 p.m.

A generous appetizer sampler

PHOTO BY ALEX BOERNER

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That id along wit quality cr filled grow array of s On a re ales on th “Belgians the Hops listing of out the ch selections featured b Ginger W Scratch a session IP It was a meant it w Jug. Ther musical c you have pretty acc into the m When t around 5: area near turntable next to it music isn or the like having yo his den fo find. Dur tunes from to some g unpolishe vibe I find

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PERFORMANCE BOOKS FILM SPORTS

VOTING AND DRINKING

The Glass Jug has the perfect ticket for imbibing early and often

BY CURT FIELDS

F

OR THOSE OF YOU WHO SAY POLITICS DOESN’T REALLY AFFECT YOUR DAYTO-DAY LIVES, I offer The Glass Jug as evidence that you’re wrong. When North Carolina’s General Assembly passed a law in 2013 that loosened some of the rules regarding the sale of growlers, it gave Chris and Katy Creech, owners of the South Durham bottle shop, an idea.

That idea became The Glass Jug, which, along with a fairly substantial selection of quality craft beer, offers a counter-pressure filled growler station and 16 taps with an array of styles.

On a recent visit I found four dark ales on the menu, three choices in the “Belgians and sours” category, three under the Hops heading and four under the listing of “Lighter Side.” Rounding out the choices were two selections from the month’s featured brewery—Unknown Ginger Wheat and Unknown Scratch and Sniff (an excellent session IPA).

It was a Tuesday evening, which meant it was “Vinyl Night” at The Glass Jug. There are a couple of gents driving the musical car but Chris Creech says that if you have music you want to share, they’re pretty accommodating about working it into the mix.

When the music gets going—usually around 5:30 p.m.—it gives the seating area near the entrance a rec room vibe. A turntable sits on a small table. In the floor next to it is a plastic milk crate of vinyl. The music isn’t run through overhead speakers or the like, so the sound is very much like having your cousin crank up the volume in his den for you to hear his latest musical find. During my visit I heard range of tunes from Dylan to some old school R&B to some gut-bucket blues. The slightly unpolished, low-key affair is the sort of vibe I find thoroughly enjoyable. Several

A customer scans the selection of beer available at The Glass Jug, a Durham bottle shop that also features 16 taps. PHOTO BY ALEX BOERNER

people chatting amiably at tables near the front seemed to be similarly appreciative.

Of course, there could be tomb-like silence and the wellcurated draft list would provide plenty of entertainment. Along with the aforementioned two from Unknown there were such tempting options as Lonerider Tombstone Rye Stout (which makes me want to say, “Mighty fine beer, ma’am, mighty fine), Huske Hardware Watermelon Wheat, Southern Pines Duck Hook cream ale (another one I can personally vouch for) and Sugar Creek Belgian Dubbel.

The Glass Jug is open until 10 p.m.

Thursday through Saturday but closes earlier the rest of the week. Though they are adjusting their hours based on demand (for example, staying open an extra hour on Wednesdays because of a bike club’s weekly ride), they aren’t trying to be a late night bar hangout. “We’re still a retail shop,” Chris says. What it is doing, and

the

DRINKER

doing well enough to nab first place in the 2015 INDY Best Of category of Best New Business in Durham County and second place in best beer selection, is providing a comfortable spot to discover new beer and find old favorites.

They take the discovery part seriously too. Everyone on the staff is at least a certified beer server through the Cicerone Certification Program. Plus, both Katy and Chris are homebrewers and Chris is a certified beer judge. So you can be confident that their guidance in on point.

Plus, you never know whom you might run into there. I heard a familiar voice on my visit and turned to discover Carolina Glenn and Dave, the NC Beer Guys, sidling up to the bar. Not a bad recommendation there.

(By the way, watch for our Hops and Crafts beer guide in July for a chance to learn more about those guys.)

Along with weekly happenings such as vinyl night, they also have fairly regular tastings featuring different breweries.

There’s a Hi-Wire tasting this Thursday

and one with Mystery Brewing on June 25.

So if you’re looking for a relaxed scene to have a cold one and improve your beer knowledge at the same time, consider The Glass Jug. And on Election Day, when you’re debating whether it’s worth your time to vote, don’t forget that the laws that result can directly affect your drinking enjoyment.  Curt Fields is associate editor for the INDY. Follow @IndyWeekFood on Twitter.

THE GLASS JUG 5410 Hwy. 55, Durham 919-813-0135, www.glass-jug.co Monday, 4–8 p.m.; Tuesday, noon–8 p.m.; Wednesday, noon–9 p.m.; Thursday–Friday, noon–10 p.m.; Saturday, 10 a.m.–10 p.m.; Sunday, noon–7 p.m.

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culture

ANARCHY IN THE N.C.

A radical history of resistance challenges mainstream progressive labor and civil rights narratives

BY TOM MAXWELL

B

EYOND CIVIL RIGHTS MOVEMENT-ERA SIT-INS, North Carolina has never been known as a hotbed of political resistance, but a new book by local authors unearths a hidden history to challenge that narrative.

indebted Europeans, posed a crisis that continued to threaten the legitimacy of whiteness, bondage and land ownership through the Civil War. While their efforts to cauterize the growth of plantation society in North Carolina did not succeed, their legacy lives on, from the Lumbees who fought the Klan out of Robeson County to the current rage over police killings of black and brown youth across the country.

As an early governor of Virginia wrote, How did you get into this project?

“North Carolina is and always was Part of our motivation was our joy and the sink of America, the refuge of our curiosity at finding these inspiring stories renegades: and till in better order it is a of resistance and revolt that we had heard danger to us.” We learn this and much little to nothing of before. They often more in Dixie Be Damned: 300 Years of broke sharply with stale narratives we were Insurrection in the American South (AK accustomed to. We are constantly told that Press; 280 pp.), by Saralee Stafford and the rebellions of the past were to secure Neal Shirley, which has the last in a series citizenship, rights, democracy, better Student Nonviolent Coordinating Committee photographer Julius Lester captured a 1966 of release readings at So & So Books in conditions and a host of other demands riot in Atlanta after police shot a fleeing suspect. PHOTO COURTESY OF THE AUTHORS Raleigh on June 20. that lead us back into the state or capital’s The work took root three years ago lengthening arms. Based on the accounts contribution to a slave culture of escape and rebellion, when the anarchist authors included “inspiring stories of of those who participated in or witnessed the episodes we which itself helped to destabilize the plantation economy. resistance and revolt” in a small zine. The more they looked, cover, we believe this is a distorted, myopic conception of the more they found—enough to counter what they view the freedom many were fighting for.

What is North Carolina’s role in this history? as a “stale” progressive history that ultimately serves to Take the example of the ’70s revolt at the North North Carolina has been home to a number of interesting preserve an oppressive state, as they told the INDY in an Carolina Correctional Center for Women. A progressive experiments in resistance and protest beyond the email interview. labor narrative would tell us that women no longer wanted maroons: the early Regulator Rebellion against the British to do unpaid domestic labor in prison, and so they went aristocracy, the underground network of deserters during INDY: Can you tell us about the “maroons” and the on strike to get better conditions around those particular the Civil War called the Red Strings, the Depression-era culture of resistance in the Great Dismal Swamp? grievances. That logic marginalizes the crux of the conflict: strikes in the mills of the Piedmont, the post-World War II SARALEE STAFFORD AND NEAL SHIRLEY: The Great the social institution of prison itself. We try to expose armed self-defense of Robert F. Williams, the early sit-ins Dismal Swamp was originally a territory covering almost the limitations of progressive narratives by highlighting of the Civil Rights Movement and the later prison riots 2,000 square miles on both sides of the North Carolina/ the actions and words of prisoners themselves, which at Raleigh’s Central Prison and Correctional Center for Virginia border. From the early-18th century through demonstrate a greater and more eternal desire—one of Women. These revolts have been interpreted or ignored the end of the Civil War, the swamp was a refuge for destroying prison entirely and transforming themselves. based on how intelligible or threatening they appear to the overlapping, decentralized yet permanent communities of Memories and lessons of the past have to be kept alive, historian’s project. escaped European indentured servants, Indians, and West but not merely those that are most convenient or safe. One Nothing about these inspiring revolts is necessarily African slaves. These settlements became more Black as way to spark critical dialogue is by highlighting tensions unique in the South, but some aspects of North Carolina’s the young American economy imported more slaves. that are actually relevant to those trying to destroy systems development render it different than Virginia and Rather than just using the swamp as an avenue for of oppression that continue to this day. s South Carolina. The Albemarle Sound, in particular, escape, fugitives also used it as a site from which to attack was settled not by English-loyal Planters, but instead surrounding plantations through cattle rustling, arson, Tom Maxwell is the author of Hell: My Life in the Squirrel by an autonomous community of fugitive Africans and the assassination of overseers and aiding in the escape of Nut Zippers.

Europeans who escaped from other colonies to band with other slaves. Maroons also waged larger-scale guerrilla Tuscarora Indians. That resistance to Virginia and South warfare against both pro-slavery American forces during Carolina’s early plantation capitalist model provided DIXIE BE DAMNED: the Revolutionary War and the Confederate Army during fuel for the Quaker and Tuscarora Wars of the early300 YEARS OF INSURRECTION IN the Civil War. Several insurrectionary conspiracies that 18th century, as well as context for the still-charming THE AMERICAN SOUTH involved hundreds, if not thousands—including planned designation of North Carolina as “a valley of humility Saturday, June 20, 8 p.m. | So & So Books attacks on Norfolk and Richmond—have been linked to between two mountains of conceit.”

704 N. Person St., Raleigh, 919-426-9502 the swamp. Some historians, such as Herbert Aptheker The early resistance to colonization and slavery by www.facebook.com/soandsobooks and Hugo Prosper, have made the case that the maroons indigenous people, alongside fugitive Africans and of the Great Dismal Swamp made a fundamental

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SCRIPTED BUSINESS

Chris Stamey’s new Euphoria balances details and delight

BY DAVID KLEIN

C

HRIS STAMEY DOES NOT LIKE LEAVING A LOT TO CHANCE.

“The driveway is very tight and skinny. Be careful turning in,” he says in a capitalized email that details instructions to his Chapel Hill music studio, Modern Recording. The text also includes the building materials of fences, the colors of doors and miles measured in increments of one-tenth.

“If you miss it and have to turn around,” he warns, “the turn into the driveway will be even tighter.”

When I arrive, having avoided the treacherous turnaround scenario, Stamey—an icon of North Carolina music for his decades of work with the dB’s and the Sneakers, as a solo artist and an ace producer—awaits at the end of a long driveway, just past the house where he lives with his wife, Dana, and their daughter, Julia. He stands in front of the modestly apportioned Modern Recording, the room with the red door.

Stamey has just released his 11th solo record, Euphoria, a vibrant set that speaks to his lengthy résumé as a songwriter, musician, arranger, engineer and talent scout. Stamey’s previous record, 2013’s Lovesick Blues, delivered gentle chamberpop, but Euphoria differs both in sound and sensibility. These songs sport the zing and ebullience of Stamey’s preferred melodic jangle, with peppy bursts from the Uptown Horns adding vitality.

Though Stamey, 60, could easily keep busy with production work and side projects, his endless fascination with the craft of songwriting makes it seem inconceivable he will ever stop making music of his own. His approach combines the macro—envisioning songs in the mold of bygone sonic touchstones—and micro, with a meticulous focus on each tune’s intricate architecture. On Euphoria, for instance, Stamey explored what he calls hinge moments, “places in songs—or in life—where you get a burst of energy to take it to a different plateau. Having those hinges correct is something I like to do. And this record has a lot to do with

different ways of hinging the sections together.”

Stamey’s early successes came in the decidedly straightforward vein of power pop, but he has become increasingly sophisticated in his skills as both an arranger and orchestrator. In early 2011, he had an epiphany while in New York for Big Star Third Live, his labor-of-love series of concert salutes to the ill-fated Memphis band. Its late leader, Alex Chilton, once hired Stamey as a bass player and became his mentor.

In need of a suitable Chilton song for R.E.M.’s Michael Stipe to sing, Stamey selected “The Letter,” a hit by Chilton’s first group, The Box Tops. The understated brilliance of the original score stunned him.

“They were like haiku,” he says of the song’s separate parts. “They were so perfect. Just these little strings, one-note crescendos, a couple of toots. It really was a wake-up call, so on this record, I have tried to use the Uptown Horns and occasional strings or other colors in a much more minimal way. That’s exciting to me.”

Having spent roughly two-thirds of his six decades as a working musician, Stamey is now a consummate pop songsmith. He has also earned a reputation for being something of a stickler for detail. When mounting Big Star Third Live, Stamey acquired the original scores of the ramshackle LP, Third/Sister Lovers. Not quite satisfied, he wrote several more arrangements he describes as “even more esoteric.”

And at a panel on the future of pop music at the Hopscotch Music Festival in 2011, he clashed with The Flaming Lips’ Wayne Coyne about the nature of pop. He argued it was a matter of good material, studio skill, preparation and other workman-like essentials, while Coyne advocated for balloons and bananas. It was a telling standoff between spectacle and studiousness.

True to philosophy, Stamey’s new record is the result of that same painstaking ideology and approach. It sounds like a rock record, but not because

The argyle hero, Chris Stamey

PHOTO BY YORK WILSON

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it happened spontaneously.

“It was all roughed out in notation,” he explains. “Wes Lachot played a lot of the keyboards live, and he’s reading music. The bass was notated. People were free to depart from it, but it was the same kind of notation that [famed producer] Jack Nitzsche might have done for a Phil Spector ’60s session. It was not just, ‘Look at my hands.’”

In Stamey’s hands, songwriting seems both an expression of the creative urge and an advanced exercise in puzzle solving. As he goes through the album song-by-song, he repeatedly returns to the tiny, complex conundrums each one presented.

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words and asks that we speak off the record.

Later, he sends a link to a web post where he had described the song as a salute to his friends in the LGBTQ community.

“Without knowing the inspiration behind the song,” he says, “the words seem a little more Hallmark than they actually are.”

But sometimes things are better left unsaid, leaving listeners to tease out clues themselves. For Stamey, it’s a way to incorporate chance into a very conscious process. In the late ’80s, he was stuck in Paris, where he’d go see one painting, the pointillist masterpiece A Sunday Afternoon on the Island of La Grande Jatte, over and

Experiencing Euphoria David Klein sat down with Chris Stamey in his Chapel Hill studio to talk about making Euphoria. The conversation roves from writing music with Ryan Adams to the influence of Gary Glitter, from the impact of local musicians on his songs to how forgoing wheat has helped his voice. To read Stamey’s track-by-track commentary while listening to the album in full, visit www.indyweek.com.

“It wasn’t that hard to figure out how to get to C, it was hard to figure out how to get back to E,” he offers of one number, stepping into a chain of key changes. “Once it’s walked down chromatically to the C, it goes to a major 7, which lets it kind of get to the F major 7. But then you’ve gotten pretty far from the key of E minor, so to get back there, it goes to the F sharp minor 7, up to a B. But then when you go to the solo, the solo has landed in a different key …”

You get the picture.

While composing entails a lot of mental exertion, Stamey says performing these songs in a stripped-down setup of two guitars, bass and drums remains a visceral pleasure.

“It’s been really great in rehearsal to find that you don’t have to have 15 violins onstage with you,” he says. “It’s great when you do, but you can actually lean in one direction in a rock band and conjure up something similar.”

Stamey’s last straight-up set of rocking originals, 2004’s Travels in the South, deployed a motif of motion. But if Euphoria has a theme, he’s not saying. Discussing the American Songbook-influenced ballad “You’re Beautiful,” Stamey fumbles for

over. He thought about the landscape while writing “The Seduction,” from 1987’s It’s Alright, though the song never references it.

“And I had a guy I know stop me on the street after the record came out, and he said, ‘You know, that song reminds me of this painting.’ Somehow there is an obscure level that images come through,” he says.

“Like, every line in ‘Invisible’ has to do with something specific that happened. I don’t really know how you’d get there, but I’d like to think that you can pick up on it.

I know that’s kind of hippie thinking, but sometimes it works.” s David Klein lives in Chapel Hill. Find him on Twitter: @DKleinandFall.

THE CHRIS STAMEY GROUP with The Fellow Travelers Saturday, June 20, 9 p.m., $10–$12 Cat’s Cradle Back Room 300 E. Main St., Carrboro 919-967-9053, www.catscradle.com

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THE LONG DRIVE

Death and disappointment nearly kept Drique London from becoming one of the Triangle’s best new emcees

BY ERIC TULLIS

W

HEN THE RAPPER DRIQUE LONDON INVITED ME TO HIS FAMILY’S MEMORIAL DAY WEEKEND HANGOUT, I did not expect to arrive in a northeast Raleigh subdivision made of suburban dream homes.

But two weeks after the release of London’s provocative second LP, Sound of the Rising Sun, members of his extended family trickle into his cousin’s home, far above the Triangle Town Center and through a wide swath of rural landscapes. During my drive north, I wondered whether I would pull into some benighted neighborhood or up to a decrepit house in the distant woods.

“Nah, this is how most of the people in my family live,” explains the 23-year-old London, or Madrique Sanders, as I offer my surprise. “I’m like the only one without a diploma or a degree.”

We’re standing in a TV-and-couch-filled man cave inside his cousin’s two-car garage, where London spends most of his time when he’s not at home in Smithfield. His admission about not having a diploma or not quite fitting in with his family is telling: The last decade of his life has been fraught with anxiety and woe, from the death of his mother to the near-decision to quit rapping shortly after he’d found some momentum within the Triangle’s rising rap scene. He slogged through those situations, though, arriving at Sound of the Rising Sun, a smart record that positions him alongside local rap leaders like Rapsody and King Mez. His cousin, the producer Majestic, watched London battle those tough times and almost lose to them: “He didn’t transition until later,” Majestic says, “but it was almost like he changed overnight.”

London arrived in Raleigh in 2006 and started recording raps in 2007 while attending Millbrook High, casually adding rhymes to a batch of beats Majestic had made. Until the mid ’00s, London lived with his mother and extended family in the Astoria section of Queens, but he spent summers in Raleigh. During one of these visits, his mother began managing the Raleigh-based hip-hop label, 18 Wheeler Entertainment.

Home to local acts such as Drama Queens, LOVE and Falicia, the imprint was like most other area hip-hop upstarts after the release of Little Brother’s The Listening—that is, making more area noise than national progress. Sandwiched between Dipset and G-Unit’s Big Apple street egos and Cash Money’s grandiosity down south, the region lacked a rap identity. London digested all those sounds, but he didn’t know how he wanted to rhyme, either.

Still, he and Majestic got more serious about their hobby, eventually finishing Fish Fillet and Pancakes, an album they opted not to release. They kept recording. In early 2010, while at a Kooley High and King Mez concert, they learned that making music in a makeshift apartment studio wasn’t enough.

“The vibe was weird,” recalls London. “You could just tell that there were different levels. They were actually out here performing, and the only thing that Majestic and I were doing was just sitting back and making music, sitting at home complaining.”

Smiling now: Drique London has made one of the area’s musthear rap records this year. PHOTO BY ALEX BOERNER

It was an awkward awakening. London felt like an underachieving, fringe member of the hip-hop community, maybe even a poseur. He wanted to be accepted, so he got to work.

He and Majestic quickly recorded and released Nike SB: The Mixtape. Soon thereafter, they dug up some of the songs from the Fish Fillet and Pancakes sessions and reworked them, completing London’s debut LP, The Manual.

When he and Majestic were just having fun, London had prided himself on insightful lyrics. But in his rush to finish The Manual and join the scene, he lost that focus, resulting in the ramshackle lines of songs like “Nike Shoe Box” or “Red Chucks.” They resembled a more careless style of rhyming, lifted from young acts like The Cool Kids, Wiz Khalifa and Curren$y. London didn’t

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music visual arts performance books film sports know what kind of rapper he wanted to be.

“His ear for music started to change,” says Majestic, whose hip-hop palette skews toward ’90s lyricism. “It was weird. I told him that he needed to get deeper. He wanted to, but all he did was internalize everything.”

Still, Tab-One of Kooley High and King Mez—the pair to which London felt inferior—agreed to appear on “The Cypher,” a Silhouettessampling anthem that legitimized London and Majestic within local hip-hop.

London had willed himself into the ranks.

That he released the album at all was no small miracle: For years, his mother had struggled with health Drique London at his home studio PHOTO BY ALEX BOERNER problems. On the day she planned to register London for his junior year at Knightdale “I was definitely about to stop rapping,” High after he relocated to the Raleigh remembers London. “It seemed like it suburb, worsening congestive heart failure wasn’t working. I was spending all this kept her in bed. time and money to put a video out, just for “That’s the day I never went back to it to only get 800 views. I didn’t see the big school,” he says. “I went to the studio and I picture.” just stayed there. The next morning, I made His friends, Majestic included, talked up my mind that I was never going back. I him out of quitting. He released a couple was going to focus on rap.” of mixtapes as practice. One was the 2012 Two years later, just as he was trying EP, Gordian Knot. Nearly three millennia to finish The Manual, London’s mother ago, a poor Macedonian farmer named suffered a stroke in her sleep and passed Gordias drove his oxcart into what is now away, leaving behind a book in which she west central Turkey. Per an oracle’s decree, had kept her wishes for her children: “Take he became king. He hitched his cart to care of your brothers and sisters, always a post by tying an elaborate knot, which chase your dreams, and finish school,” she remained until Alexander the Great sliced wrote to London. it in half with his sword rather than untie it.

“It kept on eating me up,” London says.

London applied the tale’s practical value to But he never finished. He kept working on his own battle—eventually, and with some The Manual. If his raps sounded troubled, trepidation, the making of Sound of the he was.

Rising Sun. “I went into a real dark place,” says “A complicated problem, thinking London. “I didn’t care about much. I outside of the box,” he has said. “I feel like gained a lot of weight. I didn’t care how that describes me very well.” my clothes or hair looked. It really affected This might be London’s Gordian Knot my music because I was writing as a moment. Before taking mighty swings at the distraction. All I really cared about was beats of Sound of the Rising Sun, he thought. making it and making it out.”

He confronts his new creative space on But music didn’t help him make it out.

“Breach,” preaches patience on “Mysterious In fact, The Manual seemed to miss its Vibes,” and on “Laybach,” promises his audience almost entirely. If London had loved ones that if they’re not getting his full copped the style of the popular kids, that attention, it’s because he’s busy planning crowd didn’t notice. for his future. London delivers his most

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music

PLA

Justic chore

BY BY

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Sofia (Em litany of salacious there an the ribal

Before blues sing wisdom t your man slow”) an racin’ wit attentive songwriting to date and rises above in that all the lyrical clutter of his past. bacchana Eventually, London wants the same With su as most other young musicians—to get heterosex signed, reach more people and maybe Royals, su make this his life. Per his mother’s Hinton an instructions, however, he’s enrolled in patiently classes at Wake Technical Community the clearly College so he can earn his GED. He comes between c from a family of degrees and diplomas, Wallace) a not quitters. waiting, a “After we did the listening session for as we hav Sound of the Rising Sun in Georgetown, we By the m got back on the road going toward New Steven Sp York,” remembers Majestic of a recent run Marsha N up the East Coast, where he and London all but cru spun the record for industry types and fans. in her life “There was a big storm traveling from sexually a Virginia up to New York. It was raining. I be her fat asked myself, ‘What are we doing? Why Sanders), are we chasing this dream? I’m turning Smith), th around.’ I looked up and saw the exit for a After th city named ‘Rising Sun.’ I took it as a sign— Nettie (Ca maybe we should keep going.” s the first ti any pleas Eric Tullis has lots of thoughts. Read them: is after Sh @erictullis. her tende Celie rece the begin To hear About Lo Sound of the Rising Sun, forehead, visit www.indyweek.com. micropho How re

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PLAYING IT STRAIGHT

TO 'S GUIDE

BNEGELE R S G N I H T L IA AL & AROUND THE TR ER AN INSID

BY BYRON WOODS

T

Before that, Connie McCoy Rogers’ blues singer, Shug Avery, dispenses wisdom to women (“If you want to light your man on fire, you gotta start it real slow”) and men (“You want your lady racin’ with you, you gotta put her in gear”), in that all-singing, all-dancing blues bacchanal, “Push Da Button.”

With such vivid visions of healthy heterosexuality staged by director Deb Royals, superbly choreographed by Willie Hinton and Kristi Vincent Johnson, we patiently waited for the scenes depicting the clearly redemptive lesbian sexuality between central character Celie (Aya Wallace) and Shug Avery. We are still waiting, and an injustice lingers for as long as we have to wait.

By the midpoint in Alice Walker’s novel, Steven Spielberg’s film and the book of Marsha Norman’s musical, Celie has been all but crushed, for decades, by the men in her life: physically, emotionally and sexually abused by the man she believes to be her father, Pa (an intimidating Charles Sanders), as well as Mister (Phillip Bernard Smith), the man Pa gave her to.

After the distant memories of her sister, Nettie (Carly Prentis Jones), have faded, the first time we see Celie experiencing any pleasure at any other person’s hands is after Shug sobers up and responds to her tender rehabilitative care. For that, Celie receives two kisses. They come at the beginning and end of the duet “What About Love?” (The latter one, on her forehead, had Rogers kissing Wallace’s microphone on Saturday night.)

How remarkably … chaste. It’s a word

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Justice Theater Project’s superbly sung and choreographed The Color Purple has one fatal flaw HERE ARE SOME VERIFIABLY SEXY NUMBERS in Justice Theater Project’s The Color Purple. After the weary Harpo (Chase Rivers) and Sofia (Emelia “Me-Me” Cowans) list a litany of chore-day complaints, each salaciously asks the other, “Now, is there anything I can do for you,” in the ribald duet “Any Little Thing.”

JUNE 17, 2015

ON THE STREETS

JULY 29

The Color Purple

PHOTO BY JULIE M. JONES /

COURTESY OF JUSTICE THEATER PROJECT

that rhymes with another appropriate term: erased. For aside from one or two brief hugs or caresses, physical representations of anything outside of heterosexuality appear to have been stripped from this production.

But perhaps Justice Theater Project simply knows its audience. Even displays of affection as miserly as these proved too much for three women in the row ahead of me Saturday night. They verified each other’s distasteful expressions before one said, “whatever.” It’s odd that such bigots would have paid to see a musical whose central character is a lesbian. It’s even odder that the show they came to see minimizes physical evidence of that fact.

The audience was joyous in the church scenes, as an authoritative chorus, directed

by Michael Santangelo, gave this show as much adrenaline as the juke joint sequences. But when a character’s lesbian identity is kept nearly as invisible in the most private parts of her life as it is in those public scenes, something large is missing in The Color Purple. s Byron Woods is the INDY’s theater critic.

THE COLOR PURPLE HH Justice Theater Project @ Clare Hall, St. Francis of Assisi 11401 Leesville Rd., Raleigh 919-264-7089 www.thejusticetheaterproject.org Through June 28

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CLAWS AND EFFECTS

Jurassic World and Inside Out show that digital wizardy can’t shine without smarts and heart

BY GLENN MCDONALD

There’s always MORE ONLINE!

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HEN THE ORIGINAL JURASSIC PARK HIT THEATERS IN 1993, IT WAS BLOCKBUSTER MOVIE-MAKING DONE RIGHT. The special effects were like nothing we’d ever seen, and director Steven Spielberg—the planet’s leading expert in this sort of thing—provided humor and heart along with all the shock and awe.

extravaganza inside Riley’s mind, where emotional traumas are seismic events and memories are stored in bright orbs. Joy and Sadness team up to navigate Riley’s crises by journeying—via the Train of Thought— to notional nooks such as Imagination Land, the scary Subconscious and the under-construction realm of Abstract Thought. (Riley’s just 11, after all.)

The story delivers a parade of delightful concepts—how facts and opinions get mixed up; how brain freeze works—with humor, goofiness and the kind of emotional

Twenty-two years and several sequels later, the operation has fossilized into JURASSIC WORLD, in which only the tradition of dazzling digital effects remains. Chris Pratt and Bryce Dallas Howard play the odd-couple leads—he’s loose, she’s uptight—and a couple of bland kids are put Life of the mind: Inside Out COURTESY OF WALT DISNEY STUDIOS in peril as dinosaurs once again run amok. intelligence we’ve come to expect from The dinosaur action scenes are fun, Pixar. The filmmakers clearly like and especially on the big screen (with the big respect their audience. And it shows. sound), and director Colin Trevorrow Together, Jurassic World and Inside Out stages a few effective sequences featuring present a fascinating contrast. Both are a kind of human hamster ball vehicle. But big-budget summer tentpole movies, the rest of the movie is an assembly-line aiming to please. But as actual filmgoing franchise endeavor, with phony emotional experiences, they couldn’t be more swells, dumbed-down dialogue and different. Jurassic feels like a product relentless product placement. The makers assembled by skilled merchants. Inside of Jurassic World don’t think much of their Out feels like a creation shared by inspired audience, and it shows. artists. My suggestion: Skip the former Happily, we have the perfect summer and see the latter twice. s movie antidote with INSIDE OUT, the 15th animated feature film from Pixar, maybe Glenn McDonald writes about film for the the single most reliable entity in the INDY and others. Twitter: @glennmcdonald1. entertainment industry.

Audacious and overflowing with ideas, JURASSIC WORLD Inside Out tells the story of 11-year-old HH 1/2 stars Riley and the five color-coded Emotions Now playing that live in her head—golden Joy (Amy Poehler), blue Sadness (Phyllis Smith), INSIDE OUT purple Fear (Bill Hader), red Anger (Lewis HHHH 1/2 stars Black) and green Disgust (Mindy Kaling).

Opening Friday Director Pete Docter creates a visual

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AUTO MOTIVE

Tom Whiteside brings the drive-in back to Durham

BY CRAIG D. LINDSEY

T

OM WHITESIDE MAKES IT HIS BUSINESS TO AIR HIS LOVE OF EXPERIMENTAL AND ARCHIVAL FILM—LITERALLY. His Durham Cinematheque series showcases filmic odds and ends at various unusual venues, often outdoors, in the Bull City, including a summer screening series, Moves in the Park, at Durham Central Park.

get film sound through their radios. (There will also be speakers up front.) The drive-in recurs with the themes “Great Big World” (July 17) and “Dang It’s Cold!” (Sept. 18).

Elsheimer will be back in town to play clips for those.

Along with giving the Triangle an interesting night at the movies, Whiteside is also summoning locals to a landmark spot in Durham’s movie-going history.

“Back at the very beginning of the 20th century, it was the end of the trolley line,” he says. “The company that built the trolley line built Lakewood Amusement Park—at the end of the line, you give

Now, Whiteside is putting his unique twist on the drive-in movie experience, which has been missing in Durham since the Starlite shut down. His new Lakewood DriveIn kicks off Friday, June 19, at the Scrap Exchange in the Shoppes at Lakewood shopping center.

“It just looked like a perfect place to do a drive-in,” Whiteside says of the parking lot beside the Scrap Exchange, which will be able to fit about 40 cars for this Still from Rough House by Jam Handy COURTESY OF TOM WHITESIDE gathering, though cyclists and walkers are people a place to go to. And that was the also welcome. site of the first movie show in Durham that Whiteside got together with the Scrap we know of, in 1903. It was shown in a tent Exchange, along with Skip Elsheimer of at the amusement park. So that’s kind of a the A/V Geeks, to discuss playing 16mm neat bit of history.” s films on the grounds. “Skip and I have been keeping films out of the landfill for Craig D. Lindsey writes about film, comedy 30-some years,” Whiteside says. “So we and more. Twitter: @unclecrizzle. fit the mission of what the Scrap Exchange does, too.” The first show is titled “Bring Your Car to the Movies,” with Whiteside LAKEWOOD DRIVE-IN and A/V Geeks cohort K. Sean Finch Friday, June 19, 9 p.m.

(Elsheimer will be in Houston for Home $5 (on foot), $10 (two-seat cars), Movie Day) unspooling car-related $20 (larger cars) cinematic curiosities for 90 minutes.

The Scrap Exchange They’re truly going old-school for the 2050 Chapel Hill Rd., Durham drive-in, offering popcorn, drinks and 919-688-6960 other refreshments for purchase, and even www.scrapexchange.org getting an FM transmitter, so that cars can

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music visual arts performance books film sports

UNDER A SOUTHERN SKY

SCOPE reveals the human hand at work in so-called natural landscapes

BY JULIE THOMSON

A

S THE GREAT LANDSCAPE SCHOLAR J.B. JACKSON WROTE, “EACH AGE SEES THE WORLD IN ITS OWN MANNER AND HAS ITS OWN NOTION OF BEAUTY; EACH OF THEM REDISCOVERS THE LANDSCAPE.” In this year’s SCOPE: The Southern Landscape—an annual juried show at Visual Art Exchange—we witness 46 views of the landscape by 39 artists from 11 states, including North Carolina. Juried by Nasher Museum of Art curator Marshall Price, this survey includes subjects ranging from natural to postindustrial, as well as from abstract to realistic. shifting boundaries between intimacy, loyalty, and friendship

HARBOR HOPE

by Debra Kaufman

a young, naive social worker a woman abused by her husband

June 18-28 Common Ground Theatre Hillsborough Road, Durham Reservations: (919) 384-7817 cgtheatre.com/events

It’s not surprising that the majority of the works on display are photographs, since the camera is the quickest way to capture views of a place. Some sights are familiar, such as Eric Raddatz’s “One Day in Durham,” which focuses on the upper sections of downtown’s former green wall and buildings along Parrish Street.

Others are unknown to me, including Carmen Ybarra’s “This Must Be the Place,” which shows a modest one-story yellow building next to train tracks with a sign that says “Prosperity.” The sign suggests a town’s name while embracing the subtle irony of the suggestion.

I’ve always been drawn to commercial signs, and “Formerly Furniture,” by Stephen Fletcher, uses one for an interesting meditation on change. No longer functional, the sign once touted messages that have been reduced to blank geometric shapes.

The arrow on it is echoed by another arrow on a parking sign, and this purposeless repetition underscores their futility.

Parts of the commercial landscape are also visible in Warren Hicks’ “A Lot of Clouds.” His focus on the top of a parkinglot light against a dramatic backdrop of sky and clouds creates a relationship between natural and artificial light, where the complexity of the evening sky triumphs over the electric. Hicks’ photograph also

“A Lot of Clouds” by Warren Hicks

PHOTO COURTESY OF VISUAL ART EXCHANGE

raises the possibility that this view could be anywhere, not just in the South, gesturing toward the growing similarity of corporate American landscapes.

Critical views of the landscape also are on display. Micah Cash uses flat planes of color to create a tall bridge in “Fort Loudoun.” This could be interpreted as an acknowledgement of the erasure of the previous landscape at this site in Tennessee, which was drastically altered by a large hydroelectric dam.

The only video in the exhibition is the most daring entry. For “From Here to There as Place (Readings from Alexander Wilson),” Kellie Bornhoft edited together slices of footage of driving along the Blue Ridge Parkway. The accompanying audio track adds quotes about the Parkway from writer Alexander Wilson, the people it displaced, and the ways motorists feel while driving on it.

Bornhoft’s work made me realize how often we don’t notice the ways that landscapes have been modified, and how what seems like natural beauty may be the result of extensive human intervention.

J.B. Jackson didn’t define landscape as scenery but as “an organization of manmade spaces.” It’s great to see the artists in SCOPE reckoning with both definitions. s Julie Thomson lives in Durham and writes about art. Twitter: @JulieJThomsonNC.

SCOPE: THE SOUTHERN LANDSCAPE Visual Art Exchange 309 W. Martin St., Raleigh 919-828-7834 www.visualartexchange.org Through June 25

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Where we’ll be

PILOBOLUS

PHOTO BY JOHN KANE / COURTESY OF AMERICAN DANCE FESTIVAL

KENNEDY THEATRE, RALEIGH WEDNESDAY, JUNE 17–SUNDAY, JUNE 28

MUSIC | NORTH CAROLINA SYMPHONY QUARTET’S STOP SPEAKING “Hello! My name is Vicki,” the computer says during Andy Akiho’s Stop Speaking, a piece for snare drum and electronics and the title work for this North Carolina Symphony Quartet concert. “My part was typed out word for word, then speech was enabled to allow me to live.” The computer continues in this self-reflexive vein, discussing its existence and thanking the composer for selecting its slightly robotic, female voice before ultimately choosing silence.

Meanwhile, the drummer—here, the symphony’s Matthew Decker—responds with a catalog of snare drum effects and intricate patterns, mimicking the glitchy rhythms of the speech.

The piece fizzes with playful glee. While it’s not immediately obvious how Stop Speaking relates to Bach’s Goldberg Variations, arranged for and played by string trio here, or Dohnanyi’s Serenade for String Trio, the combination is certainly intriguing.

9 p.m., $11–$13, 14 W. Martin St., Raleigh, 919-833-1091, www.kingsbarcade.com. —Dan Ruccia

TOUR DE FAT on bluegrass and blues, gospel and its Southern rock progeny.

Slide guitars moan, and choirs exalt. Fiddles dance, and banjos rollick. Cook seems to smile his way through it all, singing with delight even as he catalogues the woes of the poor worker during “1922” or growls about perseverance during the sizzling “Lowly Road.” His three-night “Southland Revue” is the centerpiece of Duke Performances’ summer programming. He’ll start on Monday with a stunning quartet of female singers (including former Be Good Tanya Frazey Ford and Mount Moriah’s Heather McEntire) before inviting two folk mentors, Midwest master

PHOTO COURTESY OF NEW BELGIUM

KINGS, RALEIGH | THURSDAY, JUNE 18

Four years have passed since Megafaun released what appears to be its self-titled farewell, a 15-track sprawl that traded some of the band’s early experimental propensities for a core of conscious songcraft. The three members have since scattered across the coasts, either launching solo projects or pursuing production and management work.

But Southland Mission, the forthcoming debut LP from Megafaun co-founder Phil Cook as a bandleader, picks up the thread of his old outfit and dances with it, taking exultant turns

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DURHAM PERFORMING ARTS CENTER, DURHAM THURSDAY, JUNE 18–SATURDAY, JUNE 20

THEATER | A FEW GOOD MEN

DUKE GARDENS, DURHAM MONDAY, JUNE 22–WEDNESDAY, JUNE 24

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DANCE | PILOBOLUS

CALENDARS MUSIC 33 VISUAL ARTS 37 PERFORMANCE 38 BOOKS 39 SPORTS 39 FILM 41

MUSIC | PHIL COOK’S SOUTHLAND REVUE

JUNE 17, 2015

Charlie Parr and Johnston County’s The Branchettes, for Tuesday’s gig. And on Wednesday, he’ll recruit a local cast of friends and familiar faces to offer cuts from Southland Mission, giving a glimpse of the LP ahead of its September arrival.

7 p.m., $10, 420 Anderson St., Durham, 919-684-4444, www.dukeperformances.duke.edu. —Grayson Haver Currin

6.17–6.24

If you had taken part in the real-life hazing of a Marine dramatized in Aaron Sorkin’s A Few Good Men, you probably wouldn’t want to draw attention to that fact later on. But David Cox did. He publicly protested his character’s depiction in the film adaptation of the drama, which played on Broadway, and he prepared a lawsuit against the film’s producers. Then Cox disappeared in January 1994. His body turned up, four months later, on a riverbank near Medfield, Massachusetts. His killer or killers have never been found. This is a reminder, as you watch the Theatre Raleigh production of this famous military courtroom drama: There are people in the world who take their honor code and concept of loyalty very seriously. Think twice before offending them. Michael Berry directs Charlie Brady, Laura Campbell and Christopher Russo. 8 p.m. Weds.–Sat.; 2 p.m. Sat.; 3 p.m. Sun., $25–$27, 2 E. South St., Raleigh, 919-832-9997, www.theatreraleigh.com. —Byron Woods

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Venezuelan choreographer Javier de Frutos received an Olivier Award in England for a 2007 West End revival of Cabaret. He also received audience protests, death threats and BBC censorship after his 2009 work Eternal Damnation to Sancho and Sanchez featured a deformed pope and pregnant nuns (“Ill-mannered, illconceived and barkingly offensive,” sniped the Financial Times).

Some de Frutos works are soaked in blood. Others pay homage to Pet Shop Boys. Why should you care? Because the American Dance Festival has paired the combustible choreographer with Pilobolus, the 44-year-old proverbial gateway drug of modern dance. The company has struggled to remain relevant in recent years, in uneven, high-profile collaborations with the likes of Maurice Sendak, OK Go and Penn & Teller (in the dismal [esc], mercifully pulled at the last minute from this program), but this one could really go out of bounds. ADF calls the new Thresh/Hold “physically daring … raging and tender, desolate and intimate.”

See you at the world premiere. 8 p.m. Thurs.–Fri.; 1 and 7 p.m.

Sat., 123 Vivian St., Durham, $19.25–$58, 919-680-2787, www.americandancefestival.org. —Byron Woods

MUSIC | ROCK N ROLL PARTYFEST

SLIM’S, RALEIGH | SATURDAY, JUNE 20–SUNDAY, JUNE 21

If this weekend’s inaugural Rock N Roll Partyfest in Raleigh feels like a reprise of April’s Blackbeard’s Lost Weekender in Chapel Hill, consider it a happy symptom of a close-knit garage scene. Despite plenty of shared acts, though, Partyfest isn’t some rehash. Its wide-ranging bill squeezes two stages into one small bar, allowing scarce chance for staleness. Go slow and heavy with SOON, or tense and brutal with Bandages. Counter Winston Facials’ brash noise-rock with Thick Modine’s grooving pop. Scratch a garagerock itch with the equally fiery Flesh Wounds and Paint Fumes, or psych out with Drag Sounds and Black Zinfandel. No Love, Natural Causes and Pie Face Girls bring sneering punk, while Daddy Issues merge surf-guitar melodies with carefree pop. Indeed, as the minifest’s banner suggests, it’s all just rock ’n’ roll, y’all.

5 p.m., $12–$20, 227 S. Wilmington St., Raleigh, 919-8336657, www.slimsraleigh.com. —Bryan C. Reed

SPORTS | TOUR DE FAT

DIAMOND VIEW PARK, DURHAM | SATURDAY, JUNE 20

Bike-centric beermaker New Belgium rolls into town with its annual Tour de Fat, a traveling carnival of biking, special beer tappings, food, music, outlandish costumes and general revelry.

Entertainment includes a bike parade, live music from Sister Sparrow & the Dirty Birds, vaudeville acts, a 1,000-person dance contest and yo-yo trick masters. Ancillary activities include a battle of the bands at Motorco and a kickoff event in Raleigh; check New Belgium’s website for details (you can even get a “carnie cut” if you want to prep your facial hair for the Tour). There is a serious side to the party—proceeds from sales of beer and other merch go to local nonprofits, and there is a car-for-bike swap where one person chosen by an application process receives support in becoming a bike commuter. But, mostly, it’s all about having a good time.

So dress up in your wildest costume, grab your bike and join the literal parade of fun. 10 a.m.–5 p.m., free, 318 Blackwell St., Durham, www.newbelgium.com/rdu. —Curt Fields

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Playwrights Roundtable: Redux Playwrights Roundtable: Redux WE AREN’T DEAD YET: Dianne Davidson, Deidre McCalla, and Jamie Anderson Playwrights Roundtable: Redux Triangle Jazz Orchestra Night No Shame Theatre 10 BY 10 IN THE TRIANGLE Transactors Improv: For Families!

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TH 6/18

WE 6/17

CHRISTOPHER OWENS

CLEAN BANDIT WE 6/17 CLEAN BANDIT W/ ROMAN GIANARTHUR ($20/$22)

SA 6/20 GIRLS ROCK CARRBORO CAMP SHOWCASE 2PM TH 7/2 SAY ANYTHING W/ MODERN BASEBALL, CYMBALS EAT GUITARS, HARD GIRLS ($18/$22)

FR 7/3 MELVINS

W/ LE BUTCHERETTES

($16/$18) SA 7/4 HOLY GHOST TENT REVIVAL W/ ELLIS

DYSON & THE SHAMBLES

($12/$14)

SU 7/12 THE

PROTOMEN SA 7/18 THE PIETASTERS W/

GUTTERMOUTH AND CORPORATE FANDANGO

($14/$16) FR 7/31 HEADFIRST FOR

HALOS, EYES EAT SUNS, YOUMA, KISS THE CURSE, FRIENDS AS ENEMIES ($13/

$15)

SA 8/1 THE ENGLISH BEAT W/REGATTA 69**

WE 8/12 BASEMENT

W/ADVENTURES, LVL UP, PALEHOUND**($15/$18)

TH 8/13 NEUROSIS, BROTHERS OF THE SONIC CLOTH, SUMAC ($25/$30) 8/28 AND 8/ 29 BE LOUD! 15:

SOUTHERN CULTURE ON THE SSOUTHERN CULTURE ON THE SKIDS, JOHN HOWIE JR. & THE ROSEWOOD BLUFF, DILLON FENCE, THE VELDT, PREEESH!

TH 9/3 TREVOR HALL ($17/$20; ON SALE 6/19) TH 9/10 AN EVENING WITH THE WATKINS FAMILY HOUR ($30) 9/14 TITUS ANDRONICUS W/

SPIDER BAGS, BAKED ($10)

9/18 LANGHORNE SLIM & THE LAW (ON SALE JUNE 12)

TU 9/22 POKEY LAFARGE ($15/$17) 9/24 JOYCE MANOR W/ CHEAP GIRLS ($15) 9/29: FIDLAR**($15) TH 10/8 DESTROYER

W/ JENNIFER CASTLE **($15/$20) SA 10/10 NOAH GUNDERSEN ( $15/$17) SU 10/11 THE GROWLERS ($15/$17) TU 10/13 WAXAHATCHEE W/

WEYES BLOOD, TRY THE PIE

( $14/$16; ON SALE 6/19) FR 10/23 RASPUTINA W/ DANIEL KNOX ($17/$20)

10/31 THE DISTRICTS W/ LADY LAMB

TH 7/2

SAY ANYTHING CAT'S CRADLE BACK ROOM

6/18: CHRISTOPHER OWENS W/ECHO COURTS

($15) 6/19: DESLONDES W/ TWAIN ($10) 6/20: CHRIS STAMEY GROUP RECORD RELEASE PLUS...FELLOW TRAVELLERS (W/ BRETT HARRIS, DJANGO HASKINS, SKYLAR GUDASZ)

6/22: LOCAL H

W/AEGES **($12/$14) 6/26: TOO MUCH FUN W/ TORNADO BLUES BAND ($10) 6//27: GRAND SHELL GAME, NORTH ELEMENTARY, HAMELL ON TRIAL ($5) 7/2: CAROLINE ROSE W/ LOOK HOMEWARD ($10/$12) 7/3: SAGE FRANCIS ($15) 7/8: SWIRLIES W/ CREEPOID, WAILIN' STORMS ($12/$14) 7/10: LAKES & WOODS/ JPHONO1 RELEASE PARTY W/ HECTORINA, LITTLE BOOKS ($7) 7/11: 2PM: GIRLS ROCK CHAPEL HILL CAMP SHOWCASE 9PM DAD & DAD W/ CANINE HEART SOUNDS ($5/$7) 7/12: STEVE FORBERT TRIO W/ SUGARCANE JANE ($20/$22) 7/13: A.A. BONDY ($12/$14) 7/14: ANTHONY RANERI W/ WHAT'S EATING GILBERT,

ALLISON WEISS 7/15: VINYL THEATRE W/ MACHINEHEART 7/16: JON SHAIN, MOLLY MCGINN, SAM FRAZIER (SONGWRITERS IN THE ROUND) $10/$12

7/17: THE OLD CEREMONY W/ SKYLAR GUDASZ (CELEBRATING NEW RELEASE, SPRINTER!)

7/18: THE OLD CEREMONY W/ STEPHANIESID (SPRINTER RELEASE PARTY NIGHT 2!)

7/21: THE IKE REILLY ASSASSINATION ($10/$12) 7/24: JOHN STICKLEY TRIO,

BIG FAT GAP ($7) 7/27: ROCKY VOTOLATO / DAVE HAUSE ($12/$14)

7/31: THE APPLESEED CAST W/ ADJY, ANNABEL ($13/$15) 7/25: SKYBLEW ALBUM

RELEASE PARTY ($8/$10)

SU 7/26 @ CARRBORO TOWN COMMONS

8/4: QUINCY MUMFORD

AND MATT MACKELCAN 8/6: NORA JANE STRUTHERS 8/11: BRICK & MORTAR 8/14: MICHAEL RANK & STAG ALBUM RELEASE SHOW W/ HEATHER MCENTIRE (OF MOUNT MORIAH) $7 8/22: THE COLOR EXCHANGE W/ OULIPO, BREAKERS ($5/$7) 8/29: THE GOOD LIFE W/ BIG HARP

8/30: THE CRY 8/31: EARTH **($13/$15; TIX ON SALE 6/19) 9/2: NICKI BLUHM & THE GRAMBLERS W/JOHN MORELAND 9/15: EILEN JEWELL ($16/$20) (PRESENTED WITH MARIANNE TAYLOR MUSIC )

9/23: GARDENS & VILLA 10/6: DAVID RAMIREZ** ($12/$14) 10/10: HEARTWOOD -40 YEAR REUNION- W/

WYATT EASTERLING 10/11: HEARTWOOD -40 YEAR REUNION- W/ WYATT EASTERLING ($20) 11/2: JOANNA GRUESOME **($10/$12) CARRBORO TOWN COMMONS

7/26 FUTURE ISLANDS 1000 CAROLINA THEATRE (DURHAM)

7/20 ROB BELL

(EVERYTHING IS SPIRITUAL TOUR)

9/26 YO LA TENGO

(FEATURING DAVE SCHRAMM) MOTORCO (DURHAM)

7/8 JIM ADKINS (OF JIMMY EAT WORLD) ($15)

NC MUSEUM OF ART (RAL)

9/25: DAWES**($24-$35) RED HAT AMPHITHEATER (RAL)

TU 9/15: DEATH CAB FOR CUTIE W/ TWIN SHADOW

THE RITZ (RALEIGH)

9/29 FATHER JOHN MISTY ($25/$28) 10/13 GLASS ANIMALS 10/18 NEW FOUND GLORY, YELLOWCARD, TIGERS JAW HAW RIVER BALLROOM

WE 6/17 JOSH ROUSE (WITH BAND) W/ WALTER MARTIN ($17/$20) MO 9/14: BEST COAST** ($20/$23) SU 9/27: CALEXICO MO 9/28: IBEYI W VICKTOR TAIWO TH 10/8: BEACH HOUSE

CATSCRADLE.COM ★ 919.967.9053 ★ 300 E. MAIN STREET ★ CARRBORO **Asterisks denote advance tickets @ schoolkids records in raleigh, cd alley in chapel hill order tix online at ticketfly.com ★ we serve carolina brewery beer on tap! ★ we are a non-smoking club

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music WED, JUN 17

CAT’S CRADLE CLEAN BANDIT UK dance music continues to cross over stateside and make an enormous impact. The Brits of Clean Bandit are a classically trained quartet, layering their sounds with beats to create fully modern hits like “Rather Be” and “Real Love.” It’s surprising to see this summer show in a club at the height of festival season, but at least you won’t have to stand in a crowd of 10,000 or so. Leave the Wellies at home and bring your dancing shoes. Roman GianArthur opens. $20–$22/8 p.m. —BR THE CAVE: Joe Firstman, Supercollider; 9 p.m., $3.

DUKE GARDENS: Dom Flemons Trio; 7 p.m., $5–$10, 12 and under free. See indyweek. com.

HAW RIVER BALLROOM: Josh Rouse, Walter Martin; 8 p.m., $17–$20. See indyweek.com.

LOCAL 506: The Henry Millers, Happy Abandon, Weird Pennies; 9 p.m., $7.

THE MAYWOOD: Dax Riggs, Red Mouth; 9 p.m., $10–$14.

See indyweek.com.

NC MUSEUM OF ART: Gary Clark Jr.; 8 p.m., $24–$40. See indyweek.com.

NIGHTLIGHT: Moms, G.R., Soft Eyes; 9 p.m., $7–$9.

THE PINHOOK: White Laces, Some Army, Midnight Plus One; 9 p.m., $7. See indyweek.com.

POUR HOUSE: Input Electronic Music Series; 9:30 p.m., free.

SLIM’S: Dot.s; 9 p.m., $5.

SOUTHLAND BALLROOM: Billy Joe Shaver; 8 p.m., $25–$30. See indyweek.com.

STATION AT SOUTHERN RAIL: Zaptra, M is We; 9 p.m.

THU, JUN 18 CAT’S CRADLE (BACK ROOM) CHRISTOPHER OWENS Chrissybaby Forever, the third solo record from former Girls frontman Christopher Owens, feels familiar. That’s both an asset and a liability. Chrissybaby’s fine

but forgettable songs follow the same conventions as Girls and Owens’ first solo records, appropriating melodies and phrases from well-known ’60s and ’70s pop hits. “Heroine,” for instance, cribs from Buddy Holly’s “Everyday,” while “Another Loser Fuck Up” borrows from Big Star. It gives Chrissybaby an insouciance that should be appealing but mostly makes Owens seem simple. With each passing record, Owens is getting more redundant. With Echo Courts. $15/8 p.m. —PW

THE CAVE HOUSTON IN THE BLIND Fronted by Charlie Garrett, Houston in the Blind includes members of familiar regional outfits Ponderosa, Dead Confederate and Snowden.

Rather than the twang of Garrett’s eponymous old band, this new Athens-based quartet uses washes of dreamy synth to conjure loping, atmospheric rock.

It’s well suited for fans of The War on Drugs. The band also plays a 9 p.m. show Friday, June 19, at Slim’s. $5/9 p.m. —SG DEEP SOUTH: Paper Dolls, Jason Wornoff & the Quarry, Clever Measures; 8:30 p.m., $6.

INTERNATIONALIST BOOKS: Breakaway; 7 p.m.

KINGS: NC Symphony Quartet: Stop Speaking; 9 p.m., $11–$13.

See page 31.

KOKA BOOTH AMPHITHEATRE WEIRD AL Relief arrived in 2014 when music’s chattering class stopped fighting about appropriation and rockism long enough to appreciate “Weird Al” Yankovic, the master parodist and deft accordionist.

Through his meticulous re-creations of pop songs, spot-on pastiche of acts like Devo and Sparks, gleeful polka medleys and absurdist looks at everyday items like bologna and Craigslist, Yankovic has earned affection from a wide demographic swath.

Such adulation amped up

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excitement for last year’s Mandatory Fun. With its “Royals” parody about aluminum wrap, a Southern Culture on the Skids homage and a polka-incorporating “Call Me Maybe,” it delivered.

Yankovic’s painstaking devotion to his craft and his unwillingness to punch down keep him vital. $35–$45/8 p.m. —MJ

LOCAL 506 ARROWS OUT Like Friends of Dean Martinez minus the pedal steel, Durham’s Arrows Out evoke the West. They meld surf twang, border music and spaghetti-western themes for sleepy panoramas. There’s more chamber-rock sophistication than post-rock bombast, suggesting Morricone via Kranky Records. It’s as much a counter to the moody and mercurial indie of Durham’s Plankton Feast, who headline, as a complement. Seabreeze Diner opens. $8/9 p.m. —PW MIDTOWN PARK AMPHITHEATRE: Hip Pocket; 6 p.m., free.

NEPTUNES PARLOUR DOOM ASYLUM, SPONGE BATH With crud-caked synth lines and big, messy grooves, last year’s Stress Techno perfectly captured Doom Asylum’s noise-informed demolition of classic acid. Fellow local Sponge Bath also explores outsider acid, too, but with a significantly lighter touch. His recent cassette for the GROVL imprint is robo-psychedelia, shimmering with the impact of Italo and deep house. Prepare yourself for one weird, wonderful dance party. With C10 and Comeback Ranch. $5/10 p.m. —JF POUR HOUSE: Fat Cheek Kat; 9 p.m., $5–$8.

RALEIGH CITY PLAZA LONGLEAF PINE NUTS, SWIFT CREEK If it was easy to find free live bluegrass in this region of North Carolina before IBMA’s annual gathering became the smash event of downtown Raleigh, it’s now almost too easy, as most every free series gathers a few pickers around a microphone and lets ’em go. Pickin’ in the Plaza, which alternates Thursdays in City Plaza with the rock-oriented Oak City 7, has the best real

PHOTO COURTESY OF BILLIONS

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NEKO CASE

MUSIC | NEKO CASE | FRIDAY, JUNE 19

NORTH CAROLINA MUSEUM OF ART, RALEIGH—Whether sassing her way through Loretta Lynn’s “Rated X” or leading a power-pop gem with the super-duper-group The New Pornographers, Neko Case sports a stunning voice. Not only is her range impressive, but her ability to sustain certain notes until they transmute into bursts of feeling adds extra psychological heft to her songs.

Both of those qualities become clear on 2013’s The Worse Things Get, The Harder I Fight, the Harder I Fight, The More I Love You, Case’s sixth solo album. Recorded as she sorted through depression and grief, it is, as the title implies, a reckoning. During her version of Nico’s solitude hymn “Afraid,” Case’s voice is constrained so that lines like “You are beautiful, and you are alone” turn into matter-of-fact mantras. “Where Did I Leave That Fire?” is the sound of someone wrenching herself from the depths. With a drawl, Case details being overcome by numbness and alienation. All seems lost until the song jolts into action, its drumbeats becoming more deliberate as instruments battle for space. On the final verse, she sounds hopeful she’ll recapture her spark, so long as she can recognize herself: “You can pick it up if you come down with I.D.” A ghostly chorus repeats the line, turning it into an almost lighthearted look at a bleak time.

Case, however, isn’t only kicking against herself. During the chugging “Man,” she needles expectations of gender—a conversation she resumed at length in a recent blog post about lazy women-in-rock listmaking. And she appears as a reassuring figure on the spectral “Nearly Midnight, Honolulu,” a song about reckoning with old emotional abuse. She emerges from the rubble for “Ragtime,” declaring, “I am one and the same, invincible and strange” under a clamor of brass.

Case’s voice has always evoked strength. Throughout Fight, her artfully blunt revelations about very hard times continue to inspire. With The Love Language. 8 p.m., $21–$35, 2110 Blue Ridge Rd., Raleigh, 919-715-5923, www.ncartmuseum.org. —Maura Johnston

estate. For this installment, they pair the rather professional and polished Swift Creek with the wondrously casual Longleaf Pine Nuts. That act of area veterans gives old-time, bluegrass and country the same credence, resulting in performances that are neither too strict nor standard. Free/6 p.m. —GC SLIM’S: Joe Firstman, S.E. Ward, Chimes at Midnight; 9 p.m., $5.

SOUTHLAND BALLROOM LUKE WADE As a soul singer, it never hurts to have a troubled backstory. Luke Wade has it: A bout of spinal meningitis proved almost fatal. A paintball accident left him blind in one eye. A severe heatstroke left him struggling to overcome temporary brain damage and amnesia. (You might also add a

Contributors Jim Allen (JA), Grayson Haver Currin (GC), Justin Farrar (JF), Spencer Griffith (SG), Corbie Hill (CH), Allison Hussey (AH), Maura Johnston (MJ), Jordan Lawrence (JL), Karlie Justus Marlowe (KM), Sylvia Pfeiffenberger (SP), Bryan C. Reed (BCR), Breniecia Reuben (BR), Gary Suarez (GS), Eric Tullis (ET), Chris Vitiello (CV), Justin Weber (JW)

2014 stint on The Voice to that list.) The pain does him well on sophomore record The River, a cross-section of Sam Smith’s pop sensibilities and Ray LaMontagne-level gravitas. With KOA. $12–$15/9 p.m. —KM STATION AT SOUTHERN RAIL: The Walking Deadbeats, Cool Party; 9 p.m.

THE RITZ JUICY J It’s hard to imagine a more unlikely hip-hop hero than Juicy J. From his mid-’90s horrorcore

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beginnings as a Three 6 Mafia co-founder to becoming Katy Perry’s proverbial dark horse, the foul-mouthed rapper hasn’t evolved much over time, at least creatively. Even with a Grammy to his name, the Memphis emcee remains lyrically obsessed with two things: drugs and orgasms, primarily his own. But for our turn-up era, he’s a model citizen, an iconic uncle to college kids who can only dream of achieving the colossal highs and busted nuts detailed in the 40-year-old’s raps. Ed E. Ruger and Iconoclast Crew open. $28/8 p.m. —GS

always work, as deeply depressed lyrics landed at odds with sepia-toned pop. Carnival, the new album from Chapel Hill’s Cameron Stenger, finds the balance that record couldn’t. A tinge of hope shades the singer’s sedate croon, as guitars billow, hazy and bright. With Matthew Frantz, Exit Interview and Jonas Nicholson. $5/9 p.m. —JL

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Lately, Chapel Hill-via-Charlotte rapper Well$ has thrown around the tag “sophisticated trap,” ostensibly a ploy to distance himself from the low-hanging fruit of hip-hop’s classless trap movement. But teaming up with Atlanta’s NicX on the vacuous single “Crack” is an unfortunate detour for the adventurous Well$ we heard on “Django” and “Carpe Diem.” Hopefully, this show will be the last time we see these two together. With Ace Henderson and Brassious Monk. $10/10 p.m. —ET

Chapel Hill’s The Color Exchange say they aim to “to create a refined and layered alternative indie rock sound.” The phrase “alternative indie” notwithstanding, they live up to their goal with stately piano-pop melodies and gossamer guitar tones, all buttressing anthemic choruses. This Local Band Local Beer showcase also features the restless rock of Happy Abandon and the ominous slacker atmospheres of Durham’s Barren Graves. Free/9:30 p.m. —JL UNIVERSITY PLACE: Bull City Syndicate; 6 p.m., free.

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Durham-based guitarist Kevin Van Sant was just a kid in the ’70s, living in Indonesia, when he discovered jazz on a Concord sampler. Following a retro trajectory through instrumental rock to bebop, Van Sant toured widely in the ’90s with his trio J’Azure, even performing five times at Switzerland’s Montreux Jazz Festival. His quartet features Mark Wells on organ, Dan David on drums and saxophonist Stephen Riley, a Greenville native who records on the Danish jazz imprint SteepleChase. Free/8 p.m. —SP BYNUM GENERAL STORE: Southern Blend; 7 p.m., $5–$7.

CAT’S CRADLE (BACK ROOM): The Deslondes, Twain; 8 p.m., $10.

THE CAVE CAMERON STENGER Following the frigid separation anxiety of 2003’s Transatlanticism, Death Cab for Cutie tried something softer and warmer on 2005’s Plans. It didn’t

DEEP SOUTH: Chit Nasty; 10:30 p.m., free.

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KOKA BOOTH AMPHITHEATRE NC SYMPHONY SUMMERFEST: AN EVENING OF BROADWAY The Great White Way runs through Cary for a night. The N.C. Symphony romps through a program of Broadway hits from Wicked, Chicago, Oliver! and Annie. Peggy Taphorn directs a parade of vocalists, including several pint-sized “Stars of Tomorrow.” $28–$30/7:30 p.m.

—CV

LINCOLN THEATRE CHATHAM COUNTY LINE, AU PAIR Since Chatham County Line’s early days as a rock-minded string band, the group has frequently challenged bluegrass conventions, with a debut referencing both the Opry and the eccentric John Hartford.

Despite sticking rather strictly to traditional instrumentation, the veteran Raleigh quartet has matured into an open-minded purveyor of a wide Americana spectrum. Dave Wilson’s clever and poignant lyrics align with masterful picking and airtight harmonies, all indicative of constant touring. Featuring The Jayhawks’ Gary Louris and The Old Ceremony’s Django Haskins, Au Pair makes its live debut, promising harmonized jangles and impeccable melodies. $17–$20/8 p.m. —SG

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LOCAL 506 BRONCHO Scruffy Oklahoma trio Broncho are best when they keep things clean and compact. The prime cuts from last year’s woefully named Just Hip Enough to Be Woman, like the punchy “Class Historian,” recall the rumble of The Ramones and the captivating hooks of Cheap Trick. With Hectorina and Drag Sounds. $10/9 p.m. —PW

THE MAYWOOD CASUALTY The Franklinton quintet Casualty favor modern hard rock’s heavier side. They cite icons like Pantera and Metallica alongside riff-masters Clutch and prog updaters Tool as influences. But their sudden lunges from heavy-fisted breakdowns to melodic bridges owe as much to nu-metal hitmakers like Drowning Pool. With Fayetteville’s Motorjunkie and Durham’s Thundering Herd. $7/9:30 p.m. —BCR

MOTORCO FEUFOLLET Here’s a strain of roots music you don’t hear much in these parts: Cajun Americana. Hailing from Lafayette, Louisiana, Feufollet craft curious mixes of Cajun and Americana without leaning too heavily on the tired tropes of either. Some songs, like “Know What’s Next,” trend more toward pop rock—and sport some sweet organ licks, too. $12/9 p.m. —AH NC MUSEUM OF ART: Sidecar Social Club; 5:30 p.m., free. Neko Case; 8 p.m., $21–$35. See box, page 33.

NIGHTLIGHT CHOKED OUT Under the name Choked Out, young Raleigh electronic producers Blursome and Eyes Low (formerly Funkss) bridge their disparate proclivities. Blursome’s deep, dark atmospheres web around Eyes Low’s ebullient beats and florid tones, shaping tracks that are seductive, compelling and sinister.

For this presentation of WXYC’s New Science Experience, they’ll join DJs Gray_Area and Hi_Mom. Adam Graetz delivers the narcotic visuals. $7/10 p.m. —GC

THE PINHOOK JILL ANDREWS Jill Andrews spent the mid ’00s making gentle alt-country fare with The Everybodyfields. But she and bandmate Sam Quinn seemingly had visions of solo careers running through their brains. By 2009, the band was done, and the Tennessee-based

INDYweek.com singer had cut her first solo record. Andrews now shifts between acoustic-based indie pop and introspective singersongwriter sounds, but the crystalline voice that made people pay attention to her former band in the first place remains. K.S. Rhoads opens. $15/8 p.m. —JA PITTSBORO ROADHOUSE: GrayMatter; 8 p.m.

POUR HOUSE TRAE PIERCE & THE T-STONE BAND Earlier this year, Megafaun’s Phil Cook referred to a show by Trae Pierce, with whom Cook worked on the Blind Boys of Alabama’s I’ll Find A Way, as a “chance to restore some faith in humanity.”

Pierce has earned multiple Grammys while backing the Blind Boys on bass, but he’s also played with James Brown, Dr. Hook and The Ohio Players. As leader of the T-Stone Band, Pierce takes his brand of space funk on a ride through Delta blues, psychedelic rock, Southern gospel and vintage R&B. $8–$10/9 p.m. —SG

RED HAT AMPHITHEATER HOZIER, THE ANTLERS At least in America, Ireland’s Andrew Hozier-Byrne is teetering on the one-hit-wonder brink.

“Take Me to Church,” that undeniable piano-heavy anthem about sex as a healing sanctuary, has been coming from stateside stereos for two years now, though most every other song from his comparatively muted debut has fallen flat in that regard. Still, it’s hard to believe he won’t be able to turn his interests in fevered blues, shouted gospel and codas the size of Arcade Fire’s into another smash on a subsequent album. This time, though, expect a lot of pleasant mid-tempo movement and one very big sing-along. The Antlers open. $29.50–$45/8 p.m. —GC SCHOOLKIDS RECORDS: James Olin Oden; 8 p.m., free.

SHARP NINE GALLERY: Jason Foureman Quartet; 8 p.m., $10–$15.

SLIM’S: Houston in the Blind; 9 p.m., $5.

ST MATTHEWS EPISCOPAL CHURCH: Lois Deloatch; 3 p.m., $15.

STATION AT SOUTHERN RAIL: Miss Massive Snowflake; 9 p.m. DJ PlayPlay; 10 p.m.

THE PLAZA AT 140 W FRANKLIN ST: Bless Your Heart; 6 p.m., free.

THE SHED JAZZ CLUB: Maggie Belle; 8 p.m.

SAT, JUN 20 THE ARTSCENTER WE AREN’T DEAD YET A fitting complement to the Girls Rock showcase at the Cradle down the way, singer-songwriters Dianne Davidson, Jamie Anderson and Diedre McCalla perform together under the banner “We Aren’t Dead Yet.” The veteran singers will take turns performing solo material, plus several songs with each other. $25–$30/8 p.m. —AH BEYÙ CAFFÈ: The Dominican Jazz Project; 8 & 10 p.m., $12.

See box, this page.

THE CARRACK: Lost Trail, Menteur, Public Restroom, Sam Brown Band, Tescon Pol; 1-5:30 p.m., $5.

CAT’S CRADLE GIRLS ROCK NC SHOWCASE Girls Rock NC is the Triangle branch of Girls Rock, an organization dedicated to empowering girls and young women through music-related programming. In just five days, campers pick up instruments, unite in bands and write songs.

Here’s an occasion for you to get an inside look at what GRNC’s camps can accomplish. And maybe in 15 years, you’ll be able to say you saw some big star way back when. $5–$10/2 p.m. —AH CAT’S CRADLE (BACK ROOM): The Chris Stamey Group, The Fellow Travellers; 9 p.m., $10–$12. See page 23.

THE CAVE: Porch Light Apothecary, Roger Troy Smith & Red Engine; 9 p.m., $5.

DEEP SOUTH GO GO HERO Though they include a member of ’90s rap-rockers Dink, Go Go Hero is more in line with Merge Records’ output during that era.

Their offbeat pop-punk is self-effacing and somewhat twee, the sound of rockers approaching middle age with a welcome sense of humor.

Vanguard Party and Brandon Hughes open. $5/9 p.m. —CH

KOKA BOOTH AMPHITHEATRE NC SYMPHONY SUMMERFEST: SYMPHONIC WIZARDRY FEATURING THE MUSIC OF HARRY POTTER Want to drop some culture on the kids without all the whining?

MUSIC | DOMINICAN JAZZ PROJECT THURSDAY, JUNE 18/SATURDAY, JUNE 20

KENAN MUSIC BUILDING, CHAPEL HILL/BEYU CAFFE, DURHAM—Stephen Anderson works as a classically trained composer, a jazz professor at UNC-Chapel Hill and a gigging salsa pianist. But unless he’s adding a new skill to that repertoire, he’s not satisfied. After making four albums of straight-ahead jazz, he’s poised to try something else: The Dominican Jazz Project, a cross-continental collaboration gearing up for a series of concerts and recording sessions this week in North Carolina.

The project started serendipitously, with a plan to perform in the Dominican Republic for International Jazz Day 2014.

Guillo Carias—a Dominican jazz trumpeter and bandleader since the 1960s, who now lives in Cary—invited Anderson to join him on the Santo Domingo gig. There, he met drummer Guy Frómeta and saxophonist Sandy Gabriel, players with long resumes in Dominican popular music and a voracious hunger for North American jazz.

“They were like workhorses,” Anderson says. “They just kept wanting to rehearse.”

Frómeta is the longtime drummer for bachata and pop superstar Juan Luis Guerra and a nephew of the 1930s orchestra leader Billo Frómeta. He and Anderson hit it off so much that Frómeta invited Anderson to Santo Domingo a few months later to play at the city’s prestigious jazz haven, Casa de Teatro.

“I went back and it just sealed the friendship,” says Anderson.

It sealed their working relationship, too.

“After that, we started talking about merging Dominican rhythms in his [jazz] compositions, and we exchanged ideas, beats, melodies,” says Frómeta. “We realized it was something that must be recorded.”

Anderson will host the Dominicans for a series of concerts this week before they all hit the Kernersville studio Fidelitorium to preserve the synergy on record.

“I’m very self-conscious about being a gringo doing this project,” says Anderson. “I don’t want to be an imposter.

But when I call Guy, he says, ‘Man, don’t worry about it. I’m the Dominican part. You’re the American jazz part. We’re the fusion.’” Thursday, June, 18: 7 p.m., free, Kenan Music Building, 125 S. Columbia St., Chapel Hill, 919-962-1039, www.music.unc.edu. Saturday, June 20: 8 & 10 p.m., $12, 335 W. Main St., Durham, 919-683-1058, www.beyucaffe. com. —Sylvia Pfeiffenberger The N.C. Symphony plays music from the Harry Potter movies, plus recognizable classics from Ghostbusters and How to Train Your Dragon. Come early so they can have their faces painted and try out symphonic instruments while you picnic. If that’s not enough, kids 12 and under are admitted free on the lawn. $33–$35/7:30 p.m.—CV

overall vibe is more akin to Russian Circles on anxiety meds.

The menacing doom punk of Wailin Storms, new signees to Magic Bullet Records, is some of the most interesting angry rock happening in the Triangle.

Two-decade local music veteran Melissa Swingle opens with a not-to-be-missed duo set. $7/9 p.m. —CH

LOCAL 506 STRANGER IN THE VALLEY OF THE KINGS, WAILIN STORMS, MELISSA SWINGLE

MOORE SQUARE PARK: Fresh Catch Raleigh Festival: Chit Nasty, Young Cardinals, Dye Wells, Crucial Fiya, Dark Water Rising, Ironing Board Sam, Ed Stephenson & The Paco Band; 1 p.m., $8–$10, 12 and under free with adult.

MOTORCO: Shirlette Ammons, Heads on Sticks, See Gulls; 3:30 p.m., free.

Stranger in the Valley of the Kings’ instrumentals are methodical like post-metal, but sweeping, patient and airy, too. The presence of violin makes Godspeed comparisons inevitable, but the

NIGHTLIGHT: Feminine Dominance Art Space Dance Party; 10 p.m.

THE PINHOOK: Party Illegal: Doctor Dakar, Aviation Parkway, DJ PlayPlay, Ryah; 10 p.m.-2 am, $5–$10.

PITTSBORO ROADHOUSE: The Piedmont Four; 8 p.m.

POUR HOUSE THE HELL NO A bit like a female-led Motörhead in their best moments, Raleigh’s The Hell No burn through thick rock ’n’ roll crude. The rhythms drive as riffs slice through the fray. But singer Brenna Leath is the X factor, with a voice that marries Janis Joplin’s semioperatic range with Danzig’s lecherous charisma. She’s a boundary-obliterating force that elevates The Hell No. With Snake & the Plisskens, The Dirty Politicians and Motorbilly. $5–$8/9 p.m. —JL

SAXAPAHAW RIVERMILL GASOLINE STOVE Harmonica, banjos, twang, a little gospel and a song involving a dead mule: Carrboro’s Gasoline Stove offer it all on their Americana tunes. They perform as a part of this year’s Saturdays in Saxapahaw series. Free/6 p.m.

—AH SHARP NINE GALLERY: John Ellis Quartet with Alan Ferber; 8 p.m., $10–$20.

SLIM’S: Rock N Roll Partyfest; Jun 20, 5 p.m., $12–$20. See page 31.

SOCIAL GAMES AND BREWS: Afro+Freequency; 10 p.m., $10.

SOUTHLAND BALLROOM: Sok Monkee; 9 p.m., $10.

STATION AT SOUTHERN RAIL: Lee Gildersleeve and The Bad Dogs; 7 p.m.

THE SHED JAZZ CLUB: Jonah Parzen-Johnson; 8 p.m.

SUN, JUN 21 THE CAVE BUZZMUTT Buzzmutt are from San Francisco, a hotbed for original rock mutations at once bizarre and obvious—“Eureka!” moments shrouded in a psychedelic haze.

What Thee Oh Sees have done for hardcore volatility Buzzmutt do for dense shoegaze and languid metal. They filter their crushing riffs through a kaleidoscope and manage to sound both menacing and comforting. With Magpie Feast and Barren Graves. $3/9 p.m. —JL

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DEEP SOUTH: Street Feet, Media Limits, Land Jaws; 9 p.m., $4–$5.

MIDTOWN PARK AMPHITHEATRE: The Bankesters; 4 p.m., free.

MOTORCO: The Dead Woods, Mirror 7; 8 p.m., $8–$10.

THE PINHOOK KID IN THE ATTIC Kid in the Attic might come across as yet another electronic-influenced indie pop act, but live, they offer more than pre-programmed buttons. On songs like “White Whale,” they bring their beats to life with no fewer than three people banging on drums. Local Kellie Anne Grubbs, of Vaughn Aed, opens. $7/8 p.m. —AH

POUR HOUSE AETHER REALM Future Islands, Valient Thorr and The Avett Brothers have one thing in common: These three accomplished acts cut their teeth in the unlikely musical Petri dish of Greenville before moving away to find success. Aether Realm, whose sweeping pagan epics incorporate everything from folk and fantasy metal elements to EDM breaks, are a young, creative outfit from that same scene. It remains to be seen if they can actualize their remarkable potential without skipping town.

With Wilderun, Heinzer and Ambits. $8/9 p.m. —CH RALEIGH LITTLE THEATRE: The Heart of North Carolina Jazz Orchestra, The North Carolina Jazz Repertory Orchestra, The Triangle Youth Jazz Ensemble; 3 p.m., $7–$14.

SLIM’S: Rock N Roll Partyfest; $12–$20. See page 31.

STATION AT SOUTHERN RAIL: Black Forest Jazz; 7 p.m.

P.D. Wilder; 9:30 p.m.

MON, JUN 22 CAROLINA THEATRE FILM:ACOUSTIC: WILL BUTLER: 12 MONKEYS Will Butler once told Pitchfork that Terry Gilliam’s 12 Monkeys was a visual touchstone when Arcade Fire, the band in which Butler plays multiple instruments, was making Scenes from The Suburbs, a half-hour dystopian film inspired

by Arcade Fire’s sprawling The Suburbs. Butler talks about the film tonight—maybe it had some influence on Policy, his very fun 2015 solo record—with Modern School of Film founder Robert Milazzo. Expect some songs. $15/7 p.m. —PW

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DUKE GARDENS: Phil Cook’s Southland Revue: Trials, Troubles & Heartache; 7 p.m., $5–$10, 12 and under free. See page 31.

POUR HOUSE: Franchise; 9 p.m., $5.

RED HAT AMPHITHEATER LINDSEY STIRLING In 2010, Lindsey Stirling, a dancing violinist interested in melding classical and electronic music, advanced only to the quarter finals of the televised competition America’s Got Talent. For a loser, though, she’s done rather well, becoming a viral sensation, inking big management deals, sharing mega-hit “All of Me” with John Legend, selling out headlining shows in big rooms and generally exploiting the corroding borders of both the music industry and strict genres. A tightly choreographed display of fast steps and bright lights, her show seems a peculiar mix of genius and gimmick, where the once-billed “hip-hop violinist” becomes instead an instrumentalist for the bodypaint-and-EDM era. Echosmith opens. $20–$45/8 p.m. —GC

TUE, JUN 23 THE CARRACK: Native Eloquence, C/\L/\PSE, thefacesblur; 9 p.m., $5.

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IDE TO ER'S GU AN INSID

ON THE STREETS

Local H have hardly strayed from the formula they used while keeping it “copacetic” with buzzsaw guitars and angsty howls on “Bound for the Floor,” the band’s minor hit from the mid-’90s. Chock with crunchy, hummable headbangers, the follow-up Pack Up The Cats was largely forgotten thanks to label turmoil. Successive releases— including some concept albums—have kept the same grungy spirit. ÆGES opens. $12–$14/8 p.m. —SG

BNEGELE R S G N I H T ALL ROUND THE TRIA IN & A

For more info please contact your Ad Rep or rgierisch@indyweek.com

Once the project of Houston songwriter Jared Boulanger, the Austin-based Sour Notes are a darling in central Texas, landing prime slots at South by Southwest, Fun Fun Fun Fest and more. The quintet’s songs are vibrant and sparkly. The guitars coil and churn. The rhythm section is muscular but brittle.

But they’re a little rigid, neither as nervously attractive as The Dandy Warhols nor as charming as Foxygen. The Sour Notes don’t

hit many, sure, but that’s largely because they’re careful not to.

With Flower Girl and a solo version of Ghostt Bllonde. $3/9 p.m. —PW DUKE GARDENS: Phil Cook’s Southland Revue: Are You Ready For The Jubilee?; 7 p.m., $5–$10, 12 and under free. See page 31.

KINGS BETTY WHO Betty Who’s imagery—the Dusty Springfield-esque cover of Take Me When You Go and the matching varsity sweaters—hint toward retro, but it’s a ruse. Born Jessica Newham in Sydney, Australia, Betty Who is thoroughly modern. Her confident songs come rooted in the pop of Robyn and Pink but bend toward the verve of indie dance acts like MGMT and Passion Pit. It’s built and bound for bigger rooms. With Coin and Cailee Ray. $15/8 p.m. —PW

LOCAL 506 C SHREVE, THE KOOLEST Instead of giving guys like Appalachian State University lecturer and high-pressure emcee C. Shreve the Professor a hard time for not letting go of hip-hop’s lyrical, wonder years, why don’t we wonder why so many bad rappers refuse to let go of their microphones? As long as C. Shreve and his F.T.O. (Free The Optimus) rap pack are featured, other microphone phonies won’t be in sight. Also featuring The Koolest and Jrusalam. $7/9 p.m.

—ET LOOKING GLASS CAFE: The Doug Largent Trio; 7-9 p.m.

MOTORCO: Jesse RS, Antique Hearts; 8 p.m., $7–$10.

SHARP NINE GALLERY: NCJRO; 8 p.m., $10–$15.

SLIM’S: Sister Helen; 9 p.m., $3.

TIR NA NOG: Beer & Banjos: Grits and Soul; 7:30 p.m.

WED, JUN 24 THE CAVE: Bleak, Born Hollow, Dogs Eyes; 9 p.m., $5.

DUKE GARDENS: Phil Cook’s Southland Revue: Introducing Southland Mission; 7 p.m., $5–$10, 12 and under free. See page 31.

LOCAL 506: Pena Ajena, The Fem Doms; 9 p.m., $7.

MEYMANDI CONCERT HALL BOYZ II MEN WITH THE NC SYMPHONY It would have been hard to find a frowning face in Meymandi

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JUNE 17, 2015

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Concert Hall when Boyz II Men performed a sold-out show there with the North Carolina Symphony in 2013. They threw roses into the crowd, performed their most romantic hits and acknowledged that, though the stunt was a late-career crutch, they sure were having a good time. They reprise that performance here, most likely dropping down on bended knee for at least one fan in the first few rows. $38–$89/7:30 p.m. —GC

NEPTUNES PARLOUR SONGS FROM DOWNSTAIRS WITH ROD ABERNETHY: KENNY ROBY Kenny Roby will have a wealth of material from which to draw for this intimate set. On the February release that followed the revival of his seminal alt-country act 6 String Drag, Roby and company put their own spin on the roots of rock. His stellar solo work has spanned soulful storytelling and elegant chamber pop. Host Rod Abernethy has composed acclaimed scores for video games, film and television since his time in Arrogance. $5/9 p.m. —SG

THE PINHOOK CAVES Beneath the crunch of their amps, the British punks in Caves perform melodic gymnastics. The music churns with verve, while the tunes grab yearning crescendos from pop-punk and eager choruses from radio-ready rock. The band’s ingenuity is just as unyielding as the rhythms, so the accessibility comes with some adventure.

Brooklyn’s Worriers open with similar energy and less burly tones. $8/9 p.m. —JL POUR HOUSE: Coast 2 Coast Live Interactive Showcase; 9:30 p.m., $10.

SOUTHLAND BALLROOM JIM LAUDERDALE Back in the ’90s, Jim Lauderdale was part of a new breed of progressive-country troubadours.

A zillion albums later, the prolific singer-songwriter has collaborated with everyone from Ralph Stanley to Grateful Dead lyricist Robert Hunter, written for the likes of Gary Allan and George Strait, and become the annual MC of the Americana Awards. He could throw darts at his huge catalog blindfolded and not hit a bum cut. Raleigh’s Jeanne Jolly opens. $14– $20/8:30 p.m. —JA STATION AT SOUTHERN RAIL: The Arcadian Project, The Event Horizon; 8 p.m.

visualarts OPENING PAGE-WALKER ARTS & HISTORY CENTER: Jun 23-Aug 16: Visions of Yesteryear, painted portraits by Kevin Peddicord. free. 119 Ambassador Loop, Cary. 919-460-4963, friendsofpagewalker.org.

INDYPICK PLEIADES GALLERY: Jun 18-Jul 25: A Body in Fukushima, photographs of dancer Eiko Otake in Fukushima, Japan by William Johnson. — Fri, Jun 19, 6-9 p.m.: Reception. 109 E Chapel Hill St, Durham. 919797-2706, PleiadesArtDurham. com.

THE SCRAP EXCHANGE: Jun 19-Jul 18: Beauty Through Toxicity, work by Denise Hughes. — Fri, Jun 19, 6-9 p.m.: Reception. 2050 Chapel Hill Road, Durham. 919-688-6960, www.scrapexchange.org.

INDYPICK THROUGH THIS LENS: Jun 19-Aug 1: Photography of Dance, work by Chris Walt. — Fri, Jun 19, 6-9 p.m.: Reception. 303 E Chapel Hill St, Durham. 919-687-0250, www.throughthislens.com.

ONGOING INDYPICK ADAM CAVE FINE ART: Thru Jul 6: The Enchanted Forest, sculpture and installation by Greg Carter. 115-1/2 E Hargett St, Raleigh. 919-838-6692, www. adamcavefineart.com.

AMERICAN TOBACCO CAMPUS: Thru Jul 31: HOME: The Furniture Society Members Exhibit, juried exhibition of work

by Furniture Society members from the U.S. and Canada. www. furnituresociety.org. 324 Blackwell St, Durham. 919-433-1570, americantobaccohistoricdistrict. com.

ARTSPACE: Thru Jun 26: FRESH, juried exhibition of new works by North Carolina artists.

201 E Davie St, Raleigh. 919-8212787, www.artspacenc.org.

BETTY RAY MCCAIN GALLERY: Thru Jun 30: Mary Anne Keel Jenkins: A Lifetime

INDYPICK CAPTAIN JAMES & EMMA HOLT WHITE HOUSE: Thru Jul 15: On the Other Side of the Lens: The Photography of Leonard Nimoy.

213 S Main St, Graham.

CHAPEL HILL ART GALLERY: Thru Jun 28: Jazz in the Gardens, work by Kate Grendler and Bronwyn Merritt. 1215 E Franklin St. chapelhillartgallery. com.

CLAYMAKERS: Thru Jul 10: Quiet Earth, ceramics by Natalie Boorman, Charlie Evergreen and Tad Uno. Free. 705 Foster St, Durham. 919-530-8355, claymakers.com.

THE COTTON COMPANY: Thru Jul 5: Justin Helms, abstract art. 306 S White St, Wake Forest. 919-570-0087, thecottoncompany.net.

DUKE CAMPUS: CENTER FOR DOCUMENTARY STUDIES: Thru Jul 29: Binnegoed: Coloured & South African Photography. — Thru Oct 3: Beyond the Front Porch 2015. 1317 W Pettigrew St, Durham. 919-660-3663, cdsporch.org.

VISUAL ART | THIRD FRIDAY | FRIDAY, JUNE 19, DURHAM VARIOUS GALLERIES—June finds Durham’s monthly night of art openings in a festive mood. Several new shows celebrate the American Dance Festival’s onset, including Chris Walt’s Photography of Dance at THROUGH THIS LENS (303 E. Chapel Hill St., www.throughthislens.com) and a collaboration between dancer/choreographer Eiko and photographer William Johnston at PLEIADES GALLERY (109 E. Chapel Hill St., www. pleiadesartdurham.com). Familiar to ADF-goers as half of the duo Eiko & Koma, Eiko posed in radiation-ravaged Fukushima for this stunning photographic project. THE CARRACK MODERN ART (111 W. Parrish St., www.thecarrack.org) celebrates its fourth birthday with a party while one of its semi-annual community shows covers the walls. POWER PLANT GALLERY (320 Blackwell St., www.powerplantgallery.com) stays open late for a show that celebrates the area—“Phone Home Durham” features hometown subjects shot by local shutterbugs. And SPECTRE ARTS (1004 Morning Glory Ave., www.spectrearts.org) gives you popcorn and a place to crash late with an outdoor screening of The Cool School: The Story of Ferus Art Gallery at 9 p.m. But you should build your evening around Jaclyn Bowie’s 10-minute pop-up performance, Repository, at GOLDEN BELT STUDIOS (8 p.m., 807 E. Main St., Room 112, www.goldenbeltarts.com). Costumed like a cross between a hazmat suit and a Hopi Kachina, Bowie’s “gluttonous beast” character ritualistically destroys a thematic sculptural installation to a soundscape by Joel Stephenson. 6–9 p.m., free, downtown Durham, www.thirdfridaydurham.com. —Chris Vitiello

St, Raleigh. 919-757-9533, flandersartgallery.com.

FRANK GALLERY: Thru Jul 5: People and Places, oil paintings by Julia Harmon and Carroll Lassiter. — Thru Aug 9: Overtures, multimedia work by various artists. 109 E Franklin St, Chapel Hill. 919-636-4135, frankisart.com.

DURHAM ARTS COUNCIL: Thru Jun 27: Cold Gravy, work

by Chance Murray. 120 Morris St. 919-560-2787, durhamarts. org.

GALLERY A: Thru Jun 29: Gadgetry, work by Catherine Connolly Hudson. 1637 Glenwood Ave, Raleigh. 919-5469011, www.gallerya-nc.com.

ERUUF ART GALLERY: Thru Jul 2: Layered Openings, new work by Annie Nashold. 4907 Garrett Rd, Durham. 919-4892575, www.eruuf.org.

GALLERY C: Thru Aug 1: The Magical Realm of Haitian Art. 540 N Blount St, Raleigh. 919828-3165, www.galleryc.net.

INDYPICK FINE ART CAROLINA GALLERY: Thru Jul 3: The Spirit of Art

by Faiq Haddad. 116 W Clay St, Mebane. 919-455-5965, FineArtCarolina.com.

FLANDERS GALLERY: Thru Jul 18: Mike Geary. 505 S Blount

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PLEIADES GALLERY: Thru Jun 30: The Writing is on the Wall, sculpture and written-word collaboration by Renee Leverty and Leslie Frost. 109 E Chapel Hill St, Durham. 919-797-2706, PleiadesArtDurham.com.

Dedicated to Art, a career survey of Jenkins’ work. 2 E South St, Raleigh. 919-996-8700, dukeenergycenterraleigh.com.

CEDAR CREEK GALLERY: Thru Aug 16: Summer Still Life, vases and pitchers. — Thru Aug 16: Summer Still Life: A Collection of Vases and Pitchers. Free. 1150 Fleming Rd, Creedmoor. 919-528-1041, www.cedarcreekgallery.com.

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Free. 137 W Margaret Ln, Hillsborough. 919-245-2525, www.co.orange.nc.us/library.

JACLYN BOWIE, REPOSITORY

PHOTO COURTESY OF THE ARTIST

Galleries

INDYweek.com

GOING LOCAL NC: Thru Jun 30: Four Sides of Eight, juried show featuring work by North Carolina artists. 10940 Raven Ridge Rd, Raleigh. 919-3018437, www.facebook.com/ goinglocalnc.

GOLDEN BELT: Fri, Jun 19, 6-9 p.m.: Reception. — Thru Jun 29: Rites of Passage, work by

Student U artists and Durham Art Guild artists. 807 E Main St, Durham. goldenbeltarts.com.

HORACE WILLIAMS HOUSE: Thru Jun 29: Committee Meeting, mixedmedia work by members of Preservation Chapel Hill’s art committee. 610 E Rosemary St, Chapel Hill. 919-942-7818, chapelhillpreservation.com.

INDYPICK

INDYPICK LIGHT ART + DESIGN: Thru Jul 3: Butterflies are Free: Women in Photography, work by Sarah Cioffoletti, Tama Hochbaum, Leah Sobsey and Barbara Tyroler. 601 W Rosemary St, Chapel Hill. 919-942-7077, lightartdesign.com.

LITMUS GALLERY: Thru Jun 26: A Natural Passion, photography by Alan Clark. 312 W Cabarrus St, Raleigh. 919-5713605, www.litmusgallery.com.

LITTLE ART GALLERY & CRAFT COLLECTION: Thru Jun 30: A Constructed World, sculptural paintings

by Amy Levine. 432 Daniels

St, Raleigh. 919-890-4111, littleartgalleryandcraft.com.

LOCAL COLOR GALLERY: Thru Jun 27: Images of Summer, acrylic works by Margo White. 311 W. Martin Street, Raleigh. 919-8195995, localcoloraleigh.com.

INDYPICK LUMP: Thru Jun 27: With Everyone Watching, work by Carrie Alter and George Jenne. 505 S Blount St, Raleigh.

919-889-2927, teamlump.org.

MEREDITH COLLEGE: JOHNSON HALL: Thru Nov 5: Annual Juried Student Art Exhibition. 3800 Hillsborough St, Raleigh.

NATURE ART GALLERY: Thru Aug 2: Transparent-Overlapping Images of Nature, work by Trena McNabb. 11 W Jones St, Raleigh. 919-733-7450 x369, naturalsciences.org.

ORANGE COUNTY MAIN LIBRARY: Thru Aug 1: Summer Art Show, photographs by Bruce Weber; watercolors by Jeeyhun Hoke; acrylic/mixed-media pieces by Marie Lawrence.

INDYPICK POWER PLANT GALLERY: Thru Aug 22: Phone Home Durham. 320 Blackwell Street, Suite 100, Durham. 919660-3622.

ROUNDABOUT ART COLLECTIVE: Thru Jun 28: Victoria Powers, foil relief etchings. — Thru Jun 30: J.J. Jiang, new watercolors. free. 305 Oberlin Rd, Raleigh. 919-7479495, roundaboutartcollective. com.

SUNFLOWER STUDIO & GALLERY: Thru Jul 9: Recent Abstract Photographs: Comforter Series, work by Victoria Powers. 214 E Jones Ave, Wake Forest. 919-570-0765, sunflowerstudiowf.com.

TIPPING PAINT GALLERY: Thru Jun 27: Assorted Flavors. 311 W Martin St, Raleigh. 919-928-5279, tippingpaintgallery.com.

UNC CAMPUS: SONJA HAYNES STONE CENTER: Thru Jun 30: Selected Works of J. Eugene Grigsby, Jr.: Returning to Where the Artistic Seed was Planted, paintings. 150 South Rd, Chapel Hill. 919-962-9001, sonjahaynesstonectr.unc.edu.

INDYPICK VESPERTINE: Thru Jul 5: IMPACT by Kevin Clark. 118 B E. Main St, Carrboro. 919-356-6825.

INDYPICK VISUAL ART EXCHANGE: Thru Jun 25: SCOPE: The Southern Landscape, work about the South. Free. 309 W Martin St, Raleigh. 919-8287834, visualartexchange.org. See page 30.

Museums ACKLAND ART MUSEUM: Thru Aug 9: Potters Four, work by Blaine Avery, Doug Dotson, Bruce Gholson and Samantha Henneke in the museum store. 101 S Columbia St, Chapel Hill. 919-8431611, www.ackland.org.

CAM RALEIGH: Thru Sep 7: The Nothing That Is, five-part show featuring work by more than 85 artists. $5. — Thru Sep 13: Big Bent Ears: A Serial in Documentary Uncertainty, work

HISTORIC YATES MILL COUNTY PARK: Sat, Jun 20, 10 a.m.-3:30 p.m., Sun, Jun 21, 1-3:30 p.m.: Weekend tours.

Costumed interpreters offer tours while cornmeal is ground on the fully restored equipment of Yates Mill. $3-$5, 6 and under free.

4620 Lake Wheeler Road, Raleigh.

919-856-6675, yatesmill.org.

NASHER MUSEUM OF ART: Thru Jul 12: Open This End: Contemporary Art from the Collection of Blake Byrne. — Thru Aug 30: Colour Correction: British and American Screenprints, 1967-75. 2001 Campus Dr, Durham. 919-6845135, nasher.duke.edu.

NC MUSEUM OF NATURAL SCIENCES: Thru Aug 16: Dig It! The Secrets of Soil. 11 W Jones St, Raleigh. 919-733-7450, naturalsciences.org.

MACBETH

FRIDAY, JUNE 19–SATURDAY, JUNE 27, RALEIGH STEPHENSON AMPHITHEATRE AT RALEIGH LITTLE THEATRE—Ultimately, what wouldn’t you do for your family? That’s the question director Rebecca Blum poses through the Bard’s famous drama, giving the ill-starred Thane of Cawdor and his bloodied bride a teenage son (Bevan Therien) in this adaptation. Slowly seduced by his increasing power—and the enigmatic counsel of the Weyard Sisters—Macbeth and his wife think what they’re doing is for the good of their own. But what effects will such corruption ultimately have on the family itself? In this co-production from Bare Theatre and Raleigh Little Theatre, a cast of 30 includes Wade Newhouse as the Mac and Benji Taylor Jones as his Lady. 8 p.m. Thurs.– Sat., $17, 301 Pogue St., Raleigh, 919-821-3111, www. raleighlittletheatre.org. —Byron Woods

NC MUSEUM OF HISTORY: Thru Aug 2: North Carolina State Highway Patrol: Service, Safety, Sacrifice, vehicles, firearms, uniforms and more from 1929 to the present. — Thru Sep 5: Starring North Carolina!, memorabilia from films shot in North Carolina. $6-$10. — Thru Sep 27: Rural Revival: Photographs of Home

Dance

MACBETH

THEATER

NC MUSEUM OF ART: Thru Aug 2: Field Guide: James Prosek’s Un/Natural World.

— Thru Aug 23: The Patton Collection: A Gift to North Carolina. — Thru Sep 13: Zoosphere, animal-based video installation by Allison Hunter.

— Thru Sep 13: Director’s Cut: Recent Photography Gifts to the NCMA. 2110 Blue Ridge Rd, Raleigh. Info 919-8396262, tickets 919-715-5923, ncartmuseum.org.

performance

and Preservation of Place, photographs by Scott Garlock of abandoned and old buildings in eastern North Carolina. free. — Thru Feb 28, 2016: Hey America!: Eastern North Carolina and the Birth of Funk. 5 E Edenton St, Raleigh. 919-8077900, ncmuseumofhistory.org.

Art Related FEMININE DOMINANCE ART SPACE DAY PARTY: Sat, Jun 20, 4 p.m.: art, performances, workshops, visual, text and sound-based work. Nightlight, 405 1/2 W Rosemary St, Chapel Hill. 919-960-6101, nightlightclub.com.

PROMPTS: RESISTANCE: Sat, Jun 20, 7-9 p.m.: artists submit a work in response to the prompt at the event by signing up for a 10-minute slot. $5 suggested donation. 919-307-7410, justin@ justintornow.com. The Carrack Modern Art, 111 W Parrish St, Durham. www.thecarrack.org.

See box, this page.

INDYPICK

PHOTO BY DOUGLAS LALLY / DOUGLAS G PHOTOGRAPHY

exploring the nature and craft of listening, making use of sound recordings, video and text. $5.

409 W Martin St. 919-261-5920, camraleigh.org.

PERFORMANCE ADF CHILDREN’S SATURDAY MATINEES: Sat, Jun 20, 1 p.m., Sat, Jun 27, 1 p.m. & Sat, Jul 25, 1 p.m.: $16–$32.25. Durham Performing Arts Center, 123 Vivian St. Info 919-688-3722, Tickets 919-680-2787, dpacnc. com.

INDYPICK BODYTRAFFIC: Thru Jun 17, 8-10 p.m.: $10– $34.50. Duke Campus: Reynolds Industries Theater, Bryan Center, West Campus, Durham.

CIRQUE DE VOL STUDIOS: SHARKNADO: Sat, Jun 20, 9 p.m.: $10–$12. Kings, 14 W Martin St, Raleigh. 919-8331091, www.kingsbarcade.com.

EXPRESSIONS IN RHYTHM STUDIO: A RECITAL OF FIRSTS: Sat, Jun 20, 12-2 p.m.: $15. 919-615-3088, info@ eirstudio.com, www.eirstudio. com. William Peace University: Kenan Recital Hall, 15 E Peace St, Raleigh. www.peace.edu.

INDYPICK HEIDI LATSKY DANCE: Sun, Jun 21, 8-10 p.m., Mon, Jun 22, 8-10 p.m. & Tue, Jun 23, 8-10 p.m.: $10–$27.

Duke Campus: Reynolds Industries Theater, Bryan Center, West Campus, Durham.

INDYPICK PILOBOLUS: Thu, Jun 18, 8 p.m., Fri, Jun 19, 8 p.m. & Sat, Jun 20, 7 p.m.: $10–$58.

Durham Performing Arts Center, 123 Vivian St. Info 919-6883722, Tickets 919-680-2787, www.dpacnc.com. See page 31.

Comedy THE ARTSCENTER: Third Saturdays, 8:30 p.m.: The Chuckle & Chortle Comedy Show with local stand-up comics. $7.

300-G E Main St, Carrboro. 919929-2787, artscenterlive.org.

BLACKJACK BREWING COMPANY: Every third

Wednesday, 7:30-10 p.m.: Blackjack Comedy Night. Free.

1053 E. Whitaker Mill Rd., Raleigh. 919-424-7533.

COMEDYWORX THEATRE: Fridays, 8 p.m. & Saturdays, 4 & 8 p.m.: ComedyWorx Improv Show, 2 teams of improv comedians earn points by making the audience laugh. $6-12. — Fridays, 10 p.m. & Saturdays, 10 p.m.: The Harry Show, Ages 18+. Improv host leads late-night revelers through potentially risque games, with audience volunteers brought onstage to join in. $10. 431 Peace St, Raleigh. 919-829-0822, comedyworx.com.

DSI COMEDY THEATER: Wed, Jun 17, 7 p.m.: Midweek. $6. — Wed, Jun 17, 8:30 p.m.: Comedy Lottery. $6. — Thu, Jun 18, 7 p.m.: Student Showcase. $6. — Thu, Jun 18, 8:30 p.m.: Harold Night: BASIC, Power Pose, Lost Colony. $6. — Thu, Jun 18, 10 p.m.: Stranger Danger. free. — Fri, Jun 19, 7 p.m.: Show and Tell. $10. — Fri, Jun 19, 8:30 p.m.: ImproVStandup. $10.

— Sat, Jun 20, 7 p.m.: Humor Games. $10. — Sat, Jun 20, 8:30 p.m.: Spring Loaded. $10. — Tue, Jun 23, 7 p.m.: Indy 5000. $6. — Wed, Jun 24, 8:30 p.m.: Comedy Lottery. $6. — Fridays, 10 p.m.: Mister Diplomat. Free.

— Fridays, 11 p.m.: The Jam. free. — Saturdays, 10 p.m.: Pork, 5 NC comics perform. Free. 462 W Franklin St, Chapel Hill. 919338-8150, dsicomedytheater. com.

FLEX NIGHTCLUB: Thursdays, midnite: Trailer Park Prize Night, comedy drag show with prizes.

2 S West St, Raleigh. 919-8328855, www.flex-club.com.

GOODNIGHTS: Thu, Jun 18, 8 p.m., Fri, Jun 19, 7:30 & 10 p.m. & Sat, Jun 20, 7:30 & 10 p.m.: Tommy Johnagin. $15–$31. — Wed, Jun 17, 8 p.m., Tue, Jun 23, 8 p.m., Wed, Jun 24, 8 p.m., Tue, Jun 30, 8 p.m. & Wed, Jul 1, 8 p.m.: North Carolina’s Funniest Preliminary. $10–$18. — Saturdays, 10:30 p.m.: Anything Goes Late Show. free. 861 W Morgan St, Raleigh. 919-828-

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INDYweek.com 5233, goodnightscomedy.com.

KINGS: Third Fridays, 8-9:30 p.m.: The Dangling Loafer. $5. www.facebook.com/ TheDanglingLoafer. 14 W Martin St, Raleigh. 919-833-1091, kingsbarcade.com.

LLOYD’S LOUNGE: Second & Fourth Wednesdays, 9 p.m.: Out & Out Comedy Open Mic, With host B.I.S.H.O.P. Omega. 919410-7575, TAO@JustAskTruitt. com. 704 Rigsbee Ave, Durham.

MOONLIGHT STAGE COMPANY: Fri, Jun 19, 8-9:30 p.m. & Sat, Jun 20, 8-9:30 p.m.: Tim Northern. $11. 1304 Paddock Drive, Raleigh. 347-5247517, moonlightstageco.com.

RALEIGHWOOD CINEMA GRILL: Thu, Jun 18, 7:30 p.m.: JM, Matt White, James Hodge. $10. 6609 Falls of Neuse Rd. 919-847-8370, raleighwoodmovies.com.

THE THRILL AT HECTOR’S: Third Fridays, 9 p.m.: Funny Business Live, Pro comedy series.

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$5-8. www.funnybusinesslive. com. 157 E Rosemary St, Chapel Hill. 919-960-5145.

TIR NA NOG: Mondays, 8:30 p.m.: Cure for the Mondays, Weekly comedy night. 218 S Blount St, Raleigh. 919-8337795, www.tnnirishpub.com.

Theater OPENING HAPPY BIRTHDAY, WANDA JUNE: Thu, Jun 18, 8-10 p.m., Fri, Jun 19, 8-10 p.m., Sat, Jun 20, 8-10 p.m. & Sun, Jun 21, 3-5 p.m.: by Run of the Mill Players. $12–$15. The Old Store, 1616 Jordan Dr. Saxapahaw. 336-7393786.

INDYPICK A FEW GOOD MEN: Wed, Jun 17, 8 p.m., Thu, Jun 18, 8 p.m., Fri, Jun 19, 8 p.m., Sat, Jun 20, 2 & 8 p.m., Sun, Jun 21, 3 p.m., Wed, Jun 24, 8 p.m.: Kennedy Theater, 2 E

DANA LIVERMORE PERFORMING IN PROMPTS

PERFORMANCE

PHOTO BY JUSTIN TORNOW

PROMPTS: RESISTANCE SATURDAY, JUNE 20, DURHAM

THE CARRACK MODERN ART—The concept is simple; the results are anything but. In the “Prompts” series at the Carrack, artists create short performances in response to an enigmatic prompt, leading to an excitingly raw and spontaneous show bound by a pliable theme. As the series is run by DIDA cofounder Justin Tornow, it runs heavy on modern dance, though you might also see poetry, performance art and points outlying. The prompt for this installment is “Resistance,” and the line-up tackling it includes dancers Stacy Thomas Wolfson, Suzanne Beahrs and Tornow’s COMPANY, multimedia artist Matthew Young and photographer Anna M. Maynard, among others. The series is open to artists at diverse levels of accomplishment, so after you go and see what it’s about, you can find out what the next prompt is and start dreaming up your own performance to pitch. 7 p.m., $5 suggested donation, 111 W. Parrish St., Durham, 919-213-6666, www.thecarrack.org. —Brian Howe

South St, Raleigh. 919-996-8700, dukeenergycenterraleigh.com.

See page 31.

HARBOR HOPE AND FORENSIC: June 18-20, 7:30 p.m., Sun., June 21, 2 p.m. and June 25-27, 7:30 p.m. two oneact plays. $13–$15. Common Ground Theatre, 4815-B Hillsborough Rd, Durham. 919384-7817, www.cgtheatre.com.

INDYPICK MACBETH: Jun 19-27, 8 p.m.: $17. Raleigh Little Theatre, 301 Pogue St. Office 919-821-4579, Tickets 919-8213111, raleighlittletheatre.org.

See box, page 38.

PERFORMANCE EDGE SUMMER SHOWCASE: Sat, Jun 20, 2 & 7:30 p.m.: $15–$25.

Fletcher Opera Theater, 2 E South St, Raleigh. 919-996-8700, dukeenergycenterraleigh.com.

PLAYWRIGHTS ROUNDTABLE RETRO SHOW: Fri, Jun 19, 8 p.m., Sat, Jun 20, 8 p.m. & Sun, Jun 21, 3 p.m.: $10–$12.

The ArtsCenter, 300-G E Main St, Carrboro. 919-929-2787, artscenterlive.org.

SIDE BY SIDE BY SONDHEIM: Wed, Jun 17, 7:30 p.m., Thu, Jun 18, 7:30 p.m., Fri, Jun 19, 7:30 p.m., Sat, Jun 20, 7:30 p.m. & Sun, Jun 21, 2 p.m.: $5–$18.

NCSU Campus: Titmus Theatre, 2241 E Dunn Ave, Raleigh.

WAIT UNTIL DARK: Thu, Jun 18, 7:30 p.m. & Wed, Jun 24, 7:30 p.m.: $5–$18. NCSU Campus: Titmus Theatre, 2241 E Dunn Ave, Raleigh.

ONGOING THE COLOR PURPLE: Fri, Jun 19, 8 p.m., Sat, Jun 20, 2 & 8 p.m., Sun, Jun 21, 2 p.m.: $24– $29. St Francis of Assisi Catholic Church, 11401 Leesville Rd, Raleigh. 919-847-8205, www. sfaraleigh.org.

INDYPICK EQUIVOCATION: Thru Jun 21, 7:30 p.m.: $16–$22.

Theatre In The Park, 107 Pullen Rd, Raleigh. Office 919-8316936, Tickets 919-831-6058, www.theatreinthepark.com.

INDYPICK

A LITTLE POTATO AND HARD TO PEEL: Thru Jun 17: CAM Raleigh, 409 W Martin St. 919-261-5920, camraleigh. org.

INDYPICK SEA WALL: Thru Jun 28: Burning Coal Theatre at the Murphey School, 224 Polk St, Raleigh. 919-834-4001, www. burningcoal.org.

books

INDYweek.com Origins of the Least Likely Founding Father. Flyleaf Books, 752 Martin Luther King Jr Blvd, Chapel Hill. 919-942-7373, flyleafbooks.com.

NICOLE SWINER: Thu, Jun 18, 6:30 p.m.: with How to Avoid the

CITY SOUL CAFE POETRY & SPOKEN WORD OPEN MIC: Wednesdays, 8-10 p.m.: With host Dasan Ahanu. Poets, vocalists, musicians & lyricists welcome. All performances a cappella or acoustic. $5. www. citysoulcafe.splashthat.com.

Smokin Grooves Bar & Grill, 2253 New Hope Church Rd, Raleigh.

ANORA MCGAHA: Sat, Jun 20, 3 p.m.: with When Women Waken. Joyful Jewel, 44-A Hillsboro St, Pittsboro. 919-8832775, www.joyfuljewel.com.

CINDY HENRY MCMAHON: Sun, Jun 21, 2 p.m.: with memoir Fresh Water from Old Wells.

Flyleaf Books, 752 Martin Luther King Jr Blvd, Chapel Hill. 919942-7373, flyleafbooks.com.

CURRYBLOSSOM CONVERSATIONS: Third Thursdays, 6-8 p.m.: Sacrificial Poets host an open mic event for works of music, poetry or anything in-between. Vimala’s Curryblossom Cafe, 431 W Franklin St, Chapel Hill. 919-9293833, curryblossom.com.

DOROTHEA BENTON FRANK: Fri, Jun 19, 7 p.m.: with novel All the Single Ladies. Quail Ridge Books & Music, 3522 Wade Ave, Raleigh. 919-828-1588, quailridgebooks.com.

JAKI SHELTON GREEN AND LUCIA PEEL POWE: Thu, Jun 18, 7 p.m.: reading poetry.

Regulator Bookshop, 720 Ninth St, Durham. 919-286-2700, www.regulatorbookshop.com.

JOEL BOURNE: Wed, Jun 24, 7 p.m.: with In The End of Plenty: The Race to Feed a Crowded World. Regulator Bookshop, 720 Ninth St, Durham. 919-2862700, regulatorbookshop.com.

KATE BLACKWELL AND KELLY CHERRY: Wed, Jun 17, 7 p.m.: with short story collections You Won’t Remember This and Twelve Women in a Country Called America. Quail Ridge Books & Music, 3522 Wade Ave, Raleigh. 919-8281588, quailridgebooks.com.

MARDY GROTHE: Thu, Jun 18, 7 p.m.: with Oxymoronica: Paradoxical Wit & Wisdom From History’s Greatest Wordsmiths.

Quail Ridge Books & Music, 3522 Wade Ave, Raleigh. 919-8281588, quailridgebooks.com.

MARK ESSIG: Mon, Jun 22, 7 p.m.: with Lesser Beasts: A Snout-to-tail History of

RACHEL KELLY & MIKE RICHARDSON: Tue, Jun 23, 7 p.m.: with novel Colorworld.

Quail Ridge Books & Music, 3522 Wade Ave, Raleigh. 919-8281588, quailridgebooks.com.

Literary Related

Readings & Signing

INDYPICK DR. CHARLIE THOMPSON: Tue, Jun 23, 7 p.m.: with Border Odyssey: Travels along the US/Mexico Divide. Durham Main Library, 300 N Roxboro St. 919-5600100, durhamcountylibrary.org.

Music, 3522 Wade Ave, Raleigh.

919-828-1588, quailridgebooks. com.

READING | NOIR AT THE BAR II THURSDAY, JUNE 18, DURHAM 106 MAIN—At the second annual Noir at the Bar event, eight North Carolina authors of “Dark Fiction” read from their thrilling tales of twisted souls, terrible tragedies and shadowy streets where, baby, the rain must fall. The readers include Nathan Ballingrud, Eric B. Martin, Jeremy Hawkins, David Terrenoire, Bryan Gilmer, John Saunders, T.R. Zeleznock and organizer Eryk Pruitt, whose new novel, Hashtag, is another slice of sleazy Southern pulp in the vein of his prior Dirtbags. Many of these folks are working in the bloody tradition of such greats as Jim Thompson or James M. Cain, writing the kinds of tales that hit like a punch to the face and leave you feeling dirty—in a good way. Make sure you order the good stuff at 106 Main. You might need it ... to survive. 6:30 p.m., free, 106 Main St., Durham, 919-593-0560, www.erykpruitt.com. —Zack Smith the Humble Pig. Regulator Bookshop, 720 Ninth St, Durham. 919-286-2700, regulatorbookshop.com.

Superwoman Complex. South Regional Library, 4505 S Alston Ave, Durham. 919-560-7409, www.durhamcountylibrary.org.

MATTHEW “Q” QUICK: Wed, Jun 24, 7 p.m.: with Love May Fail: A Novel. Quail Ridge Books & Music, 3522 Wade Ave, Raleigh. 919-828-1588, quailridgebooks.com.

PAM DURBAN: Wed, Jun 17, 7-8 p.m.: with short story collection Soon: Stories. Flyleaf Books, 752 Martin Luther King Jr Blvd, Chapel Hill. 919-942-7373, www.flyleafbooks.com.

MICHAEL SIGNER: Thu, Jun 18, 7-8 p.m.: with Becoming Madison: The Extraordinary

RACHEL E. KELLY: Tue, Jun 23, 7 p.m.: with novel Colorworld, joined by illustrator Mike Richardson. Quail Ridge Books &

THE HERO SHOWDOWN: Sat, Jun 20, 4-5:30 p.m.: Piedmont Laureate James Maxey, joined by local authors Samantha Bryant and Leigh Statham, will attempt to answer the age-old question “Who would win in a fight between...?” Free. 919245-2525, bit.ly/ocplibrary.

Orange County Main Library, 137 W Margaret Ln, Hillsborough.

919-245-2525, www.co.orange. nc.us/library.

THE MONTI STORY SLAM: MISHAPS AND BLUNDERS: Wed, Jun 24, 7:30 p.m.: $12.

Motorco Music Hall, 723 Rigsbee Ave, Durham. 919-901-0875, www.motorcomusic.com.

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sports Spectator DURHAM BULLS VS. COLUMBUS CLIPPERS: Thu, Jun 18, 7:05 p.m., Fri, Jun 19, 7:05 p.m., Sat, Jun 20, 6:35 p.m. & Sun, Jun 21, 5:05 p.m.: Durham Bulls Athletic Park, 409 Blackwell St. Info 919-6876500; tickets 919-956-2855, durhambulls.com.

DURHAM BULLS VS. TOLEDO MUD HENS: Tue, Jun 23, 7:05 p.m., Wed, Jun 24, 1:05 p.m.: Durham Bulls Athletic Park, 409 Blackwell St. Info 919-6876500; tickets 919-956-2855, durhambulls.com.

Participatory 2015 STATE GAMES OF NC TABLE TENNIS COMPETITION: Sat, Jun 20, 9 am-7 p.m. & Sun, Jun 21, 9 am-7 p.m.: Open to all residents of NC and SC. $20 and up, varies by event. 919-388-0272, manager@triangletabletennis. com, triangletabletennis.com.

Triangle Table Tennis, 2900 Perimeter Park Drive, Suite 200, Morrisville. 919-388-0272.

CAROLINA GODIVA TRACK CLUB ALL-COMERS TRACK MEET: Wednesdays, 7-9 p.m.; Thru Aug 5: See www. carolinagodiva.org for more information. Fetzer Field, 309 Stadium Dr, Chapel Hill. 919-9626000, www.goheels.com.

NOIR AT THE BAR: Thu, Jun 18, 6:30 p.m.: independent crime authors Nathan Ballingrud, Eric B. Martin, Jeremy Hawkins, Eryk Pruitt, David Terrenoire, Bryan Gilmer, John Saunders and T.R. Zeleznock. 106 Main, 106 E Main St, Durham. 919-593-0560.

See box, this page.

ICE CREAM RIDE: Sat, Jun 20: cycling event benefiting the National Multiple Sclerosis Society. $35-$40. msfitsrides@ yahoo.com.

SUPERHERO FAN FICTION WRITING WORKSHOP: Mon, Jun 22, 2 p.m.: Author Samantha Bryant will lead the workshop.

Teens are invited to write fan fiction about Batman, Superman, Wolverine or any other favorite superhero. Free. 919-560-0238, durhamcountylibrary.org. North Regional Library, 221 Milton Rd, Durham. 919-560-0231.

WEST END RUN CLUB: Tuesdays, 6 p.m.: DSI Comedy Theater, 462 W Franklin St, Chapel Hill. 919-338-8150, dsicomedytheater.com.

WEDNESDAY BIKE RIDE: Wednesdays, 6 p.m.: Crank Arm Brewing Co, 319 W Davie St, Raleigh. crankarmbrewing.com.

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SHIRLETTE AMMONS HEADS ON STICKS SEE GULLS

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film Special Showings

STILL ALICE: Wed, Jun 17, 5:30 p.m.: RSVP required. free.

Carolina Theatre, 309 W Morgan St, Durham. 919-560-3030, www.carolinatheatre.org.

BREWCONOMY: Wed, Jun 17, 7-8:30 p.m.: followed by a Q&A with the director. $10. 919-4622051, www.thecarytheater.com/ events/brewconomy. The Cary Theater, 122 E Chatham St. THE CRAFT: Thu, Jun 18, 8 p.m.: The Pinhook, 117 W Main St, Durham. 919-667-1100, www.thepinhook.com.

WALL-E: Thu, Jun 18, 8:30 p.m.: free. Wallace Plaza, 150 E Rosemary St, Chapel Hill.

A PLACE AT THE TABLE: Fri, Jun 19, 6:30-8:30 p.m.: documentary about hunger and food security in America.

Donation. bcrites@sonic.net, communecos.org/events/eventannouncements/. St Philip’s Episcopal Church, 403 E Main St, Durham. 919-682-5708, www. stphilipsdurham.org.

THE KARATE KID: Fri, Jun 19, 8:15 p.m.: free. Raleigh City Plaza, 400 block of Fayetteville St. LAKEWOOD DRIVE IN: BRING YOUR CAR TO THE MOVIES: Fri, Jun 19, 9 p.m.: The Scrap Exchange, 2050 Chapel Hill Road, Durham. 919-688-6960, www.scrapexchange.org. See story, page 29.

CHEF: Sat, Jun 20, 9 p.m.: $5, free for members. NC Museum of Art, 2110 Blue Ridge Rd,

Find times and locations in our Film Calendar at www.indyweek.com.

Raleigh. Info 919-839-6262, tickets 919-715-5923, www. ncartmuseum.org.

THE LIFE AQUATIC: Sun, Jun 21, 7 p.m.: free. Local 506, 506 W Franklin St, Chapel Hill. 919942-5506, www.local506.com.

FILM:ACOUSTIC: 12 MONKEYS: Mon, Jun 22, 7 p.m.: with Will Butler (Arcade Fire). $15. Carolina Theatre, 309 W Morgan St, Durham. 919-5603030, www.carolinatheatre.org.

EXHIBITION ON SCREEN: GIRL WITH A PEARL EARRING AND OTHER TREASURES FROM THE MAURITSHUIS IN THE HAGUE: Tue, Jun 23: Crossroads Stadium 20, 501 Catiboo Dr, Cary — Brier Creek Stadium 14, 8611 Brier Creek Pkwy, Raleigh CAIRO IN ONE BREATH: Tue, Jun 23, 7 p.m.: screening to benefit Stories with a Heartbeat, which documents medical professionals and patients in Palestine, Turkey and Jordan. $10–$15. www. eventbrite.com/e/cairo-in-onebreath-screening-to-benefitstories-with-a-heartbeattickets-16871088881. Varsity Theatre, 123 E Franklin St, Chapel Hill. 919-967-8665, varsityonfranklin.com.

Film Capsules

Our rating system uses one to five stars. If a movie has no rating, it has not been reviewed. Signed reviews by Curt Fields (CF), Brian Howe (BH), Laura Jaramillo (LJ), Kathy Justice (KJ), Craig D.

Lindsey (CDL), Glenn McDonald (GM), Neil Morris (NM), Lauren Vanderveen (LV), Ryan Vu (RV) and Isaac Weeks (IW).

Opening

 1/2 INSIDE OUT—Audacious and overflowing with ideas, Inside Out tells the story of 11-year-old Riley and the five color-coded Emotions that live in her head—golden Joy (Amy Poehler), blue Sadness (Phyllis Smith), purple Fear (Bill Hader), red Anger (Lewis Black) and green Disgust (Mindy Kaling).

Director Pete Docter creates a visual extravaganza inside Riley’s mind, where memories are stored in bright orbs and anthropomorphized feelings travel, via the Train of Thought, to notional nooks like Imagination Land, Abstract Thought and the scary Subconscious. The story delivers a parade of delightful concepts— how facts and opinions get mixed up; how brain freeze works—with humor, goofiness and the kind of emotional intelligence we’ve come to expect from Pixar. Rated PG. —GM

Current Releases

 AVENGERS: AGE OF ULTRON—Director Joss Whedon’s superior popcorn movie plugs the current A.I. trend (see Ex Machina, Her, et al) into a comic-book template.

A rogue A.I. by the name of Ultron, voiced with delicious oiliness by James Spader, is out to destroy the Avengers, all of whom return from Whedon’s summer 2012 hit. Whedon’s

FILM

FRIDAY THE 13TH & THE BURNING FRIDAY, JUNE 19, DURHAM

CAROLINA THEATRE—John Carpenter’s 1979 classic Halloween might have kickstarted the slasher genre, but Friday the 13th, released only a year later, cemented its tropes. The quintessential summer-camp splatterfest, Friday the 13th spawned a legion of sequels, imitators and parodies. In other words, it quickly became everything 1981’s The Burning, filmed almost concurrently, could have been. The similarities between the films are plentiful. Both feature a faceless killer stalking teenagers in a woodsy, idyllic setting. Both feature early appearances by nowestablished actors (Kevin Bacon in Friday and Jason Alexander in The Burning). However, inspired by the urban legend of Cropsey—a New York bogeyman whose harrowing real-life story is explored in Joshua Zeman and Barbara Brancaccio’s excellent 2009 documentary, Cropsey (streaming on Netflix)— The Burning gives the campground killer a haunting, if distant, link to reality. Which is the better film is debatable, but only The Burning was banned under the U.K.’s notorious “Video Nasties” list. 7 p.m., $9, 309 W. Morgan St., Durham, 919560-3030, www.carolinatheatre.org. —Bryan C. Reed script—a marvel of blockbuster efficiency—makes time to dig into each character’s comicbook psychology, including needling Hawkeye about his second-banana skill set. The movie never takes itself too seriously, and Whedon amplifies the jokey tone of its predecessor with funny dialogue and running gags. Of course, superhero movies need epic heroics as well, and the goods are delivered in stunning CGI showcases and inventive action sequences. Rated PG-13.—GM  1/2 CINDERELLA—Disney’s new live-action update is lavish, old-fashioned and frequently dull. Director Kenneth Branagh keeps it reverent and gorgeous, with none of the revisionist flash of Into the Woods or Maleficent. Lily James (Downton Abbey) is likable in the lead, and

wily veterans Cate Blanchett and Helena Bonham Carter add flair. Rated PG. —GM  ENTOURAGE—The film suffers from the same flaws the HBO series that inspired it did.

Too many subplots centered on trying to get laid, getting laid by the wrong person or getting laid by the right person but screwing it up because of options A and B. Still, there are laugh-out-loud moments and dozens of cameos that pop up like celebrity whacka-mole. It’s all about the bros—Vinny Chase (Adrian Grenier), Johnny Drama (Kevin Dillon), Eric (Kevin Connolly) and Turtle (Jerry Ferrara). The main plot focuses on Vinny’s directorial debut on a film for Ari (Jeremy Piven, stealing the movie with motormouth insults and rants, just as he

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did the series). The film is over budget and the Texas money behind it (Billy Bob Thornton and Haley Joel Osment) is tired of writing checks. Ari’s former assistant Lloyd (Rex Lee) is back, and he’s getting married!

(The gay wedding storyline is superfluous but everyone loves Lloyd so it’s nice to involve him.)

If you liked the show, you’ll love the movie. Rated R. —CF  EX MACHINA—Writerdirector Alex Garland (28 Days Later) fills this film about an artificially intelligent humanoid named Ava with philosophical subtext. Ava isn’t just created by man. Her entire being is a digital repository of mankind’s history, including an urge for freedom and intimacy, but also a capacity for survival and deception. The plotline is a virtual point-bypoint update of The Island of Dr. Moreau, including an Eden-esque setting. The roles of deity, hero and villain are deliberately left undefined and rotate between the three main characters as the narrative slowly unspools. Rated R. —NM HHHH FAR FROM THE MADDING CROWD—This handsome pastoral romance based on the book by Thomas Hardy is an old-fashioned movie-going pleasure, the kind of film we just don’t get that often anymore. Lead actress Carey Mulligan turns in a stellar performance, as does British actor Michael Sheen, who portrays one of three suitors seeking to win the favor of Mulligan’s character. The other great performance in director Thomas Vinterberg’s film comes from cinematographer Charlotte Bruus Christensen, who treats light like a powdery tactile material. Her English countryside is a place of piercing greens, bruised clouds and buttery sunrises. Rated PG-13. —GM  1/2 FURIOUS 7—The actors fleshing out the wispy plot of the latest installment

LOVE AND MERCY FR 2, 4:30 & 9:30 SA-TH 2, 4:30, 7, 9:30

I’LL SEE YOU IN MY DREAMS

FRI 2:15, 4:15 & 7;15 SA-TH 2:15, 4:15, 7:15, 9:15 DOWNTOWN DURHAM

919.560.3030 | carolinatheatre.org

Doors open at 4pm Show starts at 5pm until 9pm 1st come, 1st served $15 per person 21 + older $25 per person 18-20 yearsof age Live radio feed from G105 & Adam and Eve Hilariously themed buffet! capitalcabaret.com 919.206.4040 6713 Mt Herman Rd • Morrisville (Located in Brier Creek, adjacent to RDU)

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PHOTO COURTESY OF 20TH CENTURY FOX

DOPE • INSIDE OUT JURASSIC WORLD • SPY SAN ANDREAS • AVENGERS MAD MAX For times please go to website

THE RALEIGH GRANDE 4840 GROVE BARTON RD • RALEIGH

RALEIGHGRANDEART.COM

indyweek.com

FRIDAY THE 13TH THE BURNING

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They’re baaaack (unfortunately): Sam Rockwell in Poltergeist

RALEIGH GRANDE

There’s always MORE ONLINE!

FILM SCHEDULE 6/19 - 6/25 FRI, JUNE 19 AT 7 RETROFANTASMA FILM SERIES

INDYweek.com

of the action-driving franchise are just along for the ride. Cars, the real stars, parachute from airplanes and leap between Abu Dhabi skyscrapers. By now, we’re in on the inanity, so a wink absolves the outlandishness, and the film entertains. Rated PG-13. —NM  HOME—In a fun alieninvasion story, this DreamWorks movie about misfit friendship adds Oh (Jim Parsons) to the pantheon of darling, accidentprone, animated outsiders. The voice acting (with Rihanna as Tip) rivals pairs such as Shrek and Donkey. Rated G. —LV I’LL SEE YOU IN MY DREAMS— Brett Haley’s comedic drama stars Blythe Danner as a widowed singer who is putting her life back together with help from her friends and a new love interest. The ensemble includes Rhea Perlman, Martin Starr and Sam Elliott. Rated PG-13.

INSIDIOUS: CHAPTER 3—This horror franchise prequel provides backstory on the character of psychic Elise Rainier. Rated PG-13.  1/2 JURASSIC WORLD— Twenty-two years after the original classic, Jurassic World is a disappointing fossil in which only the tradition of dazzling special effects remains.

Chris Pratt and Bryce Dallas Howard play the odd-couple leads (he’s loose, she’s uptight) and a couple of bland kids are put in peril as dinosaurs one again run amok. The action scenes are fun, especially on the big screen (with the big sound). But the rest of the movie is an assembly-line franchise endeavor, with phony emotional swells, dumbeddown dialogue and relentless product placement. The makers of Jurassic World don’t think much of their audience, and it shows. Rated PG-13.

—GM LOVE & MERCY—Bill Pohlad’s biopic of Beach Boys visionary Brian Wilson focuses on the 1960s and 1980s, with Paul

Dano playing the younger Wilson and John Cusack playing the older one. Rated PG-13.  MAD MAX: FURY ROAD—In Greek mythology, the Furies were goddesses of justice and vengeance. Mad Max: Fury Road takes cues from this feminist allegory while delivering the havoc the title also suggests.

Director George Miller paints an immersive post-apocalyptic epoch where societal structure has been upended, and its most susceptible members are natural resources. The film is part superhero flick, part Western. Max (Tom Hardy) is a monosyllabic man-with-no-name until the last act, his taciturn manner hiding the scars of abuse and survivor’s guilt from the family he couldn’t protect.

The movie’s most compelling champion, Furiosa (Charlize Theron), falls squarely in the lineage of action heroines Ellen Ripley and Sarah Conner. This is a gritty, wild ride. Rated R. —NM PAUL BLART: MALL COP 2—A security guard and his daughter stumble into a Las Vegas heist in this pointless sequel. Rated PG. PITCH PERFECT 2—After becoming the first all-woman group to capture a national title, scandal hits the Barden Bellas, threatening their last year at Barden College. To set things right, they must win the World Championships of A Cappella in Denmark. Rated PG-13.  POLTERGEIST—A first-ballot selection for the Lousy Remake Hall of Fame, director Gil Kenan’s update of the 1982 horror classic reverently retains the plot points of the original film while stripping out all the creepiness and charm. The suburban family haunted-house story gets upgrades in digital effects and product placements, but there’s no sense of pace, no suspense, no style. Just jump scares, scary clown dolls and cthonic portals deployed at breakneck speed—like someone left their thumb on the 1.5x button in the editing room. Sam Rockwell and

Rosemarie DeWitt class up the joint as the terrorized mom and dad, but there’s really nothing new here, and certainly nothing improved. Rated PG-13. —GM SAN ANDREAS—Dwayne “The Rock” Johnson goes head to head with a massive earthquake. Rated PG-13.  SPY—When she’s on her game, Melissa McCarthy is one of the funniest people on the planet, and her new comedy provides a pitch she can hit.

McCarthy plays Susan Cooper, a desk-bound CIA analyst turned semi-reluctant field agent.

It’s the Jack Ryan story played for laughs. Rose Byrne is the haughty villain, Jude Law joins in as the suave 007 type, and Jason Statham steals all his scenes as a meathead agent gone rogue.

Not all the jokes work, but director Paul Feig (Bridesmaids) is smart enough to maintain an accelerated pace. When a joke doesn’t land, there’s no need to worry, because you know that three more gags are coming in fast. Rated R. —GM TOMORROWLAND—Given that Disney’s live-action film was written principally by Lost’s Damon Lindelof, it’s no surprise that its tantalizing premise fizzles in a flawed finale. Worse, this nostalgic Epcot Theme Park ride taints director Brad Bird (The Incredibles). Casey Newton (Britt Robertson), the precocious daughter of a NASA engineer (Tim McGraw), is jailed for sabotaging the disassembly of launch pads at Cape Canaveral.

When she makes bail, she finds a “T”-emblazoned pin that gives her a glimpse into the futuristic Tomorrowland, stocked with the brightest minds. Casey must find Frank (George Clooney), an exile from the city, which has fallen into dystopian disrepair, to save it and our world. Their trip through the looking glass lacks joy and internal logic. With the world’s best dancers and windenergy engineers being recruited to rebuild paradise, couldn’t someone have tossed in a good screenwriter? Rated PG. —NM