11.09 Indy Week

INDYweek.com

November 9, 2022

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Raleigh W Durham W Chapel Hill VOL. 39 NO. 45

CONTENTS NEWS 4

Following attempts to ban LGBTQ books from library shelves, Wake County's public library system is again under scrutiny for carrying an antitrans children's book. BY JASMINE GALLUP

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Hayti residents displeased with the Durham Housing Authority's plans for Fayette Place say long-promised "urban renewal" of the Hayti community can't come soon enough. BY THOMASI MCDONALD

ARTS & CULTURE 8

10 For friends and fellow musicians S.E. Ward and Rachel Hirsh, releasing new music meant coming to terms with doing it on their own terms.

BY SPENCER GRIFFITH

Durham musician Joseph Decosimo transforms old-time repertoire into cosmic Appalachia. BY NICK MCGREGOR

12 New book Carolina Shout! digs deep into North Carolina's jazz legacy.

BY THOMASI MCDONALD

14 A new book offers a vital, sprawling survey of North Carolina’s rich arts heritage—and prompts questions about its future. BY CARR HARKRADER

THE REGULARS 3

Backtalk | 15 Minutes

16 Culture Calendar COVER Design by Jon Fuller and Nicole Pajor Moore | Durham cover photo by Brett Villena

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PHOTO COURTESY OF THE PINHOOK

New Algerian bakery, La Recette Patisserie, is all about community.

BY GWYNETH BERNIER

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Starcrawler performs at The Pinhook on Friday, November 11. (See calendar, page 16.)

November 9, 2022

INDYweek.com

WE M A DE THIS P U BLISH ER John Hurld EDITOR IAL Editor in Chief Jane Porter Managing Editor Geoff West Arts & Culture Editor Sarah Edwards Staff Writers Jasmine Gallup Thomasi McDonald Lena Geller Copy Editor Iza Wojciechowska Interns Chad Knuth, Lia Salvatierra Nathan Hopkins Contributors Madeline Crone, Grant Golden, Spencer Griffith,

Lucas Hubbard, Brian Howe, Lewis Kendall, Kyesha Jennings, Glenn McDonald, Nick McGregor, Gabi Mendick, Dan Ruccia, Rachel Simon CR EAT I VE Creative Director Nicole Pajor Moore Graphic Designer Jon Fuller Staff Photographer Brett Villena AD VER TI S I N G Publisher John Hurld Sales Digital Director & Classifieds Mathias Marchington CI R C UL AT I O N Berry Media Group

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BACK TA L K

Two weeks ago for print, Lena Geller wrote about the poor conditions of homes located on Durham’s Open Air Camp Road leased to tenants by the nonprofit Eno River Association, which now has plans to sell the properties to the state. Readers had thoughts.

From reader STEPH PERRY, a former tenant

be swiftly dealt with. They, and EVERY OTHER

of the same cabin that’s now home to current

HUMAN, should be provided not only housing,

tenant Jerry Ellis, who Geller interviewed:

but food, health care, education and employment

I lived in the Open Air House before Bren-

as human rights. That DOESN’T mean the great

da and Jerry and dealt with VS Rich. They are

plan to house rangers in homes adjacent to the

LYING. I spent all of my own money and count-

park they’ll be serving shouldn’t be implemented.

less man hours fixing that house. I have room-

From reader KAREN KEMP, a “longtime sup-

mates who can testify to that as they did as well.

porter of the Eno River Association:”

Vicky absolutely NEVER helped us and straight

Your hit job on the Eno River Association was

told us she would kick us out if we caused more

underserved, as well as poor reporting. I attend-

trouble. I lived in the front room which had no

ed the meeting where the tenants presented

out wall. Power was $500 a month due to lack of

their stories and experiences in detail. ERA board

insulation, and we lived without any heat except

members listened with respect. They responded

for a cracked little Woodstove. The lady who

with compassion, recognition of having fallen

lived there before me was a professor and spent

short, and a plan of action.

Raleigh

15 MINUTES

PHOTO BY CHAD KNUTH

tens of thousands of dollars keeping it up and I

Writer Lena Geller’s polemic goes most off

wasn’t able to. I gave up and moved out. I have

course with the section of editorializing and

story after story of the horrors of that house,

snarky rhetorical questions that begins, “By and

though it’s not the Houses fault. The house is

large, though, the looming displacement—and

special and wonderful. Vicky Rich is a slumlord

the years of property negligence—call the ERA’s

Grower of the 2022 NC State Fair’s largest pumpkin

and ERA knows it bc I went to them several

mission into question. If the ERA is dedicated to

BY CHAD KNUTH backtalk@indyweek.com

times. Thanks for finally bringing this to light.

‘protecting water quality,’ why is it lording over

From reader ROB GELBLUM, via email:

tenants ....” etc., etc “ (BTW, if Indyweek is going

Danny Vester

Thx for it -- informative, along with the rest

to level charges of lead-contaminated water, I

How long have you been growing pumpkins?

of this issue’s content. But can’t help wanting to

hope you have the independent lab test results

note this: At the risk of stating the obvious (at

to show it.)

I started in 2014, as a way to help save my local town’s pumpkin festival, over in Spring Hope, North Carolina. I told my son I would grow the largest pumpkin they had ever seen, and I did.

least to progressives), the folks living in these

I would not want to live in the city Durham

homes -- along with all other humans -- deserve

would have become if not for the ERA’s decades

housing, but there’s much to be said for ERA’s

of advocacy and action for land, water, and natu-

plan to put the land in the State Parks’ hands,

ral places and that history of service matters.

with the housing provided to park rangers. As a

This situation is very difficult for all con-

retired state employee, I can vouch for the fact

cerned. Indyweek, a for-profit company, chose

that said employees are not the most highly com-

to make it harder. You chose the low road

pensated folks in the land. The challenges facing

with this mean-spirited attack on a valued

the to-be-dislocated current residents should

Durham nonprofit.

backtalk@indyweek.com

@INDYWeekNC

I beat the state record with my first pumpkin. I broke the state record a second time with my second pumpkin. And that was just the first year. I’ve broken the state record seven times since. As it stands today, of the state’s top nine largest pumpkins, I’ve grown seven of them, save for second and ninth place.

This year your pumpkin weighed in at 1,217.5 pounds. What is the weight of the largest pumpkin you’ve ever grown?

WANT TO SEE YOUR NAME IN BOLD?

indyweek.com

Since you started growing pumpkins in 2014, how long until you were competition ready?

@indyweek

Corrections: In last week’s print edition, there was an error in our graphic depicting the NC House 35 and 37 districts. We apologize for any confusion.

In the October 26 Durham print edition, cover photo is by Austin Dixon.

It came in at 1,506.5 pounds, which still holds the state record. That was in 2019.

I understand at one time you also held the world record for largest cantaloupe.

Yes, in 2018 I set the world record for largest cantaloupe, which weighed in at 65.9 pounds. The world record now is 76.7 pounds, and that was grown off of my seed. W INDYweek.com

November 9, 2022

3

NEWS

Wake County JAMES BALDWIN

J B EC

A

HL L NAW

ALEX GINO

URPLE

Room

B a saw and turning them into fins.

JOH NO 706 .92 “On the one hand, it is horrifying,” says WAY WOW. Rowan Dalzell, a part-time library assistant who is also transgender. “It lies, it deliberately misunderstands, it misleads. BIOGRAPHY Reading as a trans person and realizing that many, many people think about us like that was gut-wrenching.”

“On the other hand, I don’t want to make it out to be more than it is, which is the broadest, stupidest, most bad-faith parody foundly anti-LGBTQ+. Several staffers imaginable,” Dalzell continues. “The book responded, including Leesville Community itself is pretty meaningless: what’s upset- Library manager Kate Taylor, who recently ting is what it represents.” led the development of the library system’s Dalzell is angry about the book, given that new book selection and removal policy. it contains disinformation and “could defiThe policy, which took effect in March, nitely hurt people,” they say. But what they was developed after a controversy over the find more upsetting are the actions of senior abrupt removal of LGBTQ+ graphic novel staff at the Wake County Public Libraries.

Gender Queer from library shelves. Senior “What concerns me is that senior man- staff at Wake County Public Libraries— agers at WCPL are once again fanning the namely senior collections manager Thereflames of anti-LGBTQ+ hatred, intentional- sa Lynch and deputy library director Ann ly or not,” Dalzell says. “I truly don’t know if Burlingame—faced inquiries earlier this it is intentional, but also it doesn’t matter. year after they decided to remove the book If someone walks up to you every Monday without the input of staff in the collection and accidentally drops a cinder block on department or the library system’s board your foot, it doesn’t matter if they meant of directors. to: you still have broken toes.”

The incident prompted administrators to review their book selection and removal policies, and they eventually developed a comprehensive new policy. In an October 17 A new policy email to a concerned librarian, Taylor writes The Wake County library system pur- that although she disagrees with the “senchased 20 copies of Johnny the Walrus timents” Johnny the Walrus expresses, and in July after receiving two requests for “it is not a book that I personally would the book from library patrons, according read to my children,” she believes it fits to county spokeswoman Alice Avery. The the library system’s new selection criteria.

“It presents an ‘alternative point of view’ library received the book in late September.

In mid-October, emails started circu- to the more mainstream one that we preslating among staff raising some concerns ent elsewhere in the board book collection; about the book, namely that it was pro- it is a newer title; and there have been mate-

86 .8 6 OM G

lice Walker T H E COLOR P

Giovanni 's

INDYweek.com

YIKES!

LAWN B O Y J O NATHAN

November 9, 2022

MATT WALSH

4

GRAPHIC NOVELS

JUNO DAWSON

A

mid a nationwide campaign to dehumanize trans people, the Wake County Public Libraries have added Johnny the Walrus to their collection, a transphobic picture book that compares being transgender to pretending to be a walrus.

Johnny the Walrus, published in November 2021, was written by Matt Walsh, a conservative columnist for The Daily Wire and anti-trans activist. In a podcast last year, Walsh compared gender-affirming medical care for trans youth to “molestation and rape.”

Walsh went on to attack doctors who provide such care, calling them “Nazi-scientist evil” and “pedophiles.” Walsh characterizes transgenderism as a mental illness and has accused liberals of indoctrinating children. In fact, America’s leading medical researchers, including the American Academy of Child and Adolescent Psychiatry, the American Academy of Pediatrics, and the American Medical Association, support gender-affirming care, saying it yields longterm mental health benefits.

Although Walsh’s extreme and unfounded views have resulted in protests and cancellations of speaking engagements, Johnny the Walrus quickly became a best-seller on Amazon. Within a day, it hit number one on the website’s “Movers and Shakers” list, which documents biggest sales gains in 24 hours.

In the first seven months following publication, Amazon sold nearly 100,000 copies of the book, in which Johnny, a boy, is forced to “transition” into a walrus under pressure from “internet people.” In the book, Johnny’s mom is persuaded to feed him worms after bringing him to a doctor, who also suggests cutting off his hands and feet with

LG B TQ

SISTER OUTSIDER

Memoirs

LIONFORGE

QUEER HEROES

BY JASMINE GALLUP jgallup@indyweek.com

BLACKWELL

Following a scandal last year in which staff tried to remove LGBTQ-themed books from library shelves, Wake County’s public library system is again under scrutiny for ordering an anti-trans children’s book.

ALL BOYS AREN T BLUE

Fanning the Flames

AUDRE LORDE

FI C NO PE .

ILLUSTRATION BY JON FULLER

rials requests for this book,” Taylor writes.

“It is very uncomfortable to be in the position of defending a book’s inclusion in the collection when its content goes against my values—but here we are, and it’s the price of the freedom to read.”

Taylor cites the parts of the policy which state the library system purchases titles that “may contain controversial, unorthodox, or even unpopular ideas” and that the “location and display of materials will not be influenced by the possibility that materials might inadvertently come into the possession of minors.”

“While I don’t like this book, I believe [Collection Development Services] made this purchase in alignment with WCPL’s selection criteria and with careful consideration of a) the potential blowback for including it, b) the potential blowback for not including it, and c) the possible (very public, as we saw earlier this year with Genderqueer [sic]) ramifications of both decisions,” writes Taylor.

It’s worth noting that while senior staff seem to have followed best practice in purchasing Johnny the Walrus, it is much less in demand than books like Our Skin and Antiracist Baby. Where Johnny the Walrus is stocked at 142 libraries nationwide, the other two are stocked at more than 1,000.

Staff suspicion Johnny the Walrus may be challenged by library staff or patrons, but it’s unlikely to be removed from the library, based on Wake County’s new policy and general guidelines from the American Library Association’s Office for Intellectual Freedom.

Per the library’s new book removal policies, challenged books are reviewed by a panel of professionals, and decisions are made based on the First Amendment, which generally protects all speech, with a few strict exceptions. Dalzell has said the book contains misinformation, but it’s unclear if that would serve as grounds for removing it from the library.

Dalzell is more concerned by what this means for library staff. During the controversy over Gender Queer, librarians alleged Lynch and Burlingame created a “vindictive” work environment, retaliating against staff who expressed concerns about the library collection, criticized decisions made by upper management, or talked to the media.

Burlingame refuted these claims in a statement earlier this year, writing that retaliating against employees is inconsistent with her and Lynch’s management style. Burlingame added that decisions about promotion and advancement are based on the input of many employees at different levels, and that the library has safeguards in place to ensure no one person can “impair advancement in the library.”

The INDY asked for additional comment this week; Burlingame and Lynch did not respond by our deadline.

Following the controversy over Gender Queer, some librarians were hopeful that the work environment at the library would change. But the library’s recent response to concerns raised over Johnny the Walrus has discouraged many.

“I had a lot of cautious hope coming out of that whole debacle, but time has made clear that was foolish,” Dalzell says. “No one was removed, the power structure and players all remained exactly the same, and so here we are again.”

Dalzell is frustrated by the way senior staff are talking about this book, refusing to acknowledge the message it sends to the public and to trans staff, they say.

On October 28, Lynch sent an email to all library staff about the recent concerns raised about Johnny the Walrus, explaining why the library purchased the book, how the purchase follows the new policy, and how staff might file a request for the book to be removed. Her points mostly align with Taylor’s, noting that the library received requests for the book and their

new policy defends the purchase of “controversial” titles.

Ironically, Lynch used the library’s new selection policy to defend the purchase of Johnny the Walrus as a board book when, just months ago, she and Burlingame used the library’s lack of a formal policy to defend the decision to remove Our Skin and Antiracist Baby. Their argument (which seems not to apply here) is that books with social or political commentary did not belong in the board book section of the library, where they could be accessed by children or toddlers.

Also concerning is that Lynch did not name the book or its author in the email, nor did she address the larger controversy around LGBTQ+ books in public libraries. “[Lynch’s October] email completely ignores the national campaign to remove LGBTQ+ and especially trans people from public life,” Dalzell says. “It doesn’t address things like Proud Boys attacking a storytime in Wilmington or libraries completely shutting down because they wouldn’t censor their collection …. Finally, Theresa’s email ignores trans employees in WCPL. I have no idea how many of us there are, but I know I’m not the only one.”

Librarian Daniel Sumerlin is also worried about what Lynch’s email means for the way senior staff communicate with librarians. Following the allegations of a hostile work environment, senior administrators (including Burlingame, library director Michael Wasilick, and community services director Frank Cope) pledged to increase transparency in communications between librarians and senior staff.

Lynch’s email casts doubt on the library’s commitment to that transparency, Sumerlin wrote in another email to the INDY. Since the removal of Gender Queer, “work has been done to build a better relationship between senior management and staff, but mistrust lingers,” he adds.

“Furthermore, not identifying the book means not acknowledging why it would become a point of controversy …. Johnny the Walrus is a book written to mock the legitimacy of trans people’s very existence. It exists in the context of a movement to demonize and attack trans people, to deny them equal rights up to and including that of physical safety,” Sumerlin writes.

“It is possible to acknowledge this while also explaining and defending the process by which the book was purchased and will be reviewed for reconsideration; failure to do the former has exacerbated doubt in the [senior library manager] team’s commitment to protecting and supporting their trans employees.” W INDYweek.com

November 9, 2022

5

N E WS

Durham

Gentrification Is Killing Us Hayti residents say they cannot wait much longer for the city’s longexpected, oft-evaded promise of urban renewal for their community.

BY THOMASI MCDONALD tmcdonald@indyweek.com

Faye Calhoun photographed in her home office.

L

ast month in the Hayti District, during a community meeting with three city council members about the future of historic Fayetteville Street, a remarkable exchange took place between Faye Calhoun, who owns a home on Fayetteville Street, and Mark-Anthony Middleton, the city’s mayor pro tem.

Calhoun, a retired deputy director with the National Institutes of Health, stood up during the meeting at the Phoenix Crossing shopping center and announced that she wanted to talk about “the F-word,” Fayette Place, a 20-acre parcel of vacant land on Fayetteville Street that was formerly the site of the Fayetteville Street public housing complex.

Calhoun, like many of the residents at the meeting, is not happy with the Durham Housing Authority’s (DHA’s) decision to choose three companies outside of Durham to build more than 700 apartment units at Fayette Place.

Calhoun says the city should have chosen a developer that had been working alongside the community.

“It was a mistake in 2017 when the city took 20 acres that belonged to us and brought in developers that were not part of North Carolina Central University,” said Calhoun, who currently works part-time as a special assistant to the chancellor at NCCU. Calhoun was referring to a June 2017 city council meeting during which the council approved a $4.162 million grant that allowed the DHA to repurchase Fayette Place.

The site had been the location of a public housing complex built in 1967 following the destruction of the community during a misnamed urban renewal process that destroyed thousands of homes and hundreds of businesses.

In 2002, DHA sought to convert the site into for-profit public housing, but those plans were never realized. In 2007, Fayette Place was sold to Campus Apartments for $4 million.

The land, whose boundaries include Fayetteville, Umstead, and Merrick Streets, was purchased by the Philadelphia-based firm with the condition that the company 6

November 9, 2022

INDYweek.com

would develop a certain amount of affordable housing for students at nearby NCCU. Campus Apartments, after clearing the site of everything but the foundations of the former housing complex in 2009, never followed through on the agreement, and as a consequence, the DHA had the option to buy back the land by August 6, 2017. In November 2016, the housing authority declared Campus Apartments in default of the contract and began to reacquire the land.

Two years ago, NCCU business professor Henry McKoy spearheaded Hayti Reborn, a plan to develop Fayette Place into a residential, educational, and commercial hub. The plan captured the imagination of many residents who think the city never fulfilled its promise of urban renewal. Now, more than a half century later, Hayti’s older residents are still clamoring for a reparative form of justice to rebuild the community’s businesses and homes.

Residents who attended last month’s meeting included members of the Hayti Reborn Community Action Council and the Fayetteville Street Corridor Planning Group. They wonder why their historic community has not been a part of the city’s growing prosperity and how the growth taking place in their neighborhoods has largely been the result of gentrification and development by outside groups, such as the hundreds of luxury apartments built by Charlotte developer CitiSculpt on more than 12 acres of land along South Roxboro and West Pettigrew Streets that was once the commercial retail hub of the Hayti District.

Hayti residents point to ongoing developments by outsiders, such as the recent purchase of Heritage Square, an eroding commercial space that sits between the 600 block of Fayetteville Street and the 400 block of East Lakewood Avenue, by Sterling Bay, a Chicago-based development firm with deep pockets, whose officials announced the project as a joint venture with another Chicago firm and a New York developer.

PHOTO BY BRETT VILLENA

As the INDY previously reported, community members witnessing the ongoing development now contemplate a not-so-distant future in which they will have little if any say, no place to live, and no business to own in the Bull City’s most historic Black community.

Larry Hester co-owns the Phoenix Square and Phoenix Crossing shopping centers with his wife Denise and hosted last month’s meeting. He told the INDY that the new developments will result in higher property taxes and “run people out” of the community.

“The property owners will have to charge more rent,” he says. “We have 40 businesses, and 90 percent are African American, some African, and some Caribbean. When you bring in large developments, it changes the community, and it changes rapidly. People aren’t looking at what the effects are, and how quickly these effects will take place.”

“Durham,” Hester adds, “is responsible for the destruction of Hayti and has a duty to rebuild.”

T

hat was the backdrop at the community meeting where Calhoun decried the “snow-white developers” of Fayette Place who were given “a 99-year lease on 20 acres of land” and “all of a sudden [the city council] ain’t got no power to impose imminent domain on the property” in her request that the city choose a developer who is more aligned with the community’s vision of what should happen to Fayette Place.

“We took our land and gave a 99-year lease to white people,” Calhoun told Middleton and his fellow council members DeDreana Freeman and Leonardo Williams. “You got the power to give DHA [the land], you’ve got the power to get it back.”

Middleton told Calhoun that “facts matter.”

“That land,” the city’s mayor pro tem explained, “was always tracked for housing,” and after Campus Apartments failed to honor its agreement to build student housing,

the Philadelphia company’s officials “had the right to do what they wanted” with Fayette Place.

Middleton added that leaders with the nonprofit Durham Congregations, Associations and Neighborhoods (Durham CAN) persuaded the city to give DHA $4 million “so we can control the land.”

“Not for a museum, not for a business incubator,” he added, remarks that seemed to take aim at Hayti Reborn. “Had the city not intervened, there’s no telling what might be there now.”

The city, Middleton explained, fronted DHA the money so we wouldn’t have more expensive, high-rise apartments at the location “right now.”

Middleton added that the city does not have the legal means to break the agreement between DHA and the three companies selected to build 774 apartment units at Fayette Place by Durham Development Partners—a joint venture team that includes F7 International Development, Greystone Affordable Development, and Gilbane Development Company.

But Calhoun is not convinced the city’s hands are tied.

“It’s remarkable,” she says. “People fought and died for that land.”

Calhoun, who was born and raised in Washington, DC, says she had been traveling back and forth to Durham since the 1980s, when her daughter enrolled at UNC-Chapel Hill. Fascinated by the history of the Hayti District, she moved here in 2004 and bought a home on Holloway Street before purchasing the former parsonage of the White Rock Baptist Church in the 1200 block of Fayetteville Street in 2017.

“To know the history of Durham, you have to embrace Hayti,” she says.

“Why is Black Wall Street not Black anymore?” she asks just days after the NC Mutual Life Insurance Company, once the largest Black-owned business in the world, closed its doors for good.

“Can you believe they are giving away part of the African American community to someone else for 99 years? That’s five generations, and the city is not trying to build generational wealth or an economy that serves the area. We don’t have a grocery store. We don’t have a dry cleaners. It should be a destination place, and it’s not.”

Calhoun notes that during segregation, Black dignitaries could not stay at whiteowned hotels, but then the Black-owned Biltmore Hotel was built in the location where luxury apartments now stand, which Hayti residents can’t afford.

“I say build it back,” she adds. “For Central’s homecoming, there was a list of hotels. Nothing was close to NCCU.”

Calhoun says that on July 30 she sent to the city council a list of amenities she thinks the community needs after attending a public meeting with the Fayette Place developers who proposed a dog park, walking trails, and a historic site at the entrance of the proposed development. She wants a rebuilt Biltmore Hotel; a new Regal Theater; a restaurant with a counter, booths, and a jukebox; an old-school jazz club; doctors and dentists offices; a bank branch; a grocery store with a Black farmers market section; and most of all, a “communiversity” center partnership between Duke, Durham Tech, and NCCU that promotes health and wellness.

Calhoun laughed when asked why not accept city leaders’ assertion that they are legally bound from intervening in DHA’s choice for the Fayette Place developer.

“Because they lied,” she says. “Because it’s not true. [Middleton] said his hands are tied. So we have to figure out a way to untie them. Who tied his hands?”

Middleton this week told the INDY that he was one of the leaders of Durham CAN who raised the alarms to city council members that the Fayette Place property was

Page says her grandparents lived across the street from the store on the corner of Linwood Avenue. She remembers as a child sitting on the porch of her grandparents’ home across the street from the former Lincoln Hospital, now the Lincoln Community Health Center.

“I thought Lincoln Hospital was the most beautiful structure in our community, sitting on that grassy elevation,” says Page, now an administrator with the county’s public health department. “I would sit on my grandparents’ porch and just watch the doctors and nurses coming and going. I was so proud.”

Shepard, the NCCU founder, was a friend of her grandfather and often consulted about the character of residents who applied for work at the school. The famed historian John Hope Franklin was a neighbor and a friend of her grandmother. The opera singer Dorothy Maynor, who founded the Harlem School of the Arts and performed at the presidential inaugurations of Harry Truman and Dwight Eisenhower, was also a family friend.

“I remember her performing at Central and changing clothes at my grandparents’ home,” Page says.

“Durham is responsible for the destruction of Hayti and has a duty to rebuild.” about to be converted for private usage.

“The land was not in possession of the city,” he says. “The city fronted the money to DHA to prevent the land being used [in the manner] that people feared. [No one] should be surprised that DHA is building housing on the land. That’s what DHA does.”

Middleton again emphasized that the city does not have the legal means to repossess Fayette Place, saying he defers to mayor Elaine O’Neal, who, before being elected as the city’s first Black woman mayor, was a district and superior court judge as well as interim dean of the NCCU law school.

“The law matters too,” he says.

J

oyce Page says her grandparents opened the long-closed J.L. Page & Son grocery store on Fayetteville Street in 1910, the same year that James E. Shepard, a pharmacist and religious educator, founded the National Religious Training School and Chautauqua for the Colored Race, which eventually became NCCU, one of the nation’s flagship historically Black colleges.

Page remembers visiting downtown and enduring racism “that I never felt in my community. Hayti was a beautiful place.”

“I would go for candy and had to wait until the whites were waited on first,” she says. “I knew that I was not welcome.”

And she remembers how the community was devastated by “urban renewal” that was so dire that by the end of the 1990s, drug dealers in the community told her parents living on Linwood Avenue to move for their own safety. More than 30 years later, Page says that section of the neighborhood is still a high drug-traffic area.

“It was sad. It was very sad,” Page says.

“When White Rock [Baptist Church] was torn down, it was unthinkable. It was rebuilt, but it was never the same. The city promised new buildings and a fancier, nicer highway.

You saw what they gave us in Tin City,” she adds of the fewer than a half dozen businesses that survived urban renewal’s bulldozers, housed in nondescript fashion on old Fayetteville Street, where the now-closed Carolina Times building now stands empty.

“I thought our leaders were influential,”

she continues. “I realized they were not strong against the white man and his plans.

It took you down a notch.”

Page, like Calhoun, laughed when asked about city officials’ assertion that their hands are tied when it comes to reconsidering the developer for Fayette Place. She says it sounds like a repeat of urban renewal.

“I’m sure that’s why there are so many angry people in that community,” she says.

Still, after working for decades in government at the federal, state, and local levels, Page says she doesn’t doubt local elected leaders feel their hands are tied.

She remembers sitting in the pews of White Rock Baptist Church, where the legendary pastor Miles Mark Fisher presided over the congregation from 1933 until 1965.

“Rev. Fisher used to preach that with integration, we were anxious to have it, but with integration [we were] going to be the ones who lose jobs,” she says.

Meanwhile, Middleton encouraged Hayti residents to not hang their heads low over the fate of Fayette Place.

He says the next city council budget includes a local version of a Marshall Plan, which enabled the United States to rebuild Western Europe after World War II. “The municipal corollary here is for Durham’s Black legacy neighborhoods,” Middleton says. “Our Marshall Plan does not have to be tied to one parcel of land. It can be used across the entire city: in Merrick-Moore, Braggtown, and the entire Fayetteville Street corridor. It’s important that we get this in the next budget cycle because it’s the biggest opportunity to make substantive change in recent history.”

Career educator, longtime president of the Durham Committee on the Affairs of Black People, and fiery civil rights advocate Lavonia Allison owns two homes in the Hayti District that were set afire recently by unhoused community members. She mourns the loss of NC Mutual and laments that the Mechanics & Farmers bank, which once had a branch in the Hayti District, “is on a string.”

Allison says the stately homes that belonged to some of the city’s leading Black luminaries along Fayetteville Street were not supposed to be torn down during urban renewal.

“On Fayetteville Street, with the houses of [NC Mutual executives] C.C. Spaulding, William J. Kennedy, and [banker] Richard McDougald, are you kidding me?,” she says For Allison, Hester, Calhoun, Page, and a great many other Hayti residents, a municipal Marshall Plan can’t come soon enough.

“It’s awful,” Allison told the INDY. “Gentrification is killing us.” W INDYweek.com

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FO O D & D R I N K

LA RECETTE PATISSERIE 4823 Meadow Drive, Suite 115, Durham | larecettepatisserie.com

Sweet Spot Djamila Bakour’s new Durham bakery, La Recette Patisserie, is all about community.

BY GWYNETH BERNIER food@indyweek.com

A staff member rearranges a pastry display.

O

n a chilly Saturday morning, Djamila Bakour ties together clusters of white, gold, and pale green balloons to adorn the concrete facade of a shopping center in southern Durham near Research Triangle Park. She carefully places a trail of chalkboard signs that read “Grand Opening!” in cursive leading to the door of her bakery, La Recette Patisserie.

Bakour darts back inside to check her ovens. A moment later, the smell of freshly baked ginger blondies wafts out the door, drawing in a crowd. Some people speaking French dash to claim their seats. Others speaking Darja—the Algerian Arabic dialect—stop to pull one another into tight embraces. They come bearing gifts of rose bouquets and shiny silver baking tins.

Still others rush to take their place in line in front of the grab-and-go case, where salted caramel truffles and almond-datecrusted lemon tarts stand at attention like soldiers in meticulous rows.

These desserts represent owner Bakour’s fusion of French and Algerian baking styles, a hallmark of the menu at the new La Recette Patisserie.

In the middle of the commotion, Bakour bursts through a set of sliding wooden barn doors that lead from the kitchen, holding a 8

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mirror-glazed pistachio praline cake in one hand and a piping bag filled with pink cherry buttercream in the other. She marches by her line of back-counter cakes, ready for their deployment to graduations and weddings. Bakour’s creations are outrageously whimsical yet sophisticated. Winnie-thePooh sits with his signature honey pot atop a bright yellow beehive. A shimmering, ombré periwinkle mermaid tail dives into a waterfall four tiers high. Rapunzel lounges in her bubblegum-pink palace with licorice ivy vines that wind around its towers.

To make her creations so quickly to order, Bakour has learned that organization is paramount.

“I keep my generals in line,” Bakour jokes with a playful wink, tilting her head toward her four giant industrial stand mixers.

But she balances this fastidiousness with a penchant for creativity.

“I’ve never made the same cake twice, because I like to consult with my customer before I start designing,” Bakour says, glancing proudly at her masterpieces. “The final product is always a unique combination of my customer’s feelings and my mood that day. My customers take the cakes home, but on a deeper level the piece of edible art is ours because it represents both of us

coming together.”

Bakour started making cakes as a home baker in 2015, fulfilling wholesale online orders after graduating from NC Central University with a degree in food science and nutrition.

“I didn’t look that hard for a regular job after college,” she says with a chuckle, kneading croissant dough. “As an immigrant, I wanted to do my own work—be my own boss doing what I love.”

Bakour owes her love for baking to a childhood spent helping her mother bake for family and friends in Algeria. After immigrating with her family to the United States 15 years ago, Bakour finds her confectionery concoctions still help her feel connected to home.

To reconnect with the source of her passion, Bakour went back to Algeria for six months in 2017 to take a course from a French pastry chef.

“Algeria—and all of North Africa—is very influenced by French cuisine and culture,” she remarks, while dusting her blueberry cake pops with gold powder. “So I learned how to blend the disciplined technique of French pastry with flavors from the Algerian tradition I grew up in.”

After returning to Durham, Bakour was

PHOTO BY GWYNETH BERNIER

determined to bring “Arab hospitality” to her adopted city. In order to do so, she knew she needed a retail storefront. Bakour settled on her current two-room space on Meadow Drive because she felt the location was lucky.

“This place used to be a bakery before they upgraded to a larger space,” she said, wrapping her traditional Algerian sable cookies. “So it must have good vibes!”

Thanks to the financial support of her online following, Bakour was finally able to sign a lease on her dream location last November. Her Kickstarter drive raised over $27,000 from 365 donors in the first month it was online.

“It’s crazy—I’m so humbled!” Bakour exclaims, briefly dropping her whisk to press crossed palms to her heart. “I get so emotional every time I think about the support my dream has from the Durham community.”

Bakour attributes her bakery’s popularity to her social media strategy. Boasting over 7,000 followers and counting, Bakour’s hyperstylized Instagram feed nails the platform’s aesthetic through her careful curation of digital pastels and florals.

“I love designing every post with my favorite fonts, thinking of captions, and posting pictures I took on my iPhone,” Bakour says,

stamping stars onto her batch of strawberry Linzer tortes. “It’s so great to be able to engage with my customers all the time in the comments section.”

Bakour’s authenticity shines in her video reels, in which she pulls back the curtain on how she makes the bakery’s most popular items. With an effervescent smile, Bakour walks her followers through her baking process in minute-long video snippets.

“With my videos, I can speak from the heart,” she says, piping her vanilla bean cookie pie filling. “That’s where I try to keep it real with my followers.”

Before opening her storefront, Bakour had to develop a grab-and-go menu for her future customers. Her sugary multicolored macarons represent the bakery’s classic French influence, whereas her savory labaneh za’atar (feta cheese and herb) danishes represent its distinctive Algerian flair.

To make and sell all her delectable menu items, Bakour had to find staff, including the two women working furiously behind the counter to rearrange a quickly vanishing display of rose petal cupcakes. Behind them is the bakery’s name lit up in orange neon. The sign’s glow illuminates a white-and-indigo sugar-crystal-encrusted geode cake destined for a 17th birthday celebration elsewhere.

“I actually hired two of my best friends, Amal and Areba,” she says, motioning to the two women. “They’re especially great as my farmers’ market team.”

But the bakery is mostly a family affair.

Bakour’s husband Fadi Ghanayem brews pitchers of Algerian mint tea in the kitchen, while her parents stamp to-go boxes with her logo. Aunties from the mosque popped by during the day to check on Bakour and lend a hand at the cash register.

Once Bakour enlisted her helpers, only one thing was left to do: design the bakery’s interior. Much of the decor includes subtle nods to her heritage, from ornate cushions purchased at markets back home to potted cactus species native to the Sahara. Even the floor—an eggshell-and-gold marble—is made from the same material as the floor of her grandparents’ house in Algeria.

Her hand-painted mural on the east wall transforms the space into an Algerian street scene.

Pictures of her hometown inspired the

imagery of the desert sun beating down on small streets that wind through angular architecture. The minimalist painting’s maroon, burnt orange, and salmon pink hues are taken directly from Algerian art, but the palette also makes for a trendy background as customers snap and share selfies.

“It’s a blessing to see so many people coming together to support a Muslim-woman-owned business,” she gushes, putting the finishing touches on a cake covered in cyan flowers. “I never could have done it alone.”

Beyond her in-house and online supporters, Bakour also had the support of established small businesses in Durham.

She often goes to husband-and-wife duo Areli and Leon Grodski—co-owners of the Cocoa Cinnamon café—for business advice.

Their partnership is reflected in the bakery’s opera cake, one of her best-sellers. Bakour infuses the icing with Cocoa Cinnamon’s original coffee blend for a local twist on a French classic.

In the long term, Bakour wants to open more locations and establish a weekly schedule of in-house cake-decorating classes. But in the short term, she’s thrilled with the turnout for her grand opening.

“My French-style training elevates my desserts, but in Algeria, baking is always about community,” Bakour says. “Food is a universal language, and it’s a way for us all to connect during events like today.”

As she speaks, a mother gives her young son a bite of a cookie, and a group of teenage girls giggles between bites of pumpkin cheesecake.

“I want La Recette Patisserie to be an outlet in which the community can grow and thrive,” Bakour says. “This is a place by community members for community members. I want people to build good relationships around quality desserts here.”

Bakour sets down her spatula for a moment. She notices a group of customers walk in the door. She turns to give them all hugs. W

“I want people to build good relationships around quality desserts here.”

This story was published through a partnership between the INDY and The 9th Street Journal, which is produced by journalism students at Duke University’s DeWitt Wallace Center for Media & Democracy.

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

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A Place at the Table provides community and good food for all regardless of means. We are serving everyone. We believe that all people deserve dignity to eat in a restaurant and have a healthy, affordable meal. Wherever you may come from, you are welcome to dine with us. We hope you will.

Come visit us and join our 2020 Coffee Club—unlimited coffee, tea, & iced coffee for the year 919-307-8914 | W Hargett St #50, Raleigh, NC 27601 INDYweek.com

November 9, 2022

9

M U SIC

S.E. WARD: SORRY THIS TOOK SO LONG | Self-released; Nov. 4 RACHEL HIRSH: I’VE BEEN HERE THIS WHOLE TIME EP | Self-released;

Nov. 8 Wilder Maker / Rachel Hirsh / S.E. Ward | The Pinhook, Durham | Nov. 13, 8 p.m.

Time Lapse Before releasing new work, friends and fellow musicians S.E. Ward and Rachel Hirsh first had to redefine their respective relationships with the music industry.

BY SPENCER GRIFFITH music@indyweek.com

“R

emember when music was fun? Let’s do that!”

In recent years, there was a time when Rachel Hirsh—a Triangle music veteran who started playing music with I Was Totally Destroying when she was a teenager, more than fifteen years ago—thought she wouldn’t release music again. Bruxes, Hirsh’s post-IWTDI project, released an excellent EP in 2016 but its fully recorded follow-up was shelved after a dispute over performances with her then-bandmate and ex-boyfriend.

“I spent a decent chunk of time saying, ‘why the fuck would I ever put myself in that situation again and try to make art that way if that could happen?’” Hirsh says.

Hirsh, who released her solo EP I’ve Been Here This Whole Time on Tuesday, credits friend Sarah Ward, who plays music as S.E. Ward, for being “the kick in the butt” that helped her own release come to fruition. While sonically similar to Bruxes’ hooky ‘90s alt-rock, I’ve Been Here This Whole Time doubles down on the frankness and vulnerability of her previous releases. “Being in the studio with Sarah and seeing how fulfilled they were tracking their parts and creating this thing, I was like ‘oh shit, I can do this too,’” remembers Hirsh, who previously had played keys live with S.E. Ward.

Ward themselves had doubts that sorry this took so long, released last Friday as S.E. Ward’s first full-length and the follow-up to their 2018 EP, would see the light of day.

“I never thought I would ever get this—or anything else— done,” they say, characterizing the album as a diary of “some really big life changes” over the last couple years, with moody indie rock as fraught with loss and longing as it is hopeful and healing. They describe searching for their identity—both personally and as a musician—during that period in the wake of their divorce and newfound sobriety.

“After my divorce, I didn’t really know who I was or where I fit in and I felt lost,” Ward recalls. “I didn’t feel like a part of any scene or anything, and it felt really isolating.”

A torn ACL—and an extended recovery abetted by a COVID-delayed surgery—derailed their first foray back into music just as the pandemic began to hit. “Then when I got sober, that completely changed my identity. I didn’t know if I could ever play music again because I didn’t know how to do this and not drink.”

In each other, Hirsh and Ward found both encourage10

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ment and a friendship that’s, frankly, adorable. The pair will share a bill on November 13 at the Pinhook, where they’ll open for Brooklyn indie rock band Wilder Maker.

“Aww, you’re my kick in the butt,” Ward says, echoing Hirsh, before going on to explain the push they get from Hirsh’s musicianship and artistry, both on stage and in the studio. Along with mutual admiration, the pair have helped each other to feel free of the pressure of the music industry and the expectations of outsiders, creating music for themselves rather than others.

“Prior to 2018 or 2019, I was existing in environments— especially when it came to music—where I felt an expectation of me to adhere to one specific identity and to prove myself to a lot of people, especially those that were close to me at the time,” Ward offers. “That was a really exhausting way to live and a really limiting way to create music.”

By contrast, Ward has felt free to be “relentlessly honest” in the process of creating their new album, from removing the constraints of a recording timeline to no longer pretending they always know what they are doing, explaining the empowerment they’ve felt from sitting back and reflecting on the right move for them as an artist.

Hirsh, meanwhile, revels in knowing that she never has to spend a month touring in a van again. Through her latest project, she’s also redefined her relationship with music, describing it as more self-indulgent now that she’s not seeking the same external validation and affirmation.

“This EP was kind of an exercise in remembering why [I] even write songs and try to communicate our feelings in the first place,” she explains. “It’s therapeutic, it’s creatively fulfilling, and it’s just nice to do it without the context of being hyperactive in a scene and the industry—it just feels much more organic now.”

Beyond being each other’s biggest cheerleaders, Hirsh and Ward share a hope that other musicians may similarly feel released from music industry pressure as they have.

“I hope other musicians—namely women and femme folks—realize that you also deserve to put out music and deserve to have people hear it,” Hirsh says. “It doesn’t have to be a big, huge thing the way that it has been historically.

You can put out music on your own terms.”

“You don’t have to live up to anybody else’s standards,” Ward adds. “You can do this.” W

M U SIC

JOSEPH DECOSIMO: WHILE YOU WERE SLUMBERING

HHHH1/2

Sleepy Cat; Nov. 11

Past as Prologue Joseph Decosimo transforms old-time repertoire into cosmic Appalachia. BY NICK MCGREGOR music@indyweek.com

T

he past is never dead. It’s not even past.” So goes one of the most famous lines from William Faulkner, the eminent Mississippi novelist commended for his unflinching view of the American South.

The phrase is also relevant to Joseph Decosimo’s new album, While You Were Slumbering, out November 11 on Sleepy Cat Records. Sourced from Decosimo’s work befriending older artists and plumbing the multigenerational depths of music sprung forth from his native Cumberland Plateau in the Appalachian Mountains, these 14 tracks update old-time tradition for today’s fractured world.

These aren’t just “distant interpretations of exotic repertoire,” as Decosimo writes in the album’s extensive liner notes. Instead, old English ballads like “The Fox Chase” and “Young Rapoleon” enter the modern lexicon, with Decosimo adding his dearly departed corgi, Charlie, to the first song’s venerated pack of hounds.

Other tracks retain their primordial narrative power while riding a wave of sonic dexterity. Decosimo’s delicate vocals transform “Trouble” and “Man of Constant Sorrow” from haunting laments into supple jaunts. Thoughtful instrumental contributions from young collaborators like Stephanie Coleman, Joe and Matt O’Connell, and Cleek Schrey add ethereal texture to “The Lost Gander” and “Clear Fork,” elevating hidebound Appalachian fare into the experimental cosmos.

Most stunning among the mix is “Possum up a Gum Stump.” Adapted from a 1940s western North Carolina field recording, the song— its title provincial to the point of pantomime—is made eerily transcendent thanks to resonant Hardanger d’amore (a 10-string bowed instrument) and pulsing bass clar-

inet from Alec Spiegelman.

Still, the strongest moments on While You Were Slumbering might be the most traditional. The keening voice of bluegrass legend and fellow Durham resident Alice Gerrard animates “Shady Grove,” “Apple Brandy,” and “Come Thou Fount,” all traced to old field recordings and recorded en plein air in Gerrard’s backyard. Meanwhile, the songs sourced from Decosimo’s mentor, Clyde Davenport, who died in 2020 at the age of 98, start with simple fingerpicked banjo before building outward into expansive contours of dissonance and consonance.

The Davenport repertoire exists in few other corners of the recorded American canon. That makes Joseph Decosimo a savior of sorts—who else could expose us to the microtonal pleasures of “Will Davenport’s Tune” and “Wild Goose Chase”? But far more is afoot on While You Were Slumbering.

You can feel the exultation and veneration informing Decosimo’s trained folklorist methods. You can hear joy, anguish, satisfaction, and sorrow—all the same emotions braided into these songs’ old-time roots.

“Never dead,” indeed. W

ALBUM ART COURTESY OF SLEEPY CAT RECORDS

INDYweek.com

November 9, 2022

11

PAGE

LARRY THOMAS: CAROLINA SHOUT! THE CAROLINA JAZZ COLLECTION

United Brothers & Sisters Communications; October 2022 | Available online at natturnerlibrary.com

Rhythm Section A new book by Wilmington author Larry Thomas explores North Carolina’s rich jazz heritage.

BY THOMASI MCDONALD tmcdonald@indyweek.com

L

ast month, Chapel Hill iconoclast Larry Thomas’s latest book, Carolina Shout!

The Carolina Jazz Collection was published

by United Brothers & Sisters Communications in Drewryville, Virginia. The 119-page volume highlights the nearly 100 jazz musicians who were either born in the Tar Heel state, or who arrived via marriage, ancestral roots, or to enroll in North Carolina Central University’s acclaimed jazz studies program.

The historian, jazz griot, radio announcer, and writer has been on roll in recent years.

His 2014 book, The Woman Who Shot Lee Morgan, is at the center of a widely acclaimed 2016 Netflix documentary, I Called Him Morgan, which traces the life of the fiery-hot young trumpeter through the memories of his common-law wife, Helen Morgan, who killed him. Other film documentarians have been drawn to Thomas’s literary work and finely honed sense of history. His 1993 book, The True Story Behind The Wilmington Ten, figures prominently in Triangle filmmaker Chris Everett’s Wilmington On Fire, which explores the racial massacre that engulfed the coastal city in 1898.

Thomas a native of Wilmington, also authored Rabbit! Rabbit! Rabbit!: A Fictional Account of The Wilmington Ten Incident In 1971, published in 2006.

Thomas’s considerable contributions to the jazz art form have not gone unnoticed.

His lecture, “The Carolina Jazz Connection with Larry Thomas,” has been widely presented since 2008. In 2014, he was named Jazz Hero by The Jazz Journalists Association and in 2016, received the Fifth Annual Donald Meade Legacy Jazz Griot Award at The Jazz Education Network (JEN) conference. He has been a participant in the Downbeat Magazine jazz critic 12

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poll since 2012. There is an abundance of North Carolina jazz material for his new book to explore.

Legendary pianist McCoy Tyner’s parents, Jarvis and Beatrice, were born in North Carolina. So were the parents of tenor saxophonist Charlie Rouse who collaborated with bebop pioneer Thelonious Monk for about a decade. Composer, pianist, and big band leader Edwards Kennedy “Duke” Ellington cut his musical teeth in Washington, D.C., but his father hailed from Lincolnton.

The volume’s main focus is on what Thomas describes as “The Big Four” of the state’s jazz connection. Indeed, the musical masters cited by Thomas are the big four by whatever standard of measure in the world of music. Saxophonist John Coltrane was born in Hamlet and grew up in High Point, pianist and bebop architect Thelonious Sphere Monk was born in Rocky Mount, influential drummer Max Roach hailed from New Land, and the seminal vocalist and pianist Nina Simone grew up in Tryon.

Carolina Shout! points to the art form’s contributing elements, beginning with what Thomas describes as “American Apartheid,” with the legal sanctioning of segregation following the U.S. Supreme Court’s Plessy v. Ferguson decision in 1896. He also points to other conditions not always cited that helped to create jazz: the lynching of Black men, along with the migration of Blacks to the North and West to escape the oppressive South and to seek better economic opportunities; the Black church; and of course, the blues.

Thomas also notes the political shift that occurred in 1954, nearly 60 years after Plessy v Ferguson, when the nation’s high court outlawed segregation in public

Carolina Shout! author Larry Thomas

PHOTO COURTESY OF CANDACE THOMAS

schools with the Brown v. Topeka Board of Education decision.

Thomas also chronicles unsung musicians like Raleigh bagpipe player Rufus Harley, Durham drummer Grady Tate, along with Triangle mainstays reedman Stanley Baird, who was born in Asheville, percussionist Beverly “Bongo” Botsford, from Charlotte, and Kinston’s influential educator and saxophonist Ira Wiggins.

The author also acknowledges musicians who have cast a bigger light across the jazz skies like Raleigh native Albert “Chip” Crawford, a pianist with Grammy-award winning vocalist Gregory Porter, Durham’s Grammy-nominated vocalist Nneena Freelon, vocalist Roberta Flack, who was born in Black Mountain, bassist Percy Heath from Wilmington, trumpeters Woody Shaw and Dizzy Gillespie who lived in Laurinburg, and saxophonist Branford Marsalis, who resides in Durham.

The volume also features the author’s riveting interview with Helen Morgan in February 1996, about a month before she died of heart problems in Wilmington. Helen Morgan, a native of Brunswick County, was charged with Lee Morgan’s death in 1972, served time in prison, and lived in New York before moving to Wilmington in 1978 to care for her ailing mother.

Carolina Shout! was born out of Thomas’s blog, Carolina Jazz Connection, and uses a radio interview format that relies on illuminating and thoughtful interviews with a wide range of experts, including the trumpet player and jazz historian, Larry Ridley,

Nnenna Freelon, and T.J. Anderson, a retired Tufts University music professor who was a friend of Max Roach.

“He was more than an intellectual,” Ridley says of Coltrane in the volume. “He was a special, spiritual being. Thelonious was the same way. That’s why they meshed so much.”

Freelon, meanwhile, describes Nina Simone as “one of her inspirations” in Carolina Shout!.

There was, Freelon explains, “Diana Ross and The Supremes, there were other icons out there. But Nina stuck out because when she came to my consciousness she came rolling out with her hair in cornrows, looking like a queen and just saying that she wasn’t apologizing for who she was.”

The interviews in Carolina Shout! indicate that music from the Big Four is played throughout the commentaries. The musical selections will surely prompt some readers to pull up the music, online or otherwise, to accompany the reading of the slim volume.

There are other nice touches: Thomas kicks off each interview with the 1921 tune “Carolina Shout” by stride pianist James P. Johnson—give it a listen—and the volume is dedicated to the “Heath Brothers: Jimmy, Tootie and Percy,” along with Durham musicians Brother Yusuf Salim, Bus Brown, and, Thomas writes, “all the musicians who let me hang backstage, so I could laugh, cry and listen to the fascinating stories they told.”

Carolina Shout! is available for purchase online from the publisher or at downtown Durham’s Letters Bookshop. Pick it up. W

WE 12/7 @ CAT’S CRADLE

LIGHTNING BOLT

TH 11/10 @ CAT’S CRADLE BACK ROOM

SA 11/5 @CAT’S CRADLE

THE RED PEARS

W/ BABYBABY_EXPLORES

CHLOE MORIONDO

W/BENCHES, FLOATS

MO 11/14 @HAW RIVER BALLROOM

SOCCER MOMMY

SA 11/12 @ CAT’S CRADLE

W / HELENA DELAND

PHILLIP PHILLIPS

TH 11/17 @ CAT’S CRADLE

SENSES FAIL

W/ MAGNOLIA PARK, CAN’T SWIM

W/ AMERICAN AUTHORS

SU 11/27 @CAT’S CRADLE

THE MENZINGERS

W/ TOUCHE AMORE, SCREAMING FEMALES CAT'S CRADLE WE 11/9 ANDMOREAGAIN PRESENTS

SU 11/13 @ CAT’S CRADLE

ALEJANDRO ESCOVEDO ALL STAR BAND

W/ JONATHAN BYRD + JESS KLEIN

EUGENE MIRMAN

W/ DERRICK BROWN, EMMA SWIFT SA 11/12 PHILLIP PHILLIPS W/ AMERICAN AUTHORS SU 11/13 BE GOOD TO YOURSELF PRESENTS

ALEJANDRO ESCOVEDO ALL STAR BAND W/ JONATHAN BYRD + JESS KLEIN TH 11/17 SENSES FAIL W/ MAGNOLIA PARK, CAN'T SWIM FR 11/18 THE

STEWS

SA 11/19 CARBON LEAF W/ CARRIE WELLING SU 11/20

MEECHY DARKO

CRAZY CHESTER (LAST WALTZ TRIBUTE)

FR 11/25

W/ SCHOOL OF ROCK CH HOUSE BAND SU 11/27 THE MENZINGERS: ON THE IMPOSSIBLE PAST 10 YR ANNIVERSARY TOUR W/ TOUCHE AMORE, SCREAMING FEMALES TH 12/1 LESS THAN JAKE W/ CLIFFDIVE, KEEP FLYING FR 12/2 VIOLET BELL ALBUM RELEASE SHOW W/ ALLISON DEGROOT & TATIANA HARGREAVES SU 12/4 COVET W/ THE VELVET TEEN

TH 12/1 @ CAT’S CRADLE

LESS THAN JAKE

W/ CLIFFDIVE, KEEP FLYING

WE 12/7 LIGHTNING BOLT W/ BABYBABY_EXPLORES TH 12/8 JUMP, LITTLE CHILDREN W/ FRANCES CONE FR 12/9 DON'T LIE TO ME! CELEBRATING 50TH ANNIVERSARY OF BIG STAR'S #1 RECORD

SA 12/10 SOUTHERN CULTURE ON THE SKIDS

THE HAPPY FITS WE 12/14 MCLUSKY

TU 12/13

TH 12/15 TURNOVER W/ VIDEO AGE, RIKI FR 12/16 5YRS OF GET SAD EMO POP PUNK PARTY!

Y'ALL:

FR 1/6/23 BILLY PRINE AND THE PRINE TIME BAND PRESENT:

SONGS OF JOHN PRINE

SA 1/14/23 MAGIC CITY W/ CAPYAC FR 1/20/23 TOWN

HIPPIES

MOUNTAIN

WE 1/25/23 JOHN CRAIGIE W/GRACE ROWLAND (OF THE DEER) FR 1/27/23 RUBBLEBUCKET TU 2/1/23 SUKI

WATERHOUSE

TH 2/3/23 FLIPTURN W/ HOTEL FICTION

WARREN ZEIDERS SA 2/11/23 KIMBRA

WE 2/9/23

W/ TEI SHI

FR 2/17/23 ADAM WE 2/22/23

MELCHOR

KULA SHAKER

SOLD WE 2/25/23 OUT

WEYES BLOOD MO 2/27/23 JUNIOR BOYS TH 3/9 & FR 3/10 YO LA TENGO WE 3/22/23 WHITE REAPER W/ MILITARIE GUN, MAMALARKY TU 3/28/23

IBEYI

WE 3/29/23 CRANK IT LOUD PRESENTS

SA 12/3 MIKE DOUGHTY

W/ FAME ON FIRE

FR 12/9 KELSEY WALDON W/ ABBY HAMILTON

OUR LAST NIGHT

MO 4/3/23

JAWNY

W/ WALLICE

CAROLINE ROSE HOODOO GURUS 6/29/23 EELS

SU 4/16/23

CAT'S CRADLE BACK ROOM

TU 5/9/23

WE 11/9 LEVEN KALI

TH 11/10 THE RED PEARS W/ BENCHES, FLOATS SA 11/12 BIG POOH (CANCELLED)

MO 12/12 SPECIAL INTEREST TU 12/13 BAKED SHRIMP SA 1/7/23 KINGSBURY MANX W/ NATHAN BOWLES & JOE O'CONNELL SA 1/14/23 VICTORIA VICTORIA W/ CHARLIE HUNTER FR 1/20/23 CHUCK PROPHET TRIO

SU 11/13 THE BREVET LD 11/14 SOMO OUT

SA 12/10 THE GREETING COMMITTEE W/ WILLIS

FIELD MEDIC W/ SADURN

TU 11/15 AN EVENING WITH

DON DIXON

WE 11/16 COURTNEY MARIE

TU 1/24/23 NIGHT MOVES TU 2/7/23 DURRY (ON SALE 11/11) SA 2/18/23 ELLA JANE

ANDREWS

W/ STEVEN FIORE OF YOUNG MISTER

LOCAL 506 (CHAPEL HILL)

TH 11/17 STOP LIGHT

OBSERVATIONS

FR 11/18 DRO KENJI & MIDWXST SA 11/19 ROSE CITY BAND, ROSALI, AND DARREN JESSEE SU 11/20 OLD SEA BRIGADE W/ BROTHER BIRD

SA 11/17 PRETTY SICK W/ MILLY

CAROLINA THEATRE (DURHAM) SA 2/11/23 ANGEL OLSEN W/ ERIN RAE

MOTORCO (DURHAM)

WE 11/23 ALDN W/ POPTROPICASLUTZ!

TH 11/10 COPELAND W/ WILDERMISS

SA 11/26 PHILSTOCK FT HONEY PUMPKINS, WYATT EASTERLING (ALS RESEARCH BENEFIT)

HAW RIVER BALLROOM (SAX)

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ART OF THE STATE: CELEBRATING THE VISUAL ART OF NORTH CAROLINA BY LIZA ROBERTS

The University of North Carolina Press; November 2022

Art of the State author Liza Roberts PHOTO BY ANNA ROUTH BARZIN

The Big Picture A new book offers a vital, sprawling survey of North Carolina’s rich arts legacy—and prompts questions about its future.

BY CARR HARKRADER arts@indyweek.com

F

rom the very beginning, the ambitions of Art of the State: Celebrating the Visual Art of North Carolina are clear. Written by Raleigh resident Liza Roberts with photography by Durham photographer Lissa Gotwals and released by UNC Press, the 272-page book offers a sprawling, vital survey of North Carolina art now. As Larry Wheeler, the renowned former director of the North Carolina Museum of Art writes in the forward, “[This is] the first contemporary and comprehensive look at the rich diversity—people, places, and materials—which characterize the art of North Carolina.”

Art of the State is structured by region. Like taking a slow trip down I-40, it starts in the mountains and goes eastward, with dips down to Charlotte and the Sandhills area, summarizing the prevailing trends and characteristics of each region. Western North Carolina focuses on the community around the Penland School of Craft; the Sandhills section displays the region’s internationally recognized craft pottery legacy; and in the Triangle area, the 14

November 9, 2022

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NC Museum of Art, the dynamic museums of local universities, and prominent artists like Beverly McIver and Thomas Sayre are highlighted.

The book itself is impressively designed and rich with captivating images of art that are often paired with profiles of artists and collectors. These cutaway sections— separate from but interspersed with the main text—give the book the feel of a well-curated gallery, with individual pieces hanging on the wall and coalescing around a holistic theme. As Roberts told me over email, her intention with these profiles was to showcase “not only a broad range of art in terms of media, message, technique, and style, but also a broad range of human stories.”

It’s obvious that Roberts did a vast amount of research for the book.

A journalist and the founding editor of WALTER magazine, Roberts notes that for her research, she conducted over 200 interviews, which took over three years to complete. Gotwals’s photographs are a standout addition,

documenting the artists and their art with an appreciative, joyful sincerity. Many of the artists are at work in their photographs; seeing the ladders, kilns, stitching needles, and shears reminds the reader of the deep physicality of even the most ethereal pieces of creative labor.

As the Seagrove-based glass artist Sarah Band points out in the book, “Art is just lucky enough to be limitless.” But the support for it is much more bound by tangible concerns.

Why has North Carolina cultivated such a community of artistry, one worth celebrating in books and museums?

“The state itself fuels this art, with its extraordinary natural beauty, its affordability, and its quality of life,” Roberts writes in the introduction. That might all be true, but that could describe why a biotech firm relocated here as much as a sculptor.

Later on, Roberts hits closer to the distinction when she notes the investments made by community institutions and the ideals committed to by the state. Prominent local institutions—like Greensboro’s GreenHill Center, which exclusively features contemporary art from North Carolina; the North Carolina Pottery Center in Seagrove that upholds a traditional form of craft making that traces back to the state’s founding; and the influential Light Factory Photo Arts Center in Charlotte that has trained Queen City photographers since 1973 and exhibited the work of Diane Arbus and Sally Mann—serve as a cultural backbone offering forums and vital support networks for local artists.

Although a number of individual collectors are featured, there is also an understated but critical emphasis on the role of public and government leadership. As Roberts writes in the book, the NC Museum of Art was “the only [museum] in the nation built on a collection purchased by the state.”

The UNC higher education system, with its MFA degree programs, affiliated museums, and cultural programming, has seeded creative outposts across the state.

While Art of the State is (rightly) laudatory of all of this, what is happening outside its pages could leave a reader forlorn. Could you imagine the North Carolina legislature establishing a conservatory like the UNC School of the Arts today? Does such creative foresight fit within the cruel and cramped vision of so many reactionary Tar Heel leaders?

As a survey of North Carolina’s distinctive contemporary art scene, Art of the State succeeds as a thoughtful visual record of where we are now. The remaining question is the future. The Durham artist Stacy Lynn Waddell is quoted in the book talking about representation, a concept with resonance in artistic expression as much as in aspects of identity: “Who gets to be represented and how? Why is it that representation matters, and who gets to decide that?”

In Art of the State, readers will find a well-researched celebration of this state’s artistic legacy. With that heritage in the rearview mirror, Waddell’s questions take on a larger shape, for artists and art lovers alike. W

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CULTURE CALENDAR

Please check with local venues for their health and safety protocols.

screen Advance Screening: The Menu $14. Wed, Nov. 9, 7:15 p.m.

Alamo Drafthouse Cinema, Raleigh.

Oddisee and GOOD COMPNY perform at Motorco Music Hall on Wednesday, November 9.

music Leven Kali $15.

Wed, Nov. 9, 8 p.m.

Cat’s Cradle Back Room, Carrboro.

Oceanator $15.

Wed, Nov. 9, 8 p.m.

Local 506, Chapel Hill.

Oddisee and GOOD COMPNY $20.

Wed, Nov. 9, 8 p.m.

Motorco Music Hall, Durham.

Todd Snider $25+.

Wed, Nov. 9, 8 p.m.

Lincoln Theatre, Raleigh.

Carolina Cutups Thurs, Nov. 10, 8 p.m. Rubies on Five Points, Durham.

Copeland $22.

Thurs, Nov. 10, 8 p.m. Motorco Music Hall, Durham.

16

I’m Your Man $8.

Wed, Nov. 9, 7 p.m. The Carolina Theatre, Durham.

PHOTO COURTESY OF VENUE

The Fab Four: The Ultimate Beatles Tribute $33+. Thurs, Nov. 10, 8 p.m. The Carolina Theatre, Durham.

Angela Winter with The River Otters $15. Fri, Nov. 11, 8 p.m. The ArtsCenter, Carrboro.

LIFE Skills LIVE! Benefit Concert with Petey Pablo, Rowdy, Kelly Kale, and the NCCU Sound Machine Drumline $25+.

Thurs, Nov. 10, 6 p.m. Durham County Memorial Stadium, Durham.

DJ Bagaceiro: Carnaval Constante $5. Fri, Nov. 11, 10 p.m. Rubies on Five Points, Durham.

Mean Habit / Geeked / Bonies $10. Thurs, Nov. 10, 8 p.m. The Pinhook, Durham.

The Red Pears $15. Thurs, Nov. 10, 8 p.m. Cat’s Cradle Back Room, Carrboro.

Tropidelic $18.

Thurs, Nov. 10, 8 p.m. Lincoln Theatre, Raleigh.

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Myriam Hernandez $127+. Fri, Nov. 11, 8 p.m. Duke Energy Center for the Performing Arts, Raleigh.

Polyorchard / Attorneys General Fri, Nov. 11, 8 p.m.

Shadowbox Studio, Durham.

The Rare Occasions $16. Fri, Nov. 11, 8 p.m. Local 506, Chapel Hill.

Shana Tucker $25.

Fri, Nov. 11, 8 p.m.

Sharp Nine Gallery, Durham.

Silversun Pickups: Physical Thrills Tour $28+. Fri, Nov. 11, 7 p.m. The Ritz, Raleigh.

Boney James: Detour Tour $47+.

Sat, Nov. 12, 8 p.m. The Carolina Theatre, Durham.

Jon Metzger Quartet $25. Sat, Nov. 12, 8 p.m.

Sharp Nine Gallery, Durham.

Southern Soul Music Festival: Tucka, Calvin Richardson, Sir Charles Jones, and Pokey Bear $111+.

Fri, Nov. 11, 8 p.m.

Duke Energy Center for the Performing Arts, Raleigh.

The Chills $20.

Sat, Nov. 12, 8 p.m.

Motorco Music Hall, Durham.

Paul Van Dyk: Off the Record $25.

Sat, Nov. 12, 10 p.m.

The Fruit, Durham.

Ciompi Quartet with Romie de Guise-Langlois Sat, Nov. 12, 8 p.m.

Baldwin Auditorium, Durham.

Phillip Phillips $30+. Sat, Nov. 12, 8 p.m. Cat’s Cradle, Carrboro.

Shortest Straw: A Tribute to Early Era Metallica $12.

Sat, Nov. 12, 9 p.m.

Lincoln Theatre, Raleigh.

Starcrawler / Newspaper Taxis $15. Fri, Nov. 11, 9 p.m. The Pinhook, Durham.

Dayglow: People in Motion Tour $50+.

Sat, Nov. 12, 7 p.m.

The Ritz, Raleigh.

William Clark Green $15+. Fri, Nov. 11, 8 p.m.

Lincoln Theatre, Raleigh.

Duke Opera Theater: Opera Adjacent—It’s Better with a Band Sat, Nov. 12, 3 p.m.

Nelson Music Room, Durham.

Sorry $13. Sat, Nov. 12, 9 p.m. Local 506, Chapel Hill.

An Evening with Ginuwine and Friends $85+. Sat, Nov. 12, 8 p.m. Duke Energy Center for the Performing Arts, Raleigh.

Valient Thorr / He Is Legend $20.

Sat, Nov. 12, 7 p.m.

Transfer Co. Food Hall Ballroom, Raleigh.

Black Jedi Zulu: Sneaker Affair 2022 $12+. Sat, Nov. 12, 7 p.m. The Nasher, Durham.

Truth Club $10. Sat, Nov. 12, 7 p.m. The Pinhook, Durham.

Sundance Film Festival: Indigenous Short Film Tour $6.

Thurs, Nov. 10, 7 p.m. The Cary Theater, Cary.

On Golden Pond: Screening and PostFilm Conversation $6. Sun, Nov. 13, 4 p.m. The Cary Theater, Cary.

The Big Sleep and The Maltese Falcon $10. Fri, Nov. 11, 7 p.m. The Carolina Theatre, Durham.

Racist Roots: The Death Penalty, the Bitter Fruit of North Carolina’s Racist Past Tues, Nov. 15, 7 p.m. The Carolina Theatre, Durham.

Alejandro Escovedo $25. Sun, Nov. 13, 7 p.m. Cat’s Cradle, Carrboro.

Wilder Maker $10.

Sun, Nov. 13, 8 p.m. The Pinhook, Durham.

The Brevet $12.

Sun, Nov. 13, 8 p.m.

Cat’s Cradle Back Room, Carrboro.

Field Medic SOLD OUT. Mon, Nov. 14, 8 p.m. Cat’s Cradle Back Room, Carrboro.

Cloutchaser / Komodo / Napalm Cruiser $8. Sun, Nov. 13, 7 p.m. The Fruit, Durham.

Duke Chinese Music Ensemble Sun, Nov. 13, 7 p.m.

Baldwin Auditorium, Durham.

Raphael $129+. Sun, Nov. 13, 8 p.m. Duke Energy Center for the Performing Arts, Raleigh.

Second Line Stompers $25.

Sun, Nov. 13, 4 p.m.

Sharp Nine Gallery, Durham.

St. Lucia: Utopia Tour $25. Sun, Nov. 13, 8 p.m. Lincoln Theatre, Raleigh.

Soccer Mommy $28. Mon, Nov. 14, 8 p.m. Haw River Ballroom, Saxapahaw.

Damien Escobar $45+. Tues, Nov. 15, 8 p.m. Duke Energy Center for the Performing Arts, Raleigh.

Don Dixon $15.

Tues, Nov. 15, 7:30 p.m. Cat’s Cradle Back Room, Carrboro.

Tune Up Tuesdays with Charly Lowry Tues, Nov. 15, 8 p.m. The Pinhook, Durham.

Rebecca Kleinmann

C U LT U R E CA L E NDA R

flutist and singer

Bobbi Jene Smith’s Broken Theater shows at Memorial Hall on November 11 and 12. Photo courtesy of Carolina Performing Arts.PHOTO COURTESY OF VENUE

DURHAM DEBUT

art Special Lecture: Wayne Franits Thurs, Nov. 10, 6 p.m.

Ackland Art Museum, Chapel Hill.

Reaching for Fall: A Joint Art Show Nov. 12 and 13, 11 a.m. The Eno House, Hillsborough.

SHARP 9 JAZZ GALLERY NOVEMBER 19TH | 8PM Rahsaan Barber, saxes Dr. Stephen Anderson, piano Essiet Essiet, upright bass Sylvia Cuenca, drums

Open Studio: Catherine Kramer and Emily Eve Weinstein Sat, Nov. 12, 10 a.m. Weinstein Studio/Gallery, Chapel Hill.

Artist Lecture: Alison Saar Sun, Nov. 13, 2 p.m.

NCMA, Raleigh.

stage The Garbologists $20. Nov. 3-13, various times.

Golden Belt Campus, Durham.

Steel Magnolias $70+. Nov. 4-13, various times. Duke Energy Center for the Performing Arts, Raleigh.

Eugene Mirman $35. Wed, Nov. 9, 8 p.m. Cat’s Cradle, Carrboro.

The Bipeds: Shadowbox Session #13 Thurs, Nov. 10, 8 p.m. Shadowbox Studio, Durham.

Disney Junior Live On Tour: Costume Palooza $25+.

Thurs, Nov. 10, 6 p.m. DPAC, Durham.

ShredX Durham Thurs, Nov. 10, 6 p.m. American Underground, Durham.

A Soldier’s Tale $35.

Nov. 11-13, various times. The Fruit, Durham.

Bobbi Jene Smith: Broken Theater $15. Nov. 11 and 12, 8 p.m. Memorial Hall, Chapel Hill.

Claudia Oshry: Not Like Other Girls $33+. Fri, Nov. 11, 8 p.m. The Carolina Theatre, Durham.

Lewis Black $39+.

Fri, Nov. 11, 8 p.m.

DPAC, Durham.

Aerial Aesop’s $5.

Sat, Nov. 12, 11 a.m. The Carolina Theatre, Durham.

The House of Coxx Drag Show! $10.

Sat, Nov. 12, 10 p.m. The Pinhook, Durham.

Saturday Night Fervor: An Evening of Dramatic Improvisation Sat, Nov. 12, 8:15 p.m. Lanza’s Cafe, Carrboro.

Adam Sandler $39+. Sun, Nov. 13, 8 p.m. PNC Arena, Raleigh.

Luxury Comedy Hootenanny Sat, Nov. 12, 8 p.m.

Imbibe, Chapel Hill.

Bored Teachers Comedy Tour $33+. Sun, Nov. 13, 7 p.m. The Carolina Theatre, Durham.

Randy Rainbow $39+. Sat, Nov. 12, 8 p.m. DPAC, Durham.

Hairspray $25+.

Nov. 15-20, various times.

DPAC, Durham.

durhamjazzworkshop.org

page Raleigh's Community Bookstore

Dakin Campbell: Going Public Thurs, Nov. 10, 5:30 p.m.

Flyleaf Books, Chapel Hill.

Julia Freifeld: In Each Other’s Bones Sat, Nov. 12, 2 p.m.

Quail Ridge Books, Raleigh.

Monica Guzman: I Never Thought of It That Way Fri, Nov. 11, 7 p.m. Quail Ridge Books, Raleigh.

Kennedy Ryan: Before I Let Go Tues, Nov. 15, 7 p.m.

Quail Ridge Books, Raleigh.

Poetry Jam Fri, Nov. 11, 6:30 p.m. Lanza’s Cafe, Carrboro.

E V E NTS THUR

11.10 7PM

FRI

11.11 7PM SAT

11.12 2PM

TUES

Rachel King, Bratwurst Haven AND

Heather Frese, The Baddest Girl on the Planet Mónica Guzmán, I Never Thought of It That Way: How to Have Fearlessly Curious Conversations in Dangerously Divided Times Julia Freifeld, In Each Other’s Bones: A Memoir of Love, Loss and Living

11.15

Kennedy Ryan, Before I Let Go

7PM

WITH CHRISTINA C. JONES

WED

Liza Roberts, Art of the State:

7PM

North Carolina

11.16 Celebrating the Visual Art of

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If you just can’t wait, check out the current week’s answer key at www.indyweek.com, and click “puzzle pages.”

Best of luck, and have fun! www.sudoku.com solution to last week’s puzzle

# 21

11.09.22

18 November 9, 2022 INDYweek.com # 22 9 4 6 5 3 1 7 2 8 5 9 1 6 7 3 4 8 2 3 8 7 2 9 4 6 5 1 2 7 4 8 1 9 6 3 5 2 5 1 7 6 8 9 4 3 8 6 3 5 4 2 9 1 7

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INDY CLASSIFIEDS classy@indyweek.com

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EMPLOYMENT Software Engineer II Software Engineer II, F/T at Truist (Raleigh, NC) Deliver technically complex solutions. Perform system integration support for all project work. Consult & partner w/ the business product owners to understand the end goal & offer solutions & recommendations during the dsgn.

Dvlp customized coding, s/ware integration, perform analysis, configure solutions, using tools specific to the project or the area. Must have Bach’s deg in Comp Sci, Comp Engg, or related tech’l field. Must have 4 yrs of exp in s/ware engg or IT consulting positions performing/ utilizing the following: Dsgng, analyzing dvlpg & testing Actimize custom solutions; Performing tech’l analysis & troubleshooting problems & d/base issues; Continuous Integration & continuous deployment; Managing teams &/or mentoring less exp teammates; & utilizing exp w/: Nice Actimize Intelligence Server; NICE Actimize Visual Modeler; NICE Actimize Risk Case Manager Dsgnr; NICE Actimize Enterprise Risk Case Manager; Actimize Expression Language; Microsoft SQL Server (SQL & T-SQL); JAVA; J2EE; JAVA SPRING MVC framework; HTML; JAVASCRIPT; CSS; XML; XSL; Power Shell scripting; Batch scripting; Unix & Linux scripting; MAVEN; & GIT. Position may be eligible to work remotely but is based out of & reports to Truist offices in Raleigh, NC. Must be available to travel to Raleigh, NC regularly for meetings & reviews w/ manager & project teams w/in 24-hrs’ notice.

Email resume w/ cvr ltr to: Paige.Whitesell@Truist.com (Ref. Job No. R0069880)

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Software Engineer III Storage Engineer III, F/T at Truist (Raleigh, NC) Deliver & support Enterprise Storage solutions using NetApp storage, Brocade SAN, & Cisco UCS as well as Cloud based solutions such as AWS. Support the delivery & sustainment of enterprise storage services & solutions while supporting the existing storage & SAN fabric infrastructure. Instrumentation & operational functions using the NetApp OnCommand Unified Manager suite of toolsInsight (Assure, Platform, Plan, Balance), Performance Manager, System Manager, Workflow Automation, My Autosupport, Snap Creator Framework, & SnapCenter.

Must have Bach’s deg in Comp Sci, Comp Engg, or related technical field. Must have 5 yrs of progressive exp in storage engg or prgmr positions performing the following: troubleshooting, implmtg & supporting enterprise storage, SAN, storage mgmt & security related technologies & platforms; supporting the delivery & sustainment of enterprise storage services & solutions while supporting the existing storage & SAN fabric infrastructure; & utilizing exp w/: AWS; SAN; NAS; NetApp storage; Brocade SAN; Cisco UCS; & NetApp OnCommand Unified Manager Suite of tools, incl Insight (Assure, Platform, Plan, & Balance), Performance Manager, System Manager, & Workflow Automation, My Autosupport, Snap Creator Framework, & SnapCenter. Email resume w/ cvr ltr to: Paige.Whitesell@ Truist.com (Ref. Job No. R0070287) Cybersecurity Data Analytics Consultant Cybersecurity Data Analytics Consultant F/T at Truist (Raleigh, NC) Gather, analyze, doc & maintain all security data reqmts related to the business applications, interfaces & reporting environments. Apply standards & best practices to ensure enterprise data is protected, accurate, complete, current, understandable & accessible. Perform data analytics & troubleshooting on security data ingestion issues reported by production support & other teams.

Must have a Master’s deg in Analytics, Data Science, MIS or related analytics field. Work or educational background must incl demonstrated knowl/use of the following: the different components of a large Enterprise Info Security Prgm & understanding of how to successfully correlate disparate logs & cyber related data to accurately identify trends, behavior baselines, & outliers that represent possible risks; data analytics, statistical analytics, data transformation, data reconciliation, & sophisticated data visualization/presentation concepts, methods, & best practices; Enterprise Data Warehouse concepts to query data in a Very Large D/base (VLDB) environment; tech’l documentation skills; Lean & Agile methodologies; & tool/technologies: JAVA, C, C++, SAS, Python, R Studio, MSSQL, Microsoft Visual Studio, & Tableau. Position may be eligible to work remotely but is based out of & reports to Truist offices in Raleigh, NC. Must be available to travel to Raleigh, NC regularly for meetings & reviews w/ manager & project teams w/in 24-hrs’ notice. Email resume w/ cvr ltr to: Paige.Whitesell@Truist.com (Ref. Job No. R0070286)

LAST WEEK’S PUZZLE

Sr. Field Service Technician Sr. Field Service Technician (ST-AF). Install, test, analyze, maintain, repair & train on Syntegon Packaging equipment & associated products at customer sites. Associate’s plus 2 yrs prog, rltd exp req’d. Mail resumes to Syntegon Technology Services: HR Manager, 2440 Sumner Blvd., Raleigh, NC 27616. Must ref job title & code.

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