In the Triangle, a guaranteed basic income for vulnerable residents has seen some success.
Can we keep it going?
By Thomasi McDonald, p.6
Raleigh | Durham | Chapel Hill March 15, 2023
VOL. 40 NO. 11
4 Shaw University has plans to develop its campus to bring in more revenue and help the university grow. BY
JASMINE GALLUP6 Durham's guaranteed basic income has seen some success, and the city's mayor pro tem wants to keep it going. BY THOMASI
MCDONALD8 The fledgling Southern Service Workers Union flexes its muscle in Morrisville. BY LENA
GELLER17 "There's no reason North Carolina shouldn't be at the center of the experimental film universe," says Cosmic Rays Film Festival cofounder Bill Brown. BY NICK
MCGREGOR18 Paradox Opera's Autonomy was commissioned in defiance of the overturning of Roe v. Wade. It will be performed outside of the North Carolina State Legislature building, among other locations. BY
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The building’s landlord, retired Durham judge Jim Hardin Jr., says the couple owes him hundreds of thousands of dollars in rent and other expenses. Now a new selfie business is operating out of the building—using the couple’s original photo booths and the same business model. Readers on Instagram had thoughts.
Reader @D.MOSES.L says no judges should own rental property and explains the reasoning thusly:
If you own property *and also* are in charge over the enforcement of laws related to it, that is called feudalism. There’s no winning against that, unless you appeal to a higher authority, but that shouldn’t ever even be necessary. It’s unconscionable that a chief justice could use the power of law to unjustly evict the tenants and then enrich themselves on their displacement. Period. If you like/want that, there is no room for justice in that system.
From reader @BDAJOUR: The fact that they are using this family hard work, time, construction, and work doesn’t sit right with me. They really created another selfie studio using her new renovation while evicting them.. is evil!! We will not stop til their is justice!! @erica_r_b_ @bullcityselfiemuseum so sorry you’re going through this!!!
From reader @DOUBL_A_RON: *sarcasm* I don’t see any questionable business practices here.
You were recently invited to the White House for a roundtable with some of the nation’s top Black officials. What was that like?
It came as a complete surprise. I got to meet Karine Jean-Pierre, who’s the White House press secretary. I got to meet Kirsten Allen, who is Vice President Kamala Harris’s press secretary. Just dope people, one right after the next. I’m not easily wowed, but that experience was amazing. Just to sit at the feet of people who are making a significant impact on our country. Who are doing passionate work, academic work, deep work that they value and believe in, and they’re leading with a racial equity lens. Some of your work involves giving educators anti-racism training. What are some of the biggest issues of racism you’re seeing in classrooms today?
For one, we’re hearing people want training on implicit biases. People are seeing how children, whether the educator knows it or not, are being treated differently based on their race, their identity, their sexuality. Another big issue we see is the disproportionate suspending of Black and brown children. Most of the studies show that Black and brown children are being suspended for offenses that are similar to their white counterparts’, but they’re just getting a different outcome. So we help people … look at the racial demographics in their school, then compare it to who’s getting suspended. Then we help them debunk the myth that “Well, Black and brown children just misbehave more.”
We try to help make it visible because we’re conditioned to not see it. We help educators understand how it’s not (always) about individual treatment …. We’re part of a system, and that system, by and large, is contributing to this harm.
What strategies can educators use to address systemic racism in schools?
Part of it is disaggregating school data by race, gender, [and] class, and oftentimes that hasn’t always happened. For example,
access to advanced academics. By and large, in almost every school where white children are present, they’re overrepresented, and Black and brown kids are underrepresented. We have [educators] look at that data and then talk about, well, “Why? Why is that the case?”
Oftentimes, people will use the EOC [end of curriculum] score as a measure, and there are Black children who are under-identified. They have the [EOC score] to be in the course, but they’re not in the course. So now we have to talk about … “Why are they not in those classes? They met the benchmark, right?”
Those are things that we help school leaders see. Once you see that, now you bring a level of intentionality … like, “Let’s look at Black and brown children and see, who can we move over who should be in that class?” That’s something that’s within the power of a local school leader, to make that shift.
At one point, you taught high school in Durham. How do you think the school district is doing on social equity?
We have made so much progress, [just] the level of intentionality and focus on thinking about culturally relevant teaching … for our students. Thinking about representation in the classroom, the need to hire more Black and brown educators in our district.
The need to disrupt the school-to-prison pipeline. [The district] has put in significant work to change their policies around who’s getting suspended … and there has been change. Like every other school district, Durham Public Schools isn’t where it needs to be, but it’s headed in the right direction. Other districts are going the opposite way, running away from racial equity, running away from conversations on white supremacy and anti-racism. DPS is moving towards it. W
This interview has been edited and condensed for clarity.
Last week, Thomasi McDonald gave us an update on the saga involving a Guilford County couple who says they were wrongfully evicted from a building they were renting for their selfie photo booth business, Bull City Selfie Museum.
Shaw University has plans to develop its campus to bring in more revenue— and help the university grow.
BY JASMINE GALLUP jgallup@indyweek.comShaw University is one step closer to redeveloping its campus after the Raleigh Planning Commission voted late last month in favor of a rezoning request it submitted.
The historically Black college has been a part of the fabric of downtown Raleigh for more than 150 years. Plans to rezone and renovate its campus with the help of outside developers—first presented to the Planning Commission in mid-February—sparked protest from historic building preservationists in surrounding neighborhoods as well as some alumni.
While many Shaw graduates showed up in support of the rezoning during a February 14 meeting of the Planning Commission, others opposed it, arguing it would be bad for Raleigh residents, bad for historic neighborhoods, and bad for Shaw, especially if the plan is mismanaged by a board of trustees that has come under fire for unethical practices in the past.
“As a graduate, I am obviously concerned about how this rezoning can directly impact my alma mater … but as
a resident, I also have some major concerns,” said Kesha Monk, a 1995 grad who collected 1,200 signatures on a petition opposing the rezoning. “Things like affordable housing, negative impact on the environment such as flooding, and of course the height requirements that are clearly defined in policy.”
Despite these protests, redevelopment may be the only way for Shaw to stabilize its finances and ultimately grow as a university. In an effort to get city approval, university leaders revised their rezoning request, adding protections for historic buildings and stricter height limits. On February 28, the Planning Commission voted 7-1 in favor of the rezoning, recommending it for approval by the city council, which will hear the case on April 4.
Shaw University’s proposed rezoning would allow the
university to build up to 30 stories in the heart of campus, up to 20 stories south of Martin Luther King Jr. Boulevard, and up to 12 stories around Lenoir Street, on the outskirts of campus. That’s a big change from the previously allowed height of 12 stories in the heart of campus and three to five stories on the outskirts.
The bigger issue, however, is what will happen to six historic buildings the university owns. Four of the buildings—Estey Hall, Tupper Memorial Hall, Leonard Hall (or Leonard Medical School), and Tyler Hall (or Leonard Medical Hospital)—are well protected. These are on-campus buildings that the university has preserved for decades and will continue to preserve, per the requirements of the rezoning proposal.
While some are worried the university will tear these buildings down, “that’s not true at all,” says Kevin Sullivan, Shaw University’s vice president for real estate and strategic development. “In fact, we just got over $2 million in federal grants to help preserve them.”
Much of the outcry has come over the two other buildings, the Rogers-Bagley-Daniels-Pegues House and the Charles Frazier House, both of which the university plans to relocate. These two buildings are located north of Shaw’s main campus inside the Prince Hall Historic Overlay District, a residential neighborhood that prizes its historic status.
The existence of the historic district would usually prevent buildings within its borders from being moved, but the university is asking for an exception. And that’s nothing new. Shaw objected to the boundaries of the district back when it was first created in 2012, says Sullivan.
“Shaw is on record as opposing that its property come into the Prince Hall Historical Overlay District … [because] it limits our ability to redevelop our property,” Sullivan says.
“And we’re not looking to tear [these houses] down. We just want to move them. But that’s apparently not good enough for some folks.”
The “folks” in question are members of the Raleigh Historic Development Commission (RHDC), which voted 9-2 against Shaw’s proposed rezoning. Late in its discussions with Shaw, the RHDC introduced a list of conditions they wanted the university to meet, including expanding the historic district to include Estey Hall. Shaw said no.
“Essentially, they really didn’t give Shaw many options,” Sullivan says. “With all due respect to the Raleigh Historic Development Commission, their mission is to preserve, and so they don’t like anything that changes that. Shaw asking to be removed from a district it never wanted to be in, in the first place, is the antithesis of what they stand for.”
At the heart of this conflict is the fact that Shaw wants to grow, while others want it to stay the same. If you ask Sullivan, he’ll tell you that this rezoning is simply the next step in the university’s 157-year evolution. College campuses, by their nature, continually change. Many alumni agree.
“In Estey Hall, in the corridor when you walk in … there is an elongated portrait of students from 1912. Beyond it, there are two landscaped buildings,” said the Rev. Lamont Johnson, a Shaw divinity professor and 2008 graduate, during the February 14 Planning Commission meeting.
“Before the rest of the buildings came, the students and staff were there. Whatever the transition is, it is about our students. It is my hope that you will vote favorably so that we can continue educating and empowering predominantly, but not exclusively, African American students.”
Shaw’s redevelopment project started as a way to avert the financial crisis the university was facing in 2018, when it ended the year with a budget deficit of $4.4 million, according to tax returns. It was the second year in a row the university ran a multimillion-dollar budget deficit, and it was in severe financial straits.
In 2019, experts advised Shaw to sell some of the land outside of its core campus, where just half an acre was valued at close to $500,000. Since then, property values have climbed even more, thanks to the college’s location at the edge of downtown Raleigh. But at the same time, Shaw’s finances have recovered somewhat, due in part to the federal government’s forgiveness of $22 million of debt in 2021, part of a COVID relief package, the Triangle Business Journal reported.
Today, university leaders want to use the value of Shaw’s land to further improve its financial position. If the university’s rezoning request gets final approval from the city council, Shaw will move forward with its plan to lease land to developers, who can then build on or near the university’s campus.
The strategy is one that colleges across the nation are using, including the renowned HBCU Howard University in Washington, DC. By leasing land to developers, the college gets a steady stream of money that is not tied to tuition. Developers make regular rent payments, and if interest rates go down and they refinance, the university gets a portion of that money too.
“Every time there’s a cash flow … Shaw gets a piece of it,” Sullivan says. “So there’s constant cash flow coming
back to university because the need is constant. It’s not once, it’s over time.”
Shaw could then use the money to build new on-campus facilities or grow the university in other ways, like hiring new faculty. At Howard, multifamily housing near campus helped fund a new research center and STEM facility, according to a spokeswoman for Hayat Brown, the advisory firm that worked with Howard and is now working with Shaw.
Ultimately, development of the university’s campus is necessary “for Shaw University to continue to do what it has been dedicated to do[ing] for 157 years,” said President Paulette Dillard during the February 28 Planning Commission meeting. “This opportunity for development of the campus takes the pressure off a university that is tuition-dependent.”
People who oppose Shaw’s rezoning proposal have said it risks destroying local Black history. They’ve said they support Shaw and in the next breath argued against the university’s plans. But the bottom line is, if Shaw doesn’t change, North Carolina’s oldest HBCU could close for good. And the city would lose a place that educates, uplifts, and supports today’s Black citizens.
Shaw’s redevelopment plan isn’t just about boosting its budget. Partnering with private developers will also allow Shaw to make much-needed updates to an aging campus, Sullivan says. And those updates—things like a new life sciences center or student residential hall—will make the university more attractive to students and faculty in the long run.
“The return [on investment] isn’t just financial,” Sullivan says. “It’s the amenities. The return is bringing energy and people saying, ‘Hey, there’s some really cool stuff happening at Shaw.’”
Essentially, instead of raising millions of dollars to renovate or construct new buildings that are needed on campus, developers pay for the construction themselves. Shaw could then ask for free or discounted access to the new facilities in exchange for deferred rent.
One popular construction model for projects like this is a mixed-use building, which has amenities like grocery stores, restaurants, or shops on the ground floor and housing on the upper floors. Sullivan talks about potentially building a new urgent care facility.
Shaw already has a small on-campus clinic, but by partnering with developers, “we could have access to a much more comprehensive urgent care facility,” Sullivan says. “Shaw doesn’t have to pay for that amenity, but
it helps our students. And then maybe it serves the neighborhood as well.”
Small private universities like Shaw especially benefit from this model, since they are entirely dependent on tuition dollars and don’t receive state money, according to Sullivan. With smaller graduating classes, alumni donations might also be more scarce than at larger private universities.
“Our tuition covers the heat and the lights and the salaries, but we would have to raise [it] tremendously in order to start building brand-new buildings,” says Sullivan.
“A lot of schools, they do it through fundraising, and fundraising is part of it, but it’s not going to change the dial for us in the near future. We’ve got this real estate … which we already own. All we’re trying to do at this point is figure out how we can utilize it in the best fashion in order to get a return [on investment].”
Since Shaw owns the land, it has the final say in what is built. But construction plans are shaped by months of complex negotiations between developers, who want to recoup their investment and ideally make a profit, and the university, which wants to build things that benefit the school and its students.
At the moment, the university hasn’t shared any solid plans for what might be built on Shaw’s campus. Still, Shaw has outlined certain goals. “Key campus needs” include a new library, student center, and academic hall, according to the university’s website. Developers have shown interest in building hotels, apartments, mixed-use buildings, and even athletic or entertainment facilities, says Sullivan.
Ultimately, it comes down to what they can agree on. If the rezoning is approved by city council, the university will then start creating its Campus Master Plan, with input from students, staff, alumni, and community members, according to its website. The plan will show, in detail, what the university plans to do with its land. W
Durham’s guaranteed basic income pilot has seen some success. The mayor pro tem wants to allocate $1 million to keep the program going.
BY THOMASI MCDONALD tmcdonald@indyweek.comLast February 2, the day before his 35th birthday, Torry Cooper had just gotten out of jail. He was on the verge of a breakup with a former girlfriend, didn’t have a job, and was at a loss about his next move. He ended up sleeping on his sister’s couch before moving to the Durham Rescue Mission. He says he was riding a city bus that day when information about Durham’s fledgling guaranteed income initiative “popped up on Google.”
“I called on my birthday,” Cooper says. “I was accepted the same day. On my birthday. That’s crazy, right? At that point, I was out of work and housing was tenuous.”
Cooper received a second gift on his birthday. He was accepted into a transitional home in East Durham, where people recently released from prison are able “to get their life together, basically,” in Cooper’s words.
Cooper now works at Panera Bread and an Amazon warehouse. He used the money from the guaranteed income program to buy a car in order to drive himself to and from work.
Following the successes and the differences a year of relative financial stability have made in the lives of the 109 residents who participated in the program, which ended last month, Durham mayor pro tem Mark-Anthony Middleton wants to keep the guaranteed income going.
Middleton has proposed allocating $1 million in the city’s budget to continue a pilot that provided a guaranteed income of about $6,600 annually for some of the city’s most economically vulnerable residents: the formerly incarcerated.
“I recommended that our initial focus be on the formerly justice-involved individuals because of the pre-existing body of work we had already done in Durham, and because so many of the challenges of upward mobility individuals face are compounded with that population,” Middleton stated in an email to the INDY
The mayor pro tem added that he’s gratified by his fellow council members’ “openness to my request for a $1 million placeholder” to continue the program.
“It’s not subsidizing mansions or exotic cars, but rather, I have found that people [who] aren’t engaged in the creative calculus on how to feed their families and pay their bills make better neighbors, “ Middleton wrote.
The city’s guaranteed income program was launched last year after Twitter’s former chief executive officer Jack Dorsey announced in late 2020 that he had donated $15 million to Mayors for a Guaranteed Income, composed of a group of about 30 cities. The funds would provide each city with up to $500,000.
Former Durham mayor Steve Schewel, in early 2021, announced that Durham was one of the cities earmarked to receive the funding and asked Middleton to lead the project.
Middleton, in a February 2021 email to the INDY, said that he planned to continue an ongoing “engagement with corporate and philanthropic partners to supplement our expected $500,000 grant in the hope of conducting a pilot that will involve no less than 100 people,” with at least 55 residents who were formerly incarcerated.
The guaranteed income initiative is managed by StepUp Durham, a downtown nonprofit that offers workforce development, employment training, job placement and retention, according to Syretta Hill, the agency’s executive director.
The supplemental funds can be used for educational expenses, food and groceries, transportation, housing, and utilities—and even travel and entertainment.
Middleton praised StepUp Durham’s work with, and city leaders’ commitment to, the program.
“Guaranteed income is a societal statement that by virtue of your humanity, citizenship, and residency there is a line beneath [which] we will not allow you to fall,” he wrote.
But there has been some pushback against the pilot program that started last March with the $500,000 that the
city, as well as private donations, supplemented.
“There’s been a lot of backlash,” Shanti Callender, the guaranteed income program’s coordinator, tells the INDY. “Some people worried that [the participants] would fall back into substance abuse, or use the funds for bad instead of good, or go shopping instead of doing something positive.”
But those worries are misplaced.
“Everyone stayed true to the game,” Callender continues. “No one went back to jail, and there’s been no instance of anyone falling back into substance abuse.”
“The 109 individuals are all working,” says StepUp director Hill. “The funds are a supplement, not a handout. The data showed that women make a little over $8,000 a year, and men make $14,000. No one can live on that. Some people just want to see other people struggle.”
According to demographic data provided by StepUp Durham, the average age of the program participants is 41. About 73 percent of the participants are men, while women account for 26 percent. Just over 42 percent of the recipients have children in their homes; the average household size is three, and nearly 60 percent are single.
The overwhelming majority of the guaranteed income recipients are Black American, nearly 84 percent, while white residents account for just over 10 percent of the participants, and Hispanic residents just under 3 percent.
Tydricka Lewis, 33, also benefited from a financial hand up that enabled her to overcome the stultifying and pernicious effects of poverty. Like Cooper, she, too, used the funds to purchase a car to get her to and from work.
A single mother of three children, Lewis told the INDY that she has relied on StepUp Durham’s job preparedness resources since 2019. Last year, she saw an advertisement about the guaranteed income initiative. She spoke with Callender, the program’s coordinator, and got more information.
Callender says part of her job is to listen to the participants to determine their needs and what support they need to get back on track: housing, food, day care, transportation, résumé help, and employment all fall under that umbrella.
Callender says setting up a financial account or using a computer are not routine skills for most participants, some of whom have been released from prison after serving lengthy sentences.
“A lot had spent 20 years plus in prison,” she says. “So when they came home, everything was different.”
Callender points to a wide range of offenses that landed the participants in prison, including armed robbery, car theft, bank fraud, credit card fraud, and breaking and entering.
“Sometimes, when you don’t have a job you do what you have to do to support your family,” she says. “That doesn’t justify the crime, but sometimes you have to do what you have to do.”
Lewis lives with her children in a one-bedroom apartment near Page Road that’s not on the public bus line. Lewis hit the ground running after she was released from prison. One big obstacle was reliable transportation, not only for getting to and from work but also to take her kids to school and day care.
She used the $600 a month from the guaranteed income program to purchase a 2020 Nissan Rogue and pay for auto insurance.
“It’s been important, really important,” she says about the supplemental income. “I needed it, not just wanted it.”
Lewis participated in a work release program while serving more than six years behind bars. She worked at the KFC at the Phoenix Crossing shopping center on Fayetteville Street. She was released from prison on June 6, 2019, and found work on June 13 with the Habitat for Humanity store on U.S. 15-501.
“While I was in prison, I had a lot of support in the community,” says Lewis. She adds that community support in her transition back into society was “a great part of that process.”
Lewis continued working at KFC after she found work with Habitat for Humanity. Then, she found work as a peer support specialist with Southlight and traveled throughout the Triangle meeting clients who were struggling with substance abuse disorders and mental health issues. She also worked with Rebuild, a Durham nonprofit that she describes as “Black people–to–Black people therapy.”
Now Lewis’s sole job is with the Durham Community Safety Department’s Holistic Empathetic Assistance Response Team (HEART), one of three crisis response pilots the city launched in late June of last year. Lewis is part of a three-member crisis response team who are “first responders to non-violent behavioral health and quality of life calls for service,” according to the city’s website.
“We get referrals from the police,” Lewis says. “We have walkie-talkies. We show up to empower people. I’ve been there. I can definitely relate. It’s part of my lived experience.”
Lewis says her team responds to wellness checks and trespassing calls and will normally follow up with residents to ask if they need further assistance.
“I’m loving it,” she says of her work. “I grew up in Durham. This is what Durham needed.”
Cooper says he received his first $600 payment from the program on March 15 of last year.
“It helped me buy food, make job interviews, go to doctor’s appointments, and pay my rent,” he says. “That money has helped me out so much.”
Cooper adds that the program has also assisted with money management through an online banking account with salary advances that has enabled him to build up his credit. He’s also taken advantage of financial advice with savings and investments offered by the online banking service, along with perks like 25 percent off the latest Nike sneakers.
“They start you off with a $25 advance and also report on your credit,” he says. “It’s basically like a secure credit card.”
Not having to wonder how to pay their rent or car
balance has allowed Lewis and Cooper to look beyond their immediate needs. They both want to give back to the community.
Last year, Lewis started a nonprofit, New Generation Movement, with the mission to “ignite youth to be powerful through mentoring and support services.” There are currently nine girls, ages seven to 17, enrolled with the nonprofit.
“Now other people want to step up and help out,” Lewis says. “Others who were incarcerated see the need with our youths and others released from prison. Right now, they are volunteering. We receive referrals from Durham public schools.”
Cooper plans to set up his own temporary employee agency. He’s working with Incfile, a private online company that helps budding entrepreneurs set up their business. After he paid $400 to register his business, Cooper says Incfile set up a business account for him and helped him attain a tax identification number. Cooper envisions a company that will help others like him who are having a tough time finding work because of their prior record.
“Probably within the next three months,” he answers when asked when he expects to open his business.
Callender, the guaranteed income program coordinator, says entrepreneurship “happens a lot” with the initiative’s participants and for members of the greater community who served time in prison.
“There are not a lot of companies that will hire you, so [they] have no choice but to be their own boss,” she says. “They have paid their debt to society and they are ready to pay it forward. By owning their own business, they can hire others and give them a chance.” W
“Everyone stayed true to the game. No one went back to jail, and there’s been no instance of anyone falling back into substance abuse.”
Three weeks ago, workers at Cambria Hotel and Suites in Morrisville staged a one-day strike to demand safer working conditions, an end to racial discrimination and wage theft, and the reinstatement of two employees who were fired without cause. Seven days after the strike, on a blustery Tuesday morning in March, the workers have reassembled to deliver a petition to hotel management.
They’re joined by more than 30 members of the Union of Southern Service Workers (USSW)—a cross-sector union that launched in November as an evolution of the grassroots labor movement Raise Up the South—as well as several members of the Poor People’s Campaign and a small middle school class whose teacher spotted an immersive learning opportunity.
Before delivering the petition, the workers and their supporters gather in a parking lot across the street from the hotel, brandishing signs and chanting their rights.
They set the agenda with such verve that the surrounding environment seems shaped by their cause. Why is this parking lot here, if not to be used as a staging area for the organizers? Why is it windy, if not to propel the group into the hotel lobby? What is the month of March, if not a directive?
Duane Hoskins, who works as a shuttle bus driver at Cambria—a small hotel, five
minutes down the road from RDU—began organizing with his coworkers last month, when two housekeepers were fired in what he and other employees suspected to be an act of racial discrimination.
Cambria Hotel and Suites did not reply to the INDY’s request for comment.
“They were given no reason, no warning, no write-up,” Hoskins says. “They had been doing an outstanding job—they were always going above and beyond their job responsibilities. And they were the only two Black women working at the hotel.”
At the one-day strike, one of the former housekeepers, Bobbie Fuller, called on hotel management to “stop discriminating against good Black or Latino workers—or [workers of] any color.”
“We want our jobs back,” she said.
The unexplained terminations come at a time when employees of color are enduring verbal harassment from hotel management, workers say.
“The owner doesn’t call us by our names,” says Hoskins. “He calls us ‘boy.’ And there are other managers who call us ‘brother.’”
“It’s very offensive,” adds Chris Daugherty, who works as a shuttle bus driver at Cambria. “We work hard. We don’t miss days. We shouldn’t have to worry about being mistreated for our race or our color.”
Employees say they were also driven to organize around workplace safety issues. Many of the hotel’s fire alarms aren’t in
order, workers say, and widespread mold has left some with lasting health issues.
Wages, too, are a chief concern. On multiple occasions, Hoskins says, he and other workers have received their paychecks more than a month late—and received less than their $12-an-hour wage.
And even if they were being paid on time and in full, $12 isn’t an acceptable wage, workers say.
“It’s hard for me to live on that,” Daugherty says. “Food’s gone up, gas has gone up, bills have gone up.”
Eshawney Gaston is a USSW member who works at a Pizza Hut in Durham. She came out to support the Cambria employees during their strike and their petition delivery and says she’ll show up a third time if workers’ demands aren’t met.
“I’ve worked in the service sector for going on eight years now,” Gaston says. “Almost every job I’ve had, I’ve had unsafe working conditions, wage theft, low wages— the same things they’re going through [at Cambria]. That’s why we all have to stand up to fight together.”
Active in four Southern states with sorely low union rates, the USSW uses a direct action model that empowers members to organize their individual workplaces without necessitating new legislation or storeby-store union elections, which are often impossible to achieve in the high-turnover service industry.
Some of the union’s work happens behind the scenes. A legal team is helping several Cambria workers file complaints with the Equal Employment Opportunity Commission, the NC Department of Labor, and the Occupational Safety and Health Administration, for instance.
Equally if not more important, though, is the USSW’s eagerness to show support in public spaces.
On Tuesday, only three of the 15 Cambria workers who signed the petition are available to deliver it. One of the three, Hoskins, is on the clock but plans to read the petition aloud to the owner of the hotel when the group convenes in the lobby.
It’s a confrontation that would seem unimaginably nerve-racking, if not a confrontation that the owner wouldn’t entertain, without the procession of community supporters and USSW members who chant “Hey Cambria, you’re no good, treat your workers like you should” as they stream into the lobby, effectively breaking the ice.
Hoskins has fastened a pin that says “What Would King Do” to the front of his gray uniform. The room is quiet while he reads the petition. The owner listens, shakes Hoskins’s hand, and returns to his office.
Immediately, a chant resumes.
“Who got your back?” the crowd cries, eyes on Hoskins. “WE GOT YOUR BACK.” W
Want your kids to be active in the summer months? Send them to dance, fencing, horseback riding, or a science and nature summer camp. Want them to practice the arts or learn a new skill? There’s cooking, visual and performing arts, and music summer camps available, too. Whatever your child’s interests, and whatever summer camp your family chooses, one thing is certain: the memories kids make while learning, playing, and adventuring at camp stay with them for a lifetime.
American Dance Festival Summer Camps
ADF
Location: Durham, NC
Ages: 6-17 years
Contact: americandancefestival.org/about-the-studios
919-797-2871
jscullythurston@americandancefestival.org
ArtsCenter ArtsCamp 2023
Location: Carrboro
Ages: Rising K-9th graders
Contact: artscenterlive.org/youth/artscamp_2023
(919) 929.2787
Blue Skies of Mapleview LLC Horse Camp
Blue Skies of Mapleview
Location: Hillsborough
Ages: 8-17 years
Contact: blueskiesmapleview.us dpmblueskies@hotmail.com
919-933-1444
Broadreach Adventures
Locations: Caribbean, Red Sea, Bali, Bonaire, Fiji, and Curacao, Costa Rica, Ecuador and the Bahamas
Ages: 12-18 years
Contact: gobroadreach.com brhq@gobroadreach.com
Camp Shelanu
Jewish For Good
Location: Durham
Ages: Rising K-8th graders
Contact: jewishforgood.org/camp camp@jewishforgood.org
Carolina Friends School Summer Programs
Carolina Friends School
Location: Durham
Ages: 4-18 years
Contact: cfsnc.org/extended-learning/summer-programs extendedlearning@cfsnc.org
Circle City Supper Club Cooking Camp
Location: Pittsboro/Siler City
Ages: 7+ years
Contact: circlecitysupperclub.com hello@circlecitysupperclub.com
DAC Visual + Performing Arts Camps
Durham Arts Council
Location: Durham
Ages: Rising K-17 years
Contact: durhamarts.org/dac-camps
Contact: gardens.duke.edu/learn/camp gardenseducation@duke.edu
iWalk the Eno Science and Nature Camp
Eno River Association
Location:
Ages:
Contact: enoriver.org/features/iwalk-the-eno blobfishactivityhub.com/camps/program/412
Eno River Field Station
Eno River Association
Location: Hillsborough
Ages: 12-15 years
Contact: enoriver.org/features/eno-river-field-station blobfishactivityhub.com/camps/program/413
Farm & Wilderness Camps
Locations: Plymouth, VT and Mt. Holly, VT
Ages: 4-17 years
Contact: farmandwilderness.org
Forge Fencing Summer Camps
Location: Durham
Ages: 7 years to adult
Contact: forgefencing.com/camps info@forgefencing.com
Glazed Expectations
Location: Carrboro
Ages: 5-12 years
Contact: glazedexpectations.com susannah@glazedexpectations.com
Kidzu Summer Camp
Kidzu Children’s Museum
Location: Chapel Hill
Ages: 4-8 years
Contact: kidzuchildrensmuseum.org/summer-camps camp@kidzuchildrensmuseum.org
Kramden Institute Camps
Location: Durham
Ages: Rising 3rd-12th graders
Contact: kramden.org/camps camps@kramden.org
(919) 293-1133
Museum of Life + Science Summer Camps
North Carolina Museum of Natural Sciences
Contact: naturalsciences.org/summer-camps
Over The Moon
Location:
Ages: Rising K-4th graders
Contact: overthemoonplay.com/summer-camps camps@overthemoonplay.com
Piedmont Wildlife Center
Locations: Durham, Chapel Hill and Raleigh
Ages: 5-12 years
Contact: piedmontwildlifecenter.org camp@piedmontwildlifecenter.org
Playmakers Summer Youth Conservatory
Playmakers Repertory Company
Location: Chapel Hill
Ages: Middle and High Schoolers
Contact: playmakersrep.org/education-and-outreach/summer-youth-programs syc@unc.edu
Schoolhouse of Wonder Summer Camps
Locations: Durham, Wake, and Orange Counties
Ages: 5-17 years
Contact: SchoolHouseOfWonder.org
schoolhouse@schoolhouseofwonder.org
(919) 477-2116
School of Rock Chapel Hill Summer Camps
School of Rock
Location: Chapel Hill
Ages: Rising 4th-12th graders
Contact: schoolofrock.com/locations/chapelhill/music-camps
Sisters’ Voices Summer Camps
Location: Chapel Hill
Ages: Rising 3rd-10th graders
Contact: sistersvoices.org/summer-camp leandra@sistersvoices.org
TNVLC Spring Break IMPACT Camp
The Triangle Nonprofit & Volunteer Leadership Center
Location: Durham
Ages: 9th-12th graders
Contact: thevolunteercenter.org/IMPACT thevolunteercenter.questionpro.com/SBimpact23 jenneca@tnvlc.onmicrosoft.com
919-321-6943
The Triangle Nonprofit & Volunteer Leadership Center
thevolunteercenter.questionpro.com/SBimpact23
TNVLC Model United Nations
The Triangle Nonprofit & Volunteer Leadership Center
Location:
Ages: Rising 9th-12th graders
Contact: thevolunteercenter.org/Model-un-week
thevolunteercenter.questionpro.com/Summer2023
jenneca@tnvlc.onmicrosoft.com
919-321-6943
TNVLC Civic Engagement Leadership Institute
The Triangle Nonprofit & Volunteer Leadership Center
Location: Durham
Ages: ising 10th-12th graders
Contact: thevolunteercenter.org/celi thevolunteercenter.questionpro.com/Summer2023
jenneca@tnvlc.onmicrosoft.com
919-321-6943
Two Sisters Adventure Company
Location: Durham
Ages: 6-18 years
Contact: twosistersadventure.com/camps connect@twosistersadventure.com
USA Ninja Challenge
Location: Durham
Ages: 6-11 years
Contact: ninjadurham.com durham@usaninjachallenge.com
Woodcrest Farm and Forge
Location: Hillsborough
Ages: 5-16 years
Contact: woodcrestfarmnc.com/summer-camps
YMCA Camp Kanata
Location: Wake Forest
Ages: 6-15 years
Contact: campkanata.org
CampKanata@campkanata.org
(919) 556-2661
Paradox Opera | Bicentennial Plaza and Unitarian Universalist Fellowship, Raleigh | Eno House, Hillsborough | Mar. 23-31 | Live-streamed studio show Mar. 21 | paradoxopera.org
The year is 1969. A woman dials a number on a pink touch-tone phone and nervously leaves a message for “Jane.” She’s calling the Jane Collective, also known as the Abortion Counseling Service of Women’s Liberation, the Chicago-based underground organization that provided access to some 11,000 medically safe abortions between 1969 and 1973.
Listen closely to composer Rachel Dean’s music and lyricist Erin Reifler’s words in the YouTube video for the song “Calling for Jane.” There’s an unexpected lightness to the agile—and sometimes precarious— dance of eighth notes. As she speaks, the woman clearly knows her situation is serious, but she’s not crushed by the circumstances. She’s resilient. Major and not minor chords predominate, and singer Alissa Roca’s soprano scales the treble clef as the music lifts and encourages her.
If you weren’t told, you might not even realize what you’re listening to is opera.
But the first music video release from Morrisville’s Paradox Opera underscores some of the changes that founder Roca wants to see in her art form, as an accessible new work her company commissioned to speak to the present moment in our culture.
And when Roca performs it live, outside the North Carolina State Legislature building next Thursday, and in venues in Raleigh and Hillsborough the following week, it will
also underscore the change that many want to see in our current body politic.
The song takes its rightful place during Autonomy, a collection of nine works and an accompanying art exhibit commissioned and assembled “in defiance,” Roca says, against Dobbs v. Jackson, the U.S. Supreme Court case last summer that overturned Roe v. Wade. After an online streaming performance on March 21 and Thursday’s performance on Bicentennial Plaza, Autonomy will play dates the following week at Hillsborough’s Eno House and the Unitarian Universalist Fellowship of Raleigh.
The Dobbs decision came down while the company was working on its debut production, Covid Chronicles, last June.
“I reached out to a number of women and nonbinary composers and librettists that same day,” Roca recalls. “I said, ‘I feel the only way I know to respond to this is to make art, so let’s do something.’”
Responses reflecting a broad range of reactions came in from across the country, as composers contributed new works and songs already written. In addition to Dean and Reifler’s homage to the Janes, Chicago-based composer Michelle Isaac offered “Our Idea of Nothing at All,” a witty and scathing response to Edwin Webb, an early 20th-century representative from North Carolina who initially opposed suffrage before becoming the only legislator from
the state to vote in favor of it.
Poet Kate Gale’s wry, pensive character studies are set in songs from California composer Mark Abel’s “The Palm Trees Are Restless.”
Marissa Simmons and the Kilroys’ List playwright Germaine Shames’s furious and ribald “An Open Letter to Samuel Alito” contrasts with the frank assessments and gentle affirmations of Jamey Guzman and Jolie O’Dell’s “The Storyteller.” In their midst are two from Los Angeles: composer Akshaya Avril Tucker’s brooding “The Value of a Bird” and Dana Kaufman’s anthem “Until My Body Is My Own.”
Four of the seven composers contributed newly commissioned works for this concert.
Simmons says that she wanted to shed light on the many circumstances that lead people to seek abortion care, and recalls the 10 years of fighting it took for her to get a medically necessary hysterectomy.
“They needed me to connect them with my therapist,” she says. “And they needed permission from my husband—despite them saying I wouldn’t survive a pregnancy.”
When Simmons got the procedure just as Amy Coney Barrett joined the Supreme Court, the timing was “terrifying.”
“If I hadn’t won that fight and [had] accidentally gotten pregnant, it would have been a death sentence for me, and anyone who would help me could be criminalized
in some states,” she says. “There are hundreds of thousands of women dealing with the same thing for different medical conditions, and somehow no one seems to know about that.”
The first thing Reifler and Dean focused on was who would be given voice in their song.
“We both agreed pretty quickly it was someone who was calling the phone number [for the collective, posted on flyers and in personal ads from the time],” Reifler says. “Just an average person who didn’t think it could happen to her.”
The two also tried to imagine how the act of making a call would feel.
“What are you thinking when you’re on [a Jane call], what questions would you ask, and what would they ask to protect themselves,” Reifler says. “And what is the emotional journey to get from that phone call to showing up at the door for your procedure?”
To humanize the character, Dean started out with music to reflect “the awkwardness, the nervousness; someone who might make an inappropriate joke because they’re uncomfortable with the situation.”
Those notes brought the woman into focus for Reifler. “I was like, ‘Oh, I see. Now I understand this woman’s voice and energy.’”
Audiences are likely to, as well, in both the YouTube video online and at the in-person events next week. W
5TH COSMIC RAYS FILM FESTIVAL
Exhibition: The Digital Wilds @ Lump Gallery in Raleigh, Mar. 3–Apr. 2 Four Short Film Programs: Varsity Theater in Chapel Hill, Mar. 30-31
To the uninitiated, experimental film might seem cloistered or unapproachable. But behind the black turtlenecks and complex facades of its most famous progenitors, unconventional cinema is famously egalitarian—especially in the South, where anything avant-garde may instantly be deemed subversive.
The fifth Cosmic Rays Film Festival helps further upend expectations, combining a spirit of acceptance with an innovative blend of programming, including immersion in The Digital Wilds at Lump Gallery in Raleigh, traditional screenings at Varsity Theater in Chapel Hill, and live audiovisual performances at Cat’s Cradle in Carrboro. Ahead of the festival’s weekend of in-person events, INDY Week caught up with cofounders Sabine Gruffat and Bill Brown via email to talk about future film technologies, institutional support for challenging art, and how it all got started.
BILL BROWN: Sabine and I both make experimental films. We wanted to share the kind of work we love—films that are personal and experiment with audiovisual form—with audiences here in the Triangle, which has been home to some terrific festivals and venues in the past: Chapel Hill’s Hi Mom! Film Festival, the Strange Beauty Film Festival, and Durham’s Unexposed Microcinema. They had all closed shop by 2018, so we decided to start Cosmic Rays. This wasn’t our first rodeo, though. Sabine and I have collaborated on several projects in the past, including La Videoshop, a pop-up microcinema that we installed in a defunct art gallery in Paris during the summer of 2015. But we’d never tried to go whole hog. We wanted Cosmic Rays to be down to earth, with adventurous programming and a generous definition of what experimental film can be.
Live Cinema: Cat’s Cradle in Carrboro, Mar. 30 More info: cosmicraysfilmfest.com
How do you curate the program to ensure it stays fresh and innovative?
SABINE GRUFFAT: We like films that take aesthetic and personal risks. In the end, we create the final program based on how the films are in conversation with each other. I don’t think we have ever programmed a film because it was “fresh,” but I can think of several that we found innovative in their structure, editing, or visual language.
BB: The open call is exciting. We never know who will share work with us or what they’ll send. We love to show new work from established filmmakers, but it’s even more fun to show work from someone we’ve never encountered before. It’s like hitting pay dirt.
How important is it for artists to push the boundaries of what’s considered “traditional” in the film industry?
BB: If Hollywood filmmaking is like a fancy mansion, then experimental filmmaking exists in the forgotten ivy-covered greenhouse at the back of the estate—the place the misfits and mad scientists sneak off to smoke cigarettes, where filmmaking can be continuously interrogated and reinvented. Experimental films have less in common with Hollywood films than with the studio arts and poetry (not to mention alchemy and witchcraft). They’re less invested in conventional forms of dramatic storytelling—I’d argue they’re not even particularly invested in storytelling at all, at least not in the throwaway sense that everyone from
pharmaceutical companies to management consultants talks about “stories” these days. What they do care about is cinematic form and meaning and how those two things can be configured in an infinite variety of novel and sometimes breathtakingly beautiful ways.
How will the technologies on display in The Digital Wilds impact the future of cinema?
SG: It’s just the beginning, so it’s hard to tell. But VR, AR, and 360-degree video have already expanded the rectangular film frame to become completely immersive. This isn’t just about film and cinema—this is about our whole mediascape changing. I look forward to seeing how artists respond to all of it.
How do you think audiences will respond to it?
SG: Often, people enter a gallery and immediately try to decide whether they like what they see. Any time you bring something different into a gallery like an iPad or a VR headset, it challenges people to consider technology and see it as more than just a carrier of content. The Digital Wilds is interested in how technology lets us communicate with the natural world, and vice versa. In eteam’s video piece “Our Non-Understanding of Everything,” there are snails interacting with iPhones and spiders walking on computer chips. How does the natural world interact with our human-made technological products? How does the snail’s sensorium react to an LED-screen image?
How will the live cinema component of Cosmic Rays complement that?
BB: Imagine if you’re at the movies and the film projectionist is also making the film you’re watching on the fly. That’s a live cinema performance. During a show, artists use media tools—video synthesizers, 16mm film projectors, laptops, and Magic Lanterns—to create images and sounds in real time. The means and materials of production are performed; the artist pulls back the curtain so the audience can see and hear the artistic interventions—scratching film emulsion or bending video signals—that produce sounds and images. It’s spontaneous and responsive—and always a little bit risky.
Speaking of risky: all proceeds from Cosmic Rays ticket sales go directly to participating filmmakers, many of whom are local. How important is that for fostering creative communities?
SG: In order for the arts to thrive in this region, the larger institutions and film festivals have to dedicate a larger part of their budgets to artists, especially local and emerging ones. If we want equity in the arts, we have to start by paying artists.
BB: We live in a country where, outside a handful of big cities, the arts are underfunded—and audiences for the arts are underserved. This is doubly the case for artist cinema, and triply the case for artist cinema in the South. A big part of our mission is to support innovative media artmaking in the place where we live. There’s no reason North Carolina shouldn’t be the center of the experimental film universe.
SG: North Carolina is definitely overlooked by the art world. Even the art publications that cover Southern art have few (if any) representatives writing about North Carolina. Our state needs art writers to critique the work artists do here. We need an art publication that raises the stakes on the quality of exhibitions. We also need art collectors to invest in local art—and not
just traditional framed artworks on walls or sculptural installations. I am a professor in the art department at UNC-Chapel Hill, and I can attest to the fact that, as a region, the Triangle is behind the curve. There has never been a cinema on the UNC campus. Our hope with Cosmic Rays is to expand the notion of what visual art can be and support local artists who currently work digitally or might consider working with new media if there was a dedicated space for that kind of artwork.
What lessons have you learned entering Cosmic Rays’ fifth year?
SG: This kind of arts endeavor is always a challenge. Every year, we are funded in a different way with very few repeat grants. This year, we became a nonprofit so that we can be eligible for more grants. But it doesn’t get any easier. What keeps us going is our growing festival attendance and the feedback from our audience.
BB: It’s always a challenge to get the word out. But each year, the happiest surprise for us has been the way Cosmic Rays has tapped into a community of experimental media-makers and audiences in the Triangle that is bigger and more varied and diverse than we imagined when we started the festival in 2018. When we decided to bring the festival back last year [after a pandemic pause], it was because we decided artist cinema matters. Maybe art is not a high priority when the world falls to pieces. But art can offer something: some way to make sense of the insane world we live in; some sustenance or solace.
What advice do you have for aspiring filmmakers interested in breaking the norms of traditional cinema and exploring new possibilities?
SG: Come to the festival and see these films. For a sliding-scale donation, you can buy a festival pass and attend as many of the film programs as you’d like. I always tell my students that culture is just like food. You won’t know if you don’t try it. W
“A big part of our mission is to support innovative media artmaking in the place where we live. There’s no reason North Carolina shouldn’t be the center of the experimental film universe.”
American Death Cult $12. Wed, Mar. 15, 8 p.m. Local 506, Chapel Hill.
Clementine Was Right / Riggings / L.U.L. $10. Wed, Mar. 15, 8 p.m. The Pinhook, Durham.
Nick Cannon’s Next Superstar Tour $56+. Wed, Mar. 15, 6:30 p.m. The Ritz, Raleigh.
Artspace
Unplugged: Relay Relay $15. Thurs, Mar. 16, 7:30 p.m. Artspace, Raleigh.
Boombox $18. Thurs, Mar. 16, 9 p.m. Lincoln Theatre, Raleigh.
Cosmic Collective / Josh2800 / Stimulator Jones
$10. Thurs, Mar. 16, 8 p.m. The Pinhook, Durham.
Duck $13. Thurs, Mar. 16, 8 p.m. Cat’s Cradle Back Room, Carrboro.
An Evening with Ryan Monroe (Band of Horses) and Josh Roberts $20. Thurs, Mar. 16, 8 p.m. Motorco Music Hall, Durham.
North Carolina Symphony: The Music of Phil Collins and Genesis $53+. Mar. 17 and 18, 8 p.m. Duke Energy Center for the Performing Arts, Raleigh.
Adam Doleac: Barstool Whiskey Wonderland Tour
$15. Fri, Mar. 17, 8 p.m. Lincoln Theatre, Raleigh.
Elijah Rosario with Kenny Wavinson, Micah Evans, and Tesh $10. Fri, Mar. 17, 7 p.m. The Pinhook, Durham.
Ernest Turner Stephen Riley Duo $25. Fri, Mar. 17, 8 p.m. Sharp Nine Gallery, Durham.
The Floor with Johan Yardan $5. Fri, Mar. 17, 10 p.m. Rubies on Five Points, Durham.
Howling Giant $15. Fri, Mar. 17, 8 p.m. Local 506, Chapel Hill.
Kenny Roby $15. Fri, Mar. 17, 8 p.m. Motorco Music Hall, Durham.
Simon Dunson Quartet $15. Fri, Mar. 17, 8 p.m. The ArtsCenter, Carrboro.
Cathedral Ceilings $10. Sat, Mar. 18, 8 p.m. Local 506, Chapel Hill.
Danielle Wertz $25. Sat, Mar. 18, 8 p.m. Sharp Nine Gallery, Durham.
Dissimilar South $12. Sat, Mar. 18, 8 p.m. The Pinhook, Durham.
Fly: A High Flying, Vibey Dance Party $20. Sat, Mar. 18, 10 p.m. The Burrow, Raleigh.
Fortune Factory: Electric Jungle $5. Sat, Mar. 18, 10 p.m. Rubies on Five Points, Durham.
The Lemon Twigs $20. Mon, Mar. 20, 8 p.m. Motorco Music Hall, Durham.
New Found Glory
$37. Mon, Mar. 20, 8 p.m. Haw River Ballroom, Saxapahaw.
Quasi $18. Mon, Mar. 20, 8 p.m. The Pinhook, Durham.
BYOV (Bring Your Own Vinyl) Night Tues, Mar. 21, 6 p.m. Rubies on Five Points, Durham.
Cheekface $16. Tues, Mar. 21, 8 p.m. Cat’s Cradle Back Room, Carrboro.
Dream, Ivory $15. Tues, Mar. 21, 8 p.m. The Pinhook, Durham.
Carolina Ballet: Mozart Symphony No. 40 $42+. Mar. 9-26, various times.
Duke Energy Center for the Performing Arts, Raleigh.
Rene Vaca $27. Wed, Mar. 15, 8 p.m. Goodnights Comedy Club, Raleigh.
American Ballet Theatre: Giselle $10+. Mar. 16-19, various times. DPAC, Durham.
Alington Mitra $25. Mar. 17 and 18, 9:30 p.m. Goodnights Comedy Club, Raleigh.
Comedy Night with Erik Terrell and Helen Wildy $15. Fri, Mar. 17, 8 p.m. The Cary Theater, Cary.
The ComedyWorx Show Matinee $9. Sat, Mar. 18, 4 p.m. ComedyWorx, Raleigh.
Rachel Fogletto $20. Sun, Mar. 19, 8 p.m. Goodnights Comedy Club, Raleigh.
Gross Reality / Franky and the Slight Incline / Orphan Riot $8. Sat, Mar. 18, 8 p.m. The Fruit, Durham.
Lizz Wright $37+. Sat, Mar. 18, 8 p.m. The Carolina Theatre, Durham.
Marvelous Music Mainstage Series: TAKE3 $27. Sat, Mar. 18, 7:30 p.m. Cary Arts Center, Cary.
Object Hours / MOMS Sat, Mar. 18, 7:30 p.m. Shadowbox Studio, Durham.
King Tuff $20. Sun, Mar. 19, 8 p.m. The Pinhook, Durham.
Will Hoge and the Wild Feathers $25. Sun, Mar. 19, 8 p.m. Lincoln Theatre, Raleigh.
Jeremy “Bean”
Clemons Jazz Trio Tues, Mar. 21, 9 p.m. Kingfisher, Durham.
Live Acoustic Music with Bill West Tues, Mar. 21, 7:30 p.m. Nash Street Tavern, Hillsborough.
Moe $33. Tues, Mar. 21, 8 p.m. Lincoln Theatre, Raleigh.
Riverside $25. Tues, Mar. 21, 8 p.m. Cat’s Cradle, Carrboro.
Soulside $15. Tues, Mar. 21, 8 p.m. Motorco Music Hall, Durham.
Tye Tribbett: All Things New Tour $33+. Tues, Mar. 21, 8 p.m. The Carolina Theatre, Durham.
Jeff Scheen Live Album Recording $20. Thurs, Mar. 16, 7:30 p.m. Goodnights Comedy Club, Raleigh.
Michael Colyar $26+. Mar. 17-19, various times. Goodnights Comedy Club, Raleigh.
Sarah Silverman: Grow Some Lips $57+. Sun, Mar. 19, 7 p.m. The Carolina Theatre, Durham. Tales as Tall as the Sky $8. Tues, Mar. 21, 9:45 and 11:20 a.m. The Carolina Theatre, Durham.
Daniel Nayeri— The Many Assassinations of Samir, the Seller of Dreams Wed, Mar. 15, 6:30 p.m. Quail Ridge Books, Raleigh.
Sabia Wade— Birthing Liberation Thurs, Mar. 16, 5:30 p.m. Flyleaf Books, Chapel Hill.
Nicholas Dawidoff—The Other Side of Prospect Mon, Mar. 20, 5:30 p.m. Flyleaf Books, Chapel Hill.
Bart D. Ehrman— Armageddon: What the Bible Really Says about the End Tues, Mar. 21, 5:30 p.m. Flyleaf Books, Chapel Hill.
If you just can’t wait, check out the current week’s answer key at www.indyweek.com, and click “puzzles page” at the bottom of our webpage.
720 Ninth Street, Durham, NC 27705
© Puzzles by Pappocom
this week’s puzzle level:
There is really only one rule to Sudoku: Fill in the game board so that the numbers 1 through 9 occur exactly once in each row, column, and 3x3 box. The numbers can appear in any order and diagonals are not considered. Your initial game board will consist of several numbers that are already placed. Those numbers cannot be changed. Your goal is to fill in the empty squares following the simple rule above.
If you just can’t wait, check out the current week’s answer key at www.indyweek.com, and click
“puzzles page”.
Best of luck, and have fun! www.sudoku.com
Software Engineer II
919-416-0675
Software Engineer II, F/T at Truist (Raleigh, NC) Deliver technically complex solutions. Perform system integration support for all project work. Dvlp customized coding, s/ ware integration, perform analysis, configure solutions, using tools specific to the project or the area. Lead & participate in the dvlpmt, testing, implmtn, maintenance, & support of highly complex solutions in adherence to co. standards, incl robust unit testing & support for subsequent release testing. Must have a Bach’s Deg in Comp Sci, S/ware Engg or related tech’l field. Must have 4 yrs of exp in s/ware engg or IT consulting positions performing/utilizing the following: In-depth knowl in info systems & ability to identify, apply, & implmt IT best practices. Understanding of key business processes & competitive strategies related to the IT function. Planning & managing projects & solving complex problems by applying best practices. Providing direction & mentoring less exp’d teammates. Utilizing exp w/: C, Objective-C, Swift, & JavaScript; HTML & CSS; REST, SOAP, XML, & JSON; SQL, SQLite, & MySQL; Xcode, Eclipse; iOS SDK; MS-Office, SourceTree, SonarQube, Veracode, IBM AppScan, & HockeyApp; CocoaPods & Swift Package Manager; Agile & Waterfall Methodologies; GIT; Gitlab; & macOS & Windows operating systems. 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. Apply online (https://careers.truist. com/) or email resume w/ cvr ltr to: Paige Whitesell, Paige. Whitesell@Truist.com (Ref. Job No. R0073958).
Master Solutions Architect Insightsoftware, LLC (Raleigh, NC) to be rspnsble for bldng pos rltnshps w/cstmrs dring prjcts & srve as a tchncl POC drng Mgntde Srce Cnnct instlltn prcss & for leading crtcl aspcts of instlltn prcss from strt to fnsh.
EVENTS AND FESTIVALS
JungNC.org
Friday, 3/24/23 7:30pm Lecture $10
Archetypal Symbols in Fairytales”
Saturday 3/25/23 @ 10am-4pm
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FAIRYTALE WORKSHOP $40
Steven Buser, MD
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Editor, Collected Works of von Franz Church of Reconciliation, Chapel Hill 919 604-0427, JungNC.org
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Bachelor’s in Cmptr Scnce or rel fld w/5 yrs of prgrssvly rspnsbl exp w/ SAP, incl. hnds-on Data Mgmt or Data Wrhse & ETL exp & implmntng ERP tools &/or other fnncl apps, SAP CFIN & SAP ECC exp, & ERP fncl acumen. Must know (thru acdmc trng or work exp) Master Data Mgmt & Data Harmnztn. Can work remotely anywhere in the contntl U.S. where Co has an office. $132,454 to $135,000 per year. Send resumes to recruiting@insightsoftware.com.
