INDY Print Edition Mar. 11, 2026

Raleigh | Durham | Chapel Hill

March 11, 2026

MARGIN OF VICTORY

BY CHASE PELLEGRINI DE PAUR, P. 8

Fresh off a narrow win, Rep. Valerie Foushee reflects on a competitive and expensive primary, and diving into her third term in Congress.

Raleigh | Durham | Chapel Hill

5 A program that helped Walltown residents revitalize underused public spaces is headed to the Lakewood area next. BY KENNEDY THOMASON

6 The Town of Morrisville is launching a pilot rental assistance program for local government and school employees. BY JASMINE GALLUP

7 Skate projects are nominated for Durham's participatory budgeting funds each year. Finally, one is getting funded. BY JUSTIN LAIDLAW

8 Talking with Rep. Valerie Foushee after a suspenseful primary election night. BY CHASE PELLEGRINI DE PAUR

10 Cary residents are pushing back against a reported second ICE facility in the town. BY CHLOE COURTNEY BOHL AND JASMINE GALLUP

INDY's 2026 Summer Camps Guide

15 Our camp guide has you covered with plenty of ideas for this summer.

Culture

12 New cafe Soif has 13 seats, no WiFi, and plenty of charm. BY LENA GELLER

13 The Bride!, Seeds, and other films playing in the Triangle. BY GLENN MCDONALD

14 A new Nasher exhibit highlights the pioneering tapestries of artist Silvia Heyden, who drew inspiration from Durham landscapes. BY SARAH EDWARDS

18 The Django Reinhardt Festival brings a slice of European musical culture to Carrboro for a fifth year. BY RUSS CAMPBELL

20 BOOM Club, an experimental music space for “freaky, semi-disreputable but openhearted” people, opens its doors. BY JUSTIN LAIDLAW

4 Backtalk 22 Calendar

Cover Rep. Valerie Foushee at a campaign event at Rivals Barbershop in Durham on March 2. PHOTO BY CORNELL WATSON

We Made This

Publisher John Hurld

Editorial

Editor-in-Chief

Sarah Willets

Wake County Editor

Jane Porter

Culture Editor

Sarah Edwards Staff

Lena Geller Justin Laidlaw

Chase Pellegrini de Paur

Report For America Corps Reporter

Chloe Courtney Bohl

Contributors

Mariana Fabian, Jasmine Gallup, Desmera Gatewood, Tasso Hartzog, Elliott Harrell, Brian Howe, Jordan Lawrence, Elim Lee, Glenn McDonald, Nick McGregor, Gabi Mendick, Cy Neff, Andrea Richards, Barry Yeoman

Pajor Moore

BACKTALK

The INDY’s Chase Pellegrini de Paur has been closely following the 4th Congressional District Democratic primary, which culminated last week in Rep. Valerie Foushee’s narrow victory over challenger Nida Allam. Readers shared their reactions to his reporting on the more than $4.4 million in outside spending poured into the race and to our coverage of the election results.

From reader DAVID POTENZIANI by email:

Your story naturally included an extended discussion of campaign spending and financing. I consider that a loss for democratic representation. It reminds me of the Cold War when we routinely counted the [intercontinental ballistic missiles] in the respective armories as some sort of contest that could be won. Ever since Citizens United, money has corroded our elections with dark money flowing from mysterious sources.

Perhaps if we started moving away from horserace stories and towards issues our political discussions might be more fruitful.

From Facebook user SHANTELL BINGHAM:

Congrats Foushee and good run Allam! I would’ve been happy with either. But Foushee has been consistent to responding to our needs and I’m sure she’ll lean in harder and do the work more effectively having that two years under her belt. Lord knows we don’t have time to spend on whatever learning curve junior congress folks experience. And I have no doubt the next two years, congress reps will face more pressure by hate groups and right wing activists looking to silence or stall. I have all faith that Foushee will not break or bend. It’s in all the history, culture, and ways of being for a Black woman.

From Facebook user NICK CHRISTIE:

I’m a Wake County voter. I was genuinely on the fence until I started receiving nasty attack ads against Foushee by Allam. In print. And targeted when watching streaming. I do not want to vote for ‘new’ Democrats who fight viciously against Democrats (who are constantly having to navigate attempting bipartisanship and all its compromises) on the grounds that the ‘new’ Democrat is more angry or more dedicated but otherwise have no solutions. So I voted for Foushee again.

From Facebook user DANIEL BRENNER:

Either way it is a win for progressives and progressive values. Mainstream Dems and Corporate Dems are finally seeing the writing on the wall, the workers want their party back!

From Bluesky user JEIGHDBEE. BSKY.SOCIAL:

I was really hoping for Allam, but Foushee is fine. (I’m so tired of ‘fine’ being the best I can get for representation.) I’ll be curious to see what kind of AI regulation she proposes/supports after seeing the list of her campaign donors.

From Facebook user FRANCES STARN:

I am loving Chase Pellegrini de Paur’s reporting! Please give him a raise. Excellent!

NEWS Durham

Block Party

The Love Your Block program implemented residents’ ideas to transform four sites in the Walltown neighborhood last year. This year, it has funding to take on projects in Lakewood.

BY KENNEDY THOMASON backtalk@indyweek.com

On Sedgefield Avenue in Durham’s Walltown neighborhood, a gathering spot is tucked between homes, a brief reprieve from the street’s buildings.

A pair of cornhole boards sit near a jumbo Connect Four board and a chest of other toys. The mulched area has a concrete stage adorned with string lights, and a picnic table that the neighborhood kids have autographed and drawn on in bright-colored paint pens. One edge of the site has a Little Free Library, with a bird feeder nearby, overlooking Dye Creek.

A path lined with rocks leads to the creek, where neighborhood children have added their own fairy houses to the space.

Before neighbors began work on the site, resident Carina Barnett-Loro said it was overgrown with vines and invasive species. Now, passersby can see the creek, which was previously inaccessible, and enjoy the space.

“It’s so special to have this little wild spot, more or less in the middle of the city,” Barnett-Loro said.

The Sedgefield Community Place is one of four sites that has been transformed through Love Your Block (LYB), a resident-led neighborhood revitalization grant program. The program, which focused on Walltown for its first year, includes initiatives like removing invasive plants, installing outdoor seating, and transforming vacant lots into gathering spaces. LYB grew out of an idea to reclaim “paper streets”—city-owned land that is designated for streets but undeveloped—but has shifted its focus to repurposing underused areas more broadly.

Residents submit proposals for their neighborhoods, and if they are selected for grant funding by the city, they imple-

ment their ideas. Residents received grants for three projects to clear the vacant lot where Sedgefield Community Place is now located and turn it into a gathering and play space last year. Barnett-Loro, who worked on the proposal, said the site has been a chance to connect with neighbors while renovating the space and meeting new ones after its completion.

“I think that this felt like a really responsive project, and also a project where we just had a lot of autonomy and a lot of leeway from the city to envision something new and just go for it,” Barnett-Loro said.

As Year 1 of LYB wraps up, more city-funded neighborhood projects are on the way; this time to the Lakewood, West End, Morehead Hill, and Lyon Park areas.

Last month, the Durham City Council gave approval for the city manager to execute contracts with the Bloomberg Center for Public Innovation at Johns Hopkins University, which funds LYB projects across the country. The city will receive an additional $60,000 for this next phase of LYB projects.

Lyndsay Gavin is the manager for the city’s Innovation Team, which oversees LYB. Gavin said the goals of the program are to build community through volunteer work, harness public space, and address illegal dumping in underused spaces. This was a focus for

Walltown’s projects, as eight locations in the neighborhood were reported for illegal dumping in the past year.

“Even though these are pretty small beautification projects that we’re able to fund through this program,” Gavin said, “it does give neighbors the ability to take some action a little bit more immediately on a shorter timeline ... [and] to be able to bring to life what they want to see in their neighborhood.”

LYB started with Walltown because of the small area plan the city completed in August, which identifies develop-

For Rent

This month, the town of Morrisville is launching a program to help local government and school employees afford rental housing.

BY JASMINE GALLUP backtalk@indyweek.com

Wake County

Morrisville is launching a new program to help local government employees and teachers afford rental housing, according to Josh Michael, a member of the town’s planning staff.

The three-year pilot program will initially be open only to town of Morrisville employees, Wake County employees, and teachers and staff in Morrisville schools, Michael said during a recent presentation to Town Council members. The program offers money to help lower the cost of monthly rent as well as cover security deposits for people who are moving into Morrisville.

Funding is limited, with only about $150,000 available to applicants each year. Divided equally between the two initiatives, staff expect to be able to offer rental assistance to between five and 12 households annually and security deposit help to 40 to 50 households annually.

Michael said he hopes the program will be able to expand in the future and secure additional funding through donations or partnerships with the state or federal government. Applications are set to open in late March.

“Of course we have to crawl before we run,” he said. “We are pretty excited to

offer something that could help address affordability in Morrisville. The Triangle in general has so many affordability obstacles, so it’s important that local and regional efforts are being made to address this issue.”

Applicants will be chosen through a lottery system. Those moving into Morrisville from another area will have up to six months to use the funding, according to Michael’s presentation.

Applicants must make below a certain amount of money to be eligible. For rental assistance, that number is 60% of the median income for the Raleigh-Cary area—or about $56,000 for a single person, $64,000 for a two-person household, and $80,000 for a family of four.

For security deposit assistance, applicants must earn less than 80% of the area’s median income—in other words, about $73,000 for a single person, $83,000 for a two-person household, and $104,000 for a family of four.

The amount of money people will receive is based on a calculation that involves income, household size, and the average cost of rental housing in Morrisville.

Michael gave the example of a teacher making about $50,000 per year, who

ment and infrastructure projects based on a community’s priorities and needs. Gavin said the LYB projects are following the city’s small area planning process in an effort to expand on the resources the city is putting toward historically underserved communities. This makes the Lakewood area, which the city is currently developing a small area plan for, a natural next step. (The city is currently accepting LYB applications; winners will be announced April 22.)

LYB is expected to approve eight or nine projects in its second year, scaling funding down from Walltown’s $5,000 per-project allocation to $3,000. The program’s funding will run out by October, but Gavin said the city is considering how elements of the program could be integrated into existing services.

Some Walltown residents took issue with LYB proposals, arguing that the unused spaces the program targets should be left as natural habitats for the animals that live there, and clearing them could invite drug usage and more traffic to the area. LYB has worked with neighbors to address concerns, Gavin said.

may only be able to afford an apartment with a monthly rent of $1,250 per month. But according to federal government estimates, a one-bedroom apartment in Morrisville typically costs around $2,020 per month. Morrisville’s pilot program would give the teacher $770 per month to make up the difference. A little more than half of the renters earning between 51% and 80% of the area median income for Raleigh-Cary are considered housing cost burdened, according to the National Low Income Housing Coalition.

At the February 26 meeting, Mayor TJ Cawley raised concerns about renters continuing to be burdened by the cost of utilities and insurance, which were not taken into account for the pilot program. Councilmember Harrison Kesling echoed those concerns, asking staff to track such costs and suggesting education for applicants on how to save water and electricity.

Michael agreed that nonrent housing costs were a concern, saying staff could possibly address that issue in the future. He added that nonprofit NeighborUp, which will administer the pilot programs, could help applicants find additional assistance for things like water or electric bills.

Erin Parish, another neighbor who submitted a proposal for the Sedgefield site, said the project has been an opportunity to create a space that children and adults can gather in, learning about the environment as they do. It’s also been a way to try to make up for the lost space at Walltown Park, which the city has closed due to lead contamination in the soil, Parish said.

In the process of creating the Sedgefield Community Place, Parish said she talked with neighbors whom she hadn’t spoken with before, bonding over mulching the site and pulling weeds.

“I think that that’s how you really build relationships, is working together on a shared project,” Parish said. “And I think, right now, it’s just a really hard time in our country, and it’s really easy to get down about so many things. I think that’s one of the big reasons why I wanted to do this project was to be able to build something ... that was better than how we started and would make us stronger as a community together by just doing work together.”

As the city is preparing to accept additional funding, Andrew Holland, assistant director of the city’s Office of Performance and Innovation (which oversees LYB), said Walltown should be looked at as a case study for what a neighborhood can accomplish.

“It’s really a testament of ongoing, meaningful engagement that Durham is leading,” Holland said.

based on needs. Gavin following the process in an resources the city underserved Lakewood developnatural next accepting LYB announced eight or nine scaling funding per-project program’s fundGavin said elements of the existing took issue that the targets should the animals them could traffic to the neighbors to who subSedgefield site, opportunity and adults environway to try Walltown due to lead said. Sedgefield she talked hadn’t spoken mulching the really build together on a “And I think, time in our get down that’s one to do this something we started commutogether.” accept addiHolland, assisOffice of Peroversees looked at neighborhood ongoing, Durham is

Durham

Skating Buy

Durham Skate Park will be renovated using funds from Participatory Budgeting PHOTOS BY JUSTIN LAIDLAW

Downtown skate park renovations, public restrooms, and neighborhood murals are among the latest projects getting funding from Durham’s democratic budgeting program.

BY JUSTIN LAIDLAW jlaidlaw@indyweek.com

The Durham skate community scored another big win recently as the city announced the latest winning projects for its Participatory Budgeting (PB) program.

Six projects were awarded $2.7 million in total through the fourth participatory budgeting cycle. The Durham Skate Park got the biggest piece of the pie, receiving $1.2 million in funds to renovate the 16-year-old facility.

During this cycle, the PB team collected 964 ideas submitted by residents, a 52% increase from the previous cycle. Transportation improvements, public safety, and park improvements were the top categories submitted. Each cycle, the deluge of projects are vetted by volunteers who look at cost, feasibility, and whether the ideas are already being implemented through other city initiatives. After the pool is whittled down, any resident over the age of 13 is eligible to vote on a final list.

Skate projects have been submitted for every round of

participatory budgeting, which launched in 2018. Even though this is the first year that a skate project has made it through to the final voting round, they are popular submissions during the PB process, said Carmen Ortiz, senior community development manager for the City of Durham who spearheads the Participatory Budgeting program, during a city council work session last month.

After years of wear and tear from repeated ollies, kickflips, nosegrinds, and pop shove its, the downtown skate park has started eroding. Tyler Kober, owner of Bullseye Bicycle and one of the old heads often spotted skating at the park, said he and a few other skaters use putty to patch the holes and gaps whenever possible, but more substantial repairs are sorely needed.

“Everyone still loves skating here, but it’s becoming more unsafe,” Kober said.

Durham Skate Park was one of the first attractions to

the Central Park area, years before the surrounding apartment boom and additional features like the playground. The park attracts a diverse mosaic of skaters across age, race, and economic status.

Manifest Skate Shop has hosted numerous events at the skate park over the years, drawing skaters from across North Carolina to downtown Durham. Mike Johnston, owner of Manifest, said that he’s “thrilled” the park is finally getting a refresh. The parks’ degradation over time has made skating more challenging, and neighboring municipalities like Chapel Hill, which renovated and reopened its skate park in 2025, are now drawing skaters away from Durham.

Last year, the skate community received a gift from the City of Durham when the Parks & Recreation department allowed Manifest and the Scrap Exchange to take ownership of old skate park equipment from outside the former Wheels skate park and move it to the Lakewood Shopping Center. The future DIY skate park in Lakewood will give skaters another place to work out the kinks on that new trick. Volunteers are still working to erect the new park, which will be even more valuable during renovations of the downtown skate park.

Johnston, who serves on the Recreation Advisory Council, pointed out the connection between the skate park renovation and other topics before the city council that

Skate park story continues on page 11

NEWS

Margin of Victory

Fresh off a narrow win, Rep. Valerie Foushee reflects on a competitive and expensive primary, and diving into her third term in Congress.

BY CHASE PELLEGRINI DE PAUR chase@indyweek.com

After some suspense in the March 3 Democratic primary, 4th Congressional District Rep. Valerie Foushee is set for a third term in Congress. By the time the final precincts reported results around midnight, just 1,200 votes separated Foushee and her opponent, Durham County Commissioner Nida Allam. Allam initially said on election night that she would pursue a recount, before conceding the race the next day.

The results don’t exactly add up to a ringing endorsement of Foushee. She won 49.18% of the vote to Allam’s 48.22%. Add in the 2.6% that went to dark horse candidate Mary Patterson, and that’s a majority of voters who did not pick Foushee.

When the INDY interviewed her in December, Foushee argued that “louder is not always better,” and said that “it is not, in my opinion, my role to elevate my work,” using the biblical analogy of “sounding brass and tinkling cymbal.”

But Allam’s media-fluent campaign (see: a barrage of selfie-style Instagram videos, Reddit AMAs, clips of her children at a rally with Bernie Sanders, and a Hasan Piker Twitch interview) drove the conversation around the election and framed it as a referendum on Foushee, leaving the incumbent to defend a congressional record that, in an era of Republican control, is thin.

Perhaps because Allam put her on the defensive, Foushee ended up more vocally staking out some positions Allam had argued on the campaign trail that a representative for the super blue 4th Congressional District should take, like opposing a now-dead data center proposal in Apex

and calling for ICE to be dismantled. By one of her final campaign stops the weekend before the election, Foushee seemed to have shed some of her misgivings about self-promotion.

“I’m not one who talks a lot about myself,” Foushee said on the basketball court-themed floor of Rivals Barbershop in Durham. “But it seems like in this race, I have to remind people what I have done, because the lies that you all see, incessantly on TV—they’re lies.”

Nationally, the race drew attention (and over $4.4 million in outside spending) as a potential bellwether for the mood of Democratic voters in a second Trump era and as a proxy battle over issues like diversity in Congress, Israel and Gaza, and the role of corporations in politics. Would voters pick the more defiantly left-wing Allam or the measured, experienced Foushee?

But with only a 1% vote margin, the bellwether seems a bit disoriented.

A day after Allam conceded the race, we spoke to Foushee about her reflections on the campaign, the $1.6 million that AI company Anthropic spent to support her reelection, and what residents should do now with all their political energy.

This interview has been edited for length and clarity.

INDY: Where were you when you saw the results?

REP. VALERIE FOUSHEE: So I was in downtown Hillsborough, at a small establishment that really has not done anything

but soft opening. So I had my family, of course, including one of my granddaughters, my pastor, and other community members, several elected officials from Orange County, and that was pretty much it, because I wanted it to be smaller. Most of mine have been, you know, I’m not one for fanfare, but it was nice.

Do you feel like you learned anything in particular this cycle, or did the election change your perspective on anything?

I think if there was any change in my perspective, it was pretty much [on] how politics run now, but I guess, Chase, a lot of it had to do with me still trying to do my job while I was campaigning. And, you know, we’ve had some really tense times here, and so most of my attention went to my work, and now to see that the president has fired Kristi Noem, yeah, I spent more time doing the work [than campaigning].

I don’t know that I would do anything differently that I learned, except for—and I think you and I have talked about this before—how we reach people. And to a great extent, it seemed, at least from what I was hearing, people weren’t aware of the work that I have done over a period of three years, and so I

probably would have done that differently in announcing the work that we’ve done and the work that has benefited the district.

You won but by a pretty slim margin, and between the votes for Allam and for Patterson, a majority of voters didn’t vote for you. Do you see that as a message about behaving or moving differently in the future?

I don’t think so. I don’t know that I would—I don’t think that that was a factor in how I behave as it relates to how I get out a message. And quite frankly, I don’t know that— well, I’ll just leave it at that, I don’t think so.

Do you feel like having this primary pushed you to take some stances that you would rather not be so public about? I’m thinking, for example, about the Apex data center. You said it was a local decision, and then later you clarified that you opposed it, but you didn’t want to be “a thorn in the side of the local officials.”

I don’t think so. I think when that [data center] question was first asked of me, I answered it from how I felt, and because there seemed to be some miscommunica-

tion and misinterpretation of that answer, I felt a need to clarify.

And as it relates to data centers, I do believe that [Congress is] so far behind this that we haven’t given any kind of guidance to local or state officials about what should or should not happen. So the people who have been elected to make those decisions, yes, I respect them and I respect their responsibility, and I respect the voters for having chosen them, and so I don’t think I would change that.

We’ve spoken a lot about corporate and outside funding before, but how should constituents view the outside funding from the PAC associated with Anthropic, which dropped $1.6 million on your behalf the week before the election? And how should they see that especially in the context of your stances and your committee roles?

So why are we talking about the funding that was received to my campaign versus other funding that came from outside sources? I think what I would like to say is that until we reverse Citizens United, we need to make sure that local or district issues are considered and determined by folk who live in the district. I have always believed that I am a representative that does represent the values of the district. I am not in favor of any outside group influencing the decisions that are made for a district.

What I believe is that campaign financing, our system, is broken. It needs to be fixed, and until then, people will do what they believe is necessary—I don’t collaborate with outside groups, and you all know that, what I saw, and I tried my best not to look at any of them, what I saw was that there was groups that were not known to me. You know, I would see, I’d say, “Who’s doing this?” And it says “not paid for by any candidate” or whatever. I didn’t have anything to do with that.

So again, I wish that this had not been a nationalized race, because this was about the 4th District, and I am, again, still proud of the donations that came to my campaign that were from donors in this state and donors in my district in particular.

I watched at forums and town halls as people kept asking you about the AIPAC funding from 2022. What’s your case for why the Anthropic money shouldn’t define your third term for people like [AIPAC did]?

I will go back to the statement I just made. I don’t coordinate with outside groups. My

work on AI has centered around establishing guardrails and holding large corporations accountable. And that hasn’t changed. It will not change.

I know it’s early, but have you thought at all about 2028 and what’s in your future?

I have not. I hope to be living then. But right now, Chase, what I think about most is where we are as a nation now, particularly as it relates to dismantling ICE, bringing down the cost of living, the war in Iran. I’m thinking about the fact that Democrats need the opportunity to govern, to show the American people that we care about all of the issues that they care about. And so right now, most important to me is taking back the majority in the U.S. House of Representatives, because until then, we’re not going to be able to make the impacts on daily living that we want to and what the American people are asking for. You know, the truth is, I left my watch party at around midnight or 12:30, I didn’t get to sleep until after 3:30, and first thing Wednesday morning I was on a plane coming back to D.C. so that I’d be here for voting, so I haven’t had a chance to think about much else.

And there was all this energy, of course, around campaigning in the primary. Especially in this very blue district, what can people do now with all that energy if they’re worried about the Trump administration and all of the things that you’ve mentioned?

What they should be worrying about is making sure that we elect Roy Cooper to the U.S. Senate, that we get Anita Earls back on the North Carolina Supreme Court, that we help the North Carolina legislature elect members to that body to ensure that we are moving forward to, for one thing, getting rid of how we redistrict every two years.

Is there anything that I didn’t ask about that you think is important about this election, about your tenure, or about anything at all?

Well I would like to just say how honored I am and humbled that so many people believe that I should be representing them in Congress. And for people who would have wanted someone else to be that representative, I would just want them to know that I will continue to serve their best interest, as I’ve done over the last three years.

Wake County

Iced Out

A WIRED report that ICE is leasing office space near Koka Booth Amphitheatre for a growing force of immigration agents and lawyers has prompted community opposition.

BY CHLOE COURTNEY BOHL AND JASMINE GALLUP backtalk@indyweek.com

In mid-February, WIRED reported that Immigration and Customs Enforcement (ICE) was planning late last year to massively increase its footprint in most major cities with 150 new or expanded offices— including one in Cary.

Details about ICE’s reported lease of office space at 11000 Regency Parkway near Koka Booth Amphitheatre are scarce, but that hasn’t stopped community members from making their opposition clear.

Some 1,300 people have signed a petition opposing the reported lease, which Cary local Kathy Martin presented to the Wake County Board of Commissioners on March 2. Near tears at times, Martin told the board the ICE facility is a “terrible idea ... and I’m not the only one who thinks so.”

Across the Triangle, activists have been holding anti-ICE protests—including on the pedestrian bridge over Interstate 440, where they held a large sign reading “400+ kids in ICE camps, sad & shameful!” On March 5, dozens of protesters gathered outside Cary Town Hall before Mayor Harold Weinbrecht’s State of the Town address to ask the Town Council to take some kind of stand against ICE. Town officials have said they have no authority to intervene.

The INDY hasn’t been able to independently confirm WIRED’s reporting that the Regency Parkway lease is for an ICE office. Many of the agency’s new offices nationwide, reportedly for use by deportation agents and attorneys, are located near schools, hospitals, and community gathering places. ICE already has a field office in Cary at 140 Centrewest Court; the Regency Parkway location would be its second in town.

The address appears in the U.S. General Services Administration’s Inventory of Owned and Leased Properties. The website

says the lease took effect in October 2025 and expires in October 2030 but doesn’t say which agency is using the space. The INDY visited the location, a large office building with multiple tenants, and did not see any signage outside or inside indicating the presence of ICE or any federal agency.

An ICE spokesperson wrote in an email to the INDY that the agency will not confirm office locations due to a “coordinated campaign of violence” against its officers, including an “8,000% increase in death threats against them and a 1,300% increase in assaults.”

(ICE has been making these claims for months. An NPR data analysis from last fall showed a roughly 25% increase in charges for assault against federal officers year over year, a significant uptick but nowhere close to ICE’s claims.)

“Is it really news that when a federal agency hires more personnel that they need more space?” ICE Public Affairs Officer Lindsay Williams wrote. “Thanks to the Big Beautiful Bill, we have an additional 12,000 ICE officers and agents on the ground across the country. That’s a 120% increase in our workforce.” (The Atlantic reported in January that thousands of those newly hired deportation officers have not yet deployed to American cities and may not be ready for months.)

A separate General Services Administration list of federal contracts indicates that the value of the contract on the 11000 Regency Parkway property is just over $7.6 million for a 10-year lease with a five-year minimum. The building’s property manager, Foundry Commercial, did not respond to questions from the INDY seeking to confirm that ICE is the agency leasing the space.

Laura Paye, creator of the Durham Resis-

tance website, who organized the petition against the lease, said the expansion of ICE across the country and in Cary is “upsetting and frustrating,” especially because the details are being obscured.

“This is not, most likely, going to be a detention center. But I don’t think that should diminish our alarm or opposition to it,” Paye said. “Even if this is an OPLA [Office of the Principal Legal Advisor] office, that is still connected to and supporting the guys on the streets with masks. And people being held in secret locations or held without access to lawyers, held without access to medical care.”

Siembra NC, one of the local immigrants’ rights groups leading the effort to track and verify immigration agent sightings in North Carolina, also hasn’t been able to confirm the purported new ICE office location.

“We have heard the troubling news that ICE may be expanding their presence in Cary, and we have reached out to the property manager ourselves—and still are waiting for answers,” Emanuel Gomez Gonzalez, a communications strategist for Siembra, wrote in a statement to the INDY. “We encourage local elected officials to inquire into the issue and use their role as the people’s representative to get to the bottom of these plans.”

Weinbrecht wrote on his blog in Febru-

ary that the town has received “dozens of emails” about the Regency Parkway lease, but he did not confirm ICE’s presence there.

Town of Cary spokesperson Carolyn Roman told the INDY in February that 45 residents had contacted the town to express their opposition to the reported lease.

Roman said the town has not received any rezoning or development applications for the Regency Parkway property and that “it is important to recognize that federal agencies have independent authority and will operate in ways that do not require local rezoning or municipal approval.”

At the March 2 Wake commissioners’ meeting, Martin said that while Cary and Wake County “may not have a lot of legal authority to intervene, you can absolutely put political pressure on these people. Don’t sit on your hands and do nothing.” She implored the board to make a public statement, pass a resolution, or speak informally to the leasing office.

“We’re depending on you to lead us and protect us in these times,” Martin added.

Paye said she and others want to see the town of Cary issue a statement avowing that ICE is not welcome.

“Standing up and speaking out is something that every local government should be doing, but I understand why they’re hes-

itant to take that step,” Paye added. “They feel the fear that they’re intended to feel. That if they speak up, then people in their community will be further targeted.”

In response to audience questions about ICE after his State of the Town address, Weinbrecht signaled that no such statement is coming.

“We have no idea what’s going on [at Regency Parkway]. ... If we did, we have absolutely no authority to stop it,” he said, noting that since North Carolina is a Dillon’s Rule state, Cary has “no authority, no permission, cannot do any ordinances to stop ICE.”

“Take action against the decision-makers,” Weinbrecht said. “I’m not one of them.” When audience members called that response “cowardly,” the mayor pushed back, saying his immigrant neighbors have asked him not to draw ICE’s attention. A public statement from the town would “put the very people you want me to protect in danger,” he said.

Rep. Valerie Foushee, whose district includes the Regency Parkway address, was also unable to provide information about ICE’s presence there.

“Congress and the public have been kept in the dark about ICE’s secretive expansion plans, and the lack of transparency is unacceptable,” Foushee said. “As a cosponsor of the Respect for Local Communities Act, I am working to require full public reporting and oversight of ICE’s lease and enforcement activities. I firmly oppose this possible expansion.”

After immigration enforcement agents carried out a spree of arrests in the Triangle in November, Cary residents organized a recurring protest outside ICE’s field office at 140 Centrewest Court on Friday mornings. And petitioners have made their feelings clear in comments, with many writing that ICE would terrorize residents and disrupt the diverse community they love.

“We don’t need the increase in crime these thugs would bring to Cary,” wrote one Cary resident. “Human warehouses are not a service I want my government to provide,” wrote another. One Cary resident said they would put their house on the market if ICE opened another office in town.

“My children deserve to be driven around by my mother without worrying whether ICE will capture them or not,” wrote one Mexican American Cary resident.

“Even as U.S. citizens we are targeted just by the way we look,” wrote an Apex resident who identified as Hispanic. “Our children don’t need to go to school fearing that they may come home to an empty home, just to find out their parents/guardians have been taken without notice.”

day: crime statistics and solutions to gun violence.

“I’m a huge proponent of skateboarding, and the skate park gives kids a positive thing to do,” he told the INDY

Johnston and Kober agree that one of the hallmarks of the Durham skate community is the balance between inclusivity and intolerance towards bad behavior. The OG skaters set the tone, and younger participants, who look to their elders as role models, follow their lead.

“Skateboarding is a very self-regulated community,” Johnston said. “I think skaters care about skateboarding so much, when they’re out at the skate park, things that would be considered bad behavior aren’t tolerated. Durham in particular is a really good example of a community that is welcoming and at the same time tight knit. The city needs more of this.”

After the skate park renovation, a new playground at Bethesda Park was awarded the second highest amount, $750,000.

The project that won the most votes was a public restroom downtown ($350,000). This will provide “a dignified option for residents, visitors, and unhoused individuals, while reducing strain on local businesses,” according to Ortiz’s presentation to the council.

Other projects funded include murals honoring the culture, history and identity in eight to-be-determined neighborhoods ($150,000); security cameras and lighting in Oxford Manor ($150,000); and public device charging stations in four areas with high foot traffic and transit stops.

Over 16,000 residents voted in the current participatory budgeting cycle.

Detainees inside the Durham County jail had an opportunity to contribute ideas and work on proposal development, too.

The PB team collected 114 ideas from the detainees, and 133 participated in voting.

In addition, 10 participants joined the PB team for a 12-week proposal development process, receiving training on equity and inclusion as well as local civics. Welcome Home, Durham, a re-entry program for formerly incarcerated individuals, also gave a presentation and provided resources for the participants.

“It was very impactful for the residents at the jail,” Ortiz said.

Next, city staff will plan out the specifics of each project and implement them.

Ortiz said the city tries to keep the completion window for PB projects within two years. Over the four cycles, residents have voted to invest in infrastructure projects, public art, and even COVID-19 relief assistance.

FOOD & DRINK

Simple Pleasures

Soif, an intimate new cafe and bar in downtown Durham, has 13 seats, no WiFi—and lots of charm.

BY LENA GELLER lgeller@indyweek.com

Afew years ago, my 2006 Camry stopped playing music from my phone. While this development initially felt devastating, I quickly came to appreciate the experience of relying on the same 10 CDs. Infinite options are nice; sometimes it’s better just to have the edit.

Something of this idea is at work at Soif, a new downtown Durham coffeeshop-meets-bar, in that its postage stamp size, at 593 square feet, ruled out most permutations of what kind of bar it could be—leaving what’s there pared down and sharper for it.

Soif, which opens at 331 West Main Street in early March, will serve coffee during the day and flip to serving spritzers and cocktails at night. It’s the latest spot from Jesse Gerstl, who also owns natural wine bar Delafia on South Roxboro Street.

Housed in a narrow chamber off the lobby of the Snow Building, a 1930s art deco building with offices on the floors above, Soif is intimate to the point that setting up a laptop might feel like projecting a presentation to the room; therefore, it does not have Wi-Fi. There’s limited space behind the bar for a spread of bottles and pumps; therefore, Soif offers basic espresso drinks without a range of flavored syrup options.

That’s not to say it’s austere. Soif has the vibe of a place you duck into when you want your day to feel slightly more cinematic: a checkered black-and-cream tile floor, tiered glass pendant lights that mirror the building’s original fixtures, gently tessellated wallpaper, 13 seats, a standing rail, and a couple of tables out in the lobby. It’s not trying to be the highest-end cup in Durham, and Gerstl said prices will reflect that.

In the evening, the menu will shift from coffee to non-

alcoholic cocktails; low-ABV drinks built around sherry, vermouth, and other aperitifs; and three full-strength cocktails: a Manhattan, a Negroni, and a martini. The wine list will include one white, one red, and one sparkling.

Gerstl told me he found the space first, then worked the concept around it. What made sense, he decided, was something modeled after coffee bars where he grew up, in Italy, where the bar is the center of the community and “everyone starts their day standing at the counter talking about sports or politics or whatever’s going on around town.”

“I think how we structure coffee shops in the U.S., where you walk in and you wait in line, and order at a cash register and then wait on the other side for your drink to be ready—it doesn’t create the atmosphere for, like, ‘let’s share this morning ritual together,’” Gerstl said.

At Soif, there’s no register at one end and pickup counter at the other. The idea is that, whether it’s 8 a.m. or 8 p.m., you walk up to the bar, order from the bartender, and stay where you are, flipping through the newspaper or talking to the person next to you.

Whether people actually want that level of proximity to strangers in a slightly antisocial era is, Gerstl conceded, an open question.

“I’m not sure if anybody actually wants what I want from my morning coffee experience,” he said. “Maybe that is how people are going to feel, like people are too close.”

But, he added, “when you have 593 square feet and 13 seats, it’s OK to not try to please every single person.”

Also, though: In bars, as in most things, having a strong sense of what you are and not losing sleep over what you’re not tends to be exactly what draws people in—which is to

say that not trying to please everyone might be the surest way to end up pleasing a lot of people.

Case in point: Delafia, which Gerstl opened a year and a half ago as, essentially, a place for friends to come hang out and drink “natty wine,” has become one of the more popular bars in Durham. It’s a snug space with a wee astroturf patio out back, and most customers end up sitting at the bar and chatting with whoever’s around.

“Every day I’m shocked that people come into that place,” Gerstl said. “I don’t know if it has anything to do with wine. I think mostly people like that it’s just a different thing for Durham—a little bit darker, and just its own unique thing.”

Soif shares a sensibility with Delafia. Both occupy former barbershops. Neither has an immediately-clear-how-to-pronounce name: Delafia (“deh-luh-fee-ya”) is an untranslatable bit of hyperlocal Tuscan slang, while Soif (“swaff”), which means “thirst” in French, is further obscured by a logo that splits the word in two—SO / IF. Gerstl cheerfully expects people to misread the name as “so if.”

Both bars were also designed to be run by a single bartender. Adam Sobsey, who has been behind the bar at Delafia since it opened, will be the opening bartender at Soif.

The one-bartender model is part of what lets a place like Soif exist without the pressure to pack the room every night, said Gerstl. With labor costs low, Soif doesn’t need to be a hit; it just needs to be itself. And if Delafia is any indication, that quiet confidence is what will end up making people want to come back.

Soif will be open six days a week, closed Sundays. Hours run 8 a.m. to 10 p.m. weekdays and to midnight on weekends.

INCOMING!

Undead Outlaws, Black Farmers, and Defiant Gestures

Jessie Buckley in The Bride!, an awardwinning documentary about Southern Black farmers, and more films playing in the Triangle this month.

BY GLENN MCDONALD arts@indyweek.com

Originally slated for release last year, the outlaw romance The Bride! is finally hitting theaters in March, and it looks like good, weird fun. Set in 1930s Chicago, the film is very loosely based on the old 1935 classic Bride of Frankenstein. But it’s really about the Bride as a kind of modern myth—a cultural artifact from our collective unconscious. The estimable Maggie Gyllenhaal, always such a smart and intuitive performer, is behind the cameras this time as writer and director.

Jessie Buckley plays the title character, a murder victim unwillingly resurrected by an ambitious scientist (Annette Bening) and a lonely monster (Christian Bale, as “Frank”). The reanimated lovers embark on a Bonnie and Clyde crime spree of peril, pursuit, violence, humor, and choreographed dance numbers.

Check out the trailer online, and you’ll see that Gyllenhaal is taking some big swings here with presentation and tone. This looks like a dangerous movie, relative to its budget and pedigree. There’s an undeniable pulse of rage in this story, sublimated into B-movie genre concerns, and that seems like fertile artistic ground these days.

On the other end of the budget/spectacle scale, several narrow-focus documentaries are coming to local theaters in March.

Seeds, the documentary that won the Grand Jury Prize at Durham’s own Full Frame festival last year, brings some regional resonance. Director Brittany Shyne’s acclaimed film follows generational Black farmers in the South, digging deep into themes of family, ecology, and inequity. Shyne and her team spent nine years making Seeds, deploying gorgeous black-and-white cinematography techniques. It won the main prize at last year’s Sundance, too.

The intriguing documentary André Is an Idiot, meanwhile, profiles eccentric advertising creative André Ricciar-

di in the three years after he received a terminal cancer diagnosis. The film is essentially Ricciardi’s final creative project, as he stares down death with—depending on the day—courage, equanimity, fear, denial, and gallows humor. The “idiot” part refers to Ricciardi’s failure to get a colonoscopy that could have made all the difference. So bear that in mind.

Click around online, and you’ll find several other interesting documentaries in local theaters this month, including the musical biography Billy Preston: That’s the Way God Planned It , the odd American-Chinese film Mistress Dispeller, and EPiC, Baz Luhrmann’s Elvis Presley archival project.

QUICK PICKS

Project Hail Mary is this season’s space drama, starring Ryan Gosling as an astronaut who makes a critical acquaintance 12 light-years from Earth. The film is adapted from the 2021 novel by Andy Weir (The Martian), and hard sci-fi fans will find lots of technical space science stuff to chew on.

The Japanese import Kokuho tells the story of an orphaned teenager from a yakuza family who undertakes the rigorous training to be a Kabuki artist. The film has been a huge hit overseas, and in fact, it’s now Japan’s highest-grossing live-action film.

For the kids: The Australian animated comedy The Pout-Pout Fish features Nick Offerman as a surly ocean vertebrate who learns about kindness. Other voice performers include Aussie comedian Nina Oyama, the great Amy Sedaris as a dolphin, and Jordin Sparks as a Siamese fighting fish!

Just in from Canada, the scary movie Undertone com-

bines home-alone horror tropes, innovative sound design, and a clever plot concerning spooky podcasts and urban legends. Even the trailer will mess you up. You’ll want a theater with a good sound system for this one.

A couple of local events to note: Chapel Hill will host the eighth annual Cosmic Rays Film Festival March 20–22, featuring experimental short films and additional hard-to-classify presentations. Check the festival’s website at cosmicraysfilmfest.com for venue and ticket information.

Support your local student filmmakers on April 7 when the Carolina Theatre in Durham holds the second Running Bull Film Festival, short films made by students at Durham public high schools.

Finally, heads up that several area multiplexes are running Oscar-season programs featuring this year’s Best Picture nominees in special one-off screenings. It’s a good chance to catch the films you missed in their natural habitat. Also, look for package screenings of this year’s nominated short films.

Rich Tapestries

Durham artist Silvia Heyden’s weaving style was dynamic, distinctive, and often inspired by the Eno River. A new exhibit celebrates her work.

BY SARAH EDWARDS sedwards@indyweek.com

The most important object in Silvia Heyden’s home was her loom.

A wooden behemoth, the loom soaked in light from two large windows, occupying a sizable portion of Heyden’s living-dining area the way a baby grand might. Here, overlooking a tangle of backyard bamboo and a sprawling paper bush, she spent hours absorbed in weaving.

Heyden was born in Switzerland in 1927 and moved to Durham in 1966 when her husband was hired as a professor of medicine at Duke University Medical Center. Across her lifetime, she completed hundreds of tapestries, many of which now hang on the walls of collectors around the world—as well as in familiar local spots, like Durham City Hall.

“Nature was big in everything she did,” said her daughter, Françoise Heyden, standing in the room her mother used to weave in. “She had the light that she needed [here], which was very important, and the nature. Nothing else mattered.”

Françoise moved into the tucked-away Duke Forest house when her mother died in 2015. Sometimes, she said, she

feels she can still hear the phantom tap-tap of her mother’s foot against the loom pedal.

Silvia Heyden: Weaving Notes and Nature is on view at the Nasher Museum of Art through June 7. Small in size but not in scope, the exhibition celebrates Heyden and the lasting influence that the landscapes of the Southeast had on her work. The show was conceived through a Duke University course taught by Curator Julia McHugh in tandem with the Nasher’s Theory and Practice concentration, which marks a decade this year. Student curators developed all elements of the exhibit.

In her youth, Heyden attended the School of the Arts in Zurich, where she studied color theory and principles of design in the Bauhaus tradition. Weaving wasn’t part of the school’s curriculum; in fact, said Françoise Heyden, her mother’s interest in it was actively discouraged at the time. Tapestries were considered an outmoded decorative art that had, across centuries and technological advancements, come to be a practice that served only to reproduce images from other mediums.

But Heyden had visited the pre-Renaissance tapestries in

her hometown of Basel and fallen in love. She was determined to make the tradition new again. To this, one instructor is said to have responded: “That will take you a lifetime.”

In North Carolina, Heyden found solid footing for her new lifetime’s work. The Nasher exhibit homes in on two of her sources of inspiration while living here: nature and music. Heyden was an accomplished violinist (as a child, she aspired to be a violin maker) and upon moving to Durham began to play in the Duke Symphony Orchestra. Heyden had synesthesia: She saw sounds in color and committed to transmitting melody and movement in her work through a dynamic personal style that incorporated triangles, half rounds, and feathers, among other motifs.

“She didn’t start off with a drawing of what she wanted the tapestry to look like,” explained McHugh, curator of Arts of the Americas at the Nasher. “She allowed herself, in the process, to experiment and feel it like she was playing the violin. She always talked about sort of the threads of weaving to be similar to playing her violin.”

Over a couple of different visits to Weaving Notes and Nature, I felt moved by the singular force of Heyden’s vision, how deftly her pieces communicate art as not just a finished product but as something that is the sum of its parts: the labor, substance, and story behind it. The works made me think about the limits of mass reproduction—simulating an image or style for the sake of simulation, as artificial technologies do now—and how that falls short, not only because the results lack imagination but also because they lack effort.

Heyden didn’t seem to feel fidelity to two-dimensionality—rather, she wrote, surfaces were meant to be “transcended.” Tapestries offered textural possibilities that, say, a painting or photograph couldn’t. As a result, there is much to notice within a Heyden tapestry. None is a static block of fabric: Each has intentional gaps, overlaps, and stray loops of fiber that externalize the weaving process, evoking a sense of happening. Evidence of labor is integral.

When Tropical Storm Chantal whipped through the Triangle last July, it did considerable damage along the Eno River. Historic water levels wore down infrastructure, strewed debris across the woods, and remade entire sections of the trails.

Silvia Heyden: Weaving Notes and Nature, which wraps up just before the one-year anniversary of Chantal, has a timely run. The exhibit offers a generous prism of what one person saw when she looked at the Eno and opens up generative possibilities for visitors about how they, too, might better see and appreciate the immediate environment.

“We went to the Eno when it had just partially reopened and walked some of the trails,” said McHugh, describing a trip to the river to retrace Heyden’s favorite spots. “The

“Playing Pattern,” a 1999 weaving by Silvia Heyden, evokes the ripples and current of a river. PHOTO COURTESY OF THE NASHER MUSEUM OF ART

experience of being at the Eno after studying her works for weeks and weeks—they absolutely came alive.”

Walking the trails, McHugh said, students recognized patterns of disorder like those in “Hurricane,” a tapestry Heyden completed in 1969 after witnessing one of her first big North Carolina seasonal storms. “Hurricane,” which McHugh describes as the show’s “showstopper,” is comprised of a frenzied grid of colors that buckle and bow. “Playing Pattern” (1999), also on view at the exhibit, features triangles of rich blues and greens that closely evoke the ripples and current of a river. Other pieces explore the fractal quality of light on water or the abstraction of clouds from a plane window.

In her later years, Heyden took walks at the Eno nearly every day. The scale must’ve been nothing compared to the river of her childhood, the Rhine; nevertheless, she found plenty to be fascinated by. An exhibit card put together by student curators, available for visitors to take home, maps out Heyden’s favorite Eno spots—a cliff face with mountain laurel, a good heron-sighting spot, several swimming holes.

“While the river flows infinitely down with a life of its own, I must work within the confined space of a tapestry on the wall, which is a composition with its own laws

and rules,” Silvia Heyden explained, once, of her process. “I never go down to the river and draw something which would give me a tapestry; instead, I teach myself how to weave the fluid forms and patterns in the water.”

Heyden was an original, but she did have imitators: One artist, according to her daughter, even received commissions by directly mirroring her mother’s work.

Unfazed, Heyden seemed to trust her imagination and the transportative next new thing—maybe a snatch of music, maybe a shallow pool of eddies. Being available to the process was most important.

“She didn’t care if somebody copied her,” Françoise Heyden said. “She said, ‘Well, that’s what I’m doing now, but next week, I’ll be doing something else.’”

Heyden made at least 800 tapestries—a lifetime’s work, and a practice she called a “dialogue between means and meaning.” Her daughter believes many more pieces exist that haven’t been inventoried. As a result of the exhibit, McHugh said, several people have told her they own a tapestry and didn’t realize who had made it.

“She had shows, a lot of exhibits on both sides of the Atlantic, and she didn’t care,” Françoise Heyden said. “That’s not why she was weaving. She was always pushing, pushing, pushing, to discover the next thing, the next thing.”

2026 Summer Camp Guide

As a Triangle resident, you have likely been stuck at home with your kids on a few (or a few too many?) occasions of late, with local school districts closing down for days due to recent winter storms. You may be thinking ahead to summer—when schoolʼs out, youʼre still working, and you need to keep the kiddos occupied. Yes, itʼs time to sign up for summer camp.

Our 2026 Summer Camp Guide is here with loads of options for all kinds of kids. Do they like to be outside? Send them to a rowing, horseback riding, or nature camp. Do they enjoy getting creative?

There are cooking, music, and pottery camps. Whatever your childʼs interests, and whatever summer camp your family chooses, you can be sure of this: while learning, playing, and adventuring at camp stay, theyʼll make memories that stick with them for a lifetime.

• Basement Waterproofing • Foundation Repair • Crawl Space Repair

2026 INDY Summer Camp Listings

Arts Together Camps

Arts Together

Location: Raleigh

Ages: 3-12

Contact: lauren@artstogether.org artstogether.org/summer-camps

Artspace Summer Art Program

Artspace

Location: Raleigh

Ages: Rising grades 1-12

Contact: dpena@artspacenc.org artspacenc.org/summer-art-program

Blue Skies of Mapleview Horsemanship Camp

Blue Skies of Mapleview

Location: Hillsborough

Ages: 8-18

Contact: cpmblueskies@hotmail.com blueskiesmapleview.us

Bull City Robotics Summer Camp

Insight Co-Learning

Location: Durham

Ages: Rising grades 1-12

Contact: robyn@bullcityrobots.org bullcityrobots.org

Camp Riverlea

Camp Riverlea

Location: Bahama

Ages: 5-12

Contact: campersupport@campriverlea.com campriverlea.com

Camp RiverQuest

Camp RiverQuest

Location: Saxapahaw

Ages: 8-16

Contact: admin@hawrivercanoe.com tinyurl.com/campriverquest

Carolina Friends School Summer Programs

Carolina Friends School

Location: Durham Ages: 4-18

Contact: extendedlearning@cfsnc.org cfsnc.org/summer

Chestnut Ridge Summer Camp

Chestnut Ridge Camp and Retreat Center

Location: Efland

Ages: 5-17

Contact: info@campchestnutridge.org campchestnutridge.org

2026 INDY Summer Camp Listings

Creative Clay Camp for Kids

Glazed Expectations

Location: Carrboro

Ages: 5-12

Contact: susannah@glazedexpectations.com glazedexpectations.com

Emerson Waldorf School Summer Camps

Emerson Waldorf School

Location: Chapel Hill

Ages: 4-18

Contact: summercamps@emersonwaldorf.org emersonwaldorf.org/summercamps

Learn to Fence! Session 1: July 13-17, Session 2: July 27-31

Forge Fencing Academy & Club

Location: Durham

Ages: 7-14

Contact: jeff@forgefencing.com forgefencing.com/summer-fencing-camps

Nike Camp with i9 Sports i9 Sports

Location: McDougle MS, Chapel Hill; Lowes Grove MS, Durham Ages: 5-12

Contact: nicole.earnest@i9sports.com i9sports.com/programs/chapel-hill-mcdougle-middle-school-nikekids-camp-june-2026/177802

Nike Kids Camp

U.S. Sports Camps

Location: Lucas MS, Durham

Ages: 5-12

Contact: nicole.earnest@i9sports.com i9sports.com/programs/durham-lucas-middle-school-nike-kidscamp-june-2026/177864

Piedmont Wildlife Center Summer Camps

Piedmont Wildlife Center

Location: Durham, Raleigh, and Chapel Hill

Ages: 5-17

Contact: camp@piedmontwildlifecenter.org piedmontwildlifecenter.org/summer-camp

Teen Learn to Row Camp

Triangle Rowing Club

Location: Jordan Lake, Apex and Chapel Hill

Ages: 13-18

Contact: director@jordanlakerowingclub.org jordanlakerowingclub.org

www.blueskiesmapleview.us dpmblueskies@hotmail.com • 919-933-1444

March 11, 2026 INDYweek.com 17

MUSIC

DJANGO REINHARDT FESTIVAL

Cat’s Cradle Back Room, Carrboro | Friday, March 20-Sunday, March 22, 2026

Guitar Hero

Carrboro’s Django Reinhardt Festival, celebrating the pioneering Belgian jazz guitarist and the communal spirit of his genre, returns for its fifth year.

BY RUSS CAMPBELL music@indyweek.com

On the weekend of March 20, the Carrboro Django Reinhardt Festival returns for its fifth edition, bringing acoustic jazz, communal jam sessions, and a rare slice of European musical culture to local venues.

Founded in 2016 by local musician Gabriel Pelli, the festival survived a pandemic hiatus and several years of lost momentum before springing back to life last year, when every concert and workshop sold out and the Sunday jam ran for seven straight hours.

For Pelli, staging the festival is a side gig—albeit a consuming one.

“It is basically a one-man show,” Pelli said. “I’m the founder, director, creative director. I do get help along the way, for sure. But I didn’t revive it until last year. I just ran out of steam.”

Running even a modest festival is no small task: booking artists, coordinating international flights, signing contracts, managing ticketing platforms, handling marketing, scheduling workshops, negotiating venue splits, and balancing guest lists against a tight budget. Pelli does it between rehearsals, teaching, and the rest of life.

Growing up, Pelli didn’t play this kind of music—he didn’t know it existed.

“It all started with a friend of mine, Wells Gordon,” he said. “He wanted to put together a hot-club-style band and needed a violinist. Any warm body that could play violin.”

At the time, Pelli played only classical violin and had yet to hear of Django Reinhardt. Gordon sent him recordings.

“I loved it right away,” Pelli said. “He told

me I could just sight-read the melodies. I’d play the melody at the beginning of the tune, the guitarist would take the solos, and then I’d come back at the end. That’s how I started.”

From there, curiosity turned into obsession. He began experimenting with improvisation on violin, then later picked up guitar to better understand the language of the style. What started as filling a seat in a band slowly reshaped his musical life.

The festival itself came nearly a decade into that journey.

The first edition was sparked by a French guitarist named Stéphane Wrembel, who grew up near the town where Django Reinhardt lived. When Pelli saw he was touring nearby, he reached out cold.

“I just wanted him to come here so I could hear him,” Pelli said. “I told him I’d set up the show and promote it.”

Wrembel agreed but suggested they call it the Django Reinhardt Festival and add a workshop. That first year was straightforward: one afternoon workshop and an evening concert.

The festival is devoted to Reinhardt, the Belgian-born Romani guitarist who reshaped jazz in the 1930s with a radically inventive approach. Born into a traveling Romani family that moved throughout western Europe, Reinhardt eventually settled on the outskirts of Paris. After a caravan fire severely damaged his left hand, doctors recommended amputation. He refused.

With limited use of two fingers, he rebuilt his technique.

“He had these two fingers for lead melodies,” Pelli said, describing Reinhardt’s approach, “and the others mainly for chords. When you try to play one of his licks, you realize it actually works best with two fingers—because that’s how he had to do it.”

Often labeled Gypsy jazz—also known as jazz Manouche, Sinti jazz, hot club jazz, or Django-style jazz—the musical style blends American swing with European waltzes and improvisational traditions. While the terminology carries cultural nuance, the style has endured most vibrantly within western European Sinti communities, where it functions as living folk music, learned young and passed down socially across generations.

“It’s really become their folk music,” Pelli said, referring to communities in the Netherlands, Germany, and France. “There’s no better way to get really good than to be surrounded by other good players and to play all the time.”

That communal ethic anchors the Carrboro festival. Alongside ticketed concerts and workshops, Sunday’s free jam session at Lapin Bleu in Chapel Hill serves as the weekend’s gravitational center. Musicians rotate in and out.

At one point at a past festival, Pelli found himself trading choruses with Reinhardt’s great-grandson.

“It was surreal,” he said. “You realize you’re inside a lineage.”

This year’s lineup leans into that living

tradition. Dutch guitarist Paulus Schäfer headlines the weekend, traveling from the Netherlands for two nights at Cat’s Cradle Back Room. Schäfer grew up immersed in the Sinti jazz scene and is widely regarded as one of the leading contemporary voices in the style.

He’s joined by Baltimore guitarist Sam Farthing, 24, whose playing has drawn high praise from aficionados.

“He plays like he grew up in a Sinti camp in Holland,” Pelli said. “Which is about the highest compliment you can give.”

Concerts run Friday and Saturday nights, March 20–21, with daytime workshops focused on rhythm technique, improvisation, and ensemble interplay. Sunday’s March 22 jam is free and informal, no ticket required.

“Even if you can’t afford a workshop or a concert, you can come by for free and listen to the jam,” Pelli said. “Anybody can participate in the festival in some way.”

Carrboro isn’t an obvious stop for European touring musicians. Most cluster in New York, Chicago, or the Bay Area. That this music lands here at all is a testament to Pelli’s persistence.

“Django started something almost a hundred years ago,” Pelli said. “Every time we play it together, we’re keeping that conversation alive.”

For a few nights in March, Carrboro joins that conversation.

with host Adriane Lentz-Smith

On How the Arts Can Bridge the Past and Present

7:00 PM

Friday, March 20, 2026

Hayti Heritage Center Durham, NC

Build Your Own Music Culture

BOOM Club, an experimental new space for electronic music nerds and novices alike, opened its doors in Durham this month.

BY JUSTIN LAIDLAW jlaidlaw@indyweek.com

Inside BOOM Club, the atmosphere is tranquil. Synthesizers and keyboards line the walls of the space with a low static hum that flows through the air like a siren call, beckoning visitors to explore the unlimited sonic potential of the electronic instruments on display.

The “Build Our Own Music” (BOOM) Club—founded by Rachelle Sickerott, Nick Williams, and Sean Thegen—is as much for the novice as for the nerd. Unlike traditional instruments, the machines in the space don’t require years of music theory or an understanding of scales and pitch. To start, just press a button or twist a knob and see where the sound waves lead you.

The first iteration of BOOM Club debuted as a one-day pop-up event at the Fruit in fall 2024. Williams said the club moniker is more “after-school AV club than country club.” He wants BOOM Club to be a place where “freaky, semidisreputable but openhearted” people can come and

leverage the space’s resources to learn and experiment with all kinds of music and be part of an inclusive music community.

“It’s really hard to be a professional musician,” Williams said. “It’s almost impossible for most people, and we can’t really change that, but we can create a place where people can be seen and appreciated and part of a local musical culture. Because once you’re a part of something like that, nothing feels better in the world. It feels so good to be a building block in a local culture.”

The space opened at 600 Foster Street, inside the space formerly occupied by PS37, on March 6. It offers day passes and long-term memberships for folks to access the instrument library; higher tiers include tutorials and workshops, as well as entry into BOOM Club events. Last summer, BOOM Club set up in a defunct train car at American Tobacco Campus, affectionately called “Electric Choo-

Choo,” with dozens of synths for passersby to experiment with. Acclaimed artists like Suzi Analogue also hosted workshops on the craft of making electronic music, as well as its history and subcultures. Recently, the team hosted a “modular 101” workshop in Durham and at North Carolina State University. BOOM Club’s new space will allow them to expand those offerings, with artists already lined up to provide expertise.

Sickerott has spent much of her career curating art as a public art coordinator with the city of Durham and as an event promoter. Several years ago, she decided she wanted to experiment with music, but accessing the necessary gear—which can cost hundreds, if not thousands, of dollars—was a barrier to entry. Founding BOOM Club was her way of breaking down those barriers for herself and others.

“When I was thinking this through, before we started, I

was like, ‘That would be great for me, too,’ and it has been,” Sickerott said. “This is a place where I have learned so much and continue to learn what I want to do with these instruments.”

Sickerott serves as a gadget translator of sorts for other folks who come to BOOM Club with little technical knowledge, helping guide visitors from a place of equal footing.

“When someone comes in, I say, ‘Feel free to just play with it. Let’s explore this together right now,’” Sickerott said.

A majority of the synths and keyboards belong to the BOOM Club team, with a few vintage instruments also on loan from Alex Maiolo, a Chapel Hill-Carrboro native and longtime friend of Thegen’s and Williams’. Unbeknownst to Maiolo, who recently moved to San Francisco, his gear might have found a new permanent home. (“This is a good time to announce that we’re never

going to give it back,” Thegen joked.)

Thegen and Williams are veteran performers in the local music scene. Williams was one of the original cofounders of the Pinhook in 2008 and has played in numerous bands around the Triangle. Thegen hosted his own radio show on WHUP from 2015 to 2017 and performs as a DJ and musician under the moniker Ultrabillions.

The two men met at a concert over a decade ago. Thegen said he couldn’t help but notice Williams’ Fuck Buttons band shirt and was surprised to meet another fan of the obscure British electronic duo.

Thegen’s and Williams’ interests are shared in a flourishing electronic music scene, one which was particularly robust a decade ago. Raund Haus, a Durham-based DJ collective and music label home to a roster of elite sample mixers, button mashers, and knob twisters, emerged in 2016 as one of the forerunners during that creative

boomlet. Artists from the label routinely performed onstage at music and technology festival Moogfest, which relocated from Asheville to Durham in 2015, before halting. The festival’s four-year run gave Triangle artists an elevated platform to showcase skills for an international audience.

On a recent Saturday afternoon, BOOM Club and Raund Haus teamed up for a friendly beat-making competition before launching into the Raund Haus 10th anniversary party later that night. Raund Haus cofounder Nick Wallhausser and Thegen previously collaborated on a series called “Micromachines.” Wallhausser called BOOM Club’s move into the old PS37 space “a perfect fit.”

“They’re trying to cultivate a community and give it a home base for people to come and experiment and have access to things,” Wallhausser said.

Music, like any other subculture, can be intimidating to those on the outside looking in. BOOM Club was founded to defuse any air of exclusivity, Thegen said, as well as to reshape notions of what electronic music is.

“My real dream would be some 12-yearold comes in, samples a mini Moog on their iPhone, and makes music we’ve never heard of,” Thegen said, adding that he wants to get rid of “some of that barrier of what electronic music is.”

“Last time I checked,” he continued, “any recorded music involves microphones and electronics, so unless you’re playing a banjo in a forest, you are involved in electronic music.”

He imagines that many of the folks who visit the synthesizer clubhouse won’t necessarily be aspiring full-time musicians but also hobbyists and enthusiasts nurturing their creativity.

“You don’t have to have being a professional musician as your goal,” Thegen said. “I like to play basketball. I’m not trying to make the NBA, but it doesn’t mean I don’t enjoy doing it.”

CULTURE CALENDAR

WED 3/11

MUSIC

Leela James 8 p.m. The Carolina Theatre, Durham.

Los Straitjackets, Deke Dickerson 8 p.m. Cat’s Cradle Back Room, Carrboro.

Puma Blue, Salami Rose, Joe Louis 8 p.m. Cat’s Cradle, Carrboro.

Rare Of Breed, Just Nate Musik, DJ Winn 7 p.m. Lincoln Theatre, Raleigh.

Secret Monkey Weekend / Kenmujo / Kid Alumni 8 p.m. The Pinhook, Durham.

STAGE

MacBeth Mar. 4–22, various times. PlayMakers Repertory Company, Chapel Hill.

Música, Música, Máximo, Música March 4–15, 2026, Raleigh Little Theatre, Raleigh.

THUR 3/12

MUSIC

Emanuel Wynter / Tre Charles 7:30 p.m. The Pinhook, Durham.

Roland Burnot Quartet 7:30 p.m. Sharp 9 Gallery, Durham.

The Simon & Garfunkel Story 6:30 p.m. DPAC, Durham.

Thursday Night Music Club:

Nashville Songwriters Round 7:30 p.m. The Cary Theater, Cary.

STAGE

The Carolina Ballet: Snow White Mar. 12–29, various times. Martin Marietta Center for the Performing Arts, Raleigh.

Vir Das: Hey Stranger 8 p.m. The Carolina Theatre, Durham.

PAGE

Whit Rummel: The Accidental Picasso Thief 5:30 p.m. Flyleaf Books, Chapel Hill.

Rick Tulsky: Injustice Town 7 p.m. Quail Ridge Books, Raleigh.

SCREEN

Jewish Film Series: All About the Levkoviches 7 p.m. NCMA, Raleigh.

Southern Documentary Fund: The Remix - Flip It Back, Run, Rewind 7:30 p.m. Mettlesome Theater, Durham.

FRI 3/13

MUSIC

2026 Flamenco Vivo’s Tablao Flamenco Mar. 13–14, various times. Motorco Music Hall, Durham.

Dogpark, John Wood 8 p.m. Cat’s Cradle, Carrboro.

Femme Fragments Presents: Fatale Frequencies, Holoter, Queenplz, Lex Nell 10 p.m. Rubies, Durham.

Fireside Collective, Of Good Nature 8:30 p.m. Lincoln Theatre, Raleigh.

Halo Bite, A Modest Proposal 7 p.m. Rubies, Durham.

Hot Raccoons Music and Dance Party 8 p.m. Shadowbox Studio, Durham.

Joe Bonamassa 8 p.m. DPAC, Durham.

Keith Ganz Quartet 7:30 p.m. Sharp 9 Gallery, Durham.

Mellow Swells Album Release w/ Sonny Miles 9 p.m. The Pinhook, Durham.

NC Symphony presents: Hollywood Hits Mar. 13–14, 8 p.m. Martin Marietta Center for the Performing Arts, Raleigh.

The Spits, Snõõper, Mean Habit 8 p.m. Stanczyks, Durham.

Surfing for Daisy, Jack The Radio 8 p.m. Cat’s Cradle Back Room, Carrboro.

STAGE

Black Sheep Comedy Presents: Final Cut Takes On The Oscars 7:30 p.m. The ArtsCenter, Carrboro.

Jimmy O. Yang: Big & Tall Tour 8 p.m. Martin Marietta Center for the Performing Arts, Raleigh.

SAT 3/14

MUSIC

Adulting presents: ABBACADABRA 7 p.m. and 11 p.m. Rubies on Five Points, Durham.

All The Feels 7 p.m. The Ritz, Raleigh.

The Chamber Orchestra of the Triangle Presents: Il Trionfo! Mar. 14–15, various times. The Carolina Theatre, Durham.

KC and The Sunshine Band 8 p.m. DPAC, Durham.

Minorcan / Lalitree Darnielle / Celestogramme 6:30 p.m. The Pinhook, Durham.

Mother’s Finest, Will McBride Group 8 p.m. Lincoln Theatre, Raleigh.

Muzz 9 p.m. The Fruit, Durham.

Rodolfo Zuniga West-East Quartet Mar. 14–15, various times. Sharp 9 Gallery, Durham.

FIND

SIREN: Pisces Drag Show and Dance Party 10 p.m. The Pinhook, Durham.

Twen, Monsoon 7 p.m. Cat’s Cradle Back Room, Carrboro.

STAGE

Wild Mind Improv Spring Shenanigans Show 7:30 p.m. The ArtsCenter, Carrboro.

SUN 3/15

MUSIC

Anne-Claire, Chessa Rich 7 p.m. Motorco, Durham.

Dancing With The Stars: LIVE! with Elaine Hendrix 4 p.m. DPAC, Durham.

The Early November, Hellogoodbye, Punchline 8 p.m. Cat’s Cradle, Carrboro.

Eggy 8 p.m. Lincoln Theatre, Raleigh.

Invisible Cities / Ravine / Violent Institution 9 p.m. The Pinhook, Durham.

Matt Rife: Stay Golden Tour 7 p.m. Lenovo Center, Raleigh.

SCREEN

Open Screening: Early Show + Oscars Watch Party 5:30 p.m. Shadowbox Studio, Durham.

Rialto Oscars Party 7 p.m. The Rialto, Raleigh.

MON 3/16

MUSIC

Bad Omens 7 p.m. Lenovo Center, Raleigh.

JMSN, Samy Sarif 7 p.m. Kings, Raleigh.

The Old Soul Sessions: Niito, DJ Yae, Uncool Kevv 7:30 p.m. Lincoln Theatre, Raleigh.

Skullcrusher, h.pruz 8 p.m. Cat’s Cradle Back Room, Carrboro.

TUES 3/17

CULTURE CALENDAR

WED 3/18

MUSIC

Cornelia Murr, Reverend Baron, Storey Littleton 7 p.m. The Pinhook, Durham.

Three Days’ Grace 6 p.m. Lenovo Center, Raleigh.

Westerman, Otto Benson 6:30 p.m. Kings, Raleigh.

Worry Club, Bike Routes, bugsby 6:30 p.m. Local 506, Chapel Hill.

STAGE

Stereophonic Mar. 17–22, various times. DPAC, Durham.

PAGE

Gavin Larsen: Infinite Steps 6:30 p.m. Quail Ridge Books, Raleigh.

MUSIC

Artemas 7 p.m. The Ritz, Raleigh.

Bay Faction, NUFFER 7 p.m. The Pinhook, Durham.

Carrboro Bluegrass Festival Presents: Bluegrass In The Backroom 8 p.m. Cat’s Cradle Back Room, Carrboro.

Kxllswxtch, Warlord Collossus, Druidess 7 p.m. Kings, Raleigh.

PAGE

Shannon Stocker: The Roach King of Raleigh 6:30 p.m. Quail Ridge Books, Raleigh.

THUR 3/19

MUSIC

Capstan, In Her Own Words, Dreamwake, Early Exit 7:30 p.m. Motorco Music Hall, Durham.

Lily Rose 8 p.m. Lincoln Theatre, Raleigh.

Pressing Strings, Driftwood 8 p.m. Cat’s Cradle Back Room, Carrboro.

Skillet 7 p.m. The Ritz, Raleigh.

CULTURE CALENDAR

FRI 3/20

MUSIC

Allison de Groot and Tatiana Hargreaves Live Recording 7 p.m. The Pinhook, Durham.

Balsam Range 7:30 p.m. Martin Marietta Center for the Performing Arts, Raleigh.

Barn Dance with The Five Point Rounders 7 p.m. Haw River Ballroom, Saxapahaw.

The Big Pop Show! Mar. 20–23, various times. Various locations, Durham, Chapel Hill, and Carrboro.

The Brook & The Bluff 7 p.m. The Ritz, Raleigh.

Carrboro Django Reinhardt Festival: Voyage Hot Club ft. Sam Farthing & Paulus Schaefer Mar. 20–22, various times. Cat’s Cradle, Carrboro.

Cosmic Charlie 8:30 p.m. Lincoln Theatre, Raleigh.

Disco, Always: A Harry Styles Dance Night 9 p.m. Motorco Music Hall, Durham.

An Evening with The Kruger Brothers 8 p.m. The Rialto, Raleigh.

Jazz Meets the Beatles: Joshua Espinoza Trio Mar. 20–21, 7:30 p.m. Sharp 9 Gallery, Durham.

Kaaze 12 p.m. The Fruit, Durham.

Mason Jennings, Skylar Gudasz 8 p.m. Cat’s Cradle, Carrboro.

Moondoggy, Magenta Wave 8 p.m. Kings, Raleigh.

NC Symphony: Beethoven “Emperor” Piano Concerto 12 p.m. Martin Marietta Center for the Performing Arts, Raleigh.

The Rattletraps, John Rodney, The King Teen 7 p.m. Rubies on Five Points, Durham.

Renaissance Disko, DJs Himbo, Sexondecks 10 p.m. Rubies on Five Points, Durham.

STAGE

Comedy Show: Sonya White with Kiki Wynns 8 p.m. Cary Theater, Cary.

The Durham Savoyards: Princess Ida, or Castle Adamant Mar. 20–22, various times. The Carolina Theatre, Durham.

The Rocky Horror Picture Show 11:55 p.m. The Rialto, Raleigh.

SAT 3/21

MUSIC

Benee, Bayli 8 p.m. Cat’s Cradle, Carrboro.

STAGE

Bull For Initiative: A Live Play D&D Show 9:00 p.m. Mettlesome Theater, Durham.

SUN 3/22

MUSIC

BIG POP SHOW: Lifeguard / Mail / Sects / Warm Frames 7 p.m. The Pinhook, Durham.

Brandon Lake 7 p.m. Lenovo Center, Raleigh.

Cool Cats & Hot Fiddles Fest with Bob Vasile and friends 5:30 p.m. The ArtsCenter, Carrboro.

MON 3/23

MUSIC

Hanabie 6 p.m. The Ritz, Raleigh, NC.

PAGE

T. Kingfisher: Wolf Worm 5:30 p.m. Flyleaf Books, Chapel Hill.

TUES 3/24

MUSIC

Gangstagrass 7 p.m. Cat’s Cradle, Carrboro.

In Jest, Survival Tactics, Doshinthegiant, Guard Dog 8 p.m. Rubies on Five Points, Durham.

PAGE

Gangstagrass plays Cat’s Cradle on March 24. PHOTO

BJ Barham 8 p.m. The Rialto, Raleigh.

Carly Cosgrove, Leisure Hour, Summerbruise 6 p.m. The Pinhook, Durham.

Kill the Buddha, Matty Frank, Larry 7 p.m. Rubies on Five Points, Durham.

Max McNown 7 p.m. The Ritz, Raleigh.

Noche de Rumba 10 p.m. Rubies on Five Points, Durham.

Soda Water Sea 8 p.m. Motorco Music Hall, Durham.

Who Run It?! Party 10:30 p.m. The Pinhook, Durham.

Heads Up Penny 7:30 p.m. Lincoln Theatre, Raleigh.

Memoria, Arkin, Pipelayer 7 p.m. Rubies on Five Points, Durham.

Noites Carolinas 3 p.m. Sharp 9 Gallery, Durham.

PAGE

Transformation And Onset: A Night of Words and Music 6 p.m. Shadowbox Studio, Durham.

Bart Ehrman: Love Thy Stranger 5:30 p.m. Flyleaf Books, Chapel Hill.

PUZZLES

RELEASE DATE—Sunday, March 8, 2026

Los Angeles Times Sunday Crossword Puzzle

Edited by Patti Varol

SUDOKU

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. Difficulty level: MEDIUM

CLASSIFIED

HEALTH & WELL BEING

EMPLOYMENT

Application Engineer

Siemens Industry, Inc. seeks an Application Engineer in Wendell, NC. Generate bus for Siemens photovoltaic inverters, inverter-stations portfolio & assoc servcs. Reqs Bach degree in Elec Eng or rel fld & 3 yrs rel exp. Up to 25% dom travel req. Hybrid work permitted. To apply, go to https://jobs.siemens.com/en_US/externaljobs/ JobDetail/494415

Project Engineer - Team Lead

Siemens Industry, Inc. seeks a Project EngineerTeam Lead in Wendell, NC. Verify schedule against expected engineering timeframes & factory load. Support design efforts with best practices/process improvements. Reqs: Bach. Deg. or foreign equiv in Electrical Eng., or rel fld & 7 yrs rel exp. Alt. Reqs: Mas. Deg. or foreign equiv and 5 yrs rel exp. To apply, go to: https://jobs.siemens.com/en_US/ externaljobs/JobDetail/496559

Project Manager

Siemens Industry, Inc. seeks a Project Manager in Wendell, NC. Responsible for the successful execution of projects, from project initiation through final closeout. Reqs: Bach. Deg. or foreign equiv in Elect Eng, Mechatronics Eng, or rel fld & 3 yrs rel exp. To apply, go to: https://jobs.siemens. com/ en US/externaljobs/JobDetail/497238

Exec. Dir. & Head of Device Eng’g

Accord Biopharma Inc. (Raleigh, NC). Exec. Dir. & Head of Device Eng’g (Lead Device Eng’g Team in dev’t. & comml. of drug-device combo. prods. for parenteral admin from discovery to mfg.). Reqs MS Bio Eng’r, Biotech., or rel. + 8 yrs. IT exp., incl. 5 yrs. drug combo. prod. mgmt. Travel req. Apply: Rachel trunkey@accordhealthcare.com

Sr Principal Programmer

Sr Principal Programmer; Fortrea. 100% remote; wrk w/in US. Progrmmtclly desgn & mdl clncl trial data by study data tabltn mdl. Must have at least bach or equiv in Life/Health Scncs, InfoTech or rltd & 11 yrs prgessv exp as a Progammr or rltd. Must have 11 yrs exp w/: Medidata Rave, Oracle InForm; regltry oblgtns of CRO indstry w/pharm/biotech cmpns; 10 yrs exp w/ clncl trial prcss & data mgmt; 7 yrs exp w/ CRF dsgn; 4 yrs exp w/SAS prgrmmng & systms app to supprt ops. Salary $161741-206800 Resume to Fortreaapplications@fortrea.com & reference Job Code DP022026.

Sr. Project Manager

Siemens Industry, Inc. seeks a Sr. Project Manager in Wendell, NC to direct all phases of projects from inception through completion. Reqs: Bach. Deg. or foreign equiv in Proj. Mang., Electrical Eng., or rel fld & 6 yrs rel exp. To apply, go to: https:// jobs.siemens.com/en_US/externaljobs/ JobDetail/497229

Sr Quality Anlyst

Sr Quality Anlyst; Lab Corp of Amrca Hldngs. Hybrid; remote in U.S. 2 days/wk. 1 national travel/ yr. Develop, execute & maintain detailed test plans, test cases & test scripts based on product reqs, specs & user stories. Must have at least bach or equiv in CompSci, InfoTech or rltd & 5 yrs progrssve exp as Sftwr QA Anlyst or rlt role. Must have 5 yrs exp w/: SDLC, exp in Agile & Waterfall methodologies; manual & automated testing tools; in testing web apps, APIs & databases; in scripting languages for test automation; defect tracking tools. Resume to resumes@labcorp.com & reference Job Code MC022026.

2026 INDY Festival Guide

IN

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