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A local reporter’s experience covering Western North Carolina in the wake of Helene

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A local reporter’s experience covering Western North Carolina in the wake of Helene


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It’s hard to put into words what it’s like to pull up to where a family’s home once stood and see mounds and mounds of cracked, beige dirt.

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To notice that a wooden, split-rail fence managed to withstand more than 20 feet of swift-moving floodwaters, yet not realize until later that the fence bordered the home’s driveway. To walk next door to a tiling warehouse, where men in white coveralls and muddy black boots are removing storm debris, and ask if there was a house next to their place of business.

And, when one answers in the affirmative, to have him walk you and your photographer to the spot where a family once laughed and cried and prayed together – all while knowing the tragic outcome of their story.

My job is to put these kinds of experiences into words. More than a week later, I’m still struggling to.

I tried to begin this piece – a brief description of my reporting in Asheville, North Carolina, as part of the USA TODAY Network’s Hurricane Helene coverage – in a light-hearted way. 

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I thought about starting with how we in the Asheville Citizen-Times newsroom had to use gallon buckets to force-flush the toilets because there was no running water. About how bags of cat litter sat in the halls in case reporters needed to take them home to create a makeshift bathroom.

I thought about describing the lovely man I encountered as I traipsed around a homeless encampment, who was all too willing to show me where a tree fell on his tent and legs when Helene swept through Western North Carolina. His rebuilt camp is the tidiest I’ve ever seen – and my beat has taken me through quite a few.

But today, on an unseasonably warm Tuesday in late October, I wrote and rewrote the beginning of this piece. Because this afternoon – and the afternoon before it – my heart is heavy.

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It’s heavy for the Dryes and Wiselys, two families who lost almost everyone to the floods, and the other Asheville survivors I spoke to. For the families who are still waiting to hear about loved ones.

For the homeless residents who told me they fear some of their acquaintances who perished in the storm will never be claimed by family because of their transient status. And for the Western North Carolina community as a whole, which is mourning the loss of homes and pets and landmarks and an art colony that disappeared entirely in mere hours.

As students, journalism hopefuls are taught to keep an arm’s length from stories and sources. Reporters must remain objective, professors stress, which means maintaining a certain level of detachment. If you care too much, your feelings might find their way into a piece and influence your ability to tell the story fairly.

But what this (well-intentioned) lesson leaves out is humanity.

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How can one travel to natural disaster-ravaged areas, interview families who lost parents and siblings and children and grandparents, and not be impacted? 

How can a reporter spend hours at a barricade situation involving an 11-month-old girl and not feel emotional when they’re told a chaplain has been called to the hospital where the baby was rushed following a gunshot wound to her head? 

And how can journalists be expected to cover school shootings – as the Texas-based photographer I worked alongside in Asheville did in Uvalde in 2022 – and remain emotionless?

I don’t believe reporters can. And I also believe this is something those in the field have long known.

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At the first newspaper I worked at, I had an editor who was decades into his career. He knew I was fresh out of college and hadn’t chosen the breaking news/public safety beat (which I’m so thankful I was assigned to because it’s now my specialty.) He knew that I’d write a lot of hard stories in my career.

So, one day, he offered me a piece of advice: The moment this stuff – the really tragic, heavy stories, he meant – stops getting to you, get out of the profession. Or, at the very least, take a long enough break to where you can feel the humanity of this again.

Eight or so years later, I remember those words like he spoke them yesterday. So, on days when my heart is heavy, I think it’s OK to feel this way.

Because what’s happening in Western North Carolina is heavy – and it will be for that community and those journalists for a while.

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Isabel is an investigative reporter covering breaking news and public safety, with an eye toward some of Delaware’s most vulnerable: children, those struggling with addiction, and those with mental illness. She can be reached  at ihughes@delawareonline.com or via X at @izzihughes_ 



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North Carolina

Eric Church Sings 'Darkest Hour' for North Carolina Flood Victims at CMA Awards

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Eric Church Sings 'Darkest Hour' for North Carolina Flood Victims at CMA Awards


Eric Church paid tribute to his home state of North Carolina and those affected by the flooding of Hurricane Helene with a performance of “Darkest Hour” at the 2024 CMA Awards.

Dressed in a black velvet blazer and accompanied by a choir (including longtime vocal foil Joanna Cotten), a horn section, and strings, Church delivered a grand version of the song, which he rush-released last month to help raise funds for disaster relief. “I’ll do everything in my power/To take even a minute off your darkest hour,” he sang in a falsetto on the CMAs stage.

Like the live version he played at Nashville’s Bridgestone Arena, the recorded version of “Darkest Hour,” which he released as the “Helene Edit,” features strings, a choir, and production by Jay Joyce. The song evokes the Beatles, the Rolling Stones, the Band, and the symphonic compositions of Queen or, more recently, the Verve. It’s rock opera from the Seventies, crossed with Church’s rough-hewn mountain country, all built on the skeleton of his talked-about Stagecoach headlining set.

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On Tuesday night, Church played an intimate full-band concert at his Nashville bar Chief’s, which streamed live on SiriusXM. While the set featured his own hits like “How ‘Bout You,” “Homeboy,” and “Springsteen,” it was mostly an homage to Church’s influences: He sang covers by Bob Seger, the Band, Hank Williams Jr., and more, culminating with a reading of Bruce Springsteen’s “Thunder Road.”

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Church has pledged to sign over all royalties of “Darkest Hour,” in perpetuity, to the state of North Carolina, to further aid in rebuilding.

“‘Darkest Hour’ is a song dedicated to the unsung heroes, the people who show up when the world’s falling apart,” he said in a statement. “This is for the folks who show up in the hardest times, offering a hand when it’s most needed, and standing tall when others can’t. Even in your darkest hour, they come running. When the night’s at its blackest, this is for those who are holding the light, guiding the lost and pulling us through.”



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North Carolina Supreme Court GOP Candidate Challenges 60K Ballots

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North Carolina Supreme Court GOP Candidate Challenges 60K Ballots


The North Carolina Supreme Court building. (Credit: North Carolina Judicial Branch)

As the recount in North Carolina’s state Supreme Court race gets underway, Republican candidate Jefferson Griffin is challenging the validity of tens of thousands of ballots statewide.

One of two Democrats on the seven-member high court, Associate Justice Allison Riggs, is locked into a tight race with appeals court judge Griffin (R). Griffin was leading on Election Day, but Riggs is ahead by roughly 625 votes.

On Tuesday, Griffin requested a recount. He also filed challenges to over 60,000 ballots, according to a release from the North Carolina Republican Party. The release said Griffin’s protests focus on “specific irregularities and discrepancies in the handling and counting of ballots, raising concerns about adherence to established election laws.”

“As North Carolinians, we cherish our democratic process. Protecting election integrity is not just an option—it’s our duty,” Griffin said. “These protests are about one fundamental principle: ensuring every legal vote is counted.” 

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A review of the challenges filed with the North Carolina State Board of Elections (NCSBE) found that Griffin targeted ballots cast by people with prior felony convictions, ballots cast by people whose voter registration may be incomplete and absentee ballots cast by voters under the Uniformed and Overseas Citizens Absentee Voting Act (UOCAVA), a federal 1986 law that grants some U.S. citizens living overseas the right to vote. Before the election, the Republican National Committee tried but failed to block certain overseas ballots from being counted.

On X, Riggs said Tuesday that Griffin was “taking a tired page from the playbook of previous failed candidates.”

“He’s filed more than 300 protests to challenge 60,000 ballots across NC, in an attempt to disenfranchise voters,” she said. “My goal has always been to ensure that every voter’s voice is heard.”

On Monday, Griffin sued NCSBE over requests he made to the board for voting-related data. Griffin wanted the board to send him lists of “conflict voters” (voters suspected of casting a ballot in person and via absentee). He also asked for lists on how many voters have felony convictions. A board spokesman said the complaint was “unnecessary.”

Recounts began Nov. 20 and will be completed by Nov. 27, according to a Nov. 15 memo Executive Director Karen Brison Bell sent to county elections boards. Recounts are open to the public, the memo stated, and “any person may attend the recount,” including the candidates and the media. A NCSBE meeting was scheduled for Wednesday afternoon.

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Read more about the challenges here.



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Dark Horse Stages Unveils New Stages to Boost North Carolina’s Film Industry

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Dark Horse Stages Unveils New Stages to Boost North Carolina’s Film Industry


Two brand-new 20,000-square-foot studios now compliment the studio’s existing 42,500 square feet of state-of-the-art production space, enhancing Wilmington’s vibrant film scene

WILMINGTON, N.C., Nov. 20, 2024 /PRNewswire/ — In a grand opening event complete with legendary rock stars, politicians, film industry veterans, and more, Dark Horse Stages, one of North Carolina’s premier production studios, last week officially opened two brand-new sound stages, Stages 3 and 4, adding more than 40,000 square feet of state-of-the-art production space to Wilmington’s vibrant film scene. This significant expansion enhances the infrastructure supporting North Carolina’s film industry, already renowned as a traditional and reliable stalwart in the film space, with experienced production crews as well as stunning and diverse landscapes.

Two brand-new 20,000-square-foot studios

The event garnered more than 550 attendees, including industry leaders, state and local officials, and film professionals, underscoring Wilmington’s status as a key player in the film and television sector.

“We are committed to providing world-class facilities that enable creators to realize their visions,” said Kirk Englebright, President and CEO of Dark Horse Stages. “The turnout reflects the excitement surrounding our expansion and the bright future of film in North Carolina.”

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Guests were treated to an unforgettable evening featuring live music, thrilling stunts, and special video messages of congratulations from North Carolina Gov. Roy Cooper and Gov.-elect, Josh Stein, currently the state’s attorney general. Rock legend Dee Snider also made a special appearance, revealing plans to bring his production company, Defiant Artists, to North Carolina. To cap off the celebration, Snider electrified the crowd with a powerful performance of his iconic Twisted Sister anthem, “We’re Not Gonna Take It.”

For photos from the grand opening, click here.
For a video highlight from the event, click here.
For a video about Stages 3 & 4, click here.

*Photos should be attributed: Courtesy of Dark Horse Stages

“The expansion of Dark Horse Stages brings tremendous value to North Carolina’s film industry by enhancing our capacity to meet the diverse needs of today’s productions,” said North Carolina Film Office Director Guy Gaster. “The continued evolution of this outstanding facility elevates North Carolina’s appeal as a premier film destination to both major studios and independent filmmakers, alike, providing a modern and attractive entertainment hub that will foster creativity, efficiency, and true collaboration for years to come.”

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