Charleston Daily Seeking all the beauty that is Charleston, South Carolina

After several years away, the Charleston Film Festival is coming back to the Terrace Theater, bringing four days of international cinema, documentaries, classic films, music, special guests and filmmaker conversations to Charleston from October 15–18.

The festival will take place alongside the 13th annual Charleston Jewish Film Festival, creating an expanded celebration of film and storytelling that reaches well beyond the traditional theater experience.

This year’s program promises a little bit of everything—from narrative features and documentaries to classic cinema and early looks at films generating attention during this year’s awards season.

And while the festival is looking around the world for stories, it is also turning its lens toward Charleston.

One of the most anticipated local highlights will be the opening reception, which will feature a screening of “Summerville 1970,” a film made right here in Charleston. Details about the reception are expected to be announced soon.

From Charleston to the World

The 2026 festival lineup crosses borders and genres, with films representing countries including France, Spain, Canada, Pakistan and Germany.

The documentary program is equally eclectic, with subjects ranging from the early career of legendary musician Jimmy Buffett to the acclaimed documentary “Sherman’s March.”

The result is a festival designed not simply around movies, but around the conversations, histories, cultures and communities that movies can bring together.

This year’s festival also marks a particularly collaborative moment for Charleston’s cultural scene.

Organizers are partnering with a growing collection of local arts organizations, theaters and cultural groups, including PURE Theatre, Nuovo Cinema Italiano Film Festival, Alliance Française de Charleston, Charleston’s Absent Friends and Charleston Music Hall.

Those partnerships reflect something Charleston has long understood: its creative community is at its best when the city’s artists, filmmakers, musicians, theaters and cultural organizations share the same stage.

Four Days at the Terrace

For film lovers, the return of the festival means four days to settle into the Terrace Theater and discover something new.

There will be opportunities to see films from around the world, revisit cinematic classics, hear directly from filmmakers and special guests, and get an early look at movies that could become part of the larger awards-season conversation.

But perhaps the most meaningful part of the festival’s return is simply that it is returning.

After several years away, Charleston once again has a dedicated multi-day celebration bringing filmmakers, audiences and the city’s arts community together under one roof.

Whether you’re a serious cinephile, a fan of documentaries, someone who loves discovering international cinema, or simply looking for something different to do in Charleston this fall, the festival offers four days of stories from places both familiar and far away.

And it all begins October 15.

Tickets are now on sale for individual films. Click HERE for tickets

The festival runs October 15–18 at the Terrace Theater, alongside the 13th annual Charleston Jewish Film Festival.

For a city with a long relationship with storytelling, performance and the arts, the return of the Charleston Film Festival feels like another reason to look toward the screen—and see what stories are waiting there.

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The College of Charleston is hosting its bi-annual Unplug Week  Sept. 28 through Oct. 3., a campus-wide digital wellness initiative designed to give students, faculty and staff intentional opportunities to step away from their screens and reconnect with the people, activities and physical world around them.

Unplug Week will incorporate tech-free and tech-light classes, outdoor and hands-on activities, meditation, cooking classes, game nights, improv and other analog programming across campus. Faculty and staff are also encouraged to hold device-free meetings throughout the week.

“Unplugging isn’t about pretending technology doesn’t have a place in our lives,” said Kelley Cours Anderson, a College of Charleston marketing professor and creator of Unplug Week. “It’s about being more intentional about when we use technology and when we choose not to. We want to give our campus community opportunities to experience what happens when we create space for conversation, creativity, movement and connection without a screen.”

Anderson, who also serves as an advisor for the Global Day of Unplugging, said the lessons from that research extend beyond social media professionals to the broader challenge of establishing boundaries in a culture where being constantly connected has become the norm.

Unplug Week will also bring the conversation about technology and attention to the big screen on Thursday, Oct. 8, when Boston-based filmmaker Sara Robin will visit the College to screen her new documentary, Your Attention Please, followed by a conversation and Q&A with students and attendees. The documentary examines the growing pushback against the attention economy and explores the effects of social media and technology on childhood, mental health and human connection. The screening is co-sponsored by the College’s Civility Initiative and is free and open to the public.

The College’s Unplug Week initiative is part of a broader effort to make digital wellness an ongoing part of campus life rather than a one-time conversation. By encouraging faculty, staff and students to experiment with tech-free and tech-light experiences, the College aims to explore practical ways to build greater intentionality around technology while maintaining the benefits it provides.

For the complete schedule, visit the Unplug Week website. 

Founded in 1770, the College of Charleston’s mission is to provide students with a world-class education in the arts and sciences, business and technology, engineering and health sciences. Students have more than 150 majors and minors from which to choose — and they often choose to combine several—and complement their academic courses with overseas study, undergraduate research and internships for a truly customized education.

Nearly 12,000 students choose the college for its unique urban, mid-sized university feel. The College, home to undergraduates from across the country and around the globe, provides a creative and intellectually stimulating environment where students are challenged and guided by a committed and caring faculty of distinguished teacher-scholars. The city of Charleston serves as a living and learning laboratory for student experiences and opportunities for career development. The university bridges the old with the new in a setting that is truly extraordinary — where historic character and forward-looking innovation come together to shape a distinctive and inspiring environment for learning. A College of Charleston education focuses on discovery and personal growth, as well as preparation for life, work, and service to our society.

Photo Credit: College of Charleston

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New book on Rebecca Brewton Motte reveals undaunted courage of a lost hero of the American Revolution in South Carolina

Charleston, September 23, 2026 –  On Thursday, October 15th at 6:00 pm pm, in the Great Hall of the Old Exchange Building in Charleston, Alexia Jones Helsley will introduce her compelling new book, “Rebecca Brewton Motte in the American Revolution in South Carolina.” Ms. Helsley will comment on the journey she took to complete Ms. Motte’s story during many years of research. 

Ms. Helsley is Senior Instructor and University Archivist at USC Aiken and the author of many historical books, including “Lost Aiken County” and “South Carolinians in the War for American Independence.”  “This book is a dream come true. I have wanted to write about Rebecca since Middle School,” said Ms. Helsley.

Chris Weatherhead, producing director of Actors’ Theater of South Carolina, who has portrayed Ms. Motte for twelve years on stage and film, will introduce Ms. Helsley.  Alexia has given commentary on camera in several award-winning docudrama films for the company, including “John Laurens War,” “Echoes of Glory, Heroes from the American Revolution,” and “Freedom Fighters of Calhoun County,” covering various heroes including Daniel Morgan, Francis Marion, William “Danger”Thomson, John Chavis, Alexander Gillon, and the redoubtable Mrs. Motte.

A book signing and short reception will follow Ms. Helsley’s remarks. The event is open and free to the public. 

Location: Old Exchange & Provost Dungeon Building 

122 East Bay St., Charleston,SC

For more information: www.ActorsTheaterOfSC.Org

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COLUMBIA, S.C. – Gov. Henry McMaster today announced the completion of South Carolina’s submission of recommended Opportunity Zone census tracts to the U.S. Department of the Treasury. This announcement follows a statewide process led by the South Carolina Department of Commerce to gather input from local governments, economic development organizations, community leaders and the public.


Gov. McMaster submitted South Carolina’s Opportunity Zone nominations to the U.S. Treasury on September 23, 2026. The submission represents the next step in the redesignation of South Carolina’s Opportunity Zones under changes to the federal program enacted through the One Big Beautiful Bill Act (OBBBA).


“South Carolina has seen the value of Opportunity Zones in bringing investment and new opportunities to communities across our state,” said Gov. McMaster. “With the program now permanent, we can build on what has worked, focus on the communities with the greatest opportunities for investment, and continue strengthening South Carolina’s position for future economic development.”


The OBBBA, signed into law on July 4, 2025, made the Opportunity Zone program permanent and established a new redesignation process. Under the updated law, Opportunity Zones will be redesignated every 10 years.


Each governor may nominate up to 25 percent of a state’s eligible census tracts for designation as Opportunity Zones. Beginning July 1, 2026, governors were able to submit their nominations to the U.S. Treasury.


The U.S. Treasury will review South Carolina’s nominations before the new Opportunity Zones take effect on January 1, 2027.


A list of South Carolina’s submitted Opportunity Zone nominations and additional information about the nomination process can be found on the South Carolina Department of Commerce’s Opportunity Zone webpage.


As South Carolina waits for the next Opportunity Zones to take effect, Gov. McMaster is also calling on the General Assembly to prioritize conforming South Carolina’s tax code to the new federal Opportunity Zone provisions established by the OBBBA. 


A copy of the Governor’s letter can be found here. 

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$400 million investment will create 105 new jobs

COLUMBIA, S.C. – The Okonite Company (Okonite), a cable and wire manufacturer, today announced it is expanding its operations in Orangeburg County. The company’s $400 million investment will create 105 new jobs.

Founded in 1878, Okonite is one of the oldest insulators of electrical wire and cable in the U.S., supporting a variety of industries including electric utility, oil and gas, railroad, and chemical. The company operates 34 locations nationwide, including two production facilities in Orangeburg County.

Okonite will build a new, approximately 552,000-square-foot manufacturing plant on its existing property, located at 2276 Rowesville Road in Orangeburg, to meet growing demand for the company’s high-voltage electric cable products.

The beginning phases of construction will start in the fourth quarter of 2026, and the project will take approximately two to three years to complete. Individuals interested in joining the Okonite team should visit the company’s careers page.

The Coordinating Council for Economic Development approved job development credits related to the project. The council also awarded a $1.5 million Rural Infrastructure Fund grant to Orangeburg County to assist with the costs of site preparation and building construction.

QUOTES

“We thank the South Carolina Department of Commerce, the Orangeburg County Development Commission and the city of Orangeburg for their invaluable help and prompt actions in making our expansion possible.” -Okonite CEO and Board Chairman David J. Sokira

“Okonite’s expansion in Orangeburg County is a testament to the economic opportunities and skilled workforce available here in the Palmetto State. We are pleased to see the company continue to invest in South Carolina and create 105 new jobs in Orangeburg County.” -Gov. Henry McMaster

“With an investment of $400 million, Okonite’s expanded manufacturing operations will be an exciting economic advantage for Orangeburg County. We congratulate the company on its decision to deepen its roots in South Carolina and strengthen our state’s industrial capacity.” -Secretary of Commerce Harry M. Lightsey III

“We are truly grateful for Okonite and the commitment they have shown to Orangeburg County over the years. An investment of more than $400 million and 105 new jobs means more opportunities for our citizens and more quality jobs right here at home. We thank them for continuing to invest in our people and for remaining an important part of the fabric of Orangeburg County.” -Orangeburg County Council Chairman Johnnie Wright

FIVE FAST FACTS


• The Okonite Company (Okonite) is expanding its operations in Orangeburg County.
• The company’s $400 million investment will create 105 new jobs.
• Okonite is a cable and wire manufacturer.
• The company is located at 2276 Rowesville Road in Orangeburg, S.C.
• Individuals interested in joining the Okonite team should visit the company’s careers page. 

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By Mark A Leon

For more than 130 years, a small wood-frame chapel stood at 52 Cooper Street on Charleston’s Eastside.

Known as the Emma Abbott Memorial Chapel and later home to the Mt. Sinai Holiness Church of Deliverance, the building was constructed in 1892 as a mission church serving the Eastside community. Its connection to opera singer Emma Abbott, its distinctive architecture and its long association with Charleston’s African American history made the building more than simply an old structure. 

This week, it was demolished.

What happened in between is now the subject of a City of Charleston review.

The timeline

1890–1892: The chapel is born

In 1890, Citadel Square Baptist Church purchased property at Cooper and America streets for a mission church intended to serve Charleston’s Eastside.

The church later received a $5,000 bequest from the estate of opera singer Emma Abbott, who had attended Citadel Square Baptist Church during visits to Charleston.

Architect S.H. Foulk designed the Romanesque Revival-style building, and construction was completed in December 1892. 

1977: Mt. Sinai Holiness Church takes over

After its years as a Baptist mission church, the building became home to the Mt. Sinai Holiness Church of Deliverance, which occupied the property beginning in 1977. 

For generations, the building became part of the Eastside’s religious and community landscape.

Around 2021: A preservation-minded redevelopment plan

Approximately five years ago, the property came before Charleston’s Board of Architectural Review with a proposal to rehabilitate the historic church.

The plan called for converting the existing structure into six residential units, while preserving the historic exterior. Two additional townhomes were also proposed for the property.

At the time, preservationists viewed the project as an opportunity to give the historic building a new life. 

2021–2026: The building deteriorates

The rehabilitation did not occur as originally envisioned.

According to preservationists, the building remained exposed to the elements, including water intrusion through portions of the roof.

The Preservation Society of Charleston has argued that basic stabilization and weather protection could have slowed or prevented the deterioration.

That point is now part of the larger debate: Was the building’s eventual condition inevitable, or did years of inadequate stabilization contribute to the crisis?

That is an important distinction to make in the article because the preservationists’ position is an allegation/argument, not an established finding.

August 12, 2026: Engineering report raises alarm

An engineering report dated August 12 found extensive deterioration associated with prolonged water intrusion.

According to the City, portions of the roof, structural beams and columns had deteriorated significantly, with signs of potential failure.

The assessment concluded that stabilization could not safely be undertaken without substantial risk to workers. 

August 21, 2026: Demolition permit issued

The city issued a demolition permit on August 21.

This is where the controversy escalated.

Preservationists say they did not discover the permit through a public notification process. Instead, they found it while reviewing the city’s online permit system.

They argued that the public—and particularly the surrounding Eastside community—should have had an opportunity to understand what was happening before demolition became imminent. 

September 21: Demolition is suddenly put on hold

News of the impending demolition became public.

Community members and preservation advocates raised concerns about the loss of the historic structure.

Charleston officials then paused demolition and sought an independent assessment of the building’s condition.

City Councilmember Aaron Polkey said the community should have a voice because of the church’s importance to the Eastside and Charleston’s African American history. 

September 22: Preservationists make a last-minute appeal

The Preservation Society of Charleston met with representatives connected to the development.

Preservationists urged that, if demolition could not be avoided, historic materials should at least be carefully salvaged rather than simply discarded.

There were discussions about preserving and potentially reincorporating architectural elements into the redevelopment.

The proposed future project was designed to retain elements of the original building’s architectural character. 

September 23: The chapel comes down

Despite the temporary pause and calls for additional review, the historic structure was demolished.

The city subsequently acknowledged the significance of what had happened.

In a statement, Charleston officials called the building’s loss “a loss” and described it as a sacred place connected to generations of Eastside families and Charleston’s African American history. 

September 23: The City acknowledges problems with its process

Perhaps the most significant development came after the demolition.

The City of Charleston said it is conducting a full review of what happened, including whether the conditions attached to the demolition permit were followed.

The city also acknowledged:

“What is already clear is that our own process has gaps, and those are ours to fix.” 

The city says it intends to:

• Guarantee meaningful public notice before future historic demolitions
• Conduct a funded survey of downtown historic buildings
• Add cultural significance to the factors considered in these decisions
• Review the circumstances surrounding the 52 Cooper Street demolition 

The question Charleston is now left with

The central question isn’t simply “Why was the church demolished?”

The city says there were serious structural concerns and an imminent safety threat.

The more complicated question is:

How did a historic building that had once been the subject of a preservation-oriented redevelopment plan reach a point where demolition became the city’s only safe option?

And perhaps even more importantly:

Could something have been done years earlier to prevent it from reaching that point?

Preservationists say yes.

City officials are now acknowledging that the process itself needs examination.

And the building that prompted those questions is no longer standing.

For 134 years, Emma Abbott Memorial Chapel occupied this corner of Charleston’s Eastside. On September 23, 2026, it disappeared.

What remains is the history—and a much larger conversation about how Charleston protects historic buildings before they reach the point of no return.

The city says it intends to examine what happened at 52 Cooper Street and change the process going forward.

But for the families and community members who considered the chapel part of their history, there is an unavoidable reality:

A process can be changed. A building can be restored. But once a historic structure is gone, it cannot be brought back.

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Photo Credit: Brandon Coffey – https://www.instagram.com/itsbrandoyo

Columbia, S.C. (September 23, 2026) – The South Carolina Department of Transportation opened new travel lanes on I-26 in both directions in Berkeley County on Wednesday, September 23. Drivers will now have access to three lanes on I-26 westbound and eastbound between mile markers 187 and 194.  “The opening of these lanes marks a major milestone in the I-26 corridor widening project,” said SCDOT Secretary Justin Powell. “It also brings us closer to the goal of expanding the entirety of I-26 between Charleston and Columbia.” SCDOT contractors will still be conducting single-lane closures as they finalize construction on the new lanes. The construction will be done before the end of October.  SCDOT asks that drivers slow down and pay attention when driving near the work zone.

About SCDOTThe South Carolina Department of Transportation (SCDOT) is the state agency with oversight of South Carolina’s network of highways and bridges, including responsibilities such as planning, design, construction, financing, and roadway safety. To ensure the nation’s fourth-largest highway system is prepared to serve the needs of South Carolina’s growing economy and population, SCDOT has developed Strategic 10-Year Plan that addresses improvements to the state’s highway and bridge systems. Learn more at scdot.org.

Saturday, October 24, 2026 | 1–5 p.m.
Tommy Condon’s Irish Pub & Restaurant
160 Church Street, Charleston, SC 29401

Get ready for an afternoon where Guinness, oysters and live music come together in the heart of downtown Charleston.

Tommy Condon’s Irish Pub & Restaurant will host its Inaugural Guinness & Oyster Fest on Saturday, October 24, from 1–5 p.m., inviting guests to settle in for buckets of oysters, perfectly poured Guinness and live music throughout the afternoon.

The event offers two ticket options:

🦪 Click HERE for Oyster Bucket Package — $10
Includes one bucket of oysters.

🦪🍺 Click HERE for Guinness Oyster Package — $15
Includes one bucket of oysters plus one Guinness.

There’s also an added incentive for the first 40 guests who purchase the Guinness Oyster Package: an engraved Guinness glass personalized with their name.

Guests are encouraged to come early, grab their oysters and a Guinness, and stay for the afternoon of live music.

An Afternoon at a Charleston Institution

Tommy Condon’s has been part of Charleston’s downtown dining scene since 1984, when Tommy Condon opened the Irish pub and restaurant. The longtime Church Street destination combines Irish pub traditions with Lowcountry favorites, including shrimp and grits, fish and chips, shepherd’s pie and other comfort-food classics.

The pub is also known for its Irish atmosphere, extensive collection of authentic Irish memorabilia and live entertainment, with Irish music featured Wednesday through Sunday evenings.

The Guinness & Oyster Fest adds a distinctly Lowcountry twist to the pub’s Irish roots — pairing one of Ireland’s most recognizable beers with one of Charleston’s favorite local foods.

Event Details

What: Tommy Condon’s 1st Annual Guinness & Oyster Fest
When: Saturday, October 24, 2026
Time: 1–5 p.m.
Where: Tommy Condon’s Irish Pub & Restaurant
Address: 160 Church Street, Charleston, SC 29401
Tickets: $10 Oyster Bucket Package; $15 Guinness Oyster Package
Entertainment: Live music throughout the afternoon

Tickets are valid for the October 24 event only. Additional food and beverages will be available for purchase. Personalized Guinness glasses are limited to the first 40 qualifying Guinness Oyster Package purchasers.

For tickets and additional information, visit Tommy Condon’s official event page⁠.

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By Mark A Leon

For Charleston, 1919 was supposed to be a year of transition. World War I had ended, thousands of servicemen were returning home, and the city’s population and economy were changing. Instead, on the night of May 10, Charleston became the scene of one of the most serious episodes of racial violence in its history.

The Charleston riot of 1919 occurred during the period now known as the Red Summer, when racial violence erupted in communities across the United States. In Charleston, the violence was concentrated in the downtown area and involved white U.S. Navy sailors, local white civilians and Black Charlestonians. 

A City Under Pressure

Charleston in 1919 was a deeply segregated city, but it was also a city undergoing significant demographic and economic change. During World War I, the Charleston Navy Yard expanded dramatically, bringing large numbers of sailors and military personnel into the region. At the same time, African Americans throughout the South were increasingly asserting their rights and seeking greater economic and social independence.

The return of Black servicemen from World War I was particularly significant. These men had served their country overseas and returned with expectations of greater dignity and citizenship. Across the nation, however, the postwar period brought heightened racial tensions rather than immediate equality. South Carolina was no exception. 

The Night of May 10

The precise spark for the Charleston violence has never been established with complete certainty. Contemporary accounts offered conflicting explanations, including rumors of a fight at a pool hall and claims that a Black man had shot a white sailor.

A later U.S. Navy investigation concluded that the most likely beginning was a confrontation between two white sailors and a Black man near Beaufain and Archdale Streets. The encounter escalated, and rumors quickly spread among sailors that a Black man had attacked or shot a sailor. 

Those rumors proved devastating.

White sailors began moving through the surrounding streets, attacking Black residents. Some raided shooting galleries and took rifles, pistols and ammunition. Armed groups then moved through portions of downtown Charleston, targeting Black people and Black-owned businesses.

The violence spread along King Street and into surrounding neighborhoods. A Black barber shop was destroyed. Black passengers were pulled from streetcars and beaten. Black pedestrians were attacked seemingly at random. In one particularly disturbing episode, a Black man was dragged from a streetcar and shot. 

The Charleston County Public Library’s historical account notes that the disturbance eventually involved a large crowd of sailors, with some civilians participating as well. The attacks were not confined to one location but spread across much of the downtown commercial district. 

Three Deaths and Dozens Injured

The human toll was severe.

Among those killed was Isaiah Doctor, a 22-year-old Black laborer who was shot during the early stages of the violence. James Tolbert, 23, was also fatally wounded. William Brown, 20, was shot while attempting to return home and died several days later. Historical records identify numerous additional Black Charlestonians who suffered gunshot wounds, beatings and other injuries. 

The violence overwhelmed the city’s police force.

As the situation deteriorated, Navy authorities sent additional military police and Marines into downtown Charleston. Armed Marines moved through the streets, ordering sailors and civilians to disperse and returning sailors to the Navy Yard. By the early morning hours of May 11, the violence had largely subsided. 

What Happened Afterward

In the aftermath, the Navy suspended liberty for many sailors and conducted its own investigation. Two sailors, Jacob Cohen and George Holliday, were tried in connection with the shooting of Isaiah Doctor. They were acquitted of manslaughter but convicted of rioting and received one-year sentences in a naval brig. 

The newly established Charleston branch of the NAACP also pressed city and federal authorities to respond. Its demands included protection for Black residents, compensation for damaged businesses, greater accountability for the sailors involved and the hiring of Black police officers. Mayor Tristram Hyde agreed to several requests, although he rejected the proposal to hire Black policemen. 

The events of May 10–11 were more than an isolated night of violence. They reflected the broader racial tensions of postwar America and the collision between an increasingly assertive Black population and a white society determined to preserve the existing racial order.

Today, the Charleston Riot of 1919 remains a difficult but important part of the city’s history. It reminds us that Charleston’s past is not only one of beautiful architecture, commerce and cultural traditions, but also one shaped by segregation, racial violence and the long struggle for equal citizenship.

Remembering May 10, 1919 does not diminish Charleston’s history. It makes that history more complete.

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FOLLY BEACH, S.C. — The City of Folly Beach, Folly Beach Historical Society, and the Folly Beach TVPC board will unveil a new historical marker at the Porgy House, recognizing the home’s important place in the literary and cultural history of the Lowcountry.

The unveiling will take place this Friday, September 25, at 10:30 a.m. in front of the home at 712 West Ashley Avenue. Speakers will include Folly Beach Mayor Chris Bizzell; James Ward of the College of Building Arts; Mae Holmes of the Exchange Club; Nancy Moore of the Folly Beach TVPC; Anne Hughes of the Folly Beach Historical Society; Cubby Wilder, representing the community; and a member of the Smalls family. Samuel Smalls is the man who inspired the character of Porgy.

Built in 1933, the Porgy House was the summer retreat of author DuBose Heyward and his wife, Dorothy. During the summer of 1934, George Gershwin collaborated with Heyward on the renowned opera Porgy and Bess, based on Heyward’s novel Porgy. During his time on Folly Beach, Gershwin drew inspiration from the Gullah culture and sounds of the Lowcountry.

The two-story home features its original wood interiors, three bedrooms, and a writer’s booth, which was built later and used by the Heywards and Gershwin as a place to work. The home has been carefully preserved and is recognized as a unique cultural landmark. The Folly Beach Historical Society’s exhibit, The Porgy House: A Cottage on an Island in a Culture, can also be viewed at the Folly Beach Community Center/Library.

Members of the media are invited to attend and cover this special unveiling. If you cannot make the unveiling and would like to schedule another time to interview or take pictures, please reply to this email so we can make arrangements.

Location of Home: 712 West Ashley Avenue, Folly Beach, SC

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