Categories
Arts

The big bang

“Macy’s Fourth of July Fireworks Spectacular”
Saturday 9pm, NBC

In case you’re too lazy to go to the backyard to watch one of the several area Independence Day fireworks displays, NBC is bringing the high-altitude explosions right into your living room. Musical guests Jewel, Rob Thomas and the cast of Broadway’s revival of West Side Story will perform before and during NYC’s massive fireworks fiesta, which features more than 40,000 shells fired at a rate of 1,500 shells per minute. Insane. If we’re lucky, maybe they’ll have one those special ones that takes the form of a cowboy hat…

“Charm School with Ricki Lake”
Monday 9pm, VH1

Although it started out strong, this may go down as the season that destroyed a promising reality TV franchise. After two seasons focusing on girls from the “Flavor of Love” and “Rock of Love” shows, “Charm School” set its sights on reforming the skanks of “Rock of Love Bus” and the obnoxious women from “Real Chance of Love.” The two casts clashed immediately, leading to a near-total walkout by the “Bus” women and the eventual quitting of two of the feistier cast members, Farrah and So Hood, by episode three. Since then it has been a snoozefest, with irritating Bay Bay Bay ruling the roost, Brazilian fireball Marcia giving up drinking (no!), and soundbyte machine Ashley seemingly coasting to the finals. And I have this sick feeling that punch-happy airhead Brittanya is going to take it all. You’re killing me here, Ricki.

“Weeds”
Monday 10pm, Showtime

It’s becoming harder and harder for me to root for my beloved Nancy Botwin. The currently running Season 5 sees our fair anti-heroine (played to perfection, as always, by Mary-Louise Parker) essentially being punished for her life of crime. The show has always been about how Nancy barely manages to hold it together. But this season—pregnant with the baby of her Mexican crime boss boyfriend, whom she totally screwed over after she realized she was an unwitting accessory to trafficking child prostitutes—has been neither funny nor entertaining, just varying degrees of horrifying. Even the usually reliable Elizabeth Perkins has been stuck in a thankless Mexican revolutionary subplot. The only bright spot has been Jennifer Jason Leigh, the obvious but perfect choice to play Nancy’s sister. Can we get back to the funny, please? Also, I miss Conrad and Heylia.

Categories
The Editor's Desk

Readers respond to the June 23 issue

Signs o’ the times

Regarding your question, “What would you like to see on the site?” [“SoHo comes to Fifeville," Development News, June 16], we live on Nalle Street, which is one block long, beginning on the open triangle property. Children play on this block, and there is a school bus stop at the end of the block. I would like to see speed humps on Nalle Street, and signs that alert drivers that there is a school bus stop, and signs to slow down for the children. That’s not too much to ask. Thanks.

Mark Gruber
Charlottesville

Caveat emptor

Wine Guilds have been around for a long time [“Membership has its privileges,” The Working Pour, June 16]. Today almost all are tied to a real brick and mortar store. The Charlottesville Wine Guild is not, and I do wonder how Mr. Richey and Group were issued a Gourmet licence by the ABC, but as Bob Harllee was quoted, it is between the ABC and the licence holder.

My question is, does it really save the consumer money? Do the math: If you do not purchase 11 cases of wine at an average price of $20 per bottle before discount and state tax, you will not recover your $200.

You can walk in to most of the gourmet shops in Charlottesville and get 15 percent off on a 12-bottle mix at no cost of membership.

My advice to consumers who buy a case a wine a month or more is to shop and compare prices. Especially now, there are a lot of bargains out there to take advantage of and none of the other shops charge $200 (or more) for that privilege.

Stan Rose
Albemarle County

License to chill

I know the local wine scene as well as anyone as a 20+ year veteran in the wine business and current manager of Rio Hill Wine & Gourmet. Why is it you guys keep giving much free press to the Wine Guild? Your article is like an advertisement to join. Are there any other local retailers you recommend?  Will Richey’s comment, “If you are more serious about wine, the Wine Guild is a no brainer” is ridiculous. As if other retailers are not. Most if not all of the independent retailers do this for a living 24/7, giving consumers many choices in Charlottesville. The only controversy though is that the ABC has issued a questionable license in the eyes of some other retailers compared to the standard the other Gourmet Shop Licensed retailers meet to qualify for an “off premise gourmet shop license.”

The VAABC states a Gourmet Shop Licensed retailer is “an establishment provided with adequate inventory, shelving and storage facilities, where in consideration of payment, substantial amounts of domestic and imported wines and beers and related products such as cheeses and gourmet foods are habitually furnished to persons. For the sale of wine and beer off-premises, a gourmet shop must have minimum annual sales of $12,000 of cheeses and gourmet foods and inventory (cost) of $1,000 in the edible items stated above.”

As far as the guild offering some huge discount, 23 percent off retail means nothing unless you mention markups. Most wine shops and retailers buy large quantities of wine regularly from various wholesalers giving them a lower cost perhaps than the Guild may get if they are not buying as much of a particular wine. So even if another retailer offers a case discount of 15 percent you still end up with the same cost or less to the consumer without having to pay a $200 fee for the discount. Buyers can cost compare easily enough.  

Doug Hotz
Rio Hill Wine & Gourmet

CLARIFICATION

In last week’s Development story “Futuristic, green design for new car wash,” we implied that the design of the new University Car Wash is such that people would be able to walk alongside while the car is being washed. University Car Wash will, in fact, will require that people remain in their vehicles while they are washed.

CORRECTION

Due to a reporting error in last week’s Red Dirt Alert, “ACAC comes to Old Trail,” we mistakenly identified Trailside Coffee as Trail 5 Coffee and da Luca Café and Wine Bar as baLuca. Also, we stated that Old Trail Village was put up for sale in April. Andrea Sarate, spokesperson for Beights Corporation and Old Trail Village, corrects us that Old Trail is a development with both commercial and residential sectors that can be developed by individuals or groups. “Old Trail Village always has been, and will remain, ‘for sale’ in whole or in part,” she says.

Categories
Living

Rise up for a custom slice

Restaurantarama has been known to take a few jibes at the chains around town. It’s only because we are fiercely loyal to our local establishments. And yet, we’ve also offered a few plugs for Chipotle right here in this column. We give the fast food burrito chain special dispensation for having great design, fresh ingredients, many of which are local (e.g., Polyface Farm provides the pork for the carnitas), an eco-consciousness and the ability to somehow create vibe in a strip mall. For the same reasons, the owners of Rise PizzaWorks—John Spagnolo and Andrew Vaughn—are O.K. with calling their concept the “Chipotle of pizza parlors.”

John Spagnolo, left, and Andrew Vaughn are O.K. with calling their new Rise PizzaWorks “the Chipotle of pizza parlors.”

“I actually ate there before I came here,” Vaughn tells us as we sit down with him and Spagnolo to discuss their new Barracks Road restaurant, which, if the duo reaches their ultimate dream, may be the first of many Rise PizzaWorks units across town, across the state and possibly across the country. “We’re big admirers of Chipotle. It was definitely an inspiration.” But Spagnolo adds, “No one has ever done the custom-slice concept before.”

When Rise opens in September, it will provide fresh, made-to-order pizzas by the slice (a whopping one-fourth of the pie), by the half or by the whole pizza. Customers will get to pick a type of crust (e.g., the signature thin and crispy; a thicker crust; gluten-free), more than 40 toppings, one of five sauces and one of eight types of cheese. After proceeding along the ordering bar, where Rise staff will assemble your custom pizza before your eyes, your personal masterpiece will be popped into a forced-air convection-type oven—the “Rise-O-Matic”—and come out hot in about two to three minutes. For the easily overwhelmed, Rise will also provide a list of specialty pizzas with all the options already chosen for you. For the carb-avoiders, there will be custom-made salads (sort of like the Burrito Bowl), for the kiddies, a smaller-sized pizza option and for the post-softball game types, beer and wine. The one-fourth slice likely will start in $3.25 range, with a full-loaded specialty slice coming out at around $6 or $7.

Similar to Chipotle, Vaughn and Spagnolo will focus as much as possible on local ingredients (recognizing that local salad greens in January are a bit harder to find), and yes, it will have a great modern design courtesy of the folks at Alloy Workshop, who are lending their triple threat of talents—architecture, carpentry and graphic design—to the project.

Vaughn and Spagnolo are veterans of the Charlottesville restaurant community. Vaughn  owned Orbit Billiards and Atomic Burrito (which he admits was itself a riff on Chipotle before it set up shop here) and currently has ownership stakes in Rapture and the Christian’s Pizza on the Corner. Spagnolo once oversaw the operations of Starr Hill Brewery, Blue Light Grill and Mas. 

With Casella’s Italian Restaurant at Barracks having been replaced by Tara Thai a few months back, there’s already pent-up demand for what Rise will sell at that location, but the goal is even larger than that. Spagnolo and Vaughn say they are working hard on creating consistency and efficiency so the concept can be replicated.

If Rise takes off, we’ll be more than a little proud to see our home grown folks—both the team of Spagnolo and Vaughn and the designers of Alloy—making good across America. Hey, some other town’s chain, our local heroes.

Categories
Living

Should women call men?

I can’t believe I’m writing an article on this topic and worse, I’m appalled by what I’m about to tell you. Women should let men phone first in early stages of dating. I’m in favor of modern gender roles and relationships but, as a dating coach, I’ve discovered that traditional “courting” norms still apply. They’re so ingrained in our subconscious; if a woman calls a man he’s apt to think she’s overeager, too available, and perhaps a bit desperate. In truth, his interest cools because there’s not the anticipation and anxiety that comes from harboring uncertainty about whether she’s really interested.

Any woman who has waited for a man to call knows her desire grows as the hours pass. And there’s research to back it up. Bruce Bower wrote about it in his article “The Dating Go Round” for Science News published this past Valentine’s Day. Thirty years ago, Dorothy Tennov interviewed thousands of people and found that passion grows from a mix of “hope and uncertainty” about how interested the object of affection really is. A speed dating study published in September 2008 by Eli Finkel and Paul Eastwick confirms her research: worry about whether the other person is interested heightens the motivation to pursue the relationship.

We know we should not dial the phone, but this is one of the most nerve-wracking times in dating. The vulnerability of waiting and wondering becomes overwhelming. So how do you stay cool and calm? When you notice yourself going down a fear spiral, stop yourself, trust that if you’re meant to date him, he will call, and take action. Action is an antidote to fear. Get busy seeing friends, exercising, and going on more dates. There’s nothing like a date with someone else to shift the power dynamic. You’ll feel more desirable from the abundance of options and there’s the opportunity to get a little distance and perspective. 

What if he really is a shy guy who thinks you’re out of his league and needs a bit more encouragement to pursue you? Chances are as slim as a meteor landing on your home. But, if you seriously think he’s always pursued and never the pursuer, you may e-mail him if you don’t hear from him in a week. Say, “I was just thinking about you. How are you”? You’ll get your answer.

One last thing, no calling also means no texting, e-mailing, or Facebooking to “innocently” say thanks for a great date. It’s obvious you’re fishing for an invitation for a second date, which is like driving the final nail into your own coffin.

Categories
Living

Gallery Listings

Galleries

Art Upstairs Gallery 112 W. Main St., Suite 3 (in York Place). Tuesday-Thursday and Saturday, noon-5pm; Friday, 1-9pm; Sunday, 1-4pm. 923-3900. www.artupstairsgallery.com. Through August 2: “Vislumbres: Watercolor Landscapes,” by Mercedes Lopez.

BozArt 211 W. Main St. Wednesday-Thursday, 3-9pm; Friday-Saturday, noon-9pm; Sunday, 1-4pm. 296-3919. www.bozartgallery.com. Through August 2: “Red, White, & Blue,” a collection of works from all member artists.

EVEN MORE

Click here for galleries hosting First Fridays events this weekend!

The Bridge/Progressive Arts Initiative 209 Monticello Rd. Wednesday-Saturday, noon-3pm, or by appointment. 984-5669. www.thebridgepai.com. Through August 1: “Destroyed By Madness,” a collection of works curated by Riley Duncan.

C’ville Arts
118 East Main St. Monday-Thursday, 10am-6pm; Friday, 10am-9pm; Saturday, 10am-8pm; Sunday, noon-6pm. 972-9500. www.charlottesvillearts.com. Through July 31: “Nature Sculpture as Fashion Accessory,” works by jewelry artist Judith N. Ligon.

Flying Pig Art Center
561 Valley St., Scottsville. Thursday, 9am-3pm; Saturday-Sunday, 11am-1:30pm. 996-7388. flyingpigartcenter.com. Through August 31: “Debris: Paintings by Chris Noel.”

The Gallery at Fifth and Water 107 Fifth St. SE. Monday-Friday, 9am-5pm. 979-9825. Through June 30: “Looking Back: Retrospectives of Dance and Illusion,”  a collection of works by Bonny Bronson.

Kluge-Ruhe Aboriginal Art Collection 400 Worrell Dr. Tuesday-Saturday, 10am-4pm; Sunday, 1-5pm. 244-0234. Through August 9: “All Time Favorites,” a sampling of “best loved” works from the Kluge-Ruhe collection; “Timeless: Bark Paintings from Arnhem Land,” works on eucalyptus bark from the major art-producing communities throughout northern Australia.

La Galeria 218 W. Main St. Call for hours. 293-7003. Through August 3: “A Trek Through Europe,” oil paintings by Ruth Hembree.

McGuffey Art Center 201 Second St. NW. Tuesday-Saturday, 11am-6pm; Sunday, 1-5pm. 295-7973. www.mcguffeyartcenter.com. Through August 16: “A Show of Hands,” a collection of works by Murray Whitehill; “The Summer Group Show,” works by multiple artists.

PVCC 501 College Dr. Monday-Thursday, 9am-10pm; Friday, 9am-5pm; Saturday, 1-5pm. 961-5202. Through August 27: The annual student art exhibition.

Ruffin Gallery 179 Culbreth Rd. Monday-Friday, 9am-5pm. Call for special hours. 924-6123. Through July 24: “HAGAN! 1936-2008. The Intervening Years: Sculpture, Drawings, New Media, Boats,” works by the late UVA professor James Hagan.

Second Street Gallery 115 Second St. SE. Tuesday-Saturday, 11am-6pm. 977-7284. www.secondstreetgallery.org. Through July 18: “Luxury,” a collection of photography capturing occasions of flamboyant leisure by Martin Parr.

Other exhibits

Restaurants, retailers and public spaces that host regular art events

Angelo 220 E. Main St., on the Downtown Mall. Monday-Friday, 11am-6pm; Saturday, 11am-5pm. 971-9256. Through June 30: “Florida Hybrids,” photographs by Susan Crowder. Through August 31: “Out to Pasture,” pastoral paintings by Nancy Bass.

Blue Ridge Beads and Glass 1724 Allied St. Tuesday-Saturday, 10am-5:30pm. 293-2876. www.blueridgebeads-glass.com. Through August 31: Glass pieces, paintings and instruments by Jerry O’Dell.

The Box 109 Second St. SE. Call for hours. 970-2699. Through July 31: Works by Kate Daughdrill.

C&O Gallery 511 E. Water St. Monday-Friday, 9am-5pm. 971-7044. Through July 31: “Bolungarvík: An Icelandic Village’s Story through Sustainable Fishing,” photographs by Jon Golden.

C’ville Coffee 1301 Harris St. Monday-Thursday, 7:30am-9pm; Friday, 7:30am-5pm; Saturday, 8:30am-5pm; Sunday, 9:30am-8pm. 817-2633. Through June 30: “The Rivanna River and Its Watershed: Landscape Photographs by Ben Greenberg.”

Café Cubano 112 W. Main St. Call for hours. 971-8743. Through July 31: “Preoccupied,” mosaics by Angel LaCanfora.

Fellini’s #9 200 W. Market St. Call for hours. 979-4279. Through June 30: Recent photographs by Jeff James.

The Garage N. First St., across from Lee Park. Hours by appointment. thegarage-cville.com. Through July 26: Works by Adam Wolpa.

Horse & Hound 625 W. Main St. Call for hours. 293-3365. Ongoing: “Virginia Hunt Country,” photographs on canvas by James Rowinski.

Hot Cakes Barracks Road Shopping Center 1137 Emmet St N # A. Monday-Saturday, 9am-8pm; Sunday, 10am-6pm. 295-6037. Through July 15: “Up, Over and Around the Bend, Local Landscape Paintings,” paintings by Meg West.

Jefferson Library 1329 Kenwood Farm Ln. Call for hours. 964-7540. Through November 12: “Lucy Meriwether Lewis Marks: A Biographical and Botanical Art Exhibit.”

King Family Vineyards 6550 Rosebud Farm, Crozet. Monday-Friday, 9am-5pm; Saturday and Sunday, 11am-5pm. 823-7800. Through July 31: “Dreams and Memories,” oil paintings by Lindsay Michie Eades.

Milano 100 W. South St. Call for hours. 220-4302. Through July 28: “Watercolors by Kari Caplin.”

Mudhouse 213 W. Main St. Monday-Thursday, 6:30am-10pm; Friday-Saturday, 6:30am-11pm; Sunday, 7am-7pm. 984-6833. Through July 6: “Arabian Streets: Photographs of the Middle East,” by Jay Kuhlmann.

Newcomb Hall Art Gallery On the UVA Grounds. Call for hours. 249-2354. Through September 3: “Water & Health: Photovoice,” a cooperative photography project between the University of Virginia and the University of Venda in Limpopo, South Africa.

Paintings & Prose 406 E. Main St. Call for hours. 220-3490. Through September 4: “Assemblages,” featuring works by Richard J. Bay, Jay Hall, Carla Paynter, and curated by Dorothy Palanza.

The Paramount Theater
215 E. Main St. Open during events. 979-1333. Through June 30: “Substance,” paintings by Micah Cash.

Quick Gym 216 E. Water St. Call for hours. 220-3143. Through June 30: “Symbolic Series,” pen and ink works by Nola Tamblyn.

Shenandoah National Park Trust 414 E. Market St. Call for hours. 293-2728. Ongoing: Original Prints by Hullihen Williams Moore.

Small Special Collections Library On the UVA Grounds. Monday-Thursday, 9am-9pm; Friday-Saturday, 9am-5pm. 924-3021. Through August 1: “From Out That Shadow: The Life and Legacy of Edgar Allan Poe.”

South Street Brewery 106 W. South St. Daily 4:30pm-close. 960-9352. Through August 31: A collection of paintings by Janet Pearlman.

Speak! Language Center Rear entrance to The Glass Building, 313 Second St. SE. 245-8255. Through July 1: “Hadrian’s Coffee: Ancient Images of Contemporary Italy,” photographs by Richard Robinson.

Spring Street Boutique 107 W. Main St., on the Downtown Mall. Call for hours. 975-1200. Through August 31: “Metal Wall Sculptures,” by Holly Olinger & Hurricane Art.

Try & Make 608 Preston Ave. Tuesday-Thursday and Saturday, noon-6pm; Friday, 1-8pm; Sunday, 1-5pm. tryandmake.org. Offers a variety of readings, events and exhibits.

Virginia Artists in Action 112 W. Main St. Wednesday, 3-6pm; Thursday-Saturday, 11am-6pm. 295-4080. Through June 30: “A New Breed of Photography,” a collection of images from multiple local artists.

Categories
News

Electric and Benevolent; The Extraordinaires; Punk Rock Payroll

For a band so bluntly named, The Extraordinaires’ third full-length release relies heavily on suggestion. It never tells you outright that the character from lead-off track “The Man in the Suit” is the notorious Nikola Tesla, or that you’re supposed to bear him in mind when singer Jay Purdy croons about Christopher Columbus’ egg-balancing theatrics. Instead, Electric and Benevolent allows you the pleasure of making your own connections, to imagine that you are stringing together the components of your own integrated circuit and thus to revel in a little bit of the genius that possessed Tesla himself.

Character studies: The Extraordinaires dig into Tesla, Columbus and a few other historical beasts on Electric and Benevolent.

The Philadelphia quartet (featuring members of former Charlottesville act Ted Stryker’s Drinking Problem) sketches the inventor’s life and times with an energy, eclecticism and Roger Rabbit whimsy that sounds and smells like Fashion Nugget-era Cake with generous proportions of Neutral Milk Hotel thrown into the batter. That’s the foremost impression, at least: fast, swaggering pop-punk with a semi-inebriated drawl that bends occasionally, but never obnoxiously, towards ska. Then you’ll notice how much territory Purdy’s voice covers—easing into a balladesque, Kevin Barnes-y mode on the twangy “Eloise the Eloquent,” only to fly spontaneously into squawking Mike Patton-style falsetto on “The Egg of Columbus.” This latter track, the sixth, features the high water mark of the album, a merry-go-round bridge sporting a catchy, proverbial hook: “New ideas/ Aren’t always greeted with an open ear/ But then as soon as it’s an old idea/ Everybody loves a pioneer!” Faster and faster it cycles, in the process becoming one of the rollicking-est drinking game ditties since The Beatles’ “All Together Now.” A lean, snappy ode to vision, invention, and the entrepreneurial spirit, “Columbus” is the album’s rotary core, the coil around which the remainder spins.

It might not be until your third listen, however, that you start to assemble Electric and Benevolent’s constituent vignettes into what happens to be a mighty engine, a narrative of staggering ambition with the spirit, if not the scope, of Sufjan Stevens’ Come On, Feel the Illinoise. “Ellis Island” is six minutes of superb historical tourism, describing a young, penniless Tesla’s crossing of the Atlantic in 1887: “Out in open water in a birth I couldn’t bear/ Huddled down in storage with a pen and time to spare/ We arrived one foggy morning/ And liberty greeted us there.” Cue heavenly rays of light, a chorus of glorious ahhs. Reverent, disarmingly sincere, but never quite serious. 

And that’s a good thing. History made a tragedy of Tesla’s life, but Electric and Benevolent both mythologizes and personalizes it with the vibrancy and vitality of an alternating current. It whirls, it gyrates, but the center holds.

Categories
News

Backing the wrong horse (shoe)

Dear Ace, There are some trivial matters that have a way of nagging at you well beyond the statute of limitations. More than 10 years ago I noticed two small horseshoes imbedded in the curb in front of what is now the Embarq building across from the Main Street Market. Last evening I noticed that the horseshoes were still there, at the base of the bus stop sign. Is there a story of interest here?–Phreigh Rein

Dear Phreigh, Fieldwork is Ace’s specialty, so he embraced the opportunity to pound some pavement in the search for an answer to this intriguing query. He forgot, however, that there is a proliferation of distracting bars and restaurants along West Main Street. No matter how many times he reminded himself of his true purpose in being out on the town, he kept forgetting to investigate the horseshoes in question. He did manage to snag a few ladies’ phone numbers over cocktails though. 

When Ace finally made it to the Embarq building and set his magnifying glass on the corner of the sidewalk across the street from the Main Street Market and located just a stone’s throw away from West Main Restaurant (Ace could practically smell the bourbon calling him—focus!), he reached a different conclusion about these sidewalk adornments. It looked to Ace that the circular spaces in the cement, only one of which still contained a ring of rusty metal, were the remains of the bases of poles. Granted, Ace’s eyesight was a little fuzzy from his recent layover at the Zinc bar, but the cement cavities looked the same size and shape as the one holding the current bus stop sign. The rusty metal was not immediately identifiable as a horseshoe; it could just as easily have been the remains of post with its sharp ends hammered down. And the last time Ace checked, horseshoes were much bigger than two inches across. Unless you’re in the habit of binding your mare’s feet to give her trot a more ladylike appeal. After Ace absorbed the fact that he may have just refuted a reader’s observations, he stood on the corner contemplating the image of a tiny pony with tiny feet clicking down West Main Street in tiny horseshoes. Then he took that fantasy to the bar next door, where Ace hoped it would be duly appreciated by the ladies.

You can ask Ace yourself. Intrepid investigative reporter Ace Atkins has been chasing readers’ leads for 20 years. If you have a question for Ace, e-mail it to ace@c-ville.com.

Charlottesville graffiti round-up [UPDATE: Slideshow!]

Update: My original post appears below, but I compiled a slideshow of local graffiti, including the "Christopher Blok Memorial Mural" that MzFitz mentions in the comments. If you have any photos you’d like to contribute, you can e-mail them to feedback@c-ville.com. Enjoy!

While I was Downtown this weekend, I spotted a bit of paint on a brick wall adjacent to the First Street Church:

Upon closer inspection, the paint turned out to be a bit of cycle-centric graffiti:

 

I feel like I have a fairly common outlook on local graffiti—an appreciation for the playfulness in design and location, questions about whether certain pieces tie to our city in any particular way, and complete befuddlement over who the artists are. (Keep in mind, not all graffiti tends to attract love.) The best way for a person with similar questions to find an answer or two is to dig up as much info on local street art as possible.

So, lend me a hand: What is your favorite piece of local graffiti? Where can it be seen? Let’s compile a list so that readers can take in the art that defines our city’s surfaces.

Categories
Living

The unbearable lightness of Adam Brock

While the lineup for Adam Smith’s Invisible Hand has changed over the years, the band’s current lineup seems the closest to a stable, functional family—perhaps because every member has a second creative outlet. Guitarist Jon Bray, who arrived from the now-deceased Truman Sparks, also makes deadly jungle boogie with Drunk Tigers. Bassist Thomas Dean has Order of the Dying Orchid. (He also makes some of our city’s most distinctive album art.) Smith popped up in Sparks and Order, but the Hand’s songs are indisputably his.

Something borrowed: Adam Brock releases a CD by his solo project, Borrowed Beams of Light, at Twisted Branch Tea Bazaar on Friday, July 3.

That leaves drummer Adam Brock. Also a member of The Nice Jenkins, Brock’s non-Hand band has been on indefinite hiatus roughly since the release of last year’s Elephant Twisters album, and “indefinite hiatus” ain’t exactly “validating.” His drumming and singing is integral to the Invisible Hand sound—dig those “California Girls” harmonies!—but he didn’t join the Hand to be a melody maker, necessarily.

Yet Borrowed Beams of Light—Brock’s decidedly low-stress, high-quality solo project—proves that one of Charlottesville’s most gifted drummers may also write the curviest hooks. On Friday, July 3, Borrowed Beams of Light will release its first album, a self-titled EP, during a set at Twisted Branch Tea Bazaar with Birdlips ($5, 9:30pm).

Although both the album and gig place Brock in the frontman spot, his plans for Borrowed Beams of Light remain as humble as the project’s beginnings. “I’ve come to a period in my late 20s where I’m not concerned with ‘making it,’” said Brock during an interview last week. During the first years following his graduation from UVA in 2004, Brock felt that he might be wasting time if he wasn’t constantly networking for The Nice Jenkins. Borrowed Beams, however, is designed so that the music will pull its own weight. “Maybe it’s worse [now], but I feel better in my head,” he explained.

Save the arrangement for opening track “You Have a Sun!!!,” where he collaborated with former Jenkins member Nate Walsh, Brock penned the licks and lyrics. After he recorded drums on a four-track, he completed the rest in ProTools and hired Rod Coles to apply his particular brand of hot wax mastering; the final product splits the pocket symphony pop of bands like Destroyer with the Village Green-ery of The Kinks, two big influences for Brock.

The Invisible Hand is an influence, too, but a reconfigured one—as if Brock’s mixing board mind fuzzed the guitars and brought up the backing vocal volume. Fittingly, members of the Hand are recast as members of Brock’s band for the CD release gig: Adam Smith sits behind the drum kit, and Thomas Dean takes the keys. Seems like a happy family to me.

The kingdom of pop

Welcome back, guys and dolls! Club 216’s new location on Market Street opened on Friday, June 26. C-VILLE photographer Ashley Twiggs caught a shot of the new dance floor before the crowds broke it in.

It seems a sad irony that Charlottesville’s most reliable dance scene (and only gay nightclub), Club 216, would reopen at its new location only a day after the death of Michael Jackson. However, just as Feedback hopes that The Gloved One’s soul will find a new vessel to carry on his message of sparkling socks and moonwalks, so he hopes that the spirit of Club 216 will comfortably inhabit its new home in the Old Michie Building at 609 E. Market Street.

Club 216 opened the doors for business at its new spot last Friday, June 26. Did it rock with you all night? Was it a thriller? We sent photographer Ashley Twiggs to capture the scene. For more details on the new Club 216 location, visit club216.com or call 296-8783.

Categories
Arts

Transformers: Robots too big to disguise

With that calamitous stateside civil war between shape-shifting space robots now a couple of years behind him, young Sam Witwicky (Shia LaBeouf) is off to college. It means leaving behind his protective pet Camaro Bumblebee and his girlfriend Mikaela (Megan Fox), to whom Sam swears he’ll stay true, even though neither of them wants to be the first to say, “I love you.”

Director Michael Bay trades plots for ’bots in Transformers: Revenge of the Fallen.

Maybe they’ll get some perspective when a forgotten souvenir from their mechanized adventures fills Sam’s head with strange robotese runes and suddenly another Transformers war is at hand. Optimus Prime (voiced by Peter Cullen) and his benevolent Autobots, now in covert alliance with America’s military, will again need Sam’s help to keep down the evil Decepticons, whose new plan is to fill our world with transforming, trash-talking, leg-humping, orifice-invading nonsense, plus many large loud explosions, then destroy the sun.

Also, other actors are employed for the mostly failed comic relief of D-list sitcom shtick and wince-worthy minstrelsy.

Pausing only occasionally to gawk at babe brulée Fox—seriously, she looks like a custard, finished with a layer of sugar and a butane torch—the camera seems less jittery than during the first Transformers movie, but it’s still restless as hell, swooping, swirling and gliding off when it should be seeking out a better view of whatever it’s recording.

As for that “whatever,” well, whatever. It’s weird how annoying it is not to be able to tell what’s going on when you know perfectly well that what’s going on is robots wailing on each other. But then, it’s even weirder how annoying it is to actually be incensed (then overwhelmed, then exhausted) by the cheesy idiocy of a movie developed from another movie developed from a crudely animated 1980s TV cartoon developed from a line of action figures. Even by the lowest possible standards, this should be better.

Screenwriters Roberto Orci and Alex Kurtzman muster the same “Oh, like you care about plot” abandon they supplied to Star Trek, with The Brothers Grimm writer Ehren Kruger also on hand apparently to polish up the leaden bloat. That being the most realistic-seeming metallic surface in the film does not constitute an advantage.

I was trying to go the whole length of this review without writing the words “Michael Bay,” just to see if it’s even possible. But Bay, America’s greatest-ever auteur of asininity, has a gift for just not going away.

Is it because he has something to say? How about Sam and Mikaela’s three little words? Right: First we’ll need some aimless, aggressive jingoism, for context. Keep your eyes peeled for flapping flags, solemn Marines and the biggest pair of truck nuts anyone should ever have to see. Come to think of it, maybe the movie’s several references to testicles are intended somehow to compensate for the neutering of General Motors, whose vehicles some of its heroes become.

Anyway, the climax occurs in Egypt, because it’s the world’s biggest sandbox and Bay has lots of toys.