Albemarle closes beaches early to cut costs

Hard times call for hard decisions. NBC29 is reporting that Albemarle County has closed public beaches prior to its usual Labor Day weekend deadline, due to budget concerns. Early closure of county beaches will save about $19,000—$6,000 for closing the beaches, and the remainder in personnel costs.
 

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Living

To the Light House

As research for a larger story on Virginia’s film industry, I took a trip to Richmond’s Byrd Theater in February to check out the Virginia Independent Film Festival. As I sat through a series of short films that were both good and bad—and all presumably made by adults—I was surprised to see that the festival’s winners included a great animation team from Charlottesville, whose names were unknown to me: Chris Yeaton and Jared Carlisle. Their film, “Paperwise,” features a sophisticated animation sequence involving a hand-drawn stick figure, who crumples the piece of paper he’s drawn on, and slips off onto other surfaces until he’s made his way to the other side of the room, where a lonely stick-figure dog is weeping. 

 

Two screen stills from “Teddy,” a psychological thriller by Aiden Keith-Hynes, Caroline Bruce and Marco Duran, made under mentorship at Light House.

But made by teens, it was, under mentorship at Light House, the local nonprofit that provides media instruction to area youths. Light House will hold its largest annual fundraiser on September 10 at the Ix Building, a film festival and cocktail party—with popcorn for the youngsters—where the year’s best work will be showcased.

In addition to the team behind “Paperwise,” many of these pint-sized filmmakers have been showered in gallons of acclaim for their work. Films made at Light House have been screened at festivals in Chicago and Los Angeles, as well as on PBS, CNN and the Independent Film Channel. What makes the films produced at Light House so entertaining is, first, the organization’s “emphasis on personal expression and local stories,” but also its credo to provide “uncensored” mentorship. Of course, says Light House Executive Director Deanna Gould, “uncensored” can only go so far: “If they’re starting to go down a path that’s a little tricky, one of the things we say to students is, ‘We’re not going to be able to show your work,’” she says. “We are open to students’ ideas and allowing them to express themselves.”

Nonetheless, the films exhibit a “kids rule” ethos, and tend to follow a refreshing, youthful logic. Our only indication that “Paperwise” was made by teenagers was that, in the end, the man and dog walk off happily into a hand drawn sunset. (Who knows what a grown-up like Werner Herzog would’ve done to a man and his dog?) The (very) short film “Guido Pizza,” for example, stars a mohawked, claymation punk named Guido Manicotti who walks out of a pub, drunk as a skunk, and gets flattened by a taxi cab. And that’s it. In “Short Ninja Buys A Carrot,” a—you guessed it—short ninja destroys a countertop that he can’t see over, and throws money at the shop’s keeper. 

Light House began in 1999, when a number of local artists, including Shannon Worrell, Will Kerner and Paul Wagner, got together and saw a need for a media-based after school program. Gould says that, at first, the organization consisted of one workshop, “Video Diaries,” and six students, who worked out of the basement of The Jefferson Theater. Its programs grew through 2003, when it moved into the City Center for Contemporary Arts, on Second Street, along with Live Arts and Second Street Gallery. The programs continue to grow as social media allows the organization to reach more students. “Around 330 students came through last year,” says Gould. “But this year, we’ve reached more students in other ways, through things like film screenings, and the Web and YouTube.” 

Almost 50 percent of students attend Light House programs on scholarship, says Gould. A “Keep it Reel” program that dates back to 2002 visits local public housing areas on a weekly basis, “working with the kids, letting them learn about the equipment and, hopefully, making films.” 

Find out more about Light House’s Youth Film Festival at www.lighthousestudio.org.

A new Swing era

Feedback recently caught up with Wes Swing at his gorgeous practice space on a local farm, where the local cello wiz kid said he’s in the final stages of recording a new full-length record. Never one to be caught off guard, Swing, drummer Brian Caputo and singer Sophia Brunner were ready to sample a few tracks on camera. If you’ve ever seen Swing perform, you’ll know you’re in for a treat: hummable, evocative melodies plucked out on a cello, drizzled with outside-the-box percussion, and served over a rich set of loops. Click here for an exclusive look in a Feedback Session.

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News

New UVA President practices, preaches

 

On Sunday, during a guest sermon at St. Paul’s Memorial Church, just a few steps from Thomas Jefferson’s Rotunda, UVA President Teresa Sullivan preached the Gospel according to Luke, and addressed violence and “bystander behavior” in relation to the death of University student Yeardley Love. Sullivan, also discussing humility, emphasized the need take responsibility for people’s well being, which she called the foundation of a strong community. “The kingdom of God has many bridges, not so many fences,” said Sullivan. She also promoted UVA’s upcoming Day of Dialogue, scheduled for September 24, a day of “vigorous” discussion about campus security and the university’s new Get Grounded coalition to encourage student safety. “We want each of us to take ownership of this community, and help take care of everyone in it,” said Sullivan. “Let’s promise not to stand by when someone else needs help. Let’s promise to take responsibility for each other.”

C-VILLE welcomes news tips from readers. Send them to news@c-ville.com.

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News

London calling at UVA

Almost everything has changed since UVA football head coach Al Groh finished the 3-9 2009 season by reading the bizarre poem “The Guy in the Glass” to media in the bowels of Scott Stadium. After firing Groh and conducting a national search for his replacement, the University awarded former assistant coach Mike London a five-year, $1.7 million annual contract to try and resurrect the Wahoos from the college football graveyard. 

Trent Thurston interviews VA football head coach Mike London.

LISTEN HERE

London’s test begins Saturday, September 4, when Virginia opens its season at home against London’s former team, the Richmond Spiders, at 6pm. To accompany the new head coach, Virginia has redesigned uniforms, a nearly brand new coaching staff and a shot at shaking the goat horns from last year’s helmets.

Since London was hired in early December, he has worked the state tirelessly to smooth over relationships with the Commonwealth’s powerhouse high school programs. London focused recruiting efforts in the football-crazy Tidewater region, Richmond, and the fertile Northern Virginia areas.

Only one coach from the Al Groh years remains under new UVA football head coach Mike London, who will earn $1.7 million per year with the Hoos.

And his efforts have paid off. London’s 2010 recruiting class is made up almost entirely of players from Virginia. Compare the new Hoos to Groh’s nine seasons in Charlottesville, when Virginia Tech out-hustled UVA in signing top-tier recruits and bested UVA in eight of nine meetings.

Gone is Virginia’s 3-4 NFL-style defense, replaced by a more college-friendly 4-3 Stack defense. Defensive coordinator Jim Reid prefers faster guys, as opposed to the bulky players favored by Groh. Expect Reid’s defense to be hard-hitting, smart and led by NFL prospect and returning senior Ras-I Dowling—a big, physical cornerback.

Nate Collins, who led the Hoos’ quarterback assault with six sacks in 2009, graduated and will be sorely missed. But defensive end Cam Johnson is poised for a breakout type of season, and linebacker Steve Greer, who led Virginia in tackles with 92 in 2009, is healthy again after battling injuries.

The Wahoos should avoid quarterback controversy this season with senior Marc Verica under center, and under the watch of new offensive coordinator and QB guru Bill Lazor, who brings an NFL coaching pedigree to the Hoos. While the line protecting Verica up front may be inexperienced, the long wait for top recruit Morgan Moses is over, and he should contribute early at guard before moving on to right tackle next season.

For its ground attack, Virginia would like to use as many as four running backs. Sophomore Perry Jones has earned the title of starter at tailback, and true freshman Kevin Parks might crack the rotation early instead of redshirting for a year. Both Joe Torchia and Colter Phillips hope to get the tight end position back in play for the Wahoos after almost taking the position totally out of the offense last season in Gregg Brandon’s anemic spread offense.

Virginia is picked by nearly everyone to finish dead last in the Coastal Division, but six wins in 12 games seems reasonable, if Verica stays healthy and the Hoos find an 800-yard rusher in their stable of tailbacks. At the least, Virginia should nab four wins, among games against Richmond, Virginia Military Institute, Maryland, Eastern Michigan and North Carolina. Unlike the Hokies, the Tar Heels just don’t win in Charlottesville.

C-VILLE welcomes news tips from readers. Send them to news@c-ville.com.

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Living

A Spanish Bodega off the beaten path

 We were on our way to a winery in a craggy hill town off Spain’s Costa Blanca, and were childless for only the second time in two-and-a-half years. There was no stopping us—only we couldn’t find the damn place. 

Now a winemaker, Felipe Gutierrez de la Vega had previous careers as a sailor and a taxman.

Even with MapQuest directions and my astute navigational abilities (“I see vines, we must be close!”), we got lost halfway there and stopped at a concrete sculpture yard specializing in snails and Buddhas. The owner directed us to throw away our map. Finally finding Parcent, but still hopelessly lost, our chauffeur (my father-in-law) stumbled onto a doctor who proved very helpful (even if her patient didn’t agree). We squeezed down an impossibly narrow street then wandered aimlessly by foot. After a final clue from a mother stopping for her son to pee in the bushes, we knocked on the giant oak doors of the walled bodega, a forgivable 25 minutes late. Felipe Gutierrez de la Vega, kind-faced and short in stature, answered the door wearing a black lab coat and espadrilles with ribbons laced around his ankles. 

With past careers as a sailor and then a taxman, Felipe started a life making wine in the Marina Alta subzone of the Alicante D.O. in 1973. Drawn to culture in all forms, Felipe combines his passion for music and art into every aspect of his winemaking. As he showed us around, opera bellowed through speakers in every room because music, to Felipe, is essential to wine’s evolution. 

We explored the 16th century Moorish kitchen, the cloister with an Alhambra-inspired floor, the stainless steel tank room, and the laboratory (which, in this small 70,000 bottle production only sees action when acidity, sulfite, and alcohol levels need assessing). Felipe’s wife and daughter were busy with their summer chore: hand-cleaning the French, American, Hungarian, and Caucasian oak barrels.

Felipe’s favorite tenor, Antonio Cortis, hit a high note just as we descended into the underground cave. There, 200 casks illuminated softly from behind hold the wines of Felipe’s label, Casta Diva (an aria from Bellini’s opera, Norma). Water trickles down the natural stone walls maintaining an optimum temperature and humidity. 

We tasted more than two dozen wines, mostly from barrel, and all showed craftsmanship, sensuality, and respect for terroir and varietal. The moscatel in all three versions (dry, sweet, late-harvest), swelled with scents of elderflower, lavender, almonds, apricots and ginger. The dry reds, made from monastrell, garnacha, or a blend of the two, were, in still-barrelled vintages, as ferocious as Pamplona bulls, but displayed obedience after a few years in the bottle. 

Fondillón, the once-extinct wine of Alicante with a 500-year written history and a fan club that included Louis XIV, the fictional Count of Monte Cristo, and Ferdinand Magellan, has been resurrected by Felipe into a modern revelation. Made from vine-dried monastrell grapes, Fondillón spends 10 years or more in barrel and combines port-like fruit with sherry-like nuttiness, but with no added alcohol. Its taste, smoky and brooding, made visions of churros dance in my head. 

After two hours, we emerged from the cave, blinking and shivering, but inspired by a Renaissance man fulfilling his dream. We fought over a banana, two granola bars, and five jelly beans on the way back along the Mediterranean, returning just in time for a siesta in the warm Spanish sun.

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Arts

Going the Distance; R, 102 minutes; Opening Friday

Why is it so weird to see Drew Barrymore and Justin Long sharing a bong and making out? And humping on the kitchen table? And having relatively explicit phone sex? Is it just that such supercute people normally don’t do these things in cookie cutter romantic comedies? Is it because they’re together—or were, or will be, or whatever—in real life? Is it because it’s just plain embarrassing to see them both trying so hard?

Cuteness explodes everywhere in this too cute rom-com, starring Drew Barrymore and Justin Long, on- and off-again lovers in real life.

You’d think Going the Distance could capitalize on the pity it evokes. As a tale of the modern struggle for a bicoastal balance of work and life, with a pair of stars who are as “just like us” as stars can be, it should seem chord-strikingly familiar. Like watching your friends striving against long odds in an uphill battle to stay together. Oh, wait—that would make a really awkward movie, wouldn’t it? 

Yeah, well, this movie is awkward. It’s like this: She’s in journalism school at Stanford, but doing a summer internship in New York—where he lives, and works for a record company, unhappily. They bond over cherished pop-culture artifacts (the Centipede arcade game, Tom Cruise in Top Gun), and discover new ones together (like the YouTube video of a panda sneezing). They have their lovey-dovey montage, set to music by the Cure. And, alas, they have their responsibilities. They bounce back and forth between New York and San Francisco, trying to make it work. Comic relief is supplied by his buddies (Jason Sudeikis and Charlie Day) and her protective sister (Christina Applegate). 

It’s not entirely comic, and not really a relief. Yet our lovers keep trying. They are good sports. Sample exchange: 

“I have a tip,” he says.

“Is it the tip of your penis?!” she responds, and laughter ensues. That’s actually one of the more genuine moments in Geoff La Tulippe’s script, which otherwise seems almost compulsively ingratiating. It’s like he has some geriatric studio chief voice in his head, telling him: The kids talk dirty in the pictures these days. Put that in.

What’s more, director Nanette Burnstein used to make documentaries, so it’s startling how false her characterization of today’s journalism and music industries seems. Yes, yes, this is romantic comedy, not anthropology. Or, anyway, it’s supposed to be. Long has great timing, except when his director doesn’t. The same goes for Barrymore’s adorable, down-to-earth dignity. Consider it squandered.

You know, it might actually be good to confuse this Going the Distance with the National Lampoon sex romp of the same name from 2004. That might be a way to give both efforts the benefit of the doubt. And to remember that all things, if they keep going long enough, eventually will be gone.

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News

Sunset/Fontaine Connector gets new study

When the Albemarle County Planning Commission unanimously approved the 54-acre rezoning of UVA’s Fontaine Research Park in July, it did so without specifically including the most scrutinized piece of park property: a plot of land reserved for the Sunset/Fontaine Connector. One month later, the planning commission signed off on the same request to allow for more commercial space, updated to clarify the land reserved by the UVA Foundation for the path it favors.

“We’re looking forward to the Board of Supervisors meeting on September 8 as a final step,” says Fred Missel, UVA Foundation’s Director of Design and Development, of the park’s rezoning.

But while the UVA Foundation is committed to building the connector, a route between Fontaine and Sunset avenues—first recommended in 2004 in a study produced by the city, county and UVA—is yet to be finalized. Now, a new study by the Thomas Jefferson Planning District Commission will examine the UVA Foundation’s preferred path, along Stribling Avenue, as well as other routes that might lower costs to the county.

The connector was once discussed as a possible way to moderate traffic to and from Biscuit Run, before the state purchased the county’s 3,100-unit development as a 1,200-acre park. In a July report, county staff identified Natural Resources Drive, which runs along the western edge of the research park, as an alternative location for the connector.

“Once you get off of foundation property, it’s going to be really, really expensive because of all the various issues—stream crossings, terrain of land, railroad crossings,” says Claudette Grant, a senior planner with the county. The TJPDC study, says Grant, “may give us an idea of whether there is a location that is less expensive.” 

The cost to the UVA Foundation, however, seems set. According to a proffer statement, the UVA Foundation agrees to construct its portion of the connector along Stribling, or contribute a comparable amount of cash for a different connector alignment on its property. Previous estimates put the total connector cost in the neighborhood of $12 million.

Stephen Williams, executive director of the TJPDC, says the study will “look at a number of different connections. We’ll try to find the one—or two, or three—that have the greatest benefits for traffic with the least negative impacts.” 

The TJPDC’s study will estimate, among other factors, the number of trips through the park. Williams says the TJPDC hopes to present results of the study to the Planning & Coordination Council, composed of representatives from the city, county and UVA, by the group’s next meeting, scheduled for November 18.

Missel says the Stribling alignment for the connector is the only alignment that would not adversely impact park operations. A regional connector might conflict with many of the park’s services, such as an ambulatory surgery clinic or physical rehabilitation hospital, says Missel.

“I believe that the Board of Supervisors, as the planning commissioners did, will see the wisdom in a perimeter road as opposed to a road that bisects the park,” he adds.

C-VILLE welcomes news tips from readers. Send them to news@c-ville.com.

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News

Bob Tucker makes his final budget

By his own count, County Executive Bob Tucker has attended more than 1,700 meetings of various boards during his tenure as Albemarle’s CEO. After 20 years of crafting the county budget—and a total of 37 years as a county employee—Tucker announced last week that he’ll attend only a few more, and plans to retire at the end of this year. 

Asked about budgeting for local schools, retiring County Executive Bob Tucker says “Schools are really starting to see the crunch from this last year. Next year is going to be even harder.”

“You kind of know when it’s time,” says Tucker, 62, who adds that his family will remain in Albemarle. “I will be looking for some other things to do, not necessarily in county-related efforts.”

Tucker began his local career in the county Planning Department in 1973. Ten years later he became deputy County Executive, and became Executive in 1991. County attorney Larry Davis, who has worked with Tucker for 16 years, calls the executive “a person of high integrity, whose goal in public service was to make Albemarle County the best community that it could be.

“He is simply an outstanding county executive in carrying out that mission,” says Davis. 

The last two years, according to Tucker, have been the most challenging of his career. The nation’s financial crisis affected the management of county operations; Tucker says Albemarle County has eliminated 70 positions, “but not laid anyone off.” 

“That was my goal in the last two or three years,” he says.

Asked about the revenue sharing agreement—in which Albemarle pays Charlottesville a portion of its real estate tax revenue and the city agrees not to annex land from the county—Tucker says the matter is now predominately a political issue. For fiscal year 2010, Albemarle paid Charlottesville more than $18 million, money not factored into the composite index that determines state funding for the county.

“Obviously, it hurts us to send a check for $18 million to the city, but that’s what it is,” he says. While the overall relationship between the city and county “has been good,” says Tucker, financial anxieties and debates over the Meadowcreek Parkway—under construction in the county, but not the city—have occasionally tried the two localities. 

“I think the Board [of Supervisors] will have a difficult time next year,” says Tucker of the county’s budgeting process.

Despite the occasional strain, Tucker calls his job a rewarding one. He expresses pride in what he calls the county’s “strong growth management system.”  The county, says Tucker, has tried the keep Albemarle “as rural as possible” while encouraging development in designated areas. 

“I hope the citizens are proud of what we have been able to accomplish,” says Tucker. County supervisors will discuss plans for selecting Tucker’s successor at an upcoming meeting.

C-VILLE welcomes news tips from readers. Send them to news@c-ville.com.

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News

Musette Moderna/Tango a'Tiempo; Matty Metcalfe; Released August 30

One of the strangest releases to come out of the Charlottesville music scene in recent memory is a new double album by Matty Metcalfe, the ubiquitous local multi-instrumentalist who performs solo, on guitar with Old Calf, and on keys in the Hill and Wood. (He would probably join your band too, if you’re looking for an ace accordion, bouzouki or bamboo whistle player.) At a performance August 30 at Louisa Arts Center, Metcalfe released Musette Moderna/Tango a’Tiempo, a collection of 19 songs that aims to renovate the dusty reputations of French Musettes on one disc, and Argentine Tangos on the other. 

Local multi-instrumentalist Matty Metcalfe polishes off old Musettes and Tangos on a new double album.

Enter the synthesizers, the guitars, the electric banjo. Metcalfe writes that the inspiration for these albums was “to essentially bring these wonderful songs into the new century by treating, arranging, and recording them with more modern ideas and technologies.” To that end, he and his band offer expert performances on an odd menagerie of acoustic instruments, from accordions and whistles to the violin. Among the only indications that this is, in fact, modern music, are the synthesizer lines that dot some tracks. 

And it somehow works. The record sounds as if Tom Waits, rose clenched in his teeth, had composed the soundtrack to Amelie in a moment of deep personal indecision. A fuzzed out guitar, buckling under a tremolo, belongs as much to Waits as it does to Ennio Morricone, the famed composer of Spaghetti Western soundtracks; hints of Morricone return in the urgent, gutteral piano of modern Cuban composer Ernesto Lecuona’s “Gitanerias,” again echoed in the “Musette a’Teresa,” a Musette on Metcalfe’s Tango disc, written by modern Irish musicians of Reeltime. 

The gorgeous drama of each well-chosen piece lies in the emotional detours; minor key passages are punctuated with short breaks, at which point a violin or accordion line whisks the composition back into the major key. Metcalfe aptly applies these compositional qualities to a Tango-styled Madonna medley, “Tango a la Madge,” which begins with a straightforward, synthed out groove on “Like a Prayer,” runs through an understated take on “Like a Virgin,” only to break into an accordion-based “Material Girl.” If you’re counting, that’s American music originally performed by an Italian-American, performed in the Argentine style, that, in the end, sounds like karaoke (Japanese in origin).

A flyer for the release concert showed a picture of Metcalfe, wearing an accordion and smiling, nestled among images of the ragtime composer Scott Joplin, Argentine Tango pioneer Carlos Gardel, Musette composer Gus Viseur—as well as images of Like A Virgin-era Madonna and Cyndi Lauper, who also gets the Musette medley treatment on disc one. The visualization hints at how Metcalfe’s music is an exercise in tracing a musical lineage where perhaps there isn’t one. Or, at least, where there wasn’t one.

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News

Local schools can't win if McDonnell doesn't play

 The school year kicked off August 25 for children in Charlottesville and Albemarle’s public schools, and while students and teachers display the usual pep and verve, they could have had a lot more to cheer for.

Ron Price, chair of the Albemarle County School Board, says Governor McDonnell’s decision not to pursue Race to the Top funds “goes right against” concerns over Virginia’s economic vitality.

Educators in Maryland, North Carolina, Washington, D.C., and seven other states celebrated last week when they “won” Race to the Top, the $4.3 billion federal education competition. Each of those school systems will get hundreds of millions of federal grant dollars.

Virginia, meanwhile, had already dropped out of the race. This summer, Governor Bob McDonnell dashed any hope that a flood—or even a trickle—of new federal money could be on its way when he pulled Virginia out of this round of competition.

Albemarle School Board Chairman Ron Price laments the decision. “The governor and others talk about the economic vitality of the state. When you do something like this, it goes right against those words,” says Price. “You’re not going to attract the high tech industries into the Commonwealth of Virginia without having a quality education system.”

The recession led politicians to cut both state and local funding for schools, and Albemarle in particular has taken its lumps, cutting 40 staff positions. The county schools’ budget fell $6 million from the previous year to $143 million. That was supposed to have been cushioned by $4.5 million in federal stimulus funds, but this year, the state decided to keep that money rather than pass it along to local schools, as it had done last year. County supervisors opted not to offset the decline in county real estate assessments with an increased property tax rate, which lowered local school funding. The shortfalls helped incite a winter spat with Charlottesville over revenue sharing money.

Virginia entered the first round of the federal competition along with 40 other divisions. But despite lobbying from McDonnell and others, it placed a paltry 31st. Only Delaware and Tennessee received first round funding, of $100 million and $500 million, respectively.

As deadlines approached for the second round, McDonnell pulled out. The reason? He said Virginia’s curriculum standards are too high. The federal scoring system rewards states that adopt recently released, nationally approved “common core standards.” McDonnell said he couldn’t ditch Virginia’s Standards of Learning (SOLs).

“We can’t go back,” said McDonnell. “We’ve been working on this for 15 years. Our standards are much superior.”

Price questions whether that’s the case, and an analysis by The Thomas B. Fordham Institute, a think tank in D.C., backs him up. It concluded that Virginia’s English standards were roughly equivalent, but rated the Commonwealth’s math standards a C versus an A for the common core standards.

Moreover, Virginia scored 325 of 500 points on the first round—and only 30 of those points lost were attributable to common curriculum standards. The Commonwealth lost significant points for not sufficiently linking teacher/principal evaluations with student achievement, and for not distributing quality teachers and principals equally throughout the education system.

“I was disappointed that we were not able to compete,” says Albemarle Superintendent Pam Moran. “On the other hand, I understand why the state department in Richmond felt like it would be perhaps not a good use of their time” knowing Virginia would not adopt the common standards word-for-word.

Leah Puryear, chairman of the Charlottesville School Board, also understands the governor’s decision, pointing out that the funding, if Charlottesville received any at all, would have been heavily restricted. Charlottesville schools took a $2 million budget reduction this year.

Virginia had applied for $350 million. It’s unclear how much money local schools would have received had Virginia “won” Race to the Top. Much of the money was slated for low-performing and charter schools. Albemarle County is home to two of Virginia’s four charter schools.

“I think everybody realizes that money’s short in a lot of areas, not just education,” says Moran, “and that we certainly would like that we’re competitive anytime there is money that’s going to be available for us at the federal level.”

Moran looks on the bright side. “There may be a third round,” she says. “It’s possible we might be back in the game.”

C-VILLE welcomes news tips from readers. Send them to news@c-ville.com.