Categories
News

Down, but not out

Last week, in a lawsuit filed against Charlottesville, five homeless men claimed that City Council’s soliciting ordinance unlawfully restricts panhandling on the city’s Downtown Mall. With the support of the ACLU of Virginia and local legal representation, the plaintiffs claim that the ordinance violates their First and Fourteenth Amendment rights—free speech and equal protection.

 

Michael Sloan (with his dog, Jeda) has been homeless for several years, and is one of five plaintiffs in a lawsuit that calls Charlottesville’s soliciting ordinance unconstitutional.  

Local attorney Jeffrey Fogel spoke about the suit during a press conference before the Thomas Jefferson Center’s community chalkboard, a free speech monument and a setting that Fogel called “ironic.”

“Do we want to live in a society where it is a crime for a poor person to stand without interfering with anybody and ask for help?” asked Fogel. “My answer is no. The Constitution’s answer is no, as well.”

Last August, City Council approved an ordinance that restricted “soliciting” (formerly “panhandling”) within 50′ of vehicular crossings on Second and Fourth streets, as well as within 15′ of bank ATMs and entrances, during business hours. The ordinance also restricts soliciting “from or to” any person seated at the Mall’s various outdoor cafés and vendors—but too vaguely, claims the suit.

“I understand what soliciting from somebody means, but soliciting to somebody?” asks Fogel. “Does it mean that if I go to somebody at an outdoor café and hand a $20 bill, am I a criminal?”

The suit alleges that the ordinance criminalizes “the solicitation of money or things of value” but not other forms of solicitations.

“It’s O.K. for a musician to set up close to a building to play their music, but when we sit up against a building and fly a sign, we get harassed,” said plaintiff Earl McCraw at the press conference. McCraw has received one citation for violating the ordinance, and tells C-VILLE, “We are not harassing people who are sitting there eating. We are just sitting there holding a sign.”

Plaintiff Michael Sloan, who usually sits in front of the Jefferson Theater with his dog, Jeda, agrees. “They are doing essentially the same thing we are,” he tells C-VILLE. “They are panhandling, they just don’t fly a sign. But if I take the sign down and sit here with my dog, it’s still panhandling.”

Since August, Charlottesville Police have issued three panhandling citations on the Mall. According to Lt. Ronnie Roberts, city police took a “proactive approach” and educated those who were panhandling on the restrictions of the ordinance, then issued warnings for first infractions.

City Attorney Craig Brown said he won’t comment on a pending litigation, but tells C-VILLE that the city has up to 21 days to file an answer to the suit. Mayor Dave Norris says the changes made to the ordinance were “very modest.”

“Most of the Mall…is still open for solicitations, and the changes that we made had to do with protecting pedestrian safety in the vehicular crossings,” he says in an interview.

He would have preferred to go a step further. In addition to limiting soliciting to 15′ from banks and ATM machines, “there was a proposal to extend that to 15′ of anywhere there is cash exchanging hands, including outdoor cafés,” says Norris. “Our city attorney thought that went too far in restricting people’s freedom of expression.”

Neither Downtown Business Association chair Bob Stroh nor Main Street Arena owner Mark Brown—previously involved in a failed campaign to direct panhandling cash to the Thomas Jefferson Area Coalition for the Homeless—feel the ordinance is unconstitutional.

“The lawsuit is not a genuine lawsuit brought on by the plaintiffs,” says Brown. “The lawyer has been working on this for a year.”

Fogel tells C-VILLE that he has appeared in front of City Council to oppose amendments to the panhandling ordinance and presented its members with an alternate ordinance from the City of Indianapolis, where “passive forms of solicitation” are permitted.

“If somebody doesn’t verbalize anything, if they simply hold up a sign, holding a cup, have an open guitar case, those things are excluded from any prohibitions,” explains Fogel.

McCraw and Sloan, who have each been homeless for multiple years, say they do not enjoy asking for money, but their disabilities make finding work close to impossible.

“I don’t like what I do,” says Sloan. “I hate it, but I have to do it.”

Categories
News

Back to the land

It’s hard to quantify just how goddamned unpleasant the Battle of Waynesboro is. I slept poorly the previous night, skipped breakfast, and arrived late and underdressed. I want socks. I want coffee. I want a funnel cake from the vendor across the road from the battlefield, but I’m stuck firmly on the 19th century side.

My woolen Union coat is large enough to fit over my corduroy jacket, but not warm enough to keep my voice from shaking as I discuss marching orders with my brothers-in-arms. We’re assured victory, but each of my five senses feels defeated. And then sleet begins to fall.

“This is what they fought in,” says Reed Lewis as he fits a black bowler hat on my head. It is unclear to me whether he means the weather or the hat, but this much is clear: Lewis, one of the organizers of the reenactment, is thrilled.

So, 146 years after the real skirmish, the Battle of Waynesboro unfolds on a privately held piece of land that once belonged to Confederate Major William Patrick. Union Cavalry approaches the Confederate trench, falls back, approaches, falls back. Both sides trade shots from replica rifles and litter the yard with gunpowder packets. Cannons appear and exchange volleys.The Battle of Waynesboro, a March 1865 skirmish between General George Custer’s Union Cavalry and Confederate forces led by Lt. General Jubal Early, took place near what is now Waynesboro’s West Main Street. The true battlefield is located between the original Waynesboro High School (now Fishburne Military School) and its successor, built in 1936. Now, however, cannon fire at the true battle site would very likely disturb locals dining at Kline’s Dairy Bar or tourists checking out the Wayne Theatre.

My fellow soldiers are men and women between the ages of 15 and 55. They joke and yell in a mix of 19th and 21st century slang: “C’mon, Johnny Reb, come get some!” I hear a father tell his teenaged son, “I don’t want to hear any modern songs. And I don’t want to hear anything about Hooters. Is that clear?” The son replies, “Sir, yes, sir.”

I spend most of the battle near a 17-year-old messenger named Dylan, who helps the Union Cavalry coordinate its battle-winning flank attack. Dylan has grown up around battlefields, and got involved in reenactments because of his dad. At one point during the battle, he pulls a flute from his satchel and, unprompted, begins to play “John Brown’s Body,” the song written for the hanged abolitionist whose attack on Harpers Ferry played no small role in the nation’s path to the war.

“How many Civil War songs do you know?” I ask. Dylan answers, “Quite a few.”

On July 21, Virginia will begin the first major events for the Civil War Sesquicentennial, a 150th anniversary that will last until 2015 and may boost the state’s multi-billion-dollar tourism industry to unknown heights. However, the anniversary commences at a time when Virginia’s tourism industry is targeting a younger generation that came of age during a time when the state first began to take stock of its battlefields, determining which held value, and which were lost for good. We will learn to experience the Civil War differently. But there are reasons to remember the sole survivors, literally the grounds beneath our feet.

Virginia’s “heritage tourism”

Although Virginia was one of the last states to secede from the Union, it was the first to form a sesquicentennial commission. In 2006, a stone’s throw from Jefferson Davis’ Confederate White House, the General Assembly created the Virginia Sesquicentennial of the American Civil War Commission to commemorate—though never “celebrate”—its role in the war.

The Battle of Waynsboro, says Lewis, is one that “very few people know about, so we’re creating a stir, I guess, by reminding people of a piece of history they’d forgotten that is pretty important.”

That year, the National Park Service published a study of 15 prominent Shenandoah Valley Civil War sites, selected from among more than 300. (“This does not include many of the raids, ambushes and partisan actions,” noted the authors.) Most of the battlefields were privately owned; several, including Cool Spring, Tom’s Brook and Piedmont, preceded the March 1865 Battle of Waynesboro.Virginia hosted more battles than any other state, and four of the 10 deadliest battles—conflicts at Chancellorsville, Spotsylvania, Wilderness and Manassas that totaled more than 100,000 casualties. However, Virginia’s relationship with its battlefields, specifically those in the Shenandoah Valley, was largely undefined until 1995.

The study focused in no small part on the battlefields’ potential role in economic development. “Protection of these 15 major Civil War battlefield sites can be seen as not only an important national objective, but also as an important element of the local economy,” reads the report. “[A]nd, therefore, an added incentive to local governments to play a substantial role in protecting these sites.”

While the report stopped short of making official preservation recommendations, it devoted several pages to “heritage tourism,” which it called “experiential tourism that provides for…feeling part of the history of a place.” The report concludes that area planners tended to support heritage tourism, and the Shenandoah sites “would likely prove to be one of [Virginia’s] major attractions.” The same year, Virginia launched its Civil War Trails program, which placed signs for hundreds of state sites, including some in Charlottesville and Albemarle.

The National Park Service owns more than 2,700 acres that comprise the Wilderness Battlefield (pictured), which saw 29,000 casualties during the Civil War. Walmart had planned a store for a nearby 55-acre tract, but withdrew its plans.

However, VATC spokesman Richard Lewis pointed out a few problems facing Virginia’s heritage tourism. Other states have more famous battlefields; Pennsylvania’s Gettysburg attracts twice as many visitors as Manassas or Wilderness battlefields. Additionally, Lewis noted that the large number of war sites could pose “an internal threat.” Heritage tourism quickly became one of the state’s focuses for the sesquicentennial. After Virginia formed its commission in 2006, it partnered with the Virginia Tourism Corporation (VATC) to develop a strategic marketing plan for the 150th anniversary. In 2008, Lewis informed the committee that “approximately 10 percent of Virginia’s 35 million annual visitors experience a Civil War site as part of their trip.” The same year, the state Commission on Economic Development reported that 60 million visitors came to Virginia. Those visitors combined for a $19 billion impact and generated more than $1 billion in tax revenue.

“Because it has so many Civil War attractions, historic sites and historic cities all vying for their own share of the market, potential visitors may be bombarded by conflicting messages,” he said.

University of Richmond President Ed Ayers, a Civil War scholar and host of the Virginia Foundation for the Humanities’ “BackStory with the American History Guys,” observed that very dynamic in Richmond’s sites.

“One of the sad things about Richmond’s battlefields is that they’re not really coherent,” Ayers tells C-VILLE. “There are so many of them, and they’re scattered around. Whereas, Gettysburg kind of brings them all together.”

Virginia loses ground

During the same time that Virginia began to harness heritage tourism, however, several of the state’s most prominent battlefields fell under threat. Manassas fended off a 1.2-million-square-foot mall in 1988 and a Disney theme park in 1993. More recently, retail behemoth Walmart withdrew a special use permit request to build a 141,000-square-foot store near Wilderness Battlefield after preservation groups filed a lawsuit against the Orange County Supervisors for approving the permit.

“The Walmart site is well within the [battlefield’s] study area,” said National Park Service spokesman Russ Smith at the time. “And very, very close to the [battlefield’s] core area.”

Meanwhile, plenty of historically significant spots around the state were overwhelmed by development. The Confederate White House, the seat of our nation’s government in an alternate universe, is now dwarfed on three sides by the Virginia Commonwealth University Medical Center. Despite some mild chatter in 2005 that the Museum of the Confederacy might relocate the house, the mansion will remain in its location, nearly hidden in plain site.

“Visiting the White House of the Confederacy shows you what’s lost when you just have anachronistic development all around,” says Ayers. “I mean, when you go inside, you can picture Jefferson Davis and his family. But when you walk outside, O.K., there’s the 21st century.”

 

A marker next to a Subway restaurant on Route 29N commemorates an 1864 Rio Hill skirmish in which 200 Confederate soldiers held off 1,500 Union troops. Now, there are more parking spaces at Rio Hill Shopping Center than there were Confederates.

 

Here’s a local version: In 1989, the Virginia Department of Historic Resources erected a marker to commemorate a raid in northern Albemarle led by Custer’s Union cavalry. The raid, which took place before Custer’s 1865 triumph in Waynesboro, was unsuccessful, and 200 Confederate soldiers rebuffed 1,500 Union troops. The event is the only official military conflict to occur in Albemarle County during the Civil War. The state’s marker was installed the same year that the nearly 300,000-square-foot Rio Hill Shopping Center was constructed.

Later, Virginia’s Civil War Trails program added its own historical display to the shopping center. The display is a two-panel case mounted on a brick wall, located directly next to a Subway sandwich shop.

How we use battlefields

Let’s leave aside the longer, more nebulous conversation of preservation versus development and turn, instead, to perception: How do we literally see the Civil War? Essentially and necessarily, we see it in pieces.

In 1993, the federal Civil War Sites Advisory Commission assembled the Report on the Nation’s Civil War Battlefields to answer, among others, this question: “Just what is the universe of American Civil War battlefields worthy of protection?” The report narrowed a total 10,500 conflicts to 384—a number that represents less than 4 percent of all battle sites. A combined 36 percent of those 384 sites were either “lost as coherent landscapes” or in irredeemably poor condition. Half of the remaining sites were under threat “from roads and from residential and commercial development.”

Of those 384 important sites mentioned above, 92 percent were owned privately or through some combination of national, state, local or private partnership. Without a unifying plan to develop or protect the collection of sites, more than 100 had been lost, one at a time, and plenty more stood ready to fall.

SELECT CIVIL WAR SITES AND MARKERS IN CHARLOTTESVILLE
In some ways, that profane treatment of Civil War battlefields extends back to the moment when the last curls of gunpowder smoke evaporated over the Union and Confederate dead. At the first Battle of Manassas, spectators from Washington, D.C., traveled south to within a mile or so of the Bull Run battlefield. And while it wasn’t quite as close as a crowd at a baseball game, as Ayers puts it, they could watch soldiers go to battle. Moreover, immediately following many contests, the spectators closed in.

“People came to the battlefields as soon as they were over and rifled through soldiers’ pockets and picked up souvenirs,” says Ayers. “People were not squeamish of that, going to a battlefield in the wake of all this horrific suffering.”

The point being, says Ayers, “that people have not treated Civil War battlefields with reverence throughout our history. In some ways, that’s a 20th century recovery, to some extent, of a sense of how precious they are.”

Battlefields reflect our reverence, or lack thereof. If Walmart had built a supercenter at Wilderness, the site could still inform a visitor of its historical significance in the Civil War story. But it also would have told a different story, of Orange County’s inability at a certain point in time to preserve a less developed—and, if you’re a romantic, a more potent—link to that battlefield’s legacy.

“It’s a way to let all of your senses think about what happened there,” says Ayers of visiting a battlefield. “Standing in those places gives you a kind of multi-sensory connection to the past.”

In March, I stood on Henry Hill, where the first Battle of Manassas took place in July 1861, and where the sesquicentennial commemoration will kick off in a few weeks. I could move freely behind Confederate General Thomas “Stonewall” Jackson’s artillery, and then move before it, into the line of fire. I could lie down in tall grass on my stomach, as if reloading my rifle, or on my back, as if wounded. I couldn’t smell gunpowder, but I also couldn’t smell diesel or fast food.

Months later, I went to Rio Hill Shopping Center to experience Custer’s 1864 skirmish. I stood next to Subway, and tried my best to let my senses do the same work. I thought about white or wheat bread, not hardtack, the cheap crackers that soldiers carried with them during battle. I counted upwards of 200 parking spaces, more than the number of troops that turned away Custer’s 1,500 Union cavalry. I envisioned 200 gray coats encircled by a half-moon of Volvos and Toyotas, saw customers from Dick’s Sporting Goods walk towards the Confederates clutching Louisville Sluggers and hockey sticks as the soldiers struggled to reload.

Generation X meets the war

Last year, the General Assembly approved a budget amendment proposed by Governor Bob McDonnell to direct an additional $3.6 million to the Virginia Tourism Corporation during each of the next two fiscal years. That money will largely go towards the Virginia Tourism Corporation’s new target audience: Generation X.

According to a VATC report, tourists from Generation X—loosely, those individuals born between 1965 and 1981—spend 13 percent more than their Baby Boomer predecessors. Roughly 75 percent of McDonnell’s $3.6 million appropriation will be dedicated to television ads in a handful of out-of-state markets.

“These will be general ads directed towards Gen-X families, our new target audience,” said VATC President Alisa Bailey to Virginia Business magazine.

 

“Visiting the White House of the Confederacy shows you what’s lost when you just have anachronistic development all around,” says Civil War scholar Ed Ayers, president of the University of Richmond. “I mean, when you go inside, you can picture Jefferson Davis and his family. But when you walk outside, O.K., there’s the 21st century.”

 

The Virginia Tourism Corporation hired a marketing firm called BCF to conduct a “Sesquicentennial Qualitative Travel Research” report. BCF interviewed a variety of tourists at Civil War sites, museums and other historic spots. Those tourists included people identified as “Civil War buffs” whose median age was 52, “Heritage Travelers” whose ages predominately fell between 25 and 54, and “Vacaters.” During the survey, one “vacate” told an interviewer, “My kid does 10 different things at once…he gets bored pretty fast standing around watching someone make shoes.”

Those born during and after Generation X, many of them “digital natives,” have personal experiences with direct links to modern technology. To attract and educate Generation X and its successors, VATC and Virginia’s sesquicentennial commission have implemented a few multimedia plans.

In addition to the TV ad blitz, there is the HistoryMobile, a 53′-long tractor-trailer outfitted with interactive displays that will debut on July 21 at the Manassas National Battlefield Park. There is also the Civil War 150 Legacy Project, a mobile effort to connect with Virginia communities and scan relics like photos and letters for preservation through the Library of Virginia. As of May, the Legacy Project had conducted 53 scanning events in 38 communities, including Charlottesville and Albemarle, and gathered more than 10,000 images.

Doubtless, the Legacy Project will preserve documents essential to expanding our understanding of the Civil War. We will fracture our battle stories as we knew them previously, then reinforce them with drawings and letters from the times. But we will experience them from behind computer monitors, Generation X windows, much like the flags, uniform scraps and ammunition that we see in glass display cases. We will find new ways to create the soldier experience—Generation X saw Glory, and has more than a dozen Civil War videogames at its fingertips—but it should not be at the expense of the old.

“Let’s try to make every part of it be new and strange,” says Ayers, summing up his work and our collective challenge. “Because, when we domesticate it, it ceases to teach us.” And if we “know” a little bit less than we did at the centennial, says Ayers, then “that’s O.K.”

Reed Lewis, my brother-in-arms at the Battle of Waynesboro, was born just prior to Generation X. About 20 years ago, Lewis—a Mechanicsville, Virginia, native—began to reenact with the 27th Connecticut Volunteers while he lived in that state, and has been involved in similar efforts ever since. When he returned to Virginia, he taught a class on reenactments at the Staunton Public Library, got involved with the Waynesboro Heritage Foundation, and now helps direct the Battle of Waynesboro.

The battle, says Lewis, is one that “very few people know about, so we’re creating a stir, I guess, by reminding people of a piece of history they’d forgotten that is pretty important.”

But the way that Lewis and fellow re-enactors remind us is different from Glory, or Civil War videogames, or the HistoryMobile. They indulge what Ayers calls the “multi-sensory connection to the past,” but do so from the ground up—on the smallest pieces of land left scattered and unlinked, but not yet lost.

 

 

Fourth man charged in David Cowan homicide

In a media release, Charlottesville Police reported that they have arrested and charged a fourth man in the death of David "Gundo" Cowan.  According to Lt. Ronnie Roberts, Brandon Jackson, 21, turned himself in to city police this morning. Cowan’s death marked the first of the year in Charlottesville.

In February, Cowan, 30, was found dead at the corner of Eighth and Page streets in the Westhaven neighborhood, home to the city’s largest public housing development as well as members of the victim’s family. So far, three other men have been arrested and charged in connection with the February 3 homicide: Jermaine Mulford and Whitmore Merrick were arrested within two weeks of Cowan’s death, and await a preliminary hearing on Thursday, June 30. Latron Brown was arrested in May and also is slated to appear before the Charlottesville General District Court on Thursday. Jackson is slated for an August 11 preliminary hearing.

Categories
Living

Small Bites

’Round these parts, we foodies aren’t strangers to waiting a while for a restaurant opening. (We’re looking at you, Semolina, Fry’s Spring Station and, ahem, Commonwealth Restaurant & Skybar.) Historically, it’s been worth the wait. Balkan Bistro & Bar, which opened June 21, is hardly an exception.

The new West Main restaurant from Anja Cetic has been in the works since last fall, when her family’s Water Street joint, Balkan Bakery, closed up shop to make way for Bill Atwood’s Waterhouse project. (The tasty Balkan creations can still be found at the City Market.)

Last week, Cetic opened the doors to her new place, located in the building that formerly housed Under the Roof. After attending the opening, we’re Balkan believers. The restaurant has a few kinks to work out (halfway into our evening, we were informed the chef didn’t have the ingredients to make what we ordered), but the food more than makes up for the (presumably temporary) snafus. We received a plate of perfectly smoked meats with a side of fresh ricotta cheese and eggplant dipping sauce. As a fellow diner said, “I could bathe in this cheese.” (Though we wouldn’t recommend it.)

As for the rest of the experience, service was great (especially for a packed opening night) and the wine selection was impressive. Expect to see traditional American fare mixed with a few southeastern European surprises on the menu.

Categories
News

At all costs

German painter Anton Sattler was invited into the homes of some of America’s most renowned families to restore old rooms to their youthful beauty—to revitalize them, give them new lives. “Auchincloss, Roosevelt, Rockefeller,” lists the website for his company, founded in 1891. Anton Sattler, Inc., worked such magic on Gloria Vanderbilt’s former dining room, where the company restored 100-year-old, watercolored Chinese wallpaper.

Patricia Kluge and Bill Moses, on the grounds of their vineyard. The couple filed for bankruptcy protection last week, and claimed estimated liabilities up to $50 million.

 

Last year, the Sattler company set to work on Patricia Kluge’s 45-room Albemarle House, where it had been contracted to remove old paint and putty from the home’s exterior, then apply a few new coats. The eight-week job held an estimated cost of $285,090—a price that was paid down to $67,590 by Kluge and her husband, William Moses, according to court documents.

Then came the financial struggles. An April 2010 out-of-court settlement with realtor Frank Hardy, Inc., over a $1.9 million breach of contract lawsuit. A Sotheby’s auction for the items within Albemarle House, and efforts to sell the mansion itself—first for $100 million, then for $16 million. Foreclosures on Kluge and Moses’ winery, real estate development and home. Donald Trump’s successful $6.2 million bid for the bulk of Kluge’s winery operation—a moment’s respite, as The Donald’s associates said Moses and Kluge would remain involved in the business. And, last week, news that Moses and Kluge had filed for Chapter 7 bankruptcy.

Now, Anton Sattler, Inc., which filed a complaint in Albemarle County Circuit Court in February to resolve the alleged debt, is one of 54 companies and individuals notified about Kluge’s bankruptcy. The bankruptcy documents put Kluge and Moses’ estimated number of creditors between 50 and 99, and put estimated liabilities at between $10 million and $50 million. Creditors have an opportunity to meet in federal bankruptcy court on July 15 to discuss legal options.

The bankruptcy documents include multi-million-dollar creditors like Bank of America, Sonabank and Farm Credit of the Virginias, but also shed light on smaller organizations like Sattler that have worked with Kluge.

“They’re current with us,” says Gene Bumgardner, president of locally based OFM Computer Systems, which is named among the 54. OFM worked as Kluge’s information technology consultant for roughly 10 years, and Bumgardner described his company’s working relationship with Kluge as “very good.”

“It’s very disappointing, and very alarming, for that to happen to anybody, especially somebody that you’ve got personal contact with,” Bumgardner tells C-VILLE about Kluge’s bankruptcy. “You read about it, but it really hits home when it’s someone you know.”

Anton Sattler, Inc., is represented by local law firm Morin & Barkley, LLP. An attorney for the firm declined to comment on the Sattler company’s complaint and the Kluge bankruptcy.

According to the federal Bankruptcy Code, Chapter 7 requires debtors to sell off assets to pay creditors. Kluge and Moses are also required to attend the July 15 creditors meeting to answer questions that might arise. Kermit Rosenberg, a Washington, D.C.-based attorney representing Kluge and Moses, did not return a request for comment.

Categories
Arts

Checking in with Nick Strocchia

What were you doing when we called?
I was sending out some coordination e-mails. I’ve been running the Charlottesville Photography Initiative since August of 2009. We’re a group of about 270 amateur and professional photographers in town, and we’re largely involved with education and community outreach.

Photographer Nick Strocchia says he didn’t pick up a camera until 2005, when he bought a digital SLR to pass the time working in an intelligence cell in the Middle East.

What are you working on right now?
I’m looking to profile combat vets who return from a tour and find some constructive means to deal with PTSD when they depart from the military. That’s the focus of my new project, finding the positive outlets that service members are pursuing. People find good ways to cope with PTSD and there’s nothing wrong with that at all. I want to show their perseverance.
 
What is your first artistic memory from childhood?
Drawing was my medium when I was young but I found that I was never really good at it. Fortunately I found photography later on in life and it’s been able to serve as that artistic nourishment that I’ve sought after. I came to photography in 2005…I was in an intelligence cell working near to Iraq, and I had a 12-hour day. It was very boring, in a very dark room. So I decided to purchase a DSLR camera and during the three months I spent in that bunker I really started pushing photography and exploring the medium. The rest is history.
 
Tell us about your day job.
Most of the time it’s work for publications in town. I also have a number of clients in D.C. who I do event or corporate work for. I’m a wedding photographer as well, and my focus is on military weddings. I’m trying to make working with service members my edge within the wedding market.
 
Tell us about a work of art that you wish was in your private collection.
I’m a huge fan of James Nachtwey. When I initially saw his work was actually here at the LOOK3 festival, and it really motivated me to push my photography to new bounds. Before that I just felt like another amateur trying to find my voice. Once I saw his work I was really motivated to try and pursue that deeper sense of people that you can get through a photograph.
 
If you could have dinner with any person, living or dead, who would it be and why?
In the wake of Tim Hetherington passing I think I’d really like to pick his brain. Of course, he peaked at a young age, but his work is so tremendous and it was really unfortunate how he prematurely died. My favorite picture of his is a photo he took that won World Press Photo, of a marine in the Korengal valley who had just finished fighting for days on end. You can see that he’s just at the point of breaking from exhaustion. He’s just laying in a bank of dirt.
 
Do you have any superstitions about your art?
I always pack my gear ahead of time. Most of the time my gear is always packed and ready to go right next to the door. I used to be a navigator on a surveillance aircraft, and from that I have a red checklist that I always go through to make sure things like batteries are charged and cameras are set.
 
Which of your works are you most proud of?
If you go to my website, the first photograph that shows up in the editorial section is one of a soldier against a black backdrop who’s looking over his left shoulder. He was a gentleman I met that went through public affairs school who moved to the U.S. from Gambia when he was 19 years old. He had never seen a computer or a typewriter but he wanted to go to college. After spending a year in New York with his uncle he got into a community college, but everything had to be typed and he didn’t know how to type. So he found a day job working in an office and learned how to type there. He ended up joining the Army National Guard and enlisting and eventually he got into college in Tennessee. I was glad that I could befriend him and also glad that I could capture the essence of his spirit in a single photograph.
Categories
Arts

I’m afraid of Americans

“Necessary Roughness”
Wednesday 10pm, USA
USA continues to crank out its female-friendly dramas with this new series about a soon-to-be divorced therapist who finds financial and professional fulfillment head shrinking a team of unruly professional football players. It’s a novel-enough concept, the pro-sports setting should provide some interesting footage, and USA has basically perfected the brassy-yet-vulnerable female protagonist between “Covert Affairs,” “Fairly Legal” and “In Plain Sight.” This time it’s Callie Thorne (“Rescue Me,” “E.R.,” “Homicide: Life on the Street,” “The Wire”) as Dr. Dani Santino. She is brought in to help fix self-destructive athletes after she has a one night stand with the team’s trainer (played by Marc Blucas, pretty-but-dull Riley from “Buffy the Vampire Slayer”). Also starring Mehcad Brooks (“Desperate Housewives,” “True Blood”) and Scott Cohen (“Gilmore Girls”).
 
“Ugly Americans”
Thursday 10:30pm, Comedy Central
If you like completely messed-up cartoons like “Archer” or “Futurama,” you might like this very adult animated series, returning for its second season. “Ugly” creates a Manhattan where humans live side-by-side with all manner of supernatural creatures. Vampires, zombies, demons, living brains, warlocks, yetis, robots, koala people, Croatians. It goes on like this. The lead character, Mark, is a human social worker who works to integrate these assorted freaks and monsters into society. He’s also sleeping with his half-demon boss, who is dating Mark primarily to piss off her hellraiser of a father. Rounding out the cast are Mark’s trustafarian zombie roommate, his pervert wizard co-worker, the delightful Twayne the Bone Raper, and a woman with 11 breasts and a face where her crotch should be. I told you it was messed up.
 
“The Twilight Zone”
Monday 8am-4pm, Syfy
America is a weird place. We begat Snooki. People are trying to argue that Sarah Palin’s totally bonkers version of the Paul Revere legend is the “true” story. Millions of middle-aged women are getting the vapors over sparkly vampires and a prepubescent tween. Look around you: Are you sure we have not somehow slipped into “The Twilight Zone”? It would explain a lot, truly. To celebrate our nation’s birthday Syfy airs a weekend full of creepy-programming marathons, including Rod Serling’s Cold War-era masterpiece of paranoia and mind-buggery. (The marathon also runs Sunday 9am-5pm.) If you’re looking for televised fireworks, NBC and CBS are both scheduled to air big-budget displays Monday night.

NEW C-VILLE COVER STORY: Grounds keeping

In case you didn’t notice, it’s the 150th anniversary of the American Civil War, and for the next five years, we’ll be inundated with so many articles, books, celebrations and reenactments that perhaps like the participants themselves, we’ll wish it had been a shorter war. But before you become deaf to Civil War remembrances, visit some of the preserved battlefields scattered across our Commonwealth. In this week’s cover story, Brendan Fitzgerald reminds us how the experience of remembering the Civil War is different when you’re standing on the soil over which so many men fought and died. Read the cover story here and don’t forget to leave comments!

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Living

Picnic perfect

This Breadworks apple pie goes quicker than you can say, "I’ll have that à la mode, please."

Eating local is always on trend. Pick up these classic picnic items for your next outing. With parks, historical sites and wineries in abundance, there’s no excuse not to dine al fresco. Hot or cold, Wayside’s fried chicken screams summer picnic. Offering crispy Southern goodness in leg, breast or thigh, Wayside has been serving top notch bird for 40 years. Fill your basket with Wayside, or risk the wrath of your fellow picnic-ers. $14.88 for 12 pieces. Named for the long-time employee who created it, Shirley’s Potato Salad at Foods of All Nations is a crunchy, creamy foil to chicken’s salty, fried goodness. Green, crispy peppers play against fatty mayo and tart relish to create the perfect picnic bite. $4.49/lb. Room for dessert? A gorgeous pie from Breadworks completes your picnic triumvirate. Keep it classic with an apple or peach, or kick the flavor up with a tart cherry or sweet-tart blackberry. One hunk of Southern love on a plate! $10.95 per pie.

 

Ready, set, go green

Keep your holiday picnic red, white and green with washable, reusable, red-and-white gingham cotton napkins (a roll of 20 for $36) and compostable plates (125 for $12.50) from Créme de la Créme. Nab Greenware drink cups (50 for $6.99) and reusable bamboo utensils (an encased set which includes chopsticks, a fork, a knife and a spoon costs $13.95) from Blue Ridge Eco Shop.

Tater talk

When we asked how much of each ingredient to use, we were told, “Enough so it looks and tastes right.” That’s the Southern way.
 
Shirley’s Potato Salad (from Foods of All Nations)
Cooked, peeled and diced white potatoes, diced tomatoes, diced green pepper, diced celery, diced white onion, sweet pickle relish, salt, pepper, mayonnaise.

 

Categories
Living

Play it 33 times fast

It was a big night. Bobo the Mime walked his invisible dog Pinky for the last time. Two dudes shared an emotional breakthrough while watching a football game on TV. A young widow paid an unpleasant visit to her former mother-in-law’s. A date between two puppies went south after it emerged one was not pure Beagle, as was earlier suggested.

Ray Nedzel directed a show called CrazyBusy—consisting of 33 plays in 55 minutes—last week, a fundraiser to bring Cry of the Mountain, Adelind Horan’s (pictured) one-woman show about mountaintop removal, to the Edinburgh Festival Fringe next month.

These were some of the shorts performed at CrazyBusy, a manic theater event hosted last weekend by Whole Theatre at Live Arts. In it, a team of 12 actors performed 33 original two-minute pieces over the course of less than an hour. The performances were a fundraiser for a batch of locals hoping to cover the considerable cost of staging Cry of the Mountain, Adelind Horan’s one-woman documentary play about mountaintop removal, at the Edinburgh Festival Fringe, next month in Scotland.

As director (and Cry of the Mountain producer) Ray Nedzel explained while introducing CrazyBusy, playwrights generally spend a lot of time writing, and then even more time fielding rejection letters. But in the spirit of the unjuried Edinburgh Fringe—which claims to be the largest arts fest in the world—Nedzel’s call for scripts was, “I don’t care what you write. We’ll do it.”

As must be the case in Edinburgh, you wouldn’t expect to see a string of 33 plays and have them all to be great. But because of its relentless pace, with one scene blending into the next, CrazyBusy remained exciting. For “Show Tunes Urinal,” written by the ensemble, local stage regular Nick Heiderstadt simply walked up to a urinal, unzipped and started singing “Jesus Christ Superstar.” It became an awkward moment as Napoleon Tavale ripped into an intense dramatic short called “Pelican,” by the local playwright Robert Wray.

Two minutes is about as long as it takes to tell a joke, and some of the best shorts amounted to punch lines. In Clinton Johnston’s “Carry,” a young woman asks a male friend for help moving a table, her mother emerges to remind her daughter of the crushing weight of adulthood—of childbearing, dragging kids around only to watch your husband leave and your family fall apart!—that makes moving the table seem small in comparison. “Your mom is intense,” the friend riffs, cutting the tension as the mother walks away.

The whip-fast pacing was also good practice for Horan, who performed after CrazyBusy a version of Cry of the Mountain that’s scaled back from its original length, from 86 minutes to 55. Nedzel and Horan will stay in Edinburgh for three weeks, performing the play daily. Running performances of Cry of the Mountain alongside CrazyBusy was a way of “putting it in the setting it will be in,” says Nedzel. The festival hosts about 2,500 shows each day, says Nedzel. “It’s important to be good right out of the gate,” he says.

Especially so for Cry of the Mountain, which in title and concept sounds borderline hokey: a young actress took the verbatim transcripts of conversations with activists and executives on either side of the debate over strip mining. But Horan’s performance blows perceptions about documentary theater—and mountaintop removal—out of the water. The 23-year-old is a gifted performer, readily inhabiting the skin of a former miner whose granddaughter was sickened by groundwater, a young activist who runs afoul of coal companies, and a pair of executives justifying the cost against America’s energy needs.

Even a year after the play’s local premier, Horan was obviously affected by the voices she channels. As one of Horan’s characters explains it in one of the play’s dark comic moments, mountaintop removal is like going to the barber to ask for a haircut. Instead of giving you what you ask for, the barber cuts off your head, neck, shoulders and chest.

If it didn’t ring of truth, it might make for a good punchline.