Categories
Living

Small Bites: This week's restaurant news

 Happy hour in the haus
Every second spent eating Tara Koenig’s cupcakes is a happy one, so you’re guaranteed to get downright giddy at Sweethaus’ new happy hour(s) on Tuesdays from 2 to 4pm, when buying two cupcakes gets you one on the, er, haus.

A pop-up chef
On Sunday, catch Clifton Inn’s Tucker Yoder in a different kitchen when he serves as the guest chef at Blenheim Vineyards’ winemaker dinner. Passed appetizers make their rounds at 6:30pm and with a glass of Blenheim wine in hand, diners will get a brief tour of the winery before heading out to the lawn for a four-course family-style meal paired with wines and commentary by winemaker Kirsty Harmon and assistant winemaker Greg Hirson.

Coffee’s new competition
It’s not unusual to leave Greenberry’s with a buzz, but until recently it’s always been of the caffeinated variety. Every night between 3 and 9pm, the 20-year-old roaster in the island at Barracks Road Shopping Center offers a dozen wines by the glass (and bottle) and 10 bottled beers, giving us a chance to unwind from our day in the same place where we geared up for it. Nibble on cheese and charcuterie, hummus, or hot spinach and artichoke dip and call it dinner. Those still craving a coffee buzz can cap off the evening with an affogato—vanilla gelato drowned in a shot of espresso.

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News

Mary Ellen Mark's new photo essay details annual teen rite of passage

Charlottesville High School prom night 2008, as captured in the new photo-essay Prom by Mary Ellen Mark. 

The prom is a major event in a teenager’s life. Arguably, the girls more than the boys, look forward to it all year. They obsess over what to wear and how they’ll do their hair. The guys, whether they admit it or not, get anxious over whether their crush will say “yes” to being their date. When prom arrives, and everyone is styled up, the next step in the ritual is to get a photo taken as a lasting memento.

Looking at the images in Mary Ellen Mark’s new photographic essay, Prom (April 2012, J. Paul Getty Museum), it’s eerie how closely the event approximates some kind of fleeting marriage. Maybe it’s some precursor of what’s to come as they step into an adult world? Many of the teenagers in Mark’s portraits already appear to be experiencing some grown-up issues—pregnancy, love, cancer—heady stuff. Looking back on the project, Mark has a brighter perspective. “I was very moved by the optimism of the youth,” she said. Mark is known worldwide for her commercial photographs, exhibitions, and documentary photo books including Seen Behind the Scene, which features her work as a unit photographer on such movie sets as Network, Apocalypse Now, and One Flew Over the Cuckoo’s Nest. This is her 18th book and is accompanied by a documentary directed by her husband Martin Bell.

Prom features 129 black and white portraits shot between 2006 and 2009, during which Mark visited 13 high schools from Newark to Cape Cod to here in Charlottesville. Diverse student populations were a prerequisite when it came to selecting locations. Charlottesville had “a lot of bold kids who were really ‘out there’.” Yet, it was traditional enough to remind her of her own prom in Wyncote, Pennsylvania. “Most of the high schools had their proms at a big hotel or some other place, where Charlottesville High School actually had their prom at the high school, which I really liked,” said Mark.

To photograph the students, she used a 6′, 240 pound Polaroid 20×24 Land Camera. Only seven still exist. With a 20×24, there are no negatives—each image is a final print. “You have to make a decision right away. The film is very expensive, so you can’t overshoot. You make a decision about the scale, the picture, and what you want and you shoot that,” said Mark. She favors the 20×24 because the photo becomes “a beautiful object that’s very much about detail.”

In Prom, that detail is depicted in the eyes, since the majority of students aren’t smiling in their pictures. This is intentional since Mark prefers natural, real expressions in her portrait subjects. “If someone is just smiling for the camera, its kind of a fake smile and it always looks that way. So if someone bursts out laughing and it’s a real smile then it’s fine. But I never say ‘smile’,” she said. More personal expression can be seen in the styles of dress. From traditional prom gowns and funky thrift shop finds to the unique camouflage dress with stud embellishments or the striking white tuxedo and Mohawk hairdo.

Prom captures the diversity of America’s student body—and yet, each student could have attended any of the other schools. They are all the same and different at once. What Mark’s photo essay accomplishes is to ask what’s going on behind their eyes, which have already seen a lot. You wonder, “What were they thinking—in that instant?”

 

Categories
Living

Everyone’s going agro: How does your city garden grow?

Urban farming is one of the hottest trends in food right now. Maybe it’s the economy, or maybe it’s that nothing beats the satisfaction of eating food that you grew and dug up yourself. Lush lawns are being replaced with veggie gardens, flower beds with compost piles, and storage sheds with chicken coops.

As the world’s largest consumer of fossil fuels and the second largest producer of carbon dioxide emissions, it’s about time America goes through a “green” phase. Growing your own food reduces fuel consumption and our carbon footprint, encourages healthy eating habits, and stretches a family’s food budget, but can anyone with a patch of grass grow their own? Or is this just another hobby for the money- and time-rich?

Williams-Sonoma, the culinary behemoth that capitalizes on a gourmand’s need for copper pots, panini presses, and demi-glace, just launched a line called Agrarian, giving well-to-do GYO-ers a one-stop digital shop for seeds, plants, gardening tools, cheesemaking kits, beds and planters, beekeeping equipment, chicken coops, canning and preserving equipment, and more. There are $110 burlap totes, $300 copper pitchforks, and $80 fermentation pots. Even the shiny $700 blender under “Healthy Living” is photographed on a weathered wooden table to hammer home the homespun-ness of it all. Clearly, the site’s a playground for the 1 percent, and most of them would probably sooner hire someone to till their land than do it themselves.

For the rest of us, we have places like Fifth Season Gardening Co. for affordable gardening supplies and Radical Roots for plants and shrubs. Need a vision or jumpstart for your garden? C’ville Foodscapes, a worker-owned cooperative, provides various design, installation, and maintenance services for anyone wanting to add food-producing gardens to his home or business. Services range from $75 to $135 for a design consultation and $600 and up for an entire site transformation and installation. Low-income individuals or families can apply to receive a free garden system complete with a garden bed, rain barrel, and compost bin through the Garden Grants Program. Since its launch in 2009, C’ville Foodscapes has completed more than 85 projects and six grants.

Community gardens like the ones at Piedmont Virginia Community College, University of Virginia, Friendship Court, and The Haven, as well as the Edible Schoolyard projects at Buford Middle School, Cale Elementary School, and Clark Elementary School all welcome volunteers and are a good starting place to learn more about urban gardening while lending a helping hand. Or, if you have agrarian know-how but no space, lease one of the 73 community garden plots in Meadowcreek Gardens, off Morton Drive behind the English Inn.

And, don’t forget that one shop’s trash may be another garden’s treasure. Last year, the crew at Shenandoah Joe noticed an increasing number of people asking for leftover coffee grounds for composting (they lower the pH of the soil and act as a source of nitrogen). Now, every week, 15 people drop off five-gallon buckets outside the backdoor of the Preston roaster, picking them up on Sunday filled to the brim with grounds that would have otherwise been discarded. One bucket has “garden steroids” written on it, one belongs to a guy who cultivates mushrooms in the grounds, and another will go home with an area chef. Mas Tapas’ Tomas Rahal grows herbs and everything from collards to raspberries to supplement his Spanish import-centric menu in a 10’x10′ space outside the restaurant’s back door and in 12 4’x12′ beds in a plot nearby.

Mas isn’t the only restaurant in town featuring urban-grown produce on its menus. Laura McGurn tends to Zinc’s patio garden, from which freshly plucked tatsoi, swiss chard, mizuna, and kale becomes the spring salad. Arugula, scallions, nasturtiums, and peas aren’t far behind, and owner Vu Nguyen is planning a rooftop garden at Moto Pho Co., his Vietnamese place opening across the street in June. Mark Gresge, chef/owner of L’etoile, has a small garden that’s supplying the restaurant this spring with lettuce, spinach, radishes, carrots, sweet onions, and various beans. “It makes for some fresh, exciting eating. A little dirt on the fingers seasons the pot nicely,” said Gresge.

When so much of our lives feel beyond our control, gardening gives us some semblance of it back. We decide what we put into the soil and then onto our plates. Self-sufficiency is at the heart of the American dream, and land (and the right to work it) helps us to achieve it. Whatever the reason, green is most definitely the new black.

Categories
News

A small glimpse into the local horse world

Woodberry Payne (pictured) says that certain places make good horses. But mostly, he said, what makes a good horse is something intangible inside them. It’s about a horse’s desire, what’s in a horse’s heart. (Photo by Carissa Dezort)

The spring race at Foxfield is Saturday, April 28, and Woodberry Payne will be there as usual. For the last four years he’s been a steward there, which basically means he keeps the show running. Before he was a steward, he was one of the patrol judges for…well, he doesn’t know how long. A long time. Between riding, training, and officiating, he’s been involved in steeplechase racing for over 30 years, but his involvement with horses goes back farther. There has never been a time in his life when there weren’t horses around.

Ingleside, the horse-training center Woodberry, 54, has owned since 1996, is located on the grounds of Montpelier. The historic home of fourth president James Madison has been a famous center for all things equine since Marion duPont Scott, the last private owner of the house, established the Montpelier Hunt Races in 1934. A lifelong rider, she imbued the place with a strong legacy. One of her horses, Battlefield, was the only horse to win both of steeplechase’s top races, the American and English Grand Nationals, and is buried on the property. The place is a natural fit for Woodberry, whom I’d been scheduled to meet in advance of the race.

I’m supposed to meet him at the barn, but I get lost, so I stop at the visitor’s center to ask where I can find him.

“He’s probably at the barn,” a nice old lady tells me, but there are a lot of barns at Montpelier, and it takes a while before I find the right one. When I get there, there’s no sign of Woodberry.

“He’s probably at the track,” someone there tells me. “He usually goes to the track about now to watch the horses.”

And that is indeed where I find him, hunched down in the front seat of an old, dark green Mercedes, the inside of which looks much like a mobile office/home. There’s a dog in the back and a cat in the passenger seat and Woodberry is sitting behind the wheel doing a crossword as two people on horses ride by.

“This area,” Woodberry said through the open car window, “has a tremendous, rich steeplechasing history.” A history that, as all things inevitably do, goes back to George Washington and Thomas Jefferson. Woodberry, however, doesn’t train steeplechase horses anymore. He trains horses for flat racing. This is partly because, since he’s now a steeplechase official, training the horses would be a conflict of interest, and partly because flat racing is where the money is.

“The steeplechase market has contracted,” he said. There’s less money in it and limited opportunities. So like him, a lot of people in our area are less involved than they used to be.
After a while, Woodberry leaves the track and drives back to the barn. He gets out and walks inside to his office, leaving the car door open, and the dog, named Infield for the infield of the racetrack where he was found, ambles out after him. The door to the car will stay open the whole time I’m there. His office is inside the barn, but there’s very little demarcation between the two; the barn flows into the office and then follows Woodberry to his car. Everything around him seems to have at least some mud on it.

Curtis Beale “Woodberry” Payne has sandy/gray hair and blue eyes. He seems tall, even though he isn’t. He was born in Virginia, grew up in Virginia, and went to school in Virginia, and he’s been around horses his whole life. His mother rode and his family owned show horses, and from a very young age he worked as a groom and then as an exercise rider for a professional trainer named Dale Jenkins. (The nickname “Woodberry” comes from this time, when someone at a horse show, knowing that he went to a private school, referred to him as “the kid who goes to Woodberry,” as in Woodberry Forest, a school he eventually did end up going to.) In high school, he would go work in the stables after class, and in college he took off on the weekends to ride in races.

But when he graduated, Woodberry veered away from what seemed to be his natural course. In 1980, he got a job about as far away from the stable as you can find, working as an aid for Congressman Ken Robinson. He lived in Middleburg, a 45-minute drive from Capitol Hill that, with traffic, could take two or three hours. His old boss Dale Jenkins had moved to nearby Warrenton, and the two had dinner every night. Just as he did when he was in school, Woodberry snuck away from Washington on the weekends to ride. “The horses,” he said, “kept pulling me back.”

On a typical day, Woodberry goes back and forth between the barn and the track. He monitors the horses for injuries, weight, diet, everything about them. “They’re professional athletes,” he said.

“That reminds me, I’ve got a horse that needs antibiotics.” He grabs a huge hypodermic needle, goes into a stall and slides it expertly into a horse’s neck.

His office walls are covered with framed pictures of winning horses posing with their jockeys and owners. Many of the images are faded, stretching back over decades, and Woodberry has a story to tell about all of them. On most of them, his name appears as the trainer. Maybe it does on all of them, I don’t know. There are, he said, so many major players in the horse world living right here in our backyard that go unnoticed. Woodberry goes to great lengths to tell me about everybody but himself.

After leaving politics, Woodberry went back to working for his old boss until, in 1985, Jenkins “kicked me out of the nest.” He told Woodberry that there was a job open at Ingleside Farm and he should take it. So Woodberry got licensed as a trainer, and 10 years later he wound up buying Ingleside.

There are about 60 horses at Ingleside currently, most of them being trained for races in New York state, where the majority of the client base is located, but a few belong to Woodberry and they race throughout the year. He’s a “licensed trainer up and down the East Coast” and has a stable at Colonial Downs, the second biggest racetrack in the country, where he trains and races horses every year.

Horseracing is big in Virginia, but not as big as it once was. “In its day,” he said, “when the business was really thriving, it had its own night at the Saratoga Horse sales. ‘Virginia night.’” Now the business has shrunk and Virginia is no longer one of the top 10 horse regions.

But what’s the attraction for him? Why is he at the barn seven days a week? What keeps pulling him back to horses? “I guess just the horses themselves,” said Woodberry, whose wife, Olga, also works at Ingleside. “Each one is an individual, with their own personality. It’s pure sport: who gets there first.”

So, this Saturday, he’ll be at Foxfield races, as he always seems to be, as he was for the first one, on a rainy day in 1978. Foxfield is not a big race, but it’s fast and exciting. Many horse owners use it as preparation for other major races on the circuit, like the Iroquois races in Nashville held a few weeks later.

Foxfield is something of a local tradition. The spring races, Woodberry tells me, are about locals emerging from the long winter to spend a day in the sun. “Personally,” he said, “I love seeing the UVA students there.” He was a UVA student himself, and was there for the tail end of the famous Easters party, called “the best party in America” by Playboy.

“I hated seeing Easters taken away,” Woodberry said. The students needed a spring party, and so they found Foxfield, and that’s just fine as far as he’s concerned. “The students are the biggest part of the crowd on race day,” Woodberry said. “I welcome it. I’ve seen how the meet’s grown over the years. It keeps getting bigger and bigger.”

Categories
Arts

“7 Days of Sex,” “2012 TV Land Awards,” “The Pitch”

 

“7 Days of Sex”
Thursday 10pm, Lifetime
Think of this new documentary series as sexual intervention. Each episode features two married couples that have hit a sexual rough patch in their respective marriages. The show tasks them with having sex every day for a week, in the hopes that a healthy sexual relationship will lead to a healthier relationship overall. It’s not all bumping and grinding, though. The process is really about communication and paying attention to the reasons the partners were interested in one another in the first place, and the husbands and wives are encouraged to speak openly about their needs and desires to the cameras. If you’re in a rut with your spouse, it might start some conversations—at the very least.

“2012 TV Land Awards”
Sunday 9pm, TV Land
Get your nostalgia fix with this awards show that honors favorite TV series from the past. Human Energizer Bunny Kelly Ripa hosts the 10th anniversary of the awards, which this year doles out the honors to some truly amazing shows. The cast of “Laverne and Shirley” receives the Fan Favorite Award; ’90s sketch comedy show “In Living Color” gets the Groundbreaking Award; “Murphy Brown” gets the Impact Award (remember when the vice president of the United States didn’t have bigger things to worry about than an unwed fictional character having a baby?); “One Day at a Time” gets the Innovator Award; and “Pee-Wee’s Playhouse” is honored for its lasting contributions to pop culture. The entertainment is also decidedly old-school, with Queen of Soul Aretha Franklin taking the stage and the kick-ass B-52s acting as house band.

“The Pitch”
Monday 9pm, AMC
I have several friends in the ad-agency business. Since “Mad Men” became a cultural touchstone they are suddenly treated like rock stars when out on the scene—people think they have the coolest job in the world. In truth ad men (and women) are pretty badass, but if the job is done right, along with all the creative thinking and huge accounts comes an insane amount of stress. AMC’s new reality competition tries to capture the big ideas and crushing pressure. Each week two of the nation’s top advertising agencies are brought together to compete for the business from a major client. (In the preview that aired a few weeks ago it was Subway, looking for an ad campaign for its new-ish breakfast line.) It’s not the most daring reality competition you’ll find on TV, but it is fascinating in its own way.

Categories
Arts

The Kid with a Bike; Not rated, 87 minutes; Vinegar Hill Theatre

Belgian brothers Jean-Pierre and Luc Dardenne’s The Kid With A Bike stars Thomas Doret and Cécile De France in search of a heartful home. (Sundance Selects)

Sibling Belgian filmmakers Jean-Pierre and Luc Dardenne bring their customary immediacy and unsentimental compassion to this naturalistic fable of an innocently furious at-risk kid (Thomas Doret) who finds himself abandoned by his dad (Jérémie Renier) and taken in, practically at random, by a surrogate mom (Cécile De France). This lithe and solemnly kinetic little, blond boy-hero seems like an obverse of Spielberg’s depthless Tintin; his story is conveyed through riveting decisive moments of indignant determination, guileless self-deception, and touchingly credible moral reckoning.

Where’s his actual mother? Don’t know. Why’s his father such a deadbeat? Not sure. “Seeing him stresses me out,” he says of the boy. Renier(a Dardenne regular) also played a guy who sold his infant to the black market in their film L’Enfant; he’s weirdly good at this. And what motivates the adopting angel? Well, here’s where it gets interesting—maybe she’s just a decent person? To suggest as much without getting all smug and treacly about it, and without ruining the viewer’s good faith, is a lot harder than it may sound. Even Sandra Bullock probably would say so.

De France holds the movie together without taking it over. It’s still about the kid—and of course his bike, which, like his father, keeps getting away from him. The point is his refusal to let go, and how to accommodate it. It’s actually his idea for the woman to take him in: Having fled his state-run group home, chased by counselors into a clinic waiting room where she just happens to be, he grabs her impulsively, clinging as if to his own life. “You can hold me,” she says, “but not so tight.” Later, an aggravated lover tells her it’s me or him, and her revelatory response is another of the movie’s well-played, miraculously subtle turning points. One more is the development by which a local hoodlum (Egon Di Mateo) admires the kid’s tenacity and grooms him as a petty criminal. No, that doesn’t go well.

I should note that I have a good friend who got fed up with this movie, fast. He couldn’t stand the kid—all that lashing out —and kept wanting to smack him. I advised my friend never to see Extremely Loud and Incredibly Close, although maybe he should for a contrasting example, and advised myself never to hire him as a babysitter.

It takes real power to polarize an audience, especially without seeming to try. The magic of the Dardennes’ frugal style is an apparent detachment that gradually reveals itself as complete commitment. Long, nonchalantly attentive takes, punctuated only by a few choice bits of Beethoven, allow for great clarity of human expression. This all rather unabashedly suggests the influence of Robert Bresson, and a death-and-resurrection motif only reinforces that quasi-religious Bressonian exaltation. But The Kid with a Bike is too directly articulated and too contemporary to seem derivative. And transcending ancestral inheritance, after all, is what it’s about.

Categories
News

Experts debate the controversy over uranium mining in Virginia 

 

As part of the Batten School’s Energy Policy Forum, SELC’s Cale Jaffe (right) and Virginia Uranium Inc.’s Patrick Wales (left) debated the necessity and safety of mining for uranium in Virginia, fielding questions from students of law, leadership and public policy, and environmental science. (Katharine E. Myer)  

The debate over uranium mining in Virginia came to UVA last week, as Southern Environmental Law Center attorney Cale Jaffe joined Virginia Uranium Inc. project manager Patrick Wales as part of the Batten School’s Energy Policy Forum.

For two hours on Friday, Jaffe and Wales tackled the thorny issue of mining uranium in southern Virginia, and fielded questions from students, faculty, and members of the community.

According to Uranium Virginia, Coles Hill farm in Pittsylvania County is home to the largest uranium deposit in the U.S., and one of the largest in the world. It was discovered in 1978, but has remained untouched due to a 30-year statewide ban on uranium mining. The SELC is at the forefront of the effort to keep the ban in tact and is one of 16 groups in the statewide Keep the Ban Coalition, but Virginia Uranium announced in 2007 it plans to exploit the deposit.

Wales explained during the debate that the process of extracting uranium from rock is a fairly simple one, and it is merely the “separation of one natural ingredient from granite rock.”

In a written response to Governor McDonnell’s announcement regarding the ban, Wales said “uranium mining can be conducted safely in Virginia as long as stringent regulatory standards and industry best practices are put in place.”

But the SELC is concerned about the safety of the process, regardless of any regulatory standards or industry best practices—consider, Jaffe said, that the BP oil spill happened two years ago this month, despite stringent regulations on Gulf drilling.

Jaffe said the controversy over uranium is about waste management. In addition to the actual mining, he said, the process would also require milling, with the disposal of 58 billion pounds of toxic, radioactive tailings each year. 

According to Jaffe, these tailings retain 85 percent of their radioactive activity, and global studies have shown that those living and working near uranium mines are at risk for cancer, birth defects, weakened immune systems, and kidney and liver damage.

“We need to take these warning signs very seriously before we move forward,” he said. 

Wales said Uranium Virginia has “top notch” state regulators, who ensure the prevention of environmental disasters, and their regulations have been rated as 99.9 percent effective. 

Despite these statistics, Jaffe said the SELC fears that, right now, the risks are just too great to move the project forward. Because Virginia has not yet been mined for uranium, Jaffe said, there is no way of knowing how the area’s climate, rainfall and natural disasters will factor into the equation. Uranium is traditionally mined in dryer areas like the western states, and Jaffe fears that, even with “gold standard” regulations, mining in Virginia will present unexpected complications unseen in other uranium deposits.

“Risk is inherent and will always be there,” Jaffe said.

Wales argued that not utilizing the uranium deposits in the U.S. puts the nation at a greater risk: the risk of being too dependent on foreign countries for natural energy resources. 

“There is no material, from an energy perspective, that we are more dependent on foreign producers [for] than uranium,” he said, noting that the US imports 92 percent of the uranium used to power nuclear reactors.

Uranium is essential in the U.S., he said, because aside from natural gas and coal, there is “no other option for cheap, reliable, and safe electricity.”

“Do we need this stuff?” asked Wales. “The answer is absolutely yes.”

Categories
Living

Farmers first, winemakers second

What’s struck me more than anything over the past three years as I’ve had the pleasure of getting to know our area winemakers through this column, is how they consider themselves farmers above all else. No matter how skilled they are at making up for a bad vintage in the cellar, they all seem to prefer dirt, tractors, and pruning shears to chemicals, tanks, and graduated cylinders.

John Kiers comes from a farming family and planted 20 acres of vines near Staunton 12 years ago. He sells close to half his crop to local winemakers who consider his fruit so good that it walks straight into the bottle. Kiers makes 1,500 cases of wine a year under his own Ox-Eye Vineyards label, but he’s never convinced of how good it really is. “I am completely comfortable with the farming side of the job, but still lose sleep over the winemaking side of it,” he said.

An “anti-winemaker,” as Brad McCarthy, who made wine at both White Hall Vineyards and Blenheim Vineyards, has referred to himself, is a notion others share. Jake Busching, formerly of Pollak Vineyards and currently of Mt. Juliet and Grace Estates, grew up on a cattle farm in the Midwest and uses dirt as his guide. He prefers the term “wine grower” to winemaker.

When Gabriele Rausse came to Virginia in 1976, he had a degree in agronomy and knew how to grow grapes. He succeeded where Jefferson failed by grafting European vinifera with disease-tolerant native rootstocks, and in his 36 years here, has personally touched nearly every vine that now thrives in our burgeoning region.

I’d be hard-pressed to put Rausse’s thoughts into words better than his own: “To be a farmer means to deal with Mother Nature, and Mother Nature is a difficult partner. She does what she wants and she does it when she wants, but the results can be beautiful. It is actually a matter of figuring out how to deal with her. You have to be patient and observe and accept that you cannot control her. Once the grapes are detached from the plant, you become a chemist. I know that if I get beautiful grapes, I don’t have to be a winemaker because the wine will be beautiful.”

Michel Chapoutier, a son of the famous Rhône Valley producer, wrote: “To make a wine is 12 months of work in the vineyards, one month in the cellar. The wine grower is 12 times more important than the winemaker.”

The goal behind making wine is simple: to grow ripe grapes and then ferment their juice into wine. The FDA has approved over 200 additives for wine, yet it can be made—and well—with just one ingredient.

Vineyards under cover
Between a super mild winter and a positively summery March, buds broke earlier than ever this year—by about two weeks. Even in “normal” years, winemakers bite their nails every night between bud break and May 20 or so, when the risk of frost travels north.

Young shoots are very vulnerable to frost damage, so wineries go to great lengths to keep cold air from settling on the vines. A vine’s best protection is being planted on a slope where cold air tumbles downhill, but since that’s not a change that can be made immediately following a frost advisory, wineries often have a plan.

Frost warnings two weeks ago led Barboursville and Keswick vineyards to turn on their wind machines and King Family Vineyards and Mt. Juliet both had helicopters on standby (although only King Family called them into flight). Both are an expensive way to keep air moving. Wind turbines cost about $20,000 a pop and helicopters rent for $1,000 an hour, but compare that to the cost of losing an entire vintage of Chardonnay.

Fires via smudge pots, hay bales, and propane heaters are certainly a cheaper method, but not nearly as effective since heat travels upwards in a column rather than mixing higher, warmer air with vine-level, colder air.

What left our area unscathed in the end was that the dewpoint never collided with the temperature. We dipped below 30 degrees one night, but the dew point was only 24. Vines can protect themselves against temperatures as low as 27 as long as the dew point isn’t that high.

Winning the award for the most stylish protective measure against the frosts was Keswick Estate’s Courtside Vineyard, where they draped the vines with vintage Laura Ashley fabric left over from the property’s original construction.

Categories
News

Ragged Mountain Dam cases consolidated, hearing scheduled for May

“What is the money for?” Stanton Braverman demanded. “Payment for water? Payment for land? Was it a gift?”

Braverman, a retired Charlottesville attorney, pushed for answers at a hearing April 19 on the city’s deal with the Rivanna Water and Sewer Authority to build a new 40-foot dam at the Ragged Mountain Reservoir.

According to Braverman, who filed suit against the city, the county, and the RWSA last month, the city sold its water facilities when it accepted $765,000 from the Albemarle County Service Authority last year, an early step in the dam deal. And that exchange is the crux of the issue, he said, because per state statute, it should have required a supermajority of four out of five council votes, or gone to referendum. City Council’s vote was three to do, and Braverman said the approval was unconstitutional.

“The whole thing was vague,” he said, arguing that the involved parties tried to get around constitutional provisions by convoluting the process. “They’re trying to do indirectly what they cannot do directly.”

Braverman, who is suing with the support of the dam-opposing Charlottesville Open Government Alliance, said he’s concerned property values will be affected if water prices go up because of the deal. He owns three properties in the Charlottesville area.

During the hearing when Braverman questioned the money transfer, which the RWSA has called a “use agreement,” attorney Robert Hodges objected, stating that the question of monetary intentions was irrelevant and “separate from what the court is determining today.”

When the RWSA caught wind of Braverman’s suit, it filed for an expedited hearing in order to still acquire bonds and move forward with the project. Hodges and witness Tom Frederick, executive director of the RWSA, presented a number of documents authorizing bonds and outlining the agreement between the three municipalities.

Braverman’s goal in the hearing was to consolidate the three cases into one, as the evidence and arguments for each were essentially identical.

“If we consolidate, we have the evidence we need to move forward,” he said.

After Braverman and Hodges presented their arguments, Judge Cheryl V. Higgins agreed to consolidate the three cases, and scheduled the next hearing for 9am Friday, May 18.

Braverman was pleased with the decision, and said he has “a lot of work to do” over the next few weeks.

Categories
Arts

Adding Machine: A Musical; Through May 12; Live Arts

Mr. Zero (played by Jon Cobb, right) counts on redemption in the afterlife in Live Arts’ production of Adding Machine, directed by Bree Luck. (Publicity photo)

Recognizing that the gift of history clouds the past, I’ve often wondered why Elmer Rice’s allegorical play, The Adding Machine, is considered such a classic of modern theater. I don’t doubt it was groundbreaking in 1923, its expressionism being theatrical lex ferenda, surrealism lite for the people. However, currently it plays not unlike the clunkier lessons of “The Twilight Zone:” a man is trapped in a painful cycle of industrialized reincarnation. He loves, he barely lives, he never learns.

This is not to speak ill of the current Live Arts production of the 2007 musical version of the play, which is quite enjoyable and admirable. Director Bree Luck is a charming artist whose good nature is pervasive in this staging. Her cast is both ironclad and twee, to the success of their assemblage.

Jon Cobb is a bitten Mr. Zero; a protagonistic precursor to Willy Loman, but without his head in the clouds. An affable schmuck, Mr. Zero’s one dream is to bang the cute blonde (played by Marija Reiff) at the office.* Cobb’s brows pierce his eyes as his henpecked simpleton of a character tries in vain to process complexity. Zero’s frustrations are indolent amid self-inflicted stoicism.

The ensemble prances along with relish. At curtain, a reedy Mrs. Zero (Amy Anderson) aces her complicit role in the boiling psyche of her husband. Chris Estey, as Shrdlu, is somewhat a ghost of Christendom past, present, and furrowed. Reiff, the target of Zero’s adulterous affections, springs forth in adorable arias. Newcomer Alli Villines, as Mrs. One, had me at “25.”

Will Slusher’s scenery is a puzzle box with stairs that hide beds for both flowers and sleeping; upended tables become prison cells. Scenery changes, stage anathema, are played as sinister intermezzi without much distraction.

If I had any quarrel with Adding Machine: A Musical, it’s not the Live Arts production, but rather the decision of the revivalists, Jason Loewith and Joshua Schmidt, to keep too much of the original Elmer Rice play in their adaptation. Unlike many classic plays of the 20th century, The Adding Machine is not set in any particular place at any particular time; it could have been updated for today’s audiences without losing the message. It certainly need not be a period piece. Because of this, the overt racism and misogyny of the germinal material rings hollow. It’s not so much offensive as needlessly distracting and anachronistic. This isn’t agit-prop theatre; Rice staged the original Adding Machine a mere eight years after Griffith’s Birth of A Nation. The Civil Rights Movement was decades away. We recognize the actual adding machine as a MacGuffin, a technological totem upon which we hang fears of occupational obsolescence. Good parables work despite revision for congruency to the zeitgeist.

But, choose this script Live Arts did. The nascent sniff of the White Man’s Burden within the source material is, even incidentally, theirs to shoulder.

Excepting these flaws of the libretto, the Live Arts production of Adding Machine: A Musical, is far from disappointing. Its heart is in the right place, and it is played plumb and succinctly. The cast is tackling a gauntlet of ideas, but the ultimate message of redemption is welcome.

*Yes, yes. I realize that Willy Loman also wanted to bang the cute blonde in the office.