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News

Love’s family joins in seeking Huguely trial evidence ahead of sentencing

The field of intervenors who want to see the evidence used to convict then-UVA senior George Huguely of murdering fellow student Yeardley Love two years ago got a little more crowded last week.

Attorney Mahlon Funk appeared before Judge Edward Hogshire in Charlottesville Circuit Court Thursday on behalf of Love’s mother, Sharon Love, to argue for the court’s release of trial documents, saying they were necessary for the family’s pending wrongful death suit against as-yet unnamed plaintiffs. His was the second hearing on the release of the evidence that afternoon, coming on the heels of another round of arguments for and against making the court documents available to six media companies who filed for access before the trial ended and have been fighting for it since.

“We now don’t have the luxury of time,” said Funk as a shackled Huguely, who awaits an August 30 sentencing date, looked on. “There’s a pesky little thing called the statute of limitations,” which gives the family until May 3 to file their civil suit.

“Unlike the media, my client presents no danger whatsoever of sensationalizing (the evidence) in any way,” said Funk. “They intend to honor the memory of Yeardley.”
Their intent doesn’t really matter, said the other attorneys.

Huguely lawyer Francis McQ. Lawrence said the media and the family have the same standing when it comes to court-ordered access to the evidence, and he reiterated the defense’s argument: Making the evidence available now would infringe on Huguely’s Sixth Amendment right to a fair trial if his request for a new one—as yet unrequested by his lawyers—is successful.

Robert Yates, the local attorney representing the media companies, agreed that Love’s family has no greater right as litigants than the public does.

“The public’s right, even though nobody up there wants to admit it, is pretty strong,” he said.

Hogshire didn’t rule in favor or against the release of documents and exhibits to Love’s attorney, but according to Funk, Commonwealth’s Attorney Dave Chapman can—and will—share the evidence in order to allow the civil case to go forward.

Whether the media will get to see what jurors saw remains up in the air.

Yates offered up two options for granting access to the trial evidence, which he has argued was presented to jurors in such a way that the media and the public couldn’t see it, creating a de facto closed trial.

One plan was to load everything, including photographs, text message transcripts, and the video of Huguely’s interrogation by police, onto a read-only computer terminal in the court clerk’s office and allow the media and the public to access it at will—not for reproduction, but just for viewing.

Acknowledging that such an approach would require the clerk to spend an enormous amount of time chaperoning viewers, Yates offered another suggestion: Put the transcripts and other non-sensitive evidence—no autopsy photos—on a CD and distribute burned copies.

But Huguely’s lawyers said that given the high-profile nature of the trial, there would be no way to keep even the sensitive material from making its way to publication. That, they said, would deny their client the right to an unbiased jury pool if he ended up back in court.

“If we make a mistake with the handling of this evidence, we can’t take it back,” said defense attorney Rhonda Quagliana.

Yates argued that the proverbial cat was already out of the bag.

“The trial already happened,” he said. “Everybody knows a jury found him guilty,” and the evidence is now part of the public record. The law is clear, he said. In order to block access, “you have to articulate a reason, and not a hypothetical reason. The threat of a new trial is a hypothetical reason.”

Hogshire said he was sensitive to the rights of the public to see the trial evidence, but needed more time before he issued a ruling.

“I don’t have a lot of guidance here, and I want to give it some really careful thought,” he said.

Yates maintains precedent is on his clients’ side. He’s been proceeded with patience and accommodated the court, he said, because that’s what you do here.
“I should be up on my First Amendment soapbox saying we should have access to everything,” he said. “But this is Charlottesville.”—Graelyn Brashear

 

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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
Living

New imprints look to label local bands

Pseudo-sisters Sarah White (left) and Sian Richards bring their old-time act, the All-New Acorn Sisters to Charlottesville’s newest music spot The Whiskey Jar. (Publicity photo)

Charlottesville has long been a delicious melting pot of bluegrass, rock, and alt-country, and the number of high-quality performers here seems as good as it’s ever been: so it was only a matter of time before a crop of local labels sprung up to give these musicians a home. Since launching in February of this year, Countywide Records has released albums by Chamomile & Whiskey and PantherBurn, and is currently preparing to release the Great Big Fire Show, the sophomore album from Mister Baby.

The launch of the label saw a series of listening parties at the Blue Moon Diner, followed up by formal CD releases at the Southern weeks later—fitting venues for these groups, as they have each hosted dozens of similar homegrown acts from around the country in recent years. And considering that Mister Baby and PantherBurn shared a drummer, and sprouted from the same fertile soil of Charlottesville’s roots music community, the Countywide label feels less like a newcomer and more like a natural outgrowth of what’s been going on here for years.

The listening party at Blue Moon on April 28 reflects this sense of community as well. Rather than just a traditional airing of the recorded album, Mister Baby’s friends and musical family will gather to play covers of the album’s yet-unreleased songs, along with their own original material. The line-up includes Phillip and Bobby St. Ours, Micheax Hood, and Sally Rose—and would be strong enough to attract a crowd on any occasion. Meg Huddleston, front woman and songwriter behind Mister Baby, confesses “the thing that I’m looking forward to most is Thomas and Evie Evans, the kids of Rob Evans (who recorded and mixed Great Big Fire Show). They’re slated to play first, since they are little children and will need to go to bed! I plan to cry throughout their performance.”

Mister Baby isn’t formally scheduled to perform on the 28th—they’re saving that for the album’s formal release on June 2 at the Southern—but Blue Moon’s Laura Galgano wouldn’t rule out a surprise set. “PantherBurn ended up playing at the end of their own listening party, just because they were so excited about it. And then the folks from Chamomile & Whiskey ended up getting up there at the end of their show, too.” With so many musicians sharing each others’ music, fruitful musical crossbreeding seems both inevitable and wonderful.

Acorn lobby
It’s almost impossible to discuss Charlottesville’s Americana scene without mentioning Sarah White. The Charlottesville-based musician has been effortlessly mixing folk, rock, and country for years now, with the most recent incarnation of her backing band, the Pearls, being her most rock-oriented work since her mid-’90s band Miracle Penny. March saw the release of the Pearls’ first proper piece of vinyl, a 7" 45rpm chesnut entitled Married Life, which debuted on freshly minted local label, WarHen Records (so named for the founders, Warren Parker and Michael Hennigar). Sarah White and the Pearls play next at the Pavilion on May 12, supporting Sons of Bill and The Infamous Stringdusters.

These days, it’s not rare for White to play to a crowd of this size, as years of effort are now beginning to pay off. She is also known for playing smaller, more casual shows in her other band, the Acorn Sisters—or as their press has it, The (All-New) Acorn Sisters (apparently the original name was already taken by an obscure early-’60s hillbilly trio from Kentucky). Despite the shared band name, and the coy nicknaming as “Sugar” and “Cookie,” and a facetious claim to be siblings—these Acorn Sisters can be unmistakably identified as Sarah White and Sian Richards.

White’s knowledge of traditional American folk and gospel songs is considerable, and the Acorn Sisters provides an opportunity to play songs from that catalog. She grew up with these songs (one of the saddest in their set is written by her father), and her affection for the material is contagious, as she makes even the obscure deep cuts sound like familiar old favorites. Lobbying efforts to have the Carter Family’s “Longing for Old Virginia” recognized as the state song have thus far been unsuccessful (our Commonwealth has been without a proper anthem since the controversial “Carry Me Back to Old Virginny” was retired in 1997), but perhaps that’s only because the General Assembly has not yet heard the Acorn Sisters’ rendition.

Sian Richards, known in town for her theatrical performances and her involvement with CLAW, makes a crucial contribution to the group, with backing vocal harmonies that perfectly balance White’s. While Sarah White’s voice is beautiful and melancholy, Richards’ is a clear and wild counterpart. Richards also provides some of the funniest between-song stage banter in an unshakable deadpan.

Making a culinary contribution to local Americana, The Whiskey Jar opened its doors in February. The (All-New) Acorn Sisters will appear there on Thursday, and although this reporter has not yet had the opportunity to catch a live show there—I can, and will, vouch for the sweet potato dumplings—it’s the perfect setting for the Acorn Sisters’ old-timey goodness.

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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

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.

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News

Mixed-income housing coming on Elliott Avenue

An architectural rendering showing a possible site plan for a mixed-income housing development on a city-owned dump site next to Oakwood Cemetery in the Ridge Street neighborhood. (Courtesy Southern Development)

One of the largest plots of undeveloped city-owned land near Downtown—long used as a dumping ground for fill dirt and debris—is slated to become a new 47-unit mixed-income neighborhood, ushered into being by a builder-nonprofit partnership that some say is a model for the future of low-income and public housing development in Charlottesville.

In a hearing last week, City Council expressed initial support for a joint proposal from Habitat for Humanity of Greater Charlottesville and Southern Development to clear and build on the 3.5-acre lot on Elliott Avenue next to the old Oakwood Cemetery. The city has debated selling off the parcel for years, said Neighborhood Development Services Director Jim Tolbert. Last spring, the city met with residents to talk about what they would want to see on the site—no high-rises, sustainable design, appropriate density—and the city started requesting proposals in October.

Habitat Director Dan Rosensweig said the will to build affordable was evidence that the city has the right idea about development.

“There’s no NIMBY here in Charlottesville,” he said, referring to the “not-in-my-backyard” attitude some communities have toward low-income housing. “We continue to break the mold and find new ways to partner.”

But not everybody agrees on the details.

Besides the Habitat team, one other set of players stepped up with a plan for the site. Local development services company Milestone Partners partnered with the Piedmont Housing Alliance and the Jefferson Area Board for Aging, calling on a professional team that included architect Giovanna Galfione who lives near the site with her husband, former mayor Maurice Cox.

The Milestone team also had the support of adjacent property owners, including former City Council candidate Brevy Cannon, former mayor Blake Caravati and Barbara Pilkey, all of whom agreed to throw in their lots with the Milestone team. The partnership would almost double the site size, allowing it to stretch all the way to Oak Street to the northeast and making room for a total of 50 to 60 housing units.

Both proposals offered up good ideas for the vacant site, said Tolbert. Both planned for a relatively high-density neighborhood with mixed-income units and shared green space. But Tolbert said the Habitat team’s plan came with less risk attached for the city, and forged better partnerships with city and nonprofit agencies.

Milestone and the PHA offered $550,000 for the site, less the cost of cleanup, but they wanted the city to offer them a $500,000 loan to help cover the substantial cleanup. Habitat and Southern, however, proposed paying $10 for the property and assuming all costs of cleanup—no city funds required.

“They’re both very good projects, but our best estimate is that the cleanup costs are probably going to approach a million dollars,” Tolbert said, and if someone else was willing to shoulder all the risk, then all the better.

He said the city also liked the Habitat team’s Charlottesville Redevelopment and Housing Authority-backed plan to set aside a quarter of the approximately 20 affordable units for residents coming out of public housing.

But the partnership with adjacent landowners could be salvaged.

“Our first call would be to the other team,” Rosensweig said. He hopes the other property owners will get behind his project, and he said his partners are open to incorporating ideas from the other proposal. They’re delivering a kit of parts to the city, he said, but the site plan is still very much a work in progress.

“All the designs are conceptual at this point,” he said. “All ideas are on the table.”
Cooperation is in the cards, according to Cannon. Caravati and Pilkey, who rent out nearby properties, have been figuring out how best to use their lots for years, said Cannon.

Everyone wants to see the land put to good use.
But they have concerns. They want more points of entry for proper traffic circulation, Cannon said, and they’d like to see another developer besides Southern—responsible for numerous new developments in the neighborhood in recent years—take a crack at building in the Ridge Street area.

But the biggest issue, he said, is the amount of affordable units Habitat and Southern plan to squeeze into the plot.

“For a development this small, the understood best way to do it is to have no more than a third affordable housing,” he said. The Milestone team hit that ratio, but the Habitat plan calls for 43 percent affordable units in what Cannon said is “public housing central.” Another development with a high percentage of low-income housing south of Downtown could do more damage than good, he said, bringing down property values and jeopardizing the long-term viability of the project.

City Councilor Dede Smith offered a similar opinion at the Council hearing.
“I live on the south side of Charlottesville,” she said. “The south side bears the biggest brunt of poverty, and we’re putting more poverty there.”
But she and her fellow councilors ultimately indicated they’ll vote in favor of city staffers’ suggestion to pick the Habitat proposal when they meet again May 7.

Habitat’s Rosensweig said the cooperation bodes well for Charlottesville. He and local officials agree that the city has a high hurdle ahead when it comes to the pressing need to update public housing. The key to paying for it, they say, is forging partnerships between the city and community-minded developers willing to forgo some profit in order to supply new homes for struggling families—with some help from nonprofit groups.
The Elliott Avenue site is a good first step, said Rosensweig.

“I think this is an amazing template for how it should happen,” he said. “Taxpayers won’t have to pay a penny, and the risk is borne by a private entity who at the end of the day will make a little bit of money. Everyone is playing to their strengths.”

Not everyone tackling redevelopment projects is going to agree on every detail, he said, “but there are certain fundamentals where there’s a high degree of consensus.”

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News

Love’s family joins in seeking Huguely trial evidence ahead of civil suit

 

The family of Yeardley Love is also seeking the evidence used to convict George Huguely of her murder. The judge in the case is still deciding whether to grant six media companies access to trial documents. (Photo courtesy Charlottesville Police Department)

Attorney Mahlon Funk appeared before Judge Edward Hogshire in Charlottesville Circuit Court Thursday on behalf of Love’s mother, Sharon Love, to argue for the court’s release of trial documents, saying they were necessary for the family’s pending wrongful death suit against as-yet unnamed plaintiffs. His was the second hearing on the release of the evidence that afternoon, coming on the heels of another round of arguments for and against making the court documents available to six media companies who filed for access before the trial ended and have been fighting for it since.

“We now don’t have the luxury of time,” said Funk as a shackled Huguely, who awaits an August 30 sentencing date, looked on. “There’s a pesky little thing called the statute of limitations,” which gives the family until May 3 to file their civil suit.

“Unlike the media, my client presents no danger whatsoever of sensationalizing (the evidence) in any way,” said Funk. “They intend to honor the memory of Yeardley.”

Their intent doesn’t really matter, said the other attorneys.

Huguely lawyer Francis McQ. Lawrence said the media and the family have the same standing when it comes to court-ordered access to the evidence, and he reiterated the defense’s argument: Making the evidence available now would infringe on Huguely’s Sixth Amendment right to a fair trial if his request for a new one—as yet unrequested by his lawyers—is successful.

Robert Yates, the local attorney representing the media companies, agreed that Love’s family has no greater right as litigants than the public does.

“The public’s right, even though nobody up there wants to admit it, is pretty strong,” he said.

Hogshire didn’t rule in favor or against the release of documents and exhibits to Love’s attorney, but according to Funk, Commonwealth’s Attorney Dave Chapman can—and will—share the evidence in order to allow the civil case to go forward.
Whether the media will get to see what jurors saw remains up in the air.
Yates offered up two options for granting access to the trial evidence, which he has argued was presented to jurors in such a way that the media and the public couldn’t see it, creating a de facto closed trial.

One plan was to load everything, including photographs, text message transcripts, and the video of Huguely’s interrogation by police, onto a read-only computer terminal in the court clerk’s office and allow the media and the public to access it at will—not for reproduction, but just for viewing.

Acknowledging that such an approach would require the clerk to spend an enormous amount of time chaperoning viewers, Yates offered another suggestion: Put the transcripts and other non-sensitive evidence—no autopsy photos—on a CD and distribute burned copies.

But Huguely’s lawyers said that given the high-profile nature of the trial, there would be no way to keep even the sensitive material from making its way to publication. That, they said, would deny their client the right to an unbiased jury pool if he ended up back in court.
“If we make a mistake with the handling of this evidence, we can’t take it back,” said defense attorney Rhonda Quagliana.

Yates argued that the proverbial cat was already out of the bag.

“The trial already happened,” he said. “Everybody knows a jury found him guilty,” and the evidence is now part of the public record. The law is clear, he said. In order to block access, “you have to articulate a reason, and not a hypothetical reason. The threat of a new trial is a hypothetical reason.”

Hogshire said he was sensitive to the rights of the public to see the trial evidence, but needed more time before he issued a ruling.
“I don’t have a lot of guidance here, and I want to give it some really careful thought,” he said.

Yates maintains precedent is on his clients’ side. He’s been proceeded with patience and accommodated the court, he said, because that’s what you do here.

“I should be up on my First Amendment soapbox saying we should have access to everything,” he said. “But this is Charlottesville.”

 

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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
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.

Charlottesville City Council to improve Carver, Tonsler

 The Charlottesville City Council approved a $350,000 appropriation for improving the Carver Recreation Center and buying new playground equipment for Tonsler Park.

The Carver Recreation Center is located in the old Jefferson School. Nearly a quarter of a million dollars will go to buying gym equipment, furniture, computers, and Wi-Fi service for the facility.

Tonsler Park will also receive a new playground to replace the current 17-year-old wooden structures. 

"It’s going to be like nothing the city’s ever seen before," Ehman told NBC29.

Click here for more information on Parks and Recreation’s projects.