Categories
Arts

Film review: The Host

Highly resistant: The Host captures everything but the moviegoers’ attention

The Host, the latest in a long line of Stephenie Meyer-written heavy-breathers, is absurd. It’s so absurd it’s hard to take seriously. But let’s try. How many times do we get to deconstruct overproduced and underwritten stories of teen lust—if lust stops at kissing?

Aliens that look like glowing white caterpillars with sparkly tendrils have invaded Earth. The aliens enter humans through the back of the neck, merge with the human host, and eventually take over the body while the personality of the host lies dormant or dies. The only physical change in humans seems to be glowing eyes.

Forget that this story recalls not only Invasion of the Body Snatchers, but also Robert Heinlein’s The Puppet Masters and John W. Campbell’s Who Goes There?—better known to most people as Howard Hawks’ The Thing from Another World or John Carpenter’s The Thing. Because, really, this story is about liking boys. And Jesus, sort of.

And another thing: When did the film industry decide that all aliens must be boring? They come to Earth. They take over. Then they either kill us (which happens in The Host) or turn the planet into some utopian/dystopian fantasy (which also happens in The Host).

So aliens can travel millions of light years across the galaxy, and all they want to do is kill us? Or take over? If they have the technology for intergalactic space travel, why must their goals be so mundane? Why can’t they use that technology on Earth? The vistas of New Mexico—prominently on display in The Host—are beautiful. But worth crossing time and space?

Similar thoughts may occupy moviegoers older than 13 during The Host’s first hour. There’s so little going on (under the guise of OMG there’s so much going on!) that the mind wanders.

The only thing that jolts the mind back into the cineplex is an unfortunate choice by the filmmakers. Melanie (Saoirse Ronan) has been captured and an alien implanted in her. But Melanie’s a fighter. And her soul lives on in her body, even as an alien called The Wanderer takes control.

That unfortunate choice is to have Melanie’s thoughts argue, via reverb-filled voiceover, with The Wanderer, who speaks aloud in response. It’s a laughably bad choice, distracting even, and Ronan isn’t done any favors talking (and voiceovering) Meyer’s dialogue, which at least has been streamlined by director Andrew Niccol.

But Ronan has the makings of a star, and she plays the Melanie/Wanderer roles earnestly, as if she believes the choice they have to make—between two boys, of course, and the planet, sort of—are serious things and not the fantasy of an inexplicably popular novelist. Ronan is so good, at times she may even make you gasp.

The rest is poppycock. William Hurt, as Melanie’s uncle, seems lost. Diane Kruger, as an evil alien, has one good scene (her last). The guys? Snooze. Niccol (Gattaca) has a gift for science fiction, but The Host is still gushy and childish. If only there were pods. Or shape-shifters. Or vampires.

The Host/PG-13, 121 minutes.Regal Stonefield 14 and IMAX

 

Playing this week

Admission
Regal Stonefield 14 and IMAX

Argo
Carmike Cinema 6

The Call
Regal Stonefield 14 and IMAX

The Croods 3D
Regal Stonefield 14 and IMAX

Emperor
Regal Downtown Mall Cinema 6

Escape From Planet Earth
Regal Stonefield 14 and IMAX

G.I. Joe Retaliation 3D
Regal Stonefield 14 and IMAX

On The Road
Vinegar Hill Theatre

The Hobbit: An Unexpected Journey
Carmike Cinema 6

The Impossible
Carmike Cinema 6

The Incredible Burt
Wonderstone

Regal Stonefield 14 and IMAX

Jack the Giant Slayer
Regal Stonefield 14 and IMAX

Les Miserables
Carmike Cinema 6

Life of Pi
Regal Downtown Mall Cinema 6

Mama
Carmike Cinema 6

Olympus Has Fallen
Regal Stonefield 14 and IMAX

Oz the Great and Powerful
Regal Stonefield 14 and IMAX

Silver Linings Playbook
Regal Downtown Mall Cinema 6

Spring Breakers
Regal Downtown Mall Cinema 6

Stoker
Regal Downtown Mall Cinema 6

Tyler Perry’s Temptation
Regal Stonefield 14 and IMAX

Upside Down
Regal Downtown Mall Cinema 6

Wreck-It Ralph
Carmike Cinema 6

Movie houses

Carmike Cinema 6
973-4294

Regal Downtown Mall
Cinema 6

979-7669

Regal Stonefield 14
and IMAX
244-3213

Vinegar Hill Theatre
977-4911

Categories
News

Exit stage right: The inscrutable end of the McDonnell era

Boy, how time flies, eh? It seems like only yesterday that we were appraising the electoral chances of a well-coiffed up-and-comer named Bob McDonnell, who had recently resigned as Virginia’s attorney general to take a shot at the top slot. Our take then was that McDonnell was doing a great job of flying under the radar while his Democratic opponents beat the tar out of each other. His eventual victory, we surmised, was a triumph of astute rebranding, in which a committed social conservative sold himself as a moderate, and in doing so gained the governorship.

What we got wrong, however, was exactly how McDonnell would comport himself in office. We fully expected that, having won, he would move quickly to the right, and govern with the sort of insipid-yet-ruthless brio that has turned Wisconsin’s doughy doofus Scott Walker into a Tea Party hero.

But no, Governor McDonnell turned out to be a less antagonistic (and, to his credit, more conciliatory) chief executive than that. While he certainly signed his share of right-leaning legislation (including bills intended to increase the difficulty of providing abortion services and weaken Virginia’s already lax gun laws), he also proved surprisingly accommodating on some Democratic priorities (like restoring felons’ voting rights) while eschewing the sort of hyperbolic anti-Obama rhetoric that rings out regularly from the Republican-dominated General Assembly.

But to what end? We have always assumed (and still do) that McDonnell governs with one eye firmly on the future, and desperately wants to be a contender on the national stage. But in this effort he has been consistently stymied, for reasons that must seem, to him, frustratingly opaque. After all, he is a fairly popular governor of a crucial southern swing state, and yet he was barely mentioned as a possible vice presidential pick in 2012, and is completely absent from most lists of the nascent 2016 GOP presidential field.

Which is probably why, as he struts and frets his final hours upon the stage, our governor seems to be short circuiting, throwing out liberal, moderate and conservative positions like a broken toaster ejecting burnt slices of bread.

This final phase of McDonnell’s gubernatorial career began with his hard-fought transportation bill, which incensed many conservatives by raising taxes (and, in a side deal with Democrats, accepting an expansion of Medicaid under the much-despised “Obamacare”).

But then, after having the constitutionality of the bill questioned by his attorney general (and uneasy heir apparent) Ken Cuccinelli, McDonnell tweaked it so that the new taxes would be assessed by population and transportation metrics instead of regionally as originally planned. And then, obviously still worried about protecting his right flank, McDonnell made sure to offer an amendment that would bar abortion coverage from any insurance plan offered through the Affordable Care Act, and also signed a bill that will force Virginia’s voters to present a photo ID before exercising their constitutional right to vote.

And so it goes. Whatever he hoped to accomplish, it seems that Governor McDonnell will finish his term exactly as he began it: as an amorphous cypher, trying desperately to straddle both sides as he climbs to a higher political plane. Will he actually make it? We’d love to say no, but —having watched him every step of the way —we’re sure of exactly one thing: with this guy, you can never say never.

Bob McDonnell’s time in the governor’s mansion will soon be up, and his political future
is murky.

It seems that Governor McDonnell will finish his term exactly as he began it: as an amorphous cypher, trying desperately to straddle both sides as he climbs to a higher political plane.

Categories
Arts

Music review: Carolina Chocolate Drops at the Jefferson

When the Carolina Chocolate Drops hit us up with a cover of a throwaway R&B number three years ago and earned its own little bit of YouTube fame, one word described the effect—fun. But as it happens, the trio was only a year away from the sudden and mysterious departure of one of its founding members.

Was there something less than fun going on behind the scenes?

And, more importantly for the Drops’ growing cult following, could they regroup and keep the good times rolling?

Dom Flemons and Rhiannon Giddens, the band’s two remaining founders, were intent on proving they could (and have) on April 1 at The Jefferson Theater. Flemons is a natural performer, if a bit of a ham, and giddily flipped his guitar around during the night’s second number, “Don’t Get Trouble in Your Mind.” Giddens was more serious, even while telling the ladies what to do when their man “gets buck wild” in the Drops’ internet-sensation cover of “Hit ‘Em Up Style.” But she too dropped her guard and broke into a jig alongside two local cloggers during Monday night’s encore.

The concert wasn’t all fun and games though. The Drops are in many ways teachers, instructing  fans on the history of black music. During the Charlottesville tour stop, they pedantically described the traditional instruments they broke out at various points during the show and explained—somewhat laboriously—the meaning of several songs.

Still, the band, now composed of three permanent members and several rotating guest artists, is too quick on its feet, too relentless to allow its audience to grow tired of  explanations. Many of the Drops’ tunes come in at around two minutes, and most of them draw on the lighthearted side of southern black music—Flemons makes up silly lyrics in a recreation of “One Dollar Bill” because he says he couldn’t understand the original words, and in “Cornbread and Butterbeans,” the group is “making love as long as they are able.”

But just as there may have been something simmering beneath the Carolina Chocolate Drops’ lighthearted exterior when Justin Robinson took his leave of Flemons and Giddens in 2011, the new iteration of the band certainly has a serious side. Standing shoulder to shoulder across the small Jefferson stage just before 11 p.m. on Monday, the four touring members ended the night by chanting the traditional slave song “Read ‘Em John.” The song implores a literate slave to read a letter his compatriots hope will “let them go.”

After that, it was hard to let the Drops go on their own way. ~Shea Gibbs

Categories
News

Legal battle over Stonefield stormwater raises questions about how to deal with runoff

The developers of The Shops at Stonefield are again ensnared in a dispute over stormwater, and this time, the county and city are also under fire in a case that could highlight changes in the ways municipalities are expected to deal with runoff.

Great Eastern Management Company, which owns Seminole Square Shopping Center on the other side of Route 29, has joined Pepsi-Cola Bottling Company in a suit against Stonefield developer Edens, the City of Charlottesville, and Albemarle County, claiming that millions of gallons of stormwater from Stonefield will unlawfully inundate and damage their properties, and local environmentalists are keeping a watchful eye on the development and how it will affect nearby waterways.

Stonefield may be the largest development in Albemarle County history, but it drains onto properties within the city limits just across Route 29. After Edens placed a 72′ drainage pipe underneath the road, Great Eastern Management argued that the pipe would unfairly dump runoff onto  its property, and without steps to control the water—an effort it wanted Edens to pay for—flooding would ensue.

The city took up Great Eastern’s part in the fight, and issued Edens a citation last June for violating an erosion permit. Last month, the parties settled, and Edens posted a $150,000 bond to cover the next five years’ worth of potential stormwater damage. It wasn’t good enough for the property owners on the city side.

According to Great Eastern spokesperson Pam Fitzgerald, the Stonefield stormwater will flood the plaintiffs’ properties at 50 times the frequency of current conditions, causing enough damage to potentially render the property undevelopable in the future. The suit also says Edens’ development plans fail to meet state, county, and city stormwater management codes, and both the city and county are named in the suit for misapplying regulations to the project.

Fitzgerald said the existing drainage facilities on Great Eastern and Pepsi’s properties, which consist of a ravine and a dam, have been sufficiently managing stormwater for years. But with added drainage from the 72′ pipe, she said, too much water would flow onto the property.

“It’s just not designed to accommodate the kind of water that Stonefield’s trying to divert,” she said. “At the rate at which it’s flowing, it’s not only a possibility, but a strong likelihood that it will flood and cause damage.”

Albemarle County Supervisor Dennis Rooker said he wasn’t surprised by the new lawsuit, but as far as he knew, the Virginia Department of Conservation and Recreation reviewed the permits issued by the city and county.

“It received some significant scrutiny, but even after that, they determined that all the state and local regulations had been followed,” he said.

Both the county’s and the city’s attorneys declined to answer questions about the pending litigation, and an Edens representative did not return calls for comment.

Despite the timing, Fitzgerald said the lawsuit brought against Edens is not an attempt to delay the next phase of the Stonefield project. What they want is simple.

“Three words: close the pipe,” she said.

The argument may be playing out as a battle between competing property owners, but at its core is a bigger question about how best to handle one of the most immediate impacts of development. According to local environmental watchdogs and water conservation experts, developers like Edens can and should be finding better ways to manage stormwater.

Lonnie Murray, the Thomas Jefferson Soil and Water Conservation District’s Albemarle representative, said that legalities aside, the developers of Stonefield “could have done better,” and he’s been concerned since the arrival of giant metal pipes in 2011.

“They told me the pipes were for stormwater,” Murray said. “You could call it stormwater; another name for that is streams.”

The underground pipes replaced two intermittent streams that flowed across the property, now covered by the shopping center’s foundation.

“The best way of managing stormwater would have been to keep those streams there,” he said. “Existing streams are so much more effective at treating stormwater than any kind of engineered solution.”

Rules surrounding stormwater management are changing, Murray said, and stricter codes are being applied to protect Virginia’s waterways, like the new regulations from the state to clean up the Chesapeake Bay.

“If those kinds of erosion sediment controls were put on [Stonefield], we would be looking at a very different site right now,” he said.

Murray said sticking the streams underground is also contradictory to recent efforts made in the city and county to fix waterways damaged by stormwater—including Meadow Creek, where the Stonefield runoff ultimately ends up. The city is finishing up a massive $4 million restoration of the creek, funded by a grant from the Army Corps of Engineers and The Nature Conservancy.

“Why are we paying millions of dollars to restore the streams when we’re covering up the headwaters?” he said.

Rivanna River Basin Commission Executive Director Leslie Middleton said there are ways for developers to maintain streams and encourage natural infiltration systems, whether it’s required by the regulations or not. There’s a tension between wanting to protect our streams and other forces pushing toward economic development, Middleton said. But she thinks it’s possible to have both.

“There are well-known and even demonstrated cost-effective ways of developing properties so that there is greater green space,” she said. “We’re just at the beginning edge of that kind of way of thinking where we recognize that not only is it good for our streams…but we would be providing a much appreciated amenity in the midst of a lot of hardscape.”

Categories
Arts

Circus trained: UVA drama’s Steven Warner prepares students for the big time

Sitting at his desk, amidst a cacophony of buzzing, clanging, and sawing backed by rock music, Steven Warner has an internal antennae that functions like a sixth sense. “Right now I hear screw guns going and table saws going. You know, you get tuned in to it. Even if you’re here in another room talking to someone or working on the computer, you’ll hear something that’s not normal and you’ll realize that someone didn’t use the tool right.”

Warner has led the UVA drama technical department since 2006, when he was lured from a dream job in Las Vegas where he’d climbed the ranks at Cirque du Soleil.

At UVA, he oversees productions at the Culbreth and Helms theatres, and will add the new Ruth Caplin Theatre to this list when it opens on April 18.

Warner and his team currently design and build the sets for an average of six shows over nine months, along with special events and side projects like the upcoming Stan Winston Creature Festival (April 20). His is an all-out job that requires vision through to the end.

“During the design phase is where a lot of decisions get made,” Warner said. “What colors? What size of set? Does it need an elevator? What color will the lights be? Does it need any atmospheric things like fog or rain?”

“Once all of those things are decided, we have a week to do working drawings and a budget, then start building,” he added. “We have a very short time window to actually create an instruction manual for building the show.” After six weeks of planning, five weeks of building, and 12 weeks of rehearsal, a typical show runs for two weeks and 10 performances.

“In theater, the aim is for people to walk out of the show and say that was a great production, not ‘that was a great set’ or ‘the acting was fantastic.’ It’s a huge collaborative effort,” said one of Warner’s graduate students, Mark Gartzman.

Soft spoken and direct, Warner is a West Texas native who speaks with a slight drawl and brings a calm intensity to his classroom and his work. “I think I instill a lot of confidence in them. They know that because of where I’ve come from and the background I’ve had, that I’m someone they should listen to. As long as I don’t mess that up, I’m in really good shape. I’ve always got their back, and I’m in their corner.”

Warner initially pursued a career as a sports coach, but found he was more at home when he volunteered in a theater department. While attending the University of Delaware’s drama graduate program, he interned at the Utah Shakespeare Festival and made important connections that would shape his career. “It’s a great foot in the door to entertainment,” he said.

Show business became fully embedded in his DNA when he went to work for Ringling Brothers circus. The romantic’s notion of running away with the circus was Warner’s real life for almost four years. He lived in a train car, learned everyone’s role, and immersed himself in every aspect of production, even handling the animals.

“When we were doing a baby elephant tour called Romeo & Juliet, they did an act in the center ring where they played with basketballs and put them into a hoop. To get set up, you have to wheel the hoops out quickly, because the elephants are right behind you. I looked back and the elephants were chasing me, and the crowd was laughing, and I was the clown for that show.”

The vast experience of touring with a circus paired with his drama education inspired Warner. “I saw a great correlation with theater and circus in Cirque du Soleil and what they were doing in Las Vegas.”

Warner worked for Cirque from 2000-2006 and his connections are now the gateway for UVA students to enter what he calls entertainment’s Ivy League at high-profile productions around the globe. “The internships are hard to come by. It’s very competitive. It’s tough to meet those needs. So, raising the level of the program here at UVA to the point where it’s acceptable to a company like Cirque du Soleil—it’s all about safety, rigging, automation, technology—things that didn’t exist for very long in entertainment.”

When Cirque du Soleil arrives with Quidam at the John Paul Jones Arena on Wednesday, it will be met by Warner, and his wife Brigitte (also a former Cirque employee), as part of its extended family. “You don’t realize how many family members you have until you do something like that,” said Warner.

Drawn to UVA by the Jefferson mystique, and a slower pace, the Warners chose Charlottesville as a place to settle down and raise their son, as well as to build Steven’s own legacy. “I fell in love with [Charlottesville] and really felt like this is where I wanted to end up, and be able to utilize the talents I’d learned being on tour and … gained from being in theater at the same time.”

Back in his office adjacent to the theater workshop, Warner is a serene presence as pipes bang on the ground and directions are shouted over the din. A ringmaster in his own right, he is always tuned in to the show unfolding around him. “You start to become very aware of things that you’d have never listened to before,” he said, and compares it to having an ear for bird calls.  “It’s really strange like that. You hear the details.”

 

 

Categories
Arts

Cut and color: Jordan Grace Owens opts for bright, compelling simplicity

The Garage, newly renovated over the past few months, thanks to a successful Kickstarter campaign, will re-open with a month-long show of paintings, drawings, prints, and cut-outs by Jordan Grace Owens.
The show is titled “People in Poses”—simple and accurate enough, but more complex than it seems. Owens’ works depict figures floating against blank or solid color backgrounds, but the poses are all relatively still, non-dramatic ones. They’re flat, but there’s also a subtle tension. Though the figures are cute and cheerful, their postures imply apprehension, shyness, or anxiety. They are self-consciously holding still, rather than comfortably at rest.
“A lot of my characters are caught in the middle of these weird gestures,” Owens said. “They’re looking off at something beyond the composition, or they’re extending a hand towards who knows what, or their legs are folded up in an uncomfortable sitting position.”
The paintings resemble old photographs, particularly 19th century ones in which the subjects would often have to sit intently for the duration of a lengthy exposure. The visual style is different— flattened, simplified, and brightened—and although the figures seem more modern, that feeling of posing is still quite present.
“I love old photographs,” Owens said, “partly for nostalgia and partly for aesthetics—the weirdly forced poses and the flattened shadows from years of degradation. Most of my full-color paintings do refer to specific vintage photos, but the line drawings are almost entirely made up characters.”
Her drawing hand brings to mind several cartoonists, including Lili Carré and the comics published by the now-defunct French collection L’association (such as David B. and Marjane Satrapi). Owens shares with those artists a simple, thin line and a fluid expressivity. “I’m definitely influenced by the visual language of comic artists,” Owens said. “I haven’t ventured into narrative work yet, but that’s something I’d like to get into.”
Her clean and simplified figures also owe a lot to folk art traditions, as well as artists influenced by those styles. She cites a teenage exposure to the work of Margaret Kilgallen as “the moment that something clicked…I started embracing my tendencies towards flatness over push and pull and individual moments over full compositions. I think her influence on my work is pretty obvious. I’m a fan of folk art, too, for the flatness, lines, patterns, solid color, and lettering, but really I’m a fan of so many art forms that have a practical, decorative, or story-telling purpose.”
Owens’ sensibilities make her at home on both sides of the increasingly vague barrier between high art and low, between gallery and boutique. It’s cute enough to sell in one context, yet credible enough to withstand scrutiny in another.
“I don’t make much of a distinction in my own work between art and craft, but I do promote my work on both sides of that line,” Owens said. “I might hang a drawing in a gallery one day, and the next day print it on a tote bag to sell at a craft show for 15 bucks. Coming from a graphic design background as well, I became pretty comfortable with the idea of art as product. And I think the line continues to blur as artists, more and more, promote their work themselves and carve out a DIY career via Etsy, Society 6, and so many other venues.”
The Garage will host a reception for “People in Poses” from 5 to 7pm on Friday, April 5.

Rock around
Fans of freeform radio are advised to mark their calendars and buy some blank tapes (or bookmark some URLs) in preparation for the upcoming WTJU Rock Marathon, which runs from April 8–14.
Four times a year, each of WTJU’s departments takes control of the airwaves for a seven-day, round-the-clock celebration and fundraiser, and this spring is the rock department’s turn. The marathon will feature live on-air performances by local favorites Invisible Hand, Corsair, Left & Right and Dwight Howard Johnson, as well as a remote broadcast at the Tom Tom Founders Festival.
The rest of the schedule is stuffed with carefully curated tributes to genres as diverse as ’90s techno, surf psych, and country soul, with shows devoted to beloved indie labels like Merge, Jagjaguwar, Flying Nun, and Sacred Bones, and the return of marathon mainstay themes like Brian Eno, Riot Grrl, and Funky Virginia. DJ Baconfat will spend two hours playing every song and band namechecked in LCD Soundsystem’s “Losing My Edge,” and there are shows themed around the much-sampled “Amen” drum break, and the history of noise music.
This author will be hosting a show dedicated to “Songs About Cars” (to follow up on previous years’ “Songs About Girls” and “Songs About Boys”), as well as a tribute to the recently disbanded group Emeralds. Rounding out the schedule are shows dedicated to songs from the years 1963, 1973, 1983, 1993, and 2003, each hosted by a handful of the station’s DJs.
The full schedule is available online at wtju.net, and the marathon will kick off early with a dance party at the Twisted Branch Tea Bazaar on Friday, April 5.

Do you have a song request for the WTJU Rock Marathon? Tell us about it below.

 

 

Categories
News

To the races: Dems file for contested Charlottesville City Council primary

With last Thursday’s filing deadline behind us, the slate of candidates for the June 11 Democratic primary race for Charlottesville City Council is set. Only one incumbent is running in a five-way campaign for two open seats—Dave Norris will not run again—so Council is guaranteed to see some new blood next year, and changes to the way Dems are selecting candidates have injected a little more uncertainty into the race, said Charlottesville Democratic Party Co-chair Jim Nix.

The party has traditionally chosen candidates by caucus, or, more recently, by a so-called “firehouse primary,” where voting takes place at a central location. This time, voters will cast local ballots at their regular precinct polling places. Nix said it’s opened the field somewhat: “When it’s a primary run by the party, we have some control over who runs,” he said. “In a primary like this, we have absolutely no control. All they have to do is get the 125 signatures and the other paperwork in.”

No Republicans have publicly announced intentions to run, but the local party is expected to name at least two candidates at an April 27 mass meeting. In the meantime, here’s the Democratic ticket:

Kristin Szakos. Photo: Ashley Twiggs.

The incumbent crusader. Kristin Szakos, 53, and the only incumbent on the ballot, was first to announce a run. Since her first successful run in 2009, she’s served on the Metropolitan Planning Organization and as a member of the Planning and Coordination Council, and is now the city’s vice-mayor. She is an author and editor, and her husband, Joe Szakos, is the executive director of Virginia Organizing. She’s emphasized the need to give citizens a voice in local government, and has said she wants to focus on housing needs and bike and pedestrian infrastructure.

Wes Bellamy. Photo: John Robinson.The activist. Wes Bellamy, 26, is a computer science teacher at Albemarle High School, co-founder of youth empowerment group HYPE (Helping Young People Evolve), and a member of the African American Teaching Fellows. An Atlanta native, Bellamy moved to the area to take a job with the National Ground Intelligence Center in 2010, but left that career to become an educator. He has worked closely with the city’s Public Housing Authority of Residents, just as departing City Councilor Dave Norris has done, and said he wants to replace Norris as a voice for those living in public housing.

Adam Lees. Photo courtesy Adam Lees and UVA.The student. Adam Lees, 24, is a Florida native pursuing a Master’s degree in foreign affairs from UVA. He is a teaching assistant in the Department of Politics and serves as the Graduate School of Arts and Sciences’ representative to the University’s Student Council. Lees has said he’s running in the hope that he can help foster a better relationship between University and city.

Melvin Grady. Photo courtesy Melvin Grady.The teacher. Melvin Grady, 44, grew up in Charlottesville, got a degree from UVA, and now teaches middle school algebra in the same district he graduated from. Grady, whose uncle Charles Barbour was the city’s first black councilor and mayor, says he wants to focus on early childhood education and affordable housing.

Bob Fenwick. File photo.The independent. Bob Fenwick, 68, made unsuccessful runs for City Council in 2009 and 2011, when he came in third—both times as an independent. This time, he’s thrown his lot in with the Democrats, because, he said, he has a lot of Democratic supporters and the issues he cares about most are “Democratic issues”: protecting public safety, supporting small business, and limiting new taxes and fees.

Categories
Living

Stargazers: Charlottesville scientists are helping build the most powerful telescope in history

The President of Chile is running about an hour late. Not surprising, perhaps, considering the dedication ceremony he’s attending is being held 25 miles from the small tourist town of San Pedro de Atacama, up a long and desolate road, in a support facility nestled at 9,000′ in the high desert of the Chilean Andes. Assembled dignitaries, politicians, scientists, and press mill about a large, white tent, planted improbably on the dusty soil of a site that’s important because of its lack of water. Crystal clear high-altitude sunlight diffuses through the sides of the tent, illuminating dark suits, professional smiles, and rows of white-sheathed folding chairs.

Some of that light enters the lens of a video camera. The lens focuses it onto a CCD chip, which pulses out a discrete raster of image data 30 times every second to a computer workstation and from there to an Internet server. The server dissects the data into packets, which it sends skittering out onto the Web. Around the globe, hundreds of other Internet routers requesting the feed pull it together, buffer it, and serve it up as streaming video.

In a small auditorium in Charlottesville, a projector jacked into a laptop casts the images onto a screen. Sixty or so people gathered in that auditorium are doing the same thing as their colleagues 5,000 miles away—smiling, chatting, and waiting. They are all employees of the National Radio Astronomy Observatory (NRAO)—scientists, engineers, technicians, and support staff. They are here to watch, from a continent away, the inauguration of ALMA—the Atacama Large Millimeter/sub-millimeter Array—the most powerful telescope on earth. They are, despite the delay, in a celebratory mood. And they should be, because they helped to build it.

When it is completed, ALMA will feature 66 of the most sensitive radio receivers ever made, placed at 16,500' in the Chilean Andes. Photo: ALMA (ESO/NAOJ/NRAO), C. Padilla
When it is completed, ALMA will feature 66 of the most sensitive radio receivers ever made, placed at 16,500′ in the Chilean Andes. Photo: ALMA (ESO/NAOJ/NRAO), C. Padilla

Twenty-plus years in the making, ALMA cost $1.3 billion. On March 13, it was officially put into service. When all of its components are in place in the coming year, it will sport 50 39′ state-of-the-art radio antennas, as well as an additional 16 smaller antennas which greatly increase its sensitivity. Each of the larger antennas is the size of a modest house, and can be moved around the vast Chajnantor plateau, a 16,500′-high portion of the Atacama desert, into configurations as large as 11 miles across, allowing astronomers to adjust the size of the slice of sky that the telescope can take in. ALMA will be able to see things farther away, fainter, and in vastly greater detail than we have ever been able to see before. Our view of the universe is about to take an exponential leap.

Like almost all big science in an age of fiscal constraint, ALMA was built by a consortium of countries. But NRAO here in Charlottesville houses its North American headquarters. The people here helped select the site in Chile. They developed the telescope’s specs and its mission. They helped create many of the super-cooled, supersensitive radio receivers that are its ears. And they designed and built, in a little low-slung building off of Ivy Road, the supercomputer capable of 17 quadrillion operations per second that is its brain. This is ALMA’s story, told in snapshots of a few of the hundreds who helped make it happen.

Climbing the ladder

“It’s been a very long haul,” said Paul Vanden Bout, who would know as well as anyone. As Director of NRAO through most of the years of ALMA’s development, Vanden Bout signed the agreements and nurtured the international relationships that made ALMA possible. He also wasn’t above a bit of tramping in the mountains if it meant finding a home for the telescope.

In the early 1990s, Vanden Bout and several colleagues found themselves in the hamlet of San Pedro de Atacama, and the going was not easy: “The other NRAO person [on the trip] was Bob Brown, and he had studied the topo maps and knew that there was high ground and a road. He knew that you could drive up there, which we attempted to do in two trucks. Brown made it up to the high altitude and was very impressed with what he saw. My truck broke down. The carburetor couldn’t take the thin air.”

Unlikely as it may seem, the path that leads astronomers to Chile was, even at the time, very well worn. Because of its abundance of high elevation sites, an aggressive technology development plan, and relatively low costs for construction and manpower, Chile is dubbed by Wikipedia “the astronomy capital of the world.” Charlottesville’s connection to astronomy is just as well founded, though it requires a bit more explanation. It came about because of the invention of a farm implement.

Cyrus McCormick, from Rockbridge County, Virginia, is credited with building the first threshing machine in the 1830s. He and his brother Leander were both heirs to the manufacturing company that eventually became known as International Harvester. In 1877, Leander, who had an interest in astronomy and had maintained an affection for his home state, donated a telescope with a 26″ primary lens to the University of Virginia.

Because of the altitude, technicians need supplemental oxygen when they work on the ALMA Correlator, a supercomputer capable of 17 quadrillion operations per second. Photo: ESO/Max Alexander
Because of the altitude, technicians need supplemental oxygen when they work on the ALMA Correlator, a supercomputer capable of 17 quadrillion operations per second. Photo: ESO/Max Alexander

UVA astronomer Ed Murphy runs the public outreach program at the McCormick Observatory, where the telescope is on display and functioning to this day. “The telescope, when it was finished, was the largest in the United States, and the second largest in the world,” said Murphy from his office on McCormick Road. “It was a very big deal when it came here, and that’s really what put astronomy in Charlottesville on the map.” In the early 1900s, the Observatory embarked on an ambitious program to measure the exact distance from the earth to nearby stars. The measurements conducted here laid the groundwork, step by step, for the measurement of increasingly distant objects.

Climbing “the distance ladder,” as it is called, astronomers in the first half of the 20th century gained a staggering new view of the cosmos. It had previously been thought that the entire universe consisted of our Milky Way galaxy—a homey collection of stars and nebulae 100,000 or so light years across. But by 1950, it was becoming more or less universally understood that our galaxy was only one of hundreds of millions spread out over the unimaginably vast space of billions of light years.

The new science of radio astronomy helped astronomers develop this picture, but after WWII, the United States found itself behind in the radio game. So in the late ’50s, the National Science Foundation established a National Radio Astronomy Observatory, purchasing land in Green Bank, West Virginia, where they built a headquarters, designated a “radio quiet zone” to minimize interference, and started building telescopes. The remote location made it easier to maintain radio silence for the telescopes, but it was an out-of-the-way place to house a national science program.

By the 1960s NRAO was looking for a new headquarters—something closer to the center of power in D.C., and in better proximity to other scientists. The UVA astronomy department, then under the direction of Laurence Fredrick, was aggressively hiring research faculty and rebuilding a national reputation. When UVA offered to construct a new home for NRAO, the deal was done. By the 1970s, between NRAO and the astronomy department, Charlottesville boasted a substantial percentage of the world’s talent, experience, and brainpower in the field of astronomy.

Al Wootten was one of those drawn into the orbit. Wootten now serves as North American Project Scientist for ALMA, but at the time he was an expert who had already made a name for himself studying molecular gas clouds. He came to NRAO to get access to the kind of instruments he needed to pursue his work. “I came here in the end of 1982 to work on a 25-meter telescope, which was cancelled when I hadn’t even been here a month,” said Wootten, with a wry chuckle. “So that was a great feeling.”

He talks resolutely, matter-of-factly, but with an undercurrent of humor that hints that he understands one or two of the absurdities that underlie most things in this world. “So I thought, well, I’d better get involved in this Millimeter Array.”

Categories
News

Harrington suit, tuition hikes, and courts at capacity: News briefs

Check c-ville.com daily and pick up a copy of the paper Tuesday to for the latest Charlottesville and Albemarle news briefs and stories. Here’s a quick look at some of what we’ve had an eye on for the past week.

Harrington family amends civil suit 

More than three years after 20-year-old Virginia Tech student Morgan Harrington’s body was found on an Albemarle County farm after she vanished from a Metallica concert at John Paul Jones Arena, her parents have amended a $3.9 million civil lawsuit against arena security firm Regional Marketing Concepts, Inc. (RMC) for negligence the night their daughter went missing.

According to news reports, the suit names a new witness, who reported Harrington was acting erratically, had suffered a gash on her chin, and was in obvious distress when she asked to be let back into the venue after leaving. According to the suit, the “RMC staff could see Morgan was incapacitated.”

The Harrington family argues that RMC neglected to provide reasonable care to debilitated patrons, and violated previously established protocol by not allowing Morgan to re-enter the arena.

A hearing has been scheduled for April 18 at 11am in Charlottesville Circuit Court.

UVA faces tuition hikes to compensate for lack of state funding 

University of Virginia President Teresa Sullivan and her staff recently released a four-year financial plan calling for an up to 3.5 percent tuition hike to compensate for declining state funding, the Cavalier Daily reported.

UVA received $8,346 per in-state student from the Commonwealth in fiscal year 2012, a number that falls short of peer institutions like the University of Maryland, which received $17,494 per in-state pupil, and the University of North Carolina at $22,105. The University’s undergraduate tuition and fees rate this year is $12,216, and the financial plan projects that tuition will need to rise between 2.5 and 3.5 percent per year for the next four years. A 3.5 percent increase from current rates would be an additional $428.

The Board of Visitors will review the financial plan in May.

Court crunch could be costly for county

Albemarle County is weighing options as it makes plans to relocate its General District Court from its historic but too-small home to a new, larger location, but where the court complex will end up and how much the move will cost are still not clear, according to a report in The Daily Progress.

The court is already over capacity, officials agreed last week, and the problem will only get worse as the county grows in the coming decades. A study commissioned by the Board of Supervisors offered two solutions: move to the city- and county-owned Levy Opera House across the street, or build a new courthouse on county land. At $44-$54 million, the retrofit would be more costly than a new facility, which would cost about $39 million, according to the report.

County staff favors a new build, but court employees want to stay Downtown and called a major move impractical, the Progress reported. The Board of Supervisors will take up the matter in a work session soon, but the process may take years, according to a county staffer.

Second Tom Tom festival just around the corner 

The Batten Institute at UVA’s Darden School of Business will kick off the second annual Tom Tom Founders Festival with a crowd-funded pitch night at the iLab on Thursday, April 11. Admission is $10 per person, which buys entry and a vote toward your favorite of 10 proposed ideas that need funding.

The festival will continue through Sunday, April 14, with a Downtown block party, art exhibits and contests, discussion panels, concerts, film screenings, and more. The music lineup for the four-day festival includes David Wax Museum, Terri Allard, J Willz, Black Twig Pickers, and Klezmer Ensemble.

For a complete schedule of events, check out tomtomfest.com.

Categories
Living

Takin’ it to the streets: This week’s restaurant news

The On the Road culinary adventure series begins in Richmond on Sunday, April 21 and travels to Charlottesville for a jam-packed weekend of food events bouncing between the two cities via charter bus. On Sunday, Manakintowne Specialty Growers hosts an outdoor dinner with acclaimed chefs Walter Bundy (Lemaire), Lee Gregory (The Roosevelt), and Aaron Cross (Fossett’s at Keswick Hall) with wine pairings by Luca Paschina of Barboursville Vineyards. On Monday, April 22, Virginia wine pioneer and Monticello’s director of gardens and grounds Gabriele Rausse will lead a private tour of the estate. While on the tour, guests will harvest produce to be used in a special lunch cooked by chef Dean Maupin of C&O Restaurant. Dinner will be back in Richmond at The Jefferson Hotel, where Bundy will serve a tasting menu with wine pairings. On Tuesday, April 23 participants will take a private tour of Olli Salumeria (in Manakin, Virginia) led by artisan Oliviero Colmignoli to learn about his slow-cured craft of artisan salami made in Virginia. The total cost for the event is $750 per person, and a percentage of proceeds goes to the Thomas Jefferson Foundation at Monticello. Seating is limited to 20 people. Call (404) 380-1010 or e-mail OTRculinaryadventures@gmail.com to make reservations.

Coming and going

First, the bad news: Popular brunch spot Brasserie Montiel & Coffee House, on Commonwealth Drive, has closed its doors. The good news? You can still visit the owners’ second restaurant, Cocina del Sol, in Crozet. Plus, there are plenty of new eateries on the horizon.

The latest addition is Travinia Italian Kitchen & Wine Bar in The Shops at Stonefield. One of multiple East Coast locations, it features casual contemporary American-Italian cuisine at lunch and dinner.

Reduce, reuse, revive

Need a recharge before spring has sprung? Barefoot Bucha, a fermented tea produced by Nelson County residents Ethan and Kate Zuckerman, may be the ticket. Kombucha tea is considered to have healthful benefits for the digestive system with its probiotic content, amino acids, and active enzymes. The Zuckermans run the sustainable and low carbon footprint business with a “no waste model” and are the first in the mid-Atlantic to develop a fountain system that refills reusable bottles sold by the company. Their kombucha can be found on draft at Rebecca’s Natural Foods, Whole Foods, and Greenwood Gourmet. And, if you’d like to hear more details about the process of fermentation, join Ethan for a talk on Thursday, April 11 at Blenheim Vineyards. Visit blenheimvineyards.com/ events for more information.