Categories
Arts

Album reviews: Pickwick, The Cave Singers, and Caitlin Rose

Simply folk

Pickwick Can’t Talk Medicine/Self-released

Seattle used to be known for its grunge and alternative scene, but in recent years, it’s become synonymous with folk and Americana bands. Then there’s Pickwick. An intriguing oddity in that it doesn’t fall into any of these categories. This full-length debut is firmly entrenched in ethereal indie rock (“The Round”) with forays into the neo-soul genre (“Halls of Columbia,” “Hacienda Motel”). Making this album unique is the fact that none of the songs are autobiographical. Singer and principal songwriter Galen Disston has said the 13 tracks on this album were birthed from hearing stories that seemed completely original to him, and he wanted to take those starting points and explore them. Since the material is imagined in a sense, the dreamy quality of tracks like “Well, Well” are all the more affecting, while the wobbling, almost 1940s-
sounding keys and cut-and-paste sound bites on the abstract “Myths” make the track sound dreamy. Disston’s soulful vocals anchor the project and make you take notice of a fine debut.

The Cave Singers Naomi/Jagjaguwar Records

Naomi is the kind of album you’ll play on repeat many times over. The Cave Singers cover a broad range of subjects including God (“Canopy”), simple pleasures (“Karen’s Car”), and freeing yourself from worries (“Easy Way”). The funky Americana number “No Tomorrows” reminds listeners to make every day count, and on the groovy rock “Have to Pretend,” singer Pete Quirk channels a bit of Richard Ashcroft, vocally, as he sings to his lover.

Naomi successfully ventures into a number of musical and emotional territories. Quirk and his bandmates deftly play rock, Americana, folk, and funk throughout, with the skill of seasoned musicians. Even demonstrating an affinity for variety in the song “Northern Lights,” which begins as an acoustic ballad before blasting into a more epic rock song during the second half. There is a surprising amount of emotional and musical diversity on this record that you’ll want to experience over and over again.

Caitlin Rose The Stand-In/ATO Records

Caitlin Rose’s latest album is filled with a pleasant mix of country, folk, and pop and although it doesn’t offer a lot of variety, the album finds its wheelhouse and sticks to it. “No One to Call” is one of a handful of brokenhearted country pop songs found on the record, and the mid-tempo number “I Was Cruel” takes a slightly different tack as Rose learns about her own capacity to break hearts. “Waitin’” and “Old Numbers” carry an almost mournful ragtime dirge and “Dallas” is a true-blue country tune, right down to the whining, echoing guitars and dusty landscapes. Rose has solid vocals that remind you of a throatier Zooey Deschanel of She & Him—particularly on the album’s most upbeat pop number “Menagerie”—and she does enough with the solemn, relationship-centered material to keep you engaged. There’s nothing too flashy here, but simplicity is what gives the album its authenticity.

Categories
News

Cuccinelli, McDonnell, and the Star Scientific scandal

Finally! Ever since they caught pompadoured con man “Bobby Thompson” (real name John Donald Cody), who greased many political palms while raking in over $100 million in donations to his fake Navy vets charity, we’ve been living with a terrible emptiness in our scandal-loving soul. Now, we realize that a brazen, wild-eyed sociopath like Cody doesn’t come along every day, but c’mon! Would it be too much to ask for a juicy little political scandal that doesn’t involve forcible sodomy?

Well, as it turns out, a perfectly serviceable scandal has been hiding in plain sight all along. And, much like the Bobby Thompson debacle, it has created a host of uncomfortable questions for our illustrious Attorney General Ken Cuccinelli (who, if you’ve forgotten, had to return $55,000 in tainted Thompson/Cody donations once the man’s U.S. Navy Veterans Association scam imploded).

The mystery man in the center of the Cooch’s latest ethical donnybrook is one Jonnie Williams, chief executive of tobacco-company-turned-nutritional-supplement-purveyor Star Scientific, Inc. Mr. Williams is, by all accounts, a born salesman, and his gregarious personality and fat checkbook have obviously opened more than a few doors in Richmond’s Capital Square.

Now, getting a bead on exactly what Star Scientific does is a bit difficult. For much of its history, the company focused on “alternative tobacco products” such as Ariva, a tobacco-based lozenge that delivers more nicotine than a cigarette in a convenient pill. But recently, the company has announced that it will stop making tobacco products altogether and focus instead on dietary supplements and facial creams.

But one thing that Williams and his company have always made is friends. And in Virginia, two of his biggest political pals have been Cuccinelli and Governor Bob McDonnell. In fact, Cuccinelli is so obviously enamored of Williams’ business acumen that his one and only declared stock investment is in Star Scientific. He has also, it should be mentioned, received gifts from Williams totaling at least $13,000.

McDonnell has benefited even more from Williams’ largesse, declaring more than $9,600 worth of gifts from the company in 2011 and 2012, and accepting over $100,000 in free air travel for himself and his political action committee since 2009. Even worse, the governor failed to disclose the fact that the $15,000 catering bill for his daughter Cailin’s 2011 wedding (which was held at the Executive Mansion) was paid by Williams. Around the same time, McDonnell’s wife Maureen travelled to Florida to tout Star Scientific’s latest anti-inflammatory product, and later co-hosted an Executive Mansion luncheon with her husband to promote the product.

Why does any of this matter? Well, the fact that Star Scientific is currently engaged in a legal battle with the Commonwealth of Virginia over a $700,000 tax bill (and was forced to repay $300,000 of a nearly $1 million state grant due to its failure to create jobs) does not instill great confidence in the company. Add to that the fact that both Cuccinelli and McDonnell kept their dealings with Williams hidden as long as legally possible, and the entire thing starts to stink to high heaven.

Of course, after years of denying any possible conflict of interest, Cuccinelli has finally recused himself from the tax case, so that’s something. But it may be a classic case of too little, too late—and with new revelations in the case arriving every day, this might finally mark the point where the Cooch’s extraordinary political luck runs out.

Categories
News

Volunteer firefighters turn pro, cause tension

A long-debated issue resurfaced at a recent Albemarle County Board of Supervisors’ meeting when lifetime firefighters expressed concern that professionals in the county fire department cannot also serve as volunteers. County officials say they need to keep the camps separate to comply with the Fair Labor Standards Act of 1938. But some fire department members think changing local rules could help improve the relationship between career and volunteer firefighters.

The county uses a combined fire and rescue system, utilizing more than 700 volunteers and about 100 career staff, which Fire Chief Dan Eggleston said is typical of an urbanizing rural area like Albemarle. While it’s economically necessary, it has led to some tension among the ranks.

“The history of issues and potential conflicts go back to the Benjamin Franklin days,” Eggleston said.

The volunteer and paid departments used to be independent of one another. Eggleston said there’s been fear on both sides of losing autonomy and a sense of identity, and it’s easy for him to see the frustration from everyone’s point of view.

“Our objective is to try to retain these people, because they know the system and have proven themselves,” he said. “It’s tough, and we can’t turn away good people. But on the volunteer side, they put all that effort and time into training someone, only for them to become a career.”

Crozet Fire Department President Rodney Rich spoke at the April 3 Board of Supervisors meeting, and said every time a firefighter is hired, that’s one more that can no longer serve the county as a volunteer.

“This is a great loss to volunteer departments; they’ve invested a great deal of time in this person, and they’re hard to replace,” Rich said.

The Department of Labor says the rule that keeps firefighters from volunteering for their employers is meant to protect both parties. County Supervisors briefly addressed the speakers at the April 3 meeting, saying they’d discuss the matter with the county attorney during a closed session.

“It’s not a good thing to allow our employees to volunteer,” said Supervisor Ken Boyd. “It’s not a new issue, and has been brought up by volunteers many times in the past.”

But Crozet Fire Chief Preston Gentry said he’s concerned that his department, one of the area’s last all-volunteer agencies, has lost nearly a quarter of its volunteers in the past 10 years as people have increasingly turned to paid work.

“The problem we have is that we take these people in, spend all the money on getting them trained, and the next thing you know, they’re getting hired by Albemarle County,” said Gentry, who started as a volunteer 38 years ago. That’s added to tension between careers and volunteers that has continued to simmer.

“There are some people who are career firefighters that look at it as a job and a job only, and as long as they get the paycheck they’re happy,” Gentry said. “When you’re volunteering you do it because you want to do it, and you take pride in your organization and your community. But once you get a career job and you get a paycheck, it becomes a business.”

Categories
Arts

Long live the funk: Big Boi promises Springfest show will have it all

Former Outkast member turned solo artist, Big Boi says he loves playing the old hits, but ask him to reminisce about his days touring with Andre 3000, and he’s likely to give you the cold shoulder.

And why shouldn’t he? It’s been a decade since Outkast released an album together, and Big Boi has two critically acclaimed solo albums to his credit.

Still, when Daddy Fat Sax rolls through Charlottesville to play UVA’s Springfest show on April 20, expect there to be plenty of Outkast to go around. Among other things, he told C-VILLE by phone that he’d play “everything the fans want to hear.”

C-VILLE: I want to start by talking a little about Charlottesville. Have you ever been?

Big Boi: “I’m not sure that I have. I mean, I’ve been to Virginia, but I’m not sure that I’ve been to Charlottesville.”

Obviously hip-hop has a history of having fans in college towns. Is that one of the reasons you’re playing here?

“Yeah, I play really all around, but definitely colleges are some of my main venues that I do play by request, and we come through and just jam.”

I know you’re not real political with your rhymes, but occasionally you’ll drop something in. What’s on your mind these days?

“People have to get out there and use the internet and really find the news. On social media, whenever I find pertinent information, I throw it out there for people to read, whether it’s something that has to do with the planet or police brutality.”

Tell me about the Springfest show. Any surprises, any hints at the setlist?

“What I like to do is, I go all the way from Southernplayalistic all the way up to Vicious Lies and Dangerous Rumors.”

“I like to get the crowd and put them in a time machine, and we hyper-jump from era to era and just jam. It’ll probably be about an hour and 15, hour and 20-minute set with the band, and it’s just high energy.”

Singers can sing in different styles, but rappers have to rap. What do you do to keep things interesting?

“As a songwriter, you have to do all aspects of it. It’s not just rapping. You rap, you sing, you use your funk throat, you groove and you vibe.”

“That’s one thing I just hate about certain artists—they sound the same on every song, the same cadence, the same beat, the same 808s, and they talk about the same shit. I hate that. I like every song on my record to sound different.”

On the B-sides of Vicious Lies you get into some singing and more soulful stuff.

“Coming up, I listened to everything, so everything plays a part in the music. There’s no boundaries. There’s no genre that can’t be touched. Whatever the groove inspires, that’s what you give ’em.”

“For me, it’s about making a whole complete body of work where you can push play and let the whole album play out. Nowadays music is too single driven.”

A lot of hip-hop artists over the years come up with alter egos. Where does Sir Lucious, the character you introduced in your first solo album, fit?

“It’s all nicknames for different states of mind. Everybody has different personalities. One day you feel a certain way, the next day you might feel another kind of way. To really get into different character modes, it’s fun. It’s role-playing almost.”

On the new album, you have several collaborations. Is genre fusion something that has become important to you?

“It’s always been there. You bring [other musicians] into your world. For this particular record, I toured with a lot of the guys like Phantogram and Little Dragon, and I invited them back to Stankonia after the tours and we created great stuff. I just like to jam.”

How has getting older affected your writing? What inspires you now that didn’t when you were just a dope boy in a Cadillac?

“Every album is like a time capsule. Music is almost like your personal diary. It’s about emotions and feelings, and it’s just all expressed through sound.”

“As you live, you go through different things. The way different things affect your life affects the way you write. With me, I guess it is more personal now. It’s not so generalized.”

What are you working on now?

“I’m just working on songs. I’ve been in the studio stockpiling records. I’m going to do some film and TV stuff later on in the year after I finish a couple legs of this tour. I just want to have the music ready to quench the thirst of the listeners. So yeah, we are really working it.”

What kind of hip-hop do you listen to these days?

“I have maybe 13,000 songs on my iPod, so there is nothing specifically I’m listening to. I listen to a little bit of everything. I like jams basically. Anything might come on, from Johnny Cash to the Eurythmics, Hall & Oates, The Isley Brothers, Kool and The Gang, Diana Ross. I keep it on shuffle.”

 What are you going to do other than the show when you’re in Charlottesville?

“Just get out and see what’s going on in the city. I’d like to check out some soul food joints, maybe a couple bars. We’re gonna invade the city.”

Categories
Arts

ARTS Pick: Water Liars

Happy Accident

Some accidents seem like divine intervention, especially if they result in brilliance. When Justin Kinkel-Schuster got together with Andrew Bryant to make a casual recording (2011’s critically praised Phantom Limb), they tapped into a rare magic and Water Liars was formed. The second effort by the Missouri-based duo, Wyoming, carries on the crushingly poignant, bad ass folk-pop that put it on so many “best of” lists among indie rock tastemakers.

Friday 4/19 $5, 9pm. Twisted Branch Tea Bazaar, 414 E. Main St., Downtown Mall. 293-9947.

Categories
Living

French twist: In its second year, Tempo mixes traditional cuisine with worldly flavors

Is it possible to be irreverent and reverent at the same time? Tempo, the modern French-American restaurant that opened in 2011, proves that it is, mixing good, irreverent fun with food that reveres French culinary tradition, prepared by one of Charlottesville’s most talented chefs.

On the one hand, Tempo’s scene ignores conventions and boundaries, whether beneath Bart the Cape Buffalo at the bohemian-chic bar, in a cowhide print banquette in the dining room, or under the disco ball in the “Champagne Room.” Take the recent Valentine’s Day lingerie fashion show, where local models paraded down a make-shift catwalk in Tempo’s bar area. Not long after, St. Patrick’s Day brought Guinness and shots of Irish whiskey. And then there’s the music. A local indie band one night might be followed the next by a dance party of eclectic, European tracks combining “Buddha Bar, Ibiza, and Hotel Costes.” Throw in an occasional night of salsa dancing, and it’s evident that Tempo welcomes fun in any form.

But, the irreverence ends at the kitchen. In there, Paris-born chef-owner Brice Cunningham creates serious food grounded in classic French cooking, which has been second nature to him for most of his life. Even as a child, delicacies like sweetbreads and mutton were favorites of Cunningham, whose father was a maître d’ at a Michelin three star restaurant and now helps run Tempo.

Cunningham trained under some of the world’s experts in French cuisine, including the legendary Alain Ducasse, for whom he worked in Paris. After other high-end stints in Luxembourg, Las Vegas, and Washington, D.C., Cunningham was lured to Charlottesville in 2001 by Brian Helleberg, a Charlottesville native with whom he had worked at Gerard’s Place, in Washington. Together they opened first Fleurie, and then later Petit Pois—two of Charlottesville’s most beloved French restaurants.

By 2011, the partnership had run its course. Cunningham moved on, determined to create a more relaxed venue than the two restaurants he had owned for years. He wanted to have fun, and thought doing so need not preclude him from serving serious food. So he created Tempo. Even the name was meant to capture Cunningham’s fresh approach, referring to the pulse of music, universal and running across all cultures, without boundary.

And yes, some of the food at Tempo does draw on the cultures of the world. But, it is French at heart, and reflects the work of a culinary master. Beets and goat cheese are a classic duo, and Cunningham’s riffs work well, enhancing the beets with goat cheese cream, roasted pistachios, and microgreens. The house-cured salmon gravlax, served with whole wheat blinis, is both luscious and briny. And the Spicy Tempo Shrimp has already developed a following, not only for the perfectly fried shrimp, but also for the addictive sweet and spicy chili sauce that dresses them.

Among entrées, seafood fans will again do well. In some hands, lobster can be dull, drained of flavor by too much time in a hot bath. But Cunningham does justice to the pricy crustacean, poaching it gently in butter, and resting it atop celery root purée. The red onion confiture (jam) is a welcome offset to the richness. On a night when there was no lobster available, pan-seared local trout worked well as a stand-in with the puree and confiture. And the hits keep coming at dessert, most notably a custardy apricot bread pudding that belongs on any list of the best desserts in Charlottesville.

Meanwhile, libations again marry fun with classics. The cocktail menu, laden with sweet and fruity concoctions, is geared toward the party crowd. The wine menu, on the other hand, is the work of an oenophile, with all of its choices selected by Cunningham.

Perhaps no aspect of Tempo better illustrates the marriage of French tradition and carefree fun than the recently introduced event “Champagne and Burgers.” Champagne is about as rule-driven a product as there is, its preparation being governed by the strict rules of France’s appellation d’origine controlee. Burgers are, er, not. Every Tuesday, Tempo offers two free orders of burgers and fries with the purchase of a bottle of champagne. All three burgers currently on offer are outstanding: the black angus beef, the house made pork sausage, and, perhaps best of all, the brandade, which is a patty of cod poached in herb-infused cream, bound together with mashed potato and egg yolk. As Tempo puts it: “Putting the French back in your fries.”

Categories
News

Tom Tom: A festival in photos

Tom Tom 2013 has come and gone, but we’re having fun looking back at the weekend of music, art, and ideas through the lenses of a few local photographers. Here are some of our favorite shots, from photographers Tom Corey, Gina Proulx, Robin Macklin, and Nicole Sheridan.

What did you take in at Tom Tom? What were some of your favorite moments from the weekend?

 

The man with the plan, Paul Beyer, sets up. Photo: Tom Corey

 

 

Photo: Tom Carey
Rocking out at the block party outside McGuffy on Friday. Photo: Tom Carey
David Wax Museum takes a bow at the opening gala. Photo: Gina Proulx
David Wax Museum takes a bow at the opening gala. Photo: Gina Proulx
Dancers descend on the Mall. Photo: Nicole Sheridan
Dancers descend on the Mall. Photo: Nicole Sheridan
Tom Talks get musical. Photo: Tom Corey
Tom Talks get musical. Photo: Tom Corey
People losing their marbles during night voting. Photo: Robin Macklin.
People losing their marbles during night voting. Photo: Robin Macklin.
Categories
Arts

Two thumbs up: Reflections on film critic Roger Ebert’s time in Charlottesville

Roger Ebert was my first film critic —really, the first non-fiction writer of any kind whose work I devoured. My parents had Pauline Kael, but for my generation Ebert was the gateway drug to film study and appreciation, best sampled in his 1,000-page annual anthologies of reviews, which were an encyclopedic and insightful peek into the world of movies in the era of home video. He became a celebrity, along with fellow critic Gene Siskel, for lively and often contentious capsule reviews on the long-running “At the Movies” TV show, and he was inarguably the most prominent and well-known critic of the modern era.

Many Charlottesville locals also remember Ebert as a regular visitor to the Virginia Film Festival. He appeared here several times in the ’90s, conducting weekend-long, shot-by-shot workshops. Starting with Citizen Kane in 1992, Ebert and an appreciative crowd of film lovers would watch a movie, pausing every few seconds and repeating crucial scenes to discuss every aspect of a film in detail. The process was refreshingly democratic—anyone in the audience could shout out a comment or question, or ask to stop the film for clarification on a particular point, or to repeat an especially sublime moment. Watching a two-hour film took three days, but the shared insights were unforgettable.

“After not being that huge a fan of Roger Ebert as a TV film critic, I came to respect him so much during the many years he did his shot-by-shot workshops at the Virginia Film Festival,” wrote Richard Herskowitz, director of the festival from 1994 to 2008. “His teaching was masterful, not only for what he had to share, but for the way he orchestrated comments from the audience. For example, after one viewer made an intelligent comment about an aria used in Raging Bull, Ebert repeatedly stopped the tape and shouted out every time operatic music returned, ‘Hey, opera guy, what are we listening to?’”

The 1994 shot-by-shot of Pulp Fiction was a first. A discussion of a then-brand-new film; it’s considered a classic now, but it’s easy to forget the level of excitement around that film, as the independent film boom gathered steam, beginning with Steven Soderbergh’s Sex, Lies, and Videotape in ’89 and building towards the indie sweep in the 1997 Oscars. I was dying to see Pulp Fiction, but my parents considered it too violent for a 12-year-old. Nonetheless I did meet Ebert at a book signing at the Williams Corner Bookstore that year, and in retrospect it’s remarkable how generous and thoughtful he could be with even the smallest or most anonymous of movie lovers—he knew we were all part of the same club.

I managed to attend several more shot-by-shot workshops over the years, from Vertigo to Bonnie and Clyde. Ebert’s workshops were an exposure to different ways of looking at film. The discussions were more thorough, more thoughtful, and more open-minded than any sort of study I was used to.

As I continued to study film, I grew apart from Ebert’s criticism. Immersed in the academic study of film, his columns seemed more pedestrian and lowbrow in comparison. His various quirks and preferences as a critic occasionally began to grate. He was also, unavoidably, something of a horndog (at least in print). Ebert was, after all, a man who got his start under the tutelage of sleaze-maestro Russ Meyer, and wrote the script for Beyond the Valley of the Dolls. Many of his columns made use of the phrase “the old rumpy-pumpy,” a euphemism for sex which I still find both hopelessly old-fashioned and immensely mortifying. It often seemed as if Ebert, tiring of the same repeating trends in mainstream cinema, was reviewing films solely on the basis of his sexual attraction to the lead actress.

Though I often disagreed or found his reviews superficial or trite, I continued to read them, more out of habit than devotion. Even after the 1999 death of Gene Siskel, the existence of Ebert and his reviews seemed immortal, a voice we would always have in our newspapers and in the back of our minds.

His cancer changed all that. First diagnosed in 2002, his health problems worsened until emergency surgery and a partial jaw-bone removal left him unable to eat or speak, a significant blow to a man known mainly for his opinions and his appetite.

For many this would be the beginning of the end, but for Ebert is seemed to provide a jolt of urgency and energy. Without physical speech, he wrote more than ever, keeping up a constant stream of reviews that shamed most of his peers, and blogging restlessly and insightfully on topics as varied as politics, religion, video games, science, education, his childhood, and his membership in AA. His writing regained sharpness and purpose, earning him a new generation of readers, as well as cementing his importance as a writer and critic.

But his impact wasn’t truly felt until Ebert passed away this month, finally succumbing to cancer at the age of 70. There was a tremendous outpouring of appreciation from everyone I knew. Even the most cynical or avant-garde of outsiders shared a deep appreciation for Ebert’s legacy, not just as a writer but as an enthusiast and ambassador.

He opened the doors for so many of us. Few would have cited him as their favorite writer, and we certainly may not always have agreed with him, but for so many of us, Ebert was the biggest, and the first. We’ll miss you, Roger.

 

Share your favorite memory of Roger Ebert with us below.

Categories
The Editor's Desk

Editor’s Note: Tom Tom Festival take two feels good

You can never go home again. The line expresses a quintessential sorrow embedded in the American dream. You move up and out. You can’t go home again, because you left and became someone different. When you go back, no one will understand you, and the place you idealized can’t ever live up to the new tastes you’ve acquired. But is the message historical or progressive? Essential or didactic? Was it coined to communicate immigrant longing? Or as a warning to those who made the upwardly mobile journey from the provinces to the city? Or, more basically, does it say something about time and memory?

The Tom Tom Founders Festival was inaugurated last year somewhat breathlessly by founder Paul Beyer, who came home to Charlottesville to help run his father’s real estate business after a stint in New York City. The month-long local version of SXSW fell into place over a short timetable on a massive scale and ultimately couldn’t live up to its billing. What was actually a fairly impressive first showing at times felt like the yardstick by which to measure the gap between our town and Austin.

Beyer learned his lesson. This year he took a whole year to organize a program that took place over one long weekend. He dialed back the mission, putting aside the project of starting a new music festival capable of drawing national acts and focusing on a UVA-backed innovation program paired to a series of community-based showcases for local musicians, artists, and organizations.

If you were at McGuffey Friday night,  or dug the farmer’s market on steroids Saturday morning, you tasted Beyer’s success. My moment was the concert at Lee Park . On a glorious Virginia spring day, families spread out over a public park on picnic blankets with their dogs, taking in the tunes emanating from The Garage (a church property turned into a music venue), within earshot of The Haven (a homeless day shelter cum community hub), where Tom Tom Talks covered media, faith, and creativity. It was soooo Charlottesville, and it felt good.

This week’s feature on cool places reflects the fact that the cool you’re looking for can be quaint, even bucolic, like the ‘50s superimposed on the now. Maybe you moved away, tasted the Big City, and came home. Or instead of moving up and out, you stayed put without letting go of your ambition. Or maybe you came here from somewhere else, thinking you finally found a place you could call home again.

Categories
News

Big bang theory: Residents say blasting for critical airport project is damaging properties

“That’s a beautiful view,” Melanie Crawford said, staring out the windshield of a white pickup truck that had just come to a stop in the red dirt at the end of the Charlottesville-Albemarle Airport runway.

She wasn’t looking at the Blue Ridge in the distance, but at the earth-moving activity in front of her. Crawford, the airport’s new executive director, was taking time out of a busy Thursday morning to observe the final stages of a project that’s been in the works for a decade but has now come under fire from neighbors: the long-awaited expansion of the airport’s runway.

At issue is the use of rock blasting on airport property. Authorities say it’s safe and necessary to generate needed fill material and keep costs down, but nearby residents claim the repeated explosions are damaging their homes, and want a moratorium on the explosions so they can take stock.

But the evidence isn’t there, said Crawford, and that means the airport must continue, or face serious financial repercussions. When it comes to such complaints, “you cannot stop a project without substantiated proof, and there is none,” she said.

The $45 million expansion project is funded by the Federal Aviation Administration, the Virginia Department of Aviation, and the Airport Authority itself, which is governed locally but operates independently of Charlottesville and Albemarle. The work is about 85 percent complete, and if there’s a sense of urgency in the home stretch, that’s because officials see it as vital to the airport’s survival.

At a relatively short 6,001′, CHO’s runway didn’t have the length needed to allow the 50-seat jets that are the backbone of regional carrier service to take off at full capacity. In an era of shrinking airline profit margins, the airport had to take a big step to stay relevant, said Crawford.

By the time it’s done, the project will have used 2.2 million cubic yards of rock and dirt —enough to fill more than 1,600 Olympic-sized swimming pools—to build up the ground underneath the extension. By far the cheapest way for the airport to acquire all that rubble was to blast it out of an old borrow site on the property.

Since then, subcontractor Maine Drilling & Blasting, brought in by engineering firm Sargent, has been overseeing explosions three or four times a week. It’s a big job—much bigger than the residents of nearby Walnut Hill realized, said Rit Venerus. He lives in the pricey neighborhood, where homes worth half a million or more back up to airport property, and he serves as chair of the Joint Airport Commission, a citizens group that advises the Airport Authority.

“They didn’t tell us that they were basically building a rock blasting quarry in our backyard,” Venerus said.

The only notice from the airport was an August letter in their newspaper boxes informing them that blasting would soon begin. MD&B sent out a separate letter telling residents they could pay for a survey of their homes before blasting began, but Venerus said not all homeowners received it, and because it didn’t mention the airport project specifically, many people thought it was a solicitation and ignored it.

By December, Venerus and his wife Barbara saw the first hairline cracks appear in their 8-year-old drywall. Then they started finding more damage—splitting baseboard molding, fractures in their concrete foundation, their fireplace mantel separating slowly from the wall—and learned they weren’t alone. A neighbor’s well went dry. A tile floor sprouted a zig-zag fracture. Fissures crept through sheetrock.

In March, eight households submitted claims to MD&B, and the company sent a representative to their homes to document the alleged damage. They got back letters with nearly identical wording: The company “has made the decision to hold off on processing any claims until our blasting is over.”

Venerus said he and his neighbors feel stuck. They worry about damage they can’t see, and about coming out the loser in a battle between insurance companies. “We don’t want our rates to go up, or the company to cancel coverage,” he said.

On April 2, more than 20 frustrated Walnut Hill residents signed their names to a letter calling on the Authority to halt blasting so they could assess the damage. Maine Drilling & Blasting didn’t return requests for comment, and Airport Authority chair Bill Kehoe referred calls to Crawford, who has remained politely firm: Blasting will go on.

“If we stop the project, we’re looking at $20,000 to $30,000 a day in expenses,” she said, maybe through the fall. The alternative is trucking in the fill, which would drive costs up by $5 million. And the airport would be on the hook.

“If there’s not a reason—if we just arbitrarily shut it down—then we’re responsible, and we have to take that on,” she said. Neither the FAA nor the Virginia Department of Aviation would cover the costs of pulling the plug, she said.

Crawford said that since the issues have surfaced, the airport and subcontractor have tried to address residents’ concerns, and seismographs set up all over the area have shown blast impacts are below allowable levels.

Albemarle County Fire Marshal Howard Lagomarsino backed her up. His office is in charge of issuing blast permits in the county, and after suspending activity briefly on April 4 to investigate, he found ground vibrations were within safe and legal thresholds.

“They’re doing everything that the code says they’re supposed to,” said Lagomarsino, which means he’s required to give them the nod. “Anything beyond that is a civil matter between [residents] and the blaster.”

Ann Mallek, who represents Earlysville on the Albemarle County Board of Supervisors, is also keeping a close eye on the project. “I was concerned that they wanted to finish the job before getting involved in the claim,” she said of the subcontractor, but she’s been reassured that “the books won’t be closed on this until they’re absolutely certain everything is O.K.”

The airport hasn’t always been a good neighbor, she said, but in this case, they’re trying. Blasting begins again this week, along with a renewed effort by the Authority to mend fences, starting with a Monday meeting between airport officials and Walnut Hill residents.

Venerus isn’t feeling the love. If the Authority was serious about protecting local property, it would have ordered a thorough study of the potential impacts before the project began, he said, and they’d step up now and promise to take responsibility for damage.

“Nobody has said, ‘If there’s really a concern here, we’ll do an assessment, and if there’s a change between now and the end of the blasting, then we can talk,’” he said. “Nobody’s talking. Everyone’s hanging their hat on the fact that it’s ‘within safe limits.’”