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Living

The diagnosis that wasn’t: Understanding kennel cough

I’ve completely lost track of how many coughing dogs I’ve seen in the last month or two. They come in honking like geese and hacking up slime. Yup, there’s a nasty case of kennel cough touring Charlottesville, and it seems nobody is safe (well… nobody who happens to be a dog). But wasn’t your dog vaccinated for kennel cough? Why is this thing so hard to keep away? And what do we do about it?

I can’t blame anybody for being confused. Veterinarians have played fast and loose with this terminology for a long time. The truth is that “kennel cough” really doesn’t mean a whole lot. It isn’t a specific diagnosis, so much as a convenient (and charmingly alliterative!) description of the symptoms. When a dog comes in with an upper respiratory cough that we suspect is infectious, we call it kennel cough. Ta-da! Without unnecessarily advanced testing, we have absolutely no idea what’s causing it. By the book, afflicted dogs should be diagnosed as having “infectious tracheobronchitis,” which is as nebulous as it sounds and not as much fun to say. So kennel cough it is.

There is a long list of bacteria and viruses that are candidates for causing kennel cough. Sometimes they act alone, and sometimes they join forces. Somehow, Bordetella bronchiseptica became the reigning king of that list, and the Bordetella vaccine is frequently referred to as the kennel cough vaccine. That’s fair enough—it’s certainly one of the historically prevalent causes. But the important thing to know is that being vaccinated for Bordetella doesn’t protect dogs from the entire list. They are still vulnerable to kennel cough—we’ve just shut one door.

So this…thing that’s been going around lately can be pretty much anything, or maybe a whole collection of them. Maybe it’s Bordetella, and maybe it isn’t. Truth is, it hardly matters. The vast majority of cases are self-limiting, just like when you or I manage to catch a cold. We hack and sputter for a little while, and then our immune systems send it packing. So long as they are otherwise healthy, dogs with kennel cough typically get better in a couple of weeks, and treatment is frequently unnecessary. We do treat some patients, especially if their size or age leaves them uniquely vulnerable to deeper infection, or if symptoms have really become a drag on the patient’s overall comfort. Your veterinarian may prescribe antibiotics, or even a cough suppressant if things are really out of control.

Preventing kennel cough can be a frustrating affair. Most causes are airborne, and can spread rapidly. Vaccination remains important, and has done a lot to limit outbreaks even if it can’t prevent them all. Is it worth keeping your dog away from kennels and daycare? Maybe during an outbreak, or if you have a lot of dogs and don’t want to deal with living in an infirmary for a few weeks. But in general, I recommend that you don’t overthink it. If you send your kids to school, they’re going to catch a cold eventually. And if you send your dog to daycare, he’s bound to catch a cough sometime.

If and when he does, don’t worry too much. It’s just a little case of kennel cough …whatever that’s supposed to mean.

Dr. Mike Fietz is a small animal veterinarian at Georgetown Veterinary Hospital. He received his veterinary degree from Cornell University in 2003, and has lived in Charlottesville since.

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Arts

ARTS Pick: The Memorandum

What goes around

If you think that bureaucracy and red tape are absurd, Czech playwright Václav Havel couldn’t agree more. And in his Soviet-era satire The Memorandum, everything from language to human sociality becomes ridiculous. When office worker Josef Gross finds a memo written in the supposedly efficient Ptydepe language that’s impossible to discern, he and his mates find themselves up against the forces of conformity as they attempt to translate its message. A struggle for authenticity in an increasingly dehumanizing world, Havel’s play is a product of its time, and remains relevant today.

Wednesday 4/10 $10, 7:30pm (2:30pm matinee on Sunday). Piedmont Virginia Community College, 501 College Dr. 961-5376.

 

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Arts

Rolling on: Holy Smokes wraps up with a stacked Tom Tom showcase

The Tom Tom Founders Festival has a dense schedule, seeking to offer something for everyone, from concerts to street parties to symposia on innovation. A glance at the calendar can be bewildering, and it may be tough to know where to turn. Although every attendee is sure to find something to enjoy, one event in particular caught the eye of this writer—consider it the “Feedback pick” of the line-up. Among the four ‘stages’ at the McGuffey Arts Center on April 12 is one curated by Holy Smokes Booking, offering an exciting combination of three live music acts: David Daniell, Black Twig Pickers, and Great Dads.

The event is something of a farewell send-off for organizer Matt Northrup, who moved to Charlottesville last year to take over booking duties at the Twisted Branch Tea Bazaar from the departing Jacob Wolf, inheriting Wolf’s Holy Smokes moniker. Northrup will soon be relocating to Durham, North Carolina in a matter of weeks. “Jacob and I are going to keep using the Holy Smokes name, but we’re going to divorce it from Charlottesville,” Northrup said. “I’m still going to be putting on shows at various places down there, but I’m cutting back a lot, just doing shows that I’m really excited about, maybe one a month. I’ve also started a tape label called Holy Smokes, and Jacob wants to continue booking tours under that name, so we’ll see how it goes. It will be less of a solid thing associated with a particular venue, and more of an amorphous umbrella entity.”

The Holy Smokes showcase might be a small cog in the larger machine of the Tom Tom Festival, but it’s also a stellar lineup, signifying the culmination of everything Northrup has achieved during his year in town. “The organizers at Tom Tom have labeled it as the Indie Rock Stage, and I guess the Tea House has a reputation as being a sort of ‘indie’ venue,” Northrup said. “But I’m not really interested in booking the sort of music that most people call ‘indie’—it’s not really related, apart from the fact that it’s independent.” Northrup’s selection is far more varied, offering everything from rowdy Appalachian traditionalism to artsy ambient drones to energetic experimental rock.

The Blacksburg-based trio Black Twig Pickers are one of two groups formed from the ashes of the semilegendary band Pelt, after the informal departure and tragic premature death of virtuoso guitarist Jack Rose. While the Spiral Joy Band trafficked in long-form avant-garde drones with a slight Appalachian flavor, the Black Twigs (comprised of several of the same members) doubled down on the straight-up bluegrass tunes, as pure and raw as home brewed moonshine. There’s a purity that comes from musicians who have never known anything but bluegrass, but the music of Black Twig Pickers is the sort made by folks who have tried plenty of other things and returned to this particular well out of affection, devotion, and commitment. It doesn’t hurt that the Twigs have the technical chops and musicological insight to back up its endeavors, with credibility to spare. The retro, rural flavor may make for strange labelmates among other forward-looking indie-rock peers on the Thrill Jockey imprint, but the stomping, small-scale charm wins the band admirers wherever they play around the Commonwealth.

David Daniell is a man known for his collaborations as much as his solo material. For several years he’s been tasked with assembling large and small guitar ensembles for the ‘maximalist’ composer Rhys Chatham, gathering players in cities around the globe (including members of Sonic Youth, Tortoise, and former locals USAisaMonster) to play Chatham’s punk-classical epics, in ensembles that can sometimes contain as many as 400 guitarists — a six-piece ensemble led by Chatham and Daniell in 2004 remains the single best concert I’ve ever attended. Daniell has also collaborated on a smaller scale, in duets and trios with a who’s-who of the contemporary cutting edge, including Austrian laptop-shoe-gazer Christian Fennesz, Australian drone-bassist Oren Ambarchi, experimental Chicagoan David Grubbs, and New Yorkers like romantic guitarist Loren Mazzacane Conners and powerhouse drummer Jonathan Kane. He’s long been part of the duo San Agustin, and even performing solo, he manages to find a surprising amount of common ground between the natural blues-based guitar traditions and the artificial texture of ambient minimalist abstractions.

Great Dads, as previously discussed in these pages, is the umbrella nickname for the more left-leaning endeavors of Invisible Hand frontman Adam Smith; currently, the Dads has become something of a Charlottesville art-rock supergroup, in which the ever-inventive Smith and tornado-powerhouse jazz-punk drummer Steve Snider conjure up concise and catchy noise-punk bursts, which they’re able to expand into expressive mini-epics with the help of the sturdy, thoughtful basslines of stalwart sideman Scott Ritchie and the sprightly guitar harmonies of Northrup himself, who in addition to organizing events is an accomplished performer with a budding solo career.

“It seems really all-over-the-place, but I think really clear lines can be drawn between all the acts on the bill,” Northrup said. “It’s three very different takes on different elements of modern or experimental music. It doesn’t represent every facet, but there’s a really big American primitive movement right now that the Twigs are a huge part of, and David Daniell’s been involved with some really heavy hitters, as far as modern minimalism goes.”

The Holy Smokes Showcase will take place between 9pm and midnight on Friday at the McGuffey Arts Center, as part of the Tom Tom Founders Festival’s School House Rock event. The concert is free, and open to the public.

Have something to say about the American primitive movement? Let’s hear it below.

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Arts

Album reviews: eels, Quiet Fire and Matt Pond

Beautifully unusual

eels

Wonderful, Glorious/Vagrant Records

eels’ Mark Oliver Everett (a.k.a. E!) loves making unique albums that span genres and incorporate primal vocal performances. For proof, check out his concept album trilogy of Hombre Lobo, End Times and Tomorrow Morning, or Blinking Lights and Other Revelations. Wonderful, Glorious attempts to continue this trend, but isn’t quite as successful. “Accident Prone”’s down-tempo guitars and Everett’s sedated, melodic vocals are beautifully unusual, and the way he channels Johnny Cash’s mumbling vocal on the dreamy guitar-driven ballad “On the Ropes,” is nothing short of eerie. But “Peach Blossom” and “Kinda Fuzzy” are classic eels—groovy, distortion-drenched, creepy rock—to the point of sounding derivative and unimaginative. At thirteen tracks, the album is a tad long. It starts to run out of steam right around track ten, but it is not without some charm as noted above. Wonderful, Glorious feels aimless in its search to find the things its title seems interested in discovering.

Quiet Fire

Jarjuna/Self-released

Does this group play jazz music? Tribal fusion? World music? Some other style entirely? This is part of the intrigue that defines Charlottesville-based group Quiet Fire, whose music crisscrosses over myriad genres like a nomad in search of its next home. The hypnotic percussion and rhythmic guitar on the opening track, “Elephanta Island,” combine with Miles Davis-like trumpet flourishes to give the track an unexpectedly tranquil, languid feel. The pace and structure of a “Kora’s Song” is more upbeat and improvisational, adding another dimension to the band’s music. “Twilight” sounds like a late-night jazzy jam session from the best dream sequence you’ve ever had, and the title track combines a variety of disparate sounds—sinister percussion, gorgeous acoustic guitar, lively bass, chaotic trumpet, and otherworldly electric guitar. The release is an imaginative, out of the ordinary, and exciting addition to the genre of instrumental music.

Matt Pond

The Lives Inside the Lines of Your Hands/BMG

Singer-songwriter Matt Pond’s latest release, The Lives Inside the Lines in Your Hands, is essentially a pop record which employs the typical trope of wearing your heart on your sleeve with regard to the various ups and downs in relationships. It has fair number of lively melodies and upbeat rhythms, but it’s a little thin at times. The driving pop rock rhythm and somewhat wistful reminiscing about a failed relationship in “Hole in My Heart” perfectly capture the pervasive tone of this record. The pure pop of “Love to Get Used” looks at people who don’t believe they deserve any better, while “Go Where the Leaves Go” gives a nod to Don Henley’s “The Boys of Summer” with its ride-your-car-into-the-sunset vibe. The title track is this album’s best, with its talk of traveling America and lyrics like “Just because we’re in these bodies/Doesn’t mean there isn’t more.” Hands is a steady, if at times familiar and enjoyable album.

Categories
Arts

ARTS Pick: Immortal Technique

Playing it forward

A year behind bars during the early years was not entirely lost time for Felipe Coronel. It gave him the focus to hone his talents, and the motivation to take a few political science classes, both of which transformed him into a deeply political, determined, and charitable artist. Finding new ways to play out confrontation, Coronel works under the moniker Immortal Technique and carries the label of “battle rapper.” Social commentary and fierce independence meet in his music, and he refuses to back down from either while continuing to perfect impeccable (and perhaps immortal) techniques.

Thursday 4/11 $16-18, 9pm. The Jefferson Theater, 110 E. Main St., Downtown Mall. 245-4980.

 

http://www.youtube.com/watch?v=v2r8kBnGtAU (Explicit)

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News

UVA Nursing’s $5 million gift and the future of higher-ed funding

UVA School of Nursing Dean Dorrie Fontaine had been on the job six weeks when she was told she was losing $1 million from her budget.

It was 2008. State funding had been declining for years, and the financial crisis was delivering heavy blows to UVA’s endowment. The school’s only option was to take an ax to spending.

“That was sort of a bellwether,” Fontaine said. State support, already in a steady decline, has been dropping since.

Last week, in her offices on the third floor of the Claude Moore Nursing Education building, she held up a letter that brought things full circle. It was a handwritten note scrawled by UVA’s newest big donor, Bill Conway, and she read it aloud: “Enclosed, please find a check for $1 million, representing the first installment of our commitment to UVA nursing.”

Private funds—gifts and disbursements from its once again robust endowment—jumped from 15 percent of UVA’s revenues to nearly 20 percent in the last 10 years, and now make up a bigger proportion of its budget than do taxpayer dollars. The University’s recent $3 billion capital campaign is coming to a close, but the fundraising team is not letting up. Last week, administrators outlined an aggressive plan to make donations an even bigger piece of its revenue pie, and in many ways, the Conway gift is a prime example of what they’re hunting: a seven-figure supporter from outside the fold who is eyeing a long-lasting relationship with the school.

After Washington financier Bill Conway announced in 2011 that he planned to give away at least $1 billion of his wealth before he died, it was the Carlyle Group co-founder’s wife, Joanne, who suggested much of the initial $55 million in gifts go to create scholarships for some of the region’s best nursing programs.

UVA can thank a Carlyle VP named Zach Crowe for the fact that it made the list. Conway is not a University alum, but Crowe is. He graduated in 2005, and married into the Birdsong family, whose millions have long supported the medical and nursing schools.

“Zach said, ‘Have you considered Virginia?’” said Fontaine. Then came the calls and meetings—14 months of them. Conway was drawn to one program in particular.

UVA’s Clinical Nurse Leaders program is designed to turn bright adults coming to the profession from other careers into advanced generalist nurses—big-picture practitioners who are focused on improving patient outcomes, and, said Fontaine, are equipped to combat the failures of a broken health care industry.

Created in 2007, it’s a relatively new professional designation within nursing, but one that’s generating a lot of demand. It’s also a rigorous, 24-month, full-time commitment. To Conway, it sounded like an opportunity.

“He’s interested in capacity,” Fontaine said. “How can we double something?” The answer was scholarships—within five years, 48 of them—which would open up the CNL program to lower-income students who otherwise wouldn’t be able to afford dropping jobs to get a master’s degree.

The gift will also fund four to six new faculty positions. That’s a big deal at a time when UVA is anxiously seeking ways to bring in new professors and hang on to the ones it has, and nobody knows that better than Fontaine, who is chair of the University’s Committee on Faculty Retention, Recruitment, and Development. Securing the gift felt “like dominoes falling into place,” she said.

But that belies the work it took to get there. Fontaine estimates she spends 40 percent of her time fundraising for her school—necessary to chase that kind of support in order to grow programs in tough economic times.

“I think this might be the way of the future,” she said.

She’s not alone.

While the headlines coming out of last week’s Board of Visitors meeting in Richmond were focused on proposed tuition hikes—a 3.9 percent increase for in-state students and what amounts to a $1,500 jump in fees for many sparked uneasy debate—the administrators’ draft financial plan also laid out ambitious new fundraising goals that make private money more important than ever to the University’s bottom line.

Giving and disbursements from UVA’s powerful endowment now account for almost twice as much of its budget as state appropriations do, and the University is aiming ever higher. The University has plans to launch a $5 billion bicentennial campaign in 2017, with a goal to double its philanthropic cash flow growth rate from 2 to 4 percent.

Getting there will require a “philosophical shift” in how UVA solicits gifts, according to the financial report: a bigger and broader pool of donors, more staff to woo them, and a more centralized approach that will coordinate fundraising efforts among the University’s various schools and foundations to support core operational needs.

Its peers are following the same trend. According to the Delta Cost Project, which examines trends in higher education funding, public research universities saw per-pupil revenues from gifts and endowments make massive rebounds in 2010 after faltering in 2008. Data gathered by the Council for Aid to Education showed contributions for colleges’ current operations went up by 6.2 percent in 2012.

Conway is just the kind of big fish UVA wants to land. Not only does he represent new territory as a non-alum willing to make a significant contribution despite no direct link to the University, his message to the recipients of his largesse, including UVA, has been that there’s more where this came from.

“I wouldn’t be surprised if over the next five or 10 years, the amount that went into these similar kinds of buckets was five to 10 times more,” he told the Washington Post last year.

But the new era of bigger-than-ever giving raises an equally big question for public research institutions like UVA. Does its mission shift when private donations make up nearly a fifth of revenues and state support is whittled down to a tenth?

As Fontaine and other members of committees working on the University’s strategic plan have grappled with the future of the school, “we’ve had to be very thoughtful about what it means to be a public institution,” she said. “What do we owe the citizens of the state and the country?”

There’s a feeling that with less dependence on taxpayer dollars comes more freedom. “We would prefer to state our vision and mission and act on it, and constantly evaluate it,” she said.

The shift in the bottom line is cause for concern among some higher ed experts. The Education Trust, a nonprofit focused on closing opportunity and achievement gaps, warned in a 2010 report that public flagship schools’ efforts to model their financial plans on their private peers was eroding universities’ public missions.

But for the nursing school, the benefits of the latest big contribution to UVA look clear: more students in an increasingly important program. There’s also hope that it’s a better kind of bellwether for better times to come, when like-minded partners are willing to throw even more financial weight behind initiatives they care about.

“I’m thinking in my mind now, ‘What is that next big gift?’” Fontaine said. “What is a $10 or $20 million proposal? What would that look like?”

 

Categories
Arts

Too Late for The Late Show

Jimmy Fallon isn’t the answer. Fallon, who was just named as Jay Leno’s replacement on “The Tonight Show,” is likeable enough. But he’s not the solution to NBC’s ratings woes—in February sweeps, the network posted its worst rating among the coveted 18 to 49 demographic ever—because it doesn’t matter who occupies the seat on “The Tonight Show.” The late show format doesn’t have the same cultural presence it used to, which is why eventually they’ll all disappear.

The decline of the late show started in 2010, with the Leno/Conan O’Brien drama. Citing poor ratings, NBC’s execs said they were going to move “The Jay Leno Show” into the 11:35pm slot and O’Brien’s “The Tonight Show” to 12:05am. O’Brien proclaimed that he’d rather quit than be forced to the new slot, and so he did. Leno then took over “The Tonight Show.” On Twitter and Facebook, people cried out in protest. They blasted Leno and shouted that O’Brien was wronged. But ironically enough, if all those people who said they loved O’Brien and “The Tonight Show” were actually watching, none of it would’ve happened.

O’Brien started his own late night show, “Conan,” on TBS. By 2011, it was fourth in ratings. Just like before, no one was tuning in. Things got so bad that TBS execs purchased “The Big Bang Theory” reruns and aired them before “Conan,” just to get ratings up. The gamble seems to have worked, as “Conan” was recently extended through 2015. But that isn’t a sign of how good the show is; it’s a sign that TBS has nothing better to offer.

The great tuning out isn’t O’Brien’s—or Leno’s—fault. It’s the program itself. Say Lindsay Lohan tweets that she wants to marry a tree. Unfortunately, this isn’t as crazy as it sounds. By the time a young adult turns on a late show to hear jokes about the incident, he’s already read hundreds online. The late show used to update people about current events, but the Internet—and especially social media—takes care of that these days.

When I asked Laurie Thurneck, a professor of Communications Studies at PVCC, about this phenomenon, she agreed. “In this case, ‘The Tonight Show’ may be losing viewers because the show is no longer appealing to the needs of the younger demographic in a way that is meaningful to them,” she explained.

When Fallon takes over “The Tonight Show” in 2014, there’ll be an initial ratings surge, but things will settle down. “The Tonight Show” could still lead in the late night show ratings, but being the best of a programming dinosaur will not save it from extinction.

Hosts Who Would Make Me Watch Late Night Shows

Tracy Morgan. The over/under on number of episodes that air before Morgan would get kicked off the show for saying something offensive is set at seven. Take the under.

Amy Poehler. Possesses the unique ability to deliver smart comedy.

Bill Clinton. Two words: Sax solos. Actually, scratch that. Five words: Sexy sax solos every episode.

Denzel Washington. O.K., there’s no reason for him. But c’mon. He’s so f*cking cool. Each monologue could just be “Hi, I’m Denzel.” And I’d be like “Aw yeah son!”

Categories
Living

A tale of two houses: In Belmont, two families decide between a rebuild or renovation

When Meghan Keith-Hynes says she would challenge you to find a television in her house, it sounds more like an actual challenge than a rhetorical device.

Keith-Hynes is fierce about her beliefs. She’s so minimalist and anti-materialist, she sleeps on an air mattress. She so despises inactivity, her living room is essentially designed for ballroom-style dancing. She is so disgusted by fossil fuel extraction processes, she refuses to have natural gas hooked up to her house.

Patrick Hynes and Meghan Keith-Hynes rebuilt their Belmont Avenue home. Photo: John Robinson
Patrick Hynes and Meghan Keith-Hynes rebuilt their Belmont Avenue home. Photo: John Robinson

That’s why it’s been hard for Keith-Hynes to compromise even a little in the process of moving her family from their tiny home at 604 Belmont Ave. into a larger house they’re building at 608 Belmont.

“I hope I don’t come off as a contradiction,” she said while sipping green tea in her tiny kitchen on a brisk March day. “I have struggled with this.”

While Keith-Hynes’ newly built home in one of Charlottesville’s fastest growing neighborhoods is not huge, at 1,850 square feet it’s a big step up from her existing place, which measures 720 square feet. She and her family had considered the “mouse house” a temporary solution since selling off nearly all their possessions and coming to Belmont from a farm in North Garden in 2008. But now the family matriarch says she’s worried they will accumulate possessions to fill the larger house when they move in in mid-May. Still, it’s a risk she’s willing to take given that her husband and son are both well over 6′ tall.

“We need a place that our adult kids will feel more comfortable coming home to and won’t have to sleep on the couch,” she said.

Keith-Hynes is also highly averse (almost natural-gas averse) to building a house that steamrolls the eclectic charm of Belmont with its upper-middle class sensibility. It’s a balancing act common to many people moving into economically diverse neighborhoods, according to local architect and City Councilor Kathy Galvin.

“At some point, a structure can require so much work it is easier for a new tenant to tear it down than remodel,” Galvin said. “That said, I do think there is something to maintaining the cohesion of a physical place.”

Several doors down and across the street from Keith-Hynes, new Belmont residents Todd Free and Danielle Petrosky-Free have been dealing with the same issue. The couple moved into 615 Belmont last fall after a complete renovation of the “roach-infested” hovel. The decision to renovate instead of rebuild hasn’t necessarily given the family everything they could ever want (they think they’ll have to move if they have kids a few years down the road), but it has made them feel more a part of Belmont.

“It feels good to have kept something old in the neighborhood,” Free said. “Maintaining the history makes me feel a little more connected to the people that live [here].”

Danielle Petrosky-Free and Todd Free renovated their Belmont Avenue home. Photo: John Robinson
Danielle Petrosky-Free and Todd Free renovated their Belmont Avenue home. Photo: John Robinson

The night Free and Petrosky-Free found the Charlottesville home they would eventually settle in, they had a bad taste in their mouth.

Both food lovers, the two Norfolk residents had cooked for a dinner party at Free’s brother’s place before heading out for a house hunting tour of Belmont. They’re good cooks, Free said, but the Indian food they tackled that night “was a disaster.”

The taste was at least improved when the couple found a home for sale that met most of their requirements—a small, vintage fixer-upper in a walkable neighborhood close to Downtown.

Unfortunately the house didn’t cleanse the couple’s palates entirely. The conditions were nearly unlivable. Free says it made him uncomfortable when he learned an elderly woman had lived there—in a home so drafty it couldn’t be tested properly for gas levels.

“It was so bad that after we bought it, we were kind of taking a look around and had that feeling like, ‘Was this a good move?’” Free said.

It was primarily the location (at 615 Belmont) that convinced Free and Petrosky-Free it was a good move. And with an asking price of $130,000, the house was listed well under their ceiling of $300,000 while leaving them plenty of remodeling funds. The couple began soliciting bids from contractors and planned to use the unique 203K loan process to secure a mortgage for both the cost of the home and the needed repairs.

At least one contractor suggested the Frees tear the home down and start from scratch. To their surprise, he said it could be done within their budget. But in the end, the couple decided maintaining the original structure of the house was important enough to go forward with a remodel. They narrowed their list of design plans to three, then discarded a design that would have razed a 1940s-era addition to allow them to build off the back of the house and another that would have created a brand new second floor. They settled on a plan that reconfigured the dormer-style second floor to make it big enough for a full bedroom and bathroom. The contractor the couple selected, Abbott and Co., came in with a competitive bid of $110K, and owner Scott Abbott impressed them with his willingness to salvage as much of the existing structure’s original detail as possible.

“I think that was one of the coolest things about this project,” Free said. “There is something neat about things like original plaster walls. They aren’t perfect.”

At $450 a pop, new windows were a tough thing for the Frees to decide on, but it was worth the effort and the cost to make the house more environmentally friendly. Photo: John Robinson
At $450 a pop, new windows were a tough thing for the Frees to decide on, but it was worth the effort and the cost to make the house more environmentally friendly. Photo: John Robinson
Categories
News

Precedent is against petitioners who want to dump Dumler

The petition to remove Albemarle County Supervisor Chris Dumler from office went before a judge for the first time last week, but the effort to force out the Scottsville representative faces an uphill battle.

The petition effort, spearheaded by Scottsville resident Earl Smith, invoked a little-known statute of the Virginia code that allows residents to ask a judge to remove an official if they gather signatures totaling 10 percent of the voters in a precinct’s most recent election.

Smith collected 580 names, far more than the 372 he needed. It’s not personal or political, he said—he feels for Dumler, and thought he’d done a fine job as supervisor. But when he pleaded guilty to misdemeanor sexual battery in January, Smith said, he proved himself unworthy of office.

“You took the trust and the faith and the energy of the public, and you threw it away for a bad choice in your personal life,” said Smith.

But that might not satisfy Virginia’s very specific rules on dumping officials. Besides conviction for a few specific marijuana offenses or hate crimes, the petition statute says only “neglect of duty, misuse of office, or incompetence” that results in “a material adverse effect upon the conduct of the office” counts as grounds for dismissal by a judge. The petition signed by hundreds of Dumler’s frustrated constituents cites only his “admitted and documented questionable behavior.”

Judge Paul M. Peatross scheduled a hearing in the case for April 29 and a bench trial for May 20. Lynchburg Commonwealth’s Attorney Michael Ducette, called in as a special prosecutor to represent the people’s argument in the case, said he’ll soon file specific claims clarifying the petition.

Dumler, reached for comment after he appeared in court with his lawyer on Tuesday, sounded confident. “I look forward to seeing that,” he said of Ducette’s filings, “to see what, if anything, besides my conviction is meant by ‘admitted questionable behavior.’”

If the petitioners do succeed, they may be the first to do so in nearly 90 years. The only case legal experts have pointed to where a judge accepted a petition and threw out a Virginia elected official was in 1924.

So why is it apparently so hard to kick sitting politicians to the curb in the Commonwealth? Some blame the Founding Fathers’ aversion to direct democracy—recall elections, ballot initiatives, and the like.

“They were quite confident that you didn’t want people to vote directly on policy,” said UVA law professor Michael Gilbert, and their Federalist fingerprints are still all over the state code.

“Recall culture” is much more common in Western states, many of which have constitutions penned during a wave of populist sentiment that washed over the country in the late 1800s. But since direct voting essentially undermines the power of elected officials, few established government bodies will opt for it down the line, said Gilbert, and Virginia remained old-school.

The last decade has seen a number of high-profile efforts to invoke the state’s petition statute. Voters in Chesterfield, Gloucester County, and Harrisonburg have all attempted to oust local leaders, with no suc-
cess—one petition was tossed out for procedural reasons, and two officials resigned before a judge ever ruled in their cases. Still, the petitions have kept coming. Ducette said he’d never encountered one in 29 years of practicing law, and he’s now working on two removal cases: Albemarle’s, and another in Sussex County.

Hank Martin hopes that means the state legislature will sit up and take notice. A lifelong county resident who calls himself a Constitutionalist and frequently writes for conservative radio host Rob Schilling’s blog, Martin helped draft Smith’s petition, and said that if the state code effectively blocks their effort, it’s time for Virginia to change its laws.

“If you can shut the voice of the people up now, the system is broken,” he said.

Categories
Arts

Play ball! (On screen, that is!)

It’s spring, and you know what that means: A young man’s fancy turns lightly to thoughts of love. Tennyson doesn’t appear to have thought of the old men or women at all, so let’s assume they’re all thinking about baseball, or as I call it at home, love.

Normally I wouldn’t put together a post on the five best baseball movies ever, but with 42, the Jackie Robinson biopic coming out next week (and not making the list for sure), I figured now is a good time to remind us which baseball movies get it right–and which don’t.

THE BEST (in no particular order)

Bang the Drum Slowly (1973): This movie seems to get lost when talk turns to great sports flicks. And the one-line plot description is no indication that the movie is indeed great: A then-unknown Robert De Niro, as catcher Bruce Pearson, is dying, and he plays for a team modeled on the Yankees. Ugh. Plus, De Niro is supposed to be from Georgia, and we know how he does with accents.

But he and Michael Moriarty (as team star Henry Wiggin) bring quiet power and subtlety to this tale of friendship, and somehow it avoids maudlin territory, which the similarly themed Brian’s Song can’t quite avoid. Yes, you’ll cry, but Bang the Drum Slowly earns your tears. It’s too bad Moriarty didn’t often play leads after this film, because he’s wonderful.

Major League (1989): Hey! A comedy starring Charlie Sheen that’s actually funny on purpose. Major League won’t go down as having the most original story ever–it’s a variation on the misfits-make-good staple–but it’s genuinely uproarious.

And what’s the best line? For my money, it’s when Andy Romano, as bench coach Pepper Leach, first sees Sheen’s young, brash pitching prospect arrive at spring training and deadpans, “Look at this fuckin’ guy.” You could spend an afternoon quoting Major League, and that one-game playoff with the Yankees for the pennant is always tense, even on the fifteenth viewing.

Field of Dreams (1989): Well, you knew this one was on the list, right? For all the baseball talk and terminology, this story isn’t really about the sport. It’s about family–specifically fathers and sons–but it will resonate with anyone who’s had a difficult relationship with a parent or child. Plus, it’s a chance to see Kevin Costner act on screen before he slipped into permanent Gary Cooper-mode. Ray Liotta is great as “Shoeless” Joe Jackson, even if when he laughs he sounds like Ray Liotta.

Moneyball (2011): Baseball is a game of statistics, and someone–namely director Bennett Miller–figured out how to turn those stats into emotions (along with help from screenwriters Aaron Sorkin and Steven Zaillian, who adapted Michael Lewis’ book). Outside of fantasy baseball, stats are as boring as whale shit, so the fact that anyone saw Moneyball at all is a miracle.

Brad Pitt plays Billy Burke, the general manager of the Oakland A’s, and a failed pro. With a tiny budget and a fat numbers whiz (made-up character Peter Brand, played by Jonah Hill), he changes the game of baseball. There are stark differences between how Burke did it in real life and how it worked on screen, but that doesn’t matter. This isn’t a documentary, even if it’s based on real people. See if you can count how often Pitt eats on screen.

Eight Men Out (1988): Like Bang the Drum Slowly, this quiet movie gets left off lots of best sports movie lists. How? It has a hot young cast (including John Cusack and Charlie Sheen), a great director (John Sayles), and a famous true story (the Chicago White Sox throwing the 1919 World Series – a major plot point in Field of Dreams). Say it ain’t so, Joe.

THE NOT BEST (in a particular order)

The Natural (1984): Normally I don’t care that movies often deviate from their source material. Books and movies are markedly different media, and they have different strengths and limitations. But Bernard Malamud’s book doesn’t deserve to become a movie that changes its lead character’s motivation or life story. Plus, Robert Redford, as Roy Hobbs, just isn’t all that good in the part.

Bull Durham (1989): This is one of those persnickety critic things, maybe, but I’ve never enjoyed this movie the way everyone else in America does. Is it that Kevin Costner is so unlikeable? Or that Susan Sarandon is, too? Hard to say, and harder to find out: I’m not watching it again anytime soon.

Pride of the Yankees (1942): Because Gary Cooper. If he’s not killing Frank Miller and marrying Amy Fowler, what’s the point?