Categories
Arts

ARTS Pick: The Rocketeer

The record-breaking success of 1989’s Batman green-lit a wave big-budget retro-adventure films, including the outlandish, neon ensemble piece Dick Tracy; the brash, moody grotesquerie of The Shadow; and the feather-light, straight-faced camp of latecoming entry The Phantom. Nestled amongst them is 1991’s The Rocketeer; though it was considered a modest disappointment upon release (Disney thought they had another Indiana Jones franchise on their hands), it has aged remarkably well, proving far more timeless its peers, and finding a devoted cult following on home video.

The film was a career-making break for Charlottesville’s own Billy Campbell (a Western Albemarle grad), pitch-perfect in the starring role as an earnest, all-American daredevil pilot in 1930’s California who accidentally lucks into one of the most primal of 20th-century pop-science fantasies: a rocket pack. Simultaneously pursued by the rockets designers, the FBI, and the Mob, he dons an impeccably designed art-deco helmet and takes flight in order to rescue his sweetheart (a never-lovelier Jennifer Connelly) while thwarting a secret Nazi invasion of the US.

The supporting roles are filled by a solid roster of reliable character actors, from Alan Arkin and John Polito to Paul Sorvino and young Terry O’Quinn (as Howard Hughes!); the under-appreciated Timothy Dalton has never been finer than his wickedly fun turn here as a sneering, swashbuckling villain, channeling the darker side of the Erroll Flynn or Douglas Fairbanks, Jr. persona.

Closely adapted from an obscure 1980’s comic book by would-be pin-up artist Dave Stevens (Connelly’s character was supposed to be Betty Page in the original), the film is expertly helmed by Joe Johnston, a Spielberg and Lucas protégée who got his start as a model-builder for the original Star Wars. One of the few contemporary filmmakers to revisit retro and genre material with sincerity and optimism rather than cynicism and sarcasm, Johnston has had a remarkably consistent career, from Honey, I Shrink the Kids and October Sky to the recent Wolfman and Captain America remakes.

Featuring zeppelins, car chases, nightclubs, gangsters, swordfights, daredevil acrobatics, numerous fun jabs at old Hollywood, and countless scenes set in and around classic LA landmarks, The Rocketeer is a timeless, charming, and well-crafted bit of all-American entertainment. The Packard Theater at the Library of Congress in Culpeper will screen a fully restored 35mm print of The Rocketeer on Saturday, June 22nd at 2:00pm. The film is rated PG, and admission is free, although the Theater does encourage advance reservations.

Categories
News

The Education Beat: City could scrap teaching requirement for principals

Last week, the Charlottesville School Board discussed relaxing its requirements for principals in order to allow candidates without teaching experience to fill the top administrative positions at city schools.

In a discussion at the board’s regular meeting on June 13, three of the five members present supported the change to the division’s policy manual, saying the existing rule could prohibit the hiring of the best candidates. Superintendent Dr. Rosa Atkins noted that principals can come from a school counseling background, which does not require teaching experience. But board members Jennifer McKeever and Colette Blount disagreed with the potential policy change. Board chair Juandiego Wade and member Leah Puryear were absent.

The Virginia School Boards Association recommended local boards make the shift to align with updates to state code, which no longer requires principals to have teaching experience. The state still gives localities discretion, allowing them to make the qualification if they choose.

The Board will review and vote on the final draft of its updated policy manual with suggested changes later this summer.

Architect hired for Agnor-Hurt Elementary School addition

The Albemarle County School Board last week showed unanimous support in selecting SHW Group Inc. of Reston, Virginia, as the architectural firm for a 13,824-square-foot addition to Agnor-Hurt Elementary School. While students will be redistricted to Broadus Wood, Greer, and Woodbrook elementary schools in the upcoming school year, Agnor-Hurt is projected to be over capacity by more than 100 students in August.

Albemarle will work with SHW over the next year to finalize design plans. Chief operating officer Josh Davis said that a mix of full-sized classrooms and smaller learning spaces will be the most likely outcome. Board member Ned Galloway, who sat on the committee that reviewed the proposals, said the firm’s presentation and design concepts blended construction and building services that reflected the Board’s vision and direction for 21st century learning.

The addition will increase the school’s capacity to 598. Construction is slated to begin in 2014-15, and the new classrooms are scheduled to be open for the 2015-16 school year.

County School Board supports cameras on buses

The Albemarle County School Board last week voted to request an ordinance from the Board of Supervisors to allow the placement of cameras on the stop arms of the division’s school buses.

This winter, Albemarle placed stop-arm cameras on two buses for 41 days as part of a pilot study to gauge how often cars were passing stopped school buses. Those cameras captured 79 violations. Albemarle County Director of Transportation Jim Foley reported that the 79 violations average one violation per bus per day, or 360 violations during the 180-day school year for the two piloted buses alone.

The cameras, Foley said, would capture the short period of time in which a violation occurred, and not a constant stream of video. School Board member Jason Buyaki and chair Stephen Koleszar voted against the initiative. Member Pam Moynihan, who voted for the cameras, argued that the technology would help keep children safe.

A representative from Albemarle County Public Schools will go before the Board of Supervisors to advocate for the cameras in the near future.—Tim Shea

Lynn-Marie-Hilleary. Photo courtesy Albemarle County Public Schools.

MEET YOUR EDUCATOR: Lynn Marie Hilleary, 4th grade teacher, Brownsville Elementary School

Why did you choose to teach?

I entered Virginia Tech to become a veterinarian, but during college vacations I often lived with my older sister, who is a reading specialist in Fauquier County. Spending so much with her in the classroom and helping her plan lessons, it appeared teaching was so rewarding that I just got hooked being with the children.

If you had to pick one, what do you think is the single most important issue facing the public schools today?

I am very concerned regarding the SOL testing and assessments we must do; the rigor increases every year. It does not allow time for children to be creative in their own ways in the classroom.

What’s your favorite example of a rewarding experience you’ve had in the field of education?

There have been so many rewarding experiences in the classroom and
with students coming back to visit or writing to me years after they leave
my classroom. Winning the Golden Apple this year was a great accolade.

Categories
Arts

Showtime, Charlottesville: Japandroids are in town

Let’s get this out of the way: The name Japandroids doesn’t mean anything. Both members of the Vancouver-based rock band happened to come up with two-word names before their first billed show. Neither of them liked the other’s suggestion, so they combined them. The result is a play on words that Brian King and David Prowse expected to change before their next event.

Eight years later, the name Japandroids has stuck with the garage rockers like a bad riff. In a recent phone interview, guitarist and vocalist King said if he and Prowse had it all to do over again, they’d aim for something less futuristic ambient and moredirty punk. But at this point, their brand has grown too strong to ditch the name.

In less than five years, Japandroids has gone from a near breakup to doubling the size of the live venues it plays, and garnering critical acclaim for the full-length studio albums, Post-Nothing and Celebration Rock. On June 20, King and Prowse will bring their act to The Jefferson Theater.

C-VILLE Weekly: You guys are known as a killer live act. What can the crowd at the Jeff expect?

Brian King: “We pride ourselves on our live show. That’s the part of playing in a band we love most. So the crowd can expect from us a pretty loud, energetic rock show. The other half depends on them. Our band has a very symbiotic relationship with the audience, and typically the audience likes to participate in the show. It can get pretty wild, pretty crazy, so the more the audience gives the band, the more the band gives back.”

So this is kind of a performance for Charlottesville, as well?

“This is going to be the first time we’ve ever played in Virginia. We don’t know what the crowds are like. They don’t necessarily know what happens during a Japandroids show. In many ways, it’s like going on our first tour again.”

Do you have any advice for the crowd?

“We write songs that are meant to be played live, with audience participation in mind. If you know the words to the songs, sing along. I don’t like to instruct the audience, but feel free to be enthusiastic because it makes us play even harder and wilder than we normally would.”

Tell me about the timing of this tour. It’s been almost a year since you released a record.

“We have been touring pretty much nonstop for a full year now. We are going to tour through the summer, then take time off to work on a new record. I am quite certain if people in Virginia have never seen us play before, they’re not going to care when we come as long as we eventually come and play the songs they like.”

Your manager said you guys are rehearsing to shake off rust. How can you be rusty?

“Even taking two or three weeks off, it makes us not sloppy, but nervous. When you’re playing five or six nights a week, you feel a certain confidence. We want to be as tight for the first show as we were the last show.”

You wrote in your bio that you guys “rip off too many different bands to sound like any other duo making music.” Was that a joke?

“We’re not necessarily a really innovative or original sounding band. We are a rock band with guitars and drums. It’s more or less everything you have heard before, but we just mix together all of our favorite bands into this one sound that ends up sounding at least just like us.”

One of the things that is unique is you’re a two-piece. Does that limit you?

“You are taking this thing two people have been doing for 100 people and doubling the size of the venue, and you have to maintain that energy. At the same time, you hear an obvious progression in the playing and songwriting on our records. You hear us figuring out how to maximize what we do have.”

I hear more radio-ready elements on the newest album. 

“I hear that too, but I think it is a fairly organic thing. This is our first band, and the first EPs we did, we didn’t know anything about writing songs and were learning to play together. That was the best we could do at that time. If we could have written arecord that had great hooks, we would have.”

I think of garage rock as being age-specific. Do you worry aging will make what you do more difficult?

“Dave and I are both 30 now, but I think there is a way to get older and still make exciting, dangerous rock music. One of our favorite bands of the last few years is Grinderman, Nick Cave’s side project. It’s wild and out of control, oozing bravado and sexual energy. Even though it is by guys that are my parents’ age, this music would scare the hell out of my parents. I would like to think we can find a way to do that.”

Charlottesville has a lot of struggling singer-songwriters. You guys aren’t far from that yourselves. Any advice for them? 

“If you want it bad enough and work hard enough, something will happen. It’s taken eight years to get where we are. It’s not like we are giant rock stars, but anyone who is concerned things aren’t happening with their band can look at us.”

Categories
Living

Worlds of difference: When it comes to wine, what’s special about old versus new?

Normally I try to avoid pigeonholing and categorizing wine too intensely; the thing about winemaking and viticulture is that they’re seemingly built to buck trends, to defy the accepted knowledge, to alter the industry’s trajectory one barrel at a time. And yet, one of the most overused categorizations in the wine world, “old world/new world,” still has tremendous traction in the minds of wine professionals and consumers alike. For better or worse, this distinction continues to dominate the zeitgeist: It shapes palates, affects prices, divides households, and fundamentally calls into question the motivations of many a winemaker.

So what is “new world” and “old world” wine? Broadly speaking, it’s a geographical distinction between regions that have been making wine for centuries (mainland European nations, primarily), and those that are much newer to the viticulture scene (the Americas, Australia/New Zealand, South Africa, for example)—relatively speaking, of course.

But wait: Why should it matter which side of the pond your wine comes from? As long as the growing conditions are right, good wine is good wine…right? Well, yes and no. The two sides of the “pond” represent fundamentally different approaches to winemaking, with a caveat that cannot be overstated: This is a general statement, and scores of wines break the mold and “jump the pond” every year. Not surprisingly, though, the youngness of a region’s wine tradition often plays a fairly large part in how modern its approach is.

Old world wines, those primarily from mainland Europe, have a glaring advantage in terms of viticulture: The continent is relatively small, and the collective area that is any good at producing quality wine is even smaller. At the same time, much of Europe has been worked and reworked by agriculturally driven societies for centuries, and wine has played a central part in the continent’s development.

Finding the right growing site, with the right soil and the right weather, and then determining which grape varietals, growing techniques, and vinification strategies produce the best wine on that site, have historically been the biggest challenges in the process of making great wine. Traditionally, it’s been trial and error, and due to the amount of time it takes vines to mature, this process has always been a lengthy one. So, after centuries of this experimentation, Europe has, in large part, uncovered all of its best properties, and determined the optimal varietals and techniques for those places.

What all of this means for wine from the “old world” is that the classic styles have typically been determined organically, and often focus more on expressing the land, the terroir, than on the “hand of man.” Traditions in Europe, especially France, are nothing if not persistent and sacred, and this is reflected in the winegrowing and legislation.

New world wines, those from areas that were largely colonized by Europeans, come from a different, more modern era and, not coincidentally, represent a fundamentally different approach to winemaking. Rather than focus so intently on displaying the place and trying to organically determine the limits and potential of that place and various grapes, the approach here is more about modern science and what the winemaker can do. Rather than endure centuries of plodding, determined testing, modern “new world” winemaking techniques focus on how the winemaker can affect the grapes in a certain area, and which grapes produce the best wine in that area on a more scientific basis.

This approach provides many more opportunities to make great wine quickly, and tailor the product to a market that demands certain styles. Biochemistry, rather than the traditions of yore, is the mechanism, but not the driver. As with traditional old worlds, the focus is still on producing great wine; the difference here is found in the methodologies, which in turn inform the styles of the wine.

Whereas traditionally styled European wines are often intent on what the earth does, this style is not so limited. Higher alcohol, more sugar, more oak, added enzymes, etc., are just a few of the ways that new world wines tailor themselves more towards the modern consumer’s desires.

But here’s the big question about old vs. new: Why should you care? The reality is that there are plenty of wines from the old world that are new world in style, and vice versa, so looking at a label may not always be enough. The distinction between new world and old is not so much geographical anymore, especially with so many “flying winemakers” consulting on multiple continents at any given time.

This stylistic distinction matters, then, because it’s so often used to describe wine by reviewers, wineshop employees, etc.—the ones who you often trust to pick wine for you—and wine is not only about which fruits and spices you can pick out of a sniff or a taste. Every consumer should confidently know what they like, and why. Concentration on terroir is lovely, but can sometimes ignore the all-important fact that wine should be delicious. At the same time, too much human manipulation can strip a wine of its uniqueness, its soul. Above all, though, these two ‘distinct’ approaches to wine simply highlight a much larger reality in the world of wine: style matters, place matters, but there are no absolutes.

Evan Williams is a co-founder of The Wine Guild of Charlottesville. Find out more at wineguildcville.com.

Categories
News

Yolunda Armstrong came here for her career, and found a community

Yolunda Armstrong’s influences are layered like the floors of a hotel.

First floor: her mother, telling her you have to give back to your community even if you’re living in the projects.

Second floor: her dad, who’s never too busy to carve out an hour on Wednesday night to spend time with his daughter watching “Criminal Minds” over the phone.

Third floor: her older sister, calling her her “big little sister” in one of their daily conversations, because she’s the responsible one.

Fourth floor: her business partner Quinton Harrell, introducing her to other civic-minded African-Americans in Charlottesville.

The floors continue to climb, but Armstrong only has so much time to go into them all. As manager of the Red Roof Inn on the well-trafficked Corner and co-owner with Harrell of A Taste of Home Southern Cuisine, a catering company and food truck, she’s busy. And that’s before you take into account the volunteer work she does for organizations like City of Promise, a local nonprofit working to improve outcomes for disadvantaged youth.

“I want to see other people go higher,” Armstrong said. “That is my passion and what keeps me wanting to stay in this community. I want to be more than just someone who is making money on the community.”

Armstrong, 41, has been working on going higher for 25 years. She got her first job at 16, starting in the microfilm department at Blue Cross Blue Shield in her hometown of Columbia, South Carolina, then moving into printing. After a couple years studying psychology at the University of South Carolina after high school, she used her knowledge of printing to pursue a job in management with Xerox Business Services. The company offered her a position in Charlotte, North Carolina, and gave her two weeks to decide whether to accept.

She took the job. At age 23, Armstrong found herself in charge of 25 people. It wasn’t always easy. She was handed a few customer contracts that were absolute dogs.

“When we took over the [printing] contract for Mecklenburg County, we were billing them $32,000 a month for the entire county,” she said. “We had to sit down and think, how can we make this make money?”

Within a year, Armstrong and her team had increased the revenues generated from the contract to $100,000 a month by partnering with the county on its newsletter printing and becoming its sole paper supplier. It was a shining star on her then-short resume as a manager. But it also got her thinking. What if she could do the same for a business of her own?

Armstrong took the next logical step to learn what it’s like to manage the bottom line for yourself—she went to a more performance-based management job. With Kinko’s in Savannah, Georgia, she found the fiscal pressure she wanted and then some. Her new boss showed her how not to manage, turning to profanity-laced tirades when things went wrong, and she failed to hit her quota in the first month the performance-based salary structure kicked in. It was the reality check Armstrong needed.

“I was like, O.K., this cannot work,” Armstrong said. “The next month, I did make a profit, and then after that I started making a profit consistently. I had to get it fixed quickly because it affected my ability to support myself. I enjoyed that about it.”

Knee deep in management experience, Armstrong set out to learn sales. She took on two commission-only positions, selling water treatment devices and later vacations for Marriott Vacation Club in Hilton Head, and found the confidence she needed to talk directly to customers. Still, you need money to start your own business, so she went back to management. She landed with Red Roof Inn in 2002 and took over several chalet-style properties before coming to Charlottesville in 2007 to oversee one of the company’s larger hotels—a 138-room high-rise doing $3.3 million in annual revenues.

“The night I was driving into Charlottesville, it was raining,” she said. “I saw the hotel, and I thought, that is a big building, can I do this? But I got in there, and I realized I could do it. I just had to take it a piece at a time.”

That she’s done. The hotel lacked a sales team; she installed one. Revenues dipped below $3 million during the recession; she drove as much as 20 percent year-over-year growth. The hotel needed a renovation; she impressed the higher-ups enough to earn a place on the short list for $2 million in improvement funds.

But she’s done more than just manage a hotel in Charlottesville. She’s finally realized her dream of owning her own business—she and Harrell are just weeks away from rolling out their first food truck—and she finished her bachelor’s degree at Averett University.

Along the way, she also became part of a community. She’s not only given back through her volunteer work, she’s also leaned on others. A Taste of Home is one of the success stories of Charlottesville’s Community Investment Collaborative, a nonprofit designed to assist minority businesses. Once things really get moving with her truck, Armstrong hopes to use the business to lift others up, hiring primarily individuals with blemishes on their resume, such as a criminal record, giving training to those who need it, and helping entrepreneurs launch their own food trucks.

“We need people like Yolunda here,” Harrell said. “Our business model is truly built on employing people in our community and helping develop people, really playing an important part in the economic development of this town. That is something I am proud and excited for, and I can’t think of a better person to be doing it with.”

Categories
News

Housing symposium examines federal funding pinch

For Charlottesville, the shortage of affordable and public housing is a problem that must be tackled, and it’s an uphill battle.

That’s the message delivered at a summit on housing issues at the Boar’s Head Inn on Friday, June 14, where federal, state, and local officials met to discuss the future in the light of federal funding cuts, and share ideas.

As sequestration has begun to shave funds from crucial housing programs such as the Community Development Block Grant Program, cities like Charlottesville have had to look to other sources. In 2010 Charlottesville was the recipient of $579,630 in grants from the program. The program has seen a cut of 22 percent, and funding totalled $407,522 this year. Kelly Harris-Braxton, executive director of the Richmond-based Virginia First Cities Coalition, said $800,000 from the CBGP could fund medical care for 400 residents in need, or complete a water project to benefit 150 people.

Harris-Braxton said when municipalities begin to rely on a program, and when the funding suddenly no longer exists, it’s difficult to get back on track.

“There comes a point where you have to ask, where do you get the money?” she said.

Another important program that took a serious blow, to the tune of a 50 percent cut, was the HOME Investments Partnership Program, which assists new homeowners with down payment and rental assistance, credit enhancement and more.

The program bolstered Charlottesville’s housing programs to the tune of $1,007,754 in 2010. In 2013, that number dwindled to $534,766.

Looking at the larger picture, Harris-Braxton said the Department of Housing and Urban Development has had $390 million cut from its budget since the sequester, and policy has changed around how the funds are delivered.

Harris-Braxton warned that more cuts are on the horizon, and housing programs could see another 14 percent cut in the 2014 fiscal year.

Symposium keynote speaker U.S. Sen. Mark Warner urged the attendees to get loud about how funding cuts have deeply affected grassroots programs. His message was repeated throughout the day in breakout sessions, as policy makers and nonprofit advocates vowed to speak up about their struggles.

While Charlottesville has kept its head down, pushing ahead in its attempts to repair its aging public housing infrastructure and provide housing for the homeless while navigating the waters of declining federal funding, the rest of the country has begun to look to the city as an example, said City Councilor Dave Norris. But, he said, “Those of us locally rarely say, ‘Wow, we’ve solved the problem,’” he said.

Norris said the city does count a few successes. The construction of The Crossings in 2012 helps get Charlottesville’s chronically homeless off the streets and provide them with a set of keys and sense of place. That program has seen residents tangle less with law enforcement and utilize fewer public resources.

“We’re doing more than probably any community in Virginia,” Norris said.

But there remain other issues, such as the looming December 2017 end date on the contract at Friendship Court, which provides subsidized housing for 150 units just blocks away from the Downtown Mall.

“There’s no easy solution. There’s no silver bullet,” Norris said. “The problems we have are decades, even centuries in the making.”—Annalee Grant

Categories
Arts

A Recipe for Success

On March 1, 2013, Justin Drew Bieber tweeted that he had just experienced the “worst birthday.” It was later revealed that the vague message had something to do with a club’s owners throwing Bieber and his pals out because they suspected some were underage. Bieber disputed this, and I dispute that this qualifies as a “worst” birthday. While some see the tiny Canadian’s angst-filled tweet as the start of a terrible downward spiral, it’s not. That brief note was the moment when Bieber finally became interesting.

By my count, there are a total of 26 musical acts performing at the Jefferson, the Pavilion and John Paul Jones Arena this summer. Since C’Ville is a small town, none of them are anywhere near the level of Bieber’s stardom. You could certainly argue that they’re all more talented than Bieber, but none—even Taylor Swift who’s coming to JPJ in September—would generate the type of mass hysteria that the singer would bring. Especially now. Since his 19th birthday, Bieber has conducted himself in a way that has made people genuinely worry. Or at least worry as much as a stranger can possibly worry about another stranger who happens to have nice hair. Everywhere you turn, people are asking “What’s wrong with Bieber?” In fact, if Dr. Drew doesn’t host an hour-long show on the subject soon, I’m going to start worrying about Dr. Drew.

Not that people don’t have reasons to be concerned. Here’s a brief rundown of some of Bieber’s antics over the past few months, in no particular order: He was photographed with weed; he tried to fight a photographer; German customs officials seized his monkey (not a euphemism); Keyshawn Johnson yelled at him for speeding; he’s being sued by another photographer for allegedly stealing his camera’s memory card; he and his manager booked a flight with Virgin Galactic to travel into space; and he wore gold chains, sunglasses, leather pants, and a leather button up shirt to an NBA game.

While the outfit seems to indicate a need for extensive counseling, everything else strikes me as a 19-year-old multi-millionaire finally being able to act like a person. Bieber’s career began when he was just 13 years old. He has never had the chance to be stupid like a normal, stupid teenager can be. This random weird behavior is a good thing. I want more immaturity from Bieber, not less. The same goes for the nation’s public, media outlets, and critics. They’re proclaiming their concern while smiling internally, because this is exactly what we want out of our celebrities: constant (purported) insanity sprinkled with (minor) respectability. Bieber is now following the formula, making him more American than he’ll ever know. U.S.A., U.S.A., U.S.A.

Celebrities Actually Worth Worrying About, Ranked From “They’ll Probably Be Okay” to “Should Be Hospitalized.”

The Goo Goo Dolls

Brad Pitt

Gwyneth Paltrow

Kanye West

Amanda Bynes

Categories
Arts

ARTS Pick: A Night at the Museum

After hours

Your childhood dream of sneaking past the museum guards and playing among the art can finally come true. Spend the evening at UVA’s Kluge-Ruhe Aboriginal Art Collection with friends, Devils Backbone brews, musical accompaniment by the Judy Chops, Downbeat Project, and The Hill and Wood at Night at the Museum. Explore the new exhibition, “After theDreamings: 25 Years of Australian Aboriginal Art in the U.S.,” and enjoy sunset views from the historic grounds on Pantops.
Thursday 6/20 $5, 5pm. Kluge-Ruhe Aboriginal Art Collection, 400 Worrell Dr. 244-0234.

 

Categories
The Editor's Desk

Mailbag: Charlottesville’s housing crisis is self-inflicted

Free market housing

Recently this paper published an article about the well-documented problem of Charlottesville’s housing unaffordability. It claimed that nearly half the city’s population now pays over 30 percent of income on housing, making it Virginia’s second-costliest city.

To a degree this problem exists because many residents here are unemployed or hold low-wage jobs. But it is also because of Charlottesville’s high housing costs. From 2000-2010, average home values doubled to $321,000, with rents rising as well. And while an inflated market has contributed to this, so too have local policies, which, like in other highly-sought-after cities, have prevented supply from meeting demand. To understand how this has lessened affordability here, just look at San Francisco, where I spent much of 2012 studying, and which mirrors Charlottesville’s situation.

San Francisco is a place that outsiders pay dearly to live in, but that existing residents fight to protect. The government has accommodated these outsiders somewhat by allowing mild amounts of new development. But mainly it channels into law the city’s spirit of NIMBYism. It does this with various zoning regulations—from height limitations to setback requirements—that drastically reduce how many units can go on given lots.

Before construction, developers endure multi-year approval processes that address numerous, often unnecessary factors, far in excess of those found in other cities. This adds costs that ultimately get passed onto customers, and sometimes discourages construction altogether.

As a result, San Francisco is America’s most expensive city, and one of a few, writes economist Edward Glaeser, where “because of zoning and other land use controls…the price of housing is significantly higher than construction costs.” This has harmed its poorest residents, who have rapidly been forced to move out; and the environment, since these exiles often just occupy cheaper suburban housing, gobbling up the Bay Area.

Unfortunately the same mentality threatens Charlottesville. In recent years, attempts by various city bureaucracies to stifle housing growth have included:

– The Planning Commission’s strengthening of an ordinance that discourages development on “critical slopes.”

– The unwillingness of the CRHA to redevelop public housing at greater densities, even though this was recommended by consultants, and would add to the housing stock.

– Numerous design rejections by the Board of Architectural Review, which have so frustrated developers like Gabe Silverman that he publicly stated his hesitations about doing future work here.  

– The constant refusal by City Council to grant density increases and/or speed up the approval for numerous developments, including recent ones proposed for Cherry Avenue, Eton Road, Rose Hill Drive, and Quarry Road.

These incidences just exacerbate the broader problems of the zoning code itself, which favors suburbanized, low-density development throughout most the city. What has resulted are the same problems here that have become urban buzzwords in San Francisco—gentrification, displacement, sprawl, and the suburbanization of poverty. This is evident in city population numbers, which since 1990 have increased only by 3,000, while metro Charlottesville has grown by over 40 percent to over 200,000. And it has been most problematic in black neighborhoods, causing councilor Dede Smith to complain that “what we’re losing is our history.”

Yet council’s response to this “severe deficit” (in TJPDC’s words) of affordable housing is the same as in other cities. Having mistaken it as a market failure, rather than the work of their own policies, they have subsidized new housing at taxpayer expense, through a combination of local non-profits, government projects, and a $1.4 million fund. They also demand that builders seeking special use permits make a percentage of their units affordable, even though economists widely agree that this discourages development and increases costs for market-rate units.

What would result if, instead of all this, council merely deregulated land uses in Charlottesville? Even skeptics who agree that this would increase housing still think those units would be unaffordable. But Ed Olsen, a UVA economics professor who specializes in housing policy, said doing this can bring downward pressures on nearby units. The example he used was the Venable neighborhood, where residential homes tend to become subdivided by students, thus pricing out families. When the city rezoned the nearby Wertland area for mid-rise apartments, many students began flocking there instead, easing pressure on Venable. The lesson, he explained, is that “how the city zones properties certainly can have an effect on prices,” sending them up or down based on the permissiveness of given regulations.

This lesson should inspire a looser approach for other Charlottesville areas. Like in Wertland, more housing could be encouraged on West Main, Cherry, JPA, and the aptly-titled “Strategic Investment Area” south of Downtown. Deregulating them, through easier permitting and rezoning for higher density, would relieve the costs of development and encourage more units. Then Charlottesville would be better prepared not only for the ongoing influx of new residents, but for the longtime ones who wish to remain.

Scott Beyer is a Charlottesville native who is writing a book on revitalizing U.S. cities through “Market Urbanism.” He also writes weekly columns on urban development for his blog, BigCitySparkplug.com

Fit the crime 

Imagine how heartbroken survivors of rape and domestic abuse must feel now that the petition to remove Chris Dumler from the Board of Supervisors has been denied, allowing him to resign on his own terms. That Dumler was handed the reins of the judicial process—first with the offer of a plea deal, then with a token sentence served at his convenience, and finally this—illustrates that the courts’ priority was to preserve a man’s career rather than to protect the women he sexually assaulted.

This unwillingness to punish Chris Dumler sends the message to the next woman or girl agonizing over whether to report a sexual assault, that if she stands up to her attacker, our courts will defend him instead of her, especially if he’s a popular white guy. Even if her attacker admits guilt, he’s likely to suffer few consequences, or none at all.

Judging by the actions of many in our community, this traumatized person might also expect to have her integrity doubted every step of the way. She could be accused of having some kind of agenda, or of making it all up, and be subjected to a barrage of cruel comments and harassment on news sites and social media.

If, after seeing all that Dumler’s victims went through, this person is still courageous enough to press charges against the man who raped her, no doubt those same critics will have the audacity to question why she ever hesitated to come forward. But I hope she sees that at least some people understood the seriousness of Chris Dumler’s pattern of violence against women, even if their efforts were in vain. This case makes it clear why so many rapes go unreported.

Russell U. Richards

Charlottesville

Categories
Arts

Going dark: The closure of Random Row Books extinguishes a community light

After almost four years of serving the Charlottesville community, Random Row Books will close its doors at the end of the June. The building that houses the store—a former auto repair shop near the corner of West Main Street and Ridge/McIntire Road—will eventually be demolished, along with other buildings on the property to make room for a hotel. The closure comes as no great surprise. The store’s owner, Ryan Deramus, has leased it on a month-to-month basis since opening in the fall of 2009. Deramus says that he has known since the beginning that he may have to move out, and that time has come.

The bookstore’s selection is modest-sized, but of high quality. Deramus is a discerning buyer, and all the books are interesting, in good condition, and priced reasonably, so the turnover rate on the shelves has been high. He has no plans to relocate, and is in talks to sell the majority of the store’s remaining stock to a locally based independent online bookseller, though nothing has been confirmed. The unsold volumes may still find good homes and eager readers, but the loss of the bookstore itself will have a significant impact on the Charlottesville community, which stands to lose far more than another friendly mom-and-pop operation.

Many chain booksellers like Barnes & Noble are managing to stay afloat in the struggling economy, and online sellers like Amazon are stronger than ever, although physical books make up an increasingly small percentage of their sales. But book shops, including New Dominion, and secondhand sellers like Daedelus, Blue Whale, and Heartwood, have a charm and a character that’s impossible to mail-order or download. And it’s not just books. The one-of-a-kind video store Sneak Reviews is still facing imminent closure, and Charlottesville’s last locally-owned movie theater, Vinegar Hill (where this writer is the manager), is in limbo while the landlord tries to sell the building. As Charlottesville loses business like these to mega-corporations, we also lose the character of our community, the distinct flavor that has made so many want to remain or relocate here in the first place.

Far more than just a bookstore, Random Row is also a space for dozens of other endeavors, many of which are not profit-driven at all. Since 2009, Random Row (named for the former Vinegar Hill neighborhood that was displaced by controversial urban development in the 1960s) has hosted theatrical performances, music concerts, dance parties, film and video screenings, political lectures, literary readings, community meetings, workshops, weekend-long festivals, and free community meals. It’s provided a space for two Anarchist Book Fairs, American Indian Festivals, several satellite exhibitions for the LOOK3 Festival, multiple visits from the legendary Bread and Puppet Theater collective, several open forums for City Council representatives and candidates, and a meeting of the Industrial Hemp Coalition. Its stage has seen performances by metal bands, indie rockers, classical performers, experimental noise artists, a monthly poetry night that eventually morphed into a hip-hop open mic, and a recent visit from punk legend Ian MacKaye.

Adjacent spaces in the building have been occupied by artist studios, a bakery, a textile co-op, and two different bicycle shops. Deramus has further sublet portions of his space, to another bookseller, a small pay-what-you-can thrift store, and still more artists, and collaborators, many of whom have ended up living there for months, often sharing the tasks of minding the store or staffing events. No small number of traveling speakers, performers, or friends-in-need have stayed there for a night or two.

It may sound like an overwhelming list, but the atmosphere at Random Row is exceedingly low-key and casual. Though the space currently contains a small stage, a working printing press, a large piano, and several couches, it has plenty of empty space to spare, and welcomes daily visitors and curious tourists alike. There’s a handful of chessboards and speed-clocks, and it’s not uncommon for various friends and collaborators to stop by for a quick game in the course of an afternoon.

Deramus is a quiet, thoughtful man who has done more for the Charlottesville community in recent years than almost anyone else I know, and prefers to deflect praise to his many guests and collaborators, especially the political organizers he’s worked with: living wage and affordable housing campaigner Brandon Collins, prominent local peace activist David Swanson, Amnesty International and Food Not Bombs organizer Hisham Ashur, and Sue Frankel of the Little Flower Catholic Worker Farm in Louisa County.

Deramus is wary of being profiled or pigeonholed by the press, and though he politely declined a formal interview for this column, our friendly off-the-record chat lasted for over an hour. As we talked, he continued to buy and sell books, negotiated the price of a used bicycle (noting its flaws and advising the buyer where best to get it repaired), and helped to set up for a percussion performance of works by John Cage and Iannis Xenakis that was due to take place that evening. The store isn’t closed yet.

The coming weeks will see a visit from anti-war activist Cindy Sheehan, a week-long run of performances of Molière’s Misanthrope, and a closing-night concert organized by local metal bands. But when it does close, all of these projects and performances will be in need of a new home. Some may move elsewhere, but many will simply cease.

There will always be those interested in starting their own project, coloring outside of the lines, working to change the world for the better, or merely providing a service to the community. But not all of them are developers, entrepreneurs, restaurateurs, academics, or tech-industry start-up wizards, and if Charlottesville is going to be a place that we all love and embrace, then our community must foster more places like Random Row where many voices can be heard. Random Row Books has played a crucial role in that mission for the past four years, and leaves behind a big pair of shoes for the rest of us to fill.

Share your thoughts below about Random Row Books’ closure.