Categories
Arts

Film review: Despite itself, The Lone Ranger delivers

In case you missed it, lots of people are angry over Johnny Depp’s decision to play Tonto in the manner he plays Tonto in The Lone Ranger. There’s further anger over the decision to have a white man play Tonto. And the dead bird on his head. Et cetera.

Sorry, peeps: The redface is a red herring. Depp is pretty smart, and his decision to play Tonto as an ironic version of his TV counterpart is rather inspired. 1. Draw the people in/get the dander up with something familiar and taboo; 2. Turn familiar/taboo image on its head; 3. Have last giggle to bank as familiar image/taboo becomes hero instead of laughingstock.

Depp and his frequent collaborators, director Gore Verbinski and screenwriters Ted Elliott and Terry Rossio (along with screenwriter Justin Haythe), have done what they do best: They’ve taken a thin premise and turned it into big, brashy, overlong entertainment. On the Verbinski/Depp enjoyment scale, The Lone Ranger lands somewhere after the first Pirates of the Caribbean movie and before its follow-ups. (Rango stands alone.)

Sometime in 1869, attorney John Reid (Armie Hammer) returns to Texas from the East Coast, joins his brother as a ranger on a hunt for outlaws in Indian Territory, and gets shot to shit. Tonto (Depp), with the help of a smart and wily white horse, brings Reid back to life—or he never died; it’s not clear, intentionally—as the Lone Ranger and together they hunt down the people responsible for killing Reid’s brother.

That ain’t the half of it, of course. There’s also Tonto’s quest for the men who killed his family. And then there’s Reid’s long-lost love, Rebecca (Ruth Wilson); the railroad magnate (Tom Wilkinson); the cavalry officer (Barry Pepper); and the super-bad guy, Butch Cavendish, played with appropriate hamminess by a wonderful William Fichtner. And lots and lots of bullets.

As with all Verbinski movies post-The Ring, The Lone Ranger has way too much happening. At 149 minutes, there are about 40 minutes of shenanigans and story that could go and we’d miss nothing. For example, the entire movie has a framing device with Depp playing a very old Tonto. It serves no purpose.

Then there’s the standard Rossio-Elliott plot-heaviness. Some of the characters aren’t what they seem. Some of them are, and some of them are worse than we can imagine. The reveals—and audiences will figure out the plot twists before the characters in the movie do—shouldn’t take this much time when it’s pretty clear who’s good and who’s bad the moment they walk on screen.

All the actors are fun, especially Fichtner and Depp. For all those who think Depp is making fun of the Comanche—the tribe that adopted him—the joke’s on them. This entire movie is a joke.

That brings us to Armie Hammer, who’s in on the joke, but also the butt of it. He just doesn’t have much to do. If his comic timing were better—if his character(s) were better developed, as in The Social Network—he’d be as vital as Tonto. But he isn’t. Tonto just needs kemosabe to get shot at, which is a nice change of pace for the character who used to be the sidekick.

The Lone Ranger PG-13, 149 minutes

Regal Stonefield 14 and IMAX

 

Playing this week:

42
Carmike Cinema 6

Before Midnight
Regal Downtown Mall Cinema 6

The Croods
Carmike Cinema 6

Frances Ha
Regal Downtown Mall Cinema 6

The Great Gatsby
Regal Downtown Mall Cinema 6

The Hangover Part III
Regal Stonefield 14 and IMAX

The Heat
Regal Stonefield 14 and IMAX

The Internship
Regal Stonefield 14 and IMAX

Iron Man 3
Regal Downtown Mall Cinema 6

Man of Steel
Regal Stonefield 14 and IMAX

Monsters University
Regal Stonefield 14 and IMAX

Much Ado About Nothing
Regal Downtown Mall Cinema 6

Mud
Regal Downtown Mall Cinema 6

Now You See Me
Regal Stonefield 14 and IMAX

Olympus Has Fallen
Carmike Cinema 6

Pandora’s Promise
Regal Downtown Mall Cinema 6

The Place Beyond the Pines
Carmike Cinema 6

The Purge
Regal Stonefield 14 and IMAX

Oz The Great and Powerful
Carmike Cinema 6

Scary Movie V
Carmike Cinema 6

Stories We Tell
Regal Downtown Mall Cinema 6

Star Trek Into Darkness
Regal Stonefield 14 and IMAX

This Is the End
Regal Stonefield 14 and IMAX

The Bling Ring
Vinegar Hill Theatre

White House Down
Regal Stonefield 14 and IMAX

World War Z
Regal Stonefield 14 and IMAX

 

Movie houses:

Carmike Cinema 6
973-4294

Regal Downtown Mall
Cinema 6
979-7669

Regal Stonefield 14
and IMAX
244-3213

Vinegar Hill Theatre
977-4911

Categories
Arts

July First Fridays Guide

First Fridays is a monthly art event featuring exhibit openings at many Downtown art galleries and additional exhibition venues. Several spaces offer receptions. Listings are compiled in collaboration with Piedmont Council for the Arts. To list an exhibit, please send information two weeks before opening to arts@c-ville.com.

First Fridays, July 5

Angelo 220 E. Main St. “Resulting Jigsaws,” a new collection of paintings by Kathleen Craig. 5:30-7pm.

The Bridge PAI 209 Monticello Rd. “MapLab,” a participatory exhibit to map Charlottesville in creative ways. 5-8pm.

Chroma Projects 418 E. Main St. “In the Field” by Dymph de Wild in the Front Gallery. “Humanature” by Karen McCoy in the Passage Gallery. “Elemental Encounter” by Karen McCoy and Robert Carl in the Black Box. 5:30-7:30pm. Starting at 7:30pm, “Stereoscope,” a two-act performative event, will take place in Chroma’s underground space.

CitySpace 100 Fifth St. NE. VSA Charlottesville/Albemarle presents artwork from various community members. 5:30-7:00pm.

C’ville Arts Cooperative Gallery 118 E. Main St. “A Fiber Garden” by Carolyn Seaman. 6-8pm.

The Garage 250 1st St. N. An exhibit of concert posters and photocopy art by James Ford. 5:30-7:30pm.

The Honeycomb 310 E. Market St. “Apocalyptic Dentistry” by Jamie Morgan featuring painting, fashion and sculpture. 5-9pm.

McGuffey Art Center 201 Second St. NW. “Journeys In Woven Color” in the Susan B. Smith Gallery. “Annual Summer Group Show” in the Hall Galleries. 5:30-7:30pm.

Second Street Gallery “Decoration/Destruction” by Olga Antonova, Laurent Crasté, and Cheryl Pope. 5-7pm.

Telegraph 110 Fourth St NE. “Jurassic,” an imaginative journey to the age of the dinosaurs by a variety of artists. 5-10pm.

Warm Springs Gallery 103 Third St. NE. “”Pleasures of Summer” by Andras Bality, Rob Browning and Liz Price. 6-8pm.

WVTF and Radio IQ Studio Gallery 216 W. Water St. “Thor’s Harbour,” paintings from Iceland by Chrissy Baucom. 5-7pm.

WriterHouse 508 Dale Ave. “The Natural World of Nancy Jane Dodge,” featuring oil paintings by the artist. 5:30-7:30pm.

OTHER EXHIBITS

Jefferson School African American Heritage Center 233 Fourth St. NW. “(sur)passing,” photographs by Lola Flash.

Kluge-Ruhe Aboriginal Art Collection 400 Worrell Dr. “Black Prints from Cicada Press” featuring artwork by various contemporary Aboriginal artists.

UVA Health System, Main Hospital Lobby 205 14th St NW. “In the Country” by Richard Bednar.

 

Check out PCA’s Google Map of local galleries and cultural hotspots to plan your visit.

View Charlottesville Arts & Culture Map in a larger map.


Categories
Living

She’s got huevos: At Pigeon Hole, Naomi Annable serves eggs with a side of punk rock

If you’re throwing in with the (unofficial) Townies Taking Back The Corner movement for the next few weeks, remember that a hearty breakfast is an important part of any revolution. And the best place to get this one started, without question, is The Pigeon Hole, right in the heart of the contested zone.

The Pigeon Hole inconspicuously showed up on Elliewood Avenue in January 2011, and it’s been a twinkling star in the neighborhood ever since. I say inconspicuous because, “we have never advertised,” said owner Naomi Annable. “Ever.”

Not even one tiny little ad somewhere?

“Nothing,” she insisted.

“I was raised by hippies,” she told me as we lounged on the homey front porch of her restaurant. “I’ve been cooking on a gas stove since I was 5 years old.”

By age 10 and a part of a collective, Annable, along with her brother, was cooking for anywhere from 10 to 25 people one night per week. “I started by learning to cook for 20,” she said. “I still don’t know how to cook for two people.”

On her own since age 16, she has worked, at one time or another over the last 24 years, at every position in a restaurant, from front of house to every station in the kitchen. She worked in the kitchens at Southern Culture, Jarman’s Gap in Crozet, where she also did pastries, and at Dr. Ho’s in North Garden, among many other places.

But the Pigeon Hole has little in common with those Albemarle favorites. “I’m an anarchist,” said Annable. “We’re a very punk rock restaurant. Everything we have was already here or came from the thrift store.” Her restaurant is a direct reflection of her upbringing—an atmosphere free of pretension or formality, no defined hierarchy. Employees all have equal say; they pool tips and sometimes even divide a small contribution pulled from the till.

Annable often alludes to her punk rock ethos, but the prevailing patois at The Pigeon Hole is decidedly hip-hop. The weekend menu has several versions of Eggs Benedict. One special, consisting of baby spinach and artichoke hearts on biscuits with two poached eggs slathered in hollandaise sauce, under the menu heading “Saturday and Sunday only, Yo,” is referred to by staff as “the Beastie,” an homage to late Beastie Boy Adam Yauch. Likewise, an Annable recipe might include the instruction, “then mix that s$&# up.” Or, a taste test of potential menu special might prompt the question, “How are we gonna f#$% that up? We gotta f#$% it up good.”

“Don’t leave it tasting like something anyone could make,” is what she’s trying to say.

Annable is always looking for the next notch up the flavor scale, trying to find that one ingredient for every simple dish that puts the taste over the top. “I like to say, ‘What’s the crack? What’s the thing you put in there that the person is like, ‘Hmm, what is that?’ and can’t stop eating it?” she said.

The Hole’s huevos rancheros was inspired by Annable’s first ever rancheros encounter on a road trip in New Mexico. “It’s the one thing on our menu that I eat most myself,” she said. “I still look forward to the huevos every time.”

She started by ladling huge portions of black beans and rancheros sauce into separate frying pans over medium flames. Her beans are a stripped-down affair. She adds lightly sautéed onions, black beans, and chili powder, with a light salting going on throughout the process. “When I travelled in Mexico,” she said, “the women would bring me into the kitchen. All they had was a huge thing of salt. That’s all they used. I couldn’t understand how they could get those flavors with just salt, but they would add just a little bit at a time, over time.”

The rancheros sauce is sautéed onions, garlic, adobo peppers, sriracha, crushed tomatoes, oregano, all done in olive oil, salted, then cooked down.

The two eggs she had broken onto the griddle weren’t there long before getting flipped over. The beans got plated, then the eggs went on the beans, the rancheros over that, then some cheddar was spread. It all got pushed under the broiler to melt down. When it came out, she sprinkled on fresh, chopped green onions and it was ready to go.

While the huevos rancheros is a heaping helping and very satisfying, it has a refreshing lightness to its step. Maybe it’s that the sauce is not overly spicy. Maybe it’s the fluffy stone-ground white grits on the side, rather than corn tortillas, that all leaves you feeling like you can get up and get going rather than needing to find a place to lay down and recover.

“It’s Americana comfort food,” said Annable. “Everything here is made from scratch, except for the biscuits.”

The Pigeon Hole serves about 1,000 biscuits in a busy week in several biscuit dishes, from red-eye gravy (made with heavy cream, sautéed onions, diced ham, and a blend of Shenandoah Joe coffee grounds, special to the PH) to biscuit baskets with butter and jams to egg and meat sandwiches on biscuits and biscuit-bottomed Benedict platters. “It would be cruel and unusual to make anyone make that many biscuits.”

Another weekend-only Benedict classic you’ll want to try is the Crabby Florentine— wilted spinach on biscuits, with poached eggs topped with crabmeat and hollandaise. The first time Annable tried the dish, she said, “I took one bite and was like, ‘Oh my God, this might be the best thing I have ever eaten.’”

Categories
Arts

Queen bee: Honeycomb’s Claibourne Reppert grows her style empire

I met up with Claibourne Reppert, owner of The Honeycomb Salon and Gallery, at her renovated warehouse apartment just before 10 on a Sunday morning. She was cooking hashbrowns and slowly waking up after a late night performing as the lead singer of The Sharkettes, a fictional girl group put together for local math metal band Sharkopath’s latest music video.  Her tiny orange kitten chased a green sock back and forth across the wooden floor and Gaston, her English bulldog (adopted from a Frenchman), tried to balance himself on a shiny red ball. Huge, brightly painted canvases and sculpture were stacked against the walls and balanced in corners in a makeshift gallery archive.

Reppert has been styling hair and setting trends in D.C. and Charlottesville since 2006, winning the Best of C-VILLE hairstylist award in 2011 and 2012. In June 2012, riding off her success at Moxie Hair & Body Lounge, she opened her own shop, The Honeycomb Salon and Gallery on East Market Street, parlaying her sense of style and tastemaking into the local art scene.

A year after opening, with a growing client list and the demands of booking out artists and promoting events mounting, Reppert hired her brother-in-law, Ryan Trott, most recently of Williamsburg, Brooklyn, to take over management of the gallery.

Trott, a visual artist and musician himself, joined Reppert and C-VILLE with some strong coffee and Carpe donuts for a conversation about the future of The Honeycomb Gallery and Charlottesville’s subversive art scene.

C-VILLE: Why did you decide to start up a gallery in addition to the salon? You weren’t busy enough?

Claibourne Reppert: “Originally, the idea for the gallery came because the space I rented for The Honeycomb was just too much space for me. I wanted to do something interesting that kind of gave back to the community and cultivated more of the environment that I want at the salon—the people that the art shows attract are the clients I want and vice versa. There’s a nice crossover.”

One problem with that is I’ve been to one of your openings where a client has tried to get you to cut her hair in the middle of it… 

Ryan Trott: “Is that really true?”

CR: “Oh, yeah. You get ’em a little drunk and they’re like, ‘I feel like this side is a little shorter than this side…’”

How would you describe the artwork you feature for someone who’s never been to the gallery?

CR: “Younger, funkier, and maybe a bit edgier… God, are these all horrible buzz words? [laughs] I mean, one show we had was all just wizards. It was all 4/20, wizards, and weed, and I was like, ‘This is awesome!’”

Does that create a contrast between the gallery and the salon crowd?

CR: “Definitely. Many of my clients are on the more conservative side, so it’s kind of fun to have those two extremes. The gallery is in line with my personality so I like being all, ‘O.K., you need to go sit down there with the art for an hour while your highlights process. Have fun looking at all these wizards.’”

RT: [laughs] “Yeah, you can read People or you can look at some cool art.”

CR: “Some clients who don’t have time or interest in going out to galleries can do both. I love having a St. Anne’s [-Belfield School] mom come in for a cut and browse the gallery and be like, ‘Oh wow, that’s a woman [having sex with] a deer.’”

 So, I know you also don’t charge a commission on any of the work sold in your gallery. That’s pretty rare—what prompted that decision?

CR: “Well, I don’t pay for advertising for the salon and I feel that the little bit of money that I put into the openings is my form of advertising. Also, with a lack of commission, I’ve been amazed at how affordably artists are pricing their work. They sell really well. The only commission I take is a piece of art.”

 You have a piece from every show?

CR: “Yeah, I’m stocking up my own little collection. I think it’ll be cool after The Honeycomb ceases to exist to have a record of all the shows.”

 Do you guys want it to stay focused on mostly local artists?

RT: “I definitely want to branch out. I’ve reached out to people in Baltimore, it would be nice to mix it up so it’s not mostly friends at the openings. It’s cool that a lot of artists we know in D.C. and New York have Charlottesville connections too.”

What are your plans for the gallery moving forward?

RT:  “We have a show in August with Daniel Cundiff from the Roanoke band Eternal Summers, which will be the first show I’m really involved with. And I’ve been going back and forth with Jamie Morgan who is lined up to be our show for July. We’ve got some lighting renovations planned, and I’m also getting a library going in the gallery. It’ll feature contemporary art books that visitors can flip through. It’s kind of a funny space (the ceilings are only 6’2″), so we’re talking to artists about creating alternative installations. I’m really excited to connect with the gallery community here.”

CR: “The haircutting pays the rent and the gallery is just for fun. We’ll keep doing it as long as it’s fun.”

 

“Apocalyptic Dentistry,” a sculptural jewelry installation by Jamie Morgan, is on view at The Honeycomb Salon and Gallery through the month of July. The opening reception is Friday, July 5, from 5-9pm and will feature a candy buffet and music by DJ Shay Shay the Wulf Baby.

Categories
News

Independent streak: How Martina Payne turned tenacity into a career

Martina Payne admits she was a hardheaded teenager. So when her mom said “get out of my house” during a fight when she was 15, she took her at her word. She packed a bag. She walked out the door. She never went back.

Supporting herself from such a young age took its toll sometimes, Payne said, but it was a decision that put her on the path to where she is today: a 41-year-old, self-made businesswoman who’s been running her own Charlottesville hair salon for 20 years; a strong-minded single mother people turn to when they’re in need. It also allowed her to live a full life before most people even hit their stride.

It was Thanksgiving Day, 1987, when Payne left her mother’s city home. She moved into her older sister’s place nearby, but quickly decided she wanted a whole new life. Before she had even turned 16, she started working two jobs. Her employers, Morrison’s Cafeteria and Watson’s Department Store, wouldn’t give her more than about 20 hours per week each, but with the two jobs together, she was able to make enough to pay rent every month.

Then there was the little problem of the law. Payne wasn’t old enough to rent an apartment legally. But, she said, “it was a different time.”

“I lucked up,” Payne said. “I saw a ‘for rent’ sign and went to the landlord. He rented me the place and never asked my age.”

Over the course of her young life, Payne had to do a lot of things for herself. She learned to make a couple bucks in spending cash by doing the neighborhood kids’ hair when she was 11. She succeeded in high school and went to beauty school all while working 40 hours a week. She made her own prom dress.

“I was serious with my school work,” Payne said. “I didn’t want the school system to interfere. It wasn’t as bad as it seems, but I was protecting my family. The other kids thought I was mean, but I wasn’t mean. I just had to focus a little more.”

After high school, Payne got her hairdressing license and went to work as a shampoo girl for a large local salon. Within a year, she was doing hair and building clients. She then moved to a smaller salon where she could get more attention for her styling. She also had the opportunity to manage the salon and learn what it took to run a hairdressing business. All the while, her client list grew.

Payne opened her first salon in 1993 at 21 on a single $3,000 loan. She stayed in that space on Preston Avenue almost 14 years before moving to a slightly smaller shop across the street. Then, after four more years, she saw an opportunity to go to an even smaller space on Allied Lane just off McIntire, decrease her costs, and stop “killing herself” to make ends meet.

“Hair was like a hustle for me,” Payne said. “It was money, it was positive, it was something I liked, and it was legal. It was survival mode for me.”

Nowadays, the hustle is streamlined. Payne works four days a week, about 10 hours a day, and sees more than 10 heads of hair daily, mostly on top of folks she has known since she was 17. Her newest regular client started seeing her 10 years ago. She doesn’t take walk-ins. Where she was once spending about $2,000 a month on rent alone, Payne now has her monthly expenses, including rent, equipment upkeep, hair products and cable, down to about $2,400. That lets her keep her prices reasonable.

“I don’t charge what most salons do,” Payne said. “I know what the basic salary is around here, and I’m not going to try to take half that.”

The end game? Make enough to cover expenses, save to send her daughter to college and retire from doing hair in 10-15 years. Then she’ll be able to pursue her passions—decorating and cooking. “My dream is to one day open up a restaurant,” she said.

Her logic goes like this: She got in early; she should be able to get out early.

“I still don’t really know what I want to be when I grow up,” she said.

Payne’s family gives focus to the rest of her life. On a Wednesday afternoon at her salon in late June, her middle sister, Nicole Washington, sat in a chair waiting for a style, recalling how Payne was there for her son when Washington couldn’t provide for him.

“I look at her and say to myself, why can’t that have been me. She’s amazing,” Washington said. “She got what she wanted.”

Payne tries not to dwell on the negative parts of her past. She and her mother have patched things up. She regularly talks with her daughter’s dad—her high school sweetheart, whom she never married—to make the right decisions for their child. She’s on good terms with her own dad, who divorced her mother when she and her siblings were young.

“I could hold grudges, but I don’t. You are only taking away from yourself if you have a negative mind like that,” Payne said. “I have a big heart. In order for me to be the woman I am now, I had to forgive and let go.”

Once a month, Payne takes her daughter on a trip, just the two of them. She saves her tips, and they hit the road, to D.C., Richmond, wherever. They sightsee. They spend time together. Her daughter is planning to head off to college next year, but in the meantime, Payne is happy keeping her right where she is.

“I am hard on her, and we have our blow-ups,” she said. “But she better not be going near that door with a bag.”

 

Categories
Arts

ARTS Pick: Cashless Society

Deriving its name from the loss of the Man in Black himself, Cashless Society embarks on a high-spirited, rambunctious mission to preserve the unique rockabilly sound that erupted from Memphis, Tennessee in the 1950s and ’60s. If audiences pause long enough between boisterous sets, they may notice that the lead guitarist donning the swagger of Cash and perfectly slicked back hair is precocious 13-year-old James Tamelcoff III (above). The live performance suggests that anyone can appreciate true rockabilly music–even those who aren’t old enough to drive themselves to the show.

Friday 7/5 Free, 10:30pm. The Whiskey Jar, 227 W. Main St., Downtown Mall. 202-1549.

Categories
Living

Sweet summer sips: Go ahead and wine about the heat

Hot weather screams for cold drinks, and in the summertime, nothing wets the whistle faster than chilled white wine. There are plenty of “patio pounders” on the market, meaning an inexpensive bottle of easily quaffable wine that takes little to no effort for the brain to compute, while delivering a much-needed respite from the heat. There are also a plethora of wines on the market that are a tad more serious, affordable, and easy to come by if you know what you’re looking for. Whether shopping for a beach vacation, an informal picnic, dinner party, or poolside, a white wine is just the thing.

For that first glass after relaxing on the beach, still waxy from sunscreen and gritty with sand, open (corkscrew not required!) a bottle of Meinklang Burgenland White. It is a perfectly crisp, floral, organic, and biodynamic blend of Grüner Veltliner and Muskat from Austria and retails for $12.99 at Wine Made Simple. This wine is ideal for sipping anytime, but will also accompany seafood and antipasti quite well. With dinner at the beach house (and assuming the day’s fresh catch is being grilled), I’d serve the Musar Jeune from Bekka Valley in Lebanon, which is an uncanny blend of viognier, vermentino, and chardonnay. It is a young, vibrant white that is un-oaked and leeches freshness. Wines from Lebanon are not commonplace, but this winery estate is one of the largest and its wines can be found at Wine Made Simple and at Market Street Wineshops for less than $20.

When selecting the perfect bottle to bring to a dinner party, test the waters with a unique wine from Hungary, typically know for its dessert wines. The Evolucio Furmint from Tokaj is an off dry, un-oaked white made from the furmint grape and possesses notes of citrus, apricot, and good minerality. It is a fuller bodied wine that would accompany fish, chicken, and spicy foods. Foods of All Nations sells it for a mere $10.99.

Another choice would be the Sauvignon Blanc from Barboursville Vineyards ($17 at Wine Made Simple). Perhaps your host is unfamiliar with the delights of Virginia wine, so introduce her to a whole new world of local vino. This one is piercingly crisp, with notes of grapefruit and green apple, and everyone recognizes the varietal, which is always a safe bet.

For the impromptu picnic, pack a bottle of the ultimate summer wine, Txakoli (pronounced “chacoli”) from Spain’s Basque region. This young, fruity, high acidity white wine is an ideal treat for a sweaty outdoor afternoon. Made from two grapes, hondarrabi zuri and hondarrabi beltza, it is lower in alcohol and develops a slight spritz during the fermentation process, adding to its refreshing qualities. Foods of All Nations has three to choose from, one of which is a rosé.

Summer just isn’t complete without barbeque—and there are wines to go with that, too. The ‘Tami’ Frappato from Occhipinti in Sicily is hard to beat on its own, but tastes as if it were made to keep barbeque company. The winemaker is a mere 30 years old, yet her wines are more complex and intriguing than those made by folks with decades more experience. Frappato is a grape that is grown predominantly in Sicily, and despite the hot climate of Southern Italy, it is surprisingly light and floral, reticent of roses and dried herbs.

Another fascinating Italian red wine is the De Angelis Lacrima Christi del Vesuvio from the region of Campania, with Aglianico and Piedirosso grapes grown on the volcanic soils of the famous volcano, Vesuvio. It is also fruity and floral, with characteristics of raspberry and plum preserves, but has a spicy, peppered finish unlike any other wine I’ve tasted ($21.99 at Foods of All Nations).

For the iconoclastic “patio pounder” I’d choose something light, bubbly, and lower in alcohol, such as the Lodali Moscato D’Asti, which is slightly sweet and smelling of honeysuckle. It’s too easy to gulp this wine, but that’s the point right?

A proprietary white wine blend of pinot blanc, pinot gris, riesling, and gewürtztraminer from Brooks Winery in Oregon’s Willamette Valley is another strong selection. It’s crisp and revitalizing but also elegant and multifaceted, making it certain to cool you off, and no doubt finish the bottle (found at Wine Made Simple and Market Street Wineshops).

Now, get out there and start sipping—it’s not going to get any cooler!

Tracey Love is the event coordinator at Blenheim Vineyards, the sales and marketing associate for the Best of What’s Around farm, and proprietress of Hill & Holler.

Categories
News

Fare play: Yellow Cab angles for exclusive rights to Amtrak passengers

When Main Street Arena owner Mark Brown shook up the local taxi industry by buying up two aging cab fleets and installing card swipe machines and GPS trackers in his cars, he didn’t win many fans among the dozens of independent cab companies in the city, who complained he came swinging into a business he knew little about. And now that Brown’s Yellow Cab of Charlottesville has an exclusive right to cruise for fares at the local Amtrak station, he and his company have become the target of even more cabbie rancor—and some scrutiny from the city.

The shift came in late spring, according to Kennan McCoy, who launched McCoy’s Taxi last year. Non-Yellow drivers who pulled up to the station off West Main Street were told they couldn’t linger for fares, only drop off or pick up customers who called them for rides. Those who pushed back were threatened with lawsuits, McCoy said, and soon, private security guards were making regular appearances.

McCoy said the situation is unfair, and makes the city look bad. “You can’t brag about being one of the best cities to live in when you’re crushing entrepreneurship and minority businesses, and taking this position of ‘one man runs the show,’” he said. “It’s sickening to me.”

Amtrak officials at the station said they had no control over taxi access, and declined to comment. Developer and architect Gabe Silverman, who owns the property along with his business partner, Allan Cadgene, confirmed that there was an agreement in place, but said the operation of the parking lot was entirely in the hands of the lot manager, who also refused to comment on the taxi agreement.

Brown, who bought and merged Yellow Cab of Charlottesville and Anytime Taxi last year, explained the push for the exclusive relationship came from lot managers unhappy with the conduct of the cabbies who crowded the station every evening, waiting for the Northeast Regional train to pull in and disgorge passengers. He didn’t offer much detail on the kind of behavior that had drawn the concern of the lot operator, but said there had been reports of drivers charging unwitting customers exorbitant fares.

“As a result of the problems that they were having with safety, security, and customer service, they asked us to help them,” Brown said.

City Councilor Dede Smith said she was disturbed when she heard about the restricted access to a longstanding fare source.

“It sort of flies in the face of our effort to promote entrepreneurship,” she said. She believes the city should think twice about giving its blessing to an exclusive relationship between a property owner and a single company. What’s happening at the train station looks a little too much like a monopoly, she said.

“When you’ve got one company completely controlling this captive audience coming off the train, it seems fraught with potential pricing issues,” she said.

But Deputy City Attorney Richard Harris said that despite the fact that the city retains a right-of-way through the parking lot, the agreement between Piedmont and Yellow Cab is legally sound.

“There’s a contract there between two private entities,” Harris said, and he underscored that it doesn’t bar other cabs from the property. Any vehicle, taxi or otherwise, can still get to the train station via the one-way loop of the parking lot, which has a public access easement on it, he said. Still, the right to public access doesn’t equate to a right for the city to dictate business practices on the site, Harris said.

“It’s a permissive right, not a restrictive right,” he said.

The explanation doesn’t satisfy many of the independent taxi drivers in town. McCoy said some are quietly getting around the new rules by arriving right as trains pull up and whisking away cab-seeking customers without lingering, or by giving the security guards monitoring the pickup zone during heavy traffic times fake passenger names.

McCoy said he’s taking a bolder approach, and plans to go straight to the property owners to ask that special access be granted to other companies, too. If that doesn’t work, he’ll keep “rattling cages,” he said.

Former Charlottesville Vice Mayor Meredith Richards, chair of the passenger rail advocacy group CvilleRail, said she shares some of the drivers’ concerns. “From an economic point of view, for the small businesspeople in town, it’s a shame,” she said.

But it may also be part of a trend. Richards pointed out that the Charlottesville-Albemarle Airport recently put out a request for proposals for an exclusive deal with a taxi company.

Richards said the fact that two big transportation hubs have taken steps to limit cab access means it might be time for more oversight by local government, both to ensure fair access and to put regulations in place for drivers.

“We have so many independent cab companies now”—about 60, she estimates—“that maybe it’s time for the city and county to come together and form a taxi commission and start licensing locally,” she said.

Categories
Arts

Apology Always Accepted

Paula Deen is sorry, y’all. In an interview on “The Today Show,” the 66-year-old celebrity chef sobbed and explained that everyone had her wrong. That includes Lisa Jackson, the fired employee who filed a lawsuit claiming Deen committed acts of violence, racism, and discrimination against her. It includes those who heard Deen say that she used the “n-word” and then explain that she didn’t know if that word was offensive to black people or not.

Deen came off as more than slightly off her rocker during that appearance, but she did what she had to do: apologize—no matter how disingenuous it seemed—and move on. The celebrity apology is often awkward, but always necessary.

A fairly typical celebrity life cycle goes something like this: Rise to fame, do something stupid, see fame plummet, apologize for stupidity, wait a bit, rise back to fame. There are some that somehow avoid controversy—like Tom Hanks, whose only mistakes are “Bosom Buddies” and not publicly condemning his son for referring to himself as Chet Haze—but they’re few and far between. Celebrities are people, and people aren’t perfect.

Katie Falcone, project manager for the Ivy Group, a local marketing firm, explained that Deen, like many celebrities, had to announce her regret. “Apologies are certainly expected of celebrities,” she told me via e-mail. “And if a celebrity wants to maintain an ounce of control over their brand, they must quickly issue a solid, honest, sincere apology.” Falcone’s assessment of Deen’s mea culpa? “Halfway there” because she “continued to worm around questions and paint herself as a victim.”

Even though Deen’s apology was merely a confused performance—she actually said the phrase “I is what I is,”—it will likely work. One day, she’ll be back. Former US Representative Anthony Weiner sent lewd pictures of himself to women and when he was caught, denied it. Of course everyone knew the sexts contained Weiner’s weiner, and eventually he issued an apology. He’s now the frontrunner in New York City’s mayoral race.

I don’t believe Deen is sorry for using racial slurs. Her appearance on “Today” merely exposed her for being exactly who she is: A gregarious woman who cooks high-calorie food and isn’t very bright. But like all celebrity apologies, it was needed. And now? We wait until the next time a public figure says something offensive. Which is probably happening right this second.

Endorsement Deals Paula Deen Lost Because of the Lawsuit and Her Comments (Update below)

Smithfield Foods: Anyone who misses eating Paula Deen hams should pour salt on an end table and chew on it. Same experience.

Target: Someone just put a Paula Deen skillet on eBay for $2,500.

The Food Network: Bobby Flay is likely happy about this.

Caesars Entertainment Corporation: America is a better place with four less buffet-style restaurants.

Home Depot: “Paula Deen basting brush” doesn’t sound right anyway.

Novo Nordisk: Deen, a Type 2 diabetic who made a career out of pushing fatty food, will no longer profit from helping people become unhealthy enough that they have to use Nordisk’s products.

Walmart: When Walmart drops you, you know you’ve done something bad.

Update: Since I submitted this piece, Deen has also lost deals with QVC, Sears, Kmart, J.C. Penney and Random House. Her cookbook, which was set to debut in October but will no longer be published, currently ranks number one on Amazon.com’s Best Sellers list. America!

Categories
The Editor's Desk

Editor’s Note: Learning about life in the kitchen

My first job out of college was waiting tables at a French bistro near Columbia University in Upper Manhattan. The place was like the U.N. The owner was an Israeli, the head chef a Parisian-Algerian, the dishwasher a Mexican from Guerrero. The bartender was from Dublin, and we had waiters from Delhi, Walbrzych, and Tel Aviv.

It was the perfect scenario for an American boy, wet behind the ears, to learn the way of the city. I often worked double shifts, during which I’d arrive at 10:30am to haul ice, set up chairs, fold napkins, fill ramekins with butter pats, and slice bread, before I got sucked into the vortex of lunch and dinner service. Because I was the youngest, I became a kind of mascot, and it was not unusual for one of the chefs to serve me up a plated special before the first shift in addition to the staff meal between shifts—Kadir’s couscous and vegetable ragout and Jose’s impromptu chili powder beef stew with fresh baguette were favorites.

I worked for tips and I got fed, but more importantly, I was initiated into a weird and chaotic family of strangers that produced a particular kind of theater. Our rag tag band of under the table part-timers managed to prepare and serve a plate of moule frites or hanger steak or lotte au beurre blanc in such a way that a New Yorker would come back for it. A daily miracle, repeated ad nauseum.

Justin Ide’s photo essay in this week’s feature is an unapologetic marketing pitch for the newly reunified Charlottesville Restaurant Week, which C-VILLE Weekly now sponsors and which has just under 30 participating restaurants this time around. But it’s also a love letter to the owners, chefs, servers, and back of the house staff who make the restaurant world go around. Tip ’em well.