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News

Shenandoah officials says ‘no’ to new park entrance for Madison County

Madison County has waited 80 years for its own entrance to Shenandoah National Park, and park officials told county administrators on July 29 that they would have to keep waiting. A proposal by the Madison County Board of Supervisors to upgrade Rapidan Road and establish a new entrance for motor vehicles was denied last week by Park Superintendent Jim Northup. In a letter to the Board of Supervisors on July 29, Northup said the proposed upgrades were “not appropriate, nor consistent with the significance and purpose of this park.”

Madison officials say the county gave up thousands of acres of land for the creation of the park, yet it’s the only bordering county still without local access for vehicles.

“We don’t want a big commercial entrance,” said County Administrator Ernie Hoch. “We want to have a way to bring a limited number of people up. We’re not talking about building a new road.”

But Northup said upgrading Rapidan Road to support nearly 30,000 cars a year, by the county’s estimate, would prove a major and costly undertaking. And the state would have to foot the bill.

More importantly, he said, the influx of traffic would jeopardize the solitude of the backcountry area.

Northup said he received letters over several months from residents who were opposed to the county’s proposal, but Hoch said he hasn’t encountered much public resistance.

“I suspect he’s been inundated by some of the environmental community, who had kind of a knee-jerk reaction, thinking that this is going to somehow have a negative environmental impact,” Hoch said. “That’s not our intent. We’re not looking to cut down any trees or build any new roads.”

If some groups aren’t on the county’s side, Hoch said history certainly is.

In 1929, President Herbert Hoover built a weekend retreat in Shenandoah on land that formerly belonged to Madison County residents. The county used its own funds to build what is now Rapidan Road to Hoover’s retreat. The President wrote a letter thanking Madison County and others for their kindness and suggesting that the road they built would serve as an entrance to the national park when it opened in the coming years. In Madison County, this became known as “Hoover’s Promise,” which was never fulfilled.

“Over the years, Madison has been somewhat underrepresented and never had much political power or position,” Hoch said. “The county has requested that this entrance be established and has time and time again been told ‘no’ for various reasons. It’s time to give Madison a chance to share in the beautiful park they helped to create.”

Albemarle County Supervisor Dennis Rooker said he understands Madison County’s desire to open a new entrance, and said the park entrance at nearby Skyline Drive is great for Albemarle residents and businesses alike.

“During the fall and spring, the drive up there is absolutely gorgeous,” he said. “From a tourist perspective, the closer your access is to the park, the more likely it is that tourists are going to stay in your community.”

Hoch said Madison County will continue to expand its relationship with Northup and the park by working with them on other initiatives. In the meantime, they’ll meet with state and federal leaders and keep pushing for an entrance—after all, 80 years hasn’t slowed them down.

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Arts

Pun Picks: NO BS! Brass

As a musician, I have been aware of vibrant music scenes across the country including Seattle, Asheville, Knoxville, Burlington, Boston, Atlanta, and of course our very own Charlottesville, VA. In recent years I have become more and more intrigued with Richmond’s scene.

RVA All Day is what the serious musicians in Richmond, VA, say when referring to the music of their city. The saying gives a sense of pride to their own musicianship, their camaraderie amongst fellow Richmond musicians, and simply the love they have for the city itself. I first learned of the term after hearing my friend Devonne (aka DJ Harrison) use it after releasing some of his music last year. After playing music with him for a while I have also learned a lot more about other Richmond musicians including Butcher Brown, DJ Williams Projekt, RVA Big Band, Abinnet Berhanu Trio, NO BS! Brass, among many others.

Even though I’m primarily a guitarist, I have been fascinated with brass bands since I was in middle school. I can remember buying my first Tower of Power CD, then discovering an album called “Brass Hop” by Coolbone (a funk/hip hop horn driven group), and of course all the amazing New Orleans staples like Rebirth, Dirty Dozen, and Treme brass bands. NO BS! Brass is no exception. The first time I saw them I was hooked. Their sound is familiar yet fresh, pushing their own boundaries and definitely making their mark on the music scene in Richmond and well beyond.

NO BS! Brass plays outside at the Josie Robertson Plaza (at Lincoln Center) in NYC, NY this Thursday, August 8th.

If you like what you see and hear, please visit the official Pun Picks website: www.punpicks.com

Here’s a live session of their tune RVA All Dayfrom their performance at the Ntelos Wireless Pavilion a few weeks ago.

From their bio:
“NO BS! Brass takes the New Orleans brass band into uncharted territory, fearlessly combining elements of James Brown, John Coltrane, Michael Jackson, and Led Zeppelin into their fiercely original sound.”

Reggie Pace: trombone
Bryan Hooten: trombone
John Hulley: trombone
Dillard Watt: bass trombone

Sam Koff: trumpet
Marcus Tenney: trumpet
Taylor Barnett: trumpet
Ben Court: trumpet
David Hood: alto saxophone

Stefan Demetriadis: tuba
Lance Koehler: drums

 

Categories
Arts

Interview: Bruce Hornsby brings together a band of seasoned players

Bruce Hornsby is a man of many talents. A master pianist with a playful imagination, his scores have won countless awards and adulation, and he has collaborated with and inspired musicians of all genres, from Ricky Skaggs to Tupac Shakur. When he is not blending bluegrass, jazz, soul, and pop into his own signature sound, he is an avid basketball player and always makes time to hit the court. Following a script, however, is nowhere near Hornsby’s list of accomplishments.

From his early days writing award-winning music with the Range, to touring with the Grateful Dead in the early 1990s, to raising a family in Williamsburg, Virginia, Hornsby has never lost his penchant for winging it. This vibrant taste for creativity remains constant as the three-time Grammy award winner enjoys a summer tour with his long-established band of Noisemakers, who often forgo standard rehearsals, and instead employ the strategy “watch Bruce” when performing live.

Hornsby’s innovation results in music that is grown, rather than played, making the moniker Bruce Hornsby and the Noisemakers delightfully ironic. With live performances full of improvisation and sparks of musical ingenuity flying from each strum of the guitar or striking of piano keys, the end result is a musical fabric that rings differently in every ear, stirs the soul, and is far from mere noise.

The Noisemakers themselves are old friends, with drummer Sonny Emory, who joined almost a decade ago, being the newest addition to the group. With the release of the group’s recent album Bride of the Noisemakers, they celebrate eleven years of never knowing what may come next, except good fun and good music.

C-VILLE Weekly reached Hornsby via e-mail to discuss his summer tour, his latest music, and his Virginia roots. Bruce Hornsby and the Noisemakers will perform at nTelos Wireless Pavilion on August 7. Railroad Earth opens.

C-VILLE: Your new release, Bride of the Noisemakers, is comprised of live recordings that you selected, and 25 tracks made the cut. What influenced your choices?

Bruce Hornsby: Actually, my latest release is the soundtrack of my score for Spike Lee’s 2012 film Red Hook Summer, a mostly solo piano record. My favorites from Bride (which features the beautiful cover depicting my bass player JV Collier getting married to my keyboard player JT Thomas in drag) might be (in order) “Cyclone,” “Country Doctor,” “This Too Shall Pass,” “Fortunate Son/Comfortably Numb,” “Levitate,” “White Wheeled Limousine,” “Resting Place,” “Dreamland,” and “Swan Song.”

The Noisemakers, collectively, have been playing with you for quite awhile. Do you have any especially fond or funny memories from touring and performing together?

Generally, we just ride around the country and laugh a lot on our tours. One good memory comes from the mid-2000s, in Seattle. In a rather festive, wild moment in our show, a rather big and strong woman jumped up onto the stage and was moving quickly toward me, seated at the piano, when she was met by two poor, hapless members of our crew. As they tried to stop her, she basically got into a wrestling match with them, and beat the crap out of both of them. During the fracas she purportedly kept screaming ‘Why won’t you let me be with him?’ and ‘Why are you keeping me from him?’ That was memorable and hilarious for all, except maybe the woman, of course.

I hope she is well, and I hope she still comes when we play Seattle, but we’ve not seen her since.

You’ve toured with the Dead, you’ve won three Grammys, and you’ve explored the world extensively. What about Virginia keeps you coming home?

Williamsburg is just a very nice place to live, and it has been a great place to raise our two sons. If I lived anywhere else, it would probably be the Bay Area of California, but it’s very unlikely that we would ever move. I guess I’m a homebody at heart, and ten years in L.A. was enough.

You’re known for your profound exploration of music and its boundaries. Do your Virginia roots influence your music as it continues to grow and change?

I feel that I’m less influenced by the place where I grew up than I used to be, but I’m probably wrong. I’m increasingly influenced by old time traditional music in some of my new and recent work, and certainly that music has a serious Virginia provenance.

Do you have any favorite C’ville spots that you like to visit when you’re in town?

I guess the two spots I regularly visit in Charlottesville are Scott Stadium for UVA football in the fall, and John Paul Jones Arena for UVA hoops in the winter. And for that I thank my longtime, dear friend, Virginia Athletics Director, Craig Littlepage.

~Maggie Underwood

Categories
Arts

Charlottesville’s last independently owned movie theater goes dark

Vinegar Hill Theatre closed its doors on Sunday after 37 years in business. The decision came suddenly, just 6 days before closure. This was written as preparations were being made for the final weekend, and by the time you read this Vinegar Hill will be gone.

The major reason that Vinegar Hill Theatre closed is that it wasn’t able to show enough financially successful films anymore. Though I managed the business, the booking of films was not my responsibility. Visulite Cinemas owner, Adam Greenbaum, and a booking agent named Jeffrey Jacobs who works with many small theaters across the East coast, handled the Vinegar Hill film programming.

Charlottesville is a closed market, meaning that distributors will only give each film to one theater in town at a time. Vinegar Hill had been the last remaining locally owned screen in the area. The other 20 first-run screens are all owned by Regal Cinemas, the largest movie theater chain in the country (by a significant margin), leaving Vinegar Hill in the tough situation of being a small business competing against a national one for the same products.

I’ve been the manager at Vinegar Hill for the past five years, and I’ve written in this column about the difficulties the theatre was facing, as well as the endangered nature of small businesses elsewhere in the Charlottesville arts community. The cost of living in Charlottesville is still getting higher, local businesses are struggling here just as they are everywhere, and I often worry that as a community, we aren’t leaving space in our city, physically or economically, for local business and culture.

Those are all important issues, but at the present, I’ll focus on the details surrounding Vinegar Hill’s closure. As is always the case with such events, there is sure to be a great deal of rumor, presumption, and misunderstanding, especially because the closure happened so swiftly.

One misconception is that Vinegar Hill lost its physical space. Since 2008, Visulite Cinemas has leased the theatre, and in February of this year the owner decided to sell and put the building on the market. (As of this writing, it has not yet sold.) The theatre continued to rent on a month-to-month basis. There was not an eviction, and the “For Sale” sign in back is not the reason that Vinegar Hill closed, but with the looming possibility of a sale, it’s fair to say that there was less incentive for the movie house to remain open.

Another question is about the conversion to digital projection. Vinegar Hill realized in 2012 that it would need to replace 35mm film with digital in response to changing distribution models in the film industry. A fundraiser was held to offset the cost of a digital projector, and the format was converted in February, allowing movies to screen digitally for the last six months. The expense of the new projector certainly didn’t help matters, but the need for conversion wasn’t the reason for the closure.

Greenbaum spoke candidly about the situation. “Our ability to book the quality of film that we have been booking, for the last five years, has been undercut by the competitive clout of the nation’s largest movie theater circuit,” he said. “We couldn’t continue to deliver the same quality of movies that we have been.”

“The situation changed dramatically when Regal opened Stonefield and converted their Downtown location to [an] art [theater]. Let’s assume that Regal makes decisions rationally, and that they didn’t decide to take low-grossing, obscure art films, and cut their own revenue at the Downtown Mall practically in half, just because they’re masochistic. They must have had a reason. Just like a Wal-Mart, or a chain grocery store, doesn’t drop its prices out of love for its customers. It’s because they know their competition can’t keep up.”

One by one, the major indie distributors —Focus, Fox Searchlight, and finally Sony Classics—started giving their most successful products to the Regal theaters, and we found that we could only pick up low-
grossing films with the hope of breaking even, or booking films from much smaller distributors, who do far less advertising and often release films to streaming services simultaneously. Many of the films shown were quite good—some were excellent—but none of them were doing well enough to keep Vinegar Hill in business.

“What’s really frustrating is that Vinegar Hill, as a business, needs maybe three big movies a year, in order to be profitable,” Greenbaum explained. “That’s it. The rest of the year, it could be small films, all sorts of interesting films, that are under the radar. But it needs a Black Swan, a Crazy Heart, a Best Exotic Marigold Hotel, a Midnight in Paris. It needs a handful of ‘big,’ and I say ‘big’ in quotes, art movies. And that spigot has been completely turned off.”

“It is really hard for me to speak on it with any kind of emotional distance,” he said. “With the decision [to close], I continued to be hopeful up until the very end. But with nothing on the horizon, and the studios making it clear that, pretty much, everything of value on the horizon would be going to the Regal, it kind of sunk in. This is the state of the industry in Charlottesville right now. The landscape is inhospitable to an independent venue. But I don’t think that it’s dead forever, I’ll put it that way.”

Share your thoughts on the closing of Vinegar Hill Theatre in the comments section below.

Categories
The Editor's Desk

Editor’s Note: The view from Babyville to Weddingville

Whoo whee. My wife delivered a healthy baby boy on Saturday. Talk about an experience that goes beyond where words can follow. You spend all that time waiting and preparing and in the final days before the birth, a hush comes over your life and then everything is distilled down to this one room. Life drips out second by second for half a day as your wife tries to push a tiny human into being against what seem like impossible odds, even though it’s the oldest trick in the book.

The team at Martha Jefferson was so good, in love with their jobs and their new facility and all the little babies, that I’ll never think of hospitals or doctors or nurses the same way again. I’m writing this as a new parent, sleep deprived in a lobby, scared and excited at the prospect of going home, but really grateful for my family, my neighbors, the hospital, the town we live in, even this old newspaper.

Some way down the Blue Ridge in North Carolina is Whiteside Mountain. To get to the top you hike up gradually from the west side to a ridge covered in laurel thicket, and then work your way through one of the many well-worn tunnels that dump you out, often all alone, onto the bald face of the highest cliffs on the Eastern Continental Divide.

There are just a few times in your life when the path takes you somewhere so high that you can look back at your past and forward at your future likes it’s all laid out beneath you, from a place that is itself so solitary and so beautiful that it gives you eyes to see all of what is good in the world and none of what isn’t. That’s what this weekend felt like for me, like coming out of the close laurel and looking up and down the spine of mountains that runs nearly the length of the continent my people have lived in for the past couple hundred years.

This week’s cover story on how Charlottesville turned into Weddingville, USA, touches on another one of those moments. I can look back and see my own wedding really clear from here. I even remember all the heartache about invitations and what food to serve and who would stay where. But mostly what I remember is singing a duet with my wife after dinner, because after the party is over, that’s what you’re doing for the rest of your life.

Categories
News

New board forms to save Barrett Early Learning Center from closing, fundraisers in the making

It’s been three weeks since Grace Williams checked her grandson’s cubby at Barrett Early Learning Center and found a letter announcing the decision to close the nearly 80-year-old daycare center later this month. A fixture in the city’s Ridge Street neighborhood and for decades one of the few local child care options for African-American families, Barrett is known for two things: diversity and affordability. But between a new payment system for state-subsidized students and a decline in monetary donations, the center’s board of directors said keeping it open was no longer financially viable.

Feeling blindsided, Williams  was one of dozens of parents and community members to squeeze into the child-sized chairs at Barrett on Monday, July 29, determined to come up with a way to keep the center up and running. By the end of the meeting, a new board had formed—including parents, alumni, a Building Goodness Foundation representative, and City Councilor Dede Smith—an interim director was chosen, and fundraising plans were in the works. As long as the group can come up with $70,000 in the next two weeks to cover the deficit and costs of building repairs, Barrett will remain open.

Williams, who’s lived in the neighborhood since the 1970s and has walked most of her children and grandchildren to Barrett for years, was one of the first to raise her hand at last week’s meeting and volunteer to help with fundraising.

“I just knew I couldn’t let this happen,” said Williams. “That school is really needed in the community.”

Barrett, located on Ridge Street, opened in 1935 and was originally available to African-American families only. It now serves about 35 children ages 2 to 5, many of whom receive state funding through the Virginia Department of Social Services (VDSS) child care subsidy program.

Williams said Barrett has always been affordable and accessible for her family. But since VDSS implemented the Virginia Electronic Child Care (VA-ECC) system at all centers accepting state subsidies, Williams said she’s been frustrated with the new payment method.

The VA-ECC system, implemented in 2011, requires centers like Barrett to install a point-of-service device, similar to a credit card machine, and assign a swipe card to each child. Parents swipe their kids in and out each day, which records attendance information and calculates automated payments that are deposited from VDSS into the provider’s account twice a month. The system was designed to give VDSS consistent and accurate attendance information and to eliminate manual invoice processing and check writing.

“It has not been a good transition,” Williams said. “One day I go in and can swipe in and out, and the next day it says my card is denied. The state can’t just hold money like that.”

The letter sent home to parents cited the program as one of the primary reasons for the school’s closure.

“The state’s unpredictable and cumbersome VA-ECC reimbursement swipe card system, combined with a decrease in philanthropic contributions, has made it difficult for a center to meet its financial obligations,” read the letter written by former board president Carlos Armengol.

Gail Esterman, child care quality manager at Charlottesville’s Children, Youth, & Family Services, said she didn’t know specifics about Barrett’s financial situation, but wasn’t surprised by the announcement that it would close. Other nearby centers, like Bears & Blankets Academy in Staunton, have recently shut down for the same reason.

VDSS officials say it’ll take some time to iron out the kinks.

“Transition to the VA-ECC system has involved a learning curve for both families receiving assistance and child care providers,” said VDSS Media Specialist Andrew Sitler.

He said the department is providing training materials, technical assistance meetings, and establishing a help desk for providers to call with questions.

Despite concerns about the card swipe system, the group of roughly 50 people at last week’s meeting said they were determined to keep Barrett open.

Former board member Melvin Carter said this is not the first time Barrett has been in danger of closing, and a similar group gathered about 15 years ago with the same concerns.

“Barrett’s been here too many times,” Carter told the group. “We need commitment from a board and from the community if you truly love it. If you don’t love it, we close on the 16th of August.”

Eugene Williams, who’s lived in Charlottesville for most of his 85 years, sat quietly with his wife at the meeting while others shared stories about Barrett and the neighborhood. His was one of the first African-American families to move in on Ridge Street in the 1950s, and he recalled watching white homeowners flee as more blacks came to the neighborhood. Now it’s known as one of the most diverse areas in the city, but he said racism is still evident in Charlottesville. Eliminating places like Barrett—open to all, with a history of serving the underserved—will only set the city back.

Williams said he hasn’t been impressed with the city’s attempts at addressing prejudice, and doesn’t think efforts like the Dialogue on Race or the Human Rights Task Force are productive uses of time and money. A child care center that attracts a diverse clientele and teaches acceptance and inclusion to kids as young as 2 years old is a better place to start, he said.

“It sets a stage for diversity,” he said. “There’s no better place to start a dialogue on racism than with children.”

Retired educator Maria Bell stepped up to serve as Barrett’s interim director after former director Shannon Morris Banks left last Friday.

“I just didn’t want to see it go,” said Bell, who’s been volunteering at Barrett for two years. “I don’t think it’ll be very long before it’s turned around.”

Bell opened a day care center in a low-income Philadelphia neighborhood about 30 years ago. It is still thriving, and she credits that to the fact that the parents took ownership over it and made it a community-oriented center.

“I really believe that because it’s in the neighborhood, it should be run by the neighborhood people,” Bell said. “That’s what I want to bring to this one too—that same sense of ownership.”

Gail Esterman agreed, and said she hopes the new fundraising campaign will be a reminder of what a child care center can do for a neighborhood.

“People have gone there for generations, and there’s a lot of trust there,” Esterman said. “You can’t replace that. People need to be aware of what the loss would be for that community.”

Esterman said she was impressed and encouraged by the amount of enthusiasm at last week’s meeting, and hopes the new board will have momentum to keep Barrett going. It’s a viable plan, she said, but she cautions those involved to consider what can be accomplished in panic mode, versus what is sustainable long-term.

“If it’s going to survive, it really needs not to be operating on that kind of crisis management basis,” she said. “They really need to put things in place that will allow this center to be stable.”

The first fundraising event will be a lunch at Maya on Saturday, August 10. It will begin at 1pm, and a portion of each $30 meal will go directly to Barrett. The center is also accepting donations via mailed checks, or online at barrett.avenue.org.

Categories
Living

Marriage or bust: Why are Charlottesville weddings so dang expensive?

About an hour before sunset, Jen Fariello climbed to the top of a grassy hill with her camera. She looked through her lens down on the bride and groom exchanging vows under a rustic moss-covered altar with 10 rows of white chairs neatly arranged in a romantic countryside garden at Pippin Hill Farm & Vineyard. And in the background, a panoramic view of the Blue Ridge Mountains in misty, muted light. She waited for the moment when the sun sunk below the clouds to get the perfect shot. Click.

“It’s the quintessential picture of the Blue Ridge,” says Fariello, who has been a wedding photographer in the area for more than 15 years. “It captures what’s so beautiful about Charlottesville. It’s so simple and natural.”

Local wedding photographer Jen Fariello has been capturing brides in picturesque Blue Ridge settings for over 15 years. She has also seen the local wedding industry develop from intimate, country ceremonies to opulent affairs. Photo: Ron Dressel
Local wedding photographer Jen Fariello has been capturing brides in picturesque Blue Ridge settings for over 15 years. She has also seen the local wedding industry develop from intimate, country ceremonies to opulent affairs. Photo: Ron Dressel

It’s also the quintessential picture of a idyllic and fabulous high-end wedding. Fariello took the image in September 2011 soon after Pippin Hill opened. “I was the first person to climb up on that hill and shoot that,” she says.

Earlier this year, Brides magazine made a list of “the dreamiest spots in the country to say I do,” and named Pippin Hill Farm & Vineyard one of the top 50 romantic wedding venues. The short write-up on Pippin was paired with the iconic image Fariello took back in September 2011. The other high-end venues that made the cut were the Beverly Hills Hotel, New York Public Library, Bellagio in Las Vegas, Sundance Resort in Utah, as well as exclusive beach resorts from Miami to Maui. Just the other week, it was even rumored that celeb couple Jennifer Aniston and Justin Theroux exchanged vows at a quickie wedding ceremony at Pippin Hill—the perfect locale for a celeb couple looking for a private and exclusive wedding off the beaten path and out of the limelight from the paparazzi.

Last year there were 924 weddings in Albemarle County, and the local wedding market was valued at about $28 million, according to The Wedding Report, a research group that collects wedding industry statistics and trends. Charlottesville’s wedding industry has exploded in the past four years, and its value is becoming comparable to bigger, more notable markets for destination weddings, such as California’s Napa Valley area, where last year there were 1,041 weddings bringing in $37 million.  In the Southeast, Charleston, S.C., is the most sought-after wedding destination, playing host to 2,925 weddings last year worth an estimated $72 million, according to the report. While Charleston’s market is almost three times Charlottesville’s, several wedding experts in the area told me that Charlottesville takes the No. 2 spot for wedding destinations in the region, because of its beautiful Blue Ridge backdrop and plentiful venues from wineries to historic estates.

“I think everyone is talking about Charlottesville and Charleston on the East Coast,” says Lynn Easton, co-owner of Pippin Hill Farm & Vineyard and owner of Easton Events, with offices in both Charleston and Charlottesville. “Our reputation is going to continue to grow and so is demand… Charlottesville has a bright shiny future ahead of it for the wedding world.”

After living in Central Virginia for almost four years, I knew that Charlottesville was a hugely popular wedding destination, but having never planned a wedding myself, I didn’t realize it was so expensive. How did a wedding venue in little, ol’ Charlottesville, Virginia, get on the same playing field as the infamous Bellagio and the Beverly Hills Hotel? And, if the rumor is indeed true, how did a high-powered Hollywood couple like Aniston and Theroux choose a spot in Appalachia?

I am a young woman who has friends getting hitched left and right. Also, at the age of 26 (the median age women are getting married these days), I can see myself tying the knot in the next few years. As I venture into the wedding world, watching friends and family get married, I’m starting to wonder how much of a wedding I can actually afford as a 20-something journalist. And, in the end, I keep coming back to a question that TLC and a whole pile of magazines and blogs keeps asking me: Is a wedding—one day of the year—really worth shelling out a year’s salary for? Or, as wedding professionals say, is it really priceless?

Categories
Living

Five Finds on Friday: Matt Boisvert of C&O

On Fridays, we and The Charlottesville 29 feature five finds selected by local chefs and personalities.  Today’s picks come from Matt Boisvert, who is leaving his acting sous chef position at Tavola to re-unite with chef/owner Dean Maupin at C&O.  Years ago, Boisvert worked under Maupin for four years at Clifton Inn.  Boisvert’s picks:

1)  Falafel at Blue Ridge Country Store.  “They make it daily and it is shaped like a cookie, usually by the salad bar.  It’s the best in town, and usually my number one choice for lunch downtown.”

2)  Shrimp Tempura at Kabuto.  “It’s always very well prepared and different from regular tempura because they dredge the shrimp in tiny flakes so its extra crispy.  I always get a side of Japanese mayo.”

3)  Grilled Cheese Sandwich and Tomato Soup at C&O.  “I’ve been eating this tomato soup in one form or another for years, and nothing beats this and a Makers and ginger after a long day.”

4)  Pastry Basket for brunch at Hamiltons’.  “Curtis and his team are killing it lately and sometimes they fry Cronuts (croissant donuts) for the pastry basket.  Enough said.”

5)  Heaven Sandwich at BBQ Exchange.  “This sandwich is the real deal, and you can’t find better people than Craig, his wife, and his team to support.  Worth the drive!”

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Categories
Arts

Tapestries by Klaus Anselm and Joan Griffin at McGuffey Art Center

The abstract and stylized tapestries of Klaus Anselm and Joan Griffin, currently on display at the McGuffey Art Center, are indisputably beautiful objects. They have clear pleasing palettes, unexpected bright intense colors, soft surfaces, and an odd but familiar resolution. Anselm’s tapestries are mostly geometric abstractions, overlapping squares, curves, and quadrilaterals that fill each composition. Griffin’s tapestries provide a great contrast to Anselm’s. Her organic shapes create recognizable but stylized landscapes which are bright and flowing, however, as a group, the images of each artist vary widely in interest.

The constraints of the tapestry format add particular interest to the exhibition. The low resolution designs recall vintage Nintendo animation and early computer adventure games. The bright oranges and blues in Anselm’s canyon landscapes mimic the brightness of a glowing screen, and many of his designs bring to mind 1980’s imaginative visions of a graphic cyberpunk future. This pixelized retro-futuristic feel is fun and appealing, especially when considering the analog mode of their construction.

Anselm’s canyon images are beautiful and unexpectedly bright with alien towering walls and burning sunlight. Anselm’s geometric tapestries construct interesting imagined abstract spaces with extruding rectangles and walls of cobbled 2D and 3D shapes. A few of Anselm’s works, however, hover on the edge of being overly-decorative. “Concert for Space,” creates a small distortion of space with the twist of each red ribbon, but beyond this, the work provides very little spatial-geometric intrigue to hold the viewer. In this particular work, the scale of the tapestry fights with its composition. The ribbons are cut short in order to fit the square, which limits their ability to enliven the space.

Griffin’s tapestries use a great sense of light to construct delicate scenes that are painterly and almost fantastical. “Village Path” show a shadowed overgrown path leading to a stone arch through which we see a brilliant sunset. The image is intriguing and well composed with a bit of sentimentality.  By contrast, “Breeze” is very tightly cropped and autumnal to the point of being tacky, which leaves the viewer with little reason to examine the work further.

Overall, the show is full of well designed tapestries that are interesting objects by themselves. Each image is accomplished with varying degrees of success, and the pixel-like nature of the work manages to create some intriguing and unexpected associations.

~Aaron Miller and Rose Guterbock

Categories
Arts

ARTS Pick: Miss Julie

One midsummer’s eve, Julie, an upper class woman, and Jean, a valet at her father’s estate, struggle with misguided passion for each other and their own romanticized ideas of escape. Gorilla Theater Productions presents Miss Julie, by August Strindberg, a play about the tensions of class, desire, and the hunger for power.

Through 8/11  $7-10, 8pm (4pm on Sundays). Reservations recommended. The Director’s Studio, 1726 Allied Ln., Suite 2B, McIntire Plaza. 547-7986.