Categories
Arts

ARTS Pick: Frankenstein

Leave a barrel of fun size bars on the porch and immerse yourself in the madness of Mary Shelley’s Frankenstein played out by a highly talented cast. The horror classic is brought to the screen from London’s National Theatre, and directed by Academy Award winner Danny Boyle. Benedict Cumberbatch and Jonny Lee Miller alternate the lead role in a rebroadcast of the intense production that became an international sensation.

Friday 10/31. $10.50-14.50, 7pm. The Paramount Theater, 215 E. Main St., Downtown Mall. 979-1333.

Categories
News

Van der Linde disputes claims of recycling slowdown

An Albemarle County supervisor has questions about a temporary slowdown in operations at a local recycling plant, but Peter van der Linde says his facility is running strong—and is about to see a big upgrade.

Samuel Miller District Representative Liz Palmer serves on the county’s Long Range Solid Waste Solutions Advisory Committee, which is tasked with taking a broad look at how to handle trash and recycling services. It’s a big question for Albemarle: Many in rural areas depend on the ability to drop trash off at a waste transfer station in Ivy, but that facility, run by the joint city and county-funded Rivanna Solid Waste Authority, has struggled to break even as more and more local haulers take their trash to private competitors.

One of those competitors is Van der Linde Recycling, a 6-year-old facility in Zion Crossroads. Van der Linde’s method—encouraging the disposal of all household garbage and recyclables in one bin, and then sorting everything out—concerns some locals who think source separation of recyclables is more effective and responsible, especially when it comes to paper waste.

A few of those skeptics sit on the solid waste committee, and Palmer said rumors have been circulating for months about a partial shutdown at van der Linde’s site while the company installs new equipment. She talked to Graham Simmerman, land protection manager for the Valley Region of the Virginia Department of Environmental Quality (DEQ), and didn’t feel reassured.

“He said basically that as far as we know, his sorting machinery is shut down and has been shut down as far as the DEQ is concerned for eight months,” said Palmer. That bothers her and others, she said, because it would mean that van der Linde’s facility “has been advertised for the last year as something that it’s not.”

Simmerman told C-VILLE the situation isn’t as dire as that. He said that even during the upgrade, which has lasted about eight months, the Zion Crossroads facility has continued to meet the 15 percent recycling rate required of a Materials Recovery Facility (MRF). (C-VILLE’s own analysis in 2012 put Van der Linde’s rate at around 32 percent.) Simmerman said he’s not certain how much the temporary switch to hand-picking has affected operations, but the company is still recycling.

One thing that has changed, he said, is that a Harrisonburg incinerator that previously took some of the paper and plastic waste that van der Linde couldn’t find a market for has shut down, so his company “doesn’t have any recourse at this point but to send it to a landfill.”

Peter van der Linde said his recycling rate has only dipped by 1 to 3 percent over the last few months, and he’s been told that the Harrisonburg plant’s shutdown is  temporary. He said his minor slowdown is a small sacrifice to make in order to launch the massive, $3 million-plus upgrade that will go online by the first of the year and includes an optical scanner that picks out various grades of plastic and a “hamster wheel-like” trash tumbler that will recirculate waste until his staff is satisfied that all the recyclables have been grabbed.

It’s been “a challenge” keeping his recycling rate high, “but that’s something I wouldn’t budge on,” he said, and he’s been totally transparent about the changes at his site. “I have only one agenda, and that’s to recycle. Our financial survival depends on maximizing the proceeds from recycling, because otherwise I’ve got to spend to haul to the landfill.”

Categories
Arts

Film review: Keanu reloads as a tough guy in John Wick

It’s about time to revisit the way we talk about Keanu Reeves. For over two decades, his name has been synonymous with stiff acting and dim surfer dudes. But between his stint as a stunningly capable interviewer of film greats in 2012’s Side by Side and his thoroughly enjoyable directorial debut with last year’s Man of Tai Chi, it’s clear that what he lacks in technical acting chops he more than makes up for in self-awareness, intelligence, hard work, and good taste.

Reeves’ latest, John Wick, is the 50-year-old (yes, he’s 50) action star’s entrance into the world of pissed off old guy action flicks and it only serves to bolster the actor’s career revival. Reeves stars in the title role as a recently widowed, long retired assassin for a criminal enterprise he left behind to pursue a life of normality. In the final stages of her sickness, Wick’s wife arranged for him to receive a puppy, to love in her absence. Within days, while taking his car and furry friend for a ride, Wick is confronted by privileged Russian mob kids headed by Iosef Tarasov (Alfie Allen of “Game of Thrones”). Later that night, the gang invades Wick’s home, viciously attacks him, kills the dog, and steals his prized Mustang. This insult to injury turns Wick’s grief into rage, as he dives headfirst into the criminal world he left behind to kick some spoiled ass.

With a beat and style all its own, John Wick is much like Reeves himself: stylish, cool, and fun enough that you will readily forgive most of what keeps it from being conventionally good. Most of the tricks in John Wick’s arsenal—who’s-who cameos of cinemas greatest badasses, handcuffed escapes, clever allusions to the extent of Wick’s famed abilities—are used in the first 45 minutes only to repeat themselves. Doesn’t matter, because everything is such a blast that you won’t mind it the second time. The plot—such as it is—doesn’t build toward its conclusion so much as just ends after there’s no one left to kill. Doesn’t matter, because in a genre exercise this tight, any moral or moment of dramatic sincerity would have been entirely artificial.

Though on the surface, John Wick shares a great deal with the recent spate of movies about retired killers who just want to be left alone (The Equalizer, The Drop, any Liam Neeson movie of late), two key things separate it from the pack. First is the direction by professional stuntmen Chad Stahelski and David Leitch, both of whom have a history with Reeves going back to the Matrix films. The movie looks amazing, from its terrific use of color to its impeccably choreographed fight scenes that lack the spatial confusion of similar shootout-heavy films. The second is Reeves himself, who has become known for performing many of his own stunts, fighting, and even driving. Whereas Denzel Washington or Liam Neeson are dramatically believable in their respective roles, few action heroes his age throw their entire body into every punch, kick, roll, and stab quite as much as Reeves.

John Wick is not perfect. The plot detours become a bit redundant and sometimes drag the momentum to a halt, and the character of Wick himself is either uneven or required more of a performance from Reeves. But as a technical display of physicality and style by some of the best stuntmen in the business, here’s hoping it launches an American subgenre of Hong Kong-style action films in a way John Woo never could.

Playing this week

23 Blast
Regal Downtown Mall Cinema 6

Annabelle
Regal Stonefield 14 and IMAX

Addicted
Regal Stonefield 14 and IMAX

Alexander and the Terrible, Horrible, No Good, Very Bad Day
Regal Stonefield 14 and IMAX

The Best of Me
Regal Stonefield 14 and IMAX

The Book of Life
Regal Stonefield 14 and IMAX

The Boxtrolls
Regal Stonefield 14 and IMAX

Dear White People
Regal Downtown Mall Cinema 6

Dracula Untold
Regal Stonefield 14 and IMAX

Fury
Regal Stonefield 14 and IMAX

Gone Girl
Regal Stonefield 14 and IMAX

Happy New Year
Regal Downtown Mall Cinema 6

The Judge
Regal Stonefield 14 and IMAX

Kill the Messenger
Regal Downtown Mall Cinema 6

The Maze Runner
Regal Stonefield 14 and IMAX

Men, Women and Children
Regal Downtown Mall Cinema 6

Ouija
Regal Stonefield 14 and IMAX

Pride
Regal Downtown Mall Cinema 6

The Skeleton Twins
Regal Downtown Mall Cinema 6

St. Vincent
Regal Stonefield 14 and IMAX

This Is Where I Leave You
Regal Downtown Mall Cinema 6

Movie houses

Regal Downtown Mall Cinema 6
979-7669

Regal Stonefield 14 and IMAX
244-3213

Keanu Reeves loosens up in John Wick by playing his age and performing many of his own stunts.

Categories
News

Airing out: Increased fees lead to staff cuts at Newsplex

Seven people are out of work at the Newsplex television stations, according to the stations’ General Manager Jay Barton, who said the reduction in staff was prompted by an “exponential” increase in the affiliation agreements with the networks that provide the programming, and was achieved through layoffs and attrition.

“The bottom line is the bottom line,” said Barton, who said the 10-year-old network affiliate owned by Atlanta-based Gray Television has been profitable for the past four years, but that the sudden change in those fees forced a tough decision to reduce the stations’ staff from 58 to 51. “The physical reality is that when almost all of your profit disappears overnight, you have to make some adjustments to accommodate,” he said.

Newsplex, a multi-station affiliate that airs three stations from its headquarters at the Ix property downtown—ABC16, CBS19, and FOX27—went live on August 14, 2004, bringing an end to NBC29’s three-decade monopoly of local television airwaves. While Newsplex began as and remains the underdog in the area television news market, it has always placed a strong focus on news, airing multiple morning, noon, and evening broadcasts on CBS19, which creates the newscasts, and simulcasting some of that programming on ABC16. Other than the axing of an underperforming 7pm broadcast, Barton said viewers won’t notice any changes in the news coverage, and he stressed that while the recent cuts will ultimately reduce the 28-person newsroom staff by three, none of those who lost their jobs—two anchors, the news director, and the assistant news director—created content. Barton, who is temporarily overseeing news production, said the station is hiring to fill a newly defined news director position, and he offered praise for the work done by the “hard-working” former employees.

The increase in fees that networks charge affiliates is hitting stations across the country, according to Barton, who declined to offer specifics on Newsplex’s network contracts, citing a confidentiality clause, but explained that affiliates like Newsplex and NBC29 pay the national networks a licensing fee for the right to air content. In turn, the affiliates charge cable and satellite providers a fee to carry the programming. In Charlottesville, those providers are Comcast, Dish, and DirecTV, the latter of which just began carrying local stations on September 17. Barton said in the past, the networks Newsplex contracts with charged a percentage of the fees the affiliates collected from the providers, an arrangement that allowed the affiliates to make a profit. A sudden change in the way some networks calculate their fees—from a percentage to a flat fee—proved a staggering financial blow.

NBC29 General Manager Harold Wright declined to offer details on his station’s affiliate agreement with NBC but described such fees as “substantial.” NBC29 has no plans to cut any of its 91 staff members, 41 of whom work in the news department, Wright said, adding that he sees the competition provided by Newsplex as positive.

“There’s no doubt NBC29 is a better station now than it was 10 years ago,” he said.

Barton said he and the remaining Newsplex staff remain focused on local news and described the staff reduction as a proactive approach to keeping a healthy bottom line.

“There’s a term for businesses that spend more than they make,” he said. “It’s ‘bankrupt.’ We’re not that, and we’ll never be that.”

Categories
Arts

Perspective shift: Denise Stewart plans for change in The Sugar

Local playwright, actor, UVA drama lecturer, and wellness coach Denise Stewart is on a sugar fast.

“I’m on day four because I thought it would be interesting and fun and maybe something to blog about. It’s already hard,” she said. But not as hard as the 30-day raw food fast she did earlier this year. “I’d feel rage that moved very quickly into a superior attitude. I would see breaded chicken at a party and think, ‘What is the world coming to? What are these people thinking?’ I knew that was a different place for me.”

Art reflects life in Stewart’s newest play The Sugar, which kicks off Live Arts’ 2014-15 season. “I’m not a moderate person,” she said. “This is a play that celebrates and highlights the extremist in all of us.”

The show follows Sally Dawson, a wellness coach in a small Southern town who decides to go on—you guessed it—a sugar fast. Her resolutions are quickly tested by the appearance of her freeloading brother, a national headline-making murder trial, and other issues locals might recognize.

“It’s not about dieting, of course,” Stewart said. “I think it’s about this idea that everybody’s got a plan. You watch 30 days in the lives of six people and what they’re working on. People have plans for other people who don’t want to go with the plan, so the plan gets spoiled, and then you have another plan. The things you planned are sometimes trivial, like a sugar fast, yet there are major repercussions when you’re trying to get control through renunciation. Like becoming a stranger in a new town, and then your old life comes right back to you.”

Her own experience has no doubt shaped Stewart’s multifaceted perspective. Encouraged from an early age as both a writer and an actor, and working on and off as a teacher since age 23, she was invited to return as a playwright-in-residence to her alma mater Catawba College, just after her graduation. “Jim Epperson brought me back [in 1998], and that same year he pushed me to apply to UVA’s MFA in playwriting program. That was pivotal.”

Eventually, a string of blog posts about her childhood became an hour-long performance piece and a lasting influence on her career. “So much of the work I’m doing now, from teaching to coaching to writing, has been created because of people who knew Dirty Barbie and either wanted to see it again or see more of my work,” she said. “The biggest lesson has been to be true to my roots, my storytelling, and my personality. I hadn’t trusted myself like that before.”

The Sugar, which was commissioned by Lee Street Theater in Salisbury, North Carolina in 2013 for an early 2014 opening, likewise drew on autobiography. Though the work itself would be fictional, Stewart said, “I knew I either wanted to write a Southern rock tragedy about my brother or a zany comedy. I’m not a musical person, so I thought, ‘Lets do what I have time for.’ I thought this was going to be a zany office romance, but it wasn’t too long in the process before the brother came knocking.”

That organic discovery is part of the creative process Stewart would like to see more of onstage. “We’re in a time where we don’t have enough new voices, enough new playwrights churning stuff out. I know for sure not enough people are writing, because we’re always doing old plays [in the UVA drama department],” she said. “It’s a fun way to talk about aspects of theater history. As a working playwright I feel comfortable talking about my process and how I’ve made my way. I want to encourage people to write more.”

Fortunately, she said, life in a good arts community makes that possible. “I think someone put a bug in Julie [Hamberg, artistic director of Live Arts]’s ear [about The Sugar]. I knew that if Live Arts could make that commitment, I would make a deep commitment to changing the script.” With feedback from director Ray Nedzel and the show’s cast, she’s made improvements throughout the rehearsal process in preparation for the show’s Halloween launch.

The Sugar will be the first piece to run in the newly renovated Live Arts space. After a major capital campaign investment, the building offers a new lobby, lounge spaces, stairways, and classrooms, and the season line-up is more ambitious than ever. On December 5, the largest cast in Live Arts history will take the stage for Les Misérables, and in February, the Virginia premiere of Crooked will explore issues of family, faith, and adolescence. The 2013 Tony Award- winning comedy Vanya and Sonia and Masha and Spike opens on March 6 and two spring repertory shows, The Mountaintop and Gruesome Playground Injuries begin in April.

Live Arts will host the U.S. premiere of 2014 Edinburgh Fringe Festival favorite Fight Night on May 15. This immersive performance will ask audience members to vote for onstage personalities and examine democratic peculiarities in the process. The season will close with the musical Xanadu, so prepare for roller disco and sidewalk chalk starting July 17.

Through 11/22. $20-25, times vary. Live Arts, 123 E. Water St. 977-4177.

Categories
Arts

ARTS Pick: Allen Toussaint

Legendary pianist Allen Toussaint has been a staple of the New Orleans R&B scene for more than half a century, playing theaters and clubs and influencing and collaborating with marquee names like Paul Simon, Elvis Costello, Joe Cocker, The Rolling Stones, Paul McCartney, and NOLA’s own Preservation Hall Jazz Band. In honor of their shared heritage, Toussaint brings PHJB on the road for a showcase of pure New Orleans jazz played by the masters.

Thursday 10/30. $29.50-75.50, 8pm. The Paramount Theater, 215 E. Main St., Downtown Mall. 979-1333.

Categories
Living

Stonefield restaurant changes it up, and other restaurant news

The folks behind Pasture rarely do anything under the radar. But the Stonefield-based restaurant’s patrons who walked by during the week of October 20 were likely surprised to find paper hanging in the windows and a sign tacked to the door.

“We are currently closed as we transition into PastureQ…a southern regional barbecue restaurant,” the notice read. “We will reopen on Friday.”

Shocking, considering the restaurant opened just over a year ago to much fanfare (some admittedly fueled by this publication) and riding owner Jason Alley’s wave of success at two Richmond-based restaurants, Comfort and the original Pasture.

But Alley insisted the transition will be natural, intended to allow Pasture to keep pace with the changing landscape at the Shops at Stonefield. The lower-end burger and Mexican concepts that were promised for the center have yet to materialize, and Alley said his barbecue format will fill that niche, coming in at a lower price point than Pasture but offering a similar experience.

The transition is also born out of passion, Alley said. He’s been yearning to get his meat hooks on a barbecue joint for some time, and the opportunity to do it in an existing space where it might bring more people through the door just made sense.

“Any time I get to do something new, it’s super exciting,” Alley said. “Sitting still is not something I’m good at.”

The PastureQ menu, which will feature the usual BBQ suspects cooked on a new 500-pound capacity smoker, isn’t that much of a stretch for Alley and the crew. He’s long been known for his pork obsession and with lower-end cuts of meat that need a little love to draw flavor out.

Alley said the PastureQ staff has been busy giving the restaurant a Southern makeover, with a splash of warm colors highlighted by Dolly Parton and Kenny Rogers records and a big pickle wall, but Pasture’s focus on local ingredients and thoughtfully crafted food and drink will remain. A few Pasture favorites, such as the house-made pimento cheese on Ritz crackers, will stay on the menu. The cocktail menu will be more barbecue friendly going forward, and a few PBR-like canned beer offerings will join the lineup of local craft taps.

Alley said that while he’s made some efforts to bring Pasture’s noise level down in response to complaints when the restaurant first opened, he wants PastureQ to be a vibrant place to eat.

“We had an older guest years ago in Richmond say, ‘Who wants to eat in a library anyway?’” Alley said. “We don’t want it to be obnoxious, but we want it to be a fun, lively room.”

Red light on the red carpet

If you hadn’t checked out Trocadéro Social Club yet, looks like you lost your chance. On Monday, October 27, founder and owner J.R. Gentle sent an e-mail to everyone who paid for a membership, and announced that Trocadéro was closing down due to lack of support, effective immediately.

It’s been only about a month since the European-inspired, member-preferred weekend nightclub made its debut in Glass Haus Kitchen on Second Street. We got a sneak peek back in September, when we learned that for an annual fee, members would get front-of-the-line access to the club every weekend with no cover charge, free entry for one friend each visit, and first dibs on reserving tables upstairs.

Reached by e-mail, Gentle said the decision was based on response—or lack thereof. “We had a fantastic opening night and then not much after that despite overwhelming support in the lead up to the opening on social media,” he said. “It was simply not a smart financial move to keep going.”

Gentle said that anyone who paid the annual $200 membership fee ($300 for couples, $140 for ages 23-27) will receive a refund, and the Facebook page, which had 860 likes at press time, will remain active so anyone interested can check out photos from the opening night. If you’re absolutely devastated that Trocadéro didn’t make it here in Charlottesville, you can always check out the social clubs that Gentle opened in Brussels and Ireland.

Bittersweet

When someone says “chocolate bar,” what comes to mind? Milky Way? Hershey’s with almonds? One of those fancy Ghirardelli 70 percent cacao bars? A young set of local newlyweds want to change the way we think about chocolate.

Renée Shuman and Logan Byrd tried their first small-batch chocolate bar during a trip to New York a couple years ago, and they were hooked. Now, they’re the masterminds behind Frolic Chocolate, a company that they hope will soon introduce the Charlottesville area to the different flavor profiles of cacao.

“The flavor differences between the bars versus your average chocolate bars is incredible, really stunning,” Shuman said. “I definitely see it as the future of chocolate.”

Shuman and her husband have been painstakingly researching the process of roasting criollo cocoa beans (which are considered the chocolate equivalent of the Arabica coffee beans) and combining them with minimal ingredients. One small batch takes upwards of 30 hours from start to finish, but Shuman said the final product is worth the tedious process.

“Part of what makes this different is our bars are an opportunity to experience what cocoa beans actually taste like when you don’t over-process, chemicalize, and strip down all the natural flavors like most chocolate companies do,” Shuman said.

Shuman and Byrd are in the process of transferring the operation from their home to a commercial kitchen. A storefront isn’t in their immediate future, she said, but keep an eye out for Frolic Chocolate bars online and through local retailers between now and next spring.

Categories
News

Banking on change: Nonprofit offers alternative to predatory lending

In May 2012,  Barbara Fitch had no savings account, a battered credit score, and a lavish shoe buying habit. She had racked up hefty debt and was trapped in a high-rate loan for a used car, even though she was bringing in a steady paycheck as the catering sales manager at the Inn at Darden, where she’s worked for eight years.

“I was really struggling financially,” said Fitch.

But then Fitch, 45, heard financial advisor Corbin Hargraves on 92.7 Kiss FM’s “Money Matters” show. Fitch called him, and months later ended up enrolling in BankOn, a free program administered by the Charlottesville-based nonprofit Coalition for Economic Opportunity. CEO, as it’s known, was founded in 2012 by locals—many of them familiar names in the social services scene here—who believed giving people alternatives to high-interest predatory lending services like payday and car title loans, was key to breaking the cycle of poverty. The BankOn program, launched in April 2013, is their primary tool. It offers no-fee banking services and low-interest loans, plus financial education classes from volunteers like Hargraves.

It worked for Fitch. “Corbin looked at my finances and said, ‘This is fixable, you just need a plan,’” she recalled. Within months, Fitch had completed a financial education and budgeting class through BankOn. She opened a savings account and started putting money away for her future. She began to boost her credit score. She curbed excessive spending habits while sticking to a budget. The guidance, she said, was “extremely helpful in getting me to see the big picture and not get overwhelmed.”

Fitch is one of more than 175 people who have gone through BankOn’s financial program since it launched a year and a half ago. But the program has reached a difficult impasse. CEO was founded with support from the City of Charlottesville, with the agreement that the city would initially fund half the program’s operating costs, and scale down its support over several years as CEO stepped up its portion of funding for BankOn. The city has delivered on its funding promises, but CEO has had difficulty—for a variety of reasons—raising money either through grants or fundraising efforts, said Mike Murphy, the city’s director of human services. In the current fiscal year, the city is providing $25,416, but the program needs an additional $12,207 to pay for the health benefits of a part-time staff coordinator.

In the meantime, BankOn has been left in the hands of three volunteers—Hargraves, Cherie Seise, and Emily Dreyfus, the community education and outreach director for the Legal Aid Justice Center—to maintain the program’s services using whatever free time they have.

Seise used to work full-time as BankOn’s program coordinator, but stepped down this past April to take another job. And without someone dedicated to promoting and guiding the program, Dreyfus said BankOn isn’t reaching as many people as it could, leaving it treading water when it could be making greater strides and helping break cycles of poverty.

“Corbin and I doing volunteer work and Cherie doing a little bit of volunteer work is not enough,” said Dreyfus. “We have to have a staff coordinator who will take the program to the next level.”

So now BankOn is asking the city for the additional funds. The new hire would do more outreach in public housing and low-income communities, lead more frequent financial education and budgeting classes, and provide clients with more consistent one-on-one financial mentoring.

The program tries to steer people away from check-cashing outlets by linking them with institutions that don’t have minimum balance fines and other potentially debilitating fees. Partner banks BB&T, Union First Market Bank, the UVA Community Credit Union, and Virginia National Bank have all joined with BankOn to give their clients that opportunity.

LaTonya Lewis is one of those clients. She has had bank accounts in the past, but had to close them. At one point she took a payday loan, and had every penny in her banking account garnished by the company to repay the loan. As a result, she was denied a future account with that bank, and it hurt her credit report, preventing her from opening accounts with many other banks in the city.

But BankOn gave Lewis a second chance. Last year, she heard an ad on the radio for BankOn and immediately called Seise to enroll in the program. Lewis went through a screening process, took a financial education class, and opened bank accounts for and her husband at what is now Union First Market bank.

“It helped me recognize the mistakes I had made before, along the lines of managing my accounts and keeping track of my own funds,” she said.

But BankOn is only effective if it’s used, said Dreyfus and Hargraves. And so if people who use check-cashing stores and payday loans don’t know about BankOn, or even if they don’t understand why these practices hurt them, then the program is not succeeding where it could, said Dreyfus.

“It is a little tougher than I anticipated to actually find the people who could really benefit from the program,” said Dreyfus, who works on BankOn issues about five hours a week. “What we found is that some folks are unbanked for what they view as very good reasons. They don’t want to overcome that pattern. So a challenging piece for us has been figuring out how to help people get in the door.”

The new part-time position would tackle that problem, as well as help solve the current dilemma over how to continue funding the program’s operating costs in the future, said Dreyfus. The prospective position would also be required to fundraise, write grants, and solicit private donations, she said.

City Manager Maurice Jones said he’s considering the funding request, and is looking at ways the city and CEO can benefit each other.

“Staff will be presenting a recommendation to the City Councilors during the second meeting in November to gauge their interest in this approach,” Jones said in an e-mail.

Mike Murphy said the city remains supportive of BankOn and is entertaining several other possibilities that could give the program the staff it needs to further its goals. He wouldn’t comment on the details, but said the alternatives are still in the planning process.

“The goals of BankOn are still very important,” said Murphy. He said the city does want to see people enter the financial mainstream, because “it’s really hard for low income people to get out from underneath those predatory lending practices.”

 

Categories
News

Do different rules for fraternities and sororities make campus life more dangerous for women?

It’s just before midnight on an October Friday at UVA, and deep in the bowels of a stately brick mansion on Rugby Road, throngs of undergraduates in cutoffs and cowboy boots are packed shoulder to shoulder in a dingy room with a sticky floor, watching one drunk classmate after another mount and then be flung from the back of a mechanical bull, their screams barely audible over the deafening sound of pounding music .

Two blocks away, a long line of mostly under-21 women stretches from the porch of another house, where men grant access to a chosen few through a front door barricaded with couches and tables. Downstairs, a sprawling basement dance floor is three feet deep in packing peanuts—the absorbent, cornstarch-based kind. People drop drinks, watch them vanish, and dance on.

They’re typical UVA Greek house parties in a few ways. There’s the alcohol: cases of Keystone light stacked in the kitchen, endless cups of mystery punch. And there’s the fact that they’re hosted by men, and only men. On this Friday and all other days, the sorority houses are quiet.

It’s such an entrenched part of Greek life—here, but also at colleges across the country—that few have thought to question it over the years: Thanks to rules on alcohol in residences set by national organizations, fraternities host house parties, and sororities do not.

But some at UVA, where nearly 30 percent of undergraduates are affiliated with Greek letter organizations, are questioning it now. Colleges nationwide are being forced to examine how they push back against sexual violence on campus, a problem so widespread that the Centers for Disease Control reports that higher education actually increases women’s chances of being victims of sexual assault. UVA has been thrust into the spotlight in that debate as one of 51 colleges and universities, many of them elite institutions, under investigation by the Department of Education since 2011 for possible violations of federal laws dictating how accusations of sexual assault are handled. In the last two years, UVA has made national headlines multiple times for hazing and binge-drinking incidents at fraternities, including the very public suspension of the charter of one of UVA’s founding frats, Pi Kappa Alpha, after 2014’s spring rush. The disappearance and death of second-year student Hannah Graham after a night drinking on Grounds in September has only upped the urgency of the debate around campus safety.

Would anything change if sororities got to play host to some of the parties that are so central to the social lives of so many on Grounds? Some women—men, too—want to find out, but they face an uphill battle.

Home sweet home?

Not all UVA sorority women have a problem with the rules that guide their social lives. Isabel Concepcion, a fourth-year and the social chair for Kappa Kappa Gamma, pointed out that sororities host plenty of parties. They may be off site, and there may be more hoops to jump through and a more carefully controlled supply of alcohol, but she doesn’t see a problem with that.

“There are big differences between fraternity and sorority social functions, but I don’t think it’s at all bad,” she said. “In fact, it provides more variety.”

Then there are the effects of a kegger on your personal space. Fraternity parties might be central to Greek life, but not everybody wants one in their own living room.

Several men pointed out the contrast themselves. Sorority houses are like “nice McMansions that people might actually live in,” said one fourth-year fraternity brother, but his house has suffered the ravages of drunk party-goers. “People have broken our windows, stolen all our pool cues,” he said. “People think they’re not real places, that they’re just social areas.”

Another brother described them bluntly: “They’re awesome shitholes,” he said, “but they’re shitholes.”

Several men also said they think sororities’ philanthropic efforts far outpace fraternities’ because the women spend less time, energy, and money on partying.

Jewel Crosswell, a fourth-year in Kappa Kappa Gamma, said she doesn’t mind never playing host to the kind of raucous parties that happen at men’s houses. “I don’t want my meals in a house that looks like a fraternity, and I don’t ever want to have to work a door, or figure out how to keep enough people out.”

She also simply sees the rule disparity as the wrong battle to pick. Parties are parties. “I’m more concerned with sexual violence in the fraternities,” she said.

But others feel it’s the parties that are at the heart of a social culture that leaves women vulnerable.

‘The people who live there have the power’

Few events throw into more stark relief the roles of men and women in the Greek social scene at UVA than boys’ bid night.

Bid events close out the spring semester rush periods for men and women, marking the moment new prospective members settle on a house and become pledges. But while sororities generally fete their newcomers themselves, boys’ bid night at UVA is among the biggest party nights of the year. Online accounts floating around college blogs refer to it as “the Christmas of Greek life” and “a sorority girl’s favorite day at UVA,” and students we talked to described a night where women—specifically, the new pledge classes—are the roving entertainment for the newly crowned princes of frat row. They dress in spandex and neon, tutus and ball caps, and, in groups according to sorority, make their way to a string of fraternity houses, where they’re plied with drinks.

A lot of drinks, by guys who are drinking hard themselves. By the end of 2013’s bid night festivities, which fell during the last week of January, six UVA students had been hospitalized, with two put on life support, according to media reports.

The drink-till-you-drop mentality means it’s seen as a high-risk weekend by everybody involved (Greek leaders “warn the crap out of first-years not to die,” said one sorority member), but women were much more likely to describe it to us as a dangerous scene, a time when they have to keep their guard up and look out for each other.

“It is obviously an unsafe night,” said Kappa Delta fourth-year Olivia Bona. “It’s a really predatory environment, where if you get too drunk…who knows what will happen to you.”

Bid night may not be typical if you’re talking in terms of numbers of parties or kegs consumed, but it is standard in Greek life, on any night of the year, for women to party—and drink—on men’s terms. And that, said many, is a problem.

Crosswell said frat parties are far from the only places where women can end up feeling objectified or unsafe, and she doesn’t think there’s an easy fix for that; she and some others who spoke to us said they weren’t convinced a rule shift would change much. But she does see an issue with Greek party culture.

“I think that the general sexualization of women is further fostered by the fraternity system,” she said, especially the act of men and only men controlling the doors at big parties, letting in only the people they want. “It creates an imbalance—we get to choose you and we’re deeming you pretty. We have the authority to say you’re pretty enough to get in,” she said. By its nature, “there’s a power structure there.”

Greek life would be safer for women if they could host parties, said Kappa Alpha Theta fourth-year Charlotte Cruze, because they’d be in control.

“The second you walk into a fraternity house, even if you are friends with everyone in that house, you are automatically a guest,” she said. “And the people who live there have the power. They know where the alcohol is, they know where the rooms are, and they know the layout of the house…this is a social pressure, because it’s their house, so they can do whatever.”

Charlotte Cruze. Photo: Rammelkamp Foto
Charlotte Cruze. Photo: Rammelkamp Foto

Besides being on their own turf, women at a sorority house party would be more likely to be surrounded by people they knew well, Cruze said. At a fraternity house, “if your friends leave, you end up there [alone] and don’t know anyone,” she said.

Fraternity men who spoke to us expressed their own reasons for being uneasy with the status quo. Some simply felt that sororities’ house rules were inherently sexist and unfair, the kind of outdated artifacts they and their peers didn’t expect to encounter at college.

“I know I always have a place to go drink where I’m comfortable, where I know people,” said Ben Camber. “I don’t see why [women] shouldn’t be able to enjoy that.”

Others said limiting sororities’ involvement in parties does nothing to curb the kind of heavy drinking and risky behavior that inspires hand-wringing among adults, but it does make scapegoats of fraternities—and that skews the important conversations that need to happen about risk and rape culture.

“I think people will drink and these situations will arise independent of who’s hosting,” said Phi Gamma Delta fourth-year Brian Head, but since they’re at the center of Greek life, “fraternities are easy targets.”

But cracking down on the Greek scene isn’t the answer, said Tripp Grant, a fourth-year in Delta Kappa Epsilon.

“I think the fraternities take a lot of pressure and heat off the University’s administration, in a sense,” Grant said, because they’re highly visible and student-run. “When an intoxicated student goes to the ER and claims he or she came from a fraternity party, that fraternity takes responsibility and is sanctioned by the IFC [Inter-Fraternity Council] and University accordingly. I believe that if UVA were to permanently ban fraternities from having parties, that heat and responsibility for a student’s safety would become a greater burden to the University.”

Tripp Grant. Photo: Rammelkamp Foto
Tripp Grant. Photo: Rammelkamp Foto

Lindsey Bond, a fourth-year Tridelt, is among those who believe the environment would be safer—especially when it came to women’s chances of becoming victims of sexual assault—if they were given equal footing in the Greek social scene.

“I really strongly see it as a campus safety issue,” she said. “I think you would be less likely to be sexually assaulted in your own home that was full of your friends, and your own space that you knew.”

Risky business

So why the vastly different rules for women and men? Two truths are key to understanding the strangely complicated and highly gendered world of fraternity and sorority party policies. First is that the universities where individual chapters reside have almost nothing to do with drawing up or enforcing those policies—it all comes down from national letter organizations, who collectively hold billions of dollars of property on campuses across the country. And second is that the rules are all about risk management and liability.

Cindy Stellhorn is the executive vice president of the Sorority Division of Indianapolis-based brokerage firm MJ Insurance, which writes policies for 19 of the 26 sororities that make up the National Panhellenic Conference (NPC), a women’s Greek umbrella organization. She’s also a Kappa Alpha Theta who graduated from Indiana University in 1977. If anybody knows the world of sorority risk management, it’s her.

Brokerage firms like hers don’t insure sororities and fraternities, she emphasized; they’re the go-betweens who set up therelationship between Greek organizations and insurers willing to take on their risk—and there’s a lot of risk in Greek life, so individual chapters pay premiums that can be dear. But individual national sororities started distancing themselves from the hard-partying reputation of their brother organizations well before that risk became a big business.

Most self-penned histories of Greek letter organizations focus heavily on the founding days and glide quickly over the 1960s and ’70s, if they touch on the era at all. The word “turbulent” shows up a lot. The gist: During the anti-establishment Vietnam protest years on college campuses, the Greeks fell out of favor. Enrollment plunged, particularly in men’s organizations, and then they came back a little too hard; Animal House, released in 1977, presaged a new era of partying that helped establish the public perception of fraternities as temples of drunken debauchery.

In its own chronicle, a 12-page history titled “Adventure in Friendship,” the NPC writes that “the 1960s and early ’70s took a toll on every fraternal group,” but that the umbrella organization “viewed the scrutiny to which it was subjected as an opportunity to restate its adamant opposition to hazing and to frivolity and excess in activities like Greek Week.”

It was then, said Stellhorn, that the NPC’s member sororities wrote no-alcohol policies into their housing rules.

Then came something of a nationwide reckoning, as Greek organizations’ liability insurance premiums exploded in the 1980s, a turn of events that Caitlin Flanagan details vividly in her epic March 2014 piece for The Atlantic titled “The Dark Power of Fraternities.” Dozens of national fraternities started battening down the hatches against lawsuits from people injured during parties by inserting strict rules on drinking into their organization-wide insurance policies that persist today, and, thanks to the involvement of an advisory organization called the Fraternal Information and Programming Group, are pretty much the same for every fraternity: No more open parties, only six beers per person at bring-your-own events, absolutely no underage drinking.

But the ostensibly dry sororities still felt they were being punished by insurance companies who lumped them in with fraternities when it came to assessing risk.

“The men’s insurance was being underwritten by the same groups as the women, and the women were guilty by association,” said Stellhorn. “It was like putting a rotten apple in with the good apples.”

Fed up, a national sorority leader forged a broker relationship with MJ insurance, and a slew of other women’s organizations followed suit; many more forged relationships with other brokers. The risk management rules that were then drawn up and were ultimately adopted by nearly every NPC sorority went much further than those of men’s organizations, codifying in insurance policies what had already been stated practice for almost 20 years: No alcohol in the houses, and any off site parties where there’s drinking have to be handled by a third-party vendor that agrees to check IDs.

Two sets of organizations with two sets of standards in chapters on campuses across the country. But the degree to which the members of Greek organizations follow those standards cleaves precisely along gender lines. Ask any fraternity or sorority member—and we did ask many—and they’ll tell you: No big party frats follow those risk management rules about guest lists, ID checks, and six beers per comer.

“It’s impossible to follow the rules, because the rules are so misaligned with the culture,” said one fraternity brother. “It’s hilarious, almost.”

So why do sorority chapters here and elsewhere generally stick to their own far stricter house rules on parties and alcohol, while fraternities flout their less draconian ones on a weekly basis? Why does student behavior take a double standard and run with it?

“You’re getting into a pretty psychological debate here,” said Stellhorn. But she sees a couple of reasons. Most sorority chapters have closer relationships with adults—house moms or house directors, usually alumna who live nearby. That kind of supervision generally doesn’t exist in the fraternity world.

That, and “women tend to be better rule followers,” she said.

Julie Johnson, chair of the NPC’s College Panhellenics Committee, agreed. In fact, she offered the exact same answer.

“We tend to follow the rules more than men do,” Johnson said. “I think we’re just wired differently.”

‘A Venus and Mars thing’

All but one of the national sororities we contacted for comment on this story didn’t reply or declined to comment. Only Kappa Alpha Theta had something to say about the issue of alcohol bans.

“As the first Greek-letter fraternity for women, Kappa Alpha Theta was founded on the principles of attaining the highest scholarship and influencing the campus, community, and world for good,” wrote spokeswoman Liz Rinck. “The ability to drink alcoholic beverages in a chapter facility is irrelevant to those aims.”

Rinck said the focus should be on tightening rules across the board, not loosening the rules sororities already have in place.

“If reinforcing a ‘healthier gender dynamic’ means reducing sexual assaults due to overconsumption of alcohol, it seems unfair to place the burden of staffing and policing parties with alcohol on female students—the most frequent victims, not the perpetrators, of sexual assaults,” she said. “Kappa Alpha Theta supports moving all parties at which alcohol is served out of student residences, including men’s fraternities, and holding them at venues licensed to sell and serve alcoholic beverages.”

University spokesman Anthony de Bruyn underscored that the Greek houses on Grounds are owned by national organizations, which set the policies members must follow. Chapters do have to adhere to a Fraternal Organization Agreement with the University, which grants fraternities and sororities access to certain UVA facilities; to honor that agreement, they have to meet certain safety standards and incorporate University-mandated educational programming.

Beyond that, UVA has launched coordinated efforts to tackle campus safety issues, both in and out of Greek life, he said, including meetings of President Teresa Sullivan and other administrators with chapter leaders, a bystander awareness campaign to prevent sexual assault, and task forces on alcohol abuse and hazing.

“The safety of our students, faculty and staff is of the utmost importance to the University,” de Bruyn said in an e-mail. “We expect the sororities and fraternities to promote a safe living environment for their members, and to abide by the standards and policies maintained by the University for all students and student organizations.”

No administrators from UVA would speak to us for this article, however.

Stellhorn said if sororities really do want to pursue rule changes that would allow their houses to be more like men’s, it will cost them.

Insurance providers who cover sororities are accepting the risk on condition of the current rules, she said. If they should change, “women would see their liability rates morph into what the fraternity rates are.”

It’s a big difference. Women usually pay on average $19 to $26 per member per year in insurance premiums, she said. From what she’s heard, men’s premiums come in at about $200—a number that was echoed by a fraternity member here at UVA.

And with good reason, said Stellhorn: “I could probably write oil refineries easier than writing men’s fraternities.”

In the eyes of the NPC’s Johnson, opening up sorority houses to parties is on no organization’s priority list.

“Why would we want to do that?” she asked. “Why would we open ourselves up to that liability and risk?” Fraternities’ rules on alcohol are far more permissive, it’s true, but she can’t speak to that, she said. “I think it comes down to a Venus and Mars thing. They have traditionally allowed it, and we have not. They continue to allow it, and we do not.”

That reasoning doesn’t satisfy the undergrads who told us that the national organizations’ attitude toward risk and safety ought to acknowledge that the social scene—parties and all—is a big part of why both women and men participate in Greek life.

Fourth-year Cruze said it feels like Greek men’s desire to drink and party is tolerated, even celebrated, and women’s desire to do the same on their own terms is squashed and marginalized. It’s seen as pathetic, risqué, unwomanly. There’s room for equal footing and safety, she thinks, but the way the rules are now, “it’s a complete double standard,” she said.—Graelyn Brashear and Nicolette Gendron

Nicolette Gendron is a C-VILLE intern and a member of Kappa Alpha Theta at UVA.

 

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Arts

Top billing: Southern’s Halloween party promises to bring the star power

The biggest show of the year is hitting The Southern Café and Music Hall on Halloween night, and you probably haven’t even heard about it yet.

“Oh yeah,” said Alex Angelich. “It’s the most fun we have all year.”

For just $10, the Southern puts on what will no doubt be the most star-studded single night billing ever to grace the city of Charlottesville. Bob Seger, Blondie, Huey Lewis and the News, Phoenix, and Weezer back-to-back, dueling across the room from the Southern’s main stage to an auxiliary stage. Weezer, indeed, will be playing its chart-topping Blue Album in its entirety.

It is going to be epic. It is going to go down in local history. It is going to be…completely fake.

Weezer will be impersonated by local upstarts International Friendly. Electro-rock mainstays The Anatomy of Frank will ape Phoenix. Blues rockers Moby and the Dicks will take on Huey Lewis and the News. Luke Wilson, with his band The Dericks, will grunt and rollick as Bob Seger, and Blondie’s catalog will be outright stolen by the Astronomers.

Still, with or without star power, the annual Mock Stars Ball does promise to be a hell of a night. It’s a chance for local bands to step outside their comfort zone and stretch their chops across genres and styles. And by all accounts, the talents that have taken the stage to do so over the past five years have been up to the task.

Truth be told, this year’s lineup is the most star-studded to headline a Charlottesville show since last year’s Mock Stars Ball. Past acts have taken on Radiohead, Neil Young, Queen, Outkast, Spinal Tap, and Rage Against the Machine, among others. The Halloween-themed event, launched by the venue’s founder and former music director Andy Gems, has sold out every year, and other venues across the city have since tried to recreate its unique blend of masquerade ball and rock show, according to Southern spokesperson Lindsay Dorrier.

“It’s hard to replicate that kind of energy that we get between the two competing stages,” Dorrier said. “It’s a cool setup, and the vibe is totally different from a normal show at the Southern.”

Angelich, who plays primarily bass and sings for the Astronomers and has recently been sitting in on Moby and the Dicks gigs, will take the stage as Blondie lead singer Debbie Harry on October 31. She said the success of the Mock Stars Ball depends on the bands’ willingness to nail the impersonations.

“I think it’s really cool how all the bands try to take on the persona,” she said. “All of the bands are performing as if they were the other band, except for this one band, the Sometimes Favorites. They tried to put their own spin on it.”

If you happened to catch the Sometimes Favorites at past Mock Stars Balls, forward your complaints to Angelich, who was a member of the now-defunct outfit. Doubtless, it was their flaunting of Mock Stars conventions that sunk them.

So just how hard is it to take on another persona for one night on the Southern stage? Angelich admits she and the Astronomers have a leg up taking on Blondie—they came into rehearsal already knowing two songs. But Kyle Woolard of The Anatomy of Frank said that he and his mates have a long way to go. Read: they hadn’t learned a single song with eight days to go before show time. Still, he’s confident his band can pull it together and meet the standards they set for themselves by nailing Radiohead last year.

“It was tough, but it was fun,” Woolard said. “We did it down to the very last detail. I even put some scotch tape on my eyelid to look more like Thom Yorke.”

Woolard said taking on another performer’s persona has benefits beyond putting on one night of rocking music. He said The Anatomy of Frank, which is in the process of preparing for a show in Iceland and recording a North American album in the first of seven Sufjan Stevens-esque continent concept LPs, doesn’t do many covers these days. So taking the opportunity to climb into the skin of another rock band teaches you a few things.

“When you’re onstage doing original music, you are yourself, but it’s fun to put on a bit of a front and do some acting,” he said. “It helps you perform better, and learning how to perform like another performer, it will come out later.”

Other than International Friendly’s attempt to recreate Weezer’s Blue Album, expect the format of the Mock Stars Ball to be 30-minute sets from each band, alternating between the two stages. That means each set will consist of somewhere around six covers from their chosen bands. Woolard said The Anatomy of Frank will focus on Phoenix’s hits, and history has shown that’ll likely hold true for all the Mock Stars.

One more thing. If you’re going to the Mock Stars Ball, you’d be wise to consider mocking a star yourself.

“Everyone comes dressed up,” Dorrier said. “You have to wear a costume, or you get shunned.”

Don’t be like the Sometimes Favorites. Don’t get shunned.

Do you have a favorite cover song?

Friday 10/31. $10, 9:30pm. The Southern Cafe and Music Hall, 103 S. First St. 977-5590.