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Arts

ARTS Pick: The Paisley Fields

The Paisley Fields is a country band that could easily be heard on commercial radio, but what differentiates the Brooklyn act from the mainstream is its open approach to same-sex relationships. Frontman James Wilson grew up in Iowa and draws from influences such as Dolly Parton and Garth Brooks to write songs that reflect the modern world through his experiences as a gay man. The unique perspective that Wilson and PF members bring to the genre has led to 100,000 views on YouTube, a debut at No. 17 on the iTunes Charts and a sponsorship from Brooklyn Arts Council to record an album.

Thursday 10/29. No cover, 10pm. Fellini’s, 200 W. Market St. 979-4279.

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News

Orange County woman charged with 27 counts of animal abuse

Officials have seized just under 120 animals from a Somerset woman involved in what police say is an animal hoarding investigation at Peaceable Farm—not counting the ones that died before intervention.

Anne Shumate Williams, also known as Anne Goland, was charged with 27 misdemeanor counts of animal cruelty October 26 and is being held at the Central Virginia Regional Jail. She released 71 horses, mules and donkeys, along with 28 cats and seven dogs to rescue groups or animal shelters.

She refused to surrender another 10 horses in need of immediate care, but authorities have since taken them into their possession.

“What I saw was one of the most horrendous sights I’ve ever seen in 28 years of law enforcement,” Orange County Sheriff Mark Amos said at a press conference October 26, according to the Daily Progress. “We found six dead horses, one dead donkey, many dogs and cats and chickens.”

Williams is still in possession of 18 horses, a bull and several cats, and it is believed that friends are caring for those animals while she is in jail. Williams was denied bond at an October 27 hearing.

Additionally, nine horses have been put down since the investigation began on October 19, according to Amos, who also said Williams/Goland operated Peaceable Farm as an animal rescue nonprofit and as a horse breeder. He has asked the IRS to investigate for possible fraud.

In January, Williams was investigated at her farm in Montgomery County, Maryland, after people called in concerns, according to NBC29. Animal services then charged her with inadequate water on the farm, and police say she removed the horses shortly after that.

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News

Scarlet letters: Dean responds to BSA’s ‘shaming narrative’

In a scathing open letter e-mailed to UVA’s Office of African-American Affairs and later posted on Facebook, the university’s Black Student Alliance attacked the office’s strategic outcomes for the upcoming year for wording the group felt painted black students as a problem.

Of particular offense to the BSA was the following statement: “The new director of the Luther P. Jackson Black Cultural Center will oversee the negotiation of spheres of influence among student leaders that threatens to wreak havoc on climate at the university.”

The BSA’s open letter denounced this phrase, saying it was an attempt to limit the power of black student groups. “Black students do not ‘wreak havoc’ by exercising our First Amendment rights of assembly and free speech when we speak out against injustices,” says the letter. “Black students and our concerns are not to be swatted away, our leaders are not to be subdued, and our voices are not to be silenced.”

Dean of the Office of African-American Affairs Maurice Apprey, who wrote the line that set off the BSA, expresses a deep frustration with the way the situation was handled and says the students misunderstood the meaning of his words and failed to ask him privately for clarification.

“They take those words and boom! They explode,” Apprey says. “Is this what I think of them as students? That they’re going to wreak havoc all over the place? No. It’s the lack of negotiation of these spheres of influence that could wreak havoc, not the students themselves.”

With the outrage over the letter, “I suddenly became a slave master that had to watch over them so they didn’t wreak havoc,” he says.

Apprey, who has worked at the university for 35 years, says that before this event, he had a relatively close relationship with the BSA. For the past eight years, he has frequently mentored leaders of the student group and even offered funding for some of the group’s projects, the latter of which he now regrets.

“They should not have a line in my budget or even space in my office and it was my mistake for giving them that,” Apprey says.

Not only did Apprey find the BSA’s letter unprofessional, he also found it offensive. In a private letter to BSA President Aryn Frazier, Apprey calls the letter a “shaming narrative” and questions why she aired her concerns in the public arena rather than in private.

“In the two years you have been here,” Apprey writes, “I know of no reason why you would grant yourself a single reason to mistrust me.”

Despite agreeing to an interview, Frazier did not follow up with responses to C-VILLE’s questions.

Now three weeks since the October 7 letter was released, Apprey says he has received multiple apologies from student groups whose signatures were attached. Darius Carter, president of UVA’s chapter of the National Society of Black Engineers, issued a public apology to the OAAA.

“While NSBE appeared as a co-signer for the open letter,” Carter writes, “we were not in full agreement as an organization, nor were we aware of the intentions to distribute the letter.”

In addition to the engineering group, One Way Christian Fellowship apologized for “prematurely” sponsoring a letter it did not fully understand, and Imani Nichols says that the executive board for the Black Oasis for Learning and Development did not give consent to have its signature used.

At an October 19 town hall meeting to address the concerns of black student groups, an unwanted limelight fell on the BSA, says Apprey. A student at the meeting boldly asked who else had ever felt encroached upon by the BSA, resulting in an overwhelming response.

“Everybody’s hands went up,” Apprey says. “They had not anticipated that at the town hall meeting. What looked like a conflict between OAAA and BSA turned out to be a latent conflict between BSA and other…umbrella black student groups.”

Apprey notes that this discord among black student groups is exactly what he sought to improve in his strategic outcomes, writing in a public letter to Frazier that the BSA “…sees itself as an overarching authority for all black organizations.” Apprey says the BSA’s dominant role prevents smaller black student groups from growing comfortably.

Apprey adds, “The silver lining in the cloud is that it’s very clear that there are other umbrella black student groups. They exist, they all want to be counted, they all want to be heard. So now they have to negotiate the very thing I was talking about, the spheres of influence.”

Frazier’s open letter also names grievances unrelated to the office’s function, namely the lack of black faculty members at UVA.

Noting that the OAAA is not responsible for hiring faculty, Apprey directed Frazier to the provost. “Even though this is out of our domain, we advocate continuously for diversifying our faculty and staff. More to point, we, every dean at OAAA, contribute to teaching at this university.”

The office has revised the wording of its strategic outcomes, emphasizing instead the director’s responsibility to “foster shared leadership” between black student groups.

Apprey remains supportive of the Black Student Alliance as well as all other black student groups on Grounds, but notes the incident could not go unaddressed.

“Some people have objected to the way I have gone after the president,” Apprey says. “The answer is very simple—the venom that was speared was just too much to ignore.”

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News

Local haunt: The Moon ghost of Albemarle

Reports of the ghost’s frequent appearances had everybody buzzing. The fantastical newspaper accounts mesmerized the entire state—no one more so than the students at the University of Virginia. Thoroughly intrigued, a crowd of 40 students tramped the 16 miles to Church Hill, the John Schuyler Moon property in southern Albemarle County where the hauntings were taking place. It was the afternoon of October 30, 1867-—the day before Halloween.

Turning onto Scottsville Stage Road from downtown Charlottesville, the group stopped briefly to salute Monticello Mountain, then continued southward. To them it was a frolic. They were young, strong and intelligent—they were certain, wrote Moon’s granddaughter Mary Barclay Hancock, “to entrap this mysterious creature.” A few brought along their hunting weapons, but none had thought to pack a supper.

Talking incessantly the entire distance, the weary throng arrived at Church Hill five hours later, tongue-tired, footsore and extremely hungry. According to Hancock, they first “ransacked the place for something to satisfy their ravenous appetites,” before announcing that they were ready. They were there to help guard the two-story home—and its numerous occupants—from the poltergeist’s menacing attention. “Some of them,” wrote Hancock, “were bragging quite a bit about what they could do, as they were not afraid.” Then the homeowner mentioned the bravest sentinels were always posted in the adjacent graveyard. The bragging immediately ceased.

Evening turned to night as the jittery UVA students—along with a few other well-armed volunteers—stood guard among the property’s trees, shrubs and outbuildings. Before long someone cried out that the ghost was inside the home. Completely terrorized, the lady of the house and her seven children, along with the family’s many servants, huddled together in the parlor while the guards encircled the cottage. Then they saw it: a dark, hulking figure standing on the roof. At least 15 guns were discharged in its direction—as if flying lead could harm a ghost—but the cunning apparition vanished into the evening mist.

The Moon Ghost had struck again.

Albemarle County’s notorious Moon Ghost is one of Virginia’s most famous spooks. Walking the night for two years during the state’s turbulent Reconstruction period, its nocturnal visitations centered on Church Hill, the summer residence of the Moon family. Between 1866 and 1868 dozens of people saw its wraith-like form, but no one was able to explain its strange and frightening behavior.

When the Scottsville Register printed a long account of the haunting on November 11, 1867, the edition sold out in Richmond 70 miles away. The tale soon appeared in newspapers all across the country, and even as far away as London. Hundreds of people traveled to Church Hill hoping to catch a glimpse of the phantom, maybe even solve the mystery. What was the Moon Ghost? And why had it chosen to torment the Moon family of southern Albemarle?

Reconstruction in Virginia was a stormy period of massive social, economic and political change. (It ran from the end of the Civil War in 1865 until 1870, when the state was readmitted to the Union.) Devastated by the war’s losses—in men, as well as in homes, farms and infrastructure—the Old Dominion was eventually placed under military rule, commanded by a succession of general officers. In Albemarle County, as elsewhere in Virginia, the old way of life—the “status quo antebellum”—had faded into a distant and quixotic dream. According to Moon’s niece, Frances Moon Butts: “Property owners were tax-ridden, untrained to hard labor and without cash to buy supplies or employ help.” Petty thievery was rampant. A detachment of Federal troops headquartered in Charlottesville presented a stabilizing force, but one of its officers reported the local presence of the Ku Klux Klan. Fortunately there were no major disturbances, no race riots in Albemarle County, but, according to Princeton historian Rufus Barringer, gangs of Confederate deserters who had taken refuge in the Blue Ridge Mountains and groups of free black men who had not settled anywhere after being emancipated kept the local jail full.

To this troubled mix add the Moon Ghost of Albemarle.

Church Hill, located five miles north of Scottsville between Glendower and Keene, was so-named because of its proximity to Christ Church Episcopal, and was the property of Moon. Born in 1823 to a well-to-do family, Moon earned his law degree from the College of William & Mary then hung out his shingle (i.e. went into business) in the prosperous river town of Scottsville. After starting his law practice, Moon married Elizabeth Thompkins in 1847, and the couple first set up housekeeping at nearby Stony Point, a home he’d purchased earlier. (Between 1852 and 1870, Elizabeth gave birth to 14 children, four of whom died in infancy.) Years later, Moon bought Church Hill, which became the large family’s summer home.

Church Hill was a two-story, nine-room frame cottage sitting on a several-hundred-acre farm flanked by two cemeteries. Attached to the home were a one-story wing and two porches. “There were many oddly shaped closets,” wrote Hancock, “one of which had an entrance from the roof of the wing and later became known as the ‘ghost closet.’” In the yard sat several small outbuildings, and a one-story brick building containing Moon’s law office and oldest son Edward’s bedroom.

In August 1866, Moon began noticing strange and unaccountable noises during the normally quiet nighttime hours. In the house, utensils and knickknacks started disappearing, only to be discovered later in the most ridiculous places such as on the roof or inside locked outbuildings. Elizabeth found spilt flour, sugar and salt inside the pantry, which was always locked. A few days later, on a hot summer night, Moon was pacing his office, deep in thought over a particularly intricate case, when he glanced outside and saw, wrote Hancock, “a figure glide from the porch and scuttle away into the shrubbery.” When he saw the same specter several nights later, he decided to keep it a secret from the other occupants of Church Hill, which included Elizabeth and their brood of seven children, numerous servants and several of Elizabeth’s nervous sisters.

Later that same month, Moon and 14-year-old Edward, posted on either side of the house, kept a quiet vigil into the long hours of the night. At midnight Edward watched in amazement as a ghostly figure swiftly and noiselessly climbed onto the roof of the wing and entered the home via the “ghost closet.” Racing inside, he saw the dark shape enter the pantry. The ghost was so quick, however, that Edward was unable to intercept its escape.    

After this unnerving episode the Moon Ghost—or “Jack Ghost,” as the family called it—was seen by all of Church Hill’s terrified residents. One evening a servant was startled to see a motionless black figure standing directly in front of the house. Another night it was spied crouching at the front gate. On another occasion the family butler, returning home late from an errand, left the groceries on the dining room table. That night “Jack Ghost” poured everything—sugar, coffee, flour, meal, salt and blackstrap molasses—onto the tablecloth, then, according to Butts, “deposited its ‘witches brew’ and a family Bible on the roof…”

Doors carefully locked prior to bedtime, including several inside the house, were often found flung wide open in the morning. Church Hill’s windows were favorite targets: Panes of glass high above the reach of an average person were frequently busted out, awakening the sleeping Moon family. Hoping to discover how the ghost accomplished this feat, one night Edward hid in the icehouse (the outbuilding containing a deep pit for storing ice). “About dusk,” wrote Hancock, “he saw a creature crawl across the yard dragging a rail behind him. He loped along like some hideous animal, but when he got to the dining room window he stood erect, and in the twinkling of an eye, raised the rail and thrashed out a number of panes…”

In January 1867, the Scottsville Register—under the headline “The Mysterious Affair at the Residence of Mr. J.S. Moon”—reported that “a candle-box, filled with rags saturated with whiskey was placed against the side of [Church Hill] and ignited. About 1 o’clock at night the fire was discovered and extinguished; and the unburnt rags discovered to be fragments of garments missing from Mr. Moon’s house…” Despite this attempted torching, Moon refused to move his family to a new home, “lest the ghost,” noted Hancock, “would have the satisfaction of feeling that he had chased him away.”

Perhaps the most frightening aspect of the Moon Ghost’s haunting was its ability to cast a light into the house. Sometimes small, no larger than a quarter, but often much bigger, the “ghost eye,” as family called it, navigated Church Hill’s interior walls, dancing across the family’s bookcases and picture frames. This phenomenon was witnessed, according to Moon descendant Cary Coleman Moon, “even when the blinds were closed and extra bed covers hung over the curtains…” On November 11, 1867, the Register recorded that the men on guard in Church Hill’s parlor the previous night “say that light was thrown in there…at least 50 times. Apparently an effort was made to throw the shadow of men on the walls.” Superstitious neighbors started saying that for some ungodly reason the spirit was watching the Moon family: watching and waiting.

Relatives, friends and even strangers rushed to the defense of the Moon household. They came armed with pistols, shotguns and muskets. Two of Moon’s brothers, James Nelson Moon and Jacob Luther Moon, often stood watch. The men had gained fame during the Civil War as the Daredevil Moons of Mosby’s Rangers, the war’s most famous guerrilla command. All of these volunteer vigilantes now became additional witnesses to the Moon Ghost’s numerous escapades.

Naturally, the phantom only appeared at night. It hid its features under a mask, witnesses said, and often wore a military-style overcoat. According to the Register, it “apparently wore armor, for chains were heard to rattle at times, especially when he raced around the cottage, shaking windows and doors as he went…” It “was frequently shot at by trained marksmen, but only hit a few times when he was seen limping away,” Hancock wrote.

Perhaps intimidated by Church Hill’s armed guards, the Moon Ghost sometimes brought along accomplices. One night, when eight pickets stood watch—and Moon, pistol in hand, sat alone in the dark parlor—the ghost was detected within 20 paces of the front porch. Fired upon it fell flat to the ground and crept off. At the same moment another figure ran between two of the guards on the opposite side of the house. “The next morning tracks made by a coarse boot, or shoe, were found coursing down the hill from that point,” reported the Register. Opening the locked storeroom door, the guards found a bag “left on the flour barrel and about a double handful of coffee spilt in with the flour.”

Two nights later, 14 sentries surrounded the cottage, nervously clutching their weapons. Late that night—after two of the volunteers had left their posts—a guard in front of the house heard someone step onto the porch, unlock the front door and walk inside the house. He supposed it was a family member. But when one of Elizabeth’s sisters heard weird noises inside, and from upstairs witnessed the ghost exit the front door and crouch nearby, she alerted Edward. The teenager, according to the Register, “went to the window and fired down at the spot. …The guards rushed to the house and found as they supposed that night, a large blood stain on the steps, over which they exulted very much. Fruitless pursuit was made.” Later that same night, said the Moon family butler, four men ferried over the James River at Scottsville carrying on a litter (stretcher) what looked like a blanket-covered body.

On another noteworthy occasion—when the volunteer sentries were exiting the rear of the home after enjoying a hot meal—a great commotion was heard in the front yard. Through one of the glass panes edging the front door Edward saw six or seven strange men rushing the front porch. One of them yelled, “Surround the house, boys!” Ex-guerrilla Jacob Luther Moon fired at them from the side of the building, but the banshees veered in the other direction and quickly disappeared. A family member wrote the attackers were all masked and clad in overcoats and Confederate capes.

Unlike other non-corporeal entities, the Moon Ghost proved adept at throwing objects and firing weapons. Hancock wrote that a pile of bricks was once carried off and hurled onto the roof, “making a terrific noise and startling the whole household…” Twice an entire set of the family’s dinner plates were taken onto the roof and twirled into the yard. One evening, one of Mrs. Moon’s sisters saw a man on the roof. When she heard the scraping of matches, she screamed, upon which the man rushed by her window and fired a pistol at her head. Luckily she only suffered singed eyebrows, but the discharge, according to the Register, “blackened the side of the house, and the ball struck [the house] and glanced off. The man ran over Mr. Moon’s chamber, and jumping down on the other side escaped.”   

“Why should a man,” asked the Charlottesville Chronicle March 7, 1868, “night after night, [in] the coldest weather imaginable…expose himself, sometimes to the pelting storm—sometimes in snow six inches deep? Can it be gratifying to him to alarm the ladies by rapping, throwing lights, knocking out glass and walking over the house occasionally?”

Moon hired two Richmond detectives to investigate the bizarre incidents. “Of course,” wrote Hancock, “there were no signs of the mystery during their stay” in the neighborhood, “and they left declaring it was caused by members of the household, probably servants.” Moon agreed. He believed that his least trustworthy domestics were communicating with the assailants, passing along information about the family, the goings-on in the house and, of course, the guards.

The final act in the Moon Ghost drama was just as strange as the ones that preceded it. Awakened one night by the sound of pebbles striking the front door, Moon, gripping a revolver, scrambled downstairs. When he slowly opened the door, a long reed with a note attached fell to the porch floor. Scribbled in pencil on cheap paper, the note read: “Master Jack…I will not pester you eny [sic] more…Jack Ghost.” That promise was kept.

During his lifetime, Moon desperately attempted to squelch the overwhelming tide of Moon Ghost-related stories. “My uncle, a man of dignity and reserve,” noted Francis Moon Butts, Moon’s niece, “seems to have been more resentful of the exaggerated publicity the ghost brought than of its almost nightly depredations. He finally refused to let anything be published that he did not write.”

Moon died in 1876 without writing a word about possible perpetrators. His relatives, however, were not afraid to speculate. Butts noted her uncle had successfully prosecuted Lucien Beard, the ruthless leader of a horse-thief gang with hideouts near North Garden, not far from Church Hill. Perhaps Beard’s associates staged the two-year haunting to exact revenge. From the state penitentiary in Richmond, Beard wrote a letter offering “to explain the Moon Ghost if [Moon] would secure his pardon.”

The letter went unanswered and the question remains: Who was behind the mysterious hauntings of one of the area’s well-known families?

–Rick Britton

Categories
Living

Back Pocket Provisions makes its debut with three takes on the classic brunch cocktail and more local restaurant news

Back Pocket Provisions makes its debut with three takes on the classic brunch cocktail

If you’re still buying factory-made Bloody Mary mix at the grocery store you’re doing it wrong. Introducing Back Pocket Provisions, the local, fresh-pressed brainchild of brother-sister duo Will Gray and Jen Beckman.

The Sunday brunch—or Saturday lunch, Tuesday dinner, whatever—mixer comes in three varieties: Bloody Brilliant, a nod to the classic with horseradish, cayenne and Worcestershire; Bloody Baja, a sweet, spicier option with corn, garlic and local green chiles and Bloody Bangkok, an Asian-inspired concoction with lemongrass, fish sauce and red curry paste.

Beckman and Gray have had the idea in their back pockets—which also happens to be where Gray usually keeps a flask, hence the company’s name—for a while now, and when they haven’t been collaborating with Virginia farmers and the Local Food Hub, they’ve been in their kitchens, experimenting with nearly 11,000 pounds of Virginia tomatoes.

“The local food movement is up and running, and we think the craft cocktail movement is doing the same thing,” Gray says. “We think there’s a missing link there. It’s silly that you can’t buy local produce in the liquor store, and we can create an altogether new market for growers. If along the way we have to drink Bloody Marys, then worse things have happened.”

Aside from the fact that it simply tastes better (and it does), the freshly made Bloody Mary mix is a way for Beckman and Gray to support local farmers. They source all their tomatoes and as many of the other ingredients as possible from Virginia.

“It creates a market for gorgeous, super-ripe, delicious produce that probably wouldn’t make it for market because it’s dented, too small, too big,” Gray says. “We can take something when it’s super-ripe and make something delicious out of it and give it a home when otherwise it would’ve wound up in a compost bin. If I can pay a farmer for something they grew, then that’s a win for everybody.”

All three Back Pocket Provisions mixes are available at Ivy Provisions and Relay Foods, and keep an eye out for them on local bar menus in the future.

Movin’ on up

Yannick Fayolle joined the team at Clifton Inn as a sous chef in February of this year, and a couple of weeks ago he stepped into the role of executive chef, filling the void that Tucker Yoder left last December after a four-year tenure.

A native of Mauritius (a small island off the coast of Madagascar), a teenaged Fayolle began his career as an unpaid dishwasher in the kitchen of a large hotel on the island. After working his way up the ladder, he eventually went to Switzerland to study hotel and tourism management and culinary arts, and his career has taken him to Dubai, Geneva, Charlottesville (Farmington Country Club in 2011), back home and finally back to Charlottesville.

Access to so many local ingredients and the garden at Clifton Inn is every chef’s dream, he says, and he plans to embrace what the area has to offer with a dash of his own culture.

“Because I come from Africa, I use spices that bring light and warmth to the plate,” Fayolle says. “For me, it brings memories of my childhood. This is part of me, and I’ll bring that, with a twist of Virginia’s cuisine, to the restaurant.”

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News

FERC receives letter from 30 concerned organizatons

In a letter sent to the Federal Energy Regulatory Committee October 26, 30 organizations in Virginia and West Virginia called on FERC to do a single, comprehensive review of all four of the major natural gas pipeline projects currently proposed in the Blue Ridge and central Appalachian regions, rather than doing them separately.

This review, called a programmatic environmental impact statement, would evaluate the need for each of the projects in relation to the others. While the $5 billion proposed Atlantic Coast Pipeline, which would carry natural gas from West Virginia through Virginia and into North Carolina, submitted its application to FERC in September, Mountain Valley Pipeline filed its permit application to build a $3 billion natural gas pipeline—also from West Virginia into Virginia—October 23.

Along with those projects, the Appalachian Connector and an upgrade of the Columbia WB Xpress, which cover similar territory, have been proposed.

FERC may not grant a company permission to build a pipeline before determining whether it is necessary, so organizations are hopeful that considering all projects at once will prove they aren’t all needed and that existing infrastructure can supply the demands of the region.

More than 3,000 miles of natural gas pipeline already exist in Virginia.

“Those pipelines are already there and we need to make sure the capacity of those pipelines is already used,” says Joe Lovett of Appalachian Mountain Advocates. Joanna Salidas, president of Friends of Nelson, adds, “If a drug dealer can sell his full amount of cocaine, does that mean that amount is needed?”

Categories
Arts

Screen scene: Afrikana Independent Film Festival comes to town

There’s a film festival coming to town, but it’s not the one you’re thinking of.

Beginning on October 30, the Richmond- based Afrikana Independent Film Festival will launch a series of screenings at Second Street Gallery.

“Afrikana started with the mission of showcasing cinematic works of art from people of color from around the world, with a focus on the global black narrative,” says founder and creative director Enjoli Moon.

While plans for the multi-day festival set in Richmond continue to take shape, Moon launched the monthly Noir Cinema Series in late 2014 as a way to present free screenings of independent films, augmented by in-person discussions with the filmmakers. Now in its second season, the series has hosted 10 screenings at a growing list of venues including Ghostprint Gallery, Balliceaux, 1708 Gallery and the Byrd Theatre, as well as outdoor venues such as the Tredegar Iron Works.

“Enjoli had been so successful with getting galleries in Richmond to support what she was doing, I thought that it would be something that would add a layer of programming,” says Second Street curator Tosha Grantham.

And a rich layer it will be, as the featured film for the inaugural screening will be BaddDDD Sonia Sanchez, a full-length documentary about the titular African-American poet.

Since releasing her first collection of poetry in 1969, Sanchez has published more than 15 works—primarily poetry and children’s books—and her work is anthologized widely. She is also the recipient of prestigious poetry awards, including the Robert Frost Medal and the Langston Hughes Poetry Award. Just as importantly, Sanchez incorporates her art into her work as an outspoken activist, as a member of the Black Arts Movement in the 1960s and onstage as a Def Poetry Jam performer.

Sanchez is unafraid of stutters and twitches in her poems, keying in anxiety by adding extra letters and words to mimic speech patterns and embracing the resulting discomfort as a way to give voice to some of the lived realities of gender and race. It seems impossible to separate her politics from her pen. Her poetry and performances are not for the faint of heart, but her words are sharp and their force is powerful. The poet describes herself as “a woman with razor blades between my teeth.”

As a documentary about Sanchez’s life and work, BaddDDD Sonia Sanchez mixes traditional biographical storytelling with footage of performances and readings. Earlier this year, the film was an official selection at a variety of festivals, including the Full Frame Documentary Film Festival. It’s the second documentary from the team of Janet Goldwater, Barbara Attie and Sabrina Schmidt. Prior to that, Goldwater and Attie had been making documentaries together for more than 20 years, earning Pew Fellowships in the arts for their work. Goldwater will also be in attendance at the upcoming screening and will participate in an audience discussion.

In addition to its strength as a documentary, BaddDDD Sonia Sanchez connects with the current exhibition at SSG, “Beyond Classification.” On display through November 20, the show features photography and videos made by eight Egyptian women, exploring themes of gender, religion, modernity and contemporary art. Both the exhibition and the inaugural Noir Cinema Series screening will feature work made by women, celebrating women’s voices as political forces, and both tie in the theme of sustainability.

“The season itself looks at these different ideas of sustainability that artists are working with, whether they are cultural, visual, musical or related to social change,” says Grantham. “So, here it’s the aspects of culture that are sustainable in an environment of revolution.”

The second Charlottesville screening in the series will feature short films on November 13, including El Khateeb and Trials of Spring. Both films also connect with the same exhibition themes, respectively celebrating the golden age of Egyptian cinema and documenting the Arab Spring uprisings.

In between the two Noir Cinema Series screenings, yet more filmmakers will present work at SSG as part of next week’s Virginia Film Festival and its Digital Media Gallery offerings. According to Grantham, the timing isn’t accidental, and one of the goals of the screenings is to “promote the Virginia Film Festival in advance and keep it going after it’s done.”

Through these diverse offerings as well as other community programming throughout the month, the SSG staff try to squash the stereotype of a contemporary art gallery. “We’re a gallery but we’re also a civic space,” says Grantham. “We’re free and open to the public. We want people to come here and feel really comfortable.”

Moon and Grantham are also interested in fostering a stronger connection between the arts communities in Charlottesville and Richmond. “We would love to be able to engage the Charlottesville community more,” says Moon.

Along with that goal, Moon is optimistic that the inaugural Afrikana Independent Film Festival will take place next summer. To help support that goal, she plans to launch a crowdfunding campaign in addition to hosting monthly Noir Cinema screenings with suggested donations that go to support her larger efforts.

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News

Political season: Timing of e-recording announcement questioned

In the competitive race for Albemarle County clerk of court, incumbent Debbie Shipp’s October 20 announcement that her office is using electronic recording for real estate and other documents two weeks before the election has her opponents questioning the timing.

“E-recording is a great idea,” says John Zug, Shipp’s Democratic opponent in the race. “What I’m concerned about is the timing and nature in which this happened.”

For those involved in real estate and other record filing in Albemarle, getting documents where they need to go may have just gotten easier. In July, the clerk’s office started using Simplifile—a web program that records documents electronically. Now organizations that submit documents to the clerk’s office through express mail or by standing in line to record them can simply submit their records online for only $5 per successful recording. Otherwise, the price can be higher depending on the document being recorded.

If the system was implemented in July, independent candidate George Foresman wonders why, Shipp waited until October to make the announcement. And he questions a mailing inviting people to the e-recording unveiling that was signed by Shipp on county stationery. “It smacks of ethical impropriety from a perceptional standpoint,” he says.

“I haven’t seen the filings yet, but I’m suspecting that this letter was sent out on taxpayers’ money,” Zug says, adding that Shipp may have used the announcement to further her campaign.

According to Shipp, though, she wasn’t responsible for sending the letters, but rather Simplifile representative Marc Arrowood was. In fact, he paid for the light refreshments at the launch party, with Shipp contributing only ice from the office icemaker.

“Believe me,” she says, “I am an Albemarle County taxpayer and I am tight on a dime.”

That Simplifile paid the postage doesn’t mean taxpayers didn’t pay, argues Foresman. “You build that into the contract,” he says.

Albemarle is among the first 20 counties to start using Simplifile in Virginia, says Arrowood. Since the end of July, the program has recorded just under 500 documents, which is routine. He says Simplifile traditionally has launch parties a few months after the program has been implemented so people involved can smooth out any kinks before it debuts.

While some are excited to send records to the courthouse without ever leaving their office, others are skeptical.

Heath Pecorino records deeds for the Charlottesville Settlement Company and is nervous about patrons being able to e-record while others are simultaneously waiting in line at the clerk’s office, specifically because he won’t be able to track both.

“There are windows of time that are crucially important in land transaction deals,” Pecorino says, “and if one thing has happened that might affect another, as the person who is doing those land transaction recordings, I just need to be aware of it.”

“We are working on that part of it,” Shipp says, “to make sure the people in line are being taken care of.” Rather than prioritizing, the office would eventually like to have enough staff to process electronic and in-person recordings separately and as soon as they come in through either medium.

And though he has concerns, Pecorino says the program is still an advancement.

“I’ll probably wind up signing up for this anyway,” Pecorino says. “There are other aspects to it that look absolutely fabulous.”

Llezelle Dugger, Charlottesville’s clerk of court, says her office has not begun e-recording yet, but plans to within a year.

Foresman contends the e-recording announcement is a “shiny object to distract voters” from Shipp’s problem-plagued audits of the clerk’s office. Says Foresman, “Deploying technology for the sake of technology is not going to improve that office.”

Categories
Arts

ARTS Pick: The Sweetest Swing in Baseball

An outlandish collision between baseball, fine art and mental illness takes the stage in UVA Drama’s production of The Sweetest Swing in Baseball. When painter Dana Fielding’s life implodes, she’s admitted to a psychiatric hospital for a brief respite and finds it’s not covered by her insurance. She attempts to outplay the health care system by assuming the identity of major league baseball player Darryl Strawberry to prolong her stay and get medical coverage.

Through 10/30. $8-14, 8pm. Helms Theater, 109 Culbreth Rd. 924-3376.

Categories
Arts

Pardon the interruption: The triumphant return of local songwriter Brady Earnhart

When Brady Earnhart celebrates the release of his new record, Last Time I Promise, on Saturday night, it will be more than just an artistic achievement for the local singer-songwriter. Some may even call it a miracle.

Earnhart’s story begins in 1992, when, after earning a master of fine arts degree from the Iowa Writers’ Workshop, he moved to Charlottesville, enrolled at the University of Virginia and began pursuing a doctoral degree in American literature. With a lusty appetite for socializing, folk music and exquisite lyrics, he rapidly found himself neck-deep in the local arts scene.

“I’d been writing songs since 1989, was performing them live with my guitar and was working on getting them recorded,” says Earnhart. “When I first got here, I didn’t really realize Charlottesville was such a great musical town. I started going to Trax to see the Dave Matthews Band for five bucks and that led to me getting around and being introduced to people pretty quickly.”

Which is how Earnhart met his longtime musical cohort, producer and close friend Jeff Romano.

“I was at an after-party playing my guitar on the porch when Jeff heard me and introduced himself,” says Earnhart. “At the time, his band, Nickeltown [a poetic, acoustic folk duo fronted by Browning Porter], was fairly well plugged in around town, and when they started covering my songs that got me in the door.”

In fact, Romano was so enamored with Earnhart’s lyrical craftsmanship he wound up producing the new arrival’s 1998 debut album, After You. Despite its limited production budget (way indie), the album won stellar marks from folk aficionados across the country, with notable music writer Elizabeth Papapetrou of Acoustic Guitar magazine calling it “…one of the ten best contemporary folk CDs of the 1990s.”

Steeped in literary reference, devilish wit and poetic sensibility, Earnhart’s songs may not be fodder for the masses. But for listeners capable of deciphering the lyrics’ intelligence, his music is strikingly original.

By the early 2000s, having established himself as a fixture of the Charlottesville songwriting scene, Earnhart and a number of close friends began putting on a music series dubbed (after one of his songs) The King of My Living Room.

“Back in ’99 I was frustrated because Charlottesville didn’t really celebrate Mardi Gras,” says Earnhart. “So I threw a big Friday-post-Fat Tuesday party. By the time midnight rolled around, maybe 15 people were left—all of them songwriters and musicians.”

That night the group stayed up until sunrise, passing guitars around the living room and performing for one another. When the night was done, reflecting on what a strange, oddly powerful experience it had been, Porter suggested they try to replicate the thing live and stage a living room party for the public.

Over the next decade, the group—always an ever-shifting membership—would descend upon a venue in Charlottesville or the surrounding area, transform the stage into a homey reproduction of the original living room (Persian rug, leather sofa, Tiffany lamps) and take turns sharing songs and stories. Selling out the majority of its shows, the series was wildly successful and won Earnhart and his collaborators a cult-like regional following.

Then came the interruption.

In early 2011, while teaching a literature class at the University of Mary Washington, Earnhart was overcome by a sudden bout of dizziness. Sitting down, he realized his vision was alarmingly blurry. Over the coming weeks the symptoms intensified. Worried, Earnhart visited a series of doctors.

“No one knew what it was or how to treat it,” he says. “They’d tell me it was some kind of unidentified neurological disorder and that was it.”

Within a year, Earnhart lost his mobility and was bound to a wheelchair. Two years into the physiological onslaught he’d become completely dependent on his companion of 14 years.

“I was out of commission,” says Earnhart. “I couldn’t sing, couldn’t play guitar, couldn’t even read. I didn’t care about anything, I just wanted to sleep. Then, in 2014, just as inexplicably and mysteriously as it had come, the sickness started to dissipate.”

Earnhart says he “came back with a vengeance.”

“All of a sudden, I had all this energy—I don’t think I was sleeping more than three, four hours a night,” he says.

Resuscitated and returned unto the world of the living, Earnhart began piecing together various musical ideas he’d had while incapacitated—conceptions he’d then believed he’d never have the opportunity to realize, much less explore.

“I didn’t think of it as an album at first,” explains Earnhart. “But the ideas sort of coalesced, and within two months I realized I had enough stuff to go into the studio.”

Inspired by his longtime friend’s return from the cusp of what had very recently seemed like imminent bodily demise, Romano was quick to offer studio space and musical assistance.

“As my recovery took shape, I thought of the process as building a new house I wanted to live in,” says Earnhart. “And I think that’s what songwriting is—constructing a new space to exist in.”

–Eric J. Wallace