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Beyond bathrooms: Transgender symposium to educate health care providers

Amid the firestorm North Carolina ignited March 23 with its bathroom laws and a Virginia court case that will determine which restroom a Gloucester teen can use, a daylong transgender symposium to provide education for health care providers will take place in Charlottesville April 27.

“It’s the first event of its kind in Virginia that I’m aware of,” says Ted Heck, who works for the Virginia Department of Health in HIV prevention and who helped organize the symposium. “Its real focus is providers,” he says, “and it was organized by community members.”

One of those is Karen Barker. She is with the Transgender Health Alliance of Central Virginia and she’s the parent of a transgender teen. She says her son’s primary care physician had no experience with that, and she was surprised to learn UVA did not have a transgender teen clinic. UVA opened a Transgender Health Clinic in March 2015.

“Access to care was really critical for me,” she says. “First for my son, but it’s an issue for a lot of people.”

“It’s a really new field,” says Heck. “There’s very little training in medical schools, and very little medical literature. Even people with expertise don’t have a lot of data to back them up.”

Regardless of socio-economic status, transgender people face significant health care disparities, according to a 2011 National Center for Transgender Equality and National Gay and Lesbian Task Force survey of 6,450 people. Nineteen percent reported being refused medical care, a number that’s even higher for people of color.

Survey participants reported four times the national average for HIV infection, and much higher rates of suicide attempts, smoking and drug and alcohol use than the general population.

Whether trying to get care for transitioning or HIV or even basic health care, “It’s all pretty challenging for trans folks,” says Heck.

Heck knows. He moved to Virginia in 1999 and knew he was going to be transitioning. He was unable to find an endocrinologist in the Richmond area willing to prescribe hormones, and finally found a provider in the Washington area who worked with his primary care physician.

Sometimes the information a provider has is outdated. “Before, they used to require that you live in that [gender] role for a year before you can access hormones,” says Heck. “That can be incredibly challenging, especially if you live in a rural area.”

At one time, UVA was a pioneer in sexual assignment surgery. Dr. Milton Edgerton joined the faculty in 1970 from Johns Hopkins, the first academic institution in the United States to perform such surgery. Neither UVA nor Johns Hopkins does so now.

Gender transitioning worked under a different model then, says Heck. “It was very patronizing and people had to jump through a lot of hoops.”

In some ways, Virginia is ahead of the curve as far as services available to transgender people, says Heck. His work in HIV prevention is funded by the Centers for Disease Control and Prevention. “They’re more progressive in making sure the needs of at-risk people are met,” he says. “Because it’s federally funded, it can’t really be restricted as it could be if state funded.”

Virginia’s General Assembly held off on moving on its own bathroom bill restricting transgender students to using the facilities of their biological gender in anticipation of the 4th U.S. Court of Appeals decision in the case of Gavin Grimm, whose Gloucester School Board ruled he had to use the girls or a unisex restroom. A decision in that case is expected any day now.

North Carolina not only legislated which public bathrooms its citizens may use, it also rebuked Charlotte for prohibiting discrimination based on sexuality. The state now faces a lawsuit, the NBA is reconsidering its 2017 all-star game in Charlotte and its attorney general says he won’t defend the law.

Heck felt a combination of anger, frustration and disappointment over the Tar Heel state’s decision. “I wasn’t surprised, unfortunately,” he says.

That sort of legislation creates a “hostile environment, particularly for young folks,” he says. “When they have to hide who they are, their behavior becomes riskier. There’s a high level of stigma. Any time people’s opportunities are limited because they can’t get a job or find housing, that certainly could have an impact.”

So far 95 people have signed up for the April 27 symposium. “Response has been better than we thought,” says Barker.

Celebrities like Caitlyn Jenner and Laverne Cox have drawn a lot of attention to transgender issues, says Heck, but their visibility also brings a backlash in much the same way that the legalization of same-sex marriage brought religious freedom bills.

“These bathroom bills are part of the backlash,” says Heck.

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Arts

Film review: Hello, My Name is Doris is a fulfilling, quirky story

As crippling as the fear of missing out may be on our ability to lead a normal, healthy life, perhaps the only thing worse is the regret of allowing yourself to become stuck in a rut of your own creation. This regret is given a playful yet poignant spin in Michael Showalter’s Hello, My Name is Doris, which overcomes predictability and conventionality with perceptiveness and good humor.

We meet Doris, played spectacularly by Sally Field, at the funeral of her mother, whom she has devoted her life to caring for. Doris does not give the greatest first impression, a fact of which she is well aware. She’s always lived in the same house on Staten Island, where she hoards useless items of questionable sentimental value. She becomes lost in romance novels more than she engages with the outside world. Her coworkers dismiss her as a weird old lady and never give her a second thought. After developing an infatuation with her company’s new art director, John (Max Greenfeld)—complete with daydreams straight out of her tacky paperbacks—she breaks out of her old routines to impress him, including creating fake social media profiles, listening to electronica and indulging the teenage experience she never had with the help of her best friend’s 13-year-old daughter.

Hello, My Name is Doris spends the first 60 minutes on what appears to be the wish fulfillment of a quirky baby boomer coming out of her shell. After spending time with Doris and spotting a CD from his favorite band on her desk (which she discovered through her social media deception), John finds Doris delightful to be around once he gives her a chance, as does the hip, younger Brooklyn crowd. This scenario is rather believable for New York, given its massive demographic shifts—call it gentrification, renewal, what have you—and the ever-changing reputations of its neighborhoods, where hipster transplants live beside longtime natives with little or no genuine cultural exchange or social interaction.

The first hour of up-and-up for Doris inevitably leads to 30 minutes of fallout. There was no way her faux profile shenanigans would go unpunished, and the disconnect between her romantic feelings and John’s platonic admiration could never last. But even as the dominoes fall exactly as expected, our sympathy for Doris is real. She never wanted to be where she is; she cannot shake the feeling that the decision to stay behind to care for her mother, while noble, robbed her of the life she might have had. She was once engaged, but couldn’t join him when he got a job in Flagstaff because of her mother. Her brother Todd (Stephen Root) founded a successful company and had a family, which he could do because he wasn’t tied to a single location. Her only taste of emotion from the outside world comes from romance novels and items she hoards.

Hello, My Name is Doris is a departure for absurdist Showalter (Wet Hot American Summer, TV’s “The State”). It’s often funny, usually touching and altogether better than the sum of its parts. Even if you predict every single twist, turn and emotional beat, you will still find plenty to enjoy. And it would be criminal to miss Sally Field in what could be her finest performance in years.

Hello, My Name is Doris

R, 90 minutes

Violet Crown Cinema and Regal Stonefield 14 and IMAX

Playing this week

Regal Stonefield 14 and IMAX

The Shops at Stonefield, 244-3213

10 Cloverfield Lane

Allegiant, Batman v Superman

Eye in the Sky

God’s Not Dead 2

I Saw the Light

Meet the Blacks

Miracles From Heaven

My Big Fat Greek Wedding 2

Zootopia

Violet Crown Cinema

200 W. Main St., Downtown Mall, 529-3000

10 Cloverfield Lane

Allegiant

Batman v Superman

Deadpool

My Big Fat Greek Wedding 2

Whiskey Tango Foxtrot

Zootopia

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Arts

ARTS Pick: Keith Morris & the Crooked Numbers

Gritty, heartfelt rock ‘n’ roll meets gut-spilling soul on Keith Morris & the Crooked Numbers’ new album, The Dirty Gospel. Written during a period of mourning, the songs are personal, accessible and emotionally charged. Sarah White and The Pearls and Mister Baby open the CD release bash.

Friday 4/8. $10, 7pm. The Ante Room, 219 W. Water St. 284-8561.

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Arts

Cellist Ben Sollee bridges the gap between traditional and modern

Ben Sollee answers the phone but isn’t ready to chat. He’s still talking to his son, Oliver, and his mom. They’re in the car, “cruising down the road.”

Turns out this is typical of Sollee, who’ll play The Southern Café and Music Hall on April 8. Scattered might not be the right word, but he certainly marches to his own beat and is constantly working on multiple projects.

Take his newest brainchild, The Vanishing Point, a virtual reality app that’s designed to work with Google Cardboard. You start it up, look into the binocular-like device and begin your interactive journey, running full steam ahead in a Lawnmower Man-like post-apocalyptic dreamscape.

It’s all set to Sollee’s music, with dizzying cello riffs helping tell the story as graphical elements reveal themselves. Sollee calls the first version of the app “a proving ground.” He admits the revenues aren’t there from it yet but likes its prospects, as have several other musicians, including Björk.

“The risk of being a musician on the road and that being your only point of revenue—those are the pressures that push on me,” Sollee says. “So I continue to diversify. Immersive 3-D and augmented reality really interest me. As an acoustic musician, that’s how I experience music—in the round. Records for me have been like trying to stuff a suitcase that’s too small.”

Sollee has found a way to stuff that case time and again. He’s released five full-length records since 2008, a time at which he was also playing and touring with Abigail Washburn and The Sparrow Quartet. (The group also includes Bela Fleck.) He’s dropped two EPs and a live record. He’s in the process of releasing a sixth LP, Steeples, in three parts, a strategy he hopes will expand the ever-diminishing shelf life of modern records.

“I’m having fun with it,” Sollee says. “The life cycle of records is incredibly short. We’re starting to get into insect life cycles, and something is considered new for a very brief time. Part of spreading out the release is the opportunity to spread our impact out.”

Sollee likens the effect to that of the popular Serial podcast, which has an unconventional storytelling format. He also recognizes the financial difficulties that come along with the release, but he hopes it’ll be worth it.

“If you’re not going to make much money releasing a physical record anyway, why continue with the traditional format?” he asks. “We’re experimenting just to see if it makes the value of the record actually justify the cost.”

Experimenting is something Sollee is comfortable with. Having learned the cello while attending a well-regarded arts high school in Lexington, Kentucky, he’s since taken his classical training and turned it into something altogether different. He constantly finds new ways to make sounds on the cello, fingerpicking it as often as he strums it with a bow.

When he visits Charlottesville, Sollee will be traveling with a traditional trio, his preferred onstage instrumentation. But he’s shifted among a number of bandmates over the years, trading out a bass player here, a drummer there and going through several multi-instrumentalists. His shows feature lots of improvisation along with established tracks.

“The show will be full of stories, not a composed, highly rehearsed delivery of a set performance,” he says. “For me, it’s an interactive experience.”

Although Sollee previously played cello, mandolin and guitar during performances, he now sticks to the cello. He thinks he can get more out of it than the others.

“I feel like the cello is the great Swiss Army knife of the orchestra,” he says. “It has incredible melodic range, and its harmonic capabilities are unequalled. It can be rhythmic. Composers have used it for all those things for years. I’m just expanding on that.”

Sollee has also had a special place in his heart for theater since high school, and he’s found a number of ways to exercise that affinity. He’s written the score for multiple indie films and is currently working on an interactive stage performance of the children’s book Harold and the Purple Crayon.

“I’ve always had a huge interest in dance and onstage performance,” Sollee says. “I was involved on the tech side [since high school], and I can walk into a theater and connect with the tech staff because I have the theater language and vernacular.”

One of the songs Sollee’s most known for is, ironically, a rant against stage theatrics. He was playing Bonnaroo in 2008 when Kanye West threw a characteristic tantrum. A late-running show had delayed West’s crew in setting up, and the crowd was frenzied by the time he went on. West was none too happy—and made it clear.

The next day, Sollee wrote a song, “Dear Kanye,” that he never intended to release. But someone on his management team leaked it. “Dear Kanye…You don’t need a light show / Just good flows,” Sollee sings quietly over spare cello.

Fans went nuts, but Sollee wasn’t happy. He played the song a few times live but has since given it up.

“I’ll never play it again because…giving any attention to Kanye’s outlandish behavior, whether positive or negative, enables him to continue acting that way,” Sollee says. “And I feel, if you have heard your Kanye, he has so much to give as an artist.”

It takes one to know one.

Ben Sollee

The Southern Café and Music Hall

April 8

Listen, here.

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News

Art installation waves the white flag temporarily

 

One of the 193 flags in the Tom Tom Founders Festival’s “White Flags” exhibit installed on the Downtown Mall just two days ago has fallen, causing festival organizers to remove the entire installation.

Tom Tom organizers stated in a release they are unsure whether the fallen flag, which hit the ground April 5, was the result of compromised equipment used to hang the flags or recent heavy winds.

Because of the wind-tunnel effect on the Downtown Mall, the hanging system for the white flags, which represent the member states of the United Nations, was upgraded to a structure of aluminum rods, steel cables and steel swivel hooks. The flags, which have been on display all over the world, were hung 16 feet in the air on a wire system between trees.

Artist Aaron Fein says inspiration for the exhibit came in the years after September 11, as he watched American flag bumper stickers fade to white.

“The strong likelihood is that one clip and one clip only had a critical failure, but with the public nature of the exhibit, and the fact that so many pedestrians would be passing under the flags, it was in the interest of public safety to simply remove the installation,” Tom Tom Founders Festival Director Paul Beyer said in a press release. “Obviously this was very distressing to all the festival staff, and to the artist, because this installation took months of preparation.”

Once removed, the additional 192 flags were inspected, and no other hanging clips showed signs of damage or fraying, according to the release. Festival organizers are now working to install the flags elsewhere at a lower altitude.

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News

City estate on the market for $11 million

Four Acres, the estate on Rugby Road that went on the market last week, may haul in the heftiest amount of any home in the history of Charlottesville. And if you have an extra $11 million, it could be yours.

The 1314 Rugby Rd. property, listed with Loring Woodriff Real Estate Associates, was purchased for $1.4 million in 1998. Woodriff says the seller has spent several million dollars in restoration efforts on the property, in a “labor of love.”

In its 12,433 square feet, the seven-bedroom estate built in 1910 has 12 working fireplaces, four full baths and three half-baths. The property also includes a pool and a carriage house with a studio that could be an apartment.

On 3.86 acres, the main dwelling is secluded by three acres of arboretum-quality gardens, making it unlike any other home in Charlottesville, according to Woodriff. At the same time, this “city estate,” as she calls it, is within walking distance of the university, historic downtown and Barracks Road.

In current real estate culture, some buyers are shying away from massive country properties, and leaning toward those such as Four Acres that, while secluded, remain close to the hustle and bustle of a city, Woodriff says.

“It’s obviously a magnificent property,” she says. “It’s totally one of a kind and it can’t be recreated.”

Though the property has only been on the market for a week, brokers have expressed a surprising amount of interest, she says, and while the responses have been “lightning fast,” she says that “at this price level [selling] takes time.”

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Arts

ARTS Pick: Lee Ann Womack

Hardly a lavish wedding goes by where Lee Ann Womack’s 2000 crossover hit, “I Hope You Dance,” isn’t played to the delight of a tearful aunt or grandma. The Grammy-winning country music singer has earned a pile of country music awards (CMAs, ACMAs and CMTs), and her latest record, The Way I’m Livin’, followed suit with another wave of award nominations. Garden & Gun sums it up: “Nashville is filled with artists making ‘the record they were born to make.’ With Livin’, Womack is one of the few who actually delivers.”

Friday 4/8. 8pm, $29.50-74.50. The Paramount Theater, 215 E. Main St., Downtown Mall. 979-1333.

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News

Graduation day: Albemarle will continue drug court

I’m tired of being addicted to crack cocaine,” announced a heavy-set man in his early 60s from the front of the courtroom. “I’m free. I can pay my bills on time. I can truly be with my wife.”

The Charlottesville/Albemarle Drug Treatment Court celebrated the graduation of two participants on March 31 from the program that started in 1997.

When Robert Tracci was elected Albemarle County’s commonwealth’s attorney in November, new referrals to the drug court from his office appeared to dry up for a time, and some people feared drug court would no longer be viable without new participants from the county.

“For the last five or six months, prior to the changeover, we were getting more [referrals] from the county,” says Susan Morrow, drug court coordinator, when asked about the rate of referrals. “When Mr. Tracci first started there was definitely a lull. And I think it might have been having a whole bunch of other stuff thrown at him.” Immediately upon taking office, Tracci assumed responsibility for the Jesse Mathew Jr. murder cases.

Tracci says he was doing his due diligence on the referrals. “I can tell you, there were a couple of cases where the former commonwealth’s attorney agreed to permit people to enter drug court who were not otherwise eligible,” he says. “I had to do my due diligence. That doesn’t reflect a lack of interest in drug court but a commitment to the criteria.”

Defendants plead guilty to the charge and agree to begin a process of constant supervision and treatment for drug use in exchange for eventually having their charges dropped. Getting through drug court takes a minimum of 12 months and about 35 percent of graduates will reoffend within three years, compared with more than 80 percent of similar defendants who are sent to prison instead.

“While people are here they are in an extremely rigorous program,” says Morrow. Participants are drug-screened five days a week, in treatment four days a week and in court in front of a judge once a week. If they have a positive drug test they could be incarcerated. Doing time is a lot easier, says Morrow. “Trying to fix an addiction is really hard. The two folks you saw graduate today, for 12 months it was like boot camp.”

Throughout the morning after graduation at drug court, participants took turns standing before Judge Richard Moore, who looked over paperwork for each and asked them how their week had gone. Sometimes he praised someone for his honesty or for finding work. In other cases, he chastised laziness or poor excuses.

Moore seemed to be part judge and part therapist. “Being sober scares me,” confessed one man. “There are so many things I’m running away from.”

“I know,” replied Moore in a sympathetic tone. “Drug court is about drugs not having control of your life.”

Most people in the program have more problems with which to deal than just drug addiction. “Many of them have mental health problems that have not been diagnosed,” says Morrow. Some have problems with their living situation, and the program refers them to other agencies, including Region Ten.

Opiate and heroin addiction cases are more prevalent than what the drug court was seeing three years ago, says Morrow.

Tracci agrees. “There isn’t as much of it here as there is in other counties [in Virginia] but it has been on the rise,” he says.

“I’m a supporter of the drug court,” says Tracci. “I’m committed to drug court in appropriate circumstances. This provides an alternative to incarceration and reduces recidivism. There is constant monitoring. Overall, no system is perfect, but this one shows great promise.”

Since drug court’s first docket, about 350 people have graduated while 50 percent flunked out and were required to face the conventional justice system, often serving time behind bars.

Back at drug court graduation, the wife of the man who was tired of being addicted to crack stood up to speak. “I can go to sleep before he gets home,” she says, “and I don’t have to worry if he’s out getting high.”

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Sole mates: Anthony Gill will rock Jordans for the big day

Just two weeks after senior men’s basketball player Anthony Gill hung up his Virginia uniform, he will be lacing up a new pair of Jordans. This time, though, they’re for his April 8 wedding.

Gill, 23, met his fiancée, Jenna Jamil, 24, in the hallway of Charlotte Christian High School almost eight years ago.

“She actually came up to me because her sister wanted to know who I was,” Gill says, “but then she kind of caught my eye so I just started talking to her from there.”

Jamil remembers Gill Facebook messaging her for the first time after their encounter and sparking their relationship, but the two recall their first date slightly differently. While Jamil says they went to a nearby French restaurant, followed by a movie, Gill has a different recollection.

“We went on a date with her mom to this Italian restaurant,” Gill says, laughing.

Whether or not Jamil’s mom chaperoned their first date, family has always been important to the couple. In fact, Gill planned his proposal six months in advance to ensure that all of Jamil’s family would be present. He popped the question while the couple was horseback riding in the Dominican Republic.

“I was already nervous to be on the horse in the first place and then he asked me to get off to take a picture and I didn’t want to get off the horse because at that point I had gotten comfortable there,” Jamil says. “But then my sister convinced me to go take a picture, and when I stood next to him he stuck out his arm and got down on one knee.”

The wedding, which will take place in Charlotte, North Carolina, more than a month before UVA’s graduation, was planned primarily by Jamil, who graduated from High Point University in 2014. Gill couldn’t be more grateful that Jamil did most of the planning.

“I think it’s stressful enough just being a college athlete,” Gill says, “and focusing on school and basketball and family and all of that. Planning a wedding on top of that just puts it over the top. But you know, it’s fun because you’re planning the rest of your life and that’s what takes all of the stress off of it.”

The two chose April 8 because the NCAA championship, in which the Cavaliers fell in the Elite 8, would be over by then. Gill says he wanted to start their life together as soon as basketball season ended.

He won’t be leaving basketball behind, though. Teammates Malcolm Brogdon, London Perrantes, Darius Thompson and Devon Hall are all groomsmen, and the whole basketball team is invited to Gill’s wedding.

And while Gill will be standing at the altar in a new pair of white Jordans, his fiancée will walk down the aisle in Nike Roshes.

“I’ve always been kind of into the athletic side of things and we’re both kind of shoe freaks,” Jamil says, “so it’s more of ‘me’ in the wedding—I’m adding my kind of touch to things.”

Jamil says her tennis shoes probably won’t be visible under her dress. So far she has her something old and something new, but hasn’t come up with her borrowed and blue.

“I was thinking of wearing light blue socks with my tennis shoes,” Jamil laughs, citing another reason to ditch the heels.

As for the future, Gill’s answer is simple: “It all depends on what happens with basketball.”

Wedding game plan

Number of bridesmaids: 12

Number of groomsmen: 12

Number of UVA basketball players in the wedding party: 5

Number of guests: 300

Years dating: 7-and-a-half

First dance song: “Here and Now” by Luther Vandross

Engagement ring: Andrew Minton Jewelers

Honeymoon: Short trip to New York City after the wedding; official honeymoon will be planned for a later date

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Arts Living News

Tom Tom Festival is all grown up

As Tom Tom Founders Festival Director Paul Beyer sits in the audience during Founders Summit talks and hears fellow entrepreneurs and creative visionaries speak about the early days of their startups, the successes they celebrated and obstacles they faced, he can’t help but draw a parallel to the festival itself.

The ideas for the festival (April 11-17), launched in 2012, largely came out of casual conversations in Beyer’s apartment—friends would drop by for a beer, and they would discuss his idea for a festival based on the pillars of music, art, innovation, food and, most of all, founding—a nod to Charlottesville’s own polymath, Thomas Jefferson. He says Tom Tom—a regional take on South by Southwest—had no business being as successful as it was the first year, simply for the fact that it was entirely volunteer run. But each year has brought changes and growth—not only in attendance (6,700 the first year up to 26,000 last year) but in the festival’s organizational structure. The festival became a nonprofit after its second year, and Beyer attended the i.Lab at the Batten Institute where he sketched out a five-year plan for the organization, with the end goal of becoming a national festival.

Now in its fifth year, and with the backing of three full-time paid staff members, 14 student fellows from UVA, a slew of subcontractors and an official office on South Street, Beyer says they’ve more or less reached that goal. Speakers at the festival’s Founders Summit on Friday, April 15, as well as at lunches and workshops throughout the week, come not only from the region but throughout the United States. On the bill this year are Charlottesville’s own Bill Crutchfield, who built a $250 million a year consumer electronics business with $1,000; Sukhinder Singh Cassidy, founder of Joyus and theBoardlist, who led an 18-country expansion at Google; and Jason Flom, founder and CEO of Lava Records and founding board member of the Innocence Project, among others.

But perhaps the most notable sign of growth is not in the festival’s list of speakers but in its focus. More locally centered events during the week are no longer held at various venues around town; instead The Paramount Theater will serve as Tom Tom’s home base for events from Monday through Friday. The festival kicks off this year with the Future Forum: The Creative Economy 2025, which brings stakeholders in the local community—artists, entrepreneurs, investors and elected officials—together to talk about the economic impact art could have locally.

“So much of the festival is about projects that are happening now and businesses happening now, there’s no step back and saying what does this mean for the city 10 years from now,” Beyer says. “This year it’s going to be the touchstone for the festival. What is all this dynamism that we’re highlighting actually going to turn in to 10 years from now.”

The goal of the festival is to be a creative conduit and connector for people—of all ages. One of the highlights of new programming this year at the Paramount, Beyer says, is the Youth Summit, which will host 1,000 high-schoolers from around the state to hear entrepreneurs 25 years and younger talk about their businesses and community initiatives. The Founders Summit and Youth Summit are the only ticketed events this year, but Beyer says they’re priced just to break even (the festival has also set aside hundreds of Founders Summit tickets for students that are either heavily subsidized or given away). The underlying goal is to bring out people who are interested in Tom Tom’s array of topics: the food business, innovations in athletics, a crowdfunded pitch night, gender influence in business, etc. That’s what keeps Beyer up at night—making sure they reach each niche audience so that all creative collaborators are in the same place at the same time.

“The goal of the festival is to inspire people to see themselves as creators and to inspire them to see the city in new ways,” he says.

Since its inception, the festival has awarded more than $1.2 million in its various competitions, such as the crowdfunded pitch night, to nonprofits, artists and entrepreneurs. But the winners aren’t the only ones who claim successes, Beyer says. He’s heard several people say they met an investor or collaborator or someone who has an idea on how to help them with their project. And that is what Tom Tom is all about–establishing the foundation for local founders and serving as a springboard for creative success.

“Ultimately what I hope happens is there are dozens of stories of people who look back and say, ‘I met my investor’ or ‘That’s where I met my business partner,’” Beyer says. “You just don’t know these things for these early years because collaborations will have just started–you’re not going to know what happened until three or four years from now. You’re just seeding the ground and hoping really good things are starting to emerge.”