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News

Fire started at Ike’s Underground under investigation

It was nearing lunchtime on the Downtown Mall when smoke began pouring out of the building that houses Ike’s Underground Vintage Clothing and Strange Cargo, Miso Sweet and Twisted Branch Tea Bazaar.

Next door at OpenQ, CEO Otavio Freire was in his office, which “filled up very quickly with smoke,” he says. “The smoke was coming in through the brick wall.”

The Charlottesville Fire Department received a call around 11:45am to 414 E. Main St., says Captain Joe Phillips. “A crew arrived to find a basement fire” that was quickly put out, he says.

Even after eight fire trucks and vehicles pulled onto the mall, black smoke was seen coming out of Twisted Branch’s second-floor windows.

Everyone in those buildings and in buildings on the south side of the 400 block of the mall was evacuated, and no one was injured, says Phillips.

The cause is under investigation, but firefighters were overheard saying an electrical fire started in the basement at Ike’s.

The building was the scene of a small fire in 2006 shortly after Eppie’s opened in the space where Miso Sweet is now located. “We were doing our own laundry to save money, and some clean rags—in a laundry bag, but still hot from the dryer—spontaneously combusted,” says Eppie’s owner Dan Epstein.

“We were lucky,” he says, because the bag was dropped at the front door on a Sunday and put out within about 10 minutes. If it had been anywhere else in the building, it would have been a different story, he says.

—with additional reporting by Jessica Luck and Melissa Angell

 

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News

In brief: Bad tantrum, McDonnell lucks out and more

Twins tragedy

Ron&TronJasper
Ron and Tron Jasper ACPD

An encounter between Louisa twins Ron and Tron Jasper and Charlottesville twins Jarreau and Rahsaan Reid last September at Cavalier Crossing apartments resulted in a first-degree murder conviction June 21 of Ron Jasper, 30, for the death of Rahsaan Reid, 26. Jasper said he shot Reid in the face in self-defense. The jury recommended a sentence of 23 years.

TreyvonSlaughter-CPD
Treyvon Slaughter Charlottesville Police Department

Breaking bad

Treyvon Christopher Slaughter, 19, was charged with multiple counts for a June 23 incident in the Hampton Inn parking lot on India Road. According to police, he jumped up and down on a woman’s car, causing several windows to break, and threw a rock, striking her in the head.

Second-round NBA draft pick

UVA’s Malcolm Brogdon, who racked up about every award a star basketball player can get and was practicing with the Carolina Hornets, was drafted by the Milwaukee Bucks June 23.Brogdon_1_mattriley-uvaathletics

Big ‘whew’ for the McDonnells

The U.S. Supreme Court overturned former Virginia governor Bob McDonnell’s 11 corruption convictions June 27, with Chief Justice John Roberts writing, “There is no doubt that this case is distasteful; it may be worse than that. But our concern is not with tawdry tales of Ferraris, Rolexes and ball gowns.”

Robbing the wrong house

A thud awoke Kasoondie Frazier, 50, early June 24. She saw a man going over her Belmont backyard fence loaded with her belongings and she took off after him, barefoot and pajama clad, the Daily Progress reports. Frazier called 911 as she gave chase until a dispatcher advised her to stop. Police arrested Franklin Roy Bolden Jr., 18, and he was charged with burglary.

HighValueHomes

Quote of the week

“The petition is merely the latest in a series of heavy-handed attempts by Mark Brown, CPC’s owner who fancies himself Charlottesville’s Donald Trump, to bend the city to his will and force it to sell him its parking spaces in the Water Street Parking Garage Condominium.”

—The city’s June 24 motion to dismiss Charlottesville Parking Center’s petition for the emergency appointment of a receiver, on the same day CPC proposed a settlement of the parking morass. 

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News

Commission criticism Do handpicked harbingers fit City Council’s agenda?

In a recent C-VILLE report, a blue ribbon commissioner said he feared the public would think he and his fellow members joined Mayor Mike Signer’s committee with a predisposed idea of how to treat race, memorials and public spaces in the city.

And he may be right—one man has come forward to call the lack of diversity on the commission a “glaring oversight.”

Lewis Martin, a lifelong Charlottesville resident, local attorney of nearly 40 years and president of the Charlottesville Albemarle Bar Association, has analyzed the applications of each selected commission member. He’s quick to note “there’s just too many of the same people,” and not a representative of those who have been around long enough to truly know the lay of the land, he says.

Whether they’re black or white, male or female, religious or not, members are obviously leaning liberal, according to Martin, who also applied for the commission.

Sitting with their applications printed, stapled and laid out on a table in front of him, he notes that of the nine members selected from 74 applicants, three were already designated as representatives of the Historic Resources Committee, Human Rights Commission and PLACE Design Task Force. That leaves six members at-large—four of whom are African-American and two are white.

U.S. Census Bureau data shows that in 2015, 70 percent of Charlottesville residents were white, while 19 percent were black. For a commission focused primarily on race, Martin says commission members should reflect those numbers.

He points out that Jane Smith, a white commissioner who told C-VILLE she was a “clean slate,” is an active NAACP member who wrote in her application that, while studying the city’s black history in the Daily Progress archives, she learned about “the story of African-Americans in Charlottesville being marginalized and distorted by an unabashedly white supremacist point of view—sometimes blatant, sometimes subtle—but relentlessly, interminably racist.” She writes that “shining a light on the full story” is the first step toward reconciliation.

“Does this sound like somebody who is going to be open-minded?” Martin asks, adding that Frank Dukes, the other white at-large commissioner, is a member of the Unitarian Universalist church on Rugby Road, which is possibly the most liberal house of worship in town.

Of the at-large African-Americans serving on the commission, Melvin Burruss is also a member of the Human Rights Commission, which is already represented, Andrea Douglas is an art historian who works for the Jefferson School African American Heritage Center, and John Edwin Mason is a UVA history professor who has already made his stance clear.

In front of City Council April 18, Mason said the memorials hide history instead of making it more visible. And to the Cavalier Daily after the Lee Park rally sparked by Vice-Mayor Wes Bellamy, he said, “The statue should be removed because it’s a symbol of racism, intolerance and white supremacy.”

Martin believes Mason may have been selected over another UVA history professor because his opinion, already made public, suits City Council’s agenda.

While Mason does not deny giving his thoughts on the matter before being appointed to the blue ribbon commission, he says, “Not having an opinion was not the criteria. The criteria was to be able to listen to a variety of points of view and assess a variety of different points of evidence and come to a conclusion that we can recommend to City Council.”

The commission has met twice, and Mason says it would be absurd to think it’s fixed.

“It’s very clear that we have a wide range of opinion on the commission and we also have a wide range of expertise,” he says. “It’s also clear to anybody who has been at the commission meetings that there’s no consensus right now.”

Martin, however, isn’t convinced. Another African-American history professor at the university and a commission applicant, whom Martin suggests was not selected because he made public an opinion that doesn’t suit City Council, would have been an asset to the group and a member who could represent a side the committee has not yet seen.

“He wrote the book, literally,” Martin says about Ervin Jordan, author of Charlottesville and the University of Virginia in the Civil War, Black Confederates and Afro-Yankees in Civil War Virginia and 19th Virginia Infantry.

While Mason’s field and specialties include southern Africa, modern Africa and the history of photography, Jordan has been appointed by six consecutive Virginia governors to serve on the State Historical Records Advisory Board, has published more than 60 articles, essays and book reviews, and frequently serves as a historian-consultant for publications and novels, including the 2003 motion picture Gods and Generals, a period Civil War drama, and appeared onscreen as a historian-consultant for the documentary Virginia in the Civil War: A Sesquicentennial Remembrance.

“I feel that it’s sort of desecrating statues to remove them,” Jordan said on Coy Barefoot’s “Inside Charlottesville” show May 1. “I think it sets a bad precedent.”

Jordan then said removing a statue often costs five or six figures and he believes complementary monuments should be erected instead of tearing existing ones down.

“What can we do to commemorate some of what we historians call the new history—this inclusive history?” he says. “I think Charlottesville could be on the cutting edge of that.” He declined to comment for this article.

Of course, the mayor of Charlottesville (and friend of Martin’s) says a rigged panel is not the case.

“I have always advocated for the blue ribbon commission to reflect the broadest array of perspectives and experiences in our community,” Signer says. “I have not and will not discuss council’s closed session deliberations, but I can say that I believe the dedicated and experienced men and women who were chosen must diligently strive in the months ahead to accommodate the full range of views in our community.”

To be fair, Martin says the issue isn’t with individuals on the commission, “who all have just incredible credentials” and whom he respects with “nothing but the highest regard.” His issue is with the leaders who picked them.

As someone who has spent his entire life locally, Martin is concerned about the length of time some members have spent in Charlottesville and how that affects their understanding of the context of the memorials.

“This isn’t as if a racist local government in 1924 suddenly decided [it was] going to put up statues to oppress black people,” he says about the General Robert E. Lee monument. “It was a gift.”

Paul Goodloe McIntire, the biggest benefactor in this city’s history (aside from Thomas Jefferson), donated the statue in memory of his parents, to celebrate the commander of the Army of Northern Virginia, under whom many locals fought, and whom many have called “the most beloved general in the history of the United States.”

Martin suspects that his grandparents, living on Park Street at the time, likely would have been at the unveiling, too, to bask in the glory of Lee and his ties to the town.

“I’ve got that DNA in me,” Martin says. “You have got to have somebody who can present this view of the Civil War and Civil War statues.”

Of the members who indicated their city residency on their BRC applications (all but Gordon Fields), the person who has been in Charlottesville the longest is Jane Smith, a resident since 1990, with the shortest residency being Don Gathers’ three-year stay.

“Goodness gracious sakes alive,” Martin says.

Updated July 11 at 1:51pm to reflect that Melvin Burruss is a member of the Human Rights Commission.

Categories
Arts

ARTS Pick: The Pirates of Penzance

Gilbert and Sullivan’s The Pirates of Penzance brings the high seas into the theater as young Frederic battles a group of pirates that has been holding him in servitude. “You can’t really go wrong with pirates, and these happen to be particularly entertaining ones,” says director Colleen Kelly. The accompanying music is artfully arranged and full of humor and rollicking rhymes. 

Through 7/9. $20-45, various times. Culbreth Theatre, 109 Culbreth Road. 924-3376.

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Arts Living News

The Power Issue

Discussions for this year’s list of the most powerful in Charlottesville turned not toward one particular person but an entity that truly affects Charlottesvillians’ daily lives—the Virginia Department of Transportation. Don’t worry, you’ll still see some familiar faces (last year’s power-topper Mark Brown remains embroiled in a battle with the city over the Water Street Parking Garage), as well as newcomers, such as craft beer giant Devils Backbone and Vice-Mayor Wes Bellamy. And don’t forget impactful changes, such as the Landmark Hotel finally being transformed into a thing of beauty—hey, one has the power to dream, right?

Categories
Living

Living Picks: To-do this week

Family    

Happy birthday, America

A community celebration for America’s birthday includes food, cider, wine, a bike parade, games and live music. The orchard will remain open late for viewing fireworks.

Monday, 7/4. Free, 9am-9:30pm. Carter Mountain Orchard, 1435 Carters Mountain Trl. 977-1833.

Nonprofit

4th of July at Monticello

Larry Sabato, founder and director of the UVA Center for Politics, speaks to new U.S. citizens from around the world at the 54th annual naturalization ceremony.

Monday, 7/4. Free, 9am-noon. Monticello, 931 Thomas Jefferson Pkwy. 984-9800.

Health & Wellness

Kiwanis Independence Day 5K

Proceeds from the race, sponsored by Key Clubs at area high schools, benefit Camp Holiday Trails and its mission to help children with special needs.

Monday, 7/4. $20-30, 7:30am. Sutherland Middle School, 2801 Powell Creek Dr. kiwaniscville.org.

Food & Drink

Aloha-rt Social Hawaiian Party

Enjoy authentic Hawaiian recipes, drink specials and island music at this luau-themed party presented by Oakhart Social, JM Stock Provisions and Autumn Olive Farm.

Sunday, 7/3. Free, 3-9pm. Oakhart Social, 511 W. Main St. 995-5449.

Categories
Arts

ARTS Pick: Charlottesville Municipal Band

Ninety-four seasons of saxophones, winds and trombones later, the Charlottesville Municipal Band continues to bring joy to the community. The group of more than 90 men and women has grown exponentially from it inception in 1922, but maintains its commitment to sharing its love of music with others. Fresh off its annual July 4 concert at Monticello’s naturalization ceremony, the Muni players are joined by the U.S. Army Band for a day-after show.

Tuesday 7/5. Free, 7:30pm. Martin Luther King Performing Arts Center at Charlottesville High School, 1400 Melbourne Ave. 295-9850.

Categories
Living

Local rosé is a refreshing summer choice

Rosé wine can be made a few different ways. Some winemakers harvest grapes specifically for rosé and press them, keeping them on the skins for a short period. Other winemakers press their red wine harvest, and bleed off some of the initial pink-colored juice to ferment separately as rosé. This technique, called saignée, a word derived from “to bleed,” will help to concentrate the red wine fermentation by increasing the skin-to-juice ratio. You can also make rosé by simply adding red wine to white wine, and most rosé Champagne is made this way.

Despite the method, in the heat of summer, a glass of rosé will hit the spot, and there are several local bottlings to choose from. Here are a few favorites:

Growlers of rosé can be found at Michael Shaps’ new outpost on Avon Street Extended. It’s called Wineworks Extended, and it opened for business a few weeks ago. From the street this looks like a large warehouse, but around the back of the building, enter into a sleek industrial tasting room with several high-top tables made from reclaimed barrels. The walls are lined with the many wines Shaps produces in France, and the centerpiece of the space is a cozy bar with wines on tap. Shaps is enchanted by the quotidian traditions in Burgundy where locals bring a glass jug to their favorite vigneron and fill it up for daily consumption. This outpost should function in a similar way with the growler program. The rosé on tap is tart and crisp, with a deep pink hue.

Blenheim Vineyards also offers growlers, but currently they are only used for a few select reds and whites. Blenheim rosé comes in a bottle, and like most of winemaker Kirsty Harmon’s wines, it is bright and juicy—pure refreshment. “I like it because it is so versatile,” Harmon says. “It can go with so many different dishes.” Harmon likes to make her rosé with slightly lower alcohol, “so you can drink more of it,” she says with a wink. The best place to drink it is on the tasting room deck, along with an expansive view of their estate vineyards.

Michael Shaps. Photo: Martyn Kyle
Michael Shaps. Photo: Martyn Kyle

There is also the locally famous Crosé made by Matthieu Finot at King Family Vineyards. Over the last few years this wine has reached a cult-like status, and with good reason: Finot puts much thought and effort into his rosé production. “It’s always merlot. We do about two days of skin contact, because you get the flavor from the skin,” says Finot. He harvests it before it becomes extremely ripe in order to preserve some of the acidity. The result: an aromatically interesting wine with subtle herbal notes and a rich center contrasted by a very refreshing acidity on the finish.

Jeff White at Glen Manor Vineyards makes his Morales rosé based on a special block of merlot at his family’s farm. He also blends in some saignée cabernet sauvignon, petit verdot and cabernet franc to make a proper Bordeaux-style rosé. White’s rosé comes from a unique farm, recognized by the Commonwealth of Virginia as a Century Farm, belonging to his family since 1901. As a fourth-generation farmer, he switched his hill parcels from orchards to grapes in 1995, and started making wine.

At Stinson Vineyards, Rachel Stinson Vrooman and her father, Scott Stinson, take inspiration from the rosé traditions in Bandol, France. They’ve sought out some of the few mourvèdre grape vines in Virginia, and in true Bandol style, this rosé has breadth, depth, a lush fruit character and a hint of unctuousness. “The mourvèdre rosé started as an experimental wine,” Vrooman says. “We didn’t really know if anyone else would be interested in it, but those were the type of rosés we like to drink. Our consulting winemaker Matthieu Finot worked in Bandol when he was younger and was very familiar with the style of wine we wanted to make. Mourvèdre is a super-tricky grape. In the vineyard it ripens late and has tight clusters that are susceptible to rot and mildew. But the challenges are part of what makes it fun to work with.” This wine is so delicious, and made in such small quantities, that it tends to sell out by the end of the summer.

A crisp counterpoint to the rich intensity of Stinson’s mourvèdre rosé is the blush from Early Mountain Vineyards. Like Blenheim, King Family and Glen Manor, merlot is the primary base for the Early Mountain rosé. As one of its most popular wines, the Early Mountain rosé certainly delivers refreshment.

Cheers to finding your own perfect glass of rosé this summer!

–Erin Scala

Erin Scala is the sommelier at Fleurie and Petit Pois. She holds the Diploma of Wines & Spirits, is a Certified Sake Specialist and writes about beverages on her blog, thinking-drinking.com.

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Arts

The Fralin explores iconography through Warhol’s eyes

In “Andy Warhol: Icons,”  The Fralin Museum of Art at UVA brings together prints the Andy Warhol Foundation gave to the museum in 2014, along with works from a number of loaned sources, to explore the concept of icon in both a traditional and contemporary sense. As one of the most prominent 20th century icons, Warhol is both the creator of the work on view and the subject of the show.

The prints are handsomely displayed against black walls, which cause the vivid colors to pop. Marilyn, Liza, Jackie and EIIR—the latter coated in diamond dust—are all here, as well as some lesser-known royals. There’s also what might be the closest thing to an original icon in Warhol’s take on Piero della Francesca’s “Saint Apollonia.” To underscore the point, a 15th-century painting of Saint Apollonia, on loan from the National Gallery of Art, is placed alongside the Warhol versions.

Mao and Elvis, two major 20th century icons whom Warhol immortalized, are missing, along with Elizabeth Taylor. But icons of a different sort, the more unusual “Cowboys and Indians” series, which features Native American figures Geronimo and Sitting Bull, as well as Annie Oakley and Theodore Roosevelt, are hung together in their own room to dramatic effect. In several instances the works are displayed in multiple versions as opposed to just one image. This allows the viewer to see how the application of pigment in the printing process alters the image.

For instance, Marilyn Monroe is transformed from a recognizable representation of herself in one, to a veritable Gorgon in another version, suggesting the steep price of fame. Warhol produced his first Monroe piece, “Marilyn Diptych” (1962), from which these derive, using a “Niagara” publicity still soon after her death to take full advantage of the shock and notoriety surrounding it.

Arguably the most influential 20th century American artist, Warhol challenged entrenched formal and contextual standards. A talented commercial artist with lofty ambitions, he knew what looked good. He also realized that the quintessentially American realms of advertising and mass production yielded the inspiration and means to create something wholly original that would resonate with viewers. When the wagons of the recondite art world initially circled against him, Warhol persevered on his own terms, answering Jasper Johns’ haute art Ballantine Ale cans (“Painted Bronze,” 1960), with his breezy “Campbell’s Soup Cans” (1962). It was an audacious move that signaled a coming sea change.

But what began as conceptually interesting morphed into something different in the post-Factory years as Warhol shifted his attention to portraits of the beautiful people done as commissions and for covers of his Interview magazine. While they enhanced his fame and pocketbook, there’s something hollow about these works. There isn’t any “there” there.

Warhol would agree. He famously said his art didn’t mean anything. Was this a brilliant commentary or shrewd marketing or eccentricity? It’s hard to know. Certainly, for all his coopting and commenting on fame, Warhol was also dazzled by it and pursued it doggedly. In post-Kardashian America, Warhol’s self-promotion appears rather charming, quaint even. But as both acolyte and high priest of the cult of celebrity, he helped usher in the likes of Kim and Kanye.

With eye-popping color, slick presentation and frisson-packed subject matter, Warhol’s work has an easy-on-the-eyes facility. It also brings with it the sex, drugs and rock n’ roll glamour of The Factory and Studio 54. Who doesn’t want a piece of that? On a purely superficial level, the work is easy to understand and recognize for what it is. This also means it’s easy to figure out how much a Warhol costs—important info in this era of billionaires, when keeping up with the Joneses has shifted from pricey handbags and cars to the serious big-ticket items of expensive contemporary art.

For work that isn’t about anything, Warhols continue to raise big questions about what constitutes value and how it is established. In Warhol’s case, there’s been some controversy over attribution with works that were long considered authentic being reassessed. It’s a slippery slope. With the exception of his early work, Warhol was largely removed from it, directing it from afar and then approving and signing it after completion. Add to this the multiple nature of the work and you get something whose value should, by all rights, be adversely affected. And yet Warhol’s popularity remains intact. For someone who questioned the very nature of art, this would be gratifying indeed.

Warhol opened up a door to a world not only populated by the Kardashians, whose baseless fame has endured well beyond their allotted 15 minutes, but also to Jeff Koons and his ilk. Art has become a commodity acquired and traded like any other. To say this has always been the case is simply not true. Picasso was not looking at the bottom line when he was working. Yes, he had an ego and certainly enjoyed the adulation that surrounded him, but his motivation was the creative fire that burned within. The same can be said about the incomparable Gerhard Richter, whose work is substantive, challenging and also commands the stratospheric prices enjoyed by those who have more than a whiff of hucksterism about them. It’s unfortunate that plenty of lesser-known, truly talented artists are overshadowed by the prevailing commercialism and vapidity. If there was room for both, it wouldn’t be so bad, but, as is true in other sectors, there is very little trickle down, and our culture is the worse for it.

Categories
Living

ARTS Pick: Jason Ring

Growing up in southwestern Virginia with no shortage of bluegrass influences to choose from, Jason Ring didn’t see the need to pick just one. Since the age of 5, Ring has been putting his own twist on the blues using the fast, smooth scat of his “mouth trumpet” and flaming fingers on guitar, banjo, mandolin, dobro and bass. And that sets him apart from the rest.

Saturday 7/2. Free, 10:30pm. The Whiskey Jar, 227 W. Main St., Downtown Mall. 202-1549.