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Power players: the ones making the biggest impact

It’s the time of year C-VILLE editorial staffers dread most: landing on the final names for our Power Issue, followed by the inevitable complaints that the list contains a bunch of white men. Sure, there are powerful women and people of color in
Charlottesville. But when it comes down to it, it’s still mostly white men who hold the reins—and a lot of them are developers. The good news: that’s changing. (And we welcome feedback about who we missed, sent to editor@c-ville.com.)

If you’re looking for a different take on power, skip over to our Arts section, where local creative-industry leaders share their most powerful moments (grab some Kleenex!) on page 46.

1. Robert E. Lee statue

More than 150 years after General Robert E. Lee surrendered at Appomattox, he continues to be a divisive figure—or at least his statue is. The sculpture has roiled Charlottesville since a March 2016 call (see No. 2 Wes Bellamy and Kristin Szakos) to remove the monument from the eponymously named park.

As a result, in the past year we’ve seen out-of-control City Council meetings, a Blue Ribbon Commission on Race, Memorials and Public Spaces, a City Council vote to remove the statue, a lawsuit and injunction to prevent the removal and the renaming of
the park to Emancipation.

The issue has turned Charlottesville into a national flashpoint and drawn Virginia
Flaggers, guv hopeful and former Trump campaign state chair Corey Stewart, and Richard Spencer’s tiki-torch-carrying white nationalists. Coming up next: the Loyal White Knights of the KKK July 8 rally and Jason Kessler’s “Unite the Right” March August 12.

You, General Lee, are Charlottesville’s most powerful symbol for evoking America’s unresolved conflict over its national shame of slavery and the racial inequity still present in the 21st century.


Spawn of the Lee statue

Jason Kessler

Before the statue debate—and election of Donald Trump—Charlottesville was blissfully unaware of its own, homegrown whites-righter Jason Kessler, who unearthed Vice-Mayor Wes Bellamy’s offensive tweets from before he took office and launched an unsuccessful petition drive to remove Bellamy from office, calling him a “black supremacist.” Since then, Kessler has slugged a man, filed a false complaint against his victim and aligned himself with almost every white nationalist group in the country, while denying he’s a white nationalist. The blogger formed Unity and Security in America and plans a “march on Charlottesville.” Most recently, we were treated to video of him getting punched while naming cereals in an initiation into the matching-polo-shirt-wearing Proud Boys.

SURJ

The impetus for the local Showing Up for Racial Justice was the seemingly unrelenting shootings of black men by police—and white people wanting to do something about it. But the Lee statue issue has brought SURJ into its own militant niche. Pam and Joe Starsia, who say they can’t speak for the collective, are its most well-known faces. The group showed up at Lee Park with a bullhorn to shout down GOP gubernatorial candidate Corey Stewart, interrupted U.S. Representative Tom Garrett’s town hall and surrounded Kessler at outdoor café appearances on the Downtown Mall, shouting, “Nazi go home!” and “Fuck white supremacy!”—perhaps unintentionally making some people actually feel sorry for Kessler.


2. City Council

Not all councilors are equally powerful, but together—or in alliances—they’ve kept the city fixated on issues other than the ones citizens normally care about: keeping traffic moving and good schools.

Mayor Mike Signer. Photo by Eze Amos
Mayor Mike Signer. Photo by Eze Amos

Mike Signer

Mayor Signer took office in January 2016 in what is widely seen as a step to higher office. He immediately riled citizens by changing the public comment procedure at City Council meetings. A judge determined part of the new rules were unconstitutional, but some council regulars say the meetings do move along much better—at least when they’re not out of control with irate citizens expressing their feelings on the Lee statue. Signer called a public rally, sans permit, to proclaim Charlottesville the capital of the resistance. And despite his vote against removing the statue, he’s not shied away from denouncing the white nationalists drawn to Charlottesville like bears to honey.

Vice-Mayor Wes Bellamy. Photo by Eze Amos
Vice-Mayor Wes Bellamy. Photo by Eze Amos

Wes Bellamy

Most politicians would be undone by the trove of racist, misogynistic and homophobic tweets Bellamy made before he was elected to City Council. As it was, they cost him his job as an Albemarle County teacher (a post from which he resigned after being placed on administrative leave) and a position on the Virginia Board of Education. But he fell on the sword, apologized and acknowledged the “disrespectful and, quite frankly, ignorant” comments he posted on Twitter. Perhaps it helped that Bellamy, at age 30, is a black male leader, has real accomplishments and has dedicated himself to helping young African-Americans. Despite his missteps, he is the voice for a sizable portion of Charlottesville’s population.

City Councilor Kristen Szakos. Photo by Elli Williams
City Councilor Kristen Szakos. Photo by Elli Williams

Kristin Szakos

Szakos raised the topic of removing the city’s Confederate monuments several years before she teamed up with Bellamy, and she was soundly harassed for her trouble. When she ran for office, she called for town halls in the community and bringing council to the people, and she’s always demonstrated a concern for those who can’t afford to live in the world-class city they call home. She announced in January she won’t be seeking a third term in the fall.

City Councilor Kathy Galvin. Photo by Christian Hommel
City Councilor Kathy Galvin. Photo by Christian Hommel

Kathy Galvin

Galvin, an architect, envisions a strategic investment area south of the Downtown Mall, and her job will be to convince residents it’s a good deal for them. Council’s moderate voice, she, along with Signer, were the two votes against removing the Lee statue.

City Councilor Bob Fenwick. Photo by Chiara Canzi
City Councilor Bob Fenwick. Photo by Chiara Canzi

Bob Fenwick

Even before losing the Democratic nomination June 13 with a dismal 20 percent of the vote, Fenwick was always the odd man out on council. His moment in the sun came earlier this year when he abstained from a split vote on removing the Lee statue, lobbied for pet causes among his fellow councilors and then cast his vote in the “aye” side, joining Bellamy and Szakos. That vote did not yield the groundswell of support he might have imagined from the black community. And although he leaves council at the end of the year as a one-termer, there are those who have appreciated Fenwick’s refusal to join in lockstep with the rest of council, and his willingness to call out its penchant for hiring consultants without taking action.


Coran Capshaw. Photo by Ashley Twiggs
Coran Capshaw. Photo by Ashley Twiggs

3. Coran Capshaw

Every year we try to figure out how to do the power list without including Capshaw. But with his fingers in pies like Red Light Management (Dave Matthews, Sam Hunt); venues (the Pavilion, Jefferson, Southern and, most recently, the Brooklyn Bowl); Starr Hill Presents concert promotion and festivals such as Bonnaroo; merchandise—earlier this year, he reacquired Musictoday, which he founded in 2000; restaurants (Mas, Five Guys, Mono Loco, Ten) and of course development, with Riverbend Management, we have to acknowledge this guy’s a mogul. There’s just no escaping it.

In local real estate alone, Capshaw is a major force. Here are just a few Riverbend projects: City Walk, 5th Street Station, C&O Row, the rehabbed Coca-Cola building on Preston and Brookhill.

True, he fell from No. 7 to 11 on this year’s Billboard Power 100, but in Charlottesville, his influence is undiminished. And now he’s getting awards for his philanthropy, including Billboard’s Humanitarian of the Year in 2011, and this year, Nashville’s City of Hope medical center’s Spirit of Life Award.


UVA's Rotunda. Photo by Karen Blaha
UVA’s Rotunda. Photo by Karen Blaha

4. UVA

In January, UVA President Teresa Sullivan announced her summer 2018 retirement, and directed the Board of Visitors to begin the search for a new leader to rule Thomas Jefferson’s roost, the top employer in Virginia with its state-of-the-art medical center, a near-Ivy League education system and a couple of research parks teeming with innovative spirit.

Charlottesville native venture capitalist James B. Murray Jr., a former Columbia Capital partner of Senator Mark Warner, was elected vice rector of the Board of Visitors, and will take the rector-in-waiting position July 1, when Frank M. “Rusty” Connor III begins a two-year term as rector.

And lest we forget, the UVA Foundation recently purchased the university a $9 million 2015 Cessna Citation XLS—an eight-seat, multi-engine jet—to haul around its highest rollers.


Jaffray Woodriff. Photo by Eze Amos
Jaffray Woodriff. Photo by Eze Amos

5. Jaffray Woodriff

As the founder of Quantitative Investment Management, a futures contract and stock trading firm with experience in plataforma trading, Woodriff has landed at No. 28 on Forbes’ list of the 40 highest-earning hedge fund managers in the nation, with total earnings of $90 million. His troupe of about 35 employees manage approximately $3.5 billion in assets through a data science approach to investing.

Woodriff, an angel investor who has funded more than 30 local startups, made headlines this year when he bought the Downtown Mall’s beloved ice skating rink and announced plans to turn Main Street Arena into the Charlottesville Technology Center, which, according to a press release, “will foster talented developers and energized entrepreneurs by creating office space conducive of collaboration, mentorship and the scalability of startups.”

Demolition of the ice rink is scheduled for 2018, so there’s time yet to lace up your skates before you trade them in for a thinking cap.


Keith Woodard. Photo by Amy Jackson
Keith Woodard. Photo by Amy Jackson

6. Keith Woodard

Some might argue that Woodard’s power stems from the unrelenting complaints of people who are towed from his two downtown parking lots. But it’s the real estate those lots sit on—and more. The owner of Woodard Properties has rentals for all needs, whether residential or commercial. The latter includes part of a Downtown Mall block and McIntire Plaza. He was already rich enough to invest in a Tesla, but Woodard is about to embark on the biggest project of his life—the $50 million West2nd, the former and future site of City Market. Ground will break any time now, and by 2019, the L-shaped, 10-story building with 65 condos, office and retail space (including a restaurant and bakery/café) and a plaza will dominate Water Street.


Will Richey. Photo by Amy Jackson
Will Richey. Photo by Amy Jackson

7. Will Richey

When you talk about Charlottesville’s ever-growing restaurant scene, one name that seems to be on everyone’s tongue is Will Richey. The restaurateur-turned-farmer (his Red Row Farm supplies much of the produce in the summer for the two Revolutionary Soup locations) owns a fair chunk of where you eat and drink in this town: Rev Soup, The Bebedero, The Whiskey Jar, The Alley Light, The Pie Chest and the newest addition, Brasserie Saison, which he opened in March with Hunter Smith (owner of Champion Brewery, which is also on the expansion train, see. No. 9). Richey’s restaurant empire seems to know no bounds, and we’re excited to see what else he’ll add to his plate—and ours—in the coming years.


Rosa Atkins. Photo by Eze Amos
Rosa Atkins. Photo by Eze Amos

8. Rosa Atkins/Pam Moran

The superintendents for city and county schools have a long list of achievements to their names, with each division winning a number of awards under their tenures.

This month, Atkins—the city school system’s leader since 2006—was named to the State Council of Higher Education, but she’s perhaps most notably the School Superintendents Association’s 2017 runner-up for national female superintendent of the year.

Pam Moran. Photo by Amy Jackson
Pam Moran. Photo by Amy Jackson

Moran, who has ruled county schools since 2005, held a similar title in late 2015, when the Virginia Association of School Superintendents named her State Superintendent of the Year, which placed her in the running for the American Association of School Administrators’ National Superintendent of the Year award, for which she was one of four finalists. This year, she requested the School Board continue to fund enrollment increases for at-risk students, making closing learning opportunity gaps a high priority.


Hunter Smith of Champion Brewing Company. Photo by Amy Jackson
Hunter Smith. Photo by Amy Jackson

9. Local beer

Throw a rock in this area and you’ll hit a brewery. For one thing, the Brew Ridge Trail is continually dotted with more stops. And new breweries in the city just keep popping up: Reason Brewery, founded by Charlottesville natives and set to open next month on Route 29 near Costco, is the latest. Other local additions include Random Row Brewery, which opened last fall on Preston Avenue, and Hardywood, based out of Richmond, which opened a pilot brewery and taproom on West Main Street in April.

And local breweries are not just opening but they’re expanding: Three Notch’d and Champion both opened Richmond satellite locations within the last year (that marks Three Notch’d’s third location, with another in Harrisonburg). And what pairs better with good drinks than good eats? Champion is adding food to its Charlottesville menu, and its brewers are enjoying a Belgian-focused playground at the joint restaurant venture Brasserie Saison.   

Another sure sign that craft beer is thriving is the Virginia Craft Brewers Guild’s annual beer competition, the Virginia Craft Beer Cup Awards, which is the largest state competition of its kind; this year, 356 beers in 24 categories were entered. And Charlottesville is the new home of the organization’s annual beer showcase, the Virginia Craft Brewers Fest, which is moving from Devils Backbone Brewing Company to the IX Art Park in August. Host of the event, featuring more than 100 Virginia breweries, will be Three Notch’d Brewing Company, which is expanding its brewing operations from Grady Avenue into a space at IX, set to open in 2018.


Amy Laufer. Publicity photo
Amy Laufer. Publicity photo

10. Amy Laufer

 With 46 percent of the vote in this month’s City Council Democratic primary and nearly $20,000 in donations, Laufer also had a lengthy list of endorsements, including governor hopeful Tom Perriello and former 5th District congressman L.F. Payne.

Laufer, a current school board member and former chair and vice chair of the board, is also the founder of Virginia’s List, a PAC that supports Democratic women running for state office. If she takes a seat on City Council, keep an eye out for the progress she makes on her top issues: workforce development, affordable housing and the environment.


Khizr Khan. Photo by Eze Amos
Khizr Khan. Photo by Eze Amos

11. Khizr Khan

Khan launched the city into the international spotlight when he, accompanied by his wife, Ghazala, took the stage on the final day of the 2016 Democratic National Convention in Philadelphia and harshly criticized several of then-Republican presidential nominee Donald Trump’s policies, including his proposed ban on Muslim immigration.

“Donald Trump, you’re asking Americans to trust you with their future,” Khan said. “Let me ask you, have you even read the United States Constitution? I will gladly lend you my copy. In this document, look for the words ‘liberty’ and ‘equal protection of the law.’”

Khan could be seen shaking a pocket-sized copy of the Constitution at the camera—his face splayed across every major news network for days thereafter. At the convention, he discussed the death of his son, Humayun, a UVA graduate and former U.S. Army captain during the Iraq War, who died in an explosion in Baqubah, Iraq.

Khan also spoke before hundreds at Mayor Mike Signer’s January rally to declare Charlottesville a “capital of the resistance,” and Khan and his wife recently announced a Bicentennial Scholarship in memory of their son, which will award $10,000 annually to a student enrolled in ROTC or majoring in a field that studies the U.S. Constitution.


John Dewberry. Photo by Eze Amos
John Dewberry. Photo by Eze Amos

12. John Dewberry

Even though he doesn’t live around here, he’s from around here, if you stretch here to include Waynesboro. Dewberry continues to hold downtown hostage with the Landmark Hotel, although we have seen some movement since he was on last year’s power list. After buying the property in 2012, he said he’d get to work on the Landmark, the city’s most prominent eyesore since 2009, once he finished his luxury hotel in Charleston, South Carolina. That took a few years longer than anticipated—these things always do—but earlier this year Dewberry wrangled some tax incentives from City Council, which has threatened to condemn the structure, and on June 20, the Board of Architectural Review took a look at his new and improved plans. One of these days, Dewberry promises, Charlottesville will have a five-star hotel on the Downtown Mall.


Andrea Douglas. Photo by Eze Amos

13. Andrea Douglas

The Ph.D. in art history, who formerly worked at what’s now UVA’s Fralin Museum of Art, always seemed like the only real choice to head the Jefferson School African American Heritage Center, and since it opened in 2012, she’s made it an integral part of the community. The heritage center is far from self-sustaining, but a $950,000 city grant, a fundraising campaign and Douglas’ steely determination keep the historic school—and its place in the city’s history—firmly in the heart of Charlottesville. And Douglas can get a seat at Bizou anytime she wants—she’s married to co-owner Vincent Derquenne.


Paul Beyer. Photo by Ryan Jones
Paul Beyer. Photo by Ryan Jones

14. Paul Beyer

Innovation wunderkind Beyer ups the stakes on his Tom Tom Founders Festival every year. The event began six years ago as a music-only festival, but has morphed into a twice-a-year celebration of creativity and entrepreneurism. The fall is dedicated to locals who have founded successful businesses/organizations, while the week-long spring event continues to draw some of the world’s biggest names in the fields of technology, art, music and more. This year’s spring fest, which added a featured Hometown Summit that drew hundreds of civic leaders and innovators from around the country to share their successes and brainstorm solutions to struggles, was the biggest yet: 44,925 program attendees, 334 speakers and 110 events.


Lynn Easton and Dean Porter Andrews. Photo by Jen Fariello
Lynn Easton and Dean Porter Andrews. Photo by Jen Fariello

15. Easton Porter Group

We know them as local leaders in the weddings and hospitality industry (Pippin Hill Farm & Vineyards is often the site of well-to-do weddings, with some totaling in
the $200,000s, we hear), but now the Easton Porter Group has its sights set on a much bigger portfolio: Its goal is to secure 15 luxury properties in high-end destinations in the next 10 years. In 2016, the group, owned by husband-and-wife team Dean Porter Andrews and Lynn Easton, landed on Inc. magazine’s list of the 5,000 fastest-growing private companies in the nation.

Their latest project is to our north, with the renovation of the Blackthorne Inn outside of Washington, D.C., in Upperville, Virginia. The historic hunt-country estate, which is being transformed into a boutique inn featuring luxury-rustic accommodations, fine dining and wine, is projected to open in spring 2018.
The Easton Porter Group’s other businesses include Red Pump Kitchen on the Downtown Mall, as well as Cannon Green restaurant and the Zero George Hotel Restaurant + Bar in Charleston, South Carolina.


16. EPIC

Equity and Progress in Charlottesville made a poignant debut earlier this year, shortly after the death of former vice-mayor Holly Edwards, who was one of the founders of the group dedicated to involving those who usually aren’t part of the political process. It includes a few Democrats no longer satisfied with the party’s stranglehold on City Council, like former mayor Dave Norris and former councilor Dede Smith. The group has drawn a lot of interest in the post-Trump-election activist era, but its first two endorsements in the June 13 primary, Fenwick and commonwealth’s attorney candidate Jeff Fogel, did not fare well. The group still holds high hopes for Nikuyah Walker as an independent City Council candidate, and despite the primary setback, says Norris, “We may not have won this election, but we certainly influenced the debate.”


Dr. Neal Kassell. Courtesy photo
Dr. Neal Kassell. Courtesy photo

17. Dr. Neal Kassell

UVA’s Focused Ultrasound Center, the flagship center of its kind in the U.S., has had a banner year. The use of magnetic resonance-guided focused ultrasound technology to treat tremors has moved from the research stage to becoming more commercialized for patient treatment. And we can thank Kassell, founder and chairman of the Focused Ultrasound Foundation, for placing our city in the neurological pioneering sphere.

Two months ago, the Clinical Research Forum named the center’s use of focused sound waves to treat essential tremor (the most common movement disorder) instead of requiring invasive incisions, as one of the top 10 clinical research achievements of 2016. And it can’t hurt to have someone as well-known as John Grisham in your corner. He wrote The Tumor, and the foundation, which works as a trusted third party between donors, doctors and research, distributed 800,000 copies.

Kassell is the author of more than 500 scientific papers and book chapters, and his research has been supported by more than $30 million in National Institutes of Health grants. In April 2016, he was named to the Blue Ribbon Panel of former vice president Joe Biden’s Cancer Moonshot Initiative.


Jody Kielbasa. Courtesy photo

18. Jody Kielbasa

Since Kielbasa came to town in 2009, he has continued to steer the Virginia Film Festival toward an ever-expanding arts presence in not only our community, but statewide as well. Last year’s festival featured more than 120 films and attracted big-name stars, including director Werner Herzog and Virginia’s own Shirley MacLaine. And Kielbasa expanded his own presence locally, as he was appointed UVA’s second vice provost for the arts in 2013, which places him squarely in the university’s arts fundraising initiatives. Last year there was talk of a group of arts sector powerhouses forming to lobby the city in an official capacity to gain more funding for local arts initiatives—no surprise that Kielbasa was among those mentioned.

Categories
News

Imperial wizard a likely no-show at Klan rally

The head of the Loyal White Knights of the KKK could decide to stay home from the rally he called in Charlottesville July 8 because his bond for a pending stabbing charge prohibits him from leaving North Carolina.

Christopher Barker was arrested in December on the eve of a parade to celebrate the election of Donald Trump after a fellow klansman was stabbed in his Yanceyville, North Carolina, home. Barker was charged with aiding and abetting assault with a deadly weapon with intent to kill, inflicting serious injury, a charge that carries up to 19 years.

He was supposed to be in court June 26, but his case was continued to the week of July 24, according to Caswell County District Attorney Jacqueline Perez. His $75,000 bond restricts him to Caswell and Rockingham counties in North Carolina.

An appearance in Charlottesville July 8 “would be a violation of his release conditions,” says Perez. “We would have to inform the court. His bond could be modified or revoked.”

If spotted in Justice Park, Charlottesville police would notify North Carolina authorities, says Lieutenant Steve Upman, but Barker wouldn’t be arrested unless a warrant were issued by North Carolina.

“It’s my understanding he’s not coming,” says Upman.

Barker, who earlier said he was coming to protest the city’s votes to remove the statue of General Robert E. Lee and rename Lee and Jackson parks, had not returned a call to the Loyal Whites hotline at press time.

 

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Knife & Fork Magazines

Stacks on stacks on stacks: Keevil & Keevil’s bringing back a fan favorite

When Brookville Restaurant shuttered in December 2016, Southern food-lovers the town over wept into the last bite of their zucchini short stacks, which had been on the menu since the restaurant’s opening in 2010. The summer dish became Brookville’s bestseller, so chef/owner Harrison Keevil knew he’d need to put it back on the menu at his Belmont grocery, Keevil & Keevil, once the weather turned warm.

It’s a riff on a traditional short stack—three pancakes, butter and syrup—but Keevil’s substituted in some Virginia-specific ingredients, like Caromont Farm goat cheese and zucchini, which is abundant in Virginia summers.

“It is the ultimate play on the sweet, savory and fatty combination that we were so keen on at Brookville,” Keevil says. “The more taste buds we can hit with one dish, the better it will be.” Get yours at Keevil & Keevil this season—or make it at home!

Zucchini plants with bloom, early Summer

Zucchini Short Stack

4 zucchinis

4 sprigs of mint leaves, finely chopped

1 bunch scallions, sliced

4 eggs

1 tbs. salt

1/2 cup flour (substitute fine cornmeal to make gluten-free)

4 tbs. Caromont Farm goat cheese

1/2 cup Virginia maple syrup

Olive oil

Using a box grater, grate all of the zucchinis into a large kitchen towel. Once grated, squeeze as much of the liquid from the zucchini as you can. Put the zucchini and the rest of the ingredients in a bowl and mix. Allow to sit for 30 minutes (can sit overnight if you want to party prep the day before). After at least 30 minutes, portion the batter into 12 equal patties on a sheet tray. Heat a cast iron skillet or heavy frying pan over medium/high heat. Coat the pan with olive oil and cook the patties in batches of three until golden brown on each side (three to four minutes). (Chef’s note: Wipe out and re-olive oil the pan between batches.) To plate, stack three pancakes and top them with two tablespoons of syrup and one tablespoon of goat cheese.

To market, to market

It’s no secret that chef Harrison Keevil loves incorporating local food in each of his dishes—Brookville’s promise, after all, was that a majority of its ingredients would be sourced from within 100 miles of Charlottesville—and that’s still true at Keevil & Keevil, especially this time of year when there’s so much in season. In fact, he’s so pro-local, he wants to show how easy it is for you to be, too.

This summer, Keevil’s introduced what he calls “Follow the Chef,” a program that allows you to follow him around the Charlottesville City Market on Saturday morning, meeting vendors, getting to know their products and gaining a better understanding of how and what to choose for your own meals. You’ll even buy ingredients, which later that day, Keevil will turn into a one-off, three-course dinner for you and some friends. It’s $75 to participate (including your groceries). Call 989-7648 to make a reservation.

Categories
Arts

Art reaction: Powerful moments from creative voices

The planning of our annual Power Issue always gives us pause in the arts section. Is an administrator or an artist powerful, or are they a conduit for the evocative grace of emotion that art produces? Assigning a numerical evaluation to people in the arts has always felt uncomfortable to me, so this year, in the face of power struggles on many levels, we sought perspective from the creative community by asking for personal stories about the power of art.

A moment for me was seeing Patti Smith perform her ’88 election year anthem at Neil Young’s 1996 Bridge School Benefit Concert, with a crowd of 22,000 singing along: “And the people have the power / To redeem the work of fools / From the meek the graces shower / It’s decreed the people rule.” Smith’s lyrics and her ethos feel just as crucial today.—Tami Keaveny

Deborah McLeod

executive director, Piedmont Council for the Arts

When I was a young curator on the staff at the Peninsula Fine Arts Center, a former artist who had become essentially blind through medication often came to the center in an effort to continue enjoying the art of others. She would ask me to describe to her in intricate detail the works on view—the formal layout, the colors, the light, the comparative scale of things—the smallest, most discreet elements that the artists chose to include in their imagery. Her compromised eyesight, combined with my description, allowed her to “see” the work.

Coincidentally, it taught me to more clearly see each work too, as if some process that I previously used to experience art became more acute through serving as attentive, conscientious eyes for a sightless person. I feel this transformed my own ability to consider the aggregate of things, to respect nuance and deliberation, not just in art, but collaterally. …I see this as the primary gift of art too, that mutual exchange of careful saying and thoughtful seeing as the route to a richer, saner world.

Kate Bennis

actress/coach

In preparation for playing the role of a 52-year-old scientist with early onset dementia in The Other Place at Live Arts, I was introduced to a lovely woman who had been diagnosed around the same age as my character, Julianne. The friend who made the introduction had told her, “I know you can’t do a lot these days. But this is something only you can do.”

We had tea at her farmhouse. She came out of her bedroom with her shirt on backwards and inside out, one earring missing. At some point she noticed the naked earlobe, pulled off the other and hid it behind a sugar bowl. She struggled for words, but her face was full of expression, frustration, happiness, a glow. She said, “This is my journey.”

She wanted to see the show. I told her that I did not think it was a good idea. I thought it would be too painful. My character was nothing like my new friend. Julianna was a fierce, forceful, cruel woman with a hidden tragedy. But my new friend was resolute.

I asked that she be seated close to the exit. I told the cast that we should not take it personally if she left mid-play. She did not. She stayed all the way through the 90-minute, no intermission, harrowing journey. At the curtain call, I blew her a kiss and she beamed her beautiful, loving face.

After the play closed I ran into her. She asked, “Do you miss? Do you? Miss?”

“Do I miss the play? Yes.”

“No, do you miss her?”

Oh! I was hit by the incredible perception. I missed Julianne so much! I missed her strength and her passion and her determination and her ruthlessness. I did miss her terribly.

“Yes! I do miss her! Yes.” We stood together and wept for the end and the loss of it all.

Matthew McLendon

director and chief curator, The Fralin Museum of Art at UVA

Emily Noelle Lambert’s “Triumph.” Courtesy of the artist.

I have given dozens of museum tours over the years to a wide variety of groups, mostly very cultured, and almost without fail composed entirely of adults. I don’t have children. I largely find children a mystery.

A few years ago, a dear friend who was teaching at a Montessori school asked if I would give kids age 6 to 10 a tour of my exhibition “Re:Purposed,” which was composed of works by artists using cast-off items, detritus, garbage. I agreed begrudgingly.

The zenith of the experience came when a remarkably self-possessed 9-year-old girl stepped forward, among the brightly colored sculptures made of reclaimed wood and metal by Emily Noelle Lambert, and said, “What I’ve learned today is that we are surrounded by art if we only look for it. Anything can be art if you care to make it art. And really, that means that I can be art and you can be art.” No adult I’ve ever taken through a museum has even come close to that. She summed up the entire reason I’ve devoted my life to this pursuit and why I know museums are critical to our civilization.

Matthew Simon

director of operations and programming, The Paramount Theater

Recently, we had the off-Broadway play Black Angels Over Tuskegee. We had hosted two sold-out educational shows that morning to local kids who sat on the edges of their seats. The evening performance was accompanied by a lecture from a descendant of an original airman that was so well-attended there wasn’t room for everyone. The deeply powerful performance that surrounded an important historical event, in such an intimate way, was incredibly moving. As the lights came up so did the audience with a standing ovation. Entertainment and the joy that comes from a performance knows no race, gender or age.

Jack Hamilton

assistant professor, UVA Media Studies

UVAHamilton_KRS-1
KRS-One

I moved to New York City for college in 1997, about a week after my 18th birthday. It was a thrilling and bewildering time, when the world felt newly enormous. The first concert I went to after arriving was a show by Bronx rap legend KRS-One, at a Greenwich Village venue that no longer exists. KRS was in his 30s by that point, already ancient by the standards of his genre, and he was an artist who seemed to carry the entire history of a musical culture on his shoulders, proudly and effortlessly. It was a joyous, ferocious, electrifying show, transcendent in a fundamental sense. For a couple of hours KRS pulled a room full of strangers into a collective conviction that we were the only people in the world, and yet part of something so much larger than the sum of ourselves. In the too many years since, I’ve often thought back on that night, and how the best artists give us moments and experiences we want to relive again and again. Even when returning is impossible, the best way to honor them is to keep trying, and to keep trying to bring new people with you.

Jane Kulow

director, Virginia Festival of the Book

I’m struck by the power of text. …Words, woven into a story, reveal the power of a reader’s emotional response, which continues to change in meaning over time. When I reread favorite stories, I expect my response to them may have changed, even though the words remain the same. In recent months and years, I have been particularly in awe of the ways in which writers and their words continue to respond to the unconscionable number of unprovoked violent deaths of African-Americans.

When Claudia Rankine published Citizen: An American Lyric, she dedicated a brief poem to the memory of Jordan Russell Davis, shot November 23, 2012. When she read from Citizen at UVA in November 2015, the copy I purchased and she signed lists 18 men and women in that dedication, ending with Sandra Bland. [More names have been added since.]

Rankine’s words indict our society; changing the story constitutes evidence; hearing her in person was an opportunity to reimagine the power structures in which we exist.

Abby Cox

reference librarian, Jefferson-Madison Regional Library

Earlier this year, the Jefferson-Madison Regional Library hosted a photography exhibit by local filmmaker and photographer Lorenzo Dickerson. His exhibit, #BlackOwnedCville, featured portraits of black owners of local businesses. In addition to drawing one of the largest crowds to attend JMRL’s First Fridays art walk, the powerful exhibit sparked discussion and helped to build a sense of community among those in attendance. The exhibit remained on display for the months of February and March, during which staff overheard library patrons discussing the people in the photographs, pointing out family ties and relating their own connections to the businesses and neighborhoods.

Sam Bush

curator, The Garage

Last summer, The Garage hosted a public reading of Oscar Wilde’s The Importance of Being Earnest, but given the novel and intimate approach of inviting strangers to read a play together, we didn’t expect anyone to show up. To our surprise, 14 people came, most of whom had never read the play. In the next two hours, we saw people step out of their comfort zones, put on new identities and have a great time. By the end of the night, everyone, it seemed, was delightedly surprised.

The smallness of The Garage—literally and metaphorically—rubs against the notion of success in our day and age. Our culture seems only interested in accomplishing big things. Yet, this brief interaction has left a lasting impression on me. As an artist—I’ve been a musician since I was young and in creative communities for a long time—embracing the beauty of smallness felt like a new realization.

Fugazi. Image: Joe Henderson/Courtesy of Fugazi Live Series
Fugazi. Image: Joe Henderson/Courtesy of Fugazi Live Series

Greg Kelly

former director/co-founder of The Bridge PAI and the Charlottesville Mural Project

If music is considered an art, I would say that a turning point for me was seeing Fugazi at the age of 16, in a room with maybe 100 others. It informed so much of what I would come to commit my adult/professional life to: cultivating safe/accessible space for youth to hang out, experience each other’s work and to be inspired by the work of others. It’s spaces like these that are so vital to the cultural health and wealth of our communities. A resource that is swiftly disappearing in the wake of new urbanism and unchecked development in our country today.

Darryl Smith

box office manager, Live Arts

My first modern dance piece “Bring in ’da Noise, Bring in ’da Funk” combined hip-hop, modern dance, tap and ballet. I was affected by its formlessness. Dance is such a powerful way to tell a story, not with words, but with movement. It is a celebration of styles and techniques. In performance art like Rent, I appreciate diversity of character and experience. Theater that doesn’t always give clean, easy answers, [but] allows me to make my own ending, and draw my own conclusion. Also, the first time I went to Amsterdam and saw Van Gogh’s “Starry Night,” in person. It was a painting so small and precise in scale, yet it had an effect on me. It was intimate and infinite, simultaneously. The artist reached not only me, but through me to the rest of the world—very “Sense8.”

Kendall Stewart

music director, WCNR/Charlottesville

I’ve been a member of Gorilla Theater Productions since the fall of 2015 and started working with our teen troupe about 9 months ago. I had the incredible opportunity to hold acting workshops with them while co-directing their production of Beauty and The Beast with GTP artistic director Anna Lien, who also wrote the script. Throughout the process I watched each member of the cast grow (some literally), learned what worked best for them and saw them apply the techniques we were working on to their performances. Two actors in particular blew me away because their characters were so different from who they are as people and—despite struggles early on—they transformed onstage and really embodied their roles. By the time the lights went up on opening night, Anna and I were in tears because these teens had given us one of the most beautiful shows we’ve had.

Sarah Lawson

assistant director, Virginia Festival of the Book

I supported a Kickstarter for a handmade vase by a local potter who was building a wood kiln. Time passed and the potter sent a note to supporters: Sorry, running behind; I promise it’ll get back on track. Another note a few weeks later, and others after that: It’s taking longer than expected; I just want to get it right; thanks for your patience. Then, nothing. Kickstarter regret: I gave a stranger my money for nothing. I think to myself: ARTISTS. Months pass and a stranger knocks on my door, sheepish. He says my name as a question and hands me a bag, which I open as he walks away. Inside: A handmade vase with a handwritten note explaining how it was made, what the kiln looks like, how the project impacted his work and life. I run after the stranger, ask if he’s the potter. He is. He is Noah of Muddy Creek Pottery and I shake his hand and thank him for taking the time to make this effort. The vase now sits on my windowsill, a reminder that the power of art isn’t in an object but a willingness to trust people and take creative risks.

Warren Parker

founder, WarHen Records

One moment that I always hold close is when I held the first ever finished copy of Sarah White’s “Married Life” 7”, the first record released by WarHen. I’d been talking about starting a label for years at that point, and to finally see it come to fruition and hold the record in my hands was really special. Lots of creative people came together to make that record, it was a wonderfully collaborative effort. I get a similar feeling every time a new release shows up at my house. It’s probably the most satisfying feeling about running a label. That, and being able to share the art with others.

Lyn Bolen Warren

director/owner, Les Yeux du Monde

The opening night of Hind-sight/Fore-site Art for the New Millennium at Edgehill when Tim Curtis lit the bonfire inside his “Visionary Spirit,” a larger than life bronze top coat modeled after one from Jefferson’s day. The onlookers gazed at the soaring flames and embers for hours and the spirit of the past and the future and present all seemed to merge in that modern fire ritual. Many great artists gave their time and energy to create powerful pieces throughout and around Charlottesville that summer of 2000 that looked at our shared past, considered our present and imagined a future that would be more equitable and beautiful for all. Other powerful pieces were Martha Jackson Jarvis’ “Markings in the Slave Cemetery at Montpelier” (she offered this to them at the time but they sadly refused it); Todd Murphy’s “Monument to Sally Hemings,” a beautiful white dress atop the Coal Tower (the structure for it is still there); Dan Mahon’s “Stomping Grounds,” a tribute to the Monacan Indians; and Dennis Oppenheim’s “Marriage Tree” that united all colors and types into one beautiful DNA shaped structure made of larger than life wedding cake figurines.

Matthew Slaats

founder/director, BeCville

Do you know who first capitalized the ‘A’ in Art?  I don’t. The phenomenon probably started at the beginning of a sentence. It was unintentional, a rule of grammar. But, then something clicked. If you capitalized that single letter, Art became something totally different. It was something that you only saw at a museum, gallery, or on a pedestal in the middle of a park. It took on meaning and importance. It was to be deeply thought about and considered intensely. International festivals should be created. Kids’ books should be written that depict epic battles between Pigcasso and Mootisse. All this was done for the purpose of erecting an edifice of value and prominence.

The moment that Art had power to me was when it once again became art. A short, squat word that if you added an ‘f’ to the front of it, pimply teenagers would giggle and laugh. That moment came for me when I realized that art, and it may be better to use works like culture or creativity, was all around me. art was a painted fence near a sports stadium that changed yearly, pronouncing a clever quip in support of the local team. art was the way someone styled their hair, being an extension of one’s identity and body. My only problem is that baldness has turned a lush landscape into a barren wasteland. art was the wealth of drawings that my children brought home from school on a daily basis, which my wife and I fawned over before moving them quickly to the recycling bin.

Art’s power is not in its scarcity, but in the fact that it permeates every moment of our lives.

Maureen Brondyke

executive director, New City Arts Initiative

One of the most powerful things about the arts is the surprising ripple effect of benefits it can have in a community, especially around how communities come together and understand one another. In 2013, a group of artists founded Charlottesville SOUP. At its core as an arts event, SOUP is an opportunity for civic engagement, an opportunity to meet your neighbor to ask what the arts in Charlottesville need. Guests each contribute $10, pool their funds and vote to award a grant of real financial support for projects. Attendees form new friendships with strangers they sit next to at their table. Last spring, an artist who didn’t win the grant had an attendee write her a check for the full amount she needed for her project.

Neal Guma

owner, Neal Guma Fine Art

I really love this idea, and thought about it for the last few days. It was tough to get done in 200 words, and the more I thought about it the less specific it became.

Thank you for asking me though; the idea took me back to an early part of my life in New York and the memories of a few paintings. And it made me think about how something painted can change the way we experience the world.

Edward Warwick White

marketing coordinator, Four County Players

I’ve been doing theater since I was a small child, and I’ve been involved with the local performing arts community since 2010. This past winter, I had the opportunity to design the set for A Charlie Brown Christmas at Four County Players. I was excited by the opportunity to take a show that’s already such a big part of the holidays for so many families and bring it to life on stage. Our 4 year-old nephew, Jack, from Staunton, was among one of the many children experiencing the magic of theater for the first time—meeting Linus (and his blanket) after the show. You would have thought he was meeting Santa Claus. The world felt like it had turned upside down all around us, but there was magic happening in that little school house in Barboursville. I think we all needed a little Christmas even more this year. I stood in the back for a few performances, and when the curtain would open on the snowy scene with the Peanuts ice skating, you could hear children go “wow” and see their eyes light up. I’m not sure if there’s any greater review than that.

Categories
News

In brief: Crime rates, questionable conduct and more

A matter of crime

“We’re safer than Charlottesville.”

Okay, we made up that quote. The crime rate for both Albemarle and Charlottesville is low, but according to the county police’s most recent report, Albemarle’s went down last year, while the city’s went up.

Albemarle arrests by race

The county is facing a lawsuit that claims an officer targeted blacks. While the majority of arrests—like the majority of the population—are white, you’re still more likely to get arrested if you’re black. Charlottesville’s similar annual report offers no data on arrests by race.

albemarle arrests race

—Albemarle County Police, Albemarle County


Desegregation plaintiff

JuliaMartin-Fariello
Julia Martin in 2004. Photo Jen Fariello

Julia Martin, a member of one of the 12 local families that sued the Charlottesville School Board to admit black children to white schools, died June 24 at 93. A judge’s ruling in the plaintiffs’ favor led to massive resistance in 1958, when the city shut down Venable Elementary and Lane High School rather than integrate. Her sons were two of the first three black students to attend Lane in 1959.

Murder-suicide

Jordan Cavanaugh-Jackson, 26, was found fatally shot around 4am June 25 on Creels Road in Barboursville. Police pursued his brother, 21-year-old Christian Cavanaugh, on Stony Point Road, where he crashed. Police say he died of an apparent self-inflicted gunshot wound.

96th Klanniversary

June 28 marks the inaugural cross burning by the local Knights of the Ku Klux Klan in 1921 at Jefferson’s tomb at Monticello, a part of local history not usually celebrated. The event was reported by the Daily Progress, which noted that “hundreds of Charlottesville’s leading business and professional men” attended the midnight rites. That same year, the Knights also donated $1,000 to UVA.


“Armageddon begins the day Anthony Kennedy steps down. It’ll be biblical. My sources: Two Corinthians.”—UVA Center for Politics’ Larry Sabato


Potential trainwreck

If the current proposed federal budget is approved, two-thirds of the trains that currently serve the local Amtrak station could be cut, according to protesters with CvilleRail, who gathered at the station June 23. They say the Cardinal and Crescent trains, which run from New York City to Chicago and New York City to New Orleans, respectively, will no longer run through Charlottesville.

Blue balls

A heavyset and bearded white man between the ages of 40 and 60 was allegedly seen watching young girls at an Orange County camp near Route 20 and Zoar Road June 22. Authorities, who are asking for help identifying him, said he drives a dark-blue SUV with blue letters across the back window that spell out “BLUE BALLS.”


Make room

Projections recently released by UVA’s Weldon Cooper Center for Public Service show that Virginia is expected to become the 10th largest state by 2040. (It’s currently ranked at No. 12, according to 2010 census data.) Albemarle’s population will rise from the 2015 U.S. Census estimation of 103,108 to 141,221 in that time, and while the county is projected to remain as white as ever, you may be surprised to learn the second-largest ethnic group by then could be Hispanic.

Total population

2040: 141,221

2015 (estimate U.S. Census): 103,108

White

2015: 87,007

2040: 72,231

Percent change:

-17%


Hispanic

2015: 5,851

2040: 39,454

Percent change:

574%


Asian

2015: 6,110

2040: 17,802

Percent change:

191%


Black

2015: 11,097

2040: 8,016

Percent change:

-28%


Other

2015: 2,404

2040: 3,718

Percent change:

54%

Categories
Arts

ARTS Pick: Comedy Marathon

We all know an undiscovered comedian, the life of the party, the one you encourage to try stand-up someday. Bent Theatre offers these laugh-riots a chance to step into the spotlight at its first Comedy Marathon, featuring 18 hours of shows, classes, workshops, jams, open mics, talkbacks, stand-up comedy and more, presented by “very funny friends from all over.” Admission price allows you to come and go as you please all day—and that’s good for costume changes and helium breaks.

Saturday, July 1. $20, 8am. Gorilla Theater, 1717 Allied St., Ste. B. gorillatheaterproductions.com.

Categories
Arts

New ‘Transformers’ flies apart on reckless plot

Homo sapiens as a species have survived this long partially due to mechanisms in our brain that evoke an instinctive response to stimuli when there is not enough time for a full intellectual analysis. For example, we notice and react to sounds or rustling bushes with curiosity and heightened senses before figuring out whether we should fight, flee or relax.


Transformers: The Last Knight

PG-13, 150 minutes
Regal Stonefield 14 and IMAX, Violet Crown Cinema


Some call this our lizard brain as a reference to its role in keeping our unevolved ancestors alive, but when it comes to movies like Transformers: The Last Knight, the term Furby brain is better suited as a description of our tendency to react to movies based not on instinct or intellect, but conditioning. When a protagonist contorts mid-fight in slow motion, we know on some level that we have to be awed, even if the move isn’t all that impressive. When a designated comic relief does something wacky, we know we should laugh, whether it’s funny or even makes sense. And when a casual reference to other aspects of pop culture is made, we pat ourselves on the back for our mastery of cultural scholarship, even if every other person on the planet understands the reference too.

This appeal to our Furby brain is all The Last Knight has going for it, because never in history has there been a movie where so much happens with little to no concern for why it’s happening. It’s astonishing how much work went into something that makes so little sense on any level, so all director Michael Bay can do is prod a part of our brain that provokes certain reflexes in the hope that we will feel like we had a real experience on an electrical level even as we struggle to understand why.

Except The Last Knight isn’t even good at that. If an audience member bought a ticket, odds are he is already sold on the concept of fighting alien robots, but that doesn’t give the filmmakers license to make individual action sequences equally unbelievable. Even if you were invested in the outcome of a given fight, good luck figuring out who’s who, which side has the upper hand or what anybody is saying. Bay apparently knows about these massive gaps in logic, so he resorts to deflection, answering questions that no one asked, hoping you’ll ignore the most glaring ones. Q: Why do Transformers keep coming here? A: Turns out Merlin actually had help from ancient Transformers. Q: Why do martian robots act like sassy human stereotypes? A: Did you know a Transformer killed Hitler?

Even if you were invested in the outcome of a given fight, good luck figuring out who’s who, which side has the upper hand or what anybody is saying.

We’ve made it this far without saying what Transformers: The Last Knight is actually about—which is pretty much on par with how the movie deals with its own plot.

Cade (Mark Wahlberg) is on the lam with some runaway Transformers, when a mysterious talisman left to him by a very old Transformer dying in the rubble of Chicago proves invaluable to both the Autobots and the Decepticons. The fate of Earth hangs in the balance, because a staff left to Merlin that can help Cybertron, um, Anthony Hopkins, is the last of a great line dedicated to, err, the Arthur C. Clarke quote about magic and technology.

Jesus, trying to make sense of this gives you an even bigger headache than the insane sound and ADD editing. Suffice it to say, there’s no explanation for why something is over in the blink of an eye, before Transformers are using “bitch” as a punchline and the most epic battle ever begins out of pretty much nowhere. Look, you can have whatever insane plot you want to justify the most preposterous action scene ever filmed. Just tell us the stakes first. Let us know who’s who, what’s what and how the scales are tipped in a given moment. That’s all any movie needs. Motivate the explosions and zaniness, that’s all we ask.

If we just give this movie $500 million up front, can we skip its theatrical release altogether?


Playing this week

Regal Stonefield 14 and IMAX

The Shops at Stonefield, 244-3213

47 Meters Down, All Eyez On Me, Baby Driver, Captain Underpants: The First Epic Movie, Cars 3, The Mummy, Pirates of the Caribbean: Dead Men Tell No Tales, Rough Night, Wonder Woman

Violet Crown Cinema

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

All Eyez On Me, Beatriz at Dinner, Captain Underpants: The First Epic Movie, Cars 3, Guardians of the Galaxy Vol. 2, The Mummy, Paris Can Wait, Rough Night, Wonder Woman, Zathura

Categories
Living

Grapegrower Chris Hill’s essential contribution to Virginia wine

“We dodged a bullet,” says vineyard consultant Chris Hill, as he tucks his hand through a grapevine thicket, revealing a cluster of grapes. He suspects the previous day’s rain may have damaged the fruit set, but the bunches look much better than anticipated. The canopy, lush with precipitation, shines a vibrant green, and hungry tendrils reach out into the rows, searching for something to grab on to. As we walk down a sloped row, vines spread across rolling hills in all directions.

Standing near the center of a 17-acre vineyard of fruit destined for Pippin Hill wine, Hill says this site is the John Teel vineyard, named for its late owner. Motioning with his arm to the greater area, he says, “This is some of the best farming land anywhere.” As if on cue, a nearby cow responds with a hearty “moo.”

Another vineyard that contributes to Pippin Hill is Grape Lawn in Nelson County, which boasts about 12 acres of sauvignon blanc, viognier, cabernet franc, merlot and tannat. Viewing an older four-acre block of cabernet franc planted in 1999, it was a treat to see the thick trunks and to wonder how old those vines will grow. Hill reminds us there is so much more out there. “What I’m showing you is just the tip of the iceberg,” he says.

Hill has more than a little experience in Virginia. In fall 1981 he prepped land for vineyards on the north side of the James River at Glendower Estate, near Scottsville. The following year he says he “put in chardonnay, cabernet sauvignon, vidal blanc and seyval. A little later we added cabernet franc and chambourcin.” That early vineyard produced a small crop in 1983, then a larger crop in 1984.

In those early days of Virginia wine development, from about 1981 to ’84, Hill and a group that included Philip Ponton (then Oakencroft winemaker), brothers Michael Bowles (Montdomaine) and Steve Bowles (then Fat City Diner), Hans and Anna Riddervold and Paul Mierzejewski (now at DelFosse), met regularly to discuss wine at round-table sessions. “Gabriele sometimes came, too,” he says, referring to winemaker Gabriele Rausse. Many in this core group would go on to set the tone for Virginia’s current wine industry.

By 1997, Hill was working at Jefferson Vineyards on a team with two people who today have their own Virginia wine labels: Michael Shaps and Jake Busching. In 1998 this trifecta produced one of the great wines of Virginia—the 1998 Jefferson Cabernet Franc. “’98 was a great vintage,” Hill says. “Some years, with some varieties, you hit it just right. Everything came together that year.”

Talk of the 1998 Jefferson Cabernet Francs elicits great stories from those who remember drinking them.

He remembers two cuvées, or bottlings, of Jefferson Cabernet Franc in 1998, and “one was a vineyard designate [with fruit] from Glendower,” his inaugural Virginia vineyard project. “Now, I’m biased,” he says, “but that was the best wine ever made in Virginia.” Indeed, talk of the 1998 Jefferson Cabernet Francs elicits great stories from those who remember drinking them. Shaps says it’s one of his favorite wines he has ever made, and Busching points to the wine as the aha moment that set the course of his career.

In the mid-1990s, Hill began to help friends respond to issues and problems in their own vineyards, and his professional life grew slowly and organically into that of a vineyard consultant. Through consulting, he’s had a hand in a long list of wineries including Keswick, Veritas, DelFosse, Pollak, Lovingston, Barren Ridge, Virginia Wineworks and Pippin Hill. After almost three and a half decades of growing grapes in Virginia, Hill feels a sense of deep gratitude. “I’m the luckiest guy in the world,” he says. “I’ve worked with so many great people. Look at us now, this is a great business.”

Hill sees how the booming wine business fits into a larger epicurean picture, as one well-functioning part of Virginia’s larger agricultural scene, and he wants other aspects of Virginia agriculture to experience the same success.

“Drinking wine and eating food, it’s a very communal thing,” he says. “It’s about community. And in making the grapes and wine, it’s a huge effort. The labor that goes into the vineyards, it requires a lot of cooperation.”

And these ideas relate to a bigger concept of finding happiness in the pleasures of the table. “Epicureanism is pretty important as a philosophy,” he says. “And working in Albemarle with Thomas Jefferson’s influence, epicureanism is important for our food and wine businesses.

“It’s so important…this pursuit of happiness. I mean, why would you put that into a founding document? I find that to be remarkable.”

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.

Categories
Arts

UVA hip-hop professor contemplates the work ahead

When A.D. Carson was in fourth grade at Durfee Elementary School in Decatur, Illinois, his teacher asked the class to write a paragraph about a picture hanging on the wall. The picture was of children playing, and Carson asked his teacher if he could make his paragraph rhyme.

She agreed—encouraged him, even—and soon after gave Carson two dusty volumes, one of American poetry and another of African-American poetry (“apparently those are different things,” Carson says) that he read again and again. Every assignment Carson had from that point on, he wanted to make rhyme.

So it makes perfect sense that, years later, after rhyming his paragraphs and discussing poetry with U.S. Poet Laureate Gwendolyn Brooks through letters, Carson would rhyme his doctoral dissertation—a rap album called Owning My Masters: The Rhetorics of Rhymes & Revolutions.

Carson, who graduated this spring from Clemson University with a Ph.D. in rhetorics, communication and information design, is UVA’s first assistant professor of hip-hop and the global South. Before he stands up in front of a class, though, he’ll take to the local stage on Friday, at this month’s Telemetry Music Series at The Bridge Progressive Arts Initiative, and make students of his audience.


“When I see a young person who’s an artist, it’s my duty to listen and be supportive and say, ‘This matters. It’s really important that we have people whose work is this way.’”

A.D. Carson


That’s what art is for, after all: Be it hip-hop, dance, painting or sculpture, Carson believes it all has the ability to make us more empathetic people. We just have to do the work; we have to open our eyes to see and our ears to hear.

Owning My Masters is the product of a lot of work—academic, social, political, personal, artistic—on Carson’s part (and many others, from Carson’s producers, Truth and Preme, to Malcolm X, from Tupac and Billie Holiday to the slaves who worked the plantation where Clemson University now stands). The album does work of its own, addressing, among many other things, racism in America; complex questions about the nature of the dissertation and academia; the institutionalization of hip-hop; and the validity of the black voice, body and experience. Owning My Masters also expects a lot of work from the listener, whether that listener is into hip-hop or not—and that work needs to be done, in Charlottesville and elsewhere.

It’s already begun, of course, in the local hip-hop scene. “I’d be willing to wager that, there are lots of folks in that community that represent and come from, or are listening to, this particular form, who have been aware and dealing with this ‘new thing’ [racism and, to another extent, the presence of the Ku Klux Klan and other hate groups] that these folks have just become aware of, for a really long time,” says Carson. “Everybody’s treating it like a weed, and perhaps it’s flowering because of what’s been planted here. And if you want to combat it, then why not look to and draw from those communities that have been contending with it for a really long time?”

Listen to one of the tracks on Owning My Masters, and you’ll hear layers of sound and words, each of which holds meaning. On his dissertation website, Carson has annotated most of the 34 tracks, pointing toward much of what’s going on in the song (not everything, though—remember, the listener has to do the work to fully participate).

One of the tracks, “Ferguson, MO,” layers audio of the protests that occurred in Ferguson, Missouri, in August 2014 over a track of Elvis Presley singing “In the Ghetto.” Carson wants the listeners to ask themselves: What does it mean to have Elvis Presley, a white musician whose own music was highly influenced by and heavily borrowed from that of black musicians, singing a song about generational poverty in Chicago that’s playing under an audio recording of a protest occurring after 18-year-old Michael Brown, a black man, was fatally shot by a white Ferguson police officer on August 9, 2014? What is that sonic experience, and what are the questions being asked in that layering, in that juxtaposition? If it’s not clear on the first listen, listen again. Google the names. See where you can empathize.

Another track, “Talking to Ghosts,” samples 12 Years a Slave and features pop culture scholar and hip-hop artist Chenjerai “Bad Dreams” Kumanyika, one of Carson’s dissertation committee members. Carson and Kumanyika arrived on the Clemson campus, situated on what was John C. Calhoun’s plantation, at the same time and went together to see 12 Years a Slave, the story of Solomon Northup, a musician and free black man from New York who is abducted and sold into slavery. Carson and Kumanyika trade off verses, and in one, Carson says, “God bless the child that can hold it in / Believe…enemies bleed when I hold my pen,” referencing Tupac Shakur’s “Hold Ya Head Up,” which itself references Billie Holiday’s “God Bless the Child.”

By seeking out these references, this history, the listener gets an education, and in Carson’s eyes, education—and not only the ivory tower, academic definition of education—is of the utmost importance.

“This work, and education, educating and interrogating our history, interrogating our present and really thinking about what empathy means to us, these are matters of life and death,” and we cannot tiptoe around them any longer, says Carson, adding, “I don’t see myself pulling any punches.”

Correction: This story originally ran with the subhead “UVA’s first hip-hop professor contemplates the work ahead.” While Carson is UVA’s first professor to hold the title “assistant professor of hip-hop and the Global South,” as the article states, Kyra Gaunt was a professor of ethnomusicology at UVA from 1996 to 2002 and helped pioneer hip-hop studies at UVA and elsewhere. We regret the error.

Categories
Arts

ARTS Pick: Woody Guthrie’s American Song

Every folk and Americana musician (and even many rockers) stands on the shoulders of Woody Guthrie. Born of  Depression-era hardship, his music came in the form of ballads (“California Stars”), political commentary (“All You Fascists”) and children’s songs (“This Land Is Your Land”). Woody Guthrie’s American Song celebrates his work in a theatrical staging that the New York Times said “manages to find both the high beauty and the earthly humor of Guthrie’s love affair with America.”

Through Tuesday, July 8. $15-35, times vary. Culbreth Theater, 109 Culbreth Rd. 924-3376.