Categories
Arts

Keller Williams keeps stacking up the sets

There are certain musicians whose style is so unique that any snippet of their music is immediately identifiable. Multi-instrumentalist Keller Williams is one of those artists. A staple on the jam scene and the festival circuit for nearly 25 years, Williams has created a singular sound, which he dubs “acoustic dance music.”

Although he wields an acoustic guitar, Williams packs a punch, laying down a beat and building layer after layer with a looping pedal, vocals and a setup that’s included everything from a bass guitar on a stand to a drum machine. His DIY ethic is bound together by one guiding principle: have fun.

“I take having fun very seriously and if I can’t enjoy myself, I can’t really expect myself to entertain anybody, so I think it starts with me having fun,” says Williams.

Lighthearted and playful, he’s music’s Peter Pan, accenting his songs with whistling in the same way that Pan wields the flute. But amidst all the whimsy, Williams’ backbone is his masterful playing. He’s taken part in countless collaborations with the likes of Larry and Jenny Keel, The Travelin’ McCourys, The String Cheese Incident and a co-headlining tour with fingerpicking master Leo Kottke.

Williams described his first show with Kottke as a test run, which took place at the Paramount Theater in Charlottesville in 2016. From there, they embarked on a 25-date run. “The first couple of weekends, he had his own car and we had our own car, but then the last several weekends we were actually in the van together,” says Williams. “Just being around him is surreal in the sense that he’s one of my idols.”

Around that time, Williams began to resuscitate an old project that he had started in 2011 but never finished—an album without looping.

“Out of all the records I have, there’s nothing that’s just one guitar, one microphone. …I wanted to have something that was representative of what I was doing on that Leo Kottke tour,” says Williams.

The album—titled RAW—came out in January 2017 and includes a track titled “Thanks, Leo,” dedicated to Kottke. But Williams didn’t stop there. He released an additional album with a full band on the same day. Titled SYNC, it’s another offering with his KWahtro lineup.

“I would record my guitar and vocal track to a clip track…and then I would send that to Rodney Holmes, the drummer,” explains Williams. “And then he would send it off to Danton [Boller] the bass player…and Danton would lay his duty upon it and we’d figure out a time for Gibb Droll [guitar] to come to the studio with us to put on his part.” Although the group recorded piecemeal, the result “kind of sounded like four guys playing in the same room at the same time and it sounded like it was in sync, so hence the name,” says Williams.

When Williams brings his solo act to the Jefferson Theater on Friday, he says the audience can expect a mixture of RAW material and looping. Looking ahead, he’ll return this summer to play FloydFest with a new Hillbenders project: PettyGrass—a bluegrass tribute to Tom Petty whose songs Williams calls “powerful, yet so simple and so easy to connect with and sing along to.”

But Williams is not done yet. He promises another milestone is on the horizon: his first instrumental record.

And he won’t take all the credit for his abundant output. It’s the fans, he says, that keep this machine turning.

“I have the projects because I’m allowed to have them,” Williams says. “It’s because people are coming to see them and ask for them back that they remain. And if they didn’t, those projects wouldn’t be around.”

Categories
Arts

Free Idea trades the rules for psychedelic nirvana

blank canvas. That’s what Marie Landragin sees in her mind’s eye when she’s about to play guitar with Free Idea. Just before the first note rings out, she sees a frame, some material, potential for the space to become anything. When the music starts, she says, it begins painting forms, “and there’s color, and very often, I see it as a landscape” that develops as she and her bandmates build out a patiently meandering psychedelic rock set.

Usually that landscape has a lot of water, perhaps a lake, and as Landragin listens and plays, she sees stones tossed into the lake, ripples appearing and expanding across the surface. Sometimes there’s a storm coming. Other times, she sees a cave, with crystals dripping from the ceiling.

Every time Free Idea plays, Landragin sees a different landscape, because not one guitar lick, chord progression, bass line or drum fill is composed ahead of time. Everything is spontaneous.

It’s the kind of music that Landragin yearned to play after years of playing psych- pop-rock songs with Borrowed Beams of Light, and very intricate, highly composed songs with heavy rock/metal band Corsair. She wanted to play music that had no rules…but that was also palatable and interesting.

So Landragin asked musicians she knew to be both experienced and adventurous to give the no-rules music thing a go. Guitarist Brian Knox and bassist Will Evans were up for the challenge, as was drummer Greg Sloan. “When you don’t say ‘yes,’ you miss out on a lot,” says Sloan, who wasn’t about to miss out on this seemingly unusual combination of musicians.

Landragin’s a metalhead, while Knox (of Naked Gods) has an electrified Americana- folk bent; Evans is a jazz-bred art rock guy (Voterfrog, Whatever Brains), while Sloan has played in a slew of garage-rock-leaning bands (Big Air, Dwight Howard Johnson, The Ha-RANG!, DEN and currently, Sweet Tooth). “It doesn’t even seem like it should work,” Sloan says. But it does.

The result is pretty psychedelic, combining familiar sounds from the whole rock spectrum, plus folk, jazz, blues, electronic and pop, all in a constant state of flux. The sound is free to go where it will—because the music doesn’t adhere to the typical rock song structure. There are no melodies, no choruses, no verses; there’s no song at all.

But don’t mistake Free Idea, a band that jams, for a jam band. Bands like Phish and the Grateful Dead compose verses, choruses and bridges that they expand on the fly in anticipated spots. Free Idea is entirely improvised,…but it’s not like jazz where musicians riff on a melody or root structure that they move away from and return to.

“That’s the beauty of Free Idea: It’s all new simultaneously,” says Landragin. The music is created in the moment.

Ask them to recreate something they played 20 minutes ago, or even 30 seconds ago, and it’s a no-go. “We couldn’t even if we tried,” says Evans.

There are a few parameters, though: The band plays straight through whatever set length a venue gives it (17 minutes, 35 minutes), usually with a Knox-created visual abstraction projected on a screen behind the group and timed to the set length. When it ends, it’s time to wrap up and say goodbye.

A lot of cool things happen in this vulnerable artistic space where musicians cast off insecurity and hesitation in service of moving music forward in time and space via the act of listening closely to one another, says Landragin, adding that “if you play with someone long enough, you start to read each other, feel each other.”

Guitarists Knox and Landragin sometimes arrive at the same note at the same time, from two seemingly different sonic places. Other times, Knox will play a note that really sticks out, a note Landragin wouldn’t have dared to play. But when Knox plays it, she considers what he’s hearing and why; usually, Landragin will begin to hear Knox’s angle and comes around to it herself, maybe for 30 seconds, maybe for two minutes, before they float off on separate trajectories once again.

And, yes, certain things have happened more than once: Sloan has ad-libbed some of the same lyrics in two performances, and Evans has a “Wooly Bully”/”Louie Louie”-esque bass progression he defaults to on the rare occasion when it seems like the band is out of ideas.

If you think that Free Idea plays cacophonous weirdo music that’s hard to listen to if you’re not dropping acid or tripping on shrooms, you’re wrong. The music manages to sound composed (and approachable and interesting) without being composed at all—that’s difficult to achieve and it doesn’t work with every combination of musicians, says Landragin.

But when it works, it’s sublime, and “kind of addictive in a way,” says Landragin of how Free Idea fills the blank canvases of her mind’s eye. “It’s a really beautiful state to be in.”

Categories
Living

Five Finds on Friday with Alicia Walsh-Noel

Today’s Five Finds on Friday come from Alicia Walsh-Noel, manager of Brasserie Saison, which celebrates Sunday each week with  an “Eggs Benefit” brunch from 11am-3pm with live jazz and specials from the bar. A portion of proceeds goes to a different charity each month, and this month it is The Charlottesville Free Clinic. Walsh-Noel’s picks:

1) Kao Soi at Monsoon Siam. “This dish is an ultra comforting curry noodle soup. It’s the perfect juxtaposition of flavor and texture: the sweet curry to the funky pickled cabbage and onions and then the slurpy egg noodles to the crunchy noodle garnish. There’s a reason it’s not available from their to-go-go location—you have to eat it in the restaurant for the full experience. I crave this whenever it’s cold outside or I have a cold or when Antarctica is cold.”

2) Peanut Butter Pie at The Pie Chest and an Almond Latte from Lone Light Coffee. “If you didn’t already know about this place, when you’re walking up Fourth Street, the aromas will lure you into their door. When you enter, it’s as if you’ve been transported into a quaint New England town—there aren’t many places in Charlottesville that can do that. Tucked within The Pie Chest is Lone Light Coffee, which makes incredible coffee drinks and their own almond milk in-house. The stuff is delicious! I seriously have a hard time getting coffee anywhere else. Rachel Pennington, the owner/baker of The Pie Chest, is incredibly talented. You can’t go wrong with any of her sweet or savory pies but I really dig the peanut butter because it’s a little of both. The real deal-sealer is that the crust is PERFECT every time.”

3) Commander Chicory Blue Cheese from Twenty Paces. “So apparently studies are saying that cheese addictions are a real thing. I always blamed it on my French heritage but now even my doctor is telling me to stop! Le sigh. I first had this cheese at Lampo. Then again at Lampo. Then again. And then…well, my husband runs the kitchen at Champion Taproom and he put it on…get this: CHICKEN WING TACOS. OMG. I die now. Anyway, it’s stinky and smoky and I would most likely have it as my last meal.”

4) Whatever Lumpia is on special at Champion Tap Room. “Speaking of my husbandJon Bray has this move where he puts things into Filipino egg roll wrappers and then fries them. Need I say more? Okay, I’ll say more. His original has ground pork and dates that he serves with garlicky vinegar sauce. But lately he’s been getting a little wild, making cheeseburger lumpia for a kids event and a buffalo chicken version another time. This week, it sounds like he’s going with a more traditional pork and shrimp version that should be tasty. Maybe it’s cheating to put your own spouse on this list, but if this is about a memorable and emotional connection to food, Jon’s super-creative twists on Filipino classics are both seared into my memory and make me so happy!”

5) Oyster Mushrooms and Grits at Oakhart Social. “I couldn’t possibly write a Five Finds without mentioning Oakhart. This place is like home to me, and I’m stoked at the love they have received so quickly from the Charlottesville community. It’s rare to find a chef that can execute vegetable dishes with the skill that Tristan does and these mushrooms are one of my faves! They make a delicious star of the show with pickles, buttery grits and crispy, fried chickpeas. Follow that up with all the Fernets and hugs for a foolproof Oakhart evening.”

This article originally appeared on C-VILLE’s At the Table columnist C. Simon Davidson’s website, The Charlottesville 29, Read more Five Finds on Fridays here.

Categories
News

The cost of maintaining our water system

Bill Mawyer often asks a question that few can answer: Do you know where your water comes from?

“Frequently in our business, people are shocked by the amount of time and money it takes to maintain a reliable water system,” says Mawyer, executive director of the Rivanna Water and Sewer Authority, the agency charged with collecting and treating water in Charlottesville and Albemarle County.

Though the governance of water issues is relatively calm today, the last two decades have been contentious, with deep divisions in the community over the best way to manage the region’s water resources. Albemarle County Board of Supervisors representative Liz Palmer recalls moving to the area in 1996 and observing the Moormans River near Crozet with almost no flow, while the dam at Ragged Mountain was overflowing.

“They were basically draining the Moormans dry, diverting all the water to Ragged Mountain Reservoir,” she says, “and nobody was protecting the river.” A severe drought in 2002, the worst on record, brought the city to within 60 days of running out of water and heightened public concern about overall supply, as did last fall’s water restrictions due to drought conditions. Palmer gained a seat on the Albemarle County Service Authority board in 2006 and was dismayed by the state of the infrastructure.

“The system was horribly antiquated,” she says. “The city and county had treated the Rivanna terribly.” After beginning the slow process of solving the myriad equipment problems, the RWSA turned its attention to preparing a long-term Community Water Supply Plan—a set of interrelated projects to take care of the community’s water infrastructure needs for the next 50 years.

Jennifer Whitaker, Rivanna Water and Sewer Authority’s director of engineering and maintenance, calls the proposed pipeline connecting the local reservoirs fundamental, and says “we cannot do without it.”
 Photo by Eze Amos

The crux of the current system’s challenge lies in Ragged Mountain Reservoir’s dependence on an almost 100-year-old pipe to carry 4 million gallons of water per day down from Sugar Hollow to keep it filled—Ragged Mountain’s own small tributaries cannot do the job. “The 13-mile pipe runs primarily above ground in an undulating fashion, and tends to come apart because it’s not deeply bedded,” says Jennifer Whitaker, RWSA’s director of engineering and maintenance.

Instead of spending many millions to replace that pipe, the RWSA devised a plan to solve an additional set of problems at the same time by connecting the Ragged Mountain and South Fork Rivanna reservoirs with a new pipeline so that water can be stored and shared between the two. “An interconnected system will be better for supply, for storage, for treatment and for the [Moormans] river,” says Mawyer. When the new pipeline connector is finished, the old one will be taken out of service.

Streaming service

Due to geographical good fortune, our water comes from clear mountain streams that feed into rivers, none downstream from other cities or processed wastewater. Small creeks springing from the Blue Ridge foothills trickle into Sugar Hollow Reservoir, northwest of Crozet, which spills into the Moormans River. The Moormans joins the Mechums River, flowing in from the southwest and also stream-fed, where they are rechristened as the Rivanna River (South Fork). The Rivanna, along with water from a vast 259-square-mile watershed, fills the 800-million gallon Rivanna Reservoir north of Charlottesville.

The third major reservoir in the system is at Ragged Mountain Natural Area, which sits in the northwestern crook of the I-64/Route 29 Bypass interchange. Armed with a brand new 129-foot dam, Ragged Mountain Reservoir’s capacity is the largest—a 1.5-billion-gallon bowl of water filled primarily via a 13-mile pipeline from Sugar Hollow. (Crozet and Scottsville each have small independent water systems fed by their own reservoirs.)

The South Fork Rivanna Reservoir, which holds 800 million gallons of water, lies north of Charlottesville. Currently, the South Rivanna water treatment plant processes about 8 million gallons of water a day—the majority of the urban area’s clean water supply. Photo by Skyclad Aerial

To serve Charlottesville and the urban areas of Albemarle County, the South Rivanna water treatment plant processes about 8 million gallons a day—the vast majority of the urban area’s clean water supply. Ragged Mountain’s water is processed at the Observatory treatment plant on UVA’s Grounds, and then intermingled with the Rivanna water in the spidery network of underground pipes—67 miles long—that form the main water system.

In 1972, the city and county created the Rivanna Water and Sewer Authority to manage those systems for the whole region. Governed by a board of directors that includes three city and three county representatives plus one appointed member, the RWSA is its own entity—neither the Board of Supervisors nor the City Council has control over it—and its budget is self-contained as an enterprise fund collected from water bill payments.


BILL BREAKDOWN: Why county and city residents pay different rates

The city and county bill their water customers at different rates and via different agencies, so your bill may vary depending on where you live. The Albemarle County Service Authority, an independent agency, sets rates, reads meters, coordinates maintenance and replacement projects and collects funds from county residents and businesses, while the Department of Utilities, part of Charlottesville city government, does those jobs for the city.

Each entity buys processed water “wholesale” from the RWSA and then adds its own costs to produce the rate it charges customers. In 2017, the RWSA’s wholesale rate was about $1.95 per thousand gallons, plus a flat debt service amount allocated to each entity based on large capital project financing (such as treatment plant upgrades). From there, the city and county diverge in how they charge for usage.

The county uses a four-tier system in which its monthly rate per thousand gallons goes up sharply after 3,000 gallons of use, and again after 6,000 and 9,000 gallons, to encourage conservation. “The lowest tier is basically at cost,” says ACSA Director Gary O’Connell. “If you want to irrigate your lawn, and you’re willing to pay quite a bit more for it, you can.” For a county resident in 2017, an average use of 3,500 gallons per month would cost about $24.

The city, by contrast, uses a seasonal approach instead of tiers, charging users about 30% more in the summer months than in the winter, again with an eye toward conservation. For the 3,500 gallons example using an average annual rate for 2017, a city user would pay about $29.50 per month. The city’s rates are higher than the county’s due to increased maintenance expense, particularly the recent capital costs of replacing aging or leaky pipeline under city streets, some of which is more than 100 years old. As well, a 1981 agreement allows UVA, an entity that represents about 30 percent of the city’s customer base, to be charged for water use at roughly half the rate paid by the rest of city users.


The RWSA handles the “wholesale” side of the water business, maintaining infrastructure such as reservoirs, dams and pumping stations, and providing drinking water treatment at five plants spread throughout the county. The RWSA has two main customers—the Albemarle County Service Authority and the City of Charlottesville’s water utility department—and each of these manages the “retail” side, setting rates, checking meters and selling water to residential and commercial water users.

The water system has come a long way from its earliest days. “In the 1800s, Charlottesville’s only water supply was a well pump in the location where today’s Sacagawea statue sits at the intersection of Fifth and Main streets,” says RWSA’s Whitaker. More recently, rapid population growth has led to growing pains that culminated in the water wars of the late 2000s, and to new ways of looking at our future water supply.

Muddy waters

When unveiled in 2006, the Water Supply Plan proposed a new taller dam at Ragged Mountain Reservoir to store more water, and a nine-mile pipeline along Charlottesville’s west side to connect the reservoirs. The plan immediately sparked a pitched battle between community groups, city and county leaders and the water agencies. A conservationist group called Citizens for a Sustainable Water Plan, co-founded by Dede Smith, who would later be elected to Charlottesville City Council, raised questions about the necessity, expense and environmental impact of a new Ragged Mountain Dam.

Two more years of studies, presentations and public meetings addressed alternatives to the dam such as dredging the Rivanna Reservoir to make it deeper (which was rejected by the RWSA as insufficient and too expensive), as well as mitigation plans to replace the trees and woodland habitats that would be flooded by the expansion. The parties finally signed off on the Water Supply Plan in 2012, and construction on the dam was completed in 2014.

Originally a proponent of dredging, Smith’s current focus is on “freeing the Rivanna River” now that the dam has been built. “There is an opportunity here to realize the true benefit of the plan by removing the South Fork dam and relying on the Ragged Mountain dam alone to solve our water problems.”

In addition to conflicting views on the dam, the city and county also failed to see eye to eye on the need for an expensive new pipeline. During the plan’s negotiation from 2007-09, city representatives took the position that the pipeline was not a priority because Charlottesville wasn’t going to grow and thus didn’t need more water.

Gary O’Connell, now executive director of the Albemarle County Service Authority, was serving as Charlottesville’s city manger during negotiations between the city and county in 2007-09 to build a pipeline connecting the Ragged Mountain and South Fork reservoirs. He calls the city representatives who said Charlottesville wasn’t going to grow and thus didn’t need access to more water “short-sighted.” Photo by Eze Amos

Gary O’Connell, current ACSA executive director, was serving as Charlottesville city manager at the time and thought the city was being short-sighted. “All you have to do is drive up West Main or down Fifth Street and you’ll see [the idea of no growth] was crazy,” he says.

But county officials felt so strongly that both the dam and pipeline were needed for the community’s growth that they agreed that the county would shoulder the bulk of the projects’ costs—85 percent of the Ragged Mountain Dam’s $35 million, and 80 percent of the pipeline’s projected $100 million. “Without that agreement, the whole thing would have fallen apart,” says O’Connell.

Smith thinks the city made the right decision. “I don’t believe the pipeline will ever be built,” she says, “because the plan was premised on a water demand of 14 million gallons per day (MGD), and we have been stuck at less than 10 MGD for more than 15 years.”

To cover future eventualities, the Water Supply Plan contains a caveat: If the city should eventually use more than its 20 percent share of the new water capacity generated by the dam, it must repay its share of the cost of both projects to the county in an annual “true-up” process, which could run to the millions of dollars owed. To ensure accuracy, the county has installed meters in pipes at points all along the city/county boundary lines, to measure exactly how much water the city is using each year.

Pipe dream

The road to complete the next phase of the water plan is likely to be a long one, says Palmer, now a RWSA Board member. “Water will have to be on the city’s agenda again very soon, because we have to make a decision about where we place the pipe,” she says.

“The pipe” will be a 3-foot-wide ductile iron pipeline that requires a 20-foot easement to bury. Water-related construction projects are rarely low-cost affairs, often requiring deep tunnels or excavation through solid rock, navigating past roads and railroad tracks and around existing development. Though the pipeline’s projected southern wedge runs through mostly UVA-owned land around Ednam Forest and Farmington, the path becomes more congested as it has to skirt residential areas near Barracks Road and Albemarle High School and commercial tracts near Lowe’s and Sam’s Club. After the pipe is installed, says Mawyer, “we restore the land and replant it, and it’s generally invisible once it’s done.”

With a timeline that estimates three to four years to acquire the necessary easements along the pipeline’s nine-mile route and eight or more years to design and build it, along with managing various financing and environmental issues along the way, it’s a long-term project with a hefty price tag.

“The misnomer is that the pipeline is just a pipeline,” says Whitaker. “It’s also pump stations and intakes and pretreatment and treatment plants, and all of those pieces have to be built simultaneously. But the new pipeline is fundamental to the community meeting its long-term water needs and we cannot do that without it. The only question is when.”

The RWSA Board met in January and decided that beginning the full-scale pipeline project immediately would mean unwieldy spikes in staffing needs and debt financing, so they are currently looking at a time frame that would begin construction in 2027, but could shift that earlier as other items on their to-do list are completed.

Go with the flow

After last fall’s city and county water restrictions were enacted in response to drought conditions, many in the community wondered why the much-touted Ragged Mountain Dam had not prevented the need for restrictions. The answer is that the Water Supply Plan is only partly complete—the proposed pipeline is the linchpin to a full circuit that will assure a reliable water supply in the future.

Right now, low water levels in the Rivanna Reservoir, such as the September/October 2017 drop to 42 percent of capacity, mean that the whole system has to rely on the 64-year-old Observatory water treatment plant, which can’t fully sustain the urban area by itself. “It’s built to treat up to 7 million gallons per day, but practically it can only treat 2 or 3 million, and it really needs to be more like 10,” says the ACSA’s O’Connell. O’Connnell says increasing the plant is the next short-term project on the horizon, and that it can be completed in the next three or four years.

Bill Mawyer, a North Garden native, spent 15 years as assistant director of Henrico County’s public utility operations before taking the helm at the Rivanna Water and Sewer Authority in November 2016. Photo by Eze Amos

And once the pipeline is built, explains the RWSA’s Mawyer, we’ll have a “circular circuit.” “If the Rivanna Reservoir gets so low that the pumping station there can’t function properly [as happened last fall], then we can switch it over and bring water up from Ragged Mountain Reservoir, where we have a huge amount of storage,” he says. “And when Rivanna is overflowing, we can store that extra water at Ragged Mountain.” The two sources will be connected, providing needed redundancy and reliability in the system.

Acquisition of the right of way easements along the new pipeline’s route is already underway, as are improvements to both the Rivanna and Observatory water treatment plants. Also ongoing is construction of an additional water line to connect the southern Avon area to Pantops, to ensure the eastern-most part of the county is in the loop. Next up will be projects to replace older Ragged Mountain water lines coming into the city, and pumps to increase their capacity and reliability and to be ready for the core pipeline project.

Sea change

The past two decades have also ushered in a keen awareness of environmental issues that water management policies can address. “In the early 2000s, in part because of the drought, the community started looking at meeting the ecological needs of rivers,” says Whitaker, “to make sure we maintain environmental health as well as human health.”

That new perspective meant a change in water release policies, particularly for the Moormans River, which is now allowed to flow freely downstream from Sugar Hollow Reservoir with limits on how much is fed through the older Ragged Mountain pipeline for storage. Similarly, the Rivanna Reservoir, when not spilling over the top, releases water to replicate what its feeder streams are contributing from the watershed, to better preserve aquatic life downstream.

Palmer wonders about the expectations of the public regarding the most visible measures of the water supply. “Reservoirs are meant to be drawn down, but what is the public’s tolerance for going into water conservation on a regular basis and watching levels go down?” she says. “That’s the way they’re supposed to work, but it makes people nervous.”

Marlene Condon, Crozet nature writer and photographer, recently sounded the alarm about reservoir levels in Sugar Hollow. “The streams in my area were drying up by last summer,” she says, “and the water authority should insist that people start conserving sooner during times of drought. When reservoir levels fall it means more is going out than coming in, and they should only be transferring water to Ragged Mountain if it is absolutely necessary.” The RWSA’s current water supply strategy allows the Sugar Hollow reservoir level to drop to 19 feet below the top of the dam before suspending the transfer.


CLEANUP CREW: Filtered water is constantly monitored for contaminants

Despite a flash fad in California and Maine where some are paying $15 for a gallon of completely untreated stream water for its supposed health benefits, water supply professionals recommend strongly against drinking raw water. “Crazy,” says Dave Tungate, the RWSA’s water manager, who goes on to list the ways in which water is processed to make it clean for drinking.

The first step is to remove the particulate—dirt and organic matter like leaves, wood and bugs. Raw water collected in reservoirs is piped to a treatment plant, where a coagulant is added to make the particles stick together (in a process called flocculation) and settle to the bottom of sedimentation tanks. At this point the water is visibly clearer, but “it’s not the stuff you can see that can hurt you,” says Tungate. “It’s the stuff you can’t see.”

Next, the water is treated and filtered for micro-contaminants such as giardia and cryptosporidium, microscopic parasites from animal activity in the river that can cause sickness in humans and their pets. New “granular activated carbon” filtration systems have been installed at every treatment facility in the county and are set to go online this spring. These systems filter out even more organic material in the water so that no acid byproducts are released during the final chlorination step.

The last phase balances the pH of the water to keep it neutral, disinfects it with chlorine, mixes in a corrosion inhibitor to keep pipe metals from leaching into the water and adds fluoride. “Water is a biological and chemical system and we are constantly gauging what’s coming in, and standardizing what’s going out,” says Jennifer Whitaker, the RWSA’s director of engineering and maintenance.

Toward that end, the filtered water is constantly monitored using an online turbidimeter for any kind of suspended matter from clay or silt particles to viruses and bacteria, and lab samples are tested for bacteria, algae, metals such as lead and nutrients (like nitrogen and phosphorus from fertilizer), as well as for residual byproducts from the treatment process itself. Charlottesville/Albemarle water meets or exceeds all federal and state standards for water quality.

Occasionally, city residents may notice their water taking on a milky or cloudy aspect, but the cause is usually benign. “The most likely cause of cloudy water would be dissolved air in the water,” says Tungate, which occurs more often when cold water from outside is piped into a warm house. Tiny microbubbles form as the oxygen tries to escape, and will dissipate after a minute or so of sitting still.


Gary O’Connell, whose office walls are covered with framed images of brook trout and fly-fishing lures, agrees with the need for greater public understanding. “I’ve fished a lot in the upper Moormans above Sugar Hollow and there were years where that part was dried up,” he says. “The natural flows come and go, so to think that a reservoir is going to be the same level year-round is not realistic.” Still, he and the other city and county water managers are focused on how to plan for future environmental uncertainty.

“There’s a lot of research being done on adapting to climate change for water utilities,” he says. “We’re seeing the peaks and seasonal variation, dry periods and extreme rain, and we know that has to be factored in to our projections. We’ll be doing a big study in 2020 to look at long-term supply and I think that climate change will have to be a factor in there.”

Regarding the pipeline project, Board of Supervisors Chair Ann Mallek is resolute. “As representatives, we have to make sure that we stick to our convictions and do not shy away from agreements and plans we already have, because that will create chaos,” she says. “Everything takes longer than you think it will, so let’s get started. To people who cringe because we have to build two pump stations—well, so what? You put solar power on them and you go to town.”

For her part, Whitaker, who joined the RWSA in 2003, says, “this is a fantastic time, from an engineering perspective, to be in this organization. We’ve taken parts of this system that were very broken, from a capacity, pollution and safety standpoint, and fixed them, and now we’re designing for the future. Watching this unfold is very rewarding; we get to see the execution of the Water Supply Plan actually starting to happen.”

Categories
Arts

Album reviews: Xylouris White, Inara George, Carmen Villain and Khruangbin

Xylouris White

Mother (Bella Union)

“Goats are mothers, Zeus was raised on Amaltheia’s milk, Black Peak is Mother Earth. …Mother Earth is the mother of everything.” Giorgos Xylouris thus explains his duo’s third album, the first two being Goat and Black Peak. It’s inscrutable and suitable. Cretan lutenist Xylouris and heavy-duty drummer Jim White (of the Dirty Three) cover a waterfront of moods from the amorphous “Woman From Anogeia” to the angry two-step “Only Love” to the lighthearted “Spud’s Garden,” utilizing limited means—the pair is joined only by (judicious, masterful) string player Anna Roberts-Gevalt. Xylouris’ voice is a strong flavor, but it fits, and White’s drumming seems to carve its own path like a river forming a canyon. Too often, “fusion” means a collision of components that sounds like garbage; Mother is a true blend, fresh, heady and intense.

Inara George

Dearest Everybody (Release Me)

Inara George of The Bird and the Bee returns with her first solo album since 2009, and its light shines steadily throughout. George’s clear voice leads a tour of what sure sounds like her inner life, one that seems comfortable in its turbulence, delivering lines like “A pair of underwear in my pocket / I’m just going somewhere new,” with utter possession. George does seem weirdly bugged by her status as the daughter of Little Feat’s Lowell; the album’s opening line is “I was the daughter of my father,” and on the maudlin “Release Me” she asserts “I’ve spent my life in the shadow of a man / Now I wanna be the writer of this song.” Cool! I didn’t even know you were Lowell George’s daughter, but okay! The album is sparkling chamber pop equally fit for music-box dancing and tea room journaling. Nicely done.

Carmen Villain

Infinite Avenue (Smalltown Supersound)

Opening up with the spellbinding, opiated title track, Carmen Villain sounds too cool to talk to, but she’s way cool to listen to. Her voice is dreamy, wry, bitter—totally seductive, and yet she doesn’t lean on it too heavily. (The only really heavy song here is “Borders,” an overwrought duet with Jenny Hval.) There are gorgeous instrumental passages, such as the Radiohead-like opening of “Connected,” and an honest instrumental in the enchanted forest dream “The Moon Will Always Be There.” Throughout, there’s a placelessness that seems reflective of Villain’s background (neé Hillestad, she’s a U.S.-born Norwegian-Mexican who’s recently lived in London). Plus, the album’s called Infinite Avenue, so it makes sense that we could be anywhere out on the terra. In any case, it’s her world for us to live in for 37 cool minutes.

https://carmenvillain.bandcamp.com/album/infinite-avenue

Khruangbin

Con Todo El Mundo (Dead Oceans)

Con Todo El Mundo is an apt album title for Texas-based, mostly instrumental funksters Khruangbin. The band name is Thai for airplane (literally, “engine fly”), and their latest album sounds like a loving, ranging recreation of what happened when the world heard James Brown and reflected/refracted all that goodness. Guitarist Mark Speer, favoring a trebly tone, invokes Iran, Zambia, Thailand and…Ernie Isley, while bassist Laura Lee and drummer Donald Johnson lay low, and solidly so. Johnson sounds like a subdued Clyde Stubblefield, while Lee’s snaky bass lines define “in the pocket.” The overall effect can feel a bit paint-by-numbers, but the outlines are timeless and the painting itself is casually flawless.

https://khruangbin.bandcamp.com/album/con-todo-el-mundo-n-s-america-edition

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Arts

Laura Lee Gulledge dares you to draw

With her new book, Sketchbook Dares: 24 Ways to Draw Out Your Inner Artist, artist, writer and teacher Laura Lee Gulledge challenges anyone of any skill level to draw. The former Louisa County art teacher says, “It’s the sort of book I wish I’d had starting off as a teacher but also as a creative working in a sketchbook.” It takes a holistic approach, she explains. “It’s about developing not just the hand but what happens to the heart, head and spirit in creative practice.”

The concept behind the sketchbook format is to present nonintimidating exercises that can be completed in a limited amount of time. “If you spend less time on a project your inner critic gets less involved,” Gulledge says. “It’s more about the process, the journey.”

One exercise, the Unwind Dare, challenges the reader to time how long it takes to draw an object, and then to draw it again in half the time, repeating the process until it can’t be repeated anymore. “It’s a way of loosening up and drawing faster so your fear can’t catch up to you,” says Gulledge. With each of the dares she pairs a relevant quote. For this one, she calls on the wisdom of Leonard Bernstein: “To achieve great things, two things are needed: a plan and not quite enough time.”

There are 24 exercises in total, 12 dares and 12 double-dares, which Gulledge explains are continuations of the initial dares “to reinforce the concept.” She suggests the book can be completed in three months by doing two exercises a week. “It’s ideal for over the summer or just for a season,” says Gulledge. “We can handle taking on a project for a season,” referring to it as “a little handheld class,” and “a way to develop your vocabulary visually.”

Some of the exercises elicit critical thinking, some self-reflection and others emotional intelligence. “Sketchbooks are vessels for collecting thoughts, emotions, ideas,” Gulledge says. For those interested in exploring their creativity but threatened by the blank page, the prompts are ideal. “I made half of a book and I need them to complete it,” she says.

It’s a sort of collaboration, or what Gulledge would call an “artnership.” She and a fellow artist coined the term when they began collaborating after each experienced a bad breakup. “We needed intimacy, but we didn’t want a boyfriend or girlfriend,” says Gulledge. “We wanted a creative intimacy. We talked about having an artner crush on somebody. I would think, ‘I want to make out with this person,’ and it was really, ‘I want to make art with this person.’”

Gulledge and her collaborator developed values for their artnership: healing, connection, flexibility, whimsy and success. “We have unofficial tenants, too,” Gulledge says, “like using snail mail and practicing self-care.” Gulledge—who returned to Charlottesville 18 months ago after seven years in New York City—says, “We’re not always creating. We have to rest.”

She likes to think of her artnerships “as part of this broader love movement. Everyone is helping redefine what love is, expanding the definition,” she says.

During the book launch at The Bridge on Saturday, attendees will have the opportunity to form their own artnerships. In addition to solo exercises, drawing activities will include the practice of drawing with an artner, creating artner valentines and filling in the remaining blank pages of Gulledge’s current sketchbook.

“Creatives aren’t necessarily good at working together but if we can, magical things can happen,” she says. “And if we can do that, we can be better about working together in the real world.”

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Arts

ARTS Pick: Evening of Romance will keep you on your toes

The dreamy magic of romantic ballet melds with technical prowess in Charlottesville Ballet’s Evening of Romance. Performances include a tongue-in-cheek princess battle for the eye of Prince Charming, the dramatic pas de deux from Le Corsaire and an intriguing original work titled :dôgm: by Steven Melendez.

Friday, February 9 and Saturday February, 10. $15-21, times vary. CB Studio Theatre, 1885 Seminole Tr. 227-7592.

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Arts

ARTS Pick: Zephyrus conquers powerful works

As religious war ravaged central Europe in the early 17th century, cultural establishments in Germany suffered great losses including gigs for musicians and venues for performances—so, it’s no wonder that powerful works were composed in respite during this time. Small ensemble Zephyrus captures the mood 400 years later in Da Pacem Domine: Music from the Thirty Years’ War with pieces by Heinrich Schütz, Johann Schein, Andreas Hammerschmidt, Melchior Franck and more.

Saturday, February 10. $5-20, 7:30pm. Christ Episcopal Church, 120 W. High St. 963-4690.

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Arts

ARTS Pick: Marc Broussard keeps it authentic

Since the day he ripped through “Johnny B. Goode” at age 5 while sitting in with his father’s band, people have had their eye on Marc Broussard. His ability to blend classic R&B, rock and soul is enriched by his unique musical style, fueling a loyal fan base since the release of his debut album Momentary Setback in 2002. Broussard capitalizes on his authenticity by embarking on a long list of philanthropic deeds through music.

Thursday, February 8. $20-22, 6pm. The Southern Café and Music Hall, 103 South First St. 977-5590.

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Arts

ARTS Pick: Declan McKenna pops with political message

Since his early teenage years in suburban England, Declan McKenna has had a rebellious streak. Now, at 19, he blends his own brand of indie pop with politically charged issues to make his views known through music. Influenced by David Bowie and The Beatles, his melodies are making a massive splash around the world, including his debut single “Brazil,” released in December of 2014 as a bold declaration against FIFA President Sepp Blatter, and the corruption surrounding that year’s World Cup.

Tuesday, February 13. $15-18, 6pm. The Southern Café and Music Hall, 103 South First St. 977-5590.