Categories
News

Day 5: More victim and police testimony in James Fields’ trial

“That’s what someone’s eyes look like when they’re dead,” is the only thought that went through anti-racist activist Star Peterson’s mind as she saw Heather Heyer flying through the air.

Peterson had just been run over by a white supremacist in a Dodge Challenger on Fourth Street on August 12, 2017.

Peterson recounted her experience in testimony on the second day of evidence presented to the jury in the trial against James Fields, who’s charged with first-degree murder for killing Heyer, along with five counts of aggravated malicious wounding, three counts of malicious wounding, and one count of hit and run.

His attorneys have not disputed that he was the one driving the car that barrelled into the crowd that day, smashing into a parked Toyota Camry, which then crashed into a Honda Odyssey, before Fields backed up—running over Peterson and others again—and sped off.

Tadrint Washington, who drove the Camry, didn’t realize she’d been hit. She was caught up in the excitement of the activists joyfully chanting, singing, and claiming victory over the white supremacists and neo-Nazis who came to town to hold their Unite the Right rally that day.

“I never seen so many white people standing up for black people,” she testified. But then she heard a “big, big, big noise,” and “thought a bomb went off.” That was when the Challenger hit her.

She’d seen the car before. While describing the process of navigating around the downtown area, which had numerous road closures for the rally, she said the Challenger was right behind her. “Every turn I make, he’s making the same turns because the roads are blocked off,” she said. And as they were crossing the Downtown Mall on Fourth Street, she saw him stop and start backing up. She assumed this was because the oncoming crowd and the minivan already stopped at the bottom of the street meant it would be a while before any of the vehicles could proceed.

But once Fields slammed on the gas and hit her, she said, she believes she lost consciousness for a few moments. When she regained her vision, she said, “I remember opening my eyes and seeing someone on top of my car, and it freaked me out.”

Minutes before, Lizete Short, the driver of the Odyssey, had stopped her car where Fourth Street meets Water Street to let the crowd of demonstrators pass in front of her. When they turned up Fourth Street, streaming past her van on both sides, she parked and got out to capture a moment she said she was sure would go down in history.

But the next thing she knew, her camera phone was knocked out of her hand, her van had collided into her, she had been propelled onto its hood, and was “being dragged across the street.”

Wednesday Bowie, another victim, testified that she was knocked into a parked truck as the Challenger backed up.

“I got hung up on the trunk of the car. I remember thinking ‘okay, I’m getting hit by a car,’” she said, adding that she lost consciousness after smashing into the truck and being thrown several additional feet onto the ground.

Her pelvis was broken in six places, and a fragmented piece of it sliced her femoral artery, she said.

“I was bleeding out internally as I waited for the ambulance,” she told the jury, adding that she required emergency surgery at UVA. On her second day in the hospital, she had a metal bar called an external fixator drilled through her lower half to hold her pelvis in place.

She also suffered a fractured orbital socket on one side of her face, a broken tailbone, three broken vertebrae, multiple lacerations, and road rash. Her pelvis healed diagonally, so her gait is permanently affected, and her steps are now uneven.

The jury also heard from former Daily Progress photojournalist Ryan Kelly, who won a Pulitzer Prize for his iconic photo of the car hightailing it into the crowd. He described being on Fourth Street and seeing the Challenger stop midway down the street and start backing up.

“I heard screeching tires, the rev of an engine,” and then the car sped past him into the group of protesters. “People went flying. You heard thuds and screams and cries.”

Charlottesville Police Department Detective Jeremy Carper testified there were many “reddish brown stains,” or blood, found all over the Challenger, including on the windshield, the grill, the bumper, and on the Fourth Street asphalt. He also identified swabs of “soft tissue along the windshield” of the car.

The detective was assigned to hand out water and snacks to cops who were working that day, but was asked to respond to Monticello Avenue shortly after the car attack, where police took Fields into custody for a hit and run. That’s where Carper collected a water bottle that was likely thrown into the car during the commotion on Fourth Street, and a pair of sunglasses lodged under the rear spoiler.

He wore black gloves as he handled the evidence in court. He opened a brown bag with red tape to reveal the water bottle, and left the sunglasses inside their bag. The car’s grill was also present in the courtroom, wrapped in brown paper.

Carper said he then went to Fourth Street where he recovered the Challenger’s passenger side mirror, which was also covered in blood, and Heyer’s pants, which he said were cut in half as medics tried to revive her.

As Fields listened to the day’s testimony, he scribbled a few notes into a notepad. His face was expressionless. He wore a blue suit and black tie.

After introducing it in yesterday’s opening arguments, today prosecutors made available to the public a meme that Fields posted on Instagram on May 16, 2017, which shows a car plowing into a crowd of people, and says, “You have the right to protest but I’m late for work.”

The defense has argued that the meme is not political in nature. We’ll see what the jury thinks about that.

James Fields, who racked up 10 state charges after driving his car into a crowd on August 12, 2017, posted this meme on Instagram three months earlier. Courtesy of the city of Charlottesville
Categories
News

Day 4: Jury seated, testimony begins in James Fields’ trial

It took three long days to seat a jury of 12 with four alternates. After all, it’s a national story and the video and photographs of a Dodge Challenger plowing into a group of counterprotesters have been viewed over and over.

The defense does not dispute that James Alex Fields Jr., 21, was driving the car that accelerated down Fourth Street August 12, killing Heather Heyer and injuring dozens more. Trickier is explaining why Fields is not guilty of first-degree murder, five counts of aggravated malicious wounding and three of malicious wounding.

In opening statements today, the legal teams laid out their arguments to the jurors.

Assistant Commonwealth’s Attorney Nina Antony described a crowd of joyful counterprotesters marching down Water Street and turning left onto Fourth Street after the Unite the Right rally had been declared an unlawful assembly. She also noted Fields, who had turned onto Fourth, was “idling,” and “watching” the crowd of people on the other side of the Downtown Mall.

“Suddenly there is a screech,” Antony told the jurors. “People in the front of the crowd start diving.”

Heyer, “is directly in his path. She is unable to get out of the way. Her blood and her flesh” are on his car, she said.

“This is about what his intent was,” said Antony, promising to present evidence about Fields’ actions before, during and after the carnage.

Jurors learned that Fields left his home in Maumee, Ohio, August 11, 2017, and drove 500 miles through the night to arrive around 3am in Charlottesville to attend the Unite the Right rally, which featured marquee names of the alt-right, neo-Nazi, and white supremacist movements.

He brought no suitcase, no shampoo, and had no hotel reservation, according to his attorney John Hill. The only change of clothes he brought was a white polo shirt and long pants. “It was the uniform of the day,” said Hill.

Hill suggested that fear of serious bodily injury instigated Fields’ actions. Fields had been given a hard time from some counterprotesters, and “anger, fear, and rumors” were swirling around that day. “We’ll tell you why Mr. Fields is not guilty,” he said.

But he didn’t, in the opinion of defense attorney Janice Redinger, who watched opening statements from the auxiliary courtroom on Levy Avenue.

“It’s most critical for the defense to put out their narrative” in the opening statements, she says. Whether it’s that Fields was scared or it was in self defense, “I didn’t get the story,” she says. Typically the defense tells jurors, “You’re going to hear evidence and reasons why it wasn’t premeditated.”

She adds, “You have to grab the jury from the get go.”

Redinger thinks Antony did a good job in her opening. “It’s telling a story,” she says.

She also applauds the commonwealth’s decision to use Michael Webster, who was not a counterprotester and “was going to lunch,” as its first witness. Webster negated the defense’s suggestion that Fields was threatened by testifying that the mall was deserted and no one was near his car.

Antony referred to the Unite the Right rally as a “political rally” that brought people to town to promote a “conservative ideology.”

“I was disappointed it wasn’t a little more hard hitting,” says Redinger. The neo-Nazi and white supremacist ideology “was the whole reason for the rally.”

Antony did promise jurors they will see two images from Instagram Fields had posted in May 2017—that of a car running into a crowd of people.

The judge allowed the admission of two similar images of a car driving into a crowd James Fields posted on Instagram.

The prosecution called seven witnesses, four of whom were victims of the car attack. Most heartrending was Marcus Martin, the man who was shown being catapulted over Fields’ car in Ryan Kelly’s famous photograph.

Martin was visibly emotional on the witness stand. Antony handed him a box of tissues, and Judge Rick Moore instructed, “Mr. Martin, take a deep breath.”

Martin knew Heyer from his fiancee, Marissa Blair, and friend Courtney Commander, both of whom worked with Heyer. In the difficult-to-hear Charlottesville Circuit Court, it sounded like he said Heyer “is a great person.”

Brennan Gilmore, who videoed the Challenger accelerating down Fourth Street, testified that he’d been documenting the day and was standing on the mall when he heard the sound of a vehicle “traveling very, very fast” for the Downtown Mall crossing.  “I heard a sickening sound and saw bodies flying everywhere,” he said.

Gilmore was a foreign service officer in the State Department for 15 years, and said he had training in “high-threat environments.” He’d felt no threat on Fourth Street before the attack.

Charlottesville native Brian Henderson works for the city in the Department of Social Services and he thought he should be in his hometown August 12 after being out of town July 8, 2017, when the Ku Klux Klan staged a protest here. He walked throughout the city that day, and said that in the afternoon, “It was a better feeling than in the morning.”

Henderson had become part of the group that turned onto Fourth Street. He pulled out his phone when he heard “someone singing ‘Lean On Me’ and they didn’t know the words,” he testified.

Into that celebratory zone, Fields’ Challenger zoomed. “I tried to put my arms up and fly like Superman,” Henderson testified.

When asked to identify himself in images of the attack, the box of tissues came back to the witness stand. “Forgive me,” he said. “It’s just a little hard to look at.”

What Henderson initially thought was a broken left arm turned out to be much more serious, with a severed nerve. He also suffered four broken ribs.

Fields, who wore a navy pullover sweater and collared shirt, sat impassively as Henderson, Martin, and two other witnesses described their injuries.

Susan Bro, front right, comes to Charlottesville Circuit Court for her daughter’s murder trial. Eze Amos

The trial is expected to last three weeks. Judge Moore instructed jurors to not go to Fourth and Water streets. He also warned both the public and media that no one should approach jurors, who are identified in court by numbers, or take photos of them. “If anyone snaps your photo, let me know,” he told the jury.

Heyer’s mother Susan Bro, who’s become an activist since her daughter was killed, was in court, just back from talking to Congress and telling its members to “count” because “Charlottesville is not in the numbers of hate crimes.”

Gil Harrington, founder of Help Save the Next Girl and mother of Morgan Harrington, who died at the hands of serial murderer Jesse Matthew, also was present. She said she has an affinity for supporting the mothers of “murdered girls in Charlottesville.”

Categories
News

YOU issue: Ag tax break

Here’s what readers asked for:

Each year Albemarle County forgoes about $20,000,000 in taxes on land use parcels, but the exact figure is not known to the public since the amount is not carried as a line item in the budget and there is no public discussion as far as I can determine.—Harold Timmeny

Land use is one of the  more arcane topics about which readers inquired. (Next up: revenue sharing!) Officially called Use Value Taxation, land use is an incentive to rural property owners to use their land for agricultural purposes rather than subdivisions. Albemarle adopted land use in 1973, and the program periodically draws criticism that it doesn’t thwart growth and is a tax break for the rich.

Currently 4,600 parcels in the county are taxed under the considerably lower land use rate rather than market rate, according to county assessor Peter Lynch. To qualify, a property owner must have five acres in agricultural use or at least 20 acres as forest.

He gives an example: Say the market value of a rural parcel in the county is $544,400. Under land use, if at least five acres of that property is producing an agricultural product, like hay, the parcel is valued at $21,100 and the owner pays taxes of $177 a year rather than $4,567 if it were assessed at market value.

It adds up to a differential of over $1.5 billion between market and land use value in Albemarle in 2018, says Lynch. That means the county deferred over $13 million last year in property tax revenue.

The $13 million the county forgoes in revenue is not a line item in the budget because the program is already established by state law and county ordinance. “It’s already a requirement,” says Lynch. “It’s not something to vote on in the budget.”

The rate Albemarle uses to determine land use values comes from the State Land Evaluation and Advisory Council, which establishes values specifically for Albemarle, says Lynch.

Land use, he says, “is a choice for the county to preserve rural areas.”

Categories
Arts

ARTS Pick: Tartuffe

Orgon and his wife Elmire face a disastrous spiritual crisis, and the swindler Tartuffe is definitely not helping. Orgon’s children understand the truth: that the supposedly pious man doesn’t actually possess divine ability, and when a wounding announcement takes the stunt too far, the family must dislodge the impostor before more damage is done. Tartuffe is a 17th-century comedy about hypocrisy and family dysfunction, and one that’s found ways to adapt and stay relevant through the ages.

Through 12/6. $8-14, times vary. Ruth Caplin Theatre, 109 Culbreth Rd. 924-3376.

Categories
Arts

ARTS Pick: Steve Earle & The Dukes

It’s been 30 years since the release of Copperhead Road, an album that revived the gritty rebelliousness founded in the early days of country music. Steve Earle & The Dukes pay homage to his Austin, Texas, roots with a special anniversary set that, in addition to celebrating the album, offers a retrospective of Earle’s career, including his recent album, So You Wannabe an Outlaw?, a tribute Waylon Jennings. “There’s nothing ‘retro’ about this record,” Earle says, “I’m just acknowledging where I’m coming from.”

Thursday 11/29. $29-55, 8 pm. The Jefferson Theater, 110 E. Main St., Downtown Mall. 245-4980.

Categories
Arts

ARTS Pick: Chatham Rabbits

Southern duo Sarah and Austin McCombie have a bright soulful love for old-time music. It’s the reason they formed Chatham Rabbits, a name inspired by a string band out of their hometown of Bynum, North Carolina. The couple crafts lively melodies and lyrics ripe with metaphors—picking through the U.S. as they live a musical life on the road, in a Winnebago, alongside their dog Ruby.

Friday 11/30. $10-12, 8pm. The Front Porch, 221 E. Water St. 806-7062.

Categories
Arts

ARTS Pick: Soweto Gospel Choir

From African gospels to American pop songs, the uplifting music of the Soweto Gospel Choir has something to put a smile on anyone’s face. Formed in South Africa in 2002, the group is praised for its international reach, and has earned two Grammys. The singers aren’t in it for the fame, though: all they aim to do is spread the love. Freedom, the choir’s latest release, honors the late Nelson Mandela with timeless African anthems and powerful gospel songs.

Saturday 12/1. $24.75-44.75, 8pm. The Paramount Theater, 215 E. Main St., Downtown Mall. 979-1333.

Categories
Arts

Netflix feature films set to impact awards season

After competing with HBO in the original series game, Netflix is now gunning for Hollywood recognition with a slew of prestige film acquisitions helmed by some of the most respected names in show business. Here are a few streaming contenders for Oscar glory.

Roma

R, 135 minutes (On Netflix December 14)

Perhaps the biggest score of this new era of Netflix is Alfonso Cuarón’s Roma. Not only is Cuarón himself the winner of several Academy Awards, but this is Mexico’s official submission for best foreign language film. Whether or not you’re a fan of the director’s signature style—long, active shots that are alternately flashy and meditative—Roma is a gem of a movie. It’s personal and nostalgic, yet still relatable for those of us who did not grow up in 1970s Mexico City. Commentaries on race and class are interwoven with universally resonant emotions and experiences, while the core narrative remains fascinating in its own right. This is Cuarón’s best in years.

Outlaw King

R, 121 minutes (On Netflix now)

To everyone who’s ever complained that Braveheart should have been more historically accurate: Be careful what you wish for. David Mackenzie’s historical drama Outlaw King focuses on Robert the Bruce (Chris Pine), another character involved in the struggle for Scottish independence, bringing him out of William Wallace’s shadow to portray him as the national hero he is. Outlaw King generated enormous award buzz until its premiere at the Toronto International Film Festival, when audiences got a first glimpse at an overlong, unfocused epic. It has since been trimmed, and though the result is said to be better than the TIFF cut, the post-production surgery shows. The film begins with intricate long takes that combine action, political intrigue, character development, and special effects in smooth, natural transitions. By the end, Outlaw King is full of rapid cuts and unclear use of space, and while the story gets from A to B with little confusion, there are definitely a few beats missing. With solid acting and lush visuals, it’s by no means a bad movie, and Mackenzie is a director we’d like to see get more work of this scale. But, it is obvious why this went from blockbuster epic to the small screen in just a few months.

The Ballad of
Buster Scruggs

R, 133 minutes (On Netflix now)

Probably the most unconventional movie coming directly to Netflix is The Ballad of Buster Scruggs from the Coen brothers. Initially conceived as a six-part anthology series about the Old West, it is instead being released with all installments back-to-back. This may sound like a disaster, but the result is utterly captivating. Each unrelated episode packs its own emotional punch, and when viewed in sequence, they complement each other beautifully, often with devastating results. The stories are alternately slapstick, tragic, absurd, and melancholy, sometimes all at once. Classic Coen nihilism mixes with emotional material we don’t generally see from the duo, brought to life by an exceptional cast—standouts include Zoe Kazan, Bill Heck, Tim Blake Nelson, and Tom Waits at the top of his game.

OPENING this week z Alamo Drafthouse Cinema 377 Merchant Walk Sq., 326-5056, drafthouse.com/charlottesville z The House That Jack Built z Regal Stonefield 14 and IMAX The Shops at Stonefield, 244-3213, regmovies.com z Meow Wolf: Origin Story, The Possession of Hannah Grace z Violet Crown Cinema 200 W. Main St., Downtown Mall, 529-3000, charlottesville.violetcrown.com z The Possession of Hannah Grace z Check theater websites for complete listings.

See it again

ELF

PG, 97 minutes;
Alamo Drafthouse Cinema

December 4

Categories
Arts

YOU Issue: Michael Dubova carves a niche as an instrument maker

Here’s what readers asked for:

I think you should cover my husband, Michael Dubova. …He never builds two instruments alike (except one time when he built a pair of guitars for twins—one was a left-handed guitar and the other was a right-handed guitar).—Loretta Vitt Dubova

Michael Dubova was alone in the California desert when he decided to start making his own instruments.

An avid distance cycler and ultra marathoner, Dubova had embarked on a cross-country bike ride in the spring of 2008, but found his heart wasn’t in it. He couldn’t stop thinking about music.

“I got really depressed and wanted to have an instrument in my hands,” he says. “I wanted to be playing music. I wanted to build an instrument.”

With several cross-country bike rides under his belt, Dubova knew he needed to pack it up unless he was totally committed. He turned around with his camping gear and fly fishing rod and went back to San Diego.

At the time, Dubova had zero experience with woodworking and few proper tools. He started experimenting. The first time he tried to bend the sides of a stringed instrument, he grabbed his wife’s curling iron. It wasn’t nearly hot enough. “Yeah, it was that type of learning curve,” he says.

Ten years later and now living in Crozet, Dubova has built around 130 working instruments—mostly mandolins, but also guitars, violins, banjos, lap steels, and others. All of his pieces are custom-built to client specifications, and he ships instruments worldwide.

“It has evolved from being a hobby to a legit business,” Dubova says. “I don’t know if it’s very realistic, but I romanticize about it being a full-time job.”

Making it as a full-time luthier, or stringed instrument maker, would be no small feat. According to data from the Guild of American Luthiers, about 500 independent makers are active in the U.S. today.

In Virginia there are a number of established local operations such as Rockbridge Guitar Company and Stelling Banjo Works, with many smaller builders throughout the state.

One theory about luthiers diminishing numbers? Less access to exotic foreign woods. Brazilian rosewood in particular (a rainforest wood protected under international treaty) is prized for its beauty and tonality. Craftsmen like Dubova, though, have found other materials to produce instruments that are pleasing to the eye and the ear.

“Everyone wants these exotic tropical woods, but we have woods that are comparable in sound and tonal quality to what people get overseas,” he says. “Why not use what we have around us?”

Cherry, for example, offers a bright and shrill tone. Maple is more dampening, allowing a note to fade quickly and be followed by another. Walnut, with its high strength-to-weight ratio, is similar to mahogany in its warm, balanced tonal quality, according to Dubova.

“Every tree has a story or voice,” he says. “The instrument is like the tree’s afterlife.”

Dubova’s been into folk music since high school. He’d tune to “Bluegrass Sunday” on WNRN, and wear out his tape recorder laying down tracks by Doc Watson and Tony Rice. He performed with a few bands and busked on the Downtown Mall but found he was more interested in writing songs.

“I got into Bob Dylan—like, way into Bob Dylan—and started doing the harmonica-guitar thing,” he says. He met his wife, also a musician, and further expanded his harmonic horizons.

It was when Dubova first heard David Grisman of bluegrass supergroup Old & In the Way that he became interested in the mandolin. “I thought, ‘Oh my god, this is mind blowing,’” he says.

Dubova has made mandolins for Sage Canaday, a professional runner and musician in Boulder, Colorado; Chad Timmer of Colorado-based HenScratch and Nikos Briscoe of Fever in the Funkhouse. Dubova says one of his customers handed Chris Thile of the Punch Brothers a Dubova mandolin backstage after a gig, and Thile said it sounded great.

For local John Andersen, who owns Crozet Running and plays music as a hobby, Dubova produced a themed guitar depicting a spruce and bear claw over a mountain profile—using all domestic woods.

UVA Engineering administrator Jason Jones found Dubova through contacts in the ultra marathon world. “I was doing research on different guitars and got it in my head I wanted a guitar with some roots to Charlottesville,” Jones says. “Michael’s work is beautiful. He’s attentive and patient.”

Though he could have bought something off the shelf for less, one of the reasons Jones decided on a Dubova guitar was the chance to have it custom-made. “You might have a sound in your head and go to a store and play a bunch of guitars and not find what you’re looking for,” he says.

Dubova’s made instruments for as much as $2,500, but he’s flexible and can produce custom rigs for as little as $650. As custom luthiers go, he’s inexpensive.

Dubova’s philosophy goes back to that day in the California desert—sometimes you’re lonely, maybe a little down on your luck, and all you want is an instrument in your hands.

“I’m a musician, too. Good instruments should be available to as many people as possible,” he says. “Maybe that’s not going to be a productive business model, but it stays true to who I am.”

Categories
Arts

YOU Issue: Jason Elliott offers HIV/AIDS education through celebration

Here’s what readers asked for:

“This event has grown from just a little party in my house to a truly amazing event where this community comes together to party for a purpose. I am so proud of this event and cannot wait to see it continue to grow!”—Jason Elliott

As Jason Elliott stood paralyzed by stage fright in front of thousands of people at the opening of a central Virginia Pride festival, he knew he was not the first notable person to forget the lyrics to “The Star-Spangled Banner.” Christina Aguilera, James Taylor, and Cyndi Lauper are just a few celebrities who’ve bumbled their delivery of the national anthem. But Elliott, a seasoned performer, representing Mr. Gay Pride Virginia, was determined to play his flub differently.

After leaving the stage, humiliated, he waited for the end of the opening remarks. “The dignitaries spoke and I said, ‘Give me the microphone,’” he says. Elliott cued up the track, asked the audience to join him, and nailed it.

No stranger to second chances and reinventing himself, Elliott’s journey to becoming an activist, HIV/AIDS educator, model, performer, and online talk show host was filled with emotional obstacles and mental health challenges. But his story also speaks to self-determination and the power of community support.

On Saturday, December 1, Elliott joyfully engages that support at his annual Little White Party, a gathering held to honor World AIDS Day that pays homage to the circuit parties of the late ’80s and ’90s. It’s an event that has grown from a casual BYOB group of friends to a party drawing hundreds of revelers from Virginia and beyond.

In 2015, Thrive, Charlottesville’s AIDS service organization (formerly ASG), was dissolving. Funding had become unsustainable, and the board issued a press release stating that “better treatments mean HIV-positive individuals are living longer,” and there was less of a demand for a some of the services offered. But Elliott, a volunteer at the time, felt strongly about the organization’s disappearance, thinking “Once Thrive is gone, we have nothing in Charlottesville.” And not just the access to treatment and education, he says. The organization had also been a nexus for gay social life, with drag bingos and dinner nights.

For closure, Elliott “threw a little house party, invited ASG/Thrive to provide testing, and [everyone] had a great time.” A year later, people started asking if he would hold the party again, and that’s when he realized, “This needs to stick. This is a thing.” So, with his knack for reinvention, Elliott launched a new tradition around his own experiences.

Growing up in Chesapeake, Virginia, Elliott’s love of pageantry and performance was evident at a young age. But as a member of a “very conservative family,” he did not feel supported in pursuing what he describes as his secret bucket list.

“At one point, I really wanted to be a female impersonator,” says Elliott. “Even in my late teens, I thought, ‘I want to try drag.’ I wanted to compete in pageants as a male and as a woman. As a character and as me.”

Elliott came to Charlottesville in 2010 to study psychology at UVA, and shortly before leaving home, he was outed, which started a free fall in his life.

“Some took it well, some did not,” he says. “I myself had a very hard time with the process of coming out. I was very strong in my faith, and I actually planned to be pastor. When I came out, that got flipped upside down and I was told ‘you are not going to be able to do anything of importance, so you should just give up trying now.’”

What followed was a monumental struggle with bad relationships, depression, and an eating disorder. And for a number of months, in order to escape a physically dangerous partner, Elliott became homeless, living in his truck and sleeping at the UVA library, while still attending classes during the day.

When friends in his a cappella group noticed he kept wearing the same outfit and saw some bruises, they confronted him and pushed him to make changes, creating another turning point for Elliott. He credits Counseling and Psychological Services at UVA for his emotional recovery. “They are one of the few aspects that kept me alive,” he says.

That counseling, along with the support of friends, spurred him to another round of coming out. “I wasn’t out as someone who was dealing with depression. I wasn’t out as someone who was homeless, or as someone who was facing these trials,” he says. Elliott also got real about his childhood dream of competing in drag pageants.

He came across an ad for the Mr. Gay Roanoke competition. “I didn’t know where Roanoke was, says Elliot. “But, I thought I could secretly check this off my bucket list.” He drove to the western Virginia city, performed what’s now his signature song, the Michael Bublé version of “Feeling Good,” and won the first of several pageant titles. Shocked by the win, he thought “Now what?”

The path soon became clear. “I had already started to grow my passion for AIDS/HIV and sexual health. I wanted to do two things with this title, promote awareness, and…I also wanted to use it to show all the other guys—you don’t have to have a six-pack, perfect teeth—if you want to be on stage, you just have to have the heart.”

In one of the smoother segues of his life, Elliott began singing, making appearances, and performing in drag shows and as a solo act. And eventually, he joined the staff at the Thomas Jefferson Health District, where he runs a public health program that offers free rapid HIV tests.

It’s with the Little White Party that his flair for performance and health education combine to pull off “the hottest party of the year”—but not without controversy.

Elliott has never been to one of the legendary “white parties” of old, and he says that there’s nothing like it around. But he understands when people do a double take at the name, especially after the events of August 11 and 12, 2017, in Charlottesville.

“Last year I had a person say to me, “I’m sorry, the what party? You can’t do that,” says Elliott. But he says an African American friend turned to her and said, “Girl, you don’t know what you are talking about. White parties are off the chain.”

A major sponsor also told him, “you cannot host a Little White Party in Charlottesville, Virginia. You have to change the name.”

But Elliott decided he simply had to work harder to make people understand what the event is about. He remains firm about keeping the traditional name, which dates back to the ’70s, but was made popular by The Saint, an East Village disco in the 1980s that launched the New York City White Party as an annual February tradition with a requirement that partygoers dress in all white. When the AIDS crisis struck, the club membership was deeply affected, and The Saint was forced to close. Many cities around the country picked up the White Party as a way to fundraise for HIV/AIDS causes.

“I’m trying to pay tribute to the path that was laid out before I even existed,” Elliott says. “I think it still carries that same message [of support]. You look around the room and you cannot tell who has HIV and who doesn’t.” To date, he has 12 sponsors on board for 2018.

When Elliott gets up to the mic on Saturday night to hand out his Red Knight award for extraordinary contributions in the fight against HIV, he will be looking at a representation of activism greater than himself, but one that relies on his passion. Something it’s taken a lot of restarts for him to feel confident about.

And he’s had the right words all along. “We’ve all had to get back onstage and try again,” he says. “Be it in front of thousands of people or just by yourself. It’s okay to walk off and come back and try again.”