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Living

Strep search: Don’t blame your sore throat on the dog

It happens at least once a year. Family members taking turns with strep throat, and they bring the dog in to see if he might be the culprit. It’s a completely reasonable concern, although I’m surprised at how often it has been suggested by the family physician or pediatrician. Because the answer is the same every time: No, the dog didn’t give anybody strep throat.

Most of us have probably tangled with strep throat at one point or another, and it’s a notoriously unpleasant experience. Lymph nodes under the jaw become swollen and sore. Horrible pustules line the back of the throat, bringing pain and frustration with them. It quickly responds to a course of antibiotics, but this still requires an inconvenient trip to the doctor and that gag-inducing test where they swab the back of your throat. This test is specifically looking for group A streptococcus—the bacteria that cause all this misery.

The thing about this infection is that it really likes people. We are its victim, but also its source. Many people harboring it have no symptoms at all. There is no vaccine, and the only prevention is good hygiene and a dash of hope. And unlike so many other diseases, recent infection with strep doesn’t prevent you from getting it again, which means that groups of people can continue passing it around indefinitely.

So what about the dog? The simple fact is that there are no clearly documented cases of dogs giving people strep throat. Although the offending bacteria can (rarely) be cultured from dogs, all evidence suggests that they only carry the bacteria temporarily after picking it up from a person. It doesn’t want to live in dogs, and it isn’t there long enough to multiply and become contagious.

You’ve probably noticed that there’s some wiggle room here. If dogs can carry the bacteria even briefly, isn’t it possible—however unlikely—that they might hand it off to a person? Sure. Biology is nothing if not unpredictable. But in these hypothetical cases, the dog would be serving a role no different than a contaminated pillow or a used glass. Testing the dog makes no more sense than testing every other object in the house for the presence of group A strep.

There is a lot of pressure on veterinarians to prescribe antibiotics to dogs when a family is visited by a stubborn round of strep throat. At a glance, what harm can it do? Even if it just makes everybody feel better, isn’t that worth it? Unfortunately, no it isn’t. Among other man-made catastrophes, antibiotic resistance is a threat to every single one of us. Tossing antibiotics at the dog without justification is one more incremental contribution to a global problem.

Strep throat can be frustrating, especially when a family can’t seem to shake it. But there is no need to conjecture about some mysterious culprit when we already know exactly where it’s coming from. It comes from us. Let’s leave the dog out of this.


Dr. Mike Fietz is a small animal veterinarian at Georgetown Veterinary Hospital. He received his veterinary degree from Cornell University in 2003, and has lived in Charlottesville since.

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Arts

ARTS Pick: Fall Dance Concert

Through a collaboration between faculty and students, the UVA Department of Drama’s annual Fall Dance Concert offers a variety of works that explore sound, space, and movement.
In Benevolence, guest choreographer Chien-Ying Wang examines communal bonding by “investigating the effects of a dysfunctional family, community, congress, and so forth,” she says. Other pieces look at shifting environments, the dancing body, and the connections between sound and movement.

Thursday, November 15 through Sunday, November 18. $5-7, 8pm. Culbreth Theatre, 109 Culbreth Rd. 924-3376.

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Arts

ARTS Pick: Frank Solivan & Dirty Kitchen

Bluegrass’ roots grow deeper with Frank Solivan & Dirty Kitchen, whose instrumental finesse has won acclaim from a 2015 best bluegrass album Grammy nomination to International Bluegrass Music Association’s Instrumental Group of the Year awards in 2014 and 2016. Monster mandolinist Solivan and company promise another simmering set of tunes with the release of If You Can’t Stand the Heat, due in January 2019.

Saturday, November 17. $18-20, 7 pm. The Prism Coffeehouse at C’ville Coffee, 1301 Harris St. 974-7233.

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Arts

Dancing with disaster: Adam Nemett offers hope for the future in We Can Save Us All

After months of involvement with SURJ and Charlottesville Resistance Choir, author Adam Nemett saw the statue debate become a community catalyst during the events of August 11 and 12, 2017.

“I have tremendous respect for the anti-racist and anti-fascist heroes that were out there on the streets putting their bodies on the line to protect our community when the police refused to,” he says. “That experience showed how much needs to be improved here, but it also showed that there’s a lot of resilience in Charlottesville.”

Nemett notices how people band together in the face of potential disaster because he’s a longtime student of the subject. After graduating from high school in Baltimore, he went to college at Princeton during what he describes as a “pretty heavy” time. “1999 was Columbine, 2000 was the Bush/Gore election, 2001 was 9/11, and then the war that followed,” he says. “I feel like it was a period where we [as Americans] went from this naiveté, or feeling of pure safety and security in this country, to something a bit darker.”

Against this backdrop, Nemett took writing and religion classes while building something new on campus: a student organization that hosted parties and events showcasing diverse forms of music. “There was no one else that was going to come in and create the kind of social life that I and a lot of other people wanted,” he says. “So we all just said, ‘Well, let’s do it. Let’s us do it.’”

The group’s grassroots approach, taking one slow step after another, created a “mini-movement” with nearly 600 members at Princeton. Eighteen years later, MIMA Music has morphed into a global non-profit organization, one that provides innovative music education to kids and adults in underserved areas.

When Nemett started the Charlottesville chapter of MIMA two years ago, he drew on those same community-building skills, knowing “if you put in the hours and do the work, something cool can happen.”

His novel, We Can Save Us All, is a testament to his dedication (it took 12 years to write and publish), as well as to Nemett’s observations of how people behave during periods of upheaval. The story centers around a group of Princeton students leading a movement across college campuses while the world teeters on the brink of apocalypse: climate disasters create a global state of emergency and America is perpetually at war.

Those speculative aspects that “felt really far-fetched 12 years ago,” Nemett says, “now feel really realistic. Especially in terms of this very charismatic but very unhinged leader figure coming to power at a dangerous time, and other apocalyptic phenomenon going on around it. Unfortunately, the world caught up to the book a little bit.”

Crafting disaster while watching the world follow suit has been a jarring experience, he says. “Some of the book was based on 1930s and ’40s Germany. I’m Jewish and I’ve always been horrified and fascinated with how something like that could happen. In the beginning, it felt like light years in the past, and it was hard to imagine something like that could ever happen again.”

Writing the book became a thought experiment of sorts, a way for Nemett to challenge his own complacency around systems, institutions, and norms he felt could come crashing down at any minute. “What kind of organization might I have wanted to start if my issue hadn’t been ‘there’s not enough good music to listen to on campus,’ but ‘Oh, God, the power’s been out for three weeks’? What would happen if a new student movement rose up around this very dark period where the future was uncertain, and what would that look like?”

Officially out on November 13, We Can Save Us All has already garnered critical praise and landed on numerous top 10 lists. At a time when life imitates art—climate disasters loom large and political upheaval fuels fear—you might expect such a book to feed your anxiety. But after dancing with disaster for more than a decade, Nemett says he came away with a real sense of hope.

“We think of dystopia, the apocalypse, and the post-apocalyptic world in this very cinematic, Mad Max hellscape way,” he says. “Everything is terrible and everyone’s trying to kill each other over cans of soup.”

But, he says, the mob riot mentality doesn’t bear out in real life. “Historically, all the way up to Hurricane Katrina, the people on the ground do an amazing, beautiful job of banding together and creating these improvisational, mutual aid societies. The danger comes when the state or the elites or the media just want to portray it as a dog-eat-dog scenario.”

Which leads Nemett to another thought experiment. “What if it wasn’t dog-eat-dog?” he asks. “What if this destructive period is building something very progressive and evolved—a model for how civilization and communities can and should exist in the future? Maybe it looks very different. Maybe it’s simpler, harder, and there’s less comfort involved. But it might just be more human, more spiritually satisfying, and more uplifting in the long run. If we can keep our heads during these tough periods and work to help each other.”


Adam Nemett will read from and celebrate the launch of We Can Save Us All on Thursday at New Dominion Bookshop.

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Arts

ARTS Pick: Seven Homeless Mammoths Wander New England

In Seven Homeless Mammoths Wander New England, Dean Cindy Wreen is fed up with a lot of things: her tiny college’s financial difficulties, plans to close an obscure natural history museum, and monogamy, to name a few. While her New England town battles to save a historically inaccurate woolly mammoth exhibition from a dark fate, Wreen’s cancer-stricken ex-girlfriend is living in her home—which is not exactly cool with her current, much younger lover Andromeda.

Through December 15. $22-26, times vary. Live Arts, 123 E. Water St. 977-4177.

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Arts

ARTS Pick: Susie & The Pistols

Susannah Hornsby heads the locally assembled bluesy supergroup Susie & The Pistols for a PACEM benefit that also includes Rob Cheatham, Chlöe Ester, Andrew Neil, Rusty Speidel, and Justin Storer. The roots-tinged, Americana-laced lineup is part of Jason Burke’s Six Pack Songwriter Series, and a testament to the spoils of living in a talent-rich music community.

Sunday, November 18. $10-12, 7:30pm. The Southern Café & Music Hall, 103 S. First St. 977-5590.

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Arts

Not waiting for it: Comedian Ashley Gavin stands up for diversity and vulnerability

When New York-based comedian and actress Ashley Gavin met Jerry Seinfeld, she asked him when he last bombed a show. Seinfeld’s answer? “At a party last New Year’s Eve.”

“I bombed a show last week. Everybody bombs,” Gavin says. “People think it stops happening.”

She feels less likely to fall flat when performing stand-up comedy than improv. For Gavin, stand-up offers fewer logistical barriers, it’s easier to practice, and there’s no one to blame but yourself if you fail. That’s why five years ago, she left Upright Citizens Brigade—the sketch comedy group whose original cast included Amy Poehler and Matt Walsh, among others—to pursue her stand-up, acting, and writing career.

Before joining the Brigade, Gavin studied computer science at Bryn Mawr College in Pennsylvania. After graduating, she designed and taught a computer programming course at the nonprofit Girls Who Code, partnered on a project with Google, and worked at a another tech company. While Gavin calls her tech experience “really fun,” she says it’s not funny, so audiences at her shows don’t hear much about her early professional pursuits.

Gavin delivered her first stand-up routine during an open mic night at The Lantern in New York City. It went so well that once she finished, she remembers thinking, “Oh. This is what I should be doing.” The performance launched a flourishing career. She’s on the heels of a recent sold-out show at the Times Square comedy club Carolines on Broadway, and her current tour takes her up and down the East and West coasts, headlining at colleges and clubs nationwide.

Gavin is also working on a movie script, and her online miniseries, “Gay Girl Straight Girl,” has received over 400,000 views on YouTube. The show provides an absurd yet realistic representation of the dynamic between two female friends with different sexual orientations. In episode two, “Gay Girl Teaches Straight Girl How to Work Out,” Gay Girl (Gavin) takes a reluctant Straight Girl (Gavin’s writing partner Lee Hurst) on a run. Straight Girl, wearing a “Resting Brunch Face” shirt, doesn’t fare well on Gay Girl’s athletic regimen.

Gavin performs on November 17 at the Paramount, as part of the eighth annual United Nations of Comedy Tour along with comedians Mike Recine, Antoine Scott, and Funnyman Skiba. So what might you hear at her show?

“A lot of stuff on feminism. That’s my most-covered thing. There will be some stuff on my being gay, some stuff on race and class,” Gavin says. “I’m offering my unique perspective on topics that have been talked about thousands of times. Like Oreos.”

Lately, Gavin likes to talk about the “deeply emotional” aspects of daily life—like her dad dying when she was a child, the ups and downs of her career, and a recent terrible breakup.

“They’re dark, but I think about those things as weird social commentary. We all have those things in common. I don’t think we talk about those things very often and in public,” says Gavin.

Gavin’s sexuality is another aspect of her identity that she feels gets caught in a cycle of receiving too much or too little attention. As a gay female, it’s been difficult for her to book acting spots. She must choose whether she wants to be “flamboyantly gay,” or totally avoid the topic.

“I’m not visually gay enough to play a gay woman on TV,” Gavin says. “In auditions where I play a woman in a young [heterosexual] couple, or a mom, I have a tell. The only roles I ever land are ones where sexuality is totally not present.” And Gavin says that’s difficult, because, “People don’t realize how present sexuality is. If you look at any commercial ever, it’s there.”

Gavin’s routine doesn’t focus entirely on her sexuality. The jokes that explore her experience as a gay woman take place during her routine’s first few minutes, to “get them out of the way,” Gavin says. But even a short bit creates challenges.

“I could do a joke about loving Oreos and it could become a joke about how gay people love Oreos,” says Gavin. “Not being a straight white male, my jokes are filtered through the thoughts that other people have.”

She is especially frustrated by the cycle movie studios create when they hire heterosexual and cisgender big-name actors and actresses to play LGBTQ+ roles in order to draw crowds.

“There are no gay actors in that category because there are so few roles for gay people. Those parts simply don’t exist for gay actors in a truly significant way,” Gavin says. “How could those gay actors ever get to the point where they’re taken seriously for an Oscar film about being gay?” Despite the hurdles, she’ll continue to push against the stigmas and typecasting. It’s another facet in Gavin’s career where she is not afraid to fall flat.


New York-based comedian and actress Ashley Gavin performs at the Paramount as part of the United Nations of Comedy Tour on November 17.

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News

Not healed: August 12 survivors ask for help

By Jonathan Haynes

The vaulted sanctuary of First United Methodist Church fell silent Friday night as survivors of the vehicular assault that killed Heather Heyer spoke one by one about their paths to recovery. Survivors organized the event to raise money for Heal Charlottesville, a local charity that provides financial assistance to people harmed by Unite the Right protesters on August 11 and 12, 2017.

Kendall Bills, the evening’s emcee, opened the November 9 event by recounting the concussion she sustained after a Nazi punched her in the face. She warned that speakers would be describing white supremacist violence and would not take questions, then she reminded the audience that donation boxes were stationed on the lectern and near all the exits.

Victims recalled the assault in graphic detail. Tay Washington, an EMT, was sitting in her car on Fourth Street when it was struck by James Fields’ car. “I heard a big noise, like a bomb had gone off, then I opened my eyes and saw people tumbling over the car,” she said, embracing her sister as tears trickled down her cheeks.

She also said that, as someone from Mississippi, she wasn’t used to seeing so many white people show up in support of black Americans.

Many survivors said they were initially hesitant to accept financial help from Heal Charlottesville. Another victim, Lisa, who did not give her last name, said she felt like she did not deserve money from the fund, but was prompted to accept it after she realized her insurance only covered 30 physical therapy sessions.

“When you feel like you’re not paying for yourself, you worry about becoming a problem,” said Washington, who has not been able to return to work. “It feels wrong to go and ask for more because you found a new doctor.”

The inability to return to work was a common theme. Star Peterson, who suffered injuries in one of her ribs, two parts of her back, and both of her legs, hasn’t been able to return to work after five surgeries and infections caused by the surgical metal doctors implanted in her leg.

Trauma also played a role. “I live with physical scars, though sometimes the more painful scars are mental,” said Courtney Commander, a friend of Heyer’s who went to the August 2017 rally with her. For her part, Al Bowie was skeptical of receiving help after spending time in the hospital, which she found more traumatic than the attack itself.

While it wasn’t mentioned at the event, many survivors of the August 12 attacks have been bracing themselves for James Fields’ upcoming trial. The 21-year-old from Ohio, who is accused of driving into a crowd of protesters, will begin a three-week trial for first-degree murder and malicious woundings in Charlottesville Circuit Court on November 26. He also faces 30 federal hate crime charges.

Despite all the pain and trauma, the sense of community that emerged after the attacks was a common thread. “I had the privilege of confronting fascism alongside some of the most beautiful people I’ve met in my life,” said Peterson. Bills echoed this sentiment, saying, “The most powerful thing of the summer was what my friends were able to bring out of me. That my sister, community, best friends stepped up with me.”

Still, the tone was urgent. Heal Charlottesville would need more funding to continue its work. Peterson implored people to donate to the organization, which paid for her rent, groceries, and medical bills in the aftermath of the assault. “They don’t have enough to help victims for as long as they need,” she said. “I want to ask Charlottesville to keep walking by my side.”

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News

Too risky: Blakney accepts plea deal to avoid incarceration

His lawyer painted a picture of a black father in his early 50s, the sole caretaker of his child with autism, who doesn’t have a computer or read the news, and who came to the Downtown Mall on August 12, 2017, to panhandle for the extra money he needed to buy his son’s medication.

Defense attorney David Baugh said his client, Donald Blakney, never expected to witness the largest gathering of white supremacists in modern history when he went downtown that day. And after being seen as “subhuman,” called a “nigger,” pepper sprayed, and spat on, he got angry—and decided to retaliate.

At a March hearing in Charlottesville General District Court, Eric Mattson, a self-proclaimed Constitutionalist from Arkansas, testified that he was carrying a rolled up American flag when Blakney approached him from behind and beat him over the head with a stick. It broke Mattson’s sunglasses, and caused him to black out for a moment, he said.

And when Mattson, who traveled 16 hours to Charlottesville, went back to his hotel room on August 12, he said he saw footage of Blakney assaulting him on national news.

Almost half a year later, in January, Blakney was charged with malicious wounding. Detective David Stutzman testified in March that when he visited Blakney at his home, Blakney admitted to taking his anger out on the man he associated with the white supremacists and neo-Nazis. The detective said Blakney immediately felt remorse, and asked if Mattson was okay.

In Charlottesville Circuit Court on November 6, Blakney sat solemnly, with one hand gripping his cane and his eyes low.

Commonwealth’s Attorney Joe Platania cited Blakney’s sincerity as one reason for offering him a plea deal that would downgrade the felony charge to misdemeanor assault, suspend any jail time, and omit any associated fines. He added that a jail sentence would prevent Blakney from taking care of his noncommunicative son. Platania also said the victim had requested Blakney receive no time behind bars.

Platania and Baugh had very frank discussions about how to proceed, how Baugh planned to argue his case if it went to trial, and what the best outcome would be, according to the prosecutor.

Ultimately, Blakney felt he couldn’t risk going to jail if a jury convicted him of malicious wounding, and decided to take the deal, according to his lawyer and spiritual adviser.

It’s a compromise that keeps him home, but one his supporters don’t think is just.

“Mr. Blakney is a man who loves his family, a man who allowed himself to be unjustly treated so that he could be with, and care for, his family,” says Pastor Phil Woodson, of the First United Methodist Church. “He couldn’t fight for justice because justice is not guaranteed, especially for people of color, and he couldn’t risk it…and so justice passed him by.”

Circuit Court Judge Rick Moore has found three white supremacists from out of town guilty of malicious wounding for their actions at the Unite the Right rally, and two are serving six- and eight-year prison sentences. Perhaps it’s not surprising that the judge took time to mull over the plea deal that Baugh and Platania presented to him for the local man.

But Moore eventually approved it—adding that he thought “long and hard,” and also noting the difference in Blakney’s behavior versus the others.

“A lot of people tried to hide or lie,” said Moore. “And he did show remorse.”

Looking at Blakney, he said, “Maybe I’m naive, but I believe what’s been told to me. …I hope this is truly a one-time experience for you.”

Blakney and his family have received death threats since August 12, and were frightened by police who showed up unannounced to investigate the threats, according to the pastor who sat in the gallery in support of the man he calls his friend.

Says Woodson, “It is my hope and prayer that Mr. Blakney and his family will be able to move on from all this, that their fear subsides, and that they never have to go through this again.”

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Arts

Album reviews: Robyn, MihTy, Jeremih, Ty Dolla $ign, Breakers, The Struts, and Bad Moves

Robyn

Honey (Interscope)

Eight years after Body Talk, the Swedish dance-pop star’s new album doesn’t so much represent a shift in direction as a deceleration. On Honey, there’s plenty of the ’80s-ish electropop Robyn left off with on Body Talk, especially on the thumping “Missing U” and the minimal “Human Being” and “Between the Lines.” There’s also a lot that’s surprisingly half-baked, given Honey’s lengthy incubation period: the (aptly tropical) “Beach 2K20” feels like a first draft, and “Baby Forgive Me” sounds like an anthem waiting to be animated. “Ever Again” closes on a satisfying R&B note; there’s even a vocal hook. But the overall effect is of the dance floor queen lounging at home—the album title comes off less like a reference to pure sweet energy and more like the term of domesticated endearment.

https://www.billboard.com/articles/news/8481827/robyn-honey-album-stream- it-now

MihTy, Jeremih, Ty Dolla $ign

MIH-TY (Interscope)

Jeremih and Ty Dolla $ign are a couple of the better dirty R&B singer/rappers to emerge in recent years, so a collaboration sounds pretty great—and MIH-TY has a lot going for it, despite the forced, terrible title. Jeremih’s upper register and Ty’s midrange cover a lot of bedroom seduction modes, and that’s what MIH-TY is about, exclusively. Their stated aim was to make an album that “soaks up the sheets for the ladies” but that “fellas [can] ride to.” But while the grooves and vocal hooks are indeed slinky, delicate, and alluring, the entreaties are so crude it’s obvious Jeremih and Ty are more concerned with impressing the fellas. Still, they croon with such conviction they truly seem to believe that the refrain “I’m fucking you tonight” is a Leonard Cohen-quality come-on. Kids these days.

https://www.billboard.com/articles/columns/hip-hop/8481867/ty-dolla-sign- jeremih-new-album-mihty-stream

Breakers

Rewrite (Breakers)

Charlottesville’s Breakers dial back the artier tendencies of In Search of An Exit, the band’s 2017 full-length, and knock out a dozen stompers reminiscent of a certain New York band from those halcyon “new garage” days. Rewrite, indeed—an alternate title coulda been Is This It, Again. Main Breaker Lucas Brown’s voice trades a bit of Julian Casablancas’ untouchable cool for some depth and power, and he shares the Strokes frontman’s melodic gifts. The album has modern rock sonic muscle to spare, and Breakers is a formidable unit, as locals can find out when the band plays the Southern on November 8.

https://breakerslab.bandcamp.com/album/rewrite

The Struts

Young & Dangerous (Interscope)

Another throwback comes from Derbyshire, England, and it is odious. If your band is called The Struts and your album is called Young & Dangerous, you better be transcendent (see the Stones) or hilarious (see the Darkness), but what we’ve got here is a soul-killing paint-by-numbers pastiche of “real rock”—the sort already barfed up by revolting posers (see Jet).

https://consequenceofsound.net/2018/09/the-struts-young-and-dangerous-new-album/

Bad Moves

Tell No One (Don Giovanni)

Descriptions of D.C.’s Bad Moves scan like insults, but in their case it’s all in the caveats. Yup, Bad Moves’ power pop edges towards pop punk, but it’s stripped-down and devoid of whining. And while Tell No One is relentlessly positive, full of up-with-people-sounding broadsides, it avoids facile sloganeering and mawkishness. Two guitars, bass, and drums kick out tight jams, and all four members sing, often at the same time, to adorable, sometimes exhilarating effect. If it sounds like Bad Moves would make great cartoon characters, well, they already have, making a cameo on Cartoon Network’s “Craig From the Creek” as a neighborhood garage band triumphing over grumpy-neighbor adversity. Kinda perfect.

https://badmoves.bandcamp.com/album/tell-no-one