Categories
Arts

Getting van Gogh: Willem Dafoe and Julian Schnabel create a masterpiece

By its very nature, portraying the life of an artist of any medium on film while incorporating the substance of his work into the overall aesthetic is a risky endeavor. Perhaps it’s no coincidence, then, that visual artist and director Julian Schnabel has helmed two of the most resonant films about the lives and work of famous painters: 1996’s Basquiat, and one of this year’s most fascinating movies, At Eternity’s Gate. The latter is based on the life and work of Vincent van Gogh, and it is neither full biography nor pure reinterpretation of his paintings.

Instead, Schnabel examines the artist’s place in the world around him, his perspective, his technical and emotional attachment to the process, and the physicality of the act of painting. The film does so with a fascinating, hyper-realistic style that contextualizes van Gogh while removing the meaning of time, place, and even language in shaping him and his legacy.

The film follows the last two years of the artist’s life, which were famously his most productive. Finding the bustle of Paris overwhelming, he leaves for the countryside of Arles, to share his vision of nature with the world. Even there, he finds the small-mindedness of the people around him stifling, and, compounded by his deteriorating mental health, he falls into psychotic episodes that he rarely remembers.

When you look at a painting, you are never asked to imagine that it is real. You are expected to be aware of its construction, the intention of its brushstrokes, the framing, and the use of color. Schnabel does the same with At Eternity’s Gate. Willem Dafoe is exceptional in the lead role, and the fact that he is nearly 30 years older than van Gogh was at his death emphasizes the artist’s estrangement from his contemporaries, such as Paul Gauguin (Oscar Isaac). The bold decision to have him speak English to people speaking French alienates him even further. The film is not strictly from van Gogh’s point of view, but the two are connected, almost as much as van Gogh is to his own paintings.

The film is far from immersive, to its credit; the shaky camera reminds us that the simple act of remembering him makes us participants in his story, and when the perspective shifts to van Gogh’s, we see the world the way he did: the color, vibrancy, and texture of nature contrasting with dark, directionless, featureless cities and towns. When half of the screen goes blurry—references to possible failing vision—it is somehow more beautiful, bringing out colors and shapes we did not see before, reminding us that observation requires active engagement in the subject.

Whenever films about the same thing are released at about the same time, it’s inevitable to compare them. It’s possible to have two worthwhile stories on the same subject, but this is not the case with the two van Gogh movies: At Eternity’s Gate and last year’s Loving Vincent. The latter made waves for being fully animated in van Gogh’s style using only paint. It was a pretty exercise, but a hollow one; the movie was a series of interrogations by Armand Roulin (Douglas Booth) with rotoscoped actors reciting facts you could find on van Gogh’s Wikipedia page. The meaning of the effect was lost, cheapening the hard work that went into it by not making it an essential part of the story or enhancing the audience’s understanding. Loving Vincent was pretty, but At Eternity’s Gate is beautiful, and one of the year’s best films.


At Eternity’s Gate

R, 111 minutes, Violet Crown Cinema


See it again

The Bishop’s Wife. NR, 109 minutes. Alamo Drafthouse Cinema, December 8

Opening this week

Check theater websites for complete listings.

Alamo Drafthouse Cinema 377 Merchant Walk Sq., 326-5056  

Regal Stonefield 14 and IMAX The Shops at Stonefield, 244-3213  

Buttons, George Takei’s Allegiance on Broadway

Violet Crown Cinema 200 W. Main St., Downtown Mall, 529-3000  

At Eternity’s Gate, Maria by Callas  

Categories
Living

Mummy outing: A day with kids at the VMFA (and other places)

It’s worth it to drive to Richmond on a rainy day. It might actually be the best time to make the trip—instead of moping around home or doing errands, you defy the weather and make a bold strike for the capital city. After all, there’s lots to do there. Like, mummy-viewing—which was enough to get me and my kids, ages 5 and 8, on the road to Richmond one recent drizzly day.

Yes, the Virginia Museum of Fine Arts has a mummy on display. Does a mummy qualify as fine art? No matter. We had other business to attend to before we approached the ancient one.

First on the agenda was the factory store of Red Rocker Candy in the town of Troy—a handy stop that breaks up the Richmond drive. Red Rocker is not only a woman-owned local business, it’s a tourist attraction with a production facility open to visitors, and a shop offering Red Rocker treats you can’t get anywhere else.

Standing at a large window in the shop, we watched as employees weighed out portions of Red Rocker’s signature pretzel mix, scooping from a big mound on a stainless-steel table, then sealing and labeling the containers. In a different area, a worker was spreading chocolate over a baking sheet and sprinkling copious amounts of nonpareils over it—then another sheet, then another. Several employees welcomed us warmly with samples and friendly chatting, and then we nibbled even more delights from jars in the shop.

On that big Mother Report Card in the sky, I wasn’t exactly earning an A in the feed-them-healthy-food column, but they sure were happy.

Continuing on, we arrived in Richmond hungry for lunch, sugary calories notwithstanding, so I steered toward Carytown. Our recent obsession with Greek mythology prompted me to seek out Greek food, which might not make a lot of rational sense, but jived perfectly with the logic of children. They were delighted to sit down to lunch at Greek On Cary, and though the meal was served by an ordinary mortal rather than an Olympian god, it proved plenty exciting—a sizable octopus tentacle served over grilled veggies (delicious), fried calamari mixed with piquant peppers, and a hunk of kefalograviera cheese, which our waitress set aflame before our astonished eyes. And: good old bread.

We ran through the rain back to our car and made the short drive to the VMFA. I love this museum for so many reasons, starting with its convenience and accessibility for families—admission is free, the coat check is free, and though the garage isn’t free, you can usually find street parking (free).

And the size is just right—small enough to be navigable, big enough to harbor many surprises. We headed first for the Egyptian artifacts, housed mainly in one room. The mummy waits in a darkened corner as visitors make their way past canopic jars, casts of relief carvings from ancient temples, and elaborate sarcophagi.

As you near the mummy, lights automatically illuminate its coffin. Tjeby, Count and Sealbearer of the King of Lower Egypt, died around 4,050 years ago. He wasn’t given quite the King Tut treatment—rather, he lies on his side in a narrow wooden box decorated with a single line of hieroglyphs and a pair of eyes meant to allow Tjeby to see out into the world. A tilted mirror affords a view down onto his linen-wrapped body. The girls were suitably impressed.

In nearby rooms, we were excited to see some of the Greek myths and epics we’ve been learning about represented on urns and other antiquities. There was Athena, springing from the skull of Zeus! There was the Trojan War!

Both girls were interested in a large mosaic depicting the four seasons, and crowns made of gold myrtle leaves, but my younger daughter started to drag a little as her sister and I checked out a statue of the evil Roman emperor Caligula. “Art museums are boring,” she said—a statement which, though it defied the enjoyment she’d shown just minutes earlier, did speak a certain truth. Art museums are not really made for kids; a lot of the artworks are just plain too high off the ground, for one thing, and the sheer volume of the collection means that a family shouldn’t even try to see it all in one visit.

So how to keep things rolling? I settled on this approach: 1. Give everybody a turn to decide what to look at next (including the grownup; I chose African masks). 2. Intersperse gallery time with stops in the gift shop and café. 3. Freely give piggyback rides.

In short, museum-with-kids is not the same experience as museum-with-adults. Hoofing my 5-year-old through a hall of tapestries, I felt a long way from those past days when I’d wander for hours, uninterrupted, through marble galleries, having one aesthetic revelation after another. But this was another kind of wonderful.


If you go

The Red Rocker Candy factory store is located at 170 Industrial Way in Troy. It’s open Tuesday-Sunday.

Greek On Cary is at 3107 W. Cary St. in Richmond and serves lunch and dinner daily. See .

The Virginia Museum of Fine Arts, 200 N. Boulevard, is open every day of the year and offers free general admission. The museum also offers Family Days and other kid-friendly activities.

For more on Richmond museums to visit with kids, see this previous Day Trip column.

Categories
Arts

Owning it: Comedy performer L.E. Zarling finds happiness in improv

It’s a Saturday morning in Richmond, and L.E. Zarling has ordered a chocolate croissant to go with her latte at Lamplighter Coffee. She looks at the pastry, covered in a heavy-handed sprinkle of powdered sugar. Then she looks at her black turtleneck sweater. “Fuck it,” she says before taking a bite. “I’m going to enjoy the hell out of this thing.”

This sort of just-go-with-it-and-own-it-while-you’re-at-it attitude is the way Milwaukee-born and Richmond-based comedy performer and instructor L.E. (Lilith Elektra) Zarling approaches most things in life. It’s certainly how she approaches comedy, which she brings to IX Art Park on Thursday, in the form of a two-hour improvisational workshop geared toward trans and non-binary people. After the workshop, Zarling will perform her one-person improv show, Wisconsin Laugh Trip.

Zarling started in comedy in 2003, when she was 33 years old. She realized that if she was the one with the mic, everyone in the room had to listen to her; and she wanted to be heard. A few years later, while living in Charlottesville, she pivoted to improv comedy and storytelling, where it’s always something new.

“The level of control that [improvisational comedy] brought to my life, being on stage and being an improviser, where you just have to go” and let go, rocked her world. Over time, performing helped Zarling, a trans woman, find her own voice and be completely honest with herself and her audience about who she is.

“I finally unscrewed the jar and let my real self out,” she says.

To hear Zarling talk about her life in comedy is to witness an animated retelling of some of her favorite performances. There’s the time she made a little kid laugh so hard, he puked (“I should have just retired then and there,” she quips). And the time when she led her 60-person audience in an impromptu singing of Queen’s “Bohemian Rhapsody,” where some audience members got so into it, Zarling handed the stage over to them. During that sing-along, she realized that being “in the middle of this happiness” is her dream.

Zarling’s workshops and shows are about community, positivity, and having fun, but within that, she does some pretty serious work.

Most spaces in the U.S., theaters and comedy clubs included, are not queer-friendly, says Zarling, and she hopes to change that, even if it’s just making venues (such as IX) more aware of the importance of having gender-neutral bathrooms. She holds improv workshops geared toward trans- and non-binary people to say “you are welcome here,” in this physical space and in this artistic space. There’s a lot of confidence to be found in “having an audience and holding it and having people interested in what you have to say,” she says.

“Comedy is your chance to be in front of people, to have your voice and say what you feel,” says Zarling. “Yes, there are forces trying to work against you. But no matter who the president is, that doesn’t stop you from making your friends’ lives better. That doesn’t stop you from reaching out and making your community better,” even in seemingly small ways.

When Zarling performs, she doesn’t talk much about being trans. “When you’re a performer, there are things you want to talk about…[and] being trans is sometimes the least interesting thing about me,” she says. She has a vibrant social life and loves to travel (so far this year, she’s visited Dublin and Belfast, Ireland, and driven across the continental U.S. twice); she teaches improv for business; every summer, she runs the comedy unit at a weeklong leadership camp in Alabama for kids ages 10 to 18.

But, she’s aware that in many cases, she’s the first trans person some of her audience members will get to know, and when they leave, this little piece of her will leave with them. At the very least, “they’ll be like, ‘Okay, maybe trans people just want to go pee?’” she says with a laugh.

At the show, Charlottesville fans can expect a bunch of characters, created with help from the audience. There will likely be a blind taste test (of…something), definitely a sing-along to the Violent Femme’s “Blister in the Sun” (“Wisconsin’s most famous band,” says Zarling), and a bit formed around a character created from a prop that Zarling will find in a local thrift store the day of the performance.

The thrifted prop bit has proven to Zarling that with comedy, she’s accomplishing exactly what she hopes.

While performing the show in California, she found a luchador mask and created a character called the Luchador Life Coach. “Who hates their job?!” she yelled out to the audience. A woman raised her hand—she was a paralegal dreaming of being a costume designer. “Who needs a costume designer?!” the Luchador Life Coach yelled. Four or five people raised their hands—one of them, a burlesque dancer, gave the paralegal her card. Zarling returned to that same comedy group about a year later, hoping to see the paralegal—but the woman couldn’t make it; she was working on a costume for one of her design clients.

Now Zarling doesn’t just say she changes lives through comedy—she knows she actually does it. “I have tangible evidence!” she cries, throwing her arms to the sides, sending a small cloud of powdered sugar onto her black sweater. But she doesn’t even notice—she’s just going with it.

Categories
Living

But baby it’s cold outside: Wine and beer delivered to your door

In case you need one more excuse to avoid going out in the frigid weather, Wegmans is now offering beer and wine delivery through Instacart.

“We know our customers are busy, and the holidays are no exception,” says Erica Tickle, Wegmans e-commerce group manager. “We wanted to help our customers spend less time prepping and more time celebrating.”

You can place your order on Instacart online or through the app, and orders will be delivered between 9am and 10pm.

It turns out wine delivery isn’t altogether new in the area, as several local wine shops have long provided delivery service.

Market Street Wine has been delivering for 30 years, say new owners Thadd McQuade and Siân Richards.

“This was established by [previous owner] Robert Harllee and we have carried it proudly on,” McQuade says. “We’ll deliver anywhere downtown—up to a case or two for free. We have a number of long-term clients who order a case from us every few weeks. We do everything from single gift bottles to large parties and weddings, and have delivered as far as 100 miles away.”

Foods of All Nations has also long been on board with this courtesy.

“We deliver whatever customers want, wherever they want, whenever they want, and we have for many, many years—as long as you’re 21 or older,” says Tom Walters, the store’s wine consultant. “We have some older clientele and regulars we deliver to on a regular basis and we deliver for special events, catering and things like that as needed too.”

Erin Scala, owner of Keswick’s In Vino Veritas, says she provides free neighborhood deliveries on certain days of the week—Glenmore and nearby get free Thursday delivery and Pen Park and downtown customers have free Friday deliveries. She adds that any order of $200 is eligible for free local delivery.

And Doug Hotz, manager/owner of Rio Hill Wine & Beer, says he also delivers within a 10-mile radius of the store, although there’s usually a fee. He adds that most people simply call ahead or email their order and pick it up at the shop. “It’s ready when they get here and they pull up and we load it up and they go.”

Anything to stay warm and dry.

Beer for a cause

Local breweries Devils Backbone, Champion, and Starr Hill have joined Sierra Nevada Brewing Co.’s effort to raise funds for California wildfire victims—with a collaborative beer.

Sierra Nevada, which originated in Chico, California, released its Resilience Butte County Proud IPA in a campaign to aid those who lost homes and property in the devastating Camp Fire in Northern California. They’ve enlisted brewers nationwide to also brew Resilience and donate 100 percent of beer sales to the Camp Fire Relief Fund.

A Blue Moon by spring?

Blue Moon Diner owner Laura Galgano is counting the minutes till she can open the doors to diner regulars.

“Our hopes were that we’d be back in business by January 1, but it’s looking more like March at this point,” she says. “We should be back in the space by January, but we won’t finish with our portion of the renovations until late February or early March.”

The beloved diner closed in May, 2017, in preparation for construction of Six Hundred West Main, the six-story apartment building (featuring a private art gallery as well as retail space) going up behind the restaurant. The complex didn’t end up breaking ground until almost a year after the diner closed, and is now set to open in fall 2019.

“We are very anxious to return to our wonderful, wonky diner space, and our wonderful, wonky diners!” says Galgano.

Tavern & Grocery hires a “Top New Chef”

Tavern & Grocery has hired Joe Wolfson, named one of the Top 100 New Chefs in America by Food & Wine magazine, to be its executive chef.

“He brings an exciting new menu to Tavern & Grocery, with dishes including sweetbreads, duck, and osso buco,” says restaurant owner Ashley Sieg, adding that in January the West Main eatery will introduce a Sunday Suppers feature, served family style.

Wolfson was the executive chef at the Old Stone Farmhouse on St. Thomas in the U.S. Virgin Islands, and Ms. Rose’s Fine Foods in Charleston, South Carolina.

Categories
News

Day 7: Witnesses describe Fields’ arrest

The prosecution rested today in the trial of James Alex Fields Jr. and the defense began its case, both sides focusing on the defendant during and after his arrest August 12, 2017.

In prosecution videos of Fields after he was taken into police custody, he repeatedly apologized, asked about any injuries, and hyperventilated for more than two minutes during his interrogation. The jury also heard recordings of two phone calls from jail between Fields and his mother, in which he seemed much less apologetic.

In a December 7, 2017, call, Fields can be heard asking his mom an unintelligible question about “that one girl who died.” We can assume that this is Heather Heyer, whom he’s on trial for murdering when he drove his gray Dodge Challenger into a crowd on Fourth Street.

He then mentions that Heyer’s mother has been giving “speeches and shit,” and “slandering” him. “She’s one of those anti-white communists,” Fields says on the recording. And his mother, seemingly reacting to his insensitivity, points out that Heyer died, and that her mother loved her.

Responds Fields, “It doesn’t fucking matter, she’s a communist. It’s not up for questioning. She is. She’s the enemy.”

In a March 21, 2018, phone call between Fields and his mom, Fields complained that he was “not doing anything wrong” on August 12, “and then I get mobbed by a violent group of terrorist for defending my person.”

And he claimed “antifa” were waving ISIS flags at the Unite the Right rally. His mom expressed some kind of intelligible dissent, and suggested he stop talking. “They’re communist, mother, they do support them,” he countered.

Also entered into evidence were text messages between Fields and his mom before the rally. On August 8, he told her he’d gotten the weekend off to go to the rally, and on August 10, she responded with, “Be careful.” And on August 11, he said, “We’re not the [ones] who need to be careful.” He attached an image of Adolf Hitler along with it.

Before resting his case, Commonwealth’s Attorney Joe Platania also played bodycam footage from Detective Steve Young, who appeared on the scene of Monticello Avenue and Blenheim Road as Fields was being detained.

In the audio of the interaction, Fields appeared to be cooperating with police, and repeated multiple iterations of “I’m sorry.”

When Young asked what he was sorry for, he said, “I didn’t want to hurt people, but I thought they were attacking me. …Even if they are [unintelligible], I still feel bad for them. They’re still people.”

He said he had an empty suitcase—”a family heirloom”—in his trunk, and asked police not to throw it away.

Fields also indicated leg pain, and when asked if he needed medical attention, he said, “I’d prefer if they see to the people who were rioting.”

He asked multiple times about any injuries sustained when he drove his car into the crowd on Fourth Street. And once he was taken to the Charlottesville Police Department for interrogation, he finally got his answer.

“There are people with severe injuries. I know one has passed away,” answered Detective Brady Kirby, as heard on the recording. For the next two or three minutes, Fields can be heard hyperventilating. He simultaneously cries while struggling to breathe.

At this point in the courtroom, Fields sat hunched over between his two attorneys, watching the video intently and quickly flicking his pen back and forth. Usually seated to the right of his lawyers, he traded places with one of them for a clearer view.  

Once at the local jail, Fields could be heard telling the magistrate in another recording that as he pulled onto Fourth Street, he had his GPS turned on and he was just trying to go home. He saw two cars stopped at the bottom of the street and began backing up. He said he felt a “really weird” emotion once he saw the counterprotesters.

“I didn’t know what to do,” he said, and never mentioned driving into them.

He also requested to have his face washed before getting his mugshot taken.

After the commonwealth rested, defense attorney John Hill moved to strike all of the charges against his client except for the hit-and-run. He said the prosecutors failed to prove that Fields showed intent to kill and actual malice. But Judge Rick Moore overruled the motions, and said, “I don’t know what intent he could have had other than to kill people.”

The defense called four witnesses, including Deputy Paul Critzer, who chased Fields in his cruiser and eventually cuffed him.

Critzer said he followed Fields for almost a mile, and Fields eventually pulled over on Monticello Avenue. The deputy then instructed him to put his hands outside the window, and started moving toward the Challenger when Fields drew his hands back inside and smashed on the gas. Critzer then chased him for what he described as less than a football field of length before Fields stopped again, and following Critzer’s commands, he threw his hands and keys outside of his window.

That’s when Critzer approached him from the passenger side—another officer had met Fields on the driver’s side—and slapped the cuffs on him.

Deputy Fred Kirschnick described Fields as “very quiet” “very wide-eyed” and “sweating profusely,” as he waited to be taken to the police department for questioning. He smelled a “light to moderate” stench of urine on Fields, which matches the description of a yellow stain on his shirt that others had testified to.

Lunsford also called city officer Tammy Shifflet, who was stationed at the intersection of Fourth and Market streets that morning, and who left her post before the car attack because things had gotten too chaotic.

She said she called her commander to ask for assistance, and he directed her to meet up with other officers. There was a small barricade she described as a “sawhorse” blocking Fourth Street when she left.

The defense is expected to call approximately eight more witnesses. Closing arguments could happen Thursday with a jury verdict as soon as Friday, according to the judge.

Categories
Arts

Author Soraya Chemaly encourages women to own their anger

Ask Soraya Chemaly why she wrote Rage Becomes Her: The Power of Women’s Anger, and she will say with a laugh, “First, I was mad.” Chemaly works by day as director of the Women’s Media Center Speech Project in Washington, D.C., an initiative developed to “raise awareness about the way women’s freedom of expression, freedom of speech, and civic and political participation is affected by violent threats.” After the 2016 election, Chemaly says, “Anger seemed to be a good filter through which to examine the state of women’s lives.”

The book, which interweaves research and analysis with Chemaly’s personal experience, opens with a vivid scene from her childhood: her mother pitching her wedding china, one piece at a time, onto the terrace. Women have a lot to be angry about in our patriarchal society: sexism and objectification, unequal pay, the burden of caregiving and emotional labor, sexual harassment, assault, domestic violence, and the double bind of a culture that trains us to suppress our emotions to keep the peace, and then accuses us of deceit or hysteria when those feelings come out. Chemaly writes, “A society that does not respect women’s anger is one that does not respect women—not as human beings, thinkers, knowers, active participants, or citizens.”

“The real question I wanted to ask,” she says, “is, if anger is a moral emotion indicative of harm, injustice, or indignity, why is it culturally only associated with men and masculinity in positive ways, but we deny it of women as a function of their femininity? We need to take a step back and see how dangerous the gendered allocation of emotions is for boys and girls.”

The most surprising thing she learned in her research about the socialization of boys and girls is how wrong our understanding of the relationship between hormones and aggression is. Many people believe that hormones dictate our behavior and attribute differences between the sexes to intrinsic traits. “But that’s a very confused estimation of what’s happening,” she says.

“Boys are allowed freer rein of their environment and taught to control their environment, which sometimes includes women and girls. But girls are taught to control themselves,” Chemaly says. “A lot of the way we socialize children causes more testosterone in boys. Studies show if you act in physically aggressive ways and exert power over other people, your testosterone levels go up.”

In contrast, “If you are treated in demeaning ways, your testosterone levels go down. When men nurture, their testosterone levels also drop. So the idea that hormones are produced in men and women in extreme ways because of our chromosomes is wrong.” The impact of our social conditioning, she argues, should not be discounted.

In addition to exploring the reasons for women’s anger, Rage Becomes Her examines how suppressing anger impacts our health. “Anger is implicated in a lot of illnesses that are sometimes dismissed as women’s illnesses,” Chemaly says, “as if we have no choice but to develop them,” such as autoimmune disorders, depression, and anxiety. Mismanaged anger also plays a role in heart disease and hypertension. In addition, she says, “We know the impact of discrimination on women’s health, so for black women that is really compounded. There can be terrible outcomes for those who live at the nexus of those oppressions.”

What, then, can women do with their anger? Chemaly says, “The most important thing is to acknowledge anger is a valid emotion for women. Acknowledge it, label it, give it a name, and then make meaning of it. ‘What is my anger telling me, what is wrong, and what can I do about it?’”

“Very often women attribute anger to sadness or stress, but in both we’re supposed to take care of those feelings by ourselves, do some self-care. If instead you said, ‘I’m angry,’ you’re going to hold other people accountable and that’s really important. Developing that as a form of life competence gives you better efficacy and intimacy in your life.”

She writes in her conclusion, “The anger we have as women is an act of radical imagination.” Asked to explain further, she says, “Anger helps you imagine a different course of action or a different future. In order to be angry you have to be able to envision alternatives. To me, sadness is more about resignation. You can’t be angry if you don’t have some hope.”

Because women are often charged with keeping the peace, their anger can be seen as a threat to balance. But Chemaly believes, “Anger will allow you to see how much the people around you care, or not. If you can’t say what makes you angry, you can’t have a meaningful relationship. If you can’t say, ‘I need you to be as responsible as I am for the health of this family,’ you can’t have intimacy.”

“Often women spend time dancing around men’s emotions,” she adds. “We are socialized to learn that first we are responsible for our own emotions and then for everyone else’s. It’s a pink tax and I think we need to stop paying it.”

Categories
News

Day 6: How Heather died—Witnesses detail severity of injuries

Marissa Blair Martin initially was unsure if she wanted to go downtown the weekend of the Unite the Right rally in 2017.  However, after the tiki-torch march through UVA Grounds on August 11, she changed her mind. She and her then-fiance, Marcus Martin, decided, “We had to so stand up for our community,” she testified in Charlottesville Circuit Court December 3.

Another reason she went was disbelief at such overt racism in 2017. “I had to see it with my own eyes,” she said.

Martin went with her friends from work, Courtney Commander and Heather Heyer, the latter of whom had parked at McDonalds, the same place the man accused of murdering her, James Alex Fields Jr., had parked earlier August 12.

Heyer was “very passionate,” easy to be around, and “very compassionate,” said Blair. “Heather was always outspoken. She was not argumentative but she tried to understand” where other people were coming from.

The four friends had joined a joyous group walking on Water Street. Blair decided to Snapchat the event. “I wanted everyone to see how happy everything was that day,” she said. “It was not all hate.”

Assistant Commonwealth’s Attorney Nina Antony played Blair’s video. Although not visible from the gallery, whoops, whistles, a drumbeat and the chant of “Whose streets? Our streets” could be heard in the courtroom.

Antony stopped the video and asked Blair about the woman with a long braid in front of her in the video. It was Heyer—and it was probably the last image of her alive.

In a split second, the scene went from happiness to “complete chaos,” said Martin. Screams could be heard on the video and Martin was yelling, “Marcus, Marcus!” She told the jury about being unable to find him in the “moments of terror” after the attack. “I saw the red baseball cap he was wearing and it had blood all over it.”

Nick Barrell, a captain with the Charlottesville Fire Department, was in charge of the station on Ridge Street August 12. He estimates that when he was dispatched to Fourth and Water streets, it took about two minutes to get there, he testified. What he didn’t know from the message he’d received—”Female struck by a car”—was the full extent of devastation that awaited him at the scene.

When he arrived, people were already performing CPR on Heyer. He noted a “very large contusion on her chest,” he said. “When you see bruising immediately after a trauma, that’s very serious.” Heyer, he said, had multi-system trauma with no palpable pulse and “she was not breathing on her own.”

Assistant Chief Medical Examiner Jennifer Nicole Bowers performed the autopsy on Heyer, and said blunt force trauma to the torso was the cause of death. Heyer’s thoracic aorta—the largest in the body—”was snapped in half,” said Bowers.

Heyer suffered multiple other internal injuries, including fractured ribs that lacerated her lungs and liver, and a broken leg.

DNA analyst Kristin van Itallie testified that Heyer’s blood and tissue were on samples she tested taken from the windshield and side mirror of Fields’ dark gray Dodge Challenger.

Dean Dotts, the second officer on the scene after James Fields was stopped at the corner of Monticello and Blenheim, testified the Dodge Challenger “appeared to be a crime scene.” trial photo

Witness Thomas Baker is a conservation biologist who had just moved to Charlottesville in May 2017. “I’m not an activist, but I wanted to be present against the hate that was going on,” he said.

Baker, too, joined the “joyous” group walking up Water Street. “The energy was very positive,” he said, compared to that earlier in the day when it was “very aggressive, very violent.”

By the time the group turned left onto Fourth Street, Baker was at the front of the group “I heard screaming and thumps,” he testified. “I saw bodies and a car directly in front of me. I was sure it was my very last second.”

The car hit the lower half of Baker’s body. His head hit the windshield and threw him up in the air and then onto the ground. When he saw the reverse lights on Fields’ car, he thought, “I’m not going to survive getting hit again,” and got up.

Baker knew he was seriously injured, but he wasn’t sure what his health insurance would cover. Initially his doctor recommended he try physical therapy, but after more than a month, when that didn’t work, he had surgery that put four screws in his hip, permanent sutures, reattached the labrum to the hip, and reshaped the femur head.

Before August 12, he said, “I’ve been an athlete, a really good athlete my whole life.”

Now he has significant discomfort and doesn’t run at all. The crash “altered every aspect of my life physically,” he said. “Every aspect of my life has been dramatically changed.”

Testimony on Day 6 of the three-week trial ended early, and according to Judge Rick Moore, “the commonwealth is very confident it will rest before lunch tomorrow.”

Correction December 4: Thomas Baker does have health insurance. It was originally reported he did not.

Correction December 5: Baker’s doctor recommended he try physical therapy first and that’s why he didn’t immediately have surgery.