Categories
Opinion

The virtues of incivility: Looking closer at the City Council candidates

Despite the refrain from all quarters that the defining issue of this year’s City Council election is housing, this election is a referendum on the status quo.

In what feels like hundreds of candidate forums, the five candidates in the Democratic primary for City Council have spent more energy agreeing with one another than setting themselves apart from the field. Their answers to many of the questions posed to them by community groups and neighborhood associations have started to blend together, a nearly indistinguishable blur of progressive generalizations.

All five candidates agree that we have a housing problem. They’ve all voiced support for funding local schools and closing the achievement gap. They all agree that the Lee and Jackson statues are lightning rods for hate that don’t belong in downtown Charlottesville. They all agree that improvements should be made to public transit, even down to the details of establishing a regional transit authority, making stops more frequent and regular, and erecting more bus shelters. They’re all committed to the noble, if nebulous, idea of equity.

In our small blue city, the Democratic primary is the de facto election. There are no Republican candidates. As a state with open primaries, that means our Democratic candidates can coyly court Republican voters. So it’s worth examining the candidates’ messages more closely.

Lloyd Snook is running on a platform of a return to civility. Snook says he decided to run because of the “chaos and disorder” of City Council and what he sees as “decisions not being made intelligently.” He later clarified that he was not referring solely to “what goes on on Monday nights” at City Council meetings, but when asked at a Belmont-Carlton Neighborhood Association-hosted forum, he was unwilling to articulate specifically what sort of bureaucratic and departmental reforms he envisions pursuing to “get the government to work right again.”

There is a general belief, particularly among people who do not attend them, that City Council meetings are chaotic. While there have been several meetings I would certainly characterize that way, those have been traumatic exceptions.

Outside of the meetings in the immediate wake of a terrorist attack that killed a member of our community, the only time in the past two years that a recess has been called because business could not be conducted was due to armed members of a neo-Confederate group threatening other members of the audience. The idea that City Council cannot conduct its business because of ongoing disorder is a myth that could easily be put to bed by regularly attending what are, in fact, very mundane meetings.

This myth persists because it feels true. It has a kernel of truth, and believing it facilitates the larger narrative that we need to return to how things were before, before people who traditionally did not engage with politics started showing up, before advocating for racial and economic justice became mainstream talking points, before anyone started talking about making the wealthiest among us pay their fair share to make this city livable for all its residents.

Shrouding regressive politics in the language of order and gentility is not new. And in an off-year primary for a local election, much of the electorate is not engaged enough to listen beyond what feels true. It’s easy to say, as every candidate has said throughout this campaign season, that you support finding solutions for our affordable housing crisis. But listen carefully to the solutions on offer.

Sena Magill has campaigned on reforming the regulations on and incentivizing construction of accessory dwelling units. Michael Payne is pushing for fully funding resident-led public housing redevelopment and investing in new affordable units. Bob Fenwick has focused on what he views as the misuse of special use permits, and Brian Pinkston has committed to few specifics.

Snook, while in favor of making it easier to add accessory apartments, also said, “We don’t have room for 4,000 new units in Charlottesville.” Despite being corrected during that April 30 forum by Payne, who clarified that the housing study indicates a need for 4,000 “interventions,” rather than newly constructed units (a fundamental difference), he repeated the claim at a May 13 forum, stating “We’re not going to build our way out of this problem.”

Snook’s plan for affordable housing is regional, which is another statement that, on its surface, sounds reasonable enough. What he’s shared of that plan is the belief that affordable housing should be built on less valuable land, land in the county. His commitment to better regional transit, then, seems to be for the primary purpose of busing people his housing plan would displace into the county back to the city for their low-wage jobs.

At a May 24 student-led climate strike, Payne had this message for the youth organizers: “There will be people who push back, people who tell you you don’t know how politics really works, that you’re being uncivil. I’m telling you, don’t listen to them!”

We are a small city facing big problems. General platitudes that amount to ‘Make Charlottesville Great Again’ won’t solve our housing crisis or mitigate the coming climate disaster. It’s time to face the reality that Charlottesville hasn’t been great for many of its residents throughout its history and move forward, however uncomfortable that might be.

Conger is co-chair of the Charlottesville chapter of the Democratic Socialists of America, which voted May 13 to endorse Michael Payne for City Council.

Categories
Arts

ARTS Pick: Dr. Coincidence’s Song and Dance Show

No happy accidents: Dr. Bernie Beitman’s 2016 book, Connecting With Coincidence, throws science at the notion that surprise happenings in our lives are not entirely by chance. Dr. Coincidence’s Song and Dance Show takes that thinking to the stage, where personal stories of serendipity come alive through, well, song and dance. Beitman is joined by musicians John D’earth and Greg Howard, and proceeds from the evening will go toward saving trees threatened by the Atlantic Coast Pipeline.

Saturday 6/8. $7, 7pm. C’ville Coffee, 1301 Harris St. 817-2633.

Categories
Arts

Album reviews: Boogarins, Bill MacKay, Carmen Villain, and Faye Webster

Boogarins

Sombrou Dúvida
(LAB 344)

Brazilian band Boogarins is back with more heady psychedelia, adding a little bap to the mix this time. If the Google translations are on point, Dinho Almeida is repeatedly counseling us to eschew tradition, explore life, embrace fear, etc. Ironically, his vocals never leave their sleepwalk-serenade comfort zone, while shred-capable guitarist Benke Ferraz also plays it safe—and though the songs themselves wander, there aren’t as many hooks along the way as on 2015’s excellent Manual. Still, Sombrou has high points, like springy
leadoff track “As Chances” and “Dislexia ou Transe,” which sounds like Yes if they were from Laurel Canyon. ***

https://boogarins.bandcamp.com/

Bill MacKay

Fountain Fire (Drag City)

Coming off a dynamic collaboration with Ryley Walker, Chicago-based guitarist Bill MacKay continues to bring together the folky and the experimental on Fountain Fire. It’s a potent brew, with MacKay’s compositions gaining intensity via layered acoustic and electric guitars that radiate rather than pummel. Last year MacKay participated in a Nick Drake cover
project, and on the Brit-folky “Birds of May” MacKay’s vocals channel the tragic bard; elsewhere he sounds like a more laid-back version of Walker. But the focus is on artful guitarchitecture as MacKay constructs feedback shapes on “Arcadia,” and adds a David Gilmour-ish slide to the swirling closing track “Dragon Country.” ***1/2

https://billmackay.bandcamp.com/album/fountain-fire

Carmen Villain

Both Lines Will Be Blue (Smalltown Supersound)

Carmen Villain’s first two albums brought folk, rock, and lots of electronics into shifting soundscapes held together by Villain’s lovely if brooding vocals. This is the Oslo resident’s first instrumental album, and it sounds lovely and brooding even without the vocals. Instead, floating on top of most of the songs is Johanna Scheie Orellana, whose flute parts provide apt decoration for the atmospheric compositions. And overall, Both Lines Will Be Blue is far more atmosphere than composition, but the album plays out with a distinct character: steamy, verdant, and meditative, like what Yoda might have listened to while doing vinyasa on Dagobah. ***1/2

https://carmenvillain.bandcamp.com/

Faye Webster

Atlanta Millionaires Club (Secretly Canadian)

Precocious Atlantan Faye Webster has tools—charisma, an ear for melody, a pithy wit—and with pedal steel and Rhodes in tow, her sophomore album is an adept low-fi country-soul affair. It’s also relentlessly pitiful; on opener “Room Temperature,” Webster whines “I should get out more” about a dozen times in a row, and while the next song swings amiably, she whimpers “the right side of my neck still smells like you” over and over as it fades out. Then Webster has the nerve to begin the third track with “My mother told me one day she’s tired of my sad song.” Geez. As the pseudo-trap title and jokey cover suggest, there’s definitely layers of satire in play, and Webster’s wan vocals (awkwardly loud in the mix) have a sardonic undertone that occasionally surfaces, as on “Jonny”: “my dog is my best friend / and he doesn’t even know what my name is.” But Webster’s irony never undercuts her sorrow—on the contrary, it lets her wallow in it. The real irony might be that she sounds best when she plays it straight, as on the retro-country dirge “What Used To Be Mine,” touchingly murmuring “I miss your voice / you’re the only one with it.” That’s something a mother would understand. ***

https://fayewebster.bandcamp.com/album/atlanta-millionaires-club

Categories
News

In brief: Local hero, Mamadi’s back-adi, forget thoughts and prayers, and more

75th D-Day commemorates local hero whose name is misspelled

June 6 marks the 75th anniversary of D-Day, a turning point in World War II. Across the globe, veterans will gather for speeches, re-enactments, and celebrations.

The National Medal of Honor Museum is coordinating something a little more ambitious. The museum hopes to have churches in the hometowns of the 13 American men who received the Medal of Honor for their bravery during D-Day toll their bells at exactly the same time: 2pm.

One of those men is Technical Sergeant Frank D. Peregoy of Esmont.

On June 8, 1944, Peregoy single-handedly attacked a fortified machine-gun position, killing eight and forcing the surrender of over 32 German riflemen, allowing the 3rd Battalion of the 116th Infantry to secure Grandcamp-Maisy, France. Six days later, Peregoy died at the age of 28.

If the name Peregoy doesn’t ring any bells, Peregory might.

A historical marker for Peregoy was installed in 1994, following the 50th anniversary of D-Day, at the corner of Emmet Street and University Avenue.

Peregoy’s grave in in the American Cemetery in Normandy in May. Photo courtesy Sean McCoy

But the marker incorrectly spells Peregoy’s name as “Peregory” with an extra “r.” So does the armory named in his honor, and Peregory Lane near the National Guard Armory.

And that’s not all.

Historian Rick Britton noted in an article for Albemarle magazine that Peregoy’s date of birth is also incorrect. And Peregoy’s youngest brother, Don Peregoy, has said he was born in Nelson County, not Albemarle.

According to a fellow soldier, Peregoy falsified his birth date when he enlisted, and his name was spelled Peregory on his military papers.

St. Stephen’s Episcopal Church in Esmont, and First Presbyterian, First Baptist, and St. David’s Anglican churches in Charlottesville will be ringing their bells in memory of Peregoy and his fellow fighters.


Quote of the week

“I will be asking for votes and laws, not thoughts and prayers.”Governor Ralph Northam calling for a special session of the General Assembly following the May 31 Virginia Beach shooting massacre of 12


In brief

M.I.A.

Three defendants in Sines v. Kessler, the lawsuit stemming from the 2017 Unite the Right rally, face sanctions for failure to comply with discovery requests. Nor were Matt Heimbach, Eli Kline, aka Mosley, and neo-Nazi group Vanguard America in federal court June 3, when the plaintiffs requested sanctions, with Heimbach and Kline’s former attorney James Kolenich agreeing sanctions were appropriate. The judge will rule in the coming weeks.

Divested

City Council voted  4-1 June 3 to get rid of the city’s investments in companies producing fossil fuels and weapon systems. Mike Signer voted no, saying the military needed weapons in a dangerous world.

He’s back!

photo Matt Riley

Mamadi Diakite announced his return to UVA basketball for his senior year—less than an hour before the NBA draft deadline for players to withdraw May 29. The forward’s announcement was a sign of hope for the upcoming season, after star players De’Andre Hunter, Ty Jerome, and Kyle Guy declared for the draft.

EPIC endorsements

Not much has been heard lately from Equity and Progress in Charlottesville, a group founded in 2017 to challenge the Democratic grip on city government with Bernie Sanders-inspired progressivism. But last week EPIC announced it’s endorsing Michael Payne and Sena Magill for City Council, and Sally Hudson for the House of Delegates.

Screwdriver killing

Gerald Francis Jackson, charged with second-degree murder in the January death of his Belmont neighbor, Richard Wayne Edwards, was in court May 30 for a preliminary hearing. The Daily Progress reports officers found a red Phillips-head screwdriver believed to be the murder weapon. Detective Robbie Oberholzer testified Jackson threatened that if he was arrested, “I’ll kill you, too.”

Lumberyard fined

R.A. Yancey Lumber in Crozet was fined $24,000 for the July 2018 death of Floriberta Macedo-Diaz, 46, according to the Progress. The Virginia Department of Labor and Industry found four violations from the accident in which a stack of lumber pieces weighing 260 pounds each fell on top of Macedo-Diaz.

Two more years

UVA football Coach Bronco Mendenhall extends his contract through 2024. Since coming to Charlottesville in 2016, he’s taken the losing Cavaliers to two bowl games, and won last year’s Belk Bowl. Mendenhall’s base salary is $3.55 million.

 


Banderas monumentales

photo Amanda Maglione

John Kluge wants to raise a 100-foot flag to honor the relationship between Mexico and the United States—and to annoy his neighbor, Trump Winery. Kluge, the son of a billionaire, owns eight acres in the middle of the winery that his mother’s friend, Donald Trump, bought at foreclosure in 2011.

In 2013, Kluge sued Trump, claiming he’d been defrauded when Trump bought the 217-acre front yard of Albemarle House from Kluge’s trust. The suit was later settled.

Kluge has started a GoFundMe page to raise $25,000 to commission a design and buy the flagpole, and he says any excess will go “to support entrepreneurship opportunities for refugees, asylum seekers, and other forcibly displaced people in Mexico.”

At press time, he had raised $7,715, but had also earned some comments suggesting people donate to immigrant support organizations rather than run it up a flagpole.

Categories
News

Fate uncertain: Historic Crozet home in path of subdivision

Wayland House, on Pleasant Green Street in Crozet, may be the oldest existing house in town, dating to about 1814. And it may disappear as a new development arrives.

The house was built by a reverend, whose more famous son, Benjamin Franklin Ficklin Jr., operated stagecoaches and helped establish the legendary Pony Express mail service (he also owned Monticello, briefly).

For the past two decades, Wayland House and the home next door were owned by Mike Marshall, editor of the Crozet Gazette. Marshall says rising taxes led him to sell the properties last October, and the new owner is a developer: Stanley Martin Homes, based in Reston.

Marshall’s taxes rose because the county zoned the properties R-6—townhome density, he says.

Owners “are leveraged out of big parcels” if buyers want land to develop, Marshall says. “They taxed me as if I had built the allowable number of units, almost a prospective tax.” Annual taxes ran his family $20,000 to $22,000.

“We held onto it as long as we could,” he says.

Drew Holzwarth, president of the Piedmont region for Stanley Martin, has said the Marshalls’ 1917 farmhouse will be a clubhouse for the 37-acre Pleasant Green development. Plans call for 268 units made up of townhouses, condos, and larger villas.

Wayland House itself could meet differing fates: demolition, being updated or preserved on site, being moved, or salvaged, says Marshall. Updating the house could be an expensive proposition: Marshall cites an architect who estimated $1 million to bring the house up to modern standards.

Holzwarth says his company can’t make any decisions on the house because Marshall still owns the rights to it. But Marshall says he only owns the salvage rights, which would only kick in if the house is demolished (and he worries contents would not be worth the cost of salvage).

Abraham Wayland expanded the family orchard business, which led to train tracks coming to the house and the village dubbed Wayland’s Crossing. Courtesy David Wayland

Phil James, a local expert in Blue Ridge history, says the house is worth keeping. “It represents the beginning of the village.”

Jeremiah Wayland purchased the home in 1832, says James. His son, Abraham Wayland, expanded the family farming business with orchards, which required transportation. The railroad tracks soon ran to the house, and the village became known as Wayland’s Crossing.

In 1849, Claudius Crozet and his team boarded in the house as he directed construction of the famed Blue Ridge tunnel. Because of the benefits the railroad conferred, the village changed its name to Crozet in 1870.

Historic photo of Wayland House. The window behind the tree on the lower level is the room where Claudius Crozet stayed. courtesy Phil James Historical Images

“Mike has been a wonderful steward,” James says.

Even though his great-great grandfather purchased the home, David Wayland visited its inside for the first time in March. “I was surprised that it was in such good shape, with a beautiful staircase in the entry hall, for example,” he says. “I would love to see it moved.”

The staircase in Wayland House. Courtesy David Wayland

UVA professor and architectural historian K. Edward Lay gave Wayland the tour. He saw the Roman numerals on some beams, an old way of marking beams for connection. Lay hopes that someone might preserve the original, central portion of the Greek Revival house, called an “I house.”

Holzwarth says he’s committed to doing what can be done to preserve the historic home, because he doesn’t want to be “vilified” like another developer, who tore down a historic house on Blue Ridge Avenue in 2017 to make way for The Vue apartments.

However, he warns that because the house was built in so many sections, it may fall apart if moved. Wayland House’s location is not in the first phase of Pleasant Green development. Holzwarth says, “I told Mike, ‘It’s not imminent, let’s get a plan.’”

Lay is on the Albemarle County Historic Preservation Committee, which tried twice to pass an ordinance that would safeguard significant properties. The city has such an ordinance.

Laments Lay, “So many historic homes in the county are destroyed.”

Categories
Arts

MHS drama teacher Madeline Michel wins a Tony Award by investing in students

Madeline Michel sits on one of the couches lining her classroom, balancing a sparkly gold laptop on her knees as she tells two students about being summoned to the Monticello High School principal’s office.

Principal Rick Vrhovac called her in for a “meeting,” she says, her voice slightly sarcastic as she makes air quotes, “about next year.” Once she got to the office, Vrhovac told her she had a phone call (Michel did not want to sit through a phone call), and that he was going to put her on speakerphone (“super unprofessional,” thought Michel).

The call was to inform Michel that she had won the 2019 Excellence in Theatre Education Award from the Tony Awards and Carnegie Mellon University, an honor that recognizes K-12 drama teachers for championing arts programs in their schools. Michel will accept the award, which comes with a $10,000 grant for the Monticello drama program as well as two scholarships for Michel’s students to attend Carnegie Mellon’s pre-college summer program, at the Tony Awards on Sunday, June 9, in New York City.

“In the principal’s office, of all places!” Michel exclaims, tossing her head back in dramatic exasperation, to giggles from Kayla Scott and Joshua St. Hill, two 2019 MHS grads whom Michel insisted participate in this interview, partly because “they’re so much more interesting than I am,” says Michel, but also because everything Michel does, she does in service of her students.

Michel describes her teaching philosophy as shutting up, listening, watching, finding out what’s important to her students and following their lead, offering encouragement and guidance where and when the teens need it. It’s an approach Michel started developing when she began teaching in 1980 in Baltimore, and one she’s honed over her 12 years at MHS.

“She’s not the typical theater teacher,” says Scott. For one, drama is a year-round commitment: During the summer months, when school’s not in session, Michel leads summer writing groups to encourage students to write, produce, and perform original material.

Secondly, Michel isn’t into staging what she calls “fluff.” Monticello drama productions “have to have something in [them] that relates to a problem we’re facing in our world,” she says, or reflect the experiences and interests of MHS students, who come from diverse backgrounds. In recent years, the program has staged, among other productions, In the Heights, Lin-Manuel Miranda and Quiara Alegría Hudes’ musical with a hip-hop, salsa, merengue, and soul score; Leap of Faith, Alan Menken and Glenn Slater’s musical about a charismatic con man posing as a man of faith; A King’s Story, St. Hill’s original play motivated by the stories of black men who have died as a result of police violence; and #WhileBlack, a play that Scott penned about racial profiling.

“She gives us students a platform to talk about anything that’s on our heart,” says Scott. Another teacher might have told Scott that #WhileBlack was too controversial or that a high school student was too young to write this kind of play in the first place. But not Michel.

“She gives us opportunities we wouldn’t have had [otherwise],” says St. Hill, an athlete who would sing and rap here and there, but didn’t take writing rhymes seriously until he joined the drama program on a whim. “There are so many people that I have to speak for, who can’t speak for themselves,” whose voices are lost, he says.

But the skills Michel teaches aren’t just for the stage. “Theater is really just a form of learning how to express yourself and feel confident in front of other people,” she says. That helps in a job interview, a public speaking engagement, a presentation, or even a one-on-one conversation. “It’s about confidence more than any kind of content,” says Michel. “What can you do without confidence? It’s so hard to live life without a sense of confidence.”

Scott, who will attend North Carolina A&T in the fall, wants to be a pediatric surgeon, and though she has a rather extraordinary gift for acting, writing, dancing, and choreography, she says Michel has never steered her to forsake medicine for theater. In fact, Michel (and her children) have helped Scott with biology homework on more than one occasion. Scott and St. Hill rattle off the names of other MHS students who have come to the drama program and discovered new things about themselves, their peers, and the world in which they live.

“I couldn’t think of a better person” to receive this special Tony Award, says Scott, to wide-eyed nods of agreement from St. Hill, who will attend UVA in the fall and is acting in Live Arts’ summer production of Rent. “She puts all of her students before herself.”

“That’s so sweet,” says Michel, her voice quivering slightly as she touches her hand to her chest before taking out her phone and asking Scott if she wants to see a picture of her Tonys dress.

They coo over the beaded gown before Scott counsels her teacher on what kind of shoes to wear. “No baby heels at the Tonys,” advises Scott, much to Michel’s chagrin.

“See, that’s the best part of my job,” says Michel. “Learning from my students.”

Categories
Arts

Godzilla: King of the Monsters stomps previous beasts

As other non-Marvel cinematic universes either crumble (Dark Universe), or limp along on life support between occasional jolts of excitement (DCEU), the MonsterVerse has been slowly gaining momentum like a long-dormant giant. It started in 2014 with Gareth Edwards’ Godzilla, a technically solid monster flick with excellent creature design that was unfortunately more invested in the thin human characters and the procedures of FEMA camps than in its namesake. In 2017, Jordan Vogt-Roberts’ Kong: Skull Island defied expectations with genuine emotions, great action, and an exciting story that remembered to put the namesake monster front and center.

Godzilla: King of the Monsters, the latest installment directed and co-written by Michael Dougherty, lives up to its predecessors and its name by getting its priorities right. We’re living in the Titans’ world, not they in ours, so the goings-on of humans is only interesting inasmuch as it is in service of or reaction to the Titans. The beasts wreaking havoc, whether sympathetic or not, are characters in their own right and need to be treated accordingly. Each monster has a personality, a backstory, strengths and weaknesses, and a larger mythology based on eons of life and interactions with civilization. They look great and sound even better. I couldn’t even tell you the name of a human character without looking it up—and that’s the way it should be in a monster movie.

Some years after the destruction of San Francisco, humanity wrestles with how to react to the existence of these monsters. Do we try to destroy them? Control them? Or simply accept them and not interfere in their ancient conflicts? This schism is responsible for the split between members of the Russell family, scientists who lost one of their two children in San Francisco. Emma (Vera Farmiga) lives and works with her daughter Madison (Millie Bobby Brown), looking to further our understanding of the Titans. Some are long dormant, some are ready to emerge, and miraculously, some appear benevolent towards people. Mark (Kyle Chandler) invented the technology that Emma uses to communicate with the beasts, but has sworn off all participation after losing their son Andrew in San Francisco. Between the insecure populace with murky intentions, competing ideologies and tactics, and new monsters being discovered all the time, an explosion is building—literally, in the form of volcanic three-headed dragon Ghidorah.

After this overlong setup, all other plot developments are only in service to seeing and learning about the Titans—the might and terror of Ghidorah, the resolve of Godzilla, and the grace of Mothra, deservingly dubbed Queen of the Monsters. There is some top-shelf talent here in Ken Watanabe, Sally Hawkins, Bradley Whitford, Charles Dance, Joe Morton, David Strathairn, O’Shea Jackson, Jr.—all of whom sell the awe of the spectacle.

Visually, King of the Monsters is a treat. Dragons, beasts, quasi-gods—these are all primal ideas in our collective psyche and lore, and the design keeps in mind that these things will eventually need to punch each other. To this end, the Titans look and sound physically real, even when serving as manifestations of our deepest fears. Godzilla has a bright future stomping on the cities of America. Will yours be next?

Godzilla: King of the Monsters / PG-13, 132 minute / Violet Crown Cinema

Alamo Drafthouse Cinema 377 Merchant Walk Sq., 326-5056, drafthouse.com/charlottesville z Regal Stonefield 14 and IMAX The Shops at Stonefield, 244-3213, regmovies.com z Violet Crown Cinema 200 W. Main St., Downtown Mall, 529-3000, charlottesville.violetcrown.com z Check theater websites for listings.


See it again
On Her Majesty’s Secret Service / PG, 142 minutes / Alamo Drafthouse Cinema / June 10

Categories
Arts Uncategorized

F.U.C.C. show at McGuffey focuses on women’s experiences

On view at McGuffey Art Center this month is “Women’s Work,” an exhibition featuring 18 artists who belong to the Feminist Union of Charlottesville Creatives, or F.U.C.C.

Sculptor Lily Erb and painter Sam Gray founded the group in 2017 with the “hope to create space and opportunities for female and gender-queer artists to share their time, journeys, inspiration, support, and experience,” says Gray.

“Women’s Work” is F.U.C.C.’s second show, and each artist was encouraged to share anything she wanted.

Annie Layne’s embroidered pieces almost exclusively focus on women, she says, “some realistic, most fantastic, all unapologetic of who they are and how they present themselves to the world.” One of the works, “#22,” won a prize in a juried show and was censored in another, when a “board could not quite get behind 22 representations of vulvas,” says Layne.

Textile and mixed-media artist Dawn Hanson creates pieces that “provide commentary on the war on women, particularly the infringement [upon] our reproductive rights.” There’s “In Ruth We Trust,” which depicts Supreme Court Justice Ruth Bader Ginsburg as a saint; “Feminist Freedom Flag,” which replaces the stars on the American flag with birth control pills; and “Take As Directed,” which uses another pack of 28 pills to comment on who should make choices about a woman’s body (nobody but the woman herself).

“Women are natural vessels for love and insight that can empower everyone, not just people who identify as female,” says Laura Lee Gulledge, who, along with Gray, is a co-director of F.U.C.C. “Perhaps women’s real work is to balance out the cultural conversation right now by standing up for telling our stories using our voices our own way. I think that’s worth fighting for.” —Erin O’Hare

Updated at 9am June 5 to correct the reference to artist Dawn Hanson.

First Fridays: June 7

The Bridge PAI 209 Monticello Rd. An exhibition of student artwork in celebration of the creative efforts of the elementary students participating in the smART KIDS afterschool program. 5:30-8:30pm.

Chroma Projects Inside Vault Virginia, Third Street SE. “Cry of the Cicada,” featuring black and white photography by Bill Mauzy. 5-7pm.

CitySpace 100 Fifth St. NE. Third graders share art, poems, and writings about local changemakers. 5:30-7pm.

C’ville Arts Cooperative Gallery 118 E. Main St., Downtown Mall. “Going with the Flow,” featuring Ann Stephenson’s explorations of the dreamlike aspects of alcohol ink. 6-8pm.

The Garage 100 E. Jefferson St. “Sound and Symbol,” Lauren Plank Goans’ multimedia exhibit of visual artwork made in service of the music she and her husband create as folk-art band Lowland Hum. 5-7pm.

IX Art Park 522 Second St. SE. A one-night-only black light art show featuring a mural by Madeleine Rhondeau and a dozen other black light works by local artists. 7pm-1am.

McGuffey Art Center 201 Second St. NW. In the Sarah B. Smith Gallery, “Fluid Transformations,” Scott Smith’s photography at the intersection between abstraction and the observed world; in the Downstairs North and South Hall galleries, the annual incubator exhibition, featuring the work of Jennifer Billingsly, Sahara Clemons, Sri Kodakalla, Rayne Marie MacPhee, Miranda Elliott Rader, Frankie Szynskie, and Stephanie Watson; in the Upstairs North and South Hall galleries, “Women’s Work,” an open-themed group show of the Feminist Union of Charlottesville Creatives (F.U.C.C.). 5:30-7:30pm.

Second Street Gallery 115 Second St. SE. In the main gallery, “Lady Painters: Inspired by Joan Mitchell,” featuring paintings by Isabelle Abbot, Karen Blair, Janet Bruce, Molly Herman, Priscilla Long Whitlock, and two original works by American abstract expressionist Joan Mitchell; and in the Dové Gallery, “Radiolaria & Reef: Our Ocean’s Living Abstractions,” featuring paintings by Tina Curtis.. 5:30-7:30pm.

Spring Street Boutique 107 W. Main St., Downtown Mall. “June Internazionale,” featuring oil paintings on canvas by Anne Marshall Block. 6-8pm.

Studio IX 969 Second St. SE. “Afro-Virginia: People, Place & Power,” featuring profiles of several leaders behind Virginia’s African American historic preservation movement, using photography, audio recordings, and maps by Virginia Humanities staff members Peter Hedlund, Pat Jarrett, and exhibition curator Justin Reid . 5:30-7:30pm.

VMDO Architects 200 E. Market St. “Into the Light,” an exhibition of photography, drawings and watercolors by Hannah Winstead. 5:30-7:30pm.

Welcome Gallery 114 Third St. NE. “make/shift,” an exploration of identity in photography, embellished textiles, prints, and paper by Mary Lamb, Amanda Wagstaff, and Erin O’Keefe. 5-7:30pm.

WVTF RadioIQ 216 W. Water St. “Seeking Refuge,” featuring work by Brigitte Friedman, Kathleen Free, Judith Minter, Taylor Randolph, Linda Staiger, Virginia Thompson, and Chris Tucker, who examine the question of what refuge means. 5-7pm.

Yellow Cardinal Studio 301 E. Market St. “Looking Toward the Sun,” a show of work by Karen Collins, Lizzie Dudley, Anne French, Jane Goodman, and Carol Ziemer. 5pm.

 

Other June shows

Annie Gould Gallery 109 S. Main St., Gordonsville. Paintings by Anne deLatour Hopper and tapestries by Joan Griffin.

Carpediem Exhibit 1429 E. High St. A multimedia rotating, expanding exhibit of works by local, regional, and out-of-state artists.

Commonwealth Restaurant 422 E. Main St., Downtown Mall. “Linear Motion,” featuring illustrations by Martin Phillips.

Crozet Artisan Depot 571 Three Notch’d Rd., Crozet. A show and sale of wood bowls by master woodturner Frederick Williamson. Opens June 8, 1pm.

Fellini’s 200 Market St. “Que Vivan Los Animales,” an exhibition of works in acrylic, pen, and watercolor by Natalie Reyes.

The Fralin Museum of Art at UVA 155 Rugby Rd. “Pompeii Archive: Photographs by William Wylie,” through June 9; Vanessa German’s installation, “sometimes.we.cannot.be.with.our.bodies”; “The Print Series in Bruegel’s Netherlands: Dutch and Flemish Works from the Permanent Collection”; “Of Women, By Women,” an exhibition curated by the university’s museum interns that explores the power inherent in the act of taking a photograph; and “Oriforme” by Jean Arp.

Jefferson School African American Heritage Center 233 Fourth St. NW. “Simply: The Black Towns,” a series of images by Jamelle Bouie, New York Times columnist and political analyst for CBS News, of the remains of African American towns founded after Emancipation.

Kardinal Hall 722 Preston Ave. A show of Sarah Sweet’s paintings of animals.

Kluge-Ruhe Aboriginal Art Collection 400 Worrell Dr. “Shane Pickett: Djinong Djina Boodja (Look At the Land that I Have Traveled,” featuring work by one of western Australia’s most significant contemporary Aboriginal artists; and “Beyond Dreamings: The Rise of Indigenous Australian Art in the United States.”

Les Yeux du Monde 841 Wolf Trap Rd. “Landscape Reimagined & Summer Sculpture Show,” featuring the work of 27 painters and 10 sculptors who take landscape as their subject or use their art to literally inhabit and intersect with nature. Inspired by the “Lady Painters” exhibition at Second Street Gallery. Opens June 8, 5-7pm.

Live Arts 123 E. Water St. A show of light boxes by Bolanle Adeboye. Closing reception June 8.

New Dominion Bookshop 404 E. Main St., Downtown Mall. “The Art of Nina Thompson,” an exhibition of oil paintings.

Shenandoah Valley Art Center 122 S. Wayne Ave., Waynesboro. The SVAC members’ annual judged show.

Thomas Jefferson Memorial Church Unitarian-Universalist 717 Rugby Rd. An exhibition of paintings by Hobby Parent.

WriterHouse 508 Dale Ave. An exhibition of photography by David Cook.

First Fridays is a monthly art event featuring exhibit openings at many area art galleries and exhibition venues. Several spaces offer receptions. To list an exhibit, email arts@c-ville.com.

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Show them the money: Revenue commissioner says no to Airbnb collecting local occupancy taxes

Over graduation weekend, Fry’s Spring resident Chris Meyer rented his house for a “ridiculous amount of money to someone from California,” he said at City Council May 20.

He appeared before council to complain about the difficulty he encountered in getting the proper city permits and in trying to remit the transient occupancy tax, and asked councilors: Why not do what Alexandria and Blacksburg do and have Airbnb collect the lodging tax? He also suggested raising the rate from 7 percent to 15 or 20 percent, and using that money for affordable housing rental vouchers.

Mayor Nikuyah Walker commended his “very different perspective,” and councilor Kathy Galvin noted that in 2018, the city lost about 250 housing units to short-term rentals.

Commissioner of Revenue Todd Divers is not enthusiastic about the idea of turning lodging tax collection over to a “multinational corporate entity that has repeatedly shown its willingness to flout tax, zoning, and regulatory structures all over the world.”

In a memo to City Council and City Manager Tarron Richardson, Divers says his office is doing a “fantastic” job of collecting transient occupancy tax of licensed homestays—over $1 million since the city created a hotel residential permit a few years ago.

His problem with having Airbnb collect the lodging tax is that the company will not disclose the identity and location of hosts, nor will it allow the city to audit its tax records more than once every four years, which means the city has to take Airbnb’s word it’s collecting all the taxes. Meanwhile, the city still must make sure hosts have business licenses and homestay permits.

Divers also questions how Airbnb can determine the appropriate jurisdiction for an Albemarle rental with a Charlottesville address.

“We’ve done this all over the world,” says Airbnb spokesperson Liz DeBold Fusco. Airbnb has collected more than $1 billion in taxes in 400 municipalities. “I’m not sure why [Divers] thinks our methods don’t work.”

She also “vehemently” disagrees with his characterization the company flouts regulations. “We think that’s baseless.”

Divers points out that 189 jurisdictions in Virginia collect lodging taxes, and he contends that rather than asking why Charlottesville doesn’t follow the Alexandria/Blacksburg model, the question should be, “why did 187 other jurisdictions in Virginia reject it?”

In Meyer’s case, Divers says someone who rents out his home once or twice a year, is “de minimis” by taxation standards, which means the person doesn’t have to get the short-term rental permit. “I’m not going to make you do anything” as far as trying to collect the lodging tax, says Divers, although one is still free to pay the tax if he wants.

However, he’s still checking the Airbnb website, and if someone claims to have an infrequent rental and he finds out otherwise, “I’m going to come to get you,” says Divers.

Meyer met with Divers after the City Council meeting, and learned he didn’t have to do the paperwork, but he still feels the city should be collecting the $125 tax in his case.

And he likes the idea of making a difference between the lodging tax hotels pay and the tax on short-term rentals, upping the transient occupancy tax to 15 or 20 percent on the latter to help mitigate the loss of housing stock.

“That excess revenue should be plowed into rental housing vouchers,” he says, “to help people displaced by Airbnb.”

Developer Oliver Kuttner owns nine apartments on the Downtown Mall that he rents full-time on Airbnb, for which he pays more than $1,000 per month in transient occupancy taxes. He says the city pays “lip service” to affordable housing. In 2015, he wanted to build micro-apartments behind the Glass Building on Second Street SE, but couldn’t get the rezoning needed. An office building is now going up in that spot.

“It cost me $80,000 [in permits] and six months of my life to be denied the permit to build micro-units,” he says. “The city is the single biggest obstacle to lower-cost apartments.”

Now, he wants more decentralized hotels like Airbnb. “We need to support the person who wants to build one hotel,” says Kuttner. “I would like to see more independent hotels than a fifth Marriott downtown.”

Currently Charlottesville has no plans to funnel lodging taxes into affordable housing vouchers, says city spokesperson Brian Wheeler. The taxes go into the general fund, which funds the city’s affordable housing initiatives, he says.

Meyer says he thinks Divers is doing a “very good job” in collecting the lodging tax, but says, “I wonder if we can do better.”

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‘Déjà vu’: Amanda Knox podcast focuses on Soering case

Like Jens Soering, Amanda Knox was a college student when she was convicted of murder. She spent four years in an Italian prison for the 2007 murder of her roommate in Perugia, and her case became a cause célèbre before she was acquitted in 2015.

Since her return to the United States, she’s become an activist for the wrongfully accused, and has a podcast with Sundance called “The Truth about True Crime.”

Knox sees similarities in her case and Soering’s that “cut to the bone,” she says in the first of the eight-part series that streamed May 29.

Soering was convicted of the brutal 1985 murders of Bedford couple Derek and Nancy Haysom, the parents of his girlfriend, Elizabeth Haysom. Soering was 18 when he met the two-and-a-half years older Haysom at UVA, where they both were Echols scholars.

He was also a virgin, who said he was besotted with the alluring older woman. Soering said when Haysom told him she’d killed her parents, he offered to take the fall, believing that because his father was a German diplomat, he’d have immunity that would limit his imprisonment to 10 years.

The case was an international sensation, with Soering described as a “love slave” to Haysom’s “femme fatale,” says Knox. Her series “paints a much more human picture.”

She, too, was caricatured, called “Lady Macbeth” and a “master manipulator.” Says Knox, “When I hear these descriptions, alarm bells go off.”

She lists other “haunting and almost unbelievable echoes” to her own case: the brutality of the slayings, the police screw-ups, the young lovers as suspects, the media spectacle, the disputed alibi, and the questionable forensics.

“It all gave me déjà vu,” says Knox.

Jens Soering has been in prison for 33 years, and Knox is the latest high-profile person to voice support for him, joining writer John Grisham, actor Martin Sheen, Albemarle Sheriff Chip Harding, Innocence Project founder Jason Flom, and most recently, former Nelson Mandela attorney Irwin Cotler.

A German documentary on the case called Killing for Love was released in 2016. That same year, Soering’s attorney, Steve Rosenfield, filed a petition for pardon to the administration of then-governor Terry McAuliffe, but McAuliffe didn’t act on it.

Three years later, the case is “in the hands of the pardon investigators,” says Harding, who believes it could wrap up this summer.

Harding thinks Knox’s involvement will help Soering’s case. “Public awareness will help in any case where there could be a wrongful conviction,” he says.

Soering was convicted by a jury in 1990 and sentenced to two life sentences, in part because of the testimony of Haysom, who is serving a 45-year sentence as an accessory before the fact.

Information the jury was given then can be challenged by subsequent technology, says Harding. For example, DNA analysis was not available at that time, and the jury would not have known that recent findings identified the blood of two different people at the Haysom home—but not Soering’s.

And some of the evidence the jury was given, such as a bloody sock print the prosecution claimed belonged to Soering, falls under the category today of “junk science.” Says Harding, “That jury was given information known to be wrong at the time.”

Frustrating for many reexamining the case, including Harding and a handful of other police investigators, is “the lack of cooperation from Bedford County,” where Soering was convicted, Harding says.

Says Knox, “What I learned shocked me, angered me, and moved me in ways I wasn’t ready for.”