Categories
Living

Chef exits: Ian Redshaw departs Lampo, Prime 109

Renowned local chef Ian Redshaw has left the building—or rather, buildings, plural. Redshaw parted ways earlier this month with his fellow partners of two high-profile restaurants he helped put on the map: Lampo, the Neapolitan pizzeria in Belmont, and Prime 109, the upscale steakhouse on the Downtown Mall. Voted Best Chef in 2018 by C-VILLE Weekly readers, Redshaw also received major national recognition as a semifinalist for the 2019 James Beard Awards Best Rising Star Chef of the Year. The Charlottesville 29 food blog reported on Monday that Redshaw split with chefs Loren Mendosa and Mitchell Bereens—C-VILLE’s Best Chef winners in 2015 and 2019, respectively—to spend more time with his family (he and his wife, Allie, also a chef, have two children) and launch a private supper club.

Can craze

On the heels of the successful launch of Charlottesville’s Waterbird Spirits canned cocktails, which sold out hours after a shipment of 42 cases hit the shelves at Kroger, Richmond’s Belle Isle Moonshine announced September 24 that it would introduce a line of sparkling pop-top drinks. Flavors including grapefruit and blood orange will be spiked with Belle Isle’s moonshine.

Nibbles

Charlottesville’s famed Sandwich Lab, which started in Hamiltons’ at First & Main on the Downtown Mall, is making a comeback on Thursday, September 25, at Peloton Station, the new home of former Hamiltons’ chef Curtis Shaver. • Early Mountain Vineyards introduced chef Tim Moore last week at a tasting-menu dinner at the Madison winery. A seven-year veteran of The Inn at Little Washington, a three Michelin star restaurant, Moore will head up Early Mountain’s fine-dining program. • Grit Coffee is officially open in its new Pantops location, in the Riverside Village development on Stony Point Road. • Bonefish Grill in Hollymead Town Center is celebrating National Seafood Month with a three-course lobster meal for $19.99 every Thursday in October. • Over in Staunton, Blu Point Seafood Co., a venture by the fine folks behind Zynodoa restaurant, jumps into the deep end with a grand opening Friday, October 4. “The Chesapeake Bay meets the New England shore,” is Blu Point’s motto. We’re buying it! blupointseafoodco.com

Categories
Living

Refugee crisis hits home: Local agency braces for more cuts to U.S. resettlement programs

The 2020 federal fiscal year begins October 1, marking the deadline for Donald Trump’s presidential determination on the number of refugees allowed to enter the United States for resettlement. Virginia has already taken a hit from previous reductions by Trump, with Richmond’s Church World Service—one of nine State Department-designated resettlement agencies in the U.S.—announcing that it will close even before Trump makes his determination public.

“We’re turning our backs on a core American value,” says Harriet Kuhr, executive director of the Charlottesville International Rescue Committee. She cites the precipitous drop since Trump took office in the number of people allowed to enter the U.S. after fleeing violence, persecution, and famine in their home countries.

By the end of September each year, the president is required to announce the limit for refugee admissions to the U.S. The determination process is mandated by the Refugee Act of 1980, and requires that the president consult with Congress to reach a decision that is “justified by humanitarian concern.”

In September 2016, President Barack Obama significantly increased that limit to 110,000 for fiscal year 2017, responding to the Syrian refugee crisis. But shortly after taking office, President Trump lowered the refugee ceiling to 50,000 by executive order. In September 2017 and 2018, respectively, Trump cut the maximum number to 45,000 and 30,000.

In recent weeks, rumors have swirled around reports that the Trump administration is considering one of two options for fiscal year 2020: reducing the cap to 10,000 to 15,000 refugees, or dismantling the U.S. refugee resettlement program entirely. Prominent voices have risen in opposition to the anticipated cuts, including high-ranking former military leaders, who argue that failing to accommodate asylum-seekers who have helped our defense, diplomatic, and intelligence efforts could erode national security.

Here in Charlottesville, Kuhr says our local IRC office is not threatened with closing, but she still worries as this year’s deadline draws near. “We don’t know yet what the numbers will be,” she says. “But what we do know is that it seems there is this intention to again significantly reduce the number of refugee admissions at a time when more people are in need than at any other time in history.”

Numbers from the U.N. Refugee Agency back her up. By the end of 2018, the agency reports, 70.8 million individuals worldwide had been forcibly displaced. These included 25.9 million refugees, less than 1 percent of whom have the opportunity to resettle in another country.

“Even before any of this started with Trump, the number of refugees who ever get resettled in a third country—that’s including the U.S. and Canada, all of Europe, and any other country—was already a tiny, tiny number,” says Kuhr. “But now that solution for some of the most vulnerable people in the world is under threat for no apparent reason.”

“We have people who have already been vetted,” she continues. “They have already gone through a stringent security process. They have been found to be in dire need of a new start and a new life—and we’re basically turning our backs on them.”

In 2018, the IRC resettled 154 people here, far below its capacity of 250. “Charlottesville has been a wonderful place for refugee families,” she says. “They feel safe here. They feel welcome. The kids are thriving in school. The parents are working. We know there are people in need of what we have to offer. Yet we’re not being allowed to [offer it].”

Kuhr hasn’t given up hope, but neither is she optimistic. “My expectation is that no matter what happens, the IRC is not going away. We will still be here. We are still resettling a significant number of people, but a lot less than we were two or three years ago.”

Categories
Arts

ARTS Pick: David Schulman + Quiet Life Motel

Quiet time: Electric violinist and composer David Schulman has several soundtracks to his credit including NPR’s “The Big Listen,” and APM’s “Spectacular Failures.” He is a frequent collaborator with modern dance companies and museum programs, and his extensive musical training has led him to explore and preserve the traditions of charanga and mambo. The Charlottesville native, a former member of the CHS orchestra, returns home with his band, Quiet Life Motel, featuring Tillery, a legend on D.C.’s jazz and go-go scene, and fellow Charlottesvillian Matt Wyatt on percussion.

Saturday, September 28. $10, 7pm. C’ville Coffee, 1301 Harris St. 817-2633.

Categories
News

30 years and counting

In 1989, Bill Chapman was a senior at Hampden-Sydney College and Hawes Spencer, a former student, was working in the communications office. Chapman had just completed a summer internship at Richmond’s Style Weekly, and “It seemed like Charlottesville needed a smarter, less reverent paper than The Daily Progress,” he says.  

The two founded C-VILLE Review that fall, a bi-monthly publication with Chapman as editor and Spencer as publisher. In the vein of other alt-weeklies at the time, it was nose-thumbing and often goofy, with an inaugural issue that featured a garrulous history of Foxfield by the man who’d designed it, and an ode to a 1964 toaster. Another early issue, in 1991, featured a farcical story on Patricia Kluge following her divorce from her second husband (then the richest man in America) with a cover headlined “Going Back to Work: One Woman’s Story.”   

While the paper, which went weekly in 1994, has changed with every editor, its motivating force—to provide an alternative voice on local news and culture-—is as relevant as ever. In a special insert in the paper this week. you’ll find every cover from C-VILLE’s 30-year history—more than 1,400 in all, from this Foxfield illustration to last week’s photo of jazz legend Roland Wiggins (who, incidentally, moved to Charlottesville in September 1989). The highlights are below.  

Taken together, the covers chart the ups and downs of Charlottesville’s transition from Southern college town to emerging small city—and every local uproar in between.

[slideshow_deploy id=’142255′]

Categories
Arts

The 2019 VAFF offers a diverse lineup with over 150 films

Oscar buzz abounds among the spotlight films screening at the 32nd Annual Virginia Film Festival, from the opening night feature, Just Mercy, starring Michael B. Jordan, to writer-director Noah Baumbach’s Marriage Story with Scarlett Johansson, Adam Driver, Laura Dern, Alan Alda and Ray Liotta. VAFF Director and UVA Vice Provost for the Arts Jody Kielbasa also announced appearances from guest programmers: artist Federico Cuatlacuatl, filmmaker Michelle Jackson, filmmaker and programmer Joe Fab, film scholar Samhita Sunya, artist and scholar Mona Kasra, and Washington Jewish Film Festival director Ilya Tovbis.

Music fans will get an exclusive look at the Bruce Springsteen concert film Western Stars, and actor, writer, and director Ethan Hawke is coming to town to reflect on his career and screen the 2007 film Before the Devil Knows You’re Dead, in which he stars alongside the late Philip Seymour Hoffman.

Ann Dowd known for her role as Aunt Lydia in “The Handmaid’s Tale,” will participate in a discussion following Dismantling Democracy, a political documentary she narrates.

Senior guest programmer Ilana Dontcheva says a synergy emerged among the submitted films, resulting in a new sidebar featuring women writers and directors, and director Wanuri Kahiu will be at the screening of her film, Rafiki (a love story between two women that was banned in 2018 in Kenya), for a conversation about her career and the creation of the Afrobubblegum Movement.

The Virginia Film Festival takes place October 23-27; tickets will go on sale to the public at noon on Monday, September 30. More information can be found at virginiafilmfestival.org.

Categories
Opinion The Editor's Desk

This Week, 9/25

Thirty years ago this month, Bill Chapman and Hawes Spencer, fresh out of Hampden-Sydney College, rolled out the first issue of what would become C-VILLE Weekly.

It was 1989, and Charlottesville was a smaller, quieter place, where Miller’s was a beacon on a Downtown Mall otherwise deserted after dark, and West Main a no-man’s land separating the island of UVA from downtown. The Dave Matthews Band hadn’t yet been formed. The Daily Progress was delivered every afternoon, “by boys on bicycles,” as Chapman recalls.

Thirty years have brought sleek new developments and million-dollar apartments, tech companies and craft cocktails. Chapman (who is still part-owner of the paper) and Spencer (who no longer has a stake), aren’t the scrappy upstarts they once were: Chapman now owns the Oakhurst Inn, which recently expanded to include a bar and a swimming pool, and last month Spencer sold the building that houses Bizou for $4 million.

But the paper they founded is (improbably, in this age of newspaper consolidation and decline) still locally owned and going strong. And while it hasn’t always hit its mark, its driving force—to provide smart, irreverent coverage of local news and culture—is more necessary than ever.

As Charlottesville undergoes a long-overdue reckoning with its segregated past and deeply unequal present, and wrestles with how to accommodate growth without losing its soul, there’s no shortage of stories. We’re happy to be here to tell them.

Updated 9/25. 

 

Categories
News

‘The heartbeat of racism is denial:’ Author Ibram Kendi talks with Mayor Nikuyah Walker

The work of antiracism is “fundamentally focused on looking in the mirror” with the goal of transforming society, scholar and National Book Award-winning author Ibram X. Kendi told a packed auditorium in Charlottesville on Tuesday night. And, he added: “Because we live in a racist society, it is extremely hard to be antiracist.”

As Kendi’s conversation with Mayor Nikuyah Walker at the Jefferson School African American Heritage Center made clear, there are particular challenges in a city he referred to on Twitter as one of the centers in the American battle between racism and its opponents.

In a wide-ranging discussion, Kendi—author of the newly released “How to be an Antiracist” and of 2017’s award-winning “Stamped from the Beginning,” a history of racist ideas in America—emphasized that torch bearing Unite the Right ralliers and hooded Klansmen are far from the only ones implicated in systems that disadvantage minority groups.

“I’m not concerned with whether someone is consciously recognizing that the policy that they’re supporting is leading to racial inequity,” he said. “I’m not worried about whether they intend to create that racial inequity, as much as the fact that the policy that they’re supporting, or not challenging, is leading to racial inequity.”

At times during the conversation, Walker pushed back on Kendi’s argument that there is no such thing as a non-racist: that all people, of all races, are either racist or anti-racist, either fighting unjust systems or tacitly supporting them.

“As a black woman who has seen people try to survive in this climate, inaction doesn’t necessarily mean that you are upholding or wanting to perpetuate racist ideas,” she said, drawing a contrast between her grandmothers, “who learned to keep their head down, to not make any noise, to just try to get through and survive,” and a figure like Supreme Court Justice Clarence Thomas, who has had an active role in producing policies.

At points in her own life, “I tried to use all the power that I had, which was a lot, but it was also exhausting and it also took moments for me to just kind of retreat to heal from the environment that I was subjected to,” she said. “And I don’t know that everyone has the ability to do that. … How do people survive and do the work? I think if people were more sure of those answers, they would be more willing.”

Kendi argued that different people can play different roles in fighting racism, depending on their circumstances. That includes white people, who also suffer from systems that enforce inequality, he contended.

“What we have now is a massive hoarding of resources and wealth, by extremely wealthy and powerful white people, and they’ve long been using racist ideas to essentially divide and conquer the rest of America,” Kendi said.

In particular, “you have white people now who are worshipping Confederate monuments,” even as those monuments commemorate a war waged in the South largely on behalf of a small land-owning class, he argued. “This is delusional.”

“This racial struggle, this struggle between racists and antiracists, is not a struggle fundamentally over morality, although morality is part of it,” he said. “It’s not fundamentally a struggle over ignorance and hate, although that’s a part of the struggle. What’s fundamental about the struggle is that it’s a power struggle, and it always has been a power struggle.”

In Charlottesville, Walker said, some people are still drawn to a “return to what is normal” two years after Unite the Right – a concept that she said looks like an “escape route” from accountability.

Near the end of the night, an audience member put a finer point on the matter.

“This conversation is happening now because you wrote a book and it’s being presented to us,” she said. “But among ourselves here, this conversation, I have found in Charlottesville, to be impossible. Because white people do not see themselves as a racial group.”

“I think that first and foremost, the heartbeat of racism is denial, and it always has been,” Kendi replied. “I think we have to recognize just how deep-seated the denial is.”

Walker said some people’s reluctance to have uncomfortable discussions presents a challenge in Charlottesville. With a new City Council election approaching in November, “I feel like the community is moving back towards that very comfortable status quo: ‘What I used to have, what I used to be like, and who on this ballot can get me back to that space,'” she said.

“What’s happening here is happening in other places, but at the same time what’s interesting here is, people imagine themselves as liberal and progressive,” Kendi said. In reality, he added, “If you are not part of the movement and the struggle to challenge racism, then you’re being racist.”

Walker said many voters are motivated by a desire to challenge her prominence.

“Not ‘What do we want our city to look like, what is true equity, what is antiracist?'” she said. “But ‘Who can I put in place with my vote that can challenge her, who won’t stop having the conversations, who won’t stop talking about racism, and who won’t stop calling it out when she sees it?'”

“So, they don’t want to be healed?” Kendi said.

“Listen, you have to ask,” Walker replied, laughing.

“But,” he said, “pain is essential to healing.”

 

Categories
Arts

North by southeast: Heron & Crane’s Firesides arrives via online collaboration

Twenty-two years.

That’s how long Heron & Crane’s first record, Firesides, has been in the works, whether or not Travis Kokas and Dave Gibson were aware of it.

Kokas and Gibson met at a sparsely attended rock show in 1997, while both were students at Ohio State University in Columbus. They got to talking and discovered they shared a myriad of interests: Both were film geeks, and they had “all the same musical obsessions,” says Gibson. (Incidentally, they’d both go on to become librarians.)

They became buds, and soon after that, bandmates, playing in a band called The Cusacks “like John and Joan,” says Gibson, who describes his and Kokas’ first musical collaboration as a “power-poppy, Elephant 6-sounding band” that took inspiration from a recording collective comprised of some of the most notable indie rock bands of the 1990s and 2000s, such as Neutral Milk Hotel, The Olivia Tremor Control, and The Apples in Stereo.

When Gibson moved to Charlottesville, the friends kept in touch, talking often, visiting occasionally, and keeping tabs on one another’s musical projects. Gibson played psychedelic power pop with Borrowed Beams of Light for a while, and founded catchy indie pop band Weird Mob (with Renee Reighart) and kosmische-krautrock-synthwave duo Personal Bandana (with Travis Thatcher), while Kokas pursued a solo psych-pop project, Cryptids After Dark.

Gibson (as well as Reighart and a few other area musicians) helped Kokas record some of those Cryptids After Dark tracks while he was visiting from Columbus, and the two kept working on the songs after the fact and from afar, sending digital music files back and forth.

They discovered it was an exciting way to collaborate on music, and decided to start a new band where they could play the “weird, mellow, instrumental, folky” music they both love, says Gibson. It was “an opportunity to do music that we enjoy, that didn’t exactly sit with our other musical projects.”

Dusty old demos hatched fresh new ideas, and after an initial Charlottesville basement recording session in fall 2017, with just a drum machine and 12-string guitar, Heron & Crane took flight across the internet, with Gibson and Kokas trading off building up a track—a synth part here (Gibson), a guitar part there (Kokas).

Both say that it was exciting to open emails and see that the other one had uploaded a new file to their shared Dropbox, each time an aural surprise that would either confirm the direction they were following, or suggest a new one entirely.

“We built and built, and then we almost had too much stuff,” says Gibson. “Here are all the possible ideas…then for the sake of not totally overburdening people’s ears with different parts, we whittled it down to what it became.”

Firesides became a record in which Gibson and Kokas use a limited palette of analog instruments (no software sounds allowed)—including a 12-string guitar, a variety of MOOG and Yamaha synthesizers (including one that could do everything from sampling to Mellotron mimicry), an Oberheim DX drum machine, and an organelle—to explore the gentle, pastoral topography of electronic music.

Taking flight

The Heron & Crane name is, among other things, a reference to Russian filmmaker Yuri Norstein’s The Heron and The Crane, a 10-minute animated short from 1974 based on a fairy tale about a hapless courtship between the two titular birds. It’s also a nod to Mike Heron, a member of the highly influential British psychedelic folk act The Incredible String Band, founded in the 1960s. Renee Reighart designed the Firesides cover art, capturing the colorful, calming landscapes that Kokas and Gibson kept in mind while composing.

“You can tell we were feeling ourselves out a bit on this record,” says Kokas, pointing to the variety of sounds and feelings stretching across the album’s 10 tracks. Side one of the LP (they pressed 100 copies to red vinyl) is a bit more experimental, with the Electric Light Orchestra-inspired “Stars Over Nara,” the krautrock song “Surf Trials,” and Kokas’ ode to Gibson’s basement, “Cave Cricket Crossing.” Side two is a “bit more cohesive,” says Kokas, with the Gibson-penned Stereolab-y “Space Junk” and the duo’s favorite, the Kokas-written “Companions Of Fish & Turtles,” which they both say best captures the vibe they aimed for from the start.

“It’s very much ready to be played during a Folger’s coffee commercial,” says Gibson with a laugh. “A lot of what influenced this record is weird music from old educational films and stuff.” All that “library music” used in film and television scores, and the British psych-folk that both he and Kokas bonded over more than two decades ago.

Somewhere out there on what Gibson calls the “weird fantasy landscape” of Firesides, they found a new frontier worth exploring together:“It’s probably the funnest record I’ve ever done,” says Kokas. “I feel rejuvenated.”

While Kokas is in town to play a release show for the record, he and Gibson plan on laying down the first tracks for Heron & Crane’s next record. It’s sure to take less time.

Categories
Arts

ARTS Pick: Hoopla

Devilish details: While it has the best-loved components of most festivals—an extensive list of craft beer offerings and a groovy live music lineup (this one includes CAAMP, Ona, Larry Keel Explosion, Indecision, Gold Top County Ramblers, and Sarah White)—Hoopla goes beyond the party standards to bring all ages together for adventures between sets. A fun run, tie-dye workshop, and guided hike on the Appalachian Trail are just a few of the options open to revelers looking to commune with the natural setting.

Through Sunday, September 29. $65-150, times vary. Devils Backbone Basecamp, 200 Mosbys Run, Roseland.

Categories
News

In brief: New Hogwaller project, march on, cyberstalking arrest, and more

Hogwaller reset

After City Council’s rejection of his zoning and permit requests earlier this year, Justin Shimp, developer of the embattled Hogwaller Farms project in Belmont, is back with fresh plans for a newly acquired parcel partially overlapping the site of his previous proposal.

The name of the new project—Rootstock Farm Apartments—should be better received by neighbors who said they found “Hogwaller” offensive. It will include two apartment buildings with a combined 28 units and, as with the Hogwaller Farms proposal, includes plans for agricultural space and eventually a farm store.

The Hogwaller project faced a myriad of obstacles throughout its lifespan. Shimp’s plans required rezoning from both Charlottesville and Albemarle County, and many residents in the neighborhood were concerned about building in the floodplain the property lies in. In March, City Council rejected Shimp’s requests in a 3-2 decision.

Shimp recently expressed his frustration with the Hogwaller project’s detractors.

“Our experience there last time was that the people who lived on that street wanted the project approved, and a couple of people from North Downtown didn’t like it—for whatever reason,” he says.

However, the Rootstock project shouldn’t have to face the same roadblocks. According to Shimp, construction on the property would be by-right and would not require rezoning or a City Council vote—except to approve a proposed new street on the property.


Quote of the week

“These limits on witnesses’ ability to view Virginia’s executions severely curtail the public’s ability to understand how those executions are administered…or [are] otherwise botched.—The attorneys representing four news organizations suing the Virginia Department of Corrections for prohibiting public viewing of executions


In brief

Marches galore

Hundreds of activists descended on the Downtown Mall last weekend for two separate marches. On Friday, as part of the global Youth Climate Strike, students (and their grown-up allies) gathered at the Free Speech Wall and called for systemic changes to address the climate crisis. On Sunday, as part of the international Interfaith March for Peace and Justice, protesters marched to the site of the Heather Heyer memorial on Fourth Street in a plea for renewed efforts to ensure peace and justice around the world.

Election meddling

Daniel McMahon of Brandon, Florida, was arrested earlier this month on four federal charges for interfering in a Charlottesville City Council election by cyberstalking candidate Don Gathers. The indictment alleges that McMahon, 31, was “motivated by racial animus” and used his online platforms to harass and intimidate the candidate by threatening physical injury. He faces up to seven years in prison.

An apple a day

The Thomas Jefferson Health District has received a $50,000 grant from the state to open a health clinic in the Yancey School Community Center in 2020. The clinic will staff a part-time community health worker, and provide family planning and sexual health services on a monthly basis. The building is already well-frequented, and includes tenants like PVCC and JABA.

Drawing blood

A first-year UVA student has started a nonprofit, Homoglobin, to advocate for changes in the policies that ban sexually active gay and bisexual men from donating blood. The FDA has rolled back restrictions on allowing gay and bisexual men to donate blood in recent years, and all donated blood is screened for potentially dangerous pathogens.