Categories
Arts

ARTS Pick: Interpol

Rounding the corners: In the run-up to recording Interpol’s latest release, Marauder, drummer Sam Fogarino repeatedly asked himself: “How can I make shit swing?” The post-punk veterans were six albums and more than 15 years into their careers, yet had never strayed from the rock influences of their home turf in New York City. Consulting with R&B greats such as Otis Redding’s drummer Al Jackson Jr. and funk hitmaker Terry Lewis pushed the trio’s sound into groovier territory, softening its trademark rigid guitar and drums.

Wednesday 9/4. $35-40, 8pm. The Jefferson Theater, 110 E. Main St., Downtown Mall. 245-4980.

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Arts

Pulling threads: Survival and storycraft shape the tension in Luce

Luce is many things: a coming of age story, a family drama, a biting social commentary. And though it uses many techniques and tropes from the thriller genre that may seem familiar, that is one thing it is not. Just as the indie drama Krisha was designed to feel like a horror film in order to put us in the head of a disturbed and paranoid person, Luce makes the audience feel like we’re caught in a Hitchcockian web of deceit as it explores all of the social and emotional layers at play in the life of an Eritrean teen, who was adopted as a child war refugee, and his privileged parents. Disturb one strand and it reverberates throughout the web, both in Luce’s mind and in the community at large.

High school senior Luce (Kelvin Harrison, Jr.) is a straight-A student, accomplished athlete, debate team champion, and the shining light of his affluent suburb. His parents (Naomi Watts and Tim Roth) couldn’t be prouder, and his fellow students rely on him. The one person who demands more is history teacher, Harriet Wilson (Octavia Spencer). She challenges him where others don’t, and when a series of discoveries threaten his status, his retaliation reveals the depth of his intellect, and his survival instinct.

I had the pleasure of watching Luce at Independent Film Festival Boston which included an appearance by co-writer and director Julius Onah, who spoke about coming to the U.S. from Nigeria. His personal experience brings an element of catharsis to Luce’s story. Their biographies are different but both had to find ways to belong while maintaining a personal, private identity. It is precisely when Luce feels his right to privacy is violated, when Harriet searches his locker, that he targets people who hold him back or stand in his way. But the scheming did not begin here; all of Luce’s life might have been a performance, working within the confines of liberal guilt and do-goodery so he can live free of scrutiny. Only by being perfect can he avoid the prying eyes that might unleash the trauma of having been a child soldier.

The film comes alive in the interactions between Harrison, a rising star, and Spencer, an established one, who continues to prove how versatile she is. Harriet knows Luce is up to something and has everyone else fooled, but whether it is a crime or emotional self-preservation remains a mystery to her. As a black teacher to an African-born child raised by white parents, she intends to look out for his best interests, but Luce objects to the idea that anyone knows what that is. This dynamic is so strong that it unfortunately overshadows other elements and performances. Harriet’s emotionally disturbed sister is well-portrayed by Marsha Stephanie Blake, but her role in the plot ultimately feels exploitative. Watts and Roth are terrific, and the question is raised as to whether Luce was adopted for his sake or for their own, but a movie this intelligent could have cut much deeper.

Still, Luce is one of the most unique films in recent memory and sure to be a topic of conversation for years to come. If it makes you uncomfortable, good. If it doesn’t, ask yourself why not.

Luce / R, 109 minutes/ Violet Crown Cinema

Alamo Drafthouse Cinema 375 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
Maximum Overdrive

R, 98 minutes / Alamo Drafthouse Cinema
September 9

 

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Arts

What we do is secret: Private symbologies emerge at Second Street Gallery

Brooklyn multimedia artist Tamara Santibañez, one of the seven featured in Second Street Gallery’s group show “Subculture Shock: Death, Punk, & the Occult in Contemporary Art,” was recently quoted in The New York Times about Latinx artists’ use of family history and heritage. She explained that though her art represents her interests in aggressive underground music, queer kink, and Mexican-American imagery, she doesn’t speak for everyone who identifies with those groups.

Santibañez makes a key point that’s transferable to the multifarious visions constituting “Subculture Shock.” Some Latinx artists regularly draw from a collective pool of symbols and images with “highly individualized interpretations,” and there’s a similar essence informing the SSG exhibition.

Despite common influences, the Second Street show provides an original take on inclusion, bridging gender, sexual orientation, and a diverse set of experiences. Enlightening by delving into the darkness, the exhibition liberates viewers to relive the subcultural jolt the creators experienced during their youth—likely considered deviant acts of self-discovery. Picture it: Lunch periods fixated on piles of Satanist-themed books in the middle school library, afternoons blocking out the adult world’s cowardly warnings with punk’s existential blasts of harmonic fury, and, enticed by ghostly mentors, staring contests with masterworks of their art world predecessors before eventually forging their own illuminating truths.

These varied distillations of those experiences still need to interact in a meaningful way, and thankfully, they do.

“Group shows are often a hodgepodge of artists just thrown together with no cohesive thought,” says Kristen Chiacchia, SSG’s executive director and chief curator. “I wanted to do a show where the artists are not only looking at the same themes and ideas, but one where the result is visually coherent. I purposefully chose art that looks like it goes together.”

Each artist’s personal iconography recalls aspects borrowed from punk’s multigenerational history, then remixed with other subcultural touchstones. Evie Falci’s pieces pull from punk’s recurrent fashion choice of metal studs and black pleather. The Brooklyn-based artist insists the geometric forms reflect her own symbolic order, and the resulting trio of designs feels like a strange confluence of indigenous beadwork with astrological or alchemical musings affixed delicately to the rough-and-ready outerwear of slam dancers.

Santibañez’s aforementioned influences are evident in sculptures bearing brightly-colored Latinx folk art traditions imposed on BDSM gear—a reflection of her own kink expression, but paraphernalia that has long become part of a traditional punk ensemble. She explores her fetishism further in “landscapes,” monochromatic paintings of leather bunched into magnified topographic shapes that embody desires and reflect the grim catechism of an exacting sexual subset. The three pieces create an interesting dialog with Falci’s works.

Continuing the BDSM and occult theme, Jessicka Addams’ contribution, “Childhood Telepathy,” an acrylic on watercolor paper, features a crying face in a cat-shaped, full-head mask commiserating with a similarly distressed disembodied cat head marked with a forehead pentagram. Perhaps best known as the singer of Jack Off Jill during the 1990s, the Los Angeles artist’s chosen subject and medium is imbued with the innocent freedom of color blossoming in pointillist rainbow tears, a vibrant treatment of an undisclosed trauma.

Out in the open, and unavoidable, is the human skull: a go-to emblem of punk logos and album art, an ominous icon of the occult, and the longstanding reminder of mortality. The skull image is a ghoulish refrain played throughout the show. You’ll find it smirking in the mixed-media on paper works from Brooklyn-based Peter Benedetti’s imaginatively tortured and disfigured demons (“This Is Not A Pipe”). It grins through New Yorker Paul Brainard’s graphite images in no less than three iterations of punk legends The Misfits’ skeletal mascot, the Crimson Ghost. Danish artist Frodo Mikkelsen’s paintings incorporate skulls as well, perhaps best realized in his silver-plated skull sculpture, a magical jewel crowned with tiny, detailed architecture.

Taking the concept to its ultimate conclusion, New Jersey artist Porkchop recasts Egyptian royalty, Catholic Marys, gnomes, and historical busts in the cold unifier of death. Repainting found sculptures in stark, smooth blacks, whites, and gold leaf, elicits an otherworldly ghoulishness. Details like his intimate alphabet of reimagined letters underlines the impenetrable nature of death while trading in cryptic mysticism. Porkchop’s altar of unlikely neighbors represents an unfamiliar hierarchy posed with newly ranked, sinister import.

Are these artists fixated with death or is it the byproduct of reveling in a subculture with a grim view of the world? “Subculture Shock” doesn’t give definite answers, but suggests there’s more empowerment, freedom, and fun to be had down in the underworld than what’s clowning in plain sight.

Categories
Arts

Exploring boundaries: Stephanie Nakasian reflects on the beauty of jazz life lessons

Stephanie Nakasian grew up with the American songbook in her ear. You know the tunes: “Fly Me to the Moon,” “I Get A Kick Out of You,” and so many others. She sang them at home, and in choir, and played them on piano and violin, too.

These melodies and lyrics were in her ear while she studied economics and earned an MBA at Northwestern University, and the songs followed her to a job in New York City.

When she was in her mid-20s and working on Wall Street, she met bebop jazz pianist Hod O’Brien (who would become her husband of 38 years) and heard these songs anew. “When I saw Hod playing piano, [they] just seemed so alive. The same songs I’d heard before, [but in] a fresh sound. I loved the swing feel of it,” she says, sitting at a table in C’ville Coffee, her preferred Charlottesville jazz listening and performance venue.

Nakasian closes her eyes, perhaps to remember the sound of her late husband’s piano. “Fly me to the moon,” she croons with more swing than Sinatra, bobbing her right hand back and forth through the air as she snaps her fingers to the beat. “Let me play among the stars / Let me see what spring is like on / A-Jupiter and Mars.”

She asks if this reporter can hear the difference, the swing, the (be)bop. It’s palpable indeed, and that right there, she says, is why, at 25, she chose to leave her job on Wall Street and give jazz singing a go. Nakasian took a major risk, and it’s paid off. Dubbed the “Renaissance Woman of Jazz” in a 2012 industry profile, she’s released 15 albums; performed with jazz legends like lyricist and singer Jon Hendricks; sings at legendary jazz venues like New York City’s Birdland; and has taught voice at UVA and elsewhere for more than two decades.

That sort of spirit—one of taking chances and following a lead wherever it may go—is what Nakasian intends to convey to her audience at Thomas Jefferson Memorial Church on September 8, when she performs a concert of bebop classics with The Richmond Jazz All-Stars.

The Richmond Jazz All-Stars. Publicity photo

Nakasian calls the group, comprised of pianist Weldon Hill, saxophonist James “Saxsmo” Gates, bassist Michael Hawkins, and drummer Billy Williams Jr., her “dream band.” And not only because they’re accomplished musicians who’ve shared the stage with superstars such as Jon Faddis, Kristin Chenoweth, Art Blakey, and Terence Blanchard, among others. It’s because, for Nakasian, these musicians hit all the right notes. “Jazz is incredibly creative,” she says, “an interesting experiment. And the perfect band is the band that technically and musically fits with you, and then emotionally supports you and inspires you.” It’s important to have that relationship among band members, she says, because jazz makes musicians and singers explore their boundaries and push beyond them with every rehearsal, every performance.

Playing jazz is a way to discover something new about oneself, to grow as a person and an “expressive human being,” Nakasian continues. “Maybe [I] make a mistake. And [I] survive it, and you know what? Then I’m not so scared about making a mistake again. It’s a good life lesson,” to approach through jazz, and the complexity of bebop in particular.

Listen to some of Nakasian’s songs here.

Bebop is a fast-tempo style of modern jazz that, to many ears, may sound like just a lot of notes, says Nakasian. Virtuosic musicianship is a requisite to play bebop’s rapid and frequent key changes, complex harmonies and melodies, and long lines of improvisation that can go on for quite a while before returning to a familiar phrase or refrain. Though it’s deeply rooted in the standards, Nakasian’s been told more than once that bebop can be intimidating for some listeners.

It’s a challenge for Nakasian as a singer, too—imagine singing lyrics, or scatting (using one’s voice almost as a horn), to complex instrumental solos? She demonstrates willingly (though not at full volume) in the coffee shop, singing some of Jon Hendricks’ original lyrics for Miles Davis’ “Four,” snapping her fingers quick to the beat: “Of the wonderful things that you get out of life there are four. / And they may not be many but nobody needs any more.” She can’t help but smile as she sings.

“I’m always giving myself these difficult assignments,” she says, laughing. But bebop is a chance for her to stretch her skill, to tap into a vocalization or a lyric (Hendricks’ are particularly, delightfully, philosophical) in order to feel the color and emotion of the melody and the message.

And with a band of this caliber playing classics from Blakey, Charlie Parker, Dizzy Gillespie, and so many other greats, chances are, Sunday night’s concert will feel pretty darn good, says Nakasian.

“It’s going to be magical,” she says with a wide smile, her eyes twinkling as much as the diamond ring on her finger. “And it’s going to be fun.”


All that jazz

Here’s what Nakasian has lined up, locally, for the fall season:

Sunday, September 8 Thomas Jefferson Memorial Church: Stephanie Nakasian and The Richmond Jazz All-Stars

Saturday, September 14 C’ville Coffee:
September Songs   

Saturday, October 12 C’ville Coffee:
Autumn Serenade

Saturday, November 16 C’ville Coffee: The ’60s
and ’70s, Jazz Style

Saturday, December 14 C’ville Coffee: Holi-daze

Find full details on her website.

Categories
Arts

ARTS Pick: Filmore

Fan favorite: He may be labeled a country singer, but Filmore’s music doesn’t fit neatly into one category. Whether he’s adding electronic beats or R&B elements, or picking up the occasional banjo, the young Missourian puts a fresh twist on country music traditions, and it’s garnered him millions of streams. The musician is also known for his sharp business acumen, which he applied by building his career slowly through an authentic connection with
fans.

Saturday 9/7. $10-15, 8:30pm, The Southern Café & Music Hall, 103 S. First St. 977-5590.

Categories
News

Deer crossing

There are more than 50,000 deer-vehicle collisions in Virginia each year. One local scientist has a low-cost solution. 

 

May 3, 2013. It’s 7:50 in the morning. A 51-year-old man driving an SUV west on I-64 collides with a deer. The man is unhurt; police notify VDOT that they’ll need to remove the carcass.

October 13, 2014. Evening rush hour: 5:35pm. A 28-year-old woman is driving east on the same highway. From the police report: VEH#1 WAS IN THE RIGHT LANE WHEN A DEER CAME FROM THE LEFT AND STRUCK THE VEHICLE. THE DEER THEN FLED THE SCENE.

November 1, 2017. At 1:31am, two women have just driven over the Mechums River. A deer flashes into their headlights right before they feel the thump of the collision. The driver, who’s in her 60s, is fine, but her 21-year-old passenger sustains a “visible injury.”

July 26, 2017. Westbound lanes, just after midnight. VEHICLE 1 SWERVED TO MISS AN ANIMAL IN THE ROADWAY, LOST CONTROL, CRASHED INTO THE BANK AND ROLLED OVER. Visible injury to the 29-year-old driver.


Spend a little time looking through VDOT’s crash data, and it soon becomes obvious: A substantial portion of the mishaps—both minor and serious—occurring on Virginia’s roads involve a certain hoofed mammal. Odocoileus virginianus, the whitetail deer, causes enough crashes to earn its own code in the police reports. Alongside “1. Rear End”; “3. Head On”; and “8. Non-Collision” there’s “10. Deer.”

“Deer are not wired to learn to cross a road,” says Matt Knox, who leads the deer program for the Department of Game and Inland Fisheries. “They’re programmed to get away from wolves and panthers, but cars are a predator they haven’t evolved to deal with.”

It’s a problem for all parties involved. There are more than 50,000 deer-vehicle collisions—or DVCs, as they’re known to VDOT—each year in Virginia. Many of those result in death for the deer, and VDOT spends time and treasure dealing with the carcasses. For drivers, deer are a hazard to property as well as to life and limb. While Virginia isn’t one of the very worst states for DVCs (those honors go to West Virginia, Montana, and Pennsylvania), it’s still in the top dozen. A driver in Virginia has a one in 99 chance of hitting a deer, according to State Farm, which tracks deer-related insurance claims nationwide. Fatal crashes caused by deer are rare, but not unheard of.

The busiest time for DVCs is right around the corner: fall, which is rutting (mating) season for deer. Bridget Donaldson, a scientist with the Virginia Transportation Research Council—that’s VDOT’s research arm—has spent almost four years tracking deer activity and collisions along a stretch of I-64 west of Charlottesville. Of all the DVCs recorded during her study period, more than half occurred during October and November. During the rut, says Knox, “Their activity goes up dramatically, and that means they’re crossing roads.”

Donaldson (who’s based in Charlottesville) found that in the stretch of I-64 she studied, there were about nine deer-related crashes per mile per year. “That’s high,” she says. “That number can be decreased.” Fewer crashes would, obviously, benefit wildlife: not only deer, but bears and innumerable smaller animals. But how to prevent collisions, when our roadways cut right through forests and other prime wildlife habitat? Could there be a way to mitigate what seems like an unfortunate fact of modern life?

Deer in the road

In the fall, after bucks have shed the velvet on their antlers and dispersed from their chummy summertime “bachelor groups,” they find themselves restless and driven, propelled by the highest testosterone levels they’ll have all year. Does, meanwhile, have weaned the fawns they birthed in the spring and, as the days grow shorter, prepare to come into estrus, meaning they’re ready to breed. Searching for mates, both sexes crisscross the landscape more frequently than at any other time of year.

While bucks travel alone in autumn, does continue to move in social groups. Led by an alpha female—usually their mother or grandmother—younger does and fawns stick together, following the alpha whether her decisions are good ones or not.

“She controls when and where they move,” says Knox. “If she crosses the road, those other animals are going to cross regardless of traffic, because she’s the leader. If they’re crossing a bridge or overpass and the oldest doe jumps to her death, they all jump to their death.”

For drivers, this means that where there’s one deer in the road, there are often several—sometimes as many as a dozen. That increases the chaos factor during a road crossing, making it more likely that an encounter will end in a collision.

It doesn’t help that deer are neither nocturnal nor diurnal, but crepuscular: most active at dawn and dusk. Unfortunately, in the fall, those are often the same hours that people commute to and from work. While DVCs can happen at any time of day, the overlap of deer and human “rush hours” means there are that many more opportunities for fatal contact.

George Bragg, third-generation owner of Bragg’s Body Shop in Charlottesville, says lately he’s seeing cars with deer damage year-round. Photo: Amy and Jackson Smith

George Bragg, the third-generation owner of Bragg’s Body Shop in Charlottesville, is used to seeing cars come into his shop with deer damage, and recently, he’s noticed a trend. “Traditionally, we used to see a lot of deer hits in fall and winter,” he says. “Nowadays, in the last two to three years, it’s a consistent problem year-round.” He chalks up the increase in spring and summer collisions to Charlottesville’s steady pace of growth. “I attribute it to construction and development,” he says.

Donaldson says that the more fragmented forested habitat are for deer, the more often they’ll get hit—and maybe not for the reasons you’d assume. It’s not that deer need large swaths of unbroken forest, which human activity interrupts. It’s that they actually prefer edge habitats: places where forest meets field, or a creek breaks up the landscape—or a road cuts through the woods. Of that last type, there are more and more, as human developments extends its fingers into the landscape. “Deer love that edge, and use rights-of-way as part of their habitat,” Donaldson says. “They like early successional vegetation,” the plants that tend to grow back first when a forest is cut down. “They thrive where humans are, because we break up the habitat.”

Fencing them out

As more and more places see development, deer become used to the sights and sounds of roads and highways, walking and feeding along roadsides with no true understanding of how dangerous they are. “Deer raised near highways become habituated,” Donaldson says. “They haven’t evolved to understand the speed” of motorized vehicles.

This explains what sometimes looks to drivers like very stupid behavior—the classic “deer-in-headlights” situation, or the fact that deer sometimes run directly into the sides of vehicles, or leap off embankments onto a vehicle’s roof.

What deer can understand, as gardeners well know, are eight-foot-high fences.

When Donaldson joined the VTRC in 2003, she brought with her an interest in wildlife ecology, and she knew that, especially in the West, some roads were constructed with underpasses specifically for use by animals. Those are effective but expensive, and very tough to retrofit. “I thought maybe we could make better use of existing underpasses,” she says. Her idea was to study the effectiveness of roadside fences in funneling animals toward spots where they can safely cross under the road. If those underpasses were already built, VDOT would save the cost and hassle of new construction.

Donaldson identified two spots on I-64, between Charlottesville and Crozet, that could serve as wildlife crossings. One is ideal for deer: a tall, wide space under the Mechums River bridge with lots of visibility.

The other, located just east of the Ivy exit, is less inviting. It’s a “box culvert”—a concrete tunnel—that was built along with the interstate, back in the 1960s, to accommodate cattle on a farm the new highway had bisected. The culvert is 189 feet long and dark. From one end, the other side looks like a small square of sunlight framed by blackness. Donaldson knew from reading other studies that a culvert like this would not be a preferred crossing for deer, who hesitate to pass through confined spaces. But would they use it if they were forced to, by fencing?

Scientist Bridget Donaldson spent almost four years tracking deer activity along a stretch of I-64 west of Charlottesville. Photo courtesy VDOT.

Donaldson and her colleagues started out by studying deer activity near the two underpasses for two years before fencing was installed. In 2013 she placed game cameras every tenth of a mile, for a one-mile stretch centered on each underpass, and collected images of animals at the roadside: deer feeding, deer attempting to cross, even deer mating and sparring. Her cameras recorded more than 4,700 deer visits to the two sites.

As she’d expected, deer were more willing to walk under the bridge than to brave the box culvert. Also as she’d expected, they frequently crossed the road at both sites, regardless of having a safer passage available.

A mile of fencing went in at the box culvert in 2016, and another mile at the Mechums bridge in 2017. The fence is pretty simple: eight feet high, made of woven wire attached to metal stakes, with occasional “jumpouts” that let deer escape if they get trapped on the wrong side.

Simple it may be, but it seems to be working. In the mile surrounding the box culvert, the number of DVCs dropped from 16 (in two years of study) to just one in the two and a half years since the fencing went in. And the annual number of deer crossings through the culvert went from 148 to 745—a 505 percent increase.

“Now they realize they have to use it,” says Donaldson. She’s excited that the fence has done exactly what it was supposed to—channel deer to the safe crossing, even though it’s not what their instincts tell them to prefer. And it’s safe to assume that, at the two sites, it’s prevented more than 30 DVCs. Images of does bringing their fawns through the culvert suggest that a new generation of deer will learn to use it as part of their normal movements.

The post-fencing study at the Mechums bridge site won’t be fully complete until 2020, but so far it looks just as promising—no DVCs at all, and a marked increase in deer using the underpass.

Too many deer?

Donaldson’s study, she says, “is the most comprehensive evaluation of adding fencing to existing infrastructure. It’s the first time we’re heavily studying the effects of this.”

She plans to share her findings with other road ecologists around the country, and one thing she’ll emphasize is how cost-effective such a strategy can be. The two sections of fencing cost around $300,000 to install, and maintenance has so far been paid for by the VTRC’s research budget.

Wildlife conservation isn’t VDOT’s main priority here, says Donaldson. (Earlier this year, Virginia’s General Assembly failed to pass a bill that would have required studies of habitat corridors, to better understand how deer and other animals move through the landscape, and provide protection for those corridors. Several other states have passed similar legislation.) While deer do benefit from the new fencing, human safety and protection of property are more central to VDOT’s mission.

It’s hard to know the true cost of the roadkill problem to the state and to individuals, since many DVCs never get reported to the police. But for those unlucky drivers who do make contact with deer, Bragg says, it’s not unusual for the cost of vehicle damage to get into the four-figure range. “It doesn’t take much to do a lot of damage,” he says. “Vehicles today are made with crumple zones and a lot of plastic, and the sheet metal these days is very thin to make cars lighter. A good hit from a 200-pound animal can render $2,500 worth of damage to an average car.” State Farm reports an even higher figure: $4,341 per claim on average.

Bragg has seen vehicles totaled when deer have damaged roofs and windshields and set off airbags. “That can total a brand-new car,” he says. “We’ve seen that happen at less than 500 miles.”

If habitat is becoming ever more fragmented, and the number of roads and drivers in our area is increasing, deer and drivers will inevitably continue to encounter each other with great frequency. Seeing—and being nervous about—deer while driving is part of what drives the public’s perception that there are too many deer in the environment.

Matt Knox says that overpopulation of deer is a myth, or at least half a myth. “There’s two ways to look at this,” he says. “The first way is from a biological perspective. If you have so much food out there on the landscape, it can carry so many deer. From that perspective, the deer population is not overpopulated. The deer are healthy.”

But the biological carrying capacity is a different yardstick than human feelings. “The cultural carrying capacity is people’s tolerance for deer,” he explains. From that perspective, many people do believe there are just too many white-tails. Recreational hunting is the major means of limiting their population. In Virginia, hunters kill nearly 200,000 deer each year. Charlottesville has hired wildlife pros to cull 125 deer annually for the past two years on city property.

The project’s cameras show deer, guided by VDOT’s fencing, using the box culvert to cross under the highway. Photo courtesy VDOT.

Dealing with the mess

Along with the fact that deer mow down people’s gardens and landscaping, deer-vehicle collisions are a major reason that many humans see them as a nuisance. There’s the danger and cost of hitting a deer, of course, but there’s also the unpleasant experience of seeing mangled carcasses on the roadside.

It may be unfair that people move into deer habitat, endanger them with our vehicles, and then profess disgust at seeing the bloody results. But from VDOT’s perspective, deer carcasses are another possible hazard to drivers, and removing them is just part of its charge. That task costs the agency more than $4 million annually.

VDOT and its contractors sometimes pick up carcasses as part of regular maintenance runs, and sometimes in response to calls from motorists. More than 55,000 carcasses must be dealt with each year. Most of these, including those picked up in Albemarle, go to landfills. But that solution is becoming more expensive, says Jimmy White, a colleague of Donaldson at the VTRC.

“As the technology in landfills has progressed over the years,” he says, “[adding carcasses] messes up what’s going on in the landfill.” This makes landfills less willing to accept dead deer; some charge high disposal fees when VDOT brings in carcasses.

In 2013, Donaldson and White studied several different systems that VDOT could use to compost deer at its own facilities. They tried composting in rotating drums, in windrows made of wood chips, and in forced-air compost bins. The forced-air bins worked best—they destroyed pathogens, broke carcasses down efficiently, and didn’t take up much space.

The half-dozen forced-air compost facilities installed during that pilot study are still in operation, says White, and are scattered around the state. Eventually he’d like to see more of them built. At a local VDOT headquarters outside Lynchburg—essentially a large yard where snowplows, mowers, and other maintenance equipment is stored—White shows off a set of compost bins that can break down hundreds of carcasses at a time.

It’s all very plain-looking: four concrete bins under one large shed roof. Each is about 10 feet wide and 18 feet deep, and has a swinging metal door across the front that opens to allow front-loaders to add animals and turn the compost. (One of the four bins is marked: PLACE DEAD ANIMALS HERE.) Along the floor, thin PVC pipes hiss with the forced air that helps the system work quickly.

To use the bins, workers line the bottom with sawdust and layer carcasses on top, back to front, all facing the same direction. They continue layering animals and sawdust as the pile builds up. “It might take a month to fill it,” says White, “and then it sits for another month until it’s finished. The neat thing is that in the bin that’s working, there’s no odor—it’s all balanced. The guys that operate it can tell by the odor if it’s out of whack.”

On this visit, on a hot summer day, there is no smell and just three animals—two deer and a dog—in the bin. An adjacent shed holds finished compost, looking like dark sawdust studded with bones and antlers, which will be added into new piles as a starter. In the busy fall season, White says, as many as 100 animals might be added to each bin before the whole system is at capacity.

“We create an environment so the microbes prosper and eat everything up in about 28 days,” says White. “It’s pretty fast.” Long probe thermometers measure temperatures inside the piles of up to 140 degrees during the hottest part of the cycle, and drainage channels collect the leachate, rich with beneficial microbes, that managers recycle back into the piles.

At a cost of around $150,000 per compost facility, the bins can save VDOT money over the long term, concluded Donaldson and White in their study.

That’s also a big part of the case Donaldson wants to make for fencing: that it’s smart management of public funds.

“While underpasses designed for wildlife are a great solution when new roads are constructed, for existing roads it can cost millions to dig up the road and install a new underpass,” she says. “It’s low-hanging fruit when we can make better use of existing structures—it’s inexpensive, and the mitigation has a profound effect. We hope that our projects in Charlottesville are going to be the model for the rest of the state.”

 


Photo courtesy VDOT.

How not to hit a deer

Consider your timing. In fall, and at dawn and dusk, your chances of a DVC increase. Drive extra cautiously during those times.

Consider your position. Preferred crossings include creek bottoms and places with lots of vegetation on one or both sides of the road.

Slow down. “If you’re going 55,” says Matt Knox with the DGIF, “the chances of a DVC are much higher than if you’re going 25.” And if a collision seems imminent, don’t swerve. Jerking the wheel can make you lose control of your car, resulting in a much worse impact than hitting the deer. As Knox puts it, “Would you rather hit a deer, or an oak tree?”

 


Bears, too

When Bridget Donaldson took C-VILLE on a tour of the box culvert where VDOT’s new fencing is funneling wildlife, we saw lots of tracks in the tunnel. Deer were obviously using the tunnel, as were smaller animals like raccoons. Just before we left, we discovered bear tracks too.

Sure enough, later that day Donaldson discovered footage of a black bear emerging from the culvert.

An average of five bears per year died on I-64 between Afton Mountain and Charlottesville during Donaldson’s three-year study of the road. Like deer, bears are most likely to cross roads during the fall, when they’re feeding intensively to get ready for hibernation.

Though deer are the biggest problem for motorists and the main focus of Donaldson’s fencing study, bears benefit from the project too—as do the handful of drivers each year who would otherwise have collided with an animal that can weigh up to 500 pounds.

Categories
Food & Drink Living

New whiskies in town

Signs that fall is just around the corner: cool evenings, colorful leaves, and last but certainly not least, whiskey! But this is not Kentucky, so we’re not talking bourbon. Two new releases of locally distilled single-malt whiskey are available now. Spirit Lab Distilling, a little warehouse shop on Sixth Street SE, presents the fifth annual batch of its prized liquor. We tried it, and we liked it very much. Made entirely in Charlottesville by husband-and-wife team Ivar Aass and Sarah Barrett, the pot-stilled whiskey takes on notes of dried fruit, toffee, cocoa, and baking spices (think pumpkin pie) in a maturation process that includes American oak as well as port and sherry-wine finishing barrels. It’s costly, at $88.99 and $46.99 for a full or half bottle, respectively, but with a limited release of just over 150 units combined, the run is bound to sell out (as it has in years past). Pick yours up at Spirit Lab—look for the red door at 1503 6th St. SE.

Meanwhile, Lovingston’s Virginia Distillery Company announced the September 1 release of its own single-malt whisky (the company’s preferred spelling). Called “Prelude: Courage & Conviction,” the sweater-weather libation—aged in bourbon, sherry, and cuvée wine casks, costs $69.99 a bottle and is available at the distillery or online. www.vadistillery.com

Food for good

An all-star lineup of about 20 local food and drink purveyors are gearing up for a major annual event benefiting Meals on Wheels of Charlottesville/Albemarle. Taste This! takes place September 24 at the fancy-pants Club at Glenmore, offering a feast presented by Chimm Thai and Southeast Asian, The Ivy Inn, Junction, Little Star, MarieBette, Market Street Wine, Oakhart Social, Prime 109, and Tavola, with cash-bar offerings by Early Mountain and Veritas vineyards, Random Row Brewing Co., and The Alley Light. It’s great to see a lineup like that—including many Best of C-VILLE 2019 winners and runners-up—coming together for a good cause. Tickets are $75, and they sell like hotcakes. Visit cvilletastethis.com.

Categories
Arts

Galleries: September 2019

These are a few of Ryan Trott’s favorite things

Cups, mugs, hands, feet, flowers, water drops—these are just some of the everyday objects that inspire Ryan Trott.  Simplified shapes repeat throughout “Things,” the artist’s exhibition now on view through the month of September at the New City Arts Welcome Gallery.

The paintings, drawings, screen prints, books, t-shirts, and tote bags on display explore two main themes, says Trott: “Everyday objects and the idea of the multiple.”

Trott chooses objects for their shape and familiarity (“These particular things are comforting to me,” he says) and turns them into bold, graphic icons reminiscent of Henri Matisse’s technicolor cut-outs. There’s humor involved, too: “I find it funny and weird to draw these objects over and over and elevate them to art to be displayed and celebrated,” says Trott. “It’s unexpected and fun to think about people looking at this simplified toothbrush, possibly considering its deep meaning,” then choosing to wear it on a t-shirt, over their shoulder on a tote bag, or, even funnier, hang a framed print of it on their wall for contemplation.

He’s particularly excited about the “Big Drip” painting on canvas, how it “feels like a really successful representation of that funny shape, the water drop. I’m not a traditional painter, so it was a new experience for me to create a large canvas in full color,” says Trott. “It has an almost abstract color field feel to it, with such big blocks of color.”

Another piece from “Things.” Photo courtesy of the artist

Bright, colorful, familiar, funny, and a little quirky—Trott’s work appeals to adults and children alike. Perhaps in part because Trott himself is inspired by children’s artwork.

Trott teaches art at Burnley-Moran Elementary School in Charlottesville (follow his classes’ work on Instagram at @bmeopenstudio), and in his students, he sees “a spontaneity and willingness to just ‘go for it’ when it comes to showing things,” says Trott.

“I love my students’ drawings of lamps on tables, horses, people in weird positions and other things that any adult would struggle to represent,” he says. “It can be hard as an adult, and especially as a practicing artist, to channel that honesty and willingness to take risks.”

First Fridays: September 6

Openings

The Bridge Progressive Arts Initiative “Divided Light,” a multi-media collaborative exhibition about a shift in perspective by resident artists Davis Eddy, Tobiah Mundt, and Katie Rice. 5:30-9:30pm.

Chroma Projects Inside Vault Virginia, Third Street SE. “Bio Diversity,” featuring Akiko Tanaka’s ceramics referencing the fantastic oddities in nature, and biology professor Jurgen Ziesmann’s paintings that share the dynamic masteries of life’s secrets. 5-7pm.

CitySpace 100 Fifth St. NE. The Access Arts Charlottesville/Albemarle annual visual arts exhibit. 5:30-7:30pm.

C’ville Arts Cooperative Gallery 118 E. Main St., Downtown Mall. “Carnival Cats,” featuring paintings and wood carvings by Lisa O. Woods about her lively relationships with her cats. 6-8pm.

Eichner Studios Gallery 2035 Bond St. #120. A show of work by Karen Schulz and a number of local artists working in a variety of media. 6-8pm.

The Garage 100 E. Jefferson St. “A Few Small Stones,” featuring works in watercolor and pencil by Amanda McMillen, inspired by collections of natural objects and the wonders of cell biology. 5-7pm.

Amanda McMillen at The Garage

IX Art Park 522 Second St. SE. “Five by Five,” an exhibit of photography by Virginia photographers Jyoti Sackett, Martyn Kyle, Brian Wimer, Benjamin Linden, and Jarod Kearney. 5-8pm.

Lynne Goldman Elements 407 E. Main St., Downtown Mall. Pop-up shop featuring hats by milliner Ignatius Creegan. Noon-7pm.

McGuffey Art Center 201 Second St. NW. In the Sarah B. Smith Gallery, “For Spare Parts, They Broke Us Up,” a solo show of found objects, kinetic sculpture, and installation by Nina Frances Burke, including  a collaborative work with Andy Foster; and in the Upper and Lower Hall Galleries, a show of work by the Central Virginia Watercolor Guild. 5:30-7:30pm.

Mudhouse Coffee 213 W. Main St., Downtown Mall. “People Other Than This One,” a show of Greg Antrim Kelly’s smartphone photographs of friends, colleagues, and strangers. 5:30-7:30pm.

The Salad Maker 300 E. Market St. “Colors and Abstraction,” featuring digital art by J. Perry Folly. 5-7pm.

Second Street Gallery 115 Second St. SE. “Subculture Shock: Death, Punk, & the Occult in Contemporary Art,” featuring paintings, works on paper, sculpture, and mixed media by Jessicka Adams, Peter Benedetti, Paul Brainard, Eve Falci, Frodo Mikkelsen, Porkchop, and Tamara Santibañez; and in the Dové Gallery, “Teeny Tiny Trifecta 2,” featuring works in a variety of media by 87 mostly local and regional artists. 5:30-7:30pm.

Spring Street Boutique 107 W. Main St., Downtown Mall. “Kid’s Art: The Joy of the Kid’s World.” 6-8pm.

Studio IX 969 Second St. SE. “Corner Quotes: Recollections of a Corporate Scribe,” featuring poetry by Hannah Corbin. 5:30-7:30pm.

Top Knot Studio 103 Fifth St. SE. “Luminosity,” an exhibition of works in acrylic and oil on canvas by John Russell. 5-8pm.

Virginia Book Arts at the Jefferson School, 233 Fourth St. NW. A show of book arts by Lyall Harris, Keri Cushman, and Amy Arnold. 5-7pm.

Welcome Gallery 114 Third St. NE. “Things,” featuring new paintings, drawings, prints, and objects by Ryan Trott. 5-7:30pm.

WVTF Radio IQ 216 W. Water St. An exhibit of paintings by Nym Pedersen. 5-7pm.

 

Other September shows

Albemarle County Circuit Court 501 E. Jefferson St. An exhibition of work by members of the Central Virginia Watercolor Guild.

Annie Gould Gallery 109 S. Main St., Gordonsville. “Evening Boaters,” featuring work by Linda Verdery; and “T’Hat Lady,” Frances Dowdy’s images of Susan Mansfield Myers.

Buck Mountain Episcopal Church 4133 Earlysville Rd., Earlysville. “War Stories: Lament for Refugees,” works in oil on canvas and paper by Susan Fleischmann.

Carpediem Exhibit 1429 E. High St. A perpetual group exhibit showing works by more than 25 artists, including paper and mixed-media works from Aziza Claudia Gibson-Hunter’s “POTENCHA” series.

Aziza Claudia Gibson-Hunter at Carpediem Exhibit

Crozet Artisan Depot 5791 Three Notch’d Rd., Crozet. A show of felted, wearable art by Karen Shapcott.

The Center 491 Hillsdale Dr. “Close to Home: Painting What We Love,” an exhibit of oil paintings by Randy Baskerville.

The Fralin Museum of Art at UVA 155 Rugby Rd. “Asian Art from the Permanent and Select Private Collections”; “Otherwise,” exploring the influence of LGBTQ+ artists; “Time to Get Ready: Fotografia Social”; and “Oriforme” by Jean Arp.

Jefferson School African American Heritage Center 233 Fourth St. NW. “Ernest Withers: Picturing the Civil Rights Movement 1957-1968,” a show of 13 works from the African American photojournalist best known for capturing 60 years of African American history in the segregated South.

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, through September 8; “Ngayulu Nguraku Ninti: The Country I Know,” featuring the work of Sharon Adamson and Barbara Moore, opening September 19; and “With Her Hands: Women’s Fiber Art from Gapuwiyak: The Louise Hamby Gift.”

Les Yeux du Monde 841 Wolf Trap Rd. “Arrivals,” by Sanda Iliescu.

McIntire School of Commerce Connaughton Gallery Rouss and Robertson Halls, UVA. “Woodland and Sky,” featuring oil paintings by Kendall Cox and Linda Staiger.

New Dominion Bookshop 404 E. Main St., Downtown Mall. “Poetry in Color,” an exhibition of watercolor calligraphy and oil and acrylic paintings by Terry M. Coffey.

Piedmont Place 2025 Library Ave., Crozet. “Sunrises and Sunsets of Virginia,” a show of oil paintings by Randy Baskerville.

Random Row Brewery 608 Preston Ave. “In the Mood,” a selection of Charlottesville- and musical-themed acrylic paintings by Matalie Deane.

Thomas Jefferson Memorial Church Unitarian-Universalist 717 Rugby Rd. An exhibition of mixed-media works and oil paintings by Adrienne Allyn Dent.

University of Virginia Hospital Main Lobby 1215 Lee St. Landscape and wildlife photographs by George A. Beller.

The Women’s Initiative 1101 E. High St. “Serenity,” a show of work by members of the BozART Fine Art Collective.


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.

Categories
Opinion

An opportunity to lead: Will UVA follow through on its promises?

By Richard Dickerson

I am a native of Charlottesville. I attended all-black Jefferson Elementary School, Johnson and McGuffey elementary schools, Buford Junior High, and Lane High School, class of 1973.

Many things have changed since I left Charlottesville, shortly after graduation. The University of Virginia, however, remains omnipotent in terms of academics, economics, and public policy. The university continues to be one of the city’s largest employers. My father worked at UVA Hospital for 44 years, double shifts for 30 years. He left home at 6:30 or 7:00am, returning after 11:00pm. My father was not alone—many of my friends had parents doing the same. 

I am glad that president Jim Ryan is raising salaries to $15 per hour, but many UVA employees struggle to obtain decent affordable housing. The expansion of the university has and continues to have a negative impact on the housing stock in the city. Neighborhoods that were once all-black now have become havens for student housing. How long will Westhaven continue to exist at its current location?

Despite an abundance of resources, UVA has had difficulty attracting and retaining black students, black faculty, and senior black administrators.

The year is 2019, and the city and the university recently gathered to pay respects on the occasion of the second anniversary of the Nazi march. The march exposed to the world what many in the black community have known for years: Despite the happy talk about how great and wonderful Charlottesville is, the black community was often an afterthought at best. The role for many in the black community has been to cook, clean, and serve those in leadership positions at UVA, and then return to neighborhoods that were often neglected.

President Ryan has created a committee tasked with providing ideas and direction on how UVA can be better. But over the years, whether at UVA or other places, committees have been, and often remain, the final resting place for ideas designed to help.

The problems do not need to be studied to death. On the issue of race, treat people of color like you treat white people. The people who built the university and the people who built Monticello were slaves. The Memorial to Enslaved Laborers is at minimum a euphemism that seeks to lessen the evil of slavery, at worst revisionist history that seems to be geared to make whites feel possibly more at ease. Both send a very distinct message.

The university has really smart people, an annual budget of $3.7 billion, and an endowment of more than $9 billion. Budget determines priorities. How much money will the university allocate to address housing, illiteracy, health care, education? What specific actions will the university take to improve the quality of life for the working poor in its service area? How does the university improve upon its meager record as it relates to the number of black students, faculty, senior administrators? 

Over the years, the university has had a fractured relationship with city leaders in Charlottesville. The city needs the university and the university clearly needs the city. It is 2019, and the world is watching. The university has an opportunity to lead.

Richard A. Dickerson is a U.S. Army veteran who served in the Clinton and Obama administrations, and currently runs a private consulting firm called RAD Communications.

Categories
News

In brief: Beto’s back, Scott Stadium watering holes, candidate banned, and more

Beto shows up—again

Democratic presidential candidate Beto O’Rourke made a second visit to Charlottesville August 31. O’Rourke, who is trailing in the crowded Dem field, hit Champion Brewing to support former School Board chair Amy Laufer, who is running to unseat state Senator Bryce Reeves. He visited the Jefferson School African American Heritage Center and said Charlottesville has “an incredibly powerful story to tell” about racism after August 12, 2017—an event former vice president Joe Biden used to launch his campaign. O’Rourke, who attended the boarding school Woodberry Forest in Madison County, concluded his visit with a fundraiser held by some high school buddies.

O’Rourke shows up for Amy Laufer at Champion Brewing. Eze Amos

 


“I am a part of a stereotype, but I also do things people would never expect me to do.”Corey in the documentary A Different Side, which presents a new perspective of young black men, and was made by interns in this summer’s Community Attention Youth Internship Program



In brief

Credit limits

City Manager Tarron Richardson proposes lower limits on credit card spending by city officials, and tighter oversight on purchases in the wake of the Paige Rice Apple Watch-buying scandal and Progress reporter Nolan Stout’s stories about city spending. In the first half of 2019, city officials put more than $480,000 on credit cards.

We’ll drink to that

UVA will start selling alcohol at home football games in booze gardens at the east and west ends of Scott Stadium. Beer, wine, and hard cider must be consumed in the outdoor bars, and fans may buy no more than four drinks during the first three quarters of a game, after which sales end.

‘Landslide Michie’ dies

Former city school board member Tom Michie, who served during integration and earned his nickname when he won a House of Delegates seat by one vote, died August 27 at age 88, of complications related to Alzheimer’s. Michie carried legislation that led to Charlottesville and Albemarle’s revenue-sharing agreement. He lost re-election to a fourth term in the state Senate, which he attributed to NRA retaliation for his support of a bill to ban assault weapon sales in Virginia.

Banned again

John Hall in 2017. staff photo

Albemarle County schools have forbidden independent City Council candidate John Hall from entering county school property following a disruption at CATEC. Hall, who has said he’s been diagnosed as bipolar, has been banned from City Hall and UVA in the past, and has been convicted of trespassing several times, most recently August 2 at the Haven, the DP reports.

R.I.P. former C-VILLE columnist

Katherine Troyer, who penned a science column during this paper’s early days as C-Ville Review, died August 27 at 64 from cancer.

Early bid

Kellen Squire. submitted photo

Kellen Squire, an E.R. nurse in Charlottes­ville and former Democratic candidate for the Virginia House of Delegates, announced last week that he intends to run for lieutenant governor in the 2021 election. Squire is the first candidate to announce his campaign for the seat currently occupied by Justin Fairfax.

Change of venue denied

On September 29, an Albemarle County judge denied Common Ground Executive Director Elliott Brown’s request for a change of venue to Charlottesville in the defamation suit against her, filed by Jefferson School Foundation Executive Director Sue Friedman. Friedman is suing Brown for $1 million, plus $350K in damages for comments Brown made at a tenant meeting and in emails.

Breaking the bank

State regulators released a report last week that said Dominion Energy reeled in $277 million in “excessive profits” last year—but that doesn’t mean customers’ prices will be going down anytime soon. The company helped write state legislation in 2018 that protects it from being forced to lower rates even if profits are considered too high.

Gaming connections

State Dem party chair Susan Swecker, who represents Queen of Virginia, called state Senator Creigh Deeds, Delegate David Toscano, and City Councilor Mike Signer to ask what was up with Commonwealth’s Attorney Joe Platania saying the game violates state law, the Richmond Times-Dispatch reports.