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News

Horrible history: New report details racist past, next steps for Charlottesville housing

 

Charlottesville has an affordable housing crisis: that’s not exactly breaking news. Local activists have been working for years to elevate the issue, and the city government has become more and more responsive. The most recent city budget devotes $31.2 million over five years to various affordable housing initiatives. (The city has announced it will have to delay the budget process and find $5 million to cut to account for the economic effects of the coronavirus.)

The work is far from over, though, as evidenced by a new report from the Charlottesville Low Income Housing Coalition. The Impact of Racism on Affordable Housing in Charlottesville chronicles the past, present, and future of this crisis. (The full 93-page report can be viewed here.)

“More than 50 people have touched this report at some point,” says Elaine Poon, an attorney with the Legal Aid Justice Center and one of the document’s co-authors. “It’s been a pretty big labor of love for the group.”

The report’s most moving component is an extensive survey of residents of historically black neighborhoods in town. Their testimonies lay bare the causes and effects of gentrification: “I work three jobs every day, pay taxes, and can’t seem to purchase a home in a place that is supposed to be an affordable housing area,” one anonymous respondent said.

“The waiting lists for housing are really long. Me and my baby were basically homeless, even though I was working full-time. It took a really long time for us to find anything,” says another.

“The Black population has to move because they don’t make enough to sustain themselves in the city,” says another commenter.

“Sixty years later we are still being treated like we’re prisoners. But our only crime is that we didn’t invest our money, because we didn’t have any money to invest.”

The list of quotes like these goes on and on.

Gloria Beard, who has lived in 10th and Page for 46 years, echoes the anonymous comments in the report.

“You know the price that they put on these houses once they remodel them? If I left today or tomorrow, I could never come back to this neighborhood—which I called mine at one time,” Beard says. “Now it doesn’t even feel like a neighborhood. I come from a time when we knew our neighbors. We sat on the porch and hollered at each other. That doesn’t happen anymore.”

The report includes a section that traces the racist history of the housing crisis over the last century. Charlottesville voted to legally segregate the city in 1912. Once that was declared unconstitutional, individual deeds prohibiting the sale of houses to non-caucasian people became the norm. An early Charlottesville zoning map, which has not changed much in the last 60 years, was drawn by the design firm of Harland Bartholomew, a well-known and influential city planner whose strategies legally entrenched segregation in cities across the nation. In 1964, the city razed predominantly black Vinegar Hill, citing “slum clearance.”

“Charlottesville has a long history of intentionally zoning neighborhoods to segregate based on race and class and to limit the ability of low-income people of color to build wealth through property ownership,” the report says.

“[10th and Page] became a black neighborhood because the white people didn’t want us to live in their neighborhood,” Beard says. “Now here they come, all of them coming, from miles around, out of town, buying these houses.”

Poon says the report will be handed over to the consultants who have been charged with rewriting Charlottesville’s zoning code, and she thinks it will show them the “journey we’ve already been on as a city.” She also says aspiring local activists have often asked her group for “somewhere I can look to catch up to speed” on the thorny and complicated issue, and thinks this report will provide a good starting point.

“People know this information. At this point it’s really just a compendium, just putting it all in one place,” Poon says.

The report’s final section suggests steps that Charlottesville can take to continue to address the issue. Some of them are relatively straightforward—it re-emphasizes that members of low-income communities need to be involved in decision-making about low-income housing. The report also says the city ought undergo an internal staff review of all new projects from an equity lens, and include that information in councilors’ packets about new projects. In addition, the city is urged to define “affordable” more narrowly, targeting relief to those most affected.

At the same time, this huge problem will need huge solutions, and the report asks for those, as well. It advocates for various forms of reparations for black families. It says the zoning code rewrite should include “restricting by-right development to affordable units for extremely low-income people,” meaning in most of the city, all new construction that wasn’t low-income housing would need council approval. The report advocates for pro bono representation in eviction hearings as a way of combating homelessness, and pushes Charlottesville to institute rent control.

Some of these policies, like rent control, will not be possible without state approval or a repeal of the Dillon Rule. “Enacting rent control might be possible in Charlottesville someday, though it will take an immense amount of advocacy,” the report says.

Poon thinks this document can be part of that advocacy. “The community at large needs to understand the why, so that those big picture issues are more understandable,” she says. “When someone reads some of the history, it’s very difficult for me to imagine not wanting dramatic change after reading that.”

 

Categories
Coronavirus News

Ground zero: Local hospitals, health department prepare for coronavirus spike

In just a matter of days, the number of confirmed cases of the novel coronavirus in the Thomas Jefferson Health District has jumped from one to 16, including four in the City of Charlottesville and six in Albemarle County. While the first case was initially thought to be travel-related, it’s now unclear how the individual, a staff member at the UVA women’s center, came in contact with COVID-19, according to the health department. The department is also investigating how the remaining ten individuals contracted the virus, and who else they could have exposed to it. 

With the number of coronavirus cases in Charlottesville only expected to grow, local hospitals are taking extensive measures to prepare for an influx of patients, as well as to assist those currently seeking testing and treatment. In some parts of Italy and, most recently, New York City, an exponential spike in cases has overwhelmed local health care systems, leading to critical shortages of beds and ventilators. 

According to spokesman Eric Swensen, UVA Health System is postponing most clinical visits and surgeries scheduled between now and April 6, with the exception of urgent care, in order to “conserve our resources” and “build capacity to be able to care for folks when they need it.” To minimize the potential spread of the virus, patients at UVA hospital are no longer able to have visitors (with some exceptions). 

UVA staff is also screening everyone before allowing them to enter any facilities, he adds. “If you’re a visitor and are showing any kind of respiratory symptoms or possible exposure to coronavirus, we’re not going to allow you into our clinic or medical center.”

Swensen says there’s been a significant number of people calling UVA health care providers, as well as the UVA health call center, with questions and concerns about coronavirus. In order to prevent the virus from spreading, he urges those who think they may have the virus to call their primary care provider (or, if they don’t have one, the Virginia Department of Health hotline), and not rush to the emergency room. A doctor will then screen them over the phone for common symptoms of the coronavirus—fever, cough, and difficulty breathing—and ask about their travel history and potential exposure to the virus. If they meet the CDC criteria for testing, a doctor can send them to UVA’s referral-only coronavirus clinic

In light of the severe national shortages of coronavirus tests, UVA health is now one of the few institutions across the country that has created its own tests, with a goal to have results within one to two days, Swensen says. Due to this increase in testing capacity, it expects to see a spike in local confirmed cases of the virus in the upcoming days. 

“Depending on the severity of their symptoms…not everyone necessarily who gets coronavirus will need hospital care,” Swensen adds. “The first case in Charlottesville is an example of this, where that person is being evaluated and cared for from home.”

According to a news release, one of the other local residents diagnosed with the virus, a UVA student living off-Grounds in Albemarle County who may have contracted it while traveling, is also currently in isolation.

Sentara Martha Jefferson Hospital has taken similar steps to prevent the spread of COVID-19 within its facilities. The hospital has a “fair amount” of ventilators and isolation rooms available, says Vice President of Medical Affairs Paul Tesoriere, and is working with the government to get more testing kits. 

“We’ve identified different areas that we will expand into if we get into a situation where we get a significant influx in patients,” says Tesoriere, “areas that are not being as utilized because the virus has cut down on some procedures or visits.”

A task force meets several times a day to address daily needs and long-term plans.

The TJHD is working closely with both UVA and Sentara, as well as other community partners, to oversee the area’s pandemic response effort and investigate the cases in Charlottesville. But it generally does not supply testing kits or personal protective gear, including masks, goggles, and gloves. Due to the mass shortage of such gear, local doctors and nurses are currently hosting an Equip Cville emergency supply drive (see page 9), collecting donations from businesses, labs, and schools, in partnership with Support Cville. 

“We are working on compiling a list of those in the community that need PPE, and any extra we have we will make sure to get to the appropriate individuals in appropriate health care settings,” says TJHD’s Public Information Officer Kathryn Goodman. “[However,] the demand for [PPE] is unprecedented, and suppliers do not have the inventory to keep up with demand. Local health care providers trying to purchase critical supplies are competing with all providers across the county…efforts like [Equip Cville] are essential to the long-term success of what will be a lengthy response.”

But tests, investigations, and supplies alone will not bring an end to the coronavirus pandemic, Goodman adds. Social distancing, or self-quarantining, is equally as important. 

“We know that there will be cases in this community, and so we’re asking people to stay home as much as possible so that we can prevent and lower the number of cases we see in the area,” she says. “If people do have to go out in public, stay six feet away from one another. [But] if people can just stay home, that’s the best thing we’re going to be able to do to prevent the spread of this.”

When to call your doctor

Symptoms of COVID-19 can range from very mild to severe (or, in some cases, may not occur at all), and usually appear within two to 14 days after being exposed to the virus. They include:

  • Fever
  • Tiredness
  • Cough
  • Shortness of breath
  • Difficulty breathing

If you are experiencing these symptoms, and know or suspect that you’ve been in contact with a person who has COVID-19, or have traveled to an area with a COVID-19 outbreak, you should call your primary care doctor. If you don’t have one, you can also call your local emergency room, urgent care clinic, or a coronavirus hotline:

Contact your doctor early if you’re 60 or older, or have underlying chronic medical conditions, even if your symptoms are mild. Seek medical attention immediately if you’re experiencing any of these emergency warning signs of COVID-19:

  • Difficulty breathing or shortness of breath
  • Persistent pain or pressure in the chest
  • New confusion or inability to arouse
  • Bluish lips or face

Updated 3/25 to reflect accurate number of local coronavirus cases

Categories
Coronavirus News

In brief: City changes, missing masks, budget burdens, and more

Suddenly, a new normal

Just two weeks ago—two weeks ago!—our schools were open, our basketball team was eyeing a tournament run, and our restaurants were dusting off the patio furniture for long evenings of springtime outdoor dining.

But thanks to the spread of the infectious and dangerous novel coronavirus, Charlottesville has had to quickly adjust to a new normal. 

Parents are scrambling to keep their kids entertained for hours on end, and they can’t just throw them outside, because even the playgrounds are closed. Grocery stores have been cleaned out, as people stock up for a long period of social distancing (Trader Joe’s is limiting customers to 30 at a time inside the store). And on Monday, Governor Ralph Northam announced the closure of non-essential businesses—including gyms, barber shops, and salons—and banned gatherings of more than 10 people.

The town’s health care infrastructure has braced itself for what appears to be an imminent rush of new patients. UVA hospital, which made drastic changes to its visitor policy March 22, has set up a screening station at its entrance, and health care providers are short on personal protective gear, including masks, gloves, and goggles.

Restaurants have shifted to take-out only, including Bodo’s, which for so long resisted the tantalizing potential of the Emmet Street and Preston Avenue stores’ already installed drive-through windows. In times like these, it’s good to accentuate the positive: Yes, we’re in the thick of a global pandemic and a total economic collapse, but at least we’ve got drive-through bagels.

____________

Quote of the Week

The sooner we can get this health crisis under control, the sooner our economy will recover… We must put aside what we want and replace it with what we need.”

—Virginia Governor Ralph Northam on his directive, issued March 23, to close non-essential businesses for 30 days 

____________

More masks, please!

Local health care workers are soliciting donations of masks, gloves, goggles, and other household goods in the face of a national shortage of protective gear. Paige Perriello, an area pediatrician, tweeted a picture of herself wearing a mask made of styrofoam and a piece of clear plastic with the caption “Charlottesville’s innovators are coming to our aid!” The initiative is called Equip Cville, and donations can be left at Champion brewery from 11am-1pm every day—see supportcville.com for details.

Pediatrician Paige Perriello PC: Twitter

Budget burdens

This year’s city budget discussions were contentious even before the added stress of a worldwide public health crisis. Now, with COVID-19 shutting down the restaurant and tourism industries, and meals and lodging tax revenues falling accordingly, the city has announced it will need to cut an additional $5 million from the final budget. The budget was supposed to be finalized in April, but for obvious reasons it will not be finished on schedule.

Community cares

The Charlottesville Area Community Foundation has raised more than $2 million for its emergency response fund, thanks to Dave Matthews Band’s Bama Works Fund, the Batten Family Fund, the City of Charlottesville, Albemarle County, and more than 150 other donors. In partnership with Cville Community Cares and United Way, as well the city and county, CACF will distribute the money to area households impacted by COVID-19 and community-based organizations that provide food, housing, and other forms of basic assistance. 

Taking a stand

A group of UVA student activists has created a petition demanding greater resources and support from the university, particularly for students who are low-income, first-generation, and immunocompromised. The petition asks UVA to provide non-student workers (such as Aramark employees) and non-federal work study student workers with paid sick leave; refund housing, meals plans, and tuition/fees (or provide a prorated credit for next semester); offer housing to housing-insecure students and community members; and establish a mutual aid fund for students and low-wage workers with unexpected expenses, among other demands. It has been signed by more than 750 other students, alumni, faculty, staff, and community members. 

Categories
Culture

Sculpture and shadows: Renee Balfour’s “New Work” evokes a haunting stillness

By Ramona Martinez

The 11 wood sculptures that make up Renee Balfour’s “New Work” at McGuffey Art Center have a haunting stillness. Hung around the main gallery, some white and some unpainted, they are reminiscent of bones and fossilized plants—like prehistoric objects suspended in time. The exhibition is full of contradictions, or maybe polarities: seemingly organic, yet meticulously constructed; static yet full of movement; terrestrial yet otherworldly. More amazing still is that Balfour is a self-taught woodworker who has only been sculpting for four years.

She has, however, been a painter for over three decades. A mentor to rising artists like Madeleine Rhondeau, Balfour is an important presence at McGuffey. Her painting, like her sculpture, is nature- based: Plants and flowers are painted so close up, they become abstractions. But these are no colorful Georgia O’Keeffes—the colors in Balfour’s paintings are melancholic, dark and earthen. The muted tones make us focus on the strength of the movement and the light. And there is an eeriness to her early work. An unsettled feeling that these abstracted plants are alive in a different way, perhaps unnaturally or supernaturally.

“Rooted” by Renee Balfour

Balfour translates this vibe into her three-dimensional “New Work.” “Embrace,” assembled from painted poplar, was inspired by a cow skeleton found on a beach. Two long contours of white wood are parallel, with curved, rib-like cuts wrapping into one another. Next to it, “First Water” is also mammalian, although the kind of mammal isn’t clear. That’s another interesting element to this work: The compositions reference natural forms, but they are not of this world. “Her Thoughts Became Her Sanctuary,”—a large, walnut cocoon of a piece, with curved bands up the center— looks half plant, half mammal. It really doesn’t matter ultimately, because like her paintings, the experience is not trying to determine the content or reference Balfour is using, but rather to enjoy the abstraction—the way the different shapes interact with one another and create movement within the composition.  

The process of making each piece is very labor intensive. Each composition, in part, depends on the natural contours of the wood. But Balfour also creates her own shapes by laminating slabs of wood together, and carving out pieces with a band saw. Even the tiny ribs that are featured in many of the works are cut from larger laminated blocks.

“You know, the one thing about painting, you put on a paint stroke and you don’t like it, you paint it out. Here, if I don’t like the way one piece is moving, then I have to re-cut it,” says Balfour. “Drawing it out is one thing, but when you actually get into the three-dimensional aspects of it, things change very quickly. It makes them somewhat improvisational.”

“Embrace” by Renee Balfour

The haunting quality of the show also comes from the lighting, done in collaboration with artist Scott Smith. The cast shadows are a key component of the work, Balfour says, filling compositional voids. She experiments with different lighting schemes in her woodshop before they are displayed in the gallery. “It’s the subtle shifting of the light that changes the shadows. And it also changes the color of the shadows,” says Balfour. While lighting the show, she says some of the shadows surprised her with their complexity. Thematically, this makes sense—exposed to light, her work undergoes a natural mutation. “All the pieces are designed in a way that the shadows are an extension of the piece,” she says, allowing the viewer to go deeper as a shape-shifting secondary characteristic of the static object emerges.

 

 

 

Categories
Culture

High tension cinema: What to stream while you wait it out

The spread of COVID-19 across the globe has left no part of our lives untouched, not the least of which is our viewing habits. Streaming services have gone from content delivery platforms to public services as we discover that self-quarantining can result in lots of time to finally whittle down our watchlists.

Everyone’s viewing needs differ at a time like this. Some escape to sci-fi and fantasy, or the comfort of a romantic comedy. Others find catharsis by leaning in with films like Contagion, The Omega Man, or even 28 Days Later. Perhaps now is the time to binge those shows you keep hearing about but never committed to, like “Justified” or “Atlanta.” 

Roger Ebert called films “machines that generate empathy,” and it’s in that capacity that we might find comfort in movies that depict hardship, or taken one step further, were created or exhibited during times of national distress. In viewing, we are not celebrating or finding entertainment value in suffering. If you’re feeling trapped, pessimistic, or paranoid, discovering a film that captures those negative emotions can be calming. These films can serve as reminders that even during the worst events in history, there were people who inherited the world left for them. Cinema is one of the greatest ways we have to pass our experiences to future generations and to connect with generations past. 

It was less than a year after the end of World War II before Italian filmmakers tried to reconcile their experience with fascism. Though escapist cinema was initially popular, Roberto Rossini’s Rome, Open City set the stage for a new era of Italian filmmaking. It follows the lives of people in the dwindling days of the war, including a pregnant mother, a resistance fighter, a cabaret performer, and a bumbling but ultimately noble Catholic priest. Production began in 1945, months after the Germans withdrew from Italy, and it was released the same year. The nation’s infrastructure had not been rebuilt, and the film industry had yet to reestablish itself after a period of no money and no resources, yet the movie had the artistry of a film with 10 times its budget. The roughness in its production value only contributes to its beauty; there is always love, hope, and humanity in the world, even in the darkest of times. Other films that use the devastation from WWII as settings include Vittorio De Sica’s Bicycle Thieves, also set in Rome, and Carol Reed’s The Third Man, set in Austria. 

Filmed in the middle of the Iraq War, the documentary Heavy Metal in Baghdad follows Iraqi heavy metal band Acrassicauda, as its members attempt to stay creative and stay alive amidst the destruction. Formed in 2000, during the regime of Saddam Hussein, Acrassicauda always faced an uphill battle to be heard and understood. The band was featured in Vice magazine, and in 2006, Vice returned to Baghdad to see how the band was faring following the ouster of Hussein. The situation was grim and only getting worse; the Iraqi insurgency became a civil war, and the band’s mission to gain an audience became a struggle to survive. The chaos of destruction and the risk of death lurks around every corner, as Acrassicauda rehearses in bombed-out spaces and gives interviews in front of collapsed buildings. 

The film shows that the need to create is not optional. Art is not a luxury, it is a coping mechanism, and a crucial component of life. (Acrassicauda eventually fled to Syria, then settled in Richmond, Virginia, before relocating to Brooklyn. Its EP Only the Dead See the End of the War was produced by Alex Skolnick of Testament, and the band released its full-length album Gilgamesh in 2015.)

Stanley Kubrick’s Dr. Strangelove, or: How I Learned to Stop Worrying and Love the Bomb is known as a classic satire of the Cold War era. As a glimpse into another time, it is both a riotous comedy and an effective political thriller, with Peter Sellers at his best in each of his three roles. What modern audiences might not realize is just how tense the moment was in which it was produced. 

The film began as an adaptation of Peter George’s Red Alert, originally titled Two Hours to Doom. George’s novel is serious in its treatment of the subject matter and does not feature the titular character. While working on the screenplay, Kubrick began to see the idea of mutually assured destruction as absurd, and referred to his adaptation as a “nightmare comedy.” 

The first cut of the film ended in a pie fight (this scene is lost to history, but a few stills remain), and features the line “Gentlemen! Our gallant young president has been struck down in his prime!”—which would have been seen by the first test audience, if that screening were not scheduled for November 22, 1964, the day President John Kennedy was assassinated. The film is a masterpiece as it is, but it is worth remembering how necessary it was. The ballooning arms race needed popping, and who better than a clown to do it.

For many, direct confrontation of anxiety through art is the perfect cure for jittery nerves, like caffeine before a nap. But it’s just fine if this sort of film experience is not what you’re looking for right now—and don’t listen to anyone who tells you otherwise. Do what you need to do, enjoy what you like, and stay safe out there. When this is all over, we’ll see you at the movies.

 

Categories
Culture

Ripple effect: Local restaurants connect creatively to survive the virus’ impact

As restaurants nationwide are forced to limit service in response to the coronavirus epidemic, workers and owners face economic as well as emotional uncertainty. Our gem of a food town is no exception. 

By the time Charlottesville announced its first case of COVID-19 on March 16, restaurants all over town were shutting down or moving to take-out only. At the City Council meeting that evening, several restaurant owners asked council to temporarily delay collection of the meals tax that came due on March 20. Councilors denied the request, but penalties for late payment have been suspended through May 31. 

While the city searches for other ways to support businesses in the months ahead, Charlottesville community members have already responded, swooping in to help provide some financial assistance and morale boosters, with the hope of spurring others to do the same.

Kate Ellwood, former general manager at Citizen Burger Bar, launched the Charlottesville Restaurant Community Fund with a GoFundMe site to help raise money for workers who rely on tips to survive and low-wage hourly workers

“I have a cousin who is a restaurateur in Boston, and seeing restaurants in these big cities shutting down, I figured it was only a matter of time before it happened to our community,” she says. “I reached out to [Citizen owner] Andy McClure, and ran it past him and he liked the idea, so I ran with it. 

Ellwood set an initial goal of $10,000, and at press time the fund was well over $20,000. She plans to keep running it, and either continue to donate to other restaurant workers or offer money to other area organizations, such as the food bank. She’ll distribute funds to workers with crucial needs—those who have chronic illnesses or children who need emergency food, or people who could use help paying for their medication or housing. “Any bit of money will help right now in their situation,” she says. The grants will top out at $200 per person, and Ellwood reached out to restaurant owners to determine the recipients. “I’ve had owners and managers contact me to nominate staff who they think could most use it, so that’s been really helpful,” she says. 

Beyond the financial support, Ellwood is also helping workers navigate daunting tasks like filing for unemployment. And, with the help of her training from the Community Investment Collaborative, she’s connecting other local businesses and organizations to create a large network that can help. Her efforts have earned her some national press attention, with Eater, Food & Wine, Imbibe, and Cherry Bombe magazines all spreading the word online.

Restaurants have scrambled to redefine themselves quickly in order to survive, many offering take-out and delivery services. And almost all eateries have expressed that the purchase of gift certificates is a great way to help them immediately.

Lampo Neapolitan Pizzeria has carryout service through online ordering. The Local and Junction are offering online orders with a Ten for Ten menu of comfort food items costing $10 (all proceeds go to The Local’s staff and the community). Tavola (co-owned by C-VILLE’s Culture editor Tami Keaveny) has shifted to retail wine sales and delivery, which wine director Seth Maynard says, “allows me to make the world-class wines on our list more affordable.” Seeing it as an opportunity to be creative, Maynard is offering several different themes for curated, mixed cases, including: Italian antiques (from classic Italian wine regions); What your parents drank (recognizable varietals and blends like Bordeaux); Wine that your kids drink (modern “hipster” wines from lesser known regions); and a dealer’s choice matched to a customer’s flavor profile. 

Others have reluctantly shuttered their doors for now. Angelo Vangelopoulous, owner of The Ivy Inn, closed on March 15, and started a relief fund for his staff. “It became clear to me that people weren’t getting the message that social distancing is what we need right now, so I thought it best that The Ivy Inn family did its part to get the word out and show how important this is to our community and everyone worldwide,” he says. 

Ellwood, meanwhile, hopes to launch a nonprofit to support the restaurant community in a more sustained way. “Doing something like this makes other people want to help,” she says. “It has a ripple effect.”


Paying it forward

Kathryn Matthews

While our local restaurant community is struggling, it is also pitching in to help others. Kathryn Matthews, owner of Iron Paffles & Coffee (and who is herself recovering from a major car accident that left her unable to work until recently), is helping to organize essential donations to those in need through the community website supportcville.com. 

“Since the outbreak of COVID-19, businesses across Charlottesville have taken a hit, especially the restaurant industry,” says Matthews. “The result has been an abundance of surplus food from canceled catering orders and lower-than-usual sales, which I couldn’t bear to waste. When I heard of other restaurants in a similar situation, I rallied the restaurant community together to donate their leftovers to low-income families.”

She says SupportCville is also looking for donations from the public of kid-friendly non-perishables, including canned fruit, granola bars, cereal, rice, pasta, peanut butter, and juice boxes, as well as financial donations.

 

Categories
Culture

State of the art: How COVID-19 is affecting Charlottesville’s arts community

 

As we adjust to life amid the COVID-19 pandemic, we’ll likely turn to the arts—a favorite poem, a beloved album, a treasured painting—over and over in search of comfort and relief. Art, in all its forms, is a vital part not just of our personal lives but of our community. Social distancing measures and the resulting venue closures have turned the local creative world upside down, both for individual artists and the organizations that support them. Here’s what some of those folks are saying about the state of the arts in Charlottesville, and what might come next.


St. Patrick’s Day was supposed to be Matthew O’Donnell’s busiest day of the entire year. A multi-instrumentalist who specializes in Irish music, he was booked for 15 hours of serenading audiences, from senior center residents to late-night beer-swigging revelers.

But this year, his St. Paddy’s calendar was wide open. As the COVID-19 pandemic spreads throughout the United States, Virginia governor Ralph Northam has banned all nonessential gatherings of more than 10 people. In response, local venues that support the arts—concert halls, theaters, galleries, bookshops, libraries, restaurant-bars, you name it—have shuttered their doors for an undetermined amount of time.

This leaves O’Donnell and many other artists in Charlottesville without physical places to share their work—not just for art’s sake, but for a living. It’s also worth noting that many local artists participate in the service industry and gig economy—they tend bar, wait tables, work retail, drive ride-shares, and more. And most of those jobs are gone, or paused until, well, who knows when.

O’Donnell makes his entire living from performances, and he looks forward to the month of March—in large part because of St. Patrick’s Day—when he can bring in twice what he makes in an average  month, to make up for the lean ones (namely January and February).

“I began to get concerned in late February,” as the senior communities closed their doors to visitors, says O’Donnell, and that concern grew as gigs canceled one by one during the first couple weeks of March. “I thought the worst-case scenario would be that everything would shut down, but I honestly didn’t think the worst-case scenario would come.”

Matthew O’Donnell, who has seen his gig calendar wiped clean by the threat of COVID-19, hosted a concert via Facebook Live on March 18. “It went astoundingly well,” he says. “A boatload of people tuned in, [made] lots of requests. People sent videos of them and their families dancing to the music. It was really beautiful.” Photo by Katie McCartney

At first, “it was a professional worry of realizing that all of my business is gone,” says O’Donnell, who hopes he can make some money by playing donation-based virtual concerts. But the worry, the sadness, has turned personal: “These people are my friends,” he says of his audiences, particularly those folks at the senior centers. When he sings with them, he says he “feels something profound. And [now] I can’t go see my friends. I do want to be looking forward to the next thing…but all I know is that the next thing I do is going to be very different from what I’ve been doing.”

Graphic novelist Laura Lee Gulledge knows that, too. “I’m friends with change and constant reinvention,” she says.  As a full-time artist Gulledge relies not just on book sales and illustration commissions but art teaching residencies. She says she often feels like she’ll “get by on the skin of my teeth, but [I] make it work.” Artists are always having to come up with new business models, she says. “It’s implode or evolve.”

Her new book, The Dark Matter of Mona Starr, is scheduled to be released on April 7, and she planned to launch it at last week’s Virginia Festival of the Book. But the festival was canceled due to the threat of COVID-19, as was the rest of her North American book tour.

In a way, the book is more relevant than Gulledge could have predicted, or ever wanted to imagine. The protagonist, Mona, is a sensitive and creative teen learning to live with anxiety and depression. In the back of the book, Gulledge includes a guide for creating a self-care plan for particularly dark and stressful times, and she shares her own.

“It’s like my masterpiece,” she says of The Dark Matter of Mona Starr. “I was finally mentally prepared to own it and step into it, and start conversations about mental health and not feel like a fraud.”

Rather than consider the whole thing a wash, Gulledge will do a virtual book tour via Facebook Live, where she’ll be talking about topics such as drawing through depression and cultivating healthy artistic practices.

The Front Porch roots music school is also pivoting to an online lessons model, to keep instructors paid and to keep students in practice. Songwriter Devon Sproule (who had to cancel her upcoming U.K. tour) usually teaches somewhere around 80 students a week between group classes and private lessons, and, so far, a handful of them have made the leap to live virtual lessons. Keeping the routine and personal connection of a lesson could be particularly important right now, says Sproule. She had to teach one young pupil how to tune a ukulele, a task Sproule had taken on in their in-person lessons. “I had no idea this kid could tune their own ukulele, and I don’t think they did either,” says Sproule. “I think it was empowering.”

The Charlottesville Players Guild, the city’s only black theater troupe, has postponed its run of August Wilson’s Radio Golf, originally scheduled to premiere at the Jefferson School African American Heritage Center April 16. The paid cast and crew were in the middle of rehearsals, and while they hope to be able to open the show on April 30, things are still very uncertain, says CPG artistic director Leslie Scott-Jones. “When you hear medical professionals say this might go through July or longer, it’s like, ‘What’ll we do?’”

Leslie Scott-Jones, a singer and theater artist who relies on performance for all of her income, is one of many Charlottesville artists left wondering what’s next, as venues have closed due to the threat of COVID-19. Publicity photo

The JSAAHC has also had to cancel two benefit concerts for Eko Ise, a music conservatory program for local black children, that the center hoped to launch later this year. Now, they’ll be months behind in that fundraising effort, says Scott-Jones.

The Bridge Progressive Arts Initiative, which provides not only a physical gallery space for visual and performance art, but funding for public art and after-school programs, has canceled all in-person events (though it is finding creative ways for people to participate from a distance, such as its virtual Quarantine Haiku video series). The Bridge has also postponed its annual Revel fundraiser, originally scheduled for May 2. Revel brings in between 20 and 30 percent of the organization’s operating budget for the year, says director Alan Goffinski,

Gulledge makes an excellent case for continued support of the arts as we face uncertainty: “This is the sort of moment where people will look to the creative thinkers to generate hope, and to generate positivity and be beacons of light in this moment of darkness. This is part of our purpose.”


The Bridge Progressive Arts Initiative and New City Arts announced Friday, March 20, that it has established the Charlottesville Emergency Relief Fund for Artists. We will have more information on that soon.

The Front Porch and WTJU 91.1 FM are also teaming up to broadcast live concerts Friday and Wednesday evenings. Follow us at @cville_culture on Twitter for regular updates about virtual arts events that will take place over the coming weeks.

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Culture

Deli-cious anniversary: Local organizations benefit from Modern Nosh’s success

Has it already been a year since we touted the arrival of an authentic Jewish deli to the local food scene? At the time, Modern Nosh owner Stephanie Levin said her goal was to launch her new eatery with a philanthropic twist, by sharing profits with local charities. 

“Our tagline is ‘you dine, we donate’,” she says. And donate, they did. After enlisting suggestions from customers about prospective recipients, Modern Nosh recently cut checks for $2,500 each to both The Women’s Initiative, which provides mental health services for women in the area regardless of their ability to pay, and the Companion Animal Fund, an organization that gives financial grants to various local pet rescue organizations. 

That Levin had profits to donate bodes well for the deli, considering how hard it is to get a restaurant up and running. She says her first year in business was relatively painless.

“It’s been fun,” she says. “Some things were harder than I expected, some easier. I’d heard horror stories, and I don’t really have any horror stories, so that was really good.”

Levin, a UVA grad whose parents owned a restaurant in Norfolk, says that helping out locally was important to her. 

“When I came back to town, I said I would really love to do this, but who knows if they’ll support it, and it’s been a really positive experience,” she says. “I was keeping my fingers crossed at the end of the year that there would be money to donate because there are so many expenses.”

Levin enjoys working in the food business, even when the hard part of owning a restaurant rears its ugly head.

“The paperwork has taken a lot of time—there are not enough hours in the day to work the behind-the-scenes bookkeeping…and other office stuff,” she says. “But the hardest part has been exposure. I’m still surprised that to this day people walk in and ask ‘Did you just open?’”

While the Modern Nosh menu features popular lunchtime deli standards like Reuben sandwiches, matzo ball soup, and latkes, the shop now serves breakfast fare as well. Favorites include the innovative latke Benedict—two latkes (potato pancakes) with eggs on top and hollandaise sauce (you can add meats such as pastrami bacon)—and challah French toast, which comes three ways: with powdered sugar, chocolate chips, or golden raisins.

“The restaurant makes its corned beef and brisket in-house,” Levin says. “All ethnic things and salads and soups are also homemade,” and even though people in Charlottesville seem unaccustomed to toasted bagels, it’s how they’re served at Modern Nosh.

She’s also added a lunch special for the cost-conscious diner. “Lunchtime we have a couple of hours where it’s a special lunch menu in addition to the regular menu,” Levin says. “Nosh for Nine,” which changes every few months, features nine menu items for $9 from a set menu served between 11am and 1:30pm. 

Even with menu additions, Levin says it’s the customers’ word-of-mouth that makes Modern Nosh a success. “There’s no amount of money I could put into marketing to get [that level of] exposure and name recognition,” she says.

 

Categories
Culture

Album reviews: corncob, The Chats, Frank & His Sisters, and more

corncob

RANDY (Foil) 

From the holy-shit desk: Heather Mease found her way from Philadelphia to Charlottesville via UVA’s Ph.D. program in composition, and as corncob, has just released the riveting tour-de-force RANDY. Mease’s vocal performances—it seems inadequate to just call them vocals–bracingly meld coquettish seduction, dark comedy, fragility, and menace over synth/drum-machine/found-sound backing tracks that ooze, drift, and thump like crazy. Highlights include the macabre pillow talk “see you empty,” and “posting dumb shit on the internet,” which starts as a sepulchral chant before crossing a bridge of ’70s-spaceship computer sounds and erupting into an exhilarating albeit homicidal dance- pop anthem. RANDY is inspired, provocative capital-A Art. [9.0]

 

The Chats

High Risk Behaviour (Bargain Bin)

Within two seconds of “Stinker,” you know what you’re getting here—classic, bratty punk right up in your effing face. The Chats channel the Sex Pistols and the Damned, gleefully dishing dirty slices of grubby lives (“The Clap,” “Dine & Dash,” etc.), all at relentless speed and filtered through their Aussie lifeworld (40s are “750s”—metric system and all). The Chats crash the Fillmore Silver Spring on May 3. [8.5]

 

Smokey Haangala

Aunka Ma Kwacha (Séance Centre) 

A Zambian poet and journalist who died at 38 in 1988, Smokey Haangala also turned his observations on economic inequality into songs, via minimal, homemade-sounding recordings. On Aunka Ma Kwacha, his 1976 debut, Haangala melodiously warbles in several languages (including occasional English) over simple acoustic and electric guitar riffs and a drum machine—it’s almost like an unplugged version of fellow Zambians Amanaz, and this overdue reissue is a consistent, intimate charmer. [8.0]

 

Verböten

Verböten (Split Single)

Suburban Chicago, 1982: Jason Narducy and his middle school buds have a punk band that rehearses in a basement and plays some shows (incidentally impressing the hell out of a kid named Dave who was visiting from D.C. and went on to play drums in a band called Nirvana). Narducy, who tours with Superchunk and GBV, also has a new musical about Verböten, which makes these early-’80s recordings—four studio, one live—potentially icky cross-promotion. Fortunately, they rip, totally and adorably—the songs are rudimentary punk done up fast and hooky, and the lyrics are kid-genius: “You gotta let it out / Right from your snout.” [8.4]

 

Khruangbin & Leon Bridges

Texas Sun (Dead Oceans) 

Khruangbin’s mostly-instrumental Con Todo El Mundo was a surprise crowd-pleaser in 2018; meantime, fellow Texan Leon Bridges had been burnishing a rep as a soul crooner reminiscent of Sam Cooke. While touring together, the artists recognized a creative kinship and started working on these songs. The results are what fans might expect—sun-baked, soulful psychedelia—and if the songs are a bit underdeveloped, they work as vibe, rightfully bound for “Heady BBQ” playlists. [7.2]

 

Frank & His Sisters

Frank & His Sisters (Mississippi Records)

Singer/guitarist/horticulturist (!) Frank Humplick wore life lightly and spread joy playing cafés and clubs across Tanzania and Kenya during his 1950s- ’60s heyday. His songs, translated from Kiswahili and Kichagga in the generous liner notes, are full of tenderness—and the trio, which indeed includes Frank’s actual sisters Maria and Thecla, harmonizes like the Carter Family, if the Carters were more cheerful and A.P. could actually sing melodies. Tying everything together is Frank’s versatile, elegant acoustic guitar picking, which includes flashes of Django, Joseph Spence, and Jimmie Rodgers. A delight. [8.9]

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Culture

Many angles: Lisa Speidel’s new book talks about happy sex and more

When Lisa Speidel joined the Sexual Assault Resource Agency in the early 1990s, she had no idea her work in sexual assault prevention would lead to a career in sex education. But one graduate program, one assistant professorship, and 27 years teaching women’s self-defense later, she’s become an advocate for sexual awareness as a path to agency. 

“Sex is such a big part of who we are, but we’re socialized with so much shame, and not understanding that pleasure can be okay,” says Speidel, who is C-VILLE Weekly’s new sex columnist. “If we can’t talk about happy sex, how are we supposed to talk about sexual violation?”

As an assistant professor in the women, gender and sexuality department at the University of Virginia, Speidel’s background in sexual assault education lends a unique perspective to her work in the classroom.

“[At SARA], I started examining the role of masculinity and how that plays a role in violence against women in particular,” she says. “We’ve expanded in that language (now we call it gender-based violence) because it’s not just about violence against women.” 

Since then, Speidel says there’s been a movement to talk about sexual assault prevention not only through reactionary measures like self-defense and bystander intervention, but also through primary prevention—promoting healthy sexuality and healthy masculinity to stop assault from happening to begin with. 

“I really feel strongly that if we were able to have conversations around this more openly, a lot of damage could be avoided,” she says.

Today, Speidel teaches four courses at UVA: human sexualities, men and masculinities, gender-based violence, and gender and sexuality studies. She sees each subject as interconnected, a necessary educational offering for students who’ve been failed by traditional sex education.

“There’s no consistency for how sex education happens in this country, she says. “We don’t have a national curriculum, it’s really state-based, and a large percentage of the federal funding goes towards abstinence-only. So a lot of people aren’t getting any information at all, but then they go to college and start becoming sexually active, and it’s not a particularly great experience for a lot of people.”

Speidel hears it directly from her students. “I do a lot of reflective writing in my classes, and people are very open and honest,” she says. 

Ultimately, her students were the reason she began teaching about the pleasurable side of sex. During one of her intro classes on gender and sexuality studies, she remembers a student who raised his hand after she shared the statistic that only 25 percent of women can have an orgasm with penetrative intercourse. “He asked, ‘But I don’t understand why that would happen for someone with a vagina.’ For me, that was a pivotal moment. I realized I needed to be teaching a human sexuality class.”

Speidel points out that most people are terrified of having these conversations. In a dynamic where “people feel isolated based on sexual orientations or gender identities, women feel like they don’t have a voice, [and] men feel socialized that they’re supposed to have all the answers,” our lack of safe spaces to have open conversations about sex is a real problem. 

The world of academia offers a solution, she says, if educators work to create brave spaces for people to be courageous. “If you can create an environment where it’s like, ‘Okay, I have to read about this,’ and there’s research and books written about it, it’s a tool to get those conversations going. You know, the conversations we don’t do very well in our everyday lives.”

To help facilitate these conversations both in and outside the classroom, Speidel and her former student Micah Jones have co-authored a book titled The Edge of Sex: Navigating a Sexually Confusing Culture From the Margins. The anthology includes work from 37 writers, half of whom are former students of Speidel’s, as they discuss their experiences of sex and sex education in America. 

The Edge of Sex appeals not only to clinicians working on issues of gender identity and sexuality, but also to casual readers who want to immerse themselves in education outside the classroom. 

“It’s all about marginalized or unheard voices, and how exclusion, and exclusionary practices in sex education, really affects people’s identity and developing,” Speidel says. “If you’re going to have conversations with your own children, or if you’re having conversations with each other, there’s some skill building and understanding available.”

As Speidel has experienced firsthand in her career, exposure to a variety of voices and perspectives is the first step in creating positive change. The Edge of Sex not only sheds light for readers, it empowers them to realize they’re not alone, and community and resources exist to help them.

“I think a lot of people will find themselves in this book,” she says. “The first chapter is [by someone writing] about faking orgasms for 30 years. The next is about someone who’s trans. It’s just a huge spectrum of voices.”

Speidel says that it’s important to celebrate all the choices that people make in ways that are safe, happy, and consensual. “It’s such a cliché, but knowledge is power,” she says. “Learning how to communicate and how to decrease dynamics that make people feel shameful and bad about themselves—there’s a domino effect.”