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News

On guard: Opposing camps face off as sun sets on Confederate statues

Confederate monuments have toppled across the South since the slaying of George Floyd at the hands of police. In Charlottesville, statues of generals Robert E. Lee and Stonewall Jackson still stand, and continue to attract nighttime patrols from both statue defenders and opponents.

In the wee hours of June 28—three days before a law went into effect allowing Virginia localities to determine the destinies of their own Confederate war memorials—Lee was once again splattered with red paint, and later that night, police responded to a call about a man with a gun at Court Square Park, where Jackson resides.

Statue defenders have been on alert for weeks: In Richmond, after the United Daughters of the Confederacy headquarters was set on fire May 31 and several Confederate monuments were graffitied, local statue supporters organized sign-up sheets to defend the generals. 

Brian Lambert, a member of the Gordonsville Grays chapter of the Sons of Confederate Veterans, called for monument guards on social media. “Here in Charlottesville, we were able to stop an assault on our local Memorials by Antifa, with the cooperation of CPD,” he wrote.

It’s the alleged cooperation with the Charlottesville Police Department that troubles anti-racist activists.

Activist Molly Conger tweeted on June 19 that when she went to check on the “confederate vigilantes,” one of them called 911, and seven police cars responded. 

UVA prof Jalane Schmidt regularly leads tours of Confederate markers in the Court Square area. After a June 11 tour, “I was stopped by police because of suspicious behavior,” says Schmidt. “They called in about 30 officers,” and had paddy wagons and squad cars circling the parks while officers questioned tour participants. She says she pointed to the armed statue defenders as those who were suspicious.

A Facebook page called Save the Robert E. Lee Statue, which lists a link to the Monument Fund (one of the plaintiffs in the lawsuit against the city for its vote to remove the Confederate generals), thanks the volunteer statue guards. 

“Nightly, there are cars and people on foot casing the monuments, hoping for an opportunity to strike,” says the post. “Social media trolls have threatened to ‘dox’ the monument guards; and those standing guard have been verbally assaulted and had the Police called on them with fabricated stories of threats of harm.” 

Attorney Buddy Weber, a plaintiff in the lawsuit and the group’s spokesperson, did not respond to phone calls from C-VILLE.

Lambert declined to comment when contacted by C-VILLE, and we didn’t get to ask whether he was the man with a gun reported to police June 28.

Schmidt says her neighbors are “so unnerved seeing these guys with guns that they stopped walking in the parks.” 

Robert Klonoski lives across from Market Street Park and has observed the statue protectors almost every night. “I don’t like having people hanging around my neighborhood with guns,” he says.

Charlottesville Police spokesperson Tyler Hawn declined to comment on how many calls police have gotten about gun-toting statue defenders or about would-be vandals, and refused to provide any information on the June 28 call about an armed man at Court Square Park.

“The vandalism incidents in front of the police department and at Market Street Park are under investigation,” Hawn says. 

According to the Emergency Communications Center, 30 calls were made in June about suspicious behavior in the two parks.

By June 29, Lee had been scrubbed clean, although a Black Lives Matter T-shirt hung from Traveller’s bridle. Jock Yellott, a plaintiff in the statue lawsuit against the city, sat on a bench in Market Street Park reading Aristotle in the early evening.

A stream of out-of-towners came through to inspect the statues. Rhode Islander Marlene Yang had already seen the graffitied Lee statue in Richmond. “It really opens a lot of discussion on what people think is important,” she says.

A visitor from New York, who declined to give his name, says, “For the record, we love the statues.” He had just been to Gettysburg. “We wanted to see them while they’re still here,” says his wife.

Even the Monument Fund, which won an injunction prohibiting removal, acknowledges the statues’ days in city parks are numbered. The plaintiffs, who are still seeking attorneys’ fees, filed a motion June 5 with Charlottesville Circuit Court Judge Rick Moore to partially dissolve the injunction.

The city has appealed to the Virginia Supreme Court to entirely dissolve the injunction so it can proceed under the new state law.

A statue supporter, who spoke only on the condition he not be named, is concerned about the safety of the Confederate monuments, which have been repeatedly vandalized. “People of goodwill are looking for a place to put them,” he says. “We can’t do that if they’re destroyed. Whether you like them or not, vandalism isn’t a good idea.”

While Richmond hoisted Stonewall Jackson off his pedestal July 1, Charlottesville continues to wait for the legal process to unwind.

“The nice thing about here is there’s a clear exit ramp with the motion to the Virginia Supreme Court,” says Schmidt. “It’s slower, but at least I’m seeing steady progress.”

 

Categories
Opinion

This week, 7/1

A month ago, George Floyd was murdered by the police. Since then, Damani Harrison has led a group of artists “coming together to speak truth to power” in the multimedia “One for George” project—our cover story this week.

Also in this week’s issue: The Charlottesville police department has been harming Black and brown people for decades, but a new oversight body is fighting for power, and protesters are leaving their mark—literally—on the department. Sexual assault is still prevalent on UVA Grounds, but survivors continue to advocate for reform. A statue of a Confederate soldier stands outside the Albemarle County courthouse, but new laws mean county officials can meet this week to start the process to take the monument down. Our public school history books are stuffed with racist, sexist, false narratives, but teachers are gathering to develop anti-racist curriculum alternatives.  The area’s 5th Congressional District is gerrymandered to hell, but a young Black doctor has the best chance to win of any Democrat in a decade.

Each of these conflicts has its own contours. Still, a loose theme is undeniable: This country was purposefully designed to perpetuate inequity and entrench white supremacy. Our city is full of people who believe long-overdue change is both necessary and possible—people who are working to bring that change to fruition.

Saturday is the Fourth of July. This is not an admirable country, but plenty of admirable people live here. This week’s C-VILLE is about some of those people.

 

Categories
News

Leaving a mark: Police department out for arrests after protesters spray paint street

Arrest warrants were issued for six people accused of spray painting the street outside the Charlottesville Police Department over the last two weeks. Police say the demonstrators “vandalized the streets and the sidewalks with cruel, threatening, and hate-filled language.”

The first four charges, announced in a June 25 press release, concerned paint on the sidewalk after the June 21 defund the police rally outside the station. The most common spray-painted slogan was “Black Lives Matter;” other comments included “Murderers belong in jail,” “Fund mental health,” and “Fuck 12.”

The tone of the press release suggests the activists got under the department’s skin. “We will continue to prioritize the public’s health and safety, but criminal actions that deface public spaces or put the safety of others at risk cannot be tolerated,” the release said, adding that police have “launched a full investigation” and are “not finished.”

The department also claimed the clean-up price tag would total $20,000, because, according to its estimates, a section of Market Street would need to be repaved, at a cost of $15,000 reports NBC29. (We know the city is capable of removing spray paint without destroying surfaces—it has removed messages from the Market Street Park Robert E. Lee statue plenty of times, including this past weekend, and the statue is still there.)

The department has been inconsistent in its reactions to public speech in front of its offices. On Wednesday, June 24, the police department’s Twitter page posted a photo showing a sign planted outside the office, reading “We appreciate and support you CPD!!!”

“More kind words and support from our community with these signs in front of our lobby,” the tweet reads. No arrest warrants were issued for the people who placed these signs.

According to Charlottesville Planning Commissioner Rory Stolzenberg, who has been active in cataloging the police department’s public messaging in recent weeks, city attorney John Blair ruled that all signs should be removed from the area under Virginia’s unlawful posting rule.

After the June 21 defund the police rally, some protesters marched down the mall, directing chants at diners sitting outside. Though disruptive, this is constitutionally protected speech. The June 25 police press release implied otherwise, saying the protesters “chose to engage in unacceptable and criminal behavior.”

“Is it appropriate for the police to be running this messaging campaign in its own defense against protests that call for defunding the police?” Stolzenberg asked at Monday’s Police Civilian Review Board meeting.

Charlottesville activists have been demonstrating peacefully for weeks, regularly holding marches calling for defunding the police and supporting the Black Lives Matter movement. These are the first arrest warrants issued for activity related to these protests.

Charlottesville Commonwealth’s Attorney Joe Platania will now have to decide whether or not to aggressively prosecute those accused. If the suspects are charged and convicted, they could face a $2,500 fine and up to a year in jail.

 

Categories
Culture Living

PICK: Reds, Whites, and Bluegrass

Sip ‘n’ sizzle: Looking for a good way to celebrate America on July 4? How about listening to some Americana at Keswick Vineyards’ Reds, Whites, and Bluegrass, a socially distanced, in-person gathering, with tunes provided by the Tara Mills Band. Playing her self-described “original Blue Ridge mountain folk,” Mills and company will provide relaxing melodies while you sip and celebrate at this family-friendly event, complete with food trucks and tasting flights.

$20 reservation fee, $35 minimum purchase per couple. Noon. Keswick Vineyards, 1575 Keswick Winery Dr., 244 3341.

Categories
Arts Culture

PICK: The Steel Wheels

Steel yourself: The Steel Wheels had to postpone its annual Redwing Roots festival (now scheduled for July 2021), but fans can still enjoy the band’s acoustic grooves as part of The Front Porch’s Save the Music concert series. The Americana folk band (minus a few members) from Harrisonburg, delivers the “purity and power” of its unique sound through virtual means while staying connected to its Redwing family.

8pm. Donations requested. facebook.com/frontporchcville.

Categories
Arts Culture

PICK: DMB Drive-In

Crash in: The Dave Matthews Band needs no introduction. Known for its live performances and charming frontman, the globally famous jam band
has been the musical pride of Charlottesville for decades. And with the pandemic prohibiting live concerts, DMB has found a way to fill the deafening silence of no summer touring. The DMB Drive-In series streams previous performances, with proceeds going to different causes each week. In the spirit of its 1996 hit album, go ahead and Crash into these concerts from your comfy couch seat.

8pm. davematthewsband.com

Categories
Arts Culture

Musical meditation: Local poetry contest winner explores experience of music

For UVA music professor Fred Everrett Maus, there is much more to music than meets the ear. It presents listeners with the opportunity to understand gender, sexuality, memory, and more.

“Music teaching sometimes makes music into an object, studied by examining external properties,” Maus says. “In all my research and teaching, I have wanted to direct attention to experiences that people have in the presence of music.”   

“I invite my students to give careful attention to their own experiences, and then to try to imagine the experiences of others,” says Maus, who is also the co-editor of the forthcoming Oxford Handbook of Music and Queerness, which has essays on musical genres ranging from Irish traditional music to hip-hop, as they relate to the LGBTQ+ community.

Reading Maus’ poem “Play a Note” is an experience, too. The poem recently won the Jefferson-Madison Regional Library/WriterHouse fifth annual Poetry Contest for Adults, with entries judged by Virginia poet laureate Henry Hart. While COVID-19 might invite works of art that explore quietude, isolation, and fear, Maus’ poem is loud, lively, and inquisitive. Hart calls the piece “rhythmical” in its progression from the “creation of sound to the creation of silence to thoughts of a divine creation.”

The poem incorporates tenets of meditation, a practice Maus teaches through the Insight Meditation Community of Charlottesville. In 2015, he began teaching meditation through the Fluvanna Correctional Center for Women’s Blue Ridge Prison Program, which is now on hold due to the coronavirus pandemic. He says he finds the mindfulness practice valuable, as it teaches him new ways to process tension and change.

“Play a Note” investigates “sustained attention to minimal stimulus,” says Maus, with verbal instructions reminiscent of those from a music teacher or guided meditation. The poem takes the imperative voice as it commands readers through pronouns like “you.” It’s a form reflected in the works of composer and performer Pauline Oliveros’ “Deep Listening Pieces,” and Fluxus group artists like John Cage, whose “4’33″” instructs performers to sit at a piano without playing for four minutes and thirty-three seconds, as audience members hear only the sounds of their surroundings.

Yet Maus’ poem ends with images and sounds very different from the meditative practice of acknowledging external stimuli without commentary. He brings the reader from an internal reverie into “hundreds” of “squandered” and “thrown” noises and faces of the streets outside—perhaps reminiscent of today’s world, after all.

Categories
Arts Culture

Done talking: Damani Harrison drops ‘One for George,’ a three-part collaboration with local artists

Damani Harrison is done talking.

The activist, musician, and all-around C’ville art community anchor recently orchestrated the release of an ambitious three-part creative project he calls “One for George,” and he wants the work—a hip-hop song, music video, and portrait series—to speak for itself.

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“Woke up this morning to a post / Another black soul getting choked / The whole damn nation on the ropes / Please tell me how the hell can I cope,” Harrison raps in the song’s opening lines.

Why is Harrison done talking? According to his “One for George” collaborators, whom he asked to speak about the project on his behalf, he’s more interested in action. According to his collaborators, he’s so “busy fighting racism on all levels,” he’s tired of talking.

“One for George,” at any rate, speaks volumes. Before Harrison went media-silent, he told it like this: Producer Lekema Bullock shared an instrumental track he wrote in the wake of the George Floyd killing in Minneapolis. The track opens to a warbling melody overlain with Floyd’s final cries—“Please… I can’t breathe”—before giving way to a methodical snare and haunting vocals handpicked by Bullock to “represent my pain and how I was feeling.”

“I was devastated. It was senseless,” Bullock says. “I normally don’t turn to my music when I’m upset. But I wanted to honor George Floyd, Ahmaud Arbery, Breonna Taylor, and all the senseless murders that have happened to date.”

The act of police brutality against Floyd, which sparked Black Lives Matter protests across the nation and around the world, had also inspired Harrison. “It only took about 20 seconds of listening to the song before words started gathering in my head,” he said in a social media post shortly after the “One for George” release. The song’s lyrics were on paper three hours later, declaring “we won’t be silenced no more,” and recorded about 48 hours after that.

Harrison’s longtime collaborator Mike Moxham stepped in to record and mix the track.

“I would never want to speak for him, but I got the idea he felt like it would be easier to get the emotional content down if he wasn’t recording it himself,” Moxham said. “When you try to convey heavy emotional content, the last thing you want to do is worry about technicalities.”

As Moxham went to work mixing the final recording, layering a backup vocal with heavy distortion over the original to highlight the angst-ridden rhymes, Harrison brought in others to carry out his vision. Video producer Eric Hurt and photographers Jason Lappa and Ézé Amos joined the team. Seven days after Harrison’s lyrical inspiration grew from Bullock’s beat, the “One for George” team was on set shooting a music video.

The video focuses on Harrison, performing in stark black and white against a fire and smoke-filled backdrop. Interspersed with the performance are images of hate—enslaved people and police brutality, but also homophobia and broad xenophobia—and local activists standing with Harrison and the equality movement writ large.

“We didn’t want to go too broad,” Hurt says. “It’s mainly about the African American struggle, but Damani wanted to make sure it wasn’t just that.”

The music video shoot, which according to those on set took on a peaceful protest, almost festival-like atmosphere, went down one week after Harrison had heard Bullock’s beat. Lappa sat the activists featured in the video for still photo portraits.

“Still images have an impact. It’s a persistent view,” he says. “There’s something in those photographs that is real, visceral. This subject is real and visceral.”

One week after the video shoot, the crew had released the entire project, with the photo series posted to an Instagram account, @oneforgeorge.

“Everyone just came together. We all knew this was bigger than us,” Harrison said on Instagram at the time. “This wasn’t easy for any of us. It wasn’t easy to relive trauma. It wasn’t easy to confront demons. But everything told us to go forward. We have to go forward.”

Where does the “One for George” project go from here? Moxham says the group hopes for organic exposure for the art series. Bullock hopes social media influencers might take up the mantle and help push the message: Folks all around the country, including Charlottesville, stand with those who’ve been killed. They are hurting along with all those families.

To a person, the “One for George” crew says they’re hoping for real, sustained change in the way this country confronts racism. Some signs indicate they’re not alone. A survey by online research firm Civiqs shows countrywide support for the Black Lives Matter movement has reached as high as 53 percent in the months since Floyd’s murder. The number had hovered around 42 percent for the two years prior, up from below 40 percent at the time of C’ville’s own civil rights horror, the white supremecist-driven Unite the Right rally in 2017.

Will support continue to grow? The way Bullock puts it, it has to. The Black Lives Matter movement, he says, is really about one simple thing: “Stop killing us,” he says. “Black Lives Matter at its core literally means, ‘our lives have value.’ That’s it. Our lives have value. Stop killing us.”

Categories
Culture Living

Bringing it home: Laura Fonner’s on a roll with her Food Network dumplings

To win the Food Network show “Guy’s Grocery Games,” you need two skills: cooking and grocery shopping. Fortunately for former Duner’s executive chef Laura Fonner, she frequents her Crozet Harris Teeter so often that employees greet her by name.

Still, it’s tough to completely prepare for the fast-paced competition hosted by Guy Fieri. In a cavernous California warehouse that’s been transformed into a fully operational grocery store, competitors sprint through aisles packed with a chaotic mix of professional chefs and camera crews to complete the contest’s cooking challenges.

They may have to use ingredients that start with the letter ‘F,’ or they might be forced to swap carts with another contestant at any moment. No matter what, they’re cooking with unfamiliar ingredients on a tight timeline, with sweat dripping down their faces and cameras hovering over their shoulders.

A Food Network scout for “Guy’s Grocery Games” called Fonner last year after reading a C-VILLE Weekly article about her work with PACEM, where she leads an effort to cook dinners for homeless individuals at local shelters.

At first, Fonner thought the call was fake.  But once she realized this was really happening, there were other things to consider: the week she’d have to spend away from her job at Duner’s and her family, as well as the stringent interviews she had to get through in order to appear on the network.

“You’re basically signing your life away,” says Fonner. “You know, ‘You can come make an idiot of yourself on TV and we own all the rights to it.’”

But after some deliberation, Fonner decided that she couldn’t let the opportunity slip away and agreed to appear in a December 2019 episode.

“I’ve done a lot of things, like catering and restaurant work and concessions stands—a really wide variety of things, but competition cooking is so intense and so nerve-wracking,” says Fonner. “It’s the hardest thing that you could do, culinary-wise.”

While there’s no way to anticipate every challenge “Grocery Games” might throw your way, this episode played into Fonner’s strengths: Fieri told competing chefs that they must cook one meal on a strict $30 budget.

“I had my first child at 19, so I was a single mom for a while,” she says. “And then I have two more kids now. I’ve been on a budget my whole life. …As soon as I heard ‘budget,’ I knew what I was gonna make.”

Her budget dish is chicken dumplings, wrapped in a homemade dough that Fonner has been perfecting for 13 years. The dumplings were good enough to propel her to the next challenge, and to the next. When she was declared the winner of the episode—and the $20,000 cash prize—she says she nearly fainted.

“It was a shock to me,” says Fonner. “And I mean, obviously everyone saw me do that silly little dance, so I’m never going to live that down.”

The dumplings were so memorable, she got another call from the Food Network. Fonner was invited back for a multi-episode summer grilling tournament against fellow alums of the show. Her experience with grills is limited to the George Foreman unit on her kitchen counter, so this new contest presented a bigger challenge—going in, she hoped that 21 years of working in restaurants would carry her through.

The episodes airing this month were filmed last February, in what feels like a different world. Fonner had donated a chunk of her December prize to PACEM. In pre-COVID Charlottesville, she planned to use potential winnings from the upcoming July appearance to buy Duner’s.

“It’s going to be bittersweet listening to how I talked about Duner’s, because I’m not there anymore,” Fonner says.

Instead, she will now run Dumplin’, a food truck from Champion Brewing Company. Starting next week, locals can try her $20,000 recipe by finding the truck at stops between Charlottesville and Crozet, during lunch shifts on Pantops, or on some afternoons at local vineyards.

A new job is not all that has changed for Fonner since her first episode aired in December. Last year, an intimidated Fonner faced many firsts, from flying alone to cooking competitively. Now, she has befriended chefs from across the country and developed a new admiration for Fieri over their shared passion for charitable work.

What’s more, she’s discovered that she loves to compete, something she didn’t realize until she appeared on the show. Even family trips to Harris Teeter have become a heated battle for first place.

“My little boys run through the store, and now I could never, ever tell them they’re not allowed to, because I’m on national TV, sprinting through the grocery store,” laughs Fonner.

Viewers can see her sprint through her grilling debut on the Food Network on July 8, when she faces off against seven other former victors of “Guy’s Grocery Games” during the month-long tournament-style “Summer Grillin’ Games.”

“There’s a lot of food talent in this town,” says Fonner. “We are such a foodie town, whether people want to think about it or not. I think Charlottesville deserves a little bit of recognition for that, and it’s been hard to get it, and I’m not quite sure why…I’m going to try to bring home the trophy and the huge amount of money that’s up for grabs.”

Categories
Culture Living

Veggie fest: Local markets manage an overstock of produce and more

There is an unexpected silver lining to the current pandemic for those seeking locally farmed produce and meats in the Charlottesville area: Due to the radical change in business practices of area growers and restaurants, customers can now access an abundance of farmers’ offerings on an almost daily basis.

But this has also created a greater hardship for farmers, who’ve always relied heavily on wholesale sales to local restaurants, and have had to change how they do business.

“(Our) vendors were not too enamored with the drive-thru market model, having to list all products online,” says Market Central Chairperson Cile Gorham about City Market To-Go, a drive-thru market that started this spring in Pen Park, and is now held Saturday mornings at Darden Towe Park.

Elena Day, a small producer who sells vegetables, flowers, and homemade pies, didn’t have the time, computer savvy, or resources to get set up for online ordering, which required uploading images of products weekly, so she opted instead to sell at IX Art Park’s walk-up market.

Interaction with customers—even in these masked times—matters to Day. “I have good quality produce,” she says. “I like to see the people who buy, and have exchanges with them and that is the most important thing to me about a farmers’ market—the interpersonal exchanges: They educate me, and I educate them.”

Gorham says The Market at IX is currently the only local farmers’ market that accepts SNAP, where it matches benefits with coupons for free vegetables, fruits, and edible plants. Virginia has not come up with a method for allowing customers to use SNAP for online payments, so they must be used at a walk-up market where a wireless terminal is available to run the cards.

“The transition to a drive-thru market was sudden and quite difficult, says City Market Manager Justin McKenzie. “We limited the market to our year-round reserve vendors that were agricultural or sell value-added goods [such as bread, jams, pies, pastas, and such]. We are currently hosting roughly 50 vendors every week and have exceeded our expected weekly sales.”

Despite the challenging reconfiguring, vendors are learning to like the new way of doing business. “Sales have been pretty consistent and it’s nice to know how much you already sold, instead of hoping for a good market day,” says Crazy Farm’s Alicia Izaguirre. “The way the City Market is being run works well and keeps the health of everyone first and foremost.”

Portia Boggs, director of advancement and communications with The Local Food Hub, says the need for drive-thru markets will continue. “We saw the infrastructure that connects local food to its community crumbling, so we built a new infrastructure, and our growers and producers rose to the occasion, nimbly adapting their operations,” says Boggs.  “Our vendors want to continue for the foreseeable future, and customers—some are elderly and immunocompromised—who don’t feel safe with traditional markets or shopping, appreciate the ease and safety of our market.”

In addition to finding new ways to sell her cheese, Caromont Farm’s Gail Hobbs-Page is also organizing cheese shares, and she agrees that there has been a learning curve.

“It was hell at first,” she says. “…In the old days you packed your cooler, you went to the market, and people either gave you cash or a card. Now online inventory has to go in on Sunday evening the week before, and you have to have everything planned a week ahead. …The good news is that the local food community here is strong and our sales remain very good.”

Hobbs-Page says she’s grateful to the restaurants that have remained open, such as The Local, Dr. Ho’s Humble Pie, Fleurie, and Petit Pois, whose owner Brian Helleberg has been inventive in trying to help local farmers, who he views as family.

“I’ve been ordering from some of these folks for 18 years,” says Helleberg. “These are the best family farms, they’re humble, I just really like working with them—they have such care of what they’ve made, it makes you want to eat it and it’s what I want to feed to my family.”

When businesses shut down, Helleberg decided to sell purveyor’s products alongside his restaurants’ carryout items, and thus was born the Land by Hand Chef’s Share, a subscription food basket with local produce, meats, cheeses, and eggs.

Long a steward of the Charlottesville community, Helleberg says he’s just doing his part to try to help out. “If you keep your values in mind, you have a family you work with, and farms you work with, and let it happen naturally, everyone benefits.”