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News

On the record: Departing City Manager Tarron Richardson reflects on his tumultuous tenure

“What’s been the hardest part of this job?” is, to outgoing Charlottesville City Manager Dr. Tarron Richardson, “a loaded question.” 

The city’s top executive tendered his resignation on September 11, and will finish his time at City Hall on September 30, after 16 months at the helm. (For reference, the three city managers before Richardson stayed in the role for an average of 16 years.) City Attorney John Blair will take over as interim.

On his way out, Richardson says he was hampered by city officials who didn’t respect where their authority ended and his began, and that the media portrayed him unfairly.

“The primary job of a city manager is to make sure the budget is done correctly,” Richardson says.

“My role as city manager, in this form of government, I run the day-to-day operations, but City Council puts the policy in place. You never heard me, in a City Council meeting, try to influence a policy one way or another,” he says.

It’s true that Richardson rarely spoke up at council meetings—he spent most of his time on the dais expressionless, silently watching city business unfold around him.

He attributes this reserved public demeanor to a desire, as a new member of the community, to listen first and act second. But he also concedes that communicating his budget philosophy—“having people see that we look at the budget from a holistic standpoint and not just one department”—was the biggest challenge during his tenure.

“It’s never a good topic of discussion when you’re talking about the budget,” says the man who spent the last 16 months crafting the city budget. 

Richardson rejects a suggestion that he had a bad relationship with City Council.

“I worked well with Wes Bellamy, Kathy Galvin, Mike Signer. I worked well with Sena Magill, I worked well with Lloyd Snook, and I worked well with Michael Payne.” 

If you’re keeping track, that list includes every city councilor Richardson has overlapped with except Heather Hill and Mayor Nikuyah Walker. 

Friction welled up between Richardson and those council members because “a lot of people were expecting me to come in and say yes to everything, rubber stamp it,” Richardson says. “But I’ve been doing this for a long time…So when you’re someone who says no to things that have been traditionally said yes to, you have issues.”

Hill declined to comment for this story, and Walker did not respond to a request for comment.

At Monday’s City Council meeting, Richardson’s last as city manager, Walker addressed his previous suggestions that she had micromanaged him. “The topics that I might have dug a little deeper with you are related to procuring supplies for the pandemic,” the mayor said, “making sure people had utilities during the pandemic, making sure we keep people employed during the pandemic.”

“In terms of micromanaging, if that means I strongly suggested that we take care of people in this community, then yes I did push a little harder,” she continued.

Two other notable city employees clashed with Richardson in the last year. Deputy City Manager Mike Murphy resigned suddenly last October, and penned a mysterious memo alleging mismanagement that has yet to see the light of day, according to reporting from The Daily Progress.

After a dispute over the timeline for the acquisition of new firefighters, Andrew Baxter, who had served as the city’s fire chief for four years, resigned in June. Baxter wrote in an email to a colleague that Richardson was a “transactional, unfocused, disengaged, dismissive bully,” and that his resignation was a direct result of Richardson’s management style.

That Baxter email was publicized by The Daily Progress in June, in an article co-authored by the Progress’ City Hall reporter Nolan Stout. Stout has repeatedly pulled back the curtain at City Hall by publishing employees’ verbatim email transcripts, obtained through the Freedom of Information Act.

Richardson has some choice words for Stout: “He doesn’t report the entire story. He reports bits and pieces of it. And for the most part it always portrayed me in a negative light, no matter what I did. All the positive things I’ve done have never been reported.”

When asked why he thinks that is, Richardson implies that his race has played a factor.

“If you look at history of The Daily Progress, has it always shown people of color in a positive light?” Richardson asks.

The Progress drew criticism for a 2017 piece about then-council candidate Walker, though the reporter who wrote the story left the paper in 2018. 

Daily Progress Managing Editor Aaron Richardson says: “I stand behind Nolan’s coverage of and reporting on the city.”

The media made his job “very hard,” Richardson says. “What was said impacted me from a community standpoint.”

At his final appearance before the community at Monday’s council meeting, Richardson did not address any community matters but did take one last opportunity to reaffirm that he felt the Progress’ coverage had been unfair, specifically regarding the dispute between himself and the fire fighters.

Looking back, Richardson says he feels he did make positive changes during his time, listing a handful of bureaucratic reforms:

“What really went well was the reorganization of the various departments. Streamlining processes. And this was primarily to get departments that were similar within one portfolio,” he says. “We got our triple-A bond rating reaffirmed. We didn’t increase the tax rate…We had a lot of good hires. CAT, human resources, we just hired a new public works director. Overall we’ve been moving in the right direction.” 

Richardson also points to his work in public housing communities as a successful element of his tenure.

And he does leave with some admirers in town. “You were out there feeding people when no other members of council were out there,” said local activist Tanesha Hudson to Richardson at Monday’s council meeting.

The resignation announcement didn’t come as a total surprise: City Council held an 11-hour closed session in June to discuss Richardson’s job performance, a meeting long enough to suggest that council members weren’t just heaping praise on their chief executive. 

Richardson will walk off with a lump-sum payment equivalent to a year’s salary—$205,000. Hefty severance packages are not unheard of in the city. When Murphy resigned in December 2019, he took home almost a full year’s worth of his $158,000 salary.

Richardson says there wasn’t a specific incident that drove him out, nor a single moment when he knew he was finished.

“I ended up resigning for the simple fact that I was working a lot of hours. Day in and day out. And it just became a little too much for me… it just got to the point where I said okay, I’ve done my best, I’ve made a significant number of changes, and it’s time for me to move on.” 

Asked if he has any hobbies that have been put on the back burner while he’s been working, Richardson says, “No, not actually. One thing I haven’t had a chance to do here is get a rest.”

Does Richardson have any advice for someone considering stepping in to this job? He takes a long pause before answering. “I would say really understand what you’re getting into,” he says.

 

Updated 9/24: NBC29 first published a selection of emails between Baxter and Richardson in February. The email quoted in this story was first published by the Progress in June.

Categories
Arts Culture

From the ground up: While enjoying major-label success, Illiterate Light stays connected to its roots

Nearly a decade ago, a traveling troupe of musicians was midway through its set at the now-demolished Random Row Books in Charlottesville when the power went out. While darkness settled over the crowd, the band continued its performance undeterred, with no noticeable change in sound. That’s because the group’s set-up was running on a bike-powered generator: With one member pedaling a bicycle on a generator stand, a small PA system kept functioning. From the darkness sprang Charlottesville’s next big thing: Illiterate Light.

That night at Random Row, JMU alums Jeff Gorman and Jake Cochran were playing in Money Cannot Be Eaten, one of a handful of socially oriented bands cycling around the state together under the heading of Petrol-Free Jubilee.

In 2015, Gorman and Cochran set off on a new project, the rock band Illiterate Light (the name is taken from a line in the Wilco song “Theologians”). Since then, the pair has toured widely, developed a devoted following, and signed a deal with a major label. But they still find themselves recalling those foundational days.

Petrol-Free Jubilee “really pushed Jeff and I to think like, alright, there’s definitely big-picture solutions that we [don’t] know how to contribute to yet,”  says Cochran. “But diving in with a bunch of friends and biking around Virginia to talk about environmentalism and sing songs was something we could get into.”

The band’s experience with the jubilee, along with other volunteerism, directly informed the ethos of Illiterate Light, establishing community building and social consciousness as guiding tenets for its musical output.

In their early days, during junior and senior year, Cochran was on the medical track at JMU and worked as an EMT.

“So much of the pain that I was seeing in the ambulance and the runs we were going on were people with food-based illness,” he says. “We were going to the same neighborhoods picking up the same people. It was all food-related and it was addiction-related and it weighed heavily on my spirit to know that there was this bigger problem.”

In response, Cochran and Gorman helped out at a local nonprofit, Our Community Place. The center operated as a soup kitchen and offered resources for those who were formerly incarcerated, or facing homelessness or addiction. There, the duo connected with area farmers, which inspired them to do an organic agricultural internship. After graduation, they continued to grow produce and sold it at the farmers’ market and co-op. They’d often bring hoards of potatoes, onions, and tomatoes door to door, offering them to nearby restaurants.

“It was really a big part of integrating so deeply into the community here,” Gorman says. “We [were] playing music at night and then living this totally different lifestyle during the day.”

The main venue they played was the Blue Nile, an Ethiopian restaurant whose basement served as a club. Opened by the Arefaine family, who immigrated to the United States in the wake of the Ethiopian civil war, the Blue Nile was a counter-cultural hub.

“The Nile was the only place that really was permissive to outsider music—alternative, punk, metal, hip-hop—being played live in their facility,” says former bar manager Paul Somers. “That really changed the music scene in Harrisonburg.”

Somers took over in 2014 and reopened as The Golden Pony the following spring. Gorman and Cochran helped Somers book and promote shows—and even created a Harrisonburg guidebook for touring bands rolling through town.

“It showcases where their hearts are when it comes to live music, you know, it’s not just about them,” Somers says. “It’s about the whole scene and the larger scheme of bands that they see and know and believe in, and think that other people should appreciate.”

The duo took it a step further by booking The Golden Pony as Illiterate Light’s home base and doing several shows a year at the venue. After extensive touring across the United States, the band had a reputation for its high-energy performances and unusual setup, so it wasn’t uncommon for these shows to sell out.

“It’s always cool to put on a show with them because we know it’s going to be this huge, utterly cathartic rock and roll,” says Somers. “Every- one’s just moving and dancing and surging with the music.”

 

Jeff Gorman and Jake Cochran push positivity through raucous tunes and a holistic approach to their lives as musicians, supporting big-picture solutions through volunteerism, environmentalism, and mentoring. Image: Joey Wharton

Magical musical universe

Gorman sings lead vocals and plays guitar and a “foot bass.”

“There’s some tap dancing that’s going on; I’m actually hitting a big keyboard with my feet as we play and then I run that through its own bass,” he says. “It’s its own little universe that I’ve created.”

Meanwhile, Cochran plays a stand-up drum kit, taking a normal drum kit and raising it up higher. He stands on his left leg and plays the kick drum with his right foot.

“It started out as a very visual change. Jeff and I, as two people, really want to be able to interact. The way I decided to do that was to bring the drum kit up front and one time I just tried kicking the stool out and standing up,” Cochran says. “It was a fun way to trade energy and we set up right on the edge of the stage so it’s in your face—and drums are very rarely that forward.”

After establishing a signature live sound, the duo had to figure out how to harness that same energy in the studio. Richmond artist Charlie Glenn (The Trillions, Palm Palm) connected them with Adrian Olsen, producer and owner of Montrose Recording in Richmond, and they set to work on Illiterate Light’s first full-length LP.

“The main critique I had heard coming into recording Illiterate Light was that they sounded massive live, but the recordings they had done up to that point didn’t represent the sound they had developed live,” Olsen recalls. “So my approach was to have them play live in the studio and go for as much of a maximalist approach as possible—lots of room mics and amps…Jeff usually gets a pretty epic pedalboard going with I’d say upwards of 40 pedals at his feet if I had to guess.”

The duo’s work with Glenn and Olsen caught the attention of another stalwart on the Richmond scene—Tyler Williams. While Williams might be best known as the drummer for The Head and the Heart, he’s also worked with Lucy Dacus and was seeking another local project to champion, so he  checked out one of the duo’s shows at the Richmond venue The Camel.

“I immediately was taken by the energy on stage when I walked into The Camel,” says Williams. “It just felt like there was like an electricity in the room…that’s the first sign when you know that something is happening with a music artist. You feel it in the room. It’s the closest thing I’ve ever felt to magic.”

As the band propelled forward, Williams took off with them in a management capacity. It wasn’t long before major labels came knocking, and Illiterate Light signed to Atlantic, releasing its self-titled label debut last year.

Illiterate Light’s self-titled debut was released in October 2019 by Atlantic Records, further propelling the Harrisonburg duo from house band at The Golden Pony into the national spotlight. Image: Joey Wharton

Shining their light

In 2020, the band launched an ongoing series that captures live performances from past shows called “In the Moment: Illiterate Light Live.” One of the series’ most featured venues is The Golden Pony. This nod to Harrisonburg isn’t the only way Gorman and Cochran continue to acknowledge the community that made them.

Professor Joseph “Ojo” Taylor remembers Gorman as a student in the music industry program at JMU.

“My songwriting class is where we get our hands dirty, you know, get under the hood and really analyze a lot of songs,” Taylor explains. “[Gorman] stood out to me initially because he just had a depth and an interest and passion for this that a lot of students don’t have right away.”

Gorman and Cochran keep in touch with Taylor, guesting during class workshops, sharing what they’re working on, giving students an insight into life as a nationally touring band. Before COVID-19, the duo would often invite students to shows or offer mentorship over a cup of coffee.

“The way that they create community and support their community is the thread that binds their whole vision together,” says Williams. “You know, we are on a major [record] label, but we still use the same video- graphers from Harrisonburg that have always made their videos…Virginia makes them who they are and they want to give back.”

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Arts Culture Uncategorized

PICK: The Lavender Scare

Seeing purple: As the Cold War and McCarthyism were dominating headlines in the mid-20th century, another cultural persecution was taking place covertly in tandem with the Red Scare. Jefferson-Madison Regional Library and the University of Virginia’s LGBT Committee present a screening of The Lavender Scare, a documentary narrated by Glenn Close that tells the story of a campaign by the United States government to identify and fire all employees suspected of being homosexual. Sign up at the JMRL website or call 973-7893 (x3) to stream the film in advance, and join the virtual Zoom discussion moderated by Gary Nimax, chair of UVA’s LGBT Committee.

Free, Thursday 9/17, 7pm. jmrl.org.

Categories
Arts Culture

PICK: Tuesday Evening Concert Series with David Shifrin

Listen to the wind: When considering Mozart’s vast body of work, the clarinet may not be top of mind. Yet, in 1789 the composer “had the wonderful idea of combining a clarinet with a string quartet. The result was one of the greatest musical masterpieces of all time,” says David Shifrin, who will perform the composition, Quintet in A Major for Clarinet, Two Violins, Viola, and Cello, K. 581, along with works by Luigi Bassi and Duke Ellington. The event is one of eight in a series to which the Tuesday Evening Concert Series has been granted special access.

Free (available for five days), Through 9/21. tecs.org.

Categories
Arts Culture

PICK: Zoiree

Moving through it: Edwin Roa of Zabor Dance is not letting the coronavirus get in the way of getting together. The dance instructor is, from a distance, teaching couples who are distanced from other pairs at Zoiree. Partners can move to salsa, bachata, cha-cha and tango in a safety-minded outdoor setting with limited numbers.

$40 per couple, 18-plus, Through 9/24, 7pm. IX Art Park, 522 Second St., SE. ixartpark.org.

Categories
Culture Living

Something to Grouse about

Foodies rejoice! Charlottesville’s high-end dining circuit just got a little larger with the reopening of The Pink Grouse, the signature restaurant at the Quirk Hotel. Initially unveiled along with the hotel in March of 2020, The Pink Grouse’s launch was short-lived due to widespread shutdowns in April. The extra time was used to fine-tune the restaurant’s vision and bring on Chef de Cuisine Dennis Merritt. The result is a contemporary take on American food, driven home by a modern dining room, open kitchen, and creative platings.

Merritt got his start as sous chef at The Clifton, and has spent the last 10 years honing his craft at several of the country’s top restaurants, including Chicago’s Roister. When asked what he was most excited for, regarding his return to Charlottesville, Merritt says, “Being able to show my interpretations of both new and classic dishes.” One example that speaks to the avant-garde spirit of The Pink Grouse is the vivid White Stone oysters topped with coconut, passion fruit mousse, pickled mango, and calabrian chilis.

Keep the Kouign-amann coming

In August, MarieBette Café was awarded a $25,000 grant from Discover’s Eat It Forward program, which supports Black-owned businesses countrywide. It’s no secret that COVID-19 has put tremendous strain on the restaurant industry, especially in Black communities, and the Eat It Forward program aims to protect these “cornerstones of community” by offering awards based on customer nominations. On its Instagram, MarieBette writes, “To say that we are excited for how much this helps us in this difficult time would be an understatement. We are so proud to be part of the Charlottesville community.”

Meet me on the patio

Many of our iconic restaurants have begun to reopen after months of closure, adding or adjusting patio spaces, and dining outside never tasted so good.

Among them is Tavola,* now offering reservations (are pigs flying too?) for limited indoor, plus outdoor dining, where guests can enjoy a new patio along with the much-missed Italian food and wine. Paradox Pastry has repaved its patio into a larger and more accommodating space, and Little Star and Oakhart Social have both tented their spacious outdoor dining areas. Diners have also gained new appreciation for a long list of reopened al fresco spots on the Downtown Mall, including Rapture, The Fitzroy, Chap’s, and Fleurie (check out its beautifully appointed deck!).

New beginnings

Splendora’s, the Downtown Mall gelato café, closed its doors last month after 16 years of creating frozen masterpieces from imaginative ingredients. (We are still dreaming of the Strawberry Pink Peppercorn and the Miso Cherry.)

Owner PK Ross hopes to use this transition as an opportunity to focus on collaborating with other businesses, meaning we may see Splendora’s on some of our favorite menus in the near future. Splendy’s is still offering pickup and delivery through the rest of September, while Ross searches for a new location off the mall. More information can be found on Splendora’s Facebook page.

Bluegrass Grill & Bakery, a favorite brunch spot for locals in the know since 2001, was forced to vacate its downtown location when the pandemic struck. But never fear, the biscuit making will continue. Bluegrass recently partnered with Devils Backbone to operate a pop-up restaurant at The Summit, a repurposed train station on DB’s Roseland property. For the next three months, find BGB’s classic, Southern dishes served by familiar faces, now in the spectacular foothills of the Blue Ridge.

And sadly, BreadWorks Bakery & Deli, which has provided job training and employment to people with disabilities since 1967, will close its doors due to the economic fallout of the coronavirus.—Will Ham

*co-owned by C-VILLE’s Culture editor Tami Keaveny

Categories
Arts Culture

Old order, new visions: Rochelle Sumner and Will Kerner bring isolation out in the open

Ida Mitchell Puffenbarger wasn’t an artist. If she had any inclination, she likely didn’t have the time. With the bulk of her days spent cleaning, cooking, caring for her family, and attending church, she also didn’t mix with people outside her religious community of Old German Baptist Brethren. She dressed plainly and, like the other female believers in Franklin, West Virginia, wore a bonnet as a symbol of the Biblical concept of headship, which states that women’s purpose is to be subordinate to men as part of God’s order of creation. She died in 1972.

Her life, faith, and the bonnet she wore every day came to serve as artistic inspiration to someone in her family who she never knew. Rochelle Sumner, Ida’s great-granddaughter, discovered the old order dress and prayer coverings in a trunk—remnants of a different time, colored by a tenacious self-seclusion and heavy with the presence of a rigid belief system.

“I began thinking about the women in my family, and how we’ve covered ourselves for generations,” says Sumner. Reflecting on the fact that Ida was the last woman of her family to wear a bonnet and dress plainly, she believes the metaphorical version—emotional distance and hiding from outsiders as a form of protection—still runs deeply through the psyche of her relatives. That bonnet and what it came to represent took on something greater in scope, and thus The Bonnet Maker was born.

It’s hard to pin down the project by the specifications that classify most fine art, but it connects performance, brief narrative writing, and photography. The latter portions are visually directed by Will Kerner, photographer and a co-founder of Charlottesville’s Live Arts and Light House Studio, whom Sumner met in October of 2017. Sumner says that the collaboration works because of Kerner’s empathy for the character—and for her when she embodies it.

Donning a costume based upon her great-grandmother’s dresses and bonnets from the 1940s and 1950s, modified with an elongated cape and apron, Sumner and Kerner create engaging results captured in photos and buttressed by lines of text.

The Bonnet Maker traverses empty natural settings and passes through mundane structures given new, ominous contexts; parking lots surrender in post-apocalyptic black and white sunshine, mirrored structures magnify a greater rift between past and present. Changes brought on by the pandemic have intensified the isolation of the character and infused the visuals. Much can be said of gender issues, systems of oppression, and contemporary isolation, both self-imposed and those brought about by society.

In nearly every context, The Bonnet Maker character appears pained, struggling with an inner conflict simmering right at the surface. As reining in that conflict creates tension, the project’s interpretation of a belief system produces another kind of fragile balance.

Both artists maintain the importance of respecting the OGBB community as they explore its ideals artistically. Kerner, like Sumner, is also of a German protestant denomination (the relatively less-strict Moravians), and says the idea of “an older religious sect being placed into the context of today’s world” is part of what appealed to him about becoming involved in the project.

The pair started creating at the end of 2017 when Sumner, in her OGBB costume, and Kerner visited a live nativity scene at Church of the Brethren in Rockingham County, which was also the first time she wore the outfit in public.

“I was very nervous because I didn’t know how people would react to seeing an old order woman at their church,” she recalls.

Other times, they’ve taken to shooting in even more unscripted situations. On Instagram (@thebonnetmaker), the hooded figure confronts nacho food trucks, beauty queens, and police officers. The results are more akin to a documentary capturing the cultural and temporal dissonance, with Sumner’s character drawing smiles and stares from the general public with occasionally comic results.

Kerner says that public shoots, like one at the Rockingham County Fair, can feel edgy because his presence as photographer gives her appearance the buzz of a theatrical event. For Sumner’s part, she tends to stay in character during interactions, but says she’ll drop it if they mention old order heritage in their family.

Interactions aren’t always so breezy. For a performance at Ghost in Reverse at Woolen Mills, Sumner set up a Bonnet Maker Shop, where anyone could try on bonnets and leave written comments about the experience.

“There were angry responses and an aversion by most women who read the large handwritten scroll hanging on the wall,” Sumner says. It recounted St. Paul’s 1,900-year-old instruction about head covering and the headship concept infuriated many women visitors.

“One woman thought I was trying to convert women to the old order, and did not realize it was a performance. It’s good to know I can be that convincing!” Sumner says.

She and Kerner plan to do more performances locally, and to continue creating chapters to the character.

Categories
Opinion

Poem on the Removal of the Statue of Johnny Reb

By Gregory Orr

 

I won’t miss the way

Your bronze body

Froze

History into bitterness.

 

That spot you occupied

No longer radiates

Shadows

In every direction

Like a malign sundial

Designed to thwart

The slow

Progress of time.

 

Your absence: a form

Of hope,

a flat

And empty space

Where citizens stand

In a circle

And mark the hours

Of our town’s

Mortal

And peaceful clock.

Categories
News

Guns down: City gun control ordinance draws fire

In June, the Virginia General Assembly passed a slew of gun control bills, including one that allows cities and counties to prohibit guns on public property. Localities across the state, like Newport News and Alexandria, have since enacted such a ban—and last week, Charlottesville followed suit.

Beginning October 1, guns will be prohibited in parks, buildings, and recreational or community centers owned by the city. They’ll also be banned on public streets or rights-of-way used for—or adjacent to—a permitted event, according to an ordinance unanimously passed by City Council on September 8.

What might have seemed like a straightforward progressive reform has, in fact, stirred controversy.

Anti-racist activist Brad Slocum fears the ordinance will be selectively enforced, pointing to the infamous Unite the Right rally, during which Charlottesville and state police officers stood by as white supremacists attacked counterprotesters.

“There’s ample recent and historical evidence that these kinds of ordinances…are not usually enforced against groups or individuals that are perceived as friendly to the police or the state, [like] militias, white supremacists, and similar types,” says Slocum, who supports defunding the police. “Whereas they do seem historically to be enforced against Black, left-wing, or otherwise non- or anti-establishment groups and individuals, sometimes severely.”

City resident Sean Reid also believes the law will disproportionately impact Black people, citing CPD’s long history of racism and overpolicing. According to Charlottesville Open Data, about 54 percent of people arrested by CPD since 2015 have been Black, even though the city is only about 18 percent Black.

Police officers are also not going to be posted at every city property, leaving many without a way to defend themselves or a sense of safety, says UVA grad student Ben (who asked that we not use his last name).

Though he views gun violence as a “non-issue” in the places where the city has now banned guns, Ben, who is a gun owner, also questions whether the law will be an effective way to prevent it, pointing to shootings that have occurred in places where guns were banned.

(Due to the varying definitions of “mass shooting” and “gun-free zone,” research remains unclear on whether shootings occur at increased rates in gun-free zones.)

Speaking only for herself, City Councilor Sena Magill says she too worries about the “unintended consequences” the ordinance could have, but feels that it is “the right way forward,” specifically because of the violence and trauma surrounding Unite the Right.

“If this ordinance had been in place on August 12, 2017, hundreds of people would not have been able to legally gather on park property and intimidate and threaten my friends and family,” she says. “I [also] don’t want someone to be able to walk into City Hall with a gun on their hip…and be able to intimidate the City Hall staff.”

“We’ve seen extremists exploit lax gun laws to terrorize the public,” adds Mike Fox, legislative lead for the Crozet chapter of gun control advocacy group Moms Demand Action. “We saw it with Unite the Right in Charlottesville, earlier this year when armed demonstrators descended upon Richmond, [and] we’ve seen it across the state, where you have armed citizens showing up at government meetings, intimidating lawmakers [and] voters.”

According to spokesman Tyler Hawn, CPD is creating an educational and awareness campaign on the ordinance “to ensure understanding and compliance.” It will alert the public of where they can and cannot legally carry a gun, and the consequences that can come with violating the ordinance, a Class 1 misdemeanor: up to a year in jail, and a fine of up to $2,500.

Updated 9/16 to clarify the racial disparity in arrests made by CPD

Categories
News

Digging for truth: Albemarle students put a new spin on geography

For many people, Shenandoah National Park is a great place to hike, camp, bike, and explore. But now, Albemarle’s middle and high schoolers will have a chance to see a different side of the park, and dig deeper into its creation. What happened to the people who once lived there? What are their stories? Can we feel those ghosts in the park today?

Thanks to a $50,000 grant from the National Geographic Society, Albemarle County Public Schools is launching a new social studies project, combining field experiences with geographic inquiry and geospatial technology.

Students will conduct what project leader Chris Bunin calls an “above-ground archeology dig” using high-tech radar at several local historical sites, including the Downtown Mall, Montpelier, and the University of Virginia. They’ll start by thinking of a geographic question for a particular site, focusing on the different perspectives and experiences people have had there over time, based on their race, class, gender, and other parts of their identity.

“When you take some of our cultural iconic places, and even simpler places, in our community, depending on the eye of the beholder…that space and place means something differently,” says Bunin, who teaches geography at Albemarle High. For example, “when some students come to school, they feel very safe and see a place of learning. Other times, people see a place that’s very powerful and uncomfortable.”

“More people need to be able to access those viewpoints, so we can have rational conversations about what’s going on, or what we’re trying to do to improve our community,” he adds, pointing to critical aspects of local history—like slavery and urban renewal—whose harmful effects can still be seen and felt today.

In addition to visiting sites, students will answer their questions using primary resources, including photographs, property sales, interviews, old maps, and texts.

“We want students to see themselves in their community, see their perspective in their community, and see themselves as contributors to that narrative,” says Monticello High School geography teacher John Skelton, who’ll also be working on the project. “And if those stories have not been shown, they can show them.”

With the help of geospatial technology, students will share their data and analyses in the form of an interactive story map of their historical site. Users will be able to click on different icons on the map, and discover video and oral histories, pictures from the past and present, and excerpts from historical documents. Members of the community will be able to interact with these maps first-hand at two public showcases. As the project expands and evolves, library media specialist Mae Craddock envisions students being able to create augmented reality walking tours.

“We’re thinking about cultural geography, not just as a slice in a single time, but rather a slice across time,” says Craddock, who will be leading the middle school portion of the project at Murray Community School.

Bunin and his colleagues came up with the idea for the project while discussing their field experiences with each other last year. With the help of Craddock and Skelton, as well as Murray lead teacher Julie Stavitski and Albemarle High learning technology integrator Adam Seipel, he designed and submitted a grant to National Geographic, called “Revisiting Charlottesville.”

With classes online this fall, the project is a rare opportunity to get students away from their screens. Kids will be asked to research and analyze their own homes and neighborhoods, and think about how they perceive these spaces and how they have evolved over time.

“They’ll take some 360 [degree] photos, use Google Maps to create tours, record audio, and [do] some interviews,” Craddock says. “They’ll really think about their own environment, before we head out to the city at large.”

Bunin hopes students will not only develop a new understanding and appreciation for local history, but have an opportunity to “fix” it in the present day, pointing to a past field excursion he did with some colleagues to a World War II cemetery. A teacher assigned to research a particular soldier buried there discovered that his tombstone was misspelled, and was able to get it corrected.

“The vision for us is that we’re going to have these things happen with us too,” Bunin says. “Things that are just not on the surface, that no one knows about and are hidden in the stacks somewhere—[they’re] going to be recovered or uncovered, so that our community now has [them].”