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Fierce over 40

Most athletes are hitting the end of the road by age 40. Martina Navratilova hung up her racket at age 38. Soccer star Abby Wambach scored her last goal at 35. When Jessica Coleman turned 40, she was just getting started in her sport. Four years later, she won her first national bodybuilding competition, and not in a masters class for people over 40. She beat competitors of all ages.

“What ended up happening is my coach decided we were going to do the Junior USA [bodybuilding competition], which does not have a masters division,” Coleman says of the mid-May competition in Charleston, South Carolina, where she earned her professional card in the International Federation of Bodybuilding and Fitness.

Although her first overall victory didn’t happen until she was 44, the road there began about 25 years earlier.  

“When I was younger, in college, I had started training for fitness competitions, and I had this dream of kind of taking that somewhere professionally at that point,” Coleman recalls. But it wasn’t her time yet. 

“I blew out my knee playing volleyball and life happened and later, you know, kids and family,” she says.

Over the next two decades, Coleman says she got into shape—and out of shape—many times. Then something shifted.

“I was really excited about making [my] 40s the best years of my life,” she says. “And I asked myself, what have I always wanted to do that I’ve never done? And you know, the first thing that popped into my head was that you always wanted to compete in a fitness competition.”

Jessica Coleman was the overall winner at the 2022 NPC Junior USA Championships in Charleston, South Carolina. Photo courtesy subject.

This time, she was serious. As she approached 40, she lost 30 pounds, and she wasn’t done.

“I hired a coach and I started my prep at that point,” she says. Her first goal was to compete in the figure category, which requires less musculature.

“I think I placed eighth,” she says of that first show. “At 41 I did my second show, and I came in third in the masters [division].”

Then COVID hit, and gyms closed down. Coleman wasn’t deterred. 

“I kept doing my workouts from home to kind of keep everything going,” she says. “And I couldn’t wait to get back on stage.”

When the pandemic restrictions lifted and she returned to competition, her hard work started paying off.

“Last year I did three competitions, and I started winning,” she says.

Bodybuilding is not for the weak-willed. Coleman says her training often involves hitting the gym three times a day.

“Before this past show, I was doing two hours of cardio and training for an hour and a half, and the only way I could fit that into my day was to go three times,” says Coleman, a single mother who works full time as clinical operations manager. “Now, my two teenage daughters are in travel ball, so I was also traveling on the weekends and having to take my show on the road with all my prepped meals and using the gym while I was out of town.”

In addition to having a competitive streak, Coleman says having a coach is critical for anyone serious about competing in bodybuilding.

“Basically each week he analyzes my physique and tells me, here’s what you need to eat, here’s how much cardio and here’s how much water,” she says.

Her Richmond-based coach, Sebastian Alvarez, says prepping to compete requires a wide range of caloric intake. “She goes from 5,500 in off-season to 1,000 close to competing,” he says. The “cutting” phase isn’t the only challenge. Coleman drinks a gallon and a half of water every day, and Alvarez says consuming enough to build massive muscle means Coleman has to “sit down and force feed like it’s a job. It’s incredible.”

He says Coleman’s work ethic sets her apart.

“When I first met her, she looked good but it wasn’t ‘whoa,’” Alvarez says. “In reality, I didn’t know her personality. When I started working with her and saw how meticulous she is with her training and her diet, I knew this girl was going to make it far.”

Alvarez isn’t the only one impressed with Coleman’s progress. Her 17-year-old daughter Zoe Utz, a rising senior at Monticello High School, says she’s been inspired by her mother’s hard work and achievements.

“I think it’s incredible,” says Utz, who now regularly works out with her mom and says the shared interest has brought them closer. “I’ve seen where she started, and to work as hard as she has, the discipline, the dedication to get there…when I see her happy and reaching her goals, it makes me proud to see that happen.”

With her first national victory under her belt, Coleman is taking several months to recover before preparing to compete again, this time against some of the top bodybuilders in the world. 

Alvarez says he has specific goals for her: “Improve her back, the width in her lats, bring up her hamstrings more,” he says. She’s training two fewer days per week during this period, which Alvarez says will last about three months. She’ll be back on stage competing toward the end of 2023. 

“Win one pro show and she’s in the Olympia,” Alvarez says. “I have no doubt she will do it.”

Coleman says winning a competition feels amazing, but it isn’t the greatest reward.

“I’ve experienced a lot of setbacks in my life,” she says. “And, you know, I think that what has me feeling the proudest is my ability to bounce back from all of that and turn some failures into a big success for me. Once you fall on your face a couple of times, you get back up stronger. It’s great to be at this point in my life and just feel so much freedom and strength.”

Courteney Stuart is the host of Charlottesville Right Now on WINA. You can hear her interview with Jessica Coleman at wina.com.

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Arts Culture

Pick: Jeremy Joyce

Mapping the journey: The road wasn’t easy for Jeremy Joyce, but it was formative. The musician grew up on indie rock and alt-country in his hometown of Philadelphia, before the death of his brother drove him to New York and jazz. He found psychedelic folk and rockabilly after a stint in St. Louis, until he was once again uprooted by the passing of his mother. Joyce landed in New Orleans with genre-defying “dance-inducing funk and R&B,” inspired by his many musical chapters. His most recent album, Street Poet, is a timeless, funk-leaning record driven by Joyce’s cool vocals and slick guitar.

Monday 6/27. Free, 8pm. Dürty Nelly’s Pub, 2200 Jefferson Park Ave. durtynellyscharlottesville.com

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Arts Culture

Pick: M.K. England

Love and laughter: You might know M.K. England from their YA fantasy and sci-fi novels—or maybe they helped you pick out your next read while they were working as a teen librarian at JMRL. The fandom expert was even entrusted with writing the official Guardians of the Galaxy prequel novel, and the seventh original Firefly novel. Now, they’re diving into the contemporary genre with The One True Me and You (written as Remi K. England), a funny story full of queer joy, love, and plenty of nerdy references. England will read from their work, followed by a discussion with moderator Emily Thiede.

Saturday 6/25. Free, 2pm. New Dominion Bookshop, 404 E. Main St., Downtown Mall. ndbookshop.com

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Arts Culture

Pick: Bent Theatre Comedy

Gut-buster: We all get bent out of shape sometimes, so give yourself a chance to work it out through a few belly laughs at Bent Theatre Comedy’s improv night. The comedy crew has kept central Virginia laughing with uproarious improv shows and workshops since 2004. The troupe’s improv nights typically feature a series of short scenes and games suggested by the audience in a “you say it, we play it” format—so come prepared, to have fun.

Friday 6/24. Pay what you will, 8pm. The Bridge PAI, 209 Monticello Rd. benttheatre.weebly.com

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Arts Culture

Sound choices

By Samantha Federico

darzo

Single Cell (self-released) 

Adar Seligman-McComas is darzo. Over the past two years, the band had a name change and Seligman-McComas went solo, yet darzo held on to release its debut record. The eight-track, 30-minute Single Cell packs a powerful punch in a swell of horns and drums that complement Seligman-McComas’ vocals. It’s a mesmerizing whirlpool of jazz and soul, with a dash of disco-pop that’s especially notable on “To Begin,” the closing track.

Recorded at Montrose Recording in Richmond and produced by Grammy-nominated producer DJ Harrison (who also plays keys in RVA-based Butcher Brown), Single Cell weaves a tale of self-discovery and empowerment as told on “Metamorphosis” and the album’s title track. With Seligman-McComas now based on the West Coast, fingers are crossed that Charlottesville gets a homecoming so we can hear these tracks played live (released May 2022). 

Stray Fossa

Closer Than We’ll Ever Know, Born Losers Records 

Stray Fossa’s new album is like going thrifting and finding a long-lost cassette from the ’80s. Is it simply undiscovered, or, better yet, a well-loved and worn relic of the past? Either way, we are lucky to find this talented band in Virginia.  

Closer Than We’ll Ever Know is Stray Fossa’s second album—and it’s just as impressive as last year’s debut, With You Forever. Each track blends seamlessly into the next, guiding the record as a soundscape of modern time travel. With brothers Nick and Will Evans and best friend Zach Blount on different continents, Closer was created by collaborating online. “So Still,” the standout gift of a track about an impending breakup, is wrapped in dream pop indie happiness. From across time zones, Stray Fossa has set the bar higher for themselves, and Closer Than We’ll Ever Know is simply spectral (released June 2022). 

Yard Sale

Yard Sale (self-released) 

Garage band rock has a new rep in town with Yard Sale, a trio labeling itself “Emo from Charlottesville.” Yard Sale’s self-titled debut delivers a raw performance from Jakob Shifflett and brothers Caden and Mac Koslowski over 11 tracks that’ll take you from head bob to head bang. The album invokes smoke-filled garages, giggling, and telling secrets, while simply being present—like a scene from a teen movie in the ’90s. Yard Sale dives into angst on songs like “Broken Boy” and “Jakob’s Song,” and the final track, “Milo and Otis,’’ ends the album in instrumental harmony—a true showstopper that warrants eyes closed losing yourself to the music (released May 2022).

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Arts Culture

Sense memory

With three shows scheduled for 2022, Krista Townsend found herself in an enviable position as an artist. But she had a problem: She needed work to exhibit. “I realized I had to speed up my process,” says Townsend, who’d primarily worked with oil paint. “I decided to explore using acrylic paint to block in the composition and then work on top of that with oil.” 

Working with acrylics entailed a bit of a learning curve as Townsend adjusted to the new medium. Along the way, she discovered that the shorter drying time gave her an advantage. “It was really satisfying to make those marks and then be able to come back quite soon afterwards and work on top of them,” she says. “I soon realized I was sticking with the acrylics longer before putting the oils on top and I just kind of fell in love with them.” 

Initially worried that the colors wouldn’t be the same as oil, she ended up being pleasantly surprised. “I love the vibrancy of acrylic colors,” she says. “Especially pinks and reds. I’ve always struggled with getting the reds to sing the way I see them in nature. I also love that I can thin the paint with water and create drips and translucent areas without using toxic oil paint thinners.” Townsend even branched into fluorescent colors, not available in oil. “I bought a few and started to play around with them using them as the underpainting. So, then they were on my palette and I started mixing them with other colors. Some of those purples I can come up with are so vibrant and so much fun. I’ve moved away from using fluorescent colors on their own, but I mix them with other colors to punch up the vibration and make the colors come alive.”

When standing in a room of Townsend’s work at Charlottesville’s new Phaeton Gallery, there’s certainly an abundance of color and texture, but there’s also a potent immediacy. You feel it in the physical way Townsend paints, revealed by the remarkably animated gestural marks, but it’s also there in the way nature is presented. Townsend has a deep relationship with nature, taking daily walks in the woods and meadows surrounding Charlottesville. 

On these walks, she absorbs the sights, smells, and feelings of being outdoors in wild places. She takes photographs as reminders of where she’s been and what she’s seen, but mostly she paints her sensory responses to what she’s experienced. 

There are so many splendid details in “Ferns and Moss,” an the acrylic on canvas—the wonderfully expressive zigzagging lines of the fern fronds, the mix of moss and plants drooping over windfall and rocks, and the twiggy nest-like accumulation in the lower right. The eye is drawn to bright globs of orange and red paint—a mixture of florescent magenta with cadmium yellow and cadmium red light—of the rotting trunk and branch near the center of the composition. Townsend uses black to great effect here to both describe the dark shadows beneath the plants and to set them off. She effectively brings the woods to you, providing not only a beguiling sylvan vignette, but also inspiring a sense memory of the feel and smell of moist woodsy air.  

“Managed Wild Flowers, Early Fall,” an acrylic on canvas, features a muted palette. The painting seems to be composed of separate horizontal zones. Dashes and blobs of paint form the grass and delicate flowers along the bottom. Just above, things get really interesting with a riotous interplay of stalky vegetation and maroon flowers. Above this, a flat expanse of olivey ochre reads like a field of tawny grass. Beyond it, scrawls of greens, browns, and tans describe a tree line set before narrower bands of green, blue, turquoise, and gray that represent another field, distant mountains and sky. 

“New Growth” (oil on canvas) depicts an area in Glacier National Park following a controlled burn. The scene could be bleak, but Townsend’s use of color and gesture imbues it with vitality. The bright green at the bottom, signifying the new growth, adds just the right counterpoint to the more subdued palette of the burned area. Townsend finds beauty and drama there with slashes of orange foliage and skeletal charred trees silhouetted against the background.   

With “Field of Flowers and Trees” (oil on canvas), Townsend has relinquished all but the scantest narrative elements. There’s much to admire in this glorious work: the color, the texture, the extraordinarily inventive brushwork that captures the exuberance of painting. There’s something captivating about the repeated vertical lines running along the lower part of the painting, representing the stems of flowers, but also providing a pleasing staccato rhythm. Townsend maintains the visual excitement with the fierce tangle of slashes and streaks that constitute the greenery at the top. 

Townsend’s paintings are the work of a supremely confident artist who is at the top of her game. In nature, she has found an endlessly inspiring muse that challenges her every day to use talent and intuition to interpret and convey the essence of what is there. 

Krista Townsend, “Second Nature”

Phaeton Gallery
Through July 1
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News

Brackney comes out swinging

By Brielle Entzminger and Courteney Stuart

A week after tweeting that a city employee had been at the U.S. Capitol during the January 6 insurrection and faced no consequence, former Charlottesville police chief RaShall Brackney has filed a $10 million lawsuit against the City of Charlottesville and 10 individuals alleging she was wrongfully terminated from her position in late 2021 on the basis of her race and gender.

“The City of Charlottesville and CPD was and still is so invested in its racial paternalism, misogyny, and nepotism, they would rather conspire to oust me than dismantle or confront corrupt, violent individuals in CPD and city government,” Brackney said in a press conference announcing the suit on Wednesday, June 15, in front of federal court in downtown Charlottesville.

According to the suit, as part of her “mandate” to reform the police department after her hiring in 2018, Brackney discovered “unlawful, criminal, racist behaviors as well as police violence, corruption, departmentally inappropriate, misogynistic, and/or discriminatory behaviors and harassment and threats within Defendants police department.” 

After taking steps to address those issues including firing several officers and dismantling the SWAT team, the suit claims that two defendants met to formulate a survey of police officers in the department. The suit alleges the survey was intended to elicit negative responses about Brackney and that additional defendants subsequently conspired to use the survey results as the basis for her termination. The suit alleges that no similar survey was conducted on white male city employees.

Photo: Twitter.

In addition to naming the city as a defendant, the 73-page lawsuit names former interim city manager Chip Boyles, current and former City Council members Lloyd Snook, Sena Magill, and Heather Hill; Mike Wells, president of the Police Benevolent Association; Bellamy Brown, former chair of the Police Civilian Review Board; former assistant police chief Jim Mooney; current acting Police Chief Tito Durette; City Attorney Lisa Roberts; and former Charlottesville communications director Brian Wheeler.

Defendants in the case declined to comment, but C-VILLE Weekly legal analyst Scott Goodman says despite Brackney’s claim that she has recordings and other documentation to prove her allegations, convincing a jury her firing was connected to her race and gender may be a challenge. 

“She’s just going to have to prove it in court,” Goodman says. “In my opinion, what she’s hoping to do is to scare the city, to shake the city into paying her a lot of money so that she won’t go forward with these threats to air all this dirty linen.”

The lawsuit came a week after Brackney accused the city government of taking no action against an employee who participated in the January 6 insurrection. Mayor Lloyd Snook claimed last week that the employee—who he said he could not name publicly—was “admitted” to the Capitol while doing “freelance photography,” and left when they were asked to leave. 

Snook said former assistant police chief Jim Mooney concluded in a report that “no crime that CPD had authority to investigate had been committed,” and that Brackney soon turned the case over to the FBI in Richmond. “As long as they were allowed in by the Capitol police and they left when told, they would not seem to have committed a crime and it would seem that the FBI agreed,” Snook told C-VILLE last Wednesday.

However, the mayor has now seen videos—which he claims the city government did not have before—that “seem to show a different picture.” Snook has identified the employee: IT analyst Allen Groat, who works with the police department, sheriff’s office, fire department, and rescue squad.

“I have since seen a memo that Jim Mooney had sent to City leadership [to] John Blair, then Acting City Manager, and Chief Brackney. None of the three of them is still with the City, so we were trying to piece together the story from dim memories of those not directly involved,” Snook said in a statement sent to C-VILLE on Friday. “The last information that I had been emailed from City staff had taken out the reference to the person having had a video that showed him being admitted.” 

Snook’s change of tune comes after activist Molly Conger exposed Groat’s Twitter account, @r3bel1776, with pro-insurrection messages last Wednesday. (Groat confirmed to C-VILLE that the account belongs to him.)

In November 2020, Groat called on those who “love America” to “defend the republic by any means necessary.” He also shared photos of himself with far-right conspiracy theorist Alex Jones and the Proud Boys at a Trump rally. The following month, he claimed “soon blood will be shed to prevent the theft of our republic,” and tweeted a photo of a Black Lives Matter mural in New York City—with the caption “Fuck BLM!!! Time to uninstall!!” And in a tweet made just days before the insurrection, Groat again shared his intentions to “force Congress [to] #DoNotCertify the fraudulent election results” at the “#WildProtest” in D.C.

In body-worn police camera footage obtained by Conger, Groat can be seen inside the Capitol recording on his phone. When police asked the rioters to leave, Groat did not. “We love you guys…it’s their fault not ours,” he told the police, motioning to Congress.

Groat has previous criminal charges—in 2020, he pleaded guilty to aggressive driving with intent to injure, after chasing a woman and pulling a gun on her at a red light. It remains unclear if Groat still works for the city.

Brackney also pushed back against Snook’s initial response, claiming the FBI interviewed Mooney and planned to arrest Groat last year. “Boyles & IT director were informed the employee was dangerous & to revoke his IT access/privileges. Instead @cvillepolice & @CvilleCityHall revoked my access/privileges,” she tweeted last Thursday.

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Close call

Last month, the day after Politico published a draft U.S. Supreme Court opinion revealing the likelihood that Roe v. Wade will be overturned, the ACLU of Virginia issued a statement that said abortion rights were in “deep peril,” and the commonwealth was “literally just one vote away from banning abortion.” 

Last week, that warning nearly became reality. Governor Glenn Youngkin—who, while on the campaign trail, vowed to “start going on offense” on abortion—added an amendment to the state budget that would prohibit state Medicaid funds from being used for abortion in cases of incapacitating physical or mental fetal deformities. It was defeated in the Senate, but the close vote laid bare the fragility of abortion rights in Virginia.

For people capable of getting pregnant—especially individuals in states with pro-life legislators—the leaked opinion and the resulting cascade of new state laws across the country restricting abortion access have caused panic and turmoil. 

In a Reuters article, Christie Pitney, a CEO of a telehealth company in Washington D.C., reported that the number of people requesting prescriptions for or information about abortion pills has tripled since the draft opinion was leaked. Receiving these abortion pills by mail is becoming a popular workaround for people in states with restrictions on abortion.

While abortion remains legal in Virginia for now, Amy Hagstrom Miller, president and CEO of Whole Woman’s Health, an abortion clinic and virtual abortion provider, argues that it is more important than ever for Virginia to provide access to safe abortions as Roe v. Wade remains in limbo. 

“Abortion is integral to the health of our communities, and this amendment will erode the access that Virginians of all socioeconomic levels count on,” Hagstrom said in a statement sent to C-VILLE before the amendment’s defeat.

“Restrictions like these do nothing to prevent unplanned pregnancies; they just prevent people from getting the safe, quality care they need and deserve,” she wrote.

Tannis Fuller, executive director of the Blue Ridge Abortion Fund, also emphasized the importance of abortion access for all socioeconomic groups in Virginia. 

“The Blue Ridge Abortion Fund believes that everyone, regardless of their race, socioeconomic status, age, gender identity, or where they live, should have the agency and the resources to make their own decisions about their bodies,” says Fuller, who condemned Youngkin’s amendment as “unnecessarily cruel, and bad government.”

“Virginia’s refusal to allow Medicaid to cover abortion in every case is unreasonable and harmful to all Virginians,” she says. 

While Youngkin’s amendment easily passed in the Republican-controlled House, it was narrowly struck down in the Senate, which voted 20-19 to table the proposal. 

Despite the defeat of the amendment, abortion rights in Virginia remain on shaky ground. If even a single seat is lost in the Senate this November, Republicans will have enough votes to pass restrictions on abortions. Moreover, even if Democrats can protect every single seat, Democratic Senator Joe Morrissey remains a wild card who has co-sponsored legislation that bans most abortions after 20 weeks.

In the meantime, abortion rights advocacy groups in Virginia remain committed to protecting abortion rights for all Americans. On Thursday, June 23, the Blue Ridge Abortion Fund and the Charlottesville Democratic Committee will be hosting a webinar on how the Charlottesville community can help people in neighboring states should Roe v. Wade be overturned.

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Honoring the ancestors

Early Saturday morning, several hundred people gathered at Monticello to celebrate Juneteenth, including descendants of the over 400 Black people who were enslaved at the plantation during Thomas Jefferson’s lifetime. The free community event featured insightful and invigorating panel speakers—including renowned filmmaker Ava DuVernay, Pulitzer Prize-winning historian Annette Gordon-Reed, jazz musician Wynton Marsalis, and over a dozen others—as well as poetry, musical performances, and artwork, highlighting the importance of descendant stories and voices. 

“We know when it comes to American identity, when we’re thinking of African American stories, that they are essential,” said panelist Melody Barnes, executive director of the Karsh Institute of Democracy and chair of the Thomas Jefferson Foundation. “The stories of descendants [tell] us who we are, what we have done, and they answer questions like ‘Who is an American citizen?’” 

Multiple speakers reflected on the months-long controversy surrounding Montpelier and its actions taken against descendant leadership. In March, the Montpelier Foundation board reversed its previous decision to give the Montpelier Descendants Committee the right to recommend at least half the board members, but—after facing significant public backlash—the board voted in 11 new members recommended by the committee in May. 

“[The board] lied, they cheated, and presumed that they could get away with the performative tokenizing,” said Michael Blakey, founding director of the Institute for Historical Biology and a professor at William & Mary. “[The MDC] continued to say no to that, and say yes to equality. This is a problem everywhere.” 

Speakers also stressed the importance of appointing descendants to positions of power, and enabling them to lead research and preservation efforts at historical sites, backed by ample financial support.

“The descendant community is based on descendants of people who were enslaved that can be traced, but it’s also about social descendants. People who are still in the area…[and] people who feel a spiritual connection to the place,” added genealogist Hannah Scruggs, who previously worked on the Descendants’ Project at Montpelier.  “The next part of the movement around descendants is to make the tent bigger… Family lines existed across plantation sites.”

After reading an original poem honoring her ancestors, former Freedom Rider and Student Non-Violent Coordinating Committee member Peggy Trotter Dammond Preacely—a descendant of Sally Hemings’ sister, Mary Hemings Bell—discussed the strong link between arts and activism. During the civil rights movement, protesters often changed the lyrics of Black spirituals to activist chants, giving them more strength and courage, she explained.

Despite her accomplishments, DuVernay stressed that she is no different from the Black filmmakers who came before her who told hard truths.

“The idea of storytelling and truth and excavating that and figuring it out, how to do that work and how to see it and not to criticize someone else for the way they see the story—this is the work that we have to continue to do that can disrupt our notions of narrative,” said DuVernay, who directed films like Selma and 13th. “If you assert your perspective with authority, then that’s your truth… The descendant community is asserting their perspective with authority, that’s the key.”

On Friday, descendants also attended a private rededication of the Burial Ground for Enslaved People, which holds over 40 graves. The descendant-led restoration effort was completed this year, including more accessible pathways, new plants, additional seating, new signs, and dedicated parking for descendants.

During the rededication ceremony, descendant Kayelynn Craft Day-Lyons—Preacely’s granddaughter—felt drawn to the area by her ancestors, inspiring her to want to restore more of her ancestors’ graves. “I just felt so grateful [and] blessed to have been able to even experience this,” she said. 

Justin Reid, Virginia Humanities senior program officer, urged attendants to pass down their family history to the younger generation, while Niya Bates, former Monticello Getting Word project director, encouraged young people to share their family stories in innovative ways, like TikTok videos. 

Following the four-hour event, Preacely reflected on her ancestors who may have been activists too. 

“Did they try to recruit rebellion? Was that never talked about? Will we uncover that there was resistance that we never heard of?” she asked. 

Preacely hoped Juneteenth would continue to be an entry point for all people to honor Black history—and a “time of reconciliation, reempowerment, and education.” 

For descendant Gayle Jessup White, celebrating Juneteenth at Monticello was “a proud day of reflection and honor,” especially as the first descendant of Jefferson and the people he enslaved to work for the Thomas Jefferson Foundation.

“[We] raise our ancestors to the stature that they deserve, [and] recognize the work that they did—the sacrifice that they did, the effort that they put into getting free, holding it together while laboring with no reward, and laying down the foundation for us, their descendants, to rise and succeed,” she said.

“My descendants left here in bondage as slaves, and when I come here, I know that their sweat, tears, and spirits didn’t make it out of here,” added descendant Gregory Jefferson. “But I know that they didn’t do that in vain. Because [of] their work and sacrifice, I am living and breathing…I give honors and praise to them.” 

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Arts Culture

Failed mission

Director Juan Jose Campanella’s “Night Sky” grounds its fantastic premise heavily in the everyday. This is a venerable dramatic tradition, and an intelligent approach, especially when science fiction has become synonymous with space operas and action. Unfortunately, when the miraculous and the mundane collide in “Night Sky,” the mundane wins.  

The series opens in rural Illinois, where elderly couple Franklin and Irene York (J.K. Simmons and Sissy Spacek) keep a secret chamber hidden on their property that spirits them light years away to an observation room on a barren planet. The two have been making the trip for so long that they are as blasé about it as taking a weekend hike. Meanwhile, in Argentina, single mom Stella (Julieta Zylberberg) guards a similar portal with almost religious devotion, keeping it hidden from her teenage daughter Toni (Rocio Hernandez). 

When a mysterious young man (Chai Hansen) appears via the alien world, and upsets the couple’s equilibrium, these central narratives begin to intertwine with various subplots involving the Yorks’ granddaughter Denise (Kiah McKirnan) and their nosy neighbor Byron (Adam Bartley).

Spacek and Simmons are the show’s backbone, and do well with the scripts they’re given. Much of the story is told through the shifting emotions on their faces, and Spacek is vulnerable and a joy to watch work. Simmons is good throughout, but occasionally lays the folksiness on too thick. He shines in Franklin’s sternest moments.

A dramatic slow burn can be pure magic when done right, but “Night Sky” doesn’t pull it off. It’s an overly protracted version of a story that should have been told in under two hours. The writers noodle around with the potentially fascinating concept to the point that it loses most of its dramatic tension, like stretching a good “Twilight Zone’’ episode until it breaks.   

“Night Sky” can’t be faulted for its depiction of small-town Americana, but it pushes the story’s everydayness in its first four episodes so hard that it subsumes anything engaging about the plot. The idea of using a science fiction series as a springboard for dealing with very real problems like senility, physical infirmity, and children predeceasing their parents is worthwhile. Unfortunately, the series overplayed its hand, banking on the elderly Yorks’ aging pains to play as deeply dramatic. This could have worked, if balanced properly, but too much of the series fixates on these details. The Argentina sequences are more successful because Stella’s character is so intensely duty bound to her mission.

The current fascination with multiverse stories and vicarious otherworldly escape routes is almost more interesting as a commentary on the present zeitgeist than it is as entertainment. It seems that after the last two years, a lot of people would love to uproot themselves from our time and space continuum and find a more benign one. Sadly, the one “Night Sky” presents isn’t worth the trip. Go outside and look at the real night sky: It’s much more magical than this series.

“Night Sky”

Eight episodes
(streaming) Amazon Prime