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‘The money is there’

In Virginia’s state prisons, just about everything costs money, from phone calls to soap to toilet paper. And because incarcerated people make less than 50 cents per hour, they often rely on their loved ones to help them cover prison’s prohibitive costs, putting many families into debt. 

To alleviate the burden these fees put on incarcerated people and their loved ones, a state workgroup recommends the Virginia Department of Corrections offer no-cost phone calls, secure messaging, and video calls; eliminate commissions on commissary sales; reduce deposit fees; and increase its food budget per person, among other reforms, according to a report delivered to the General Assembly on October 1. State lawmakers commissioned the report during this year’s legislative session. 

“These fees … are a hidden, regressive tax on the most vulnerable people in our community—83 percent of which are female, and most of them are Black and brown,” says Shawn Weneta, a policy strategist for the ACLU of Virginia. “One in three families goes into debt trying to stay in contact with an incarcerated loved one.”

Implementing the report’s dozen recommendations would cost approximately 2 percent of the VADOC’s $1.4 billion budget. However, the department has rejected most of them, leaving it up to state legislators to pass the reforms. 

In addition to formerly incarcerated individuals, family members of incarcerated people, and VADOC employees, the bipartisan workgroup included representatives from ACLU-VA, Sistas in Prison Reform, Worth Rises, and six other advocacy organizations, as well as four state legislators: Del. Patrick Hope, Sen. Jennifer Boysko, and Sen. Barbara Favola (all Democrats), and Republican Del. Mike Cherry.

Under the VADOC’s current business model, incarcerated people pay $0.0409 per minute for phone calls, $4 for a 20-minute video call, $8 for a 50-minute video call, and at least 25 cents per stamp. This is not the case in other states. In Connecticut, phone and video calls and emails are provided at no cost to incarcerated people. And, this year, California passed legislation making prison phone calls free. In Illinois, calls cost about 20 percent of the price of calls in Virginia, though they use the same vendor as the commonwealth, reads the report.

The non-VADOC stakeholders argue that giving incarcerated people free communications would foster stronger parent-child relationships, promote rehabilitation, and reduce recidivism, among other benefits. And it would only cost around $7 million per year—cheaper than many other prison programs.

“Ties to the community and family is one of the greatest indicators of successful re-entry upon release,” says Weneta, who is formerly incarcerated.

“Some of these people are having to pay 35 to 50 cents just to send an email—that’s unconscionable to me,” says Del. Cherry. “The money is there to [offer communication] for free.”

The stakeholders also urge the VADOC to stop collecting a commission—currently 9 percent—on goods sold in prison commissaries, which forces incarcerated people to buy necessities at massively inflated prices. “If you have more than $5 a month, you have to provide everything for yourself. … If you’re earning 23 cents, 27 cents an hour, [you] have to use that,” says Weneta. 

Additionally, stakeholders argue, the VADOC should increase its food budget from $2.20 to $4 per day per person and provide healthier meals, which would reduce diet-related diseases among incarcerated people—and, in turn, decrease the department’s spending on prison medical services.

“The biggest single line item in the DOC’s $1.5 billion budget is medical care,” says Weneta. “We have an aging prison population who have been eating these terribly unhealthy meals for decades. … Now you have people struggling with diabetes, cardiovascular disease, all sorts of chronic conditions.”

“I spend $1.20 for [my] cat to eat one meal, and the idea that people who are incarcerated are not getting much more than that is a little bit troubling,” adds Sen. Boysko. 

Pushing against a no-cost communications model, the VADOC argues that many incarcerated people “are on the telephone most of the day” under the current toll rate model, causing some to bully or extort others from using the phones. “Unlimited calls can impact the inmate’s motivation to … participate in vital educational and re-entry programming,” reads the VADOC’s response in the report. 

Eliminating commissions would provide less funding for services for incarcerated people, claims the VADOC. The department also says that it already serves meals meeting dietary standards, but is working to improve its menu.

“I’m disappointed quite frankly by the DOC,” says Del. Cherry. “They’re taking a stance that they know what’s best and that there are no issues. I don’t think anyone could look at the statistics [and] recommendations of the people that are most closely working with this, and think that everything’s okay.” 

The ACLU and other advocacy groups are currently working with lawmakers to introduce bills codifying the stakeholders’ recommendations during the 2023 legislative session. Boysko and Cherry remain optimistic they can get these reforms passed.

There’s an “appetite in Richmond” on both sides of the aisle for increased oversight of the VADOC’s budget, says Cherry. “We’re just hopeful to get things moving in the right direction—and at least advance the conversation, if not the legislation.”

“We have the data to show that these changes are possible,” adds Boysko, “and I’m pledging to continue to work with the DOC to try to realize this.”

A state study on goods and service fees at local jails is currently underway, and due December 1. At Albemarle-Charlottesville Regional Jail, incarcerated people receive hygiene products, feminine products, socks, underwear, and t-shirts free of charge, in addition to three meals per day, according to superintendent Martin Kumer. However, they pay 12 cents per minute for phone calls, 25 cents per minute for video calls, 25 cents per electronic message, $1.00 per video message, and .05 cents per minute for games, movies, and music.

ACRJ collects an 80 percent commission on phone and video calls and entertainment media. Phone commissions go towards the jail’s general operating fund. The jail also collects a 41 percent commission on commissary items, which is “used to pay for cable, programming (UVA Russian Literature Class), substance abuse, and educational staff salaries,” said Kumer in an email.

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Grit & guile, wit & wile

Colorful lights paint the stage as Peggy Lee’s “Big Spender” plays over the loudspeaker. Sparkling from head to toe like the overhead mirror ball, a woman wearing a sequin dress and dripping in costume jewelry swaggers and sways onstage, proudly brandishing a championship wrestling belt. “Zsa Zsa Gabortion,” a persona that’s equal parts Zsa Zsa Gabor and abortion rights activist, has just been named the evening’s arm-wrestling champ.  

It’s the Saturday night before Halloween, and after a three-year hiatus, the Charlottesville Lady Arm Wrestlers (aka CLAW)—a collective of women that’s part creative cosplay, competition, and charitable cause—have reconvened for a rowdy revelry at Champion Brewing Company. Each Carnivale-style event is held to raise money for a women-led organization or small business. The beneficiary of tonight’s bash is the Blue Ridge Abortion Fund. 

“I came to win tonight, but the real winner is BRAF,” says Zsa Zsa Gabortion. She’s right about that. The CLAWing It Back event brought in nearly $14,000, the most money raised by a CLAW gathering in its history. “All funds raised will support people from or traveling to Virginia for their abortion care,” says Deborah Arenstein, BRAF director of development. 

For more than 30 years, BRAF has been providing financial and logistical support to people who need access to abortion care. “Being back in community, talking to people about abortion access and why it matters, and having fun while funding abortion is what we all need after a very challenging summer,” says Arenstein.

While the main purpose of any CLAW event is to raise funds, it’s also about putting on a show where women’s empowerment takes center stage. The outrageous antics may seem impromptu—and many of them are—but numerous volunteers lend their time and expertise.

The first meeting on October 9—just 20 days prior to the competition—assembled the arm wrestlers, introduced them to their fearless leaders, and gave them an overview of what to expect. For each event, the wrestlers are free to adopt new personas or maintain existing ones, so character development is the main topic of conversation. Sally Williamson, a full-time parent and volunteer and activist for women’s and LGBTQ+ rights, fittingly assumes the role of Zsa Zsa Gabortion. 

One of eight arm wrestlers, Williamson is joined by first timers like her as well as seasoned veterans. From 20-somethings to 50-somethings, these women come from all walks of life and are united by a spirit of collaboration. Crowd favorite “ChiCLAWgo,” a dolled-up flapper inspired by the play Chicago, is portrayed by Amy Hill, a graphic designer and marketing professional. Lucy Fitzgerald, a Ph.D. candidate in mechanical & aerospace engineering at UVA, is “Fist of Furiosa,” a Mad Max-style warrior. Each competitor brings her own style of sensuality and strength, sass and smarts. One even brings her own live snake—“Eve of Destruction,” portrayed by Eve Hesselroth, owner of Clay Fitness.

As the arm wrestlers brainstorm their personas, CLAW leader Claire Chandler helps them nail down character names and theme songs. Chandler has been one of CLAW’s primary organizers since 2016, when founding members Jennifer Tidwell and Jodie Plaisance turned over the reins. “As a local actress and drama teacher, CLAW has always spoken to my love of theatricality and improv,” says Chandler. “The icing on the CLAW cake has been witnessing the local community support and the amazing female friendships.” 

Chandler also serves as onstage emcee “Gail,” one-half of a duo of camp counselors; fellow middle school drama teacher and CLAW organizer Edwina Herring portrays her counterpart, “Barb.” Behind the scenes, stage manager Michelle Oliva is in charge of wrangling the wrestlers and other performers to ensure the event runs smoothly. 

The organizers share that a crucial piece of the event’s success is the entourages—wrestlers are allowed up to eight entourage members, who solicit the crowd for CLAWbucks, the mock money used for bogus betting. The goal of the entourages, dressed to complement the wrestlers’ personas, is to collect as many CLAWbucks as possible because they equal donations for the evening’s beneficiary. Entourage members offer a variety of items—3D-printed bird skull pins, bat facts zines, and candy packaged as abortion pills—in exchange for CLAWbucks.

 A few days prior to the main event, the wrestlers reunite for a mandatory safety training session. Years ago, a wrestler broke her arm, and it’s clear that the incident is never far from the minds of the organizers.“It is our job to keep you safe,” says Chandler to the competitors. 

The referee, known onstage as “USS Tightship” and offstage as UVA Associate Professor of Drama Caitlin McLeod, lives up to her character’s name when it comes to the well-being of the wrestlers. Her rules are simple but strict: keep your feet on the ground, maintain a straight plane, and stay out of the break arm position—the one where a wrestler’s arm is awkwardly and potentially dangerously bent. Seasoned wrestler Sidney Lyon, who drove from Boston earlier in the day to reprise her role as jilted bride “Kary-OK?” after another wrestler had to drop out of the competition, demonstrates the proper arm position. Then, each wrestler participates in a test match to prove she can compete safely. 

Kary-OK?, a last-minute participant, who reprised her role as a jilted bride.

“For all that CLAW is a joyously raucous and sometimes chaotic event, I felt totally safe and taken care of,” says Williamson, “which meant that I could focus on engaging the crowd to make the event enjoyable for the audience and a successful fundraiser for Blue Ridge Abortion Fund!” 

The morning of the event, the organizers, wrestlers, and entourage members meet at Champion for a dress rehearsal. A flurry of activity is squeezed into about an hour—everything from ensuring wrestlers can compete safely in their elaborate costumes to practicing the timing of dance numbers for their stage entrances. The emcees finalize the limericks they’ll read to introduce the wrestlers, as chairs are set out for VIP guests—those who donated $75 or more to attend. The stage manager lays out rules about who can and cannot access the stage. The ref establishes “Code Tyson,” the emergency protocol, and emphasizes safety once again. Wrestlers disband and are expected to return no later than 6:15pm. 

Williamson spends the pre-match time with her partner and three kids. She’s also hosting a friend from Boston, who is in town to be part of her entourage. She has her hair done professionally and preps her costume, most of which she found online. Shortly before call time, she returns to Champion to finish getting ready. 

Her entourage, also decked out in sparkles and gold lamé, includes Ezra, Williamson’s 11-year-old. He isn’t the only adolescent in attendance—“Mommie Smearest,” a Joan Crawford-esque character played by Marty Moore, is accompanied by “Christina” and “Christopher.” While CLAW may not be geared toward children, backstage certainly is a family affair. Kids run in and out of the green room, grabbing pizza and candy, while women apply makeup and practice their bits. 

On the Champion patio, excitement and nervous energy are palpable. Wrestlers and their entourages take turns assembling for photos with Justin Ide, who’s providing free photography of the event. Five minutes prior to doors opening at 7pm, Williamson huddles with her entourage, providing instructions and encouragement. A luchadora lays out CLAW merch, while the BRAF cohort prepares cup koozies, magnets, and other swag for sale. 

As soon as the Charlottesville Derby Dames, who volunteer as security personnel, allow spectators in, the entourage members get to work. Some stand close to the entrance, enticing people to hand over their CLAWbucks as soon as they set foot inside the gate. Others charm the VIP section, knowing there are big spenders in their midst. Scantily clad women stuff CLAWbucks in their corsets; shirtless men pose for photos for a fee.  

Fans filter in over the next hour until Champion’s patio reaches capacity. CLAW begins with a roar, featuring a parade of the wrestlers and their entourages. After opening speeches from the emcees and BRAF’s Arenstein, the arm wrestling gets underway. Three rounds of competition stretch out over two hours—interspersed with multiple absurd interruptions. 

There are dance-offs, an impromptu wrestling battle featuring a life-size cardboard cutout, and an intermission in which Kary-OK? sits on the stage alone after smashing her own face into a wedding cake. There are multiple breaks to bribe the three judges, Darryl “Disco Darryl” Smith, Katie “Wendy Snarling” Rogers, both of Live Arts, and a giant can of corn. The crowd cheers for wrestlers ousted early to return, like Katie Aplis’ “Vampira-bortion Rights,” and jeers when Kathryn Bertoni’s “Princess Slay-a” uses the Force to overtake Zsa Zsa Gabortion in a contested match. 

“It was pointless but entertaining. That’s CLAW, y’all,” says Chandler’s Gail at one point from the stage. 

But at the end of the night, it’s Zsa Zsa Gabortion who goes home with the bragging rights of having won the arm-wrestling competition. ChiCLAWgo wins the Crowd Favorite trophy. The spectators, entourage, and wrestlers disperse, and a small celebration among the organizers begins. They bid adieu with a “Soul Train”-style line dance and hand gestures to accompany their standard send-off, “Love, Peace, and CLAW.”

“We’re just regular people,” says ref Tightship McLeod. “But we do it all—we know how to have fun, and we help the community. That’s what happens when women run the show.” 

CLAW will return in 2023. Anyone can donate to BRAF at blueridgeabortionfund.org/donate. 

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Giving back

Award-winning journalist and UVA alumna Katie Couric returned to her old stomping grounds for a conversation with President Jim Ryan at Alumni Hall on November 4. During the hour-long interview, the pair discussed Couric’s life and career, including her decades in TV news, cancer research advocacy, and her media company, Katie Couric Media.

Ryan kicked off the conversation by congratulating Couric on her many achievements since graduating in 1979 from UVA, where she served in several positions at The Cavalier Daily. From 1991 to 2006, Couric was a co-anchor of NBC’s “Today” show, before becoming the first solo female anchor on a nightly news broadcast on a major network with “CBS Evening News.” Couric has also worked for “60 Minutes,” ABC News, and Yahoo! News, among several other organizations; hosted her own daytime talk show, “Katie”; and authored two books.

Ryan praised Couric’s recent $1 million donation to UVA, which is being matched by the university to fund a scholarship in her name. “I wanted to return all the blessings I’ve gotten here,” Couric said.

The media mogul opened up about her battle with breast cancer, and that of her first husband, Jay Monahan, with colon cancer—one that he ultimately lost in 1998 at age 42. She emphasized the importance of quality health care.“We have a caste system in terms of medical care,” she said. 

Couric encouraged female audience members to get in-depth screenings for breast cancer, explaining that almost 50 percent of women over 40 have dense breast tissue, making it harder to find tumors. She is currently working with policymakers on legislation to require health insurers to pay for breast ultrasounds for all women with dense breasts. 

In addition to donating and raising money for cancer research, Couric had a colonoscopy on-air in 2000. She asserted that she wanted to destigmatize colonoscopies and raise awareness of the importance of detecting the early stages of colon cancer. 

“It would be criminal to have the kind of platform I have and not educate people,” she said. 

Couric also discussed what it’s like to be a journalist today and the challenges reporters face in an era of widespread misinformation and distrust of mainstream media. “People are gravitating toward affirmation rather than information,” she said.

Though Couric lamented the fractured landscape of TV and print news, she also voiced feelings of hope at the ways in which technological innovation has provided young people with ever-increasing opportunities to become creators. She expressed joy at the expanding number of minority communities that are now represented in the media industry.

During the short question-and-answer portion of the evening, Couric conveyed strong opinions on the current state of American politics and issues with mainstream media. 

When asked whether she would ever consider interviewing an ultra-conservative TV news host, like Sean Hannity of Fox News, Couric expressed doubt that he and his colleagues truly believe what they are saying, making an interview futile. She deplored Fox News’ role in widening the political divide in the United States, but acknowledged left-leaning news sources’ role in fueling political polarization too. Calling Fox News founder Rupert Murdoch “Satan,” Couric accused him of “helping to destroy American democracy.” 

The acclaimed journalist also reflected on some of her most iconic interviews. She recounted her experience interviewing Craig Scott and Michael Shoels—family members of the victims of the 1999 Columbine High School shooting—and the ways in which their display of raw human emotion set her on a path to make a difference. 

Looking to the future, Couric envisioned herself developing a television series that takes a hard look at U.S. history. The country must learn from its mistakes before it can move forward, she said.

Closing out the interview, Couric encouraged young journalists to find things they are passionate about, and be bold in their ambition.

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‘We’re still going’

Community members gathered at the Jefferson School African American Heritage Center on October 30 to hear the latest on the Swords Into Plowshares project, which seeks to melt down Charlottesville’s Robert E. Lee statue and repurpose its bronze into a new public artwork.

In December, the Trevilian Station Battlefield Foundation and the Ratcliffe Foundation filed a lawsuit against the City of Charlottesville, claiming the city violated state code, the Virginia Public Procurement Act, and the Freedom of Information Act when it donated the statue to the Jefferson School. (The school was initially named as a second defendant, but was removed, and is now a party to the suit.) On October 10, Charlottesville Circuit Court ruled that the lawsuit had grounds to move forward, with a trial date set for February.

While the Jefferson School initially planned a six-month community engagement process, during which Charlottesville residents would discuss ways to represent inclusion through art and public space, the lawsuit has delayed it. But Jefferson School Executive Director Andrea Douglas remains hopeful about where the project currently stands.

“We’re still going. We’re still raising money. We’re still asking the questions,” said Douglas. “We’re still a united front against this court case.”

During the October 10 hearing, the plaintiffs pushed the Jefferson School to disclose the Lee statue’s location to the public, but the two parties later agreed to a protective order allowing only an expert and lawyers from each side to know the statue’s location, marking a victory for Swords Into Plowshares.

UVA professor Frank Dukes, who is leading the community engagement phase of the project, presented the results of a survey that asked community members for input on what should happen to the Lee statue, including the stories the resulting artwork should tell. Respondents were primarily from Charlottesville and Albemarle County, and came from various age groups, including young children.

Stories that respondents thought needed to be told included information about Vinegar Hill, the Jefferson School, McKee Row, and the lives of enslaved and Indigenous people.

Respondents also voiced fears for the project—some felt that art might be too abstract or figurative, or represent an oversimplification of a complex issue. Among those who liked the art idea, common desired themes included incorporating touch or sound, serving a function, and not honoring a single person.

Community engagement meetings have also served as a forum for residents to voice their thoughts. “We’re gonna continue to do this until there’s an opportunity for us to say, ‘Okay, we’ve heard enough from people—we can start creating,’” said Dukes.

Zyahna Bryant, a student activist who first petitioned for the removal of the Lee statue in high school, emphasized that the final product should be treated with the same degree of esteem that had been given to the Lee statue.

“I don’t think it needs to be sad or somber, but I definitely think that it should have some level of respect and honor,” Bryant said.

Other community members hoped the new artwork would provoke dialogue while reflecting a historical consciousness. One suggested incorporating some kind of theatrical form, creating a lively interactive space.

Charlottesville resident Peter Kleeman, who has frequently attended SIP’s community engagement events, said he finds the project to be the only one of its kind he has come across.

“This whole project is such a fabulous idea,” said Kleeman. “The idea of taking a Civil War memorial and making it into something new, taking something that shouldn’t be part of our memorial collection and thinking, let’s transform it into something that meets our ideas for today.”

With the trial set for February 1, the Jefferson School has no plans to slow down.

“We’re deliberately moving forward with a kind of consistency of message that says to the larger world that Charlottesville will make its own decisions about its public spaces,” said Douglas.

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Arts Culture

Bell is back

Mariana Bell had a divergent pandemic experience from most musicians. Ask any songwriter, or any creative person for that matter, and most will say they experienced heightened inspiration during the C-word era. Not Bell.

And she’s okay with that. That’s her journey.

A longtime singer-songwriter who’s now a mother of two small children, Bell found she didn’t have the time or energy to retreat into an introspective world of music production in 2020. And she didn’t have the experience or inclination to clamber aboard the web-streaming craze that fueled so many others.

“I went to school for performance,” Bell says. “The interaction between an audience and a performer is a palpable, visceral thing.” She did a few shows at The Front Porch that got the livestream treatment, but it didn’t “feed her.”

Bell’s eighth studio album drops on November 4.

Bell longed for the joy of in-studio and onstage collaboration. By late last year, she was ready to emerge from her self-imposed choral-cocoon, and as a result 2022 has been a “creative boom time.” Her eighth studio album, Still Not Sleeping, will drop on November 4, and Bell and her band will play a live Front Porch show on November 6 to celebrate the record, a more mature effort than anything she’s attempted before.

“It is probably less edgy and a little more satisfying to listen to—if that is the word. I’m a little less angst-ridden,” she says. “I was less working from a place of, ‘What do I have to say,’ and more, ‘What do I want to hear—what do I need to hear?’”

Bell wasn’t without reason for angst. In the lead up to recording Still Not Sleeping, her close friend and fellow musician Derek Carter moved to Charlottesville, having spent years on the Los Angeles and Nashville music scenes. The two planned to work with a nearly matching group of studio players, some imported from L.A., and record albums in parallel.

It was a heady time for Bell, rekindling her love for music making and reuniting with folks she had spent years with on the West Coast—not to mention her close confidant Carter.

Then, tragedy. In March of this year, just before the two songwriters would both begin recording records, Carter died.

Bell was crushed. She considered her options. Give up on the project—to which Carter had been such a critical party—or move forward. She talked to the band, some of whom were days from boarding planes to Charlottesville. In the end, so much had been set in motion that everyone agreed it made sense to lay down Still Not Sleeping.

The record, however, would be dramatically affected. “We all loved [Derek] dearly, and we didn’t know what else to do,” Bell says. “We wanted to honor him in some way.”

The resulting album, dedicated to Carter’s memory, isn’t a funeral dirge; it’s oftentimes lighthearted and fun. Mostly, the vocals and instrumentation are soaring, hopeful. Sure, Still Not Sleeping dips into melancholy here and there, but according to Bell, mourning loss wasn’t the goal.

“I don’t think trauma goes away—sadness and disappointment and the whole life journey—but I think that processing them as an artist grows differently,” she says. “I no longer feel I need the listener to suffer with me. Hopefully, there is a way to process grief that can allow for beauty and depth without making the problem or the trauma someone else’s.”

Being back in the studio and collaborating with other musicians was a cathartic recovery process for Bell. Working with new co-producer Eddie Jackson, she made her latest record in a more collaborative way than anything she’d done before—with almost no instruments tracked individually and everything produced in concert.

Joining Bell in the studio were drummer Jordan West (Grace Potter), bassist Kurtis Keber (Grace Potter), guitarist Rusty Speidel (Mary Chapin Carpenter), guitarist Zach Ross, violinist Molly Rogers (Hans Zimmer), trumpeter JJ Kirkpatrick (Phoebe Bridgers), and keyboardist Ty Bailie (Katy Perry). Emily Herndon and Speidel co-wrote some of the songs. At The Front Porch, fans can expect to see Aly Snider and John Kokola of We Are Star Children and James McLaughlin, along with Herndon and Speidel. Genna Matthews will join as a special guest.

Bell, who grew up in Charlottesville, lived in Los Angeles and New York, and has been back home for the past seven years, feels she’s learned enough about music after eight albums simply to be herself. On Still Not Sleeping, that means being as “cheesy as possible” when it feels right, shifting among vintage ’70s, pop, folk, and country vibes and “letting go of any preciousness” about genre. “I kind of cringe when I hear that it sounds country, but that’s okay,” Bell says. “We just leaned into it without trying too hard to define it.”

And of course, being herself meant processing the death of someone close, a feeling she’d never before had to confront. It meant saying goodbye, dealing with unanswered questions, and asking herself what she could have done differently.

“I was just trying to be really present and take it one day at a time,” Bell says. “And the more I’ve gotten back into making music, the more I want to keep it going.”

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Arts Culture

Pick: No Home but Ropes and Stakes

Haunting, hopeful, and striking, No Home but Ropes and Stakes is an original one-act play written and directed by Charlottesville High School senior Stella Gunn. Set in the 1930s, the atmospheric play follows an intriguing group of performers as they navigate the dark underbelly of a magnificent yet derelict circus. Eddie the Clown narrates as characters like the Dancer and the Strong Man search for acceptance and autonomy while grappling with social prejudices and structures of oppression.

Saturday 11/5. $6, 7:30pm. Charlottesville High School’s Martin Luther King, Jr. Performing Arts Center, 1400 Melbourne Rd. theatrechs.weebly.com

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Arts Culture

Pick: Michael Clem and Andy Thacker

Local musicians Michael Clem and Andy Thacker team up for an afternoon of bluegrass and folk jams. Clem, known for his songwriting and multi-instrument talent, is also a member of Eddie From Ohio, has his own trio, and hits the stage with a number of other bands. Clem’s recent solo release, Rivannarama, features five new songs written and recorded during pandemic downtime. Virtuoso mandolinist Thacker can be found teaching at The Front Porch, performing in a variety of side projects, and traveling with Love Canon, his band that plays ’80s and ’90s pop tunes adapted to bluegrass instrumentation.

Saturday 11/5. Free, 1pm. Glass House Winery, 5898 Free Union Rd., Free Union. glasshousewinery.com

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Arts Culture

Pick: Sunflower Bean

Sunflower Bean’s third album, Headful of Sugar, is a psychedelic head rush made to be played loud with the windows down. Laden with catchy basslines, punk energy, and vocals that alternate between gritty and divine, the record marks a new freedom for the indie rock trio. “We weren’t precious about anything, there was a gleeful anarchy,” says guitarist Nick Kivlen about the album’s production. That chaotic energy paid off on songs like “Who Put You Up to This?” and “Roll the Dice,” a loud, careening indictment of capitalism and the so-called American dream.

Saturday 11/5. $15-18, 8pm. The Southern Café & Music Hall, 103 First St. S. thesoutherncville.com

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Arts Culture

A force in her field

Joyce Chopra, known for her documentary, television, and filmmaking career, recounts her experiences in a new no-holds-barred memoir,Lady Director: Adventures in Hollywood, Television and Beyond. But it wasn’t until she read her book’s promo blurbs that Chopra says she understood she had completed “a history of how hard it was for women to ever get a chance to make fiction films.”

Lady Director makes it clear that Chopra, a Charlottesville resident, always had the people skills and the business sense needed for a successful artistic life. As a bored 21-year-old graduate of Brandeis University, she opened Club 47 in Boston for jazz aficionados, but soon an unknown Bob Dylan was playing there, and Joan Baez was singing on Wednesdays for $10 a ticket. 

In her book, Chopra talks about casting her 1985 feature debut, Smooth Talk, which won the Grand Jury Prize at the Sundance Film Festival. She cast Treat Williams as the malicious hunk Arnold Friend, but struggled to find someone to play the young female lead. A friend suggested a neighbor’s daughter, the gifted teen actor Laura Dern, resulting in a performance that propelled Dern’s career. 

Chopra and her husband, playwright and screenwriter Tom Cole, asked a different neighbor, James Taylor, if he’d give them the rights to his song “Handyman” for two scenes in which Dern and screen mom Mary Kay Place dance. Taylor asked if he could write music for the film.

Joyce Chopra. Supplied photo.

Other vivid anecdotes in Lady Director include being bullied in an editing room (but not assaulted) by lecherous producer Harvey Weinstein, as well as details of other toxic Hollywood behemoths’ behavior, including Oscar winners. When producers in Paris grabbed her up and down, “It was considered annoying but normal,” she says. 

Hollywood’s aggressors do destroy people, such as Marilyn Monroe in Chopra’s TV miniseries “Blonde” (not the Blonde currently on Netflix), but the director was more interested in portraying the lives of typical young women, like in her short, bittersweet documentary Girls at 12

Chopra’s own path was easier with Cole, who assisted greatly once their daughter was born. When it was suggested that Chopra make a documentary about her pregnancy and childbirth, her reaction was that it was “the most narcissistic thing imaginable.” But she did, and the film, Joyce at 34, captures tough decisions, exhaustion, and the beauty and bedevilment of another lifeform altering a body.

Fast forward to the COVID-19 pandemic, when that adult daughter, a UVA dean, made a new creative suggestion: Write a book about your life. (Her daughter is the reason Chopra moved to Charlottesville, a few years after Cole died in 2009.) The director pulled out a familiar argument when she said, “Writing a memoir is narcissistic!” But restless without film work, she wrote one sentence, and finally some more. Memoirist Honor Moore showed the work to an agent who contacted San Francisco’s City Lights Books, a well-known publisher of the Beat writers. 

Now that Chopra’s book is out, the accomplished yet modest director asks how she might get followers on Instagram. Make a note to follow her when her Insta and other feeds go live.

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Promoting unity

The University Police Department and National Organization of Black Law Enforcement hosted a procedural justice workshop, titled Policing With Our Community, at UVA on October 26. The event provided insight into not only the ways in which police departments could improve their relationship with the communities they serve, but also foster trust and loyalty within their internal structure. UPD officers and staff, two former FBI agents, and many university students and professors attended the free gathering. 

Former UNC-Chapel Hill police chief David Perry, a speaker for NOBLE, described the ways in which police officers have come “together all over the country to advance their partnership with communities.” He explained 21st-century policing and how it is driven by procedural justice—“it helps the root system grow,” he said. Through examples taken from various facets of college and police life, he demonstrated the importance of transparency and impartiality when it comes to the implementation of policies. 

NOBLE’s Robert Stewart, who worked for the Washington, D.C., police department for nearly two decades, provided attendees with a better understanding of the day-to-day operations of a police department, stressing that “cliques” within police departments can obscure accountability for officers. He asserted that this problem is not just limited to white-dominated police departments.

“We had Black chiefs who promoted their friends and couldn’t discipline them,” Stewart said. 

Stewart also emphasized the importance of educating police officers before they pick up their badge and gun. He suggested that a solution to constant police understaffing could be to have unarmed trainee officers address and write up non-violent crime reports, such as robberies and road accidents—75 to 80 percent of all crime reports do not require being armed. This way, trainees could do the “simple stuff” before dealing with any violent crime offenses, he said.

It takes five years for new police officers to become fully educated in their profession, explained Stewart, stressing the importance of “tactical soundness” on the job, and the problems with the current promotion system within police departments. The best officers, he insisted, are often taken out of patrol to be trained in specialized units—positions that have very little interaction with the public. 

During the question and answer portion of the workshop, C-VILLE questioned UPD Chief Tim Longo about the department’s lack of transparency in the early days of its investigation into the September 7 Homer statue hate crime, during which Albemarle County resident Shane Dennis placed a noose, a weapon used to lynch Black people for centuries, around the neck of the  Central Grounds statue. In the weeks following the discovery of the noose, student groups learned that the perpetrator left documents at the foot of the statue. Though UPD confirmed that the perpetrator had left items, police provided no further details, sparking widespread student protest. The university administration did not reveal until September 22 that one of the documents contained the words “TICK TOCK.”

Longo pushed back against this criticism, explaining his initial decision to keep the contents of the document private. “We keep information private that only the suspect would know. We need to be sure that they can only know that information if they were involved [in the crime],” he explained.

He argued that there must be a balance between being transparent with the community without compromising the integrity of the investigation.

Closing out the event, officers shared their stories of enjoying their decades of service, and encouraged the Charlottesville community to “come to the table” with local police departments to foster a greater sense of trust and accountability.