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One wounded Afghanistan veteran's quest for recognition

You’re angry. They get scared of you when you tell them what you’ve been through. You’re not a jerk. It’s just, you signed over your body to the government, spent a year getting shot at in Afghanistan, 7,000 miles away. It’s not you, but what the war did to you: The post-traumatic stress disorder (PTSD), and the traumatic brain injury (TBI) that went undiagnosed for two years while you suffered mild seizures and couldn’t sleep. Still, you’re always scanning the room, always at the ready for the enemy to enter. 

This month marks 10 years since the United States launched Operation Enduring Freedom in Afghanistan. Veterans of that war are in a tougher place than virtually any other veterans in American history. They return to an America that they swore to protect, only to find that more than half—a full 58 percent—of the American public doesn’t support their war. Casualties of the operation are far less likely to die than ever before, which means that many veterans have survived things they never would have survived in Vietnam.

There’s the stigma. And everybody seems to know all the statistics: That veterans of Iraq and Afghanistan are 75 percent more likely to die in car crashes than civilians. That they are twice as likely to commit suicide as their civilian counterparts, and that an average of 18 American veterans commit suicide daily. That the unemployment rate for young male veterans who served over the last decade is 27 percent, three times that of the civilian population.

I was looking for a veteran willing to tell a story about the one that begins when you return to a place like Charlottesville. First stop was the Albemarle County Veterans Service office, out Hydraulic Road in a nondescript brick building past the new Whole Foods. I asked a Veteran Services Coordinator for Albemarle County, Pedro Ortiz, a slight Vietnam veteran in a polo shirt with a relaxed demeanor, if he knew of anyone with a story to tell. He smiled slightly and said he’d send an e-mail around to see if anyone would be interested in talking.

I left Ortiz my e-mail address, and by the time I got back to my desk there was already an e-mail in my inbox. The name read S. Vaughan Wilson. “Pedro Ortiz forwarded me your info for an article you are writing on Afghanistan,” it said, nothing more, followed by his phone number.

 

A legacy of warriors

When I called Wilson on a Friday afternoon soon after, he didn’t immediately recall having sent the e-mail, or having heard anything about any article. After I explained who I was again, he apologized, saying that his memory wasn’t the same since he’d suffered a head injury. I explained who I was again, by this point imagining someone visibly disabled. Then Wilson remembered the e-mail, and we made plans to meet on Monday, at a park near the airport. I would look for the car with the Purple Heart license plate. He said that he had a story.

I first went to the wrong parking lot, where a man was sitting alone by the public bathroom. He said he didn’t know a Vaughan, so I spun around to the next parking lot, where I found him sitting at a picnic bench. I contemplated the wisdom of meeting a man I didn’t know in a secluded park. I was relieved to see his young daughter hopping around the playground, invoking the ire of her cautious father every time she slipped out of view. (“That kid is so headstrong, I swear to God,” he repeatedly said, somewhat tensely, somewhat tenderly.) His newborn son was strapped happily into a carrier on the bench beside him.

Wilson is a big, sturdy guy; about 6′ tall, 250 pounds. At age 40, his red hair is beginning to fade to a strawberry-blonde with streaks of grey. Taken alone, you might describe his light blue eyes as sweet. He speaks in a clipped delivery that would, if he weren’t so open about what he’d been through in the last decade, suggest that he’s tired of talking about it. He has a firm handshake, and no visible scars. Of his brain injury—a reticular shear in his brain stem, a result of as many as three TBIs—he said, “It’s an invisible wound. I have scars on my face and my shoulder. I have a fragment in my leg.”

Wilson comes from a distinguished line of fighters. Members of his family have missed only two wars in American history, the Mexican-American, and the first World War. “I’m the 23rd descendent of the Earl of Atholl, who was killed at the Battle of Flodden in 1513,” he told me. “That’s how distinguished the genealogy is in my family. Either you’re a fighter or an educator in my family.”

Wilson said he was carrying a casualty when he took this picture in July 2005, of his regiment approaching a Chinook helicopter.

His grandfather, Samuel Vaughan Wilson, was both. First one of Merrill’s Marauders in World War II, fighting in Burma, he went on to become a three-star general, and then to serve as the president of Hampden-Sydney College, where he became a beloved figure. Wilson’s father, (Ret.) Army Lt. Col. Samuel Vaughan Wilson Jr., was an infantry soldier in Vietnam who became a teacher. 

Wilson told me that he grew up a military brat, moving from Fort Bragg to bases in Alaska and down the West Coast. He didn’t like it at all. “You become very adept at making friends very quickly, and then bringing to an end those relationships very quickly,” he said. “There was no lingering attachment.” But fighting was in his blood; he was a sheepdog. He first joined the army at age 20. The military drawdown under President Clinton meant there was little opportunity for promotion for a young soldier like Wilson. “I was trying to get a piece of the Gulf War,” he laughed. “It ended too fast.” When he came home he realized that there is a line drawn between veterans who have served in a war, and those who haven’t. He worked odd jobs, later as an EMT, and used his G.I. bill and took out student loans to go to Hampden-Sydney for two years, going to paramedic school when he could afford it.

Before 9/11 would immerse the country in a decade of war, Wilson had signed a contract to work as a paramedic in Richmond. He said he was good at it, and decided to see that commitment through before enlisting, assuming—correctly, as it turned out—that the war in Afghanistan would still be going on when he got to it. “It wasn’t 9/11 per se” that made him want to go to war, he told me. “It was that the country had gone to war, even though it wasn’t technically a war,” he said. Whatever it was officially called, Wilson wanted in.

Having decided that he didn’t want to go through what his father and grandfather had as officers—Wilson seems to cringe at the thought of politics—he decided to just enlist, completing basic training and a health care specialist course, and earning his parachutist badge. At age 32, he was a good half-decade older than most of the other recruits. He said a good majority of those who enlisted were highly educated, had completed at least a couple years of college, and had set aside their lives to fight. Wilson himself had the equivalent of an I.B., and a couple more years of college. Through delayed enlistment Wilson finally made it to Afghanistan in 2005 as part of the 173rd Airborne Brigade Combat Team. (His specific regiment would later be followed by journalists Sebastian Junger and the late Tim Hetherington for the Oscar-nominated documentary Restrepo.)

During his time there Wilson deployed for 21-day stints, returning to the base for seven days of preparations for another three-week go. “To give you some context, it was like chasing the Apaches,” he said. “We would go out and basically go out and become this little bubble, a representation of the Afghan-NATO alliance in a very hostile area,” he said. It was basic counter-insurgency strategy: Try to improve quality of life for locals, and in doing so, enhance the standing of the NATO and Afghan forces.

Wilson said that many civilians have the mistaken notion that combat medics like him are unarmed. They are not. Far from standing on the sidelines, during his tour Wilson survived at least four run-ins with IEDs, plenty of heavy fire, and a total of three events, looking back, that may have caused head injuries. In battle, Wilson was decorated. His long list of honors includes an Army Commendation Medal with Valor Device. He showed me the documentation from his commanding officers that tells a story of Wilson administering care to eight casualties under “the most extreme circumstances in a combat environment.”

But everything changed for Wilson on October 13, 2005. Traveling through the Shawali Kot district, north of Kandahar, in the town of Zamto Kalay, an IED explosion obliterated the eerie calm. “We were laying down suppressive fire to the right. Literally, there were mountains, and there was the road. We were firing uphill,” coating the hills with fire to root out the enemy. It was an ambush. Another explosion. “I was blown completely across the side of the road,” he told me. “My platoon sergeant found me in a heap, and was shaking me trying to find out if I was dead or alive. I had blood coming out of my nose and my ears.”

 

Signature wound

That was one of the many moments at war that changed who Wilson is. At that moment he became one of the many soldiers with a TBI. Because of a variety of factors, soldiers are more likely than ever before to survive blast-related trauma, which has earned TBIs recognition as the “signature wound” of the two current wars. Body armor does little to prevent TBIs, caused by rapid changes in pressure around the brain, killing as many as 25 percent of those who sustain them, according to a report in the New England Journal of Medicine.

Doctors and those who suffer from TBIs are only beginning to understand what it means to have one. Officially, military figures say 115,000 troops suffered mild brain injury since the wars in Iraq and Afghanistan began. Salon reported that number at 202,000 soldiers “who suffered a combat injury that has lead to a diagnosis” of TBI. T. Christian Miller of the public interest reporting group ProPublica said in an e-mail, “There are no firm numbers, only estimates,” of how many veterans suffer from TBIs. “One is that as many as 40 percent are missed at post combat screening. But that study is now several years old.”

Those, like Wilson, who survive suffer from a range of symptoms, including headaches, irritability, sleep disorders, memory problems and depression. A decade since the war began, the military is only beginning to acknowledge how TBIs affect veterans suffering from them—and what those veterans are owed as a result. At the Veterans Affairs office earlier, Ortiz had given me a primer on how the government distributes veterans’ benefits. Injured soldiers are assigned a percentage that basically correlates with how difficult their injuries will make it for them to find meaningful work; totally disabled veterans get a 100 percent rating and a maximum level of care and compensation (about $2,673 monthly in Virginia, with additional allowances for dependents). The lower your rating goes, the less you get for your injury. 

When Wilson returned to Fort Bragg, he entered the ranks of thousands of other veterans whose TBIs go undiagnosed. Years of service in a seemingly predestined career as a soldier came to a swift end in September 2006. A VA doctor found nothing wrong, and Wilson received a discharge, not for a brain injury, which would have entitled him to benefits, but under a “personality disorder” clause. “They thought I was crazy. They thought I was completely crazy, with my PTSD and my TBI,” he said. “I was tossed out.” Wilson said that they didn’t consider his many awards that would have testified that he was not crazy, and in fact, was a decorated soldier. He was rated at 60 percent disabled.

Resources for veterans

Wilson said that two local organizations were instrumental in his long battle to be recognized as 100 percent disabled. The Virginia Wounded Warrior Program provides peer support and other timely, local resources for area veterans. Call the program at 972-1800, or visit www.nwva
woundedwarrior.org for more information. Additionally, the local Veterans Affairs office helps veterans process claims and access a range of veteran benefits. The Charlottesville Field Office for the Department of Veterans Services is located at 2211 Hydraulic Rd., or can be reached by phone at 295-2782.

The personality disorder clause is controversial for a simple reason: Soldiers are screened for personality disorders before entering the Army; so if you have one when you leave, then maybe you sustained it at war. Under the clause a veteran’s benefits are slashed. “Thousands of injured vets learn they actually owe the Army several thousand dollars” if they received a signing bonus, a reporter at The Nation, Joshua Kors, writes. “Since 2001, the military has pressed 22,600 soldiers into signing these personality disorder documents, at a savings to the military of over $12.5 billion in disability and medical benefits.”

“Member is entitled to half involuntary separation pay,” Wilson’s discharge document read, which amounted to $10,610.55, half what he said he would have received with a medical discharge. He would receive no health insurance for his family, and would have to re-enter the workforce, with an unfinished college degree and about $50,000 in student loans.

Soon after he returned to Fort Bragg, Wilson’s father drove down late one evening from Farmville to pick him up, a different son than the one he’d sent to war. When Wilson got across state lines, he said he literally got out of the car and kissed the ground. He took the long first step toward recovery while staying with his father in Farmville. With his father’s help Wilson was able to avoid some of the pitfalls that attract many veterans upon their return to civilian life: the drinking to numb the pain, the spending the money you saved, the destruction of relationships. “I tackled it head on,” Wilson said.

The next month he was back to work as a paramedic in Farmville. After working as a paratrooper, rural EMS made him feel like he was a “racehorse pulling a milk cart.” He returned to Richmond for more familiar work, but where he faced a pay cut. On paper, things started to look up. He met a woman, fell in love, and they got married. She lived in Northern Virginia, and he commuted to Richmond for 12-hour shifts. Even as he lost his ability to sleep through the night and think straight, Wilson’s TBI remained undiagnosed; he is lucky that the bleeding stopped at all. “I didn’t know I had a head bleed, and I am a national registered paramedic,” he said. Running himself into the ground with a two-hour commute, he found a job in the emergency room of a Northern Virginia hospital.

“My symptoms were really beginning to affect me, especially in that very tightly compacted space,” he said. Patients speaking Arabic and Pashto would come into the ER, triggering memories. The sounds. The bells ringing in his head. The smells: “Blood has a very coppery smell if you smell it.” The flashbacks began, and the nightmares, already constant, got worse. Headaches, insomnia—he couldn’t remember the right dosages. Medicine was changing fast and, with his own medical issues, Wilson couldn’t keep up.

That’s when he met a reporter with the American Conservative named Kelley Vlahos who was writing an article about the invisible wounds suffered by veterans of Iraq and Afghanistan. “She was the first person who ever said, ‘Have you ever thought you might have TBI?‘ Two weeks later I go back to the VA and say, ‘What’s this TBI thing?’” said Wilson. The doctor “ran down the criteria, and popped on five of the questions: Yes, yes, yes, yes, yes.” It had been about two years since his biggest injury.

At the park, Wilson pushed a binder across the table with a picture of a younger, thinner version of him. In the photo he looks proud, in fatigues with a rifle across his chest. The binder is known as an I Love Me book. In it, combat veterans collect their primary source documentation. It is particularly useful when you believe that there have been flaws in your discharge, as Wilson claims there were with his. In the ongoing war that his life has become since returning from Afghanistan, the I Love Me book is his primary weapon.

With the flashbacks, his sometimes-slow recall and the seizures that arrest the left half of his body, he started arguing for classification of “Permanent and Total,” based on his TBIs. The classification entitles veterans to full benefits, which, for Wilson includes health care for his wife and two young children.

Wilson showed me a series of primary source documents in the binder, including an expert second opinion on his condition. He had sought it out after being discharged from the VA Hospital. “‘In my opinion the prior psychological evaluations have flaws,” said the letter from a local brain trauma specialist, of the initial diagnosis from the VA. “‘One instance is apparently prejudicial. This decorated combat veteran should have state-of-the-art medical diagnostics in order to determine the status of his organic brain function. At this juncture this procedure can only assure a more accurate understanding of the consequences of his service.’”

“The expert opinion basically threw out” the notion that he had any pre-existing condition, said Wilson. In so many words, he described it: “There is no history of [a personality disorder], especially when his commanding officers and all his background history say he’s squared away.”

With more veterans surviving injuries similar to Wilson’s than ever before, the tide is starting to turn as the Army tackles the question of what, exactly, veterans suffering from PTSD and TBI should be entitled to. A coalition of veterans suffering from PTSD won a class-action lawsuit against the Army in August, alleging that they were denied the appropriate benefits upon being discharged after service. (“They were being lowballed” by the Army, Wilson said.) In addition, TBIs can be difficult to detect, and symptoms may overlap with those of PTSD. “We can tell you that client after client with PTSD and traumatic brain injury and inappropriate [personality disorder] discharges come to us feeling that they have been branded as damaged goods,” a representative for a veterans advocacy group testified before Congress last year, “their combat service has been invalidated, and their identity and self worth as once proud warriors destroyed.”

“That’s why I carry this around,” Wilson said of his I Love Me book. “You constantly have to debunk stuff.”

Samuel Vaughan Wilson, Vaughn’s grandfather, fought in Burma as one of Merrill’s Marauders in World War II. He went on to become a three-star general, and then to serve as the president of Hampden-Sydney College, where he became a beloved figure. photo courtesy of Hampden-Sydney College.

In April, Wilson had a breakthrough when the Army announced that soldiers suffering from TBIs sustained after September 2001 would be eligible for the Purple Heart, the award established by General George Washington that was historically given to soldiers who bled in battle. Six years after he was wounded, Wilson traveled to Fredericksburg this July to receive the honor. “This is a major milestone, a catalyst,” Wilson told the Freelance-Star that day.

Insofar as a story like Wilson’s can have a happy ending, his does. Earning the Purple Heart for his TBI meant that there was an undeniable inconsistency in his record. His discharge said that he hadn’t suffered an injury; it was his personality that was the problem. When the Purple Heart came, it was official: His record stated that he wasn’t crazy, or a bad soldier. He had been injured.

At the beginning of the month Wilson finally received a letter acknowledging that he was permanently and totally disabled —100 percent. The injury that his Purple Heart acknowledges is now also confirmed by the benefits he will receive. His student loans were relieved and his wife and two children will receive health insurance. The next step is having the rating backdated to the time of his discharge, now almost six years ago.

 

The war at home

As a veteran, Wilson has to balance his memory of war, and his battle for full benefits, with the daily struggle to fit back into a society that stigmatizes veterans. What does it mean on a daily basis? “I don’t socialize,” Wilson told me. “It’s the first thing you’ll notice. ‘Doesn’t go out of his way to be social.’”

Before meeting with Wilson, I spoke with Ben Shaw over a cup of coffee. (Wilson calls Shaw a friend.) A Veteran Peer Specialist with the Virginia Wounded Warrior Program, Shaw is dashing, square-jawed and also quite open about his experience at war—after two tours in Iraq he returned to Afghanistan as a journalist for the Fluvanna Review. He always knew he wanted to be a soldier. Today his job is to travel across the region making sure that the area’s veterans have what they need, counseling veterans through crises, connecting them with resources, even hanging out at a weekly pizza night with a group of locals.

Shaw recommended an essay that he told me might help explain what it’s like to return from war: “On Sheep, Wolves, and Sheepdogs,” from Lt. Col. Dave Grossman’s book On Killing. “We may well be in the most violent times in history,” writes Grossman. “But violence is still remarkably rare. This is because most citizens are kind, decent people who are not capable of hurting each other, except by accident or under extreme provocation. They are sheep.” Grossman goes on to say that there’s another personality type, the wolves, an “aggressive sociopath,” someone without the “capacity for violence and no empathy for your fellow citizens.”

“But what if you have a capacity for violence, and a deep love for your fellow citizens?” Grossman asks. “What do you have then? A sheepdog, a warrior, someone who is walking the hero’s path. Someone who can walk into the heart of darkness, into the universal human phobia, and walk out unscathed.”

That mindset seemed to ring true with Wilson, who policed the park even as he enjoyed it with his kids. Before we started our interview Wilson told me two things: He had a tape recorder running in his backpack, and he called the cops on a man in a white car who he knows cruises around the park looking for tail. “Help me keep an eye on her,” he said of his daughter on the playground, “because there are people around here who will do the wrong thing.”

It was after a run-in with the police in Northern Virginia, Wilson said, that Charlottesville became an attractive option. “My wife made the ultimate sacrifice,” he said. His wife has an M.B.A., and worked for the State Department in Northern Virginia. “Down here I’m not running into a lot of people speaking Pashto or Arabic, which automatically—suddenly I go back into the old behavior pattern. You watch them, the hyper-vigilance, the paranoia. You don’t need that.” (Wilson also said that he has made a lot of Muslim friends in the area.)

From having spent time in Central Virginia in his 20s, he thought he might like living here. It has its advantages. He said that UVA’s JAG school was instrumental in providing legal aid in his battle to get recognized as permanently disabled. There’s the beauty, the space, the University.

But life in Charlottesville hasn’t turned out the way Wilson expected it. People aren’t that open-minded. He remembers one day he was driving up 29N, and pulled to a stop at a red light. Wilson’s bumper stickers and Purple Heart license plate make it clear that he is both a veteran and a supporter of recent wars. “I had a guy spit at my face at the corner of 29N and Hydraulic,” Wilson said. “He literally spit in my face.”

“And he’s lucky, because all I could think of was, ‘If I get out of this car I can kiss my wife and my child goodbye because I will never see them again. I will tear this guy apart.’”

He sacrificed his health, and his happiness. He brought the war home. And for who? “We wrote a blank check to the government, basically saying, ‘I’ve given you my body,’” said Wilson. “‘I’ve given you this part of my life to be sure that these idiots can enjoy the narcissistic bliss that they enjoy.’”

Did he fight to protect that guy who spit in his face? The guy in the coffeeshop, arguing over the milk in his latté? For a man so proud of his lineage, who, exactly, is the enemy? “I have my haplo-halio group,” the traits that make him look the way he does, Wilson told me. It’s the European that makes his skin light, his hair red, his eyes blue. It’s who he is. “Ten percent of the people have that in Afghanistan. These people are literally my genetic cousins,” he said.

“There is a disconnect,” he told me. “It’s based on the tactile sensory experience that you go through, you know. My father fought in Vietnam, my grandfather fought in Burma and Vietnam. They’re very quiet. And now I kind of know why.”

There’s no way to understand it unless you’ve been there. “The reason is, the civilian population can’t wrap their mind around what war is. War is something that you can open up in a book, you see two-dimensional pictures, you read somebody’s words, you go see ‘Band of Brothers,’ you get a compressed sensory experience, you feel certain emotions. But it doesn’t have the long-term continuous behavioral modification, as well as the way that your mind—in some ways they say that you become narrow-minded, you telescope. But no, a lot of soldiers begin to read The Economist to understand how politics, religion and economics influence these fracture points, where these conflicts occur. You begin to educate yourself.”

 

Back to the earth

With a brain injury and anger issues that will last a lifetime, Wilson does have one idea for what the future may hold: Veterans are starting to go back to the earth. The physical labor provides a healthy outlet for anger. In that life you spend a lot of time and energy outside. You eat the good food you grow.

“The hard work helps relieve the stress, the anger,” he said. “It gives you something to do, which is the hardest thing for someone like me. At the micro level, it’s a one- or two-person operation that doesn’t mean you have to have a lot of social interaction.”

“Unfortunately,” he said of Charlottesville, “the taxes are too high for any veteran to buy land here.” In the short-term, Wilson said his wife is applying for work out of state. He’s thinking somewhere up north where they can see the stars. “It would be like heaven for me.”—With additional reporting by Anna Caritj and Sarah Matalone

Plan 9 files for bankruptcy

Plan 9 Music, the once-robust chain of record stores that has slowly shuttered most of them over the last several years, filed for Chapter 11 bankruptcy protection on Monday.

The Richmond Times Dispatch reports: "By opting for Chapter 11, Plan 9 plans to restructure its finances and continue operating…According to court filings, the company has less than $50,000 in assets and between $1 million and $10 million in liabilities." That’s…a lot of records.

The flagship location in Carytown, Richmond was looking to downsize earlier this year as Charlottesville’s last Plan 9 location also downsized with a move to the Seminole Square Shopping Center.

To cannibalize the countless other posts we’ve written on the topic of struggling record stores: It’s been a tough few years for music retailers. A marketing firm called the Almighty Institute of Music Retail reported that 3,100 record stores closed between 2003 and 2008. Plan 9 lost locations in Roanoke, Lynchburg and Harrisonburg in 2009, Williamsburg this year and on the Corner in 2008.

Red Rattles releases a new EP tonight

A promotional video for Red Rattles’ new EP, City Dogs, which the band releases tonight, claims that the tracks were recorded in some condemned house round here.

If that’s true, it’s a good piece of marketing info for the sometimes-two-piece, sometimes-three-piece (it varies, O.K.?). Frontman Luke Nutting, who I’m sure you know used to be in the much-loved Six Day Bender, sings like a man with a condemned throat, and plays a guitar that sounds like it should be condemned. I’ve been looking forward to hearing this EP in the hopes that it will stand up next to debut record Penny Sweets, the debut album released on St. Patrick’s Day.

Read more about Red Rattles in a Feedback column from earlier this year, or go to the Twisted Branch Tea Bazaar to check out the show tonight. Opening is the punk-ish Nashville songwriter Pujol (née Daniel Pujol) who is notable for three reasons: He makes direct eye contact with people in the audience while playing (who does that?), recently recorded with Jack White, and is quite good.

Categories
Living

Blood complicated

"When I was 15, I shot my first feature film,” the local horror film director John Johnson told me last week. “I was lucky enough to have Sam Raimi and Bruce Campbell and Joseph LoDuca, the creators of the original Evil Dead series look at my film and give me pointers.” 



Jarod Kearney stars as the handless, axe- and chainsaw-wielding zombie killer Ash in director John Johnson’s Evil Dead: The Musical.

Now in his 30s, Johnson has made more horror films than most people have seen. Since it’s Raimi’s work he emulates on the screen, a musical adapted from Raimi’s films seemed like a logical next step. “I wanted to do something that was a hybrid of theater, a Universal Studios ride, and a haunted house,” Johnson said of his first theater effort, a performance of Evil Dead: The Musical, which opened last week at Play On! Theatre. 

I mean this as a compliment: Evil Dead: The Musical does Raimi’s Evil Dead trilogy justice by being the worst musical I have ever seen locally. The acting is over the top. There is a constant hiss from the wireless headsets worn by the actors. Sometimes the sound effects don’t match up with what’s happening. The singing is actually pretty good—but you can’t hear the words. There’s a clock that turns eerily; rocking picture frames; an evil, talking moose head. All are clearly controlled by some chucklehead behind the wall. Blood splatters into the audience as one character gets a pencil jammed in her leg, her head gets chopped off, and then chopped up, with a chainsaw. And that’s just one character.

In that sense Evil Dead: The Musical may be the local production in recent memory that best achieves what it has set out to do. After 20 minutes of musical numbers backed by cheesey MIDI tracks—songs included “What the Fuck Was That?” “All the Men in My Life Keep Getting Killed by Candarian Demons” and “Bit-Part Demon”—you’ll turn to your friends and say, “I think I’m ready to see these characters get killed now.” And sure enough, you don’t have to wait long.

As a prologue to the play, Johnson himself popped up out of a hole in the floor, plopped a fat volume on the stage and read aloud the definition of a B-movie. It goes something like this: After scores of theaters closed during the Great Depression, surviving theater owners had trouble satisfying their audience’s appetite for films. The solution for studios was to package a quality flick with a bigger budget and a cheaply-made, short feature. 

As the double feature fell out of favor, the influence of these rickety films remained, many of them developing a cult following. Among the most famous is Ed Wood’s Plan 9 from Outer Space, which sets a B-movie standard: Not having money doesn’t mean you can’t reach for top-notch set effects; falling flat is preferable to not trying. (Johnny Depp plays that filmmaker in Tim Burton’s Ed Wood; Johnson just wrapped up a hotly-anticipated remake of the film, called Plan 9.) 

In the early ’80s, Raimi and actor Campbell—then students at Michigan State University—made The Evil Dead, a horror flick so gory, so over-the-top that it was passed over by mainstream distributors. But it was good enough to get picked up, and when it did, in 1983, it became a cult classic in the truest sense, spawning action figures, imitators and two sequels. The trilogy spawned a schlocky revolution at comic book stores and bawdy shopping mall gift shops. 

In musical form, Evil Dead: The Musical is an inelegant amalgam of Raimi’s trilogy, which does more than you can in the span of two hours at Play On! Theatre. To keep the purists happy, Johnson added more famous dialogue from the films. “I’m now playing with the Holy Grail of horror films,” Johnson said. “If I do something that doesn’t fit perfectly, they’ll burn me alive.” 

The story begins when a group of college students on spring break sneak into a secluded cabin in the woods. The house belongs to an anthropologist who has mysteriously disappeared after translating portions of The Necronomicon (“the book of the dead”), an ancient Egyptian text “bound in human flesh and inked in human blood,” that, in some way, arouses spirits. Soon the trees are attacking hero Ash’s younger sister, and she returns, as does everyone but Ash, in zombie-like form. 

It gets crazier from there. Ash takes a chainsaw to his girlfriend-turned-zombie’s decapitated head, stagehands squirt fake blood into the first three rows of the audience. When a moose head secured to the wall bites Ash’s hand, it gets infected with the nefarious, deadness-oriented whatever-it-is. On stage, Ash amputates his hand with a chainsaw. 

More madness. More fun. More splattered blood for the first three rows (or four or five rows, as it turned out on opening night). The blood is machine washable. Rain ponchos are on sale at the concession stand for $1.50.

Documentary about local preacher making a national splash

Step aside, parking lot attendants and game-playing teachers. A new local is at the center of a documentary gaining national attention.

Preacher is the story of Bishop William Nowell of New Covenant Church here in town, at the corner of Grady and Preston. The film grew out of a 2007 C-VILLE story by Jayson Whitehead, who then pitched Nowell as a subject to friend and filmmaker named Daniel Kraus. Kraus, a Chicago filmmaker, is in the process of assembling a body of work called "Work," documentaries about people at their jobs.  

The A.V. Club gushed in an A- review, before the film premiered on the Documentary Channel last month. "Throughout," said the review, "Preacher gets how even something as purposeful as prayer has its own jargon and rituals. Like enforcing the law, and making music, and inspiring young intellects, the act of nourishing souls requires preparation, equipment, repetition, and a sense of sustaining righteousness."

If you missed the Documentary Channel premiere, you can see it at the Virginia Film Festival on Sunday, November 6. Details are here.

A scene from Preacher.

Categories
Living

Film festival channels star power: Porn magnate and biopic king among A-list fest guests

Well, wow. With a pair of high-profile residents, a porn tycoon, and a filmmaker as famous for his biopics as he is for the historical liberties he takes in them, looks like the Virginia Film Festival’s 24th year will be one of its most interesting. Tickets went on sale October 7 for the November 3-6 run of events, so if you haven’t already booked a spot at your film of choice, visit www.virginiafilmfestival.org post haste. In the meantime, let’s get the big names out of the way.

Larry Flynt (played by Woody Harrelson) last came to town in 1997 for a conversation with Reverend Jerry Falwell at the UVA Law School. He returns for the Virginia Film Festival next month, which hosts a screening of Oliver Stone’s The People vs. Larry Flynt. Photo courtesy Virginia Film Festival.

Oliver Stone, the filmmaker behind topical flicks like the Wall Street films, W. and Born on the Fourth of July chats with UVA’s Larry Sabato after a 20th anniversary screening of his Kennedy biopic JFK. Sabato is writing a book about the assassinated prez. (As you might expect, tickets are selling fast.)

Stone may or may not be at a 15th anniversary screening of his The People vs. Larry Flynt. Who will? The, er, First Amendment crusader Larry Flynt, who last came to town in 1997 for a chat with the late Reverend Jerry Falwell at the UVA Law School. Flynt, the Hustler publisher, has been in and out of the news for decades, most recently for offering disgraced congressman Anthony Weiner a job, and $1 million to anyone willing to share a story about having “had a gay or straight sexual encounter with Governor Rick Perry.” Naturally, that one’s presented by the Thomas Jefferson Center for Free Expression. 

Festival head honcho Jody Kielbasa also announced a program that he’s been working on for a year: Screening a series of classics from the Library of Congress’ National Film Registry, which archives culturally significant films. Turner Classic Movies’ Ben Mankiewicz will be on hand to present a variety of them under the banner, “Turner Classic Movies and The Library of Congress Celebrate the National Film Registry.” As part of that program, local husband-and-wife powerhouse film duo Sissy Spacek and Jack Fisk present the movie on whose set they met: Terrence Malick’s Badlands. It’s safe to assume the film’s reclusive director won’t be on hand.

Opening night film (last year it was Black Swan) is The Descendents. The festival program describes it as, “Alexander Payne’s story of a rather uninvolved dad (George Clooney) forced by a tragic accident into a new level of engagement that sends him toward discoveries he never could have imagined.” It was screened at the Toronto Film Festival and has been well-received elsewhere. 

There’s also a long list of great independent films, some of which I’ve been dying to see. Those include a film by a director who is as controversial as his films are, Melancholia, directed by Lars von Trier. Butter, from director Jim Field Smith, was described by Kielbasa as a send-up of Michele Bachmann, starring Jennifer Garner. 

Who could forget music docs? A few not to miss: Better Than Something, an intimate portrait of the beloved punk musician Jay Reatard, who died in January 2010;  From the Back of the Room, a documentary that chronicles the last three decades of women’s involvement in D.I.Y. punk movement; Who Took the Bomp, about Le Tigre; The Klezmatics: On Holy Ground, about the eclectic, Grammy-winning Klezmer band. 

There are also two documentaries about local bands, We Are Astronomers, about the local space-rock band Astronomers; and Alchemy of an American Artist, “a journey down the fantastic, sometimes brutal, mind of Charlottesville artist and musician Christian Breeden as he meanders along the unpredictable path to creation.”

Well, if that doesn’t sound like a wild ride…

Homecoming

While we’re on the topic of the local Astronomers, former Astronomer Kyle Woolard ties off his three-month solo tour (this crazy guy drove to Alaska alone to play shows there. Who does that?) with his Anatomy of Frank project with a Wednesday, October 12 gig at The Southern. Early this year AoF released a three-track EP, Relax, There’s Nothing Here But Old Pictures, to much local interest. The titles of the Lance Brenner-recorded EP’s tracks—“Bill Murray” and “Blurry (Part I), Like Headlights Through Eyelashes”—are the first signs of stylistic inconsistency. With nods to everyone from Radiohead to Elliott Smith, Bert Jansch to Herb Alpert & The Tijuana Brass, maybe you could call it versatility. 

Whatever it is, the EP’s centerpiece is a rollicking track called “Saturday Morning” that is a sign of serious talent, and a must-hear for local music fans. Check out zombie filmmaker Brian Wimer’s music video at c-ville.com. Regardless of where he’s going—and it may very well be towards Alaska—Woolard is on his way.

Oliver Stone, Larry Flynt, Spacek and Fisk, Ben Manikiewicz booked for Virginia Film Festival

Just got back from the Virginia Film Festival’s announcement press conference and, well, wow. Looks like a banner year. Let’s get the big names out of the way. Oh, and tickets go on sale tomorrow, October 7.

Oliver Stone chats with UVA’s Larry Sabato after a screening of JFK. (Sabato is writing a book about the assassinated prez.)

Stone may or may not be at a 15th anniversary screening of his The People Vs. Larry Flynt. Who will be there? The, er, First Amendment crusader Larry Flynt himself. Naturally, that one’s presented by the TJ Center for Free Expression.

Festival head honcho Jody Kielbasa also announced a program that he’s been working on for a year, for which they had projectors refurbished, and so on and so forth. All of it was to screen a series of classics from the Library of Congress’ National Film Registry, which archives culturally significant films. TCM’s Ben Mankiewicz introduces those, and…

Local husband-and-wife powerhouse film duo Sissy Spacek and Jack Fisk present the movie where they met on set: Terrence Malick’s Badlands as part of that series.

Opening night film (last year’s Black Swan) is The Descendents, described as, "Alexander Payne’s story of a rather uninvolved dad (George Clooney) forced by a tragic accident into a new level of engagement that sends him toward discoveries he never could have imagined."

Stars and big ticket stuff aside, there’s a host of great-looking independent films, some of which I’ve been dying to see. Those include…

A film by a director who is as controversial as his films are, Melancholia, directed by Lars von Trier.

…and…

Butter, from director Jim Field Smith, which Kielbasa described as a send-up of Michele Bachman starring Jennifer Garner. 

The Festival’s site will be live later tonight so you can click around and find out more. So yeah, you get the idea. Oliver Stone and Larry Flynt are coming to Charlottesville. 

Categories
Living

Evenings' rising star

 You probably have not heard of Nathan Broaddus, or his calm, thoughtful bedroom recording project Evenings. But Broaddus, a talented 21-year-old UVA student studying French and Music, may very well be the “next big thing”—we small town music writers are always on the lookout for it—to come out of Charlottesville music.

Though he has no physical releases, Evenings’ Nathan Broaddus has achieved fame on the Internet by giving his digital recordings the earthy warmth of vinyl.

Broaddus said he didn’t know anyone was listening to his music when he started posting to MySpace the Evenings tracks that he’d recorded at home. “I’ve been tinkering around with computers and music for a long time,” he said over the phone last week. “I started putting stuff on the Internet. I gave it out for free.”

Things picked up for Broaddus when he released a free EP, North Dorm, through the streaming music website Bandcamp last year. After that EP gained traction, Broaddus released a follow-up full-length last month called Lately, composed while he was studying abroad in France.

Lately is expanding his e-celebrity exponentially. In all, his songs have logged nearly 150,000 plays from Last.fm users. About 2,300 Facebook users are “fans” of the Evenings page. He’s been tweeted about, Facebooked about and endlessly blogged about.
In a word, he is famous. And yet, he has no physical releases. Few of his fans likely know, or are likely to care, about his real name. By his own accounting, the only two concerts Evenings has ever played—one at the Twisted Branch Tea Bazaar, and the other at the UVA Chapel—were disasters.

The smart money in the music industry says that as the Internet continues to kill record sales, big bands will cover the difference by playing more shows and selling more merchandise. But the flip-side is that the Internet has paved the way for a cottage industry of lonely guys with guitars and computers who don’t like playing shows, but who are good enough at making music —and savvy enough at social networking —for their music to be a hobby that makes them money. You won’t see artists like Broaddus in Rolling Stone, but selling his new LP through Bandcamp for five bucks a pop at least covers the cost of his groceries.

Question: If you are a musician who is written about on lots of blogs, and lots of people are listening to your music, and yet nobody knows your name or where you live, are you actually famous? For his part, Broaddus doesn’t seem to care. “I’ve never put anything physical out,” he said. (Although a 7" single is tentatively planned through a San Francisco label.) “I think that’s a cool idea. I think it’s a cool idea to have all this kind of stuff that’s intangible amount to something.

“It’s all just music,” he said.

Lately emphasizes a handmade, earthy vibe over great emotional depth. Just as it was composed on a computer, it is best enjoyed while sitting at one. For song titles—“[Intro] Jæune Reflection,” “Aisle, It Blooms,” “////”—Broaddus seems to choose them not for what they mean, but for how they look in 10-pt. Arial on the Bandcamp website. For those of us who prize lyrics, it makes the temptation strong to view the project more as a vehicle for fashion (Lately is a stone’s throw from chillwave) than an artist trying to communicate a message. But people don’t generally like music because it’s cool, or fashionable. People like music because they like it, and listening to Lately is superbly pleasant.

Broaddus’ music is a disciple of acts like The Books and the producer Matthew Herbert (who is working on a highly-anticipated album composed entirely of pig noises). Broaddus reduces the sound of the instruments—a drumset, an army of classical and electric guitar sounds that may, in fact, be synthesizer sounds—into jagged little segments. The method creates a collage effect, where cloudy melodies intermingle with the soothing sounds of water passing over rocks and reassembled windchimes. Synth tones pitch-shift lazily, like a tired Hawaiian running a bottleneck down his lap steel. Through it all, the sound of an LP needle crackles as if across a dollar-bin record.

One of Broaddus’ songs recently premiered on a blog called Turntable Kitchen, which suggests recipes for meals to go with music you’re enjoying. I won’t even attempt to best that website’s conclusion: “As a result [Lately] pairs well with Kasey’s Grilled Watermelon Salad recipe. The salad is bright, full-flavored and clean. It’s a unique and refreshing treat for the spring and summer months.”

Virginia Film Festival will announce special guests later this week

The 24th annual Virginia Film Festival is slated to announce some of its major guests at a press conference Wednesday.

Some of my favorite guests at fests of the past (this year’s runs November 3-6 at venues across town), have included John Waters, Matthew Broderick and Alan Ball. The starpower makes the weekend a real gas, as do regular events like the Adrenaline Film Festival (applications for which, by the way, are still open).

Before the announcement ruins all of our speculating, let’s play a game. What special guests or new films would you like to see at this year’s festival?

Just to get the ball rolling, what follows is the one-item C-VILLE Feedback VFF wishlist for 2011:

  • A special 30th anniversary screening of The Evil Dead with a Q&A with star Bruce Campbell and director Sam Raimi, featuring an extra-special after-performance of the Evil Dead musical that opens in October at Play On! Theatre.

Your go.

Stephen Malkmus at the Jefferson, free/cheap flicks, and a marathon at the Southern

Now that all the kids are back in school, there are some more opportunities to check out good movies for cheap. If you missed J.J. Abrams’ Super 8, the Spielbergian summer blockbuster about a vicious alien and the government that pissed it off, it is playing tonight at PVCC’s Free Movie Friday series. More information on the series is here. 

Also back in session is UVA’s great film club OFFscreen—whose websites have not been updated in a very long time and whose schedule was insanely difficult to find!—which screens foreign and independent cinema on Sunday nights. It is often the only opportunity to see such films on a big screen in town, and for cheap.

Also this weekend, the alt-ish radio station 106.1 The Corner is hosting a three-day fifth birthday celebration at the Southern. Looks fun. The shining light in that three-day celebration is a killer lineup of local bands, including the increasingly ubiquitous Sarah White and the Pearls, Wes Swing, Astronomers and Cinnamon Band. Friday night hosts Marc Broussard, and Sunday sees a performance by Stephen Kellogg and the Sixers. Full details are at the Southern’s website.

Stephen Kellogg and the Sixers play at the Southern to celebrate 106.1 The Corner’s fifth birthday.

Folks around town like to guess about what the indie rock godfather Stephen Malkmus thinks about Charlottesville, where he went to college and met some of the people with whom he would later form Pavement. We felt as if we had been thrown a bone when he told Chuck Klosterman in a GQ interview that he learned a lot about music as a WTJU DJ. Sometime C-VILLE videographer Gary Canino posted on his Tumblr about an encounter with Malkmus in which Malkmus apparently says, "Charlottesville is the shit." In an interview with Ian Svenonius on that abhorrent VICE TV thing, Malkmus talks at length about our town, saying of UVA, "My dad went to school there, it’s the only good school I got into. So I ended up there. Charlottesville. That was a nice town," he said. "It got hot in the summer, humid. There was heat lightning. Sometimes if you left a pack of cigarettes out a cigarette would get so wet you couldn’t smoke it. That’s how humid it was." Point being, we’re hoping he’ll validate us by saying Charlottesville is cool when he plays tonight at the Jefferson Theater with his band The Jicks. SM + Jicks released a new Beck-produced disc called Mirror Traffic.

Should be a great show. Tickets are here.

The ageless Stephen Malkmus plays the Jefferson tonight.