Just Lyricz Open Mic & Poetry Jam gives poetry a chance

Guest post by Sarah Matalone

When you think of the Main Street Arena, poetry is not likely to be the first thing that comes to mind. But amidst spindly café tables and a bar with TVs broadcasting live sports, Anthony Amos and Vaughn Yountz attempt to provide a “stepping stone” for artists.

A year ago, the pair created an event called Just Lyricz, an open mic and poetry jam that draws an eclectic sampling of poetic and musical performances, from spoken word poetry to hip-hop to “rants” to electric guitar solos to, as Amos phrased it, “whatever.” Any willing participants can go up to the stage to perform their piece while Amos, a DJ, lends his skills in between performances.

His video mixes roll continuously throughout the evening on four Samsung flat screens, showcasing, to name a few of the slides, a fact about former Poet Laureate and UVA Professor, Rita Dove, a quote from former president, George W. Bush and a simple slide with the word, “Poetry” emblazoned in elegant cursive script, all of which show Amos’s intent to mix entertainment and education.

The diverse crowd that attends the jam is a testament to another of Amos and Yountz’s visions for Just Lyricz: to bring people of different races, genders, ages and backgrounds out to value community self-expression. Eight-year-old girls and their parents, high school students, a UVA student, a husband-wife-two-daughter family (who happened to be the featured performers that night), and a septuagenarian, all seemed to enjoy themselves.

“This is our favorite event to go to now,” a mother told me, all smiles, of she and her daughter’s experiences at Just Lyricz. It’s difficult to argue with her joviality when Yountz, the host and a spoken word poet himself, also plays the role of comedian, throwing out aphoristic jokes to young performers like “make sure you eat your vegetables” in between performances.

But most impressve are the performances. Starting off the evening, Vaughn began with his own poem, voicing out amid the din, “my grief stays hidden like a coral reef.” Another poet began with a Wordsworthian rant, asking of us, “can you create something beautiful out of the simple words?” Camisha Jones philosophized, “there is something profound about a woman who knows her own name.” In a spoken word duet riffing off of Frost’s, “The Road Not Taken,” two poets delivered a sort of ars poetica in which they argued, “poets are prophets who point out things that you miss,” a poem containing a mélange of allusions to Milton, Morgan Freeman, Rosa Parks, Prometheus Unbound, William Wallace and Wallace Stevens.

Whether providing a “window” for the locals, for urban art, or for poetry more generally, it’s true what Amos says: “You never know what you’re gonna get.”

 

Categories
Living

Fake it until you make it

Seeing as this week’s cover package is all about Virginia’s festivals, it’s worth considering festivals happening elsewhere that outdo local ones. It was with that in mind—partially, at least—that I headed down to the Tar Heel State last weekend to the Hopscotch Festival, an indie rock-centric festival (sponsored by a newspaper very much like this one) that colonized bars within a mile in downtown Raleigh.

The Brooklyn black metal act Liturgy has become a conversation piece for releasing its latest album, Aesthetica, on the indie rock label Thrill Jockey. The conversation is one indication visible at this weekend’s Hopscotch Festival that indie rock may be emerging from a few years of sunny trends.

There are two kinds of music festivals. There’s the Woodstock kind, where people stand outside and rearrange their picnic blankets to hear music at stages on either side of them. And there’s the SXSW or CMJ kind, where fans bust their hides to run through an unfamiliar city to try to catch sets by bands they can only pretend to have heard of. Or at least, that’s what I tend to do.

The second annual Hopscotch was the latter kind, and boasted a mix of regional acts to rival the Harrisonburg MACRoCk festival, and a slate of nationally-known (read: New York) acts to rival SXSW. That makes it a welcome addition for the Mid-to-South-Atlantic indie rockers among us who want to have a good time with our brother- and sister-bands while, we hope, catching some national attention. 

In its own way, that mix made things a challenge: Were people talking about a band because their friends were in it, or because they were worth seeing? Not counting trendier acts like Toro y Moi and Beach Fossils, Hopscotch was a brainier and brawnier gathering than you might have expected, given the thoughtless feelgoodery that has blighted indie rock for a couple of years now. Perhaps that’s why darker bands seemed to dominate the conversation at this weekend’s fest. 

At every marathon, there is always the long-haired, bearded guy who doesn’t look like he’d be into running marathons. That guy this weekend was the drummer for Brooklyn metal group Liturgy, Greg Fox, who set a searing, all-sixteenths pace for the group that’s been described as “black metal by hipsters.” More than its music, the band has become a lightning rod in the metal community for the musings of its frontman Hunter Hunt-Hendrix, who writes about the genre as if he were a 17th-century diarist: “Black metal’s virtue is that it can, using a combination of history, sound, and audacity, activate a connection to a sort of transcendental field, the perennial occult, the Absolute,” he’s written.

The band isn’t worth its controversy, but the blast beats, Hunt-Hendrix’s vocals —have you ever heard a sobbing eagle caught in a reverb tank?—and ripping, all-in concision achieved a sort of transcendence worthy, at least, of our attention. That’s a feat in a genre as formally dense, if not emotionally, as music made with guitars gets. The same was true with another innovative New York act on the cusp of the black metal revival, the supergroup Krallice. That group looked and sounded the part more than Liturgy, and employed similar tricks, but Krallice’s lesser fanfare made you wonder whether Liturgy’s most important innovation is being a black metal band that wears normal clothes.

It was one of Krallice and Liturgy’s influences, the Michael Gira-fronted dark rock act Swans, that stole the weekend from Hopscotch’s headliners like The Flaming Lips and Superchunk. Festivalgoers seen walking through Raleigh after their Friday set could hardly close their jaws—the band came out and opened with a drawn out, droney orchestral piece that channeled Terry Riley and Steve Reich, before launching into more than an hour full of brutal, arty material. Perhaps it’s a sign of the times that Swans’ almost sickeningly dark sound is finding favor among a new round of young listeners.

But so has another vintage act: Guided by Voices, the home recording forerunners based in Ohio and fronted by Robert Pollard, is among a rash of vintage (from the ’80s and ’90s) rock acts to have recently reunited, in many cases as a fundraiser for their members’ bad habits. The band announced that this set, surrounded by financial buildings in downtown Raleigh, was to be the last show its “classic lineup” would perform—which means we’re unlikely to hear much from other GbV members until the prolific Pollard’s next release.

For my money, one of the best bands I saw was the Toronto two-piece Japandroids. The group occupies an interesting place in this year’s festival, and in the modern indie rock landscape, as perhaps the only group that openly channels Warped Tour-friendly pop-punk. The venue’s P.A. wasn’t loud enough to float a two-piece (guitar and drums) that relies on immersive, blown-out sonics, but when he sang, guitarist and singer Brian King assaulted a wobbly mic stand in a spirit of perseverence worthy of the festival itself: Fake it, and you’ll make it.

UVA study: SpongeBob is bad for kids

Anyone can tell you that "SpongeBob SquarePants" is an amazing, wildly popular cartoon totally worthy of your attention. But is it actually worth sacrificing kids’ attention spans?

A study that ran today in Pediatrics details a UVA study that found the popular, hilarious Nickelodeon show "SpongeBob Squarepants" has measurably detrimental effects on the attention spans of 4-year-olds. It causes "learning problems," the Associated Press reports.

For the UVA study two groups of kids were plopped before TVs, one watching "SpongeBob" and other watching the PBS show "Caillou," which—wow, I just watched some, and it’s totally boring.

Kids who watched "SpongeBob" performed worse on mental function tests after than their "Caillou" counterparts, which suggests the effects of TV watching aren’t just long-term; it means, "more immediate problems can occur after very little exposure."

All that means it’s not just how much kids are watching, but also what they’re watching, that affects learning. Read more here.

You can notice a change in the pace of cartoons from their earliest days, when Bugs Bunny would riff on high art, to when I was a kid, watching Arnold and Helga having a quiet time in their neighborhood, to now, when someone being in front of the TV is simply overwhelming.

SpongeBob is not afraid.

A bunch of 9/11 commemorations, Midtown Street Fair, shows to catch and more

Charlottesville has the sort of confusing honor of hosting the raw, emotional California band Xiu Xiu over this emotionally complicated weekend, the 10th anniversary of the September 11 attacks. Amid a string of strong albums over the last decade the group released Fabulous Muscles in 2004.

I bring it up because that’s got "Support Our Troops OH! (Black Angels OH!)" on it, in which frontman Jamie Stewart confronts some complicated feelings towards soldiers in our recent wars: "You shot your grenade launcher into people’s windows and into the doors of people’s houses, but you wanted to shoot it into someone just to watch them blow up. Why should I care if you get killed?" It’s been an emotional decade—but maybe that’s taking it too far? Check out the Village Voice’s list of other post-9/11 musical missteps, some of which are very funny, here. (Xiu Xiu’s at The Southern on Saturday.)

Thankfully, there are all manner of less controversial, arts-related events around town to commemorate the 10th anniversary. On Sunday, the Paramount hosts a free screening of REBIRTH, a new film that traces five people affected by the attacks over the course of a decade. (It’s been getting some good reviews.) This comes, of course, after the big community commemoration at the Pavilion—details are here.

 

O.K., there’s also lots of things happening in town this weekend unrelated to 9/11, most notably the Midtown Street Fair, now in its second year. There’s lots of live local music plus, "Midtown restaurant BBQ Cook-Off, a Waiter Olympics, arts and craft vendors" and more. Details are here.

Finally, I’m headed down to Raleigh for the weekend to play Hopscotch Festival, a beacon in the southeastern indie rock landscape worthy of the southeast’s indie rock heritage. Headliners include the Flaming Lips, Superchunk and Guided by Voices, among a recent rash of bands from the ’90s that have reunited. Stay tuned early next week for some dispatches from out-of-state.

 Do these guys know how to party, or what?

Win tickets to see David Bazan at some weird house show

Congratulations to Daniel!

The Seattle guitarist and songwriter, and former Pedro the Lion frontman, David Bazan is coming through town to play a show on September 20. The show in town is part of a string of dates that will find Bazan playing in people’s living rooms across the country.

Problem is, the Charlottesville gig was already sold out before we even heard about it. And what’s more, it sounds like they’re being strict: "Please do not share the show info," reads the website where you can’t buy tickets anymore. "The show location is for ticket holders only. We will not be selling tickets at the door and no additional people will be allowed into the show."

Sounds like hope is lost, right? Well, no. To win a pair of tickets to the gig, post below your favorite Pedro the Lion or Bazan song. Extra points (but really, there are no points) go to those familiar with Bazan’s dry, gripping new album, Strange Negotiations, that finds the songwriter stepping further into critical acclaim and secular territory. 

"I Do"

More on Bazan from the press bio:

"Bazan was the songwriter and driving force behind Pedro the Lion, with whom he built a following and sold a couple hundred-thousand albums. After a decade helming the project, he found himself dealing with a crisis of faith and a growing drinking problem. Bazan got to work exorcizing both his demons and angels, producing two incredible pieces of work under his own name in the Fewer Moving Parts EP and the 2009 full-length Curse Your Branches.

"Strange Negotiations focuses his energies toward the external, centering on his disappointment in the current state of accelerating American and global social fragmentation. Performer called the record ‘a near-perfect fusion of lyrical content and musicianship,’ and The New York Times declared it ‘one of the year’s most affecting rock albums.‘"

Who are our butter sculptors?

I spent Labor Day weekend visiting my brother in his adopted home state of Minnesota, and was fortunate enough to catch the Minnesota State Fair, in St. Paul. According to the bus driver that ferried us from the parking lot, all the food there is served "on a stick," a conceit we verified in short order by enjoying fried walleye on a stick and a Pronto Pup, the upper Midwest’s more cakey answer to the corndog.

In addition to the food on a stick, a rodeo and birthing tent, the fair also hosted some interesting regional art made with natural, local supplies. Judging by the all-you-can-drink milk-stand (only $1), there seems to be more dairy products than Minnesotans know what to do with, which only begins to explain Princess Kay of the Milky Way, a decades-old beauty pageant where young ladies from around the state are sent as hometown representatives, and their likenesses carved into 90 lb. blocks of butter.

The sculptures are placed in a rotating glass case, which is one of the fair’s most popular attractions. (According to Minnesota Public Radio, the young ladies of the pageant have to sit in a refrigerator while the sculptor works.)

It got me thinking about a few local artists—namely, Allyson Mellberg and Jeremy Taylor, who use locally sourced, natural materials to make art that’s much less folksy than the above beauty pageant butter sculpture, and Patrick Costello, who has incorporated jams he’s made from vegetables he grew into installation pieces. 

Like Minnesota butter sculptors, these local artists use natural abundance to great local beauty. What materials are abundant in Central Virginia that local artists could use to make a quintessentially local art?

Think about it while enjoying some photos (below) of "seed art" from the fair.

Categories
News

The best American nonrequired buying

“Have you been here before? It’s three floors. One-hundred thousand books. It’s very well organized. I can give you directions, or you can look at the map. Have a good time.” So says Sandy McAdams, each time a bewildered new customer walks into Daedalus Bookshop.  

Not that he wants to, but Daedalus owner Sandy McAdams says if he sold his business, the new owner wouldn’t be able to pay the mortgage.

Inside Daedalus, the towering shelves are packed tight with books, books, more books in each room of the three-story building. You’re surprised to see that the windows have not been covered with shelves for even more books, and you can’t mistake the wet, dusty, almost sweet scent of old paper as you search for the light switch in one of Daedalus’ many rooms. Characters come and go, doing small favors for McAdams, as if you’ve stumbled into a sort of cartoon strip about Downtown Charlottesville. 

But above all, the shop is the domain of a person who loves books so much that he can scarcely say no to taking them into his shop to sell them.

Like dogs and their masters, bookshops and their owners usually look alike. McAdams, 68, is confined to a wheelchair but has a towering presence. Worn by time, but welcoming and capacious, he is much like his shop at the corner of Fourth and Market Streets. “I should have stopped long ago,” he says of bookselling. He’s relied on his wife, a nurse, for health insurance. The business has changed. And books, always more books—there’s just so damn many of them.

McAdams has as many stories as he does books. There’re tales about how he foolishly sold two signed Virginia Woolf’s that he’d bought from a blind man in Manhattan, stories about browsing for books with his Saint Bernard, the one about how Lawrence Ferlinghetti came in and said, “It’s an honor to be in such a famous bookshop.”

McAdams calls bookselling both “crazy” and “spiritual,” which pretty well sums up the experience of browsing his store.

The megastore rose, and now it’s falling. Amazon became the river of words that it promised the world. Which begs the question: With the e-book emerging as its latest contender, can Charlottesville’s bookstores survive another round?

Make no mistake—we have a lot of bookstores. There’s Blue Whale, on the Mall, where all the books are in great shape, New Dominion, where boxes of Grisham’s latest sit in the window, and the Avocado Pit, tucked around the bend from Daedalus, with an eclectic selection. Heartwood Books on the Corner, Oakley’s, Quest, Read it Again, Sam, Random Row, Splintered Light…

There’s also, of course, Barnes & Noble in the Barracks Road Shopping Center, where you’ll see a kiosk advertising the superstore’s Nook e-reader before you’ll see any books, the UVA Bookstore, which vies for student business against the Student Bookstore on the Corner; and then there’s the Charlottesville, Virginia Book Shop, a rare book dealer on Water Street open by chance or appointment only, which is one of a very many cloak-and-dagger dealers of antiquarian books.

Depending on which bookseller you ask, the whole books industry is either “a shambles,” “in chaos,” or “fascinating.” Things are changing in the book business at such a rate that nobody seems to know what the future will be. 

A publishing consultant recently told USA Today that he predicts that shelf space devoted to books will fall by half in the next five years, and by 90 percent the following decade. A Goldman Sachs report forecasts that print book sales will shed 5 percent over the next four years. E-book sales comprise more than 8 percent of the book market. Even some local bookstore owners are reading on a Kindle when they travel.

Three things have effectively happened. In the longer term, big box stores came in and out-competed independent bookstores by having the one book that people wanted, for cheaper. 

As Amazon did big box stores one better, bookshops nationwide started closing their doors—more than 1,000 nationally, between 2000 and 2007. Today, Amazon has nearly a quarter of the book market, followed by Barnes & Noble at more than 17 percent. Borders, which was one of the biggest national sellers with 8 percent of the market, closed its doors as of the first of this month, laying off 10,000 employees.

Despite all the bad news, there are some signs of life. Granted, the American Booksellers Association shed 1,500 members over the past decade—but member stores actually increased over the past year.

Booksellers can attempt to cash in on e-books through partnerships with Google, though the earnings are far lower than with physical books. And despite appearances, Americans of all ages are still actively reading: The trade book market has increased by almost 6 percent in sales revenue since 2008, and overall publishing revenues have grown annually, a full 5.6 percent since 2008.

Laura and Anne DeVault opened Over the Moon Bookstore and Artisan Gallery last summer, across from the Crozet Library. Through a partnership with Google they sell e-books on their website, www.overthemoonbook store.com—and they pay taxes.

Hanging on

McAdams compares working in the used book industry, somewhat wistfully, to “making order out of chaos.” 

“There’s something about used book dealers. We’re like junk men. You’ve got to get them. The idea is to go out and find something that has some value to you, and you sell it for more than you paid.”

The local musician Jamie Dyer was one of the many faces passing through Daedalus on a recent Wednesday when I went to chat with McAdams. We listened as McAdams touched on a theory—it’s not the megastores, the publishers, the websites.

It’s just there are so many damn books out there. “I’ve said we’ve been out of room for a long time. But now we really are out of room. I thought we were out of room 10 years ago.

“But now,” he says. “Hoh! Now I know it.”

“It’s the Internet, too, isn’t it?” Dyer asks, sitting behind me.

“No, no, no,” McAdams says. “There’s just so many books around. Why that is, I don’t know.”

“Have you ever done that? Sold something for more than you paid?” Dyer asks.

“No! Always less,” says McAdams. “To you, in particular.”

Having 100,000 books was once the closest thing book buyers had to Amazon’s proverbial long tail. “When someone says, ‘Do you have John Phillips’ book on mountain climbing?’ You say, ‘No, but there’s a section on mountain climbing upstairs,’” says McAdams. “Fifty percent of the time, they’ll find another book. That’s the idea.”

There have been times when I’ve browsed the teetering aisles at Daedalus in search of one book, but left frustrated, overwhelmed by the selection. I also have fond memories of looking for a book that a friend recommended as essential—Malcolm Lowrey’s Under the Volcano—and had the pleasure of hearing that it was McAdams’ favorite book in college.

Having lots of bookshops around town creates a book shopping culture that benefits all of Charlottesville’s booksellers, says Dave Taylor. For 25 years he has run Read it Again Sam, the well-organized shop whose rollers stuffed with paperbacks block the mall. He says that local booksellers have long joked with each other, and shared the occasional dinner. 

“[Business] has slowed down considerably, and the impact of the economy is certainly one thing,” says Taylor. “A lot of local people especially are reading Kindles.” (Even he does while traveling.)

When Taylor first moved to the Downtown Mall he was selling more big-ticket, rare books—maybe a half-dozen a month—that ran into the thousands of dollars. Now his landlord makes more off renting the place to Taylor than Taylor does actually selling books.

Today, he says, “People are evaluating how they’re spending money. There aren’t a lot of people who are willing to spend thousands of dollars on a book.”

“Frankly, I think that bookstores were what Blockbusters were eight to 10 years ago,” he says, referring to the bankrupt video rental giant.

Like McAdams at Daedalus, Taylor’s shop has turned from a source of income to a labor of love. “It’s not a profitable business, but I’ve thoroughly enjoyed meeting readers and writers. Everybody who comes in the front door I have something in common with: They’re looking for a good book.”

The Washington Post predicted in a 2005 survey of local bookshops that, “If book browsing survives anywhere, it’ll be in Charlottesville, which has been a magnet for readers and writers for 200 years.”

If that’s the case, Taylor of Read it Again, Sam—not to be negative—won’t have anything to do with it. “I’m 63,” he says. “So my basic plan is, I’m going to be retiring soon.”

“If I were 30, it wouldn’t be the right business to go into,” says Taylor. 

McAdams says he’s going to keep going until he can’t anymore. But then what? Who will run tomorrow’s bookstores?

Jonathan Kates is the executive director of the UVA Bookstore, which recently expanded its retail and computer sections.

An open book

This is the part where everybody looks awkwardly at their shoes, waiting for someone else to speak up, and then a pair of sisters—Laura and Anne DeVault—raise their hands and say, in unison, “We will!”

The DeVault sisters are the latest addition to the local bookselling scene. They run Over The Moon Bookstore, a shop that sells new books next to Crozet Pizza. After driving past many times, I finally went inside to check out the bookstore and “artisan gallery,” just across the street from the Crozet Library. As my girlfriend and I walked through the store, Anne peppered us with questions. What do you like to read? And on from there—have you read this, or this, how about this?

We had committed the cardinal sin of walking into a bricks-and-mortar bookstore, to look for one book in particular.

My girlfriend was searching for My Faraway One, a 700-page collection of letters, some of them apparently quite sizzling, exchanged between Georgia O’Keeffe and her eventual husband, Alfred Stieglitz, over the course of nearly two decades. Anne said that they had it earlier, but it had been gathering dust. So they had sent it back to the publisher.

Meanwhile I wandered, and found something interesting: Positively Fourth Street, a book I’d been meaning to read, but had forgotten about because I couldn’t find it anywhere. As my girlfriend discussed how to get her book with Anne, all of a sudden I didn’t have a choice: I had to spend $18 on this softcover, as a sort of thank you for their having on hand a book I’d been seeking.

“We can order books almost just as fast,” Anne told my girlfriend, as we walked out the door. “And unlike Amazon, we pay taxes.”

I came back to interview Anne and Laura, together, the following week. Sitting in a big leather chair in the corner of the store, I asked, when you were opening the store…?

“Yes,” says Anne, before I could finish.

“Are you crazy?” says Laura. “That’s Southern, for ‘you’re nuts.’”

Anne says that she’d been paying attention to Crozet as a potential spot for a bookstore for years. Subdivisions were growing, and filling, in spite of the recession. The library across the street circulated a lot of books. People seemed to read a lot. All signs pointed to bookstore.

“Right when we opened a lady came in, in her 60s, early 70s,” says Laura, throwing her arms in the air, saying. ‘Praise Jesus.’”

“A lot of people said—and still say—‘Now I never have to go into Charlottesville again,’” says Anne. “This is the only thing they were waiting for.”

The store specializes in a lot of local books, like the Crozet Gazette history columnist Phil James’ local history, Secrets of the Blue Ridge. There are also book parties, including one organized by the local blog SuzySaid, and a thoughtful string of events that highlight the store’s selections.

But there are particular challenges in selling new books, as opposed to used ones, like Daedalus and Read it Again, Sam do. Ken Auletta broke down publisher’s profits in a Januray New Yorker article about the future of the book. He reported that publishers generally receive half the price of a new hardcover book. That percentage covers costs ranging from author’s royalties to rent to distribution; the other half goes toward the bookseller’s costs.

This was of particular benefit to publishers of textbooks. “When you were shopping for textbooks and bellyaching about the price—when I was shopping for textbooks and bellyaching about the price—the publishers were very, very comfortable in the place they were in,” says Jonathan Kates, executive director of the UVA Bookstore. “[The bookstores] didn’t mind the bookstore people being blamed for the prices”

“Maybe a couple of years ago I would have said, ‘10 years, primarily e-books for classrooms,’” says Kates. “Now I’m wondering if that may have accelerated some.” Today the UVA Bookstore, which is a non-profit, has options for students, ranging from book borrowing, to book renting, to e-books.

If the 20,000 students up the road stop having to buy book-books, it may help solve McAdams’ problem, of having too many used books.

While a non-profit university bookseller can harness the power of technology, companies like Amazon can be a brutal enemy to a store like Over the Moon. (The UVA Bookstore just completed a large expansion—of its computer sales and other retail departments.)

As Anne hinted at on our first visit, Amazon is in the middle of a protracted legal battle to avoid paying sales tax in California. When the company had been previously forced to do so, it promptly fired all of its California affiliates. 

Amazon also has a controversial history of “strong-arming” publishers, the DeVaults say. Take an example from last year: Since it is the leading seller of e-books, it has more or less been able to set the prices for e-books. When Macmillan, one of the six biggest publishers, refused to sell for $9.99, Amazon pulled access to Macmillan’s books. Amazon ultimately capitulated to the publisher’s demands, selling the books for around $13, but that appears to be the exception to the rule.

Of particular importance to shops like Over the Moon—through whose website you can buy e-books—is that the kind Amazon sells can only be read on the Kindle device that you can buy through Amazon. The profit margin on selling e-books through their website, is “quite tiny.” 

The DeVaults joke that their work at the bookstore is more or less on a volunteer basis. But they say that they have developed a good group of loyal customers who shop there not only because it’s a great little bookshop, but also on principle—and these patient souls are willing to wait for special orders.

Some come in just for suggestions. One e-book reader apparently showed up with a camera to take pictures of books, so that she wouldn’t forget what the book she wants looks like when she goes to order it online, says Laura DeVault.

What did you say? “I said, ‘GET OUT,’” Anne laughs.

Order from chaos

If the act of carefully selecting your stock and offering suggestions to customers is, like McAdams told me, one of making order out of chaos, one conclusion seems inevitable: humans—that is, the bookshop owners—will lose to the computers.

To make suggestions for its customers, Amazon uses “market basket analysis,” plugging your previous purchases, products you “like” and other user information into an algorithm that spits out related stuff you might like. If it needs help, you can visit the “Recommendation Betterizer” page to better tailor the site’s recommendations to your actual interests.

When I first walked into the New Dominion Bookshop, owner Carol Troxell appeared to working through the store’s accounts with pen and paper. They don’t keep track of what’s in stock with computers, she says, because it keeps the employees more engaged with what’s in stock. “We sell books,” she says. “That’s what we do.”

“The competition is fierce, and we’re just going to continue to do what we do,” making suggestions and pushing local authors.

At Over the Moon, the process is also quite simple. Laura sums up how it works when you’re a repeat customer there: “I think you’ll like this book because you said you liked the last book we talked about.”

“There’s a name for this, and I don’t know what it is,” she says. “But you know how Netflix does this—if you liked this, then here are your next suggestions? It’s like that.”

Whether Charlottesville’s bookstores survive depends largely on whether people are willing to spend money on the bookstore experience—of sniffing through the stacks, of talking to their colorful owners, of being willing to settle for something that’s maybe not the book that they want, but one equally good.

“You’ve got to have people who like bookshops,” says McAdams. 

“Specific titles—I hate to say it—the Internet, even for me, kills us.”

After borrowing E.L. Doctorow’s Homer and Langley from a friend earlier this year, I grew hooked on the book’s subjects: The Collyer brothers, a pair of well-educated New Yorkers with a hoarding problem so nasty that the cleaning of their house in 1947—they were both found dead inside the booby-trapped labyrinth of newspapers, junk and books—became a national media event. 

Wanting to learn more about the brothers, I logged onto my account at Amazon.com, and was recommended two different books: One called Stuff: Compulsive Hoarding and the Meaning of Things, a popular recent survey of hoarding research, and Ghosty Men, a New York Times writer’s history of the Collyers, interspersed with personal history of an uncle who loved stuff.

Both were good, fun reads. But I couldn’t shake the feeling that I might have worked closer to the heart of the matter by simply walking to Daedalus, and looking around.

Categories
Living

New life for an old tradition

By day, John Alexander works for the Centers for Computation Intensive Research and Scholarship at UVA. But on nights and weekends, with Diane Ober, he organizes a local group called the Rivanna River Sacred Harp, Charlottesville’s steward of what some claim is the oldest surviving American musical tradition: Shape Note singing. 

Through a Virginia Folklife apprenticeship program, local Shape Note singers will study
under master singers from Clarke County. Among other things, they hope to learn how to “pitch” music.

If there was ever a big weekend for the powerful, easy-to-learn choral hymns in Charlottesville, it’s this weekend. After an all-day sing from 9am-4pm this Saturday at the Friends Meeting House—and by the way, you’re invited—Alexander and Ober will bring their group on Sunday to the Virginia Folklife Apprenticeship Showcase. That event will kick off a year-long apprenticeship, during which Alexander and Ober will study under established Shape Note “masters” of the form from Clarke County. 

The Shape Note singers will be featured alongside masters of everything from oyster aquaculture to cheesemaking, Mongolian mask-making to banjo-playing at the festival. “We pair masters with apprentices in various types of traditional folkways,” says Jon Lohman, who runs the Virginia Folklife Program at the Virginia Foundation for the Humanities. “It’s a way to recognize them as Virginia’s folk masters, as well as to shine light on the traditions that people are often unaware of. We want to expand people’s notions of what it means to be a Virginian.”

Shape Note is a religious choral music that was born in colonial New England. It grew popular for its raw emotional power, and because it was easy to learn. Lohman says that the Shape Note tradition flourished along the Great Road, essentially I-81 today, that lined the valley running down the Shenandoahs. The region was a melting pot, but the Shape Note tradition was—and still is—particularly strong in the rural South, Alabama, in particular. What’s taking place in Virginia today, with groups like the one here in Charlottesville, and in Clarke County, he says, is more of a revival.

The chorus sings four syllables—fa, so, la and mi—that are plotted on sheet music with distinct shapes—triangles, ovals, squares and diamonds—intended to make sight-reading easy. As songs begin, singers warm up with a verse using the sounds associated with the shapes; by the second verse, singers start with the lyrics.

Its history is part of what Alexander says makes Shape Note singing a “very democratic tradition.” You don’t go to see Shape Note music performed. You go to sing it with the group. “The songs that are picked are picked by the people who sing the songs,” he says. “There’s no choir director—it’s all very much spontaneous, based on the people who are in the room and what songs call to them, and what they feel like they’d enjoy doing. It’s leaderless.”

And singing it feels really good. “The harmonies are raw and powerful, and the lyrics are raw and powerful,” says Alexander. “People tend to get into a very blissful, meditative state. And if you sing for a whole day”—all day sings last from 9am-4pm, with food and bathroom breaks—“you’re going to be in a very happy state.”

Alexander says he grew interested in the music after finding a record of a Shape Note convention in Alabama in the early 1960s. The convention had been recorded by Alan Lomax, the famous folkorist who, after his father John, had traveled the country collecting many of America’s musical traditions. 

Around the country, Shape Note singing is enjoying something of a renaissance, particularly among an educated class of young people in New England, says Alexander. That is likely thanks to two films that featured the music: Cold Mountain features one of the best known Shape Note songs, “Idumea,” which was written in the Northern Shenandoah Valley; and Awake, My Soul, a 2006 documentary that traced the music to its roots in the rural South. 

“It’s no longer a very staid traditional thing that only exists in rural pockets in the South, which is how it survived in the past,” says Alexander.

Funded through a grant from the National Endowment for the Arts, the Virginia Folklife Apprenticeship is a year-long program that provides masters with an honorarium and apprentices with some money to cover basic costs. Alexander says that, through his apprenticeship, he hopes he will learn how to “pitch” songs—that is, determine the range of the group so that everyone in the group can hit all four parts of a song’s harmony.

The Virginia Folklife Apprenticeship Showcase is on Sunday, September 11, from noon-5pm at the Virginia Foundation for the Humanities, at 145 Ednam Dr., off 250 West in Charlottesville. Check here for details.

Statewide folklife program highlights local Sacred Harp group

My column in next week’s paper is about the Virginia Folklife Apprenticeship Showcase, which is not this weekend but next. Part of the Virginia Foundation for the Humanities, the Folklife Program highlights some of the Commonwealth’s dustier corners, all in an effort to distill what, exactly, it means to be a Virginian today.

For example, one of the traditions highlighted at next week’s showcase will be a master and apprentice maker of Mongolian masks. Mongolian masks at a celebration of Virginia? Turns out, says Virginia’s state folklorist Jon Lohman, the Mongolian population is large enough in Arlington to make it the third most-spoken language in schools there.

But what interested me most about the showcase is a local group called the Rivanna River Sacred Harp. The local group’s two founders will be studying with experienced Sacred Harp leaders from Berryville, in Clarke County, where there is apparently a rich tradition of Shape Note singing.

The tradition began in New England, but is enjoying something of a revival nationally, after some Shape Note tunes were included on the soundtrack to Cold Mountain, and the 2006 documentary Awake, My Soul.

Among the interesting things the guy who runs the local group, John Alexander, told me, was that it is a "very democratic" tradition. The music itself bears this out: The chorus sings four syllables—fa, so, la and mi—that are plotted on sheet music with distinct shapes—triangles, ovals, squares and diamonds—intended to make sight-reading easy. As songs begin, singers warm up with a verse using the sounds associated with the shapes; by the second verse, singers start with the lyrics.

I won’t bore you with the history of Shape Note just now—look at Tuesday’s column for that—but I did want to share what Alexander says is one of the most famous Shape Note tunes, "Idumea."

Categories
Living

Back to (film) school

Earlier this year, I received an e-mail from the lead mentor at Light House Studio, the film mentoring program to which students show up never having held a camera, and sometimes leave with an acceptance letter from a prestigious film school. Jason Robinson, the mentor, said the studio was running a program for advanced students wherein the kids would create music videos over the course of a week for songs by local musicians, and would I be willing to let the kids make a video for one of my songs? (Like many of you, I’m sure, I work from 9am-5pm, then rock all night.) “Of course,” I told him, thinking it would be a cute exercise, like the Adrenaline Film Project meets Nickelodeon’s “Wild and Crazy Kids.” 

Local musician Adam Brock, of Borrowed Beams of Light, stars as a sea monster in the music video that young filmmakers at Light House studio made over week-long workshop. 

Historically, Light House has run the program in conjunction with the Music Resource Center, but Robinson and other mentors wanted students to have real, this-is-not-a-drill industry experience, working on deadlines, cutting video to music and, perhaps most challenging of all, catering to the desires of loopy musicians with brooding temperaments. (Many of the Light House workshops are based on collaborating with the local community.) “There’s so many great local bands in town, and several that already have a relationship with the Light House,” says Robinson. “We’ve never done anything like this before.”

School your kids in the arts
Film
Light House Studio.
www.lighthouse studio.org.
293-6992.
Youth film mentorship studio
based in the City Center for
Contemporary Arts.
 
Music
Music Resource Center. www.musicresourcecenter.org.
979-5478. 
A converted church where students learn to play, record and produce original music.
 
Theater
Old Michie Theatre.
www.old michie.com.
977-3690.
The arts of theater and puppetry for little ones.
 
Live Arts

www.livearts.org

977-4177.
Year-round, process-driven educational opportunities for children, teens, and adults.
 
Dance
Charlottesville Performing Arts School. www.charlottesvilleperformingarts.com.
294-CPAS.
Age-appropriate instruction in dance, music, movement and more. 
 
Writing
The Virginia Discovery Museum. 
www.vadm.org.
977-1025.
Hosts a poetry club for ages 5 and up on the first Tuesday of each month.
 
Visual Arts
McGuffey Art Center.
www.mcguffeyartcenter.com.
295-7973. 
Kids can learn about visual arts through a variety of classes at the converted school.

The workshop started Monday morning with a short course on the heyday of music videos: the late ’90s when you knew a band by its video, and music video directors like Hype Williams, Spike Jonze and Michel Gondry were celebrities in their own right. “I never thought I could show a group of 12 people the Beastie Boys’ ‘Sabotage’ video, and have them go, ‘Whoa, this is amazing,’” says Robinson. “What’s seen as a music video now, is like OK Go videos. They’re built around a really clever gimmick, and they’re so well done, and they’re such a viral video that you don’t even know you’re hearing the song.”

“The younger kids were like, ‘When are we going to go do something? And the older kids wanted to break down and analyze, you know, what made each video successful,” says Robinson. The musicians met with their groups and explained what they wanted out of the videos. 

I was one of three to get the music video treatment, along with tunes by Adam Brock’s rollicking indie rock act Borrowed Beams of Light and the funky local pop group Downbeat Project, fronted by Clarence Green. After meetings and some basic instruction, the students—who ranged from the 7th through 12th grade—cut loose with their mentors, in one case taking to Darden Towe to record the sights and sounds of nature, and in others, covering the room with fake cardboard fish and glitter. 

The final products fall somewhere in between viral, and evocative in the vein of the Golden Age. Both Green and Brock, who are mentors with Light House, star in their respective videos. Brock offered up a new Beams cut called “Hang 1,000,” an instrumental pop journey that sends the reverb-heavy surf aesthetic on a roller-coaster ride. In less than two-and-a-half minutes of video, a sea monster sabotages a game of beach volleyball, and a pair of cops flips their car into a river, narrowly escaping the monster. In the Downbeat video, Green sits in a bar-booth, eyeballing a pretty girl and ruing his bad luck with the ladies; by the song’s end he has mustered the courage to talk to her. But when he approaches, a Tom Cruise-esque short guy puts his arm around the girl. Burned!

“What impressed me was how different they all were,” says Robinson. “This is by far the largest range of ages of any Light House class all summer. But they were all very experienced groups who had taken lots of classes here.” 

Their work also fits naturally in the world of the music video; each was well-made, thoughtful, with viral potential, and—most important for us broke musicians—totally free.

Light House hosts its 10th annual Youth Film Festival at the Jefferson Theater on Friday, September 9,