Elevated cribbing: Wild Nothing played the Southern on Sunday

Guest post by Spencer Peterson

Sunday night at the Southern, when the Blacksburg band Wild Nothing was called out for an encore, Jack Tatum came out beaming—or maybe just blushing and looking down. Whatever counts for beaming for a frontman as modest and unassuming as he is. It was an exciting moment for a small band at a small venue. More than one band-member-mom swooped in to take pictures. “Virginia is for lovers,” Tatum said, and continued playing.

Wild Nothing’s "Chinatown"

Wild Nothing came out of nowhere (read: Blacksburg) with its first album Gemini, a critical favorite that got a nod last year in Pitchfork’s Top 50 Albums of 2010, where Wild Nothing was aptly and not unaffectionately described as “a joint partnership between Virginia’s Jack Tatum and the 1980s.” The songs on Gemini, recorded on GarageBand, a mixer and mic by Tatum during his last semester at Virginia Tech, rely on sounds pioneered by artists like Cocteau Twins, Primal Scream and The Cure. The reverb-heavy guitar is there, as are the sprightly bass lines and drum machine beats. Tatum even sings with a hint of a British accent.

At the Southern, Tatum’s live band opened with “Golden Haze,” one of the warmest summer love anthems of 2010. Tatum showed his hand as the group’s maestro early on, with multiple requests for barely noticeable soundboard tweaks. If Wild Nothing’s live show is about control, it certainly pays off—every strum pattern and lithe melodic lead was taut, seemingly effortless.

More below.

Even when Wild Nothing came to Charlottesville for the first time this February, christening Trinity Irish Pub as an occasional music venue, the showing was surprisingly big, and last night was no different. Seeing this kind of turnout for a group that channels the U.K. in the ’80s begs the question about the line between rehashing and renewal. Of course, Picasso apparently once said, “Good artists borrow, great artists steal.” As a breakout songwriter, apparently its enough that Jack Tatum writes good songs in a nostalgic mode.

But Tatum is pretty candid about where he borrows from. In an Express interview, he said that "when it comes down to it, I feel more like a fan of music than a musician, so why would I try to hide what I was listening to or what I wanted my music to sound like? That might be true of most musicians, whether they say it or not: Your output is dependent on the input."

But even if Wild Nothing’s recordings trade in nostalgia, it’s the band’s live shows that project them past it, with songs like the ebullient "Live in Dreams" or the pouty "Summer Holiday" given a breath of life when freed from the hazy and thin production values of Gemini.

The Richmond glam band Black Girls, who opened along with Infinite Jets, cites influences ranging from T. Rex to R. Kelly to Steely Dan. It was hard to see them make true on all of them, as their Kevin Barnes-ish lead singer falsettoed over impressive instrumentation. As a young Virginia band, these white boys would do well to watch how Wild Nothing does its recycling.

What did you think of the show?

Already saw Picasso this year? Not like this

Guest post by Chelsea Hicks

If you saw the extravagant Picasso exhibit at the VMFA in Richmond, you may be tempted to shrug and say that you’ve already seen his work locally—and recently, no less. But don’t speak so soon: A collection of Picasso’s work opening at Les Yeux du Monde this Thursday show a period when the artist’s work was “happy, for a change,” says Les Yeux du Monde owner Lyn Warren.

The show, “Picasso: Prints from the Mediterranean Years,” runs at Warren’s gallery from this Thursday through August 21. It explores the period between 1945 and 1962, some of which Picasso spent with his then-mistress Françoise Gilot and their two children. The period—coined his “white period” by scholar Victoria Beck Newman—reinvigorated him artistically. (Newman will give a talk on interpreting the nine prints on exhibit before the opening, at 3:30pm on Thursday.)

Pablo Picasso. "Le Picador II," 1961. See more below.

The work is lighter and more accessible, reflecting the freedom of seaside life after the cold days of the Occupation in Paris. The works were not only inspired by the family hikes and beach trips, but also by the vibrant social scene of Antibes and Vallauris, where he lived, with its poets, bullfighters and many of Picasso’s international admirers and friends.

“Purity and light prevail in subject and color,” says Warren of the works, describing Picasso’s domestic-inspired ceramics and sunny prints. The Mediterranean blooms out of the nine prints, and several digital projections, that Warren acquired for the show. The images include prints of a classical figure with a tambourine and a man playing flute, a nocturnal dance, a picador and a bullfight done in 23 colors, among others.

The exhibit was arranged as part of the 2011 Wintergreen Summer Music Festival, “Realms of Gold: A Mediterranean Odyssey.” Charlotte Minor, one of the directors at the Virginia Museum of Fine Arts referred Warren to John Szoke, owner of New York City gallery John Szoke Editions. Szoke’s Picasso prints have been loaned for the exhibit.

Lyn Warren says of Newman and her husband Russ Warren, himself a painter indebted to Picasso, who will also talk on the print selection the following Sunday, 3:30pm, “I feel fortunate to have two of the best to help elucidate the show.”

Between the work itself, and talks from Newman and Warren, having "just seen some Picasso" isn’t a good excuse. You may have thought the Richmond show was your last chance to see Picasso’s work locally. This time it may be true. 

 

"Flûtiste  et Chèvre  savante,"  1959  

 

"Danse nocturne avec un Hibou," 1959

 

Wild Nothing, Sarah White, Heritage fest and lots more

On Sunday night the Blacksburg-based indie rock act Wild Nothing plays at the Southern. The group released a U.K. in the 1980s-indebted record in 2010 that rose to the top of many best-of-they-year lists, and with good reason: some of dem tunes is way-way good, ‘specially the one posted below. Also on the bill is a band from Richmond called Black Girls, voted "Best Band" by the readers of Style Weekly.

Stone Roses’ Cocteau Twins’ Wild Nothing’s "Chinatown"

Two of our best local songwriters, Sarah White (fresh of the Dave Matthews Band’s Caravan) and her sideman Ted Pitney, play a fun summer co-bill tonight, also at The Southern. What more to say about these two? What more? Details here.

The Heritage Theatre Festival kicked off at the beginning of the month, and its first production, My Fair Lady, runs through the weekend at UVA’s Culbreth Theatre. Check out a review of the show here; sounds like the Heritage season, as usual, is doing good work.

Opening tonight and running through the weekend (and the next several, as the case may be) is the Wintergreen Summer Music Festival and Academy at the Nelson County Resort, which hosts a staggering array of classical music events centered this year on Mediterranean culture. For a complete calendar of events, have a look-see here.

Stephen Malkmus announced for Jefferson Theater

On the heels of a long reunion tour with the band that made him famous, Pavement, the former UVA student and WTJU DJ (and indie rock forefather) Stephen Malkmus has been announced for the Jefferson Theater on September 30.

Malkmus and the Jicks have a new Beck-produced album, Mirror Traffic, due out in late August from Matador. Hear the album’s first single below, or some Malkmus classics here.

Stephen Malkmus & The Jicks – Senator by DominoRecordCo

Also announced were shows by Umphrey’s McGee and Perpetual Groove. Details are here.

Finally! An excuse to post this picture posted to WTJU Rock’s Facebook last month, of Malkmus in a WTJU T-shirt designed by Daniel Johnston.

Open Studio files: Ari Berne

Guest post by Spencer Peterson

This week’s Open Studio is a chat with Ari Berne, a local hip-hop artist who’s been rapping since age 10, and recording, releasing and performing locally under the stage name Ghetti for the better part of the last decade. Right now, Berne is working on The Waterbearer II, the followup to 2008’s The Waterbearer, which, when it’s eventually finished, will be released for free via his Facebook page.

Of course, putting tracks on the Internet is part of being small these days, but it fits snugly into the Ghetti production ethos. In 2006, Berne kicked off an underground hip-hop showcase on the erstwhile Star Hill stage declaring that "commercial rap sucks." And if you’ve been charting the increasingly stellar trajectories of indie rap acts like Kid Cudi and Tyler, The Creator over the last couple years, you’ll know that Berne was with—if not ahead—of his time in sounding the death knell for the genre stranglehold of commercial hip-hop. Berne is fan of both Cudi and Tyler, but if you really want to worship at the same altar, you’ll pick up MF DOOM’s Mm.. Food.

Ari Berne. Photo by John Robinson. More below.

For Berne, the magic happens at the Music Resource Center on Ridge Street, where he spends a lot of his time tutoring youngsters in the ways of recording and production, and stays around after hours to edit his own work with the help of local producing phenom Damani Harrison. To get a taste of what’s in store for The Waterbearer II, check out Berne’s last album Get City, or give these tracks-in-progress from the upcoming release a listen—which, by way of warning, are neither PG nor PC.

Categories
News

Eau de Charlottesville

For most of the year my commute to work is uneventful. I see a bookstore, a hamburger joint, lots of people, a coffee shop, some restaurants, and then my office.

Then summer comes. There’s a wet, dusty blast from Daedalus Bookshop as its owner sets up shop for the day. The choking trek past the three early morning smokers on Fourth Street. Coffee, cold fruit and salad bar in pleasant competition at the Blue Ridge Country Store. The dissonant combination of fresh plastic and yesterday’s filth on the public trash cans. The day’s first batch of burgers and fries cooking in peanut oil at Five Guys. Then the office, which doesn’t smell like much.

Summer is the smelliest time of year. The hot and wet of the summer is when flowers broadcast their scent as they reach for the sky, when people take cooking to their backyard grills, and when the waste from it all decomposes in overdrive—all painting a rich tapestry of smells.

When most of us think about the power of the schnoz, it’s life-or-death stuff. Do I smell fire? Is this meat spoiled? Is the milk turned? But the sense of smell goes beyond the practical. It’s one of the brain’s most poorly kept secrets that smell and memory are processed together; it all happens in the limbic system, the seat of emotion. That’s why, if you just moved back to Charlottesville, the smell of a fresh Spudnut on a hot summer morning can be enough to make you weep.

The actual mechanics of our smelling bears out this intimacy. We smell something when vaporized odor molecules, which are chemicals, from a nearby substance enter the nose. These chemicals make their way to the top of the nostril where they dissolve in the olfactory mucosa. An electrical signal is sent to the brain. More than any other sense, smell starts with a form of physical intercourse: taking in a piece of where you are.

It should be no surprise then that the smell of Charlottesville goes far to establish the unmistakable—and until now, unGoogleable—sense of being in Charlottesville.

Nosing through the city’s center: On and around 10th Street

The smell that anchors the morning experience near 10th and Preston is that of coffee roasting in the back of Shenandoah Joe’s Coffee Roasters. Unlike the gorgeous, complex smells hovering above piles of ground beans or a cup of joe, the smell of green coffee beans browning in the roaster is sort of like the scent of a human-scale gingerbread house burning down in your neighborhood every morning.

That’s where I started my walk through these neighborhoods early one recent morning. The SPCA Rummage Sale was not yet open, but its smell, cemented in my memory by repeat visits, lingered just inside the door: cats, their food and their dandruff. Then came the smell that lovers of used crap grow to love: the animal odor of large volumes of dusty, water-damaged goods stacked in close quarters, sour-smelling books and records, and shirts once owned by smokers.

Soil and mulch lay on palettes outside Martin Hardware, the inviting whiff of what gardens smell like before plants, sawdust cooked in butter and cinnamon. Integral Yoga was still closed, but the scent of Nag Champa and melons crept through the automatic doors. On Charlton Avenue around the corner, aroma from a pair of Topsy-Turvy hanging tomato planters briefly wafted to the sidewalk, very fresh, tart to the point of being nauseating. Tired lifeguards waited for Washington Park Pool to open, as the scent of pool chemicals waltzed across the smellscape. It was more or less clear what each of these odors were.

But strolling down 10th Street, smelling became a kind of super-vision that offered insight into all I couldn’t see. My nose said paint had recently been applied somewhere. It told me that the flowers on the stoop of a yellow house had been recently watered. Up the hill, it told me that someone was cooking a breakfast of eggs and bacon. It told me some kid had taken his dog for a walk and left the pummeling funk of his uncurbed pet for someone else to deal with.

At Main Street, I poked my head in the Hampton Inn. Chain hotels that serve continental breakfast—they all smell the same. Soggy bread, burnt coffee and a pile of too many bananas, all portending how bloated you will later feel.

A brief detour down Main brought me to the Amtrak station, where the smell of fresh pavement (melted hockey pucks served over dirt) aggressively wafted about in the early morning sun. I returned to 10th Street as it became Roosevelt Brown Boulevard and walked past the hospital parking lot to discover the odoriferous delights of the Korner Restaurant, lined with breakfast customers brought there by the rich, fetching scent of eggs on the griddle, plus various cuts of pig exploding with grease —a message much more powerful than the sight of the simple building.

Breakfast stench met that of spilled gasoline at the corner of Ninth and Cherry, in front of the Coastal Gas station. The inside of the Laundry Land laundromat, further down Cherry Avenue, smelled relentlessly faux-natural, as if the smell of Mount Pilatus in The Sound of Music had been bottled and spilled across the floor. I stuck my nose in the Salvation Army across the way, and, minus the animal smell, I could have been back at the SPCA Rummage Sale—or any other thrift store, for that matter.

The small bamboo forest across from Tonsler Park, at the corner of Ridge and Cherry avenues, is said to be a haven for feral cats. The foliage in between the mostly scent-free bamboo stalks smelled vaguely like fresh lettuce, or cannabis. Though my sense of smell had allowed me to see so much in the neighborhood, if there were cats, I couldn’t smell them.

Work hard, smell hard: UVA and the Corner

Not having smelled it before, it’s tough to tell how UVA’s recent growth—which has included a new education building, new band building, new cancer center and a new Lawn—has affected the University’s smellscape. But a walk through central Grounds, starting from JPA and moving towards the Corner, offers evidence of a boring palette: the vaguely antiseptic, almost anti-smell of new buildings.

That said, a walk through the University brings a lot of fragrant treats. There was, of course, the fresh-cut grass. The Magnolia tree that frames the Rotunda also issues a smell when it blooms, of lemon and brown sugar crepe that is worthy of the sight’s visual majesty. The nearby gardens smell of blooming sweet Columbine, Rose of Sharon and Wisteria. Boxwoods have elsewhere been described as the “fragrance of eternity,” which is apparently indistinguishable from the smell of cat urine.

South of Newcomb Hall, there is a big grate, where a fried chicken smell has long been a source of intrigue for residents of nearby Brown College. (Imagine a sauna powered by buffalo wings instead of coal.) The grate provides ventilation for the building’s kitchen. I asked a PR person at UVA whether that scent was part of the network of steam tunnels beneath the University. “The tunnels themselves don’t smell,” she said in an e-mail, making the tunnels an exception in an exceptionally smelly place.

If flowers and new buildings is the smell of higher education, the Corner smells like its detritus. The corner of 14th and Grady hosted a pile of vomit that looked like a pomegranate has been left in the microwave too long, its seeds exploded all over, and smelled that way too.

Back on University Avenue, a UTS bus blasted by, wafting the scent of grass, then fuel, as I walked to the Corner. Some small cities are arranged in a straight line, shocking you with their smallness as you pass through. The Corner might be such a place, if it weren’t for two arteries—14th Street and Elliewood Avenue—that, like the district’s armpits, accumulate a smorgasbord of stank. If it’s your stench, you may well love it. Visitors, not so much.

Past the UVA goods store Mincer’s (musk of plastic, printed labels) and Starbucks (dark-roasted coffee), the first few steps onto Elliewood Avenue are odorless as pure water. The smell of the Ragged Mountain Running Shop is nondescript from the outside, but a step inside brings back childhood: When I was a kid and I got a new pair of shoes, I would spend the first few days with my nose under the tongue, until they’d take on the smell of my feet and I’d lose interest. The smellscape inside the shop reads like an epic battle between those extremes—brand new shoes vs. shoeless athletes—and there the new shoe smell is winning.

Yet the foot smell is winning at Marco and Luca’s, where the reek of dumplings, like shrimp scampi served in a sweaty boot, is borderline unbearable if you’re not eating them. Next door, the Corner’s best sandwich shop, Take It Away, hosts the very fetching smell of freshly-baked bread.

Heartwood Books punches you with a wet, dusty, camphoric scent as I walk past its open door. Nearby, dumpsters in the Corner Parking Lot are where the stuff that produces the neighborhood’s smells accumulate to rot. The dumpsters face the tracks, which in turn guide railcars full of coal to the coal-fired plant just over the 14th Street Bridge. The burning coal itself you can’t really smell.

Tucked in an alley on Elliewood is The Copy Shop, where I worked in college. Worse than the menacing, chemical smell of Xerox toner and endless reams of paper is that of the salon next door. The women who visit to get perms would leave behind traces of burning hair—more horrible than you’d think, like a person who ate exclusively salted pretzels being struck by lightning.

Perhaps the smelliest restaurant on the Corner is the Subway on 14th Street, a short walk across the Corner Parking Lot. Across the nation, Subway sandwich shops emit a putrid stench that is supposed to smell like bread. This one is no exception.

“The smell is bread,” a company spokesman wrote me in an e-mail. The smell is “an unmistakable sign that we are nearby and that you will be having your sandwich made on bread that was baked fresh that day.” I decided on dumplings for lunch.

Into the fart of darkness: The east side of town

Walking down Market Street into Woolen Mills on a quest for smells is a little bit like Charles Marlow traveling down the unnamed river into the heart of darkness. It is a quest destined for an olfactory tango with what is perhaps Charlottesville’s most foul-smelling facility: the Moores Creek Wastewater Treatment Plant.

But you can’t smell it yet at the corner of Ninth and Market. Instead, mingling in the air inside the Guadalajara Mexican Restaurant is the unmistakable trio of smells that spell cheap Mexican food: corn tortillas, shredded Mexican cheeses and little lakes of refried beans. Walking past the Inova Building’s parking lot and all the way down the street to Carlton Place, the smell of freshly-cut grass reminded me of baseball.

A team of UVA scientists wrote a paper in 2008 suggesting that air pollution is destroying the scent of flowers, which could possibly explain a decline in bee populations, since they can’t follow scents to flowers (scientists have done a lot of guessing about colony collapse disorder). As a human walking past a flowerbed on a hot summer day on Market Street, I couldn’t tell. The odor of wildflowers popping their heads up from uncut lawns flashed by in a rush of brief episodes. Other smells intruded: an apple so rotten it smells sweet again, roses, musk, cleaning fluid.

Cigarette smoke wafted into my path on my way down Market, but I couldn’t see the smoker. Someone was having a barbeque, the smell conjuring all sorts of memories of high school graduation and suburban living—and then I see it’s coming from Jinx’s Pit’s Top, though it was closed. In an opening between houses, a log splitting machine had quartered a termite-infested tree for firewood (kitty litter, fire, sawdust).

At the corner of Carlton Road there was a pile of wood and plastic detritus labeled “Craft supplies courtesy of your friends at Gropen” that smelled like hamster cage lining in a new Ziploc bag. Beer Run smelled not like beer but more like Guadalajara—burnt cheese. Inside C’ville Market, candies in wax paper mixed with the sweet, wet odor of shrink-wrapped watermelon slices, and in the room where they keep cold produce, rotten lettuce ruined the smell of the rest of the fruit and veggies. Bottles and bottles of wine smelled like nothing but the wood shelves they were stacked on.

From there I turned left at Aqui es Mexico and dipped down Carlton Avenue towards the Hogwaller neighborhood. A motorcycle drove past, briefly masking the molten dirt smell of hot pavement with something that smelled more like a cigarette boat leaking oil. As I walked in this direction I picked up increasing whiffs of an enjoyable combination of hay and dung from what, I didn’t know, until I saw the Charlottesville Livestock Market. Somehow the smell of cows and their output is much more appealing and comforting than the scent of human beings and theirs. (It was coming. The horror…)

A woman wandered by, walking a miniature pinscher. Dogs’ olfactory bulbs are four times larger than those of people. The pinscher used its smell powers to take a whiff of a dead bird (old trash, decomposition) slain against a curb. I pressed on, down Franklin Avenue, past warehouses too far from the road to smell, and descending to Riverview Park.

There it was: one of the worst smells in Charlottesville. It was one of the days when the funk of sewer waste blanketed the easternmost portion of the city—the odor of the Moores Creek Wastewater Treatment Plant, which shares its generous stench with the neighborhood.* It’s a vicious blend of sewage, decomposition and chemicals, a potent counterpoint to the homey smell of Hogwaller’s livestock market. I nosed inside the sun-warmed Porta-John at the entrance to Riverview Park to compare it to what’s outside: Gag. Sure enough, sister smells.

“One of the naturally occurring characteristics of the treatment of human organic wastes is the odor emanating from it,” reads the website for the Rivanna Water and Sewer Authority. The Rivanna Water and Sewer Authority, which operates the facility, is planning an upgrade—cost estimates range from $27 million to $37 million—that could improve the plant’s capacity and improve the smell of the neighborhood by enclosing the stinky facility and employing scrubbers.

Yet some of the plans that would improve the smell would instead blight the neighborhood with an expanded pumping plant next to Riverview Park. In short, residents would exchange a nosesore for an eyesore.

But at least you can avoid an eyesore: Shut the blinds, look away, close your eyes. Close your nose? That’s a different story.

Smelling you later

There can be no authoritative “smell of Charlottesville”; as with much else, it smells like many things to many different smellers.

But the smell tour through Charlottesville, as it turned out, was sort of a tour through the processes of a day in the life of our city. Following your nose, you can discover where the coffee comes from, and where it’s just drunk. You can find out where something’s being built. (Some things literally smell like a rat, and others fishy.) You can smell whether something is asleep, or dead and actively decomposing.

For you, it may be the smell of cow patty, dumpster, cat pee or a dead animal on the street that pulls the little string in your head, and the little “Charlottesville” bulb lights up. But whatever it is, it’s the smell of home.

* Due to a reporting error, an earlier version of this story said that compost at the Moores Creek Wastewater Treatment Plant was partially responsible for the odor in Woolen Mills. In 2008, the RWSA’s sewage plant on Moore’s Creek stopped composting biosolids at the site and started shipping them off to a facility in Richmond, with hopes of lessening the foul odors in the air.

Get your photo on the cover of C-VILLE

Things are about to get ugly at C-VILLE Weekly. That’s because our art director—the guy who makes ours such a pretty paper to behold—is going on vacation.

So photographers, we need your help. Submit a photograph for a chance to see it on the cover of our July 26 issue. Otherwise, things may get really ugly—we’re talking MS Paint ugly.

Details are below.

C-VILLE is looking for submissions for our annual photo contest. We are seeking high quality prints featuring local people, places or things (no smaller than 4" x 6"). Preference may be given to vertical compositions. Photographers may submit multiple entries.

Winners will be published in the July 26 issue of C-VILLE. Deadline: July 7. Entries must have photographer’s name, address, and phone number securely attached TO EACH PRINT. (Prints only.)

1st Prize: $500 gift certificate from Pro Camera; 2nd Prize: $250 gift certificate from Fast Frame; 3rd Prize: $100 gift certificate from Zocalo.

Send or hand-deliver to: C-VILLE PHOTO CONTEST 308 E. Main St., Charlottesville, VA 22902. Prints will not be returned.

To see past winners, click here (for 2008), here (for 2009) and here (for 2010).

Categories
Living

Front and center

My conversation with Julie Hamberg starts with a diction lesson. “Am I reaching you in Louisville, Kentucky, today?” I ask.

“Yes, but Loo-wa-ville,” she says. “Loo-wa-ville. You have to swallow it a little bit more.”

Zombie Prom opens later this month at Live Arts, in the City Center for Contemporary Arts (pictured). It is one of many shows already planned through August 2012.

Lessons in diction are about to come in handy for Hamberg, who was hired last week as the artistic director at Live Arts. In that role, Hamberg will be responsible for guiding what has traditionally been a committee of staff and volunteers through the process of selecting the theater’s programming, setting the artistic pace at our most visible community theater—all while learning how to correctly pronounce names like Rio, Rivanna and Staunton.

“I don’t want to talk about plans yet,” she says. “I’m going to have lots of good ideas, but I’d rather wait to get to know the community before I start getting into it.” She has time: Hamberg starts work September 1, and Live Arts has its performance schedule planned through August 2012.

But her resumé, and our conversation, made clear that her interests lie mainly in new plays. (Her husband is a playwright.) A press release from Live Arts said that Hamberg has brought 75 new plays to the stage in her career, which has included stints at theaters in New Orleans, where she was most recently Interim Producing Director at Southern Rep. She has also worked in theater in New York and Ann Arbor, Michigan. Asked for her favorite playwrights, she chooses to talk about a new play she saw at Louisville’s Humana Festival of New American Plays.

Hamberg also brings a healthy relationship to older works of theater, which can be reliable blockbusters—especially important for bringing fresh blood into theaters. “I will absolutely be doing classics,” she says, correcting herself: “We’ll be doing classics.”

“They’re classics for a reason. One of the things that I would do—and I’m pretty darn sure that the past artistic director did the same thing—is that you choose a classic because it’s resonating for you, and hopefully for the community at the specific time,” says Hamberg. “You don’t pull one out of your head. You do it because there’s something happening in the world right now that, you say, ‘We have to see this now because it means something right now.’”

In her work Hamberg says that she is drawn to the theatrical, strictly defined: “Basically, if it can’t be a movie.” To that end, Hamberg says she’d also like to help expand the theater’s offerings. “Live Arts was founded with the idea that there would be other kinds of performance—dance and comedy and parade,” she says.

When Live Arts’ executive director John Gibson left the theater in early 2009, the theater’s everyday leadership was split into an executive director position, currently filled by Matt Joslyn, and an artistic director position. Longtime volunteer and Live Arts presence Satch Huizenga was hired, resigning last December. The quiet circumstances of his resignation, for “personal reasons,” upset some members of the theater’s large community of volunteers. Hamberg was hired after a seven-month nationwide search, conducted by Live Arts’ Board of Directors.

The challenge for Hamberg—as it was for Huizenga and Gibson—will be to keep an audience in the chairs. “We’ve definitely been discussing how to start bringing in a larger audience, but that, too, I think I need to know the community better before I can start being very specific about how that’s going to happen,” she says.

But even in her short time, she has found Charlottesville to be enthusiastic about the stage. “Everyone was so passionate about the theater,” she says. “Even down in New Orleans, we did not find too many people who were not eager to talk about, argue about, and were knowledgeable about theater—and New Orleans is a much bigger town, and a pretty big theater town.”

Her impression of Charlottesville, after interviewing with Live Arts volunteers and staff, and walking the Downtown Mall, was that, “Everybody loves it so much,” she says. “I’m kind of concerned that perhaps Charlottesville is filled with vampires or something.”

Places #2: Patrick Costello

"Places" is a new feature by where local artists show us the places around town that inspire them.

Guest post by Anna Caritj

“My muse is everyone’s grandma,” says Patrick Costello, scraping his foot along the sidewalk in front of his “huge, beautiful, double porch Charlottesville mansion” at 712 Nalle St. We’ve just rounded the block, the neighborhood speckled with lush back gardens, long wraparound porches and bits of broken glass. The walk is familiar to Costello; a circumambulation of sorts, in which the young artist consciously moves around the sacred object of his inspiration: the home.

In this way, his affinity for grandmas makes sense. He works with materials of the home, using tools of comfort and closeness by stitching soft fabrics, jamming handpicked wine berries, and reaching out to his housemates—his “family unit,”—for collaboration and inspiration.

— 

Does this place remind you of anything?

My grandparents’ house in Idaho Falls. When we’re there, my grandma is cooking, my mom is cooking, her sister is cooking and there are a million kids and a million people everywhere in this really small little space. [As kids,] we were always putting on plays and playing music in the living room and there was always noise everywhere. This house has that same energy. I don’t need it to be quiet; the presence of other people helps my work. I’m a verbal processor and if there are people to talk to and things going on, ideas happen.

Does nostalgia come into play when dealing with the home?

When you’re dealing with the domestic sphere as a point of inspiration, it can very quickly become too precious or too dark. It’s something I’ve always struggled with in my work. Often times I look back at it later and I’m like, “Ughh! This is so…benign, so precious.” That’s where I tend to lean more than the dark side of nostalgia: I tend to over-romanticize. I don’t want to make art that’s nostalgic and precious, but I don’t want to make art that’s not tied to place and memory. I’m sitting between so many of those ideas, but that’s why I make art: I want to be part of the process.

Many of Costello’s pieces reflect this focus on relationships, closeness, and home. They often feature an enclosed center or core, filled with shooting stars or endless, oceanic waves of earthen mounds (“I spent a whole Spring drawing the compost heap over and over and over,” he says.) Surrounding these spaces of cosmic and agrarian infinitude are pastel geometric patterns, reminiscent both of thick woven afghans and the beams and bricks that construct a sturdy home.

In a piece called “Gimmiedat!”, two hands—swarming with streaking comets and celestial dazzle—cradle a quilted space in efforts to grasp the core: a foamy, green, seemingly sacred triangle. However, the fingertips never quite reach around that site of warmth, implying a piece always missing, always incomprehensible, when it comes to the meaning of home, of place, and of comfort. This unreachable space also suggests an open and infinitely flexible expanse rather than one of stagnancy and entrapment. Here, "place" is not static, but ever changing, teeming with creation, destruction and an endless spectrum in between.

  

 

 

The Mall turns 35; celebrating Independence Day; First Fridays

To put the Downtown Mall’s 35th birthday celebration in perspective, consider this: Fred Savage, who played Kevin in the coming-of-age TV show "The Wonder Years" was born early this month 35 years ago. Celebrate the Mall’s birthday all weekend, with "performances, cake, musicians, games, dancing, a Kid’s Carnival (!)" and more. Sounds like a "Wonder Years" episode. Happy birthday, Mall; happy birthday, Fred Savage.

Included under the banner of that celebration—the Mall one—are Fridays After Five and Finally Fridays, two nearly identical music events that today continue the second week of their peaceful co-existence. Tonight The Main Street Arena hosts the country act Sweetwater, and the Pavilion hosts Southern rockers Down ‘Til Now.

Why leave the mall? Mostly confined between those two venues are today’s First Fridays. Plenty of excitement to be had there: The Garage hosts prints by Jason Kachadourian, which look great; Chroma, McGuffey and most local galleries have new shows up. On your walk, pick up this week’s C-VILLE and flip to the Galleries page for complete listings.

It’s Independence Day Weekend, so remember—wear gloves while shooting off firecrackers (actually, don’t), have a glass of water for every beer you enjoy and apply lots of sunscreen. How to celebrate? The Newsplex hosts fireworks and fun Monday night at McIntire Park, though there’s free parking at Charlottesville High School. Best bang for your buck (it’s free) is up at Monticello, where Muhtar Kent, CEO of America’s most recognizable brand, Coca-Cola, presides over the Naturalization Ceremony, wherein noncitizens become Americans.

Two great, glum Richmond bands play at the Tea Bazaar on Friday night, and I’ll let their darkly enjoyable music speak for itself:

White Laces’ "Motorik Twilight"

Diamond Center’ "Caraway"

What are you up to this weekend?