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Freight Train jumps the track

Six Years marks an evolution for Charlottesville’s Old School Freight Train, in which the band leaps from the well-traveled track of “newgrass” onto a blend of pop and traditional music that’s all its own.

 Place your bets on the new Old School Freight Train record, the long-awaited Six Years. The album will be released during a pair of shows at Gravity Lounge on Saturday, March 21.

The young string benders formed in 2003, and took their jazz-infused bluegrass jams to festival stages. They caught the ear of newgrass legend (and Jerry Garcia collaborator) David Grisman, who asked OSFT to perform as his backing band. CMH Records tapped the band to contribute to their Pickin’ On series, playing bluegrass versions of hits from artists like Coldplay and Wilco. Given this dabble in pop/bluegrass fusion, perhaps OSFT’s new track is not entirely unexpected.

On their 2005 release, Run, OSFT covered the jazzy newgrass territory that made the band a hit on the festival circuit, and established the members as masters of technique on their respective instruments.

For Six Years, the band retained its musicianship and interpersonal chemistry, but the group’s skills serve tight, crafted songs.

Gone are the bluegrass boom-chick rhythms. Each track on Six Years weaves elements of jazz, folk, country, rock, blues, Latin and Celtic styles into pop songs rarely clocking in over four minutes. The OSFT technique and chemistry manifests itself in each song’s sense of musical geometry—guitar, bass, drums, violin and mandolin weave into catchy pop melodies without overcrowding. The self-produced record is high-quality, so listeners can savor the rich bass runs, vocal harmonies and a particular highlight—violinist Nate Leath coloring moods with a cello that soars and snarls appropriately.

Six Years opens with a somber rendition of the Blondie hit “Heart of Glass” that sets the broken-hearted tone (and marks OSFT’s bid for a MySpace download hit). On each song the band builds a soft nesting place for sensitive vocals in the vein of John Mayer and Jack Johnson. The lazy afternoon feel on “Let Me Go” or the girl-dumps-boy melancholy of “Seems Like It’s Over” and “Get Down” would fit nicely on today’s FM dial.

Whether they find commercial success (in the same way Old Crow Medicine Show refined its traditional sound into dark postmodern country on last year’s popular release Tennessee Pusher), OSFT has an effort deserving consideration.

The most excitement comes when OSFT shovels some coal into its engine. On tracks like “Wake Up,” or the title song “Six Years,” the band opens into a bigger, more rock-driven sound that adds a bit of fire to its technical prowess. Hopefully OSFT will continue trying out new ways of playing together and taking more evolutionary risks. Six Years is a low-key breakup record—it will be interesting to see where the band goes when the wounds heal.

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News

Straight Outta Compton [with video]

cd

In 1988, N.W.A. changed the course of popular music with their debut album, Straight Outta Compton. It wasn’t the first or the best "gangsta rap" album, but Straight Outta Compton sold two million copies, proving that white American teenagers hungered for profanity-laden, hardcore rap music. This month, Priority Records is celebrating their lucrative discovery with the 20th anniversary re-release of N.W.A.’s now-classic record.


Gangsta, gangsta, that’s what we’re yellin’! N.W.A.’s landmark rap record Straight Outta Compton celebrates 20 years of hard knocks and Richard Pryor-inspired swearing.

The re-issue includes four bonus tracks featuring gangsta rap stars like Snoop Dogg and Bone Thugs-N-Harmony performing updated versions of N.W.A. hits "If It Ain’t Ruff," "Gangsta Gangsta," "Dopeman" and "Fuck Tha Police," as well as a live version of "Compton’s In Tha House." But these covers sound like tepid tack-ons compared to the fury of the original tracks, especially the incendiary title track and "Fuck Tha Police," the song that punched N.W.A.’s ticket to fame. When the F.B.I. publicly condemned the song, Straight Outta Compton became a must-have for white teens eager to shock their parents.

Ironically, gangsta rap started out as a big joke. It was the raunchy comedy of Richard Pryor that introduced teenage buddies Andre "Dr. Dre" Young and O’Shea "Ice Cube" Jackson to the power of naughty words. Indeed, Straight Outta Compton captures the essential appeal of gangsta rap: After a long day, a bass-heavy tune full of f-bombs on the joys of smoking weed and killing one’s enemies somehow hits the spot.


Music video for N.W.A.’s "Straight Outta Compton." [Warning for suckas: Some content is mothaf#$%ing crude, yo.]

Record executives that had scorned N.W.A. as vulgar and unlistenable soon embraced gangsta rap. Talented hip-hop artists found themselves pushed aside in favor of so-called authentic thugs. Gangsta rap began to resemble a new kind of minstrel show playing on age-old white stereotypes and, in a sad tale of life imitating art, rappers Tupac Shakur and Biggie Smalls both died as a result of a feud between California and New York gangsta-rap record companies.

Twenty years after Straight Outta Compton, the hip-hop industry is still rehashing N.W.A.’s blueprint. Perhaps the reissue of Straight Outta Compton will remind hip-hop fans how that record rose from the underground by defying expectations. Maybe they’ll wonder about the talent currently being ignored by a hip-hop industry fixated on a style that’s now 20 years old and counting.

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Out of the ordinary

It’s a good time to be Gomez (www.gomeztheband.com). The British quintet is all over America’s telly, rocking Jay Leno and Conan O’Brien, even landing a song on the hit show “Grey’s Anatomy.” In Charlottesville, they will appear in the flesh on Tuesday, January 23, at Starr Hill Music Hall.


The British band, Gomez, is growing by leaps and bounds, thanks in part to Dave Matthews and Coran Capshaw’s baby, ATO Records.

After a 10-year career and five studio albums, Gomez owe their sudden burst of airtime—and their first appearance in Charlottesville—to ATO Records, the label founded by Dave Matthews and Coran Capshaw, which signed Gomez last year.

“This is the most attention we’ve received in the United States, by a long shot,” says singer and guitarist Tom Gray.

The spotlight is trained on Gomez’s new album, How We Operate, released this past summer. Their first effort for ATO marks another evolution for a band that has defined itself by refusing to be defined.

Gomez broke out in 1998 with Bring It On, embedding melodic hooks within sprawling, experimental compositions. Bring It On earned Gomez a wreath of “next big thing” laurels, and they went to work on Hut Recordings, a subsidiary label that British media behemoth Virgin designed to tap the booming market for quirky, independent music. Gomez continued writing catchy rock spiced with studio wizardry on subsequent albums Liquid Skin (1999), In Our Gun (2002) and Split The Difference (2004).

“Gomez really came into being for the purpose of genre-busting,” says Gray. “We didn’t want to sit in one place and be ordinary. We tried to do something different every single time.”

Such an approach defies an industry that relies on labels like “alternative” or “low-fi indie-alt-polka-core” to peddle bands in ever-narrowing consumer niches. Though Gomez’s musical pastiche lured listeners of various stripes, they never became the big thing Virgin hoped for.

Hut Recordings shut down as Virgin “downsized” several years ago, and Gomez asked Virgin to release them. Soon afterward, Chris Tetzeli of Red Light Management tracked down Gomez at a New York performance and signed them to ATO in 2005.

“Getting out of [Virgin] was a huge relief,” says Gray. “These guys [at ATO] are lovely. We know who owns the company. It’s actually founded on the basis of building careers in music, rather than milking something quickly in the marketplace.”

For How We Operate, ATO hooked Gomez up with veteran producer Gil Norton, who previously worked with the Pixies and Foo Fighters. Gray says Norton helped the band build songs efficiently, instead of “just throwing stuff around” in the studio.

The band’s experimental style is still evident on How We Operate, but the effects are subtle, not sprawling. Sly oddities (like sudden bursts of silence on “Notice,” or a robotic banjo riff that kicks off the title track) come tucked into tightly constructed pop songs like blueberries in your pancakes. Songs like “See the World” are sweet but not saccharine, made for iPods.

In fact, Gomez has thrived in the digital age, where one catchy tune can spread like a virus. Single-song downloads, along with songs sold for movies and TV, now makes up one quarter to one third of the band’s income, says Gray.

Rock bands still need to hit the road, though, and Gomez is now on an extensive American tour (in a bus burning bio-diesel fuel) opening for O.A.R. and headlining with Ben Kweller. In Charlottesville, they will show why their eclectic spirit has earned them a reputation for dramatic live performances. “Expect dynamics,” says Gray. “We like to do very quiet and very loud. Hopefully when people walk away, they feel entertained because they haven’t had a chance to get bored.”

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Growing up in public

When Joy Johnson moved into Westhaven, the City expected public housing residents to follow the rules, not help make them. With little else besides willpower and her own commanding voice, she has given residents unprecedented influence in the notoriously raucous world of Charlottesville housing politics. As an activist, Johnson has relished her role in the mix, but as a mother, she is ambivalent about the challenges her family has faced as a result.

Charlottesville’s City Councilors, like most politicians, usually conceal their emotions. Aware that TV cameras and an audience are looking on, the Councilors sometimes can be seen struggling to suppress eye rolls when they hear something they regard as rubbish. Joy Johnson does not cultivate that skill.
    On May 5, she stood in the back of City Council chambers, her arms folded across a red flowered dress, glaring at the five Councilors and City Planner Satyendra Huja. The official faces were stoic as Prospect Avenue resident Yvonne Shackleford commented on the City’s plan to purchase, refurbish and resell rental homes on the 700 block of her street. Shackleford wondered why, when Council says it welcomes citizen participation, no one bothered to tell Prospect neighbors about the plan or the meeting. Also, Shackleford was angry about language in Huja’s report that implied it was renters on Prospect, like her, who sold drugs.
    “I am a 66-year-old female who continues to be employed,” Shackleford said, giving voice to the decades-old frustration felt by many of the City’s low-income residents. “I also have a 66-year-old husband who is disabled. Does this sound like someone who causes trouble in the community? Why should blacks continue to be uprooted to allow housing for the median income? Will this again be another Vinegar Hill?”
    Others had signed up to speak about Prospect at the beginning of the meeting, which is typically devoted to public comment, but Mayor Maurice Cox closed the public comment period when Shackleford finished.
    Johnson, like other housing activists and Prospect residents, had come to hear Council discuss Huja’s report. Between the public hearing and the Prospect report, however, three other agenda items consumed two-and-a-half hours. Johnson, a single mother who raised her four children in public housing, withstood the tedium of bond refinancing and cable TV franchise agreements, breaking her glare only to make funny faces at an infant a few rows ahead of her.
    Huja’s report outlined his plan to extend the City’s housing strategy to Prospect Avenue. The City partners with the Piedmont Housing Alliance, a non-profit funded largely by anonymous “interested parties,” according to the report. The City and PHA buy homes in poor neighborhoods, evict the renters who live there, then refurbish the homes for resale to middle-income homebuyers. Council unanimously approved the plan for Prospect’s 700 block.
    “That was some bull,” Johnson said after the meeting. “Maurice knew people were there to hear about Prospect. He could have moved it up on the agenda…he’s done it before, with stuff he likes.”
    When City Council talks about its “housing strategy,” Johnson says, many people still think of its first such strategy––the bulldozing in the 1970s of black-owned homes and businesses to make room for commercial development in a neighborhood known as Vinegar Hill. When PHA moves into black neighborhoods, Johnson sees the same old racist agenda.
    “One thing I’ve learned is that the situation doesn’t change,” she says. “Who is it that they want out of Charlottesville? Poor people.”
    Johnson has spent the past 20 years fighting “them” in what she casts as the neverending struggle between the poor and the powerful. With no weapons at her disposal except her own voice and a will to learn the terms of battle, she’s given low-income residents a significant influence in City Hall. In the political arena, Johnson has been successful drawing lines between “us” and “them” and attacking the enemy with the full force of her giant personality.

But the struggles of single motherhood have been harder to vanquish. Indeed, Johnson’s recent challenges as a parent, played out in daily newspaper headlines and meeting rooms, have earned her as much notice as her advocacy work ever did.

Like water, Joy Johnson’s voice expands to fit the room. Her voice can be soft and punctuated by her distinctive chuckle, or it can deliver unmistakable anger and the occasional expletive. Her speech is still spiced with the Jamaican accent of her homeland.
    When Johnson was very young, her mother left the island for New York City. Johnson divided her time between grandparents, living sometimes in the Jamaican countryside and sometimes in a Kingston tenement. To this day, she hates cold weather and refuses to drink coffee because she picked so many beans in her youth. But her fondness for tenement life never subsided.
    “I didn’t appreciate it then, but when I grew up there were always family members around,” she says. “There was no such thing as living in a neighborhood by yourself. I think that’s why I have a strong connection to public housing. That’s where my roots are.”
    Johnson’s first experience with racism’s “us” and “them” came when she moved to the United States at 13. She stayed briefly with her mother in New York before moving to Charlottesville to live with her aunt, Ruby White. “New York was O.K., but Charlottesville was the pits,” she says, recalling her reaction to the town’s racial segregation.
Somehow her aunt maintained a positive outlook—and inspired her niece with that attitude. Johnson still gets teary thinking of White. “Aunt Ruby was my rock,” she says. “Her gift was seeing the good in everybody. I wish I could be that way, but I’m not there yet.”
    Johnson dropped out of high school during her junior year (she later earned a G.E.D.) She trained as a nurse’s aid in 1977, when, at 19, she became pregnant with her first child, a boy she named Adrian. Three years later, she had twins, a boy, Jamie, and a girl, Janie. Another daughter, Eva, was born in 1983. That year, Johnson moved into the Westhaven public housing complex on Hardy Drive.
    “If there was a statistic, I was in it,” she says. “Poor, black, single mother. I was in an abusive relationship.”
    Yet Johnson didn’t behave like a statistic. When the City’s Housing Authority raised its deposit requirement to $100, it asked longtime residents––some who had paid deposits of as little as $15––to pony up the difference. Johnson saw this as unfair to her neighbors, so she joined the Westhaven Tenants Association and successfully fought the Authority’s attempt to collect back deposits.
    At about the same time—the mid-1980s—UVA and the City started talking about “redevelopment” after a UVA professor was killed in the 10th and Page neighborhood adjoining Westhaven. Many neighborhood residents feared UVA would initiate a second Vinegar Hill by wiping out low-income neighborhoods to build a basketball arena in central Charlottesville.
    “It was a real fear,” says Jay King, president of the Charlottesville Foundation of Neighborhood Associations. The group’s goal at that time was to organize neighborhood associations against the mighty UVA and persuade City Council to direct Federal money into neighborhood improvement instead of commercial development. Joy Johnson became the group’s vice president.
    “We wanted a network that wasn’t Democrat or Republican, that was committed to the collective interests of the neighborhoods,” says King. “Joy was a major leader in that.”
    Johnson’s political education took a leap forward around 1990. Thirteen-year-old Adrian was extremely bright but doing poorly in school, she says. Rick Turner and William Harris, black UVA professors known for their local activism, organized a Saturday school for black students.
    “At the time, 80 percent of youngsters in Westhaven had been labeled for special education,” says Harris, who now teaches at Jackson State University in Mississippi. “In a short time, we had them able to handle physics and abstract algebra with substantial improvements in reading and writing. They had been relegated to special education because of their address, not their abilities.”
    Harris noticed Adrian’s talent for numbers and drawing and encouraged the boy to pursue engineering. He also appreciated Johnson’s willingness to do what few others do––speak fearlessly to City leaders on behalf of low-income people.
“There’s no woman, black or white, in Charlottesville who has her courage,” Harris says.
    Johnson was earning a reputation as a tough and effective advocate for poor people. “I learned that if you go to the meeting, you have to speak out,” she says. “If you don’t say anything, then you’re just a quota.”

The Monticello Area Community Action Agency (MACCA) sent her to national conferences where she learned about poverty issues in the company of other activists. On her own, she religiously studied the Federal manual on public housing published by the department of Housing and Urban Development (HUD).
    Johnson was getting a rep around Westhaven, too. Her daughter Eva remembers that even classmates knew of her mother. “If kids were teasing me or whatever,” says Eva, “then others would say, ‘You better watch out, her mom is Joy Johnson.’”
    Johnson stumbled across an age-old principle of rising celebrity––your own people turn on you first. Some public housing residents began to see Johnson as a self-promoter with friends in high places.
“They started to see me as the Housing Authority, not as a resident,” Johnson says.
    Never one to shy away from a fight, Johnson met these challenges with characteristic fervor. Once, in a political argument with another Westhaven resident, Johnson threw a bottle at the woman’s car. The outburst earned her a stint at court-ordered community service.
    “That was dumb, dumb dumb,” says Harris. In what would become a familiar scenario, Johnson’s opponents used the occasion to criticize, while her supporters defended her.
    Her growing activism and self-sufficiency was, ironically, taking a toll on her personal life at about that time. Partly in response to burgeoning awareness of the conditions affecting Charlottesville’s poor—awareness that Johnson fomented—UVA in the early ’90s initiated a program offering City residents jobs at the Medical Center. Johnson worked nights in the records office, which left her days free to volunteer for community work. Almost simultaneously, Adrian and Jamie were becoming rebellious teenagers.
    “That’s when I lost control of my sons,” she says.

Charlottesville’s political class is fond of saying that democracy is in the hands of “whoever is in the room” for the debate. Johnson became a familiar figure in the room, often chastising a City Councilor or waving a dog-eared copy of public housing regulations at a Housing Authority commissioner. What she discovered, she says, is that while City leaders call for public participation in government, they’re not always comfortable when poor people challenge the status quo.
    “I was raw,” says Johnson. “If there was a curse word in there, it would come out. I’m still raw, but I do my homework now.”
    Johnson was earning reputation in City Hall as a formidable and knowledgeable activist. When Alex Gulotta arrived in Charlottesville to direct the Legal Aid Society in 1994, he says, Joy Johnson was on the top of his “people-to-meet” list: “At the time she was the most visible and vocal advocate for low-income housing in the community.”

At that time, each of eight public housing sites in Charlottesville had its own tenants’ association, and Gulotta says, the Housing Authority knew how to play one site against the other. The Authority would tell Westhaven, for instance, that there was no money to fix the sidewalk because South First Street just had received a new playground.

“Joy could see the structure pitted one low-income community against another,” Gulotta says. “She knew the solution was to connect people in their common interests. It was crystal clear to everyone that she was right, but it didn’t happen until she put energy into it.”

In 1998 Johnson organized the Public Housing Association of Residents (PHAR) with the goal of empowering low-income residents to protect and improve their communities through collective action. PHAR brought a resident’s perspective to a Housing Authority accustomed to making policy without consulting the very people who would have to live with it.

Now PHAR members help new public housing residents understand their lease agreements, survey residents to learn about their concerns and lobbies City Council on affordable housing and other low-income issues. PHAR developed a program to hire public housing residents as interns, training them in community activism. One of the graduates includes Johnson’s daughter Janie.

“It’s one of the more successful organizing tools I’ve ever seen,” Gulotta says.

Last year, PHAR received a $100,000 grant from HUD to partner with Piedmont Virginia Community College to create a program called Connecting People to Jobs. It’s designed to move public housing residents into higher-wage jobs by connecting them with job training, education and support services.

“I think PHAR has really shaped the way the City treats low-income people,” Gulotta says. “Now there’s not a substantial Housing Authority policy residents don’t have a say on, because they’ve been able to demand it through PHAR. That’s definitely a product of Joy Johnson’s vision.”

PHAR became the megaphone allowing Johnson to make an even louder ruckus in housing politics. While the organization helped inject the views of the poor into City politics, PHAR was not without its own internal strife. In April 2002, a mediation group surveyed public housing residents as well as PHAR and Housing Authority employees. Many of the respondents said they perceived PHAR as too “strident, confrontational and reactive,” in the words of the resulting report, and that its “leadership is suffering due to personal problems and internal turmoil.”

Indeed, there has been a high turnover rate among PHAR employees. Current and former PHAR staff, as well as Executive Director Audrey Oliver, would not comment on whether Johnson’s personality has contributed to PHAR’s internal problems.

“We don’t always agree,” says Oliver, a childhood friend of Johnson’s. “But Joy is always there for me, when I get in a bind.” In 2000, Oliver was elected to chair the board of the Charlottesville Housing and Redevelopment Authority. She credits Johnson with getting her involved in politics.

“She said she’d always be there for me,” Oliver says, “and if we didn’t have that agreement, I wouldn’t have taken that seat.”

In November 2001, police arrested Johnson’s eldest child, Adrian, after he twice sold crack in the presence of an undercover witness four months earlier.
Then, last June 28, officers from the Jefferson Area Drug Enforcement Task Force (JADE) executed a Federal search warrant on Johnson’s Westhaven apartment. The warrant was based on tips from informants that 21-year-old Jamie was selling crack cocaine and in possession of an illegal gun. Agents recovered a .25-caliber Beretta handgun and crack cocaine from Jamie’s room. At that time, both Adrian and Jamie had been banned from Westhaven for prior offenses.
    Police conducted a second raid on Johnson’s apartment on August 7. Officers found Adrian and Jamie again at the apartment this time with marijuana and fake cocaine.
    After the arrest, the Housing Authority initiated eviction proceedings against Johnson, her two daughters and granddaughter who all lived together at 842 Hardy Dr. PHAR’s lawyer, Legal Aid attorney Claire Curry, helped Johnson battle the eviction proceeding. Through the course of the high-profile drama, the Housing Authority’s “one strike and you’re out” policy came under scrutiny. Johnson had supported the policy as a Board member in 1999.
    The heart of Johnson’s argument against eviction was another Housing Authority policy that requires the Authority, once it begins eviction proceedings, to notify residents that the proceedings remain ongoing every time the resident pays rent.
Yet again, Johnson became a polarizing figure. Her detractors, including many in public housing, said she should be evicted because many other residents had been evicted under similar or exact circumstances. Her supporters, however, believed Johnson had been targeted because of her high-profile activism. The Housing Authority dismissed Johnson’s case on a technicality, letting her and what remains of her family keep their residence. But that positive outcome was not without a price. Johnson was eventually forced off the Housing Authority board.

And Johnson’s case leaves a bitter—and familiar—taste in the mouths of those who suspect the powers-that-be don’t like a loud-mouthed black woman calling them to task.
    “I believe it was political retribution,” says Harris. “No person should get away with violation of the law, but it would take a perfect fool or a racist to think that was the only drug-related criminal activity going on in Westhaven at the time.”
    Ed Wayland, former director of Legal Aid, doesn’t buy the conspiracy theory. “It would be uncharacteristically effective of the Housing Authority,” he says.
“Luck, chance and incompetence are much more common ways for things to happen than orchestrated conspiracy.”
    Gulotta says he has no evidence that Housing Authority officials tipped off JADE about the presence of Johnson’s banned sons. Still, he allows that Johnson was a being watched carefully by the Authority.
    “I interviewed an ex-employee of the Housing Authority who said that once she caught Joy in a violation and brought it to [then director] Del Harvey saying ‘Have I got a present for you.’ That speaks to the mentality around there,” he says. Harvey declined to comment for this article.

On Tuesday, May 6, Johnson was sitting in her apartment mulling her prospects as an activist and mother with an interviewer. She had just spent the morning working in the Westhaven computer lab and was eating lunch before going to the Westhaven nursing clinic, which she helped keep open after UVA pulled its support three years ago. Her daughter Janie was leaving for a PVCC class with an armload of books. Her granddaughter, 2-year-old Ajayla, scampered down the stairs in her underpants as her mother, Eva, chased behind.
    Johnson’s wall is covered with pictures of her family––one of her favorites is a large double portrait of Jamie and Adrian. She muses on the personal cost of her activism. While in 20 years her work has brought new opportunities for political involvement for low-income people in Charlottesville, it has taken a high personal toll on Johnson herself. Maybe the activism took up time she could have used to finally get out of public housing; maybe if she hadn’t worked so hard for others, her sons wouldn’t be in jail.
    “Looking back on it, I’m not sorry that I did it,” she says, in an uncharacteristically quiet tone. “I didn’t see it as taking away from them. I saw it as doing the right thing. If I could do it over again, though, I’d find a way to get a handle on that peer pressure. It whipped my behind.”
    Eva says she no longer discourages her mother from attending meetings and speaking to City Council.
“I realize that if you’re not paying attention, if you’re not getting heard, then nobody will know you’re out there,” she says. “If she hadn’t been going though all that, we might be out on the streets right now.”
    Public housing has been Johnson’s life and source of community for the past two decades. But she says she’d rather live quietly with her family now.
“If I could find something I could afford, I’d probably go away” she says, “and the City would never hear from me again.”

She didn’t appreciate Jamaican tenement life as a child, Johnson says, but now she realizes “there were always family members around. There was no such thing as living in a neighborhood by yourself. I think that’s why I have a strong connection to public housing. That’s where my roots are.”

“If there was a statistic, I was in it,” Johnson says of her early years at Westhaven. “Poor, black, single mother.”

“There’s no woman, black or white, in Charlottesville who has her courage,” says one admirer.

“I think PHAR has really shaped the way the City treats low-income people,” Legal Aid’s Gulotta says. “Now there’s not a substantial Housing Authority policy residents don’t have a say on. That’s definitely a product of Joy Johnson’s vision.”

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Trey bien

With his latest release, Bar 17, gui-tarist Trey Anastasio begs a metaphysical question: Just how close, exactly, can one come to Phish without actually becoming Phish?
    A few years ago, that Vermont-based quartet reigned as one of the highest-grossing live acts in the world—but then, in 2004, Anastasio turned the band belly-up. Loyal fans had mixed reactions to Anastasio’s subsequent solo albums, which added horn sections, full orchestras, straight-up rock and all-star jam sessions to his musical mix. Reactions fervently posted in Phish chatrooms ranged from “Trey sucks!” to “It’s good, but it’s not Phish.”
    Lately, though, Anastasio seems wistful for the old days. This summer he joined Phish bassist Mike Gordon for a string of shows, which also included several appearances by Phish keyboardist Page McConnell. Meanwhile, Anastasio’s been dropping hints in interviews that Phish could play again in the not-too-distant future. Bar 17—along with the supporting tour that will bring Anastasio to the Charlottesville Pavilion on October 13—will no doubt add fuel to reunion rumors.
    Both Gordon and Phish drummer Jon Fishman show up on the album (along with dozens of other jam gods, like John Medeski), and many of the songs channel the old Phish current. The opening track, “Host Across The Potomac,” exemplifies Anastasio’s talent for hooks that burst triumphantly from the song, like a blooming flower, bolstered by Gordon’s bubbling bass lines. The title track runs thick with classic Phish atmospherics—layers of sound, weird drones, skittering drum fills, Anastasio’s guitar licks flashing through the turgid rhythms like lightning across a night sky. “Goodbye Head” is the kind of epic, carefully orchestrated prog rock that Phish mastered in their early career, and then more or less abandoned in favor of trance-inducing space funk jams later in their career.
    Bar 17 is more than just a flashback, though. The album ends with quiet tunes featuring strings and Anastasio on acoustic guitar. “A Case of Ice and Snow” is a charming interplay between organ and guitar, while the unadorned fingerpicking in “Empty House” supports some of Anastasio’s better lyrics. He’s never been much of a wordsmith (Phish’s best lyrics came from the pen of his buddy Tom Marshall), and Anastasio is at his best when he is simple and direct—when he overreaches, his poetic efforts come off as hippy claptrap.
    But who cares? What kind of jam fan listens to the lyrics, anyway? Anastasio earned his reputation (and his money) onstage. The album versions of Phish songs were simply blueprints for the band’s adventurous live treatments and improvisations, and the songs on Bar 17 are similarly rife with good ideas to be played with and grooved upon. The current lineup for the Trey Anastasio band—bassist Tony Hall, Ray Paczkowski on keys, vocalists Christina Durfee and Jennifer Hartswick, and drummer Jeff Sipe—are all jam veterans, no doubt capable of taking the songs on Bar 17 to higher levels and deeper funks.
    Still, it’s not Phish. But why should it be? Phish set an impossibly high standard for improvised rock because of the hard work, musical chemistry and friendship of four individuals in a band that toured for more than two decades without a single lineup change. Even the most bitter Phan will admit that Phish fell off after their New Year’s Eve performance in 2000. (After playing the biggest, longest millennium concert in the world—an eight-hour set for 80,000 people—what the hell do you do for an encore?) Anastasio had two choices: Allow Phish to lumber along as a nostalgia act, or quit and do something new. Now, after a few years on his own, Anastasio, just like his fans, apparently craves those crazy musical moments that only Phish could conjure.
    So Bar 17 isn’t Billy Breathes, and the latest Anastasio touring band isn’t Phish—but it is close, and it’s pretty good in its own right. For anyone wondering what that hoopla was all about, or for grown-up ’heads jonesing for one more trip, the Charlottesville Pavilion is about as close as you’ll get. At least for now.

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Arts

Idlewild

Idlewild
Outkast
LaFace Records

cd Outkast fans worried about breakup rumors will be happy to see Andre “3000” Benjamin and Antwan “Big Boi” back together on Idlewild—their first truly collaborative effort since 2000’s Stankonia. However, only people who really, really like Outkast should actually part with their hard-earned cash for this one. Dre and Big Boi may still be partners, but this, their sixth release, is definitely their least inspired effort to date.
Like their film of the same name, Idlewild is a tribute to the music and style of the 1930s, retouched with a hip-hop flair. Simply mashing disparate styles together, however, does not an artist make. When Outkast blew up out of Atlanta in the late 1990s with their 1998 masterpiece, Aquemini, the group proved that hip-hop with a pop chorus didn’t have to suck. Subsequent albums like Stankonia and Speakerboxx/The Love Below (which was really more of a dual solo effort than an Outkast album proper) provided moments of brilliance, but along the way Andre 3000 apparently started to fancy himself the heir to Prince. Someone should really tell him that just because a rapper writes so-so pop songs and wears neon pants, that doesn’t make him a genius.
On earlier albums Outkast managed to cook up quirky pop hooks that worked because their tumbling, insightful rhymes were so good. On Idlewild, though, Andre 3000’s raps sound exactly as whack as you’d expect from a wanna-be model—and from Big Boi we get lazy singsong refrains like “I don’t want no girlfriend, just wanna get into you.” Apparently Outkast wrote the album while also working on the film, which may explain why it sounds phoned-in.
Unfortunately, Andre 3000 says he loves acting, and he’s touting an upcoming clothing line—an indication he isn’t going to be sewing the ass back into his trousers anytime soon. And poor Big Boi seems to have no choice but to play along. As a film, Idlewild may prove that rappers can act, but the accompanying album shows why actors definitely shouldn’t rap.—John Borgmeyer

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Progress parent company sued for libel

Frank Lucente, a member of Waynesboro City Council, is suing the editorial board of the News Virginian and the newspaper’s parent company, Richmond-based Media General, which also publishes The Daily Progress. Lucente alleges that the paper’s editorial board libeled him when on May 1 they published an editorial accusing him of unethical conduct.
    Lucente seeks a total of $1 million in compensatory and punitive damages.
    The suit, filed late last month in Waynesboro Circuit Court, names six defendants, including George Mahoney, vice president of Media General, and the five-member News Virginian editorial board: pub-lisher Bruce Potter, managing editor J. Todd Foster, circulation director Randy Terwilliger, advertising director Martina Hancock and copy editor George Woods.
    On May 1, one day before the Waynesboro City Council election, the News Virginian ran an editorial headlined, “Don’t let one man decide our election.”
    The editorial says that “the real force” behind the Council election is Lucente, who was appointed to his seat in April 2005 to replace a resigning councilor. The editorial called the appointment “a preordained deal” with Councilmen Reo Hatfield and Tim Williams.
    Further, the editorial claimed that Lucente approached Lorie Smith, Hatfield’s top opponent in the May 2006 election, and asked her to quit the race: “Let Hatfield win, [Lucente] said, then Hatfield would be elected mayor but resign in two years. Lucente promised Smith she would be appointed to Hatfield’s vacant seat. Smith said no way.”
    In his suit Lucente claims to have never made any such comments or promises to Smith.
    In order to win his libel suit, Lucente must prove that the News Virginian acted with “actual malice,” meaning that it published false information knowingly or with reckless disregard for the truth in order to damage Lucente’s reputation.
    News Virginian Publisher Bruce Potter had no comment.

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Judge dismisses Collins suit

A former political candidate who sued over his right to distribute leaflets in a local parking lot hit a roadblock last month, when a judge effectively dismissed his case. Now Richard Collins is trying to figure out the best way to get his case before the State Supreme Court.
    Last month, Albemarle Circuit Judge Paul Peatross ruled that the Virginia Constitution does not entitle Collins to hand out political pamphlets in the Shoppers’ World parking lot on Route 29N.
    In May 2005, Collins was campaigning for the Democratic nomination in a three-way race for Charlottesville’s House of Delegates seat. Hoping to reach the crunchy crowd at Whole Foods, Collins started handing out campaign fliers in the parking lot. Shoppers’ World owner Charles Lebo had Collins arrested for trespassing.
    In October, Collins was convicted of trespassing and fined $50 (former City Councilor David Toscano went on to win the delegate seat). Collins filed a civil suit claiming that parking lots have become America’s public squares, and so he had a right “to engage in peaceful, nondisruptive political speech.”
Peatross disagreed. He ruled that “Under the Virginia Constitution, there is no general right to engage in political speech in privately-owned shopping centers.”
    Now Collins is meeting with a team of veteran lawyers—including Steven Rosenfield, Frazier Solsberry with help from the Thomas Jefferson Center for the Protection of Free Expression and the Rutherford Institute—to decide his next step, whether to appeal Peatross’ judgement in the civil suit or appeal his trespassing conviction.
    Collins, a recently retired UVA professor and environmental activist, says, “It’s largely an issue of defining property rights and balancing them against other interests in the community. Private property rights are not sacrosanct and above every other right. They need to be balanced against the rights of individuals and the community at large. That’s my cause.”

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Downtown Mall turns 30

On Monday, July 3, Charlottesville’s Downtown Mall turned 30. The City is celebrating with speeches, bands and a slide-show retrospective to commemorate the Mall’s commercial success. Here at C-VILLE, where several former Mall deadbeats have joined the ranks of the productively employed and regularly showered, we note the Mall’s birthday with a bittersweet air as our favorite stretch of brick sets aside childish things.
    When builders laid the ceremonial final brick in the Mall on July 3, 1976, the Mall was born under the optimistic gaze of City leaders, who doted on the new pedestrian thoroughfare like proud parents. Business leaders and politicians conceived the Mall as a golden child that would deliver shoppers to Downtown, which in the 1960s faced the spectre of declining business (spurred by the development of Barracks Road Shopping Center in 1958).
    Yet by the time the Mall hit adolescence in the mid-1980s, the kid was obviously failing to meet expectations. Old people shuddered at the sight of the Mall’s long, dark blocks, devoid of life after 5pm—except for the punks and homeless people crouched in shadowy doorways. The only people who hung around the Mall at night were denizens who came to see bands like the Circle Jerks at Muldowney’s or X-rated movies at the Jefferson Theater, back when it used to show skin. After partaking of such debauched pleasures, these brave souls swilled beer at one of the Mall’s three watering holes: Miller’s, Fellini’s or Eastern Standard. Three was all they had, and they liked it. Liked it? Hell, they loved it!
    City leaders, however, weren’t so keen on this slack-assed teenage Mall. By the mid-1990s it was time for the Mall to grow up and start earning its keep.
    In 1988, Mall businessman Jon Bright led a group that organized the first Fridays After 5 concert series, which helped to prove that the Mall was a better place to party than to shop. Six years later, developers Lee Danielson and Colin Rolph completed the Charlottesville Ice Park and Regal Cinema—major projects that accompanied a blossoming of bars, restaurants, outdoor cafes and—perhaps most importantly for the Mall’s nighttime vitality—a surge in apartments available for rent on the Mall, along with a renewed interest among young professionals in “Downtown living.”
    In 2002, the Mall turned 26—an age when many experience what sociologists now call a “quarter-life crisis,” marked by disappointment in one’s current situation and anxiety over the near future. Indeed, in 2002, City Councilors proposed a dramatic revitalization of the Mall’s east end, a development that includes a grand amphitheater, a swanky bus transfer station and a brick walkway known as “President’s Plaza.” Other efforts to “mature” the Mall include tourist-friendly signs, stricter rules for sidewalk vendors, the eradication of newspaper boxes and stronger police presence. These changes haven’t always sat well with those who remember the Mall’s rowdy younger days.
    In its 30s, the Mall will see more changes. Developer Keith Woodard has plans for a nine-storey condo project, while Oliver Kuttner wants to build a nine-storey hotel. One of the last grungy outposts, the Jefferson Theater, has recently been sold to developer Coran Capshaw and closed for renovations. At 30, the Mall is starting to look like a real adult: Its bricks may be falling apart, but it’s running with a much swankier crowd.
    Sure, change is good—but sometimes we’d just like to see the Circle Jerks one more time.

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Restructuring arrives July 1

On July 1, UVA’s much-ballyhooed “restructuring” will finally come to pass. The change, codified in the Restructured Higher Education Financial and Administrative Operations Act, is just as complicated as its name suggests. Basically, the new law gives UVA more freedom from State oversight in exchange for fewer State dollars.
    Restructuring gives UVA more flexibility when it comes to raising money and building new facilities. But what does it mean for UVA’s thousands of employees?
    According to a “Frequently Asked Questions” section at UVA’s website (www.virginia.edu), current workers will see no change in their terms of employment. For people hired after July 1, however, things are not so clear.
    UVA’s website states: “All new salaried staff, non-faculty, hired on or after July 1, 2006 are hired as ‘University Staff’ and will be covered under University HR policy. Initially, University Staff will be covered by policies very similar to the current state policies.”
    Jan Cornell, president of the Staff Union at UVA, has long opposed restructuring, and she says it’s that word “initially” that worries her. For now, the new HR policy will be mostly the same as the current policy, which is dictated by the State. In the future, however, UVA administrators could make changes that may be good for business but not for workers, Cornell says. UVA officials did not return calls by press time.
    “We need to worry about our youngsters coming up and working at UVA 10 years from now,” says Cornell. As it stands, current employees have the option of keeping the State system or jumping over to the new HR policy (whatever it may turn out to be). UVA’s website calls the option to join the new policy an “opportunity,” but Cornell says she is advising current workers not to jump to the new plan. “I’m not trying to be difficult,” says Cornell. “I just want to see the plan first.”