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Arts Culture

17th Annual XMAS JAM

If you don’t get enough rockin’ around the Christmas tree on the 25th, head to the 17th Annual XMAS JAM. Spun out of the Charlottesville Music Showcase, a weekly series featuring prominent local performers—begun at Orbit Billiards on the Corner way back when—this seasonal gig continues to shine a light on some of C’ville’s brightest musical stars. Hosts Tucker Rogers and BJ Pendleton emcee the evening with appearances by Richelle Claiborne, John D’earth, Jay Pun, Jen Tal, and many more special guests.

Friday 12/27. $15–20, 8pm. The Jefferson Theater, 110 E. Main St., Downtown Mall. jeffersontheater.com

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Arts Culture

Disco Risqué

Looking to dance away 2024 and usher in the new year with funky fun? Disco Risqué is shakin’ up the Lobby Bar on NYE at the newly rechristened Doyle Hotel. This five-piece dance-party band brings a distinct brand of rock ‘n’ roll defined by its high-energy performers. Searing guitar solos and a driving rhythm section are complemented by keys and horns that make you want to move. Admission includes hors d’oeuvres and a sparkling toast at midnight, alongside cash bars and Champagne bottle service.

Tuesday 12/31. $50–60, 9pm. The Doyle Hotel, 499 W. Main St. thedoylehotel.com

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Arts Culture

Trans-Siberian Orchestra

Thursday 12/19 at John Paul Jones Arena

I thought I knew enough about Trans-Siberian Orchestra, but it turns out that just about everything I had in mind was wrong.

For starters, I let the name fool me—its founding members were American, with the band’s visionary producer, composer, and lyricist, the late Paul O’Neill, born in Flushing, Queens. Next, I would have eagerly wagered that the group had formed in the ’70s (nope, 1996). I also thought, yeah, sure, it’s a hard-rock prog band that did some Christmas stuff and somehow fell ass backwards into regular rotation on holiday radio playlists. That assessment is far from correct. 

TSO’s debut record actually emerged by jamming the Yuletide full throttle with Christmas Eve and Other Stories (1996), followed up with The Christmas Attic (1998). A year later, a made-for-TV theatrical, “The Ghosts of Christmas Eve,” was broadcast, and then, between the release of two ponderous non-late-December-based concept albums, TSO put out The Lost Christmas Eve (2004), and a 2012 EP, Dreams of Fireflies (On a Christmas Night). The band even published a novella in 2013 as part of its trilogy of the aforementioned full-lengths called—and I’m not joking here—Merry Christmas Rabbi

Did I have Trans-Siberian Orchestra confused with Mannheim Steamroller? Because that band has a lot of Xmas discs to its credit, too. It led me to raise the question: How much Christmas is too much? One thing that simply cannot be refuted is that excess and Christmastime reign supreme with TSO.

From the bombast of electric violins and the chorus of many vocalists, to the over-the-top dexterity of well-rehearsed rockers speeding up the necks of their guitars as if the holiday itself depended on it, TSO does not deal in moderation. Interlocking rainbow webs of lasers, platforms raised to the heavens, whirling lights, and enough fire plumes to make a vintage KISS concert seem chilly, the band’s live show is a mad search to eradicate the Grinches among us with good will, sleeveless shirts, aggressive hip thrusts, and as many moving pieces as Cirque du Soleil.

TSO has become so synonymous with the holiday season in the U.S. that there are actually two versions of the band on tour simultaneously. While the East Coast TSO demonstrates the power of giving to Charlottesville, with guitarists Joel Hoekstra (of Whitesnake) and Chris Caffery leading the charge, a West Coast TSO is held down by original member Al Pitrelli stuffing the ever-loving stockings of a dazzled audience in Indianapolis.

If you’re doing your utmost to keep Christ in Christmas, and I don’t mean to imply that going to this show is the opposite of that directive, or that the show is antithetical to praying at church for that matter (look, I’ve probably never been to your church), but epileptics, celibates, and fundamentalists should be aware that TSO sure as hell ain’t Vince Guaraldi’s A Charlie Brown Christmas

Hopefully these factors don’t scare you away from getting pumped, getting glammed up, and getting your Chrimbo on with the same great joy as the angel who brought good tidings from Bethlehem to the shepherds, who, if memory serves, were also momentarily terrified before they realized what was happening.

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Arts Culture

The best reasons to have left the couch in 2024

It’s all too easy to get disgruntled about some of the usual entertainment in a tight town like ours—that is, if you close your eyes and ears too tightly and just stay home all the time. Here are some of the events that made me glad I got my ass off of the couch.

Please Don’t Tell

March 9, The Southern Café & Music Hall

After years and years—first as a piano and cello duo, and since 2021 as a trio with violin—Please Don’t Tell finally committed its feminist tilt of Victorian parlor violence to record, and held this Spirit Ball to serve as an audio coming out party of sorts. Though the annunciated operatics of pianist and lead vocalist Christina Fleming were confined to an EP’s worth of tracks on vinyl and other platforms, they were given a much longer runway on which to soar at the Southern. The lengthy set’s highlights were elevated further by violinist/vocalist Anna Hennessy’s adroit musicianship, while cellist Nicole Rimel’s spooked-out presence stayed thematically on brand. PDT wrapped up the somberly festive evening by ghosting on to the stage hand-in-hand, gushing forth with an a capella number about leading a man to the woods to die. Good times!

Temple Grandin

May 21,The Paramount Theater

A talk with autism and animal behavior expert Dr. Temple Grandin is a lot to take in at one sitting. But to get a handle on how other brains operate by a living example and proponent of neurodiversity is perhaps the best way to recognize the value that different cognitive styles hold for education, employment, and society. As a visual thinker, Grandin explained that her cognition type represents one kind of thinking—in pictures—while patterns or words are the other overriding ways of understanding the world. Surprisingly, the Colorado State University College of Agricultural Sciences faculty member, who came into fame with her pioneering work redesigning slaughterhouses to lessen trauma and anxiety in livestock, drew a line between neurodivergence and inventors, from Michelangelo to Elon Musk. In doing so, she stressed the need for parents and schools to give autistic (and potentially autistic) children more hands-on ways to tinker and thrive through science projects, car repair, animal care, craft hobbies, playing and writing music, and building machines, among other ideas.

Ruby The Hatchet 

June 22, The Jefferson Theater

Baroness may have headlined the show, but Philadelphia-area doom-chugging Ruby The Hatchet brought an indomitable fire to the night. Jillian Taylor’s gritty vocals recalled the pantheon of classic hard rock’s most celebrated practitioners and paved the way for a churning and captivating demonstration of their uncompromisingly heavy and dramatic songwriting style. A charged-up track like “The Change” and the righteous fuzz of “Primitive Man” were rivaled only by the surprise cover of Quarterflash’s top-10 hit “Harden My Heart.” The overwhelmingly metal fan crowd, seemingly surprised at its own memory, sang along with the choruses. No doubt they were swayed by keyboardist Sean Hur’s busting out of a saxophone to nail the song’s signature horn line, born amidst the power ballad schmaltz of the early ’80s.

Pete Davidson

June 27, The Paramount Theater

Everyone’s favorite controversy-stirring vulgarian, Pete Davidson brought his Prehab Tour to town, furiously driven with all of the honest self-inflicted invectives that provide an unhealthy excuse to laugh along with, or directly at, him—and that’s what complicates the King of Staten Island star’s stand-up. You feel bad for the dude, but not that bad when all is said and done because, well, you’re laughing and he’s a celebrity. So here he was, claiming to have kicked ketamine and coke, but despite lessening the amount, still sticking with pot. And what happens? He goes on to cancel a chunk of his tour the following month in a too-accurate prediction or self-fulfilling prophecy, checking himself into a facility for mental health treatment. If anyone (or everyone?) saw that time-out coming, it didn’t make his stand-up any less funny, and therein lies the problem on the audience’s side and/or the source of the man’s talent: tragedy+cannabis+no values=comedy.

“Out of Context”

October 4–November 22, Second Street Gallery

A six-person group show exquisitely captured what curator and contributing artist Paul Brainard set out to do with “Out of Context”: Let the art do the talking for this complicated and engaging collection of works. That said, many titles were nothing less than intriguing, and, at times, hilarious. Amber Stanton’s striking protagonist females in various states of undress searched for answers across fantastic landscapes (“Soon, Oh Soon the Light”); Jean-Pierre Roy’s “Maybe we’re all just guessing, Margaret” offered a vivid alternative universe bug-out on the traditional Western historical portrait; Miriam Carothers’ five-canvas “SLO Excursion” series caught drunken neon robot rampages; Michael Ryan’s life-size mixed media “The Birthday Party” peered into family figures too close and just too weird; and Hyunjin Park’s eye for detail and intricate color use came to a dozen heads on “I AM Good Looking,” a horizontal panel depicting Brainard, making a rainbow of his expressions.

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Arts Culture

The five worst films of 2024

When we asked our Screens columnist, Justin Humphreys to do a round-up of the year’s movies, he made his feelings clear: “I’m going to have to be very honest and say how precious few good movies there were this year.”  His top five losers are below.

Joker Folie a Deux

Nicknamed Joker Filet-o-Fish online, few movies of 2024 deserve being mocked more than Joker Folie a Deux or have so richly earned their immense commercial failure. The first Joker was a lame facsimile of Taxi Driver and The King of Comedy, minus the genius of those films. In this sequel that nobody wanted, even the creepy incels who flock to dreary, adolescent comic book fare like this stayed away in droves. With this sequel, and last year’s Napoleon, star Joaquin Phoenix gives every indication of having forgotten how to act.

Madame Web

A spinoff of the hit Spider-Man movies, Madame Web follows superheroine Madame Web, alias Cassandra Webb (Dakota Johnson), who desperately uses her precognitive powers to save three women. That this clairvoyant is named Cassandra Webb gives you an idea of the level of wit at work here. (To her eternal credit, Johnson was openly dismissive of the film.) This is another silly superhero battle royale with slick, overdone fights and wisecracks. If you want to see an outstanding movie about someone glimpsing future events, watch David Cronenberg’s The Dead Zone instead. Aside from being among the finest Stephen King book adaptations, it also cost a tiny fraction of what was squandered on Madame Web.

Borderlands

Director Eli Roth has shifted here from his usual ’80s throwback torture porn to torturing audiences instead. Over $100 million was spent on adapting the popular video game Borderlands, including casting Jamie Lee Curtis, Kevin Hart, Cate Blanchett, and Ariana Greenblatt, and reportedly set to lose over $80 million. This dumb, loud, unfunny science fiction mess makes you wonder why Roth didn’t adapt a more intellectually stimulating video game like, say, Ms. Pac-Man or Frogger instead. Borderlands is the kind of lowbrow movie that gives enjoyably lowbrow movies a bad name.

Red One

Watching Red One lurch toward its theatrical release this holiday season was like witnessing the Titanic sail toward its fatal iceberg: This movie had disaster written all over it from the start with widely reported budget overruns and other excesses. Red One’s concept of Santa Claus (J. K. Simmons) comically being linked to various secret organizations could have made for an enjoyable, innocuous 10- or 15-minute animated short, but filming it in live-action and stretching it to feature length was a dire error. For what this atrocity cost, a talented director like Kathryn Bigelow could have made six really good, intelligent films.

Ghostbusters: Frozen Empire

Ghostbusters: Frozen Empire represents the movie industry’s nearly complete lack of imagination at work. Cashing in on an established IP like Ghostbusters is standard practice now, but if creative folk were to pitch an idea today as fresh as the original Ghostbusters was in 1984, they’d likely be turned down immediately. Studios are terrified of risks, and it shows in the flatness and predictability of their products, as evidenced by retreads like Ghostbusters: Frozen Empire. Reusing the original film’s stars and many of its other key elements compounds the sense that it’s all just a cash-grab. It lacks the humor, imagination, and unpredictability of the original film, and aside from this essential staleness, Ghostbusters: Frozen Empire adds insult to injury by wasting the wonderful Annie Potts.

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Arts Culture

Six books I didn’t read in 2024

Earlier this fall, I had COVID and, among its other health impacts, one bears mentioning here: For a time, I lost the ability to read. That is, I couldn’t read anything longer than a sentence without losing the rest of the day to a blinding headache. As a fervid reader, this was crushing. I spent a lot of time sleeping and then staring at a stack of books, wondering if I would ever read them. It got a bit maudlin. I’m now back in the world of readers and, to celebrate, here is a list of books from 2024 that I hope to read soon.

The Great Cool Ranch Dorito in the Sky by Josh Galarza

Josh Galarza is a Richmond-based writer and educator who’s currently completing his MFA in creative writing. His debut novel, The Great Cool Ranch Dorito in the Sky, was selected as a finalist for the 2024 National Book Award for Young People’s Literature, among other notable recognition. Accolades aside, I love a heartwarming YA novel and this one explores themes of mental health, grief, and body dysmorphia with empathy, quirkiness, and comics—and presumably a big handful of the titular chips in all their tongue-tingling glory.

The Practice, the Horizon, and the Chain
by Sofia Samatar 

Sofia Samatar is a Roop Distinguished Professor of English at JMU and I look forward to reading everything that she writes. Her work is wide-ranging in genre, including speculative fiction, nonfiction about the craft of writing, memoir and family history, and more. Plus, her books offer interesting structural forms, lyrical prose, and deeply imaginative worldbuilding. She’s also prolific—this is just one of her two new titles this year. Like so much of the science fiction I enjoy, The Practice, the Horizon, and the Chain offers starships, transformative journeys, and a vision of the shared liberation that can come through collective action.

Cyberlibertarianism: The Right-Wing Politics of Digital Technology by David Golumbia

Before he passed away in 2023, David Golumbia taught at VCU and, before that, at UVA, where I had the good fortune of being his student. Intellectually rigorous and passionate about his work and the community it made possible, he left us this new, posthumous book that examines the right-wing legal and economic underpinnings of digital technology and how the early promise of the internet helped foster present-day fascism in global politics. Informed by expansive research as well as his experience as a software developer, this book argues that we have to understand where things went wrong before we can develop more egalitarian technological futures. 

Soil: The Story of a Black Mother’s Garden
by Camille Dungy 

This fall, Camille Dungy was the UVA Creative Writing Program’s Kapnick Distinguished Writer-in-Residence and gave a reading of her work. She is a poet and prose writer whose work often examines intersections between race, gender, the environment, history, and family. Among other honors, she was a finalist for the National Book Critics Circle Award and received the Library of Virginia Literary Award. Her latest book, Soil, shares her experience as a Black gardener and mother in a predominantly white town, examining how homogeneity harms our ecosystems and ourselves, while also interrogating how we relate to ideas of home. 

The Sapling Cage by Margaret Killjoy 

Margaret Killjoy is a transfeminine author, musician, and podcaster. Her community preparedness podcast, Live Like the World is Dying, is a mainstay for me, and her previous work includes short stories and novels that are darkly funny speculative fiction, bordering on horror at times. She gave a reading at The Beautiful Idea in September for her latest, The Sapling Cage, which is the first in a trilogy. This book promises to be more high fantasy than what I’ve read from her in the past, combining witchcraft, monsters, and magic in an epic, queer coming-of-age story that also tackles questions of power, identity, and gender. No notes. 

Aster of Ceremonies by JJJJJerome Ellis 

JJJJJerome Ellis is a self-described “disabled Grenadian-Jamaican-American artist, surfer, and person who stutters” who gave a performance of their work in October as the Rea Writer in Poetry at UVA. Their latest book, Aster of Ceremonies, is a poetic healing ritual, an invocation of ancestors, and a deft examination of race and collective belonging, reimagining what it means for Black and disabled people to take their freedom. Though I am typically a paperback reader, this audiobook is read and performed by Ellis, and I am ecstatic for the chance to listen while holding a hard copy in my hands, creating a harmonic resonance through his words.

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Arts Culture

“The Nutcracker”

It wouldn’t be Christmas without Clara dancing through her fantastical dream, accompanied by a dashing prince who conquers the dastardly Mouse King! Charlottesville Ballet presents The Nutcracker, with live music from the Charlottesville Symphony conducted by Benjamin Rous, and collaborations with Cantate Children’s and Youth Choir and Central Virginia Ballet. Audiences of all ages can revel in this seasonal classic, with memorable melodies and expertly choreographed scenes. You know the characters. You know the score.

Saturday 12/21–Sunday 12/22. Prices and times vary. Martin Luther King, Jr. Performing Arts Center, 1400 Melbourne Rd. charlottesvilleballet.org

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Arts Culture

Christmas with Elvis

Break out your bedazzled jumpsuit, it’s time for Christmas with Elvis! Reigning King of Rock and Roll tribute artist Matt Lewis performs holiday hits and other classics from Elvis’ repertoire, including selections from his rockabilly era, the “’68 Comeback Special,” and the Viva Las Vegas years. Backed by the 12-piece Long Live the King Orchestra—aka Charlottesville’s own Big Ray and the Kool Kats—Lewis curls his lips and sways his hips, driving away any thought of a “Blue Christmas.”

Thursday 12/12. $24.75–34.75, 7pm. The Paramount Theater, 215 E. Main St., Downtown Mall. theparamount.net

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Arts Culture

“Let There Be Light”

Let There Be Light,” the annual outdoor exhibition of light-centered artworks, returns as the days get shorter and the nights get longer. The show features glowing art installations, performances, and an appearance by the Virginia Museum of Fine Arts’ VMFA on the Road—an artmobile showcasing the exhibition “Love, Laughter, Tears: An Artist’s Guide to Emotions.” Visitors are encouraged to bring their own flashlights and enhance the evening by dressing as an enlightened being. In case of inclement weather, the event will be moved to Saturday, December 14.

Friday 12/13. Free, 6–9pm. Piedmont Virginia Community College, V. Earl Dickinson Building, 501 College Dr. pvcc.edu

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Arts Culture

Indigo Girls remain steadfast in melody and activism

By Alan Sculley

Most musicians found their activities curtailed during the pandemic. For the Indigo Girls, the COVID-19 years were a particularly creative time, resulting in a proliferation of current projects.

The duo—Emily Saliers and Amy Ray—recently released a concert film, Look Long: Together, they’re the subject of a new documentary It’s Only Life After All, and they’ve had their music reinvented for the movie Glitter & Doom. Saliers composed music for two stage musicals and Ray released a solo album, If It All Goes South. But it’s the Barbie-effect—from Greta Gerwig’s blockbuster movie featuring the Indigo Girls’ hit song “Closer to Fine”—that finds them playing their biggest venues in years.

It’s quite a schedule, even for an act like the Indigo Girls, who have been consistently active since releasing their first album Strange Fire in 1987. Most bands that debuted around that time—if they’re still together—make albums occasionally (if at all) and are considered heritage acts. That’s not the Indigo Girls.

“We still feel like we are a working band,” says Saliers by phone. “We tour and we make albums and we work, and that feels good.” 

This latest spate of activity came on the heels of Look Long, the Indigo Girls’ 16th studio album, recorded pre-pandemic, and released in May 2020. A stirring effort, the record not only features the highly melodic folk-pop that has been the Indigo Girls’ signature on songs like “When We Were Writers,” “Look Long,” and “Sorrow And Joy,” it branches out on rhythmically creative songs that touch on hip-hop (“Shit Kickin’”), Caribbean music (“Howl At The Moon”), and catchy upbeat rockers (“Change My Heart” and “K.C. Girl”).

By the time Look Long was released, the pandemic had scuttled plans for a tour to support the album. Saliers and Ray played some dates in 2022 with violinist Lyris Hung, and then in 2023 returned to performing with a full band. Saliers says in both formats she and Ray play a few songs from the latest album, along with a generous selection of back catalog material. 

“Some people like the band and some people like us acoustic or just stripped down,” Saliers said. “We just haven’t had the opportunity to tour with the band because of COVID and we really miss that. So it was good to put out the streaming concert, and it will be great to get back with the band.”

Look Long: Together is a unique concert special that features performances of a career-spanning set of songs (some of which include appearances by guests Becky Warren, Tomi Martin, Trina Meade, and Lucy Wainwright Roche), combined with commentary segments about the songs from Saliers and Ray. Because of the pandemic, the two had to weave together performances from several separate film shoots to create full-band live versions of songs, and extensive editing was needed to create the finished product.

“Amy and I spent hours and hours watching it come together, making suggestions, ‘Let’s do a split screen here,’ ‘The lighting needs to be fixed here,’ ‘This camera angle is no good, let’s use this shot,’ all these meticulous choices you have to make,” says Saliers. “In the end, we worked so hard on it, we were actually a little discouraged at the 11th hour. And then watched it and were really pleased with it.”

The year and a half of working on the livestream took up some of the pandemic-forced downtime. Saliers also spent considerable time working on stage musicals that have expanded her range as a songwriter.

One thing Saliers says she has not done recently is write for another Indigo Girls album. The inspiration is building for Saliers and Ray, who have long used their musical platform to support a variety of social causes, including LBGTQ+ issues, Native American rights, immigration reform, and climate change. What’s top of mind is the Supreme Court ruling overturning Roe v. Wade.

Like many pro-choice advocates, Saliers didn’t think Roe v. Wade would be overturned and was appalled at the demise of legal access to abortion, which had been established law for decades.

“But the truth is there has been a concerted effort [to overturn Roe],” says Saliers, noting that conservative politicians and activists and certain parts of the evangelical community are among those who have mounted a strategic plan to target Roe and other progressive issues. “It’s been going on a long time. So while the thought before was shocking, it’s easy to understand how we’ve come to this place.”

Following the recent election, Saliers and Ray plan to be active in efforts to restore abortion rights, preserve gay rights, and back politicians who support progressive causes. 

“As gay person who’s married, I’m like, ‘Is this my country?’ And that’s like a big question to ask,” says Saliers. “I understand the complexities of history and how things, the pendulum swings and reactions, I understand that. But when it affects people’s lives—and there’s this huge disconnect between this small group of zealots making decisions because they’re so removed from the reality of people’s lives—it’s a lot to take in and a lot to live with and a lot to manage.”