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2024 in review

By Caite Hamilton, Tami Keaveny, Catie Ratliff, and Susan Sorensen

We don’t know about you, but we love a list. Quick to read, easy to digest—what’s not to like?—they’re the perfect way to wrap up a long, eventful year of news, arts, and food coverage. Behold, all the naughty and nice things about 2024.  

Ten headlines we were surprised to see

From January 1 onward, 2024 was a newsworthy year everywhere. And Charlottesville was no exception, making local and national news headlines. Here are 10 that surprised us this year.

March 20: Wildfire destroys multiple buildings at Twin Oaks

When a wildfire devastated two structures at Twin Oaks, including a processing and storage facility, the future of the intentional community was uncertain. Twin Oaks is still recovering nine months later, but it’s moving forward. The community closed its signature hammock business as a result of the fire, and is weighing what business it wants to pursue next.

April 29: Ukrop family sells Charlottesville Quirk Hotel

Four years after it opened, the Quirk Hotel Charlottesville was bought by Blue Suede Hospitality Group on April 29. The Ukrop family sold the four-story, West Main Street building for $24 million, $20 million more than they paid for the property in 2017. Renamed The Doyle Hotel, the spot retains many elements of the Quirk, including the popular rooftop bar.

May 4: UVA calls in state police to break up encampment, arrest students

Leaders at the University of Virginia called in Virginia State Police to break up a pro-Palestine encampment after days of peaceful demonstrations. More than two dozen people were arrested. Prosecutors and university officials eventually dropped all charges and no-trespass orders after months of public pressure.

May 28: Mel Walker dies at 71

Mel Walker, Charlottesville icon and owner of Mel’s Cafe, died on May 28 at the age of 71. Opened in 1989, the popular West Main Street eatery was not only a cherished soul-food restaurant, but a gathering place for Charlottesville’s Black community before it closed its doors permanently in July.

June 7: Local Food Hub announces imminent closure

Following the surprise announcement of its closure in early June, Local Food Hub ended its Fresh Farmacy program on July 15. The program offered clients a “prescription” for fresh produce and distributed more than 40,000 pounds of local produce in 2023. While fellow local nonprofit Cultivate Charlottesville offers fresh produce through community gardens, that organization is at risk of also closing if it does not raise enough funds by April 2025.

September 5: UVAHealth physicians and professors publish letter of no confidence

A group of physicians at the University of Virginia released an open letter on September 5 calling for the removal of UVA Health CEO Craig Kent and School of Medicine Dean Melina Kibbe. Allegations in the original letter included the creation of a toxic work environment and unsafe patient practices. In October, a group of surgeons also came forward, alleging that UVA has pressured providers to fraudulently raise bills.

September 21: Umma’s closes after two years

Korean- and Japanese-American fusion restaurant Umma’s closed its doors after hosting its last dinner service on September 21. A popular space for the local LGBTQ+ community, Umma’s shut down not due to a lack of support, but because its owners moved out of town.

October 17: Tony Bennett announces immediate retirement

Basketball legend Tony Bennett announced his retirement as head coach of the University of Virginia men’s team on October 17, just 20 days before the Hoos’ first game. Bennett’s exit, which came months after he signed a contract extension, shocked and saddened fans. Interim Head Coach Ron Sanchez, an associate head coach under Bennett, is off to a shaky start, with preseason polls predicting the team will finish fifth in the ACC. 

Photo via UVA Athletics Communications.

October 21: City Manager and Salvation Army announce low-barrier shelter plans

City Manager Sam Sanders presented Charlottesville City Council with plans and funding options for converting the Salvation Army’s thrift store on Cherry Avenue into a year-round, low-barrier shelter. The creation of such a shelter has been a longtime priority for local leaders, but became more urgent following the erection of tents in Market Street Park last fall. City Council is expected to allocate funding for the project at its last meeting of the year.

November 27: Blue Moon Diner closes its doors

Beloved diner/gathering place/music venue Blue Moon Diner served its last stenciled pancake in late November, after nearly 20 years under the stewardship of Laura Galgano and Rice Hall. The diner, which originally opened in 1979 and was previously owned by Mark Hahn of Harvest Moon Catering, was a Charlottesville institution but, as Galgano wrote on the restaurant’s Facebook page, “It’s time for new adventures!”—CR

Triomphe!

10 Hoos who made us proud in Paris

Kate Douglass won two gold and two silver medals at the 2024 Olympic Games.
Photo via UVA Athletics Communications.

There was a lot to like about the Paris Olympics and Paralympics. The games were the most ecologically sustainable of the modern era. Every medal contained a piece of metal from the Eiffel Tower. The logo for Paris 2024 featured a lowercase ‘i’ to symbolize inclusivity and individuality. For local fans, however, one of the best things was the success of former, current, and future University of Virginia athletes. 

When the Olympics and Paralympics concluded on September 8, UVA-affiliated athletes (and one Wahoo-to-be) had earned 16 medals—seven gold, seven silver, and two bronze. A dozen of those medals were won in the swimming pool, with Kate Douglass and Gretchen Walsh returning home with eight of them. (UVA Swimming & Diving Head Coach Todd DeSorbo was Team USA’s women’s swimming coach, and 25 percent of the female swimmers who competed for the United States were current or former Hoos.) In addition to Douglass and Walsh, Emma Weber seized gold at her first Olympics, while Paige Madden earned silver and bronze. Then there was the silver medal awarded to Western Albemarle High School’s Thomas Heilman, a future Hoo who, at 17 years old, was the youngest male swimmer to qualify for the Olympics since Michael Phelps in 2000.

On the soccer pitch, former Cavalier standout Emily Sonnett competed on the United States’ women’s team that defeated Brazil to capture a record fifth Olympic gold medal. And during the Paralympics, UVA rower Skylar Dahl was part of the U.S. PR3 mixed four with coxswain that claimed silver.

But not all UVA athletes were on Team USA. Rower Heidi Long was on Great Britain’s women’s eight team that won bronze, and Pien Dicke helped the Netherlands win gold in field hockey. 

It was later reported that if the University of Virginia had been its own country in the 2024 summer games, it would have finished with the 16th-most medals, just behind Spain. To that, we say: Wahoowa!—SS  

Turn, turn, turn 

Four times traffic held us up

1. The first of a few summer efforts to eliminate congestion in high-traffic areas, a roundabout at the intersection of Hydraulic Road and Hillsdale Drive wrapped up in August after a month under construction. At the peak of the work, the Virginia Department of Transportation reported that roughly 35,000 vehicles per day were being detoured from Hydraulic Road to avoid the construction.

2. Left turns are so 2023, said the Virginia Department of Transportation in August as it eliminated left-turn lanes from Hydraulic Road onto Route 29. Drivers were encouraged to take a circuitous route through nearby shopping center parking lots, all in the name of “improving traffic flow” (but to hell with your morning commute). 

3. Construction began on a pedestrian bridge in the—you guessed it—Hydraulic corridor, just north of Zan Road in September. Part of a $30 million project to improve traffic flow and pedestrian safety in that area, the project will continue until fall 2025. 

4. A two-decade-long process to rehab the Belmont Bridge ended in late June to mixed reviews, garnering criticism for its clunky medians, unfinished landscaping, and, as one commenter on Reddit put it, “I’m most disappointed that they created this graffiti paradise. Wish we could have an art competition to cover all that gray.”—CH

Photo by Stephen Barling.

The best words

We’re proud of every cover story we print on Wednesday, but some resonate with us more than others. Here’s a look at C-VILLE staffers’ favorite features of the year.

Editor in Chief Caite Hamilton

Her pick: Timeless treasure (June 12)

“As I wrote in my letter that week, this cover story read more like an excerpt from a memoir than the type of feature we normally run, but Michael Moriarty’s piece on finding his dad’s vintage Timex struck a chord with me. Loss is a universal experience, and I hoped Mike’s piece—which so deftly navigated the complexities of grief—would strike a chord with readers as well.”

Culture Editor Tami Keaveny

Her pick: Wild observations (January 10)

“In 2024 we found three ways to champion the eloquent work of writer and poet Erika Howsare. In a feature on her latest book, The Age of Deer, Howsare shared her research process, telling writer Sarah Lawson, ‘I felt the aching gladness of being alive and among other living things.’ A frequent contributor to C-VILLE Weekly, Howsare wrote our May 22 cover story about the thriving arts scene in the Shenandoah Valley, and her December 4 feature looked at environmental concerns around light pollution.”

News Reporter Catie Ratliff

Her pick: Educational opportunities (May 1)

“As a news reporter, my job often involves sorting through documents, attending local government meetings, and conducting phone interviews. Working on this cover story was both a breath of fresh air and enlightening, and it provided readers a look into Charlottesville’s alternative-education learning centers and the students enrolled in them. Lugo-McGinness Academy and Knight School both shine in their fostering of community, and they build environments where students feel safe and can learn effectively.”

Editorial Assistant CM Turner

His pick: Now playing (August 21) 

“Connecting artists and audiences is one of the most fulfilling aspects of what we do in the C-VILLE Weekly Culture section. When we focused our lens on a new generation of musicmakers shaping Charlottesville’s sonic scene earlier this year, we provided a picture of the varied and dynamic acts sharing their sounds on stages around town. From punk rock to hip-hop, Americana to mainstream, local listeners have a lot to choose from.”

Copy Editor Susan Sorensen

Her pick: Role call (October 30)

“I love fall. And I love movies. So come late October, when the leaves are changing and the Virginia Film Festival is rolling, Charlottesville is my happy place. Which is why my favorite 2024 cover story was our guide to the 37th film fest. This year, we focused on folks working behind the scenes, including directors, producers (thanks for stopping by, Matthew Modine!), writers, and production designers, to name a few. Not only was it illuminating reading, but the package of stories made me a wiser, more appreciative moviegoer.”

Sold out!

58 reasons why you should’ve bought your tickets early in 2024

1/13: Roy Wood Jr. and Jordan Klepper The Paramount Theater | 1/26: The Legwarmers The Jefferson Theater | 1/27: Hot in Herre: 2000s Dance Party The Jefferson Theater | 2/1: The Red Clay Strays The Jefferson Theater | 2/3 Daniel Donato’s Cosmic Country The Jefferson Theater | 2/17: The Stews The Jefferson Theater | 2/18: Tanner Usrey The Southern Café & Music Hall | 2/19: Chelsea Cutler (The Beauty Is Everywhere Tour) The Jefferson Theater | 2/20: Blackberry Smoke The Jefferson Theater | 3/3: St. Paul & the Broken Bones The Jefferson Theater | 3/4: GWAR The Jefferson Theater | 3/8: Dawes & Lucius The Jefferson Theater | 3/10: The Disco Biscuits The Jefferson Theater | 3/14: The Cancelled Podcast The Paramount Theater | 3/15: Mark Normand The Paramount Theater | 3/16: Mason Ramsey The Jefferson Theater | 3/19: Hermanos Gutiérrez The Jefferson Theater | 3/21: Jack Stepanian The Southern Café & Music Hall | 3/22: “The Moth Radio Hour” The Paramount Theater | 3/22: Haley Heynderickx The Southern Café & Music Hall | 4/3: Slaughter Beach, Dog The Southern Café & Music Hall | 4/5: Wait Wait Stand-Up Tour The Paramount Theater | 4/5: Sam Burchfield & The Scoundrels with Tophouse The Southern Café & Music Hall | 4/6: Ryan Caraveo The Southern Café & Music Hall | 4/28: Mandy Patinkin The Paramount Theater | 5/5: Benjamin Tod & Lost Dog Street Band The Jefferson Theater | 5/9: Dar Williams The Southern Café & Music Hall | 5/10: Pecos & the Rooftops The Jefferson Theater
5/11: Chamomile and Whiskey Rivanna Roots | 5/14 and 5/15 Thievery Corporation The Jefferson Theater | 5/21: Temple Grandin The Paramount Theater | 6/17: The Japanese House The Jefferson Theater | 6/26: Trousdale The Southern Café & Music Hall | 6/27: Pete Davidson: Prehab Tour The Paramount Theater | 6/30: Jason Isbell and the 400 Unit Ting Pavilion | 8/16: HASH with Pinkish The Southern Café & Music Hall | 8/24: Jack Stepanian The Southern Café & Music Hall | 9/6: Gogol Bordello The Jefferson Theater | 9/9: An Evening with Goose Ting Pavilion | 10/2: Vampire Weekend Ting Pavilion | 10/9: Ailey II The Paramount Theater | 10/9: Ray LaMontagne and Gregory Alan Isakov Ting Pavilion | 10/13 Neko Case The Jefferson Theater | 10/19: Kate Bollinger The Southern Café & Music Hall | 10/20: Sabrina Carpenter: Short N’ Sweet Tour John Paul Jones Arena | 10/22: Nick Shoulders and the Okay Crawdad The Southern Café & Music Hall | 10/22: 49 Winchester The Jefferson Theater | 10/25: Whiskey Myers Ting Pavilion | 10/26: Little Feat The Paramount Theater | 10/30: Jelly Roll: Beautifully Broken Tour John Paul Jones Arena | 11/9: Ronny Chieng The Paramount Theater | 11/9: Tycho The Jefferson Theater | 11/15: Molly Tuttle & Golden Highway The Jefferson Theater | 11/22: JP Harris Dürty Nelly’s | 11/23: Shane Smith & The Saints The Jefferson Theater | 12/6: Bored Teachers: The Struggle is Real Comedy Tour The Paramount Theater | 12/15: Indigo Girls The Paramount Theater | 12/18: Leslie Odom Jr. The Paramount Theater

Indigo Girls performed at The Paramount Theater on December 15. Supplied photo.

Looking good

Our Art Director Max March picks his favorite shots of the year

Being on the ground during major news events is so important, and for my money there isn’t anyone who does it like Eze Amos. He’s particularly good at finding quiet moments amidst the chaos, and this photo—taken right before Virginia State Police broke up the UVA encampment protesting the war in Gaza—resonated with me.

There’s something about great show photography that makes you feel like you’re there in the moment. Charlottesville really punches above its weight when it comes to the caliber of touring musicians who put on terrific shows here, but it’s particularly special when you get to feature a show from some local talent, like up-and-comers Palmyra, in this shot by Tristan Williams.

Ch-ch-ch-ch-changes 

Three additions to C-VILLE in 2024

C-VILLE celebrated its 35th birthday in September of 2024 and, with it, added some new merch, an arts newsletter, and a donor campaign. 

Merchandise: T-shirts! Tote bags! Bumper stickers! Our new line of merch, launched in September, celebrates C-VILLE past and present. Head to c-ville.com and click “Shop” to wear your love for your local paper on your sleeve (or your coffee mug).

To-do List: Also in September, we started sending out a weekly newsletter from the Culture section. Sign up for it (and our Friday morning one, too) at c-ville.com.

Save the Free Word: Thanks to more than 100 generous readers, our new donor campaign has amassed nearly $10k, a healthy sum that’s helped us add a News Editor to our staff (look for his byline in January).

Speaking of which, 

two more changes coming in 2025:

In January, you’ll notice C-VILLE has a new look—online and in print. We’ve been working hard to usher the weekly into the 21st century (better late than never?) and into our next 35 years.—CH

Categories
Culture Living

Local therapists and researchers take on psych’s buzziest topic

Renee Branson considered herself a resilient person. She suffered a sexual assault in her late teens but soldiered on. She earned a bachelor’s degree at Ohio State University and a master’s in counseling psychology at the University of Colorado Denver. She built an outwardly happy home life and went into business helping others overcome their own adversity.

But things began to slip. Branson’s first marriage failed. She was inwardly unhappy. Finally, decades after her initial trauma, she realized she was the wrong kind of resilient. She was practicing what she calls “Rocky resilience” in her new book, Resilience Renegade.

“I was operating from this place of constantly living with my boxing gloves on. It was self-sabotaging,” Branson says. “I realized there was a different way to operate.”

Branson, who grew up in Ohio but has lived and worked in Charlottesville for the past 14 years, discovered what she now calls “renegade resilience.” Unlike Rocky resilience, renegade resilience is the ability to pick your battles and avoid situations where you’re forced to repeatedly overcome trauma. It’s the ability to listen to your needs and stand up for them. It’s being proactive rather than reactive.

Branson isn’t the only therapist or researcher thinking about resilience. While the concept traditionally falls under the umbrella of psychological constructs like “emotional regulation” and “cognitive flexibility,” and has taken a backseat to buzzword attributes like “grit,” resilience is having its moment. Since the COVID-19 pandemic, more and more people are thinking about the ways we bounce back from trauma. And in November, the peer-reviewed journal American Psychologist published a special issue on the topic, “Rethinking Resilience and Posttraumatic Growth,” that “aims to provide a foundation for a new generation of resilience … research.”

Among other things, the journal’s special issue takes on the definition of the term resilience, examining it in the context of community support, systemic societal issues, and the way it’s been studied for decades.

“The general advice I would offer anyone who is thinking about resilience, self control, or other psychological processes is to try to avoid the fundamental attribution error,” says Benjamin Converse, an associate professor of public policy and psychology at the University of Virginia. “That is, we have a general tendency to try to explain people’s behavior by appealing to personality while neglecting the power of social situations.”

Understanding resilience

According to Stefanie Sequeira, an assistant professor of psychology at UVA, people tend to observe others who bounce back from tragedy and think of them as being intrinsically resilient. 

“Resilience is this process of adapting well when we are facing adversity—health problems, natural disasters, relationship problems,” Sequeira says. “Adapting requires flexibility, but that is a skill we can develop. Resilience is not a personality trait.”

Thinking of resilience as something we’re born with can actually do us harm, Sequeira says. The mindset might make people decide they are incapable of adapting to hardship and thriving, or that resilient folks don’t feel things deeply. Sequeira says being resilient doesn’t mean you don’t experience negative emotions. Indeed, experiencing sadness is critical for resilience.

In the introductory article to the recent special issue of American Psychologist, the editors likewise call resilience “the ability to adapt successfully to adverse events.” The guest editors go on to say that resilience springs from two sources: both the psychological and social resources within individuals and communities.

Bethany Teachman, the UVA psych department’s director of clinical training, says that part of the conversation today is recognizing that individual actors are often less important than the systems making things difficult for them. In other words, clinicians never put the onus on their patients to solve all their problems or be resilient on their own. “We want to say, ‘you are trying to navigate the system you are in,’ as opposed to saying, ‘this a weakness in you that you are struggling with,’” Teachman says.

According to Teachman, current events like the COVID pandemic, global wars, and the recent U.S. election make overcoming adversity as ubiquitous as ever in clinical psychology. At the end of the day, clinicians help people navigate the hard things in life, and resilience is key for overcoming challenging emotions, relationships, and situations.

Thinking of resilience as something we’re born with can actually do us harm, says Stefanie Sequeira, an assistant professor of psychology at UVA. Photo by Eze Amos.

Enhancing resilience

If resilience is a systemic phenomenon, anyone—from young people to adults—can grow their resilience. For parents, that might mean giving children the “right scaffolding to work through problems,” Teachman says. At the same time, an overprotective environment can hinder resilience development.

Adults who may have failed to develop the social systems necessary to enhance resilience aren’t stuck. Teachman offers several approaches, such as practicing mindfulness during hard times: gain control of your attention, be aware of what you are focusing on, and recognize that you can change your focus rather than being reactive. “That leads people to develop the acceptance they need,” Teachman says.

Clinicians often use motivational interviewing to overcome trauma. If patients feel unsure about whether or how to make a change, the clinician’s job is to help them recognize their desires, abilities, reasons, and needs. (Teachman suggests remembering the acronym DARN.) Through motivational interviewing, individuals facing adversity can find that they want to make a change and have the ability to make a change, why they should change, and the support they require to make it all happen. 

Resilience can also be built on what Teachman calls “behavioral activation,” or recognizing that you are overwhelmed, taking small steps to re-engage, and finding pleasure in small rewards. Cognitive reappraisal is another technique. Say you want to be resilient after being fired from your job. The resilient person focuses on taking action on the opportunity, rather than dwelling on why the hardship happened.

“You want to look at the ways you are withdrawing from a situation or avoiding it and re-engage, even if it is a small step,” Teachman says. “It could be as simple as calling a friend.”

Still, it’s difficult to tell yourself simply to change the way you feel, Sequeira says. Folks suffering from anxiety can’t just stop being anxious. Clinicians must therefore find ways to help their patients embrace change, notice “thinking traps,” and avoid catastrophizing. “It can be helpful to think about times you have felt like this before and how you bounced back” from adversity, Sequeira says.

Branson suggests considering what is physically happening to your body in times of stress. If you’re having a difficult interaction with a colleague or loved one, tell yourself that your cortisol levels are high and you can do things to lower them—practice a slow breathing technique, step away from the immediate conversation, or simply take a walk.

Community resilience 

Like individuals, communities can be resilient. So, how do you know if you live in a resilient community? Branson says she sees evidence of Charlottesville’s resilience, but she also sees room for improvement. “We could be more brave and more proactive versus reactive,” she says.

Branson has transitioned from a traditional therapy practice to working with law firms and other organizations, including nonprofits, in recent years. In her work, she’s found people throughout the C’ville community who provide the services needed to help people be resilient. 

But as it is for individuals, resilience is not a have-it-or-don’t-have-it phenomenon in communities, Branson says. It lies on a continuum.

“One of the things I say in my book is that resilience has several levers,” she says. “We might have times when one lever for resilience is low. For me, after the election, my ability to self-soothe was low. So I am trying to push up the lever on that while also building connections.”

Sequeira points out that research shows loneliness is detrimental to our health, and people are struggling with isolation now more than ever due to remote work and social media. To be more resilient, she says we have to “make social connections, develop relationships, find other people in the community that share the same values as you.” Community groups can not only be a source of support, but they can also give one a sense of purpose. 

Parents can help guide the social systems needed to build resilience in their children, Sequeira says. Resilience keys for young people include sticking to a routine, having a sense of control, and meeting small, achievable goals—not to mention sound nutrition, hydration, and sleep. 

“Teens want control, they want agency,” Sequeira says. “They are supposed to be departing from their parents and want to feel like they have some control over their environment. So for example, instead of telling teens, ‘you need sleep,’ you might ask them, ‘how are you sleeping and how is that making you feel?’” Taking a break from social media and avoiding behaviors that are “mood congruent,” like listening to sad songs when you’re sad, are also good ideas.

In soliciting articles about resilience, the American Psychologist special issue editors found several recurring themes in the research, including reimagining ways to conceptualize adversity, how we study resilience, and pathways for enhancing resilience. But what emerges most often is how we think about resilience for marginalized communities.

Teachman points out that there are some groups, such as people of color and the LGBTQ+ community, that are repeatedly put into situations where they face adversity and attack. Those people are more likely to develop psychological issues as a result of trauma, according to Teachman, but they are also among the most likely to develop resilience.

“I think it is a really important group to highlight,” she says. “There are costs to being resilient all the time. We can’t just teach people how to cope and think that will solve all their problems.”

Bethany Teachman, the UVA psych department’s director of clinical training, says clinicians never put the onus on their patients to solve all their problems or be resilient on their own. Photo by Eze Amos.

Rethinking resilience

Can a person have too much resilience? Like so many things in clinical psychology, the answer depends on term definition. “You cannot overdose on resilience, but there might be times when you see yourself as a highly resilient person, and that can get in the way,” Sequeira says.

Some of the clients Sequeira has worked with say they feel invalidated by the word resilience. It sounds like an individual-level skill, and they’re turned off by the idea that they just have to cope with all the bad things in their lives.

For her part, Branson doesn’t completely discount Rocky resilience, the ability to take punches and stagger back up. We need Rocky resilience. But for folks in marginalized communities, being resilient becomes too heavy a burden after so many knockdowns. 

Renegade resilience, on the other hand, is a long-term solution.

“We have to put ourselves first and nurture our own needs,” Branson says. “When it really started resonating with me, both in my own life as a survivor and working with other survivors, was when I realized resilience is what sustains us.”

So often, we feel like life is about getting past whatever is plaguing us. Maybe it is a severe trauma, or maybe it’s just that ever-present feeling that “as soon as I get through this week, things will slow down.” Branson says that’s no way to live.

Think about the way the heart works, she suggests. Your heart relies on valves to keep certain things in and other things out. In the world of renegade resilience, those valves are “boundaries and vulnerability.” Our boundaries tell the world what is and what is not okay. Our vulnerability allows us to stay open to social connections and be our authentic selves.

“Renegade resilience is something that we don’t have to wait for; it is something we can start to practice now,” Branson says. “We don’t jump out of a plane, then make sure our parachute is buckled up. Prioritizing ourselves is one of the most generous things we can do.”

Categories
Culture

Charlottesville’s game store rolls a nat 20 with its homebrewed board game

Game stores can be intimidating. For the layman, walking into The End Games and hearing someone discuss their level 18 Halfling Rogue in Dungeons & Dragons or their Warhammer 40k Space Marine Army is like listening to an advanced trigonometry lesson given entirely in Urdu. That’s why, while building his crowdfunded board game Springsign, Andreas “Andy” Mangham wanted to avoid making just another entry into the crowded field of math-heavy table-top role playing games, or collectible-focused trading card games like Magic the Gathering. “I wanted to make something that families could play,” he says. “In fact, it’s designed to be kind of an accessible gateway game that can introduce some cooler game concepts/mechanics to less experienced, ‘entry-level’ gamers.”   

Yet to describe Springsign as a simple board game like Monopoly or Chutes and Ladders is inaccurate. The game, at its core, is a popularity contest, where several fantasy archetypes—like the strong, silent Soldier, or the wily Smuggler—complete tasks to win the affection of the townspeople for the highly coveted office of Mayor of Springsign, while an invisible third player—anarchy—competes against them all. Therefore, popularity becomes your scoreboard. 

When you sit down to play, you’re given a reversible player card, and both sides contain your character’s picture, spaces for your inventory, and directions on what choices you can make during the action phase of the game. While one side is for beginners (with a more basic and streamlined experience), the other side of the card has more complex and deeper mechanics for the experienced gamer. The game is designed so that both the beginner and adept sides are balanced and can be played at the same time. This asymmetric gameplay style offers a lot more accessibility for families who want to have a game that’s fun for their kids, while also giving adults and experienced players a product that is engaging and strategic. 

However, Mangham goes out of his way to make sure people understand one thing about his game: “This is not a cooperative game,” he says.

The project is part of The End Games initiative to branch out from its strictly retail focus and embrace Mangham’s skills as a game creator. The store’s co-owner Sam Fogelgren says that, once they discovered Mangham’s imagination and creativity, they decided to capitalize on his talents and let him chase his dream of game design. 

“Andy started off as a front-of-house employee behind the counter,” Fogelgren says. “Once we all talked about his passion for making games, we moved him into that role to attempt to create a game. Retail is great and we love hosting events, but [we wanted to create] something new with The End Games that could be enjoyed by people around the world and we could leave our mark that way.”

Mangham is a local who grew up in the Shadwell area and graduated from UVA’s literary prose program in 2020.

“It’s a fancy way of saying creative writing,” Mangham says. “Not a very marketable skill set, some would say, but I’m pleased to say I’ve been using my education a lot. Right out of college, I wanted to work for The End Games. I knew I wanted to design games for a living.”

It took a couple years for Mangham to “pay his dues” and for the store, which Fogelgren describes as “a community where players and staff come together and share their passion in a welcoming environment … and create unforgettable experiences,” to be in the right position to back him and take the plunge on a project. But when the time was right, the tight-knit crew decided it was time for their adventure to begin. 

Springsign creator Andy Mangham “wanted to make something that families could play,” he says. Photo by Tristan Williams.

“About a year into working there, my bosses approached me. They told me they knew I was into game design and wanted to experiment with starting an in-house game dev department, and was wondering if I could make that happen,” Mangham says. “So now, I’ve switched to only doing game development stuff. Springsign was proving to be like three or four jobs rolled into one, and I just wasn’t able to make meaningful progress on it with my time and attention divided. When you self-publish games, what most people don’t talk about is that making the actual game is only a third of the job; the rest is marketing, logistics, community-building, manufacturing, and budgeting.”

Fogelgren says they “had talked about if this went well and Andy was successful, we would love to continue spreading the word of Springsign and would look into supporting Andy and maybe other designers in creating more successful Kickstarter campaigns and new games.”

Endangered species?

Thanks to the boom in popularity from TV shows like “Stranger Things” and popular online shows like “Critical Role,” gaming has started to become more mainstream. What once was considered a niche market with eroding margins has seen a boom in recent years, and Charlottesville’s gaming scene has been no exception.

“Tabletop gaming is a growing market [in Charlottesville],” Mangham said. “The End Games used to be the only game shop in Charlottesville, and now two others have opened around C’ville in the past two years.”

As the world emerged from the pandemic, the desire for more social interaction led to increased popularity in the gaming scene, communities were reforged at local gaming stores around board games, table-top role playing games, and trading card games like Magic The Gathering and Yu-Gi-Oh. Early gamers congregated at the game store as a shelter from the insults and jabs of their peers, and an escape from pearl-clutching parents caught up in the “satanic panic” of the ’70s and ’80s. This was back when the word “nerd” was a pejorative, and religious conservatives were convinced that playing Dungeons & Dragons would have their kids summoning Cthulhu in the basement. 

Times have changed, however, and as the teenagers from those early days have kids of their own, there are tabletop gaming groups that are into their second generation.  

The game centers on the fictional town of Springsign, where players complete tasks to win the affection of the townspeople for the highly coveted office of Mayor. Photo by Tristan Williams.

The End Games’ current owners—Fogelgren, Shane Borrelli, and Brian Roberts—bought the business 14 years ago and have since grown it into a viable mecca for fellow local nerds who now wear that title with pride. Though the popularity of game stores may no longer be waning, it still feels unique to find the same discussions about magic decks with like-minded individuals who find nothing strange about a five-hour argument over whether their lawful neutral paladin could beat your chaotic good elven mage in a karaoke contest. 

“Because of amazing community support, we’ve been able to grow and provide so many people with a second home,” Fogelgren says. “That’s what we love about The End Games; it’s an inclusive fun atmosphere [where] you can come in and play for hours and not spend a dime. We do sell games and accessories for the games people play, but joining your friends to play or many of our events are free. We also have bigger tournaments with prizes for our more competitive players. We call it a second home because you can always come in, there’s a good chance our staff know your name, and we all try to make sure it’s a safe and fun environment for everybody.” 

All or nothing

Springsign’s October launch party at the store quickly became a crowded affair, with eager players gathered around two boards while Mangham explained the mechanics of the game for what must have been the 100th time that night. 

“I also had about three hours of sleep last night,” he said over the crowd. The game had occupied his brain for so long, and not knowing whether it would be popular had cost him many  nights’ sleep. Not to mention that, as of the launch party, the all-or-nothing crowdfunding campaign (if the project did not meet its goal, all of the hard work would have been for the friends they met along the way) was still flying short of its $18,000 ask.

A reversible player card contains your character’s picture, spaces for your inventory, and directions on what choices you can make during the action phase of the game. Photo by Tristan Williams.

Mangham needn’t have worried. A week later, with 23 days left on the clock, Springsign had reached its goal.

“We hit our funding goal of $18k last night, so we are definitely making the game,” Mangham said via email. “Any further funding will go to our ‘stretch goals,’ which lets us unlock upgrades, better stuff for our backers, and improve the game in other ways.”

With the success of the crowdfunding campaign, the likelihood of The End Games branching out into developing other games increases tenfold, according to Mangham.

“My hope is that Springsign will not only pay for itself, but raise the capital we need to further invest into our game dev department,” he says. “Springsign is an experiment for us, on every level. Once our campaign ends and we can look at how much we raised, my bosses and I will be able to unpack everything we’ve learned from this project and figure out what comes next for us.”

Categories
Culture Food & Drink

Olive oil, pasta, mezcal, coffee, champagne, and global cuisine—these local food instructors know their craft

By BJ Poss, Sarah Golibart Gorman, and Ella Powell

The simple recipe of ingredients and technique 

Behind an ever-changing food scene, local cooks, mixologists, and makers are working every day to bring out the best in their fields of expertise, and teach a deeper appreciation of what grows in the backyard. From olive oil and pasta to mezcal, world cuisine, and kitchen skills, the passionate culinarians in these pages are just a few reasons why Charlottesville is a delicious place to live.


“The first step in learning to cook is building confidence in the kitchen. It’s about fostering a mindset where you’re not afraid to experiment, try new things, and even make mistakes. Cooking is an iterative process, and every “failed” dish is a learning opportunity.”

Chef Antwon Brinson, Culinary Concepts AB LLC


C-ville Bites

Pasta, gelato, and more with Chef Kelvino Barrera

Photo by BJ Poss.

“I don’t think I can imagine the number,” laughs C-ville Bites Chef Kelvino Barrera when asked to calculate how many tortellini he’s hand-rolled. Barrera, who mastered pasta rolling during his time at Pippin Hill Farm, will, along with C-ville Bites owner MJ Padilla, turn your home kitchen into a fine Italian cucina. You choose your pasta style, sauce, protein, and accompaniments, and they’ll teach you the ins and outs of pasta-making. 

“One of the most interesting requests I’ve had is raviolo al’ uovo,” says Barrera, “It’s challenging to get the ravioli with the runny egg yolk just right. But when you see people get it, and their eyes light up, that’s the priceless part of the experience.”

These classes allow Barrera and Padilla to take little bits and pieces of influence, much like they do in their home kitchens, and provide “an experience not just for the guests but also for us,” Barrera says. “It’s more intimate; everybody feels comfortable coming and talking to you while you cook or asking questions.”

Barrera and Padilla both spent their early years in Honduras, with Barrera moving to Charlottesville at age 13. He got his first kitchen job as a line cook, where he fibbed his way into a meat counter job and learned how to trim steaks on the fly. He’s since run the kitchen at The Shebeen, had stints at The Bebedero and South and Central, worked a food truck, and is now running pasta, gelato, and sauce-making classes at C-ville Bites.

“I always like to put a little bit of my mom’s touch in recipes,” says Barrea, reflecting on growing up assisting his mother and grandmother in the kitchen. “It makes me feel like I’m home in my cooking.”

Along with C-ville Bites’ cooking classes, consider Padilla’s Friday and Saturday food tours, where you’ll stroll the Downtown Mall and sample some of her favorite local fare, and then enjoy a meal that is Charlottesville dining through and through. 


“Don’t be afraid to burn that pot of quinoa or overcook the chicken breast. Sit down, enjoy your creation for what it is, notice what went wrong, what flavors you like, what it needs more of, and try again next week. Cooking is all about repetition, failing miserably, and just simply trying again!” 

Chef Travis Burgess,  Bizou /Bang /Luce Pasta


Women in olive oil

Olive Oil tasting lesson from sommelier Jill Myers

Photo by BJ Poss.

One of the greatest gifts a home chef or any admirer of quality cuisine can learn in the kitchen is that if each dish is to be enjoyed as its own entity, its contents should be considered with the same grace. Alongside the culinary staples crowding your cupboard–the flaky salt, five-pepper grinder behind a glass ramekin of dried oregano—is the sometimes overlooked foundation of many meals: olive oil.

The enviable life goal of Jill Myers, certified as an olive oil sommelier by New York’s International Culinary Center, is to increase accessibility and appreciation for the breadth of crushed and fine goodness that comes from the fruits of a Tuscan olive tree. “It’s a beautiful product,” she says. “Liquid gold.”

Myers offers tasting lessons on the history of olive oils from around the world. Her classes teach the influence of terroir and mindful pressing, and are typically held at wineries throughout the Monticello AVA, in conjunction with a wine pairing. “It’s always through wine that people love olive oil,” she says.

Olive oil and wine parallel in their growing season, in their elegant complement to the culinary experience, and in that the best production is likely resting in a glass jug tucked somewhere in an Italian countryside farmhouse. “I love the culture behind slower food processes,” says Myers as she spills out a golden shade of a Tuscan leccino from her recent Italian harvest.

Myers guides you through the nooks and crannies of the Mediterranean as she recounts conversations held at a sturdy table after a long day’s harvest. “Quality olive oil should taste like a summer garden,” she says. The care and attention it takes to cultivate worthwhile oils calls for their consumption to be paired as you would a thoughtful wine list. As Thomas Jefferson said, “The olive is surely the richest gift of heaven.” 


“Learning to cook for me truly began when I delved into the history of French cuisine, which sparked an appreciation for the art of cooking, especially in a professional setting. That passion led me to connect with other chefs and ultimately to the Culinary Institute of America, where my journey took shape with foundational courses like Product Knowledge and Skills 1—covering everything from knife cuts to stocks. The skills and insights I gained during those early days have become a part of my daily life, both inside and outside the kitchen.”

Chef de Cuisine Aaron Bellizzi, Marigold by Jean-Georges


the Bebedero / mejicali

Mezcal lessons with mixologist River Hawkins

Photo by BJ Poss.

River Hawkins has made a life of conjuring, experimenting, and articulating agave delicacy. Hawkins, a mixologist and partner in The Bebedero on the Downtown Mall and Mejicali on West Main Street, offers two-hour classes for both mezcal and tequila. At your station, stocked with lime, salt, and a rarely empty 1.5 oz. glass, you’ll learn the intricacies of these spirits, their traditions, and why Hawkins pours two parts lime, one tequila, one sugar, and salts the rim. “The lime and salt excite the palate and enhance flavor,” he says. “Spirit, citrus, sugar, salt—the margarita is the quintessential cocktail.”

For every tequila drinker who shivers at the leer of the soaked worm watching from the bottom of the bottle, there is an equivalent in mezcalero that should be tried: the one buried in goat dung. The five regions of Jalisco, Mexico, produce agave that draws comparison to what Champagne is for sparkling wine. 

Nuances of flavor are drawn from different appellations, aging styles, mixtos, and production within the five regions, but according to Hawkins, mezcaleros are in agreement: The blanco stage is the perfect stage; this is what tequila is supposed to taste like. Blanco is the unadulterated stage of tequila. Farmers appreciate its simplicity in retaining the essence of the purveyor’s terroir. 

Hawkins’ classes teach you how to navigate the liquor store aisles and select the spirit to fit your evening. For a spirit to be considered tequila, it must be 51 percent blue agave and hail from Jalisco, Mexico. The other 49 percent is where you’ll run into over-sugared mixtos that lead to the hangover, swearing you off it. “You can find good things in any mezcal,” Hawkins says, but in selecting tequila, there is a creed that he emphatically implores: 100 percent blue agave. 

Hawkins’ classes run year-round through the Bebedero, where you’ll make your own cocktail and taste test an array of spirits (snack breaks for housemade guac and elote are included). Go beyond the shot and keep an eye out for the next class and some blue agave.


“In the beginning, knowing how to measure dry or liquid ounces for savory recipes and understanding how many ounces are in a cup (8 oz.) is so key. Especially when it comes to baking, working in grams and using a digital scale will allow you to have much more control and understanding of ingredients and how they work in recipes. Baking is a science, and it really helps when your measurements are exact.” 

Christina Martin, Head baker and owner of bakernobakery LLC


The Happy Cook

Tastes from around the world by chef Soledad Liendo

Supplied photo.

In a shop at Barracks Road Shopping Center there’s a narrow doorway that leads to an array of handcrafted cookware and your place among some of the world’s most notable cuisines. The back of The Happy Cook is where Soledad Liendo shares her culinary journey from her Buenos Aires home to the mastery of global cuisine.

Tickets are sold by the station, each of which accommodates two students. There’s an array of classes to choose from. Perhaps you want to perfect your knife skills or master the cuisine of Argentina. Or maybe just sign up for a seasonal course, one of which is a play on “The Bear”’s seven fishes episode. The two-hour classes lean on technique to master specific dishes amongst a full-course meal and local wine.

Liendo says her culinary journey doesn’t end when the burners cool. “Cooking, for me, is not locked in the kitchen. It’s about cooking, getting together, and enjoying a meal.”  

For plenty of chefs, the pursuit of a family-worthy meal comes from the warm memories of their youth. “Gathering was the number one priority,” says Liendo. She recalls thumbing through a family cookbook put together to preserve the aromas and conversations over generations. She calls on this well of flavors to guide her popular Argentinian empanadas and alfajores classes. Liendo also navigates students through comforts from shepherd’s pie to decadent truffle pasta.

Courses at The Happy Cook, as noticed by Forbes, make for a cozy night out or gift idea. In addition, Liendo offers private lessons for small groups that are looking to hone in on a particular cuisine, and her training in French, Spanish, and Italian provides access to unique flavors of the world. 


“I teach a variety of very active cooking classes here … and the first step to learning how to cook is ensuring that [students] are reading the recipes before they begin. Getting their mise en place ready before they start cooking is another crucial step. But the most important thing is to have fun with cooking. I always encourage [everyone] to play with recipes once they are comfortable. Exchanging herbs for different ones or playing with different chilis as long as they are cooking savory recipes, if they are baking they have to stick to the original recipe.”

Executive Chef Victoria Cosner, Pippin Hill Farm & Vineyard


PVCC

Technical kitchen skills 

Supplied photo.

Ready to take your skills pro? Begin your professional training at Piedmont Virginia Community College, where you can get an associate’s degree in culinary arts, a culinary career studies certificate, or take a class if you’re looking to perfect a baking technique or learn to trim the whole cow. 

“If you’re passionate about what you’re doing, we’ll help you get there,” says PVCC culinary arts instructor Caitlin McCabe. “Whether your goal is to open a restaurant or just get better at cooking.” 

McCabe brought her degree in food service management to Virginia in pursuit of Southern hospitality, eventually becoming executive chef at The Palms in Lexington. 

During their first year, students learn knife skills, the secrets of soups and stocks, and even the philosophical side of a bloody mary before noon. “We’ll break down why brunch is what it is,” says McCabe. “Aside from being fabulous.” 

Along with these skills, students learn how to prepare and purchase meat and seafood to cook for a cozy, intimate gathering or a bustling chophouse that feeds hundreds. They’ll gain an understanding of mixology and have the opportunity to pursue classes like artisan bread-making—many of which McCabe is working on developing into one-day courses open to the public.

Year two of the associate’s degree includes understanding the culture of cooking. Where do international and regional cuisines come from? How does religion and historical expansion bring baguettes to South Asia or spices to England? Students will learn to collect twists of global staples and sprinkle them into a menu made for their kitchen.

McCabe emphasizes the program’s ability to accommodate any students looking to further their culinary journey. “We’re happy to be in the community, and look forward to expanding it.”—BJ Poss


“The best chefs all understand the professional kitchen from the ground up. For all cooks—casual and professional alike—the unrelenting desire to understand how a dish you love was made, assessing how it could be improved upon, and then figuring out how to do it yourself (with said improvements) is when you know you’ve officially embraced the concept of learning to cook, which is a never-ending process and constant evolution.”

Executive Chef Chuck Adcock, Rooftop Charlottesville
at The Doyle Hotel 


Claiming terroir

Photo by Sarah Cramer Shields (Cramer Photo).

Anna Kietzerow is one of those people who looks perfectly at home swirling a glass of wine. Fingers cradling the stem, wrist twirling, champagne rising masterfully close to the rim, Kietzerow takes a sip of vintage Alexandre Bonnet Brut Nature, remarking on how much drier and crisper it is compared to the creamier Drappier Brut we tried moments ago. If brut and vintage already feel like a foreign language, or if you’re right at home in the world of oenology, then Kietzerow is precisely who you need to meet.

A philosophy Ph.D. candidate at UVA with a passion for wine, Kietzerow co-founded Cellar Road in 2023 with her “partner in wine” Adam Wagner as a space to explore and share their knowledge with others. Last year, the duo led an educational trip to Champagne, France, immersing guests in exclusive tours of champagne houses and Michelin-starred dinners. If this sounds like your scene, stay tuned: Their next tour will explore Germany’s Moselle Valley—the region where Kietzerow first cut her teeth, or rather her taste buds, on wine.

“How I approach wine has been heavily influenced by my background in philosophy,” explains Kietzerow, who sees wine as a sensory portal to the philosophical ideas about which she’s already passionate. “My dissertation is about the topic of place, and what it means for something to be a place, and the role that place plays in our social and political lives.” If your mind jumps to terroir, you’re on the right track.

For Kietzerow, terroir goes beyond the soil, climate, and terrain of a region; it includes the winemaker’s hand and cultural essence of a place. Her next class will dive into wines of Tuscany—chianti, brunello, and the complex Super Tuscans. While chianti and brunello are made exclusively with sangiovese grapes, Super Tuscans blend sangiovese with French varietals like merlot, cabernet sauvignon, cabernet franc, and syrah. Grown in Tuscan soil, these French grapes create a layered terroir, a “gray area” where Kietzerow thrives.

During our conversation, she introduced the sorites paradox, a classic philosophical problem that tackles vagueness. “Imagine I place a single grain of sand before you,” she says. “Is it a heap?” Of course not, but then she adds another. “Is it a heap now?” She’s onto something. When do individual grains of sand become a heap? When does sauvignon blanc from Sancerre differ meaningfully from one grown in the neighboring Loire Valley village of Pouilly-Fumé?

These are the kinds of questions Kietzerow explores as she works toward her Wine and Spirits Education Trust diploma, a challenging credential equivalent to master sommelier. When not at a UVA library, Kietzerow can be found studying at The Wine Guild of Charlottesville, tasting wines, writing descriptions, searching for quality vintages to make accessible to the Charlottesville community. And if you miss her classes or the upcoming Moselle trip, you can join Kietzerow and Wagner on Cellar Road’s podcast, which launches this month. Look out for her masterclass episode with Edouard Cossy, global director at Champagne Laurent-Perrier. It reflects on an in-depth tasting and paired dinner at The Alley Light—a rare chance to learn about champagne from someone who doesn’t just swirl the glass, but opens up the story within.—Sarah Golibart Gorman


“Don’t be afraid to make mistakes. Every time I’ve screwed something up, it’s sent me down the path to learning why I goofed, and those lessons prove invaluable as you continue cooking.”

Executive Chef Chris Humphrey, Bonny & Read


Pour your heart into Mudhouse’s coffee classes

Photo by Eze Amos.

The Mudhouse has been grinding beans from its local roasters since 2009. In fall 2023, the shop began offering classes, giving customers the chance to learn the art and science behind a perfect cup of joe. 

Certified as Q graders by the Coffee Quality Institute, Mudhouse professionals are trained in the sensory evaluation of coffee. 

“We want typical everyday drinkers to be able to come in and learn something if they’re interested,” says Lindsey Simpkins, Mudhouse’s sales and events manager.

Coffee curious students are taught a range of skills that include triangulation (mini cuppings or tastings), explorations of coffee and sound, how to work specialty equipment, and how to create latte art.

Simpkins says the latte art classes have been the most popular among the public. Not only do they offer a unique date opportunity on the first Friday of each month, the classes also introduce the basic concepts and processes that uphold the Mudhouse standard. 

“When [baristas] first come in, they have to learn the difference of the fat content in milk,” says Simpkins. The higher the fat content, Simpkins notes, the more air you want to introduce into your milk while steaming. 

Listening to your latte is equally important. Simpkins points out that the sounds accompanying the production of your morning pick-me-up reveal whether the blend is up to par. 

“Once it’s steaming, it should sound quiet, almost like a roller coaster going up a hill,” she says. “That’s how I teach people to envision it. If it’s screaming at you, then you didn’t introduce enough air.” 

In the cupping class, Mudhouse’s diverse international coffee blends are concentrated in a process of setting ground beans with hot water until they rise and form a crust that is broken for an exquisite tasting experience. This allows students to distinguish the fine details of blends originating from regions such as Ethiopia or Colombia. 

“You’re able to tell where coffee comes from based on the flavor profile and acidity level,” says Simpkins. Ethiopian blends, for instance, are normally accompanied by a fruity and floral flavor with a bright acidity, while the Colombian blends are notably chocolaty and sweet. “Once you get to a more elevated level, you’re actually scoring coffee.” Aroma and acidity are broken down to explore the complexities of different coffee blends, and participants are trained to notice all of the subtleties in preparing a grade A cup of coffee. 

“We have also considered the fact that some of this isn’t as simple as learning it in a 30- to 45-minute class,” says Simpkins. “So come spring of 2025, [Mudhouse] will be opening up the roaster for private classes.” 

The new classes will be conducted one-on-one with professional Mudhouse roasters, and Simpkins says the expanded programming gives participants an opportunity to become true coffee connoisseurs. “I just want people who want to learn and be involved in specialty coffee to know that they have a safe place to learn. We’re going to give you all the information you need so that you can go home and be able to do what we do every day,” Simpkins says. “Hopefully other coffee shops will join suit, and if not we’ll still be here growing.”—Ella Powell

Categories
News

Charlottesville Symphony channels unique makeup for talent, longevity

When the schedule for this year’s 50th-anniversary season of the Charlottesville Symphony hits the desk of Elizabeth Roberts, the orchestra’s principal bassoonist eyes the first piece in the first show. It’s Beethoven’s Symphony No. 5, and she’s played it many, many times.

For professional players like Roberts, seeing Beethoven 5 on the setlist is like hearing an audience member request “Free Bird” at a Lynyrd Skynyrd show. The band has played it so often, it’s tough to muster up much enthusiasm.

But this is a 50th-anniversary program. Roberts and the other professionals in the Charlottesville Symphony’s principal seats know what Music Director Ben Rous is thinking. The celebratory season is a time not only to show off the nontraditional work they’ve been doing, but also an opportunity to call back to the masters who’ve come before them.

Plus, Charlottesville’s orchestra has a cheat code when it comes to playing the standards with passion: students.

“What we have are a lot of super-smart kids who are passionate and accomplished and really dedicated to improving,” Roberts says. “They are going to play with a level of energy when you put Beethoven 5 in front of them that the audience is going to sense. They’ve been waiting their whole life to play it.”

The Charlottesville Symphony at the University of Virginia is made up of not only professionals and students, but also community members. It’s a unique construction that’s shared only by two or three other orchestras in the United States. And the local ensemble has been doing it that way for a long time—half a century to be exact.

Tracing back

Even before the Charlottesville Symphony’s official founding in 1974, seeds had been planted in the form of a faculty group. 

“We don’t know a lot about it, like the early conductors’ names,” says Janet Kaltenbach, executive director of the Charlottesville Symphony Society, a community nonprofit supporting the organization. “But the narrative of the earliest symphonic music at the university is even older than the symphony itself.”

Four music directors have led the Charlottesville Symphony over its 50 official years: Douglas Hargrave from 1974 to 1991, Carl Roskott from 1991 to 2006, Kate Tamarkin from 2006 to 2017, and Rous, who took the job in 2017.

When Ben Rous took over as Music Director, he brought his own sensibilities to the role, which former director Kate Tamarkin says is welcome and expected. “[Each new conductor adds] something else very important, which is their temperament,” Tamarkin says. Photo by Joyce N. Boghosian.

Each director has also served as the orchestra’s primary conductor, a job that requires more than simply dancing a baton in front of the musicians. The directors oversee the roster, select the music for each season, and bring their own style and energy to the way classical music is translated for the audience.

“Orchestral music is a re-creative art,” Tamarkin says. “The composer needs a partner, an interpreter. Every conductor adds their understanding of the composer and the time when it was written. And they add something else very important, which is their temperament.”

When Hargrave took the lead in 1974, he directed a group of 50 musicians. The orchestra began its subscription series in 1975. Roskott brought with him an impressive resume and bolstered the orchestra’s reputation. At the time, the symphony included six professional musicians as principals. When Tamarkin took over in 2006, 16 principals were on the roster.

Tamarkin again raised the bar in terms of experience as a director and conductor, leading the organization for a decade. In May 2017, Rous uprooted from Norfolk as resident conductor at the Virginia Symphony to move to Charlottesville.

Today, the Charlottesville Symphony is one of the primary public-facing arts organizations at the University of Virginia, according to Jody Kielbasa, UVA vice provost for the arts. “Along with the two museums, the Virginia Film Festival and the theater festival, these organizations have a long history with the university, but more broadly with the Charlottesville community,” he says. “They serve as a bridge to the community.”

A modernist turn

When Rous took the conductor’s baton from Tamarkin, he says he came into a healthy organization. His experience with other national orchestras had taught him that professional groups all share at least one flaw. Professionals, he says, treat playing orchestral music as a job by definition.

Rous immediately felt that the Charlottesville Symphony, with its focus on teaching students to play as well as professionals, had a different air, a more contented air than he’d ever experienced. “We had a great performance culture and a really committed, loyal audience,” he says.

Still, Rous wanted to take the symphony in a new direction. According to Tamarkin, that was expected. As part of the search team seeking her replacement, she wanted someone who would be as different from her as possible.

Rous’ intensity and willingness to experiment with new forms, to take orchestral music to the edge of what people think it can be, fit the playbill. “I decided I could trust this community to be curious along with me, and I made a little bit of a leap of faith that I could be my honest, curious self when choosing what music to program,” he says. 

Janet Kaltenbach is the executive director of Charlottesville Symphony Society, a nonprofit that supports the Charlottesville Symphony. Photo by Alisa Foytik.

The result is an orchestra that, in addition to the standards, features music by unfamiliar composers, arrangements listeners have never heard before, and collaborations with novel artists. Last spring, Rous invited drummer, percussionist, and composer JoVia Armstrong to join the Charlottesville Symphony on her cajon drumset. Armstrong, whose own music draws on techno, future soul, hip-hop, and chamber jazz, was a hit. After the performance, concertgoers and players alike told Rous the symphony should feature Armstrong in every show. 

Under Rous, the Charlottesville Symphony has also featured an afro-futurist improv jazz flutist, a standard jazz quintet, and music produced from the sound of melting glaciers.

This season, the line-up will include rapper A.D. Carson during the March 22-23 shows which feature & metaphors  commissioned from him for the anniversary season, Mozart’s Requiem and Barber’s Adagio for Strings.

“The overarching goal I have is to expand on what people can get out of an orchestral concert—not just what sounds we are making, but what ideas we can represent, what societal issues we can confront,” Rous says.

Looking to the future

Taylor Ledbetter, like so many middle-class American kids, grew up taking piano lessons. In sixth grade, when many students are first introduced to band instruments—some influenced by programs like the Charlottesville Symphony’s own youth outreach efforts—Ledbetter began playing the flute. She took to it and joined her high-school symphony orchestra in Fort Worth, Texas.

When Ledbetter looked at colleges, she knew she wanted to continue playing music while not compromising her education. The University of Virginia was the perfect fit, in no small part because of the Charlottesville Symphony.

Ledbetter has since taken up the piccolo, with help from UVA professor and Charlottesville Symphony principal flute player Kelly Sulick, and joined the orchestra on the smaller instrument for the spring show last season. This year, she’ll play in the February show featuring Prokofiev’s Romeo and Juliet.

Ledbetter’s story isn’t unique among the hard-charging, intellectually minded students who make up the youngest portion of the Charlottesville Symphony. But symphonic music isn’t for everyone, especially those who’ve never seen it live before. According to Tamarkin, most folks who see it even once come to love it.

UVA student Taylor Ledbetter will play piccolo with the orchestra in February’s performance of Prokofiev’s Romeo and Juliet. Supplied photo.

If the Charlottesville Symphony wants to keep playing for another 50 years, it has to continue to put people in the seats. One way it does that is through education, from the organization’s youth programs up through the students who learn to play pieces like Beethoven’s 5th alongside professional musicians and community members.

According to Concertmaster Dan Sender, the educational structure of Charlottesville Symphony rehearsals is unlike any other experience for young players. While Sender admits “first rehearsals are the worst” as the students sit down in front of a new piece of challenging music, the opportunity to play alongside professionals and accomplished community members in their section brings the students along quickly.

“We develop a language to coach and critique our section play,” Sender says. “Could you imagine how good a student’s essay would be if the teacher was sitting next to them and helping them with each sentence? The final product would be outstanding.”

The Charlottesville Symphony’s efforts are paying off. After five decades of continuous operation and overcoming the COVID-19 pandemic, the local audience remains strong.

“It has become a real challenge for many orchestras,” says community member and clarinetist Rick Kessel, who’s played in multiple national orchestras over the past 20 years. “The fact that this community comes out to support us is just amazing, and we see a lot of young faces in the audience. That is why Charlottesville is so unique. They pack the house.”

Symphonic riches

The Charlottesville Symphony at the University of Virginia is the longest-running classical music organization in the city (by a margin of five years), but it’s not the only place to get your orchestra on.

Waynesboro Symphony Orchestra Waynesboro Symphony Orchestra, the 2021 American Prize winner for Best Community Orchestra Performance and 2024 recipient of the Shenandoah Valley’s Circle of Excellence in the Arts Award, plays an extensive season of classical music at the First Presbyterian churches in Waynesboro and Staunton.

Albemarle Symphony Orchestra Formerly the Crozet Community Orchestra, the Albemarle Symphony Orchestra typically has around 70 players on the roster. Launched in October 2013 by co-founders Denise Murray and Philip Clark, the orchestra plays two to four shows per season at churches and schools in Crozet and Charlottesville.

Youth Orchestras of Central Virginia In addition to the area’s award-winning high school orchestras, the Youth Orchestras of Central Virginia, founded 45 years ago, play a full season of classical concerts. The orchestras, headquartered in Charlottesville, feature players from elementary, middle, and high schools around
central Virginia. The two full symphony orchestras, string orchestra, and chamber music club draw public, private, and homeschool students from the surrounding counties to participate in their annual programs.

Youth Orchestra of Central Virginia. Photo by Caleb Davis and Abe Granger.

Other organizations  Still haven’t reached your cap on classical? The Charlottesville Chamber Music Festival held its 25th annual show in September and shows no signs of stopping heading into next year. Charlottesville Classical, a service of WTJU and available for streaming at charlottesvilleclassical.org, plays the full classical repertoire, from medieval chants to modern compositions, 24 hours a day, seven days a week. The Tuesday Evening Concert Series, founded in 1948, features shows on semi-monthly Tuesdays in Old Cabell Hall. And go off the orchestral path with Three Notch’d Road—The Virginia Baroque Ensemble’s performances of historical repertoires offered in a subscription series, or the Cville Band, one of the oldest amateur community bands in the nation, which performs locally several times a year.

Categories
News

Dogwood Vietnam Memorial seeks to expand space, continue mission as center for community healing

Surrounded by towering trees and flagpoles, Charlottesville resident and Vietnam War veteran Bruce Eades walked to a podium in April 1995 at the very first Vietnam memorial in the nation and began his healing.

“I had to face my demons,” says Eades, who saw combat as a rifleman and interpreter in Vietnam from 1967 to 1968, but had never talked openly about it until that moment, 27 years later. He had not even shared his stories with his wife Joan and their daughters. In fact, when Eades first returned from Vietnam, he consciously chose to distance himself from his identity as a Vietnam War soldier. He grew his hair out, bought a Volkswagen van with tie-dye curtains, and moved to Miami, living like a “weekend hippie,” as he described it.

But on that April day at the Dogwood Vietnam Memorial, Eades spoke out, addressing a feeling of being slighted that he had not fully confronted until that moment.

“Because of the stigma associated with the Vietnam veteran,” Eades said to an audience of local veterans and their families, “I, like many others, rarely spoke of my experience in Vietnam and I kept those memories sealed inside me, not revealing them to anyone. I hid my tears when I remembered my fallen friends.”

Since that speech in 1995, Eades has returned often to the Dogwood Memorial. He’s mowed its grass. His wife would embarrass him and snap photos as he tended it. He would pray at the memorial, too, sometimes in the rain.

“I’d cry a lot,” Eades says, remembering his early visits to the site that helped soothe his mind and settle his soul.

Now, every April, he takes part in a ceremony of remembrance at the memorial. Since 2016, he has been president of the Dogwood Vietnam Memorial Foundation. He nicknamed the spot “the hill that heals.”

“Once I [spoke], I realized that I owed those guys a lot,” says Eades, referring to the 28 men from the Charlottesville area who were killed in Vietnam and whose stories are told with plaques at the memorial.

As America prepares in 2025 to recognize the 50th anniversary of the fall of Saigon that ended the Vietnam War, the Charlottesville-based group that maintains the country’s first Vietnam memorial is seeking support to continue its mission as a destination for individual and communal healing.

The Dogwood Foundation plans to expand the memorial with a two-part project: a brick plaza that will include 26 more Vietnam veterans’ stories and an Access Project that would make the space more accessible by adding a parking area and a pedestrian bridge. 

The new parking area will fit alongside the trail that hugs the John Warner Parkway. The bridge—which will be 110-feet long and 14-feet wide—would stretch over the roadway and connect the parking area to the memorial. It would comply with guidelines set by the Americans with Disabilities Act. Currently, the memorial’s configuration makes it challenging for older veterans and residents to access. The expansion project is aiming for completion in 2026.

The Dogwood Vietnam Memorial was constructed in 1966, 16 years before the Vietnam Veterans Memorial in Washington, D.C. Photo by Eze Amos.

Born in a barbershop

On a fall day in 1965, a barber chatted with two friends at his Charlottesville shop. The conversation centered on national news that was starting to have a local impact. Eighteen-year-old Earlysville native Champ Lawson had died November 4 in a mid-air helicopter collision over South Vietnam after three months there. Lawson’s wife was pregnant with their first child. Because of the combat accident, Lawson never met his son, CJ III. Earlier that year in March, President Lyndon Johnson had ordered America’s first combat troops to Da Nang in Central Vietnam. Lawson had received his assignment in July.

So Ken Staples, owner of Staples Barber Shop, brainstormed with local real estate agent Bill Gentry and engineer Jim Shisler. Lawson’s death was central Virginia’s first casualty of the war, but surely more would come, the trio thought. 

And in that moment, their idea was born: Build a memorial that showcased the spirit of sacrifice represented in residents like Lawson.

Sixty years later, this historic showcase endures. The 28 soldiers honored there represent a diverse snapshot of central Virginia life in the 1960s: young men born in the Charlottesville area, and those who arrived later because of a parent’s job or because they enrolled at the University of Virginia. The memorial is home to graduates of the all-Black Burley and Jefferson high schools, to students from the newly integrated Lane High School, and also to University of Virginia student-athletes and ROTC trainees. 

Their backgrounds vary, but the men are united in their fate and their purpose: They all died in Southeast Asia while serving the U.S., their lives cut short by war. Their absences were felt by family and friends who had hoped for their return. 

“What I always think,” says Peggy Wharam, Champ Lawson’s older sister, “they were so young. They really didn’t get to live their life. I thought, ‘Here we are, doing picnics and parties and having babies and building houses, and they missed it.’” 

Three days after the barbershop epiphany, Staples, Gentry, and Shisler met on a grassy knoll at the southeastern edge of McIntire Park. They agreed that this spot, dangling majestically over Route 250, would be the site of the memorial.

Then Shisler made the vision a reality. In short order, he convinced Charlottesville’s city manager to approve the plan, and construction on the memorial finished in January 1966. It became the first civic/public memorial in the U.S. dedicated to soldiers from the Vietnam War, built 16 years before the national memorial in Washington was christened.

The death of Vietnam soldier Champ Lawson inspired three locals to initiate plans for a memorial. Supplied photo.

The Vietnam War ended in 1975, but the importance of the memorial was just beginning. For the next six decades, it has become a site of healing for friends and family of the 28—like Wharam—as well as for veterans like Eades who seek a way to confront their war memories and to share war stories with family and friends.

For Wharam, healing from the loss of her brother Champ has taken time.

“I took all the pictures down,” she says. “I put everything away for maybe 10 years.”

She now visits the Dogwood Memorial often, especially on Wreaths Across America Day in December, when holiday wreaths are laid at more than 4,000 memorials and grave sites nationwide and abroad.

Cause of the soldier

One summer day in 1994, Shisler saw Eades mowing the grass around the memorial and invited him to share his story. After a period of soul-searching, he agreed to deliver the speech that began his healing.

For too long, American society deprived Vietnam War veterans of an outlet for their grief, for their pain, for their bewilderment over what exactly happened in Southeast Asia. The Vietnam veteran stereotype became that of a homeless, drug-addicted man, troubled and adrift. How do you rewrite the narrative and jolt people into understanding your plight, without sounding preachy or resentful? 

For Eades, he wants to change the narrative of the Vietnam soldier by sharing how veterans such as himself returned from the war to build their own businesses and contribute meaningfully to their communities. After his 13-month tour of duty, Eades used the GI Bill to earn a college degree in Miami. When he returned to Charlottesville, he bought a crane and started a steel company, studying construction management at Piedmont Virginia Community College as he expanded the business. His career in welding spanned 25 years and two companies, building churches, firehouses, and shopping centers.

Eades has dedicated himself fully to the cause of the soldier, volunteering for many veterans’ support groups. He has also examined his mind and soul for what he and his country did in Vietnam, and he’s reached some conclusions about the conflict in Southeast Asia and about war in general.

“Even a good day in Vietnam was pretty sickening,” Eades says. “War is ugly, and if I don’t get any other point across, I think that people in our country need to know that war is not a good solution. You think it’s going to be short, but it never turns out that way. People take war too lightly. The saving grace for this country right now is our veterans, because our veterans understand that. Nobody hates war more than a warrior.”

Eades also offered guidance on how to meaningfully support veterans, aside from the requisite “thank you” at a barbecue or at the grocery store.

“We thank the veterans, but we don’t ask them questions about how it was being away from their families,” he says. “The conversation ends often with, ‘Thank you.’ That should be where the conversation starts. You learn a lot more listening than you do talking.”

Eades’ wife Joan has done much listening, whether it’s when dishing food to veterans at American Legion meetings or during rides on the back of her husband’s motorcycle in the Dogwood Festival parade. She lived a block away from him growing up, on Forest Hills Avenue in the Fifeville neighborhood. He would often see her playing at Forest Hills Park. Fast forward to Eades’ return from Vietnam when he moved back in with his parents, and was soon pricked by cupid’s arrow. 

As Eades tells it, on their first date, he escorted Joan on one of his motorcycles. Joan was so scared by the experience that she refused to go out with him for the next three months. Eventually, the courtship commenced, and they danced at a local club called The Second Sizzle.

“She sizzled a lot, so I married her,” Eades says. “She changed my life. She gave me a reason to want to be a better person and to start caring again. When I came back, I knew I needed a balanced life. I knew I needed a relationship.”

Like her husband, Joan sees the need to continue to find ways to make Vietnam veterans feel welcome and appreciated in American life. In 2018, Charlottesville’s Dogwood Festival parade invited local Vietnam War veterans to march as honorary grand marshals. On that April day, Joan spoke to the honor’s symbolism. After all, Vietnam soldiers didn’t receive the same victory celebration that their fathers enjoyed after World War II. America didn’t “win” the Vietnam War like it decisively “won” the Second World War, if war stories should even be told using the frame of victories and defeats.

Bruce and Joan Eades continue to find ways to make Vietnam veterans feel welcome and appreciated in American life. Photo by Eze Amos.

“It is very important to have a welcome-home parade,” Joan says. “These men finally feel like they did something honorable for their country, and they’re just a very special breed of people who love their country, fought for their country, and they did what was asked of them.”

As the Eadeses continue to encourage individual and collective healing, Wharam’s mind turns to remembrance. Who will tell the stories?

“[Champ] told me one time, ‘I just want to do something to be remembered by,’” she says. “I just realize that in a couple generations, no one is going to know who he was.”

So long as the keeper of the stories— the Dogwood Vietnam Memorial—stands, the story of Lawson’s contribution, and many others like it, will endure.

A planned expansion

Image via Hill Studio.

The Dogwood Vietnam Memorial Foundation is currently planning a Brick Plaza Project to honor any veteran who served in the U.S. military at any time, in any place, and in any conflict. The funds from the project will go toward the memorial’s expansion costs.

To support the Brick Plaza Project, veterans and their families can buy a brick and inscribe messages that honor service and sacrifice, in keeping with the spirit that Staples, Gentry, and Shisler originally hoped to capture. The bricks will be featured on a new plaza that is part of the expansion and will include 26 additional biographical plaques honoring University of Virginia students who fought in Vietnam.

The Albemarle Charlottesville Historical Society will host a free discussion at 6pm November 14 at The Center at Belvedere to address the question, how does a community heal from war, especially one as divisive as the Vietnam War? Eades and other Dogwood Vietnam Memorial leaders will share their thoughts and continue their mission as local healers.

For more information on the Dogwood Vietnam Memorial and its expansion project, go to dogwoodvietnammemorial.org.

Categories
Arts Culture

Getting reel

By Justin Humphreys and Tami Keaveny Images courtesy VFF 

This year the Virginia Film Festival coincides with Halloween, and along with some great horror movies, the five-day program offers the escape of comedy, journeys to the unknown, classic stories retold,
cautionary technology tales, and documented accounts of war, redemption, and environmental peril, plus invaluable on-stage discussions.

After exiting your seat, you can offer your opinion by casting a vote at a kiosk to rate the film you’ve seen (the people and projects on the following pages get our vote). And when the festival goes dark, you’ll leave the theater with roughly 36 hours before voting begins in the most consequential election of our time. So watch, listen, and vote, vote, vote—especially on November 5!—TK

Watch list

Memoir of a Snail   (with discussion)

October 31 | Culbreth Theater Memoir of a Snail, the newest film from Australian writer-director-animator Adam Elliot, promises to be as challenging, deeply human, and character-driven as Elliot’s touching Mary and Max (2009). Filmed meticulously in labor-intensive stop-motion animation, Memoir of a Snail follows a twin brother and sister on their thorny path through childhood into adult life. Elliot’s adult-themed animation is full of pathos and wry humor, and is not recommended for small children. Listen for voice performances by outstanding talents like Dominique Pinon and Nick Cave.—JH 

The Glassworker

November 2  | Violet Crown 1 & 2 Director-animator-composer Usman Riaz’s The Glassworker is not only his first feature, but also Pakistan’s first full-length, hand-drawn animated film. The influence of master animator Hayao Miyazaki is vividly apparent in The Glassworker’s overall style and design—there are few better living animators to draw inspiration from. This anti-war allegory is a reminder of the respect mature animation receives outside of the United States, and with hand-drawn animation being under-represented worldwide, let’s hope The Glassworker gets a broad American release.—JH

Amadeus

November 1  | Violet Crown 3 In 1984, director Milos Forman lavishly brought Peter Shaffer’s play Amadeus to the screen, and it caused a sensation with audiences and at the Oscars. It tells the largely fictionalized story of a rivalry between the manic but prodigiously brilliant Wolfgang Amadeus Mozart (Tom Hulce) and Salieri (F. Murray Abraham). The two leads give arguably the signature performances of their careers, and are backed by an excellent supporting cast including a young Cynthia Nixon, Simon Callow, and the late Vincent Schiavelli. Among the film’s many other virtues is the extraordinary old-age makeup by the incomparable Dick Smith.—JH

Luther: Never Too Much   (with discussion

November 1 | Culbreth Theater Dawn Porter’s documentary Luther: Never Too Much chronicles the life of R&B legend Luther Vandross. The film’s title is derived from the eponymous track of Vandross’ first solo album—the first of 11 Vandross records to go platinum. Porter traces the late “Velvet Voice’s” career, from his beginnings as a backup singer for David Bowie, Chaka Khan, and Chic, to his own highly influential and successful career. Among many other topics, she explores why he was so private about his homosexuality, and the criticism he endured for gaining weight. The rich retrospective reveals how the popular image of public figures is often deeply skewed.—JH 

Saturday Night (with discussion

November 2 | Violet Crown 5 The Not Ready for Prime Time Players broke into the cultural zeitgeist when “NBC’s Saturday Night” premiered on October 11, 1975, with George Carlin as the host, and musical guests Billy Preston and Janis Ian. Jason Reitman’s Saturday Night dramatizes the backstage chaos, personality clashes, and wild antics that led up to the moment when Chevy Chase looked into the camera and shouted, “Live from New York, it’s Saturday Night!” for the very first time. Jon Batiste is behind the film’s music, Matt Wood stars as John Belushi, Dylan O’Brien is Dan Aykroyd, and Emmy Award-winner Lamorne Morris who plays Garrett Morris (no relation) will be on stage for a post-screening discussion.—TK

Additional VAFF Coverage:

Teaming with creativity

Choice cuts

Categories
Arts Culture

Actor, director, and producer Matthew Modine appears at the 37th annual Virginia Film Festival

Birdy, November 1, The Paramount Theater

I Hope This Helps!, November 2, Violet Crown 3

From his first film, Baby It’s You, directed by John Sayles, to his recent role as Dr. Martin “Papa” Brenner in Netflix’s “Stranger Things” and a star turn in Christopher Nolan’s Oppenheimer, Matthew Modine’s accomplishments in film, television, and on stage define the range of his talent. In addition to Sayles, the Golden Globe Award-winning actor has also worked with directors Oliver Stone, Stanley Kubrick, Robert Altman, Spike Lee, and Jonathan Demme, to name a few. He’s been directing since the ’90s, and is the co-founder of the production company Cinco Dedos Peliculas. At the Virginia Film Festival, Modine will participate in discussions following the screening of 1984’s Birdy, and the documentary I Hope This Helps!. He answered a few questions for us by email ahead of his appearances.—TK

C-VILLE Weekly: What attracted you to produce the documentary I Hope This Helps!?  

Matthew Modine: My producing partner at Cinco Dedos Peliculas, Adam Rackoff, knows that I am curious about consciousness. What is it? When did we become conscious of our consciousness? When did humans become self-aware of our existence? 

These are impossible questions to answer and a fascinating subject to delve through. I believe human consciousness has slowly evolved over millions of years. By contrast, artificial intelligence is pretty much brand new, and something that is evolving way, way, way too fast. If we get this wrong—if we don’t have guardrails in place—we will not be able to put this horse back in the barn. 

If you have concerns about the consolidation of power, the distribution of news and current events, ‘deepfakes,’ the freedom of movement, you should watch this movement closely.

There’s no way to know what countries the U.S. is continually suspicious of—aren’t  already way ahead of the west in this space. “Artificial General Intelligence” is already happening. For sure. This means AI is now able to improve itself—with no human intervention. That should concern all of us. I don’t think it’s hyperbole to sound the bell of caution. I Hope This Helps! humorously illustrates where we are, and where this AI shop is headed. 

You’ve worked with an impressive list of directors. Who stands out? 

Many of the directors I’ve had the pleasure of working with are still living. So I wouldn’t want to pick favorites. Suffice it to say, I’ve learned something useful from each of them.

What role has had the most personal effect on you?

Maybe Louden Swain, from Vision Quest. It’s a coming-of-age story about a high-school wrestler. I learned from the experience how important it is to maintain focus and that whatever it is we hope to accomplish demands effort and self-determination. Some folks are gifted with natural genius and athletic abilities. But even those who are blessed have to put in the effort to master a craft. 

How did you prepare to play Dr. Martin Brenner in “Stranger Things”?

First off, I do not enjoy playing “bad” guys. I get no pleasure from it. The Duffer Brothers, Ross and Matt, wrote terrific scripts and gave me space to create a person that is a conundrum. Someone the audience would be confused by. His look, clothing, hair, speech pattern, that was good fun to pull together with the show’s creative team. 

In 1985, New York magazine noted that you and Matthew Broderick were fine actors, but not part of the Brat Pack. Did the Brat Pack label have any effect on your roles or social engagements at the time?

Matthew and I, simply by living in NYC, would have been 3,000 miles away from that silliness. Matthew is a very talented and disciplined theater actor. If he was going out in those days, I’d bet it was with legends from the theater world. I was busy going from film project to film project, two years in England with Stanley Kubrick, during the height of the Brat Pack era. There wasn’t any time in our lives for being in a club. 

You are known for your work as an environmental activist. What is your current focus?

Being an environmentalist isn’t a hobby. It’s a demanding commitment to protecting the entirety of nature. The world is like a spider’s web and what we do to a single thread has an impact upon the entire web. 

An oil tanker sinking doesn’t just affect the place it sunk and spilled its millions of gallons. The repercussions are far-reaching. The nuclear disaster at Fukushima is an example of how a nuclear explosion in a considerably small location can affect the entire Pacific Ocean and all the creatures within it. 

So my focus is global. We have searched the universe looking for “Goldilocks” planets—places that resemble our home—and so far found none. This should magnify our responsibility to protecting all life on the earth and the soil, air, and water, and demanding peaceful resolution through diplomacy to or momentary differences. 

What was your reaction when you discovered that the Trump campaign used clips of you from the movie Full Metal Jacket in an online post?

I think my statement on the subject covers how I felt. 

[In his statement published in Entertainment Weekly, Modine said, “… Trump has twisted and profoundly distorted Kubrick’s powerful anti-war film into a perverse, homophobic, and manipulative tool of propaganda.”] 

With such an accomplished career, what would you change? 

We cannot change the past. So it’s a total waste of time to live in regret. I’m here. I’m here now. Believe it or not, 99 percent of life is trying to accomplish something so that we are appreciated, maybe even loved, for what we happily give to others. That means for me, joyfully and gleefully doing for others.

Categories
Arts Culture

Choice cuts

By Lisa Provence, Kristie Smeltzer, and CM Turner Images courtesy VFF

Mapping the movement

Georgia O’Keeffe: the Brightness of Light

November 3 | Culbreth Theatre
With discussion 

Academy and Emmy Award-winning independent filmmaker Paul Wagner has directed many amazing documentaries that shed light on subjects in American culture. His new film, Georgia O’Keeffe: the Brightness of Light, will screen at this year’s VAFF with a panel discussion, followed by a post-screening reception with the filmmakers at The Fralin Museum of Art at UVA. 

Completed over two years during the COVID-19 pandemic shutdown, the film was shot in nearly every location in the United States where the “mother of American modernism” lived and worked. Through diligent efforts in researching and interviewing, Wagner and his team, including Ellen Casey Wagner, uncovered rare instances of the artist in archival film footage that bring O’Keeffe to life for a new generation of fine-art enthusiasts.  

One of the most significant artists of the 20th century, O’Keeffe is known for her contributions to the Modernist movement, including her radical depictions of flowers and scenes set in the American Southwest. However, it’s O’Keeffe’s connections to Charlottesville that Wagner believes will leave the largest impact on local audiences. 

In 2018, The Fralin mounted the exhibition “Unexpected O’Keeffe: The Virginia Watercolors and Later Paintings,” covering the five summers the artist spent in Charlottesville between 1912 and 1916. “Not only was this of interest as a largely unknown local story, it turned out that her time in Charlottesville attending and teaching at UVA marked a very important moment in her development as an artist,” Wagner says. “It was here at UVA that she discovered the theories of Arthur Wesley Dow that liberated her approach to art from the strictures of 19th-century European realism.”

Wagner was drawn to O’Keeffe as a subject because of the local connection, but also because of the enormous amount of information now available about the artist. Since director Perry Miller Adato released his 1977 documentary Georgia O’Keeffe, countless articles, exhibitions, and books have been produced covering her oeuvre and contributions to culture. “For these reasons,” Wagner says, “we now have a completely different, and deeper, understanding of who O’Keeffe was as an artist, as a woman, and as an American.”—CMT

Mother’s moon

Nightbitch 

November 2 | The Paramount Theater
With discussion 

Screenwriter and director Marielle Heller’s Nightbitch, adapted from Rachel Yoder’s 2021 debut novel of the same name, chronicles the days of Mother (Amy Adams), a professional artist who pauses her career to be a stay-at-home toddler mom in the ‘burbs while Husband (Scoot McNairy) travels frequently for work. Mother also happens to be turning into a dog.

Billed as a blend of comedy and horror, the film uses magical realism to take the transformations of a mother’s experience a step further than what most—if word on the street is to be believed—go through. However, the extended metaphor at Nightbitch’s heart seems apt. While not a mother myself, a year-long stint as a nanny to three boys under 6 had me eating scraps off others’ plates, sniffing butts, and occasionally barking at the moon. But here’s the thing: I could clock out—something Mother seems desperate to have the chance to do in Nightbitch’s trailer as she aggressively washes a cat’s bum in the tub, bemoaning, “Nobody in this family can clean their own butts!”

In Nightbitch, the audience sees a woman grappling with the messy aspects of parenting, which differ from the joys of motherhood—if greeting cards are to be believed. The film relies on voiceover (as novel adaptations are wont do) and alternate versions of moments (fantasy vs. reality) to show the tension between Mother’s interior and exterior selves. But her transformation doesn’t seem to be all bad, with moments of authenticity ensuing as Mother embraces her new, more feral, self. Early reviews laud six-time Academy Award-nominee Adams’ performance, praising her bone-deep commitment to the role. That feedback bodes well for the film, because the audience’s belief in Mother’s transformation hinges on Adams as the foundation they’ve built this tail, I mean tale, upon.—KS

Surviving the system

Juvenile: Five Stories

November 2 | Violet Crown 5

Three million young people are arrested every year, says Juvenile: Five Stories director Joann Self Selvidge. “Not all of them end up incarcerated, but all of them end up entangled in these systems that weigh them down, and keep them from realizing their potential.”

Selvidge didn’t start out to be an award-winning documentary filmmaker. The UC Berkeley comparative literature major just liked to tell stories.

Returning to her hometown of Memphis, Tennessee, she found plenty of stories to tell, starting with WLOK, the first Black-owned and -operated radio station in Memphis. “I had been doing oral histories,” she says, and she realized the WLOK story would “make an amazing documentary.”

Inspiration for Juvenile: Five Stories came from a public defender friend who was working on a jail diversion program for people with serious mental health issues. Selvidge was drawn to those stories. “I had personal experience with mental health institutionalization when I was in high school,” she says. And she wanted to explore how young people get access to care and “navigate these systems set up to criminalize them.”

Forming the relationships to make the film took years. “Things have changed dramatically in the world of documentary filmmaking,” she notes. There were always ethical practices, especially when dealing with minors. “Now there are equity practices to give [the young people] more agency in how their story was told.”

Through a Twitter callout to her connections with youth justice leaders across the country, Selvidge and her co-director Sarah Fleming found Romeo, Ariel, Michael, Shimaine, and Ja’Vaune. They came from different parts of the country and they all had different paths into the system: violence, sexual abuse, home instability, mental illness, substance abuse.

Finding Michael, the only white kid of the five, was the most difficult because “wealth and whiteness keep you out of the system,” says Selvidge. 

The five were between 18 and 23 when they told her their stories. She hired young actors to tell their backstories in impressionistic, cinematic sequences. “We were dealing with histories of extreme trauma,” she explains. “We had to make decisions about how we’re going to portray that … We were very intentional for this film not to be, like, trauma porn.”

The five young people whose stories Selvidge documented seem to be doing amazingly well. “They’re all strong because they survived,” she says.

Two of them—Shimaine Holley, founder of Change Is Inevitable, and Romeo Gonzalez, a re-entry specialist and mentor—will appear with Selvidge at the November 2 Violet Crown screening.

“If there’s one thing I learned over and over and over again,” says Selvidge, “the best way for systems to reduce their harm and to change their policies and practices is when young people are given the power and resources to be in positions where they’re heard and can hold groups accountable. That’s when things start to change.”—LP

Thriller with a side of horror trivia

Catch a Killer

October 30 | Violet Crown 3

Writer and director Teddy Grennan doesn’t like blood. While living in Los Angeles, he wrote an animated feature called Holy Cow, about a bull who realizes his future is on the grill and with the help of a caterpillar, attempts to escape to India. The film, full of goodwill and karma, didn’t get made and the experience was frustrating, says Grennan.

His breakthrough realization: “Violence translates into every language.” And that the appetite for horror is insatiable.

After “boohooing into my drink, I wanted to move into bloody thrillers,” says Grennan. He shot Ravage in Virginia with Bruce Dern, and says the movie has done well financially.

“I knew going into this if I was doing a lo-fi film, it was not going to be about my first break-up or my mom or my dad,” he explains. “I was going to make it about blood and guts, and I knew I could get people’s money I’ve known for years and make enough to pay it back.”

In the opening montage, the addresses of crime scenes seem vaguely familiar: Elm Street. Amityville Circle. Christine Street. Not surprisingly, the movie’s wannabe detective and horror buff Otto soon begins to connect the dots on the trail of a serial murderer.

Catch a Killer, Grennan’s fourth film, is also a story of “star-crossed lovers,” he suggests. Winsome actors Sam Brooks and Tu Morrow play Otto and his pregnant girlfriend, Lex, as they set up house and try to figure out what’s next in the grisly tableau of murders.

Viewers will recognize a couple of notable Charlottesville locations, but the setting is an anonymous city. And as a bonus for horror fans, can you spot Joshua Leonard from The Blair Witch Project?

Twelve years ago Grennan and his wife moved to Somerset in Orange County, next door to the scene of the notorious alleged 2001 poisoning of Ham Somerville by his wife, known as Black Widow, at Mt. Athos. 

He’s made four movies in Virginia, including Wicked Games, but his fifth film will be shot in Kentucky, because he had a tough time rounding up a film crew here. “This was a bear,” he says. “After COVID, the crews went away,” at least from central Virginia.

He describes his next effort, The Growing Season, as Witness meets The Blind Eye, with a good dose of Training Day.

Catch a Killer has already garnered accolades: the audience award for Spotlight Feature at the Nashville Film Festival, and Best Thriller Feature at the Atlanta Horror Film Festival.

“I knew it would be good business—if I didn’t botch it—doing thrillers,” he says. And one of these days, maybe he’ll get to make that lo-fi movie about his first girlfriend in Vermont.—LP

Visual concepts

Designing the Production featuring Kalina Ivanov and David Crank

November 2 | Irving Theater in the CODE Building

Production design is an integral aspect of filmmaking that largely defines the look and feel of the world on screen. Working closely with directors and cinematographers, production designers are responsible for developing the aesthetics of sets, locations, props, costumes, and more that allow viewers to immerse themselves in cinematic stories. This work is essential in communicating mood and driving narratives and character arcs established in a film’s script.

Tyler Coates, an editor at The Hollywood Reporter, moderates a panel featuring 2024 VAFF Craft Award-winner Kalina Ivanov (“The Penguin,” “Lovecraft Country,” The Boys in the Boat) and Richmond-based Academy Award-nominated production designer David Crank (Knives Out, The Master, Inherent Vice). The panel will discuss the development of visual concepts, scouting and choosing locations, the manufacturing of physical sets, historical research, and defining the aesthetic environments for film and television productions.

Crank has worked behind the scenes in the entertainment industry for more than 30 years, coming to film and television sets after designing scenery for theater productions from high school through his graduate studies at Carnegie Mellon University. As a former studio art student, Crank says the skills needed for drawing and painting are the same as those needed for production design, with the two disciplines constantly influencing each other within his practice, “either in intent or in skills.”

Designing for directors such as Paul Thomas Anderson, Paul Greengrass, Rian Johnson, and Terrence Malick, Crank is drawn to working with filmmakers who write their own material, and are thus primarily concerned with storytelling. “That is where the meat of the script is,” Crank says, “and as a designer, good storytelling is what gives you the most room for imagination and creating.”   

Crank has also worked with two Academy Award-nominated production designers with Charlottesville connections: Jack Fisk (Killers of the Flower Moon, The Revenant, There Will be Blood) and Ruth De Jong (Oppenheimer, Nope, “Yellowstone”). “I think we three have a very similar way of hands-on working and certainly the same sense of humor,” says Crank. “We each have continued on successfully with our own styles without each other, but that is hugely due to Jack’s influence and guidance.” 

Living in Virginia has afforded the production designer a unique experience that’s shaped his life as much as his career. “It’s given me a life full of friends who mostly aren’t in the same industry as me, which makes for very interesting dinner conversations,” Crank says. “I think it has also contributed to a certain outsider mentality, which for me is fine.”—CMT

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City of Promise’s Price Thomas talks about his hopes for the nonprofit

As the executive director of City of Promise, Price Thomas is working to improve education access in Charlottesville. But for the born-and-raised local, this job is more than a profession—it’s personal.

“This is Charlottesville, a part of my story,” he says, “and I want the next chapter to be marked by something better than the one previous.” 

Located in the heart of the 10th and Page neighborhood, City of Promise has been working toward interrupting local cycles of generational poverty through education for more than a decade.

“A lot of what we’re experiencing are reverberations of issues that are going on around the state, around the country,” Thomas says. “But those aren’t sidewalks I’ve walked, those aren’t people I know, those aren’t schools that I went to.”

“There is a piece of this that is objectively personal for me … I can’t do this and go home, because this is home for me.”

The son of two local educators, Thomas attended Charlottesville City and Albemarle County schools. After graduating from William & Mary, where he was a four-year starter on the soccer team, Thomas played professional soccer in Europe before returning stateside to work as a copy editor. Over the last several years, he’s set down roots in Charlottesville, where he is raising two children with his wife, Caitlin.

Thomas’ work with City of Promise is only his latest position in nonprofits. Prior to joining COP in May 2023, he worked with The Montpelier Foundation and United Way of Greater Charlottesville.

City of Promise takes a “whole family” approach to education, and believes that one of the first steps to improve education access (and disrupt generational poverty) is to meet families’ needs by providing resources or connecting people with the appropriate nonprofit. Supplied photo.

“Charlottesville is a small town, and the nonprofit world of Charlottesville is even smaller,” he says. Through his work with The Montpelier Foundation and United Way, he met and learned from other nonprofit leaders, including previous directors of City of Promise. In his 18 months on the job at COP, he’s been figuring out what unique “flavor” he brings to the organization.

City of Promise “started way before me, will live on and succeed far past me,” he says. “But in this moment of time, what is my flavor? … I want us to be both taken very seriously and also very approachable.” Transparency and authenticity between City of Promise and the community are all priorities for the executive director, but not at the expense of agency. “We’ll walk alongside [community members], but we’ll also hold them accountable.”

In the beginning

Inspired by a work group of the Charlottesville Dialogue on Race in 2010, City of Promise developed through a Department of Education Promise Neighborhood planning grant of $470,000 that was awarded to Children Youth and Family Services in 2011. The national, place-based initiative bolsters communities experiencing barriers to education success, including economic hardship and disparity, through funding and recommending strategies and solutions.

City of Promise did not receive implementation funding through the DOE Promise Neighborhood program, but the initial grant was enough to get the nonprofit off the ground. Over the last decade, COP’s focus on improving education access and outcomes has remained at the core of its mission—especially in the area of literacy.

Despite district reading scores hovering near the state average, Charlottesville City Schools have one of the highest literacy gaps in Virginia. As a district, 65 percent of its students achieved proficiency in reading for the 2023-2024 school year, compared to a state average of 73 percent. The data breakdown shows a more striking achievement gap: During the 2023-2024 school year, 40 percent of Black CCS students passed English reading testing, compared to 89 percent of their white peers.

Supplied photo.

Coming into City of Promise, Thomas took the opportunity to refocus the nonprofit’s offerings, taking a “whole family” approach to education access.

“It’s a mindset of helping our community members—parents and students—to feel both supported and challenged to that level of excellence,” says Thomas. “I don’t care where you came from, or how much money you have, or the car you drive, or the clothes you wear, the color of your skin—your job’s to be great. My job’s to help you be great. But ultimately, you’re going to leave the school reading the same books as that kid from Rugby Road, full stop. Period. The way you get there might be a little different, and that’s okay.”

City of Promise cornerstone programs include the Pathway Coaching, Dreambuilders, and LaunchPad Initiative, a pilot program in partnership with CCS and the University of Virginia education school that deploys the Virginia Community School Framework. The LaunchPad Initiative addresses non-academic barriers to support under-resourced students and families, thus improving outcomes. While currently only at Trailblazer (formerly Venable) Elementary, COP hopes to expand the initiative to the remaining CCS elementary schools.

The LaunchPad Initiative is the earliest direct (that is, not accessed through a parent already receiving coaching) program offered by City of Promise.

“It’s about quality at every developmental level. … Starting earlier is critically important,” Thomas says. “Often our theory of intervention is a little too late. We’re starting a little too late, and we’re working uphill. As we start to shape ourselves as an organization, as we start to partner with other nonprofits and for profits, there’s always that little bell that goes off that’s like, we’ve got to do this quicker.”

Similar to the LaunchPad Initiative, COP also offers support through Pathway Coaching. Both offerings aim to bolster students’ academic and socioemotional growth. Coaches employed by the nonprofit mentor students between fifth and 12th grade, helping with access to academic and extracurricular opportunities.

Dreambuilders, City of Promise’s only program that requires an application, fosters family and student success by providing parents and their children with tools for self-sufficiency, including tailored instruction and microfinancing of $5,000. The program utilizes evidence-based resources like the National Center for Families Learning frameworks, but takes an individualized approach tailored to participant needs.

“Everything should feel like it fits together; these are not intended to be three distinct programs. They are really intended to be kind of three self-reinforcing pieces of the same whole,” says Thomas. “If our adults are more efficacious and more confident, that’s great for our kids, who are receiving a whole host of high-quality services.”

Beyond programming, students and families involved in the LaunchPad Initiative, Pathway Coaching, or Dreambuilders can access resources through City of Promise’s Gateway Services. While the application-based financial support service is a critical component of COP’s network, the nonprofit is also helping community members by acting as a convener of resources.

Getting resourceful

Meeting participants’ basic needs, whether through directly providing resources or connecting people with the appropriate nonprofit, is a key first step in improving education access and disrupting generational poverty. 

Navigating Charlottesville’s expansive network of nonprofits can be confusing, but Thomas says City of Promise is uniquely positioned, literally and strategically, to help community members locate and access the right resources. The nonprofit’s location in the 10th and Page neighborhood allows not only more convenient access for many of the students and families it serves, but for the organization to more effectively build relationships and trust within the community.

“City of Promise remains an intimate, proximal organization that is able to be nimble and is able to have more of a finger on the pulse,” says Thomas. “That is what’s most important to us.”

Addressing barriers beyond the classroom is a key part of COP’s work to improve education access. While the nonprofit can’t fully resource every program participant alone, it can help connect people with other local organizations—including ReadyKids for teen mental health, Network2Work for jobs and job training, and Cav Futures Foundation for mentoring.

Supplied photo.

By more intentionally utilizing the large nonprofit community in the Charlottesville area, City of Promise hopes to collaboratively help families access resources in a way that is both more effective and more expansive.

“For these kids, for these families, it’s not just housing, it’s not just workforce development, it’s not just child care, health care; it’s everything altogether all the time,” he says. “We have to understand that we can’t isolate these tenants in this constellation of care. … We have to figure out how to link arms with other community organizations.”

Meeting participants’ immediate needs while simultaneously building a more proactive support network is a difficult balancing act for any organization, including City of Promise.

“We’re fighting this battle between people with immediate needs that we need to react to, but also not doing that at the expense of being thoughtful about what happens tomorrow,” he says.

At the end of the day, the quantitative, simple answer for how the nonprofit can most effectively help community members is money. Whether through funding for programs or resources, everything boils down to cash flow. But to make a meaningful dent in disrupting cycles of generational poverty, Thomas says City of Promise needs community buy-in and feedback.

“It’s not cheap, and I don’t think it should be. I don’t think we should pretend the folks who live in public housing and these kids and these families should have access to anything less than the rest of us, than your kids, my kids, and all these other little knuckleheads. … That’s [why] I’m here: to kick and scream for [it],” he says. “I think it’s my job now to be the loudest person in the room, but I don’t expect that to be the case for a long time. I don’t want it to be the case for a long time.”

An agentic community and participants not only boosts individual success, but helps City of Promise learn what is and isn’t working directly from the people it hopes to help.

“I think sometimes [nonprofits] say we’re the helpers, we know what the help is. … Feedback has to be incorporated and I want [people] to feel like that’s available,” says Thomas. “The demonstration of success is not how I feel about it or whether people liked that I did it. It’s, does it work for the people for whom it is intended to work for? And at the end of the day, if we can’t say yes to that, we gotta find a way to make that happen.”

Thomas is under no illusions that City of Promise will end generational poverty in his time as executive director, but he is fighting to leave the nonprofit—and Charlottesville—better through his work.

“I want to make sure that we leave this in a way that we furthered the mission, that we’ve moved it forward, that we’ve gotten closer to whatever that huge goal is, that first pie in the sky—we’re going to end generational poverty,” he says. “We have to be very clear that it’s not going to happen today, tomorrow or next week. It’s going to happen by a mosaic of 1,000 little things every single day.”