Categories
Living

A biography of Charlottesville’s coal tower

A partly cloudy day, late March, unseasonably warm. Two men look up as I step into a small clearing in the woods beyond the coal tower.

“Hope I’m not bothering you.”

“It’s cool,” one of them says. He moves over on the makeshift bench so I have room to sit down.

“I saw you taking pictures,” he says. “You know two kids were killed here?”

I know, and that’s part of the reason I’m there. But only part of it.

Surviving structures from the age of the steam locomotive are increasingly rare. They’ve been torn down for safety reasons or because they’re standing in the way of progress.
Six coaling towers, as the railroad called them, remain in Virginia and two of them, in Lynchburg and in Clifton Forge, are still in use. The rest, like the one that stands between East Market Street and the railroad tracks, are relics, analog structures in a digital world.

In 1942, the Ogle Construction Company built the 91’-tall, concrete coaling tower, capable of holding 300 tons of coal, that still stands between East Market Street and the CSX railroad tracks today. (Photo by John Robinson)

The railroads rose and fell, and the view from the tower changed from a landscape of ash and steel to one of corporate offices, condominium complexes, and parking lots. The coal tower has seen our city come of age; it’s been a muse to street kids, artists, and developers; and every now and then it has stood silent witness to the human desperation laid at its feet.

I know this guy named Lucky. He’s a friend of a friend, short, with black hair going gray, and basically homeless. Many times on dark nights in Belmont when the stars were spinning and we’d all pushed it a little too far over the line, he would start to rage about the coal tower. “That thing’s evil,” he’d say. “They should just tear it down.”

Should we? Tear it down, I mean? Or would we be losing something we can never get back?

Railroad town
High up on the hard, gray body of the tower there’s graffiti that reads, “Out of Site [sic], Out of Mind.” After the C&O train station on Water Street shut down, it was possible to live in Charlottesville your whole life and never know the coal tower existed. But there was a time when it was at the center of everything. When the C&O freight yard finally closed in 1986, Fred Compston, the last trainmaster to run the yard, addressed the Charlottesville City Council.

“I remember as a kid growing up in Kentucky along the Ohio River,” he said. “And if you stood on top of a hill, you could see the coal train with the steam engine spouting white smoke. It was beautiful.”

In many ways the railroad made our city. The first train pulled into Charlottesville on June 27, 1850, arriving at the newly built station at the east end of town. It was, I assume, moving some sort of cargo. Corn, maybe, or tobacco. Albemarle County was the biggest corn producer in Virginia at the time, and in 1850 the county grew 1.5 million pounds of tobacco. Or maybe it was carrying coal. The second commercial railroad in the country was in Virginia, built to shuttle coal from the mines near Richmond to the factories along the James River. Corn, coal, and cigarettes. American as red, white, and blue.

The Louisa Railroad was started in 1836, its tracks laid westward from the town of Doswell, hitting Louisa in 1838 and reaching Gordonsville in 1840. The route was supposed to proceed northwest to Harrisonburg and then across the Blue Ridge Mountains at Swift Run Gap, but that plan was deemed too expensive. So the tracks were re-routed through Charlottesville, crossing the mountains near Afton via Claudius Crozet’s famed Blue Ridge Tunnel, built by Irish workers who earned $1.25 a day to dig through a mile of solid granite using only picks, hand drills, and black powder. By the time the tracks rea

ched Charlottesville in 1850, the line’s name had changed to the Virginia Central Railroad.Huddled on the banks of the mighty James, the town of Scottsville had long been Albemarle County’s transportation hub. The James River and Kanawha Canal, begun in 1785, was Scottsville’s big bid for transportation supremacy, but it was only half finished by 1851, and the railroad was in ascension. After the Civil War, Scottsville and the canal sunk into obscurity. It was suddenly a brand new, steam-and-coal-powered, Charlottesville-centered world.

Prior to 1850, traveling from Richmond to Charlottesville took all day and involved hopping off the train in Taylorsville to hitch a ride the rest of the way on a stagecoach. After 1850, you could take the train the whole way and make it to C’ville in time for lunch. The population of Charlottesville subsequently jumped from 1,890 in 1850 to 2,600 in 1853, and the University of Virginia, which in 1855 got its own train station, saw its enrollment increase by almost 300 students over the next few years.

In 1864, Union General Philip H. Sheridan was sent into Virginia with orders to “[do] all the damage to railroads and crops that you can.…we want the Shenandoah Valley to remain a barren waste.” Sheridan’s campaign through the valley was called “The Burning,” and although Charlottesville was basically left alone, Sheridan did drop in and burn down the train station.

When the war ended, the station was rebuilt, and by 1870, Charlottesville was the busiest stop on what was now called The Chesapeake & Ohio line. In 1905, the wooden station was replaced by a grand, colonial mansion, brick with white columns, signifying the importance of the railroad in a newly powerful America. Thirteen trains a day were running through town by the 1920s. The Charlottesville freight yard was crowded, busy and big, covering the entire area between East Market Street, Carlton Road, and the end of the Downtown Mall. There was a semi-circular building called a roundhouse where the trains were serviced, a sand tower, a water tank, several wooden tool houses, an inspection pit, and a 115′ wooden turntable where engines could be turned around and sent back down one of the many tracks reaching out like fingers.

The first steam locomotives ran on wood, a few on oil, but after the Civil War, coal became the railroad’s dominant energy source. So you needed coal and you needed a way to get it into the trains. At first, stations relied on a pile of coal and men with shovels, but by the end of the 19th century, most train depots had elaborate towers to house and dispense coal to the waiting trains. Early towers were made of wood, later towers steel or concrete. By the 1940s, some stations had towers that stood hundreds of feet high and spanned multiple tracks. The Charlottesville station had a wooden coaling tower originally, until in 1942 the Ogle Construction Company built a 91′-tall, concrete bullet capable of holding 300 tons of coal.

Even as they hit their peak, the writing was on the wall for steam-powered trains. As early as 1910 they began to be replaced by cleaner, easier to use diesel trains; by the ’50s the demise of the steam locomotive was basically a fait accompli. Railroad traffic declined through the 1960s and ’70s. In 1979, Amtrak moved its operations to Union Station on Main Street, and three years later, commercial trains ceased stopping at the Charlottesville C&O station altogether. In 1986, after 136 years of service, the station was shut down despite protests from local members of the National Railway Historical Society, who’d been running nostalgia trips through the station since 1964. The turntable and most of the yard were destroyed the following year, leaving the tower standing alone beside a significantly smaller number of tracks, while the station, converted into offices, sits across from the Transit Center, facing its replacement.

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News

The other border: Immigration policy divides Latino community

I arrived at Southwood Mobile Home Park through the back entrance, an unmarked driveway off Old Lynchburg Road just past the Albemarle County Police Department offices. It’s so easy to miss that, even though I’d been there before, I drove past the turn and had to double back to catch the narrow access road, which leads over a rise into a different world. A mature oak grove, dotted with metal-sided trailer homes stretched as far as I could see in every direction.

I hung a right down a side road, past trailers adorned with Mexican flags, home to miniature vegetable gardens and pickup trucks with soccer team stickers in the windows, and stopped at a nondescript rust brown trailer parked next to a derelict food truck.

A young man wearing a dress shirt, slacks, and a tie stepped out on the porch to meet me. Richard Aguilar is a 21-year-old straight-A student going into his senior year at James Madison University. Southwood is where he grew up and where nearly 1,000 Latinos, mostly undocumented, live in Albemarle County.

Richard and I had spoken in person once before, and we would spend the next hour and a half walking around the mobile home park, talking about what it was like to grow up there, and talking about why the place is a living, breathing reason for immigration reform.

“I saw a lot of things. I saw the gangs. I saw the drugs. I saw the prostitution,” Aguilar said. “I don’t blame Southwood for being like that, I actually blame society for letting a neighborhood like that exist.”

Aguilar is a U.S. citizen born in South Central Los Angeles to undocumented immigrants from El Salvador. There are around 11.5 million undocumented immigrants in the U.S. today and last year a record 396,906 people were deported by U.S. Immigration and Customs Enforcement (ICE). The U.S. government spent about $17 billion on immigration enforcement and created a 3 percent dent in the problem. Meanwhile families all over America in places like Southwood, live in total fear.

Doug Ford is the director of the Immigration Law Clinic at UVA School of Law and handles cases for the immigration advocacy program at the Legal Aid Justice Center in Charlottesville. Here’s how he sums up the legal situation facing undocumented immigrants.

“Basically you are deportable every single day you are here,” Ford said. “If an officer doesn’t like you and puts you into the system, unless you have some amazing claim to hold you here, there’s almost no way to get you out. Because you are deportable, it’s just at the discretion of ICE how to use its resources.”

The country is at a decision point. Unemployment is high, politics polarized, and immigration is a touchstone. So often, the conversation around immigration centers on abstract talking points. Amnesty versus the rule of law. Black and white. But the issue already exists in shades of gray, impacting almost every aspect of life in the Latino community.

“I grew up in that lifestyle knowing that my parents weren’t citizens, that they couldn’t live in the United States, that they faced the threat of deportation any day,” Aguilar said. “If my mom got pulled over for running a stop sign, or if my dad did something, I could never see them again, despite the fact that I was born in the United States. That’s a horrible feeling.”

Here are some more numbers to consider. The Pew Hispanic Center (PHC) estimates that there are 200,000 undocumented immigrants in Virginia, 12th most in the nation. According to the U.S. Census, Charlottesville and Albemarle County are home to about 7,000 Latinos, somewhere between 5 and 5.5 percent of the total population. People familiar with the community estimate that between 40 and 60 percent of the adult Latino population is undocumented. Albemarle County schools are already 8 percent Latino, with some schools (Cale, Agnor-Hurt) close to 20 percent. Another number: Pew Hispanic Center estimates there are 4.5 million U.S.-born children with at least one unauthorized parent.

A month ago the U.S. Supreme Court upheld the legality of one major piece of Arizona SB 1070, the most severe immigration law ever proposed, paving the way for state and local law enforcement officers to determine people’s immigration status during stops and to detain them if they are unable to prove that they are legal residents. Prince William County enacted similar legislation in 2007 and proposed its adoption statewide late last year.

Ford: “In some ways, Prince William paved the way to Arizona.”

Corey Stewart, the county supervisor and lieutenant governor candidate who pushed for its adoption, claims that Prince William County law enforcement officers have identified 4,700 “illegal immigrants” since the measure went into effect. If the GOP backs the legislation’s adoption statewide, it would likely have the votes to push the measure through the General Assembly. The U.S. Supreme Court struck down farther reaching components of Arizona SB 1070, including a provision that would have made it illegal for unauthorized immigrants to seek work and for citizens to house them. Polling data shows that nearly 60 percent of Americans approve of the law, but 75 percent of Latinos oppose it.

Just before the court decision was handed down, President Barack Obama announced that his administration would no longer deport undocumented immigrants under the age of 30 who came to the U.S. before they turned 16, have lived here for at least five years, and possess clean criminal records. The policy will make it possible for between 800,000 and 1.5 million people to obtain driver’s licenses and work legally when it comes into effect, which may happen as early as next month.

In reaching out to the Dreamers—the name for the under-30 group—through his enforcement policy, Obama courted the Latino vote and vocalized a liberal agenda.

“They are Americans in their heart, in their minds, in every single way but one: on paper,” Obama said, as he introduced the policy from the Rose Garden.

The undocumented immigrants in Charlottesville are nearly invisible, but they are here. They work cleaning our houses, offices, and country clubs, as roofers and landscapers, in restaurant kitchens. They can’t speak for themselves, because, on the record, they don’t exist. But other members of the Latino community are ready to speak for them, and to explain how immigration reform can bring them out of the shadows.

Categories
Arts

T.V.: “XXX Olypmic Games,” “All the Right Moves,” “Rat B*stards”

“XXX Olympic Games”
All week, NBC and its affiliate networks

It’s the first full week of the Olympics, which basically means most of the other networks are raising their hands and slowly creeping backwards toward the nearest exit. Thankfully there’s plenty of excitement coming out of London. This week you can take in a heap of swimming events (including the much-trumpeted face-offs between Americans Ryan Lochte and Michael Phelps), women’s gymnastics, diving, beach volleyball, and come the weekend, the start of an overwhelming number of track-and-field events. And that’s just NBC’s primetime coverage (make sure to tune in Friday night for the men’s trampoline finals—trampoline, you guys). You can catch all manner of other events on NBC’s sister networks throughout the week. Check nbc olympics.com for a full schedule.

“All the Right Moves” 
Tuesday 9pm, Oxygen

Fans of “So You Think You Can Dance” probably recognize the names Travis Wall and Nick Lazzarini. Lazzarini won the first season of Fox’s dance competition, while Wall came in second place in season 2, but has since gone on to become one of the show’s most successful choreographers, scoring an Emmy nomination for his truly breathtaking work on the series. This new reality series documents the friends’ attempt to start their own contemporary-dance company, also featuring dancers Teddy Forance and Kyle Robinson. Expect some fantastic dancing, plenty of drama, and lots of hot guys dancing shirtless. Sold!

“Rat B*stards” 
Tuesday 10:30pm, Spike

Are you aware that giant rat-like creatures from South America—alternately called nutrias or coypus—are currently wreaking havoc on the wetlands of the southern coast of our country? I was not. Apparently it is a huge problem, as this invasive species is extremely destructive. They burrow and can chew through everything from tires to house paneling, and more importantly, have been found responsible for the destruction of thousands of acres of marshlands. In response, the government has enacted several programs to incentivize the “harvesting” of nutria (read: people get paid to kill them), and given the success of shows like “Swamp People,” reality TV has taken an interest. This show documents the exploits of giant river-rat hunters in Mississippi who are trying to protect the wetlands, make a buck, and some are even trying to introduce nutria meat as a legitimate food source to Americans. Hey, it’s low in cholesterol.

Categories
Arts

The Watch; R, 98 minutes; Regal Downtown Mall 6

Do not think that just because its name was changed, the movie formerly known as Neighborhood Watch has in any way been neutered. Granted, it does have some fertility issues, even within the plot, but those were there to begin with. You can rest assured that The Watch, as it’s now called, takes the maintenance of male genitalia very seriously.

Which seems a little weird given that it’s a comedy. But maybe that’s just the special signature of its auteur, director Akiva Schaffer, who made a movie five years ago called Hot Rod and also is responsible for the SNL Digital Short “Dick In a Box.” Now he wiggles his way through a raunchy script co-written by Seth Rogen, with perfunctory parts for Ben Stiller, Vince Vaughn, and Jonah Hill as self-appointed custodians of suburban safety who wind up warring with invading aliens. For no one involved does this seem like a career triumph. The Watch might just as easily, or maybe even more easily, have been made by a bunch of unknown guys who once got high together and had an eager conversation about how much they loved Ghostbusters, but then got distracted, possibly by masturbating.

Stiller plays the passively domineering manager of a suburban Costco, which turns out to be a focal point of product placement—oh, right, and also of sinister alien activity. As the designated drolly earnest straight-man, he convenes a neighborhood watch group, whose too-few enlistees include Vaughn, in his standard motormouth-bro mode; Hill, tetchy and self-effacingly creepy; and British TV star Richard Ayoade as a peppy odd geek out. There’s a twist involving Ayoade, which is that he’s fresher and funnier than everyone else in the movie.

That’s partly because Schaffer’s way of playing to his more familiar performers’ strengths is to take them shruggingly for granted. It’s hard to tell whether this has to do with feeling intimidated or just lacking inspiration, but it’s even harder to care. With a narrative strategy that seems mostly like wishful thinking, The Watch gets its laugh-out-loud moments to bloom by surrounding them with manure and hoping for the best. The overall experience is not exactly like strolling through a garden.

Helplessly, a few other people are on hand, including Will Forte as a clueless cop, Billy Crudup as a weirdo neighbor, and, as a patient wife, Rosemarie DeWitt, seeming as gracious as possible about getting the chore of her part in this movie over with. So really all that’s left are the dick jokes. And yes, as their man-cave banter reveals, emasculation aversion is important to these would-be macho vigilantes. It’s just not very interesting to the rest of us.
The title became The Watch after George Zimmerman fatally shot Trayvon Martin in February; the movie itself, going through its motions of video-gamey violence and crass, common gags, maintains the integrity of its own dull indelicacy.

Categories
Arts

Brock’s vision shines on Borrowed Beams of Light’s new EP

For years, local music fans only knew Adam Brock as a drummer, the powerful force behind bands like The Nice Jenkins and Invisible Hand. But it’s always been clear that Brock was capable of more. His clear and exuberant singing voice added a perfect pop edge to his bands’ tunes, and his enthusiastic taste as a record collector ran towards the eclectic and the ornate end of the pop-rock spectrum: the Zombies, the Kinks, Sparks, and Harry Nilsson.

In 2009, Brock finally made his debut as a frontman, with a solo project called Borrowed Beams of Light. Over the past three years, this side project has included enough other members to qualify as a Charlottesville supergroup, and at its best threatens to overshadow the popularity of his other projects. The debut EP, followed by a split single and full-length album, won acclaim from many fellow musicians, as well as a devoted following among the rock DJs at WTJU.

The Beams are now preparing to release a new EP, a six-track record entitled Hot Springs. The list of studio personnel is an odd summation of the groups’ history; half the tracks were recorded by the original duo of Brock and his former Nice Jenkins bandmate Nate Walsh performing over simple drum machine backing—the remaining songs are fully fleshed out by the Beams’ current live band, which includes Jordan Brunk (another former Jenkin) and Marie Landragin of the retro-metal act Corsair, as well as Dave Gibson and Ray Szwabowski. The basic backing tracks were laid down at White Star Studios in Louisa County, and then fully fleshed out in smaller recording studios in the apartments and practice spaces of various band members.

For a record with such a patchwork recording history, Hot Springs is remarkably coherent; a testament to the consistency of Brock’s talent and aesthetic vision. His greatest skill as a songwriter and performer has always been the ability to put forward in odd, obscure, or downright impenetrable narrative conceits and conceptual whims in the form of breezy, largely unchallenging power-pop. Fancy breakdowns, odd turns of phrase and left turn bridges abound, but the end result is approachable and charming, even if they often sound more like an eclectic rock band playing with the idea of pop music than anything that might have actually appeared on the Billboard charts in the past 30 years.

The opening title track is bombastically catchy, with all of the manic hooks that Beams fans have grown to expect. “You’re such a lovely girl/to melt this awful snow!” Brock chatters, but it sounds less like a come-on than an insistence on the song’s own hook itself. “Wing Stroke” is stripped-down and simpler, but may be the record’s high point; yowling, yelping lines are interspersed with clear, straight-forward ones, as Brock wildly intones “I could waste my days in here/I might drink my weight in tears.” “Fine Lines” concludes the side with a credible soundalike of Roxy Music or vintage Bowie.

The B-side is more relaxed and glam-influenced, proving the band can still keep the quality control high even when they calm down a bit. Throughout, Marie Landragin’s harmonized guitar solos are the most anachronistic part of the record, but also the most enjoyable. Many of the songs are interspersed with confusing spoken-word snippets and vocal field recordings, never taking center stage but often adding texture and character. The EP concludes with “Simple Century,” which has a heavy early ’90s adult contemporary vibe. An aesthetic that I indelibly associate with “grocery store music”—which would almost be funny if they didn’t play it totally straight-faced; surprisingly, the style actually works to the song’s advantage.

This 45rpm 12″ record, issued by Harrisonburg-based Funny/Not Funny Records, is the Beams’ first vinyl-only release, though all copies come with an mp3 download code. “With a CD pressing, often the minimum amount you can do is in the thousands—and it’s actually cheaper in total to get, like 5,000 CDs than a few hundred.” Brock explains. “I just didn’t have it in me to fill the rest of my basement with another dozen boxes of unsold CDs.” Hot Springs is limited to 333 copies of the LP, but more download codes are planned; once the vinyl edition is depleted, the band may sell download cards featuring a miniature facsimile of the EP’s excellent cover art by prolific local artist and musician Thomas Dean.

Borrowed Beams opens for Dr. Dog at the Jefferson tonight. Brock relishes the idea of playing for a larger, potentially sold-out crowd: “There’s something nice about playing a bigger room. I think it works best for the type of music we’re playing. Plus, we’re all in our 30s now, and there’s only so many years of your life you can spend playing shows for three stoned kids in a living room and then crashing on the couch.” Although Hot Springs’ proper release date isn’t until August 14, those who have pre-ordered the record through Funny/Not Funny will be able to pick up their purchases at tonight’s show.

Categories
Arts

T.V.: “Top Chef Masters,” “3,” “XXX Olympiad Opening Ceremonies”

“Top Chef Masters”
Wednesday 10pm, Bravo
Although I love “Top Chef,” I have never been able to get into its “Masters” spin-off. It’s basically the kinder, gentler version of the competition, featuring already world-renowned chefs at the top of their game. But honestly, I do need a little drama in my reality competitions. And since I still don’t get to taste the food, it’s a tough sell. If you like the show, or host Curtis Stone (who I swear is on TV all the time, constantly), it’s back for its fourth season.

“3” 
Thursday 10pm, CBS
Despite its scandal-baiting name, this new dating show has a simple concept and prides itself on taking the competition out of dating. Three very attractive single women—a young widowed mother of two, a Baptist model with a focus on faith, and an entrepreneur who would happily give up her career to be a wife and mother—are introduced to a variety of potential suitors, go on dates, and work together to help each other pick the guys of their dreams. It certainly sounds like the least humiliating televised dating option, but I always wonder: how awkward must it be to date someone with cameras following you? My dates are bad enough when it’s just the two of us and I can embarrass myself in private.

“XXX Olympiad Opening Ceremonies” 
Friday 7:30pm, NBC
To celebrate the opening ceremonies, my friends and I are throwing an Olympics party. Everyone has been assigned a random country participating in the games (the more obscure the better), and we’ll each do little presentations on the foreign locale and its athletes, plus bring sports-themed dishes. Oh my God, we’re so lame. But we are going to have so much fun! And that’s all before we start ripping apart the terrible, terrible outfits worn by most of the delegations in the Parade of Nations. (Cough. Team USA’s Ralph Lauren-designed, made-in-China beret prep-school looks. Cough.) The games run through August 12. This weekend you can catch coverage of swimming, men’s gymnastics, and beach volleyball on NBC, and its affiliate networks (CNBC, MSNBC, Telemundo, etc.) will show assorted other cool competitions. Bear in mind that there’s a five-hour time difference between host city London and the American east coast, so avert your eyes from the Interwebs in case of spoilers.

Categories
Arts

The Dark Knight Rises; PG-13, 164 minutes; Regal Seminole Square 4

No wonder Bruce Wayne retired from being Batman. Everybody wants to psychoanalyze the guy: His butler, his burglar, his nemesis, his police commissioner, and practically anyone with a hand in managing his assets. Among other things, he is accused of pretense and, perhaps worse, of “practiced apathy.” Well, it was a double identity, and a dubious one, after all.
Of course it’s only a temporary retirement (at least until it becomes permanent), and at the outset of The Dark Knight Rises, it’s more or less mandatory; the caped crusader’s city, historically rather weird with mask-wearers and turncoats, no longer trusts him. All the more grist for director and psychoanalyst-in-chief Christopher Nolan’s mill: Two films in the rebooted Batman franchise already behind him, and still with so much more head-shrinking to do. In Nolan’s estimation, this grand trilogy-capper finale still requires two hours and 44 more minutes of duking and talking things out.

For the casual viewer, familiarity with the vicissitudes of Batman Begins and The Dark Knight is not required. Scripting again with his brother Jonathan, Nolan seems glad to summarize: It’s about power, justice, virtue, and philosophical challenges thereto, not to mention the considered aesthetics of the summer blockbuster set piece. It takes so long because the Nolans think it strategic not just to delve into backstory, but also to revise it while we wait. Although often self-nullifying, this is showmanship, of a sort: They understand that sometimes it’s fun being inside a movie for so long. Even, maybe especially, one so tense, huge, noisy, dark and unswervingly glum as this.

Helpful signposts abound, some in human form: the butler played by Michael Caine, the burglar played by Anne Hathaway, the commissioner played by Gary Oldman. They’re all fine, and comfortably familiar—even franchise-newcomer Hathaway (who only hits a few false notes). The nemesis is a respirator-faced hulk called Bane (Tom Hardy), who resembles Darth Vader without his helmet, or an uppity BDSM man-slave with vengefully revolutionary ambitions. Backed up by a squad of glowering thugs, he’s the Tea Party multiplied by Occupy.
Bane and Batman have a certain personal trainer in common, and it shows when they get to fighting. The fighting is like the dialogue: labored, with most natural movement restricted by so much preliminary suiting up, and a lot of people—extras, the audience—waiting around for the blows to land. They do land, at least, sounding like bombs.

Speaking of stuff blowing up, Bane’s agenda includes a lot of that, not the least of which is a 4-megaton time bomb. Also, there are hostages at the stock exchange, rough kangaroo-court justice, and most of the city’s police force trapped underground. Heavy stuff. One surfacer is a clever beat cop played by Joseph Gordon-Levitt, looking good and growing into the movie as it grooms him—but for what? Let’s reflect on how everything that rises must converge, and how well, over these last few films, Christian Bale has grown into those dubious double-identity heroics. When he finally does retire for real, doesn’t somebody have to take over?

Categories
Arts

Billy Hunt’s scream portraits are all the rage (and joy)

Billy Hunt is a Charlottesville-based photographer who pairs fun, accessible concepts with high-quality image-making. He’s probably best known for his extensive photography of the Collective of Lady’s Arm Wrestling (CLAW) project, as well as a client list that includes Dave Matthews Band, the Washington Post, the Wall Street Journal, and the New York Post. His photos are bright and inviting without looking overly sleek or commercial. He’s at his best when capturing attractive documents of wild, impromptu spectacle—either found, or created. And his most recent project has brought more attention than anything he’s done before.

Scream portraits is just what the name says: a series of portraits in which each of the subjects is screaming. It’s a simple idea that is instantly understandable and immediately engaging. The shots are framed like traditional portraiture—a head-and-shoulders medium shot against a cloth backdrop—but the scream allows us to see a side that’s often hidden. Hunt takes the pictures with a camera connected to a karaoke boombox, dubbed the Screamotron3000. The box is wired so that the mic input levels trigger the shutter. Screaming allows the subjects to cut loose, and the results are wild. Subjects shriek, holler, and even tear at their clothes, frozen into still and silent moments of expression. Some look joyous, while others seem to be expelling pent-up rage. Local chef Rick Easton looks legitimately furious. My immediate response was to wonder what each of them was screaming.

“I’ve had people curse a blue streak at me,” Hunt said. “I’ve had people tell me they never loved me. I’m really open to all of it.” The results mainly fall into three categories: joy, anger, and sadness. “Mostly it’s joy mixed with a bit of anger, or joy mixed with a bit of sadness. But never anger and sadness at the same time,” said Hunt. “Some people pretty much go fetal when they’re getting ready for it. Some people look down. Some people naturally look up while they’re screaming. Some of them are consciously looking to God. A few people end up crossing their eyes in the photos, which looks really insane. They’re all beautiful little snowflakes.”

Hunt’s project has brought him no shortage of subjects willing to let loose for the camera, as well as attention from Wired magazine, “The Today Show,” NPR and the Huffington Post. “It’s blowing up. This thing is huge,” he said. “I would never have guessed that it would have such resonance with people. They love to do it. They almost like doing it more than looking at the pictures. It’s a way for them to interact with the arts.”

The idea for the project came out of frustration with contemporary portraiture. We’re an increasingly image-savvy culture, and it’s made us increasingly self-conscious about how we appear. “I saw how people—myself included—sabotage ourselves when we’re being photographed,” Hunt said. “My friends are thoughtful, considerate people, but we end up taking the worst pictures ever. I wanted to break people out of that, to get pictures where they’re not overthinking it. People don’t really care about looking seriously at photography anymore,” he said. “Image-making is so ubiquitous now. I practically have to put my photos in a Crackerjack box to get people to look at them. So I wanted something that would also have value as an experience.”

So did asking the subjects to scream remove their inhbitions? “It totally didn’t work,” Hunt said. “As it turns out, people are still really self-conscious while they’re screaming. And the reality of it is so much more interesting: You can see a war between the different parts of the brain. They’re all still thinking ‘How do I look?,’ but screaming is inherently unglamorous.” Hunt points out that people looking at photos of themselves will still see totally different things than what other people see while looking at those same photos.
The process led Hunt to start shooting slow-motion video of the screams as well. “There’s an arc to it. Some people just make one little peep, and some of them go on forever. A lot of people start to get self-conscious partway through the scream: ‘Is this a trick? Am I getting Punk’d?’ But once the steam blows off, you do get to see a little bit of what’s really under there. At this point, the fact that they’re screaming has become the least interesting thing about it, to me,” he says. “What’s really interesting is the way we expect ourselves to look, and the way we end up sabotaging that.”

As for the future of the project, Hunt says that he’s “looking for a travel trailer. I’d love to take this on tour, to county fairs and things like that. I’d love to shoot some celebs, too. Get Justin Beiber screaming.”

Categories
Living

Roller Grrrrls: Derby Dames find sisterhood in flat track revival

Miami Beat Box is wearing the elastic beanie cap with the big star on it stretched over her helmet to indicate that she is her team’s jammer, the only skater eligible to score points in a scoring round, or jam. She has already made the requisite first pass through the pack and is coming around the flat, oval track in an attempt to lap the other skaters. She’ll score a point for every one of the opponents she can pass before being knocked silly by one or more of the other team’s blockers, some half-again her size, who are waiting for her with locked elbows and clenched teeth.

With the other squad’s jammer well behind her, Beat Box approaches the tight group of blockers, slicing back and forth on eight wheels, searching for an opening. She starred for the Charlottesville Derby Dames in their June 9 victory over Richmond’s Mother State Roller Derby, a bout in which she scored 19 points in one second-half jam, lapping the pack five times during the daring and reckless two-minute tear.

That was then. This is now. As the pack rounds a turn, two of the blockers drift far enough apart to open a gap that Beat Box shoots for. Just as she hits the hole, the blockers lock arms and clothesline her across the chest, sending her head backwards as her be-skated feet shoot out in a flying karate kick. Her body is utterly parallel to the concrete floor 3′ beneath her, and she plummets to the ground with nothing to soften the blow but her own flesh. “FLUMP!” her butt crushes down on the rock-hard surface, and I can feel my own hip socket ramming against the head of my femur. There’s a gut-tugging body thud just before her elbow pads and skates slap down on the grim surface. I’m thinking she’s down for the count.
But Beat Box is back up on her skates inside of two seconds, chasing the pack again. It was her own teammates who had just sent her flying, and I was just watching a practice scrimmage, which the Dames do as often as three nights a week.

There are about 80 women in the Derby Dames operation, half of whom participate as skaters while others contribute in various support roles. A handful of men serve as coaches and referees and that’s the whole world of women’s flat track roller derby in Charlottesville. The first thing that hit me about derby is that it’s a far cry from a softball team or league night at the bowling alley. Softball: You collect your dues, screen-print some jerseys, stop by Dick’s for cleats, maybe even your own bat. Once you shag some fly balls, take batting practice…

Well, hold on right there, the fact that there is a place for a softball team to take a few cuts and toss the ball around is what distinguishes derby from other recreational sports. When derby started here, there was no league to join. There wasn’t even any place to skate. The next thing that hit me, once I got my head around the operation, was that derby isn’t a sport really, it’s a whole world these women created for themselves out of spare parts and loose hardware.

Something out of nothing
SparKills, one of the original Derby Dames, was inspired to do derby after watching a team from Austin, Texas at a bout in 2005. She figured her dream was out of reach since she couldn’t roller skate much and the hotshot Texans were already at an intimidatingly high skill level. A couple years later, she happened to rent a room in a Charlottesville house from Mad Mountin’ Mama, another of the Dames’ eventual founders, who, herself, first got geeked on derby after seeing the same team skate in Austin. Mama came across a handbill announcing a meeting of women trying to get the derby going in Charlottesville, and it was on.

“The meetings were in our house,” SparKills said. “The very organizational ‘can we do this?’ meetings were there. None of us had ever done derby. There were clips of it on YouTube. So Mama [who worked as a personal trainer] was training us, doing drills but not really knowing how they fit in with actual play. We were the blind leading the blind. It was a lot of jazz hands. It was, ‘Hey we’re doing roller derby,’ but we weren’t, really.”

“It took a year to find anywhere where we could skate,” Mama remembered. “We were going over to Staunton once a week, paying our money and skating in circles at the rink with everybody else. We couldn’t get them, for liability reasons, to host us.”

A couple of the other women kept poking around for a more private place to skate and came upon the National Guard Armory on Avon Street.

“We had it once a week for three hours,” Mama said. “So, it was kind of building from nothing. It was the passion that one or two girls had to keep it going.”

These days recruiting and workouts for fresh meat (the several-week introductory training and weeding out that all Dames go through) are held Downtown at the Key Recreation Center, but, for now, the team conducts its official practices in an isolated and decaying warehouse on the outskirts of town. Girls are fresh meat until they attain a certain skill level. Some girls do it in a month, others take a bit longer.

Puddles of water are scattered across the massive expanse of the warehouse’s concrete and dirt floor. The practice track is marked out on the smoothest section of concrete, and plastic sheeting hangs under the holes in the dilapidated ceiling where the rain comes in, deftly angled to keep the track dry. The I-beam stanchions in the infield area, which hold up the roof, are snuggly wrapped with mattresses, bound in place by duct tape. A ’60-something Ford Mustang collects grime in a far corner. Next to a pair of crutches against the wall hangs a white bed sheet that serves as a backdrop for photo sessions for the team’s website. From a laundry line dangle what at first blush appear to be ladies’ unmentionables, but turn out to be only similarly-sized jammer caps. Stand in the wrong corner too long in this cavernous sprawl and mosquitoes will suck you bloodless.

The Dames change from street clothes to practice gear sitting on the floor or on the hodgepodge of cushions and lawn furniture strewn about trackside. There are no showers, no lounge area near comfortable enough for the average adult to sit around for an extended, post-practice bullshit session.

Somehow, the Dames are at ease in this dank place, made homey by the smattering of discarded furniture they imported and by the easy way they catch up while they’re lacing their skates. Alas, they will soon lose their lease, as the property on which the warehouse sits will be reassigned to a more lucrative use.

Categories
News Uncategorized

Non-profit awards housing grants to police officers

If it weren’t for the Charlottesville Police Foundation, Charlottesville police officers Cory Culbreath and Robbie Oberholzer wouldn’t be living in the city they serve. Relatively low salaries and today’s harsh lending environment are making home ownership increasingly difficult for police officers and other public servants, forcing many to live in surrounding, less expensive counties. But with the help of $20,000 each from the CPF’s housing program, both officers recently made down payments on Charlottesville houses.

“Without the grant, I’d be in another county, definitely,” said Oberholzer, who recently used his $20,000 from the CPF to cover the down payment on a $225,000 home in the northern part of Charlottesville.

The CPF is a nonprofit made up of local citizens who help police officers acquire information and resources the city cannot provide. Since its inception in 2004, the foundation has provided supplemental training for officers, outreach to promote positive community relationships with police, an end-of-the-year awards banquet, various grants, and housing assistance. Initially, housing assistance consisted of banks and realtors providing financial and legal guidance to help officers purchase homes, but the program now includes a housing grant.

In 2009, the Charlottesville Area Community Foundation awarded the CPF a competitive grant of $75,000, which, in addition to funding other programs, catalyzed the first housing grants for police officers. Since receiving the initial check, the CPF has collected enough donations from residents and local businesses to fund housing grants for three officers whom otherwise would be forced to live outside the city.

According to the Charlottesville Area Association of Realtors, the median sale price for ahome within city limits is $257,000. With starting salaries on the force at $35,256, many Charlottesville officers can’t afford the sizable down payment required to get a mortgage in the city.

“Police officers get paid well, but if you don’t have a spouse who’s getting paid equally well or better, it’s tough to afford housing in Charlottesville,” said Oberholzer.

He said he hopes his presence, even while off-duty, will provide a sense of safety for his neighbors. Living close by not only offers security in the neighborhood, he said, but it allows him to build relationships that help him do his job more effectively.

According to CPF Executive Director Mindy Goodall, officers must meet certain prerequisites in order to apply for a housing grant. Qualifying applicants must be full-time, sworn-in officers recommended by each of their supervisors, and must have an income below 150 percent of the area median income.

Once approved, officers can choose any home in Charlottesville or within two miles of city limits—a freedom that Charlottesville Police Chief Tim Longo said is unusual for programs of this type.

Longo said federal programs provide similar funding for public servants, but often limit their scope to specific neighborhoods.

“We’re not trying to get cops in particular neighborhoods,” Longo said. “We’re just trying to connect them with the city they work in.”

Officer Culbreath has been with the Charlottesville Police Department for 13 years, and recently moved into a new home with his wife and their four children. After crowding into a townhouse for years, Culbreath and his family refer to their new house as a castle, and he said the whole process has been “amazing.”

“It gives you that much more appreciation for where you work, and makes you leave home smiling every day,” he said.