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News

Upcoming vacancy: Visitors bureau to depart Transit Center, citing expense and declining tourism

Since the stylish, glass-walled Transit Center first opened in spring 2007 on the east end of the Downtown Mall, the Charlottesville Albemarle Convention & Visitors Bureau has been a tenant in what was the city’s first LEED-certified building. That long-term relationship will soon end.

Even before the pandemic turned the mall into a ghost town, the number of visitors finding the tourist center was down, says Albemarle Supervisor Ann Mallek, who serves on the CACVB board. “The decision was based on the very few interactions held in a building with very expensive rent,” she says.

The bureau announced plans for two mobile visitor centers—likely Ford Sprinter vans—to replace brick-and-mortar locations downtown and in the former Crozet train depot and “to reach and interact with even more visitors, by meeting them where they are located,” according to a release.

Mallek says at events such as the Heritage Harvest Festival, “I was handing out hundreds of brochures. I’m very much in favor of mobile vans.”

Councilor Heather Hill, the city’s representative on the CACVB board, says a pilot test moving the visitors bureau to the Old Metropolitan Center in the center of the mall earlier in the year revealed a “resistance to the public going into buildings.” She favors a hybrid model that offers more flexibility and reduces costs.

“Everyone is rethinking how much office space they need,” she says, “and not expending dollars on space we don’t need.”

The visitors bureau is funded from 30 percent of the city and county’s lodging tax, and pays the city $45,000 a year to rent the Transit Center space, says CACVB Executive Director Courtney Cacatian.

Charlottesville-area lodging occupancy rates through July of this year were down 42.6 percent compared to 2019, says Cacatian, citing an industry report. The average daily rate slid 22.7 percent, and the key industry metric, revenue per available room, is down 55.6 percent for that same period.

“Two years from now, we’ll really be feeling the budget impact from the coronavirus,” she says. “We’re still crunching the numbers to see what we’ll have left over for office space.”  

The bureau has a month-to-month lease, and will depart the Transit Center at the end of October, says Cacatian. 

When it was first proposed in the early 2000s, many considered the Transit Center a boondoggle to take advantage of $6.5 million in soon-to-expire federal funds for intermodal transportation. When a location on West Main near the Amtrak station—to connect trains or Greyhound coaches to city buses—was not forthcoming, the city decided to proceed on land it owned on the mall.

At the same time, plans were in the works to revitalize the east end of the mall with a music pavilion that would be leased long-term to and run by music/real estate magnate Coran Capshaw. The city now bills the Transit Center’s intermodality as connecting city buses, bikes, and pedestrians. 

Philadelphia firm WRT won awards for the design of the 11,200-square-foot space. Besides housing a Catch the CAT hub downstairs, original plans called for a retail space, but other than a brief run for Alex George’s Just Curry in 2008, that hasn’t materialized either.

The visitor center’s departure means the city will soon have more vacant space on the mall. “Obviously it’s a loss for that rental revenue,” says Hill.

As for future occupants of the space, city spokesman Brian Wheeler says, “At this point, they haven’t given notice. We aren’t making plans in absence of notice.”

“It’s kind of an awkward space, with a lot of volume but little square footage,” says Kirby Hutto, who runs the neighboring Sprint Pavilion. Whoever next occupies the space will have to work closely with the Pavilion once concerts begin again, because the Pavilion restricts access when there’s a show, he says.

Hutto thinks it’s important to have a visitors center on the Downtown Mall. “I’d like to see a place where people can ask questions and get directions,” he says. “I think it’s kind of sad there won’t be a visitors center.”

But Cacatian says the bureau will still have some sort of presence on the Downtown Mall. She notes that Arlington’s visitors bureau went mobile in 2010 and hasn’t reopened its brick-and-mortar  center. “It’s working great. They’re able to serve 40 percent more people.”

She adds, “The good thing is we have time to figure it out.”

 

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Coronavirus News

New rhythms: Music venues look to rebound after COVID closings

By Claudia Gohn

The latest addition to IX Art Park’s medley of flowery, psychedelic art is a series of circles, painted six feet apart from each other on the ground.

The new paint is one part of IX’s plan to begin holding in-person concerts, after the coronavirus pandemic rendered them impossible for months. Though new cases continue to appear every day in the area, the state’s reopening plan has allowed places like IX to resume some version of their pre-pandemic operations. Positive Collective, a reggae and world music act, will perform at the first in-person show on July 18.

“Instead of just buying a [concert] ticket, you’re buying access to a circle on the platform,” says IX Art Park Foundation Executive Director Susan Krischel. Concert-goers must stay in their circle, and need to wear a mask if they leave it, be that to go to the bathroom or to buy drinks. Krischel says shows will have a maximum of 120 attendees, while in the past the venue accommodated 2,000 people.

These concerts won’t undo the economic effects of the last few months—reduced occupancy limits the amount of revenue generated from each show. “It’s tight,” Krischel says. “I’m not gonna lie about that. With that number of people, it is very difficult to break even.”

Kirby Hutto, general manager of the Sprint Pavilion, expresses a similar sentiment: “Being capped at a thousand total capacity and 10 feet of social distancing just really, really cuts down what is financially viable for us.”

“Normally this time of year we would have probably at least a dozen shows confirmed if not more,” Hutto says. By early March, Hutto says that there had already been five shows on sale. Now, they have all been either rescheduled for 2021 or canceled altogether. Hutto says, “all the artists that had holds on the calendar for the rest of 2020—they’re gone.”

The venues that do reopen hope to provide a sense of relief and comfort to the community. “We’re starting showing movies at three o’clock in the afternoon on Wednesdays and Fridays, and hope that people will come out of the theater around five and then hopefully go to an outdoor patio at a restaurant,” says Matthew Simon, director of operations and programming at The Paramount Theater.

“We’re kind of all in this thing together, and we’re not really trying to make money,” Simon says. “We’re just trying to get people to put a smile on their face and feel comfortable coming out to see a show.”

Other venues are being more cautious. The Southern doesn’t have any events scheduled until August. Danny Shea, who manages The Southern and is responsible for bookings at both The Southern and The Jefferson Theater, says he doesn’t want to risk anyone’s health. “We certainly wouldn’t want to come off as contributing to the problems,” Shea says. “And we don’t want to open up just so we have to close down soon after because we were too aggressive.”

Categories
Arts

ARTS Pick: Wilco

Been there: Regardless of which collaborative era in Jeff Tweedy’s career got you on board—Jay Farrar, Jay Bennett, Billy Bragg, Nels Cline—you’ve likely heard the frontman of the revered alt-country, punk-leaning, folk-forward, American rock band Wilco at his best—because Tweedy does not disappoint. Twenty-five years after the band’s formation, Wilco’s poetic authenticity continues to thrive while challenging fans on the quiet, stripped down new album Ode to Joy, which NPR music calls “a deliberately small record by a group of musicians who aren’t trying to impress anyone or expand an audience.”

Friday, November 8. $39-82, 7pm. Sprint Pavilion, 700 E. Main St., Downtown Mall. 877-CPAV-TIX.

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Arts

ARTS Pick: WALE

Way to go-go: Grammy-winning, roof-shaking, innovating rapper WALE grew up in Northwest Washington, D.C., in the 1980s, in the heart of the go-go music scene. WALE says go-go “made me the man that I am today, and I will never let it go.” You can hear it in his platinum-selling records, like 2011’s Lotus Flower Bomb, on which WALE honors old-school style, but doesn’t hesitate to add something new to the hip-hop tradition. Thirteen years after his debut, his single “On Chill” is climbing the hip-hop charts.

Tuesday, October 8. Free, 7pm. Sprint Pavilion, 700 E. Main St., Downtown Mall. 877-CPAV-TIX.

Categories
Arts

Keeping on: Umphrey’s McGee are still playing the long game

The first time Umphrey’s McGee played in Charlottesville—in 2002, upstairs at the old Starr Hill brewery on West Main Street—a few dozen people showed up. The band was in its barnstorming phase, with its six members, fresh out of college, charging around the country in a crowded van. The Starr Hill show was one of more than 160 that year.

Umphrey’s—now familiar to local fans of improvisational rock music from years of shows at the Jefferson Theater and Lockn’ Festival—steadily built a career in the years after that Starr Hill date, and will roll into its upcoming show at the Sprint Pavilion with two tour buses and a 53-foot semi truck for gear. The touring operation, counting band members, now includes as many as 20 people, depending on whether a given performance is being webcast.

In one sign of the band’s footing in the industry, its tour schedule these days is a bit slimmer, at 85 to 90 shows a year. In another, the current tour will conclude with an Umphrey’s-headlined music festival in the Woodlands of South Carolina. And keyboardist Joel Cummins is now in a position to share wisdom from the road in his new how-to book, The Realist’s Guide to a Successful Music Career, co-authored with Matt DeCoursey.

Still, Cummins says, longtime friends like Huey Lewis help keep things in perspective.

“Huey will always introduce us as ‘a great up-and-coming band,’” he says, “so in his eyes we’re still up-and-coming.”

The music business has changed, of course, since Lewis released Sports in 1983 and saw it go multi-platinum, with four top-10 singles. Without a foundation of record sales to depend on, artists now rely more on touring, and on cultivating new revenue channels.

“We’re kind of in the category of famous to 10,000 and unknown to millions,” Cummins says. “And that’s okay, you know?”

Part of the work of maintaining a performance-oriented act through the years is building and sustaining a fan base, and the band’s prominence within the jam-band scene is a double-edged sword: On one hand, the fans are fervent and loyal, coming out to see multiple shows a year because they know every setlist, and every performance, will be different.

On the other hand, Cummins says, “as people get older, they’re having families, other commitments, the things that get in the way of saying, ‘Hey, I’m going to go see 10 to 15 shows in 2019.’”

In that sense, a show in a college town like Charlottesville—while the University of Virginia is in session—is a precious audience-building opportunity. The band aims to dazzle newcomers with a high-powered light show and an energetic set.

Musically, Umphrey’s McGee has long differentiated itself in the jam-band scene by incorporating darker elements from metal, prog-rock, and funk, while still leaving room for collaborators from across the musical spectrum like the Yonder Mountain String Band and Dave Matthews Band saxophonist Jeff Coffin.

“It’s not just a world of rainbows and smiley faces at an Umphrey’s McGee show,” Cummins quips.

“You just try to keep embracing the youthful atmosphere that’s provided by being able to create music, particularly improvisational music.” Joel Cummins

Still, onstage, “I think we’re thinking about what is it that we need to give the crowd right now?” he adds. “If we get halfway through the set and we’re like, ‘Okay, we’ve done a lot of really heavy, intense stuff,’ maybe we do something a little more serene and ambient and beautiful for a minute. It is really fun. It’s fun to be able to control that kind of stuff in the moment.”

The band, which formed in Indiana and Chicago, maintains a Midwestern work ethic, preparing methodically for these quick onstage decisions: One of its secret weapons is a portable backstage practice rig for staying sharp and developing new ideas.

At first blush, attention to sonic detail and a healthy work-life balance may appear out of step with the jam-band scene’s bygone hippie roots, when the Grateful Dead were slipping acid into unsuspecting TV crews’ coffee pots. Yet Cummins says Umphrey’s approach came from years of trial and error, and took time to dial in. Eventually the band members, now in their early 40s, started families and moved to different cities around the country.

Not that Umphrey’s McGee is ready to slow down, musically speaking.

“You just try to keep embracing the youthful atmosphere that’s provided by being able to create music, particularly improvisational music,” Cummins says. “There’s something about that that keeps your energy in a more youthful way, and I feel lucky about that.”

Two decades after the band’s first shows in living rooms and college bars, “I think we all feel incredibly grateful that people do care,” Cummins says. “I think that’s probably one of the hardest things in music in 2019: How do you get people to care about what you’re doing and, let alone come to one show, but then after they leave that show, say, ‘I’d go do that again’?” —Jake Mooney

Umphrey’s McGee/ Sprint Pavilion/ September 20

Categories
Arts

ARTS Pick: Dwight Yoakam

Hollywood hillbilly: Americana superstar, SiriusXM disc jockey, and accomplished actor Dwight Yoakam tours the songs that have earned him nine platinum albums and 14 Billboard top-10 hits. On his 2016 album, Swimmin’ Pools, Movie Stars…, he dug into the bluegrass he listened to as a child in Kentucky and applied it to songs from his catalog. It’s a collection that NPR’s “First Listen” called a “convincing case for the hipness of hillbilly sens-ibilities.” Nashville-based rising star Jordan Brooker opens the concert.

Saturday, August 24. $39-75, 7pm. Sprint Pavilion, 700 E. Main St., Downtown Mall. 245-4910.

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Arts

ARTS Pick: Kendall Street Company

Happy at home: A rhythm guitar-centric band with a monster sax player that formed through late-night sessions at the University of Virginia might sound like a familiar backstory, but this six-piece rock act founded in 2013 relies on original, epic jams to cut its own swath through the East Coast venue map. Kendall Street Company proliferated its psychedelic, mind-altering riffs with RemoteVision, a double album of 17 tracks, released last fall in three parts. KSC kicks off a long list of tour dates around the country with a hometown gig at Fridays After Five.

Friday 6/14. No cover, 5:30pm. Sprint Pavilion, 700 E. Main St., Downtown Mall. 245-4910.

Categories
Arts

ARTS Pick: Rodrigo y Gabriela

Acoustic ascent: The 20-year career of Rodrigo y Gabriela has played out as deftly as the acoustic rock duo’s music. Meeting in Mexico as teenagers, Rodrigo Sanchez and Gabriela Quintero became a couple and formed a rock band. After growing frustrated with local opportunities, they took up residency in Dublin, Ireland, where they perfected their signature dueling guitar style—a combination of intense energy and melody. Rod and Gab ended their personal relationship in 2012, but their music remains prolific, as evidenced by the pair’s first album in five years, Mettavolution, featuring a stunning cover of Pink Floyd’s “Echoes.”

Wednesday 6/5. $38-58, 7pm. Sprint Pavilion, 700 E. Main St., Downtown Mall. (877) 272-8849.

Categories
News

In brief: Pesticide problems, a POWF at the Pavilion, and a poll procession

Pesticide dangers with Pete Myers

As a local biologist and founder of the nonprofit Environmental Health Sciences, Pete Myers clearly knows a thing or two about environmental health. On Thursday, October 25, from 9am to noon, he’ll join three other experts at the Paramount to give us “The Real Dirt on Pesticides” (spoiler: it’s worse than you think).

If you can’t make the forum, where attendees will also learn alternative and sustainable methods of dealing with garden pests and weeds, here are three things Myers says you ought to know about the substances created to kill:

  1. Because of wind, drift, water runoff from pesticide- sprayed fields, and the way that the sun’s heat evaporates the pesticide off the surfaces where they are sprayed, it is virtually impossible to limit their application to the pest they are being used to kill. This harms beneficial organisms, including people.
  2. Almost no square inch on the planet is without measurable amounts of pesticides, and every human has measurable levels of pesticides in them.
  3. The methods used by regulatory agencies to test for pesticide safety have deep and fatal flaws, so our understanding of what is safe, and what is not, is very limited. Among them:
  • Pesticide manufacturers submit test results, not regulatory agencies, and results are often withheld from independent scrutiny with claims of confidential business interests.
  • The tests are carried out on the ‘active ingredient,’ the one chemical thought to do the killing. But a pesticide is a mixture with  many other chemicals specifically added to the product to make it more powerful. The product as sold is never tested in the process of determining its safety.

Nikuyah Walker. Photo by Eze Amos

Quote of the week: “How civil and orderly were the community members who auctioned off black bodies in Court Square?” Mayor Nikuyah Walker responds to a Daily Progress op-ed on bullying at City Council meetings


Mayor takes aim at Galvin… and Baggby’s?

In a Facebook response to the Progress editorial on heckling at City Council meetings, Mayor Walker accused Councilor Kathy Galvin of “white (civil) rage,” and described the “tyranny” that has ruled the city under the guise of civility: “I’m cruel and oppressive and unreasonable, but I do it in a suit and tie or a dress, while I eat Baggby’s. And I don’t yell…I slyly smirk.”

Big bucks from Bronco

Bronco Mendenhall. Photo by Jackson Smith

Bronco Mendenhall’s family ponied up $500K for new football operations center. UVA says it’s the largest gift made to the university by a head coach, but Mendenhall is also the university’s highest paid coach ever, pulling down around $3.5 million annually.

Free UVA tuition

Jim Ryan seems to be pretty popular among the students he now officially presides over, and he racked up even more brownie points at his October 19 inauguration, where he said in-state students with families earning less than $80,000 a year will be able to attend the university tuition-free.

Big tent replaced

A portable off-grid washing facility. Click to enlarge.

The bad news is that construction to replace the original fabric roof of the Sprint Pavilion will cut off all pedestrian access through the venue (and the tunnel under Ninth Street) until March. The good news is that the fabric will get a new life as a “portable off-grid washing facility,” which creates a reusable and environmentally friendly way to do laundry in refugee camps, according to Pavilion manager Kirby Hutto.

Deeds settles

State Senator Creigh Deeds settled a wrongful death lawsuit against former mental health evaluator Michael Gentry for $950,000 for allowing his son, Gus, to leave the hospital after determining he was a danger to himself and others. Gus stabbed his father multiple times before killing himself on November 18, 2013.

Need a ride to vote?

Don’t let a lack of transportation keep you from voting in the November 6 midterms.

An all-volunteer group called CAR2Vote, founded by Gail Hyder Wiley in 2013, provides free rides for voters to get an ID, submit an absentee ballot, or vote on election day. Approximately 75 drivers are on call this year.

Says Hyder Wiley about the upcoming election, “There’s a lot of pent-up frustration and polarization, and one of the best ways to make your voice heard is to vote.”

Sign up for a ride to vote at car2vote.weebly.com or call 260-1547.

Categories
Arts

ARTS Pick: Death Cab for Cutie

Begun as a side project in Washington state over two decades ago, Death Cab  for Cutie broke through  with relatable, brokenhearted odes on 2003’s Transatlanticism, an album that landed songs  on “The O.C.” series soundtrack and ratcheted up the group’s indie rock caché. On tour for its ninth studio album, Thank You for Today, Ben Gibbard and company still deliver their distinct lyrical talent and instrumentals.

Thursday, 10/18. $49, 7pm. Sprint Pavilion, 700 E Main St., Downtown Mall. 245-4910.