Drinking well-crafted, locally sourced wines, beers, and ciders will be easy at this year’s Thanksgiving table. Staff photo
If you are looking for the perfect beverage to accompany your Thanksgiving meal, area producers have many options, ranging from beer to wine to cider. Here are some recommendations to help you drink well while also drinking local.
Amber and brown ales are obvious options for pairing with turkey, stuffing, potatoes, and gravy. The seasonally offered Apple Crumb Apple Ale from Three Notch’d Brewing adds an extra dimension by incorporating apples and cinnamon into the brew. These notes combined with malty, bready, and caramel flavors will remind you of freshly baked apple pie.
A sour or funky farmhouse ale, or even a full-on sour beer, can bring a bit of acid to the table. The sournesscuts through the fattiness of roasted meats, while side dishes with fruit flavors or sweetness bring out similar fruit notes in the beer. Starr Hill’s Carole Cran-Raspberry Gose, only available through December, delivers autumn berry flavors and a nice balance of sweet and sour fruit.
The vanilla, caramel, and chocolate notes found in porter are a great match for dessert. Strange Currencies, from Reason Beer, was originally brewed as a birthday present from the head brewer to his wife. It’s currently available in four-packs of 16-ounce cans direct from the brewery. It’s full and satisfying enough that it could be served on its own instead of dessert, but who is going to pass on that slice of pie?
Two wines deserve a second recommendation in these pages because they are perfect for Thanksgiving: The 2017 petit manseng from Michael Shaps Wineworks and 2017 pinot noir from Ankida Ridge Vineyards. Shaps’ petit manseng is a dry, white wine with weight and texture that brings flavors of honey, tropical fruit, and nutmeg spice at the finish. As a white wine, it can pair with lighter fare, and with roast chicken or turkey. Pinot noir is the classic red wine to pair with Thanksgiving turkey, and the pinot noir from Ankida Ridge Vineyards is the best example of the varietal in Virginia, full of flavors of cherry, cranberry, plum, and cola. Its long, fruit-filled finish will have your mouth watering and anticipating the next bite or sip.
The 2017 Small Batch Series Viognier from King Family Vineyards should also be on your radar. Winemaker Matthieu Finot ferments these white grapes on their skins, more like a red wine would be produced, thus adding aromatics on the nose, and creating a fullness on the palate, and texture in the mouth that will stand up well to the dishes of the season. Similar to the petit manseng mentioned above, this white wine holds up well throughout the meal.
When it comes to Virginia red wine, we can’t forget cabernet franc, which has the perfect weight and flavors for stewed, roasted, grilled, and smoked meats. The 2019 Madison County cabernet franc from Early Mountain Vineyards is a wonderful example of what this grape can be when grown on a good site and in an excellent vintage year. It’s full of ripe red and black fruits with undertones of green herbs and a full finish highlighted by soft, fine tannins.
For many, cider evokes visions of dry falling leaves, pumpkin patches, and hayrides on the farm. Our local industry continues to push forward with creativity and passion, and cider-lovers are benefiting from interesting small-batch, craft products.
The Cranberry Orange Blossom Cider from Potter’s Craft Cider is a limited and seasonal release. With subtle hints of sweet and sour flavors and a pleasant acidity, it will cut through heavier, fattier dishes and can serve a similar role as the sour beers mentioned above. Intentionally produced at only 5.5 percent alcohol by volume, it’s bright and easy drinking that won’t weigh you down before your celebration is over.
Another intriguing option is the just-released 2019 Bricolage Sparkling Cider from Patois Cider. Featuring wild, unsprayed local apples and a minimal intervention fermentation process, this cider develops fine bubbles in the bottle that are sure to please. The palate shows textural weight expresses a depth of caramelized fruit flavors without being too sweet. Delicious on its own, it will also complement a wide range of dishes. This versatility means you can drink this through the entire day of feasting, or at least until the turkey and football games lull you to sleep.
Thanks to Charlottesville’s long history of redlining, low-income neighborhoods have few to no trees, making them up to 30 degrees hotter than their high-canopy counterparts. PC: Charlottesville Tree Commission
The trees you see around town are more than just nice to look at. On a hot day, they provide much-needed shade. When it rains, they absorb flood waters. They help filter air and absorb noise pollution, especially when planted near busy streets. And they’ve been linked to reducing stress and anxiety, among other benefits.
But thanks to decades of racist zoning laws and housing covenants, many low-income, formerly redlined neighborhoods in Charlottesville—and around the country—have little to no tree cover.
According to the Tree Commission’s latest tree canopy study, historically Black neighborhoods Starr Hill and 10th and Page have less than 20 percent tree canopy, the lowest in the city. Meanwhile, neighborhoods where racial covenants once prevented Black people from renting or buying homes—like Venable and Locust Grove—have more than 40 percent tree cover, which exceeds the commission’s goal for the city.
“We got here not accidentally, but [by] creating our cities and our policies historically,” says Brian Menard, chair of the Charlottesville Tree Commission. “With the systemic racism that disadvantaged minority communities, we created these [neighborhoods] where trees were either never part of the environment, or increasingly couldn’t be a part of [it] because there was no ability to plant them.”
With few trees to reflect the sun’s rays, the asphalt roads and concrete sidewalks in Charlottesville’s low-canopy neighborhoods absorb and radiate heat, making them up to 30 degrees hotter than their high-canopy counterparts. This is especially dangerous during the summer—heat-related illnesses kill up to 12,000 people in the U.S. per year, and climate change is only causing more intense heat waves.
Higher temperatures also make it harder to breathe, and have been linked to respiratory illnesses like asthma. Diabetes, high blood pressure, and obesity, already prevalent in the Black community, are worsened by heat, as are mental health issues.
A sparse tree canopy takes a toll on residents’ pockets as well. With fewer shady places to gather during the summer, people are more likely to stay cooped up inside and run their air conditioners—if their unit includes one—all day, which leads to high energy bills.
At the height of Jim Crow, redlining systemically kept Black people from becoming homeowners in white, typically healthier neighborhoods. Black neighborhoods—regardless of income level—were considered “hazardous” for private and federal loans. Only white families were deemed worthy of investment, allowing them to easily attain mortgages and build generational wealth.
White homeowners could usually plant trees on their own property, or lobby their local government to fill their neighborhoods with parks and other green spaces. Black residents, largely forced into renting, had to rely on their landlords, who often had very little incentive or desire to invest in Black neighborhoods.
To make things worse, “poor communities of all colors in cities were often put where the slaughterhouses, mills, and factories were—places that were already environmentally inequitable,” says Menard. “Now we don’t have that kind of industry in most places….[but residents] are still suffering from the effects years and years later.”
The solution is “way more complicated” than just planting trees, warns Tree Commission member Paul Josey. The city cannot plant trees on private property without permission, and there are lots of places where there’s little room on public land for vegetation.
Additionally, the commission—which is currently all white—does not want to continue the city’s legacy of imposing the will of white people on people of color. Instead, it’s focused on “building long-term relationships and trust” with communities, says Josey, mainly by educating residents about the dangers of too few trees, and helping those who want trees, get them for free.
From 2018 to 2019, the commission knocked on hundreds of doors in Belmont—which had the most available planting area—and asked homeowners if they wanted a free tree in their front yard. With help from the Charlottesville Area Tree Stewards, they were able to plant around 45 trees.
“We did a similar effort to bring trees to some of the city’s public housing…Our education and advocacy in several cases led to actual trees going into the ground,” adds Menard. “We’ve already identified some low-canopy neighborhoods we want to start working with, but the pandemic has halted that for now.”
With more trees comes concern about gentrification. Adding green space—along with parks and playgrounds—to low-income neighborhoods could encourage more-affluent people to move in, increasing property values, and forcing the folks in need of the benefits of trees out because they no longer can afford to live there.
Josey says preventing gentrification requires fully addressing the socioeconomic consequences of redlining. The city must work to offer better employment opportunities and increase home ownership among Black residents, in addition to improving its zoning codes and building more affordable housing (with trees).
“The fact that there has been systemic injustice within housing needs to be righted,” he says. And “the key way to build investment within neighborhoods is through home ownership.”
In order to keep climate equity at the forefront, both Josey and Menard emphasize that a diverse array of community groups—from the Public Housing Association of Residents to the Community Climate Collective—must continue to work together to address this multi-faceted issue.
“This can’t be something that we just lead, because we are just volunteers,” says Josey. “It takes a lot of work, and a lot of stakeholders…It’s not just about putting a tree in the ground.”
Diarrhea Planet got rowdy at The Southern in April 2015. Photo by Tom Daly
Remember live music? Us, too.
There’s reason to be extra grateful for recorded music right now (and for all the artists streaming sets into our living rooms), but it’s not the same as packing into a whatever-sized room with a bunch of other people to hear some tunes played just for you. Sweating, swaying, swooning, swirling, swilling a beverage while the band plays (we better not catch you talking)…it’s an experience that’s on hold during social distancing. It’s just too risky.
We can’t convene in our favorite venues right now, and won’t for a while still, but we sure can wax poetic about when we could. Some pretty rad bands have played some pretty rad shows in Charlottesville, and local folks have these stories to prove it (and others, like City Councilor Sena Magill, have the cool, hard proof: outrageous memorabilia).
Scroll down for an update on local venues.
What’s your favorite show memory? Tell us in the comments.
Diarrhea Planet
The Southern Café & Music Hall, April 2015
When Diarrhea Planet (RIP) was on, no band mixed respect for the grandeur of rock with tongue-in-cheek jibes at the ridiculousness of “maximum rock ‘n’ roll” like they did. —Charlie Sallwasser
Toots and the Maytals
Starr Hill, early 1990s
Starr Hill was a 400 [-person capacity] club on West Main. There were maybe 600 people in attendance and, as Toots found out when he held his mike out to urge people to sing along, everybody there knew every single word to every song they played. I went downstairs for a drink and the floor was literally moving up and down eight or nine inches in each direction. It was his A-list band—the guys he records with—and they were so stoked that the crowd really knew the material. —Charlie Pastorfield
Against Me!
Champion Brewing Company, October 2016
Lead singer Laura Jane Grace came out in a Trump mask to sing “Baby, I’m an Anarchist.” —Nolan Stout
My Bloody Valentine and Dinosaur Jr.
Trax, February 1992
It was “immersive” and that’s an understatement. MBV was feel-it-in-your-spine loud and I am convinced that most of my current high-frequency hearing loss can be traced to that show. Then they turned on the strobe light and left it on for the duration of “To Here Knows When,” which felt like an hour [ed. note: the recorded version is 5:32]. The crowd, the bone-rattling, the sound, the blinding light all simultaneously induced euphoria and claustrophobia. It was honestly the greatest show of my life. I don’t remember the Dinosaur Jr. set at all. —Mike Furlough
A Tribute to Roland Wiggins
The Jefferson School African American Heritage Center, September 2019
Hands down, the Roland Wiggins tribute. I had to watch it on Facebook because I was out of town doing a gig, but the surprise performances from his best friend made my heart smile. Super close second fave was [soul-rock musician and theologian] Rev. Sekou at The Festy [2019]. Lawd hammercy…. —Richelle Claiborne
Neutral Milk Hotel
Tokyo Rose, March 1998
Won’t do the Pud (too many to count), so I’ll say [this one]. I bartended downstairs that night; they made everyone very, very, very happy and very hopeful. They stayed at our house. I went to work and then they JAMMED AND STEVE RICHMOND DIDN’T RECORD IT (forgave). —Tyler Magill
Jonathan Richman
The Southern Café & Music Hall, November 2015
Because every Jonathan Richman show is better than every show without Jonathan Richman. #RoadRunner —Siva Vaidhyanathan
Funk and soul act Sharon Jones & The Dap-Kings played multiple memorable shows in town before Jones passed away from pancreatic cancer in November 2016. Photo by Jack Looney
Sharon Jones & The Dap Kings
Satellite Ballroom,
February 2006
The horns! Her voice! The dancing! The being young! —Nell Boeschenstein
Trey Anastasio Band
The Jefferson Theater, February 2010
It was insane. Working with a hero. They rehearsed in the venue the day before, which was a real treat. Basically a private show. We loaded in during a blizzard. Tom Daly snapped one of my all-time favorite photos of me during the show. I was 24 years old and like a kid in a candy shop. —Warren Parker
Muddy Waters
The West Virginian (the basement of The Virginian), 1976
Astonishing electric blues. I wrote a review of the show for the Tandem Evergreen, and got into an argument with the editor, who sniffed that “all the songs were in E.” —Hawkins Dale
Lightning Bolt/ Forcefield
The Pudhaus, 2001
One of the sweatiest, most energetic, and righteous shows I have ever experienced. A room so full that the floor bounced but just an ecstatic feeling. Felt like the building levitated. —Davis Salisbury
The Flaming Lips at The Sprint Pavilion. Photo by Tristan Williams
The Flaming Lips
The Sprint Pavilion, August 2019
Absolute and utter magic. The music. The energy of the crowd. The giant balloons and inflatable robot. I am not the same person I was before. —Emily Cain
University School
The Bridge PAI, March 2017
University School (Peter Bussigel and Travis Thatcher) played a live techno set, did the whole thing wearing crazy animal masks and making hot dogs for everyone while they played. They even had veggie dogs for the vegetarians out there, and everyone was eating and having a great time. Not saying the concert convinced me to move here, but it definitely helped. —Kittie Cooper
Sleater-Kinney
Tokyo Rose, April 1996
I bet a few people mention this one—for those who saw it, many probably remember it as one of the peak music moments of their lives, including me. It was a benefit for the Sexual Assault Resource Agency, right after the album Call the Doctor came out. Curious Digit opened—in honor of the riot grrrl occasion they did Bikini Kill’s “Carnival.” Sleater-Kinney were so glorious, my friend Jeanine (who MC’d the show, repping both SARA and WTJU) threw her bra up onstage, where it landed on Corin’s microphone. She left it dangling there the rest of the show. —Rob Sheffield
Public Enemy
Trax, early 1990s
I was a disaffected undergrad at UVA in the early ’90s when a friend told me Public Enemy was coming to Charlottesville. Why, to burn it down? Nope, to play a show, at Trax. I honestly couldn’t believe it; all I knew about Trax was that Dave Mathews played there all the time. This, was anti-Dave. But it was true, and we got tickets as soon as they became available.
The night of the show we walked over from our place with a Dr. Pepper bottle filled 50/50 with whiskey. Typical undergraduate idiots, not challenging any stereotypes. It was a packed house and the crowd was pretty…energetic? There was a sense that something crazy was about to happen but it was unclear what form it would take: a wild party, maybe a riot. Public Enemy didn’t show for a long time, and the crowd was getting more and more agitated. My friend went to sit down in the back, the whiskey and Dr. Pepper weren’t mixing well.
There was a palpable sense of relief when the announcement was made that PE was in the building and they started setting up. Almost immediately there was another delay, Terminator X’s turntables were messed up somehow getting them onto the stage. Not great; things really started leaning towards riot. There was some pushing, scuffling, a lot of impolite shouting. I was trying to figure out how I was going to get the hell out of there when everyone heard the unmistakable sound of Flav shouting, “Yo, Chuck!,” and it was on. Every single person was immediately through the roof. What followed was a two-hour-long sonic assault; angry, political, righteous, and absolutely everything I’d hoped for. Maybe this Charlottesville thing was going to work out after all. When it was all over, I went to find my friend, still passed out sitting on the floor with his back against the wall. I had to wake him up, and he groggily asked what he had missed. Everything.
I learned later that night that another friend had his face slashed somewhere in the pushing and shoving. He stayed for the show and got quite a few stitches later. We all agreed it was worth it, and that he had likely done something to deserve it. —Steve Hoover
Taj Mahal
Trax, late 1980s/early 1990s
He told the audience they were the rudest mofos he’d ever seen and he left the stage. He was right. Maybe not my favorite memory, but one of the more stand-out memories. —Jamie Dyer
Ratatat
The Jefferson Theater, October 2010
Not counting EDM shows, Charlottesville crowds are typically on the more reserved side, but something was in the air that night. It was packed and yet I was able to move freely from bar to stage, dancing from person to person on my way. It felt more like a party where everyone was a friend and Ratatat were the house band. On multiple occasions I’ve recounted the show years later to someone and they’ll light up and say, “I was at that show!” They always agree it was a special one. —Jonathan Teeter
Fugazi
Trax, 1993
I still have the flier from that show. Trax became known as the beginnings of DMB, but they had a pretty stellar run of booking amazing indie bands in the late ’80s and ’90s—Ramones, Sonic Youth, Pixies, Pavement, Replacements, Smithereens, Jesus and Mary Chain, Bob Mould, Superchunk…Dinosaur Jr. and My Bloody Valentine on the same bill. —Rich Tarbell
Courtesy of Rich Tarbell
Nada Surf and Rogue Wave
Starr Hill, 2006
Used…someone else’s ID…and had my first craft beer at a show. One of my favorite memories. —Allison Kirkner
Memorial Gym, UVA, 1990s
All the dope shows at Mem Gym. Jane’s Addiction…or rap shows put on by UVA in the ’90s. All of James McNew’s Yo La Tengo shows were good, too. —DJ Rob A
Levon Helm
The Paramount Theater, 2008
With an amazing band in tow, from the opening romp of “Ophelia” onward, Levon was the happiest guy in the room and it just trickled down. We were all fortunate to have him in good voice that night. —Michael Clem
Gogol Bordello
Live Arts, 2004
The downstairs stage still had scaffolding and platforms up from whatever production, and the band kept pulling people out of the audience until it felt like there were more people on stage than off it. —Phil “dogfuck” Green
Nik Turner
Champion Brewing Company, October 2017
Nik Turner [of Hawkwind], free, outside, bit o’ rain, C’ville…Skulls split from grinning so much. A perfect storm in every way, and to be there with a novitiate who was gobbling it up like candy made it that much better for me. And it was with Hedersleben to boot. —Kevin McFadin
Phoenix
The Sprint Pavilion, September 2013
I had lived in Charlottesville from 1999-2002 as a recent college grad. I moved back in 2013, driving from Brooklyn in a U-Haul truck with a 2-year-old and a spouse who had never lived here before. It was very hot out, we were in debt, we missed our friends, and our stuff was in boxes in a too-small apartment. We went out for a walk on the Downtown Mall and saw a poster for Phoenix, playing at the Pavilion that night. I asked some people sitting on a bench “Is that Phoenix, the band from France?” They shrugged yes, and a few hours later I drifted over to the Ninth St. bridge, where I stood and watched. (I had no money for admission, and spouse and child were tired and stayed home.) The band played a set of songs I had gotten to know and love in my old home, and from where I stood I saw a sea of smiling faces. On their way offstage the band gave an amused wave to the bridge crowd, and I walked back to the apartment feeling for the first time in a while that it would be possible to make a life here work. —Jake Mooney
Fugazi
Trax, April 1993
-and-
Sleater-Kinney
Tokyo Rose, April 1996
I chose two, which occurred three years and one day apart. Fugazi: The first time I had ever seen them outside of D.C. Brilliant, dynamic and WAY too loud. Turns out it was the first date of a new PA, which left many a fan stone-deaf for a few days. This can be found as part of the Fugazi Live Series. The middle section, tracks 13-21, I would put up against any band, anywhere, ever. Then Sleater-Kinney: One of the very few times I have ever said to a band, “One year from now, you guys are gonna be huge.” I think that creeped out Carrie Brownstein (though I was right). Emotionally overwhelming set, even with the pre- Janet Weiss drummer. —Joe Gross
The Spinners
University Hall
I call this the “phantom concert” because even though I have a pretty reliable memory, I have not been able to find any evidence on Al Gore’s interwebs that this concert happened. But…I keep telling myself that I know it did, because I was there. Just like I “remember” seeing Ike and Tina Turner here in Charlottesville at 2, I’m pretty sure I saw The Spinners at University Hall at 6. Now, there is a record of The Spinners hitting the same stage in 1981, and at that time the two biggest memories from the show I believed I was at wouldn’t have happened:
A very nice man in front of my family volunteered to put me on his shoulders so that the little 6-year-old me could see (in 1981 I was 11 and almost six feet tall).
There was an opener at the show and they played “Easy” by The Commodores, which was a big hit at the time, but 6-year-old me was confused because that wasn’t The Commodores on stage. In 1981, Lionel Richie would be just about out of The Commodores camp so no opener would have played “Easy” to such a rousing reception.
What I “remember” of The Spinners was awesome. I kept saying to my 6-year-old self, “I’ve seen those guys on TV.”
—Ivan Orr
Southern Culture on the Skids
Gravity Lounge, November 2008
I’ve seen SCOTS a few times, but that was by far the best of the shows—long set list, really intimate environment, superb energy level. —Jeff Uphoff
Charles Bradley & His Extraordinaires
The Jefferson Theater, May 2014
That month, everything was technicolor. I’d been dumped a few weeks prior and mourned what was really nothing, for too long. The day was warm, the beer was cold, my cat-eye liner was sharp, and my black-and-blush-and-neon-green vintage dress made no sense and perfect sense. (“If you look good, you feel good?”) The band lived up to its name, keeping perfect step while Charles grinned and sang and wailed and wept and spun and sweated buckets in his custom stage suit. Music. What crowd? Music. What ex-boyfriend? Music, music, music. Time to move on. Thank goodness for soul. —Erin O’Hare
Sharon Jones & The Dap-Kings
The Jefferson Theater, December 2009
It was my birthday, and I told her so in line after the (absolutely incredible!) performance while she signed a record. She stopped the line and serenaded me with the most beautiful and simple “Happy Birthday” rendition, and I was never the same. Maybe it was a combination of the venue or her verve or this sense that time stood still, but it became the benchmark against which I’ve measured performances—did it feel like it was just for me? My pantheon of performances have done exactly that. —Adrienne Oliver
“Oh there are so many.”
Oh there are so many. Gwar at Trax, had to be early ‘90s…they ended up graffiting a jacket I had graffitied in art class (I still have it). Jane’s Addiction at Mem Gym, had to be ’90 or ’91. Of course, the Tokyo times with The Pitts, The Eldelry, The Councilors, Hillbilly Werewolf. Dread Zeppelin, they were so much fun. Also going to hear The Band and others at Van Riper’s [Lake Music Festival] in the late ‘80s. The Black Crowes, before they really made it, at Trax. —Sena Magill
Detail of Sena Magill’s GWAR jacket. Photo courtesy of Sena Magill
Ben Folds
The Jefferson Theater, 2012? 2011?
He played Chatroulette and it was the funniest, most engaging show I’ve ever seen. So many people I knew were there, it was practically a party. —Marijean Oldham
The Magic Numbers
Starr Hill, 2006
There are three factors that make up the most memorable kind of concert: One, an intimate venue, two, the surprise factor—going to see a band you know little to nothing about and having your socks knocked off, and three, the magical band-audience feedback loop that manifests when you have a band that has lightning in a bottle, but is too green to know it yet— but the audience understands, and you get to watch the band’s wildest dreams come true in real time. The Magic Numbers gave me all three on a Tuesday night. I am a sucker for a bit of indie-pop perfection, and I heard their single “Love Me Like You” on the radio on my way to work, followed by the announcement that they would be at Starr Hill that night. I immediately changed my plans and it was one of the best concert decisions I’ve ever made. —Miranda Watson
Dave Matthews Band
Scott Stadium, 2001
The stadium had just been renovated and DMB played with Neil Young. I worked for the stadium event staff and got field passes. Also got to kick field goals with Boyd Tinsley during sound check the day before. —David Morris
Neutral Milk Hotel
The Jefferson Theater, 2015
They have been a favorite band since I was a senior in high school in 2003, and I couldn’t believe I actually got the chance to hear them live since they broke up in 1999 and I never thought they’d get back together. It was a school night, and I was beyond stressed from finals and job searching, but for two hours I forgot all of that and was completely enthralled. —Caroline Heylman
Dump/Girl Choir/Sloppy Heads
Twisted Branch Tea Bazaar, August 2011
Hats off to Jacob Wolf for booking this show and WJTU for presenting it, but it’s a very special night for me since I put the pieces in motion to make it happen. We got Brooklyn jammers Sloppy Heads and Dump (aka James McNew from Yo La Tengo) from NYC, with Charlottesville’s own mod enthusiasts Girl Choir in between —a Brooklyn/Charlottesville/Brooklyn via Charlottesville sandwich. Tons of great folks came from all over to see a very rare non-NYC set by Dump, which he played with his partner Amy. They covered all the bases and provided a nice mellow-ish counterpoint to the Heads’ shambolic choogling and Girl Choir’s frenetic anthemic. It was quite the magical evening for both music and human interaction. —Dominic DeVito
George Clinton & the P-Funk All-Stars
Trax, February 1993
The P-Funk legend was well into his 50s, but this cosmic slop raged on into the wee hours—I have never seen such a marathon with such relentless energy. George just gave up the funk for hour after hour, until every pair of hips was sore, except his. After four hours or so, I finally had to admit defeat and drag my weary bones home—but George and crew were still going strong onstage. To this day I still don’t know how much longer the show went on. An inspiration to us all. —Rob Sheffield
Show stopper
When will live music come back?
Charlottesville is really feeling the void left by the lack of live music, and Danny Shea’s got a theory as to why.
Ours is “a remarkable town in regards to support and appetite for live music. We have the luxury of having so much live music per capita, so I think [its absence] is felt more so than in other places,” says Shea, who’s booked music in town for over a decade and currently handles booking, promotion and venue management for The Jefferson Theater and the Southern Café & Music Hall, both owned by Red Light Management.
Local venues have been dark since the second weekend in March, when the World Health Organization declared COVID-19 a global pandemic. Everyone is eager to know when we’ll be able to gather again, but the reality is that nobody—not even venue operations folks like Shea—know the date. Though restaurants with outdoor seating will be allowed to reopen with restrictions on Friday, May 15, entertainment venues, including concert halls, must remain closed. And even when they are allowed to open, it may take a while for things to return to normal.
Emily Morrison, executive director of The Front Porch, a nonprofit music school and venue online, says she probably won’t feel comfortable holding classes and performances in the building until 2021 (they’re all online for now). When she does open, Morrison says she won’t fill the space to its 100-person capacity for a while. “If everybody rushes toward each other this summer as restrictions ease in the state, I’m worried we’ll just have this terrible spike, even worse than the one we’ve had in the spring,” she says.
Jeyon Falsini of local booking and management company Magnus Music shares that worry. Falsini books for a number of restaurant-bars in town, including The Whiskey Jar, Moe’s BBQ, Rapture, and Holly’s Diner, and he says that all of these venues will focus on food and drink sales before hosting live music. These spots typically don’t charge a cover, so musicians are paid from the register and/or a tip jar. “You can only have music if the place is packed, to justify paying out of the register,” says Falsini, who, unable to collect booking fees, is currently on unemployment.
And what would shows even be like? Will touring bands want to pile into their vans (even before the pandemic, touring wasn’t the most hygienic thing) riding from city to city where they might be exposed to the virus, and in turn expose their audiences? Will audiences want to go stand in a room with a band that’s been in 10 cities in two weeks? Will fans pay more for a ticket to offset lower capacities? If the venue marks off safe social distancing spaces on the floor with tape, will attendees obey them (especially after a few beers)? Who would enforce mask rules? Can people be trusted to properly wash their hands in the bathrooms?
With safety measures in place, a show just won’t feel the same, says Shea. “The idea of social distancing at a rock show is impossible. It would be so awkward. …Can you imagine being the band on stage? There’d be no energy created at all.”
With so many questions about how to balance entertainment with public health concerns, “we’re just a little bit on our own…and it feels a little scary,” says Morrison.
Shea expects some aspects of what venues have developed—like expertly produced concert streams—will stick with us once the pandemic’s over. “You can’t trick yourself into old ways of pursuing this stuff,” he says. And while he is unsure of whether scheduled shows will actually happen this summer, he’s certain that Charlottesville’s appetite for them will remain.
Since last spring, the New Hill Development Corporation has been working on a Small Area Plan to guide development in the Starr Hill area, which runs from Preston Avenue to the CSX Railroad along West Main Street.
On November 4, the African American-led nonprofit, which was awarded $500,000 to study the issue, presented its research to City Council, concluding that the area continues to suffer from racial disparities in income, education, entrepreneurship, and housing. It believes the best ways to strengthen Starr Hill’s “economic and social fabric” are to increase support for small businesses and entrepreneurship, especially in high-growth industries, and to better prepare black residents for “next-generation jobs,” such as bio-tech and construction. It also wants to develop more affordable living and work spaces, promoting equity and connectivity in the community.
New Hill proposed developing the City Yard, currently used as a maintenance facility, into a mixed-use area with 85 to 255 majority affordable housing units and flexible business/commercial spaces focused on workforce development. The group did not mention how it would address potential contamination on the site from the old gas plant.
New Hill also proposes adding 10 to 46 majority affordable housing units to the Starr Hill residential area and making its streets more pedestrian friendly, as well as transforming the Jefferson School into a “public square” with an amphitheater, art installations, murals, parking spaces, pocket parks, and an enhanced Starr Hill Park. Creating better connections between the Jefferson School and downtown was proposed as well.
New Hill encouraged City Council to endorse its plan and“low hanging fruit” projects, such as the proposed improvements to Starr Hill Park. The group’s next steps are to secure partnership commitments, establish an advisory committee of local residents, and continue ongoing conversations with key supporters, like UVA and the Jefferson School Foundation.
Quote of the week
“It makes no sense to put the city tree where no one will see it.” — Charlottesville resident Tony Walsh, protesting council’s moving of the downtown Christmas tree from near the Paramount to in front of City Hall
In brief
Cooperating behind closed doors
At its November 4 meeting, City Council voted 4-1 to disband the Planning & Coordination Council, an advisory group that’s been around since 1986 and was designed to help UVA, the city, and the county cooperate on development issues. It will be replaced by a group comprised of “technical professionals” with an expanded scope to include environmental issues (like stormwater, solid waste, and sustainability) and infrastructure. But the meetings will no longer be open to the public.
CRB moves forward
The Charlottesville City Council also voted Monday to approve the bylaws and an ordinance for the Police Civilian Review Board, despite some CRB members’ dissatisfaction with council’s revisions to the initial proposal. The board, which was established following the 2017 Unite the Right Rally, is intended to build trust between Charlottesville police and the community. New members will be named to the CRB by mid-December.
The People’s Coalition held a rally outside City Hall October 21.
Saga boots again
Longtime Charlottesville Radio Group operations manager and WINA morning host Rick Daniels was fired last month, allegedly for playing a clip with an f-bomb. Daniels, who had been with the station for the past 30-odd years, used to host “Morning News” with Jane Foy, who was also unceremoniously dumped a year ago. Les Sinclair, who hosts an afternoon talk show on WINA and is its program director, and does those jobs at Z95, has been named operations manager for the stations. Charlottesville Radio Group is owned by Saga Communications, which has recently petitioned the FCC to not renew licenses for five local nonprofit stations.
More from Mike
City Council member and former mayor Mike Signer launched his latest venture October 28: a 60-page report and podcast series titled “Communities Overcoming Extremism: The After Charlottesville Project.” The report, which Signer unveiled in Washington, D.C., brings together ideas from different leaders across the country and discusses policies to prevent the escalation of violent hate groups. Backed by big-name donors like the Charles Koch Institute and the Anti-Defamation League, the project hopes to provide communities with the know-how to combat intolerance and political violence.
Progress staffers win union election
In a 12-1 vote, the staff at The Daily Progress voted to unionize on October 30. The election, monitored by the National Labor Relations Board, came two weeks after the Progress staff announced their intention to form a union, and after BH Media, which owns the paper, did not voluntarily recognize the union. Reporters, copy editors, photographers and a few other newsroom employees comprise the Blue Ridge NewsGuild, which plans to fight for fair wages, increased severance, and more community input. The Progress is the third BH Media-owned publication to unionize.
A job well done
UVA first-year and Charlottesville High School alum Zyahna Bryant was listed in Teen Vogue’s “21 Under 21: The Young People Changing the World.” Bryant, who sits on the Virginia African American Board, led the charge in the campaign to remove the Robert E. Lee statue in Charlottesville at only 15 years old, and was the founder of her high school’s Black Student Union. Bryant published a book of essays and poems earlier this year, entitled “Reclaim.”
Devils Backbone owner Steve Crandall says selling to Anheuser-Busch InBev was a growth strategy, to move from 60,000 barrels produced in 2015 to 150,000 barrels annually. Staff photo
Local craft brewery Devils Backbone announced on social media it was being sold to Anheuser-Busch InBev at 10:35am on April 12. By noon, the court of public opinion had tried and convicted the Nelson County company of selling out.
Brewery ownership was a bunch of “cowards.” They were “greedy,” looking to “cash in,” sold to the highest bidder. Beer folks from Facebook to Twitter to Reddit vowed never to buy another Devils Backbone product. They’d sooner quit drinking beer than support an evil empire bent on crushing craft.
The supporters were slower to come, but they were there. Some said this’ll be a fine thing for Virginia beer. One of our own, they said, has made “the big leagues.” Folks across the country would now get to taste those delicious VA suds.
Local brewers also took their time weighing in. Three Notch’d Brewing Company’s founding brewer Dave Warwick immediately responded to a request for comment—“Here goes…”—but then stepped back. “I need a few,” he said.
In the end, Warwick was measured. “Devils Backbone has gotten to where they are today through successful marketing and smart business decisions but, most importantly, world-class quality beer,” he said. “I wish them the best of luck.”
Devils Backbone owners Steve and Heidi Crandall offered their own side of the story. This was a growth strategy, Steve Crandall says, a way to get from the 60,000 barrels they produced in 2015 to their goal of 150,000 barrels. After failing to get a traditional bank loan and eschewing private banking and private equity, he says the best option was clear.
“We’re one of the fastest growing craft breweries in the country, and you cannot finance new equipment through profitability alone,” he says. “A bunch of groups were interested in buying—we had an offer that was higher, but they didn’t share our vision. Anheuser-Busch are good people. They are not interested in crushing craft. They want to win, but they want to do it in a fair way.”
Devils Backbone brewmaster Jason Oliver, whose beer wins awards at the Great American Beer Festival and beyond year after year, agrees.
“There’s this real us-against-them mentality,” he says. “But I consider myself a brewer first and foremost and a craft brewer second. And so I’ve been a champion of large breweries. People aren’t objective about it. They get emotional.”
Lots of others decided not to comment. Starr Hill, the most widely distributed local brewer and one that many have called an obvious target of big beer, didn’t return several phone calls. A representative of Budweiser declined to go beyond official press statements.
But here’s what we know about some of the behemoth’s business strategies. Through its craft arm, The High End, the company has purchased nine breweries since 2011, according to some estimates paying from $25 million to $70 million each, and has guided them forward in various ways.
Goose Island, the first acquisition, has become a de facto Budweiser craft label. The company’s Honker’s Ale, Goose IPA, 312 Urban Wheat, Summertime, Four Star Pils and Green Line Pale Ale have been scaled up for production at big Bud plants. They’re now available nationwide.
Oregon-based 10 Barrel Brewing, on the other hand, has said it’s been largely left alone to make the beer it’s always made.
In December of last year, when ABI announced it was making another major acquisition, this time of South African Breweries, Brewers Association CEO Bob Pease went before Congress to air what seems to be a consensus among small-brewery owners. Because of ABI’s ownership of beer wholesalers, it can unfairly influence the types of beer chain stores stock. Before letting this monster grow any bigger, Pease said, ABI should be required to divest its stake in wholesalers.
“If ABI is permitted to maintain ownership of wholesalers…ABI will continue to purchase additional independent wholesalers and discontinue sales of competing brands that the independent wholesalers currently sell,” Pease told the Senate Committee on the Judiciary.
The South African Breweries purchase is still under review, so what’s next for ABI is unclear. As for Devils Backbone, the company looks a lot more like 10 Barrel in size and scope than Goose Island (10 Barrel is in the process of expanding from about 40,000 barrels a year to 120,000), and Crandall says no new distribution has been planned for the immediate future. But some have suggested the brewery’s popular Vienna Lager would make a great candidate for national sales. With the right quantities and distributorship, it could compete with Yuengling or Boston Beer Company’s Boston Lager.
Crandall says he’s convinced his new parent has its heart in the right place, and that’s evidenced by the fact ABI hasn’t made any changes to management and is committed to allowing Devils Backbone to operate as is for at least the next five years.
“We want to continue to support craft beer in Virginia,” Crandall says. “We are all in this together. It whittles down to what’s in the glass.”
High End President Felipe Szpigel said much the same. Yes, ABI ran an ad during last year’s Super Bowl that mocked craft beer and said Bud was “brewed the hard way.” But that was a brand statement, not the company’s official stance.
“Budweiser has a voice and pride in the quality of the beer,” he says. “It was never the intention to create discomfort or to be aggressive.”
Try convincing the craft beer geeks on the Internet of that.
