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Richmond For The Win: From Making Ads To Making Change

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In the midst of an extremely difficult year, increasing recognition for Richmond creative organizations like The Martin Agency, Arts & Letters Creative Co, and VCU Brandcenter have shown the rest of the world what locals have long known — that Richmond is one of the top creative cities the US has to offer.

In a dark year, Richmond’s creative scene is shining bright. 

A triple threat success from The Martin Agency, Arts & Letters, and the VCU Brandcenter has strengthened Richmond’s status as an epicenter for creativity.  

It’s no exaggeration. For the first time in over a decade, The Martin Agency has been awarded Adweek’s U.S. Agency of the Year, one of the highest accolades in the advertising industry. Newcomer Arts & Letters ranked #5 of Fastest Growing Agencies in the World, along with being named one of the Top 50 Best Places to Work in the U.S. And the VCU Brandcenter reported a record 26 alumni who contributed to 18 different Super Bowl commercials this year, solidifying the school’s reputation as the preeminent graduate program for creative problem solving. 

The achievements are remarkable given the backdrop of a global pandemic, a politically divided nation, and a resurgence for social justice. While many have been simply trying to survive, Richmond’s top creative entities have found a way to thrive.

According to Adweek, Martin was the only agency finalist to report double-digit growth this year. The agency won nine new accounts and created work for over 90 percent of their clients, involving 400+ productions. Kristen Cavallo, Martin’s CEO, attributes the success to a conscious decision to invest. 

“We played offense. The choice was intentional and required nerve,” states Cavallo. “In 2020, lots of things were in flux – this was true regardless of your industry or business model. If you didn’t harness the wind, you missed the lesson.”

Their core investment: People. Specifically, people who spanned a wide range of perspectives, backgrounds, beliefs – and yes, genders and races. In total, Martin welcomed 70 new hires, including 50 percent BIPOC talent.

“In nearly every study, diversity in leadership results in higher profits and engagement,” adds Cavallo. “It doesn’t matter whether you are a feminist, equalist, or capitalist, it’s to your benefit to change the way you run your company… Moreover, it’s riskier not to.”

The Martin Agency has been awarded Adweek’s U.S. Agency of the Year, one of the highest accolades in the advertising industry. Above, the agency’s leadership team. Photo courtesy of The Martin Agency.

Martin didn’t waste any time in their efforts to “Fight Invisibility.” Beginning at the top, they comprised their leadership team of 63 percent females and 38 percent people of color. They overhauled their candidate interview and talent onboarding experience to center the individual, rooting out exclusive aspects like language, bias, and hiring manager expectations. And in agency-wide conversations, they consistently spoke up around racial reconciliation, white supremacy, and injustice against Black and Brown Americans. 

“We force ourselves to be honest with ourselves, no matter how much bravery it requires,” states Abu Ngauja, Martin’s Associate Director of Talent & Culture. “Honest in our capabilities, in our weaknesses, in our ambition. We cannot be a place that lies. Our bar is too high.”

In short, Martin has become a living, breathing case study for a commitment to overdue structural change in advertising and beyond. 

“We were not awarded Agency of the Year because we were lucky,” states Cavallo. “We built ourselves for growth. Diversity, by race, gender, and thought is a not-so-secret ingredient. We made it a priority three years ago.”

Indeed, when Cavallo assumed leadership, alongside Karen Costello, the first female Chief Creative Officer in Martin’s 53-year history, the agency’s evolution began. In an industry notoriously known for being a boys’ club, having two women at the helm of Martin’s new chapter was a powerful, visible change. One of the first actions taken was conducting an internal audit of salaries to correct the wage gap and enforce equal pay. 

For me, the transition was personal and poignant – not only because it was taking place in Richmond, but because Costello, a highly accomplished, well-respected industry leader, was my former creative director and mentor at Deutsch LA when I first started out in advertising. Having a big ad star, not to mention one of few female CCOs, in little RVA was proof our humble city was making headway. 

In August, Martin celebrated another milestone with the appointment of Danny Robinson, the agency’s first Black Chief Creative Officer, following Costello’s return to Los Angeles. Having been with the agency for 16 years, Robinson attests to the progress they’ve made. 

“I am so proud of the work we’ve done this year,” states Robinson. “But I am even more proud of the way we did it – with impatience and perseverance, and with support and belief in each other.” 

Arts & Letters ranked #5 of Fastest Growing Agencies in the World and was named one of the Top 50 Best Places to Work in the U.S. Above, the growing portrait wall of current employees. Photo by Mel Calabro.

Like Martin, Arts & Letters credits much of their success to people – employees, as well as client and production partners. 

In 2017, Arts & Letters opened as a small agency in Scott’s Addition. Founder & Executive Creative Director Charles Hodges, once a former Creative Lead at Google, retained the tech titan as a client, and later acquired ESPN and NBC News. With the increased work, the agency grew. This year, it doubled in size, expanding to a second office in Shockoe Bottom, with the majority of people starting remotely. 

“For the most part, we’re really a group of strangers who recently met and have had to come together in a very real way to navigate extremely challenging circumstances and find a way to still move forward,” states Hodges. “Our motto has always been ‘We’ll figure it out,’ from when we were eight people to now 145. As people, as companies, as communities, we’re all a work in progress. We’re excited that we have the chance to build something.”

Hodges believes Richmond plays an integral role in bringing that vision to life. He intentionally chose The River City as the agency’s headquarters for a variety of reasons – among them, the vibrant creative community and incomparable quality of life. 

“People can do major market work with global impact, but not live in a major market,” explains Hodges. “This allows people to really build their career around their life, instead of their life around their career. It’s an important distinction that we think would have been hard to find anywhere else in this part of the country.”

No doubt about it, Richmond is on the radar of top agencies, brands, and tech companies looking to recruit the best graduates coming out of the VCU Brandcenter. In 2018, Richmond native Vann Graves returned to his hometown to serve as the Brandcenter’s fourth Executive Director. 

“Richmond isn’t the same city that it was 20 years ago. The community has really rallied behind its arts district, food scene and the vast array of outdoor activities. It’s a cultural hub and a desirable place to live,” states Graves. “Plus, with the growth of employment opportunities – yes, at top-tier advertising agencies, but also at smaller creative shops, or major companies like Capital One, CarMax, Dominion, and SunTrust — Brandcenter alumni can build a challenging and rewarding career right here.” 

Richmond is garnering attention as a small, affordable city with a high quality of life. Above, locals enjoy the popular happy hour on the lawn at Virginia Museum of Fine Arts in pre-pandemic times. Photo by EVERGIB.

Caley Cantrell, Professor of Strategy and Creative Brand Management, agrees. “I believe RVA is absolutely right up there with what would have once been considered the only places to work: New York, Chicago, San Francisco, and LA. Richmond has a stellar advertising reputation wrapped up in an affordable and enjoyable city.” 

“More and more people are seeing the wisdom of living in a smaller market,” states Tom Scharpf, Professor of Creative and Brandcenter alum. “You don’t need to live in a big city to do big things. Martin has been proving that for decades, but back then, they were the exception. A lot has changed.”

The VCU Brandcenter (formerly the VCU Adcenter) opened its doors in 1996 and quickly gained recognition as one of the leading advertising and design programs in the country. Today, it continues to successfully prepare its students to work for some of the world’s biggest, most influential brands, all while adapting to a constantly evolving industry – even amid a global pandemic.

This year, the school launched three new endowed scholarships in support of a more diverse industry and maintained diversity and out-of-state numbers in its enrollment. Over the past two years, there’s been a 73 percent increase in diverse students, specifically more BIPOC and females.

“I think the Brandcenter has done a great job recruiting strong, diverse candidates,” states Ashley Sommardahl, Director of Student Affairs and Industry Outreach. “We need to work on raising more scholarship funds to help support them because we know that the biggest barrier to attending is the financial commitment.”

In addition to a focus on diversity, VCU Brandcenter Professor and Creative Director KT Schaeffer (also an alum) believes the school’s ongoing success can be attributed to the program’s multi-faceted approach to learning.

“We hold this polymathic view and know, based on experience from our faculty, staff, and alumni, that you don’t wear just one hat in your future job(s),” explains Schaeffer. “There are Strategists who shoot and edit films. Copywriters doing cinema 4D. Creative Brand Managers learning Adobe Illustrator. That crossover learning makes our students better creative problem solvers.”

The Brandcenter is one of 20 colleges, schools, and centers that make up the greater Virginia Commonwealth University, one of the nation’s premier urban, public research universities. Among a host of impressive rankings, VCU, Richmond’s largest employer, reports that 40 percent of its alumni opt to live and work in the city.

The VCU Brandcenter offers a two-year master’s program across five concentrations including art direction, copywriting, strategy, brand management and experience design. Photo by Rocket Pop Media.

Clearly, Richmond is doing something right. 

And yet, we always have been. For years, everyday Richmonders have been working to help this city come into its own. You can see their efforts in our incredible street murals, artisan stores, craft breweries, top-notch restaurants, and buzzing entrepreneurial scene. Creativity abounds.

Like many, I believe Richmond has always been creative, but its potential has yet to be fully realized by the rest of the country – in some cases, not even by the people living here. 

Finally, there is an awakening. Richmond is becoming known, not merely as a backdrop for creativity, but the inspiration for it. Our history less of a burden, and more an impetus for change. Just look to the events this summer. 

Amid BLM protests rising up and Confederate statues coming down, Richmonders got creative. 

One of the highlights was the transformation of the Robert E. Lee Memorial into Marcus-David Peters (MDP) Circle, an extraordinary graffiti-laden sanctuary dedicated to victims of racial violence and police brutality, created by the people of RVA. The reclaimed space received nationwide press and the iconic projections by artists Dustin Klein and Alex Criqui landed on the cover of National Geographic, putting Richmond front and center – no longer the Capital of the Confederacy, but of creativity. 

For Richmond transplant R. Anthony Harris, it’s been a long time coming. He believes we’re seeing the final stages of the city’s 15-year rebrand. He should know. Back in 2005, he instigated Richmond becoming RVA when he founded this publication. 

“RVA Magazine has always been a platform for creative and progressive thought in Richmond,” states Harris. “I am proud of what we have accomplished, with limited resources, for so long by encouraging everyone to be proud of who they are, the way they live, and how they work.” 

Like countless others, Harris has played a significant role in the city’s evolution through tireless work and an aspiration to be part of something greater than himself. That collective desire to shape, influence, and move our city forward, particularly in the face of a complex, fractured past, is exactly why Richmond and its people are so special. 

“There is an opportunity for Richmond to become a model for what a truly great city looks like,” states artist Noah Scalin. “That comes in part by supporting the creative community that already exists within its borders. We have no lack of talented, driven people who are great problem solvers here. They just need to be given the space, trust, and resources to do their thing.”

An image of George Floyd is projected on the statue of Confederate general Robert E. Lee at Marcus-David Peters Circle, a community gathering spot created earlier this summer. Photo by EVERGIB.

This year alone conveys the ambition of Richmonders. Along with the creation of MDP Circle, locals took action in other ways. Nonprofit arts center Studio Two Three led the charge on a variety of programming aimed at uplifting the voices and visions of RVA artists. Among the initiatives, History is Illuminating, a series of recontextualized signs on Black history in Richmond, and For as Long as Such Images are Needed, an exhibition in partnership with the Institute for Contemporary Art (ICA) at VCU. 

Artist Hamilton Glass developed Mending Walls, a public art project bringing together RVA artists from different cultures and backgrounds to create murals around racial and social justice. VCU Alum and digital strategist Altimese Nichole, partnered with nonprofit Girls For A Change to launch a scholarship opportunity for local African American youth. Photographer Tania del Carmen created #OnHoldAtHome, a photo series raising awareness on community challenges during the pandemic. And Tim and Lauren Barry turned their home into the Billboard House, featuring dynamic projections that reminded Richmonders, even those in suburbia, to get into good trouble. 

“Richmond is a creative hub,” says Lauren Barry, who works as an art director with event management firm, Markham. “The city has always been buzzing with creative energy – it’s one of the reasons we decided to put down roots here. You can’t escape art and creativity in Richmond.”

It’s true. And when Richmond’s creative worlds collide, amazing things happen. Such is the case when Martin tapped Scalin earlier this year to collaborate on an initiative to promote their client Old Navy. The national retailer planned to donate $30 million worth of clothing to families affected by COVID-19. The end result was a time-lapse video featuring Scalin in action, applying one of his signature techniques to create a large-scale portrait of an American family made entirely out of Old Navy clothing.

“It drew a ton of national attention not only to Scalin’s work, but to The Martin Agency and [innovation studio] SuperJoy,” states Amanda Russell, Co-Founder and Creative Director of motion graphics studio, Cream. “I love that they are choosing to highlight our city and the talent within, rather than hide from it.”

Director Adam Dorland of Quirk Gallery believes that Richmond is gaining attention by companies embracing and encouraging local artists. “Having organizations like The Martin Agency, Arts & Letters, and VCU’s Brandcenter based in Richmond promotes the idea that artists and creatives can make a life for themselves here.” 

“Richmond is exploding,” says Jason St. Peter, Founder & Creative Director of Think branding and creative agency. “And much of the credit is due to the creative minds here who influence positive change every day.” Cabell Harris, Founder & Creative Director of WORK Labs, agrees. “I always say create work you love, with people you like, in a place you want to be.” 

“The Journey Forward” is part of Mending Walls, a community project created by local artist Hamilton Glass that aims to facilitate dialogue and foster empathy through public art. Photo by Katrina Boone.

Richmond is definitely a place people want to be – and return to. 

“I spent six years with Martin and fell in love with the city,” states Executive Producer Scott Friske of animation studio Hue & Cry, who recently moved back, having spent over 20 years of his career in Los Angeles. “The success of these three organizations puts Richmond in the conversation with towns like Portland, Oregon and Austin, Texas, where you see a concentration of creative output.” Additionally, Richmond has retained its unique identity – an asset that has helped, rather than hinder, its growth. 

“Richmond truly seems to be experiencing a turning point in creativity,” says Macy West, Partner & Executive Producer at Mad Box Made. “There is a grit that has always run through RVA’s veins, but it is coming to the forefront, rather than only being the ‘underground’ movement.”

Executive Producer Melanie Cox says her company, Spang, was purposely built around working with agencies like Martin and Arts & Letters, as well as the innumerable other creative shops in town. “We designed our studio and edit suites to be an extension of creative agencies, a place where they can work, enjoy creature comforts and continue to churn out strong ideas,” she states. “The fact that Martin was founded in RVA and has chosen to stay in RVA has spawned work for an entire production community to flourish.”

J.L. Hodges, Partner & Creative Director of Overcoast Music + Sound says that people know they don’t need to leave Richmond to get extremely high quality work. His company applies a “locals first” approach as well. “Although we work with a global network of writers and composers, a large part of our talent pool is based right here in Richmond,” states Hodges. “We love that we are in a position to provide opportunities for the ‘home team,’ so to speak. We have always been proud ambassadors for Richmond.”

Danny MacNelly, partner at ARCHITECTUREFIRM, the local team behind the design of Arts & Letters’ new office space, states, “As a small business trying to do work in Richmond, we are amazed at what these groups are doing. Not amazed that the talent is here, but just in awe of their ability to create and communicate and attract some of the biggest clients anywhere to our town and keep them coming back. They are driving this city forward.”

After all we’ve endured in 2020, the concept of moving ahead – making progress, as well as an impact – feels strangely promising. Because let’s be honest, not everyone can look back on this year and feel successful. For many Richmonders, especially artists, entrepreneurs and small, minority- and women-owned businesses, this year has been a serious challenge.

Virginia Repertory Theatre is just one of countless creative organizations, along with local artists, entrepreneurs and small businesses, that will be relying on community support in the coming year. Photo by EVERGIB.

“My hope is that Richmond continues to work and thrive from within,” states Jolinda Smithson, Owner of Shapes & Colors and host of CreativeMornings Richmond. “That people decide to work, live and play here… found businesses, rent or buy their houses here, send their kids to local schools, and participate in local organizations.” She admits that Richmond is not always the easiest place to live, but feels optimistic seeing it grow and shift in positive ways. 

Unlike major cities, Richmond’s relatively low cost of living also allows people freedom and opportunity to take more risks. But for the success to continue, “Richmond needs governance and economic development that preempts, promotes, and supports this growth with smart planning strategies,” states Kristin O’Connor, Owner & Executive Producer of RainMaker Studios. She wants to see responsible development and the right support from local government to further advance the community in its many diverse districts, small businesses, and large corporations.

Justin Bajan, Co-Founder & Creative Director of ad agency Familiar Creatures, believes Richmond has become a viable and respectable spot to continue or start a career. “My hope for the future is that the growth and success of Martin and Arts & Letters is just the beginning of what’s to come here. That the great talent within those walls don’t use this town as a stepping stone, but instead stays in town and builds more agencies with individual flavors and capabilities. Agencies that reflect the independence and boldness you see all throughout Richmond.”

Having grown up in Richmond myself, I was pleasantly surprised to see how much it had changed after being away for 12 years. When my husband and I moved back in 2014 to start our creative studio, EVERGIB, what stood out most to us were the people – other local entrepreneurs and organizations who took time to offer us guidance and advice; who became allies, colleagues, and friends. After living in big cities like New York and LA, it reminded us about the importance of community. Looking out for your neighbors, as well as lifting them up.

The recent achievements of The Martin Agency, Arts & Letters, and the VCU Brandcenter are undoubtedly a collective win for our city, as are their efforts behind increased diversity, equity, and inclusion. But critical to the city’s ongoing evolution is a commitment to continued investment in Richmond and its people.

As we enter a new year of possibilities, let’s remember that we’re all working to build something special here. 

Together, we can make it happen.

Top Photo: The Martin Agency leadership team. Photo courtesy of The Martin Agency.

Using Art to Amplify Voices

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From producing face masks to highlighting local artists during coronavirus and the Black Lives Matter movement, Studio Two Three is uplifting their community as a resource on the ground. 

After celebrating their tenth anniversary late last year, Studio Two Three decided it was time to reevaluate their mission with an eye toward the future. 

“The primary goal has always been to be a space for artists to have access to resources, tools, and community,” said Kate Fowler, Development Director at Studio Two Three. “Our new mission and vision are to make art, and to make change — to use art as a tool for social, personal, and structural change.” 

In the face of unexpected challenges this year, Studio Two Three has been finding new and creative ways to live that mission. As the coronavirus pandemic hit Richmond, their 3,500 square-foot event space, a frequent host to community events, weddings, and workshops, went dark. The organization took a financial hit, but has stayed afloat thanks to faithful studio members and local funding. 

PHOTO: Studio Two Three

“It’s been a scary time,” said Fowler, “but we’ve always been driven by community support, and right now is no different. It’s really our community that stepped forward and made it possible for us to be here… This time has allowed us to be hyper-focused on what is essential to us, and to our community in this moment.” 

At the onset of the pandemic, Studio Two Three became aware that face masks were essential to the community in fighting the spread of COVID-19. With involvement from Virginia Commonwealth University educator and artist Jon-Philip Sheridan, along with the Richmond Arts and Cultural Workers Coalition, they converted their empty event space into a reusable face mask production center. Local businesses and organizations, including U-FAB, The Visual Arts Center of Richmond, Ledbury, and Blanchard’s Coffee, donated fabric and materials. 

From April through June, more than 100 volunteers came in five days a week to sew reusable face masks, which were then distributed to essential workers around Richmond. All told, they produced 10,000 masks for medical staff, home and public health care workers, behavioral health workers, bus drivers, and others working with homeless and at-risk individuals. 

“We physically had the space, and we have a ton of artists on staff and in our community of studio members who know how to sew and make stuff with their hands,” Fowler said. “It was a logical conclusion to employ that unique skillset to do something useful, and pragmatic, in this moment.” 

PHOTO: Studio Two Three

While their studio space remained closed due to COVID-19 restrictions, Studio Two Three partnered with the Institute for Contemporary Art at VCU (ICA) to offer five artists micro-residencies and exhibitions. This project, called For as Long as Such Images are Needed, provided five artists — Sana Masud, Aimee Joyaux, Mark Strandquist, Guard n Flags, and Nontsikelelo Mutiti — the platform to respond to current events. 

“We don’t just want Studio Two Three ideas out in the world,” Fowler said. “There are people who wanted to make something responsive to this moment, and we wanted to make sure that they had the tools to do it.” 

Studio Two Three contributed socially distant space and resources for screen printing, letterpress, risography, monoprint, and black-and-white darkroom photography. The ICA then exhibited the work in the windows of their building in downtown Richmond. “One of our fundamental guiding beliefs is that artists have a unique capacity to support and contribute to their community, and to democracy,” Fowler said. 

The studio space has since reopened to its members. “A lot of people who are here run businesses on our equipment. We wanted to get the doors back open to people who are building their livelihoods here,” said Fowler.

Studio Two Three also resumed offering classes in screen printing, linoleum printing, sewing, risography, and more. “It’s been really positive,” Fowler said. “It feels like a healthy place where people can step out and leave their homes, be safe, be creative, and take care of their mental health.”

PHOTO: Studio Two Three

In addition to opening its doors to visitors, Studio Two Three has made an effort to get more involved in the community, particularly in terms of the anti-racism activism happening in Richmond. “As an organization, we’re not neutral,” Fowler said. “The people who work in this organization, and are on the board of this organization, deeply believe in the movement for Black lives, and to defend Black lives.” 

When History Is Illuminating contacted them about a project involving plaques and zines, Studio Two Three jumped at the chance to collaborate. History Is Illuminating is an anonymous group of historians dedicated to educating people on the history of the Monument Avenue statues, as well as that of important Black figures in Richmond. Speaking on why they selected Studio Two Three as a collaborator, an anonymous History Is Illuminating representative said, “Studio Two Three is a seal of approval. It’s a sign-off that there’s integrity and positivity behind a project — that it’s worth paying attention to.” 

History Is Illuminating installed recontextualization signs along Monument Avenue, while Studio Two Three produced and disseminated zines corresponding to the signs. “Studio Two Three has been involved in every step of the process. I don’t know if this project would have happened without them,” said the representative. The City of Richmond recently removed the signs, but the zines can still be acquired for free from the Studio Two Three website. 

“Even when the signs are gone, what’s most important to us is that we still have zines going up across the city that are accessible for people to pick up,” Fowler said. 

PHOTO: Studio Two Three

The project has led to other collaborations for Studio Two Three, focusing on anti-racism efforts and education. “The History Is Illuminating project has really opened the door for us to better understand the public history work that’s being done in Richmond. It has led to some powerful partnerships for us,” Fowler said. “What we’re committed to now is both seeing that history continue to be spread, and to invest in resources and projects like Untold RVA or Friends of East End, who are doing work that will be around for a long time in different parts of the city, other than just Monument Avenue.” 

To that end, Studio Two Three launched Community Print Days, in which they bring their mobile print studio to a location in the city and offer the opportunity for people to print t-shirts, banners, and other items with designs and messaging that support activism. So far, they’ve been to Marcus-David Peters Circle and Chimborazo Park, with plans to widen their reach. 

“We’re trying to reflect back what’s happening on the ground by collaborating more responsibly with artists, and using our own hands in the process,” Fowler said. “We are going into other parts of the city very intentionally, and not for profit. We are finding creative ways to take things outside, and to meet people where they’re at in their neighborhoods.” 

One Community Print Days event focused on Friends of East End. The non-profit organization works to restore East End Cemetery, a historic Black burial ground, and to preserve an oral history from the descendants of the individuals buried there. 

PHOTO: Studio Two Three

“The event itself was fabulous,” said Erin Hollaway Palmer, a Friends of East End founding member. “We’ve been fighting so hard just to continue our work at East End — Enrichmond is blocking our access — that an evening of pure positivity really lifted our spirits and helped remind us why we do what we do. These cemeteries, and these people, matter. Studio Two Three has helped us reach a lot more people, and with precisely the message we want to convey.” 

Studio Two Three has made other efforts to reach broader audiences with their work. As images of ongoing demonstrations and activism came to light, they felt compelled to preserve and publicize them. They collaborated with artists and activists to offer risograph prints for free to the public. 

“The historical root of a community print shop is fast, cheap dissemination of information. We realized that we had underutilized resources, and that was the best way to step forward into the community,” Fowler said. “The commemorative prints are not images created by us, they’re created by photographers and activists who are out there every day documenting what’s happening. We wanted to put them in people’s homes, and let people see what was happening in Richmond. The first image we did, we disseminated over 1,000 prints for free.” Studio Two Three also offers high-quality versions of the prints for sale in their online shop, with funds going back to the original artists. 

In fulfillment of their mission, Studio Two Three plans to continue more events in and of the community moving forward. 

“It’s not only our duty, but our responsibility to reflect, share, and participate in this moment. Looking forward, we know that we’re going to stand up for organizing in Richmond in the long term with anti-racism, but also at other intersections like LGBTQIA or women’s rights,” Fowler said. “I hope that people who are organizing, and who are leading the movement, see us as a resource. I hope that people see the role of artists in an engaged democracy. I hope they see that art and culture have the power to transform societies, and to imagine more equitable societies.” 

Top Photo via Studio Two Three

Conflict On The Web

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For Richmond record store Vinyl Conflict, surviving the COVID-19 outbreak has meant taking their business online.

When the coronavirus outbreak hit, Vinyl Conflict owners Bobby Egger and Melissa Mazula were out of the country. They’d had a buying trip to the UK scheduled for March 4 through 18, and as they traveled, things began to escalate.

“When the travel ban went into effect, we were watching the news very carefully each day, trying to make a decision about how we would be returning,” said Egger. “We were quite far away from our return flight date, and on the other side of the country.”

From another country, they had to make important decisions about what would happen with Vinyl Conflict’s retail store in Oregon Hill, which specializes in new and used punk, hardcore, and metal albums — on vinyl, of course — as well as related merchandise. And when they returned, they voluntarily put themselves into quarantine.

“Me and Melissa went on self quarantine for two full weeks, and my employees continued to up our online presence in social media,” Egger said. The shop switched to a curbside-pickup model, at first allowing browsing by appointment only and then ending even that out of concerns for the safety of customers and employees. And they immediately focused on online sales, working hard to ensure that their entire inventory was accessible on the store’s website and the record-sales site Discogs.com.

Photo courtesy Vinyl Conflict

This was a huge adjustment for Egger, who’d previously focused on the in-person shopping experience. “For the entirety of the shop’s existence, we have kept our newest and freshest stock only available for walk-in customers, so we could keep a unique and fresh experience which is worth making the venture into the physical store,” he said. “The biggest adjustment we had to make was turning our entire inventory to be available for web order.”

Making Vinyl Conflict an online-focused business has been a challenge, but with quarantine remaining the order of the day, Egger knew that the transition was essential for the store’s survival. It’s a big transition, though, one that has kept everyone at the store busy for weeks. “It took a few weeks to try to adjust to the new way of business,” he said. “At first we were only listing items which were in shop, but previously had not been available online. Now we are going through items which had previously not been for sale at all, and listing them directly for sale online.”

Local customers are still able to order from the store without having to worry about shipping; while placing and paying for orders is handled online, Vinyl Conflict still offers curbside pickup, as well as delivery for customers in the city. Meanwhile, they’re shipping out online orders six days a week, in an effort to ensure that nothing gets backed up.

As part of the adjustment, Egger has had to change some fundamental aspects of Vinyl Conflict’s business model. “We had to put a freeze on new ordering… which is unfortunate, as new titles are continuing to be released each week,” he said. “We’re focusing on moving the inventory we have already purchased.”

In order to keep the shop’s profile high even while customers can’t visit, Egger launched an Instagram Live interview series called “Now That I’ve Got Your Attention,” in which he’s interviewed a variety of people within the music industry. Guests have included well-known musical figures including Roger Miret of Agnostic Front, Brian Gorsenger from Night Birds, and Jeremy Bolm of Touche Amore, as well as locals like rapper Nickelus F, fellow Richmond record store owner Marty Key of Steady Sounds, and musician Julie Karr of the band Sensual World. “Keep an eye on Instagram for new episodes very soon,” said Egger, who is also currently editing the interviews for eventual upload to IGTV and YouTube.

Vinyl Conflict is also looking beyond questions of their own survival in order to help out other organizations that are working to help out with the coronavirus outbreak. They are currently in the process of creating two shirts for sale to benefit Richmond’s Studio Two Three and Mutual Aid Distribution RVA. The Studio Two Three donations will go towards their efforts in making durable and reusable masks for essential workers that will be additionally donated and distributed as they are funded. Mutual Aid Distribution RVA is a resource of redistribution for locals in need, collecting and distributing food, baby supplies, cleaning and sanitary goods, and more. Funds will go towards the purchase of essential items for distribution to low-income Richmonders. The shirts are currently available for pre-order from Vinyl Conflict’s Storenvy site.

Like many local businesses in Richmond and everywhere around the world, Vinyl Conflict is doing what they can to survive the outbreak and ensure that they’re still here when we’re all able to leave our homes and interact with the world once again. For now, they’re doing what they can to ensure that, while we’re all locked down, we can at least enjoy some new tunes.

To check out Vinyl Conflict’s full online inventory of over 4000 items, go to their Discogs page. To place a local order, give them a call at (804)644-2555, or email [email protected] For updates and to keep up with the “Now That I’ve Got Your Attention” interview series, follow them on Instagram @vinylconflict.

Written by Aviance Hawkes and Marilyn Drew Necci. Top Image by Sommer (@diewithyourhoopson), via Vinyl Conflict/Facebook

Essentially Invisible: The Impact of COVID-19 on RVA’s “Non-Essential” Businesses

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All sorts of businesses around Richmond are trying to survive in the midst of quarantine; coming up with survival strategies has been even tougher for those deemed non-essential.

With Governor Northam’s recent issue of a mandatory lockdown, it’s clear business won’t be getting back to usual anytime soon.

In the last couple of weeks, there’s been a big push (rightly so) to support local restaurants and breweries. Online delivery and curbside pickup are now the norm, and potentially the only way for these businesses to survive. It’s been amazing to witness the community come together and rally behind these establishments who’ve made our renowned culinary and craft beer scene possible. After all, eating and drinking is essential – not only to our survival, but to our enjoyment of life as well.

But what about the people working in business deemed “non-essential?” From entrepreneurs and artists to retail store owners and fitness instructors, these are the individuals who provide services that, during our current crisis, may not be “essential” for our survival. However, their income (or lack thereof) is directly tied to their survival.

This is the case for my husband and me as we run our own creative studio, EVERGIB. Within a few days, we felt the impact of the COVID-19 pandemic with the immediate loss of a brand launch project for a new restaurant. As independent creative professionals, we know all too well that when the economy takes a hit, we’re among the first to be affected. Now, no one is immune. As we self-isolate in our respective homes, we decided to reach out to friends and colleagues working across a variety of fields to learn what their life, and their livelihood, looks like during this challenging time.

The author, Rachel Scott Everett, and her husband, Brian Gibson, are Co-Founders & Creative Directors of EVERGIB, a nomadic creative studio. Photo by EVERGIB.

“Fear and uncertainty” are top of mind for Jason St. Peter, owner of Think, a fellow independent creative services agency in town. Like us, he’s experiencing a decrease in workflow, but trying to keep things in perspective, adding that “the drama happening with the rest of our country’s workforce and health is far more concerning.”

Matthew Freeman is founder of Dialectix Consulting, which offers facilitation and training around diversity, equity, and inclusion. “Almost every single project I had has been cancelled or postponed,” he states. The work is “both high-touch, in-person work and not a priority for organizations when their survival is at stake.”

Kate Thompson, of Kate Thompson Photography and Palindrome Creative, is feeling the crunch as well. A commercial photographer specializing in interior design and hospitality who recently completed work for Quirk Hotel Charlottesville, her focus has now turned to concerns about delayed income and loss of business, since photography is generally viewed as a “luxury” item. To stay hopeful, Thompson says, “I’m reminding myself that this, too, shall pass.” 

Katrina Boone, owner of Gianna Grace Photography and creator of Dancers of RVA, shares similar thoughts. “I never in a million years believed I would lose a whole month’s worth of work that has been scheduled for almost a year… I am now aware of just how fragile best-laid plans can be.”

Jess Burgess is Artistic and Executive Director at Dogtown Dance Theatre, a home for performing artists. Photo by Gianna Grace Photography.

Small business owner Jolinda Smithson of Shapes & Colors used to rely heavily on in-person meetings to generate new business. She’s adapting by connecting and expanding her network virtually. As host of CreativeMornings RVA, she’s particularly mindful of inclusivity within the community, reminding us that “businesses of color will be intensely impacted. It’s important to elevate those stories so folks get the support and resources they need to stay afloat.”

Kristen Ziegler, owner of Minima, a professional organizing and minimalist business, has also had to adapt. “Our business model is based on face-to-face organizing services in our clients’ homes and businesses,” states Ziegler. “Over half of our clients have asked to postpone their sessions. We’re losing at least half of our anticipated revenue as of now, and I only imagine things will get worse as the situation progresses.”

Ashley Hawkins is in a similar situation with her non-profit community arts studio, Studio Two Three. She’s dealing with a substantial loss of revenue due to program cancellations. Therefore, she’s ramped up her studio’s online shop, offering custom prints, shirts, tote bags, and other items for sale. “It’s a great way of supporting the studio and also getting something beautiful to remind us that we are all in this together.”

At Dogtown Dance Theatre, Jess Burgess, Artistic and Executive Director, is not only concerned for the future of her company, but the small staff she employs. Since 2010, Dogtown has been a staple for independent artists and community-based dancers. “In the wake of the COVID-19 crisis, we’ve been forced to close our doors, closing off access to the classes, performances, and workshops that keep our region culturally vibrant.”

Burgess remarked that on top of the loss of income, the loss of community has been particularly difficult. “Nonprofit organizations, rooted in the community, cannot afford this hit, both to earned and contributed revenue, and the long-term effects it could have on programs and services offered to the public.”

Laine Satterfield is Director of Education at Cadence Theatre Company, an independent theatre. Photo by EVERGIB.

That type of devastating ripple effect translates to the theatre world as well. Laine Satterfield is Director of Education at Cadence Theatre Company, a small, independent performing arts theater. They’ve had to postpone all performances and community events indefinitely, putting the entire close-knit cast and crew in limbo. Ironically, its spring production, Small Mouth Sounds, tells the stories of strangers seeking to find themselves through isolation.

Like countless others, Sonja Stoeckli, owner of Spiritual Flow Yoga, has had to rethink ways of doing business. She and her teachers are offering online classes through Zoom for a reduced fee. “I have to pay my teachers as otherwise, they have no income as well,” she says. “I try to charge a little bit for our classes. It’s hard, as many people are not able to pay anymore because they lost their jobs.” 

Audrey Bonafe, owner of Fighting Gravity Fitness, is faced with similar challenges, and trying to see the bright side of things. “There will always be something to learn and grow from. We will become stronger and wiser. We are all being forced to offer online classes now, and that was something we needed to do anyway.”

That notion of being forced into action seems to be a common theme for everyone. Social entrepreneur Kelli Lemon of Urban Hang Suite, among other ventures, is also trying to take a more positive spin. “We are all in this together. We truly have the opportunity to look at things differently.”

Sonja Stoeckli is owner of Spiritual Flow Yoga, offering vinyasa flow and restorative classes of all levels. Photo by EVERGIB.

They say constraint breeds creativity. And therein is where the solution for the survival of “non-essentials” may lie. It’s about finding creative ways to get through this together. Most likely, the success of our professional lives depends on the support of people. And in times of crisis, we need each other more than ever (that goes for our personal well-being too). It’s up to all of us to find ways to lift each other up, to help create more awareness of the different challenges we face, and to understand that despite our differences, we all share this same burden of uncertainty together.

Already there have been inspiring acts of kindness and selflessness from “non-essentials” leveraging their skills and expertise to help the community. Dustin Artz and Justin Bajan of local ad agency Familiar Creatures created Keep Calm and Nom Nom, a one-stop online shop for purchasing gift cards to support RVA restaurants.

Artist Nico Cathcart and other Richmond muralists designed custom tee shirts that are now for sale on RVA Together. Each purchase provides a donation to Feedmore. Similarly, artist Noah Scalin of Another Limited Rebellion has a limited edition tee shirt for sale, for which all profits will go to support the Sacred Heart Center. Both initiatives are in collaboration with local print shop K2 Custom Tees.

Nico Cathcart is a muralist and painter whose work addresses social issues and inspires activism. Photo by EVERGIB.

Photographer Cade Martin has developed The Creative Now, featuring interviews with creative professionals sharing their experiences about what they’re doing to stay creative. Tania del Carmen, another local photographer, created #OnHoldAtHome, a photography series that aims to shine a light on how, despite the different challenges we face during COVID-19, we’re all connected in a shared vulnerability.

While we’re all justifiably concerned about our individual livelihoods, these examples show the benefit of looking outside ourselves. If we’re feeling invisible, chances are that others are feeling the same way too. Perhaps the best way to help ourselves is by first helping others. There is power in being proactive and taking some kind – any kind – of action.

Reach out. Check in. Start conversations. Don’t just ask people to write a positive testimonial and/or review for your business – do the same for them in return. Refer people’s work and services to those who may have a need for it, particularly those fortunate enough to be maintaining a stable income. If someone refers you, thank them for taking the time to do so. Create a list of the people you know who should know one another, and make introductions for future reference. This is also a great time to become a mentor, or to search for one. Initiatives such as Coffee At A Distance connect experienced industry professionals with graduates, many of whom are entering the job market for the first time.

As we depend even more on our virtual interaction, online and social platforms is where we can particularly make an impact. Tagging, liking, commenting, and promoting people’s work or services may seem insignificant, but can often make a big difference in keeping everyone visible.

OnHoldAtHome is a photography series created by Tania del Carmen documenting the lives of Richmonders during Covid-19. Photo by Tania del Carmen.

Right now, we might not have a lot of control, certainty or peace of mind. But we may have a lot of time. Let’s use it wisely.

Top Photo: Ashley Hawkins is Executive Director and Co-Founder of Studio Two Three, a non-profit community arts studio. Photo by EVERGIB. All photos were taken with the necessary precautions and from a distance of 6+ feet.

Humble, A Street Artist

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RVA Magazine #39 is on the streets now! In this article from its pages, Humble, Richmond’s longtime muralist, clothing designer, and model, reflects on his journey from starving artist to modeling for professional shoots in the desert.

Listen to the Radio RVA Podcast Interview with Humble here.

Humbleness isn’t exactly a native concept in the fashion world. In the popular mythos of the “Starving Artist,” there’s rarely a tenement devoted to bedless clothing designers sleeping on a pile of blankets and ambition. But then, Richmond’s Kyle Harrell — better known as Humble — doesn’t quite fit in the glossy fashion box hawked by Hollywood scripts and reality television. 

That’s partially because Humble is a catalyst of artistic vision. Muralist, model, clothing designer, and event coordinator, he takes creativity as an articulation of Creative Class culture. He brings disparate sources of inspiration together into an identifiable expression of experience and taste. But the Virginia Beach native didn’t grow up on aerosol dreams or lofty runway aspirations. 

“The goal was to go to VCU, because I wanted to be an engineer. As soon as I got here, though, the culture was crazy. So I thought, ‘Fuck engineering. I don’t wanna do that,’” he said. “I started [studying] psychology and religious studies. I’ve been in Richmond for 11 years now, I fell in love with this city. We were hosting a lot of events, so I kind of got stuck here. ‘Stuck,’ not in a bad way — I just love this city so damn much.” 

Image via thisisnothumble.com

It wasn’t just Richmond’s underground music and art scene that kept him here, but the culturally-inclusive environment that encouraged Humble to carve out a name for himself by way of social immersion. 

Humble says his interest in art came about in a Van Gogh and Spirituality course at VCU. And it wasn’t so much the coursework as boredom; one day he started drawing portraits of his classmates. By the time he graduated, he found his priorities shifting. 

“Eventually that became obsessive. Around that time, I was married,” he said. “I had been playing around with the idea with her, that I wanted to make art. And she said, ‘You’re too smart to make art. You could do something better.’” 

The two had a falling out, and Humble spent 12 hours a day in the VCU library, pulling down books and drawing everything he could get his hands on. He also found himself divorced and living in Section 8 housing.

“Art was the only thing I had that was inspiring me to get up and do something,” he said. “It was a pretty depressive point in my life. It was tough, but it was for the better.”

Image via thisisnothumble.com

Around that time, Humble found commiseration and mentorship in Navid Rahman, an illustrator and muralist willing to share in poverty and inspiration. He moved into Humble’s apartment, where the two slept on the floor and practiced drawing. 

“That moment in time was definitely pivotal. Navid had just gotten out of a relationship. He was an artist as well,” Humble said. “In fact, I call him my master. He took me under his wing. So [he lived with me] free of charge… We’d wake up every day and just draw. He taught me a lot. He [wasn’t afraid to] say, ‘Yo, that looks like shit. Do it again.’ He’s definitely one of my best friends.”

Humble began to reconstruct himself from rock bottom. He emerged from a landscape of broken relationships and bank accounts, as a designer with credible life experience and a compelling narrative arc. None of this would have happened without Rahman, who brought him in on a mural project for the Lamplighter on Addison. The two spent the better part of a week pulling all-nighters while putting the piece up in the bathroom.

“I would work a double at Alamo, drive across that damn Leigh Street Bridge, and we’d stay up until 6 or 7am, then I’d go back to work,” Humble said. “It was all his art direction and style. I was laying down lines, but that sparked something. It lived in the space.” 

That project was what made Humble decide to take his work in a larger direction. Together with Rahman, he strived to find more work and create a portfolio as a foundation for their careers.

“From there, I started reaching out to mad people. At the time, I didn’t know how to paint. I had never played with color,” he said. “We were doing black and white stuff, and that’s when I switched to painting. I met up with Chris Tsui, who owns Fat Dragon and Foo Dog. He set us up on our next piece, which ended up being huge.”

Up to this point, Humble had never touched spray paint. He and Rahman mapped out a mural spanning the side of the Fat Dragon building, and improvised their vision for it. They completed it with little more than a mental image and an electric lift. 

“We didn’t really know what we were doing at the time. Chris was cool about it, too,” Humble said. “We did a giant anime dragon on that wall. It’s different, and not a lot of people are into that. From there, our next gig was Foo Dog. We did the patio; the giant anime girl with chopsticks and the dragon coming out. That was the start of it — so our street art and painting, in general, has gone about five years strong.” 

Image via thisisnothumble.com

It was during this formative whirlwind of creative development that Humble began designing and manufacturing clothes, on an almost-literal shoestring budget. His target demographic consisted of the Richmond skate and music scene denizens who attended his parties. He saw it as a way to make money from his art and promote his work. 

“Learning how to screen print, I started out in the bathroom at my house, exposing [prints] in the sun. It was chaos,” Humble said. “From there, I worked with RVA Threads, who had a screen printing studio in his basement. He took me under his wing and showed me how to do everything.”

When Humble went to Studio Two Three to start making clothing, the time came to find a name for his clothing brand. He still remembers the conversation with Rahman that would eventually define the company.

“Navid said, ‘You should call it Humble. People call you humble about the fact that you’re doing this, but you’re doing it low key. You’ve got talent, but you don’t really flash it.’”

While he was selling shirts at house shows, an underground fashion scene began to emerge. Separate from the institutional culture at VCU, these DIY designers developed a collaborative environment that led to an unforeseen shift in Humble’s trajectory. 

“At Studio Two Three, that’s when my homie Chase Beasley (of Crud City) was kicking around. He was just starting up art as well; I was teaching him how to screen print. Earl Mack with Chilalay was in the studio. So we’re buzzing around, sharing ideas. We were doing underground fashion shows, building these runways,” Humble said. “It was crazy how much people were willing to put these things together. We had no idea what we were doing, because none of us were part of the school. Our fashion shows were ridiculous — but people showed up, and then we partied our asses off. That energy, now that I think back on it, was very, very alive. There was always something to do every weekend, and it had something to do with art, music, fashion. We were doing a lot, especially for that community at the time.”

During those early days at Studio Two Three, Humble’s interest in fashion deepened — until, as fate would have it, an opportunity presented itself at Lamplighter. 

“I was sitting outside smoking a cigarette, and this blonde girl came up to me and said, ‘Hey, do you live in Richmond? You’ve got a good look. I would love for you to come by the studio and take some test shots.’” 

Image via thisisnothumble.com

Having never thought of himself as a model, he agreed to pose for a shoot to generate income. Without even knowing the photographer’s name, he eventually learned that the gig was for Richmond’s own Need Supply Co.

“I was nervous. I’m a humble dude, I don’t see myself in front of the camera. I still don’t,” he said. “It’s still always weird to me… But I went, and they started booking me all the time. They were flying photographers from L.A. to shoot me here in Richmond. And they were paying me out the ass.” 

While modeling for Need Supply Co.’s lookbooks, Humble connected with modeling agent Giovanna Cordero, who transferred to the agency Modelogic shortly after. The two kept in touch when the Need Supply Co. shoots died down.

“I focused on my art career for a while, then Gio hit me back up to say, ‘Hey, I’ve got this gig I think you’re perfect for.’ Ends up being Totokaelo. Super high fashion stuff,” he said. “I’ve been working with them for a couple years now, and they’re incredible. Eventually Modelogic got privy, so I got signed. I’ve been doing gigs in Baltimore, New York, down here. The money is insane. It’s what’s kept me in there — it’s given me a look at the fashion industry that I wouldn’t have had access to otherwise. Seeing how things work, how to do photoshoots, garment instruction, what you can really do with fashion. It’s limitless.” 

A few months later, a small company reached out over Instagram. They turned out to be Veilance, a subsidiary of the Canadian high-end outdoor clothing and sporting goods company, Arc’teryx. 

“My agent calls me and she says, ‘Hey, they want to fly you out to Utah, pay for everything, pay you 4k per diem. You’ll be out there for four days.’ It was insane,” he said. “The first time I’ve ever been flown out anywhere for something like that, and we had private chefs catering for us.” 

The shoot was staged in the middle of the desert, “where NASA tests land rovers for Mars,” Humble said. He was the only American there.

“There was a guy from Russia, an incredible model-looking dude. I thought, ‘What the hell am I doing here?’ There was a famous photographer from France that shoots futuristic technology stuff, and the whole crew is from Canada where Arc’teryx is based,” Humble said. “The hairdresser is good friends with Kanye. We’re all sitting around this table in the middle of the desert, sharing stories, and I’m just starstruck. I had taken a step away from clothing, especially creating, and over the past couple years I’ve been coming back into it through modeling, being re-inspired.” 

Image via thisisnothumble.com

True to his name, none of this has gone to his head. Humble’s plan now is to continue working with his community in mutually supportive, innovative ways; figuring out upon what great walls — both physical and allegorical — they may together make their mark. 

“I see it metaphorically as walking through the dark with a candle,” he said. “You are the light. You don’t know where you’re going. You might be blazing the way, but mostly it’s a crapshoot, because there are no answers to any of this. There’s no methodology that will make you successful. Just keep working, keep your head down, keep producing dope shit, and help your homies as much as you can. Help everyone as much as you can. I think that’s a really big thing, working together in the scene.” 

Top Photo via Humble/Instagram

Gay(RVA)NYE: Ring In Your 2020 in Proper Fashion

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Get the most out of your new year and say goodbye to the 10’s in proper fashion with our GayRVA guide to the best New Year’s Eve parties this town has to offer!

As 2019 ends and a new decade is set to begin, we all want to have the best New Year’s Eve possible. For plenty of people, this means traveling to some bigger city: New York for the ball drop in Times Square, DC for the big parties, maybe Atlanta where it’s not so cold… but what if you just want to stay in Richmond this year?

Well, if you choose to do so, you’ll not only be missing out on a boatload of travel time and related expenses, you’ll find plenty of amazing things to do and enjoy right here in the good ol’ RVA. If you ask us, it’s really the best way to go.

Here are the best places in Richmond to have yourself a truly wonderful New Year’s Eve.

PLF’s Decemberween at Diversity Richmond

This one’s at the top of the list every year, and I can’t imagine that’ll change anytime soon. The Party Liberation Front’s Halloween-in-December shindig is always the place to be for the arrival of the new year, and it’s because the group never fails to pull out all the stops for this affair.

This year is no different! Dozens of DJs on three different stages will ensure that the music never stops. There’ll be fire performances outside to keep you from getting chilly, as well as mutant vehicles, food trucks, art installations, three different bars, and a whole lot more. It’s a totally immersive experience that will tantalize all five senses for eight full hours! Don’t miss this one. Tickets are $66, and worth every penny. Order here.

Black Pride RVA’s New Year’s Eve Bash 2020 at Studio Two Three

This New Year’s Eve, Black Pride RVA is doing it up right over at Studio Two Three. Their decade-ending event will be a Black & White Affair featuring food, champagne, party favors, and more. Everyone will be dressed to the nines for this one, and you’re sure to enjoy every moment. Tickets start at $25 — order here.

Scott Wichmann at Richmond Triangle Players’ Robert B. Moss Theatre

If you’re looking for a memorable musical affair that summons up the glittering showbiz days of yesteryear, Richmond Triangle Players has got you covered this year, with two performances by “Mister Showtime,” Scott Wichmann. Wichmann’s charismatic flair will lend a special vibrance to his performance of Rat Pack classics, and he’ll have some special guests and a trio led by Musical Director Ryan Corbitt to kick things up a notch and make it a show worthy of wrapping up the decade.

Wichmann will perform two different shows on New Year’s Eve, one at 7 PM and one at 10 PM, so whether you want to wrap the evening up early or stay out all night, there’s a showtime that’ll work for you! Tickets start at only $10, and can be purchased here. Grab yours now!

Godfrey’s New Year’s Eve Celebration

There are all kinds of places you can go for this occasion, but sometimes nothing feels as right as the place you visit regularly all year. That’s why the Godfrey’s New Year’s Eve throwdown just might be the best place to be in this whole town on December 31. They’ll be throwing a big drag show, along with some great year-end drink specials and a cash balloon drop at midnight, so there’ll be plenty to enjoy all evening. The economically-minded should make a note that the cover doubles at 11 PM — so show up by 10:59 and party all night!

Fallout’s New Year’s Eve Masque

Shockoe Bottom’s #1 fetish club is continuing their tradition with this Masquerade Ball featuring drinks, DJs, and plenty of awesome outfits. The line for drinks might be long once this one gets going, but there will be a secondary cash-only bar, so if you’ve got some legal tender in your pocket, you can avoid the rush!

Fallout strictly requires attendees to wear formal and/or fetish clothing, and a mask, so make sure you’re properly attired, or you might be turned away to hang with the normies. No one wants that! While Fallout is members-only, non-members can be guested in by friends who are members, or message their facebook to obtain a one night pass. It’ll be worth it.

Roaring 20s NYE at Kabana Rooftop

Over in the straight world, the arrival of 2020 seems to be a big occasion for “Roaring 20s” themed events, and Kabana Rooftop, atop the Hampton Inn downtown, certainly looks like the most promising of these. They’ll feature music all evening, headlined by a performance from virtuoso violinist and turntable-spinner DJ Manifesto. Plus there’ll be champagne toasts, party favors, and a live feed of the ball drop — so you don’t have to watch it at home. Tickets start at $35, and if you don’t want to find your way home afterward, Hampton Inn offers special rates for suites directly attached to Kabana, so you really can make an entire night of it.

Belle Epoque at Quirk Hotel

But hey, maybe the roaring 20s aren’t even retro enough for you — maybe you want to take things all the way back to the late 19th century. If so, Quirk Hotel has you covered with their Belle Epoque-style evening, featuring music by DJ Ant Boogie, a custom gin & tonic bar, champagne toast at midnight, party favors, and everything else you love about NYE parties. For $25, you can drop in to Quirk around 10 PM (tickets here), or if you really want to do it up right and proper, you can kick the evening off with a 5-course New Year’s Eve dinner at Maple & Pine, Quirk Hotel’s in-house restaurant. The prix-fixe meal is $99 per person (tickets here), and includes entrance to the Quirk event, so that’s your whole evening covered!

Noon Year’s Eve at Lamplighter featuring No BS! Brass Band

Are you the sort of person who’d really rather avoid leaving the house on New Year’s Eve at all? That’s understandable — the roads are hardly the safest on that evening, and lord knows a lot of people do not know how to stay within their limits. Fortunately, even if you’re completely uninterested in being out of the house after dark, there is some fun still to be had over at Lamplighter’s Addison Street location. Specifically, No BS! Brass Band will be showing up late in the morning on December 31 to play tunes and get the party rockin’ for a ball drop on the Lamplighter roof at noon! So there you go — you can take part in a joyous year-ending event with the sun still high in the sky, and head home secure in the knowledge that you’ve done your carousing for the year.

Top Photo by Greyson Joralemon on Unsplash