RVA Mag

Richmond, VA Culture & Politics Since 2005

Menu

Still Rocking In The Commonwealth

|

Topics: , , , , , , , , , , , , , , , ,

For the ninth year in a row, WRIR DJ Shannon Cleary brings us a jam-packed multi-night showcase of excellent local music under the banner of his radio show, The Commonwealth of Notions.

WRIR and The Commonwealth of Notions Presents: Volume 9, a showcase of some of the best bands Richmond has to offer, kicks off on Saturday, August 3 at Gallery 5. The showcase will continue with its second show on Saturday, August 10 at The Camel. Both shows act as fundraisers for WRIR, a local independent radio station. 

Shannon Cleary, who hosts The Commonwealth of Notions — a show on WRIR that frequently features local artists — has been organizing the festival for the past nine years. “I wanted to see if I could develop a live equivalent of the radio show,” Cleary said. “Showcase the bands I’m playing on the show and use that as a means of supporting independent radio based out of Richmond.”

As always, this year’s The Commonwealth of Notions Presents features something for music fans of all types. Those attending the first show will be treated to the driving, political punk of Lounge Lizzard, who put out the first of their recorded music just this past March. HotSpit, a relatively new band in Richmond, will also be bringing their lush, melodic indie rock to the stage. Warrington will spruce things up with some delightfully emo-flavored indie, and the show will finish up with the high-energy garage rock of Washers, followed by the synthy, spooky punk of VV. 

The second night of music, at the Camel, will feature Midlife Pilot, who skillfully turn emo music into something positive and upbeat. Things will get a little more distorted when Twin Drugs takes the stage and show off their hypnotic shoegaze. Gnawing brings a powerful sound to the bill, and the jangly indie pop of Young Scum is always a pleasure to witness live. Opin closes out the night with their danceable synth-filled sound.

Both nights of the festival offer an excellent opportunity for music fans to hear the sounds they love while also checking out bands they may have never heard of. For the bands performing, it’s a rare opportunity to be part of a diverse bill. “I appreciate how it brings artists together onto bills that might not typically get the chance to play shows together,” Cleary said. “They are all fans and supporters of one another.” 

VV (Photo via Facebook)

Proceeds from the shows benefit WRIR, which is run by volunteers and is “the largest low power FM station of its kind in the country,” according to its website. The station airs everything from political talk shows to programs about film. There seems to be a show for just about every type of music, including punk, electronica, and Americana. 

Cleary noted that while also supporting local bands, people who attend the shows “are supporting a platform like WRIR that gives independent, underrepresented ideas, thoughts, and art a voice in the community. It’s an opportunity to support a lot of things all at once that all come together to piece together the identity of the creative community in Richmond.”

With two nights of music and bands that touch on multiple genres of music, The Commonwealth of Notions Presents: Volume 9 has something to offer for everyone while raising money for an independent radio station Richmond is lucky to have. It provides an excellent way to support Richmond’s buzzing music scene in general.

“I want to showcase artists, venues, organizations and beyond that I think are doing remarkable things in the scene,” Cleary said. “And the fact that this will be the ninth year that I’ve done this has not completely hit me yet.”

Top Photo: Opin, by Craig Stephen (via Facebook)

Music Sponsored By Graduate Richmond

Critiques For The Culture: TheatreLAB’s An Octoroon

|

Topics: , , , , , , , ,

In Critiques For The Culture’s latest contribution to GayRVA, Taneasha White and Brooke Taylor examine TheatreLAB’s An Octoroon, and ask: Did this play about racial relations in the 19th century — and today — achieve its intended goal?

Critiques for The Culture is a conversational podcast and radio show (on WRIR and WRWK) that focuses on the socio-political themes found within current movies, TV, and plays — covering all with humor. Hosted by two Black Queer folks of varying opinion, Critiques for The Culture aims to dissect our media, point out where we aren’t represented, and say what the rest of us are thinking. Taneasha and Brooke make up the CFC duo — a couple of Black Queer folks who love their community, and love watching TV and movies.

Critiques for The Culture is committed to uplifting the voice of the marginalized. We aim to discuss representation (or lack thereof) within present media, and invite you all to be a part of the conversation. Our critiques revolve around TV shows, movies and documentaries. In order to engage the local community, we have decided to venture beyond the airwaves and begin covering local plays for GayRVA.

An Octoroon
Written by: Branden Jacobs-Jenkins
Directed by: Dr. Tawnya Pettiford-Wates

An Octoroon premiered in 2014 as an adaptation of Irish playwright Dion Boucicault original, The Octoroon, which premiered in 1859.

There is definitely a lot to this show. The main plotline, which provides the reason for the title of the play, surrounds one of the main characters, Zoe, and the discovery that she has Black blood in her ancestry. Though no longer used in present-day conversation, the term “octoroon” refers to someone who is one-eighth Black and therefore eligible for sale. There are multiple men vying for Zoe’s attention, resulting in the attempted sale of herself, and her family’s estate.

Another plotline in the play focuses on Branden Jacobs-Jenkins, his personal struggle to adapt to the racism found within theatre culture, and his desire to stage this play in tandem with the racial themes that arise. An additional plotline is that of the Native American Wahnotee and the young Black character Paul, which showcases racial profiling and latent biases within the criminal justice system.

After speaking with the director, Dr. Tawyna Pettiford-Wates, and watching the show, it was evident that audience discomfort as a means to incite discussion was a primary goal for this show. For those who are unfamiliar with either this text or the work of Pettiford-Wates, the minstrel style of the show likely came as a shock, especially considering the recent discovery our Governor’s disappointing but unsurprising past.

Pettiford-Wates is both familiar and comfortable with minstrelsy as a genre, using this style as the crux of her company, The Conciliation Project. She says that through this method, we are able to “…peel away the layers of race, historic racism, and systems of oppression.”

Photo by Tom Topinka

Our Ratings

Our Critiques for The Culture rating is based on representation of marginalized folks, showcased with our Black fists. Our overall rating is the quality of the play overall, independent of the representation that may or may not be there, represented with stars.

Taneasha

For me, the best part of the show was the lead actor getting down to Crime Mob’s “Knuck If You Buck.” For those who are unaware, this is the unequivocal Black Millennial throwdown song. If it plays in public, everyone in the space is obligated to dance. It did what it was supposed to do, as far as getting the attention of the folks’ in the audience, but did it happen in the way it was intended?

We’re familiar with the concept of shucking and jiving, and while in 2019 we may not call it that anymore, there is still the idea that people of color are only good for entertainment — whether it be rapping, dancing, or throwing a ball. While the scene resonated with me, it was unclear if that clarity was consistent for the rest of the folks in the audience. This show is meant to act as a mirror, showing the audience more clearly how they have been perceiving others around them. I was left wondering if the non-Black folks in the audience saw their biases in the mirror, or if they just saw others laughing at the physical and outlandish humor that was presented.

As someone who works in activist spaces, I concur with the idea that spaces need to be carved out to have difficult conversations. I just wonder if the white folks in the audience picked up what the director was putting down, or if they just thought they were laughing at some clumsy negroes, witnessing enslaved women mirror the way they perceive Black women in America anyway.

As Black people in America, we are abundantly aware of our history in this country. I struggle with the notion that utilizing slapstick humor, the N-word, and imagery of lynched bodies is the way that change occurs. There was a scene towards the end where they flashed a real photo of a Black man who had been lynched. Though it aimed to serve as symbolism, it leaned towards trauma porn for me, as Black folks in the US are consistently bombarded with imagery of dead Black bodies. Social media has become the vehicle for modern-day lynchings, allowing images and video of those who have been murdered, via police brutality or otherwise, to circulate with speed, and with little censoring.

We know that during the time of legal lynchings, white folks used the imagery for postcards. They gathered their families around the trees from which our ancestors swung. They kept souvenirs of the dismembered. So again, the question is: who is this really for, and are these methods that you’re using plausible for that goal? 2.5 Black Fists.

I was drawn to the concept of “Black artistry,” as opposed to general artistry by someone who is Black. This topic arose in the very beginning of the show, when Branden Jacobs-Jenkins’s character repeated that he was a Black playwright. Oftentimes, folks of color or of gender/sexuality outside of white or cis/het norms are categorized into a box, and given accolades based on those titles, rather than the talent as a whole. Instead of being seen as a great pianist who is Black, we’re titled a “A Great Black Pianist,” as if the threshold is different outside of whiteness.

The acting was well done. I appreciated the adherence to the style of minstrelsy. The rules of present-day theatre are different than that of the melodramas of previous centuries — we’re used to more natural blocking of characters, rather than the actors purposefully turning to face the audience head-on each time they speak. The music cues during each entrance and exit proved very humorous, and added a light element to the show. All of the characters were purposefully over the top to fit the style, and I applaud them all for doing so believably. 3.5 Stars.

Brooke

The best-laid plans often go awry.

The play featured three enslaved women who all had darker complexions, and unfortunately their characters fell directly into common stereotypes of Black women: loud, inappropriate, and lewd. While the style of the play is minstrel, the depiction was not only uncomfortable but unnecessary, in my opinion.

Dido and Minnie were the two primary enslaved women that were shown, with Grace as a third that was presented later in the play. Dido and Minnie had more than one casually light conversation poking fun at the misfortunes of others on the plantation, or the prospect of other’s families being broken through the sale of persons. The topic of “sex” with a slave-owner arose, and they discussed which white men they would like to seduce — not to mention penis size.

For those of us who are familiar with African-American history, we can conclude that this is a scene that is meant to act as a mirror. Enslaved women were seen as salacious and insatiable, to the point where it was literally not legally possible to rape a Black woman in captivity. The notion was that Black women always want “sex,” regardless of how it is acquired, so there would be no point in debating whether the interaction was wrong. We are also familiar with the tropes of the “Welfare Queen,” “Angry Black Woman,” etc. So the laissez-faire attitude that was presented by Dido, Minnie, and Grace were caricatures of White America’s perception of Black women.

The prevailing issue, however, is that it probably wasn’t clear to a more far-reaching audience. For those that laughed at the conversations about “riding the Master”, it makes me wonder if they simply thought they were watching a live-action version of Jerry Springer, not a complex interrogation of race relations in America. Two Black Fists.

Making the audience uncomfortable was the director’s main goal. Mission accomplished.

Yet, I struggle to see the call to action. Having difficult conversations is a huge part of my chosen work in the world — it isn’t something I will ever shy away from. At the end of those conversations, however, everyone should be made aware of their role in the conflict and have action items for moving forward. Aside from the clear critique of using Native Americans as mascots, I failed to see these pieces within the show.

Perhaps this show and ones like it are simply meant to provide the spark for the conversation. I can respect that, but I ultimately feel that there was a disconnect between the intention and the impact. Black folks shouldn’t have to be re-traumatized (whether in the audience or on stage) in order for our white counterparts to potentially be rattled into action.

From a technical standpoint, the show seemed to be executed without a hitch. The music, lighting, stage props, and overall atmosphere were presented very well. I appreciated the multimedia approach that was taken. The actors’ performances were also great and their chemistry on stage was evident. 2.5 Stars.

TheatreLAB is known for pushing boundaries, representation of marginalized communities, and starting conversations — this play did not disappoint. There are still tickets left for the remaining shows, and this Friday, there will be a talkback discussion after the showing. Don’t miss it!

Check out theatrelabrva.org for more information, and then leave us a comment on our social media to tell us what you thought!

For more Critiques for The Culture, head over to our Facebook, Instagram, or SoundCloud.

We talk about movies and TV on WRIR 97.3 every Friday at 10am, and WRWK (The Work FM) 93.9 FM every Friday at 7pm.

Critiques For The Culture: Women’s Theatre Festival at TheatreLAB

|

Topics: , , , , , , , , ,

In Critiques For The Culture’s first contribution to GayRVA, Taneasha White and Brooke Taylor begin their representation-focused coverage of Richmond-area theatre with a review of all four plays included in TheatreLAB’s recent Women’s Theatre Festival.

Critiques for The Culture is a conversational podcast and radio show (on WRIR and WRWK) that focuses on the socio-political themes found within current movies, TV, and plays — covering all with humor. Hosted by two Black Queer folks of varying opinion, Critiques for The Culture aims to dissect our media, point out where we aren’t represented, and say what the rest of us are thinking. Taneasha and Brooke make up the CFC duo — a couple of Black Queer folks who love their community, and love watching TV and movies.

Critiques for The Culture is committed to uplifting the voice of the marginalized. We aim to discuss representation (or lack thereof) within present media, and invite you all to be a part of the conversation. Our critiques revolve around TV shows, movies and documentaries. In order to engage the local community, we have decided to venture beyond the airwaves and begin covering local plays for GayRVA.

This past month, four local theatres formed a collaboration for Womxn’s history month. Weinstein JCC, 5th Wall Theatre, TheatreLab, and Heritage Theatre all showcased one-act plays of varying theme, all written and directed by womxn, and all housed at TheatreLab.

Two of the four plays were written, directed, and performed by womxn of color, and all were from varied perspectives. In one, a current actress told the story of how she came to be in her current position. Another was told by a womxn who was enslaved. Another was from the perspective of a previous Israeli Prime minister, and the last came from a single mother getting back into the dating circuit.

Overall Similarities:

In addition to each play’s focus on womxn, there was also the non-existent fourth wall — all of the actresses spoke directly to the audience, providing their thoughts and their own narration of the plot. All except for Bad Dates seemed to ignore the traditional rules of creating a plotline, undercutting the standard expectation of rising action, climax, and resolution in a linear timeline.

Our Ratings:

Our Critiques for The Culture rating system is based on two categories: representation of marginalized folks, showcased with our Black fists; and our overall rating of the quality of the play, independent of the representation that may or may not be there; this rating is represented with stars.

Pretty Fire

Charlayne Woodard’s play about her life started right before her birth, highlighting her parents’ relationship. This play was well constructed and utilized its sole prop of a chair extremely creatively, setting up multiple scenes. Lead actress Haliya Roberts gave a near-perfect performance as she switched seamlessly between characters, giving each one their own little something that distinguished them from the others.

Pretty Fire tells a familiar story of a Black girl and her family that live in the North, but have roots in the South. This coming-of-age story clearly depicts the realization that racism has no preference for above or below the Mason Dixon Line. Strong themes of the impact of family dynamics, religion, and rape culture guide this play from start to finish.

Brooke:

Pretty Fire did a great job highlighting some of the fundamental challenges with being Black in America. As a child, Charlayne learns about the presence of what W.E.B. DuBois termed the Double Consciousness (known in the modern era as Code Switching), and how critical it is to survival. She also contends with being born female in a world that preys on femininity. 4.5 Black Fists.

Overall, this play had a captivating story, smooth transitions, and a terrific leading actress. Four Stars.

Taneasha:

As far as representation, Pretty Fire highlights the complexities of living life in America as a Black woman, from dealing with the sordid history of the US and all that it encompasses, to the added layer of having grown up during Jim Crow without understanding the impact. The writing, direction, and acting all did a great job of showing the differing perspectives of Black folks, and how geographic location and age play a role.

It could have been stronger if there had been more dissection of the problematic themes that came up, particularly with Charlayne and her younger sister’s desire for whiteness. Four Black Fists.

Overall, the show did a great job keeping your attention. Realizing that a show only has one person throughout can bring skepticism, but Roberts held the audience’s attention the entire time. She portrayed more than five different characters of varying age and gender, and all were clearly defined through voice and body language. Four Stars.

Bad Dates

This play had an interesting, but seemingly disjointed, plotline. Was the main character truly experiencing these complicated interactions, or was she a compulsive liar? Hard to tell. A blatant showcase of white privilege marked the end of the show, as even though she had been stealing funds from the restaurant, she was spared criminal charges.

Brooke:

This storyline was not catered towards Black or queer folks. Black and POC folks were simply not included — and that may be for the best, when one considers the role of queer characters in this play. The character had a particularly homophobic moment when stating emphatically that her date was gay simply because of the way he dressed and carried himself. The lone Black Fist is given for the fact that this was a female-led play that highlighted the (ever so deluded) realities of a woman in America. One Black Fist.

The theater space was convincingly transformed into a cozy bedroom, and the audience felt like a trusted friend that the main character confided in throughout the play. The lighting and audio was carried off without a hitch and definitely added a touch of sophistication. The main character seemed to connect well with her audience and drew laughs easily all night. While this play lacked a solid plot development, the experience was an enjoyable one. Two Stars.

Taneasha:

The main character is a white woman, and while the plight of a single mother is real, I am tired of plotlines meant to garner sympathy from the public being focused on people of privilege. The only Queer representation we have is that of her brother, about whom she speaks fondly, and that of a supposed gay man that she is set up with. Sure, we have all potentially met folks whose sexual orientation we assumed. In reality, however, none of us can honestly know if the person has not told us. Additionally, her reasoning was based solely on his usage of language and the fact that he was well-groomed — homophobic stereotypes. One Black Fist.

The actress did a good job of playing a believable character, as there were no unbelievable character arcs. I wasn’t sure why the main character’s shoe obsession was important, other than to potentially exemplify the expendable money she had, to set up her role in the money laundering. I appreciate the showcasing of the main character trying on different outfits, questioning both the audience and her daughter on their choices. Most of us can identify with testing out multiple outfits before a big interview or a date, maybe sending photos to friends for feedback.

The plot, however, had a sharp turn at the end that made the show feel highly disjointed. The love life of the character was at the forefront, with her career as a connecting link, but at the very end, the play shifted to legal trouble that ended up being swept under the rug by her newfound love interest. 2.5 Stars.

Message From A Slave

Message From a Slave was reminiscent of what would happen if Tyler Perry decided to do a stage version of 12 Years a Slave, but with no plot direction. It was a two-act play, but the separate acts had essentially no connection, aside from the character being present in both.

The first half takes us along a young woman’s journey as she is taken from her village in Africa, in chains, to America, and in great detail, showcases her struggles. The second half of the play showed the daughter that she had given birth to several decades later. This character transitioned from chair positioned stage right to center stage, and relayed a full-blown sermon that explained why Black folks are at fault for our own enslavement. Because our faith in God isn’t strong enough, and because we don’t pay enough attention to our husbands or our children, the Black community is failing, and it 100% our fault– and no one else’s.

Brooke:

It is difficult to leave me speechless but this play did, and for all the wrong reasons. If I knew no better, I would have bet my salary that a white person wrote the script. I cannot comprehend the level of self-hatred that the author of this play must hold. And yes, it was that bad. The first act of the play was simply pain-porn, at the expense of the ancestors of those in the African Diaspora. The sounds of whipping and the vivid details of assault were triggering, to say the least.

However, the first act could have been explained as a misguided attempt to illustrate the horrors of American slavery. It was truly the second act that made this play unbearable. The actress recited a list of allegations against Black folks that was so disgusting, all I could do was seethe with anger. Message from a Slave receives the lowest possible rating from me, half of a Black Fist.

The actress herself did an excellent job bringing this horrid play to life. She should be commended on her ability to make something so bad look good. The props worked well with the content of the play. However, this was not enough to warrant a good rating. One star.

Taneasha:

As far as representation goes, this show gets a .5 Black fist. This centered around the lives of African/African-American people, but was showcased in a way that was painful to watch. The first half of the show was a marvelous exemplification of pain-porn, leaving the viewers wondering who this 10-minute whipping-post scene was really written for. There was nothing that stood out about this particular character; it felt like we were just being taken through what happened to the enslaved post-capture, and that isn’t a lesson any of us asked to re-learn.

Aside from the second act being completely disengaged from the first, it also did the community the disservice of blaming the marginalized and oppressed for their placement within the American caste system. Instead of identifying the longstanding effect that slavery has had on our country, and how we are still operating today out of systemic oppression, this play blamed bad attitudes and the usage of microwave ovens as the reason for our hardships. This fed into essentially every stereotype that White America has created and attempted to hold the Black community to, and the fact that it was coming from a Black woman doesn’t do anything but give it validation. .5 Black Fists.

This play gets a .5 rating overall. The actress herself did a good job in the portrayal, regardless of how problematic the content was. That is the only aspect that was memorable. .5 Stars.

Golda’s Balcony

Golda’s Balcony was told from the perspective of Golda Meir, Israeli’s first and only woman Prime Minister. It was very reminiscent of a war movie, but from a female perspective, in a stage play. Golda’s character showcased her difficulties and her wins throughout the 1973 Yom Kippur War, and the Holocaust, and how her relationships were impacted.

Brooke:

Representation-wise, this play hit on two main things — women in leadership, and the Jewish community. Mrs. Meir seemed like a real badass and her story is inspiring on many levels. Jewish folks have a storied history, and have been the victims of terrible abuse in Europe and America. Golda’s story deserved to be told and appreciated. The play lacked representation in some key areas: POC involvement, queerness, and socio-economic diversity. 2.5 Black Fists.

As a history buff, I really enjoy documentaries, and this play fits the bill. I learned a great deal of information and left feeling very enlightened about the state of Israel during the timeline of the play. There were an abundance of props placed into the small stage space, and it provided a homey atmosphere for the audience. Golda’s Balcony was very informative but, at times, not as engaging as I expect from a stage play. Three Stars.

Taneasha:

When it comes to representation, I can give this play two solid stars. I appreciated the focus on the Jewish community, but would have liked more detail into how the Holocaust affected her and her family directly. A woman prime minister still isn’t extremely common, and Meir was the fourth in the entire world, and the first in Israel, so there is a lot of power in lifting up that story. Two Black Fists.

Overall, Golda’s Balcony receives three stars from me. I think that if you aren’t interested in war-focused movies, than this would not hold your interest. The actress did a great job inserting humor, and she was very believable and likable as a main character. All other characters proved to be auxiliary, and lacked the depth that we saw in some of the other plays. However, it was a solid show overall. Three Stars.

All in all, we had a good time watching the shows put on by these four different theatres, and spending time in TheatreLAB is always a highlight of the week. We encourage you all to join them during the rest of their season — they have some great shows lined up!

For more Critiques For The Culture, head over to our Facebook, Instagram, or SoundCloud.

We talk about movies and TV on WRIR 97.3 every Friday at 10am, and WRWK (The Work FM) 93.9 FM every Friday at 7pm.

Meet The Savviest, Shadiest Pundits In The City: RVA Dirt

|

Topics: , , , , , ,

The combination of a failed run for school board, a casual post on the Nextdoor app, and an NAACP meeting may seem like the add up to an unlikely origin story for Richmond’s most talked about new radio show. However, taking the mundane machinations of city government and injecting them with personality and civic spirit could practically be the mission statement of RVA Dirt’s Municipal Mania.

Two years ago, Melissa Vaughn — the volunteer coordinator for WRIR 97.3 — posted on the Nextdoor app hoping to start a community conversation about the 2016 elections in the River City. Northside resident and, at that time, School Board hopeful Jessee Perry immediately responded. By the time they were engaged in a mutually passionate diatribe against political signs on abandoned houses, the two ladies knew they were onto something; if the lack of municipal engagement in Richmond could get them both so worked up, then there must be other Richmonders passionate about improving local politics.

That’s when Francesca Leigh-Davis, floral designer and Twitter neophyte, found Melissa and Jessee. Fran launched her Twitter presence shortly after the ascension of the Black Lives Matter movement into popular parlance, and began weighing in on Richmond’s long legacy of racial injustice. When the three finally met in person at an NAACP meeting on local government, the chemistry was irresistible, and RVA Dirt was born.

The ladies of RVA Dirt don’t see themselves as revolutionaries. “Most of the stuff we say on our show, Municipal Mania, is already said behind closed doors. It just never makes it to the public,” explains Perry.

“Our goal is to vocalize non-mainstream opinions to make space for other people to take new and interesting positions on local issues, because there’s not enough of that in Richmond right now,” elaborates Vaughn.

A lot of the “dirt” they dish out would be easily available on the website of any other American capital city. In fact, the members of RVA Dirt frequently find themselves inundated with private messages from people — even sometimes city officials themselves — in search of official documents and plans. Richmondgov.com’s many broken links are a perennial source of frustration; all three cackle as they recount the numerous pages on the city’s website which still have former Mayor Dwight Jones’ name on them.

“I would’ve expected elected officials to be a lot more scared to meet with us, because a misstep while talking with us could theoretically hurt them,” explains Vaughn. “But the attacks we get are actually from members of the community, mostly white men.”

The solidarity of RVA Dirt’s triumvirate serves as a model for other community members looking to overcome Richmond’s deepest social cleavage: race. “As a black woman I find my voice has to be magnified to be heard,” explains Leigh-Davis. “I need the allyship of Jessee and Melissa, because I’m only allowed to be angry when it’s funny. Many things come off differently from her as a white woman than from me as a black woman.”

The three ladies’ diverse perspectives and backgrounds not only allow them to cover the city’s shenanigans from a wide range of angles, they have arguably made RVA Dirt into the epicenter of local political discussion. Since beginning to live-tweet city council sessions, they’ve noticed attendance and community participation climbing. Even those unable to or uninterested in going to the council meeting in person are able to follow all the drama of the week’s session via the group’s lively twitter thread. This week, they covered drier policy changes like the new scooter ordinance, the long-awaited approval of the Brook Road bike lane, and the expansion of VCU Police’s jurisdiction with as much gusto as the controversial comments by Councilwoman Trammel referencing “Hispanic-speaking” people and disparaging renters.

“We enjoy local politics — because it’s emotional for a lot of people, and they get turned off when we say something negative about people they’re supporting, but we just wanna talk about the facts,” explains Perry. Despite the criticism, “there’s a constant reaffirmation that this is needed in the city,” added Vaughn. “People are so starved for this information and don’t have time to pursue it themselves.”

Their dedication to encouraging civic activism and service as a new watchdog of local government earned them a spot last year on Style Weekly’s Top 40 Under 40 list of youthful Richmonders shaking up the city. In 2017, Melissa wrote on Jessee’s calendar under her own (38th) birthday: “just two years to make 40 under 40,” but when what had been nothing more than a long-running inside joke became reality, all three were taken by surprise.

The ladies of RVA Dirt hope to build off this momentum in 2019 and convert their brand into full-time paid positions. With Vaughn’s skills in administrative work and audio production, Perry’s expertise in messaging and communications, and Leigh-Davis’s experience in event planning, they hope to figure out a way to get paid to gather and share the critical civic information they currently do for free. In the meantime, those who would like to support their work are encouraged to contribute to the RVA Dirt Patreon, where different levels of support earn sponsors varying levels of access, ranging from blooper reels to extended original content and in-person, snack-fueled meet and greets.

For now the ladies of RVA Dirt are content with the positive impact their work is having on the city and the interesting opportunities it affords them.  “I love former councilman Chuck Richardson, and to have his number in my phone and him leaving me voicemails is just cool,” gushes Leigh-Davis. Perry’s favorite moment, when she coined Councilman Chris Hilbert’s nickname, “Chillbert,” after suggesting a “Netflix and Chillbert” campaign event, perfectly represents RVA Dirt’s goal: “We like to use humor to keep people engaged.”

You can learn more about your government through facts, interviews, analymaisis, and plenty of snark with the RVA Dirt girls on WRIR 97.3 every Wednesday from 11AM-12PM or check out past episodes on their SoundCloud.  You can also get tickets to join Francesca, Jessee & Melissa at WRIR’s 14th Anniversary Party on February 1st where they will be the emcees.

VA Shows You Must See This Week: January 30 – February 5

|

Topics: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

FEATURED SHOW
Friday, February 1, 7 PM
WRIR’s 14th Anniversary Party, feat. Unmaker, Black Liquid, Trapcry, Alfred, Minor Poet, Rebekah Rafferty and the Wakes, The Vulgar Bulgars, Sweet Potatoes Music, Jr Wolf, RVA Comedy showcase, and more @ The Renaissance Ballroom (107 W. Broad St) – $15 (order tickets HERE)
It’s kind of amazing to look up every February and realize that it’s been another year with the awesomeness of WRIR right here in our city. From one unicorn to another, we certainly must admit that the cards tend to be stacked against the kind of radio station WRIR is — a community-run, volunteer-operated radio station that manages, despite its low 42-watt broadcast power, to reach a wide range of local listeners and to connect strongly with the Richmond musical community. What’s more, it’s a great place to learn more about the issues of the day, from right here in Richmond to around the country and the world.

So yeah, it’s a little tiny miracle to see WRIR holding on for another year — 14 so far, and here’s to many more. It’s also a cause for celebration, and that’s what the station and its community will be doing when they gather once again at the Renaissance Ballroom this Friday night for the latest edition of a yearly party that never fails to deliver the goods. This year’s edition features all kinds of excellent music, covering the wide spectrum of local talent. Unmaker are at the top of the bill, and their dark, heavy, metallic postpunk is sure to bring down the house at the end of a long happy night — especially considering their always-active live performance style.

But that’s just the beginning, really. The music on offer runs the gamut from the cerebral hip hop of Alfred to the indie rock of Minor Poet and from the klezmer (jazz-influenced Eastern European/Jewish folk dance music) sounds of the Vulgar Bulgars to the melodic alt-rock of Rebekah Rafferty and the Wakes, this show has seriously got everything the curious music fan could desire. Plus, it brings the kind of adventurous programming you can expect from WRIR into real life before your eyes, as Black Liquid coordinates a hip hop showcase that’ll recreate the kind of improvised rhyming excellence that often graces his Saturday night radio shows, and Jameson Babbowski brings a talented slate of local comedians to his own non-musical showcase. And of course, all your favorite WRIR DJs will be in the house, spinning tunes and making friends. Best of all, your ticket price goes toward helping WRIR bring us another year of awesomeness. What could be more worthwhile than that?

Wednesday, January 30, 8:30 PM
Vanilla Summit, Khrundo, Return To Sender @ Vagabond – Free!
Now that we’re out here in the world moving on after the loss of Strange Matter, there’s definitely been some urgent searching (at least on my part) for another reliable local venue to fill in the mid-week holes in the Richmond live music schedule. What I’m fast learning is that on Wednesday nights, Vagabond is likely to deliver the goods. Their Jazz Wednesdays series is a great place to be pretty much every single week if you want to learn more about the community of excellent jazz musicians existing in Richmond. Their scene may not get as much attention as punk, metal, or hip hop, but that says nothing about what the local players have to offer — which, it turns out, is a lot.

Vanilla Summit are a five-piece jazz group who’ve been grabbing spots on live dates around town for a while now, and their 2017 Green Session EP shows exactly why — this dual-drumming quintet creates some excellent funky grooves while also bringing the introspective melodies we so often want from jazz. They may not be joined live by the ever-talented McKinley Dixon, who graces one of the tracks on their EP, but they will be performing along with a couple of intriguing ensembles, also hailing from the world of local jazz. Khrundo is a group led by guitarist Jake Adams, which is apparently going to feature nine members on this Wednesday night, all coming together to kick some ferocious grooves. Plus there’s Return To Sender, a bass-less trio led by Vanilla Summit sax player Nate Clark, to kick things off right. If you don’t know, you’re gonna learn.

Thursday, January 31, 8 PM
Zack Mexico, Piranha Rama, Billy Neptune @ Capital Ale House Music Hall – $8 in advance/$10 day of show (order tickets HERE)
Zack Mexico isn’t one guy, it’s a band — and a full one at that, featuring eight members, two of whom are drummers who each play full kits. And this group doesn’t hail from the country across our controversial Southern border; instead, they come to us from the much closer region of North Carolina’s Outer Banks, which must be a pretty wild place to be if you’re not a tourist or a vacationer. The music Zack Mexico makes is certainly wild, and hard to pin down as well; what sort of sound you get from them depends significantly on which track you listen to.

However, one thing can be determined for sure — there’s a psychedelic sensibility that underpins everything this band does, and an unorthodox approach to music that lands them pretty far outside of what we expect from “indie” in 2019, though it always seems to result in catchy tunes that get your feet tapping and put a smile on your face. In that way, they’re a perfect musical companion to one of the best new bands to come out of Richmond in the last year. I’m speaking here of Piranha Rama, of course, whose music can just as easily be said to be catchy unorthodox psychedelic genius — as you know, if you heard their excellent LP from last year. Openers Billy Neptune will get this show started right, and Piranha Rama and Zack Mexico will come together to take care of the rest. Get on board.

Friday, February 1, 7 PM
Midlife Pilot, Joel Worford, Colpa Mia, Tyler Meacham @ Garden Grove Brewing – Free!
Here in Richmond, the kids really are all right. This show is a good opportunity for all of you to find that out, assuming you haven’t already been paying attention to the many mini-waves of talented singer-songwriters bringing out excellent music around this wonderful city over the past couple years or so. Midlife Pilot are at the top of this particular list, and they’ve certainly shown sufficient merit to justify that position — this group, the brainchild of singer-guitarist Casey Graham, released an excellent EP of emotionally-oriented melodic alt-rock tunes late last fall.

While Midlife Pilot demonstrated an outstanding full-band sound on that EP, Ready To Be That Way, it’s hard to say exactly how it’ll translate live, since Graham himself played everything but drums on the record. Can we expect an Into It. Over It.-style solo performance? Or will there be a full band onstage? Either way, based on Graham’s track record, we’re sure to get some awesome songs out of it. Colpa Mia is more clearly a full-band effort, and recent single “Atlas” shows them dabbling in both the emotional melodies of the alt-rock world and dipping into synthesized postpunk/indie sounds. Live, their multi-layered sound is sure to captivate. More definitively solo singer-songwriters Joel Worford and Tyler Meacham will round out this excellent bill of up-and-comers, which you can partake of for no money down! How can you pass that up? Be there.

Saturday, February 2, 7 PM
Them Evils, Gemini Love, Loxias, The Goodbye Forevers @ The Canal Club – $10 in advance/$13 day of show (order tickets HERE)
I don’t know where we as a society stand on loud, noisy rock n’ roll in this day and age. It seems like if you check out festival lineups it’s the indie bands who get the most acclaim, and when the occasional band manages to rise above the fray and get a reputation for rocking hard, they draw more hate from the tastemakers than anything else. So are all y’all gonna think I’m a behind-the-times middle-aged lady for sending you to see Them Evils on a Saturday night?

You’ll be either frustrated or relieved to know that I really don’t care how you judge me on this one. I’m over here rockin’ out, blissfully ignorant of any judgment that might be coming my way. And you’ll be in much the same position if you make your way to the Canal Club Saturday night. Because while the hipsters may all be allergic to distorted guitars and hard-hitting good-time grooves these days, it’s always such a relief to cast off that albatross of manufactured coolness and let yourself enjoy something sincerely. Them Evils are primed to provide you with some sincere enjoyment, and in all seriousness, you cool kids who enjoyed Wolfmother and Red Fang at one time or another are gonna dig this just as much as your Greta Van Fleet-loving little brother will. Stop with the excuses and show up already.

Sunday, February 3, 8 PM
30 Year Sick, Cold Choir, Gothic Lizard @ Fallout – $5 in advance/$8 at the door (order tickets HERE)
30 Year Sick is a pretty evocative name for a band, even if any contemplation of the concept behind the name just makes you (or at least me) think, “There’s no way you’d stay sick for 30 years and not die.” I mean, unless we’re talking “siiiick!” in the modern-slang sense of the term, in which case we just end up down a rabbit hole of talking about which bands that have been around since the late 80s still legitimately rule (spoiler: not many, that’s for sure). But seriously, we’re not here to talk about that — we’re here to talk about the show that’s coming to Fallout, everyone’s favorite Shockoe Bottom fetish bar, on Sunday night.

30 Year Sick, the band, who hail from North Carolina, have a pounding synth-goth sound, which is definitely on the rockin’ end of things where that genre is concerned. Their 2018 EP, Postpunks, has an intriguing title that certainly invites rock-crit types like myself to use lazy genre terms, but I’m trying really hard not to take the bait. Instead, I’ll tell you that 30 Year Sick mingle a gloomy rumbling rhythm section with ominous guitar and synth melodies, all of which is topped by the true star of the show: Akmeraj Niroc’s incredibly powerful voice, which is strong enough to raise the tiny hairs on the back of your neck. And then the whole band will rock you out in a manner sure to thrill fans of Sisters of Mercy and Killing Joke alike. Don’t be afraid — explore the darker corners of Fallout for this one. It’ll do you no harm.

Monday, February 4, 7 PM
Boy Harsher, Nightcrwlr, Aesthetic Barrier @ The Camel – $13 in advance/$15 day of show (order tickets HERE)
It’s a good week for dark, gothic sounds. Spooky electronic duo Boy Harsher are releasing their latest LP, Careful, this Friday, and then on Monday, they’ll be here in town to play it live for us all. Careful was clearly born out of some pretty hard times, from loss of loved ones to difficulties in relationships, and singer Jae Matthews puts all of that into Boy Harsher’s music, combining as always with electronic musical genius Gus Muller to create an album’s worth of foreboding synthesized soundscapes.

Boy Harsher’s dark melodies and unnerving lyrical conceits have been compared (even by members of the group) to a David Lynch movie, and sonically, their work lands closest to a diabolical combination of Suicide and Yaz, with a strong dose of Nitzer Ebb-style severe European dance music. The kids in gleaming black Doc Martens will be stomping on the dance floor to this one, for sure; meanwhile, Matthews and Muller’s riveting presence is sure to keep you focused on the stage. Local electro-freaks Aesthetic Barrier will kick this all off, and we’ll get a bonus appearance from Nightcrwlr, yet another identity of the shapeshifting Kristina Esfandiari (King Woman/Miserable). It’s all going to be so amazing.

Tuesday, February 5, 9 PM
Brian Jones Trio, Doug Richards Orchestra @ The Camel – $10 in advance/$12 day of show (order tickets HERE)
RVA jazz really is a solid ticket for your midweek musical jones in 2019, and that’s probably why our week is bookended by shows that fall under that category. This one brings us the latest appearance of a Brian Jones-led ensemble here in Richmond, and as local jazz heads know, the presence of Brian Jones in any group is a sign of top quality musicianship. Of course, we’re not talking about the original Rolling Stones guitarist who died in the late 60s, we’re talking instead about the local drummer who has played with everyone from Agents Of Good Roots to Jandek to Randy Brecker.

The Jones trio on display this time will include fellow RVA jazz luminaries Daniel Clarke (piano) and Randall Pharr (bass), but one of Jones’s most frequent collaborators, saxophonist JC Kuhl, will also be on the bill — but performing with the other group. The Doug Richards Orchestra will contain around 18 different musicians on this Tuesday night, including local jazz luminaries like John D’Earth, Bryan Hooten, Stefan Demetriadis, and the aforementioned JC Kuhl, as well as all three members of the Brian Jones Trio. Doug Richards, who founded VCU’s Jazz Studies program in 1980 and recently retired after four decades at the university, has a robust pedigree of his own, and what he brings to this formidable ensemble is sure to be intriguing and delightful. Don’t miss a moment.

Bonus Hampton Roads Picks:

Friday, February 1, 7 PM
The Josephines, The Heart Stompers @ Toast – $10 (order tickets HERE)
If you like to rock but also identify strongly with the Southern sound with which all of us from this state are intimately familiar, the music of The Josephines is sure to call to you on a deep, primal level. This group — yet another in which a feminine name belies the all-masculine lineup — hails from Kentucky and will definitely remind you that that state, like Virginia, is very much a part of the South no matter what latitudinal parallel Bowling Green sits on. They’ve got loud rockers in their repertoire that are sure to have you stomping, raging, and headbanging, but they’ve also got a big dose of bluegrass in their sound, ensuring that you’ll never forget what state they hail from.

The Josephines’ 2017 EP Sober Up certainly lets you know the musical headspace where these guys are coming from. Likewise, Hampton Roads local country ensemble The Heart Stompers lets you know where they’re coming from right in their name. Formerly known as Gina Dalmas and the Cow-Tippin’ Playboys — certainly an evocative name in itself — this group taps into the outlaw country sound of the 70s and 80s with a modern punk edge and an amazing voice out front, courtesy of Gina Dalmas herself. If you can get down with some honky-tonk partytimes, Toast is the place to be for you on Friday night.

Tuesday, February 5, 8 PM
Rayland Baxter, Illiterate Light @ Boathouse Live – $15 in advance/$18 day of show (order tickets HERE)
You Tidewater residents are sure to have a fun Tuesday night at the Boathouse with Rayland Baxter. This alt-country singer-songwriter comes from a music family (his dad played on REM and Bob Dylan albums), and certainly has his feet planted in that tradition, as his more alt-country/folk-Americana tunes make clear. But on his latest album, Wide Awake, Baxter showed that he’s capable of the sort of widescreen pop that made the Beatles and the Byrds legendary figures that influenced a generation. Baxter taps into that psychedelic power-pop sound rooted in Americana dirt that is so au courant in 2019 United States of America, evoking the Beach Boys, the Grateful Dead, and other powerful musical touchstones with aplomb… and just a splash of post-Mac DeMarco slacker irony.

But we shouldn’t focus only on our headliner here — tourmates Illiterate Light hail from right here in VA, Harrisonburg to be exact, and have been making a powerful impact on the commonwealth’s music scene for a couple of years now. For a guitar-drum duo, they make strong, deep music, which connects power-pop, alternative rock, and the melody-uber-alles alt-country approach of My Morning Jacket or Band Of Horses. They show off all this and more on brand new EP Sweet Beast, which is an excellent calling-card to present to music fans of all stripes who find themselves wondering whether they should take the plunge on these local boys striving to make good. Message from us: dive in. You’ll be glad you did.

—-

Top Photo: Unmaker, by David Morton

Email me if you’ve got any tips for me about upcoming shows (that take place after the week this column covers -– this week’s column has obviously already been written): [email protected] [and yeah, there’s plenty more of my writing to read over at GayRVA — come say hey.]

Music Sponsored By Graduate Richmond

RVA Mag First Fridays Picks February 2018

|

Topics: , , , , , ,

Richmond’s arts scene started 2018 off right with a wealth of new exhibits, emerging artists, and cool showcases in January, and RVA First Fridays Artwalk continues to keep it up this month with fresh and unique events for you to check out. Here are some of our top picks from the city’s February First Friday happenings:

Artspace
Megan Mattax’s “pər’peCHə, wāt’

Taking discarded books and dictionaries and then deconstructing them, soaking and burning them, and following that up by encasing them in an amber-like epoxy-resin, Richmond artist Megan Mattax aims to repurpose knowledge in a new medium in her new exhibit at Artspace,  “pər’peCHə, wāt. Over 200 books and two dictionaries are used in her mixed-media exhibit, and Mattax said preserving and giving new life to an often forgotten medium in our ever-changing digital world is something that she strived to do with her latest work.

“It’s the idea of preserving something of value to me, of value to society in general, but preserving in a way that is no longer functional,” she told RVA Mag in a recent interview. Her exhibit will run until Feb. 18. Artspace also several other artists displaying their artwork for First Fridays which you can check out here.

Gallery Edit
Hidden

No automatic alt text available.

Five artists have come together to showcase work at Gallery Edit for an exhibit called “Hidden,” where they will explore formation and identity. The artists collaborating in the show, which opens today, are Rachel Land, Skye Young, Farley Sanderford, Jennifer Chetelat, and Katherine Pumphrey, artist-in-residence at Gallery Edit. 8 E. Broad St.

Candela Books & Gallery
 Science As Muse

You still have until Feb. 17 to catch Candela Books & Gallery’s “Science As Muse” exhibit. Eight Richmond artists are featured in this expansive and amazing photography exhibit who have incorporated an unlikely theme in today’s art world into their work.

Walter Chappell, Caleb Charland, Rose-Lynn Fisher, Pam Fox, Daniel Kariko, Michael Rauner, Robert Shults, and Susan Worsham are featured in the show with a total of 45 pieces of work that showcase how each of them interprets science and use it as inspiration in their artwork. You can check out our in-depth interviews with the curator and two of the featured artists, Fox and Worsham, here. 214 W. Broad St.

Gallery5
“We Are Here/Here We Are (In Space)”

Sculpture, photography, mixed media collages, and more will be on display at a new exhibit centering around the theme of space at Gallery5 tonight. Jeremiah Shriver, Brandon Hurtado, Kevin Johnson, along with other artists present their work in “We Are Here/ Here We Are (In Space)” which explores the meaning of the word in both a physical and metaphorical way. Whether its outer space, the space between musical notes, or the space between birth and death, all are elements that Gallery5 featured artists will present and examine in their works in one way or another. In addition to the exhibit, the art gallery is throwing down with live music by RAIC, Ceremonial Scissors
Book of Wyrms, Harry Partch Appreciation Society, and Thing2. Alexa Buchin will also a have a table of her prints, drawings, and paintings. 7 PM- 12 AM. Free. The exhibit will run through the end of February.

No automatic alt text available.

Gallery5 Endeavor RVA
Ltd.-A Print-Based Exhibition

It’s been a bit since we’ve seen something from the gallery, but Endeavor RVA is back in the First Fridays action tonight with a new exhibit, Ltd., with work from 16 artists and music from four musicians. From lazer cutting to inkjet to screen printing and stencils, each piece has gone through some sort of physical crafting process. Endeavor RVA artists Wingchow and Ian Hess will be showing work, definitely check out their Instagrams if you haven’t, the two of them have some very different and captivating work.

No automatic alt text available.

Along with them, you have the awesome Chase Beasley of Crud City. RVA Mag interviewed the slap tag or “sticker bombing” artist back in 2015 after seeing his PBR logo scattered all over the city. Crud City creates stickers, patches, prints, paintings, and more. You can check out his latest work here.

img_0648.png

Well-known Richmond muralist Nils Westergard and local vibrant-colored pottery maker Niki Buckley Crosby of Happy Clay will also be among the 16 artists displaying work. Check out our chat with her about her artwork here. Anthony Brazeau, Jeremy Neighbors, Shiv, and The Mark of Buddha will be spinning the tunes for the evening. 6 PM-10:30 PM.

RVA WRIR’s 13th Anniversary Party
The Renaissance Ballroom 

To celebrate 13 years of delivering some of the best local music and programming, independent radio station WRIR is throwing down with a huge anniversary party tonight featuring 10 bands, sets by local comedians, DJs and more.SLEEPWALKERS, FACESHIP, Secret Bonus Level, Piranha Rama, Angelina Garcia + Kenneka Cook, Zgomot, as well as an RVA Comedy Showcase from Sweetheart Comedy, along with The Sauerkrauts, and Gumming will also be performing and two DJs Stunted Development and Maya from WRIR will also be in the building.

In addition to the bands, there will be a photo booth and raffle. $15 gets you in the door for the fundraiser. Check out our interview with Shannon Cleary about the event over here. 107 W. Broad St. 7 PM.

Virginia Museum of Fine Arts
Hot Sauce 

Image may contain: 1 person, sitting and indoor

Marc Cheatham and Gigi Broadway of local hip hop blog The Cheats Movement will bring ” RVA Hot Sauce” to the Virginia Museum of Fine Arts tonight. Hip Hop Henry, DJ Mentos, Dolomic, and NameBrand will be spinning jams, and there will also be a live performance by Z-Bey the Poet of Community 50/50, and two hip-hop cyphers, one of which will be brought to you by RVA Lyricist Lounge.

Hot Sauce first premiered in 2011 as an event series that showcased a wide range of art styles from spoken word, to improv, comedy, and hip hop. The event also introduces the community to Richmond-area non-profits who are working to better the underserved communities in the city. 6 PM-8:30 PM.

 Vagabond
Conservation Music’s Dark and Stormy Benefit

Image may contain: 2 people, text

This event at Vagabond isn’t until Saturday, but it’s for a great cause and features a killer lineup so we wanted to include it anyway so you didn’t miss out. Conservation Music, a non-profit organization that produces and promote musical media that educates listeners and viewers in conservation and sustainability, with an emphasis on rural developing communities, has partnered with the downtown music venue and restaurant to throw a music benefit with performances by Calvin Presents, Kenneka Cook, Lovely Losers, and Steven Boone.

Boone, a local singer/songwriter who dropped his debut album Soullow back in spring 2017, has been making moves in the Richmond music scene for a long time, and paired with the soulful funky sounds from singer Kenneka Cook, whose debut album Moonchild is due out in a few weeks, is all the more reason to head to the benefit.

Every Dark and Stormy cocktail served that night will benefit the Conservation Music and for an additional $5 at the event, guests can get enjoy a snack buffet. Tickets are $11.42 in advance, which can be found here, and $12 at the door. All proceeds go to helping fund Conservation Music’s efforts.

These are just a handful of the plethora of exhibits, art events, and performances going on around town this weekend. You can get the full rundown on RVA First Fridays here.

Top Image: DJ Dolomic