Category: Entertainment

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Arts Community Community Development Entertainment Politics Sarad Davenport

Killer Mike Wins at the Grammys: A Social Commentary on the Legitimacy of the World Order

Los Angeles, CA - February 04: Winner Killer Mike, winner of the "Best Rap Album" award for "Michael", "Best Rap Performance" award for "Scientists & Engineers", and " Best Rap Song" award for "Scientists & Engineers," with trophy, at the 66th Grammy Awards held at the Crypto.com Arena in Los Angeles, CA, Sunday, Feb. 4, 2024. (Jason Armond / Los Angeles Times via Getty Images)

by S. Davenport | Photo by By Jason Armond

Back in February, Hip Hop artist Micheal Render, known as Killer Mike, a 48-year-old Atlanta rapper — shocked the music world by taking home 3 Grammy Awards. In what he loudly proclaimed was a ‘clean sweep’ by the city of Atlanta, he won the awards for Best Rap performance, Best Rap Song, and Best Rap Album of the year—a coveted and hard to come by trifecta. The album entitled Michael, explores the ethical minefields of growing up as a Black male in Atlanta Georgia while simultaneously inviting listeners into the inner sanctum of what it means to survive as a Black man in America. It is a homiletical discourse and social commentary in an uncertain time where people are trying to make sense of what appears to be an unraveling social order.

One of the signature songs on the album is entitled ‘Scientists and Engineers’ and employs the assistance of sometimes eclectic and esoteric artist Andre 3000 of Outkast and force of nature and new age hip hop artist Future. Anyone that knows anything about Outkast and the Dungeon Family, you will know that the constant motif of outer space and aliens is deployed and the so called ATLiens fully embraced this theme in ‘Scientists and Engineers.’ From the robotic, futuristic and cosmic sounds that are infused into the intro or the autotune effect deployed in Future’s voice, the listener is elevated into a cosmic reality. 

As the listener is driven into space, we are challenged with constant polarities of what is ethical and unethical behavior throughout. There exists this tension in the song where observations are being made that inevitably inform future action. Specifically, in Killer Mike’s verse, there is a stanza where he states, “You can lie, cheat, and steal in America, and still be celebrated like Capitan America.” I was arrested when I heard this line because the social commentary here is that there is no moral high ground—no reward for compliance with a system that is illegitimate. It is to say that there is no consequence for corrupt character, and that in America, corrupt character is something that can, in fact, propel you to the echelons of society.

This article is not about Hip Hop music or the Grammy Awards, but what it is about is an undercurrent conversation that is happening. I believe that this conversation is happening both domestically and abroad where we are collectively wrestling with the question of whether or not America is, in fact, a nation of laws. 

Last April, I was invited to a lecture at the University of Virginia Law School from Georgetown professor Kristin Henning. Henning’s talk was based on her book entitled The Rage of Innocence: How America Criminalizes Black Youth. In the book, Kristin challenges America’s often ‘irrational’ concerns about young people based on her experience representing youth in the juvenile court system in Washington, D.C. During her talk, she mentioned the concept of the illegitimacy of the world order. Conceptually what this means is that our institutions that are charged with administering justice and being the arbiters of what is fair are in such disrepair that these institutions may have permanently lost the public trust—especially amongst Black people and those further marginalized by those systems and institutions. 

There are those who are making the observation as Killer Mike did that, “You can lie, cheat, and steal in America, and still be celebrated like Capitan America.” And the consequence of internalizing this draws the conclusion that the rule of law is a farce. Money, power, and prestige have their proverbial thumbs on the scales of justice. The consequence of this calculation is a belief amongst many, especially those without money, power, and/or prestige that the order is illegitimate and there is no true ethical framework to adhere to—and there is no benefit to doing what is considered lawful or right. 

To further prove that this conversation is happening, while I attended the Collaborative Journalism Summit last summer at George Washington University,  Kevin Hall, editor of the Organized Crime and Corruption Reporting Project said this, “People think it is crazy when I say it, that corruption is legal in the United States… And I don’t mean this in some sort of radical way. It’s just a matter of fact, a lot of things that would be treated as subversive or non-transparent in the rest of the world is legal here in the United States.” The deeper implication that Hall is saying here is that for some, the rules simply just do not apply. 

The long-term implications of this is that if the rules only apply to some of us, then inevitably, they will apply to none of us. 

This idea that the world order is illegitimate must have a counter balance and can only be of course corrected by those who operate from a higher ordered ethical framework. The beauty in all that could be terrible of America is its ability to reinterpret itself and course correct. We saw those types of course corrections led philosophically by the likes of Fannie Lou Hammer and others who pushed America to reinterpret itself and restructure the execution of its idealism to make it more and more legitimate. What makes America truly powerful is this constant course correction and pursuit of the ideal that it is self-evident that all men [people] are created equal and that we more fully embrace this self-evident truth in each iteration.

Both home and abroad, there are consequences for not ethically course correcting. We see our global ideological and economic competitors offering the world what is being sold as a more legitimate order. If we are not actively in pursuit of a more perfect approach, then there are those who are positioning themselves as alternative partners, especially abroad.  Their premise is that America does not have a framework for peace, stability, and development but only for chaos, instability and destruction. Killer Mike’s social commentary supports this idea when he states in the next stanza, “F— it, I’m wit it. Let’s get it,” meaning that if there is no desire by the order to course correct and have a more ethical framework, then it is logical to pursue chaos, instability, and destruction as a means to power, money, and prestige as if—it is the American way.

Sometimes I wonder if we are too far gone and that some form of dystopian reality is inevitable. I am also of the belief that if we continuously project dystopia, then that is what we will inevitably have. However, in my more optimistic moments, I believe that it is important that we ideate on a more optimal and legitimate reality—a framework for humanity that is a more flexible container that can hold us all in spite of our differences. This will require us to activate a higher order of being that brings forth light to counterbalance the orchestrators and forces of darkness. Ironically, Killer Mike’s album cover depicts a younger ‘Michael’, as the album is titled, crowned with both an angel’s halo and and also the devil’s horns, so as to imply what Martin Luther King once said, “There is some good in the worst of us and some evil in the best of us.” It is to say that it is possible for us to descend into the darkest of our capabilities as humans, but it is also possible for us to rise out of that darkness and restore balance and legitimacy, collectively building a vessel that can hold us all. 

 

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Community Community Development Entertainment Food and Drink Nadirah Muhammad Style Travel

Inclusivity Uncorked at Daze of Rosé

by Nadirah Muhammad 

With a wildly successful inaugural year already under its belt, this year’s Daze of Rosé Festival set its sights on a familiar goal: to continue being an annual celebration of Virginia Rosé that promotes inclusivity, art, and freedom of expression by gathering wine lovers together in a beautiful location.

The brains behind the operation, Matt Harmon, owner of Harmony Wine, a black-owned business focused on making wine accessible and approachable for all, reminds festival goers that, “However you drink, drink in Harmony.” With this mission in mind and a goal to increase inclusivity in the wine industry, this festival is a culmination of both Harmon’s work and his passion to ensure people from all walks of life can enjoy their right to “rosé all day.”

One step onto the Castle Hill Cider grounds on festival day and it is abundantly clear that Harmon’s vision has come to fruition. Tablescapes sprawling with abundant florals, dozens of local purveyors and diverse vendors, and various educational wine sessions are just a few of the highlights from the Daze of Rosé event. The main event? Getting to taste over 20 local wineries and vote in the People’s Choice Rosé Wine Competition, which perfectly embodies Harmon’s wish to make wine accessible to all and representative of the community, many of whom have traditionally felt excluded by the wine industry.

This festival is more than just an afternoon of wine and sunshine, but rather permission to appreciate the leisure and luxury of a space that often Black and Brown people have not seen ourselves represented in.

This annual collaboration between Harmony Wine and Castle Hill Cider works to eliminate the traditional branding of wine culture, which convinces us that a certain amount of knowledge, access, or experience is required to enter it. Instead, it invites us to convene, collaborate, and celebrate Virginia wine.

The festival’s driving message, to dress pink and drink pink, certainly rang true that day, as droves of wine lovers and enthusiasts lined up to participate in tastings within the barn, partake in wine education events in the loft, and take to the discovery lawn to enjoy additional offerings and dance the evening away amid the foothills of Central Virginia’s Blue Ridge Mountains. 

 

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Arts Community Community Development Entertainment Niya Bates

reReflector 04: Big Lean & “Ghost of Vinegar Hill”

by Niya Bates | Photos by Lincoln Carr

Featured photo:Lincoln Carr aka “Big Lean” reflected on a truck hood.

I think we have all been a little haunted by what Lincoln Carr aka “Big Lean” calls the “Ghost of Vinegar Hill” in one of his recent singles. Piano chords open the track before the beat kicks in. In the first verse of the song, he talks about his grandma selling candy apples out of her home on Prospect Ave and other family on Grady Ave and 12th street. He laments watching the streets “swallow n*ggas like Reese’s pieces”: his observation of how Charlottesville’s drug and street culture negatively impacts us all and results in good people dying too young. In the second verse he speaks on Black youth being “trapped like the slave bones down at UVA”. The hook declares:

“Small city, small mindset. N— don’t grow up out it. Dreaming of making it out, but don’t know how to go about it. To live in the Ville, to die in the Ville. It’s almost like my town’s cursed – the Ghost of Vinegar Hill.”

By now, most Vinegar Hill Magazine readers are experts on the history of Charlottesville’s oldest Black neighborhood and the former Black business district that was razed in 1964 during Charlottesville urban renewal campaign – allegedly in the name of improving Charlottesville’s image, providing better housing, and encouraging more development downtown. Sixty years later, we are left with a large surface parking lot in front of Staples and an affordability crisis that is pushing more Black residents out of the city. Few buildings remain of the once vibrant Black neighborhood: The Jefferson School, Vinegar Hill Theater, the Oddfellows Hall (now Common House), and a few houses in the neighborhood. A majority of the businesses that flourished in Vinegar Hill, like Inge’s Grocery and the barbershops, have long since closed. The families who once owned homes in the neighborhood have been pushed into public housing developments, expensive rentals, or are struggling against increasing real estate assessments to hold onto family homes in 10th & Page, Rose Hill, and Fifeville. These are some of the ghosts in Big Lean’s song.

If you’ve been following Lincoln’ musical journey for a while, you’re probably a fan of his mellowed out beats and easy rhymes about what it was like growing up in Charlottesville in the 90s and 00s. When he first got into music professionally, I remember seeing him perform at Satellite Ballroom and the Tea Bazaar when those were the local hip-hop venues that supported artists like The Beetnix (fronted by Damani Harrison), Jae Griff (Josh Griffin), and Linz Prag. They hailed from a generation of local musicians whose families had been in the area for a while, and who came up in Charlottesville after its early 1990s moment as a rising east coast hip hop destination. My favorite hip hop professor, Claudrena Harold, told me that Charlottesville and UVA were even featured in The Source magazine in a “Rap on Campus” feature in 1991. Lincoln got into rap because his father had VHS tapes of 80’s hip hop music videos by LL Cool J, Kool Moe Dee, Kurtis Blow, and others. His sister introduced him to 90s rap and hip hop, but Lincoln didn’t officially become “Big Lean” until the death of his friend-turned-brother in 2009.

Lincoln Carr along a fence in Richmond, VA where he currently resides. 

Lincoln’s family family lineage can be traced back in Charlottesville for at least five generations. He and his older sister, Shameera, have been doing their family’s genealogy and learned that one of their great grandmothers was Amy Bowles Farrow. She owned over 220 acres of land and is considered a founder of the Free State community, which was located near the present day Dunlora and Belvedere neighborhoods. Their family still owns some of that land, which is mentioned in another track called “Playa’s Anthem.” When asked what his family’s history meant to him as an artist, Lincoln replied, “The farther I go back, the more I see that my family has always been here in Charlottesville/Albemarle area and other parts of Virginia.  It’s interesting to see, because we were taught that we all just come from Africa, but I am finding more, and more indigenous and native roots.”

Big Lean’s music, especially “Ghost of Vinegar Hill” speaks to ways that he feels like Black people in Charlottesville haven’t progressed as much as we should as a community. Some of the lyrics in songs point to changes in street code that put money and clout above loyalty and community, values he believes would help the Black Community find success beyond oppressive “ghosts” and past traumas. Lincoln hopes that his music catalogue will leave life jewels and inspirational stepping stones for his future descendants. When I asked him about legacy and the future, Lincoln had a few things in mind. On building generational wealth, he said, “learning my history and knowing that we owned land and were self-sufficient at one point, and then losing that as a family, has inspired me to bring that back to my bloodline and teach how to keep it.” He thinks young people in Charlottesville need more creative outlets and more support for the arts, especially Black-owned live music venues, engineering and technical training, financial literacy, and therapy. He says, “We suppress our traumas, which leak into the community.” In his songs he addresses racial profiling and policing of Black communities. He also believes that the community needs to do more to prevent youth from coming into contact with the police. Over and over, he stressed the importance of community and working toward being more self-sufficient.

Lincoln Carr aka “Big Lean” 

If his previous musical projects have addressed the ghosts that haunt us, the next complete project “Keep It Playa” is more reflective of the healing journey that Lincoln has been on personally. “I’ve been creating music for 14+ years now, so I’m really comfortable and confident with myself and my music.  Not that I haven’t always been, but I’m past the point of feeling like I have something to prove lyrically.  You can hear this in my relaxed flow on this current project.  Add some heartbreak, and loses, and you have this current project.” Lincoln’s story shows how we can all use family history as a source of pride and empowerment. This March, we celebrate the women like Amy Bowles Farrow, who left a legacy that continues to build and whose descendants are carrying the torch.

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Authors Community Community Development Education Entertainment Sonia Montalvo VA Festival of the Book

Diverse Voices and Literary Exploration Flourish at Virginia Festival of the Book

by Sonia Montalvo | Photos by Eze Amos

Virginia Festival of the Book serves as a cherished institution and vibrant creative hub, bringing authors and readers together to embrace the wonderful world of books. In late spring 20,000 plus literacy lovers convene in Charlottesville Virginia to revel in some of the biggest books of the year. This year’s Festival kicked off with a diverse array of events sprawled throughout the Charlottesville and Albemarle area. One such event is Soul In Celebration, a Black Women Centered gathering featuring decorated poets Cynthia Manick, January Gill O’Neil, and Amy Alvarez.

Photo of January Gill O’Neil reading excerpts of her book, Glitter Road

Soul In Celebration offered a deeper look into each of the poet’s new books as well as the lived experiences that helped to shape some of their pieces. While a common thread amongst the writers seemed to be Black Womanhood and place; O’Neil expressed during the panel, “Place is almost as important as anything else. It’s almost another character in the story…”  A Virginia native herself, January Gill O’Neil uses her time in Mississippi during a writing residency as the set for her poetry book Glitter Road.

All three authors and their literary works offer several different approaches and styles to the aforementioned themes, showing that Black is certainly not Monolithic. Manick shared pieces from her newest book No Sweet Without Brine. Her selected pieces during her reading touched on issues of identity, her love of family, and even taboo topics like the struggles of gynecologic visits for her as a Black woman by weaving together her personal narratives using rich and relatable language.

Photo of Amy Alvarez reading excerpts of her book, Makeshift Altar

Amy Alvarez’ debut book Makeshift Altar lends itself as telescope of sorts into the world of the Afro-Caribbean writer, born to Jamaican and Puerto Rican parents, the idea of intersectionality is explored with profound depth and insight revealing the nuanced layers of identity, culture, and heritage.

All three poets were able to share their unique voices with the festival audience before sitting down to discuss their lives as writers during the panel discussion. Also serving as the moderator for the Soul In Celebration event, Alvarez posed questions to the trio as a whole. When asked how they embody joy and pain into their writing, Cynthia Manick expressed, “When I think of the Black body right, we go through these phases of childhood where everything is full of wonder and then at some point you get told ‘you’re a girl, so…’ As you get older you think “well how can I be myself in all these spaces?” She goes on to say, “It’s learned actually, you’re doctrined to not be all of you, you’re doctrined to be as small as possible to fit into this slot, and we have to learn to be all of ourselves in all of our bodies in where we go. Poetry is a way to sort of reveal that and also get by it.”

Photo of Cynthia Manick reading excerpts of her book, No Sweet Without Brine

When asked by an audience member “How do you do it, where do the poems come from?” Alvarez stated, “Everyone has an interesting way of processing the world, we all have our own thing to process what’s happening. My spouse who is here, is a musician and processes the world through music. When I have an experience, I process the world through words…so whether it is joy, or pain, or rapture, it ends up kind of coming to me in a series of words.” She states that there are times when she has no idea where the poems come from. Using her poem about Breonna Taylor titled Lighting Candles on my Stoop/watching the wind snuff them out, as an example she expressed, “It came to me fully formed which is a very rare thing that ever happens for me.” Alvarez went on to share, “That’s kind of where it begins, it’s life. You live, you experience, and then how do you process as an artist?”

Virginia Festival of the Book will end on Sunday, March 24th, 2024. To find out more about the Authors and the schedule of events, please visit vabook.org

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Community Community Development Entertainment

Indie Short Film Festival Rolls In

by STAFF WRITER | Photo from film Essex Girls

The Indie Short Film Festival is rolling into Charlottesville this coming weekend, March 22nd to 24th. It’s like a big upgrade from your usual movie night, with tons of cool short films to watch. More than 70 short films, crafted by filmmakers from diverse locations, will be screened at various downtown venues including Violet Crown, Vinegar Hill Theatre, Common House, Vault Virginia, and the Bradbury. Catching multiple screenings is incredibly convenient with these central locations!

This festival is more than just watching films. You’ll get to meet the people who made the films! They’ll be there to chat about their work, what inspired them, and the challenges of making movies on their own. There are all kinds of stories to see, from films that were shown at the famous Sundance Film Festival to hidden gems you won’t find anywhere else. No matter what kind of movies you like, there’s something for you.. Festival creator Ty Cooper expresses, “Art is a diverse mechanism to express subcultures in a way to allow one to virtually share who they are. The Indie Short Film Festival provides the filmmaker with the vehicle to take it to the people.”

Some highly skilled filmmakers are slated to appear at the festival in Charlottesville. Attendees will have the chance to interact with Emmy award-winning directors and writers through panel discussions, possibly gaining insights into their craft. The festival caters to all, regardless of expertise in cinema. Exciting features include script readings, offering a glimpse into the process of bringing a screenplay to fruition, as well as movie discussions facilitating conversation among attendees. The weekend commences with a lively party featuring a DJ and a Cellist, setting a vibrant tone for the festivities.

Here’s how to be part of the Indie Short Film Festival:

  • Get Tickets: There are different ticket options – you can see everything with an All-Access Pass, catch all the movies with a Movie Buff Pass, or just pick a few films with individual tickets. Grab yours online at http://www.IndieshortFilmFestival.com.
  • Panels & Readings: These are free and open to everyone (people with passes get first dibs on seats).

Stay in the Loop:

Don’t miss out on this awesome chance to explore the world of independent film! Join us for the first-ever Indie Short Film Festival and celebrate storytelling right here in Charlottesville!

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Community Community Development Entertainment Food and Drink Michaela Franklin Travel

Discovering the Allure of Bamboo Zanzibar

 

Headed out of the country soon ? Looking for a perfect place to stay? Well, continue reading, because as always, I got you

Back in August, I had the pleasure of a lovely trip to Zanzibar, Tanzania, for my birthday this year. Zanzibar, with its beautiful people and out-of-this-world beaches, is memorable. However, one of my favorite parts of the trip was our stay at Bamboo Zanzibar Design Hotel. Bamboo Zanzibar is a hidden (not hidden) gem. Tucked on the southernmost part of Zanzibar Island, it’s a bit of a trip but WELL worth it.”

Our day started with a pickup from the airport. After a two-hour drive on lovely, winding (and very bumpy) roads, with schoolchildren peeking out of local markets and mothers walking the red clay roads with baskets on their heads, swaddling happy babies on their backs, we pulled up to a nondescript location. We initially passed it because the sign wasn’t exactly visible. However, once the door opened, it was like the pearly gates were in front of us!

First, let’s delve into the aesthetic and vibe. The interior design team for Bamboo DID THAT. I have to say, having stayed at several hotels in my life, this is easily one of the top five most beautiful places I have ever had the pleasure of being in. Upon entering, you are greeted with a large, geometric amphitheater-style area that houses the main restaurant on the premises. As you walk up the stairs, a panoramic view of the Indian Ocean welcomes you—it is quite literally breathtaking.

Another impressive aspect of Bamboo Design Hotel is its dedication to being eco-friendly. Usually, when people hear ‘eco-friendly,’ they immediately think of reusable and scarce items. However, you can see that everything, from the shower and water systems to the usage of solar power throughout the grounds, was carefully curated with no compromise on design. The property features three main infinity pools, a dedicated area for a lovely barbecue, and the beach is just a staircase away.”

ACCOMODATION

Okay the good stuff: “Thee” Villa! MY GAWDDDDD. It was everything I imagined. We stayed in the Ocean View Suite with a private pool which comes up to $400 per night including breakfast. The villa is massive, close to one thousand square feet. The space is composed of two different sections. The first being the bedroom/bathroom/dining area which also connects directly to the pool. Perfect for a nice morning dip or a lovely breakfast in bed overlooking the views. The second section is the living room and entertainment area, which also opens into the terrace and yard area. The villa is accented with bamboo furnishings, and local Tanzanian art. One of my favorite aspects of traveling is immersive experiences. For this trip in particular I really wanted to stay in a more localized place.

FOOD

Let’s get into the food because this was also a highlight. The food was also well priced with the average meal costing under $20. The food was plated beautifully and frankly, there is SO much food that you won’t be able to eat it all. Also, the food was fresh. Zanzibarian tea, masala, and freshly squeezed juices accented every meal. Highlights included the fresh seafood from the grill. Now if you know anything about me, I am a proper tidewater girl. Chesapeake Virginia born and bred. Seafood is not only my thing, but also a way of life! Let me say I am also a huge stickler for properly cleaning shrimp and crab, so the fact that the seafood was fresh and clean stood out as a plus.

Highly recommended foods to try:

  1. Prawn popcorn
  2. Bamboo deluxe
  3. Spicy chicken bao buns
  4. Grilled octopus w/ ugali

 

Now for my fellow libation fans, the drinks were another highlight during our stay at Bamboo Zanzibar. There was a large variety of specialty cocktails, and most of them were pretty cheap with costs averaging about $3-5 dollars. I recommend the bellinis and mimosas, as they are both made with specific local ingredients.

ACTIVITIES

 Listen, this was a ‘bae-cation,’ okay? The villa had food, a bomb pool, and a view directly in front of the ocean. Why would we leave? There are paddling, kayaking, fishing, and, of course, swimming available.

If you are looking for a hotel that has a list of activities on the premises, Bamboo is not that place. This is actually their strength because the hotel is created for you to never want to leave. We had the best intentions of participating in some scheduled offsite activities, but after the first day there we made a quick change and decided to stay on site. We did, however, partake in some spa time at the Bamboo Elements Spa. We chose a few different treatments—stone massage and head massage. The focus at the spa is very Ayurvedic-based, so before we were taken into the spa, we were treated to a pleasant foot bath and sound bath. This was nice, considering we rushed to the appointment, so our adrenaline was a bit high. The bath immediately relaxed us. Then we were brought into the room for our 90-minute massages.

CUSTOMER SERVICE

Customer service at the hotel deserves a huge shout out. Every guest has their own personalized butler as well as suite WhatsApp group chat, where the team directly speaks to your room and is on hand 24/7 for all of your needs. The team is composed local citizens hailing from Tanzania and Kenya. My suggestion is to take time to get to know the hotel team. The atmosphere is extremely relaxing, so you easily get into quite lovely conversations with people. For my actual birthday, I had treats and cakes delivered all day. The cake was a chocolate and vanilla slice of HEAVEN.

So, when it comes to Zanzibar, its northeast ‘cousins’ Nungwi and Kendwa get a lot of the fanfare, and we did stay there for the second half of our trip. I would highly recommend the Jambiani and Paje beach areas, which are located in the southeastern part of the island. The vibe is tranquil. Nungwi is where the party is, but there were some local clubs in Jambiani as well. We checked out a fun reggae club, called Red Room, which had the beach as the main dance floor. The club was open most of the night and was 5 min drive from Bamboo Zanzibar.

 

Overall, the stay was lovely, and I cannot wait to go back!

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Arts Community Community Development Entertainment

Grammy Winner Tasha Cobbs Leonard and Melvin Crispell III Unite for Black History Month Gospel Concert

 

UVA’s Division for Diversity, Equity, and Inclusion (DEI) is set to bring the critically acclaimed “Gospel sensation” Tasha Cobbs Leonard to the Charlottesville area. On February 16th, the Grammy Award-winning artist will headline the University’s Annual Black History Month Gospel Concert.

Tasha Cobbs Leonard, recognized by Forbes as “the most successful contemporary gospel artists of our time,” has carved her name in the musical world. Known for her chart-topping singles like “Break Every Chain” and “You Know My Name,” the artist’s 11-year career boasts a surplus of inspiring and motivating songs that her listeners gravitate to. The gospel singer has worked with the likes of artists from several music genres including heavy hitter gospel artists like Kierra Sheard and Tye Tribbet, to the likes of Common and Nicki Minaj.

The much-anticipated Black History Month concert is scheduled to take place at the historic Paramount Theatre in Charlottesville. The ticketed free concert is already a sold-out event shortly after its Mid-January announcement. In past years for the concert, the university has brought the likes of artists like Anthony Brown, and Jonathan McReynolds, among others,

Adding to the musical magic, Tasha Cobbs Leonard will be sharing the stage with Dove and Stellar Award Nominee, Melvin Crispell III. Widely recognized for his musical prowess, Crispell made a significant impact with his debut album, “I’ve Got a Testimony,” in 2020, followed by his equally compelling second release, “No Failure,” in 2023. His soulful and dynamic performances have garnered acclaim, and their combined artistry promises an unforgettable evening and profound celebration of musical excellence that will resonate with the audience.

Tasha Cobbs Leonard’s career transcends music. While widely known as this powerhouse singer, Leonard also dons the hat of Author with her 2014 release of “Worship 101,” and the upcoming 2024 release of Do It Anyway: Don’t Give Up Before It Gets Good. She also works as an actress, entrepreneur, and Co- Pastor alongside her husband Kenneth Leonard Jr. at their South Carolina church.

This event will not only celebrate the rich cultural heritage of the African American community here in Charlottesville, but also serves as a testament to the UVA Division of DEI’s commitment to fostering diversity, inclusion, and the appreciation of various artistic expressions. Charlottesville fans are ready to experience the magic of Tasha Cobbs Leonard and Melvin Crispell III in a concert that goes beyond entertainment, embracing the spirit of unity and celebration during this Black History Month. For more information, please visit theparamount.net.

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Community Community Development Entertainment

The Early Music Access Project is proud to present AMASS

James Dargan

Charlottesville, VA – The Early Music Access Project is proud to present AMASS: A New Mass for Old Instruments on Sunday, March 10, 2024, at 7:30pm at Christ Episcopal Church in Charlottesville. This world premiere performance features composer James Dargan, along with vocal soloists Brianna Robinson and Patrick Dailey, accompanied by strings and organ.

AMASS is a unique composition that combines the spirituals of the Black churches with the Latin mass tradition, using compositional techniques from the medieval, Renaissance, and baroque periods. The work also includes selected pieces by Bach and Buxtehude to punctuate key moments of the Mass.

James Dargan, the composer of AMASS, is a multi-talented artist who has completed bachelor’s degrees in Literature, Religion, and Musicology. He has sung and acted in various choirs and stage productions, and his compositions have been commissioned by several organizations. Dargan’s goal with AMASS is to create a musical experience that blends different styles and periods, showcasing the beauty and power of old instruments.

Joining Dargan on stage are vocal soloists Brianna Robinson and Patrick Dailey. Robinson, a finalist in the 2021 Benjamin Matthews Vocal Competition, has been a Jane and Steven Akin Emerging Artist with the Boston Lyric Opera. Dailey, known for his powerful countertenor voice, has performed with prestigious orchestras and opera companies across the country.

Brianna Robinson

The Early Music Access Project is dedicated to bringing early music to the Charlottesville community. The organization is grateful for the support of season sponsors, including The Virginia Commission for the Arts, the National Endowment for the Arts, The Bama Works Fund of Dave Matthews Band at the Charlottesville Area Community Foundation, The Rea Charitable Trust, and the Community Foundation of the Central Blue Ridge.

Tickets for AMASS are available online and at the door. General admission is $25, and student/economic need tickets are $10. For more information and to purchase tickets, visit www.earlymusiccville.org or contact info@earlymusiccville.org.

Patrick Dailey

Don’t miss this extraordinary musical event that combines old instruments, spirituals, and the Latin mass tradition. Experience the magic of AMASS on Sunday, March 10, 2024, at Christ Episcopal Church in Charlottesville.

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Community Community Development Entertainment

First Ever Short Film Festival Makes Charlottesville Its Home March

The INDIE short FILM FESTIVAL is set to take place in Charlottesville, Virginia from March 22-24, 2024. This festival is an expansion of the Indie short Film Series, which was launched in 2019 and gained national popularity. The festival aims to provide a platform for independent filmmakers to showcase their work and share their stories.

The festival will feature over 100 short film screenings, a screenwriting competition, table reads, panel discussions, a brunch award event, and a launch party with live performances. The programming team includes top-notch filmmakers, including Emmy award-winning documentarians, acclaimed producers and actors, and celebrated filmmakers. The goal is to continue showcasing high-quality short films, many of which have been screened at prestigious festivals such as Sundance, Toronto International Film Festival, and Tribeca.

Charlottesville was chosen as the location for the festival due to its beautiful landscape and its existing film community. The city is home to the Virginia Film Festival and the Indie Short Film Series, and has been the residence of notable figures such as Academy Award winner Sissy Spacek, author John Grisham, and musician Dave Matthews. The festival aims to provide a supportive environment for independent filmmakers to connect with a live audience and share their creative journeys through moderated panel discussions.

In addition to the film screenings, the festival will also host a screenwriting competition. The competition is open to all genres and seeks writing that captivates audiences within a limited time frame. Cash prizes and filmmaking equipment will be awarded to the top three screenwriters, and the winning scripts will be featured in table reads performed by local actors. While attendance is not mandatory for cash prizes, screenwriters must be present to receive a table read.

Tickets for the festival will go on sale in mid-January, with all-access packages, launch party tickets, and Sunday Brunch Award tickets available. Individual screening blocks will be available for purchase in mid-February. To stay updated on festival news and announcements, interested individuals can sign up on the festival’s website.

The festival schedule includes screening blocks with Q&A sessions, panel discussions, and table reads of the top three screenplays. The festival will take place at various venues in Charlottesville, including the Violet Crown Theater, Common House, Vinegar Hill Theatre, and The Vault.

Don’t miss out on this exciting opportunity to celebrate independent filmmaking and discover new talent at the INDIE short FILM FESTIVAL in Charlottesville, Virginia. INDIE short FILM FESTIVAL 

Visit www.indieshortfilmfestival.com for more information and to stay updated on festival updates.

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Community Community Development Education Entertainment History

Get Involved at Jeff School African American Heritage Center

The Jefferson School African American Heritage Center in Charlottesville, Virginia is offering numerous opportunities for individuals to get involved this year. Whether you’re interested in becoming a docent, volunteering at events, enrolling your child in a class, or becoming a greeter, there are plenty of ways to contribute.

If you’re interested in taking a class, the Eko Ise Classes are a great option. You can also volunteer at the cafe or the greeter desk to help support the center’s operations. Additionally, you can sign up to help plan Juneteenth, a significant event celebrating liberation and freedom.

In collaboration with Whole Theater, the Charlottesville Players Guild presents 24/7, a unique event where seven plays are written overnight, rehearsed all day, and performed for the audience, all within 24 hours. VIP ticket holders will receive two drink tickets and a snack.

The JSAAHC is also preparing for the next Reparations Run on March 2, 2024, which aims to raise funds for various organizations including 101.3 JAMZ, AATF, JSAAHC, NAACP, Prolyfyck, Tonsler League, and Vinegar Hill Magazine.

Don’t forget to stop by the Alumni Room Cafe, located in the same space as Pearl Island. They offer coffee and freshly baked treats to start your day off right. You can also browse their selection of books, t-shirts, and unique gifts.

To get involved, you can click on the provided links or visit the center in person from Tuesday to Friday between 1-6 pm or on Saturdays from 10 am to 1 pm. The staff will be happy to show you around and help you get started on your chosen involvement.

This year is the perfect opportunity to make a difference and be a part of the Jefferson School African American Heritage Center’s important work.

Visit https://jeffschoolheritagecenter.org/ for more information.

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Arts Community Development Entertainment

Oscar-Nominated Director Ava DuVernay to Attend Virginia Film Festival

The Virginia Film Festival is set to host a media availability for the Oscar-nominated director Ava DuVernay, known for her acclaimed works such as “Selma” and “The 13th”. This event will take place in advance of the U.S. premiere of her latest film, “Origin”. The event is scheduled for Friday, October 27, at 6PM at the Paramount Theater.

DuVernay’s new film, “Origin”, is a compelling exploration of the creative inspiration and process behind the writing of Isabel Wilkerson’s bestselling book “Caste: The Origins of Our Discontents”. The film reflects on the events of August 11 and 12, 2017, which were a major catalyst for Wilkerson’s writing of the book.

In addition to the premiere, DuVernay will be hosting a private screening and conversation with a group of community members who were directly affected by the tragedy depicted in the film. This intimate event is set to take place earlier on the same day.

The availability is part of the 36th Annual Virginia Film Festival, which will run from October 25-29. The festival, held in downtown Charlottesville and on the Grounds of the University of Virginia, will feature more than 100 films and special events. For more information, visit virginiafilmfestival.org.

The media event on October 27 will begin at 6PM at The Paramount Theater. Attendees will be met by the Festival publicity team outside the theater and escorted inside the Paramount to set up.

For further inquiries, please contact John Kelly of John Kelly PR at 434-987-6513.

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Business Channing Mathews Community Community Development Education Entertainment Food and Drink

Finding Space to Thrive: Black Women Who Wine

a woman seated with a wine glass
Tasha Durrett, Founder and owner of Black Women Who Wine, photo provided by Tasha Durrett

by Channing Mathews

Black Women Who Wine is a love letter to Black women and our thriving. Initially a small meet-up between sisters and a niece, the group has expanded to connect Black women to explore Virginia wineways, and offer critical social support in the aftermath of COVID-19. “My favorite parts are my efforts to try and support more sisterhood,” notes founder Tasha Durrett. “I am so interested in seeing Black women coming together and supporting each other. I think that it’s so important that we build these spaces for each other and for ourselves.”

Operating since 2019, Tasha has a passion for the visibility of Black women in wine. A communications and marketing expert by training, she was struck by the limited representation of Black women as regular patrons of Virginia wineries, “When I came back here, I started going to wineries I liked on social media, but I found myself really frustrated by the lack of attention to Black women as patrons. I knew we were there, but I didn’t see us being re-shared on Instagram, or us being included in marketing, and I really felt some type of way about that.” Tasha leverages the group as a space to challenge stereotypes about Black people in wine, noting common stereotypes that Black people don’t drink wine or can’t afford it. Thus creating Black Women Who Wine was a space to cultivate her digital advocacy, to highlight beautiful and joyful Black women in spaces that are often both white and male dominated. Hosting monthly events at different wineries across Virginia, Tasha has used Black Women Who Wine as a platform for wine education and access to the wine industry, particularly wine incubators that serve to train the next generation of winemakers. “The wine space is just as male as it is white, so there is also a real gender problem there with women in winemaking.” Tasha’s efforts to shift this inequity take shape by bringing Black women to the table for both joy and education in Virginia wine. 

a group of Black women
A group picture of Black Women Who Wine (BWWW) at one of its monthly meet-ups at Valley Road Vineyards. BWWW hosts monthly meet-ups to explore new wineries, receive wine education, and fellowship.

Black Women Who Wine focuses on three key goals through their events, namely, 1.) leveraging their spending to impact social change in the wine industry; 2.) educating members about wine; and 3.) forming sustainable partnerships with local wineries to promote diversity in both the hiring and marketing aspects of the wine space. Their most recent event, The Summer Kickoff, emphasized all three of these practices by hosting the event at Sweet Vines Farm Winery in Unionville, known as Virginia’s only Black-owned winery space. The owner, Seidah Armstrong, is an advocate for Black women to come and use the space as a point of connection and investment, and members of Black Women Who Wine have been repeat customers each year investing in the winery’s success. “Sweet Vines offers lifetime memberships for patrons who spend a certain dollar amount. Black Women Who Wine has nearly reached that goal, [as we look to be] key investors in this [Black-owned} wine and event space.”

When asked about her vision for the future of Black Women Who Wine, Tasha is focused on building out her brand while simultaneously creating investment opportunities for its members. “My ultimate vision is [that] we have ownership in something because that’s the way to have power in any space. Looking at what ownership looks like for us, ‘cause I think there is so much power in us coming together for something like that. I see wine and grape growing in [Virginia] as similar to growing any crop. It takes a while to get in there, it takes finances to get there. But there is a lot that is not being said about who controls land and how people got land, and how generational wealth plays into these spaces, in ways that Black people ultimately don’t have.” 

a table set for wine tasting
The Workshop at The Wool Factory hosted Black Women Who Wine for a private tasting earlier this year.

Tasha looks to shift this narrative with future investments, particularly pointing to the recent success of well known and well loved Black woman sommelier Lee Campbell, who is a partial owner of the new Virginia wine incubator, Commonwealth Crush Co. that seeks to invest in the next generation of winemakers. “[Lee Campbell} is a sommelier coming from New York, but she’s been involved with Virginia wine for a very long time, taking wine from Virginia into restaurants in New York. Her first wine produced through Commonwealth crush is out. So not only are we growing people here, but we are attracting people from other spaces. And she is gonna be a great asset to the Charlottesville wine community.”

Alongside Lee and other Black women making moves in the Charlottesville wine industry, Tasha pushes Black Women Who Wine to be a space that brings Black girl magic to the forefront of an industry that often renders us invisible. “We are gonna be a wine group to be reckoned with because we are gonna know our stuff,” Tasha states. She thrives on the building the success of other Black women, particularly while curating spaces that cultivate Black Girl Joy. 

Find Tasha and more Black Women Who Wine events on their website. Their next event will be a July 15, 2023 meet up at CrossKeys Winery and Marceline Vineyards. You can RSVP here to save your spot!