RVA Issue 1 2005_FULL PDF

h$5

magazine

issue one

04.15.05

respect + revenge + androids

CHRISTOPHER W. CARROL + GALLERY 5 + JESUS + HOLLY LESTER + WANNA SEE MORE?? + THE MACCARTER + THINGS YOU DIDN

DISPATCHES FROM THE CINEMA AFFAIRS DESK + ONE PERSON RALLY

FRED PINKARD + KATIE DAVIS + RYAN MCLENNAN + THE INTERNATIONAL GENTLEMAN

A QUICK REFERENCE CITY GUIDE + A CRITICʼS CRITICAL CRITIQ

& Androids

Respect

espect

Revenge

Andro

ndroids

Reven

Revenge

& Androids

& Androids

Respect

Revenge

Respect

espect

issue one april 15th, 2005

Respect to everyone creating for the right reasons.

Revenge on persons with no passion.

& Androids, for robots with human features.

my METRO photography Parker / R.Anthony Harris / Alyssa / Todd Raviotta

02 RVA / Respect, Revenge, & Androids

RVA / Respect, Revenge, & Androids 03






RVA MAGAZINE

RESPECT, REVENGE, & ANDROIDS

ISSUE ONE / YEAR ONE / APRIL 05

PUBLISHER

R. Anthony Harris

ART DIRECTOR

Parker

WRITERS

art

Parker

Justin Adler

film

Kevin Gallagher

Matt Goins

Ted Blanks

music

John Taylor

Paul Seahorse

local

M. Dulin

Justin Adly

Tess Dixon

Laura Ann

Brian Carter

DESIGNERS

R. Anthony Harris

Jason Hundley city directory

Ollie Cortum promotional

Eddie Wilson web

ILLUSTRATORS

Steve Warrick Urban Fable

Andre Shank

Judith Supine

PHOTOGRAPHERS

Kim Frost

Holly Lester

Parker

Alyssa A

Todd Raviotta

Jonathan Ebbert

Keith Browne

CONTACT

Inkwell Studio

3512 Floyd Ave. Apt. 1

Richmond, VA 23221

tony@rvamag.com

www.rvamag.com

ADVERTISING

For all local and national

advertising inquiries contact

tel: 804.349.5890

eml: advertising@rvamag.com

DISTRIBUTION

If your business or establishment

would like to carry RVA magazine

contact

tel: 804.349.5890

eml: distribution@rvamag.com

SUBMISSIONS

RVA welcomes submissions but cannot be held responsible for

unsolicited material. Please send all to submissions to

content@rvamag.com

HEADS UP. The advertising and articles appearing within this publication

reflect the opinion and attitudes of their respective authors and not

necessarily those of the publisher or editors. Reproduction in whole

or part without prior written permission from the publishers is strictly

prohibited.

RVA Magazine is published monthly and is $5.00 USD.

All material within this magazine is protected.

RVA is a registered trademark of the Inkwell Studio L.L.C.

Thank you.

RVA / CONTENTS

GALLERY

My Metro

ART

12 Pick & Choose

14 Wanna See More??

22 Interview /

Amanda & Gallery 5

24 Interview / Holly Lester

30 Critique / VCU Dance

FILM

32 Commentary 43 / Horoscopes

“Dispatches

34 Review / Horror / “Martin”

36 Commentary / DVD / “The Passion”

MUSIC

38 Interview / EyeCue

40 Hortus Self Promo

41 Contagious / Expose

LOCAL

42 Poem / Richmond

44 Commentary / “One Person Rally”

46 Informative / Knitting

48 Commentary / “Chronic Licking...”

50 Commentary / “Come, Fall in Love...”

THE FAN TO CHURCH HILL LISTINGS

54 For April / Restaurants, Richmond Indy Radio Schedule

In future issues the listing will be expanded to include:

Movie theatres, playhouses, video rental, more restaurants, yoga,

galleries, video equipment rental, Mac & PC computer repair, bike

shops, boutiques, tourist spots, bookstores, club, martial arts,

acupuncture, public libraries, tourist spots, tattoo shops, print shops,

U of R Radio, VCU Radio, massage parlors, salons & Plant Zero.

THE BACK PAGES

60 Urban Fable

62 Savage Love

ARTs

Pick & Choose

Every Month we go out on the First Friday Artwalk and pick one piece. This piece would be ours if we could afford to buy it.

For February

“Untitled”

Christopher W. Carrol

12’ tall x 18’ (?) wide

$1000


Wanna See More ??

A sneak peak of the creative work being produced throughout our city.

Possible interviews for the future??

Katie Davis / Shine / woodcut / katie@salvationgallery.com

Fred Pinckard / Untitled / watercolor, ink on paper / fred@salvationgallery.com

Ryan M. McLennan / Untitled / enamel on canvas / ryan_mclennan@hotmail.com



Judith Supine / Untitled / paper cutout / www.flickr.com/photos/judithsupine


Lauren Vincelli / Octopus / hemloxx@yahoo.com

Brien White / Saigon Buddha / oil on canvas / lycobra@hotmail.com



Kim Frost / High Art / oil on canvas / frostphotography@comcast.net

Brian Nozynski / Untitled / mrnozynski@comcast.net

Chris Milk / ukeladyooh / oil on canvas / humilk@yahoo.com


Lucas / Untitled / photography


THE BIRTH OF A GALLERY / Parker

Amanda Robinson is a woman on a mission. She wants to change how

you experience a gallery situation. She wants to expose you to new art

and music in an environment where creative minds can gather, exchange

ideas, and have fun at the same time. To begin her mission she is opening

the doors to The Virginia Fire & Police Museum / Gallery 5. This enormous

structure (formally known as Steamer Company No. 5) has been in

her family for close to a century and both her grandfather and great

grandfather served as fire fighters here. The building is the oldest standing

firehouse in the state of Virginia, built in 1849 it was one of few structures

to survive the Civil War in Richmond. It was used as both a firehouse

and 19th century police station. It still has the original horse drawn steam

engine, man drawn hose carts, police motorcycles, fire poles, jail cells,

hanging gallows, uniforms, and thousands of various antiques.

The museum part will be revived, however Amanda has decided to focus

on the arts, and reopen its doors as “Gallery 5”. Because of the buildings

19th Century architecture, design, and its traditional firehouse feel, it will

be one of the most unique gallery settings around Richmond. “I envision

this building to be an art center to showcase a different world of art, a

place with an ever changing soundtrack. I want this gallery to encompass

everything I feel so many Richmond artists are looking for. I want it to be

different, the art, the music, the whole feel. There are so many unique

and amazing artists in the Richmond area, that don’t have the right

environment to showcase their breed of work.”

Don’t expect to walk in and see generic Thomas Kinkaid types of work

or boring still life pieces. “I want the underground art of Richmond, the

risqué work people are intimidated by. I want the dirty, the witty, the ever

changing, the respected, the disrespected, the opinionated, the diverse,

the unwilling, the unintentional, and the beautiful work of Richmond.”

Being a visual artist herself and graduating from Savannah College of Art

and Design, Amanda has since won several congressional, state, and

national art competitions and has had her work exhibited in numerous

galleries and exhibitions around the D.C. area. She also had her own

successful independent clothing company called Vigilantics in which she

and a partner designed and printed all of their own merchandise. Before

taking on the Gallery 5 project, she gave the company and all of its

royalties to her business partner to focus solely on her new endeavor. “I

began to feel that the arts and my painting career held higher importance

than anything else in my life. The company was successful, however it

wasn’t my dream and I needed more. I made my mind up, jumped a plane,

came home, and decided to give Richmond and its possible opportunities

another chance. I knew one great opportunity that was impossible to fail,

the resurrection of the firehouse.”

It will be resurrected in a big way. Every First Friday, Gallery 5 will

spotlight new art, musical acts, as well as various performing art groups.

It has more than enough space for visual arts, multi-media and video

art installations, puppet house productions, and lit showcase space for

sculpture, jewelry, photography, and other small works of art. Gallery 5 will

have its own in-kitchen coffee bar and lounge. Gallery 5 would also like

to have monthly guest speakers on Saturday afternoons, art classes, and

tutoring available.

“I would like to see this as one of Richmond’s top art centers. There is

so much potential in this one building, but we will need the support of

Richmond and artist community to make its dreams a reality.”

Gallery 5 is located in Jackson Ward at 200 W. Marshall Street, directly

across the street from the Richmond Dairy Apartments, and only a

block over from the beginning of the “First Friday Art Walk.” Hours are

Tuesday -Saturday 10:00 to 4:00 except exhibition nights other times by

appointment only. vfpmgallery5@verizon.net / 804.644.0005


Soy Sauce, Sweat, and Tears / Parker / Holly Lester

To have a conversation with Holly Lester is like being in a comedy

101 class called “Holly Lester’s Guide to Life”. It’s always a learning

experience with a smile. She often brings up new perspectives on the little

things, as well as being very receptive to how you view the world.

The gears in her head are constantly turning.

She has got her hands full. Besides finishing up her BFA in Sculpture and

Extended Media at VCU, she is also a elementary grade literacy

tutor/mentor.

Though her provocative and humor tinged artwork is mainly focused on

installation, video, performance, time-based media, she has also worked

in 2D within lithographs, Giclee prints, etchings, and ink.

She has participated in the annual “Wearable Art” fashion show for three

years in a row, winning “Best in Show” in 2003 with her now “famous”

kimono made from 2000 soy sauce packets. The following year she won

best in her category with “Are You Looking At My Teddies?”- a hyper sexy

piece made from various stuffed animals. Her art will be featured in a new

book, “Lux Artillery” by Zora Von Burden.

I sat down to chat with Holly about her artwork, “Lux Artillery,” being a

creative thinker, and how she receives inspiration from working with kids.

be true for me if I was in high school today, ‘cuz my parents don’t have a

good internet connection even now, so maybe it’s the same old class envy.

Whatever. The point is that most high schoolers are cooler than me any

day of the week.

What piece got the most feedback or caused the biggest reaction?

“2 Songs That Make Me Cry”, a video where I documented my tears in

response to two Blackalicious songs, “Making Progress” and “Sleep”,

with (their) themes of liberation struggles. It has gotten a lot of feedback,

mostly good, but I was glad that some people weren’t into it. I can trust

the positive feedback more if I hear negative feedback. It validates the

positive.

Describe where your current interests lie when coming up with an idea for

a piece?

Most of the time, it’s when I’m chillin’ wit’ my homies, and someone is

talking about something that happened, that’s funny or sad or emotive

somehow, and I think, there needs to be documentation of this, or an

acknowledgement of the process that someone is going through. I’m kind

of amazed by how there are all these little life lessons that me n’ my peeps

have been going through that were never the subject of any after-school

specials but a lot of them are informed by our particular moment in the

contemporary world, too; the way that our culture has changed, so we’re

having to deal with issues now that maybe previous generations didn’t. I

get so jealous of some high school age kids now, it seems like they have

so much more than I did at their age -- that sounds like such a crotchety

old person thing to say -- what I mean is, for example, growing up with

the internet as a staple in one’s life of course, that probably still wouldn’t

Also, the love letters piece, I found an old envelope of love letters,

from lots of different old boyfriends and lovers, and scanned then into

Photoshop and made Giclee prints of them onto watercolor paper.

The letters were already artifacts to me, but I hoped to put them into a

format that would make them artifacts to others too, by following certain

gallery conventions. One of the highlights is a love sonnet one of my old

boyfriends wrote for me in Elizabethan English. It makes people laugh out

loud. A few of the letters still sincerely affect me, positively, but the bulk are

reminders of obsession, manipulation, and pathos. Some people thought

it was tacky and brutal, (it was kinda supposed to be) but I also had

people coming up to me after reading some of the letters (there is also an

interrogation of the typical ideas of love in this piece) and really relating,

thanking me that I had broken down some illusions for them.

I always worry that my work speaks more to women than it does to men,

but this piece felt like it walked the gender divide pretty well; women

see it as empowering, and guys seem to laugh at the content. I’ve been

very fortunate to feel like I’ve never had to look too hard for an audience.

Also, I’m not big on shocking people. I like a more steadily-paced regular

fucking with, people that fuck with each other tend to stay friends the


longest. Being mean is fun!! So I want my pieces to lightly fuck with people, so this weird discomfort stays

with the viewer for a while.

How did the whole book thing happen?

God bless myspace.com! At first, I honestly felt a little silly creating profiles for Myspace, and I’m still trying

to get a website together, but I figured I should put images of my work on myspace, instead of just all the

pictures I look hottest in. Plus, I had a lot of friends who kept asking to see my work, who happened to be on

myspace, so it made sense and then, lo and behold, total strangers started writing to me about my work!

Zora was one of the strangers; I think her first message was “this is really interesting stuff” and I had been

meaning to write her back, but hadn’t gotten to it yet, and because myspace is on cybertime, the next time

I checked my messages, she had written, “seriously” in the subject line, and then said that she wanted

to include me in a book she was writing about female performance artists. I had no idea that my favorite

luminaries were in on it, I was just stoked at the prospect of being in a book! Then the next message

was logistical stuff for the interview, and she said something at the end like, “I’m still waiting for Kembra’s

interview, et cetera, et cetera.”

So I wrote her back, “by Kembra, I’m assuming that you can only mean Kembra Pfahler of the Voluptuous

Horror of Karen Black?!” and proceeded gushing shamelessly. Then when she wrote me back again, she

mentioned all my other faves: Slymenstra Hymen of GWAR, Marina Abramovic, Gen from the Genitorturers,

and LYDIA freakin’ LUNCH!

What’s it like being in a book with some of your idols?

I guess I don’t officially know yet; right now, I’m only on a website with them, and that’s good enough for me.

I’m listed as Holly L., which is kind of funny. My name’s not listed on the main page, you have to look under

“Images” to find me. The main page has all the stars listed along the side, and I’m included under the “and

many more”! Ha ha! I’m just blown away that Zora liked my work, and I’ve gotten to have good dialogue with

her,. She liked the way the interview went, she called me “brilliant.” *squeal!/sigh!/blush!/flutter!*...and she’s

been so flattering every time I talk to her, anyway. It never hurts to have another positive, encouraging voice

in your life!

So I want my pieces to lightly fuck with people. - Holly


What’s the most satisfying aspect of working with 2nd graders?

I don’t know where to start my kids are ridiculously wonderful! I heard all

these horror stories from second year members about how we were going

to see signs of child abuse and neglect, and behavior problems that were

rooted in these problems, that the harsh reality might be too much for me

to handle, even though most of us haven’t had the easiest lives but when

I got to the school that first day, it was smiles and warmth and positivity all

around, at least as far as the kids were concerned. I love the bad kids. I

have a special place in my heart for the little angel lambs, too, who never

do anything wrong, ‘cuz I was a

do-gooder goody-goody two-shoes when I was little, I wasn’t prissy

though). But the bad kids are usually the class clowns and there’s way

more than one in my classroom. I actually do get annoyed at them

sometimes now, but it was such a novelty at first that I kept having to

run out to the hallway so they wouldn’t see me cracking up, and thus

reinforcing their disobedience. Also, I don’t want to crack down too hard on

them being kids and I love seeing them think for themselves, though this is

just as likely with the angel lamb kids as with the clowns. But I’ve definitely

had to revert to acting more like a traditional disciplinarian than I’d hoped.

I find myself saying and doing things I swore I never would like, “You’ll do

it because I said so!”, “It’s for your own good!”, and “Adults are talking, you

need to be quiet!”

There’s one student especially that is a beautiful artist; he still draws from

the right side of his brain, he’s one of the angel lambs, and he has these

big eyes that just stare and stare. Some of them are just so imaginative;

so that’s very inspirational. And I swear it’s different, somehow, than them

just doing “cute” things. They are definitely cute, but certain things that

happen are just fascinating! I feel like I should contexture this with certain

things in mind.

I’m not big on kids, I’m only big on my kids at the school. And only certain

ones within that group, too. I don’t want kids of my own, I’m not one of

those jackasses that thinks everything their snot nosed brat does is the

smartest, cutest, funniest thing ever. I know what it is! It’s just *surreal* as

all get-out. I end up laughing at myself a lot, laughing with the kids a lot,

and laughing at them, too. Me and Ms. Queen make fun of them, which

is supposed to be wrong and bad, but every child isn’t a prodigy but I do

believe that every child can be taught.

Everything about the elementary school environment is funny to me; it was

weird to go back to drawing posters with markers. I actually want to do a

thing where I try to “master” markers, and expose some of my best and

brightest to *gulp* critical theory and give them access to more traditional

Fine Arts materials, like oil paints, and watercolor paper, then watch where

they go with it. I know I’m not the first Fine Arts major to end up in my

position, and I know of other artists that have gone down these roads, but

I’m still madly curious to see what could happen. I also want to videotape

some of their antics, and hopefully it will end up looking like more than just


another episode of “Kids Say the Darnedest Things” or “America’s Funniest

Home Videos.”

The most satisfying aspect of working with 2nd graders? That they’re not

mine! That they go home at the end of the day! It’s not sunshine and

roses every day. There has also been some heavy shit that’s gone

down. But I feel like they teach me more than I teach them, and that

I’m gaining so much, it’s overwhelming sometimes. It’s just such

cacophony and chaos there that sometimes the part of the day I

love most is coming home to a mostly quiet apartment. I also got

so fed up dealing with pathetic, immature adults at other jobs

that it’s nice to be around people that actually are 7 years old,

instead of just acting like 7 year olds.

What projects are you currently working on or planning to

work on?

Right now I’m collaborating with my lady friend Cindy

Breckenridge on a couple of stop-motion animation

projects; one where my dirty laundry attacks me,

and something else with food. We helped Ms.

Diane Derr with one of her latest video pieces

involving tootsie pops. We have another in

mind that involves my inflatable motorcycle

Halloween costume, the Hess station on

a Saturday night, rollerskates, and hot

babes.

Then my evil plan to shit outside in

every state in our fine nation.


/ Ollie Cortum

.

)


FILM

Dispatches from the Cinema Affairs Desk / Kevin Gallagher / Todd Raviotta

There is an incredible amount of pain and shame that follows the unsuccessful attempt of a film project. A failed painting can be relegated to the back of

a portfolio with little time and energy wasted other than your own. Film, on the other hand, is not an isolationist’s art. Most films are collaborative to some

degree. You must place your trust in a handful of crafts persons to deliver your vision unto you. Cinematographers, Art Directors and Sound Engineers

must all be convinced that your picture is worth their time and creative efforts. You can do a lot of this stuff yourself but even the most hermetic

filmmaker must rely on the technician at a trusted film lab for support. You will always have wasted someone else’s effort by not completing the picture.

As a result, your inability to finish the task will not be a private wake for a creative tangent gone awry. Every lackey and hanger-on who heard about the

film will come around to inquire as to what it was that went wrong, this time, so to speak, exactly, per se... There is no kind of failure like public failure.

There is the theory that if you hype your project enough, even in the earliest stages of pre-production, your film will start gaining enough momentum that

it will take on a life of its own. The masses will flock to your brilliant story and toil to no end to raise its form out of the magical ether of the conceptual.

This is bullshit. The hardest thing is to make someone give a damn about what you are doing and just because you manage to accomplish that

magnificent feat doesn’t mean that it won’t start crashing around you. Watch “Lost in La Mancha.” It is never too late to fail.


Living in constant fear of this kind of scenario has caused me to be especially guarded with the film I am presently developing. What makes it even more

interesting is that I am going to commit a series of public articles discussing the process I am going through. I am remaining vague out of trepidation.

The more esoteric my language, the greater my fear. If I become incomprehensible you are sure to find me in some stranger’s dark closet with my fists

clutching shredded pieces of celluloid while jabbing wildly into the air, shrieking madly about the crippling effect of some mid-seventies existential road

movie by Godard.

However, going quasi-public does provide me a certain out just in case the film falls apart. These articles can become the saving grace of the situation

and their chronicling of the impending chaos will be my behind the scenes featurette for the DVD that will never be. My next posting will be from the front

lines of the shooting process and will include more detail. Or it will feature an amusing tale of how instantaneously the film came to a halt over some

obscure detail sending a year and a half of my life down the commode.

Let’s keep the expectations low.


I ’ m a l w a y s v e r y c a r e f u l with the NEEDLES. - martin

Martin

1978

director / George A. Romero

actors / John Amplas, Lincoln Maazel,

Christine Forrest, Tom Savini

R

Runtime: 94 min

DVD distributor: Anchor Bay Entertainment

a review of “ MARTIN ” by The International Gentleman

The European version of the film features music by the Italian rock band Goblin.

INT. DARK PARLOR. NIGHT

The curtains open to reveal a dark parlor. A

handsome young man, KIRCHFELD, pours

himself a scotch and water from a well stocked

bar. The parlor is cluttered with books and other

antiquities. Gargoyles peer inquisitively over the

topshelves. We see Kirchfeld adjust a diamond

studded pinky ring as the sound of a cheap

motorized wheelchair intrudes violently into the

calm of the parlor. It is MR. PICKLES, a ninety

year old man with a ceaseless wheeze in his

voice.

KIRCHFELD

Something to drink, Pickles?

Kirchfeld smirks, rubbing his hand over his

immaculate, shorn head. He gives his goatee a

soft tug and turns to face Mr. Pickles.

MR. PICKLES

That’s “Mister” to you, jackass.

And no, you know I can’t anymore.

KIRCHFELD

Right. Did you enjoy the film?

Mr. Pickles stops across from Kirchfeld, and

holds the tube from his oxygen tank tightly.

MR. PICKLES

(wheezing)

Stinks like snapper.

We see Mr. Pickles pull out a DVD copy of

George A. Romero’s Martin from beneath his

withered legs. Kirchfeld grabs the DVD from him

with a huff.

KIRCHFELD

Fool! You wouldn’t know good cinema

if it crawled up you ass and bit

your prostate. This is one of Romero’s

best films!

Kirchfeld throws his arms around wildly, like a

whirling dervish.

KIRCHFELD

(con’t)

This work is a careful and intent

character study. And, I mean,

using realism to tell a vampire story...c’mon.

We see Mr. Pickles slouched, snoring in his

wheelchair

KIRCHFELD

Pickles!

Mr. Pickles jerks himself awake.

MR. PICKLES

Vampire! Humpf, he ain’t even

got fangs.

KIRCHFELD

Yes! That’s the beauty of it!

We’re never certain. He feeds

via needles and razors. More

fodder for a behavioral science

unit than Bram Stoker.

Mr. Pickles crosses his arms. The oxygen tube

across his withered

face is stained with snot.

MR. PICKLES

(wheezing heavily)

Well, I liked the old guy.

Now, that’s a good actor.

KIRCHFELD

Tata Cuda. Played by Lincoln

Maazel. I believe it’s his only

film appearance.

MR. PICKLES

Who cares?

Kirchfeld rolls his eyes, clearly

annoyed with the old man’s

flippancy.

KIRCHFELD

Did you find that the radio

show confessional was an

insightful subtext?

Mr. Pickles looks up at Kirchfeld, confused and

wiping drool off his chin.

KIRCHFELD

You’re repulsive.

MR. PICKLES

Ahh...blow it out your-

Kirchfeld stands up abruptly and turns to face

the CAMERA.

KIRCHFELD

One for the discerning horror

fan. A creepy and atmospheric

Indie classic. Great story,

acting, and cinematography,

topped off with Romero’s

signature Realism. A must see.

We see the old man shaking his head in feeble

defiance.

MR. PICKLES

You wouldn’t know creepy from

an ice cream truck.

The camera pulls back as we see the two men

continue to argue. The curtains close.

FADE TO BLACK

Circumcise Me: “Passion of the Christ” Just Got Cut / Ted Blanks

Mel Gibson is rereleasing his “Passion of the Christ” as

“The Passion Recut” just in time for Easter this year. At first glance, this

new title connotes a longer, more expansive version of the film for those

who didn’t get enough Christ-beating the first time around. Perplexedly,

though, seven minutes have been cut from it.

If Gibson had more balls, he’d have removed all seven minutes of

flashbacks from Jesus’ pre-Passion life and made the movie straight up

gore. But, as he says, “Some of you actually said that you wish you could

have taken your Aunt Martha, Uncle Harry or your grandmother or some of

your older kids. So I listened to that and it inspired me to recut the film.” So

gone from the movie are the most brutal scenes, keeping Auntie Martha

from having a fifth heart attack halfway through the second act.

Even the ads for the film display this Gibson quote : “By softening some

of its more wrenching aspects, I hope to make my film and its message of

love available to a wider audience.” In other words: “Fuck artistic integrity

and my original intentions, I want to make even more money from this

thing!”

Okay, okay, I’ll lay off a little. There’s nothing novel or entertaining about

us from the secular world bashing this movie - It’s Jerry Falwell’s favorite,

and there’s nothing we can do about that. And I’ll be honest - I haven’t

seen it since it’s first run anyway.

Here’s what I remember about “The Passion”:

The cinematography was impressive and the filmmaking solid. Jesus

looked way whiter and hotter than he should’ve, given Mel’s assertion

that his movie was totally realistic. The music was loud and consistently

obnoxious. There was a questionable Satan figure that looked like

something out of a Marilyn Manson video. There was so much beating and

bleeding that the whole thing got sort of boring after a while. And regarding

the film’s main controversy, I thought it was no more anti-semitic than the

source material.

The overall critical opinion “The Passion” is as sharply divided as the

American public’s, as a quick search on rotten tomatoes.com turns up a

51% fresh rating. So who knows whether this movie is good or not. I didn’t

like it, but that’s not really the point I’m trying to make.

Since you are reading this a few weeks after Easter, this all may seem

less than topical. But my question is this: Are we going to have to live with

this movie taking up miles of screen space every time a Holy Week comes

along? The DVD hit stores just 6 months ago, which means a disc of the

“Recut” in 6 more, and then 6 later a new version for next Easter, and so

on.

If we are going to have ghosts of Jesus-movies past haunting us each

Easter, why not a rerelease of Scorcese’s “Last Temptation of Christ,”

which actually deals with Jesus as a human, or even “Jesus Christ

Superstar,” a movie that’s not afraid to say that if Jesus were alive in the

60’s, he’d probably be a dirty hippy. Either is better than “The Passion,”

a movie that, for all its controversy, doesn’t say anything particularly

controversial. Sure, Christ suffered, but not so we could re-live that

suffering through a depressing and cruel film that tells us nothing about

what all that suffering was for.


The Passion Recut

2005 Newmarket / Icon

120 minutes

MUSIC

A Sit Down w/ EYECUE aka Drew Snyder / John Taylor

I was first introduced to Drew amidst the throngs of dancing people you’ll

find in Godfrey’s on the 1 st and 3 rd Friday of every month. His skills at

keeping the turntables spinning and keeping the people dancing have

turned a bar better known for it’s “Tranny Brunch,” into a pretty happening

dance club. Here’s some excerpts of a recent chat we had.

JT How long have you been doing the Godfrey’s thing?

D I took it over, these guys Ross and Christopher used to do it, and they

moved to LA. I was working at the record store and had filled in for them

a couple of times, and that was a little over 2 years ago. When I took it

over there wasn’t really a lot of people showing up for it anymore, they had

turned it into a weekly thing, which was kinda overkill, so we took it back

to a bi-weekly thing just because of the amount of events. A weekly thing

here, unless it’s almost completely free, it’s hard to get enough interest

built up. There are too many other things going on too, with bands and

whatnot.

JT There seems to always be a crowd.

D Yeah, we always get a decent crowd. There have been some nights

where we’ve gotten over 250 people and there’s been a line out front.

Which is cool, I like it, but people will start leaving because it’s too

crowded. No one can dance, so it’s almost ridiculous.

JT How do you choose the music that you play?

D It’s weird; I try to mix everything up a little bit. It’s kinda a little that

everybody can get into, and maybe I can turn someone on to something

new, which is what I’m really into. But you always have people at the

shows that want to hear something else. A lot of people will show up just

wanting to hear 80s, a lot of people will show up just wanting to hear hip

hop. There’s a lot of cool new things going on, electro stuff, new rock.

There’s stuff that I can play in DC that people will go nuts over but here


it gets a mute response; followed by someone asking me to play an 80s

song or Britney Spears. That’s cool, people like to dance to it but I don’t

like to play that stuff all night. I’ll play new stuff and old stuff just to try to

keep everybody dancing.

JT How do you prepare for a show?

D Planning, a lot of planning. I try and bring enough of the records people

are going to ask for, but I throw in standards I guess, records that I know

everyone will dance to. I try to keep the energy up, working in slower

songs requests during a set of upbeat songs is tough. I hope people will

like it, but there are always people who want to hear what they want to

hear, not very open to new music I guess.

JT What are the other gigs that you have done on a regular / semi- regular

basis?

D Me and Marty Key used to do punk night at Nancy Raygun, show up

and play our punk records, and every now and again I’d do random stuff

with him at Ipanema.Then, for about a year I did “Electro-Tease” up in DC

until they stopped doing that. Now it’s just odds and ends and Godfrey’s

and that’s pretty much all.

JT You ever catch other DJ’s?

D I’m pretty busy usually, I don’t get out much. Other than Cam from

Hit/Play and his radio show, and the Chris Bopst show. I catch the

Richmatic shows every now and again. That’s a really cool night but most

of the DJ’s that I know really well from here have moved either to NY or

LA.

JT Do you see the Richmond DJ scene expanding or contracting?

D I think expanding. With Richmatic, Slow Education

Dance Parties, Hyperlink had a night. Not as much as other cities, but

I think that it is getting bigger. I think a lot more people will get into it as

more and more genre lines blur. Take the Rapture for example, they are

a rock band playing dance music, and it works. That will lead to a place

where people will be a lot more accepting of electronic music. And even

your electronic acts are using a lot more instruments. Output Records,

DFA Records, people who wouldn’t listen to that stuff before are finding

themselves listening to it a lot. It’s becoming more acceptable to the

masses.

JT As a record store employee, how much vinyl do you sell, and what do

you see people going after now in new vinyl.

D People are buying more vinyl now than when I started working in the

store 10 years ago. More major labels are now putting out more vinyl

which is weird because vinyl is not really a money making format. It costs

the most to manufacture and it offers the least profit margin to the

label. CD’s cost pennies to make, it costs very little to offer a song to

download. So it says a lot that the record industry has started putting out

more. It’s all over the board. People are going after everything from hiphop

to electronica, just regular rock, punk, soul people are buying all sorts

of stuff. But I think people get off on finding obscure stuff or new stuff.

Looking for samples and whatnot.

JT What do you do when you’re not playing?

D It’s sad to say, but I usually end up in a bar or going to another city to

see a band or DJ. I don’t know what transpired, but I used to go to a lot

more house parties in Richmond either with a DJ or a band like every

other weekend. It doesn’t happen much anymore.


written & illustrated by Paul Seahorse of Hortus


Contagious

Expose

Spreadbycontact Records

A 12 track downtempo electronic hybrid filled

with orginal tracks written by Lana Gentry and

recorded at Deadbeat Studios.

Check out this debut and zone out to its relaxing

blend of tracks inspired by Bjork, Chemical

Brothers, and Basement Jaxx.

spreadbycontact@spreadbycontact.com

spreadbycontact.com

LOCAL

Richmond / Bryan Carter

Sic itur, our town

all my life

6 am

rising sun,

rippling James,

me, my people

mise en place,

Family is friends.

Drunkenly,

we watch the sun

Meek peak

our fair city

peepers giddy

but willing.

Me and Johnny

we’ve been everywhere

always back home,

t’ain’t no where but Richmond

and ad astra

between us,

man.

Old RVA

just like mom

she brings you home

welcomes you in

sets a place,

yours alone.

This town, a force

perfect cocktail,

dirty, thirsty old South

t’is something different

plus.

One Person Rally / Justin Adler

I don’t know what it is about Richmond, but this city begs for trouble. In the

year of 2004 there were 100 murders in Richmond alone. That is about

one murder every four days. Such numbers have given Richmond the

prestige of being number eight in U.S. most dangerous cities. Granted,

it is in a category of cities with a population of 100,000 - 499,999, it’s still

something to be proud of I think?!

In the month of February there was one week which was bloodier than

most. Five murders happened, and the most brazen of them occurred on

the 1900 block of Carey Street at the BP gas station. In broad daylight a

man walked up to a car, and pumped the driver and his passenger full of

lead. Darryl Langhorne and James Ford, both 34, were killed Saturday

afternoon, February 19th, in front of the gas station.

Francis, a cashier at that BP gas station, was working that day. He

remembers the gunshots ringing out, but Francis, an immigrant from

Kenya, didn’t see anything. I asked him whether he feels safe in Richmond

and Francis, after taking a second to really think about it, tells me he has

mixed emotions. He’s been living here for five years and had no idea

how rampant murder is in this town. He sees the cops and, optimistically,

feels they are helping out. In fact, when I went in to the gas station to talk

with him, there were two cop cars behind the station and inside a security

officer with a gun, not just the trusty flashlight. So their presence is felt.

But what are Richmond city officials doing to combat crime? Mayor Doug

Wilder has been talking about this issue and held a town hall meeting in

which he sought public opinion on the issue. Along with the appointment

of new Police Chief Rodney Monroe seems to be a start on breaking the

old ways and working on new ways to fight crime. Monroe hopes to start

up a police unit focused solely on Homicide (hard to believe there wasn’t

one to begin with) and is asking the city for over twenty new motor bikes to

facilitate navigation through alleyways and building compounds, as well as

to get to different areas in the city fast.

Monroe has brought up the problem of murder cases being dropped

because analysis of evidence isn’t done in a timely fashion. In this age

of globalization, even here in Richmond we outsource our evidence

analysis to other labs, and sometimes it’s too late in coming back, allowing

for killers, drug dealers, and other delinquents to go out on the streets.

Thanks to double jeopardy, they can’t be tried again once the evidence is

able to be used in court, because it is too late.

What are possible solutions to not only this ridiculous murder rate, but also

the high crime rate of this city? Wilder and Monroe feel that the community

should adopt a role in fighting crime in their neighborhoods. Neighborhood

watch should be serious about its task and cooperate with police forces.

Monroe said that “more police presence alone won’t fix the problem. A

better weapon is more community involvement.” Another thing he feels will

deter criminals is better street lighting in places such as Gilpin court, as

well as cleaning up trash in and around the area.

Let us hope he gets to work on it, and starts cleaning up the streets of

Richmond. But this role should not be put solely on the shoulders of

Wilder and Monroe, but also on the citizens of Richmond. More community

out reach programs should be set up, getting kids, who would otherwise

get themselves in trouble, out of the streets doing something productive.

Mentoring programs, midnight basketball, and a whole rack of other social

programs should be put into effect. Crime is a loud “fuck you” to society. It

is the answer to a lot of people who never were given opportunities in life,

and to combat it, we must strike at the root.

Living standards should be bettered, minimum wage should be raised, and

second chances should be given to people who otherwise wouldn’t get

them.

“....more POLICE PRESENCE alone won’t fix the problem. A better weapon is more COMMUNITY INVOLVEMENT.”



THE CHRONIC LICKING OF A SELF-INFLICTED WOUND / M. Dulin / Andre Shank

Early in the morning Tim Roland arrives at the methadone clinic. I meet

him outside the unassuming building and he greets me in a preoccupied

manner.

“Just let me get my dose”, he says, “I won’t be much good to you until

then.”

He is inside the building a half hour, meeting with a counselor as he must

always do for a brief talk and then his usual dosage. When he returns

outside he is much more relaxed, composed. I offer him a smoke, he

begins to talk about his experience. He says that he has to come here now

everyday at the same time or he doesn’t get his medicine. The methadone

makes him feel better but it never makes him well.

“I can’t say really when I got addicted, only when I first met heroin,” he

said.

Roland, 25, grew up in Northern Virginia, just outside of Washington D.C.

He is not the product of a bad environment, a misconception of the birth

of addicts. He lived in a gated community with his parents who are still

married, he never worried about a thing.

“My father has a high power job with the government,” he said, “and

my mother held a high position with a corporation large enough to be a

government.”

His high school years were spent in a barrage of good times. He spoke

of totaling two cars and immediately receiving new ones because his

parents didn’t want him to be without. He never had to work. He had

privilege and opportunity and more options then most. Excess though, can

lead to waste. So one night during his senior year when a friend produced


a bag of heroin and offered him a line to snort he really didn’t hesitate.

“That first time...I’d never felt more wonderful in my life, like God was

breathing on me,” Roland said.

Temptation stared him in the face. He did not just take a bite of the

forbidden fruit, he bit the head off of the snake as well. Heroin quickly

became his drug of choice. These were the last moments that he

remembers having some control over his life. After that he says the great

downward spiral began.

He talked of how quickly the drug took him over. He says that he wishes

that he did not have to come to the clinic, but this is not his choice, he is

an addict and the cravings make him.

This addiction drove him away from reality, dreams of a future, he became

empty and could never feel full. His parents were in denial for a long time

he said. Even though they love him they are not very available, choosing

instead to coddle him with money, enabling him to continue without really

facing his problem.

Roland said that he has stolen and lied to everyone around him just to get

cash for a fix. Sometimes in his stories that he tells of thieving and lying it

seems that no one is immune to his actions, as if he means to say ‘Don’t

take it personally.’ Responsibility always returns to the addiction and not

to himself. Admitting that he is a junkie seems to make him feel better

about the people that he has hurt as if he were a victim also. These people

cared for the person Tim Roland, but Tim Roland had disappeared inside

of a haze long ago.

To see Roland, he appears very average, clean cut. Not the common

Hollywood image of a junkie and during his lucid moments he is very

upbeat. But in his head he says that the addiction is choosing the path; he

is not looking at you, he is looking at your pockets for a wallet bulge, if you

invite him in your house he looks at the kind of locks you have, your stereo

system, anything that might have some value.

“I don’t like to be left alone,” he says, “I can’t trust myself.”

He made it to Richmond after his parents had enough and lived with a well

intending cousin, whom he eventually turned on.

“I am not Tim Roland anymore,” he says, “I’m just an addiction.”

People continually try to help Roland. They still see the human that is

inflicted, but love sometimes is not as strong as a quick fix. So after

stealing checks from a friend’s mother who took him in, the law was

finally called in. This was his first offense. The courts took into account

his addiction and he was sentenced to community service, mandatory

drug-rehab meetings at a local methodist church and enrollment into the

methadone maintenance treatment.

“You have to change your whole way of life to avoid falling back down,” he

said.

Roland had a good upbringing, money and opportunity. He had to make

choices in life as all people do. Only at a very young age he made a

wrong choice. His choice has repercussions that he will have to live with

the rest of his life. Now each day he must rise and return to the clinic just

to feel normal again.

“I don’t see an end to this ever,” he said “all I can do is look back and

remember the beginning.”

Note: The names have been changed and the identity of the clinic remains

anonymous out of respect for all involved.


50 RVA / Wassup!!



QUiCK GUiDE

Carytown Colonial Heights theFan Shockoe Bottom Shockoe Slip VCU

Acacia

Alley Katz

Amici Ristorante

Arthur’s

Avalon

Avenue 805

Babe’s

Bandito’s Burrito Lounge

BBQ Pit

Betsy’s Coffee Shop

Bev’s

Bogart’s Back Room

Border Chophouse

Buddy’s Place

Cabo’s Corner Bistro

Cafe Diem


Restaurant

Club

Restaurant

Restaurant

Restaurant / Bar

Restaurant / Bar

Restaurant / Bar

Restaurant / Bar

Restaurant

Coffee

Restaurant

Restaurant / Bar

Restaurant / Bar

Restaurant / Bar

Restaurant

Restaurant / Bar

3325 W. Cary St. 354-6060

10 Walnut Alley 643-2816 http://www.alleykatzrva.com

3343 W. Cary St. 353-4700

5215 W. Broad St. 288-2800

2619 W Main St. 353-9709 http://www.avalonrestaurant.com

805 Davis Ave. 353-2505

3166 W. Cary St. 355-9330

2905 Patterson Ave. 354-9999

2231 Boulevard Ave. 526-1340

3200 W. Cary St. 358-4501

2911 W. Cary St. 204-2387

203 N. Lombardy St. 353-9280

1501 W. Main St. 355-2907 www.borderchophouse.com

12 N. Robinson St. 355-3701 www.buddysplace.net

2053 W. Broad St. 358-1144 www.cabosbistro.com

600 N. Sheppard St. 353-2500


Caliente’

Restaurant / Bar

2922 Park Ave. 340-2920

Canal Club

Restaurant / Bar

1545 E. Cary St. 643-2582

Capital Ale House

Restaurant / Bar

623 E Main St. 643-2537

Cary Street Café

Restaurant / Bar

2631 W. Cary St. 353-7445 www.carystreetcafe.com

Chopstix

Restaurant / Bar

3129 W Cary St. 358-7027

Chuggers Old City Pub Restaurant / Bar

900 W Franklin St. 353-8191

Commercial Taphouse & Grill

Corner Cafe

Restaurant / Bar

Restaurant / Bar

111 N Robinson St. 359-6544

282-5717

Curbside Cafe

Restaurant / Bar

2525 Hanover Ave. 355-7008

Double T’s Real BBQ

Restaurant / Bar

2907 W. Cary St. 353-4304

Easy Street

Restaurant / Bar

2401 W. Main St. 355-1198 www.easystreetrichmond.com

Ellwood Thompson

Natural Market

4 N. Thompson St. 359-7525

Emilio’s Tapas Bar

Empire

Restaurant / Bar

Restaurant / Bar

Broad & Meadow 359-1224

344-8040

Europa

Restaurant / Bar

1409 E Cary St. 643-0911 www.europarichmond.com

Farouks’s House of india Restaurant / Bar

3033 W. Cary St. 355-0378


Colonial Heights

Fusion

For Love of Chocolate

Hard Shell

Harrison St. Coffee

Hyperlink Café

I Love Hydroponics

Ipanema Cafe

Joe’s Inn

Legend Brewing Company

Lucky Lounge

Mary Angela’s

McCormack’s Irish Pub

Metro Grill

Mojo’s

Mom’s Siam

Mr. Bojangles

theFan Shockoe Bottom

Restaurant / Bar

Specialty Bakery

Restaurant / Bar

Coffee / Tea

Restaurant / Bar

Equipment

Restaurant / Bar

Restaurant / Bar

Restaurant / Bar

Restaurant / Bar

Restaurant / Bar

Restaurant / Bar

Restaurant / Bar

Restaurant / Bar

Restaurant / Bar

Night Club

Carytown Shockoe Slip VCU


109 S. 12th St.

2820 W. Cary St. 359-5645

1411 E. Cary St. 643-2333 www.thehardshell.com

402 N Harrison St. 359-8060

814 W. Grace St. 254-1942

612 N Sheppard St. 377-3020

917 W Grace St. 213-0170

205 N. Shields Ave. 355-2282 www.joesinn.com

321 W. 7th St. 232-8871 www.legendbrewing.com

1421 E. Cary St 648-5100 www.luckyloungerichmond.com

3345 W. Cary St. 353-2333

12 N. 18th St. 648-1003

301 N Robinson St. 353-4453

733 W. Cary St. 644-6676

2929 W. Cary St. 359-7606

550 E. Marshall St. 344-2901


Mulligan’s

Nanci Raygun

New York Deli

Out of Bounds

Poe’s Pub

Richbrau Brewing Co

Rostov’s Coffee & Tea

Robin Inn

Sticky Rice

Sven Shine Inn

Taphouse Grill

Thai Diner

The Eatery

The Roxie

The Village

Tobacco Company

Tonic

Restaurant / Bar

Night Club

Restaurant

Restaurant / Bar

Restaurant / Bar

Restaurant / Bar

Coffee / Tea

Restaurant / Bar

Restaurant / Bar

Restaurant / Bar

Restaurant / Bar

Restaurant / Bar

Restaurant / Bar

Restaurant / Bar

Restaurant / Bar

Restaurant / Bar

Restaurant / Bar

323 W Main St. 353-8686

929 W. Grace St. 353-4263 www.nanciraygun.com

2920 W. Cary St. 355-6056

2701 W. Broad St. 355-7390 www.outofbounds.info

2706 E. Main St. 648-2120 www.poespub.com

1214 E Cary St. 644-3018

2902 W. Cary St. 355-1955

2601 Park Ave

2232 W Main St. 358-7870 www.stickyrice.

1319 W. Main St.

1212 E. Cary St. 644-3018

3028 W. Cary St. 353-9514

3000 W. Cary St. 353-6171

14 N. 18th St.

1001 W Grace St

1201 E. Cary St. 782-9555

9 N. 17th St.


Richmond Independent Radio

schedule 02/22/05

Monday

6am-8am Breakfast Blend WRIRʼs

Multicultural Music

8am-9am Democracy Now!

9am-10am News and Notes w/Ed Gordon

10am-11am Le Show w/Harry Shearer

11am-12pm Power Point

12-12:30pm Home Grown C-SPAN

12:30-1pm Weekly Sedition Local and

National Progressive News

1pm-2pm Prime Time Radio

2pm-4pm Talk of the Nation

4pm-4:30pm T.U.C

4:30-5pm Free Speech News


5pm-7pm Lost Music Saloon Americana

/alt-country

7pm-9pm Blue Monday

w/River City Blues Society

9pm-11pm Louisiana Dance Hall

/cajun/creole/zydeco

11pm-1am The Edge of America

/bluegrass/jug band

1am-3am Great American Music Hour

Tuesday


Multicultural Music

8am-9am Democracy Now


10am-11am Justice Talking

11am-12pm Power Point

12pm-12:30pm Enlace Informativo:

En Espanol

12:30pm-1pm Brown Bag Lunch

1pm-2pm The Book Guys for

Readers & Collectors


4pm-4:30 51%: Issues of Concern to Women

4:30pm-5pm Free Speech Radio News

5pm-7pm Stunted Development w/Bill Farrar

7pm-9pm The Project w/DJ Marshall

/eclectic rock

9pm-11pm Mercury Falls/eclectic rock

11pm-1am Broadcastatic Audio Collage

1am-3am Mellow Madness /world/freeform

Wednesday


Multicultural Music


9am-10am News & Notes w/Ed Gordon

10am-11am Living On Earth: Environmental

News w/ Steve Curwood

11am-12pm Smart City:Urban life and Trends

w/Carol Coletta

12pm-12:30pm Defenders LIVE!

12:30pm-1pm Asia Speaks

1pm-2pm New Dimensions: Uncommon

Wisdom for Unconventional Times


4pm-4:30 pm This Way Out: International

Lesbian & Gay Radio Magazine

4:30-5pm Free Speech Radio News

5pm-7pm Wide Ear Folk w/Eric Walters

7pm-9pm Activate! w/Mike Rutz

Artists in Richmond

9pm-11pm Radiomorphism w/DJ Morphism

/industrial

11pm-1am Pop & Crackle w/DJ CHR

1am-3am Late Night Flight /eclectic rock

Thursday


Multicultural Music



10am-10:30am Wings: Womenʼs

Independent News Gathering Service

10:30am-11am Counterspin: Media Criticism

w/FAIR

11am-12pm Voices Of Our World

12pm-12:30pm Richmond Indymedia News

12:30pm-1pm Inspiration Corner: Real

Women, Real Life, Real Issues

1pm-2pm The Parentʼs Journal


4-4:30pm Radio Nation


5pm-7pm Future Perfect w/The TinyDj

/new rock

7pm-9pm The Secret Stash w/Stuart Martin

/indie rock

9pm-11pm Funwrecker Ball w/DJ Esskay

/rock/punk/ reggae

11pm-1am Zendo Soundsystem

w/DJ Nomadic/dub

1am-3am You Should BE In Bed

w/Donald Moss/ Indie

Friday


Multicultural Music



10am-11am Thomas Jefferson Hour

11am-12pm Selected Shorts: Short Stories

Read by Great Actors

12pm-12:30pm Richmond Education Today

12:30pm-1pm Open Ear & Mind

1pm-2pm Calling All Pets: Advice

& Entertainment for Pet Lovers

2pm-4pm Talk of the Nationʼs Science Friday

4-4:30pm Radio Nation


5pm-7pm Global World A Go-Go

w/Bill Lupoletti

7pm-9pm Beep Ahh Fresh Hip-Hop

w/Chuck B & Hoodrich

9pm-11pm Vinyl Cartel

w/Logan & Krames/hip hop

11pm-1am St. John the Pabstist

w/J. Swart & B. Potter/loud rock

1am-3am Screams from the Gutter

w/ Michelle & Justin/punk/metal

Saturday

6am-9am TBA

9am-11am The British Breakfast w/Jesse

Reilly & Gene Pembleton

11am-1pm Shake Some Action/classic rock

1pm-3pm Derek Sunshine/eclectic rock

3pm-5pm Songs from the Big Hair 80ʼs/rock

5pm-7pm Locals Only w/Scott Burger

7pm-9pm Mutiny w/JTF

/electronic dance

9pm-11pm DJ Spotlight/electronic dance

11pm-1am Frequency/electronic dance

1am-3am Reggae Connection

w/Milton Williams/reggae/ska

3am-6am Combustion w/DJ C/trance

Sunday

6am-9am El Che Y La Rubia

w/tango/folkloric/rock en espanol

9am-11am Sunday Morning Salsa

11am-1pm All Jazz with Giz Bowe

1pm-3pm Freedom Jazz Dance

3pm-5pm The Other Black Music You Donʼt

Get To Hear On Richmond Radio

w/Charles Williams/alternating

w/Ambiance Congo w/David

Noyes/r&b/ funk/african

5pm-7pm The Motherland Influence w/

Charles Williams & David Noyes/

african/caribbean/latin

7pm-9pm If Music Could Talk w/DJ Carlito

world/freeform

9pm-11pm The Ming From Mongo Show

11pm-1am 804noise Presents Noise

Solution/experimental

1am-3am Uncommon Practice

w/Bill Eldridge/modern classical/

electroacoustic


The Back Pages


Savage Love /

Q. Iʼm a 24-year-old straight female. I

just moved to a new city, where I donʼt

know anyone. So the other night I hung

out with a 21-year-old jock from work.

We went to a bar and eventually wound

up back at his apartment, where we

both smoked pot. I was thinking he was

a muscle-bound meathead, so to shock

him I told him a story about one of my

male friends wearing a skirt. He kind

of exploded and said, “You have guy

friends who wear skirts? Thatʼs weird

because I like to dress up like a woman

and it turns me on and I really want to

be a girl and I want to be pretty and I

have these huge muscles because Iʼm

fighting it and Iʼve never told anybody

this before and I canʼt believe I just

told you and itʼs probably because Iʼm

drunk and do you think it would be OK

if someday I dressed up for you?”

I swear it was like that, one big run-on

sentence. We talked for four hours and

he says that heʼs not gay. He just wants

to be a woman. The strain of living as

two people is really getting to him, he

said, hence the heavy drinking and pot

smoking. I suggested therapy, not to

“fix” him but to get to a place where it

doesnʼt make him so unhappy. Now Iʼm

not sure what to do. I can tell that heʼs

crushing on me. He was before he told

me his big secret, and now that heʼs

confided his secret to me, his crush has

intensified. I wasnʼt really interested in

him to begin with, but I must admit his

admission makes him more appealing.

I really do want him to dress up for me;

Iʼm just not sure that Iʼm ready to deal

with his reaction when I donʼt want to

live happily ever after—especially if

he sticks with the idea of becoming a

woman. Iʼm just not sexually interested

in actual women.

Would I be helping him come to terms

with his identity by taking part in his

masturbatory fantasy? Or would I be

scarring him for life since Iʼm not

interested in anything long-term? Iʼm

Dan Savage

afraid that if I reject him now heʼs going

to think itʼs because of the crossdressing.

—TOLD VERY TITILLATING SECRET

A. There are two things you want here,

TVTS. You want to see the musclebound

21-year-old dressed up in

womenʼs clothes for kicks, and you

want to see the muscle-bound 21-yearold

in therapy for his own good. So

why not make his dressing up for you

contingent upon his finding a therapist?

Tell him youʼre tempted but youʼre not

going to go there if youʼre the only

person he can talk to about this stuff. If

he wants to mess around and explore

with you, fine, great, youʼre game for

that. But thatʼs all youʼre signing up

for. You canʼt be his therapist and

youʼre not making any commitments.

Explain to him that if you knew you

were the only person he had to talk

to about his desires, you would feel

obligated to continue seeing him even

if you decided, for any number of other

reasons, that the relationship wasnʼt

working out. I guarantee you, TVTS,

that heʼll have his first therapy session

scheduled a half-hour after you get off

the phone.


Oura / Respect, Revenge, & Androids

Thank you to Parker, Ollie, Hundley,

Dray, Raviotta, Gallagher, Reinhold, Liz, Pete, Frost, Eddit, Stephanie, Donnie George,

Dana, Brien, Mckee, Blanks, Oura, Keith, Holly for the great interview, Kevin from the Arthouse,

Warrick, Amanda for the space, Taylor, Tess, Alyssa, Mike Dulin for some grit, Shank, the MacCarter,

Adler (we still have alot of work to do), Bearded George, Elmer the Islander, and last but not least the

International FUCKING Gentleman. All these people + my fam + GOD, again thank you for taking my word.

P.S. LJH, rest in peace.

A giant “THANK YOU” to RVA Mastermind, Tony, for

bringing me on to a project that we both have been thinking about for a long time. This is

just the beginning. Another big “Thank you” to Gallery 5 owner, Amanda Robinson, for opening a place that this area has needed

for some time. You have put a tremendous amount of hard work into making your dream a reality. Thanks for letting us use your space. I think weʼve found

a wonderful partnership between RVA Magazine and Gallery 5 and we look forward to working with you in the future. Many thanks go out to all

of the creative individuals that contributed to this publication. Without the multitude of talented individuals and potential for growth in this

area there would be no point in doing this. Keep creating. We will continue to put our all into every issue and we hope that you will

continue to support us by submitting your ideas, artwork, writing, and feedback. Letʼs assist each other in creating positive

change and stimulate artistic evolution of all kinds.

magazine

1/4 PAGE= 50

1/2 PAGE = 100

FULL PAGE = 200

FRONT INSIDE = 300

BACK INSIDE = 300

BACK COVER = 400

HERE

YOUR

AD HERE

YOUR AD

HERE YOUR

AD HERE YOUR

AD HERE YOUR

AD HERE YOUR

AD HERE YOUR AD

HERE YOUR AD HERE

YOUR AD HERE YOUR

AD HERE YOUR AD HERE

YOUR AD HERE YOUR AD

HERE YOUR AD HERE YOUR

AD HERE YOUR AD HERE YOUR



AD HERE YOUR AD HERE YOUR AD

HERE YOUR AD HERE YOUR AD HERE YOUR

RVA Magazine

YOUR AD HERE

AD HERE YOUR AD HERE YOUR AD HERE YOUR

AD HERE YOUR AD HERE YOUR AD HERE YOUR AD

HERE YOUR AD HERE YOUR AD HERE YOUR AD HERE

YOUR AD HERE YOUR AD HERE YOUR AD HERE YOUR AD

HERE YOUR AD HERE YOUR AD HERE YOUR AD HERE YOUR

AD HERE YOUR AD HERE YOUR AD HERE YOUR AD HERE YOUR



AD HERE YOUR AD HERE YOUR A

image / Judith Supine

ADVERTISING@RVAMAG.COM

RVA Issue 1 2005_FULL PDF

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?