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Working it out

You get to wear slippers all day. You don’t have to commute. You have more flexibility with childcare. After a year of remote work, is the office a thing of the past? 

A high local vaccination rate makes the return to in-person work feasible for many area businesses, but that doesn’t mean everyone is headed back in. Some outfits have ditched office space and others are downsizing, as hybrid work arrangements become more common.  

Before COVID hit, many businesses were already accommodating employees who wanted to work from home occasionally—but others had to scramble. “When the shutdown happened, Albemarle County didn’t have a teleworking policy,” says Emily Kilroy, director of communications and public engagement for the county. “Within three days, people were sent home, and we had to make sure they had the equipment and IT they needed—which sometimes meant borrowing or renting laptops.”

ArcheMedX, which develops software for life sciences and health care clients, was at the other end of the spectrum. “We have always had some remote employees, but most worked in our downtown office,” says Joel Selzer, co-founder and CEO. “As soon as the pandemic hit, we moved everyone to remote. We got them whatever they needed—workstations, desks, even furniture—from the office, and everything else we gave away or put into storage.” And the firm isn’t looking back. The company used to rent offices on East Main Street, but gave up the space last summer.

“Our offices never went completely remote—we had staggered schedules, so attorneys could come in to work with staff a couple days a week,” says Mike Griffin, business manager at Tucker Griffin Barnes P.C., a law firm with four offices in central Virginia. “The decision now is when to allow clients back into the office, and how do we do that safely.”

After safety, the big concern for employers and their workers is child care. “Fifty percent of our employees have children under the age of 18 at home,” says Kilroy, so the re-opening of schools was a critical factor in bringing employees back. Tim Tessier, one of the principals at Bushman Dreyfus Architects, agrees: “I have teenaged boys, and we had homeschooled for a while—but that’s not as challenging as for employees who have grade-school kids.”

Our employees have found they can get so much more done at home. But they also need contact with colleagues and clients.

Dawn Heneberry, Old Dominion Capital Management

As schools and daycares re-open, why would employees want to continue working from home? “Productivity,” says Dawn Heneberry, managing director of wealth management firm Old Dominion Capital Management. “Our employees have found they can get so much more done at home. But they also need contact with colleagues and clients to be part of a team. So they’re telling us they want a hybrid model, where they can be in the office two or three days a week.”

“Sometimes the need to focus [on a project] means working from home works better,” Tessier says. “But a lot of what architects do is collaborative—showing your ideas to a colleague, noodling it through. Some of our teams have been getting together for meetings with masks.” His 14-person firm is in the process of developing a hybrid model that combines the best of both approaches. “We recently had our first face-to-face all-office meeting [since the shutdown]—which was just really nice.”

But business owners also have to consider their customers’ needs and expectations. While most people seem to have adapted to Zoom meetings and digital data exchange, many still prefer in-person interaction. “We’ve given clients the option to meet anywhere they felt comfortable—in our office, at their home, outdoors at a restaurant, on Zoom,” says Heneberry. “I think that will continue.”

Then there are logistical concerns. Would a hybrid model, allowing both remote and in-office work, mean supplying employees with high-tech workstations in both places?  Do employees still need individual office space if they are only coming in one or two days a week? With employees working flexible hours, how does the company ensure responsive service and client coverage? Many of these decisions have an impact on the bottom line. 

What about offices themselves? Pre-pandemic, Kilroy says, Albemarle County had almost outgrown its downtown office building and was leasing additional space. Now, with a teleworking policy in place, every manager is being asked to designate which positions can offer flexibility and which will require on-site work, so the county can reassess its space needs.

ArcheMedX, which currently has core staff working out of office space at Vault Virginia, is also in the process of deciding what’s next. “We’ve proved we can do much more than we thought we could virtually, but there are times when being together with a white board is necessary,” says Selzer. “We’ll likely continue in a hybrid model, with some [physical] presence downtown—Charlottesville is still the heart and soul of ArcheMedX.” 

“I hope we can embrace what has worked,” says Selzer, “but there’s always a time and a need to meet face to face.”  

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News

In brief

Descendants will have equal say at Montpelier 

The Montpelier Foundation voted last week to share governance of the historic property with the Montpelier Descendants Committee, an organization comprised of descendants of the enslaved laborers who once lived and worked on the plantation. 

Montpelier is widely known as the estate of James Madison, the fourth U.S. president, but the Orange County property was also home to more than 300 enslaved laborers. In recent years, the organization has sought to bring their history to the fore. The move to formally share control of the property with the descendants community is “unprecedented,” says the foundation.

James French, the chair of the Descendants Committee, praised the decision in a statement. “This vote to grant equal co-stewardship authority to the Descendants of those who were enslaved is groundbreaking,” said French, who’s a financial technology entrepreneur by day. “The decision moves the perspectives of the Descendants of the enslaved from the periphery to the center, and offers an important, innovative step for Montpelier to share broader, richer and more truthful interpretations of history with wider audiences.”

COVID cases remain steady—and low—in the Charlottesville area 

From June 7 to June 21, Charlottesville and Albemarle combined reported 20 new cases of coronavirus. That’s the smallest number of new cases in a two-week stretch since the early days of the virus in the spring of 2020. The Blue Ridge Health District, which includes Charlottesville, Albemarle, and four neighboring counties, reported just two new cases on Monday and two new cases over the weekend. 
Sixty-eight percent of Albemarle adults and 57 percent of Charlottesville adults are fully vaccinated. Statewide, 60 percent of adults have had both shots. 

I hate losing at pretty much anything. My girlfriend hates playing Mario Kart with me due to this fact.


UVA closer Stephen Schoch, discussing his competitive mentality ahead of the baseball team’s College World Series appearance this week

In brief:

Masks won’t be prosecuted

Virginia state law says it’s illegal to wear a mask in order to conceal your identity. For obvious reasons, that law was put on hold during the pandemic, but it’ll go back into effect on June 30, when the state government’s COVID-inspired state of emergency ends. Locally, however, people who plan to continue masking shouldn’t worry—the Charlottesville and Albemarle Commonwealth’s Attorney’s offices released a joint statement this week saying, “Those who wish to continue to wear masks in public to mitigate the risks of COVID-19 spread and exposure may do so without fear of prosecution.”

Affordable Albemarle

The Albemarle Planning Commission voted 6-1 in favor of a proposed development that will see 190 affordable units, and 332 total units, constructed near the Forest Lakes community off Route 29, reports The Daily Progress. Since the proposal’s debut in March, some Forest Lakes residents have voiced their opposition to the construction, but the planning commission cited the high cost of living in the county as a key reason for allowing the project to move ahead.

Sue me? Will do, said hospitals  

A study from Johns Hopkins University highlights just how aggressive UVA and VCU hospitals were in suing patients for unpaid medical bills, reports the Virginia Mercury. Both facilities stopped suing patients in 2020 after facing public pressure over the practice, but the study reports that the two hospitals were the most litigious of 100 hospitals analyzed. From 2018 to 2020, VCU initiated legal action 17,806 times. UVA finished second at 7,107. 

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Culture

Galleries: June

Atlas Coffee 2206 Fontaine Ave. Colorful, abstract paintings by Kris Bowmaster.

The Bridge Progressive Arts Initiative 209 Monticello Rd. “Pa(i)n(t)demic,” an exhibit from Jum Jirapan that explores art as therapy and painting as a way to begin anew.

Chroma Projects Inside Vault Virginia, Third St. SE. “The Frequency of Roses,” featuring nine egg tempera paintings by Susan Jamison that explore the relationship between roses and the divine feminine. 

Crozet Artisan Depot 5791 Three Notch’d Rd., Crozet.  Jewelry by Robert Turner and paintings by Trisha Thompson. Through June. 

Sarah Kahle at Second Street Gallery.

C’ville Arts Cooperative Gallery 118 E. Main St., Downtown Mall. “It’s All in the Open Air,” a show by plein air painter Meg West.

The Fralin Museum of Art at UVA 155 Rugby Rd. Go online with The Fralin From Home for curatorial clips, art discussions, meditation practices, and more. uvafralinartmuseum.virginia.edu.

Jefferson School African American Heritage Center 233 Fourth St. NW. “Radiance from the Waters,” art by Adama Delphine Fawundu. Through August 28. 

The Kluge-Ruhe Aboriginal Art Collection 400 Worrell Dr. “My Land, My Dreaming,” a collection of works that feature contemporary Aboriginal Australian artists. Through November 28. 

Les Yeux du Monde 841 Wolf Trap Rd. “Evergreen,” featuring landscapes in oil and mixed media, as well as more abstract works, by Susan McAlister. Through August 15. 

Madeleine Rhondeau-Rhodes at McGuffey Art Center

McGuffey Art Center 201 Second St. NW. In the Sarah B. Smith Gallery, “Fairies Are Real,” collages by Madeleine Rhondeau-Rhodes; on the first floor, a show from the Incubator Residency Program; and on the second floor, a Summer Group Show featuring McGuffey Association Members. Through July. 

Northside Library 705 Rio Rd. W.  Multimedium works by Sara Gondwe. 

PVCC Gallery 501 College Dr. PVCC’s 2021 Annual Student Exhibition is online only, displaying works by student artists in a variety of media. pvcc.edu/performingarts.

Sam Gray at Second Street Gallery

Second Street Gallery 115 Second St. SE. In the Main Gallery, “Social Fabric,” works by Sharon Shapiro. In the Dové Gallery, “ROYGBIV,” a group exhibition that assigns one color on the visible light spectrum to seven participating artists. Thursday-Saturday, 11am-5pm. 

Studio IX 969 Second St. SE. Experiments in sweatshirt alteration by Adam Crigger. Part of the Prolyfyck Run Crew series. Through June 27.

Adam Crigger at Studio IX.

Unitarian-Universalist Church 717 Rugby Rd.  A collection of posters with social messaging created by Barbara Shenefield. Through June. 

Welcome Gallery 114 Third St. NE. “Held Breath,” an exhibition by Tobiah Mundt that explores the flow of breath. June 23-27.

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Culture

Take it from the top

When Sally Rose and her band Shagwüf take the stage for Fridays After Five at the Ting Pavilion on June 18, they’ll be the first musicians to play the venue since Jeff Tweedy and Wilco came to town on November 8, 2019.

Wait, the what pavilion?

A lot has changed in 19 months—including C’ville’s largest outdoor venue landing a new sponsor. 

By the time the pandemic hit in spring of 2020, Sprint Pavilion General Manager Kirby Hutto had a full slate of bands lined up for the venue’s Friday night concert series. He was forced to put the dates on hold and hoped that 2021 would harmonize with live music.

Fortunately, it has. With Governor Ralph Northam lifting distancing, masking, and gathering restrictions as of May 28, in-person jams are back—mostly. For its part, Fridays returns at full tenor. Hutto has booked 12 of the weekly dates, starting with opener Shagwüf and headliner Chamomile and Whiskey. September 10 and 17 are the only remaining open slots.

“That’s where I started, with reaching back out to those [2020] artists and seeing if we could get them a date for 2021,” Hutto says. “But you also had to ask the question if they were still a band, had they been rehearsing and ready to play. It made it a little more complicated.”

Take Shagwüf, for instance. Sally Rose’s rock ‘n’ roll trio wasn’t scheduled to play Fridays in 2020, but her Sally Rose Band, with its somewhat softer, singer-songwriter vibe, was. Rose has been more focused on the rock outfit the last several years, though, and the switch made sense.

Shagwüf completed a record, Dog Days Of Disco, just prior to the pandemic and was forced to release the LP digitally. After going into strict lockdown for a few months, dispensing with hopes of touring, and tracking down COVID tests as often as possible, Rose and her bandmates eased back into practicing in person. The band came up with another album’s worth of tracks by October 2020 and put out an EP on Halloween—“the most politically-charged album we’ve made, which is saying a lot for Shagwüf,” Rose says.

Then, another coronavirus surge hit and forced the band back apart. 

“There are so many layers to unpack,” Rose says. “Just being able to see each other again, fully vaccinated and being able to hug each other—that takes 20 minutes to process.”

Shagwüf was also recommended by friend and Chamomile and Whiskey frontman Koda Kerl.

Much like Rose and company, Chamomile and Whiskey took its lockdown licks but came out creating (with a new bass player). The band’s latest record, Red Clay Heart, dropped last fall, and Kerl says he’s ready to get out and play—even in front of a crowd that might be as interested in socializing as listening to every note.

“Fridays is a really unique audience. It’s a really broad group,” Kerl says. “When [Kirby] called us to do the first one in almost two years, we viewed it as a challenge. We’re lucky to have fans in town, and we think we can connect with the audience and get people down to the stage.” Rose and Kerl both said their bands would be riffing new material most people haven’t heard.

Other notable 2021 Fridays acts are headlining newcomers Ebony Groove—a Charlottesville High School pep band-cum-gogo-troupe playing July 2—and indie rockers Dropping Julia, due on July 9. Mainstay Erin & the Wildfire will bring power pop on July 16, and veterans The Skip Castro Band will anchor the lineup with uptempo blues-inflected rock on September 3.

Both of the latter bands will have played the pavilion under all three of its sponsored names. “That’s part of the puzzle, getting some of those familiar bands that are going to pop off the schedule, and rotating in the new names and some you haven’t seen in awhile,” Hutto says.

Still, it won’t be all vaccines and rainbows. While Northam’s lifted the mask mandate, public health guidelines are still in effect statewide. That means the vaccinated are welcome with open aisles—though encouraged to wear masks in crowds—while the non-vaccinated must wear masks in all venue areas.

The Ting Pavilion offers the standard post-COVID suggestions to keep problems to a minimum: Stay home if you’re sick or in contact with the sick, respect others, and know the concert organizers have done everything they can to prevent the spread of the virus. That includes installing a new HVAC system in the pavilion loo, regularly cleaning high-touch areas, and adding hand sanitizing stations and no-touch food and drink ordering and payment options.

Hutto admits getting back into the swing of things might be a challenge, but he expects the spacious Pavilion grounds to make folks comfortable. 

Kerl says he doesn’t mind the restrictions, and Rose just wants to see her Charlottesville friends.

“During the lockdown, I wasn’t playing shows or touring—I wasn’t seeing people,” she says. “Just being able to play loud, fun rock-and-roll with my boys again, nothing touches it…I can’t even begin to imagine what it is going to feel like stepping onto that stage.”

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Culture

Straight talk

Want to know what to order from the new Café Frank, acclaimed chef Jose de Brito’s newest proving ground? Don’t ask acclaimed chef Jose de Brito.

“I am never happy with my dishes, and I usually do not taste my finished plates,” de Brito says. “I am way too scared to find out how bad I am. But it is not exactly my first rodeo, so I know pretty much what works or does not.”

The modesty is almost comical coming from de Brito, arguably C’ville’s most acclaimed chef. He began his career opening cult favorite Ciboulette in 2006, did stints at Trinity and Fleurie, and landed at The Alley Light, where he and restaurateur Wilson Richey drew accolades from the James Beard Foundation (Alley Light was one of 25 semifinalists for the coveted Outstanding Restaurant title; de Brito was a semifinalist for Best Chef Mid-Atlantic), Washington Post, and Washingtonian. After what would have been a pinnacle for many chefs, de Brito went to work cooking with Patrick O’Connell at the three-Michelin star Inn at Little Washington.

A second collaboration with Richey, Café Frank will give de Brito the chance to experiment with a seasonal menu of appetizers like meat pies, long-simmering soups, classic French salads, and entrées such as steak Diane and wagyu beef pot roast. According to de Brito, it’s all about flavor, not pretension.

“I do not have the team, time, space, and ability to make elaborate gardens on plates and play with tweezers, so my only saving grace is flavor,” he says. “I build and layer flavors like a maniac.”

Take Café Frank’s sauces. Each one starts with a base 20 years in the making—he freezes the bases and moves them from restaurant to restaurant as his career progresses. De Brito likens the strategy to the “solera” winemaking technique or the method for creating real balsamic vinegar.

“What is good about Café Frank is that I stay in my kitchen,” de Brito says. “I like dogs a lot, but I can really do without most people, so I rarely go into the dining room. I stay where I belong, talking to my shallots, listening to my sauces, getting aroused by my chicken stock, smelling my herbs. I like a perfectly silent kitchen so I can hear my ingredients.”

The food at Café Frank is classic and casual, “with a lot of TLC,” de Brito says. The new restaurant is truly an outlet for him to “get back into [his] madness.”

“Opening Café Frank was a way to fuel my obsession with making dishes. Hopefully in between I can give a few good nights out to some people. I am busy—extremely busy. I hope my wife will forgive me one day.”

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Culture

Emergency expedition

There is no keener view into family and friendship than a road trip movie. The Blues Brothers were on a mission from god, Thelma and Louise were running from the law, and the Griswold family just wanted to meet Marty Moose—but whatever the quest, there’s a unique bond that comes from spending many days together on the open road. The South Dakota girls in Plan B have modern aspirations, but the friendship and zany hijinks within are familiar and heartwarming.  

Sunny (Kuhoo Verma) is a smart and rule-abiding teen whose crush on Hunter (Michael Provost) remains a closely guarded secret. Sunny’s mother is a traditional, strict Indian mom, while Sunny is a maturing American teenager who wants to fit in and seem cool to the popular kids who don’t give her the time of day. That is, until her mom leaves for a conference one weekend, and Sunny and her best friend, Lupe (Victoria Moroles), decide to host a house party.

The party is complete with red Solo cups, questionable alcohol combinations, and even more questionable decisions. Sunny ends up having sex for the first time with Hunter on the bathroom sink, and as a result of their school’s abstinence-only sex ed, the condom malfunctions. In an abundance of caution, Sunny decides to seek out the morning after pill, and thus begins a wild goose chase that takes Sunny and Lupe farther and farther from their hometown.

Plan B never gets too high on a political soapbox, but it doesn’t shy away from criticism of the social structure that led to the need for a road trip in the first place. The very nature of Sunny’s predicament screams of the inherent issues with certain societal systems. She is a good kid doing what plenty of kids her age do, and yet she meets one roadblock after another (some metaphorical, some literal) as she tries to prevent one bad decision from derailing her meticulously planned life.

The characters that the girls encounter on their journey live up to the tradition of road trip movies. They do drugs and go to a stranger’s party. They fend off racist and misogynist catcallers. They watch a local band play at a bowling alley. But amidst all of this, they never lose sight of their goal to thwart Sunny’s possible pregnancy.

Plan B is funny and charming thanks to its excellent script and its spot-on casting. Verma and Moroles play their characters with such affection and respect that it’s impossible to dislike either of them. They are flawed and idiosyncratic, but never in a way that feels inauthentic, and the film gives the audience enough time to get to know them on many levels. 

Like many comedies, Plan B has recurring jokes scattered throughout. Perhaps the best of these is the thread in which Lupe does not get pop culture references, particularly ones from the 1990s. These quick hits of humor could have easily been tossed aside in the editing room, but turn out to be smiley treats wrapped into the film.

Director Natalie Morales shapes Plan B’s subtle politics into a badge of pride in a film that is funny, smart, and willing to get comfortably uncomfortable with its complicated subjects.

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Culture

PICK: Barkodz

Check ’em out: Barkodz: An Urban Experience features local artists working to honor hip-hop’s past while forging its future, using rhythm and words to address oppression, progression, and political expression. The lineup includes Kush Gang, Keese Allen, Equally Opposite, and more. Lights, sound, stage effects, and a “transport cube” make the event a multi-sensory experience the likes of which the performers guarantee you’ve never seen before.

Friday 6/18, $5-10. 7:30pm, IX Art Park, 522 Second St SE. ixartpark.org. 

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Culture

PICK: Juneteenth

Art felt: This is the first year Virginia has officially recognized Juneteenth as a state holiday. The Jefferson School African American Heritage Center continues its tradition of commemorating the event with art, food, and music emceed by Ike Anderson. Tobiah Mundt and Lisa Woolfork of Black Women Stitch will lead a creative “non-sewing sewing” session; funky hip-hop fusion act Vibe Riot and politically conscious rappers Sons of Ichibei will perform; and the day wraps up virtually with the Charlottesville Players Guild presenting speeches by Black luminaries and a showing of Mother Tongue, an original play by Abi Schumann.

Saturday 6/19, free, noon (reservations required). Jefferson School African American Heritage Center, 233 Fourth St., NW.  jeffschoolheritagecenter.org.

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Culture

PICK: Dropping Julia

Perfect landing: Dropping Julia’s Jules Kresky has a versatile vocal style. She can conjure a sunny, surfer vibe with dreamy organ and beachy guitar chords, or dip into grungy sass à la Amy Winehouse. Backed by Sam Passe and Alex Bragg on guitar, Sean Bracken on drums, and bass player Sebastian Nikischer, the funk-rock group melds Kresky’s Jersey girl past with the dreaminess of the Blue Ridge Mountains.

Friday 6/18, Free, 6pm. Glass House Winery, 5898 Free Union Rd., Free Union. glasshousewinery.com.

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News

On origin stories

“Origin stories matter, for individuals, groups of people, and for nations,” writes Pulitzer Prize-winning historian Annette Gordon-Reed in her new book, On Juneteenth. “They inform our sense of self; telling us what kind of people we believe we are, what kind of nation we believe we live in.” 

Gordon-Reed, a Texas native and Harvard Law professor, reshaped Charlottesville’s origin story—and America’s origin story—when she published The Hemingses of Monticello in 2009. The book offered a paradigm-shifting exploration of life for the enslaved Hemings family in Thomas Jefferson’s famous home. In the years since, Gordon-Reed’s work “has guided the Foundation’s efforts to tell the story of the Hemings family and all who lived and labored at Monticello,” said Monticello CEO Leslie Greene Bowman after Gordon-Reed was elected to the Monticello Board of Trustees in 2020.

Gordon-Reed’s latest work, published last month, is a slim volume that combines memoir and academic study to explore the history of Texas, the birthplace of Juneteenth. 

Gordon-Reed writes about her time as the lone Black child in an all-white elementary school, and reveals the contradictions within the tales of Texas history she learned in those years. William Barret Travis, a legendary hero of the Alamo, arrived in Texas as a fugitive from the law who had abandoned his wife and children in another state. Stephen F. Austin, “the Father of Texas,” first settled in the state in the hopes of setting up cotton plantations. These and many other Texas origin stories downplay the effect of slavery and ignore the role of native people in the state’s foundation.

In undertaking this work, Gordon-Reed asks readers to examine our own origin stories, and to be honest about what we find. “A supreme risk with myths and legends is that we can easily fall in love with the people who are in them, as if we know them,” she writes. 

Thanks in part to scholars like her, the process of interrogating those myths is underway here in Charlottesville and at the University of Virginia. The founding father of our town—the man whose statue still stands in front of City Hall—held other human beings in bondage. Enslaved laborers built the Rotunda and the Lawn, suffering and dying in the process. There’s still plenty of mythology to unlearn.

Yet despite the inaccuracies coursing through the origin stories, Gordon-Reed is proud to be a Texan—not for abstract reasons, but for personal ones. She warmly recalls preparing tamales by hand with her family for a Juneteenth celebration. “Texas is where my mother’s boundless dreams for me took flight,” she writes.

In the book’s final passage, Gordon-Reed expresses a sentiment that can act as guidance to those of us who have lived and grown in this city at the foot of the Blue Ridge Mountains, or those of us who learned at the university before walking down the Lawn in graduation robes.

“About the difficulties of Texas: Love does not require taking an uncritical stance towards the objects of one’s affections,” she writes. “In truth, it often requires the opposite.”