Stonemason and sculptor Toru Oba’s public artwork can be seen at Ix Art Park and McGuffey Art Center.
Photo by Stephen Barling.
By Stephen Barling
Crouched in the back of his battered Ford pickup truck at Ix Art Park, Toru Oba is wrestling a worn yellow strap around a 5-foot-long, 400-pound hunk of raw sandstone. “I used to move these by myself,” he says, “but now I need help.”
The 79-year-old Japanese stonemason and sculptor can be forgiven if he no longer scales scaffolding with one hand while lugging his tools in the other. He’s remarkably fit for his age—or someone half his age. You have to be, to dominate the brute inertia of soapstone, sandstone, and granite.
Oba’s sculptures, which can be found around Charlottesville—notably in front of the McGuffey Art Center and at Ix Art Park—often range from one to several tons each. The gray and black stone blobs laze in the sun, their polished surfaces inviting visitors to run a hand along a smooth groove or poke a head through a carved hole.
The inscrutable works invoke a sense of creative, playful space. At McGuffey, picnickers sit down to a meal on a large smooth block while children play around them on the grass. At Ix, Oba is immersed in creating several new works. The park has agreed to host the pieces, offering staff and equipment to assist in moving the enormous chunks of stone while he coaxes them into their final shapes. All other labor and expenses—trucking in stones, equipment, and resources—are his.
It is no small feat. An Ix worker brings a forklift to raise the spike by its strap and slowly dangle it into a hole bored in the side of a stack of vaguely bone-shaped sandstone. Oba guides the chunk by hand, arranging wood planks into a platform for refining the stone while he finesses it into its final position using levers, straps, and chains. This one element will take days to add to the sculpture.
Sculpting is a largely improvisational process for Oba, who says he starts with an idea of what the final work will look like, but the stones themselves dictate what becomes of them. “Some artists carve a block down to a shape, but I use the shape of the stone to give me ideas.” The result might be a stout black pyramid or a tall multi-textured gurgling fossil. One sculpture at Ix suggests an oversized pixelated stone rabbit.
He hasn’t always felt so free to create what inspires him. After settling in Nelson County in 1986 with his wife, Oba began contracting work as a mason, building patios, stairs, and chimneys. Things changed in 1999 when he was hired to build the entry to Dave Matthews Band saxophonist LeRoi Moore’s Japanese-architecture-inspired mountaintop dream house.
As the entry’s stone stairs progressed, Oba says Moore asked, “Is that it? Can you do something a little ‘more?’” Thus began a multi-year project designing and installing stone gardens, paths, and patios around the property. With Moore’s encouragement, Oba incorporated sculptural elements into masonry all over the hillside.
“It was the best job I ever had,” Oba insists. The only limitations placed on him were set by Moore’s groundskeeper who demanded he use no heavy machinery so as not to disrupt the landscaping. “That’s how I learned to move these large stones by hand.”
After finishing the work at Moore’s property, Oba continued creating abstract art. He says he is rarely commissioned for installations but he does occasionally sell a large public piece. For obvious reasons, smaller fountains are more popular. Regardless, abstract sculpture is now a compulsion and he has since created dozens of immense stone works.
Covered in stone dust as he refines his giant spike with a grinder, he’s content for now assembling these few oversized pieces for Ix. It’s a herculean task, but he’s compelled to continue. “I just keep doing it.”
Magically merging the elements of orchestral arrangement, incredible costuming and stagecraft, and an ensemble of unforgettable characters, Charlottesville Ballet presents Snow White. This Family Series ballet, based on the beloved Grimms’ fairy tale, brings youth and adult dancers together to tell the classic story of jealousy, love, and friendship. Witness a beautiful princess strike up unlikely alliances with woodland creatures and seven diminutive miners, while an evil queen uses a magical mirror to follow her every move, waiting for the moment to strike. Also, a prince shows up at some point.
Saturday 5/4. $20–75, 11am and 3:30pm. The Paramount Theater, 215 E. Main St., Downtown Mall. theparamount.net
Promoting her new album Polaroid Lovers, four-time Grammy Award-winner Sarah Jarosz performs an evening of new music tied to old memories. Simultaneously nostalgic and current, Jarosz ruminates on the mundane yet magical moments that shape a life. Her contemporary Americana stylings are injected with infectious pop-rock motifs and Southern inflections. Following the lineage of artists like Sheryl Crow and Jewel, Jarosz’s earnest delivery and relatable lyrics prompt a trip down memory lane, with all the twists and turns of growing up creating the view along the way.
Monday 5/6. $25–75, 7:30pm. The Jefferson Theater, 110 E. Main St., Downtown Mall. jeffersontheater.com
Swinging into town for an exceptional sonic experience, The Howard Levy 4 brings pep to your step with bouncy compositions saturated with blues riffs, jazz runs, and world music sensibilities punctuated by blistering diatonic harmonica. Scorching solos showcase each member’s considerable skills, from the bumping bass and drums, to the trilling guitar and harmonica. The depth, richness, and variety of tones achieved by Levy mark him as a true virtuoso, and his backing band of powerhouse musicians matches his fervor with raucous results.
Dean Dass at Les Yeux du Mond. Photo courtesy of the gallery.
The Center at Belvedere 540 Belvedere Blvd. “Flowers Interpret Art,” a collaboration between Fluvanna Art Association, BozART, and the Charlottesville Garden Club. Live floral arrangements inspired by and displayed with paintings in various mediums. May 15–18.
Chroma Projects Inside Vault Virginia, Third St. SE. In the Micro Gallery, “Color as Air,” Lucy Farley Coates’ watercolor paintings capture the fleeting beauty and scent of flowers. Through May. In Vault Virginia’s Great Hall Galleries, David Copson’s “Events from the Ultima Thule,” and Ann Cheeks’ “Moving Through Infinity” continue. First Fridays reception at 5pm.
City Clay 700 Harris St. #104. The annual City Clay Garden Sale and Show, featuring ceramic pottery by various artists. May 10–11. Opening reception Friday May 10 at 5pm.
The Connaughton Gallery McIntire School of Commerce, UVA Grounds. “Virginia is for Artists,” paintings and prints by Uzo Njoku. Through June 14.
Jane Goodman at Crozet Artisan Depot.
Crozet Artisan Depot 5791 Three Notch’d Rd., Crozet. “Wild Thing—They Make My Heart Sing,” hand-crafted ceramic jewelry by Jennifer Paxton. “Made in the Garden,” landscape and still-life painting by Jane Goodman. Through May 31. Meet the artist event on May 11 at 11am.
C’ville Arts Cooperative Gallery 118 E. Main St., Downtown Mall. “Mandala Magic,” geometric compositions by Rucha Shevade. Through May 31. First Fridays reception at 5pm.
Dovetail Design and Cabinetry 1740 Broadway St, Ste. 3. “TWEETS,” acrylic and watercolor works by Matalie Deane and Juliette Swenson. May 8–June 30. Reception May 23 at 5pm.
The Fralin Museum of Art at UVA 155 Rugby Rd. “Structures,” a selection of 20th- and 21st-century artworks from the museum’s permanent collection, and the Charlottesville Indigenous Art Takeover.
Infinite Repeats Studio 1740 Broadway St. “Show Screenprints,” by Ron Liberti features posters documenting the artist’s involvement in the independent music scene. Through May 31. First Fridays reception and live printing demonstration at 6pm.
Lisa Waup at Kluge-Ruhe Aboriginal Art Collection of UVA.
Kluge-Ruhe Aboriginal Art Collection of UVA 400 Worrell Dr. The Charlottesville Indigenous Art Takeover. “Shifting Ground: Prints by Indigenous Australian Artists from the Basil Hall Editions Workshop Proofs Collection,” curated by Jessyca Hutchens, featuring work by 22 Indigenous Australian artists. Through October 6. “Close to the Wind,” prints, installation, and mixed media works by Lisa Waup. Through June 30.
Dean Dass at Les Yeux du Mond.
Les Yeux du Monde 841 Wolf Trap Rd. “Passenger Manifest,” oil paintings, collage, and works on paper by Dean Dass. Through June 30. Opening reception May 4 at 4pm.
Sofia Smith at McGuffey Art Center.
McGuffey Art Center 201 Second St. NW. In the Smith Gallery, “Treelines,” drawings and photographs by Bob Anderson and Scott Smith. In the First Floor Gallery North and Second Floor Galleries, artworks from area high school students. In the Second Floor Gallery South, Joe Sheridan, an artist exploring everyday objects as symbols. In the Associate Gallery, “Myths”. Through June 2. First Fridays reception at 5:30pm.
New City Arts 114 Third St. NE. In the Welcome Gallery, “Nhớ,” an all-consuming, immersive installation made of sewn and embroidered structures by Phượng-Duyên Hải Nguyễn. Through May 30. First Fridays reception at 5pm, artist talk at 6pm.
Phaeton Gallery 114 Old Preston Ave. Downtown Mall. “Albemarle in Bloom: A Springtime Trilogy,” with oil paintings by Karen Blair, Laura Wooten, and Priscilla Whitlock. Through May 8. First Fridays reception and oil painting demonstration.
The PVCC Gallery V. Earl Dickinson Building, 501 College Dr. The 2024 Student Art Exhibition, celebrating the accomplishments of student artists from the latest academic year. Through September 7.
Kiki Slaughter at Quirk Gallery.
Quirk Gallery 499 W. Main St. Kiki Slaughter’s “Twenty Years” presents a look into the process the artist has honed over two decades of active painting. Through June 2.
Random Row Brewing Co. 608 Preston Ave. “Landscapes: Here and There,” oil paintings and pastel works by Julia Kindred. Through June 28.
The Rotunda UVA Grounds In the Upper West Oval Room, the Charlottesville Indigenous Art Takeover. “Waŋupini: Clouds Of Remembrance And Return,” works featuring depictions of clouds by various artists. Through July 7.
Second Street Gallery 115 Second St. SE. In the Main Gallery, “Jac Lahav: Foster Paintings.” In the Dové Gallery, “Leisure Suit” by Lou Haney. Through May 24. First Fridays events at 5:30pm.
Studio Ix 969 Second St. SE. “MODERN GRAFFITI,” interpretations of graffiti in fabric and thread, by the Fiber and Stitch Art Collective. Through May 26. First Fridays reception at 5pm.
Visible Records 1740 Broadway St. “Ngasundiera Naxin: A Fragment of the Cosmos,” works by indigenous Mexican artist Filogonio Naxín. Through May 31.
Mythical monsters roamed the University of Virginia on the evening of Friday, April 26, when the SW2 Festival of the Moving Creature brought a parade of puppets to Grounds. The magical menagerie was comprised of art pieces designed, constructed, and operated by the university’s Art of the Moving Creature class, and honored festival namesakes Stan Winston, a Hollywood special effects artist and UVA alum, and the late Steven Warner, a longtime professor of the class.
Willi Carlisle writes from the heart about love, growth, and human plight, and asks the audience to sing along.
Supplied photo.
By Thomas Crone
Willi Carlisle has a healthy respect for the past, modeling his career, in part, on the folksingers of the 1950s, ’60s, and ’70s—people who traveled a self-made circuit of coffeehouses, clubs, and theaters that catered to a hip set.
Pete Seeger, in particular, is someone who Carlisle feels kinship toward, though he also looks to contemporary performers for guidance as well, like Tyler Childers, and mid-career, touring lifers like Hayes Carll. But the musician’s interests go back even farther, as evidenced by his collection of banjos that date back to the 1850s. So, yeah, he digs what’s come before. But he’s also a curiously “now” kinda guy.
One of Carlisle’s modern moves is in the making of the title video for his new album Critterland. He posted a note to Facebook, suggesting that he was looking for someone to create a stop-motion animation video that would capture the mood of the album’s cover, while reflecting the song’s lyrics. The feedback was immediate, useful, and employed.
“I just asked the world of the internet, ‘Do you know any animators?’” says Carlisle. “And out of the hundreds of bots that also responded, there were two people who reached out, who do exactly that kind of animation, one of whom said she’d love to do it. So, as the weeks tore on, I hired a friend (who’s a really good fiddle player), Julie Bates, to make the video. Julie, to her credit, works on a mid-2010s MacBook with a camera that’s 20 years old and she does it all by hand.”
Bates’ independent style is such that there “was no asking ‘Can you bring up the lighting there a little bit?’ What’s done was done,” he says. “And that’s more pure and interesting to me. Higher stakes, more fun.”
Again, it was a blending of times, influences, styles of working, ways to reach a collaborator.
And speed’s a part of it too. Carlisle says Critterland was recorded in three days, “with no take-backs.” It’s the kind of record that reflects his musical roots, based in the folk and country idioms of states like Arkansas, Missouri, Kansas, and Illinois, places where he’s hung his hat over the years. It is also the kind of thoughtful, unique record that has potential to break the artist to a wider audience. Yet, with his career in ascendance, Carlisle is not thinking in the context of an annual calendar, or an album cycle, or a tour itinerary. The musician says he prefers to break things down to the smallest fraction possible.
“I wake up every day, work the hardest I possibly can,” he says. “If it doesn’t all work out, I can try again tomorrow. Some day, some type of clarity of organization may come to me.
“Meaningful encounters with people really drive my writing,” says Carlisle. “I love to practice and I love to play. The only things that kill me are publicity and logistics. Like, I have to go to the post office today. Pretty much everything else, I like. I haven’t had to plan too much as I’ve worked with people who I simply tell, ‘Hey, guys, I’m ready.’ And it always works.”
It’s worked to the point that Carlisle’s heading into his biggest year of touring yet. Maybe there was a year with more dates on the books; he’s known to be on the road for 80 to 90 percent of his days, making home a relative term. This year, though, the dates range from his usual club and festival appearances to some support slots for Childers, where five-figure audiences will be the rule.
For someone who came up playing house shows, folk halls, and corner taverns, the jump’s been wild and kind of awesome. Carlisle arrives at this moment through hard work—putting out a quarterly zine, producing videos for pennies on the dollar, and playing for all the cool online channels that’ll have him.
Now when he looks out at an audience, he realizes there are a lot more people looking back than in the recent past. “This year we’ll be doing some opening dates in stadiums for 20,000 people and more,” he says. “That exponential growth has been an honor and a pleasure. But the shows haven’t changed much between doing them for 50 people or just 10 people or 20,000. It shouldn’t. It’s my job to give my all and that hasn’t changed very much.”
Carlisle pauses. “Maybe I tell a dirtier joke in a smaller room,” he says. “But that’s about it.”
A full day of horsing around awaits at the 45th running of the Foxfield Races. The historic steeplechase event, born out of the tradition of fox hunting, features seven full race cards over flat tracks, hurdles, hills, and obstacles for the jockeys and their thoroughbreds. Live music, local vendors, and a variety of food trucks combine with derby-style fashions, enthusiastic tailgating, and friendly side wagers at this outdoor affair.
Long before he was a successful businessman, pilot, and entrepreneur, it was evident that Bill Crutchfield’s fate was to be the main character of his story, whatever that may be. In 1950, at 8 years old, he built his first radio. At 13, he built what was, to the best of his knowledge, “the first stereo system in Virginia.”
“It was very crude by today’s standards,” he says. “I combined two sets of speakers connected to two separate mono hi-fi amplifiers in my bedroom. They were connected to a two-channel tape head mounted to an old office reel-to-reel tape recorder.”
Crutchfield’s father was the head of neurology at the University of Virginia, and a man his son describes as “an early adopter of technology.” That forward-thinking, open-mindedness wouldn’t simply be passed down to his son—it would be amplified by his talent, augmented by his experience, and harnessed as one of Bill Crutchfield’s greatest assets as an entrepreneur.
This aptitude for detecting trends, and Crutchfield’s ability to detect problems and solve them before they exist, were what helped him turn his modest car stereo business into an electronics empire that became one of Charlottesville’s flagship businesses.
“I wanted to restore old Porsches,” Crutchfield says. “And that’s when I noticed that there was a real lack of car stereo retailers. I thought it was a market that was really underserved at that time. That’s how I found my niche.”
Prior to the 1970s, car audio systems were something that came stock from the factory, and their availability from third-party retailers was extremely limited. Until the advent of the 8-track tape, the sound system in a vehicle was thought of as a luxury by many—an afterthought. By the late 1970s and early 1980s, as cassette tapes became the popular album format, car audio exploded into a million-dollar industry. By that time, Crutchfield had already established itself as one of the premier names in the business, not through the promulgation of retail stores like most of their main competitors, but through their mail-order business and the Crutchfield “magalog.”
“Our first catalog was a disaster,” Crutchfield says. “A lot of it was wiring diagrams we drew ourselves, and it just didn’t work very well. Our second one wasn’t much better. I thought it would be a good idea to start including articles about installing these devices in our catalog, but it went against everything people knew about advertising and marketing back then to use space for anything other than sales copy. But that was when we really started seeing some success, was with our ‘magalog.’”
While Bill Crutchfield was building his business, he says he worked 100 hours or more almost every week. He credits this work ethic, along with finding the right niche and even his name, as possible reasons for the success of his 50-year-old company. Photo by Eze Amos.
As the company was making its name in the mail-order business, Crutchfield’s retail store was becoming more popular in Charlottesville, and its advertising on radio and television in the area became inescapable. The company outgrew building after building, eventually constructing its headquarters and fulfillment center beside the Charlottesville Albemarle Airport.
Arriving at 1 Crutchfield Circle for the first time, I notice that the building is earth-sheltered, with the ground built up around it for temperature regulation. Forty years before “going green” was a thing, Crutchfield designed his company headquarters to be one of the most energy efficient commercial buildings in the world at that time. I walk through the door and, after a firm, old-school handshake, Crutchfield invites me to tour the facility with him.
We hop in his electric Mercedes-Benz, and silently glide through the rain between the three different properties that make up the Crutchfield complex. The first stop on the tour is the call center, a soft-white cubicle matrix dotted with personalized workspaces, comfy chairs, and baby gates used to keep people’s dogs confined in their own workspaces.
“We’re a dog-friendly company,” Crutchfield says, a bit of an understatement, given that every third person seems to have a furry friend with them.
Everywhere we walk, inspirational messages adorn the walls. At first glance, they seem like the pseudo-spiritual posters created to motivate employees stuck in the daily office grind. What I don’t realize is that what hangs on the walls at Crutchfield isn’t the trite clichés so commonly used as filler for blank office spaces. I am reading Bill Crutchfield’s core values, something everyone takes seriously, and with good reason: They saved his company.
It was the 1980s, and Crutchfield was struggling.
“Our 1982 sales grew significantly while our profits nosedived,” Crutchfield says. “In 1983, our financial situation worsened. Sales fell by 10 percent, and earnings turned negative. Our cash reserves dwindled rapidly because of these losses. By spring, I had to take out more short-term bank loans to help cover these losses.”
He sought help, and one vice president was vocal about his belief that Crutchfield needed to spend less on the quality of his magazine and customer support, and focus on matching his competitor’s prices. Crutchfield even got input from the University of Virginia undergraduate business school (for which he chaired the advisory committee). A professor wrote a case study that concluded, “Crutchfield Corporation has gotten bigger than Bill Crutchfield can handle.”
Crutchfield spent several weeks and months contemplating the problem, and the conclusion he came to was that the issue with his company was one of culture and not of capital.
“During this lonely intellectual probing, I read a statement which was so appropriate to our situation that it was almost uncanny,” Crutchfield wrote on the company website in a retrospective post. “It was made by Thomas Watson, Jr. during a lecture at Columbia University in 1962. The IBM chair said, ‘I firmly believe that any organization, in order to survive and achieve success, must have a sound set of beliefs on which it premises all its policies and actions. Next … I believe that if an organization is to meet the challenges of a changing world, it must be prepared to change everything about itself except those beliefs as it moves through corporate life.’
“Now I understood exactly what the problem was,” Crutchfield continued. “My company once had a set of common beliefs—my beliefs. When the company was much smaller, I was instinctively able to ensure that everyone adhered to my beliefs. As it grew, I had to delegate decision-making to others. As a result, my beliefs and the company’s beliefs gradually started to diverge. By 1983, they were vastly different. Since this change had occurred so slowly, I never fully recognized the problem until I read Mr. Watson’s comments.”
Crutchfield’s campaign to reinstill his values into the company he built began with the obvious task of defining those values. First, the total satisfaction of the customer is paramount. Second, respect for dedication to your fellow employees. Third, maintaining a commitment to excellence. Paramount above all three things, though, is a very simple, ancient maxim: Treat others as you want to be treated.
Through training, innovation, incentives, and discipline, he began to regain control of his company’s culture and morale. It was a crucial time, and it’s why many people, including Chief Human Resources Officer Chris Lilley and Chief Content Officer Amy Lenert, say the culture and camaraderie within the company is what makes Crutchfield such an amazing place to work.
“Working in creative [departments], there can be a certain amount of egos involved,” Lenert says. “That really just … doesn’t exist here. Honestly. Everyone’s really on the same team.”
“I came on in ’94,” Lilley says. “I thought I would be here maybe a couple years.”
Lilley says it was during the COVID-19 pandemic that the true commitment toward each other and the business really shined.
“We were open because the governor kept a lot of businesses with shipping capacity open in case they needed the distribution access for PPE,” he says. “So we were dealing with that, plus all the people working remotely, and in the middle of all that, sales went through the roof. It was up, like, 30 percent. I mean, it was crazy. And in the middle of all that, Bill came and we were talking and he said something I’ll never forget. He said, ‘You need to understand: You and I are responsible for 400 families.’ I think it’s even more than that now. But I think that’s what really makes me love my job, is having someone who shares my values and really wants to take care of people.”
When Lilley talks about Crutchfield—both the company and the man—“taking care of people,” it isn’t euphemistic. Crutchfield was the driving force behind smoking cessation programs in his company in the ’80s, back when you could still smoke on some airplanes. He was concerned about the environment when he built his primary corporate headquarters building in 1977. When Crutchfield recognized the negative environmental impact of styrofoam packing peanuts, he came up with a biodegradable, starch-based replacement that is manufactured in-house.
“Sometimes, I tell people from Charlottesville I work for Crutchfield,” Lenert says. “And sometimes they’re like, ‘the stereo store?’” in reference to the company’s retail space on 29 North near Rio Hill. “We’re a multi-million dollar company, with four huge buildings, hundreds of employees. … All I tell them is, ‘it’s so much more than a store.’”
Charlottesville winemakers Matthieu Finot, Damien Blanchon, Stephen Barnard, Jake Busching, and Tim Gorman celebrate at the Monticello Wine Week golf tournament. Supplied photo.
The Monticello American Viticultural Area won Wine Enthusiast’s Wine Region of the Year award at the end of 2023, and according to Brantley Ussery, it was not only for the area’s juice, but also for the squeeze.
“The things that Wine Enthusiast really liked about our region is the approach, our inclusivity,” says Ussery, director of marketing and public relations for the Charlottesville Albemarle Convention & Visitors Bureau. “We’re trying to dispel the myth that wine needs to be enjoyed in a certain way. There are no right or wrong ways.”
Making high-quality wine is a prerequisite for the prestigious magazine award, according to Wine Enthusiast’s published criteria. And the local AVA, which includes about 40 wineries in and around Charlottesville, impressed the publication’s judges with its range of award-winning bottles, including classic Bordeaux varieties, carbonic chenin blancs, and more obscure petite mansengs. The judges also praised the region’s “place in American wine history” and the collaborative nature of local winemakers. “We’re not as cutthroat as some other regions,” Ussery says. “They all share tips and tricks.”
To be clear, Ussery and his organization actively pursued the award, establishing a relationship with Wine Enthusiast over several years, including as a paying advertiser. But lest folks think Charlottesville had an inside track to the honors, consider the competition. Two of the five finalists, announced last December along with our area’s AVA, were Provence, France, and Lambrusco, Italy. The other two were up-and-coming South African and Australian regions.
The Monticello AVA, which encompasses Charlottesville and Albemarle County and is referred to simply as Charlottesville in Wine Enthusiast’s promotional materials, was the only North American finalist for the 2023 award. The magazine has bestowed top wine region honors since 2003, with winners in Abruzzo, Italy, Sonoma County, California, and Champagne, France.
According to Tracy Love of Blenheim Vineyards and the Monticello Wine Trail, Ussery and the CACVB deserve significant credit for elevating the Charlottesville wine region into the conversation with the other finalists. Now, the region is looking to capitalize on the award during its annual Monticello Wine Week, which runs from April 26 to May 3, and includes two rosé-focused events, one banquet each for red and white wines, a sparkling brunch, a golf tournament, and a celebration of the Wine Enthusiast award.
“It is pretty shocking that of all wine regions in the world, they chose us,” Love says. “But we believe we have the opportunity to be the most diverse wine region in the world. We don’t have a lot of laws or traditions or standards telling us what we have to do, and I think that’s really appealing to people … just being able to experiment and figure out what works.”
According to Love, Monticello wines made a splash at this year’s Virginia Governor’s Cup, where the best wines in the state compete for the podium. With Wine Enthusiast’s national recognition, it’s like the region has been “pushed off the diving board,” and Love reckons it’s an opportunity for local wineries to jump to the next level.
For one thing, they can continue to focus on adapting to climate change, another reason Wine Enthusiast named the local AVA the best in the world.
“It’s forced the wineries to adapt. Some are going to hybrids, and everyone is kind of reevaluating the vinifera,” Love says. “It’s an emerging wine region, and the wines get better year after year.”
For more information about Monticello Wine Week go to monticellowinetrail.com.
