Categories
News

On the right (career) path?

Scott Williams walked out of the John Paul Jones Arena feeling optimistic. The boiler mechanic at UVA’s heat plant had just finished seeing the University’s expo for its “Career Paths” plan, a major component of the new human resources plan that will take effect in January.


Susan Carkeek, UVA’s HR officer, defends the new “Career Paths” plan. “The whole point of doing this is to recruit and keep our best employees,” says Carkeek.

“It will be better in the long run —more money,” says Williams. “The only thing I’m worried about is taking benefits away, things like days off and holidays.”

Previous coverage:

Staff question new HR plan
"Town hall" marks unveiling of University system

Staff concerned about trust, pay
Still waiting for glimpse at new HR system

From the ground up
UVA gets its official HR restructure-er

University officials point to the new HR plan’s compensation system of market- and merit-based pay as a benefit to UVA staff. Under the current state system, wages and raises are capped. Williams says that if he worked the same job in the private sector, he’d make around $50,000 or $60,000 a year.

How much does he make now? “Not even close to that,” he says.

But Williams’ concern about lost benefits speaks to some employees’ skepticism of a new HR plan that is still being developed and is short on specifics. The new HR plan comes out of the 2005 Management Agreement that gave UVA autonomy from the state’s human resources system. All UVA staff hired after July 2006 will be automatically switched to the new University HR system in January. Employees hired before then, however, have a choice: stay with the current state Classified system or jump over to the University’s new system.

The University’s plan won’t be finalized until October 1, when employees will receive a side-by-side comparison of both HR plans that the Management Agreement requires UVA to provide.

The Career Paths program is a major component of the new system, and one that UVA officials are heavily touting. Susan Carkeek, vice president and UVA’s chief human resources officer, says that Career Paths came partly from employees’ concerns about the lack of opportunity for advancement.

“People were staying, and people were advancing,” says Carkeek. “But I think it was in spite of the system, not because of the system.”

UVA rolled out details of the new programs last week and put them on display at the JPJ. Taskforces comprising nearly 200 employees and supervisors identified a whopping 73 career paths in 15 different career fields. Inside the Arena, large signs listed each career path, most of which include four stages within the same job. The stages lay out a metric for advancement—the job description for each stage and what skills, experience and certification employees need to advance.

“With the majority of the career paths that have been laid out,” says Carkeek, “it should give employees information they’ve never had before.”

Employees will receive pay increases with advancement, though specifics haven’t been set yet. Carkeek says UVA would probably set ranges of raises for pay increases within career paths.

UVA employees Christine Harrer and Linda Patchel, who work in the microbiology department, both left the expo liking what they saw of the Career Paths program.

“It gives you a diagram of what exactly you need to do,” says Harrer. Come January, Harrer will have to decide whether to switch to the new HR system. She’s unsure if she will and says she wants to see what her options are before she makes the jump. Employees who switch to the new University system cannot go back to the current state Classified system.

The Staff Union at UVA has been casting a skeptical eye at the University’s new HR program, and members questioned Carkeek about where the funding for market-based salaries will come from. Carkeek has said that UVA will use existing funds for the new system.

“The whole point of doing this is to recruit and keep our best employees,” says Carkeek. “So there is no incentive for us to not have the best salaries and benefits that we can possibly afford.”

C-VILLE welcomes news tips from readers. Send them to news@c-ville.com.

Categories
Living

One down

Restaurants are like babies—their first year of life is the most perilous. That’s why when a dining establishment survives those first chaotic 12 months, it’s cause to invite the friends and family over for a celebration. Brooke and Luther Fedora, owners of 1-year-old Horse & Hound GastroPub on W. Main Street, are doing just that this weekend. In honor of their little restaurant offspring’s official emergence into toddlerhood, there will be drink and appetizer specials throughout the weekend, as well as live music.

Restaurantarama had the opportunity to speak to the Fedoras last June, when the two experienced chefs and Culinary Institute of America graduates had just given birth to H & H—their very first restaurant. Like any new parents, they exuded excitement and optimism, and they spoke confidently about the resurgence of W. Main Street’s dining corridor and their particular location in the old Blue Bird Café spot. They also sounded certain of their culinary concept, which merged high-quality food in a casual British-pub-like atmosphere. With the first tumultuous year under their belts, however, we wondered: Would the twosome be as upbeat or just worse for the wear?


Brooke and Luther Fedora are celebrating one year of their business baby, Horse & Hound GastroPub on W. Main Street.

“There are probably a million things we didn’t know when we started!” Brooke told us when we asked what lessons she’d inevitably learned during the past year.

“We’ve been in the industry a long time, but we’ve never owned a restaurant. I think the biggest thing for us has been how much harder it is to be the boss and owner—that it’s our fault if we fail or if we succeed.”

Fortunately for the Fedoras, it seems it’s more of the latter, thanks to a solid business plan. H & H changes the menu seasonally to take advantage of the best produce, etc., but their core concept of spruced-up pub fare, good beers and nicer entrees hasn’t changed.

“Our mission from the beginning was to get a large variety of people, and that’s what we’re getting—students and townspeople and tourists—those that want to spend money on a nice filet and those that just want a burger. We have a diverse clientele.”

Also, they’re still smitten with their space.

“I love where we’re located. We have a great patio and we are great friends with our neighbors,” says Brooke, referencing nearby newbie establishments, the 1-year-old Zinc and the about-to-be 1-year-old Maya.

“We absolutely could have more traffic, and it would be nice to get people off the Mall, for lunches especially. Some of those restaurants have been there forever. With time, people start to know you. For the most part, we are all doing very well, and we have tons of parking.”

So with the trifecta of restaurant success—location, menu and ambience—working as planned and the make-or-break first year out of the way, the Fedoras are busy with business expansion plans for H & H’s second year of life. In addition to creating their website and launching an H & H advertising campaign, they are starting to market catering, business lunch take-out and more event services. 

But all of that sounds like a cakewalk after the first year of restaurant parenthood, right? Except that the Fedoras gave birth to an actual human child two months ago—so much for catching up on sleep.

To find out about Horse & Hound’s weekend of anniversary events, call 293-3365.

Welcome back

Old friend Al Dente, which departed its location above Escafé on the Downtown Mall after The Upstairs took over that space, has re-emerged in its new location in the Ix Building. The patio overlooking the Ix ruins is still in the works, but the dining room is open for lunch and dinner.

Got some restaurant scoop? Send tips to restaurantarama@c-ville.com or call 817- 2749, Ext. 48.

Categories
News

Yellow Crystal Star with Dickhearse: A Discourse on Dick Horse and Myceum

On a muggy but bearable Wednesday evening, the sun set sharply through the windows of The Bridge, and the music started.

After the framed photos of Nubar Alexanian’s recreated Abu Ghraib were removed from the walls, the fairly fledgling local act Myceum—consisting of Scott Ritchie, a crickity keyboard and an orchestra of pedals—flooded the room with gurgling drones. Atop his sea of pulsing sound floated a recorded recitation of the myth of Jason and the Argonauts. It slithered from a tape player that was part of Ritchie’s setup, surfacing and diving through the morphing sounds like a sonic serpent, and the small but enthusiastic crowd was picked up by the current and intertwined in the flowing sound.

Portland, Oregon’s absurdly named duo Dickhearse: A Discourse on Dick Horse began with one member writhing and trapped amid a mess of metal frames and wires like a fiendish Ebenezer Scrooge while his cohort stood over him in a sagging white jumpsuit, a cross between the Ghost of Christmas Past and the Grim Reaper. The pair soon shed their shackles but maintained the same eerie aura as they conjured frightening tones from guitar and drums via pedals and cymbals amplified with contact microphones. The rest was a mind-wrenching mess of soaring decibels, collapsed drum patterns and the guitarist’s long, stringy, flailing hair.

After those bursts waned and the lights dimmed, the Reaper assumed the moniker Yellow Crystal Star. This set shined brightest, as though it were sonically born from the singular focus of Myceum and the dynamic energy of Dickhearse. His guitar was like a sickle, cutting out sonic layers, stacking them up and finally slicing the scene to pieces in a cathartic wrestling match with his strings and frets.

The Bridge plans to host shows more frequently, and if this noisy, far-out night is any indicator, those with a taste for the eccentric and boundary-busting will find it to their liking. If the stars align, the space could combine the best aspects of deceased Charlottesville spots like the Pudhouse, Atomic Burrito and the Tokyo Rose. Attendance was small for this midweek event, but there were some young faces in the audience, a promising sign for the future. If The Bridge can build a consistent and interesting musical schedule, as with its film and art events, then we have much to look forward to. As a voice once told Kevin Costner: If you build it, they will come.

Special effects creator Stan Winston dead at 62

We are sad to announce that UVA grad Stan Winston—a renowned makeup, creature- and visual-effects wizard whose work on Aliens, Terminator 2: Judgment Day and Jurassic Park earned him four Academy Awards—has died at the age of 62 from multiple myeloma. Winston was also a longtime supporter and board member of the Virginia Film Festival—and was honored by the festival in 1999. To support the festival one particular year, Winston donated a Velociraptor eyeball—from his work on the Jurassic Park movies.

"The entertainment industry has lost a genius and I lost one of my best friends," Gov. Arnold Schwarzenegger, of Terminator fame, said in a statement Monday. "Stan’s work and four Oscars speak for themselves and will live on forever."

In addition to those films, he is responsible for the badass 14-foot-tall Alien Queen in Aliens, the extraterrestrial walrus-like creature in Predator, the futuristic cyborgs in the Terminator movies, and the life-size dinosaurs in the Jurassic Park movies. Winston also created the makeup, scissors and blade appendages for Edward Scissorhands. Most recently, he and his team created the crystal skeletons for Indiana Jones and the Kingdom of the Crystal Skull and the suits for Iron Man and his 10-foot-tall super-villain the Iron Monger in Iron Man.

Categories
News

Correction from June 10 issue

Due to a production error, the caption in the June 10 Restaurantarama [“Foodie forum”] misidentified the person in the photograph as Jaison Burke. The photograph is of Tyler Teass. Our apologies to both Mr. Burke and Mr. Teass for the mix-up.

Categories
News

UVA drives increased bus ridership

Since September, monthly ridership on the Charlottesville Transit Service (CTS) has been up on average 15 percent over the previous year. We can guess why, right? With gas prices boiling over at $4 a gallon, more and more people are leaving the car at home and hopping on the bus.

Except we’d be wrong. What the ridership data actually indicates is what we Charlottesvillians know in our heart of hearts to be true: It’s all about UVA.

Starting in July 2007, University faculty, students and staff started riding city buses for free, thanks to a $130,000 contribution from UVA. Since then, about 12 percent of CTS riders have just gotten on by flashing University ID. Ridership on Route 7, which runs from Fashion Square Mall to the Downtown Mall via the Corner, has gone up dramatically and caught up with the Free Trolley. Together, those two routes make up two-thirds of CTS riders.

“I think it’s more than just the University, but I do think the primary source of our growth has been University ridership,” says Bill Watterson, CTS manager. “We are a university town, so this is certainly what you would expect.”

Gas prices, of course, can be a blessing and curse for CTS—they get people on the bus, but also increase the costs of moving the bus. “That is the double-edged sword,” Watterson says. “We have an 18 percent increase in our fuel line item for the coming budget year, and hopefully that’s going to be sufficient.” CTS is budgeting about $740,000 for fuel in the next fiscal year, which starts in July.

More transit options may be on the way for localities. CTS is adding buses and routes in August. Amtrak has plans for a new train that would run in the mornings from Lynchburg to Washington, D.C., and vice versa in the evenings, with stops in Charlottesville—a way to get D.C. commuters off the roads and on the rails. And on June 16, City Council heard from its Street Car Task Force, which recommended that the city hire necessary consultants to study the base costs to build and operate the system.

But for public transit, the question always comes back to ridership. And a trip out to the Shell Gas station at Barracks Road yields a lot of bitching about gas prices, but few people who can or would take a ride.

“The distances I drive are so short because the town is so small it wouldn’t really matter,” says Charlie O’Brien.

Tiffany Dimmie, a Buckingham resident, wishes she could ride. “If they had [buses in Buckingham], I’d really take advantage of it,” says Dimmie, who drives a Toyota SUV. “I’m trying to sell my car right now.”

C-VILLE welcomes news tips from readers. Send them to news@c-ville.com.

Categories
Living

Pluckin’ good [with video]

On the second day of spring, a Saturday night, Feedback wandered into the smoke-laced red glow of Miller’s and happened upon the sounds of Pokey LaFarge. As if he were a male version of one of Homer’s Sirens, his voice drew us to a table near the front, and we grabbed a beer and listened as he picked his way through bouncing ragtime rhythms and soulful ballads.

Now, on the verge of summer, Pokey is rolling through town again, this time with a stop at the Tea Bazaar on Wednesday, June 18. Before he embarked on a short break from his extensive touring schedule for a fishing trip, we caught up with Pokey to shoot the shit.

Though he hails from Louisville, Kentucky, Pokey’s musical journey owes a lot to our own Central Virginia music scene. “Charlottesville was kind of at the beginning of my musical development,” he says. “I used to play with this band called the Schwillbillies, and we went out there when I was 19 and recorded a record with Tom Peloso from the Hackensaw Boys, who now plays with Modest Mouse. I was living in the Dirty Bird, their old tour bus, in the back of Tom’s house for a couple of weeks.”
 


Pokey LaFarge brings his soulful solo ragtime blues to the Tea Bazaar on Wednesday, June 18.

His time in Charlottesville naturally lead to a short stint playing mandolin in the Hackensaw Boys. “I love Virginia, but specifically Charlottesville has always been good,” he says. Some of his best experiences in town have been playing on the Downtown Mall with local boys like Ferd Moyse, Critter Fuqua and Philip St. Ours. “We had this little pickup band we called Tater Pugs,” Pokey says.

These days, though, Pokey has been hitting the road mostly on his own, with just a guitar and his songs. He released his first solo album, Marmalade, in 2006 and names bluesmen from the 1920s and 1930s such as Reverend Gary Davis, Robert Wilkins and Blind Blake as his biggest influences. Pokey describes his own tunes as “ragtime blues.” “The guitar style is usually very similar ragtime piano and barrelhouse piano,” he says.

Pokey LaFarge playing "The Cat’s Got The Measles And The Dog’s Got The Whooping Cough" live.

C-VILLE Playlist
What we’re listening to

“Bad Dream/Hartford’s Beat Suite,” by Magik Markers (from Boss)­—A haunting and eerily beautiful ballad of nightmares, alienation, dark secrets and death.

“How We Roll,” by The Diagnostics (from Cost of Living)

“Devil’s Elbow,” by Tarkio (from Omnibus)—Before Colin Meloy set sail with The Decemberists, he charted his course with this alt-folk act from Montana. He still plays this one live sometimes, and rightly so.

“Addio del passato,” by Giuseppe Verdi (from La Traviata)

“Lovestoned,” by Justin Timberlake (from FutureSex/LoveSounds)

Pokey will pick up where he left off on Marmalade with his new album, Beat, Move and Shake, which comes out on July 18. “I’m really excited about it,” he says. “I’ve got an upright bass player playing on eight out of the 12 songs, so it’s kind of a fuller sound. It’s a bridge into a bigger sound, definitely, a bigger step in the evolution.”  Come see Pokey, as well as talented local acts Mister Baby and Joe Pollock, on Wednesday. We’re sure you’ll be drawn in by his terrific tunes just as we were back in March.

Also, stay tuned to Feedback next week, when we talk with Pokey’s old buddy Tom Peloso, who will be playing with Modest Mouse at the Charlottesville Pavilion on June 29.

Bridging the gap

With the disappearance of music venues like Starr Hill, Satellite Ballroom and Atomic Burrito, it’s become a little more difficult to find loud and wild sounds around town. So we were happy to see that The Bridge/Progressive Arts Initiative is planning on bringing more live music to its Belmont space. The Bridge has already hosted some great shows (not to mention a slew of great art), and we’re excited to see them picking up the musical pace. Adam Smith, who makes his own noises in local bands like Truman Sparks, The Invisible Hand and Order of the Dying Orchid, will be booking the shows, and The Bridge will be conspiring with the multipurpose music-mongers at Nelson County’s Monkeyclaus to help improve the space’s sound. Turn to page 55 for a review of last Wednesday’s show at The Bridge.

90 degrees

We’re not talking about the sweltering heat. City Council, in its Monday meeting, considered an appeal of an April decision on placing a sign and LCD screen at the entrance to the Charlottesville Pavilion. The Board of Architectural Review approved the sign, but only if it is turned 90 degrees “to minimize the view from the Mall” and the LCD screen is covered outside of event hours. The Pavilion had originally intended to have the sign and LCD screening facing the Mall to display sponsor advertisements during events and information about upcoming shows the rest of the time.

Council upheld the BAR’s decision to only have the LCD screen active and unveiled during Pavilion events, but granted the venue’s appeal to allow the sign and screen to face the Mall rather be turned 90 degrees.

During the meeting, Pavilion manager Kirby Hutto expressed the reasons for putting up such a display. "This is a type of thing that most musical venues are doing these days," he said, "because the sponsorship money really makes the financial plan work." Hutto also referred to existing examples of LCD screens on the Downtown Mall. "I think we need to note that these types of displays are not unique on the Mall," he said. "You do have one in the Paramount Theater, you have one in the C-VILLE office. They are behind the window, but it is part of the experience of walking down the Mall at night." Thanks for the shout-out, Kirby!

Got news or comments? Send them to feedback@c-ville.com.

Categories
News

City, realtors not eye-to-eye on signage

To get the word out about her client’s property, Mary Leavell, a local real estate agent with Keller Williams, is a big fan of using off-site signs—those placards that point, usually with brightly colored arrows, to property for sale off the beaten path.

“The stats I’ve seen from the National Association of Realtors is that signage sells 40 percent of the homes,” Leavell says. She’s currently using an off-site sign posted on Monticello Avenue to help her sell a property on Sixth Street SE. “That number seems high to me, but Lord knows, if that’s the case, I’ll buy some signs and put them up and try to sell a home.”


Mary Leavell uses this off-site sign to point out a property on Sixth Street SE to travelers on busier Monticello Avenue. Such signs violate city ordinance.

“People have to know what’s for sale and where it is,” says Leavell. “As long as it doesn’t annoy the landowners whose geography you’re occupying, maybe it’s O.K.”

In the eyes of the city, however, off-site signs are not O.K.—even when they’re on private property. “The law says that you cannot have off-premise signs,” says Jim Tolbert, director of the city’s Neighborhood Development Services, which polices signage. “We get complaints about realtor signs being put up all over the place on a regular basis. Some of them just don’t get it.”

On April 28, the city zoning inspector, Craig Fabio, sent a letter to the Charlottesville Area Association of Realtors (CAAR), letting realtors know what’s allowed—which isn’t much. “Simply stated, all real estate signs posted anywhere, other than on the property that is for sale, lease or rent, will be removed by a City employee,” wrote Fabio. “All signage removed by the City will be recycled and will not be available for retrieval.”

“It’s like ivy, it creeps back, you cut it back, it creeps back,” says Dave Phillips, CEO of CAAR. “About every six months, we try to remind our members that they need to be observant of sign laws. They’re trying to market the property for their client, and the rules aren’t very clear, so they can easily get unintentionally violated out of convenience.”

The county doesn’t seem to have as many problems. “The realtors seem to be more responsible in that they put the signs in closer proximity to what’s actually for sale,” says Rob Heide, the county’s master of zoning enforcement. “Realtors are probably more responsible with their signs because they actually have to pay for those things, and they’re not cheap.”

But they’re cheap enough for Leavell, who uses the small, corrugated kind and doesn’t show any, uh, sign of stopping. “They just disappear and I know not where they go,” she says. “They’re not very expensive. If it does bother someone, they can just call the agent, and we’ll come and pick them up.”

“Realtors are just easy to blame for this,” says Phillips. “There are multiple varieties of signs out there for everything that you can think of that are in violation.”

C-VILLE welcomes news tips from readers. Send them to news@c-ville.com.

Categories
News

Ryan inducted into Hall of Fame

UVA women’s basketball coach Debbie Ryan joined a select few June 14 when she was inducted into the Women’s Basketball Hall of Fame in Knoxville, Tennessee. Ryan was a member of the 10th group of inductees to the Hall.

Ryan is fast approaching Thomas Jefferson as an institutional figure at UVA, albeit with more wins. The 2007-2008 season was Ryan’s 31st at UVA in a career that has included 20 consecutive NCAA tournament appearances, 12 trips to the Sweet Sixteen, seven Final Four teams, and one championship game appearance—not to mention a career that has spanned more than three decades in which women’s basketball has jumped from a largely ignored (and underfunded) college sport to a sport that now boasts its own professional league.


Dawn Staley played four years under UVA coach Debbie Ryan. Staley’s now a head coach herself, at the University of South Carolina: “I’m a true testament to the effect a coach has on a player’s life.”

“It’s changed a thousand fold,” says Ryan, “from the amount of support the sport has received to the athletes themselves and how we’re really starting to see what women can do athletically. And we’re still probably just scratching the surface of that.”

Perhaps no one personifies those changes as much as one of Ryan’s former players, Dawn Staley. Staley was named national player of the year twice while at UVA from 1988 to 1992, played in the American Basketball League (a short-lived precursor to the WNBA), then the WNBA, and is now the head coach at the University of South Carolina.

“Debbie is a coach who allowed her players to learn from mistakes,” says Staley via e-mail. “It was an ‘on the job training’ approach. Most coaches would have stifled the growth of our talented team, but Debbie’s style created an atmosphere where we were destined to succeed. I have adopted that approach and found success with it.”

In a profession that tends to make nomads of coaches, Ryan says one of the reasons she’s chosen to stay at UVA for over three decades is its financial and emotional support for her program, even when women’s basketball wasn’t the draw it is now.

“We’re not one of those schools that lagged behind Title IX,” says Ryan. “We were always out front and wanting to be on the cutting edge of that. That always made me proud of being a part of this school.”

C-VILLE welcomes news tips from readers. Send them to news@c-ville.com.

News Quiz vis-a-vis a broken heart

You people are goddamn killing me. For months, when this News Quiz was buried on the front page, hundreds of folks responded. But now that it’s here on The Spiral—nothing.

After another week of zero guesses, I didn’t even bother to post the answers. You made me do that. This is your fault.

O.K., maybe the motivation of a vegan hotdog doesn’t quite hold the appeal that I thought it might. I’m willing to admit some mistakes. It’s just … I don’t mean to yell. I  just want our relationship to work so badly that it hurts sometimes. I’m sorry, I’m sorry.

I can do better. I swear. Give me another chance. Look, I can make it up to you. This week, the first person who ventures even a one guess on one question will get his or her choice of CDs.*

Let’s make this work.

O.K., I feel better. So, um, you hungry? Do you want to go grabs some food or something? Maybe we can get takeout and watch a movie? Wow, I feel so much better. Here’s the News Quiz.

1. When the city’s Director of Neighborhood Development Services, Jim Tolbert, says, "Some of them just don’t get it," to whom is he referring?
    a. Bad neighbors.
    b. Sign-happy Realtors.
    c. Creationists.
    d. Doubters of the conspiracy theory that Christopher Marlowe actually wrote the majority of Shakespeare’s works.

2. Why has Charlottesville bus ridership increased since September?
    a. UVA folks get free rides.
    b. Binge drinking becoming more socially acceptable.
    c. Hot drivers.
    d. Buses started playing those shitty jam bands the people seem to like so much during rides.

3. When Ross Carew says, "Just because it sounds and feels good doesn’t mean it’s effective," to what is he referring?
    a. The movie "Juno."
    b. Whistling of spring wind through pines.
    c. The Offender Aid and Restoration program.
    d. The Dave Matthews Band.

* Your choices are 1) "The Groove Boutique: Volume One (a seamless blend of smooth jazzy groves) and 2) "Solar Igniter" by Modereko (still in its orginial, 2003, shrink wrap!). This is no way implies delivery of said CD to winner. Promotion may end at any time and without notice. Employees of C-VILLE Weekly are not eligible to win, nor are family members of employees, off-and-on acquaintances,  jam band members,  people over the age of 15 with emo haircuts, anyone who owns a yoga mat, poets, professional whistlers or mountain bikers. CDs not recommended for people with decent musical taste.