First Bite

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03.05.08

Editor’s note: First Bite is a new concept in restaurant writing. This is not a go-three-times, try-everything-on-the-menu report; rather, this is a quick snapshot of a single experience. We invite you to come along with our writers as they—informed, intelligent eaters like yourselves—have a simple meal at an area restaurant, just like you do.

Whether from south of the border, East Africa or the Lower East Side, new arrivals have always brought welcome new culinary opportunities. The North Bay’s significant Eritrean community is going on 20 years here, but aside from the recently closed Santa Trata, good eats from the Horn of Africa have been elusive. So it was particularly exciting that this new restaurant has opened in downtown Santa Rosa between a taqueria and a pizza joint.

The cuisine is called Ethiopian/Eritrean because the nations, politically divided after years of war, share a great deal of culture. Abyssinia’s airy, tiled floor space is somewhat utilitarian but for colorful baskets and decorative lighting, so it’s not a dimly lit den of low archways and palm trees or whatever one may wish for, but just fine for casual dining. Service was smoothly on time for everything from drinks to check, and the two young guys running the shop seemed really committed to it and happy to explain their menu.

The but’echa ($5) sounded like the best bet from a limited appetizer list, which otherwise offered chilled lentils and flax-seed powder. This greenish chickpea dip, served with a tortilla-like flatbread, had an uninspiring stiff porridge consistency. Fortunately, the entrées are deceptively sized, ensuring that appetizers are not a must, and I thoroughly enjoyed a pre-meal Ethiopian Harar ($5.25), an extra smooth style beer like an English cream ale; my friend preferred the more pilsner-like Eritrean Asmara.

There is a big place at the table for vegetarians here, with seven entrée choices. Since my dining comrade is in that fold, we skipped the steak tartare and lamb cube dishes, which the chef explained to us are marinated in spices and best served raw or lightly sautéed. Not ready for beef sushi, I opted instead for miser we’t ($10.95), a lentil purée with red pepper and Ethiopian spices.

My friend had the garbanzo-based shiro ($10.95), and both orders were served together with small salads on a large plate of injera , a spongy, sour flatbread that is like a thick crêpe. Utensils are optional; one digs in by tearing apart the injera and using it to scoop up the currylike mounds. What appear to be modest portions ladled from small bowls turn out, 20 minutes later, to be quite filling. I didn’t guess I’d take home leftovers.

I hadn’t really noticed the tea urns labeled “spiced” and “oregano” until the end of the meal, but for our curiosity we were treated to samples. The spiced tea ($2) is similar to Indian chai, with a cinnamon aroma and semisweet taste, while the palate-cleansing oregano tea ($2), redolent of fresh-picked herbs, would add an entirely different, fragrant dimension to a meal. I look forward to it next time—and there will be a next time, if not for the steak tartare, then for the nicely priced weekend breakfast ($4.50).

Abyssinia Restaurant, 913 Fourth St., Santa Rosa. Open for lunch and dinner daily; breakfast, Saturday&–Sunday only. 707.568.6455.


Quick-and-dirty dashes through North Bay restaurants. These aren’t your standard “bring five friends and order everything on the menu” dining reviews.

On The Stereo

Just a selection of records that’ve been on the stereo lately.

Deerhoof – Milk Man LP: I saw them the other week and they were never as good as this record. They eventually evolved a little bit to blend sweetness and chaos – the two are still separated on this album, and that’s great.

Pantera – Far Beyond Driven LP: Me and Hesh used to rock this shit hard in ’94 at 714. Somehow over the years I lost it, but the other day Dave sold it back. Thanks, Dave. Some albums kind of gently work under your skin, or slowly hit your consciousness. This is one that goes straight to your blood.

Kraftwerk – S/T 2LP: Every once in a while I nerd out on some German crapola like Neu! or Peter Brotzmann. This is early stuff, before Kraftwerk had “songs.” It’s a lot of glitchy noise, which matches the sounds in my head, from time to time.

Ruby Braff – Braff! LP: A great trumpet player who unfortunately often sounds like the cliche of ‘jazz trumpet player’ much like Coleman Hawkins sometimes sounds like the cliche of ‘jazz saxophone player.’ Too bad; following his solos is like talking to a really funny, witty person.

The Cribs – Men’s Needs, Women’s Needs, Whatever LP: My favorite record of 2007. It made me guiltlessly happy every single time I listened to it. It still does.

Curtis Mayfield – Live 2LP: The smallest band, the biggest heart. Does he really play a Carpenters song and make it sound like the most sincere thing ever? Yes, he does. An exercise in minimalist soul.

David Murray – 3D Family 2LP: Goddamn eyes rolling into the back of his head, goddamn horn falling apart under the weight of his lungs. I saw him last year in NYC with my dad. Indescribable.

Spank Rock – Yoyoyoyoyoyo 2LP: Sleazy, juicy, do-me, sweaty, sticky, bring it on, dance-even-if-you-can’t-dance album. It grows on you in a pretty harsh way. Production sounds like the dance music from a strip club on Mars.

Pinhead Gunpowder – Carry The Banner 10″: “What a shitty version of a Diana Ross song,” I thought when I first bought this. Then, a couple weeks ago at Gilman, they finished their set with it and it was the GREATEST THING IN THE WORLD. Why is life so unpredictable and why do I love that so much?

The Watery Graves – Caracas LP: If Bill Evans were alive in 2008 and worked at La Sirenita in NE Portland, he’d make music like this.

Celia Cruz – Canta LP: Good old Cuban music. A little goes a long way, but it’s always good for at least Side A or Side B while cleaning up the house.

Bobby Short – S/T LP: None more expressive, down to the tiniest fraction of a syllable. An amazing interpreter and filled with such gayness. In that, yes, gay, and yes, hella vivacious and exuberant. I bought this on the last night Village Music was open, at about 11:45 pm, along with an autographed Atlantic Starr record.

Can – Ege Bamyasi LP: After all these years of working at a record store and I managed to resist the Can thing for almost the entire run. It finally hit me this year.

Mary Lou Williams – Zoning LP: Jazz with a lot of open space in which to think about God and a lot of recurring grooves to pull you back to reality. I never understood why everyone was so crazy about her until I heard this.

Moggs – The White Belt is Not Enough LP: A great Petaluma band. Those words are rarely if ever typed together, I know, but it’s true. Heavy, fucked-up, Sonic Youth art school sort of stuff. Some parts just get repeated forever and ever and it’s so satisfying.

Headlights – Kill Them With Kindness LP: Swirly beautiful pop music with boy-girl harmonies, keyboards, well-crafted songwriting. . . sounds like a rocket taking off. Never gets old. They’ve got a new one that just came out last week and I’m dying to hear it.

George Carlin at Wells Fargo: March 1, 2008

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Now that he’s attained the septuagenarian rank of “old fuck,” and like old fucks since humanity’s rude beginnings, will next become a dead fuck, it’s pardonable to take the long view of a George Carlin show and cite a few precedents. But first a rundown Saturday night’s “It’s Bad For Ya,” concert, broadcast live for HBO from the Wells Fargo Center for the Performing Arts. It was a sellout. Carlin got a standing ovation—twice; once in the beginning and once at the end of his hour-long performance.

Carlin still hates humanity, and that’s good. We deserve it. Last night Carlin laid waste to Dr. Phil, families, growing old, Lady Liberty, human rights, Lance Armstrong, ethnic identity, Alzheimer’s, dying, biblical fantasy and other such pufferies currently deluding our species. Carlin’s Bush family digs felt obligatory, but were anticipated and well-received. All in all, Carlin expelled a well-paced load of good ol’ fashioned misanthropic obscenity, which is what we’d all come there to hear.

So on to the precedents. George Carlin comes from that rarified but ill-bred family charged with social criticism and satire. Picture Lenny Bruce shooting up, then reading and regaling our Constitution before a sellout crowd at Carnegie Hall. Lenny was Carlin’s dad. But Lenny never knew his comedic father. Lenny was so obnoxious as a kid that Dad abandoned him. Rumor has it that Lenny’s father was a Hitler look-a-like named Chaplin. And Charlie Chaplin was begot by Twain, and if you’ve never read Letters From Earth, you won’t know what I’m really talking about—so get a copy, and also by Ambrose Bierce, the infamed author of the Devil’s Dictionary, who was begot by Swift, who was begot by that randy monk Rabelais, then before him Chaucer, Boccaccio, Persius and everyone’s favorite Greek cynic, Aristophanes. Somewhere out there, right now, Carlin’s own kid is stirring up shit. I don’t know who he is, but just like the Dalai Lama, we’ll know when it comes time to pass the torch, cuz like Carlin and his seven Supreme Court words, and every last one of his son-of-a-bitch forebears, Carlin’s kid’s headed straight for the kind of trouble and no good that’ll have us rolling in dark, morbid hilarity, ironically illuminating our entirely pathetic existence.

Like Carlin says, “It’s all bullshit. And it’s bad for you.”P. Joseph Potocki

Cursive at the Phoenix Theater

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<– These little scraps of paper were found scattered backstage while Cursive played last night, ascertained as the proposed end of a set list that had apparently been scrapped. “Hey,” a friend of mine said, “can you believe they wouldn’t play these songs?!” I checked it out, saw some damn great songs consigned to the the backstage cutting floor, and I agreed that no, I could not believe it.
Cursive showcased a lot of new material last night, and even apologized for it (the band’s recording soon and they’re “road-testing” new material), although a number of vintage crowd-pleasers made their way into the set: “Sierra,” “Art is Hard,” and the never-fail one-two punch of “The Casualty” and “The Martyr” from what’s still their greatest album, Domestica. Thusly teased, the crowd heavily laid on the applause at the end.
Backstage, someone in the band must have found one of the scraps of paper with the jettisoned songs, because for their encore, not only did they play them—hell yeah—but for “Big Bang” Tim Kasher brought the microphone out into the middle of the Phoenix Theater’s floor and sang amongst a circular flock of hyped-up fans. It ruled. The song rules. I felt the magnetic pull and joined in.
And then, good god, Kasher started playing the unimposing guitar intro to “Sink to the Beat”—tossing out a “We miss you, Clint” to the ex-drummer who practically defined the song—and plowed into the jam of all jams: “I’d like to make this perfectly clear…” It was mayhem out on the floor: a sweet unification of a great song, a cluster of strangers all singing the great song, and directly in the eye of the storm, weathering the busy tides of excited bodies on all sides, the guy who wrote it.
Kasher grabbed the mic stand, hopped back up on stage, finished the song, and called it a night. Crazy to think that what was originally ripped from the bottom of the set list turned into the awesomest part of the show.
—————————————————
Lookin’ Good: How ’bout those new curtains at the Phoenix on the stage and side walls? And the fresh paint job on the ceiling and balcony? As someone remarked last night, “It looks like a real theater again.” I mentioned it to Tom Gaffey and he was pretty stoked about it too, pointing out that more interior painting is on the way but no, they’re not going to do away with the graffiti murals.
Also: Tim Kasher seemed pretty happy after the show, hanging out and chatting about Omaha, the on-stage patter mastery of Neva Dinova, and how triumphant it felt to perform “Big Bang” in Colorado Springs, a bastion of Christian fundamentalism. Somehow the conversation turned to Fred Phelps and the Westboro Baptist Church, and Tim recalled being a student in Lawrence, Kansas and reading about the funerals that Phelps and his lower-than-shit organization picket. “And I distinctly remember fantasizing,” he said, “in my more-angsty youth, about being the one, you know, that bought the gun…” Right on, brother.

Sonoma Jazz Festival Announced

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The lineup for the Fourth Annual Sonoma Jazz Festival has been announced. Let the bickering begin!
Thursday, May 22: Kool and the Gang
Friday, May 23: Herbie Hancock
Saturday, May 24: Diana Krall
Sunday, May 25: Bonnie Raitt, Keb’ Mo
Yup—as in each of the first three years of the festival, there’s a couple of acts in the Memorial Day Weekend lineup who could hardly be classified as “jazz.” At this point, it’s a local tradition that seems frivolous to argue, but it nonetheless consistently succeeds in getting hardcore jazz fans riled up to the nth degree.
Steve Winwood and Boz Scaggs, both headliners at the 2005 inaugural festival, rose the eyebrows early. Steve Miller and B.B. King stoked the fumes in 2006. Last year may have been the harshest of all: LeAnn Rimes and Michael McDonald.
Maybe that’s why festival directors have changed the name – slightly. Much like the Strictly Bluegrass Festival in Golden Gate Park became “Hardly Strictly Bluegrass,” the Sonoma Jazz Festival is officially known as “Sonoma Jazz +.”
As residents of the “Jazz” arena, both Diana Krall and Herbie Hancock are making return appearances at the festival, with the indefatigable Hancock recently handed a what-the-hell Album of the Year Grammy Award for his Starbucks-friendly sort-of-Joni-Mitchell tribute River: The Joni Letters.
Kool and the Gang, Bonnie Raitt and Keb Mo are gonna have to be content with the “+” category, although after scoping out the crowd in previous years, I hardly think that the average Sonoma Jazz attendee will mind all that much. As for the expensively-dressed and well-Chardonnayed woman sitting behind us last year who continually talked on her cell phone, well, I doubt she’d even notice.
But I have to personally hand it to the directors of this crazy weekend festival. Whatever your take on their choice of booking, they’re bringing world-class talent to an event with an impeccably well-run yet laid-back atmosphere—I mean jeez, it’s held in a tent on a baseball diamond, fer cryin’ out loud. The mood around the festival is jovial and swank, the shows are often sold out, and everyone generally leaves happy.
Here’s another thing you can’t argue with: to reward local residents, tickets go on sale in the town of Sonoma on Saturday, March 8 at the Sonoma Community Center from 2-6pm. Out-of-towners, positively hungry to boogie down to “Ladies’ Night” and “Celebration,” have to wait until the nationwide release of tickets, two days later, on March 10. Pricing and ticket info for the general public is served up here, but the March 8 pre-sale for locals is a strictly in-the-know kind of thing. Cool deal.

True Vinemen

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02.27.08

Celebrity winemakers and world-renowned vintners are a bit of a yawn in the North Bay, where we just generally call them “neighbors.” Lesser known are the talented men who train the vines that produce the grapes that make the wine that earn winemakers and vintners such celebrity status in the first place. For the ninth year, such anonymous artistry is celebrated during the Sonoma County Pruning Contest.

Slated this year for Friday, Feb. 29, at the Santa Rosa junior College’s Shone Farm, the best vine-pruners from the five major AVAs in Sonoma County compete against each other before they judge the pruning skills of those other guys—their bosses.

Initial rounds have already been held and the competing pruners are as follows:

Russian River Valley AVA

1st Rosendo Avila Emeritus Vineyards

2nd Juan Avila Pinot Vineyards

Sonoma Valley AVA

1st Jose Arellano Sebastiani Vienyards

2nd Serbendo Rojas Enrique’s Vineyard Management

Dry Creek Valley AVA

1st Leonardo Gomez Valdez & Sons Vineyard Management

2nd Javier Gonzalez Valdez & Sons Vineyard Management

Alexander Valley AVA

1st Arturo Perez Vimark Vineyards

2nd Salvador Gomez Asti Vineyards-Fosters Wine Estates

Knights Valley AVA

1st Francisco Toldeo Clendenen Vineyard Management

2nd Fernado Gutierrez Vinepro Vineyard Management

The event begins sharp at 1oam on Feb. 29 and gosh-darn-it-yes, wine will be heartily available for tasting; proceeds benefit the Sonoma County Winegrape Commission’s Employee Development program. Shone Farms, 6225 Eastside Road, Forestville. 707.522.5863.

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Poetic Penmanship

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music & nightlife |

By David Sason

T he Omaha quartet Cursive’s artistry and acclaim have grown steadily since the band formed in 1995, making them one of the 21st century’s most consistent critical contenders for the title of indie rock’s Great White Hope. But that doesn’t mean they can’t still enjoy the simple pleasures of the rock life.

“I just love our gear,” guitarist and vocalist Ted Stevens says, “and I’d rather drive with it every night then risk losing it.” By way of rental car, the band returns to the Phoenix this Saturday as part of a short West Coast trek built around a highly anticipated appearance at San Francisco’s Noise Pop Festival. Just don’t call it a tour. “It’s not so much a tour as a flight to California, then a series of gigs,” Stevens says.

Consciously trying not to burn out with extensive touring, Cursive are in continued support of 2006’s Happy Hollow, their most unified concept album yet with a state-of-the-union lyrical view that contrasts the heartwrenching navel-gazing of previous records Domestica and The Ugly Organ. With songs like “Dorothy at Forty” and “Flag and Family,” the album’s dissection of small-town America’s disillusionment and hypocrisy have earned Cursive favorable comparisons to Springsteen, and its ubiquitous five-piece horn section has all but killed any inadequate emo pigeonholing. The band headlines Petaluma’s Phoenix Theater on March 1.

“We’re definitely getting to a point where we’re going one direction and people are either going to take that road with us or decide it’s not for them,” says Stevens who, in addition to lead singer Tim Kasher, writes the band’s material. Their productivity has already birthed 50 or so unreleased songs that will debut at upcoming shows, where they’ll be joined by a sax/flute/organ player to replicate their expanding sound.

“The new songs are only similar to Happy Hollow in the fact that they’re probably as drastic a change from anything we’ve done, ” Stevens says with a laugh. “I think people who understand the shifts the band has taken from album to album will expect it from us, hopefully. Tim’s got a new one called ‘Caveman’ that I like; it’s got more of an Elvis Costello vibe to it.”

As for his own musical progression since joining the band in ’99, the ever-humble Stevens, also of the recently reformed Mayday, remains true to form but appreciative of Cursive’s benefits. “I don’t think of myself as a good player, and I feel it’s taken me a couple of decades to make some progress with the instrument,” he says. “Maybe I lack the motivation personally, but the band keeps me playing the guitar a lot. I can’t say I’d ever play this much guitar if the band didn’t tell me to.”

Cursive play the Phoenix Theater on Saturday, March 1. The New Trust and Santiago open. 201 Washington St., Petaluma. 8pm. $15. 707.762.3565.




FIND A MUSIC REVIEW

First Bite

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02.27.08

E ditor’s note: First Bite is a new concept in restaurant writing. This is not a go-three-times, try-everything-on-the-menu report; rather, this is a quick snapshot of a single experience. We invite you to come along with our writers as they—informed, intelligent eaters like yourselves—have a simple meal at an area restaurant, just like you do .

Architects aren’t the only ones who know that buildings have souls. Restaurant-goers know that, too. And so it is that the building at 620 Fifth St. in Santa Rosa has long been mourned as the former home of Cafe Lolo, a Frenchified haven for seriously good-food-starved Santa Rosans. Two short-lived places tried briefly to illuminate this small space, and now Lolo alum, chef Brian Anderson, has returned with sous chef Adelaar Rogers to put the soul of the place back in order.

Opened just the first week in February, Bistro 29 was packed with twenty-somethings and other adventurous eaters on a recent Friday night. Tables are close together as in a traditional bistro and the high-ceilinged room is painted an attractive deep red and finished with bronze touches that will patina as the years flash by.

And flash by they will, as Bistro 29 is a keeper, a chic place that the after-work crowd can fall into and have an honestly prepared plate of excellence for a reasonable price, no pretensions or unnecessary frills welcome. (The wise are advised to “fall into” the place with a reservation well in order. We watched sad-eyed legions turned away from the hopping dining room by the professional serving team.)

Buckwheat crêpes are the true soul of Bistro 29 itself, and they find their way crisped as croutons into the baby green lettuce salad with fine herbs and a Champagne vinaigrette ($6) and as the toast in the Soupe des Johnnies ($7), a French onion soup finished with hard cider rather than the traditional cognac. Crêpes (all $10) have their own course on the menu, the rich and salty duck confit version napped with garlic thyme jus and freshened with a sprinkling of frisée.

Winter entrées range fruitfully among the hearty and the filling, including the de rigueur roasted chicken ($19) that defines a bistro, and the hanger steak with pommes frites ($20), a perfectly tender cut that arrives with a green herb butter slavishly melting on top. The cassoulet ($22) is in its own sweet little pot, a duck leg sticking lasciviously out from the creamy white beans, among which are hidden a melting slab of pork belly and a nice portion of Toulouse sausage.

The wine list favors North Bay vintages among a few French offerings, but runs dear, the average bottle ranging at $40 or so. A real coup was to find John Hawley’s Dry Creek Cabernet on the list, also at $40.

Not surprisingly, crêpes inform the dessert menu (all $6), with house-made ice creams and sorbet also beckoning, as does a chocolate fondant cake that sports a scoop of caramel&–sea salt ice cream. The “cafe gourmand” option is a three-item dessert tasting menu with coffee for a mere $9, but who has the room?

Bistro 29 has retained the small bar it inherited from Lolo’s, and one can easily envision sitting there with a glass of wine and a crêpe, quietly enjoying a $20 trip to a Paris of the mind. Now that’s some soul.

Bistro 29, 620 Fifth St., Santa Rosa. Currently only open for dinner, Tuesday&–Saturday. 707.546.2929.


Quick-and-dirty dashes through North Bay restaurants. These aren’t your standard “bring five friends and order everything on the menu” dining reviews.

High Above It

02.27.08

B ecause buildings are responsible for a vast amount of our daily CO2 emissions and have a larger impact on the environment than any other single element, high-density building and energy efficiency are a driving force behind architect Steve Sheldon’s vision of housing for a sustainable future. According to Sheldon, designer of the Florence Lofts, a new green complex in Sebastopol, sustainability in this case means getting to a point where the building project can sustain itself, ideally producing its own electricity and existing as a carbon-neutral zone.

As Sheldon gives me a tour of the property, I press him to further define sustainability. He explains that, in his view, the heart of sustainability is density. We need to limit traffic and movement by focusing on our urban environment, leaving our remaining open space undestroyed. The urban areas are for living, and should be used as such. For this reason, the 1.1 acres that contain the Florence Lofts are built to the maximum density allowed by town dictum. There are 12 live/work townhouses with an adjoining commercial building that contains retail, office space and a restaurant. Because the site sits just five blocks from downtown, and each of the living units includes a workspace, it would be possible to live here quite comfortably and never drive anywhere.

At 1,512 square feet per unit, including a downstairs office and upstairs living quarters, the lofts themselves are minimalist. Because the units are designed for maximum practicality as well as beauty, it’s easy to see how a small space can meet one’s needs. Each unit sports large windows allowing maximum sunlight in the winter and minimal direct sunlight in the summer, a plethora of built-in cupboards, cabinets and closets, and enough shelves to make this book junkie salivate with envy.

The wood used in the complex is certified by the Forest Stewardship Council, the steel framing comes from 80 percent recycled product, the paints are all clay-based and VOC-free, and the units contain dual-flush toilets. Everything, from the countertops made from paper stone (recycled paper) to the insulation made from recycled blue jeans and underwear, is as environmentally sane as possible.

There is a large research component to doing this type of work. Because green building is a relatively new field and new products are cropping up all the time, it can be difficult to find the best material for the job. There is little long-term evidence to rely on, and so Sheldon and his team have gone through the laborious process of tracking products from their inception to their place on the product line.

The entire site is permeable, including the paved parking lot. Water runoff flows into a bio-retention site, where it is cleaned of oils and residues by the resident plant life before being let out into the local waterways. All of the water coming from the laundry, bathing and hand sinks travels through a graywater system, which is then used in the subsurface irrigation to water the property’s landscaping. The extensive graywater reuse serves as a perfect example of what this project means on a grander scale. To live here, tenants must buy into the idea that building and living in an environmentally conscious manner is essential to our survival. This means no dumping paint thinner down the drain, as everyone’s plants will shrivel and die.

The electrical system, too, demands group consciousness. Photovoltaic panels cover the roofs, and a grid-tied system is in place allowing power to be moved from building to building, wherever it is most needed. The less electricity used, the lower the monthly owner’s dues. Rather than run AC systems during the summer months, water from the heating and cooling system sprays onto the roof at night where it cools before flowing back into the tank and providing lower temperatures for the buildings during the day.

As Sheldon walks me through the lofts, which start in the high $700,000s, I can easily envision myself living here. Of course, I would have to get rid of the children. Sheldon assures me I can have a dog so I won’t be too lonely. The office downstairs will be the perfect space for writing my bestseller, and the loft, though small, is ideally suited for entertaining. As I trudge back to my car, the permeable gravel crunching beneath my feet, I envision this life for myself: childless and independently wealthy with closet space and finally enough bookshelves. While hardly feasible for me, I imagine that there are people out there for whom this could be a reality. In which case, perhaps they would not mind asking me over for dinner.

 


First Bite

03.05.08Editor's note: First Bite is a new concept in restaurant writing. This is not a go-three-times, try-everything-on-the-menu report; rather, this is a quick snapshot of a single experience. We invite you to come along with our writers as they—informed, intelligent eaters like yourselves—have a simple meal at an area restaurant, just like you do. Whether from south of the...

On The Stereo

Just a selection of records that've been on the stereo lately. Deerhoof - Milk Man LP: I saw them the other week and they were never as good as this record. They eventually evolved a little bit to blend sweetness and chaos - the two are still separated on this album, and that's great. Pantera - Far Beyond Driven LP: Me...

George Carlin at Wells Fargo: March 1, 2008

Now that he's attained the septuagenarian rank of "old fuck," and like old fucks since humanity's rude beginnings, will next become a dead fuck, it's pardonable to take the long view of a George Carlin show and cite a few precedents. But first a rundown Saturday night's "It's Bad For Ya," concert, broadcast live for HBO from the...

Cursive at the Phoenix Theater

<-- These little scraps of paper were found scattered backstage while Cursive played last night, ascertained as the proposed end of a set list that had apparently been scrapped. "Hey," a friend of mine said, "can you believe they wouldn't play these songs?!" I checked it out, saw some damn great songs consigned to the the backstage cutting floor,...

Sonoma Jazz Festival Announced

The lineup for the Fourth Annual Sonoma Jazz Festival has been announced. Let the bickering begin! Thursday, May 22: Kool and the Gang Friday, May 23: Herbie Hancock Saturday, May 24: Diana Krall Sunday, May 25: Bonnie Raitt, Keb' Mo Yup—as in each of the first three years of the festival, there's a couple of acts in the Memorial Day Weekend lineup who could...

True Vinemen

02.27.08Celebrity winemakers and world-renowned vintners are a bit of a yawn in the North Bay, where we just generally call them "neighbors." Lesser known are the talented men who train the vines that produce the grapes that make the wine that earn winemakers and vintners such celebrity status in the first place. For the ninth year, such anonymous artistry...

Poetic Penmanship

music & nightlife | By...

First Bite

02.27.08E ditor's note: First Bite is a new concept in restaurant writing. This is not a go-three-times, try-everything-on-the-menu report; rather, this is a quick snapshot of a single experience. We invite you to come along with our writers as they—informed, intelligent eaters like yourselves—have a simple meal at an area restaurant, just like you do .Architects aren't the only...

High Above It

02.27.08 B ecause buildings are responsible for a vast amount of our daily CO2 emissions and have a larger impact on the environment than any other single element, high-density building and energy efficiency are a driving force behind architect Steve Sheldon's vision of housing for a sustainable future. According to Sheldon, designer of the Florence Lofts, a new green complex...
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