Categories
cheese restaurant

Piccino

The T‑line may have brought Muni to a crash­ing halt, but it's done a lot for Dog­patch, and not just its real estate val­ues. Restau­rants, cafes, and gar­den stores have popped up along the Third Street cor­ri­dor in antic­i­pa­tion of Muni-enabled con­sumers flock­ing to the neigh­bor­hood. Bas­ing one's busi­ness plan on the via­bil­i­ty of Muni mov­ing any­one any­where seems unwise. Bas­ing one's busi­ness plan on serv­ing thin crust piz­za in a tiny space on an unlike­ly street cor­ner, how­ev­er, is a tried-and-true for­mu­la in San Fran­cis­co (see: Pizzetta 211). The apt­ly-named Pic­ci­no occu­pies such a cor­ner at 22nd Street and Ten­nessee. Pic­ci­no is lit­tle. It has a small menu. It serves small plates of nib­bles between lunch and din­ner. In the morn­ing you can find Blue Bot­tle cof­fee and fresh-baked pas­tries; at lunch piz­za and pani­ni take prece­dence; din­ner (only on select nights) builds on the lunch menu. I haven't expe­ri­enced break­fast and lunch, but at din­ner recent­ly I sam­pled three of the five piz­zas on offer, plus dessert. By sam­pled I mean split with one oth­er per­son. Like every­thing else at Pic­ci­no, the piz­zas aren't big. Which isn't bad, because it means you can eas­i­ly order three for two peo­ple and not feel too glut­ton­ish or stuffed. The crust is right-on—a per­fect com­bi­na­tion of crisp and chewy. The top­pings are a lit­tle less excit­ing. The night I was there, they had a margheri­ta, napo­le­tano, pep­per­one, bian­co, and a spe­cial involv­ing lemon zest and pine nuts. The toma­to sauce on the pep­per­one was a lit­tle too acidic for me, and the bian­co was a lit­tle bland. The real stand-out fla­vors were on the spe­cial, par­tic­u­lar­ly the lemon zest. The piz­za is good; we didn't leave any left­overs. Pic­ci­no is a great neigh­bor­hood restau­rant. If I lived in Dog­patch, I would be their most loy­al cus­tomer. Too bad I live in Cole Val­ley. This is the Gold­en Age of Piz­za in the Bay Area. With the likes of Pizzette, Pizze­ria Del­fi­na, Lit­tle Star, and Piz­zaio­lo around, it's not enough to be good if you want to pull peo­ple in from out of the neigh­bor­hood. While I'm will­ing to brave the Bay Bridge for Piz­zaio­lo, or the Rich­mond fog for Pizzette, Pic­ci­no isn't quite com­pelling enough for the trek to Dogpatch.

Categories
cheese restaurant

Maverick

Iceman's going for the hard-deck. Let's nail him, Goose! Atten­tion: Every­one should turn, burn and check out Mav­er­ick, the lit­tle restau­rant near the cor­ner of 17th and Mis­sion. Sure, it seems like it might be below your per­son­al hard-deck; it looks a lit­tle too Blondie's, maybe a lit­tle too Limon. But believe me, any place that serves fresh pep­pers with a gar­nish of ancho chiles is a dan­ger zone well worth tak­ing a high­way to, even if that high­way isn't real­ly a high­way. Seri­ous­ly: Call the ball. Order the steak. And the ribs. The stone fruit sal­ad will be a bogey on your tail for days after­ward. Where's MiG one? He's at Mav­er­ick. Affir­ma­tive, Ghost Rid­er, the pat­tern is full. Because the pat­tern just ate at Maverick.

Categories
ecology

Worms ate my garbage

Worms Eat My Garbage

Mary Appelhof's Worms Eat My Garbage is one of my all-time favorite gar­den­ing books. Not only does it con­tain the first prin­ci­ples of worm com­post­ing; not only is writ­ten in an engag­ing, warm and yet prac­ti­cal voice; it's one of those spe­cial books that says a lot about the per­son who dis­plays it on his or her book­shelf, a freak flag rep­re­sent­ing all sorts of affil­i­a­tions, opin­ions and predilec­tions. I was think­ing about Mary after I read a strange tid­bit about worm com­post­ing in today's Wall Street Jour­nal Informed Read­er blog. It linked to an arti­cle in Britain's Dai­ly Tele­graph called "Wormeries 'may add to green­house gas­es.'" Hmmm.

In fact, the green­house gas­es emit­ted by a large com­mer­cial worm com­post­ing plant may be com­pa­ra­ble to the glob­al warm­ing poten­tial of a land­fill site of the same scale, accord­ing to the Open Uni­ver­si­ty. This is because worms used in com­post­ing emit nitrous oxide — a green­house gas 296 times more pow­er­ful, mol­e­cule for mol­e­cule, than car­bon diox­ide. Land­fill sites pro­duce methane which is 23 times more pow­er­ful a green­house gas than car­bon dioxide.

What is this Open Uni­ver­si­ty? (Appar­ent­ly, it is a "dis­tance learn­ing" pro­gram in the UK). And how much nitrous oxide do worms emit as they con­sume garbage? Is it com­pa­ra­ble to the amount that the garbage would emit if it sat in a land­fill? Is it less? More?(Mary's web­site? www.wormwoman.com, nat­u­ral­ly.)

Categories
basketball cinema

Classic NBA / Red hot and rollin

If you're 35-ish and you've fol­lowed bas­ket­ball, you prob­a­bly recall the virtues of the pre-David Stern NBA, the sim­pler times when cor­po­rate logos were inci­den­tal, local heroes more acces­si­ble, and the entire sport more tru­ly fan-friend­ly. Stern always talks about fan-friend­li­ness, but his NBA is a Prod­uct and the "friend­li­ness" seems as pro­duced as two-for-one chalu­pa night. Back in the day, a young Kansas City Kings fan could attend Kings prac­tices at a local high school (for free), and after­ward min­gle with play­ers like Ernie Grun­feld, Phil Ford, and Otis Bird­song. It goes with­out say­ing that most fans would take that over a free chalu­pa any night. Red Hot and Rollin recap­tures the sim­plic­i­ty and beau­ty of those times. Edit­ed by Matt Love, it com­piles a vari­ety of rec­ol­lec­tions of the Rip-City-era Port­land Trail­blaz­ers, and includes a DVD of a tru­ly amaz­ing doc­u­ment of the time — Don Zavin's Fast Break. Zavin's film is astound­ing in many regards. Pri­mar­i­ly, it's a bit­ter­sweet med­i­ta­tion on a lost NBA — the League before each play­er became a cor­po­ra­tion unto him­self, and before the entire visu­al expe­ri­ence of watch­ing an NBA became NASCAR-ized with lay­er upon lay­er of cor­po­rate logos. More­over, it's pos­si­ble that there is no team in the his­to­ry of the NBA that is as anti­thet­i­cal to Stern's NBA than the Blaz­ers of 1976–77: a small mar­ket team with­out a mar­ketable super­star, led by a veg­e­tar­i­an, Marx­ist, long-haired, Abe-Lin­coln-beard-wear­ing cen­ter who stut­tered when he was ner­vous. The form of the film could be called "ston­er verite." With a sound­track that is basi­cal­ly an extend­ed tabla jam, it's a doc­u­men­tary in the tra­di­tion of, say, End­less Sum­mer with the cru­cial dif­fer­ence is that it's unbur­dened by End­less Sum­mer's lin­ear nar­ra­tive and omni­scient nar­ra­tion. I won't give it all away, but it wan­ders through some amaz­ing­ly inti­mate glimpses into the Blaz­ers' ecsta­t­ic run to the NBA title, for instance … 

Walton rides up the coastThis is for­mer Blaz­ers star Bill Wal­ton on a clas­sic Fal­con rac­er. After the Blaz­ers won the NBA cham­pi­onship, Wal­ton took a bike trip up the Ore­gon coast, and scenes from this trip are inter­spersed through­out the movie. Again, could any­one imag­ine ANY cur­rent NBA star going on a bike trip alone dur­ing the off-sea­son? Where are the entourages and Escalades and hot­ties? It's also sort of amaz­ing to see an NBA super­star engag­ing in an activ­i­ty that non-super­stars find enjoy­able. Where are the strip clubs and casi­nos, the hand­guns and hot tubs? (You can't real­ly see in this pho­to, but the bike's col­or is Falcon's tell-tale pow­der blue. Awe­some.)


Doctor Jack pantsYes, this is Dr. Jack Ram­say, and yes, his pants appear to be some kind of psy­che­del­ic red-white-and-blue crazy quilt. Look out, Lar­ry Brown.


Walton is mobbedThis is actu­al­ly the third time in the movie that Bill Wal­ton end­ed up in a mosh-pit of fans. The fact that this would nev­er, EVER hap­pen today is part of what's so bit­ter­sweet about Fast Break.


Some relat­ed stuff: A clas­sic Time fea­ture of Wal­ton as a UCLA senior from 1974 called "Basketball's Veg­e­tar­i­an Tiger," a nice review by TrueHoop's Hen­ry Abbott (a Blaz­er fan) that includes a quick inter­view with some­one who worked on Fast Break, and of course, you've got to see this one: Walton's epic dunk over Kareem in the West­ern Con­fer­ence Finals. [YouTube]

Categories
cinema web

Dream come true / My Simpsons character

Simpson LeMoine

Thanks to a tip from fel­low Simp­sons fanat­ic and Coop­er col­league Chris Noes­sel, I dis­cov­ered that I could gen­er­ate a Simp­sons char­ac­ter with my like­ness on the Simp­sons Movie site. Holy crap. Tru­ly, a dream come true. Now the only thing left is to have my like­ness drawn in the Wall Street Jour­nal "hed­cut" style [a PDF on the Dow Jones site about how pic­tures become WSJ-ready].And it's me, right? Except there were no options for beards, which is strange con­sid­er­ing that there are quite a few beard­ed Simp­sons char­ac­ters. Homer's got a per­pet­u­al five o'clock shad­ow; God has a flow­ing white beard; Hyman Krustof­s­ki has the impres­sive ZZ Top-style beard befit­ting a car­toon rab­bi; Dr. Mar­vin Mon­roe has a beard that is more like mine. So there's got to be lots of exist­ing styles to choose from.When I did a Google search for "simp­sons beard," I dis­cov­ered that Simp­sons cre­ator Matt Groen­ing is a self-described bear­do, as revealed in this email chat from 1993: "I've been mis­tak­en more than once for Stephen King, Leonard Maltin has been mis­tak­en for me, but I think I look more like a beard­ed hip­pie ver­son of Homer Simp­son." (This chat took place on Prodi­gy, of course. Wow. Sim­pler times.)

Categories
ecology flickr outdoors

Yosemite rules

I'm usu­al­ly the per­son who rec­om­mends going any­where but Yosemite in the Sier­ras because it's expen­sive and tends to be over-run with peo­ple even in the high coun­try, where­as the Emi­grant Wilder­ness, for instance, tends to be pret­ty sparse­ly vis­it­ed, even on the busiest of week­ends. But let's keep that on the shh­hh. Any­way, I spent 3 warm, sun­ny days in Yosemite last week with my good friend and all-around good guy Andrew Goodman.We had nice weath­er, went to pop­u­lar places (North Dome, Yosemite Falls — which has its own Wikipedia page), and yet saw very few oth­er peo­ple. Maybe it's the time of year, or the fact that it was a low-snow year, or both? Or our route? We hiked down to North Dome on the Por­cu­pine Creek Trail, and then got back to 120 via the Yosemite Creek trail (where, inci­den­tal­ly, we took some excel­lent swims). What­ev­er con­tributed to it, I've now seen the good side of Yosemite.

Flickr photoYosemite Val­ley from North Dome, ren­dered via the mag­ic of Autos­titch. It assem­bled 25 or so pho­tos from my Motoro­la SLVR into a pret­ty com­plete panora­ma, and even the arti­facts — mov­ing clouds and ghost­ed edges — seem to make the result more com­pelling, I think.


Yosemite Val­ley is an incred­i­ble place, espe­cial­ly when seen from a place above the Val­ley, like North Dome or the out­crop­ping above Yosemite Falls. If you want a glimpse at the Val­ley was like when peo­ple were putting up the first routes on El Cap, check out Glen Denny's pho­to book, Yosemite in the Six­ties. It's real­ly nice­ly pro­duced and filled with amaz­ing black-and-white images of sim­pler times and the leg­ends who start­ed it all — Yvon Chouinard, War­ren Hard­ing, Roy­al Rob­bins, Galen Row­ell, and many more.

Categories
visual

Absolutely, positively time for a new wallet

Years ago, I tried to make a wal­let out of a Fedex Tyvek enve­lope, based on instruc­tions from the inau­gur­al issue of Ready­made mag­a­zine. I liked the idea of a super-slim wal­let that was (a) real­ly cheap with­out seem­ing (b) total­ly cheap­skate. The prob­lem was, as sim­ple as it seemed, mak­ing the thing involved a sewing machine, a device that is actu­al­ly some­what hard (not to men­tion scary) to use. So I gave up on the idea of hav­ing one until about a year and a half ago when I saw one for sale on Etsy for $5.

Fedex walletThis is my Tyvek wal­let after 18 months of use. When I bought it, I fig­ured that it would last for a cou­ple of months before it fell apart, but I was pret­ty amazed at how well it held up with­out much out­side assis­tance oth­er than a cou­ple of lay­ers of pack­ing tape now and again.

As long as we're talk­ing about Fedex, here's the cool 70's Fedex logo, and one of those 80's ads with the fast-talk­ing busi­ness­man [YouTube]. Next up: a rel­a­tive­ly inex­pen­sive wal­let from All-Ett that uses sil­i­cone-coat­ed rip­stop nylon. Doesn't have the cool DIY look of the Fedex wal­let, but seems a lot more durable.UPDATE: Just got email from Ter­rence Kelle­man at Dynomighty Design, who designed a wal­let made from a thick­er, more durable grade of Tyvek and which is held togeth­er by glu­ing and fold­ing rather than stitch­ing. No sewing machines: bonus. Check out his demon­stra­tion [You Tube].

Categories
architecture san francisco the ancient past urban

San Francisco / Maps and earthquake shacks

San Francisco in Maps: 1797 - 2006

This week­end I got an incred­i­ble book about San Fran­cis­co called San Fran­cis­co in Maps & Views. I usu­al­ly avoid glossy cof­fee-table his­tor­i­cal books because they're so often filled with dis­ap­point­ments — bad col­or, bad print­ing, messy lay­out, unin­spired writ­ing, PLUS they're real­ly expen­sive. But THIS ONE. This one is dif­fer­ent. The maps are very well-repro­duced, high-res and col­or­ful, and all are sup­port­ed by detailed and sur­pris­ing­ly engag­ing com­men­tary. After I got over the ini­tial thrill of using it like a flip-book and watch­ing my neigh­bor­hood evolve, I start­ed to notice small­er trends in land-use evo­lu­tion — a plot labeled "orphan asy­lum" became "hos­pi­tal;" many things labeled "cemetary" became "park" or "civic cen­ter." "Dunes" become "the Sun­set." I was also intrigued by the use of pub­lic places as refugee camps after the big one hit in 1906. Appar­ent­ly, SF car­pen­ters sprang into action and built thou­sands of makeshift cot­tages for the earthquake/fire refugees, turn­ing many well-known SF pub­lic spaces into refugee camps, includ­ing South Park, Dolores Park, and Precita Park, and lots of the then-out­ly­ing, unde­vel­oped areas, like the Rich­mond and the Sunset. 

Earthquake_shacks_in_Dolores_ParkA shack on Biki­ni Ridge would have been puh-ret­ty sweet. (This is Dolores Park, believe it or not). Pho­to: West­ern Neigh­bor­hoods Project

As the city began to return to nor­mal a year lat­er, a few of the refugees decid­ed to use the cot­tages — or, "shacks" as they were com­mon­ly known — as more per­ma­nent res­i­dences. Some indus­tri­ous peo­ple com­bined mul­ti­ple shacks into one res­i­dence. Incred­i­bly, a few shacks are still around, and nat­u­ral­ly folks have orga­nized to pre­serve them. (Here's a 2002 Chron­i­cle arti­cle about efforts to save some shacks in the out­er Sun­set).

Cumby_shackI believe that this is the house that is list­ed as 300 Cum­ber­land on the West­ern Neigh­bor­hood Project's list of known shacks. The crazy thing is that this is at the top of an insane­ly steep hill, like un-bike-ably steep and long, so it must have been built there rather than trans­port­ed from Dolores Park. On the oth­er hand, who knows? Peo­ple were crafty back then, right?

Final­ly, here's a map of the loca­tions of the known exist­ing earth­quake shacks. Seems like a good project for a week­end afternoon.

Categories
san francisco tech visual

Google street-view meets new apartment

Mara and I just moved into the Low­er Haight ear­li­er this month, and Google just released a new Maps fea­ture — Street View — that has a pic­ture of our place. If I weren't writ­ing about this, I'd be speech­less. Wow.

Our new place on FillmoreOur place is the yel­low two-sto­ry walk-up that is bustin out of the top of the frame. I love that it was cap­tured on one of those semi-sun­ny days where lit­tle wisps of fog drift through. So nice to not live in the fog belt. Inci­den­tal­ly, here's the Chronicle's fog fore­cast. Doesn't look good.

Street Lev­el seems like use­ful func­tion­al­i­ty, esp. for fan­cy mobile devices, which I don't have. The con­trols are pret­ty straight­for­ward and easy to use on a desk­top, but I won­der about the ease with which one could nav­i­gate up and down the streets with those tee­ny arrows on a Palm or Black­ber­ry. This is real­ly nit­picky, but I think it would be effec­tive to intro­duce more map nav­i­ga­tion into the image, i.e. skip­ping to the next inter­sec­tion, return­ing to the orig­i­nal des­ti­na­tion, etc. Future-wise, it would be awe­some to be able to do stuff with the images — eas­i­ly insert them into oth­er things, string them togeth­er in con­nec­tion with direc­tions, etc. What I want to know is: How the heck did they do it? Thx, kot­tke.

Categories
cinema inside art tip visual

Must-see movies / Killer of Sheep

Leaping boy from Killer of SheepA moment from a beau­ti­ful, riv­et­ing scene in Killer of Sheep. Pho­to: Mile­stone Films.

Killer of Sheep is direc­tor Charles Bur­nett's account of life in the LA neigh­bor­hood of Watts in the ear­ly 1970's. It began life as his senior the­sis at UCLA film school and until recent­ly it was nev­er seen out­side art hous­es and muse­ums. Despite all of that, it was among the first 50 films to declared nation­al trea­sures by the Library of Con­gress. I saw it ear­li­er this week at the Cas­tro, and it lived up the hype. Burnett's account of his moti­va­tions in mak­ing the film seems like a good place to start unpack­ing the stuff that makes it so unique:

I want­ed to tell a sto­ry about a man who was try­ing to hold on to some val­ues that were con­stant­ly being erod­ed by oth­er forces, by his plight in the com­mu­ni­ty, and the qual­i­ty of the job that he had. At the same time he want­ed to do right by his fam­i­ly. I didn't want to impose my val­ues on his sit­u­a­tion. I just want­ed to show his life. And I didn't want to resolve his sit­u­a­tion by impos­ing arti­fi­cial solu­tions like him becom­ing a doc­tor or a diplo­mat, when the real­i­ty is that most peo­ple don't get out. I want­ed to show that there is a pos­i­tive ele­ment to his life, and that is that he endures, he's accept­ed it. [From an excel­lent inter­view on Sens­es of Cin­e­ma]

To bring this sto­ry to life, he employs a style that seems impro­vi­sa­tion­al, as much doc­u­men­tary as Ital­ian neo­re­al­ism. But there's also some­thing very new and gen­uine and par­tic­u­lar­ly Amer­i­can about it — iso­la­tion, crum­bling build­ings, explo­sions of cru­el­ty and anger, and the con­stant, chaot­ic motion of kids leap­ing across rooftops and crawl­ing under build­ings — com­bined, these things seem to evoke a very Amer­i­can way of poor, urban life.More than any­thing, the movie makes you won­der at its very improb­a­bil­i­ty: How in the world did he make that? Did he actu­al­ly plan those moments that seem gen­uine­ly serendip­i­tous? Maybe it's that the actors are untrained. The dia­logue seems fresh, sur­pris­ing and authen­tic even when it's forced. Maybe it's the pac­ing of the edit­ing. Scenes start abrupt­ly — chil­dren emerge from a hole, an entire neigh­bor­hood has assem­bled in a stair­well, kids hide behind a scrap of ply­wood. Most scenes also tend to end a cou­ple of sec­onds ear­ly, or linger a few sec­onds longer. Maybe it's the dia­logue — it's all mum­bles or hollers or growls, with jazz and blues tracks adding rhyth­mic, some­times hope­ful coun­ter­points to the imagery. Who knows? What's clear is that it speaks in a true, clear and unique voice. Go see it.

Dog face in Killer of SheepNo dia­logue. Dog mask. Chain link fence. Killer of Sheep. Pho­to: Mile­stone Films.