

I don't know about you, but when I was in grammar school and high school, you needed a "hall pass" to go anywhere but your designated classrooms. Lunch and recess time being the only notable exceptions. Get caught roaming the halls when you're supposed to be in Miss Davies' French class, and it meant a trip to see Assistant Principal Mr. Hyde (a perfect moniker for him, as he truly had a Jekell-Hyde personality). And any trip to the infamous Mr. Hyde's office would likely cost you a week of after-school "detention." No fun, and something to be avoided at all costs.
to Williams and had lunch at my favorite deli ... Granzella's. This is a landmark in the otherwise unremarkable stretch of I-5 between Sacramento and Redding. Williams is a tiny little community next to the meandering Sacramento River, surrounded by California's rice growing real estate, and although a pleasant enough place, it's only enhanced by this wonderful deli, restaurant, bar, and gift shop.
Great song, great words sung by the Jefferson Starship's great duo of Mickey Thomas and the legendary Grace Slick. Along with Otis Redding's "Dock Of The Bay," it's become a song that's totally identifiable as San Francisco-centric. Amazingly, it was actually co-written by Bernie Taupin (writes Elton John's lyrics) and Peter Wolf from the J.Geils Band, and wasn't intended to be an antem to San Francisco. Regardless of the origin, the song that originally appeared on 1985's "Knee Deep In The Hoopla" album (yes album, 33 1/3 LP, not CD) was a total smash, and still gets the audience going when the 2009 version of the Starship performs.Having grown up in the City during the birth of the hippie movement and arguably some of the best rock and roll ever, I've of course seen the Starship many times, as well as the original Jefferson Airplane. This will "date" me, but the first time I saw the Airplane was on my 16th birthday. Opening act Buffalo Springfield with Richie Furay, Steve Stills, Jim Messina, and Neil Young
all in the same band, followed by the Airplane.
Grace Slick, Paul Kantner, Marty Balin, Jack Cassady, Jorma Kaukonen, and original drummer Spencer Dryden ... for $2.50 a ticket, at the University of San Francisco gym. Yikes what a show. Surrealistic Pillow had just been released, Grace Slick had recently left The Great Society and replaced original singer Signe Anderson. Today, Somebody To Love, White Rabbit, It's No Secret ... what a show. And what a way to turn 16. Being a normal California kid, I of course got my driver's license that day, so I was able to drive my mom's '62 Valiant wagon to show, along with my band's guitar player Tim, and our girlfriends.
We were spoiled rotten growing up in the City during this period. We knew it then, and never took it for granted. Where else on the planet did you have access to the music that we were so priveleged to grow up with? Free concerts in Golden Gate Park were a commonplace occurence, and a lineup with some combination of the Airplane, the Dead, Quicksilver Messenger Service, Sons of Chaplin, Big Brother and the Holding Company, Paul Butterfield, Elvin Bishop, Blue Cheer, and more ... were not uncommon. Speedway Meadows or the Polo Field, most weekends, and occasionally even during the week. Great time to be a native!
Bill Graham was of course the father of modern concerts. I was fortunate enough to work for him for a ten year period, and can personally say he was a total professional, and a great guy ... as long as you didn't try to disrupt one of his shows. He wouldn't hesitate to pull an unruly teenager out of line and deny them entrance, if they were making someone else's life miserable. Behave or you're going home. Graham started doing concerts as a way of promoting his pet project the "San Francisco Mime Troupe." This quickly blossomed into fairly regular concerts, ultimately settling at the Fillmore Auditorium and Winterland, a couple blocks up Geary. Arguably the most important factor in making Bill Graham shows different and each one memorable in its own unique way, is the combination of acts on the bill for any given show.
You could see Miles Davis with a young Tony Williams on drums open up for The Who. Or the Staples Singers open for The Doors. Local bands like the Syndicate of Sound or Peter Wheat and the Breadmen could find themselves on a Fillmore poster with The Moody Blues. Watching musicians and bands "evolve" was also a unique treat. I recall a Winterland show that opened with The Nice (and a very young Keith Emerson, soon to be a third of Emerson, Lake and Palmer), The Vagrants with guitar player Leslie West (Mountain, Mississippi Queen), Procul Harum with both Robin Trower and Terry Reed on guitars, and headliners The Doors. I believe this was a $5.00 show.
The closing of Winterland show (pictured at right) was absolutely incredible. New Y
ear's Eve, December 31st 1978 was the final swan song at the crumbling, long past its prime hall that once served as the Ice Follies' home base. Opening act NRPS, The Blues Brothers with most of the former "MG's" from Booker T. and the MG's as the backup band, and about four hours of the Grateful Dead. And at the end of the show, they served breakfast to the lucky 6000 attendees.
Two shows come to mind from the old Carousel Ballroom, before it was transposed into "Fillmore West." The Yardbirds, always a favorite, went through a few guitarist changes. Original lead axman Eric "Slowhand" Clapton was replaced by Jeff Beck and his unorthodox style of attacking a Fender Telecaster. Original bassist Paul Samwell-Smith was temporarily replaced by young studio guitar player Jimmy Page, to try out his hand at producing. Smith returned, and for a brief period produced the lineup we saw at Carousel, with both Jeff Beck and Jimmy Page playing twin lead guitars. Oh my.
Another show at the Carousel featured Country Joe and the Fish as the headliners, opening act Taj Mahal, and a little known band from England called Led Zeppelin. Their first album hadn't been released, but San Francisco was privvy to a few tracks on pioneer FM stations KSAN and KMPX, compliments of the great DJ Tom Donahue. From the opening chords of Communications Breakdown and young Robert Plant with his back(side) to the audience, you knew this was going to be memorable.
It was a very pleasant weekend in our beautiful City by the Bay. The rain has at least temporarily stopped, meaning I may not have to complete the ark I was planning to construct. It's been a good news, bad news scenario lately - we need rain desperately, but why does it all have to fall in a two or three week period? But this weekend was a nice one.


Mis En Place is a French phrase that literally means "put in place," but it's used by chefs to refer to their "setup" for what they're going to cook. In other words, ingredients, spices, prepped items, and the tools needed / used to accomplish this. Method:
Arugula Pesto Pasta:
Method:
Combine all the ingredients in a food processor, drizzle the olive oil, pulse to the consistency you like. I like mine on the moist side, not totally dry. The amount of olive oil you use will vary accordingly.
Serve over your favorite pasta. Today's was a whole wheat angel hair pasta, which was perfect. Garnish with a few pieces of chiffonade-cut basil, have fresh parmesan available for grating.
Best Cole Slaw:
I love cole slaw, and I'm picky about it. Too much mayonnaise, too much vinegar, too much anything, just doesn't cut it. I've done a lot of experimenting, stolen liberally from all the best chefs and cookbooks, and here's how I do it:
Slaw:
Method:
Whisk together all the dressing ingredients, "toss" the slaw to combine all the ingredients, pour about 3/4 of the dressing and mix, add more if necessary.
Note: You'll likely have leftover dressing. You can always add more, but you can't subtract if you put too much on it initially.
Lemon Cupcakes:
I commonly tell people that a stand mixer (meaning a Kitchen Aid) is an imperative ingredient. I'll leave that up to the reader, but it sure helps to have a good mixer.
Method
Awesome Lemon Frosting
Method: