One recent morning, as I was waking up by thumbing mindlessly through my phone, I noticed an unread email. A new veterinary service called VetPronto had found my adorable cat Arya’s blog and wanted to offer her a complimentary house call appointment. “The robots know everything,” I mumbled, dragging myself out of bed.
Later, while sorting through a mountainous pile of receipts (in case you didn’t know, freelance tax prep is one of the seven circles of hell), I came across the file I keep of my cat’s health records. Here were the facts: my cat was due for her next round of vaccines, the Affordable Care Act doesn’t cover feline children, and I couldn’t afford not to take VetPronto up on their offer. Not to mention that being stuffed into a crate and being literally cat-called on the 14L are among Arya’s least favorite activities.
I made an appointment with VetPronto through their website. The day of the appointment, a friendly vet named Dr. Hoppe arrived promptly. Arya was instantly at ease and barely noticed that needles were entering her body moments later. Dr. Hoppe was very patient and addressed all of my questions and concerns, leaving me feeling like a great cat mom. The whole thing was over in under 30 minutes.
Artist, transit activist, and Mission Mission reader Ilyse, whose projects we’ve posted about before, has been leading a series of pub crawls on public transit routes (aka PUBlic Transit Crawls) to raise money for the SF Transit Riders Union. The next crawl takes place this Thursday in the Mission, and in honor of Valentine’s Day, it’s along the 14 bus route.
Here are the details:
Starting Point: 16th/Mission BART Date/Time: Thursday, February 12, 6-10pm
6PM: Dr. Teeth and the Electric Mayhem, 2323 Mission St (btw 19th St and 20th St)
7PM: El Rio, 3158 Mission St (at Precita Ave)
8PM: St. Mary’s Pub, 3845 Mission St (at College St and Crescent St)
9PM: Pissed Off Pete’s, 4528 Mission St (btw Santa Rosa St and Ocean Ave)
Read more about the crawl at the SF Transit Union’s website.
After doing the farmer’s market pop-up thing for years, Richie Nakano is finally opening his long-awaited ramen shop tomorrow. The Hapa Ramen restaurant is located at 2293 Mission Street, in the former 99¢ Depot. As a long-time noodle advocate, I headed over to report from the front lines, armed with a fellow noodle-loving lady.
The opening menu features snacky small plates (ribs, a raw fish tartare, a Korean seafood pancake), steamed buns a la David Chang, and with three types of ramen. The restaurant’s namesake bowl, pictured above, is generously topped with pork slabs, nugs of fried chicken, a poached egg, and seasonal vegetables.
There’s also a full bar and cocktail menu, which includes a gin drink involving Hi-Chew tincture and Hawaiian Punch syrup (above, right) that tastes exactly like a Pixy Stix. The bourbon drink on the left contained banana, black sea salt, and cacao.
Above, two of my favorite things I ate: a savory pile of roasted baby carrots and radishes, and an adorable fried chicken-and-pickle steamed bun that, in the most flattering way possible, reminded me of the classic sandwich from my childhood favorite now-shunned fast food establishment.
Oh, and those in-progress booths we reported on awhile back cleaned up real nice:
According to their Twitter, SPCA’s cat shelter is positively overflowing with felines, so they’re waiving all cat and kitten adoption fees through Sunday! If you didn’t already know, cats are the best! Here are some reasons why:
Do you have complaints about the housing crisis and public transit in San Francisco? (Let’s face it, we all do.) If so, join the SF Bay Guardian and SF Transit Riders Union tomorrow for a joint community forum on funding for transit and housing affordability.
Here’s what SFBG and SFTRU have to say about this event:
San Francisco needs more affordable housing, a robust public transit system, and fully funded social services if it is to remain an efficient, diverse, compassionate city. Unfortunately, some political leaders have pitted transportation and housing activists against one another in recent years, particularly so in the upcoming election on Propositions A, B, G, K, and L.
We’ll provide some background for you on how public transportation service and facilities are paid for, and then we’ll examine how the conflict happened, the political tactics that are being employed, and what can be done to bridge the gap along with a panel of activists and experts.
Bridging the Gaps in Transit and Housing Funding A joint Bay Guardian and SF Transit Riders community forum
Thursday, October 9th, 6-8PM
LGBT Center, Rainbow Room
1800 Market St, SF
Steve Jones and Rebecca Bowe, San Francisco Bay Guardian
Thea Selby, San Francisco Transit Riders Union
Jonathan Rewers, SFMTA
Supervisor Scott Wiener, San Francisco District 8
Chema Hernandez Gil, San Francisco Bicycle Coalition
Amandeep Jawa, San Francisco League of Conservation Voters
Peter Cohen and Fernando Marti, SF Council of Community Housing Organizations
I have been listening to Sondre Lerche’s music for over ten years, which is a very long time for me. Since 2001, Sondre has released eight diverse, genre-spanning albums, including the jazz-inspired Duper Sessions, and two film soundtracks, including a haunting score for The Sleepwalker, a 2014 film directed by his recent ex-wife Mona Fastvold and starring Christopher Abbott (Charlie on Girls). I have seen him perform at The Fillmore, Swedish American Hall (RIP), Great American Music Hall, Bimbo’s, and a handful of places in Austin, Texas. I have seen him perform solo, with a full band, and everything in between; whatever the configuration, he always impresses with his distinct voice and shredding guitar.
Sondre’s latest album, Please, dropped a few weeks ago. Please was written in the aftermath of his divorce with Fastvold, and with it, he reinvents himself again. The album’s first single, “Bad Law,” was one of my top summer jams, combining a super charismatic dance riff with chunks of distorted guitar.
This Thursday, Sondre Lerche is playing at The Independent. I had the pleasure of chatting with Sondre about his record, upcoming tour, the color of his music, the idea of guilty pleasures, and why San Francisco is his favorite city in America.
MM: Tell us a little bit about your newest record, Please. I read that it was heavily inspired by your recent divorce. What was your process like? How was it conceived?
SL: I started out wanting to free myself from the regular recording cycle. I just wanted to do one song at a time, to be able to record instantaneously and enter into collaborations without having to carry the weight of the whole record. I just wanted to open up a bit. I usually write really thorough songs that limit what you can do in the studio, so I tried to open myself up to surprise, to surprising myself. There was a lot of music I was listening to that I realized comes out of a completely different process, and I was curious about what that is. So that’s how it started, and as I wrote more and more songs, I thought I knew what the record was about. And then all this stuff happened in my private life, that just forced me to reevaluate a lot of things. One of them was what this record was about; all of these other songs just started coming. I realized that certain things were more urgent than others, and the album just changed. I think it came out of the necessity of ventilating and trying to find reason in what is happening to you. And the studio is just the perfect place to figure out stuff, to get it out. I guess it’s a cliché, but it turns out it’s real.
MM: The first song on the record, “Bad Law,” is such a great dance song, despite being quite dark lyrically. What is that song about?
SL: It’s a song that took a lot of time to write. It started with that riff, and then I recorded the bass and drums, which was new – I usually start out with guitar. I had this idea of the sort of paranoia you feel when you pass through customs. As a Norwegian flying into the States, even though I now have a green card and have nothing to hide, I always feel a certain paranoia. So I wanted to play around with that ritual, where you feel so watched and pressured, that in the end you started doubting yourself, and maybe you do have something to hide. Maybe that’s how the police get people to confess things that they didn’t do. In the end, you’re just so worn down. It felt like a reasonable metaphor in the context of the record and everything else.