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Living

Burger bash: The Korner quietly serves up a crosstown rivalry

Almost nothing upsets me more than a poorly constructed sandwich. I’m not kidding. This may show my crazy a bit more than is appropriate for general audiences, but I have literally coldcocked a sandwich for falling apart in my hands. Yep. Dropped it on the plate, and decked it.

If you’re anything like me (God help you), please heed this warning when you try the burger at the Korner: Do not put it down. As soon as you bite into it, it will release its inner greatness in liquid form all over the very small plate it’s served on. Do not subject that bun to suicide by its own avarice.

Not that holding onto the Korner burger until it’s gone is a bad thing. This is one delicious sandwich. With hand-formed patties pressed to crusty on a hot griddle topped with American cheese that melts in an instant, L&T, and the dressing of your choice, it’s a no-nonsense take on the most American of sammies.

If the Korner burger sounds familiar to fans of Riverside Lunch across town, it’s for good reason. The two restaurants buy their beef fresh every day from the same vendor, and Korner owner Phillip Templeton manned the grill at Riverside for several years before taking over his family’s greasy spoon in 1983.

Indeed, the Korner and Riverside burgers are really only different in one way. Where Riverside balls its meat and presses it into patties right on the griddle, the Korner patties the meat first before finishing the press on the flattop. Hard to say whether this results in much difference in the final product—I haven’t picked up on much of anything—but perhaps it’s one of the reasons Riverside manages to garner top-burger accolades while the Korner is typically forgotten.

Templeton has another idea. Selling a near identical burger that actually costs less than Riverside’s, he figures the lack of exposure is mostly due to diners’ and wrongheaded journalists’ habits.

“It’s in your head,” he said. “The Riverside could do whatever they wanted and still sell their burger.”

Templeton admits the two restaurants attract slightly different clientele, with the Korner, at 415 9th Street SW, catering mostly to people on their lunch breaks, and Riverside attracting families in addition to the working people by staying open at night and offering beer and wine. As for atmosphere, if Riverside has one frill, the Korner is in debt by a few frills. This is a lunch counter, plain and simple. And as with anything, there are pluses and minuses to that fact. While you might not be hitting the Kor-
ner for a filling meal before a night out, you’ll feel right at home straggling in there in your sweats the morning after a night out on the Corner. While you might not want to hit the Korner with coworkers you don’t know all that well, it’s the perfect place to down a milkshake along with your burger and fries at 11:30am without fearing your health-conscious neighbors might show up.

To Templeton’s chagrin, all this amounts to the fact that you’re just about guaranteed a seat at the diner any time you come in these days. The restaurant opened in 1950 as the Kustard Korner but dropped the custard physically and in name in the mid-70s. By the 90s, the Korner had a consistent line out the door during lunch hours. Templeton thinks dine-in traffic has tapered since then due to several factors: a lot of local commerce has moved east along Main Street, the area around the Korner hasn’t been developed properly, and the 2008 recession lingers. The one thing that Templeton doesn’t seem worried about is the new wave of upscale burger joints whisking away his business.

“They talk about the gourmet burger, but this is still just a good old plain burger,” he said.

Which is not to say the Korner hasn’t adapted with the times. Seeing his dining room slowly grow emptier, Templeton has turned his family’s restaurant into a go-to catering provider. He bought a meat smoker years ago to crank out large cuts of pork and beef, and he’s landed customers like UVA and Martha Jefferson Hospital with his inexpensive bulk barbecue and handmade salads.

The dine-in customers benefit from the change too, as the Korner offers the barbecue pork sandwich on its regular menu. Templeton is quick to point out it’s nothing fancy—not like “that place down in Gordonsville,” he said—but it’s solid, with well-sauced, finely shredded smoked pork (add some Texas Pete for a kick) topped with the Korner’s own coleslaw (ask for extra).

As for maintaining the integrity of the barbecue sandwich as you munch through it, I have no advice. There is no keeping it together. Just take a deep breath and remember that eater-on-sandwich violence is never the answer.

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Living

Perfect pairings: Finding the right combination of food, drinks, and personalities during Restaurant Week

Ask restaurateurs about the conceit known as Restaurant Week, and you’ll get a variety of responses—some of which they want off the record, some of which would be unfit to print if they allowed it.

Owners typically love the idea; chefs typically bitch about it. Because one thing is true across the board—it’s the busiest week of the year for almost every place involved. Restaurants that might serve 40 people a night all of a sudden have 100 people walk in and out their doors. Chefs used to putting out a dozen specials might have to make three times that many. Busboys that step out back for a “break” once or twice might be too stoned to see by the end of the night.

With demand that high, restaurants aren’t the only ones that have to prepare for Restaurant Week. Consumers also need a game plan. Should you go with a tried-and-true standard, or maybe try an up-and-comer? Should you stick with cuisine you know or go for something more exotic?

To help you set your strategy, we’ve paired off 16 of this year’s 33 participants in a tongue-tingling tete-a-tete. At the table with chefs and owners across the city, we’ve explored how similar restaurants treat the ingredients they prize most, and how similar business models make their restaurant experience the most inviting. Now all you have to do is make your reservation, and you can be the next person to get a seat at one of those tables.

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The Pigs

Brookville Restaurant and Pasture

Brookville Chef Harrison Keevil and Pasture Chef Jason Alley are like two sides of the same personality. Alley is talkative, brash. Keevil is soft-spoken, careful. Alley’s the type of guy you’d like to slam beers with all night; Keevil just wants to “cook for y’all.” But the two Southern boys’ restaurants and outlook on food are so similar, it’s almost like they share a brain.

“I think it’s safe to say we’re both pretty pork infatuated,” Alley said, seated across from a rapidly nodding Keevil at a table in at Pasture. “Pork has been a mainstay of the South for a long time. You can use the entire thing, and it preserves well.”

Using the entire pig is a focus for both Southern-influenced chefs, who credit the meteoric rise of pork in the past decade to the increased focus on fatty heritage breed pigs and, as Keevil puts it, “getting away from the pink pig.” Nose to tail cooking forces a chef to think outside the box and make sure nothing is wasted, Alley and Keevil agree. One of Keevil’s favorite dishes is deep-fried pigtails, which only hit his menu a couple of times a year because of their scarcity.

“I dig the stuff that takes a long time to cook,” he said. “[Pigtails are] all about timing, getting the temperature correct so they’re not falling apart but tender, then frying them correctly to avoid the gelatin that forms. It’s like the best chicken wing you could ever eat.”

Keevil thinks there’s one distinct difference in the way Pasture and Brookville handle their pork. Where he tends to cook Southern food by drawing on European and contemporary techniques, Alley looks to the way things have been done in the South historically.

“We are very concerned with the Southern conversation. How do we respect it and keep it moving forward?” Alley said. “And we also look even further south, into Mexico, Puerto Rico, and Central America. That’s a large part of our service staff, and it’s important for us to feel like they’re part of it.”

The Southern tradition has recently pushed Alley toward several unique takes on in-house curing. Because his restaurants have limited space and he can buy quality country ham from his vendors, he’s been breaking the pig leg down into its three constituent muscles to create small city hams. He expects to start introducing the house-ham in his pimento cheese in time for Restaurant Week. The technique has also given him a way to solve the rib conundrum he’s long felt at Pasture. He loves a good “gobby” rib, but that dish is best suited for sitting at a picnic table with rolls of paper towels on hand. So he’s curing the ribs individually in ham-like fashion, smoking them, roasting them, deep frying them, and serving them with an Alabama white sauce.

As Alley describes the dish, Keevil is still nodding across the table: “So good.”

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Arts

Interview: Matthew Houck steps from behind Phosphorescent

Musicians. They’re just like the rest of us. Some of them you hit it off with immediately—you get them, and they try their best to understand you. With others, you just don’t see eye-to-eye.

Phosphorescent’s Matthew Houck is the type of guy it would be hard not to see eye-to-eye with. An Alabama native who recently relocated to New York by way of Athens, Georgia, Houck embodies the title of his breakout 2010 album, Here’s to Taking It Easy. He’s laid back, but there also seems to be some recognition on his part of trying to take it easy. He speaks with a deliberate Southern drawl, but there’s an intensity, a burning in his voice when he gets going on something that he’s passionate about.

While “Phosphorescent” has been called Houck’s stage name, or his nom de plume, when he talks about the name of the band—in which he is the only constant—it seems it’s more than that. It’s its own thing, and according to Houck, there was even a chance it had run its course after Here’s to Taking It Easy.

Fortunately for his fans, Houck produced Muchacho as Phosphorescent in 2013, and the album that almost wasn’t turned out to be one of the most celebrated indie releases of the year.

Before Houck and his current road band ambles through the Jefferson Theater on January 23, he took some time to talk to C-VILLE Weekly by phone about the differences between Athens and Charlottesville, working in the studio versus playing for live audiences, and how a stage name can be a safety net.

C-VILLE Weekly: I understand you’ve played Charlottesville before.

Matthew Houck: Yeah, I’ve been there a couple times. I can’t remember the names of the venues, but they were small. It’s a cool town y’all got there.

Charlottesville kind of has a case of Athens-envy. You spent some of your formative years there; what do you think makes it special?

The thing about Athens is it is this little oasis in the middle of the Southeast. Other than Atlanta, it’s kind of in the middle of nowhere. People end up being more glued in, and there is a solidarity. From Charlottesville, people can scoot up to DC or Philly or even New York without too much difficulty.

Being from the South, do you listen to a lot of mainstream country music?

I used to listen to a lot of mainstream country when we were touring in a van all the time. I’ve always liked it, but with a grain of salt. I appreciate it for what it is. I think across all forms of music, right now songwriting and lyrics are taking a back seat. I don’t get too bent out of shape about the state of mainstream stuff. With the Internet, if people care about things like craft and lyrics, they can find it.

Because Phosphorescent is really a solo thing, I’ve never heard much about your band. What can you tell me about it?

It’s a seven-piece right now, with two keyboards, a drummer, a percussionist, a pedal steel/guitarist, a bassist, and me playing guitar and singing. Over the years, it’s changed a thousand times. What I used to do was just put the band together and go out and play and let the songs take their own shape based on who was there. But with this lineup, we’re able to bring the arrangements from the records to life. We’re able to flesh out the songs in terms of lushness, and then we can take them into whatever weird places feel correct on any given night.

How does the process of creating a studio album compare to the way you guys operate live?

It is basically a solitary thing. I sit in there and work on stuff on my own for a while and then bring people in as parts present themselves. I end up working kind of like a painter or sculptor, sonically fucking with these things, maybe for months and months even, and just keep digging around to try to get the songs shaped into a way that sounds good to me.

What are some of the choices you have to make when you decide how to interpret a studio song for a live audience?

Thousands of small decisions go into that. Sometimes it’s a matter of getting the live band together and just playing a song and realizing what you can pull off live and what you have to sacrifice. A lot of times, those things actually make the song better, and after playing the song for six months, you wish you could record that version. There are a lot of layers on the records, especially vocally, and a lot of times you change those arrangements to give more room for instrumentation.

I feel like Here’s to Taking It Easy is less introspective than the rest of your albums, including Muchacho. Would you agree?

I feel very much that way. But the thing about it is a lot of that stuff is sonic. I think lyrically it all seems very similar, with the exception of a couple songs. You can still present introspective lyrics and wrap them up in a different package and they come out sounding different.

What is Phosphorescent? Is it a stage name, or is it something else?

It’s always evolving, but in the beginning, it was a matter of convenience and kind of a shield. I wanted it to feel like a bit of separation. I still do rely on that separation, because art is art and life is life. Also, the word itself I thought of as a mantra for a while—the definition of the word being to give off light without combusting, without burning up. I think that is a good thing to keep in mind all the time.

So what is the next evolution of Phosphorescent and Matthew Houck?

I’m excited about making the next record in a way I don’t know that I was at the end of Here’s to Taking It Easy. I wasn’t sure I was going to make another Phosphorescent record. It didn’t seem like the rewards were enough for how much damage it was doing and how much toiling it was. It seems more sustainable now, on a personal level, and a logistical level. So at the very least, I definitely am going to make another one, and I’m very excited about that.

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Arts

Passafire likes its rock with a side of reggae

Passafire’s Ted Bowne says he has nothing but respect for his peers in reggae, but there’s one figure in the modern game he doesn’t like—Snoop Lion, formerly Snoop Dogg.

“I thought the transformation was well-intended, but if someone starts coming around your house and wearing your clothes and talking like you, it is weird,” Bowne said in a recent phone interview with C-VILLE Weekly. “The guy is an imposter.”

Bowne said the best way to show respect to the reggae community is not to mimic it entirely, but to harness its influence, and give it your own voice. To that end, Passafire delivers a decidedly rock-infused version of the genre, and Bowne never sings in a patois.

“We know Snoop’s voice,” he said. “We know he is acting.”

Produced by Charlottesville-based progressive reggae label Easy Star Records, Passafire will bring its 311-like sound to The Southern Café and Music Hall on January 12. Bowne promises a show that will draw on a range of influences, from jam bands to alt-country, and feature several songs from Passafire’s new album, Vines, which the band has yet to break out on the road.

Vines is the best example of what Passafire has become over the years, transforming from a primarily reggae outfit with a rock streak into a rock band that draws heavily on reggae sounds.

“It just comes with our desire to rock out. That is the best way to put it,” Bowne said. “When you drop a distorted chord and the drummer’s hitting the cymbal really hard, it’s an undeniably amazing feeling.”

Bowne said Easy Star Records has played no small part in allowing Passafire’s sound to develop as it has over the years. When he and Nick Kubley met while studying at the Savannah College of Art and Design, they knew they wanted to get a band together, but exactly what direction it would go was anyone’s guess.

Bowne was into reggae but also had some experience playing in a Rage Against the Machine cover band, and he loved hip-hop, jazz, and funk. Kubley was more into the jam bands he was listening to in the Midwest before heading off to college.

As the group brought together its melting pot of influences, reggae emerged as the unifying theme. They looked to bands like the Easy Star All Stars, and current label-mate John Brown’s Body, for a roadmap of how to make it as a modern U.S.-based reggae act.

“They solidified the whole scene, or at least showed reggae can live on in a new futuristic way,” Bowne said. “That whole tribe of musicians came together to make a unified East Coast reggae scene that was different. It wasn’t the same as the Sublime/Pepper/Slightly Stoopid scene.”

None of which is to say Passafire doesn’t have its own unique niche among the Easy Star lineup. Easy Star co-founder Lem Oppenheimer said the label focuses on “progressive” bands, and none of them have the exact same spin on the genre.

Bowne said Passafire keeps its rock-reggae angle fresh by focusing on song composition and how the music is actually made. He is obsessed with pedals and prides himself, and his bandmates, on their ability to come up with new, outside-the-box combinations of effects and transitions that “make you actually think a little bit.”

“It is more about being eccentric with the music, paying attention to the musicality, and being aware of making choices with the music that aren’t normal,” Bowne said. “We get turned off by stuff that is very repetitive.”

Kubley’s brother Will and multi-instrumentalist Mike DeGuzman round out Passafire. DeGuzman has only been onboard for the past two albums, but Bowne said he lends the band an ability to go in new directions and helps get the audience involved during live shows by breaking out different instruments as the night moves along.

“When the crowd is all unified, that is a successful show,” Bowne said.

To some, the emotive quality of rock ‘n’ roll might seem to run contrary to the easygoing, “it’s all irie” vibe of roots reggae. But for Bowne, staying true to the traditions of the genre and the Jamaican artists that came before Passafire is as important as moving reggae forward. He said he first visited the birthplace of reggae when he was 12, and traded some clothes he no longer wanted for a couple of tapes (Bob Marley and a few others) while walking along the beach.

“Those tapes really got worn out,” Bowne said. “They were really what turned me on to reggae in general.”

Bowne recently had the opportunity to return to Jamaica in a more official capacity. He was invited to Tuff Gong studios to produce a record for Anguilla-based reggae band British Dependency.

“I got to meet a few local legends who came in and did cameos, and I got to learn the actual stories behind the music,” he said. “It reinforced my deep love and appreciation for reggae. I respect it so much, I don’t want to mess with it.”

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Living

Six seasonal beers to warm you in the chilly months

Beer is like a moody lover. It can do you so right, before turning around (as soon as the next morning!) to do you so wrong. But beer still loves you, baby. Don’t be like that.

Seasonal beers, more than any other, know how to find the right mood. In the summer, you want to strip down to your ill-fitting swim trunks and caress the nearest icy saison. During the colder months, you might rather find yourself a lover with a little more meat on those bones—good malty backbones, to be exact.

“Winter beers are typically high in alcohol and warming,” Three Notch’d brewmaster Dave Warwick said. “It’s like a sweater you wear on the inside.”

If that sounds like a feeling you’d be into, consider these six winter beers you can try without ever leaving Charlottesville city limits. In fact, they’re mostly available within a mile and a half of one another, so throw on a snuggie and make it a pub-crawl.

Champion 

Champion Brewing Company releases so many beers so frequently, it’s tough to pin down one “winter seasonal.” The fastest growing brewer in Charlottesville is just finishing up its run of the Christmas beer “Yule Shoot Your Eye Out,” with two kegs left at the Belmont tasting room and six waiting to be sprinkled around the city by distributor Hop and Wine. Owner and brewmaster Hunter Smith said he intended for the beer to run out around Christmas, but if you can find one of the last few kegs around town, it’s worth a taste. With a spice mix that’s kicked up by the addition of ginger—it gives the beer something you can both taste and feel—it’s a unique twist on the classic “winter warmer” style.

Smith said the next winter beer to check out at Champion is the chocolate-cherry stout, a concoction that grew out of a suggestion by his wife. Since she’s been pregnant pretty much the whole time the brewery has been in operation, Smith figured she deserved a beer of her own. The stout, a lower-alcohol modification of Champion’s Red Scare Russian imperial, was just hitting taps at press time, and Smith said he wasn’t entirely sure how the cherries, added to the beer late during fermentation, would stand up to the chocolate. But knowing Smith’s over-the-top style (he added about three times the number of organic cherries that he thought was appropriate), they should come through.

“If we say something is going to be like something, we really try to make sure that it is, even if it is on the side of overdoing it,” Smith said. “There is nothing more disappointing than picking up a smoked vanilla porter and saying ‘I can kind of see that.’”

South Street 

With craft beer culture exploding around Charlottesville, it’s easy to forget about good old South Street. Don’t. The place still offers solid craft beers for some of the best prices in town.

As of last year, South Street added a new winter seasonal that’s a bit outside the box and worth looking out for (brewer Jason McKown said he’ll likely make one more batch before spring). Starting with the base recipe from South Street’s “Absolution” English brown ale, head brewmaster Jacque Landry added a hop bill that draws on the power of three varieties typically found in New World creations—Columbia, Centennial, and Cascade. The result, “C-Solution,” is a beer with a foundation in classic winter flavors but with the flavorful, bitter punch hopheads have come to love in modern IPAs.

“I like it because it has a good amount of malt character to give it a nice balance,” McKown said.

An older take on the winter seasonal but no less unique is South Street’s Sahti. The juniper-spiced ale is based on an old Finnish recipe, and it’s among only a handful of sahtis produced in the U.S. The brew is lighter bodied than what many of us have come to expect out of winter ales, but the piney juniper notes smack of the holiday season.

Three Notch’d  

The thing that puts me off about winter beers is their reliance on malt for flavor. I’m as guilty as anyone of allowing myself to get addicted to huge hops, so I often find malty beers excessively sweet and cloying. Needless to say, when Three Notch’d put its “Sweet Winter Ale” on the menu, I wasn’t running to the brewery to try it.

Somehow, it works.

“It’s sort of a made-up style,” Warwick said. “It’s a winter warmer but lower on the alcohol. It’s just a feel good, wintertime, sit-by-the-fire beer.”

Three Notch’d also offers a slightly off-center ale for the chilly season, a Belgian tripel known as “Brother Barnabas.” Tripels often get lumped into the winter category because of their high alcohol contents and full body. The Three Notch’d version, named after the only remaining Belgian monk in Virginia, has enough ABV and structure to warrant a winter tipple, but for me it lacks the fig and raisin flavors that suit the bigger Belgians of the season.

“Even though it is fruity and crisp, it’s not like something you’d want to drink in the summer,” Warwick said. “To me, it is a nice wintertime beer.”

It’s hard to argue with that.

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Living

Vietnamese please: Can Charlottesville produce a decent banh mi?

The only thing that could make the banh mi sandwich better is if there were some obscure, obnoxious way to pronounce it. Then all the people who call pho “fuh” could lord their culinary superiority over everyone else in yet another way.

“It’s not a ‘bon-me,’” they’d say. “It’s a ‘boon-mh.’”

I take that back. There is one other way the banh mi could be better. There could be a couple decent options in Charlottesville. As it is, there’s really only one. Simple as the sandwich is, but one local purveyor puts all the requisite ingredients together at the same time in the same place: meat, paté, pickled veggies, jalapeños, cilantro, and mayo on a crusty French baguette. That purveyor is, not surprisingly, Moto Pho Co., the closest thing this town has to a proper Vietnamese restaurant.

“The banh mi wasn’t originally on the menu as I had only wanted to focus on the noodles, but after repeated requests from customers, we gave it a shot,” said Vu Nguyen, the restaurant’s owner and chef.

That’s not to say you can’t get a little banh mi flavor in places other than Moto. If you’re savvy with the Facebooks and Twitters, you can catch Beer Run’s “banh mi style” sandwich every now and then. Of course, not even Beer Run knows when or where the special’s ever going to strike, making it the 1.21 gigawatts of Charlottesville banh mi.

Then there’s the question of whether the Beer Run swipe is worth your trouble. I’d give it a reluctant yes. It’s a tasty sandwich, but calling it “banh mi style” is a bit of a stretch. For me, banh mi are all about the bread. If you don’t have the baguette, you have something other than a banh mi. Beer Run serves its house-smoked pork and pickled veggies on its (admittedly delicious) house focaccia. The Vietnamese didn’t suffer a half-century* of French rule only to have their signature sandwich served on an Italian-style bread. Plus, the dispersion of the ingredients on the Beer Run sandwich wasn’t quite right for me; some bites were good, but midway through the second half, I kind of wanted it to end.

Michael’s Bistro on the Corner offers a sandwich that skews the other way. It’s closer to authentic but not out-of-this-world flavorful. Lacking the depth and earthiness provided by paté and subbing a straight coleslaw for pickled carrots and daikon (an Asian radish), one of my dining mates called it “an accessible take” on a banh mi. The sandwich did feature flavorful roast pork and came on a proper French baguette. Unfortunately, the bread wasn’t the freshest loaf in the bag, and the sandwich could have used more mayo to bring it all together. For me, the worst part about the Michael’s banh mi came from my own expectations—the bistro does so many things well (their savory pies, the artichoke soup, the spinach salad, the beer list), it was a shock to get a mediocre sandwich out of the kitchen.

The Box off the Downtown Mall offers a nice short sandwich menu focused on a banh mi motif. On each slider-style sandwich, daikon, carrots, cucumber, jalapeños, cilantro, and mayo garnish your choice of meat. Unfortunately, the first time I went to the Box, I almost didn’t stick around to try the food. The wet, dirty menu hanging behind plexiglass on the patio, a glimpse of the chef’s soiled whites when he briefly stepped out of the kitchen, and sub-par service nearly sent me for the door before I could put my order in. It’s a good thing I powered through. The pork belly version of the sandwich is legit. The belly does a nice job on its own of replacing roast pork and paté, giving you the chew of the muscle in the belly and a “pork mayonnaise” effect from the threads of fat.

Still, Moto’s pork banh mi is by far the cream of the crop. At first glance, the bread looks softer than it should be, but it’s crunchy on the outside and pillowy on the inside. Tucked into the bread are refreshing pickled radish and carrots that contrast well with thinly sliced roast pork and earthy, rich paté. For me, the jalapeños give the sandwich just the right amount of spice, but I could see how some might find it too spicy. At any rate, the day I visited, there were a half dozen people in the restaurant, some of whom were speaking Asian languages, most of whom were crunching on banh mi rolls.

“I’d love to be able to tell you there was some magic behind the banh mi we serve and that we use locally sourced organic ingredients,” Nguyen said. “But the truth is it’s just regular commodity ingredients, which contribute to keeping the price at an affordable value.”

That means Duke’s mayo has stepped in for the house-made spread Nguyen was making when the sandwich first hit the menu, but the veggies are still pickled in house, and the chicken liver and pork paté is a homemade creation, as well. For two additional banh mi options, Nguyen marinates chicken and crafts a vegetarian paté.

“The appeal of the banh mi is the fact that it hits all the right notes in a familiar package,” Nguyen said. “You get sweet, savory, sour, spicy, and cool all in a portable vessel that isn’t so exotic as to be unapproachable.”

*An earlier version of this story said “a half-decade of French rule.” Vietnam was part of French Indochina, a colonial protectorate from 1887-1954.

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Arts

Three for ’13: A take on the best shows of the year

Live music is as important now as it’s ever been. With the days of the huge record contract all but behind us and the era of the small label in full swing, most bands can’t make a living without hitting the road hard.

“It’s a hard business,” Cold War Kids front man Nathan Willett told me before his October 29 Charlottesville show. “The income is mostly from touring, and that’s a tough way to do it.”

Two of the best shows I saw this year were from indie bands in the same boat as Willett—the Carolina Chocolate Drops and Dr. Dog both jammed at the Jefferson like their professional lives depended on it.

Then there’s the other end of the spectrum—one of the last vestiges of the major label era laying waste to any notion it might have become complacent in its old age. Pearl Jam might not be living tour-paycheck-to-tour-paycheck, but the grunge pioneers still rock like it’s 1993.

Carolina Chocolate Drops at the Jefferson

I’ll admit to being the type of guy who tears up at sad movies. I can’t say I’ve ever felt the same way about a concert, until the Carolina Chocolate Drops, a folk-tinged four-piece that pays homage to old-timey Southern black music, came to town on April 1.

The majority of the show was a heels-up good time. Dom Flemons, who’s since left the band, set the tone on banjo and guitar. He’s a ham. He makes funny faces. He flips his guitar around with the enthusiasm of an awkward teenager. Rhiannon Giddens, the Drops’ only remaining founder, is a virtuoso on strings and charged through the band’s most well-known track, a cover of the 2001 R&B smash “Hit ’Em Up Style.”

The Drops’ show dragged slightly at the midway point, and the lack of former member Justin Robinson was noticeable in the decision not to perform “Your Baby Ain’t Sweet Like Mine” but the band moves through its catalog quickly enough to pull out of temporary stalls.

Many of the Drops’ tunes are lighthearted, and only in the encore did the band decide to tug at heartstrings and embarrass grown men. Standing four abreast on the stage, the musicians ended the night by chanting the traditional slave song “Read ’Em John,” in which a literate slave is asked to read the chanters a letter they hope will “let them go.” Even with few words and no musical accompaniment, it was the most poignant encore I remember seeing.

Pearl Jam at John Paul Jones Arena

It would be easy at this point in his career for Eddie Vedder to mail it in. Instead, on October 29, he was nothing short of euphoric.

“This feels like the kind of place we could get comfortable and play for a while,” he told the crowd after a few numbers.

The JPJ concert was, for me, more about the songs Pearl Jam didn’t play than those it did. The bandmates must not have heard how much I enjoy their cover of “Last Kiss.” They didn’t do “Even Flow,” passed on “Better Man,” and were perhaps too short winded for “Elderly Woman Behind the Counter in a Small Town.” But even without those classic numbers, it reminded you what a rock ‘n’ roll show can be.

Vedder, at 48, is still an energetic acrobat of a performer. I’d put the way he handles a microphone stand, hurdles speakers, rides giant pendulums, and drinks wine from the bottle up against any 30 year old.

As for the wine, Vedder boozed so much during the show, I was worried he might get drunk and turn on us. The opposite happened. He stopped one song abruptly to make sure everyone was O.K. when the floor got unruly. He connected with two young boys in the front row who he reported sang “every word to every song” and invited them on stage, praising them (and their parents) for their fanship. If it hadn’t been for the uncomfortable moment when he tried to give the kids some wine, it would have been the perfect ending to the night.

Dr. Dog at the Jefferson

As one of Dr. Dog’s two lead singer’s, Toby Leaman, promised me before the show, the Philly-based six-piece didn’t pander; they were just “a good solid rock band doing [its] thing.”

Leaman and fellow songwriter Scott McMicken have been together for more than 20 years, and their comfort level is clear when they take the stage.

You’d think it would be difficult for two lead singers to coexist, but while Dr. Dog is unpredictable when it comes to style and influence, the band has always alternated, without fail, between Leaman tracks and McMicken tracks. On albums and in concert, each song sung by Leaman is immediately followed by a song from McMicken, and vice versa.

It’s a formula that shouldn’t work. It feels too contrived. But on November 6, the reasons for its success were clear. Leaman has the traditional rocker’s rasp. McMicken is squeakier, quirkier. Just when Leaman crooned “Hang On” during the Charlottesville show and convinced us he was the superior singer, McMicken made a case for his songwriting chops in the rambling “Phenomenon.” Just when McMicken broke our hearts with “Jackie Wants a Black Eye,” Leaman healed us with “Lonesome.”

In the end, it wasn’t the act on stage that proved Dr. Dog’s appeal—it was the crowd, where the audience was in a dance and lip sync contest to see who was the biggest fan.

The winner of that competition has been decided, by the way. By the end of the night, it was me.

 

Categories
Arts

Local songwriter Ellis Paul breaks down the craft

There’s a scene in Animal House where John Belushi’s character Bluto walks by a folk singer strumming a tune in the Delta Tau Chi fraternity house. He listens to the lyrics for a moment—“I gave my love a chicken that had no bones” —before smashing the guitar against the wall and handing it back to the singer.

Crozet-based folk artist Ellis Paul has a little bit of both Bluto and that sappy singer in him.

“Folk can be too soft and over-healing to the point where you are poisoned by the cure,” he said. “A lot of people get up there and sing about flowers and clouds, trying to heal you with that shit, and that’s a downside of folk music. To me, you just want honesty.”

Paul’s made a nice career striking the balance between potion and poison. He first found the spotlight in the 1990s as part of the burgeoning Boston folk scene that produced the likes of Dar Williams. Now, he’s settled down in Albemarle County where he lives with his wife and two kids and runs his music business, self-producing albums through his record label, licensing songs to television and movies, finding new ways to package his art, and scheduling his road-warrior weekends.

Despite calling the Charlottesville area home, Paul admits local popularity has eluded him. He’ll work on changing that when he offers crowds at The Southern Music Hall and Café a taste of his talent on December 14 and 15, following up his Saturday night act with a Sunday matinee of children’s music.

“I had never played here until I moved here,” Paul said. “I kind of like it because there is no pressure.”

Walking into Fardowners Restaurant on the Crozet Square the Tuesday before Thanksgiving, Paul looked like a guy who rarely feels any pressure. He slid easily into a chair and in his soft-spoken way ordered a burger and tater tots. He started talking about his kids.

Now 9 and 6, they’re the reason Paul got into writing children’s music. His oldest was listening to Barney at age 4, and he thought, why not leave the kids with some of his own work while he was on the road every weekend? That led to the release of The Dragonfly Races in 2008, and children’s tunes became a modest side-business.

His 2012 follow-up, The Hero in You, has had more success. The record caught the interest of a Chicago-based publishing house and will be released alongside a print book next September.

Paul said the book could make children’s music a more substantial part of his income stream; still, the thing he wants to be most known for is his work as a folk singer, catering to adults with a mix of social commentary, tales of workaday trials, and homespun wisdom.

“Sometimes you got to go to the end of the earth to turn yourself around,” he rasps in “Alice’s Champagne Palace,” a track on his 2008 live acoustic record.

The label “folk singer” can be misleading for Paul—the songs on his albums run the gamut of musical styles. He says he’s not a slave to the genre but to each individual song, which means certain tracks call for a chorus of electric guitar riffs or a hip-hop backbeat.

That will again be true on his upcoming record Chasing Beauty. Backed in the studio by Sugarland’s Kristian Bush on production and the popular country band’s keyboardist Brandon Bush and drummer Travis McNabb, Paul said his acoustic playing will drive roughly a third of the LP, while the other songs have more of a rock edge. All the tunes on the crowd-funded project, which will be finished in December, are intended to be a bit more raw than some of the slickly produced tracks on Paul’s last few albums.

The singular thread throughout Paul’s music is the content, the mission. He said his goal—like the goal of his hero Woody Guthrie—is to tell a story that’s informative and relevant in a way that allows people to relate.

“Woody could capture in three minutes everything that came before in a character’s life,” Paul said. “He would write visually, painting with words. He doesn’t dictate, which is what bad folk singers do. They just lecture at you. They don’t get the witness part that is essential for the listener.”

Charlottesville has turned out to be the perfect place for Paul to work, offering an industry that’s rich but also allowing him to delve into what he calls his “picky OCD,” a single-minded focus on his music. The scene has enough talented musicians for it to stack up against most big U.S. cities, but at the same time, many of them operate “inside a bubble,” said Paul, doing their own thing instead of getting out and rubbing elbows.

Paul himself tries to step out of his own bubble as much as possible these days. Paying forward the mentorship Bill Morrissey gave him early in his career, he enjoys taking young musicians on the road and sharing the gospel of Woody. When he has a free Monday night, he sometimes heads into town for the open mic at The Local. It’s there that he says he’s found a number of artists that are doing it just right, fitting in somewhere between Bluto and the guy who “gave his love a cherry that had no stone.”

“You see these artists that are just so green and innocent,” Paul said. “I would rather hear something that honest than something coming out of Nashville. Charlottesville is not such a commercial scene, everyone is just in love with music.”

Categories
Living

Big tuna: Cavalier Diner takes on greasy spoon classics

I was once talking to my boss from across his cubicle when he stopped me mid-sentence and asked, “What’s that smell?” Of all the people you don’t want to hear this from, your boss is probably behind only someone you’d like to bed. Maybe it’s not me, I hoped. But after a quick self-inventory, I had to face the truth. It was the Jimmy John’s tuna sub I’d eaten for lunch.

These are the confessions of a tuna-holic.

My mom is partly to blame—she got me hooked on the stuff at a young age. But I alone allowed my addiction to take a nasty turn while teaching English in Japan. In the face of some funky breakfast options, I turned to tuna. It’s true. I was reaching for the ol’ tinned fish before I even got to work in the morning. Finally, I hit rock bottom. Back stateside, my morning cravings came back. I had to satisfy them. Oh thank heaven for 7-Eleven indeed. But when my wife confronted me about a fishy cellophane sandwich wrapper on the floorboard of my car, I knew I had to get ahold of myself or give up tuna forever.

As I watched Aristea Vlavianos, owner of Cavalier Diner on Emmet Street, prepare one of the breakfast-focused joint’s amazing tuna melts for me last week, I considered myself fortunate to be in control of my problem. It was only 11am, but I can proudly say I hadn’t hit the crack of the sea before that hour in two years, one month, and 12 days. (Disclaimer: This may or may not be a made up length of time.) I felt confident I could enjoy the local dive’s take on my vice without relapsing.

I had discovered the greatness of the Cav’s melt several weeks earlier, when at a normal lunch hour I decided to pit two diner staples against one another. It was a heavyweight bout for the heavy set: the melt, a one-time special Vlavianos made a full-time menu option due to its popularity, versus the reuben, a sandwich practically synonymous with diners.

“We sell a boatload of reubens,” Vlavianos said.

As a recovering tuna-holic, I knew it would be difficult to remain unbiased, and while I did all I could, it was clear to me almost before I’d tasted the two sandwiches which one would come out on top. When Debra Frazier (aka Lovie) dropped the sandwiches on my table with an old fashioned, “Here you are, love,” my eyes were immediately drawn to the golden brown exterior and oozing interior of the tuna. The toast on the bread (from Ivy-based Carter Specialty Breads, it turns out) was enough to make the home cook want to weep. It had that perfectly golden brown hue you can only get from grilling a quality slice of rye brushed with melted margarine on a well-seasoned 400-
degree flat top. You can feel the texture with your eyes before you even pick up the sandwich, and all you want to do is crunch away.

Once I was elbows deep in the mayo-laden tuna salad and melted American cheese, I realized the Cav had two more tricks up its sleeve that set its tuna melt apart. One, the salad is made with a zippy sweet relish that pops against the salty fish when you get a bite with just the right quantity. Too much would likely be unpleasant, so it has to be distributed carefully.

Two, there are fricking grilled onions. On a tuna melt. Mind blowing. The slightly browned strands seemed to wrap around the other ingredients in the sandwich and pull everything together. They’re not crisp. They’re not caramelized. They’re cooked to just tender. They’re perfect.

By contrast, the Cav’s reuben was a little run-of-the-mill for my taste. The corned beef was on the salty side, and the sandwich lacked enough dressing to save it from coming off dry. These days, with many grocers and restaurants taking on a DIY ethos, I hunt down the best house-made corned beef I can find and go from there when I want a righteous reuben.

But oh the Cav tuna. How can anyone resist that contrast of a crisp outside and gooey inside? Vlavianos said it’s not just tuna addicts who keep coming back for the sandwich.

“Since we put it on the menu permanently, we sell more tuna melts than patty melts,” she said.

Adding the addictive sandwich to the permanent menu isn’t the only change Vlavianos has made since taking over the restaurant from her parents four years ago. (They purchased it and renamed it the Cavalier Diner the year before that.) The former history teacher, who spent seven years living in Greece after college, has also added Greek dishes and a few Italian staples, a nod to her husband’s home country. Vlavianos said she’s committed to continuing her parents’ legacy of owning restaurants in Charlottesville.

“I grew up in it,” she said. “When I was little, the majority of the restaurants in Charlottesville were owned by Greeks. Not so much any more. But there are a few of us that still like it.”

If she can just keep all the tuna addicts from loitering around the parking lot, she’ll be set.

Categories
Living

Slow coffee: Is single cup preparation java’s next big thing?

I am a mindless follower, a sheep that would walk with the rest of you straight to the slaughter if given the chance.

About eight years ago, while living in Chicago, I started taking down espresso drinks two at a time. You might guess this coincided with the growing popularity of a certain coffee shop chain that rhymes with “hard lucks.” If so, you’re a good guesser.

I started primarily on two-shot lattes, with the occasional macchiato or doppio espresso mixed in. Then I moved to Americanos. I thought to myself, “say, if you’re going to go around drinking coffee, you might as well actually taste the coffee.”

So there I’d be, sipping my espresso with hot water, smugly declining when the barista would ask if I’d like “room for cream,” and looking down my nose at all the people who ordered milky, flavored coffees. This went on for several years. (The Americano drinking that is. The smugness continues.) Then, this past spring, I met Dan Pabst of Mudhouse. This dude knows more about coffee than Deepak Chopra knows about chilling out.

“There is a science to brewing coffee,” Pabst said. “If we could get everyone following the science, coffee would be better everywhere.”

When I first encountered him, Pabst was in the only place I’ve ever seen the man—standing behind one of Mudhouse’s single cup coffee bars. He was manning the booth on the south side of the Charlottesville City Market, carefully pouring hot water in a tight circle into an inverted cone over a cream-colored Mudhouse mug. He was talking about bitterness—coffee should have none if it’s prepared properly, he said. He was talking about water-to-grounds ratios—too much or too little H20, and you won’t achieve the right flavor profile, he said.

I took the cup of coffee he’d poured for me (not quickly, by the way). I sipped it. It was phenomenal. The floral notes Pabst had mentioned were there. The citrus notes he had mentioned were there. The bitterness he’d derided? Not there. It was, simply put, like no other cup of coffee I’d ever had. A question filtered into my mind: was this the next big thing in coffee in the post-latte world?

I figured Pabst could help me with the answer, so I visited him at Mudhouse last week to put him on the hot plate. While bitterness and water levels were the two things that struck me during my first meeting with Pabst, those two attributes turned out to be but a few details in the story of the perfect single cup of coffee.

Each morning, Mudhouse baristas select only one coffee worthy of being prepared on the shop’s hand-pouring bar.

“Every coffee has a blossoms-on date,” Pabst said. “After we roast a coffee, we taste it every single day. We are noticing how the flavor changes over time.”

Pabst said coffees can take anywhere from three to 15 days to reach their peak, but they typically achieve maximum flavor at four to seven days. Depending on the roast (where the beans fall on the spectrum of light to dark), each varietal lends itself to a certain ratio of water-to-grounds. Using a standard 400 milliliters of hot water, Mudhouse experiments to determine how many grams of coffee will yield the desired flavor profile. It’s usually somewhere between 22 and 25 grams. According to Pabst, all of this is done in the lab ahead of time.

Brew time, which is controlled by the consistency of the grounds, is also critical. Each cup requires between 2.5 and 3.5 minutes of water-to-grounds contact. For a coffee that needs more time, a finer grind does the trick; for one that dictates a shorter brew cycle, a coarser grind is in order. And what lab would be worth its salt if it didn’t also account for temperature? The water has to be poured at or just above 200 degrees to optimize extraction (the percentage of coffee flavor in the drink) and concentration (the ratio of actual coffee solids to water content).

Mudhouse makes sure all these science-y parameters are in place before starting the hand pour at its bar. The barista begins by washing the unbleached white filters favored by Mudhouse to cleanse them of paper flavor and distributing the pre-set amount of grounds evenly in the cone. A pre-pour follows. It’s a chance for the grounds to degas and the fines (extremely small coffee particles) to settle in.

“It’s like calisthenics for the coffee, stretching before the workout,” Pabst said.

Next comes the carefully practiced, circular pouring motion, designed to keep all the grounds moisturized throughout the brewing process and allow the water to spread from the center of the coffee bed to the outside before funneling to the bottom. When the pour is finished, Pabst said the grounds should be level enough to take a comfortable power nap on them.

The result is, undoubtedly, a damn good beverage. And Pabst believes the single cup preparation is indeed destined to be the next big coffee trend. He guessed Mudhouse’s hand pouring sales have increased by 500 percent in the last two years and called the trend the “third wave” of American coffee drinking, a natural follow-on to the second wave of espresso drinkers who were fueled by that Seattle-based behemoth.

“We treat coffee like an artisanal food product,” Pabst said. “In a way, what we are doing is taking the same approach as espresso—made fresh to order—and applying it to our brewed coffee.”