Garden to Grill

2315 K Street • Sacramento

From Turkish-style kabobs and baklava, to German-imported brews and old-fashioned frankfurters, the corner of K and 23rd streets is quite the new Midtown hotspot for a quick bite to eat, or even a more relaxed and slower paced destination to seek Sunday brunch. The area recently welcomed the comforts of soul food with Sticky Gator slapping a new coat of paint on the old Rick’s Dessert Diner building, but there’s also a new color scheme on the block located across the street at Garden to Grill, a place known for its vegan and gluten-free burgers.

Once classic white in color, the structure’s new lively paint job boasts yellow and green hues, which radiate brightly amid the tall shady trees of the surrounding neighborhood. Behind the newly painted face of this familiar Midtown building is a house of history. Over its lifetime, former businesses like the True Love Coffeehouse poured an immeasurable amount of hot coffee for guests who often occupied the covered back patio for hours lost in board games and conversation. Next, the Sugar Plum Vegan Café opened its doors and offered hungry customers sweets, paninis, burgers and an all-you-can-eat Sunday brunch, but with a healthier and sometimes gluten-free stance.

This time around, the 100-year-old building continues to host vegan and gluten-free customers, now under the new ownership of Rey Ortega and his business partner Ron Russell. The two inherited Sugar Plum Vegan in May 2012 and quickly shortened the name to The Plum. Yet in order to establish their new business venture’s identity amid the crowd of restaurant choices on the grid, the two ultimately settled on Garden to Grill, inspired by Sacramento’s farm-to-fork movement.

“For [Sacramentans], I definitely think if they want to try something that will make them feel better about themselves, this is the place to be,” says Ortega of his restaurant’s plant-based menu. “We’re really sort of a transitional burger joint for those people who want to get healthy [and] who want to try something new… I think we really fill that gap.”

Ortega, a 21-year vegan with 22 years’ experience in the baking industry, also owns the Sun Flour Baking Company, a wholesale vegan and gluten-free bakery located on Marconi and Fulton avenues. So, it’s no coincidence that all the colorful pastries filling the glass case inside the restaurant are his gluten-free creations made with oat flour. At $3.50 a cupcake, try the chocolate cherry, a rich and dense chocolaty cake with a deep red cherry-filled center, topped with a lightly sweetened whipped cream. Dozens of other flavors that also line the pastry case include: caramel crunch, lemon coconut, birthday cake and even seasonal choices like pumpkin and caramel apple.

Garden to Grill still serves familiar items on its menu that former Sugar Plum Vegan customers will quickly recognize, like the sweet potato avocado panini or any of the risotto sunflower seed burgers. Yet, Ortega stresses that although he inherited these items, he used his “food formulating” skills to spice up each recipe after he solidified his 15-member staff.

“I’m very familiar with the food business. So, I took it upon myself after I got rid of the chef to refine everything here and make it better because it was really suffering for the longest time. It was really inconsistent and it was driving me crazy,” admits Ortega. “I’ve done it a gazillion times for a lot of people, I food formulate. I take the recipes, break them down into grams and I make adjustments.”

His new formula for the restaurant’s risotto sunflower seed patty caught the attention of Buzzfeed’s 21 Juicy Burgers that will Change Your Life list last November. Now, although this Internet media company is more known for their quizzes that match users to their celebrity doppelgangers using questionable algorithms, they’re apparently self-proclaimed foodies as well.

Nonetheless, Garden to Grill’s Veggie Burger is listed fourth sandwiched between the Hatch Burger at Umami Burger of Los Angeles and any meat patty found at Hodad’s Burgers located in San Diego.

When the ache for a fatty burger is undeniable, but undoubtedly goes against your waistline’s better judgment, the more guilt-free choice is obvious: try veggie! The California Burger at Garden to Grill is crowned with thick slices of avocado and tempeh bacon, dressed with pickles, lettuce, tomato and vegan 1000 island all housed between sesame seed buns and priced at $12.85. Or, if the more classic burger is more your style, try the Basic Burger or Gardein Vegan Burger at $10.95 with shredded lettuce, tomato and pickles. All burgers are served with garlic and herb fries.

In honor of National Sandwich Month, the sweet potato avocado panini inherited from Sugar Plum Vegan made PETA’s Top Five Vegan Sandwiches list in August 2011. The sandwich, described as a “mouthwatering” choice, is still on the menu at Garden to Grill. Thick cuts of sweet potato, avocado layered with roasted onions and tomatoes and a vegan poppy seed aioli between toasted ciabatta costs $11.25.

With a blend of fresh and familiar menu items, Garden to Grill looks forward to new changes like vegan soft serve ice cream in chocolate-vanilla swirl, and a faster style of food service.

“In the next two weeks, I’m going to change it to more like a Chipotle-style service to where you can get your food immediately instead of having to wait for it,” describes Ortega. “That’s what we’re heading toward right now, like literally. So, when you come in you order it right as you’re standing there and then you can go. We’re trying to cut out about 30 to 45 minutes of your time with the new, faster service.”

Despite the more efficient changes in the works, Garden to Grill is still open to customers every day of the week with its burgers, soups and salads, or even the more sweet treats topped with the new vegan soft serve ice cream because Ortega says you can’t have savory without something sweet.

Garden to Grill is open seven days a week! For hours and more info visit Gardentogrill.net or call (916) 706-3302.

Well it took a long time (no thanks to the city’s endless hurdles), but Midtown’s newest beer bar, Der Biergarten, located on the corner of 24th and K streets (what was once that ugly vacant lot next to Golden Bear), is finally open! This cozy little open-air German-influenced beer garden swung open its gates to the public on Friday, Jan. 24, 2014, but Submerge was lucky enough to attend their soft opening a couple days prior. We were impressed with their affordably priced, vast selection of beers; they have 32 on tap alone. Plus the sausages they serve from Morant’s Old Fashioned Sausage Kitchen and the salad that we tried were great too, and they came out surprisingly fast (granted we were there earlier in the day, before they presumably got slammed like all new restaurants do). For drinks, we had the Erdinger Hefeweizen (excellent), New Helvetia’s Buffalo Craft Lager (also excellent, plus it’s local!) and their Biergarten Blonde “house beer,” which is brewed by Lost Coast. The highlight was that one of our favorite sour ales, Duchesse de Bourgogne, tasted oh-so-good on draft (we usually get it out of the bottle at other local craft beer bars). Next time we return, we’ll order one of their sandwiches that come served on a waffle! Sounds weird, but we saw a couple come out of the kitchen and they looked delicious.

And while we know we desperately need some rain, you really can’t argue that this weather lately is absolutely perfect for owner Sean Derfield (he also owns River City Saloon in Old Sacramento) and his Biergarten team to open up their outdoor eatery. So as long as this abnormal weather sticks around, you might as well pop into the Biergarten to see what it’s all about and enjoy some brews and food with friends. Bring your pup, too, as they are dog friendly. For more information, visit Facebook.com/MidtownBierGarten or Beergardensacramento.com. To view a frequently updated list of what’s on tap, visit Sacramento.taphunter.com/location/Midtown-BierGarten.

A simple defining piece can add a uniqueness to any look. A singular twist to a classic outfit is enough to turn a humdrum guy into an urban gentleman. I find men’s fashion more fluid from season to season in terms of continuation of trends, as opposed to the ever-changing women’s fashion. Here are a couple of stylish gents I spotted this weekend!

Kyle Mitzel rocks an all earth tone look while doing some weekend thrifting in Midtown. The foundation of his outfit is elementary consisting of a rust colored T-shirt and pair of olive shorts. However, a few distinctive details make this look eye-catching. First, Kyle’s T-shirt is reminiscent of sedimentary rocks, an apropos visual for his earthy ensemble. Have an interesting focal point when it comes to basic tees, a cool graphic can certainly change the look of an outfit. Kyle goes sockless, an ongoing trend with penny loafers for casual occasions. Finally, tortoise Lucite wayfarers, an acrylic plastic trending in both men’s and women’s fashion accessories, top it off. Mix classic pieces with contemporary trends to achieve an expert look.

While on a late night coffee run to Weatherstone, I spotted Nick spending his evening doing the daily crossword. I was impressed by his confidence to mix patterns, which is one of my favorite trends. Nick’s mixing is subtle, just a pop of plaid over his striped sweater is perfect for a casual weekday night. If you are hesitant to mix patterns, do not be timid. Try simple patterns, such as polka dots and stripes in similar color schemes at first and as you become more comfortable try bolder, brighter prints like paisleys and florals. To keep the patterns the focus keep the rest of the outfit understated as Nick does. A classic pair of blue jeans and a silver wristwatch completes the look.

-By Emily Bonsignore

Need a good example of why Midtown is the best place to live or work in the region? Look no further than the Hot Lunch Concert Series, which kicks off May 31, 2012 at Fremont Park and continues Thursday afternoons until the end of August. Killer live music curated by Jerry Perry, food trucks like Wicked Wich and Mama Kim’s on hand, Hot Italian’s delicious pizzas and paninis within a stone’s throw, sunshine and soft grass…what’s not to love?

“This is our fourth year and I suspect it will be our biggest year yet,” Perry recently told Submerge. “We’ve added food trucks, and as always about half the event is first-time artists. Like this year I have Jonah Matranga out there for the first time, and Survival Guide, and Not An Airplane.”

He also pointed out series faves from past years like Exquisite Corps, Walking Spanish, Freebadge Serenaders and Musical Charis, all who will return this year.

“I love the unique celebration of Midtown/downtown that this event is,” he said. “It really is a great way to enjoy the best of Sac.”

May 31, 2012 see Island of Black & White and Leonardo Da Vinci Blues Band, and on June 7 see The Bell Boys. Hot Lunch is every Thursday from 11:30 a.m. to 1 p.m. Keep an eye out on the music calendar section in future issues of Submerge for Hot Lunch Concert Series listings throughout the summer.

An Eclectic Local Band leaves Its Mark on the Sacramento Music Scene

Words by Ashley Hassinger – Photo by Andre Jones/Eye Connoisseur Photography

With a multi-faceted sound, local band Iconoclast Robot brings something new and fresh to the Sacramento music scene.

Comprised of vocalist Charles Cash (nee Ryan Charles Gammad), Patrick Caden (bass and guitar), Russell Boucher (guitar), Jairus Beacham (drums) and Jamal Siurano (keys, beats and saxophone), Iconoclast Robot blends jazz, hip-hop and rock together to create a fusion all their own.

As I sat down with Cash and Siurano at the Eye Connoisseur Photography Studio in Midtown, I was intrigued to find out the band’s musical background and their undeniable love and talent for music.

Formed in April of last year, Iconoclast Robot came together with inspirations ranging from The Roots to Rage Against the Machine. An unexpected range of musical tastes brings out all the stops for this multi-genre band.

“We don’t all come from the same musical background. I studied jazz in school, Ryan likes hip-hop, Jairus played in church and Patrick used to play in a metal band,” Jamal explained.

Although different in backgrounds, each member was influenced by music at an early age, whether they were part of band or listened to their parent’s music.

“I’ve always had a knack for music. I remember listening to songs as a kid and being curious as to what instruments were being used. I wanted to know everything about the song,” Jamal said.

The special sound that Iconoclast Robot has is complemented with skillful lyrics. Ryan is the main contributor for the lyrics, and since he started writing back in 2008, he has had one main influence.

“Heartbreaks. As corny as that sounds, I’m most inspired when I’m sad,” Cash confided. “And a lot of my raps aren’t normal witty raps–more like storytelling. I look at the world a certain way, and the lyrics portray how I feel about it.”

Just like its sound, Iconoclast Robot’s lyrics aren’t what you would expect–and Cash writes what’s honest.

“It’s not political. It’s not stereotypical. It’s not what you expect,” explained the vocalist. “It’s sort of my unique perspective, which makes it real.”

The band hasn’t been signed to a label yet, which allows for more creativity and enables the band to grow and change as they see fit.

With no major deadlines or outside influences, Iconoclast Robot is able to focus on what they want as a band, not what a label wants them to do. “We are still new and trying to figure out what our sound is going to be like. It’s nice to have the freedom of not having someone else being an influence over us,” Jamal stated.

Along with the ability to be creative, being without a record label allowed the band to form more spontaneously.

“It wasn’t like someone was signed to a label and they were forced to find members. All of us came together in a way that was natural. I think it’s pretty rare for a band to come together with the backgrounds we have and be able to make it work,” Jamal said.

Without a record label, Iconoclast Robot is forced to jump around from place to place in order to record and practice on a weekly basis. Recently the band has had the opportunity to record at Pinnacle College in Rancho Cordova, but the band is open to any space that will allow them to better themselves.

“We don’t have a lot of money and resources right now,” explained Jamal. “So we practice and record wherever we can.”

Iconoclast Robot’s love and dedication for music is shown in their stage presence. It’s obvious in the energy that is seen, that the band loves what they do. For them, making music and performing isn’t work for them, it’s a release of their creativity.

“Music is all about communicating your ideas, like any art form,” Jamal said. “You’ve got an idea and you want to express that without words and music is the way to do that.”

Although they’ve played locally and in the Bay Area, Iconoclast Robot is hoping to go on tour soon.

“A tour is in the works, and I think we know where we’d like to go. Definitely a West Coast tour including California, Nevada and Arizona. Nothing is solid yet though,” said Jamal.

Even though they are busy working on their own music, I was curious to know what kind of music they were currently listening to.

“I’ve been listening to the artist, Gotye who wrote the song ‘Somebody I Used to Know.’ I checked out some of his other stuff, and he is like us,” Jamal said. “He is all over the map stylistically, so many styles and it’s very creative.”

As for Cash, “I’ve been listening to The Black Keys. One of my favorite bands though is City and Colour, an acoustic and emo sound. He has such a real passion in his voice.”

With a tour in the works, an untitled EP released and their debut album set to release in May, Iconoclast Robot has set goals for themselves, hoping to one day make what they love to do a full-time job.

“I think at the end of the day all of us would be happy to comfortably support ourselves playing music and not having to work 9-to-5 jobs,” said Jamal. “Tour, play music and pay the bills. I think we’d be happy.”

With music as their drive and passion, the band is looking to turn heads with their rare and intriguing sound.

“We want to blow their minds,” said Jamal. “I want them to walk away and be like, ‘What was that?’”

Collectively, the band wants their fans to be affected somehow by the music they make, and want them to come back for another show.

Music isn’t a gimmick or moneymaker for these five band members; it’s their passion. “Music is something I’m always going to do, whether I’m in a band or not,” Jamal explained. “It’s always going to be a part of my life, regardless of whether I’m making money.”

Iconoclast Robots have an upcoming performance at Ace of Spades on April 13. Go to http://aceofspadessac.com/ for tickets. For updated information on the album release date and upcoming shows like them on their Facebook page: Facebook.com/iconoclastrobot

Ross Hammond discusses his new album with The Ross Hammond Quartet and His New Muse

Interviewing Ross Hammond on a Friday afternoon while his wife was out of town meant a secondary task of taking his 18-month old daughter, Lola, for a stroll around the 17th and L block of Midtown.

Lola led the way, while Hammond and I discussed his upcoming Ross Hammond Quartet record due this month. As we strolled and pointed out flowers, dogs and trucks (Lola loves trucks and buses), it became apparent the little blondie was responsible for changes and inspiration in her father she’ll not understand for years. The record, Adored, and Hammond’s artistic growth displayed on the album would not be possible without her.

Our walk began in the alley outside Old Soul Coffee. We did roughly three laps of the block and if we stopped the question was posed, “Lola walk?” In answering, Lola formed her first contribution to the interview tape “Lola walk.” Many of Hammond’s responses were fractured with quick “stay close” requests, but we eventually got down to brass tacks. The immediate information to hash out: Who are the players in the Ross Hammond Quartet?

The ensemble came together mostly through the intricate web of the jazz scene involving booking, travel and of course, collaboration, although Hammond first came to know each member from owning their albums. Whether on stage or in the studio, he said he had several surreal moments that left him pondering, “How did I get here?” The Quartet comprises Hammond on guitar, Vinny Golia on saxophone, Steuart Liebig on contrabass guitar and Alex Cline on percussion. Hammond said he’d known Golia from booking him a gig at the Cool Cat Gallery on 24th–back when it existed–and Cline in a similar fashion. Cline is the twin brother of legendary guitarist Nels Cline, who’s currently playing lead guitar in Wilco. “It’s freaky, dude,” Hammond said regarding the Cline brothers. “They’re identical and both really tall.”

As for Liebig, “I don’t know how I met, Steuart… I guess through the scene.”

He played three to four gigs, including the In the Flow Festival in Sacramento last year, with the members, planting the seed for the quartet. After he’d enlisted the three musicians for a studio session in Los Angeles, the makings of an official ensemble came to fruition.

When it came time to name the project, Hammond was surprised by the other members’ suggestion of naming the quartet after him. At 34, Hammond is the youngest member of the group while the rest were born as far back as the ‘40s. It is a humble and impressive gesture coming from three renowned L.A. jazz musicians who have each had ensembles bearing their namesakes.

“For lack of anything better that’s what it is,” Hammond said. “I’ve never had a quartet before. I also feel like I couldn’t replace any of those guys and still call it the same thing.”

Recorded at Newzone Studio and engineered by Wayne Peet, the album was tracked in six hours with only a few songs needing alternate takes. It’s a feat that speaks to the veteran musicianship of Hammond’s quartet. Hammond would play the riff he had in mind for a song and the ensemble would offer a nod or “OK”–no further tutelage required. He said after each track, it was understood that it felt good and they would move on to the next song.

“Playing with these guys it’s just about staying on the wave,” he said. “You don’t have to give them much instruction at all. I think one of the instructions I gave Vinny was, ‘OK, as soon as this song starts you have to come in like an elephant,’ and that’s what he did.”

Adored is carved from a foundation of folk songs with the title track being a lullaby Hammond sings to Lola at bedtime. Hammond said three of the songs are lullabies he sings. After she’d go to sleep he would figure out the notes and write out the lullaby. The writing is at its most encrypted on “Maribel’s Code,” in which the melody is an intervocalic code built from Lola’s initials: LMH.

“Most of the stuff I write has either a dedication or an idea, be it political or romantic,” Hammond said. “I’m never just like, “oh this is a cool riff, I’ll call it…’”

Three years ago when I first interviewed Hammond, he shared a similar sentiment. The inspiration behind the album title An Effective Use of Space came from a saying his wife frequently used. He said it’s one she still uses to this day. Hammond listed his wife as still his deepest muse, but the birth of his daughter is the primary source of inspiration behind Adored.

The immediacy of the recording is palpable, but it’s done in maturity. Hammond said the difficult task in preparing the music was giving the songs a collected feel, but without being united to the point of bleeding the songs together. Adored roars in, spastic and angry, with “Adored” but as “Sesquipedalian” mellows out it introduces the soft lullaby of “She’s My Little Girl.” Consider the album to be much like Hammond’s day-to-day with Lola; awake at 6 a.m. and full of energy, a settling in period, a mid-day walk with small fits of exuberance and crankiness, a lullaby for a nap or the night’s tuck-in. It is all lovingly expressed in the sea changes of Adored.

“Alex [Cline] told me he doesn’t think you mature as a musician until after you’ve been a dad,” Hammond said. “The gist of it was you stop trying to impress people and focus on filtering this feeling you have and this beautiful thing and turn it into a song. Your muse is different. The goofy songs aren’t there anymore. Having a kid forces you to grow up and you grow up in everything. If anything it’s more purposeful now.”

With the particulars of the album discussed and rocks and leaves in our pockets courtesy of the tyke, Hammond asked Lola, “Wanna go swing? Lola swing?” She offered her second sentence of the afternoon; a sharp “Lola swing.” With that, they strapped into a bicycle and road off to the park.

Adored by The Ross Hammond Quartet will be available Feb. 27, 2012. You can preorder it now at Rosshammond.bandcamp.com/album/adored and also listen to the title track. Hammond and co. will throw a CD release party on the very day of its release at Luna’s Café in Sacramento.

Sizzling Sirens teach Sacramento how to shake it

Silky bustiers, black feather boas, strings of pearls and a random pair of motorcycle handlebars made of PVC pipe are painted silver and lay on the floor. A gold vintage sofa rests near two racks lined with handmade costumes, including bras stitched with imitation cash and coins. Beneath a clutter of buttons, jewelry and a tower of sewing knick-knacks appears to be a desk–a typical day at the office, if you’re a Siren. This is the headquarters of Sacramento’s only active burlesque troupe, the Sizzling Sirens, a team of 10 women ranging in ages 19 to 43 years old, each radiating with a flare that is uniquely her own.

A little vaudeville filled with theatrical satire and brought to life with provocative striptease and choreographed dance numbers defines burlesque entertainment in the simplest terms. But when Jay Siren founded the company in March 2008, she envisioned this classic genre of performance art with a couple modern alterations. Siren started teaching her first round of classes at The Press Club later that year, eventually gaining more students and at the same time finding some of the first members of Sizzling Sirens.

Since its infancy in 2008, the Sirens have built a reputation within the local music scene and around town by performing alongside bands like Agent Ribbons and Goodness Gracious Me in addition to corporate parties and events. What’s more, the gals now have a regular live show each month at Harlow’s centered around a theme, and if they ever need a live band, they turn to the veteran jazz musicians of the Harley White Jr. Orchestra for support.

“I think the greatest misconception about burlesque that we run into all the time is, ‘Where’s the pole?’” explains Jay, her off-the-shoulder black T-shirt revealing tattooed leaves spreading down her right shoulder. “For us, burlesque is burlesque-fusion. The way that we do it is a little bit different than the way that you see most burlesque presented nowadays. We take elements of everything that we love about the culture, genre and history and make it our own, mixing past and future ideas. A striptease is part of it, but in the sense of using your costume as a tool to engage your audience as though it were a prop.”

Since moving the Sizzling Sirens troupe into a gray, Victorian building on J Street last April, an idea to form a Performance Series of classes, catering to those interested in learning the art of burlesque with the opportunity to perform alongside the Sirens, was created.

Indiana Bones, Georgia Fire and Sass Herass are all present during this afternoon’s Burlesque 101 class, a one-hour introduction course into the Sirens’ world of burlesque-fusion open to the public. Each woman planted on the wooden floor of the small dance studio routinely stretches her legs and arms before claiming her space, waiting to warm up with the day’s basics.

“Alright Sass, teach us some class,” says Jay clapping her hands together like an athlete ready for the next play.

Herass, wearing hot pink spanks that read, “Dance all night,” across her bum, complete with black fishnets, tall black boots and a tilted fedora, is the instructor leading the workshop this week.

Ginuwine’s “Pony” blares from the studio’s sound system and the Sirens begin loosening their hips in a circular motion to the music. Each woman follows Herass’ lead as she keeps time out loud through the steps of the warm up. Now with Etta James’ “W.O.M.A.N” changing the mood of the workshop within the small Midtown space, the four slowly bend forward to stroke the frames of their shapely legs with both hands before gracefully lifting their arms in the air like ballerinas. Using one hand, the Sirens trace the outlines of their faces, then across their chests and eventually following the curves of their bodies. Every move the same, yet differently interpreted through the personality of each Siren.

The newest member to the troupe, Fire, watches her moves in the mirror, her limbs naturally following the flow of the lesson as Bones practices pinup faces while dancing, her short red hair ornamented with a big, white bow. Jay’s once straight black locks begin to curl as the warm-up progresses, sweat glistens down her throat as she attacks each move full out. Herass, who has taught dance over five years, emanates hip-hop in each move she teaches.

“One of our biggest things that we try to reiterate is to honor your spirit and your character,” Herass says. “It’s something that I think is really important, especially with women, we are made to feel like we are supposed to fit one cookie cutter mold and burlesque is about taking what you have and accentuating it. We’re not trying to hide, or diminish anything, just being proud of who you are and what your body is and just adoring yourself. And, that’s something that I’d really like to share with everybody else.”

Through the classes Sizzling Sirens hold every week, whether its Burlesque 101, Cardio Burlesque (which is exactly how it sounds), or the Performance Series, the Sirens believe any and everyone, with the right instructor, can learn everything from how to properly shimmy to how to incorporate props into the steps, adding a personal tease to the routine.

“I would like to stress that most people come in with absolutely no theater or dance experience and they have a blast. You seriously do not have to have any dance experience to enjoy the classes. Literally, everything is all-levels. You can walk in, gain an understanding and find a challenge and enjoy it. Truly, you can enjoy this without ever having done it before,” explains Jay, fanning herself at the close of class.

And it’s true according to Fanny Coquette, a 43-year-old Siren joining the cast last August, who took her first class with Sizzling Sirens on a dare from her husband and looks forward to February’s “Good, Clean, Dirty Fun”-themed performance at Harlow’s.

“It’s just fun. It’s fun to step outside of who I am and be 100 percent who I am,” explains Coquette. “When you get older and have a family and have a regular job, there aren’t very many venues to push that line of ‘I don’t care what you think of me.’ So, it’s a great venue to relax and have fun and not worry about what other people think.”

Together Sizzling Sirens witnessed members from the first cast come and go, but have continued to grow in numbers as well as expand their reputation outside of Sacramento, performing at the DNA Lounge in San Francisco during its monthly Hubba Hubba Revue series, named one of the Top 10 Burlesque Shows to see around the world by the Travel Channel.

“I’ve never seen a group of 10 women get along and support each other creatively and emotionally,” says Jay. “Through the process of burlesquing together and learning how to create together, we’ve all become friends.”

Sizzling Sirens Burlesque is located at 2419 1/ 2 J Street. Hour-long Burlesque 101 and Peel and Reveal classes are taught on Sundays (at 1 and 2:30 p.m. respectively). Cardio Burlesque is taught Tuesdays from 5:45 to 6:45 p.m. For more info on their Performance Series Workshop, go to Sizzlingsirensburlesque.com. If you prefer to watch the girls in action, check them out at Harlow’s for their “Good, Clean, Dirty Fun”-themed performance on Feb. 16 at 9 p.m. Tickets are $12 in advance and $15 at the door. 21-and-over only. You can also catch the Sirens the first Friday of every month for Fishnet Fridays at Dive Bar.

Broadacre Ltd. Coffee
1014 10th Street, Sacramento

Words & Photos by Adam Saake

The last time we left the Elia brothers, Jake and Lucas, they had moved on from their first venture, the chic and elegant Bloom Coffee and Tea out in Roseville, and were onto their next entrepreneurial endeavor, Pause Kitchen and Lounge, which was literally a stone’s throw away from Bloom. Unfortunately, this past August saw the closing of their swanky establishment that had a focus on small plates and thoughtful spirit pairings and found the two brothers back at their drawing boards once more. Luckily for the Elias, their drawing boards are accompanied by very sharp pencils and the Crayola 64 set, if you catch my drift, and these boys wasted no time in setting out to create their next work of art.

This time, along for the ride are two of their long time employees from Bloom, Justin Kerr and Andrew Lopez, who share the Elias’ passion for finely crafted coffee and the vision of bringing it to the masses. The idea for a coffee shop was in place and the four started looking for a space in the midtown/downtown area. With a stir of perfect timing, the firmly established Temple Coffee on 10th between J and K streets was gearing up to relocate from their original location, a charming Hobbit-like structure that was once a bookstore, to a new location just around the corner. This brewed the right opportunity and the perfect space for the four partners to capitalize on their new venture–Broadacre Ltd. Coffee.

With the addition of two more opinions weighing in, decision-making could get hairy. Especially since the brothers had been calling the shots at Bloom and Pause for the past couple years. But Lucas says the addition of Kerr and Lopez is all for the better.

“We definitely saw [Justin and Andrew] as assets and as minds we thought could bring something to the table,” says Lucas. “There are definitely conversations that have been hashed out, and we argue sometimes but at the same time we end up at a better result than we would have if it was just the two of us.”

Those minds all thinking in unison have created a new and knowledgeable destination for quality brewed coffees and beans in the heart of Downtown Sacramento. The location is perfect for foot traffic and their reputations from Bloom precede them. That means those seeking a good cup of Joe know exactly where to go, and Lucas says business has been good so far.

In many respects, Broadacre is a coffee shop like any other. Tables and chairs are aligned in neat rows along the narrow corridor leading to the counter. An espresso machine hisses and gurgles, the crescendo tick of beans spilling into the grinder can be heard and the plates and cups collide to complete the symphony of a busy café. The pastry case is full of croissants and muffins from Freeport Bakery and Doughbot Donuts to accompany your beverage. Angled walkers in stride pass briskly in the morning, some stopping in for a quick cup of coffee on their way to work–some unconcerned by what the sign reads on the outside, only interested in the almighty caffeine contained within. But there are subtleties at work that make Broadacre unique and make them a premier location in town to get premium coffee and an authentic café experience.

It all starts with good coffee and Broadacre has got that covered.

“We just had Verve at Bloom, and so we were an exclusive account,” says Lucas. “Here it’s very dynamic, and it’s changing all the time. We have four coffee roasters and it changes once a month–one drops off and another comes on. So there are always different coffees around.”

Aside from Santa Cruz, Calif.’s Verve Coffee, which the Elias still carry, their other roasters include San Francisco’s Ritual Roasters, Chicago’s Intelligentsia Coffee and Tea and Portland’s Stumptown Roasters. With the coffees rotating so frequently, it’s important that Lucas and the rest of the team dial in the espresso and make sure the transition to the new coffee is smooth.

“It’s not an easy thing to do if you don’t have the right skill set to manage changing out coffees every day, dialing in espressos and making sure everything tastes good all the time. You need to taste it, you need to have a good palate to be able to know that the espresso you’re pulling is tasting good,” explains Lucas.

Good coffee deserves careful preparation to make sure the final product, what’s in your cup, stays consistent. Broadacre currently offers four different methods of brewing for you to choose from: Hario V60, Aeropress, French press and Chemex. All have their different qualities and can bring out different notes in the coffee or reduce oils. Each method can be explained to you if you don’t know which one best suits your tastes. It’s also prepared right before; meticulously weighed out and treated with care.

When I arrived to chat with the brothers, Jake and Lucas were behind the counter helping customers and preparing their own coffee to drink. Both dressed in clean and pressed collared shirts that were tucked into their slacks; belts and dress shoes to match. Their thick, black tufts of hair neatly combed and groomed, a mirror of their surroundings. On the left counter, the shiny and new La Marzocco Strada espresso machine that Lucas spoke fondly of. White mugs sat orderly on the top, and behind the counter two-dozen rocks glasses, each filled with weighed-out portions of fresh coffee beans, awaited the grinder. Three scales rested neatly across the counter; another necessary component for ensuring consistency with how much water is required for the perfect cup. There’s this air of fun about all the young baristas there, seen in their honest smiles and their passion for coffee and how it’s served. Their blog posts that speak to the search for great coffee are always signed off, “the broad acre boys” like they’re some kind of Wild West Robin Hoods; taking the pretentiousness out of carefully brewed coffee and giving it to the common Joe drinker to enjoy. When you walk inside Broadacre, you feel compelled to stay a while and that’s exactly how the boys like it.

Trent Liddicoat Connects Art and Literature in His New Exhibit

Given the healthy abundance of trees and recent infestation of raccoons and opossums, Midtown is in a delicate balance of the natural functioning alongside an urban civilization built atop it. Local artist Trent Liddicoat is plugged into the duality of Midtown, finding a sense of his inner struggle in it. He wrestles with these struggles and the stresses placed upon communities in death in his art show at Sol Collective.

Titled …and I’m whistling as beautifully as I can, Liddicoat’s work is predominantly conceived with the use of acrylics, coffee and spray paint. Dissatisfied with wine spills, he got the inspiration to use coffee after seeing a fellow artist Richard St. Ofle use the dark brew on canvas. Before Liddicoat, age 23, would head out for work in the mornings, he splashed the remains of his morning French press across the canvas to dry throughout the afternoon. In time he was able to manipulate the spills to his liking. “It’s cheap,” he said. “At first it was very intimidating, but now I’ve got a few techniques.”

The show title’s full quote, first penned by the late (so it goes) Kurt Vonnegut, is “All the other species are dying and so will we. I’m whistling as I walk past the graveyard…whistling as beautifully as I can.” Liddicoat wrote the quote in a journal years ago. While seeking a muse to direct his body of work, he rediscovered the saved prose. “I read that and was thinking how it was connected with being a new artist,” he said. “I don’t have an education with my art, so I’m taking this full force to be an honest portrayal of the best that I can do.”

The words relate to Liddicoat’s perception of death as well–a prevalent theme in his collection. He said the show is not a focus on death, but life’s curtain call acted as the steppingstone of inspiration for the series. “I wanted to find the positive light in it,” he said. “A friend pointed out once, that rather than focusing on the grieving, I’m focusing on the tail end of life. So now the show is more about life and experience. ”

Death as an adhesive for communities might be too pretty of a bow for Liddicoat’s intention, but with death as the foundation, it kept inspiring friends to offer their insights to his work. A few of his paintings feature images of deer, one of which was donated to the UC Davis Mind Institute for Autism Research. There are a number of reasons Liddicoat could have selected deer to unite his work, but it would be his small community of artists that guided him. “My friend Estella [Sanchez] from the Sol Collective actually pointed out to me that the deer is a symbol of death in Mayan culture,” he said.

A native of Rio Linda, Liddicoat is no stranger to the outdoors and its wildlife. He said his grandparents once owned acres of land. It is that upbringing pitted against his adjustment to urban living that seeps into his art. “I try to take the personal problems that I have or the issues with certain things and I think about something conceptually and then find a way to make it universal for others. That led me to the idea of how a sense of community helps loss.”

For Liddicoat, the task of internalizing is far deeper than the chore of conceptualizing. He offered a brief mention of a family situation concerning his grandfather’s health–a topic that felt addressable strictly due to his valued interest in art focused on death. He began questioning how his grandfather’s current health issues would alter the mindsets and how the family will process the impending change.

The situation lacks answers until the threshold is met, but it is in those dire moments that bonds are strengthened. The young artist spoke graciously of his friends and pocket of fellow artists and musicians, all of which provide motivation for his art. Liddicoat’s art show will feature a 7-foot installation inspired by the Free Life Center, a touring art house that he admires. Jesse Phillips of Ellie Fortune helped Liddicoat with the homage installation, which is made from recycled wood taken from a long dormant house near his mom’s property in Rio Linda. “They moved out years ago,” he said. “Basically this wood was part of what looked like meth shacks. We just hopped the fence, pulled off all the materials and brought it to the Sol Collective.” Strong communities should also be resourceful.

Trent Liddicoat’s …and I’m whistling as beautifully as I can can be viewed at the Sol Collective from Dec. 17, 2012 – Jan. 28, 2012. The closing reception will start at 7 p.m. and feature music performances from Fine Steps, Peggy Benks and Matthew Maxwell. For more info on Sol Collective, check out Solcollective.org. You can also follow Liddicoat on Tumblr at Trentliddicoatart.tumblr.com.

Capital Stage starts its 2011—2012 season in a larger space

A theater company six years in the making will start this year’s play season on Oct. 7 at a new location–the Old Armoury on J Street in the heart of Midtown.

Capital Stage, which for the last six years has been tucked away inside the Delta King in Old Sacramento, has been relocated to a space that not only provides the theater company more space but also allows it to establish its identity.

“Even though we had been working [on the Delta King] for years and winning awards for our work, the bulk of the community still had no idea who we were,” said the company’s founding director Stephanie Gularte. “Now we’ve got this amazing storefront presence.”

This year’s season will start on Oct. 7, 2011 with the comedy Superior Donuts, the story of an owner of a poorly kept donut shop in uptown Chicago whose work ethic is challenged by the spunk of a new employee. It will feature a nine-person cast, which Gularte considers large for the company.

This is a busy time for Capital Stage, with the start of the season just around the corner. Nonetheless Submerge managed to finagle a chat with Gularte over the phone in the midst of her busy schedule.

The company has placed great emphasis on producing bold, innovative and intimate plays since its inception in 2005. In fact it’s engrained in their mission statement. They must be doing something right: last year the company received five stars for its entire season of plays from the Sacramento News and Review.

“We believe live theater is such a communal experience and opportunity for our audience and artists to have an experience together that is really kind of elevating, that goes beyond just entertainment,” Gularte said. “We like to explore strong ideas and try and create an experience for the audience that is memorable and provocative.”

This experience is partially created by providing the audience an opportunity for introspection as members of society, in a sense holding up an invisible mirror to reveal human reality.

“We have so many opportunities to be alone and be behind our computers at a safe distance,” she said, “But live theater particularly gives us the opportunity to do work that is thought-provoking and challenging, [and] provides an opportunity for a more visceral and community experience around that introspection.”

The desire to provide this unique experience is what brought Gularte and partners Jonathan Williams and Peter Mohrmann together to begin Capital Stage back in 2005.

Up to that point, although she was living in Sacramento working as an actress, Gularte found that the plays she found most provocative and interesting were those she was working on in the Bay Area.

Rather than relocating to the Bay Area, Gularte made it her mission to bring provocative theater to Sacramento. Thus, with the cooperation of likeminded individuals Williams and Mohrmann, Capital Stage was born.

This season’s string of plays should not disappoint. The plays are expected to be just as thought-provoking and introspective, Gularte said, if not more so.

They also all have a very American vibe, she said, and are what she considers to be American theater at its best. Several of which include the work of groundbreaking playwrights of the last couple of decades.

“This is an important time in our culture to see who we really are as a nation and where we come from and where we’re going,” she said.

After Superior Donuts, the season will continue with a diverse set of plays that include subject matter ranging from the Iraq War to a scientist’s wife in the 1800s.

With higher ceilings and a larger stage area, the new location is allowing the company to add more creativity to their sets and cast more actors. The seating capacity is also increased by 15 percent from the old location.

The hope is that with the new space, Capital Stage will also attract new audience members.

”We have a really smart, dynamic, passionate audience base and I just want more of those folks,” Gularte said. “I look for opportunities to surprise our audiences and take our subscribers in particular, who commit to the entire season with us, on a real journey.”

For those who are all too eager to see what the upcoming season brings, Capital Stage will be performing sneak previews of Superior Donuts as well as a new, one-woman show that the company will debut at Midtown Modern Arts Festival on Oct. 15. And for those needing an excuse to celebrate, the company will hold its opening gala on Oct. 21.

Capital Stage’s Superior Donuts will be in previews from Oct. 7—14 , 2011 and officially open Saturday, Oct. 15 with a run that will last through Nov. 13. More information and tickets can be found at Capstage.org. Don’t forget to catch Capital Stage members in action at Midtown Modern Arts Festival on Oct. 15. Event is free, starts at 12 p.m. and is taking place on 20th Street in between J and K streets.