OPENharvest at Headlands on March 29

March 20, 2012

Headlands Center for the Arts hosts an evening with OPENrestaurant: Members of the food and art collective share their experience in Japan with an interactive, multi-sensory experience involving video, images, conversation, and savory, Japan-inspired tastings.

OPENharvest was created in 2011 when members of the Bay Area collective OPENrestaurant joined forces with Tokyo’s Food Light Project to build support for Japanese sustainable food systems. The Bay Area contingent traveled to Japan to visit farmers, fishermen, cooks and artists, documenting along the way and organizing a series of engagements across Tokyo. At Headlands, members of OPENrestaurant will create an immersive environment that will begin to tell the story of their encounters in Japan. Stories, photographs, and artifacts will be shared. Ramen, featuring local ingredients of the Bay Area, will be served. Guests may visit a Japanese-style whisky bar, attend a presentation about food and radiation, listen to audio recordings from OPENharvest, view photos and videos from Japan, and more.

OPENharvest at Headlands

Thursday, March 29, 2012
6:30 – 10 pm

Headlands Center for the Arts
944 Fort Barry
Sausalito, CA

$25 ($20 for Headlands members)
Buy tickets

Kayoko Akabori, Anandamayi Arnold, Sasha Bernstein, Aya Brackett, Sylvan Brackett, Howie Correa, Sam Fuller, Charlie Hallowell, Kelly Ishikawa, Jerry Jaksich, Susan Kim, Chris Kronner, Yoko Kumano, Tal Mor, Jessica Niello, Stacie Pierce, Louesa Roebuck, Yuko Sato, Jeremy Tooker, Jerome Waag, Jonathan Waters, Sam White, David Wilson, Sasha Wizansky, Melissa Wong, Renata Yagolnitzer

PLEASE NOTE: All guests will be asked to remove their shoes at the door, so please make sure to wear nice socks. Also, evenings can be chilly at the Headlands, so dress accordingly.

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Crab Man: A few hours on the Sea Fox

March 15, 2012

interview by Heather Smith
photos by Julio Duffoo
This article originally appeared in
Meatpaper Issue Seventeen. 

IT TAKES A DETERMINED PERSON a while to find Ron Ashwin. In the heart of the bustling T-shirt shops, trinketariums, and behemoth seafood eateries that make up
San Francisco’s Fisherman’s Wharf, there is an alley. That alley leads to a wharf, which leads to a dock, which leads, ultimately, to the Sea Fox, the fishing boat owned by the man himself. 

Ron Ashwin is not only a crab fisherman; he has played one on television. In an AT&T commercial, he spins a ship’s steering wheel maniacally and yells, “I want to catch more crab!” This role paid for new crab pots for the Sea Fox. The other fishermen took it with equanimity. “He beat out all the other guys at the audition just because he looked like the guy on the Gorton’s Fish Sticks box,” one of them explains, diplomatically.

At the time of our interview, Ashwin — along with all the other burly men sunning themselves on piles of crab pots — is on strike. The seafood processors, who last year bought 27.5 million pounds of the Dungeness crab their industry pulled off the California seabed, want to pay $2 a pound this year. That’s more than they got last year, but still one of the lowest prices anyone can remember. The crab fishermen want $2.50.

A week after our interview, both groups will settle for $2.25. Boats will lift anchor and take off on the hunt. 

What were prices like last year? 

Ron Ashwin: Last year the price went from $1.75 to $1.67. It was missed communication. Which is the game they play.

I’ve done negotiation before. They’re trying to chisel us — that’s it. It doesn’t matter to them what they sell. They’re selling tires, used cars, houses.

But we’re a solid industry now, and that’s what’s important. It’s everyone together, on three different ports. And we got surround sound on the boat.

What do you listen to? 

RA: Classic rock.

Is that what the crew likes to listen to? 

RA: I’m the captain. Any of that boom boom clap stuff — sorry! Overboard!

(To the deckhand splicing line on the deck of the boat) What’s it like being in a boat with these guys for days? 

DECKHAND: It’s terrible. We try to tolerate each other. We’d have more room in a prison cell. But as you can see, we have all the modern conveniences. We have radio. Television. Surround sound.

How did you get started working here? 

D: I was just fishing one day off of one of the piers. Ron came up and we started to talk. He said, “Do you know how to tie knots?” I said no. He said, “Do you need a job?” I said yeah. And then he showed me a few knots to tie.

Did you pick it up fast? 

D: Not really.

How long have you been fishing off the piers? 

D: All my life. I grew up in Chinatown, so the piers were never far away.

Is that what kids in Chinatown do? 

D: The ones that flunk. Ha ha. I was still a good student, though. It’s just a little something called “the call of the wild.”

Whenever I go out on the piers, I see all of these signs that say, in many different languages, that I should really think twice about eating any fish I catch myself in San Francisco Bay. How do you feel about those signs? 

D: Anything that looks good and is still swimming, I’ll eat it. It’s that farmed stuff that’s bad for you. All those hormones and steroids and shit.

(To Ron) What do you look for in a crab fisherman?

RA: Attitude. Physical ability. Willingness to wanna.

Half the pay you get is being proud of what you do. This is the most dangerous job on the planet. Ships can run us down. There’s no insurance.

I fished for 15 years alone. Then I took a crab pot in the shoulder. Now I need two guys to do the job that I used to do.

So what’s fishing in the Bay like now, compared with fishing in the Bay then? 

RA: There were more fish. We’ve cleaned up the Bay so much, there’s nothing left in it.

Where do you get your gear? 

RA: We all build our own. We add buoys. The lines are handmade. It takes 2.5 to 3 hours per crab pot to make and put in a line. It comes to about $220 to $235 a pot.

What do you use as bait? 

RA: Now that’s a secret. If they get the good stuff, they’ll pack themselves in so tight you can’t get them out. It’s like you poured them in like cement and they got hard. But it’s secret stuff. Baloney sandwiches. Secret stuff.

Has anyone in your family wanted to go into the business? 

RA: I had stepkids. I took ’em out and they said, “Thank you very much. See ya later.” One’s an accountant. One’s an RN.

I’ve worked in offices before. I’ve had businesses. It felt like someone died and we forgot to bury them.

What businesses? 

RA: I was a mechanical engineer. My people have been building dams and roads in California for a long time.

When I was a kid, I met a surgeon in the Presidio. He had a master’s in engineering. We started building aircraft together. Today kids are building from kits. I built from a white piece of paper.

I more or less quit trades in ’73, then I went back on contract. I spent more than 24 years training on the college level — all to catch a crab.

So did you build this boat? 

RA: When I bought this boat, she was a hull. I went through, redesigned the cabin, rewired it with three electrical systems: 2011 technology in a 64-year-old-boat. Surround sound …

Half the pay you get is being proud of what you do. This is the most dangerous job on the planet.

And what took you from engineering into fishing? 

RA: I learned to swim in the Bay in grammar school. I would tell my parents that I was going to the pool. I would get my gaggle and we would go swim in the ocean. Hunt little Dungeness crabs.

I was a wharf rat. I fished right here. Right off this dock, Pier 45. You know Municipal Pier? I fished underneath it, too. I would sit there for 16 hours. I would wait for the tide to come up and then wait six hours for it to go down again. I would put rags and olive oil in a coffee can and get it smoldering, and warm my hands on it, just to stay alive. But it was adventure.

I started selling fish. I would sell at the markets. I would put them on a bus and take them to the market in a cooler. I had people coming down from Chinatown, San Francisco.

I made anywhere from $35 to $60 a day. I didn’t know, but I was making more than my dad was. But I was in the fourth grade.

Were the commercial fishermen nice to you? 

RA: They were if you were Italian. But they knew who I was. I had a nickname — “Little Ron.”

San Francisco was a small community. Everyone knew everyone. All the cops knew me. I was in good standing. They were my friends. You can’t be in business as a 10-year-old without it. The game wardens knew who I was. They could have busted me.

I like fishing. It was like magnet and iron. Then I got my first boat in ’68, and that ruined me.

There’s a romance to it. We go out to the Farallon Islands, up and down the coast 500 miles. We can’t fish where the fish aren’t. We got to find the little critters. Bring ’em home. It’s a one-way ticket.

I like the adventure. I take pride in putting together a puzzle and watching it work. I used to build cars from a white piece of paper. This is doing something.

We all know what pride is. Your back is straighter. Food tastes better. It’s nice to have as much as you can have of it.

Do you still like crab? 

RA: I don’t eat much, but my wife won’t let me into the house unless I bring crab home, so there you are.


HEATHER SMITH is a Meatpaper editor. She is currently at work on a book about insects, humans, and the various misunderstandings that arise between them.

Photographer JULIO DUFFOO was born in Peru and raised in Brooklyn, and is now based in San Francisco. He has photographed people who spend their lives engaged with meat for every issue of Meatpaper since Issue One.

This article originally appeared in Meatpaper Issue Seventeen.

Thank you, BONE-enthusiasts!

March 1, 2012

BONES: 20th Street Corridor Crawl on February 10, 2012 was a truly special event.

500 Capp Street

Hundreds of bone enthusiasts came out in a light drizzle to check out marrow many ways, music played on bony instruments, bone installations, wishbone-breaking, bone lectures, and much more. Meatpaper would like to extend special thanks to all the collaborators and volunteers who made it possible!

500 Capp Street Foundation (David Ireland’s house)
Kadist Art Foundation
Southern Exposure
The Thing Quarterly
Salumeria / flour + water

Chicken Paw

Trumer Pils
Scribe Winery

And myriad artists and helpers.

Check out the photos and a map of all the happenings.

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February 10 — BONES: 20th Street Corridor Crawl

January 13, 2012

T-rex meat diagram

Please join us.

In celebration of Meatpaper Issue 16, the “Bones” issue, Meatpaper and friends are hosting a night of art, music, food, and drink, in the secret (and not so secret) places of the San Francisco Mission District’s 20th Street Corridor.

Download a map and guide to all the happenings.


Bones: 20th Street Corridor Crawl

Friday, February 10, 2012
7 pm – 11 pm

20th Street, between Capp & Florida
San Francisco


500 Capp Street Foundation (David Ireland’s house)
Kadist Art Foundation
Southern Exposure
The Thing Quarterly


Jerome Waag (Chez Panisse)
Nick Balla (Bar Tartine)
Leah Rosenberg (Blue Bottle Coffee at SFMOMA)
Thomas McNaughton (flour + water)

Biodynamic wine
Trumer Pils

… and more

Music by Chicken Paw
… installations and performances by many local artists. See map for more information.


The event is free and open to the public!
Tickets will be on sale for tasting plates.

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Delicate: New Food Culture. A new book from Gestalten.

November 11, 2011

Meatpaper is pleased to be included in this new book from Gestalten: Delicate: New Food Culture.

From the website: “Delicate is an inspiring collection of people, places, projects, and products from around the world that are blazing trails for a new passion for food and the ways we share it.”

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Meatpaper in Tokyo

November 11, 2011

We are pleased to announce that Meatpaper is now available in its first shop in Tokyo. Visit Shibuya Publishing & Booksellers to see the “Bones!” issue as well as a few back issues!

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Our last SFMOMA party is this Thursday

April 20, 2011

If you’ve been meaning to join us on the SFMOMA rooftop, this Thursday is your last chance!

Food & Thought at SFMOMA with Meatpaper and Blue Bottle

Bay Area chefs present tasting plates with edible flowers. Also: locally produced wine andbeer!

Dishes and desserts by:
~ Leah Rosenberg of Blue Bottle
~ Leif Hedendal of Cooking with Leif
~ Morgan Maki and Linh Phu of Bi-Rite Market, in collaboration with Josey Baker of Josey Baker Bread
~ Ryan Ostler and Katharine Zacher of Gypsy Kitchen and Catering

Beverages (complimentary with food purchase):
~ Wine by Scribe Winery and Handley Cellars
~ Beer by Trumer Pils

Rooftop Garden & Cafe at SFMOMA
April 21

The rooftop event is free with half-price museum entry. (Free for SFMOMA members.)
Tasting plates $5 (3 plates for $12)

Beverages are complimentary with purchase of tasting plates

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“STILL/LIFE” at SFMOMA this Thursday

February 21, 2011

Join us to taste the extraordinary menu below.

There will be beer and wine, and Shadowshop will be having a special event right next door.

Food & Thought at SFMOMA with Meatpaper and Blue Bottle

Still/Life: Bay Area chefs present tasting plates featuring local, seasonal ingredients and responding to art history and SFMOMA’s collection.

Dishes and desserts by:
~ Jake Des Voignes of Local Mission Eatery
Tete de cochon, pickled quail eggs, wild mushroom dust, and preserved meyer lemon and shallot suspension

~ Eddie Lau of The Summit SF
The Edible Garden: espresso mole “dirt,” baby radish, minutina, and flowers

~ Evan Rich of Coi
Pasture: beets roasted on hay with fresh cheese and wild sprouts and flowers

~ Leah Rosenberg and Tess Wilson of Blue Bottle
Lemon Tart: based on Dutch Still Life with Lemon Tart and Engagement Calendar by Paul Wonner, from the SFMOMA collection

Complimentary beverages:
~ Wine by Scribe Winery
~ Beer by Trumer Pils

Rooftop Garden & Cafe at SFMOMA
Thursday, February 24

The rooftop event is free with half-price museum entry. (Free for SFMOMA members.)
Tasting plates $5 (3 plates for $12)

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Food & Thought number 6 was delicious, and thoughtful

December 7, 2010

Have you ever had homemade Spam? We hadn’t either, till our Sandwich party at SFMOMA last week!

Jerome Waag of Chez Panisse and OPENrestaurant made “spam” from scratch and invented The Green Eggs and Spam sandwich, which references the Hawaiian proclivity to Spam as well as Hawaii’s former incarnation as the Sandwich islands.

We really appreciate the generosity of all our event sponsors, who made it possible: SFMOMA, Blue Bottle Coffee, Swanson Vineyards, Trumer Pils, OPENrestaurant, Bar Tartine and Tartine. And thank you to the chefs who created delicious and innovative sandwiches!

Leif Hedendal of Cooking with Leif made smørrebrød of ricotta, stinging nettle, horseradish, apple, finocchio, and fine herbes.

Leah Rosenberg of Blue Bottle made a trio of little triangle cakewiches to make up a “club sandwich.”

Chris Kronner of Bar Tartine made hogwiches: smoked hog jowl with kale on Tartine bread.

It was a lovely rainy night on the SFMOMA rooftop.

Special thanks to our amazing volunteers!

All photos by Pamela Palma. More photos of the event are here.

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We are indescribably excited about MP13 and SANDWICH!

October 19, 2010

Meatpaper 13, with SANDWICH tucked inside, is available now, and we have to share our excitement!

Here’s more about SANDWICH from our press release:

For the last year, the Meatpaper team has been hard at work investigating the sandwich. In much the same way that Charles Darwin scoured the Galapagos for interesting finches, we have searched the world over for signs of sandwich. Once you start looking, the sandwich is everywhere, and like religion, its countless variations inspire fierce debate and passionate opinions. Our investigation has culminated in the production of a special gift: a mini-magazine which will be sandwiched within the pages of Meatpaper Issue 13.

There is much to chew on within the pages of SANDWICH #1. The good people at GOOD researched and built the most comprehensive infographic of interconnected sandwich genetics currently in existence.

Meatpaper editor Malia Wollan tracked down the 11th Earl of Sandwich, John Montagu, and learned about his infamous great-great-great-great-great-great-grandfather’s enduring legacy. The Earl talked about his family’s new endeavor: a chain of sandwich restaurants, commonly located in airports. “The family joke has always been that if we could have a royalty on every sandwich in the world, then we’d rescue the family fortunes,” Montagu said.

In other articles, SANDWICH examines the relationship between sandwiches and Renaissance architecture, the role of sandwiches in a much obsessed-over Radiohead song, the cross-cultural origins of the Vietnamese Banh Mi, the Earth Sandwich experiment, and what sandwiches have to do with falling in and out of love.

It seems that humans really like to eat things stuck between pieces of bread. But sandwiches have a dark side, too. What could be more controversial than unicorn on toast? Toronto artist Kathryn Macnaughton contributed our deceptively sweet cover art.

Please join us at our launch party for Meatpaper 13, SANDWICH, and Marissa Guggiana’s book, Primal Cuts, at Cafe Rouge in Berkeley on November 1.

As the editor’s letter in SANDWICH #1 puts it: “The sandwich — muse, global shapeshifter, social leveler — is ultimately far more than an aggregate of bread, filling, and spread.”

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