It's Friday! You did it! Here are five expertly-chosen ways to spend the next two and a half days of your life!
Tucked under a BART overpass on a quiet side-street in Albany, Jodie’s is so small it’s easy to miss — just a six-stool counter and a plastic table or two outside if the weather’s nice. But despite its unassuming appearance, Jodie’s offers one of the best greasy-spoon-style American breakfasts you’ll ever have the pleasure of eating. For 24 years, Jodie Royston has been serving up eggs poached or scrambled just so, crisp hash browns, and English muffins grilled to crunchy, golden-brown perfection — all in a cubbyhole of a space that positively exudes small-town charm. A vast specials board means there’s always something new to try, but surefire winners include the Eggs Royston (a tangy spin on a traditional Eggs Benedict) and any dish that comes with Royston’s thick, creamy grits (available Friday through Sunday). — Luke Tsai
Persian New Year Festival
As far as cultural celebrations go, Chahr-ShanbehSouri — also known as the Festival of Fire — is pretty ancient. Dating back to at least 1700 BC, when it was celebrated by the early Zoroastrians far before the dawn of Islam in the Persian Empire, the festival is a purification rite that involves singing songs and jumping over bonfires. On Tuesday, Mar. 12, join the Persian Center for a night of fire — timeless, but safe enough for the 21st century. 6-10 p.m., free. 510-848-0264 PersianCenter.org — A.G.
"Rudolf de Crignis / MATRIX 245"
Gazing at a painting by Rudolf de Crignis, one cannot help but assume a suspect posture. Did we not dispense with the monochrome square back in the Sixties? On what merit do thirteen such works, in varying shades of blue and gray, make up a whole exhibition today? Granted, de Crignis' works are not monochrome per se, but rather agglomerations of thin, semi-transparent washes of various oil pigments — ultramarine blue, cobalt blue, royal blue, copper, zinc white, dianthus pink, cinnabar green and others — that, layered meditatively and extemporaneously over the course of several weeks, add up to a seemingly pure hue. That's something, and perhaps it does account for the paintings' special qualities of shimmer and depth. But what really makes this exhibition, de Crignis' first solo show in the United States, worth seeing does not inhere in individual paintings at all. As the artist says, "[the paintings] are just catalysts to create the space and the light." Indeed, these canvases frame an ambience of sensuous grip; once inside, for reasons hard to articulate, it becomes very difficult to leave. Matrix 245: Rudolf de Crignis runs through May 5 at Berkeley Art Museum. 510-642-0808 or BAMPFA.Berkeley.edu — Alex Bigman
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