logo
Southern-Leaning American Bistro Cannonball Dives Into South Pasadena

Southern-Leaning American Bistro Cannonball Dives Into South Pasadena

Eater2 days ago

One of northeast Los Angeles's most charming neighborhoods, South Pasadena, welcomed Cannonball on May 2, a new restaurant from Hippo chef Matt Molina and operating partner Joe Capella. The sprawling multi-floor space, previously occupied by Piccolo, has original brick walls, an extensive vintage wine list, cocktails, and farmers-market-derived seasonal produce. It's potentially the most exciting new restaurant to open in the area in a few years (its most recent was 2023's debut of Katsu Jin on Fair Oaks). With Molina and Capella steering the ship, South Pasadena has a grown-up restaurant for drinks and classic American dishes, coupled with reasonable prices.
Molina, who won the James Beard Award for Best Chef: Pacific of 2012 for his work at Osteria Mozza, has had a strong run with Capella at Arts District's Everson Royce Bar (opened in 2015), which is also co-founded and co-owned by Randy Clement and April Langford (Good Neighbor Bar, Silver Lake Wine). The foursome opened Hippo in Highland Park and Triple Beam alongside Nancy Silverton in 2018, cementing their place in northeast LA's dining scene. Molina's relationships with farmers at the South Pasadena Farmers Market, a main source for Hippo's produce, led him and Capella to check out the former Piccolo. The former Venice-based Italian restaurant had expanded to Mission Street in 2022 but closed just a year later in spring 2023 (it still operates in Santa Monica). Cannonball is Capella and Molina's first collaboration, opened without involvement from Clement, Langford, and Silverton.
'Hippo was in a good spot and we wanted to do something in this neighborhood [South Pasadena,' says Molina. 'I grew up in SGV and first heard about it when our friend Steven Arroyo opened something here. He was always ahead of the game. It's so charming here, but a lot of people in Northeast LA don't know about it, or the farmers market.' After a career spent in Hollywood and Mid-City at Osteria Mozza and Campanile, Molina has become acclimated to this part of town. Molina sees a similarity to New York City restaurateurs [like Gabe Stulman], who open multiple concepts in a particular neighborhood to serve a similar audience.
Like Everson Royce Bar, Molina anchors the menu with his signature flaky biscuits with honey butter and a single-patty burger made with ground chuck and Tillamook cheddar. Starters include shaved celery salad with medjool dates, roasted carrots with cumin vinaigrette, and fideos with clams, chorizo, and saffron. Most starters range $12 to $24, bucking the trend of inflationary prices that seem to affect most new LA restaurants. A short list of six mains includes the burger with fries for $23, and extends to barbecue pork loin with Anson Mills polenta, grilled prawns, or grilled New York steak with pommes aligot. An olive cake with a side of crème fraiche is the sole dessert. Molina says the menu will not feature pasta during its opening phase, but he might add some in the future.
Beverages at Cannonball are another strong suit, with Joe Capella's extensive wine and spirits knowledge on full display. Capella priced the wines to drink now (he would like the entire inventory to turn over every six months), with glasses between $14 and $17, and a long bottle list with prices that are often lower than online retail. He was inspired by places he's visited in Stockholm and Japan that price wine and spirits at an accessible level and allow enthusiasts to actually 'taste the fruits' of often labor-intensive curation. 'We're not trying to profit disproportionately just because it's rare and in demand,' Capella told Eater over email. There are plenty of wines priced between the high-$30s and mid-$40s, alongside higher-end bottles for those looking to ball out. Cocktails come from a longtime relationship with Varnish co-founder Eric Alperin, who advised on the drinks and helped install lead bartender Wolfgang Alexander at Cannonball. Drinks reflect the Milk & Honey school of bartenders with playful takes on classics like the Raymond Hill (Manhattan) using bourbon, amaro lucano, Pedro Ximénez sherry, and mole.
Fettle Design helped preserve the building's main interior, hoping to conjure a New York, East Coast, and London feel that stands in contrast to places like Hippo. Capella and Fettle saw the moody space working with a darker color palette; tasteful landscape art, vintage lighting, indoor plants, and pops of old-timey wallpaper complete the look. A more cheerful patio with French cafe-style chairs and greenery works well as an al fresco summer dinner. Eventually, service will expand daily to later hours and a daytime menu on weekends (no weekday lunch, though). With two industry veterans at the helm and a versatile, classic ambience — plus the very approachable food — Cannonball has brightened South Pasadena's dining scene in a big way.
Cannonball is open Thursday to Monday from 5 p.m. to 9:30 p.m. with expanded hours forthcoming; it's located at 1010 Mission Street, South Pasadena, CA, 91030. Reservations are available on Resy .
Sign up for our newsletter.

Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

‘Downton Abbey' star will bring her play about Ava Gardner to Chicago
‘Downton Abbey' star will bring her play about Ava Gardner to Chicago

Chicago Tribune

time19 minutes ago

  • Chicago Tribune

‘Downton Abbey' star will bring her play about Ava Gardner to Chicago

Elizabeth McGovern, the American actress best known for playing Lady Cora in the British TV and movie franchise 'Downton Abbey,' will star in a show headed to Chicago that is based series of real-life interviews given by the Hollywood actress Ava Gardner. Titled 'Ava: The Secret Conversations,' the show was written by McGovern and is directed by Moritz Von Stuelpnagel. Aaron Costa Ganis also appears in the piece, which will run Sept. 24 to Oct. 12 at the Studebaker Theater in Chicago's Fine Arts Building. Karl Sydow is the producer of this commercial production, managed by Pemberley Productions, which has brought several shows to Chicago. McGovern becomes the third 'Downton Abbey' star to work in Chicago theater, following Brendan Coyle, who appeared at the Goodman Theatre, and Lesley Nicol, whose solo show was performed at the Greenhouse Theatre Center. 'Ava: The Secret Conversations' has previously been seen at the Geffen Playhouse in Los Angeles and NY City Center in New York. It is drawn from the series of interviews Gardner gave to the British writer Peter Evans (played by Ganis) between 1988 and 1990, wherein the Golden Age star spoke of her various marriages to Mickey Rooney, Artie Shaw and Frank Sinatra, as well as her famously turbulent relationship with Howard Hughes. Evans had been hired to write Gardner's autobiography, but she ended up firing him. His book detailing the interview was not published until 2013, and has been re-imagined by McGovern for the stage. McGovern will also be seen this fall on screen in 'Downton Abbey: The Grand Finale.'

This corny ‘conservative credit card' ad signals a very scary future for AI
This corny ‘conservative credit card' ad signals a very scary future for AI

Fast Company

time25 minutes ago

  • Fast Company

This corny ‘conservative credit card' ad signals a very scary future for AI

A fresh glimpse at our AI-filled future arrived this week, in the form of an unmemorable ad by a company most people have never heard of. The ad is kind of flat and will probably scan as goofy to everyone outside its target demo, but don't write it off just yet: It could signal the beginning of some very big (and scary) changes. The upstart fintech company Coign claims to be a 'conservative credit card company,' a distinction that boils down to the founders' pledge to never donate to liberal causes and candidates. And while that self-definition raises some questions, it pales in comparison to the actual ad. The 30-second clip is a patriotic parade of red-blooded, red-voting Americans boasting about recent Coign-fueled purchases such as deer-hunting gear, a stack of cartoonish gold bars, and the 'biggest American flag' available. But here's the most striking thing about the ad: All of those situations, and all of the actors, were created by AI. There's something a little off about Coign's ad, to be clear. The pacing of the phony satisfied customers' movements feels too jittery at times, and there's an eagle at the end that is not exactly natural looking. While the ad is spiritually the same AI slop as Shrimp Jesus, it doesn't carry the same overtly synthetic visuals. In that regard, it's a lot more casually AI-generated than many of its predecessor ads. When Coca-Cola released an AI-generated holiday spot last fall, it sparked an uproar. Creatives were livid about such a monumentally successful company neglecting to splash out on an all-human production, and even casual observers noticed the glaring flaws in the video: The truck's tires glided over the ground without spinning, Santa's hand was bizarrely out of proportion with the Coke bottle it gripped, and the entire ad sat squarely in the 'uncanny valley.' The same goes for the ad Toys R Us released last year using OpenAI's text-to-video tool Sora: The kindest thing one could say is that its human characters looked marginally more lifelike than the unsettling, motion-captured Tom Hanks from The Polar Express two decades earlier. So far, AI-generated ads have been rare enough and mostly the domain of heavy-hitter companies, making them lightning rods for attention and backlash just about every time a new one is released. The simple fact that they were AI-made has been enough to generate headlines, even before factoring in the slop. But maybe not for much longer. If the Coign ad is any indication, there may be an entire class of AI ads coming that will be subject to far less attention—and far less scrutiny. We're at a precarious moment with AI, collectively feeling out its least objectionable uses through trial and error. So far, uncanny ads from massive companies have triggered backlash, but when lesser-known brands dabble—especially without obvious visual glitches—they often escape notice. Advertising legend David Droga once noted the existence of a ' mediocre middle ' in marketing and entertainment, and that may be exactly where AI quietly thrives: in ads from companies too small to spark outrage. Advertising, after all, is already the most disposable and least emotionally protected form of media—expensive to make, widely avoided, and largely unloved. That makes it the perfect Trojan horse for AI—slipping past scrutiny not because it's good, but because few people care enough to notice. On a moral and economic level, the advertising industry should not be diving headlong into a technology that makes large swaths of professional workers expendable. And on an aesthetic level, just because AI technically can create an ad doesn't mean it can create a good one. Once a seemingly harmless use case eases people's minds about a given technological breakthrough, it's only a matter of time before the more flagrantly objectionable use cases take hold. The facial recognition tech that first allowed Facebook users to tag their friends in photos was eventually used to strengthen the surveillance state and threaten privacy everywhere. Today's drones that make aerial photography easier become tomorrow's drones that mistakenly blow up weddings in other countries and threaten to displace delivery workers. Obviously, AI is going to play some role in humanity's future. The size of that role, however, is not yet set in stone. As machine learning creeps into all creative fields, workers need regulations to ensure the technology doesn't spread too far too fast. The good news is that a majority of Americans seem to want AI regulation. Although the House of Representatives recently passed a major tax and spending bill with a provision forbidding state governments to regulate AI over the next 10 years, that clause is getting bipartisan blowback. According to a recent poll, 81% of voters agree that 'advances in AI are exciting but also bring risks, and in such fast-moving times, we shouldn't force states to sit on the sidelines for a full decade.' Even the CEO of generative AI company Anthropic is a full-throated advocate for stricter AI regulation. The people have spoken. Whether they are listened to is another matter altogether. A single, silly credit card ad may seem an unlikely step toward a dystopian future of unfettered AI and full unemployment, but if we laugh it off now, the bill may still come due later.

A quick guide to this year's Boston Early Music Festival
A quick guide to this year's Boston Early Music Festival

Boston Globe

time37 minutes ago

  • Boston Globe

A quick guide to this year's Boston Early Music Festival

Get Starting Point A guide through the most important stories of the morning, delivered Monday through Friday. Enter Email Sign Up There are at least three offerings packed into most days of the festival. Sometimes there are more. It's a maybe-overwhelming array of options, so if you don't know where to start, here are some picks for events I wouldn't want to miss. Advertisement OPERATIC OFFERINGS The elaborate centerpiece opera, which will be performed four times during the week (June 8-June 15), is an institution of the festival. Usually, musical directors Paul O'Dette and Stephen Stubbs and stage director Gilbert Blin put up a deep cut from the Baroque repertoire that even seasoned opera-goers may never have heard of, let alone seen performed. No effort is spared in the production, which features a full baroque orchestra in the pit, sumptuous sets and costumes, and a dance company led by Marie-Nathalie Lacoursière in addition to the cast of singers, which features Hungarian soprano and BEMF veteran Emőke Baráth in the title role this year. Advertisement It's also a 3-hour time commitment, so if that's more than you want to bite off, consider the chamber opera double bill of Telemann's short and snappy comedy 'Pimpinone' and dramatic cantata 'Ino,' going up at Jordan Hall on June 14 with more performances in Great Barrington later in June. THE REGULARS ARE COMING! This year's biennial marks the 23rd for the festival, and it has nourished a network of world-class performers and ensembles that have become regular visitors. Violinist Robert Mealy, head of Yale University's respected early music program, leads the festival's in-house orchestra, which is primarily occupied in the pit for the opera, but it takes center stage with its own program of water-inspired works by Handel and Telemann (June 12). The 'Octavia' singers are booked and busy as well on their off nights - tenor Aaron Sheehan joins Paul O'Dette for a wine-soaked recital program (June 9), soprano Sherezade Panthaki teams up with Austria-based Ensemble Castor (June 10), and nearly the whole gang piles on stage for Saturday evening's post-chamber-opera extravaganza. (June 14) BEMF presents the Tallis Scholars in a Yuletide concert most years, but they're on hand during this summer festival for two programs – one with the English Cornett and Sackbut Ensemble (June 9) and a Sistine Chapel-inspired program on their own (June 11). And I'm personally biased because I have a friend in period string ensemble ACRONYM, but I never pass up a chance to see them – and going by the fact that this is the group's fourth consecutive festival, neither do the BEMF organizers. Advertisement RARER SIGHTS & SOUNDS Boston Camerata is hardly an unfamiliar name around town, but for BEMF, the ensemble is rolling out the local debut of 'A Gallery of Kings,' which premiered to acclaim at France's Reims Cathedral several years ago. Stephen Stubbs is also known around these parts for being one of BEMF's creative head honchos, but he also artistic directs the Seattle-based Pacific MusicWorks, which makes its BEMF debut in the late-night slot on June 10 with the intriguingly titled 'Murder, Mayhem, Melancholy, and Madness,' featuring soprano Danielle Reuter-Harrah. The relentlessly creative Norwegian ensemble Trio Mediaeval is returning to the festival after several years away, with an intriguing lineup of chant by Hildegard von Bingen and elaborate songs by English composer Leonel Power; their arrangements feature a miniature organ, hurdy-gurdy, and Hardanger fiddle – a Norwegian violin variant known for its haunting, resonant sound (June 11). Montreal-based Constantinople, helmed by Kiya Tabassian on the setar (three-stringed Persian lute), is behind the Bach and Khayyam program; soprano Hana Blažíková lends her voice to the group, which incorporates classical Middle Eastern instruments alongside the Baroque European. BOSTON EARLY MUSIC FESTIVAL June 8-15. Various venues. A.Z. Madonna can be reached at

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into the world of global news and events? Download our app today from your preferred app store and start exploring.
app-storeplay-store