LP10 contributor Carolina Miranda will be on KCRW’s Good Food at 11am PST tomorrow to discuss her article about doughnut-slinging luchador Abel Nabor Campos in the Street Food issue. Tune in online, or download the podcast to your various technological devices.
Photo by Naomi Harris
KCR-Dubs on Saturday at 11am, tune in!!!!
My story on the donut-making luchador of East LA is now in Lucky Peach. Get it!!!!!!!
Exactly seven years ago, I took a buyout from a job that offered excellent benefits at a place where people always returned my calls. Since then, I’ve worked exclusively as a freelancer. The benefits suck, publicists take their time returning my e-mails (if at all) and the hours are excruciatingly long. But in the intervening seven years, I’ve hiked through a rainforest, trotted around Peru, partied with architects, got a private concert on a home-made instrument, wandered around the Rockies on a horse, went on a taco tour, curated a library, chilled with a donut-making luchador, stared at a needy artist in the atrium of a major museum, and started an art world kerfuffle with a few irritated Tweets. In other words, I wouldn’t trade what I’m doing for all the money in the world. To all the folks who’ve given me work, edited my clumsy phrases, and supported my ideas over the years, I want to offer you a giant, heartfelt THANK YOU.
And now, for the next seven… ‘cuz I have an art world I’ve gotta terrorize….
Dear Hammer Museum:
I love you guys. I love — I mean loooove — the shows you do. I love the fact that you’re now free. I love that second floor lounge area where you can space out and stare at the sky. I love how stable and smart your are. And I’m reaalllllly digging what you did with that Institutional Critique Show.
So I say this with love:
But the wall text on “Take It Or Leave It” is…. GAAAAAH: Impenetrable. Uninformative. Mystifying. It takes a difficult topic and makes it more obtuse. Please stop with the artspeak and write as if your audience was your really smart cousin who reads the New York Times but doesn’t know anything about art. Your cousin will thank you. Your audience will thank you. And, above all, I will thank you.
Luke and I were looking at Hieronymus Bosch’s painting The Garden of Earthly Delights and discovered, much to our amusement, music written upon the posterior of one of the many tortured denizens of the rightmost panel of the painting which is intended to represent Hell. I decided to transcribe it into modern notation, assuming the second line of the staff is C, as is common for chants of this era.
so yes this is LITERALLY the 600-years-old butt song from hell