Sunday, November 28, 2010

far better than the chimichanga

Enchirito is the trademarked name of Taco Bell's menu item of the Tex-Mex food similar to an enchilada. It is composed of a flour tortilla filled with seasoned ground beef taco meat (with options to substitute steak or chicken), beans, diced onions, cheddar cheese, and "red sauce".

The Enchirito was invented in 1968 by Bob McCrea, who submitted the recipe to Dan Jones (who now owns several Taco Bell franchises in Los Angeles County) for 50 dollars and a thank you. It was first test marketed in Albuquerque and then was officially placed on the menu and patented in 1970. In 1993, in order to make room for new menu items, Taco Bell discontinued the Enchirito, but brought it back in December 1999. It continues to be available as of 2010.

The Enchirito was originally composed of a soft round yellow corn masa tortilla, filled with ground beef taco meat, beans, and onions, rolled into a tube shape. It was then placed in a paper tray coated with aluminum foil, and topped with what Taco Bell refers to as "red sauce," grated cheddar cheese, and three black olive slices. Alternatively, it can be topped with "green sauce" which is a spicy sauce made from green chilies and onions. Burritos can also have the "green sauce" in them. They were originally called "Green Burritos." The Green nomenclature has been removed from the current menu.

The coining of the name Enchirito (a portmanteau of the words enchilada and burrito) for this item was a bit of a peculiar action by Taco Bell. It was the only item on the menu, at the time, to not use the common Mexican food nomenclature for that item. Whereas a burrito is typically a flour tortilla filled with beans, and an enchilada is typically a corn tortilla filled with meat and smothered in chile sauce, the name Enchirito communicates the combination of these elements. On the other hand, it appears the unusual name was not to help Americans unfamiliar with the Spanish names of the food items; indeed, for many years Taco Bell menu boards featured a system of phonetic pronunciation guides next to each item.

Even after the Enchirito was officially discontinued in 1993, some customers still ordered them, and word spread through the Internet that many restaurants would still make them with the ingredients they had available. Due to this underground popularity, it was decided to bring it back, and commercials, featuring the Taco Bell chihuahua promoting the Enchirito, began airing on December 26, 1999, with later commercials in mid-2000 featuring the rapping or singing styles of the "five guys with no talent". However, some things about the item had changed. The serving container had become a coated pressed-paper oblong bowl when dining in, or a black plastic bowl with a clear plastic lid if ordering from the drive-thru. Most significantly, the character of the dish was altered by changing the yellow corn masa tortilla to a white wheat flour tortilla. The sliced olives were omitted. The chicken Enchirito and the steak Enchirito, which respectively substitute chicken or steak for the ground beef, were also introduced as options. The Enchirito is served with a plastic spork.

this article was ripped from wikipedia - see the original here.

Thursday, November 25, 2010

Sunday, November 21, 2010

whitman, robert

film maker, photographer, interested...

Saturday, November 20, 2010

things can get interesting...

VOLUME 1, ISSUE 13 | May 1 -31 2006

Eye on Art

Stephen Korbet

Eva Hesse circa 1959

Eva Hesse: Material Evidence

By Jerry Tallmer

Eva Hesse, who’d been schooled and had worked as an oil painter, watercolorist, lithographer, sculptor, what have you, felt her art was at a dead end when, in June of 1964, at the age of 28, she returned with her husband Tom Doyle to the Germany where she had been born and from which, at 21/2, in 1938, she had been evacuated to Holland by kindertransport, thus saving her life.

Her parents got out too, later. Her grandparents all died at Auschwitz or Belsen Bergen. Eva grew up in Washington Heights. When she was 18, the magazine Seventeen, where she was interning, did a feature on her as a “young artist” along with some photos of her work in gouache, watercolor, charcoal, and lithography.

Tom Doyle, a sculptor whose medium was steel, had converted from Roman Catholicism to Jewish for the sake of Eva’s father. Doyle had been invited by industrialist and art collector F. Arnhard Scheidt to come use the old Scheidt textile mill at Kettwig-am-Ruhr as studio workspace. It would be in that same vast old textile mill, full of materials that artists didn’t then normally use, that Eva Hesse, picking up a piece of rope here, a piece of plastic there, would find a path reopening in directions that would lead an assessor, more than 40 years later – Elizabeth Sussman, a curator at the Whitney Museum – to speak of Hesse as “one of the greatest artists of her generation.”

Which may or may not be. But that art can and does reach out to embrace plastics, latex, cardboard, fiberglass, rope, and other such “anti-artistic” industrial materials, is proved – no, brought back to attention — by “Eva Hesse: Sculpture,” an exhibit through mid-September at New York City’s Jewish Museum, put together by Ms. Sussman and the Jewish Museum’s own Fred Wasserman.

Among other things it recapitulates the (then) shocking “Chain Polymers,” Hesse’s one-woman show at the Fischbach Gallery in November 1968, a year and a half before brain cancer killed her at 34 in May 1970.

“I would like the work to be non-work,” she wrote – typed by hand — in a statement for the gallery. “This means it would find its way beyond my preconceptions. What I want of my art I can eventually find. The work must go beyond this.”

One’s thoughts hit on Heinrich von Kleist’s “On the Puppet Theater” as metaphor of such abnegation. It is as if the work (non-work) makes itself, with no artist involved – no hands – but that of course is not the case. In Eva Hesse’s case she was very much involved, right down to the most scrupulous details and dimensions. Here is one small, lined notebook page on which is scrawled all the precise specifications for Sans II – the very word sans means “without” — a huge 35-foot-long polyester-resin and fiberglass wall piece in five sections of six panels each.

They are today, these sections, separately-sold inhabitants of venues around the world. “Never seen together since 1968,” says Fred Wasserman. How did they come back together for this show? “Don’t ask,” says Wasserman with a cocked eyebrow. “Some very generous lenders.” He himself has been a Hesse nut ever since he saw some of her things at a show in Buffalo when he was 17.

She was meticulous, also, as we see from other scrawled pages, about titles for her pieces, scouring thesauruses and dictionaries for definitions like:

ACCRETION: The growing of separate things into one, the whole resulting from this.

SEQUEL: What follows after, continuation or resumption of a story or process or the like after a pause or provisional ending.

And here is Accretion itself: fifty 58-inch fiberglass and polyester-resin tubes, each wrapped about a cardboard tube like those at the core of fabric rolls, the whole a little standing forest of identical rods, or tree trunks, except that they aren’t totally identical (because how can they be?) and aren’t identically spaced apart. Some gaps are 2 inches, some are 3 inches. “Serial repetition with randomness,” says Wasserman. “Expandable or contractable.”

In the industrial age, there are flyspecks. See Chaplin, Modern Times. Hesse wanted those flyspecks there. Working out of her studio at 134 Bowery, in the lighting and kitchenware district below Houston, she had found a fabricator, Doug Johns of Aegis Reinforced Plastics, on Staten Island, who made her speculations at lot more possible.

But when, with Repetition Nineteen III, an assemblage on the floor of 19 fiberglass “buckets,” Johns smoothed off all the rough imperfections to make them identical, she got angry with him. Artist Hesse wanted those imperfections there. “Each one a little different,” says Wasserman. “Each with its own character,” like faceless people (yes! paradox!) standing around, now this way, now that way, in a large lobby.

Sequel, as the name implies (see above), follows Schema, and Schema is a 40-inch-square grid of 144 halves of Spalding-type latex balls – the “Spaldeens” of legendary four-sewer New York City stickball. Sequel takes the rubber halves off the grid and mixes them up in a stew – true random.

A piece that combines papier-mache, Masonite, cloth-covered electrical wire, pencil, ink, acetone, varnish, and enamel paint – all adding up to a nippled small circle atop a nippled large circle – is called Ringaround Arosie, another touch of New Yorkese, in honor of Eva’s close friend Rosie Goldman. Fellow artist Sol Lewitt called it “the breast job.”

Elsewhere in the Jewish Museum layout are the literature and documentation of Eva Hesse’s short, not overly happy life, in particular the proud-papa tagerbucher – combination scrapbooks, datebooks, photo albums, clipping collections, diaries – that businessman William (originally Wilhelm) Hesse faithfully if not to say overbearingly kept through the years for daughters Helen and “Evchen,” the tiny 21/2-year-old who would grow up to be imaginative, troubled, fiery Eva.

There was reason for her to be troubled. In January 1946, three days before Eva’s 10th birthday, Ruth Hesse, Eva and Helen’s mother, would, as newspapers used to say, jump or fall to her death off the roof of the Eldorado Apartments, Central Park West at 81st Street.

Ruth Marcus Hesse had escaped the Holocaust, but her parents had not, nor her husband’s parents, Eva’s grandparents. Eva’s 1964 trek with husband Tom to Germany was more traumatic than anticipated. She had nightmares, bad ones. The six-months’ stay stretched to 15 months. The Scheidt factory (sounds a little bit like the Germanic for excrement) was near Dusseldorf; Eva wanted to visit what had been her mother’s girlhood home at Hameln, near Hamburg. In Hamburg was the apartment where Eva had spent the first two and a half years of her life. She and Tom knocked on the door. The couple within opened the door, heard Eva say (in German) she’d lived there as a child, then shut and locked the door in Eva and Tom’s faces.

The marriage to Doyle did not last, though not, so far as I know, because of Germany. The Fischbach one-woman “Chain Polymers” show was followed by a year, 1969-’70, of three operations, radiation, chemo. In May she was gone. Some of the industrial material is now beginning to go too. This looks to be the last chance to catch this much of it while you can.

Friday, November 19, 2010


that's the idea ladies...

Thursday, November 18, 2010

one thing to learn

How to Do a Cartwheel
By following this step by step guide on how to do a cartwheel for kids and adults, you can soon master this move. It is not a very dangerous move and most people can easily carry it out. One does not require some high level of physical fitness or any advanced equipment, in order to do a cartwheel.
  • The first thing to remember is that there should be enough space when you are doing a cartwheel. You need to take a slight run up and land in a clear area, or you may end up slamming your body against some object which could potentially hurt you. Or you could even end up breaking something. Either way, ensure that there is adequate space and room when you are attempting to do a cartwheel. Another pointer for you is to attempt to do the cartwheel on a soft grassy area, or on a floor with a rug. The landing can be harsh sometimes, and landing on a soft surface will reduce the possibility of injury.
  • The instructions, here, are for carrying out a front to back cartwheel which is the toughest one. The other variant, the side to side cartwheel, is comparatively much simpler to do. You need to raise your arms straight up in the air, and make them touch your ears. You will be taking the support of your arms and your upper body strength, so make sure that they are stretched out absolutely straight. Failure to do so could cause you to crumble when your weight is held up by your arms. For someone setting out to learn how to do a cartwheel, it is important to build upper body strength, and also the muscles in the arm. You cannot learn how to do a cartwheel without hands that are able to support your body weight.
  • Point your left foot towards the front and place it slightly forward now. This front foot will always point in the direction which you mean to go. Some people find it convenient to point the other foot in an outwardly direction, in order to get better balance while performing the cartwheel. Do not forget to keep an eye on where you are going to place your hands. Noting the exact spot, right before your feet leave the ground is advisable. Many people fail to do this, when learning how to do cartwheels and end up losing their balance.
  • Now start bending over and place your left hand on the ground first. The right hand will soon follow the left hand to the ground, and you must simultaneously lift up your right leg from the ground as well. As soon as the right hand reaches the ground you must kick out strongly with the right leg, so that your left leg also rises in the air. You will now be in a vertical position and you must tighten your back and keep your balance. Since, you are practically doing a headstand and balancing on your arms, having strong arms will definitely help.
  • You will now land on the ground due to the momentum, and your right leg, which was in the back of your body when you started, will now come in the front front of it. The left leg will soon follow through and you should be in the same position that you started out in. Maintaining your balance and composure through the process is something that you will learn over a period of time.
You must also remember to breathe properly, during the entire process to get the best results. Once you have practiced, how to do a cartwheel enough number of times, you will be able to carry out this maneuver with increasing confidence and considerable ease.

By Rahul Thadani
Published: 2/8/2010

Wednesday, November 17, 2010

my godfather

btw - have you ever noticed how much i lead you away from this blog page?

Tuesday, November 16, 2010

captain comes ashore

and finds himself lost without his salt, daggers and banshees...

Thursday, November 11, 2010

Tuesday, November 9, 2010

Lewis Carroll


I love the stillness of the wood:
I love the music of the rill:
I love to couch in pensive mood
Upon some silent hill.
5Scarce heard, beneath you arching trees,
The silver-crested ripples pass;
And, like a mimic brook, the breeze
Whispers among the grass.
Here from the world I win release,
10 Nor scorn of men, nor footstep rude,
Break in to mar the holy peace
Of this great solitude.
Here may the silent tears I weep
Lull the vexed spirit into rest,
15As infants sob themselves to sleep
Upon a mother's breast.
But when the bitter hour is gone,
And the keen throbbing pangs are still,
Oh, sweetest then to couch alone
20 Upon some silent hill!
To live in joys that once have been,
To put the cold world out of sight,
And deck life's drear and barren scene
With hues of rainbow-light.
25For what to man the gift of breath,
If sorrow be his lot below;
If all the day that ends in death
Be dark with clouds of woe?
Shall the poor transport of an hour
30 Repay long years of sore distress —
The fragrance of a lonely flower
Make glad the wilderness?
Ye golden hours of Life's young spring,
Of innocence, of love and truth!
35Bright, beyond all imagining,
Thou fairy-dream of youth!
I'd give all wealth that years have piled,
The slow result of Life's decay,
To be once more a little child
40 For one bright summer-day.
March 16, 1853.


i am back. pushing away from who i used to was...

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Thursday, November 4, 2010

about last night

dear friends, family and unknown fans of comic books,

no blog. out of the zone on the big sur coast.

see you monday.



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Tuesday, November 2, 2010

Monday, November 1, 2010