It’s easy to hate on LA for being such a car-centric town, but only if you forget that most places in the US are equally spread out and pedestrian hostile. Albuquerque, for example. There’s not much to like about the cementitious sprawl of the interior zones, but I enjoyed walking downtown and downtown adjacent nonetheless. It helped that the bleak environs were occupied by a good number of Breaking Bad Jesse-types (wearing beanies!) skulking around. Since I was in town for an art conservation convention, most of my trip was spent listening to biddies and eating quantity-over-quality convention food. I might have been more bratty about the grub if it were not for a Haitian mural conservator privilege checking me by saying he’d never seen so much food in his life. After hearing something like that its impossible to justify complaining about anything, let alone the “bad” bagels.

Banana Caramel Cupcake

On the last day my coworkers left early, so I had free time to cram as many ABQ eats in before my flight as possible. During a break in the sessions I wandered over to The Grove Cafe and Market for a treat. Over the course of the .8 mile walk I realized the cafe was well outside the acceptable walk parameters for non-food obsessed Angelenos, so I was glad I hadn’t insisted my colleagues make the trek earlier in the week. One long street and one strangely lit urine soaked underpass later I arrived at my destination. For the coastally situated The Grove C&M would be a typical locavore place, but apparently in ABQ it’s one of the only places for latte liberals to get their fix. Crowded with a mix of Westside yuppies and linen-clad moms with their organic kids, the cafe had a pleasant urban/rustic aesthetic that one would expect from a place catering to brunch and organic craving affluents. After drooling over digital photos the night earlier I was hoping to try their croque madame, but since I had already eaten lunch I settled on an iced Americano and a small caramel banana cupcake. The cupcake was a moist slightly salted cup of deliciousness worthy of its “treat” designation. The Americano, on the other hand, was another story. Although the beans were from Intelligentsia, the powerfully astringent and bitter beverage was a pretty far cry from what is served at actual Intelligentsia storefronts. I drank it anyway, of course.

Huge hatch chile relleno with red and green chile sauce and carne adovada flauta.

After the final talks of the conference I rushed over to famed southwestern restaurant Mary and Tito’s for an early dinner. On the way there the cab driver told me M&T’s was an “excellent choice”, but later qualified his seal of approval with his disbelief that the place had won a James beard award for – as he put it affectionately – “the same old slop”. True, Mary and Tito’s is not fancy, but the place has an old school sticky table charm that many “authenticity” deprived people find refreshing. Once inside the restaurant and down the treacherous step both the cabbie and a posted signed warned about, I was quickly directed to a booth and given a menu. Although my first impulse was to go crazy and order a carne adovada stuffed sopapilla AND a chile relleno, with the words of the Haitian conservator still lingering in my brain I tempered my inner greedy kid and pared down my order to one chile relleno with red and green sauce and one carne adovada flauta. After a short wait the food arrived and I tucked in. Hoovering the green chile sauced end of the freshly fried chile relleno I hastily noted the dish was very good. After my first bite of the red chile covered relleno, however, my mouth was confronted with a sauce so magically complex and euphoria inducing I had to stop eating and nearly dropped my fork. Instantly regretting I hadn’t ordered everything covered in red sauce, after the moment of mouth zen I quickly resumed the hoovering.

Consumed with sopping up all the divine red chile sauce, I failed to notice a very elderly woman walking up to my table. As she began talking, I realized that I must be talking to Mary, as in Mary and Tito’s. After exchanging niceties and inquiring about the food (of which I lavished praise upon, of course), Mary moved on to attend to other diners. Thrilled as I was to meet THE Mary, I was also – I’m embarrassed to say – a little taken aback by the encounter. Not having experienced anything similar IRL before, prior to the M&T dinner I was pretty sure this kind of face-to-face “Main Street” interaction was the fictionalized stuff of political ads and Food Network shows. Having to ask oneself “Is this real?” is never a good sign, and while pondering the events of the trip on my walk back to the hotel I had to face the brutal truth that I may be out of touch with reality. Luckily I’m not running for office or a spokesperson for anything, but I’m pretty sure I could be used as a case study for why its bad to work in the arts and/or live in big dystopian cities. How did this happen? Can I blame LA again? Probably.

Disastre Total is a bit too overdramatic a description, but I will say that the past few months have been pretty rough. First there was a major family thing, but I won’t get too into it since this is not a TMI blogging-as-therapy site. Then there was the “you’re not being evicted” request for me to vacate my probably illegal, insanely cheap studio, followed by a frantic craigslist-based apartment search. And then the total element of the disastre total equation really picked up steam, first with a two-week delay of the move-in date to the new place, followed by a one week acceleration of the move-out date, a frenzied search for a place to keep my cats, and the stark realization that my SO and I would have to move all our stuff and ourselves into my tiny art studio. For three weeks. Did I mention my studio doesn’t have a bathroom? To top it off, after move #1 someone opened the door to the garage my cats were staying in and left it open, so my sweet little tuxedo cat Scrappy Jr. went missing, and according to neighbors “got eaten by a coyote for sure, bro”.

Scrappy Jr. is still missing, but luckily all the other disastrous elements of the past few months have been abated. I’m still sleeping surrounded by dozens of boxes of my possessions, but at least I have my own bathroom with a toilet AND a shower and kitchen with a real stove (!!) being delivered this week. I can’t wait to cook up things again for Eatingculture!!

==

Looking for an apartment always seems more fun in theory than it actually is. After living in almost-suburban Echo Park, I decided it was time to return to the warm gray cement embrace of a loft apartment. The first “loft” building I looked at promised a gourmet kitchen – which it kind of had, but also low unloft-like ceilings and black and white pictures of Marilyn Monroe and Audrey Hepburn in the hallway. After telling the property manager we were living in Echo Park he replied “Oh yeah, I lived there before. It was a little too … ‘artsy’ for me.” Uhh, OK. Next! Later after visiting several downtown buildings with the exact same furnishings and finishes, K and I realized that all the buildings were “SB” owned.  For some reason all the SB buildings also had a very distinct frat house/bro contingent. On one roof we saw a sign reprimanding people not to throw cigarette butts off the roof and leave beer cans in the pool. Yikes.

Conveniently my apartment hunt that day ended around the same time UMAMIcatessen’s soft open began.  A project of UMAMI burger’s Adam Kuban, UMAMIcatessen is not really deli-like at all but rather a full service restaurant that you can order from three different menus. I’m a sucker for variety so I was pretty excited to sample the wares. After a short wait K and I were seated at the counter of PIGG. While admiring the seductive leg of Belota on the other side of the glass, we supped on a mostly porcine centered meal of fried pig ears and brainaise (PIGG), a less warm than I would have liked matzo ball soup (The Cure), ham from the Ozarks (“Is this going to taste like meth?” -K) (PIGG), a country pate sandwich (PIGG), and a meyer lemon donut dusted with blueberry sugar (& a donut). While nothing blew our socks off, everything was very good.

While we were there the shortcomings of the admittedly confusing set-up came to the fore as a large group of drunk bros/broettes stumbled in. Given menus to scan while they waited for a table, I couldn’t help but eavesdrop on the litany of bromarks: “Dude, all I want is an American burger” “What’s UP with this menu??” And from the exasperated bro-ette, the coup de grace: “I fucking HHHAAATE this place. I wanna leave RIGHT NOW.” Soon after the group quickly fled the restaurant. The drunk bro/bro-ette group was followed by a solo diner who upon sitting down declared vociferously “ALL I WANT IS AN UMAMI BURGER. CAN I GET THAT HERE?” After being reassured several times that he could indeed order any Umami burger, the gentlemen ended up choosing a sandwich from PIGG. Being in a resto on opening night reminded me that I do not miss working in food service at all.

After the day was over, I realized I don’t actually want to live downtown. True, it has all the pedestrian-centric amenities I really miss from living in other urban cities, but it also has all the downsides (plus a few extra ones – aka Skid Row, aka weird LA Industry Bro culture) that I conveniently forgot about. If I’m going to pay more rent than I ever have in my adult life, I certainly can’t afford the money vaporization effect that inevitably comes from living too close to nice coffee shops, juice bars, gourmet bodegas, restaurants, etc. Maybe I’m getting old but for some reason feeling cramped, stressed, and impoverished just doesn’t have the same draw it did five or ten years ago. Or maybe I’ve just gone soft from living in LA too long …

High Tea Finger Foods (Before)

On Sunday (1/29) I had the pleasure of attending famed artist Vaginal Davis’ site-specific performance My Pussy is Still in LA (I Just Live in Berlin) at the Bullocks Wilshire Building (ex-luxury department store, current Southwestern Law School) as part of West of Rome Public Art’s (WoR) contribution to the Pacific Standard Time Performance and Public Art Festival. Loosely based on the book Insurgent Muse-Life and Art at the Woman’s Building by Terry Wolverton, the performance consisted of a mix of spoken word, vinyl record show-and-play, amazing dancing, and robot-seizure-diva body movements. As part of the performance, guests were treated to “pink bubbles” (pink sparkling wine) and high tea from Chado Tea Room. Unsurprisingly my group of friends made quick work of the tea snacks plate.

High Tea Finger Foods (10 minutes After)

Vaginal Davis mid-dance.

Ms. Davis Finale, post-collapsing on the floor.

For Ms. Davis, a Los Angeles native now living in Berlin, the performance served as a homecoming. For me, an LA transplant who’s lived here just over 3 years, participating in the performance felt like a much delayed welcoming. As a San Francisco native I’m genetically predisposed to hate LA, and for awhile I held the city at arm’s length. But slowly, semi-unconciously, I guess I let this place in. When I first got here I would not have understood references to being “born from the primordial ooze of the La Brea Tar Pits” or known who Soraya Sarhaddi Nelson (“SA-RIAHHHH Sar-HARDYYYYYYYYYYYYYY NELSOOONNNN!!!”) was, or hardly anything else mentioned in Vaginal’s performance save for Faith Wilding, my much beloved former professor at SAIC — but with three years of LA life under my belt I found myself laughing hysterically throughout the LA reference-laced performance. Sitting in an elaborately decorated room in Bullocks Wilshire enjoying high tea and watching Vaginal Davis convulsively dance to 70s punk rock as Southwestern law students taking a break from the library looked on in disbelief, I started to REALLY get why this paradoxical/cultureclashing/paradise/gutter that is Los Angeles is so great. Maybe I will stay longer than I thought …

While whether or not seeing women vomiting on each other or taking violent dumps in sinks qualifies as a feminist triumph is still being debated, in my mind there’s no arguing that Kristen Wiig and Amy Mumulo’s Bridesmaids was the most side-splittingly funny comedy of 2011. If it’s not obvious from the title, Bridesmaids is about bridesmaids – five “stone cold bunch of weirdos” – and their friend and/or family member Lillian (Maya Rudolph), the bride-to-be. Parodizing the already absurd customs of contemporary American weddings and upper crust Real Housewives-esque living, Wiig and Mumolo’s pitch-perfect comedy had me literally bending over with laughter throughout the film.

Bridesmaids Brown Bottom Cupcake: Vanilla cupcake with Chocolate Ganache, Whipped Cream Cheese Frosting, and Jordan Almond.

Borrowing a recipe for vanilla cupcakes from Amy Sedaris, one of my favorite comedians, and plopping in an obscenely large helping of cookie crumb spiked chocolate ganache, for my final “Movie-Inspired Dishes of 2011” dish I created a secretly messy, vulgar beast I like to call Bridesmaids Brown Bottom Cupcakes. Although they look nice before you bite in, the process of eating a BBBC quickly transitions from a sweet lady-like indulgence into a sloppy orgiastic affair. Since I knew the chocolate ganache would be overwhelming, for the frosting I lightened a basic cream cheese frosting recipe with whipped cream, and since I don’t care for sickly sweet things anyway, didn’t add a lot of sugar (relative to other frosting recipes at least). As I found out mid-cupcake, the frosting is not only lighter but leakier – on a warm cupcake the whipped cream based frosting flows into the nooks and crannies of the cake – and onto the eater. If you’re a messy bessie like me you’ll enjoy digging in with your hands and/or face, but others might want to use a fork. People who do not like having fun at all while eating will probably want to avoid these cupcakes altogether.

Bridesmaids Brown Bottom Cupcakes (makes 18-24)

Chocolate Ganache Filling:
1 1/2 cups Bittersweet Chocolate Chips (I used Callebaut)
3/4 cup Heavy Cream
1/2 cup Cookie Crumbs (I used Anna’s Almond Thins)

1. In a saucepan over medium-low heat, stir together chocolate chips, cream, and sugar until chips are completely melted and all ingredients have combined thoroughly. 2. Mix in cookie crumbs. 3. Transfer to a shallow dish and refrigerate for 20 to 30 minutes, or until you can form soft balls from the chocolate. 4. Set aside and follow instructions for cupcake batter.

Vanilla Cupcake Batter (adapted from Amy Sedaris’ recipe):
2 1/2 cups All-Purpose Flour
1 1/2 sticks of Unsalted Butter, melted
1 3/4 cups Sugar
2 Large Eggs
1 1/4 cups Milk
2 tsp Vanilla Extract
1/2 tsp Salt
1 1/2 tsp Baking Powder

1. Preheat oven to 375. 2. Mix together butter and sugar until they are thoroughly creamed. Add in wet ingredients and mix again. 3. In a separate bowl, combine dry ingredients and mix well. 4. Slowly pour dry ingredients into wet mixture and incorporate thoroughly. 5. Pour batter into individual baking cups until they are a little more than 1/2 full. 6. Drop in 2 tbs chocolate ganache filling into each batter filled baking cup. 7. Bake for 20 minutes or until golden brown.

Whipped Cream – Cream Cheese Frosting:
1 8oz package Cream Cheese
1 1/2 cups Whipping Cream
5 tbs softened Unsalted Butter
2 tsp Vanilla Extract
1/2 cup Sugar
1/8 tsp Salt

Decoration: Jordan Almonds

1. Mix together cream cheese, softened butter, vanilla, sugar and salt until they are thoroughly incorporated. 2. In a separate bowl whip whipping cream until it forms hard peaks. 3. Gently fold whipping cream into cream cheese mixture until appearance is uniform.

Assembly: After cupcakes have cooled, generously top with frosting and one Jordon Almond. Enjoy with friends!

This gallery contains 9 photos.

Some highlights from this year’s Art Los Angeles Contemporary Art Fair (ALAC) at the Santa Monica Barker Hanger January 19th-22nd, 2012. Seung Yul OH at ONE & J Gallery, Seoul Magnus Wallin, Collection, 2009, life-sized lacquered bronze popcorn at Elastic Gallery, Malmo

A universally relatable tale it is not, but anyone who has lived in a big city far from home may find Leap Year, Michael Rowe’s intimate portrait of a Mexico City young woman who develops an unhealthily motivated S&M relationship, to feel surprisingly familiar. I may not have asked a guy to murder me while giving him a hand job, but I have eaten beans straight from the can while watching TV. And lived in a dingy outer borough apartment. And had depressing liaisons with random douchebags. And lied to my mom about eating a good dinner.

Although I loved watching the film, I’ll agree there are some problems. Like some film critics I found the dark past and dad issues unnecessary info, and the postcolonial critique a lot less there than the writer/director would like to think. Having a thing for white boys does not a postcolonial critique make, although admitting to it can certainly be a good starting point for productive self-reflection.

When thinking up dishes for the film’s protagonist Laura, I knew I wanted to make something that was not much to look at from the outside but had a complex arrangement of ingredients on the inside. Although I toyed with doing a gordita, since Leap Year is set in Mexico City I ultimately settled on the “quintessential comida capitalina – the torta. In addition to the usual accoutrements, for Laura’s torta I added cochinita pibil (because there was a lot of porking) drenched in a black mole (b/c of her dark past Oaxacan origins) and strings of Oaxacan cheese for the infinite web of lies and half-truths she artfully spins throughout the film. Although the torta can always be eaten in a group, for me it is the perfect solitary food, suitable for a lonely weeknight dinner in front of the tube.

Laura’s Torta (serves 1)

1 Bolillo or other crusty bread roll, cut in half and toasted
½ Ripe Avocado
½ cup Smashed Pinto Beans
½ Ripe Tomato, sliced
½ cup Shredded Lettuce
2 oz. Oaxacan Cheese, shredded into thin strings
2 tbs. Mole Negro base
2 tbs. water
1 cup OK quality takeout Cochinita Pibil, shredded*
¼ cup pickled onions
Mayonnaise (optional)
Squeeze of Lime Juice
Salt and Pepper to taste

Cochinita Mole Negro: In a saucepan over medium heat mix together the Mole Negro base and 2tbs water until they form a smooth paste. Mix in shredded Cochinita Pibil, making sure to remove large pieces of fat, and stir until pork is fully integrated with the mole.

*Note: For those using better than OK quality cochinita pibil (or for those who feel uncomfortable mixing cochinita with mole), I suggest doing a separate layer of cochinita followed by the mole. Since I was using barely OK takeout cochinita and superior mole negro I felt pretty good about putting them together.

Assembly: 1. Spread both sides of bollilo with mayonnaise. 2. Spread smashed beans on bottom half and avocado on the top half. 3. Cover bottom half of bollilo with layers of Cochinita Mole Negro, Oaxacan Cheese, pickled onions, lettuce and tomato. 4. Season with salt, pepper, and lime. 5. Put two sides of bollilo together and slice in half. Enjoy!

Loosely based on a book given to director Apichatpong “Joe” Weerasethakul by a buddhist monk, Uncle Boonmee Who Can Recall His Past Lives is a lush and languid film chronicling the experiences of a landed Northern Thai man in the last few days of his life. Like other works in Weerasethakul’s multiplatform Primitive project, the film is set in Nabua, a now sleepy border town with a brutal and historically significant past. Shot on film in six different styles including “old cinema with stiff acting and classical staging”, “documentary style”, “costume drama” and “my kind of film when you see long takes of animals and people driving”, Weerasethakul’s semi-autobiographical work is a multifaceted memorial to his main character, the northeastern landscape and lost cinema styles of his childhood, and the medium of film itself. Interspersing Uncle Boonmee’s journey towards death with surreal vignettes that may or may not be related to his past lives, Weerasethakul leads us deep into the resplendent rural and cinematic jungle but leaves it up to us to chart our own pathways through.

Although one might assume a dying man would not have much of an appetite, in his last days Uncle Boonmee is surprisingly peckish. When not reflecting on his past lives or saying goodbye to loved ones alive and dead, in his dwindling hours Uncle Boonmee relishes in the earthly pleasures of homecooked stir-fried chilies, tamarind pods plucked from the tree, and honey finger-spooned from the hive.

Mulling over Weerasethakul’s themes of crossing borders, coexisting contrasts, reincarnation and transportation, my mind drifted towards the otherworldly southern thai rice salad I’ve eaten often at Jitlada restaurant in Los Angeles. Composed of about eight million disparate ingredients including jasmine rice, mango, lemongrass, ground shrimp, toasted coconut, thai chilies, and green beans, when mixed together with the sweet/sour/bitter/salty/umami khao yam sauce the jumble of colors, flavors, and textures magically transform into a cohesive and supernaturally tasty dish.

Sauce ingredients (Clockwise from bottom left): Coconut Sugar (aka Palm Sugar), Keffir Lime Leaves, Lemongrass, Galangal, Boodoo Sauce, dried shrimp, and Keffir Limes.

Using Jitlada’s Khao Yam (Rice Salad) recipe as a jumping off point, I made a few adaptations to reflect the visual and conceptual palette of Uncle Boonmee. Although Khao Yam is typically a southern Thai dish, rice salad seems nonetheless apropos given that a rice field was the site of the first battle between farmer communists and the Thai military that ultimately led to the bloody occupation of Nabua. To commemorate the Nabua rice field battle, I used black rather than jasmine rice. Much like the inky black tones of Weerasethakul’s night scenes, the black rice brings the other colors and flavors of the dish into sharp relief. The black rice also mirrors the fur of Uncle Boonmee’s lost son Boonsong, the black monkey-like spirit with flourescent red eyes. Integrating elements from Uncle Boonmee’s estate, for the khao yam sauce I replaced some of the palm sugar with honey and added tamarind.

The most daunting task is making the khao yam sauce, which literally takes more than four hours to complete. Working late into the night (2:30am!!) I stirred the bubbling liquid half-asleep, floating on a cloud of citrus and piscine vapors while drifting in and out of a dream-like stupor. In my altered state, the process of making khao yam seemed more akin to alchemy than mere cooking.

Salad ingredients post-chopping, pre-assembly.

Uncle Boonmee Khao Yam before mixing.

Uncle Boonmee Khao Yam after mixing.

While the process is not very complicated, making Khao Yam does require patience and fortitude. If performed with the right mindset, the repetitive tasks of stirring sauce or chopping vegetables into tiny pieces could lull one into a meditative state. For others it will be boring and tedious. Much like the film, the process of making khao yam is “a slow, meditative and often baffling journey visually gorgeous and worth taking.”

Uncle Boonmee Khao Yam

To make Uncle Boonmee Khao Yam, follow instructions for Jitlada Rice Salad, substituting black rice for jasmine, and to the sauce adding 3 tablespoons of tamarind pulp in the beginning and replacing the last 1.5 cups of palm sugar with honey. Prepare and eat with friends and family. Enjoy!

Shopping Notes: All supplies were purchased at A Grocery Warehouse in Echo Park and Silom Market in Thaitown. For one stop shopping I would suggest going to Silom. Boodoo (budu) sauce was the most difficult item to find since it was hiding in a low shelf in a completely different section than the rest of the fish sauces. Luckily the cashier at Silom was nice enough to help me find it.

The food in Terri, Azazel Jacobs and Patrick Dewitt’s tender portrait of a fat kid in pajamas awkwardly lumbering through high school, is not supposed to look appetizing. Offered up as evidence of Terri’s (Jacob Wysocki) depressing old-person lifestyle, meals at the Uncle James (Creed Bratton) residence seem to consist entirely of either overcooked gray-looking steak or beans on toast. So deeply embedded is their culinary routine that Terri’s request for cheddar cheese, a supply needed for Terri’s newfound enthusiasm for catching mice, elicits a concerned inquiry by Uncle James. Although everyone outside the Uncle James household finds beans on toast either oddly comical or just plain revolting, after multiple viewings I found myself craving a steaming plate of beans on toast – or as Mr. Fitzgerald (John C. Reilly) refers to it, “hobo food”.

Unfortunately I found that the straight forward version of beans on toast, a much beloved dish in the UK, isn’t actually as tasty as I imagined. Swaddled under beans and sauce, the toast quickly becomes soggy, and definitely does not have the satisfying toasty crunch the movie’s foley artists had me expecting. Undeterred by my initial food failure, I did a little culinary improv and came up with a dish I like to call Terri Toast.

Inspired by some pivotal scenes in the movie, I decided to switch up a few elements of the beans on toast template, making toast on beans rather than beans on toast (personal preference), exchanging the toast for a toad-in-the-hole (the home ec scene with Heather and Dirty Jack), and adding some cheddar cheese (the mice trappings) to the beans.

The resulting dish is more toothsome than regular beans on toast, but still simple enough that even Terri could make it for himself and Uncle James.

Terri Toast (serves 2)

2 pieces of sliced bread
2 medium eggs
1 can Heinz Baked Beans
1-2 oz shredded Cheddar Cheese
1/4 cup water (more or less depending on how liquidy you like your beans)
2 tbsp Butter
Salt and Pepper to taste

Beans: Heat a saucepan to medium heat and pour in can of baked beans. Add water and stir. Heat beans until steaming and lightly bubbling. Turn off heat and set aside.

Toast: 1. Cut a hole or other shape out of the middle of the 2 pieces of toast using a biscuit or cookie cutter, or whatever else you have on hand (I used the top of a thin tea canister). 2. Butter both sides of each piece of bread and cut out hole. 3. Heat a skillet to medium-high and add a pat of butter. Place the piece of toast and cut-out hole into the skillet. Cook for a minute (or until light brown) and flip over. 4. Crack open one egg and place it into a small cup. Pour the egg into the hole in the toast. Cook for a minute or until the egg white is opaque on the bottom layer. Flip over and cook for another minute or until egg reaches your desired level of doneness.

Assembly: Divide bean mixture between two plates. Grate cheddar cheese over beans. Place toad-in-the-hole and hole onto beans. Add salt and pepper to taste. Enjoy!

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