Tag Archives: Mexico

Chicago Riverside Stroll

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Intense periods of rain marked the day and into the night, with snow ahead. A nonsticking April sort of snow, but still carried by stiff unpleasant winds. A rearguard winter wind, and winter winds blow only in one direction. In your face.

It was merely chilly Saturday before last when we strolled down Wacker Drive and Michigan Avenue in the evening in downtown Chicago, partly along the Chicago River. Some old favorites rise in that area, such as Marina City.

Idly curious, I looked up some listings for condos in the building. For less than $300,000, one can buy a 500-square foot unit, listed as zero beds, one bath. I wonder what that means in context: a Murphy bed? Not like some utilitarian job you might have found in the Kramdens’ apartment, but maybe something a little more upmarket. Are there upscale Murphy beds? Of course there are.

At more than 60 years old, Marina City doesn’t count as the newest and poshest, but it has historic appeal, and has any other residential complex seen a fast-moving auto pitched out of its parking garage into a river? Such happened for The Hunter (1980), the last Steve McQueen movie. A bad guy’s fate, if I remember right.

The Wrigley Building, legacy of a chewing gum fortune. What more to say about the masterpiece on the Chicago, open now these last 100 years?Wrigley Building 2024 Wrigley Building 2024

The courtyard north of the building is formally the Plaza of the Americas, which I’m sure only tour guides call it. On windy days the flags of the OAS fly over the plaza. Does the actual flag of the OAS also? Its design: Let’s wheel all the national flags together. It’s a recognized way to organize flags, but on a flag? 

At the west end of the plaza is a bronze Benito Juárez, a gift of Mexico to the city of Chicago in 1999, with one Julian Martinez listed as the artist (not this artist). At night, Juárez doesn’t catch the light very well.Benito Juarez Chicago

These golden wings are a newer addition to the plaza, 2022, and supposedly temporary. Another of the pairs of wings that have sprouted worldwide, though these are sculpted, not painted.Wings of Mexico

“Wings of Mexico” by Jorge Marin. A little digging around, and I see that he did “El Ángel de la Seguridad Social,” which we spotted in Mexico City.

Pretty Sure It Will Be Dry February As Well

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Not only are we rid of January today, it was the most pleasant weather I can ever remember on a February 1 in northern Illinois: sun out sometimes, temps touching about 50 F.

YouTube algorithms are getting better at their game. Or so it seems. Today they suggested a Mexican ska band, Mexican Nutty Stompers, who have just released an album. The song, “Souvenir.” I was the 83rd listener.

Never mind the delight in finding Mexican ska when you didn’t such a thing existed, whoever the lead singer is, she’s got some voice. I might look into finding out her name, but for now the voice is more than enough.

A snippet from a press release that came a few weeks ago:

Embrace the spirit of Dry January with Hotel ZaZa Memorial City. Dine in at Hotel ZAZA’s Tipping Point Restaurant and Terrace and indulge in exclusive mocktail specials, crafted to make your taste buds dance without the spirits. Throughout the month of January, enjoy a selection of zero-proof concoctions, each priced at just $8.

Closer to my wheelhouse, but not quite in it. Still, I learned a couple of things from the release. One, Hotel ZaZa Memorial City is in Houston. Zaza is a collection of boutique hotels in Texas, in fact, with locations in Austin and Dallas too. I wasn’t familiar with the brand, but it looks posh all right. Also, this is the essence of the luxury hotel business: serving drinks at what would be a very reasonable price, if they contained any alcohol.

Dry January. I had to look around for more information on that, and it turned out to be a thing. Not sure if it’s just a thing of the chattering classes, or has stronger purchase on the steep slopes of American culture, but anyway you can find mainstream articles about it. Never heard of any of that. I’m late to the party, as usual. Or the non-party, considering no alcohol is served. As we all know, alcohol is essential to any fun party. That’s true in song and story.

The concept is simple enough to be a thing: Dry January just means not drinking alcohol during January, presumably timed to come after personal bacchanals in December. The hotel is using the concept to sell mocktails, but people do seem to use the idea to improve their lives. Good for them. I found it a little hard to imagine, though. Every January is Dry January for me.

I did order, and drink, an Old Fashioned at the bar of the Nashville Italian restaurant where we had dinner on the last full night with my friends in November. We were waiting for a table, so we all sat at the bar, enjoying some lively conversation with each other.

We also spent a few minutes watching the bartender, a nattily dressed slip of an African-American young man, maybe 30, who seemed to be everywhere behind the bar doing everything all the time, but mostly assembling the various liquors for his cocktail creations. With an economy and grace to his movements that spoke of years of practice. He was an artist.

So I wanted to order something from him. But what? As I later explained to my friends, a little part of every man wants to be Don Draper, so the drink in front of me was my homage to the character, and a vehicle to provide a nice tip for the bartender.

A little more than 12 years before ordering the Old Fashioned in Nashville, I ordered one in Appleton, Wisconsin on a press trip because I recently heard of the drink on Mad Men and was curious.

But mixed drinks haven’t been how I’ve usually spent my money over the years. All those years later in Nashville, I nursed my Old Fashioned a while – I’m not a hard-drinking TV character, after all – and concluded that I hadn’t had a bar cocktail between those two times, only occasional beer and wine, most of which wasn’t at bars anyway. What’s the term for that? Not teetotaler. Quasi-totaler?

Mid-September Sights

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Chilly nights, warm days. Such are conditions here in Illinois not long before the fall equinox. The trees are still holding on to their leaves, including our quaking aspen.

Goldenrod, seen here in the back 40 of my yard – that is, the back 40 square feet or so, and how is it farmers had back 40s? Something to do with a quarter of a quarter section, which would be 40 acres, though I expect the metaphorical sense long ago superseded the literal one.

Out on a northwest suburban street.

It isn’t until Saturday, but some local motorists have been ready for Mexican Independence Day since last weekend.

Trotsky Postcard (Maybe)

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Come on, fraudsters. You’ve got to try harder. These things need to be in perfect English.

Then again, maybe not. I have impossibly high standards when it comes to phishing.

Below is a more recent postcard, though maybe not actually a postcard, but a postcard-sized image of exiled Trotsky. There’s nothing printed on the other side. Maybe the revolutionary considered postcards to be bourgeois frivolity.

I don’t actually know that, just a hunch. Could be I need to read The Permanent Revolution and Results and Prospects more closely to ascertain his take on postal items. Somehow, I don’t think that would be worth the effort.

In any case, I picked it up at the gift shop of the Museo Casa de Leon Trotsky in Mexico City in late 2017, which I wrote soon after was “heavy on socialist books and portraits of Trotsky for sale and light on tourist gimcracks.”

National Museum of Mexican Art ’15

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Five years ago this month, I made it to the National Museum of Mexican Art in the Chicago neighborhood of Pilsen, in time to see its annual Día de los Muertos exhibit. This year it was cancelled as an in-person event, as you’d think. No visiting the Day of the Dead exhibit in person, to reduce the chance of Death coming your way.

I haven’t visited since, though there’s still time to see this year’s exhibit virtually, which is probably interesting, but not as satisfying as being there. If this year has taught us anything, it’s that primary experience is primary.

At the National Museum of Mexican Art, I experienced art skulls.

Day of the DeadDay of the DeadDay of the Dead

Two Puebla artists, Jose Antonio Cazabal Castro and Silverio Feliciano Reyes Sarmiento, created this monumental altar for Day of the Dead celebrations in the town of Huaquechula in the state of Puebla. Remembering a boy, looks like.

One more.
A detail, most of it really, of “Skeletons of Quinn/Calacas de Quinn,” a 2015 work by Hugo Crosthwaite of Baja California.

One Mexican Peso, 1950

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I don’t remember where I got this Mexican one-peso note, dated 1950.

Maybe my great-uncle Ralph (d. 1971) picked it up during his time in Mexico, giving it at some point to his sister, my grandmother, and my mother got it after that. It possibly came to me because I was the only one in the family with much interest in non-U.S. banknotes.

What Ralph did in Mexico, or why he went, or even when it was, I don’t know, just that he went there from time to time — that much my mother told me. I would have thought that the 1950s would be a little late for south-of-the-border cowboy or oil field work such as he did, since Ralph turned 60 during that decade, but then again, he was a tough old cuss, and besides, 60 doesn’t seem like such an advanced age to me anymore.

Also, I have a set of four five-peso coins soldered together to make what looks like a coaster — a square shape, except made of disks — and I know Uncle Ralph did that, per information from my mother. Three of the coins are dated 1955, one 1956, so it seems a safe bet that he visited sometime during that decade. For all I know, lifelong bachelor Ralph had an out-of-wedlock child or two in Mexico that the rest of his family knew nothing about. Seems unlikely, but certainly not impossible.

All speculation. I don’t really remember where I got the note. It’s also possible I got it 30 years ago at a coin shop for a few dollars from a box of cheap foreign banknotes. Whatever the reason, I’m glad I have it. While not in mint condition, and not worth much as a collectible, I like the design.

Instead of a Mexican patriot of some sort, the Aztec Sun Stone is right there on the obverse, done in an incredibly intricate grayscale engraving, surrounded mostly by more dark inks, with hints of red and blue.

Nice work by the American Bank Note Company, former NYC-based manufacturer of banknotes to many nations, now a Connecticut-based maker of plastic cards and other transactional tech. That company, or a competitor, might have been behind the tech that enabled my bank to issue me a new debit card on the spot a couple of years ago, after the one I’d been using had worn out. I was astonished. I expected to have to wait a few days at least.

But, as the ABCorp web site says, “In the world of digital & mobile, here and now the thought of waiting 3-5 weeks for a new credit or replacement debit card is antiquated.” So are solid corporate names, like the American Bank Note Company; must have been sometime in the ’80s when it became a three-initial corporation.

Back to the Mexican banknote. I wonder whether anyone handling my one-peso note in the 1950s ever gave any thought to the fact that it wasn’t made in Mexico. That in fact it was made in the United States. I can imagine the idea irritating hard-core nationalists, but the simple truth is probably that most people didn’t notice that at all. Any more than people who handle U.S. currency give a thought to E Pluribus Unum, or on the $1 note, Novus ordo seclorum or Annuit coeptis. (Though of course a few crackpots overthink the dollar bill.)

The reverse of the 1950 one peso note is mainly red. Not as dramatic as the obverse, but for sheer symbolic drama, it’s hard to beat Aztecs anyway.

Rather, it speaks to more modern times in Mexico. Independence, at least, since the column depicted is the Monumento a la Independencia, less formally El Ángel, which is on a roundabout of Paseo de la Reforma in Mexico City.

We weren’t far from there during the New Year’s Eve countdown going into 2018. A fine monument, but as a vertical shaft it doesn’t translate all that well to a horizontal banknote. A depiction of El Ángel by itself would have filled out the space better.

Punta Mita 2009

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Been almost exactly* 10 years since I visited Punta Mita, near Puerto Vallarta in Nayarit state. An awfully pleasant little trip, with plenty of views of the Bay of Banderas and its coastline. Including these images, but also these.
The villa where we stayed was much more luxurious than my usual haunts, at home or elsewhere.
Including a small infinity pool. A novelty for me.

It was the dry season, so the non-irrigated land was dry.
Naturally, the golf course was irrigated, except for the hole on a peninsula. I don’t play golf, but I was happy to wander around the course, on foot and in a golf cart.

Our guide around the resort.

She had an exotic background, if I remember right. A father from — Syria, I believe — who immigrated to one of the northern South American countries, where her mother was from. Later they came to Mexico.

* Some long-ago teacher got on my case for using the phrase “almost exactly.” Red-inked it, I think. “Either it is exact, or it is not” was, I believe, the faulty reasoning that gave birth to that nonsense. I can say now, in my opinion as a professional writer of some decades, that there’s nothing wrong with the construction.

The San Antonio Museum of Art

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Besides the Briscoe, last Tuesday I visited the San Antonio Museum of Art, which is just north of downtown and also happens to be no charge in the late afternoon and early evening every Tuesday.
The SAMA complex is a major adaptive reuse project from the 1980s. The former Lone Star Brewery, whose solid brick buildings dated from the late 19th and early 20th centuries, was transformed into the museum, complete with neon-decorated skybridge on the fourth floor. Sounds Vegas-like, but it isn’t garish.

The museum has a sizable collection befitting its location in a sizable city, including ancient Egyptian, Greek and Roman art, North American, Latin American and Spanish colonial pieces, collections representing Japan, Korea, and India, three galleries of Chinese works from early times to later dynasties, Near Eastern art, an Oceania gallery and more.

I decided to focus on two of the museum’s strengths — art from Antiquity, especially Rome, and Latin American folk art — though I did spend some time looking at American paintings and Texas artwork.

Here’s something that gets your attention, or ought to, right when you enter SAMA’s commodious Roman art gallery.
A second-century CE statue known as the Landsdowne Marcus Aurelius. Wonder what the original colors looked like.

“Begun by Gavin Hamilton (1723-98), one of the most prominent British explorers of classical sites of the eighteenth century, the Lansdowne Collection came to hold more than one hundred stellar examples of classical statuary, displayed in a specially designed gallery in Lansdowne House in London,” says a blurb for Reconstructing the Landsdowne Collection of Classical Marbles.

“The collection, however, was dispersed in the years after 1930, and its works are now scattered across the globe.”

This particular one wound up at SAMA, a donation of the 20th-century American owner of the piece, a rich fellow I’ve run across before: Gilbert Denman Jr. In fact, he left his collection of ancient art to the museum, making the gallery possible.
Another Denman bequest: the Lansdowne Trajan. The Romans were clearly not shy about official nudity.
A beat-up portrait of Hadrian.

Here’s something you don’t see every day: Etruscan art.
In this case, a lid from a sarcophagus. Considerably worn, with an unsettling face that looks at us from across 25 centuries or so. As historical peoples go, the Etruscans are a half-remembered fragment of a haruspical dream.

I also spent time at the Latin American Folk Art gallery, which is part of the Nelson A. Rockefeller Center for Latin American Art. Rockefeller had his hobbies, and one of them was collecting Latin American folk art.

As the NYT reported when the center opened about 20 years ago: “When Nelson A. Rockefeller made his final trip to Mexico in 1978, several months before his death, his eye was drawn to a small hacienda surrounded by a picket fence along a rural road in Oaxaca. Atop each picket was a tall, strangely striking figurine made of rough pottery.

“The former Vice President stopped the car, walked to the door and discovered the shop of a family of potters. Each statue on the fence had been damaged somehow in the making and just perched on the fence to help advertise the shop. They were evocative pieces spanning many years, left to bake in the Mexican sun. Rockefeller bought them all.”

These fellows greet you at the gallery.
Molds for papier mache figures, ca. 1930, artist unknown, from Celaya, Mexico.

The work of another unknown artist.
A Parachico Mask (Mascara de Parachico) from Chiapas, Mexico. Polychromed wood, glass, ribbon and cactus fiber. Ca. 1970 and about as funky as can be.

By contrast, the artist of these delightful creations is well known.

They’re painted earthenware by Candelario Medrano, a Mexican artist who died in 1988. “Medrano began his career by producing toy whistles, mermaids, roosters, and other animals,” the museum says. “Later, he placed them on airplanes, boats, towers, merry-do-rounds and trucks, thereby creating delightful and colorful scenes of fantasy.”

As usual, the museum isn’t selling postcards based on artwork that would make unusual cards, like this.

“The Psychoanalyst (El Psicoanalista),” ca. 1994 by Jose Francisco Borges of Brazil.

Mid-January Debris

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Never mind what the Rossetti poem says, the bleak midwinter is about now, in mid-January, which is bleak, and which is smack in the middle of meteorological winter.

Dogs don’t mind, though. They’re already wearing coats.

One more pic from Mexico, a statue on Paseo de la Reforma.

“El Angel de la Seguridad Social,” a bronze by Jorge Marin, erected in 2013.

As gob.mx says, “Como parte de las actividades conmemorativas por el 70 Aniversario de la fundación del Instituto Mexicano del Seguro Social (IMSS),” the Mexican Social Security Institute. That’s the branch of the Mexican government in charge of public pensions and public health, established in 1943.

My brother Jay got me a Suprematist tea cup and saucer for Christmas.

On the bottom, something unusual: Imperial Porcelain – 1744 – St. Petersburg – Made in Russia. I’d probably have to look high and low around my house to find anything else made in Russia, and even then there might not be anything else.

Stinkin’ Badges

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All of us went to a screening of The Treasure of the Sierra Madre on Sunday, one of the old movies that TCM shows in movie theaters periodically, in this case for the 70th anniversary of its release. I can take or leave Ben Mankiewicz doing the introduction, as he might on television, but for someone who hasn’t seen the movie, I guess they’re informative.

No one else in the family had seen it. I had, on tape about 25 years ago. Good to see it again, and on the big screen. Like for Casablanca, the movie didn’t fill the house, but there was enough of an audience for an audible chuckle when the subject of badges came up, as most of us knew it would.

Remarkably, “Stinking Badges” has its own Wikipedia page.

This is the kind of thing I wonder about when I’m watching a movie again: just how far would a peso go at the time when the movie is set (1925, despite the appearance of some later-model cars)? Maybe that came to mind because I was handling pesos recently.

Early in the movie, Fred C. Dobbs (Bogart) panhandles three times from the same well-dressed American in Tampico — played by director John Huston — eventually claiming not to realize it was the same man, who tells him off. The well-dressed American clearly gives Dobbs a Mexican peso of immediate post-Revolution vintage: one of these, I could see.

A very common coin at the time: from 1920 to 1945, about 458.6 million of them were minted. It’s a nice coin, composed of .7199 silver and weighing 16.66 g (12 g silver) though not as weighty as a U.S. Peace dollar of the time, .9000 silver and weighing 26.73 g. So what was Dobbs receiving when he got one?

According to the movie at least, which I realize had no obligation to be accurate, enough to buy a meal or a few drinks or a haircut with change left over. The haircut scene was interesting for another reason: Bogart was bald by this time, but after the pretend haircut and oiling of his hair, he didn’t look like it. Probably the work of hair stylist Betty Delmont, if IMDb is accurate.

Also, McCormick (Barton MacLane) promised Dobbs and Curtin U.S. $8 a day for working on his oil rig. That’s about U.S. $114 in current money, but what did it mean in pesos in 1925, when the cost of living was surely a lot less in Mexico?

Curious about the exchange rate, I did some looking around and found this interesting table posted by the St. Louis Fed: average annual exchange rates to the U.S. dollar in the 1920s. That would be the Coolidge dollar that Cole Porter sang about being the top. To answer the question about pesos, it seems that ca. 1925, the rate was about two pesos to the dollar. So if Bogart could get 16 pesos a day, when he could feed himself for two or three, that’s not bad.

Of course, Dobbs and Curtin didn’t get any of that until they beat it out of McCormick. You’d think that if McCormick had made a habit of swindling oil-rig workers, and still walked around openly in Tampico, he’d at least have carried a pistol.

Another thing I noted while looking at the table. In 1922, a French franc was worth about 8.2 U.S. cents. By 1926, the rate was 3.2 U.S. cents to the franc. No wonder Hemingway could afford to drink himself silly in Paris, and Liebling could afford to eat himself fat. Further examination of the table traces the course of the great inflation not only in Germany, but also in Poland and Hungary.

One more thing: when looking into the value of the 1920s peso, I happened across an interesting essay about the economics of The Treasure of the Sierra Madre by a Wake Forest economist named Robert Whaples.

Toward the end of the essay, Whaples offers this observation: “In these scenes and others, the film examines altruism; bargaining and negotiation; barriers to entry; creation of capital; capital constraints; compensating wage differentials; contract enforcement; corruption; cost-benefit analysis; credence goods; debt payment; deferred compensation; economies of scale; efficiency wages; entrepreneurship; exchange rates; externalities; fairness; the nature and organization of the firm; framing effects; game theory; gift exchange; incentives; formal and informal institutions; investment strategies; job search; the value of knowledge; labor market signaling; selecting the optimal location; marginal benefits and costs; the marginal product of labor; natural resource extraction; opportunity costs; partnerships; price and wage determination; property rights and their enforcement; public goods; reputation; risk; scarcity; secrecy; sunk costs; supply and demand analysis; team work; technology and technological change; the theory of value; trade; trust; unemployment; and the creation and recognition of value and wealth.

Can any other movie offer more?”