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The weekend is young, and I’m feeling partial to patty melts and Bloody Marys (with gobs of horseradish,
por please). I’m
Carolina A. Miranda, arts and urban design columnist at the Los Angeles Times, with the week’s essential culture news and chihuahua imitators.
Our cartoon avatars
The
cartoon is endlessly malleable, able to serve as a staple of children’s programming even as it questions gender norms (e.g. Bugs Bunny) or functions as a proponent of U.S. foreign policy (may I introduce you to U.S. soft power ambassador Donald Duck?).
Artist
Paul Pescador is interested in cartoons for those reasons but for many others, too: their saturated color, their emotionality cartoons are pure melodrama and their ability to render bodies in inventive ways. “There is no more abstract version of the body than the cartoon,” says Pescador. “You shift a pencil line and you make something more curved, and you make it more feminine. It can make this remarkable c
For the record:
9:00 AM, Feb. 09, 2021The Loma Prieta earthquake was in 1989, not 1984.
Fifty years ago this morning, millions of people were violently jolted awake just after 6 a.m.
For 12 savage seconds, the ground shook. Overpass bridges tumbled into freeway lanes. Hospitals crumbled. The San Gabriel Mountains lurched several feet south. It was a shock and terror so immense that not all victims were felled by physical destruction eight of the 64 deaths attributed to Sylmar earthquake were caused by heart attacks. Parts of the northeast San Fernando Valley resembled a war zone.
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The first quake was over before the clock hit 6:01 on Feb. 9, 1971, though the aftershocks would continue for years to come.
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Because it’s awards season, I’ve been knee-deep in historian Mark Cousin’s 15-part doc “The Story of Film: An Odyssey” and it is thoughtful, informative and takes a refreshingly global perspective on cinema. I’m
Carolina A. Miranda, arts and urban design columnist at the Los Angeles Times, with the week’s essential culture news and Washington dogfluencers:
The legacy of Chicano graphics
“Mujer de Mucha Enagua, PA’ TI XICANA,” 1999, by Yreina D. Cervántez collages images that reflect a range of artistic influences.
(Yreina D. Cervántez / SAAM)
Corn tortillas and edible ink.
Those were the highly unorthodox materials employed by a group of four Bay Area artists in the mid-2000s who called themselves
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