Sustainable meat in Miami?

Yesterday I casually mentioned going back to vegetarianism on Twitter, and I got some responses! Arielle Castillo, music blogger turned chef, mentioned The Vegetarian Myth. I haven’t read it, but I’m familiar with the basic argument — that it’s ok to eat meat so long as it’s sustainably produced.

Sustainable meat means something fairly specific, described best in Michael Pollan’s The Omnivore’s Dilemma (which I have read, and which I heartily recommend). It involves animals raised the way they would have been on small farms before industrialization — cows eating grass while fertilizing the ground with their manure, chickens eating the grubs that grow in the manure, etc etc. It’s markedly different from the factory farming that raises 99% of the meat available in the US. And — critically — the factory farming that raises 100% of the meat available in South Florida. Because the small farms that produce truly sustainable meat? They just ain’t here.

Feedlots — how practically all meat is produced in the world today.

Or maybe that’s an exaggeration? The chain Chipotle makes some weak claims to “attempting” to buy “some” of their meat from sustainable sources. I suppose eating there is at least a wallet-vote for more production like that. Then there’s places like Miller’s Organic Farm, which produces sustainable meat in Plantation for customers it deems sufficiently worthy. The application asks why you’re interested in their products and provides a box for a short essay answer. What’s going on here?

Maybe it’s the start of something. Michael Pollan started a wave of increased consciousness that’s slowly sweeping the nation, and places like Miller’s Farm are the tip of the iceberg. Maybe their bizarre buying model is based on their small quantities and slowness of retailer interest. Arielle tweeted later that she’s maybe working on a story about these farms, so let’s look forward to that.

Two things to mention before I end. The other book I should mention is Jonathan Safran Foer’s Eating Animals, which is very well summarized in his article for the New York Times — as pasionate an argument for vegetarianism eating non-sustainable meat as you’re going to find. And lastly, forget “organic” meat. The stuff at Whole Foods labeled organic comes from the exact same factory farming system as non-organic food, except that those animals are fed “organic” corn meal instead of regular corn meal. They’re better, but only marginally, and they don’t address the basic objections raised in these books.

Art Basel 2010 – first look

art basel miami beach

Hey folks, Art Basel’s here! Time to break out your dark suits and pink sneakers, or whatever it is you do when you want to impress your fellow art people. I can’t tell if it’s me or the art, but I’m starting to get bugged by the over-prevalence of art that combines a few random elements in a faux-careless arrangement and calls it a day. Luckily as always there are lots of exceptions to every rule, and lots of delightful and profound things to be seen. Overall the fair’s taken a more subdued turn from years past, but there are plenty of exceptions to that rule, too. For example see above: The Brain Trap, by Robert Williams at Tony Shafrazi’s booth.

art basel miami beach

The day starts off at the Rubell Collection, where Jennifer Rubell created a breakfast installation for all comers. Breaking a person-sized hole in the wall behind the Rubell’s fabulous collection space, she bought and gutted the house behind the property and installed a series of pedastals in conjoined rooms. On the first, hundreds of small ceramic bowls. On the next a mountain of spoons. And so followed crock-pots of porridge, packets of sugar, and boxes of raisins. Attendees emerged back onto her patio with the delicious little bowls.

art basel miami beach

Inside, of course, the contemporary art is unrelenting. But anyway, back to Basel.

art basel miami beach

You want painting? So does everybody I think. It goes over your sofa and impresses your friends. Unfortunately, from wandering around Basel you’d think artists weren’t making them anymore — all the paintings seemed to be old. Here’s one from 1987, and it’s by Guillermo Kuitca, at Mary-Anne Martin Fine Art.

art basel miami beach

You want photography? There was a little more of that going on, but even then not much! This is a nice new piece by Thomas Struth (you should seek it out, because there’s a spectacular boat photo next to it). There were also a number of Candida Höfer photos around, prominently displayed. (Don’t talk to me about Thomas Ruff — he’s put his talent on hold while he plays around in photoshop with pictures of naked girls he’s downloaded from the internet.)

art basel miami beach

Some drawings by Sandra Vasquez de la Horra in one of the Art Kabinett mini-booths. I guess drawing is still cool, as there was plenty to be found, both in the anal/detailed genre and in the crude and rough mode. But let’s move on to some of the more fun stuff, eh?

art basel miami beach

Nick Cave’s Sound Suits at Jack Shainman were a hit. They’re covered with buttons, and 100% wearable. And yes, that Nick Cave.

art basel miami beach

The great (and department-of-skills-y) lunar lander model by Tom Sachs at Sperone Westwater. Huzzah to the New York obsessives!

art basel miami beach

A 2001-monolith-looing stack of speakers and amps that turns out to be set up with piano wire and guiltar pickups on the back and playable. Naama Tsabar at Dvir Gallery.

art basel miami beach

Damien Hirst continues to find new ways to say “fuck it.” Here’s a detail of a huge gold(?) cabinet with rows and rows of emeralds. I would like for Kayne West to buy one of these for his bedroom.

art basel miami beach

This amazing chandelier thing goes with Neuger-Riemschneider gallery, but I couldn’t quite figure out the artist’s name.

art basel miami beach

Here’s the rest of the booth, with uncomfortable wax over rebar statues.

art basel miami beach

They’re charging money to get in to Design Miami ($25!), when the only thing really worth seeing is the jungle room and maybe the space-age pod bed you can see at the New Times’ slideshow.

art basel miami beach

The Video lounge was all but eliminated this year, replaced by a few pods in the middle of the fair. But less turns out to be more — the pods are very practical (with good noise-blocking headphones), and themed with very well curated work. Pick up the brochure before just sitting down.

art basel miami beach

Mmmm… skateboards. Mounir Fatmi, Lombard-Freid.

art basel miami beach

Old-school charming conceptualism, there you are! Matthew Buckingham’s chalkboard indicates, “Close doors when not illuminated.” Murray Guy.

art basel miami beach

OK, that’s enough for now. I wanted to show you some nice ceramic vases that I saw (seriously!) but let’s end with something bright… Ryan McGinness’ work at Michael Kohn, which I JUST NOW noticed indicate “Acrylic on canvas,” (they looked for all the world like digital images in person), so maybe rethink the thing about painting being dead?

Art Basel 2010 warmup

positions

Well folks, it’s that time again. The weather is completely going to be cooperating this year: a little drizzle tomorrow, and then cool and beautiful straight through the weekend. You can find some absurdly overstuffed lists of “events” so I’m going to link to a few of the more moderated things

  • ArtFagCity’s list of fairs, with the caveat that I think Scope has always been worthwile, and is high up on my list.
  • Liz’s guide to events and parties at The Heat Lightning. I’ve been adding events there, so it’s official to me.
  • Another good guide to the fairs at Beached Miami. And here is a pretty nice PDF map that you can print, with locations and deets on all the fairs.
  • The New Times’ list also looks pretty good.
  • And here’s an oddball list of events in the New York Times(!).

Here’s a tentative list of things I may or may not do, which I WILL be adding/correcting to:

Tuesday Nov 30

  • Opening of Frances Trombly: Paintings at Girl’s Club, Ft. Lauderdale.
  • Arts for a Better World opening.

Wednesday Dec 1

  • 10 pm Art Loves Music (Metric)

Thursday Dec 2

  • MAM Party, Scope party, NADA party(?)
  • Basel Antics (Phantogram!)
  • Transit lounge: live performance by Panic Bomber with a band

Friday Dec 3

  • 4 – 8 pm — Island (at the mondrian)
  • 7-11 pm — Reception at Carol Jazzar

Saturday Dec 4

Sunday Dec 5

  • Breakfast in the park, FIU Frost art Museum

Miami book fair shopping guide

books In the past I’ve questioned the point of going to a book fair, but of course there are lots of great things about the fair. Hopefully by now you’ve “scoured the program”: and figured out which author events you’re attending. Now it’s time to hit the tents and look at some books. There are a couple of hundred exhibitors, and many have thousands of books, so you’re going to be overwhelmed. Even if you’re not planning on buying anything, bring a couple of sturdy tote bags, just in case. Here’s a taxonomy of booths you’re going to find, in ascending order of how useful I, personally, find them.

  • Sponsor booths: Bless the sponsors, for they make the book fair possible. Some of them are actually great organizations, too, such as WLRN and the Arsht Center. But you’ve got books to see and no time to chat. Walk on by.
  • Libros en español: Actually some of these are fun to look at. In particular the books in the Mexican pavilion are fun to browse for their interesting, European-style cover designs.
  • Spiritual/religious stuff: Lots of books are religious books, and lots of book stores are religious book stores. If that’s your thing, have at it.
  • Single-book booths: These are mostly lunatics with a self-published title and to be avoided, however one guy with a guide to retiring into homelessness is completely entertaining and worth checking out (you’ll see a chair made of pvc pipe and soda bottles).
  • Event booths: For example, the Key West Literary Seminar has a very nice booth with a carefully culled selection of food books (food books being the theme of their January 2011 get together).
  • Used books: Just be careful — it’s very easy to buy more than you can comfortably carry for the rest of the day. Come back at the end of the day on Sunday when you’re going straight home — odds are you’ll be able to get a better deal then anyway. The better used book booths have their stuff meticulously organized into categories. I gout a copy of a book published by UM in 1970 about the effects of pollution on Biscayne Bay from Leedy’s books for $10, but if you’re in the market for Freakonomics, The Audacity of Hope, a Kurt Vonnegut novel, or something along those lines, you should be able to find them used for very nice prices.
  • Historical/collectors books: You book collectors know who you are. For the rest of us, these are lots of fun to browse (they sort of merge with the category above to some extent).
  • The Council of Literary Magazines and Presses: This one is worth seeking out — literary journals you haven’t seen since that time you got lost in the library at college. But lots of the writers in these publications are the stars of tomorrow, and some are hardcore avant-gardists. Generally all these publications are exceptionally well edited, and they’re beautiful as little mini-book objects. Many have art and photography in addition to poetry and short stories. When I stopped by, they were going 2 for $2 or 5 for $5(!), and i found it irresistable not to grab a bunch just on the basis of covers.

One last thing — DO stop by the Mexican pavilion to eat. They have awesome stuff, not the least of which are shockingly good mole pork enchiladas. Yum.

Miami International Book Fair – a quick flip through the guide

mitchell kaplan

I went to see Eugene Robinson and Pat Conroy last night; both were really interesting, and as entertaining as John Waters in their own ways. (That’s Mitchel Kaplan, owner of Books & Books the patron saint of the fair, introducing Conroy.) But onward and upward! Here’s what’s on my to-do list after a cursory look through the Fair’s guide and website. You should still check out Hillary’s guide for the full scoop. I’ll be adding to this post a little bit throughout the day from the fair.

Friday, Nov. 19

  • 8pm, Patti Smith: Hopefully you have your ticket already!

Saturday, Nov. 20

  • 11:30 am, Dave Eggers: Talking about his book Zeitoun. Like he’s ever not interesting. (Tickets required, but free. Hit the site now to get them. Room 3210.
  • 2 pm, Write that Book Already!: I think this is part sort of a motivational thing, part guide to the publishing industry. I’m not aware of planning to write a book, but this might be fun? Room 3314.
  • 3:45 pm, Storyteller Gerald Hausman: In the kids area! Folktales from Native Americans, the Caribbean, and and Old Florida.
  • 4 pm, Climate and the Environment: “Experts exchange views, both terrifying and hopeful.” I wonder if there will be any experts or pro-geoengineering folks on the panel. Room 7106

Sunday

  • 11 am, How to Get Published Successfully: This sounds like the guide to the publishing industry. Also: “harnessing the power of social media.” Room 3314.
  • Also at 11, Doxtors Without Borders – Writing on the Edge: Based on a book for which a bunch of writers and a photographer visited DWB sites around the world. Could be amazing! Room 7128.
  • 12 pm, Haiti Noir: Murdes and mysteries set in post-earthquake Haiti. Moderated by Les Standiford. Presentation Pavilion A.
  • 2:30 pm, Bits N Pieces Puppet Theatre, Hansel and Gretel: Four words: Nine foot tall puppets. Once Upon a Time Stage, kids area.
  • 5 pm, Jonathan Franzen: On Freedom, and on being Franzen. Room 3201.

John Waters at the book fair

john waters miami international book fair

Downtown Miami was going crazy last night because of the Heat game, but a few blocks away there was a smaller, but in its own way more intense gathering. John Waters was in town for the Miami International Book Fair. In a huge room at Miami Dade College (don’t call it “Community!”), Waters packed in a crowd of intense folks of both genders and all ages — many born after his most notorious films were released.

Waters is a charmer. He’s got the self assurance about him that comes to many with a ge, though I get the feeling he was a pretty confident guy from the beginning. He was interviewed by my pal Brett Sokol (who, incidentally, did a great job, tho the q&a afterwards suggested that you could throw absolutely anything at Waters and elicit a stream of fascinating anecdotes), who at one point asked if Waters and his friends felt cool when they were making the first few movies. “Well, yes,” Waters responded. I don’t know exactly what it is about film directors, but they seem to almost always be fascinating people. (For example, check out the video of Errol Morris and Werner Herzog chatting recently—the conversation is irresistqble even if you’ve never seen a single film by either of them.) Here, then, a few of my favorite of Waters’ anecdotes from last night:

  • He had a subscription to Variety when he was 12 years old.
  • He’s currently got a film in pre-production, but his last film fell through/was rejected by the studio. It was “a children’s Christmas movie … about a family of meat thieves.”
  • When he was a little kid, he’d look up Tennessee Williams in the library, and the index would say “see librarian,” because Williams’ work was considered controversial. Same thing when he looked up “homosexuality.” See librarian. Waters quips, “well, I could see that the librarian was homosexual…” But he quickly makes an interesting point — not just that there’s absolutely no reason to keep any book fron children, but that it’s a bad idea to keep children from exploring anything that they’re interested in, because the things that they’re forbidden from doing can come to loom large in their imagination and form obsessions later in life. (He said it much smarter than that…I’m working off some sketchy-ass notes here.)
  • Complete strangers tell him their darkest secrets all the time. “I’ll get on a plane, and the woman next to me will lean over and say, ‘my whole family fucked me Easter morning.’”
  • “Don’t as a fat person to be Santa Clause for Christmas — that’s rude!”

He also talked about the current state of student filmmaking, and how good the scene is for people like him coming up now, what with studios being happy to fund low-budget indie work on the hopes that it might pay off. Converesely, he’s having a hard time attracting the ~$5 million or so budgets he needs to make the polished movies he currently does, because at that price studios only want blockbusters. And he had a fascinating bit of advice for aspiring filmmakers: watch lots and lots of movies, and watch them with the sound off, because dialog and music are a distraction from cinematography, which the lack of sound forces you to analyze.

john waters signing

So, wow, the book fair is awesome. After the talk, Waters sat at a table, and everyone and their face-pierced niece lined up and got to chat, be photographed with, and get their book signed by him. No kidding, one guy had three copies of the new book (which, by the way, is awesome, and you totally should get a copy. If you hurry you might be able to nab a signed coppy at Books & Books), plus another of Waters’ books, plus a guitar, and everythign got signed and the guy posed with Waters and the guitar and took up long moments from everyone’s life and it was totally cool. There are about a million authors coming between now and Sunday (weekday evenings, plus all day Friday – Sunday).

You should check out my awesome girlfriend’s guide to the bookfair (she’s deep in the Books & Books crew, so the “insider” thing is no line), and check back here — I’m going to be more or less camped out over there for the next few days, and with any luck blogging regularly. BTW, earlier this week I wrote a quickie thing about Waters’ mustache at The Heat Lightning, where it’s JOHN WATERS WEEK!

November Arthop, 2010

artwalk november miami wynwood

The November artwalk is for all intents and purposes a sort of opening act to ArtBasel, and considering the impressive showing last month, it’s surprising how underwhelming everythign was. With some notable exceptions! Take, for example, the Littlest Sister show at Spinello Gallery: this is an “art fair” that truly earns its scare quotes, packing a dozen or so “booths” into the gallery’s storefront space (tho note that the space is at least three times the size the gallery was in when Littlest Sister was inaugurated). It’s replete with a slick website, high production values, and a “VIP lounge” reaturing spiffy photorealist paintings of insects by Marc Dennis.

artwalk november miami wynwood

The work is mostly small-scale, and organized into “booths.” It’s “intimate” as all getout, and actually a surprising number of the pieces are worth the close look that the setup demands.

artwalk november miami wynwood

For example, this pretty fruit-sticker collage piece.

artwalk november miami wynwood

Eric Doeringer, also in the house!

artwalk november miami wynwood

A particular low point was the Cum Rag Manifesto, which incredulously claims to have been produced with the, um, assistance of homeless men and “street hustlers” in exchange for free fast food.

artwalk november miami wynwood

One of a series of similar photographs by Xaviera Simmons at David Castillo. These were particularly striking in Wynwood, where contemporary straight photography often seems verboten. They were accompanied by a large wooden wall sculpture and a train-window video with which they did not quite mesh, but that’s how good photography does sometimes.

artwalk november miami wynwood

I walked by this one place, and a doorman opened the door for me? I was really thrown off by that, and ended up walking in out of sheer curiosity. There was a decked out bar, some sort of gifts being given out, and models selected for their height and looks walking around giving out price lists. The gallery was overflowing with competently executed lowbrow paintings and sculptures in something of a mishmash of styles, which it turns out is the work of Miguel Paredes, mogul of Miami’s rave flyer printing empire.

artwalk november miami wynwood

Works of a few of Miami’s fringe cultural celebrities, including Otto Von Schirach, the TM Sisters, Rat Bastard, and Dino, by Francesco Lo Castro.

artwalk november miami wynwood

I wanted just to convey how Artwalk has changed over the last couple of months — not just the little food fair, but all along NW 2nd Avenue there are food carts and vendors. This picture was taken very early, so there aren’t crowds parading up the street yet.

artwalk november miami wynwood

It’s always fun when Snitzer has something that’s a complete laughable disaster, right? Check out Jon Pylypchuk’s sculptures and paintings, made with Great Stuff™ (overused art material par excellence) arranged into vague faces with blacklight bulb eyes, many smoking a cigarette.

artwalk november miami wynwood

Meanwhile, back uptown! At Dimensions Variable, a somewhat half-baked but rockin installation/video by Daniel Milewski.

artwalk november miami wynwood

Last but not least! Jim Drain at Locust! I walked in and immediately noticed the not unpleasant smell of Art Being Made, and what do you know? This art is in point of fact not finished. You can’t blame the artist, as the gallery hosted the Smash and Grab fundraiser just a week ago, and it’s sort of cool to let people walk in and look at your unfinished stuff (without really even clarifying that it’s unfinished — quite a few people were confused on the point). That’s it — I’ll see you

October arthop, 2010

miami wynwood design district artwalk october 2010

October is supposed to be the beginning of the Official Art Season, and while September gallery exhibitions may be impressive in their own way, October is when we begin to expect to see the up-to-ArtBasel-leading A-game. And, unless you’re double-scoop, capital-S Serious about your Art, you were happy this month.

miami wynwood design district artwalk october 2010

But since I’m lowercase-s about art, let me first tell you about the Castillo backyard party. You get to it by walking through a door that says “Exhibition Continues This Way,” which it sometimes does, but not this month, as the “Annex” was closed. Instead you got four bars, each serving two different Specific Cocktails prepared by a particular purveyor of Fine Libations that no doubt in-kind donated said Booze in hopes of being name-checked on blogs not unlike this one. (I’m going to talk about art soon, so bear with me?) There was a particular rum beverage that involved cucumber slices and jalapeno peppers which was subtle yet remarkable. My point, such as it is, is that from this particular vantage the Art Walk begins to look like a block party that David throws once a month that the other gallaries just piggyback on. Sheesh — four bars, and the line for each is like 10 minutes long! We’ve got art to look at?

miami wynwood design district artwalk october 2010

Castillo Gallery’s backyard parties would be no more than a joke if the art inside did not hold its own, but with infrequent exception it does. In fact!: Art and Parties are but two of many thins that Castillo has done exactly right since opening a few years ago. I’ve been a fan of Pepe Mar since he had a whimsical “studio” at Art Center on Lincoln Road years ago, and this particular solo show is only slightly less brilliant than the best work he’s ever done. It’s mostly divided between Louise-Nevelsonish gold-painted basket assemblages and web-like contraptions made out of toys and rope.

miami wynwood design district artwalk october 2010

Fuck!, the Gavin Perry show at Snitzer? I guess you guys mostly saw it last month, but I was blown the fuck away. There was a wild crazy ceiling-hanging sculpture by the door, which gave way to galleries filled with . . .

miami wynwood design district artwalk october 2010

. . . incredible wall-hanging drip paintings/sculptures. Strictly speaking they’re Helen Frankenthaler via custom car paint technique, but in person they’re pure left-brain Joy. I’m somewhat familliar with Gavin’s techniques, but here he’s created work that is completely indifferent to understanding and completely impervious to indifference. These pieces (“paintings”, I guess) are I’m pretty sure impossible to not love. The free-standing monolith sculptures were maybe slightly less so, yet each was charged with its own mysterious chromatic powers.

miami wynwood design district artwalk october 2010

Over at (the Newly Remodeled!) Gallery Diet, an impressive installation by Gene Moreno.

miami wynwood design district artwalk october 2010

Ok, can we talk about bad art for a minute? I always try to stop in to new places on my gallery hops, in search of new Stuff? And sometimes it’s a refreshing surprise? But not tonight, when we meet the Anton Solomoukha show at Black Square Gallery, a series of high-pretention, upscale-presentation photoshop images. If I were making fun I’d show you a series of ‘em, because each was Bad in its own special way. As it stands, you’ll have to infer from this one.

miami wynwood design district artwalk october 2010

Next to Castillo, an interesting development: a little nighttime mini-fair with vendors selling clothing, trinkets, and food.

miami wynwood design district artwalk october 2010

… and featuring the GastroPod.

miami wynwood design district artwalk october 2010

Brian O’Connell’s rammed-earth walls at Dorsch, replicating walls that existed when the space was a lamp factory.

miami wynwood design district artwalk october 2010

And as always, Miami Poetry Collective’s Poem Depot — poems made to order on the spot — featuring Abel.

April arthop, 2010

april artwalk

Come the first Wynwood artwalk of Spring, you might expect to see a downturn in the quality of work on view, what with Basel now a distant memory, but no such luck, although you will have to scroll a few photos. Here’s the Scholl’s collection of Anna Gaskell’s work, which you have seen before but which is always worth another look. Bonus, Miko No Inori in the next room.

april artwalk

Diego Singh’s paintings at Snitzer, some of which were pretty nice. A huge metal panel with a few primitive markings covers one wall, trying too hard to not try hard.

april artwalk

Still the worst thing in Wynwood. Is there a petition or something we can sign to get this removed?

april artwalk

Christy Gast’s video installation at Diet. There was a sort of manic necessity to the videos, but the grandiose three-screen treatment, with deluxe log seating, seemed unnecessary.

april artwalk

A Fernando + Humberto Campana chair, part of a group show at Castillo. Nicole had to shoo people out of it a few times, even though it’s on loan from Craig Robins, and obviously sees its share of asses in its regular life. I for some reason did not photograph either of Jose Alvarez’s two spectacular abstract pieces, which included feathers and porcupine quills and were selling for $24,000 each, your choice. If anyone has an image, send it over.

april artwalk

Lisa Perez at Dorsch, an installation of paper cuttings and other mischief. The way Dorsch is divided up right now is really effective, with three completely different spaces for artists to work with.

april artwalk

Magnus Sigurdarson. I was not interested in the big installation, but this video, where the artist stares at you without moving (“he chose to not put his sunglasses on,” Carolina remarked)

april artwalk

Also, Mette Tommerup’s paintings. Sort of great!

april artwalk

Update: Jay Hines at Dimensions Variable

april artwalk

Pachi Giustinian installation at Spinello.

april artwalk

Installation at Locust, which their website currently does not list on either the current or past exhibitions page. Whatever, some big film themed thing.

april artwalk

Here’s me interacting with the frame on short-loop projection.

april artwalk

Quick breather.

april artwalk

… and then off to the de la Cruz collection. This is turning out to be a really interesting institution, with a series of talks and, here, an installation/preformance by Federico Nessi …

april artwalk

… with two other performers.

april artwalk

And by the way, if you haven’t been to the de la Cruz space, I’d recommend heading straight to the top floor first and making a beeline for the Ana Mendieta room.

april artwalk

GRAPE SODA

Day trip to the Little Havana DMV

Little Havana DMV

A few weeks ago I had the pleasure of attending the Little Havana DMV, sans appointment, to get my driver’s license renewed. I was thinking about about doing a “tips for surviving the DMV” post, but honestly you already know what you need to know: renew your license online or by mail if you can, make an appointment otherwise. And all I can really do is double-down on that advice. You need to make an appointment a week or two ahead of time, which is exactly what I did not do, and this is what happened.

I took the whole day off from work, but didn’t get to the station until around 11:30. It’s part of a big walled-off complex, with an entrance that leads into an unattractive parking lot. There’s a little bit of a carnival atmosphere going on, with a hot dog vendor, an impromptu traffic school, and people milling around their cars. The building is remarkably nondescript, and there’s a line out the door and down a long concrete wheelchair ramp of maybe 75 people. Easy, I think, and join the back of the line. There is kind kind of a murmur of conversation, all of it in Spanish.

After a few minutes, a gentleman in a turban comes out the door, makes his way to the back of the line, and hands out tickets to the few people at the end who I guess arrived since the last time he was outisde, which includes me. It’s a quarter of a regular piece of paper with something printed on it, and on which he’s made a mark that looks like a backwards check mark. Or maybe it’s an oddly formed number 7. “That will be it for the day,” he announces. He means me. I’m the last person they’re planning on processing that day. I wonder if that means I’m going to be here until 5.

My job for the next few hours is to tell every person who comes to join the line that unless they have an appointment they are SOL, need to come back tomorrow, and are welcome to step inside and ask for themselves. The people in line ahead of me (sort of a quasi-thugish Hispanic guy in his 20s with a very sharp baseball cap and his mom) and I form sort of an understanding — I give the talk unless the person obviously speaks only Spanish, in which case they take over. I have no idea how we sort out who does what, but it works out. So I get to crush about a dozen people’s souls. They’ve resigned themselves to a terrible day, made the arrangements, and now find out they need to come back after the weekend. Sucks to be them. (Sucks to be me, too.)

Every so often, the door at the top of the ramp (there’s sort of an awning there) opens and a few more people are allowed in to what is, we all understand, simply the next waiting area. I have no idea how long it will take to get inside, nor how long the wait will be after that. Some people walk to peek in, but I know my curiosity will be satisfied sooner or later. Around 1:30 I make it to the corner of the ramp, about a quarter of the way from my start. I eat an apple I’ve brought to a few envious looks. The semi-thugish guy and his mom have asked me to save their spot, and retreated to their car, parked right by the ramp, so I’m now behind (actually next-to; it’s really more of a mass of people then a line at this point, although everyone is hyper-aware of the actual order they’re in) another lady, who points out the looming storm clouds to the south. She also shows me the ticket she got from the man in the turban, which has a completely different mark on it. Clearly the systems at work here are not like anywhere else.

The weather shifts from hot to overcast and windy. At some point a guy joins the line behind me who does not take “they’re not taking anyone else” for an answer. I occasionally break out the iphone and read a little bit, but honestly it’s sort of a pleasure just dumbly waiting, reveling in the mindless queuing that is such a part of life in other places in the world, so not a part of regular life here. For god’s sakes, Americans get antsy when they have to wait 10 minutes in line at the post office.

At some point it rains, a little drizzle. At this point I’m under a big tree, then the beginnings of the awning, and it’s a light rain, with maybe some dramatic gusts of wind. It’s sort of funny that we’ve been here long enough to see major shifts in weather patterns. Not that funny, though.

Now I’m in the home stretch of the beginning. There are maybe 10 or 15 people left outside, half of which are behind me, having joined the guy who figured it was worth a shot. Turban guy, as well as a couple of other DMV employees, have multiple times come out and pointed at me, and proclaimed, “yeah, he’s the last one,” or “nobody after him, I already explained to them,” which sort of makes it sound like I’ve bribed someone or something. Suddenly, a guy storms out in a huge fit, surges through the crowd, kicks a garbage can, and walks off to his car. Someone translates what he was shouting: “the computers are down.” This is soon confirmed by one of the DMV guys. “The computers are down. We can’t process anyone until they come back up, and we have no way of knowing when they’ll come back up. Sometimes they stay down the whole day. Your choice whether to wait around or now.” Another guy comes out, and his nonchalance is startling, “hey, I’d rather be working too. Makes the time go by faster.” WTF dude, you get paid whether you do anything or not, have some fucking sympathy for us poor schlubs who have to come back and do this all again if the computers stay down. So a couple of people from the inside waiting room leave, this being the particular straw that broke the particular camel’s back for them, and the rest of us tentatively wait around. It takes about 15 minutes, but word comes that the computer are back up, and a collective sigh of relief is had by all.

When the turban guy comes outside the last time to make some announcement or other, a pretty lady from behind me in line calls him over, and explains that her license is expiring today (mine expired yesterday, but who’s counting?), and what should she do. He’s actually a nice guy (it turns out everyone who works at the DMV is super nice, believe it or not), and he tells her he’ll give her a 1-week extension so she doesn’t have to pay the late fee when she comes back (the late fee that apparently is to be my punishment, though at this point I have no idea how much it is). Now, I’ve overheard this conversation so I know what’s going on, but all anyone else sees is the DMV guy taking the pretty lady inside ahead of the line, and they go apeshit. For a minute it looks like there’s going to be a mini-riot under the awning, and it takes a couple of calm DMV guys to calm everyone down enough to explain the situation.

A while later and for a long time I’m the last of the ticket-holders outside, standing awkwardly outside the door, a bunch of people behind me, and I have no idea why the DMV guy watching the door doesn’t just wave me in.

When he does finally let me in, it’s with a whole bunch of the non-ticketed folks. It’s I guess 4 pm now, and they’ve decided they can take more then it looked like in the morning, which makes me suddenly ambivalent about everyone I’ve sent away throughout the day. Sorry, suckers? The whole system stinks? Don’t blame me, I’m just trying to help? Whatever. So here’s the inside: a little pre-checkin area, then a double-line to wait for the receptionist, who turns out to be the very same Turban guy, and who assigns each person a ticket which corresponds to the announcements heard regularly over the PA: “B-5183 to window 15 … F-0097 to window 4 …” etc., except that they’re all of course repeated in Spanish. There’s also a large waiting area, with maybe 50 super-old school hard plastic chairs in rows.

The pre-checkin guy checks my papers. You need four separate pieces of documentation, to wit: (1) something super serious that proves your identity (I’ve got a passport, but a birth certificate would also work (for fun, I imagine bringing my Czech birth certificate, which is accompanied by a weird-looking but authentic and notarized English translation from the 80s), (2) something that verifies your SS#, like a Social Security card or W-2, and (3) two things that verify your address, like an electric bill and bank statement. This explains the people who, throughout the day, left the building in a huge pissy huff, fumbled frantically through their glove compartments, and then drove carelessly off.

As I get in line I look around. The whole thing is one gigantic room, with the processing desks and some test-administering computers in the back, semi-separated by a chest-height room divider. The sit-down waiting area is off to the right. Most of the furniture and appointments, such as they are, look like they were put in in the 80s and maintained on an ever-squeezed budget since then. There’s a big noisy floor fan in one corner that gets turned off and on a couple of times. Fluorescent lights. Dingy tile floors. Walls painted a combination of industrial green and salmon. More or less exactly the sort of government office we should all be grateful we don’t have to visit on like a weekly basis.

Anyway, I get in one of the two lines, the group of late-arrival unticketed folks anticlimactically right behind me. The other line is for people who’ve made appointments, who’ve been coming and going all day. Turban receptionist guy alternates taking people from both lines, and he deals with everyone for a good long while. Maybe he’s taking their oral histories, I dunno. So finally I get to the desk, and I launch into this story I’ve slowly hatched to get me out of paying the dreaded late fee. I tell the guy that I came yesterday, when my license was expired, and that I was sent away because I joined the line too late, but now I see that I could have been renewed if only I’d just stayed, because it worked for all these other people, see? He’s extremely apologetic, says I should have talked to him. Very sorry, but there’s nothing he can do about the late fee. But he can (because of the bizarre number-que system, see?) bump me up in the sequence to get my license(!!) at this point! I ask him what the late fee is. $15. At this point I have a minimum of another hour ahead of me, and I’d gladly pay four times that to have it over with, so I’m doing cartwheels on the inside, even as I calmly thank him. “If anyone asks, you had a 3:30 appointment, though. I don’t want any trouble,” he says.

I wander over to the waiting area, where all the people that have been ahead of me in line all day are sitting. It occurs to me that if they really catch on to what’s happened, it could get slightly unpleasant. I pick up an organ donor brochure, and wander over to lean against the wall near the entry area to the processing windows. Two other numbers get called, and then “B-1781 to window 6,” and I wander over to the windows, all casual like, like I’m just having a look. Once I’m at the window I’m in a separate area, and everything’s good. The lady at window 6 is again super-nice, and I think she’s sort of the resident expert, because everyone else asks her questions, and even the turban receptionist walks over at one point when there’s some ambiguous situation he needs help figuring out. We exchange knowing glances.

The lady scans my documents. She’s got a plain dell and a cheap looking desktop scanner, which makes the whole process take a pretty long time. She takes my photo with that photo contraption that may date back to the 70s. I tell her that I want the organ donor designation, answer a couple of other questions, take my eye test (It’s in that weird machine you look down into. I’m convinced I could have passed it without my glasses, and here’s the trick I realized only too late — there are three columns of letters; the middle one is visible to both eyes, but the outside two are only visible to one at a time. It’s a lot easier to read if you close your right eye, read the first two columns, then close your left eye to read the last column. I’ll get you next time, Gadget, next time!), and I’m done.

Waiting for your license is the most anticlimactic thing ever. Another waiting area, this one with exactly two chairs, and aproximately 10 minutes for the most mundane, $50-at-office-depot-looking little desktop ID printer to spit it out. I guess there’s something or other fancy about it, because it makes those little holograms of the state seal in the laminate layer, but otherwise it’s the same thing that prints ID’s at the Art Basel press checkin. And that is it, folks, I say mentally to everyone I’ve spent this glorious day with. There’s another exit route that bypasses the waiting area, goes by the reception lines (still busy) and out the door. It’s 4:30, and I’m gone, never to return.