Boojum or, How I Learned to Stop Worrying and Love the Burrito
“Em, could I, em, could I get a burrito please, with no sour cream?” I’m desperately nervous. This process seems so easy for the people ahead of me in the line, yet I’m stumbling over my words, flapping the menu card about in my hands like a lunatic. I want a burrito with chicken and mild tomato salsa, no sour cream. I think that’s all the options covered. For some reason though, I’m finding it very difficult to say.
“Sorry.” I’m very embarrassed but the lady behind the counter could hardly be any nicer. If we were not separated by wells of exotic Mexican flavours, I can only assume that she would have given me a hug.
“First time?” She smiles in the most comforting way. “It isn’t that hard. Listen, I’ll help you. Would you like pinto beans or black beans?”
“Em…” I hadn’t picked a bean when I previously scanned the menu.
“The pinto beans have a juicy texture and a smooth, smoky flavour. They’re really delicious. The black beans are a bit different. They’re more…”
I’m amazed at how nice the people at Boojum are. Five minutes ago I jumped off the Luas at Jervis wondering why the burrito had taken over Dublin city, why I was now going for one, and why I was so nervous. I was late to the burrito party, really late, and it was pretty uncool. Making my way around to Millenium Walkway, I feel like everybody knows that I’m here to lose my burrito virginity. Everybody is cool here; they’re all eating burritos. Right now, it doesn’t matter that I know about obscure hip hop from the early nineties, because I don’t know the difference between pinto beans and black beans.
“Pinto sounds good. Could I have some pinto beans please?” I am aware that I sound like a simpleton. I never ask for directions, I never read the instruction manual and I never ever let on that I don’t know what I’m doing. However, right now I am unable to bluff. I need to learn.
“Good stuff. See, it isn’t hard at all. Any meat?”
“Chicken please.” I had decided this earlier when I checked out the Boojum website. Their menu is online, along with lots of information about them and the food. When the burrito was invented in 2008, or whenever, the internet became its godfather. Burritos & Blues, Wexford Street, tweeted me only a few days ago to tell me that they’d be delighted if they could introduce me to Mexican food. Pablo Picanté, with a Baggot Street ‘casa’ and another on Clarendon Market, nearly got me with their website alone. All of these places have an internet presence, which is probably someway responsible for the burrito’s popularity with a middle-class ‘alt’ audience. Boojum won because one of my mates said that it was his favourite. I suppose nothing spreads popularity like some old-fashioned word of mouth.
Two more ladies help me in the process, each as lovely as the first. The food conveyor belt eventually leaves me with a chicken burrito with pinto beans, tomato salsa and grated cheese. No sour cream for me. With a bottle of soft drink, I get decent change from my tenner and, finally, it is dinner time.
Sitting outside on the terrace of Millenium Walkway, I marvel at the size of what I’m about to eat. This really is a meal. I would like a weighing-scales right now. It is a giant package of food, food that I can only assume is relatively good for you. This is not only cheaper than a Burger King meal; it won’t leave me contemplating an hour in the gym as penance. And then you eat.
My mind is blown. Where have you been, Mr Burrito? Or, where have I been? For a second I feel a mild regret that I waited so long, but it vanishes because now I know. I suddenly understand everything. It all makes so much sense. This is amazing. I can only imagine that this is how the quiet girl in class felt when, for the very first time, she got scaldy drunk and danced like her hair was on fire. There was no going back for her then.
All that flavour is perfect. The subtly smoky pinto beans compliment the grilled chicken; sautéed peppers and onions mesh with the tomato salsa and rice as the cheese melts into everything else. Everything here has a place, it all fits. Every single bite gives a little kick because each individual ingredient has a purpose. The chicken, for example, is seasoned and cooked in its own special way. So when you take a bite of your burrito, you experience that. Similarly, the tomato salsa, the mildest option according to the staff at Boojum, is not just level one salsa, sauce for beginners; it is a delight of flavour in its own right. So when it all comes together in this genius package, you get it all. Any single bite is guaranteed to be interesting, to give you something.
I force myself to finish it. I’m completely stuffed, which is quite a feat. Leaning back, I take a deep breath and treasure all the goodness in my belly. I feel cool now, in a very gluttonous way. Or less uncool.
“So?” My company for the evening, an experienced burrito man, looks for a reaction. He smiles. He knew all along. I stopped talking after my first bite and haven’t said anything since. Thanks, Boojum.
March 5, 2011 | Categories: Cultural, Fashion, Food, Social, Zeitgeist | Tags: Boojum, Burritos, Coolness, Dublin Burritos, Food Review, Hipster food | Leave A Comment »
Ironic Application Part 2: Contrivance, Fade Street and the Ironic Fetish
- This is the second part of the current series on irony and cultural consumption. There will be more installments.
Ironic Application Part 2: Contrivance, Fade Street and the Ironic Fetish
In the previous post of this series, I discussed the disavowal of a natural taste in the development of a more rounded or, dare I venture, complete personal opinion. While Frank Gelett Burgess may not have known art, he knew what he liked. Conversely, the great many appear to be more at odds with what they like and instead know art or, more appropriately considering wider trends of cultural consumption, they know ironic contrivance. The broad brushstrokes of these juxtaposed pictures of consumption does not give a particularly nuanced insight into the idea of ironic application, but perhaps TMWRNJ’s Ironic Review can lend a humourous hand to the dissection of ironic contrivance of consumption and the application of irony to the product. This is the Ironic Fetish.
Editor: The whole reason we called the magazine The Ironic Review is because it takes a sideways glance at society and no one really knows what we actually think.
Deputy Editor: Or what we think we think… Or what they think we think we think…
The Ironic Fetish has, quite noticeably over recent months, found itself expressed in the consumption of RTÉ’s Fade Street. A reality drama of some sort, inspired by and based upon MTV’s The Hills and The City among other such shows, Fade Street follows the lives of a group of Irish vicenarians in Dublin, charting their exploits as they negotiate ‘real life.’
I have never sat and watched Fade Street for any real period of time, nor do I ever intend to, and I will not criticise the program as such, at this point at least. However, I do find the show’s audience a curious phenomenon. Fade Street, by design devoid of any irony in the honest opinions of most, surely cannot inspire the intrigue of the educated and culturally aware middle-classes, can it? It seems that it can. The show has proved a ratings success and RTÉ, the state broadcaster, has approved and, to the best of my knowledge, basically completed a second series for broadcast in 2011.
Consumption, primarily, has been via the Ironic Fetish. Viewers who “take a sideways glance at society,” can watch Fade Street, ingesting it, and nobody can really know what they think, or what they think they think, or what somebody else thinks they think they think etc. Guffawing and scoffing, the educated youth of college years has swallowed Fade Street as an ironic taste, applying a sense of cultural anthropology to their endeavour. Unable to look away, inspired to gaze on at these despicably irresponsible, intellectually stunted and emotionally volatile characters, the Platonically enlightened viewer affords himself or herself an ironic critical distance. The enlightened viewer is seemingly not responsible for what they consume as part of an otherwise vulnerable collective, nor do they have need to destroy it or rail against it. However, the product, the show itself, being consumed in any fashion gives it a momentum as a product for consumption. While the contrivance may lie as part of the taste of the enlightened cultural consumer rather than what is consumed, the product is nonetheless validated as a capitalist endeavour, one that makes money from its existence. In the case of Fade Street, created by the state broadcaster, our Television License fees are pushed towards the validated product, with demand creating supply of similar products.*
The Ironic Fetish displaces intellectual value from the consumer to a product, while always maintaining itself as an active process from consumer to product. The active process of the Ironic Fetish elevates the consumer and affords him or her a status of high-consumer, cultural anthropologist, a position where there is an awareness of a personal critical distance. While a psychological fetish is invariably an involuntary process, and a Marxist fetish is clearly derived from the factors of production involved and market values, the Ironic Fetish stands as one that is voluntarily proffered by the consumer as a contrivance of the self and taste.
“I don’t know art, but I know what I like,” said one man to another.
“I don’t know what I’m supposed to like anymore.”
* Were it not a project of RTÉ, our state funded state broadcaster, with “state funded” obviously meaning from direct tax reserves, Fade Street might not be the focus of this argument.
January 8, 2011 | Categories: Art, Cultural, Observation, Social, Zeitgeist | Tags: Fade Street, Fetishism, Ironic Review, Irony, RTE | 1 Comment »
Ironic Application Part 1: Introducing quotes, taste & TMWRNJ
- This is the beginning of a new series, my own perusal of contemporary taste.
Ironic Application Part 1: INTRODUCING QUOTES, TASTE & TMWRNJ
“I don’t know art, but I know what I like.”
- Gelett Burgess
The above line is, I assume, familiar to most to some degree. I came across it most recently while watching a Monty Python sketch featuring the Pope and the famed artist Michelangelo. After His Holiness reprimands the artist about the extent to which he pushes his artistic license in depicting Christ and the Last Supper, Michelangelo opines that the Holy See is an artistic fascist. The Pope, of course, responds with the wit and grace of a man of God. “Look. I’m the bloody Pope, I am. I may not know much about art, but I know what I like!”
After a little research, I found that the original quote is most often credited to the artist, poet, author and cultural critic Frank Gelett Burgess. It would be disingenuous of me to suggest that the line itself inspired the cogs of my mind to motion in any remarkable way, but it situated itself amongst thoughts that had been forming over a period of time.
To begin a lengthy personal discourse upon the question or problem of what art is, certainly is not my intention here. I do not know art, as it were. Perhaps I might be able to recognise or perceive art in some instances, if indeed art is at all, but the idea is inherently problematic. Instead, I find myself bound to discuss the assertion made by Burgess; that while he may not know art, he knows what he likes.
Crucial to what I am discussing is that Burgess does not disregard art. Rather, he affirms its existence. In saying that he finds it easier, as an essentially natural process, to discern what he likes, and situating that assertion upon the discussion of cultural and artistic connaissance, there is an implication that there is a denial of the natural by the typical artistic consumer. The artistic consumer seeks to discern what is art, through various avenues of oratory or varying degrees of intellectual discourse and, upon that discernment, can know what he or she, or a functioning social group, likes.
“I have forced myself to contradict myself in order to avoid conforming to my own taste.”
- Marcel Duchamp
A level of tempering or disavowal of one’s own natural taste as a function of the perceiving, subjective self is inherent to the development of a fuller taste. At one point on a spectrum, it may be the viewer of a pornographic text who then experiences a natural post-masturbation guilt linked to the problems of consumption of such material and their implications within the psyche of the viewer or a wider issue of society. At another it may be the grasping of irony and its layered application on a primary text of music, literature, film etc.
The Ironic Review, a comic segment on Richard Herring and Stewart Lee’s late nineties BBC show This Morning with Richard not Judy, or TMWRNJ as is lovingly known by many, muses upon the latter idea, considered ironic application. It is something comparable to the similarly satirically charged Sugar Ape magazine feature of Nathan Barley. The first installment that appeared on Lee and Herring’s first series is symptomatic of the whole. I implore you to watch it because it is very funny and pretty relevant to how this series of blog entries will go. Link below:
THE IRONIC REVIEW
Watching that may prove enough work for now. Ideas of irony and its cultural application will be the basis of investigation for the next couple of posts.
December 31, 2010 | Categories: Art, Cultural, Observation, Polemic, Questions?, Social, Zeitgeist | Tags: Artistic expression, Ironic Review, Irony, Quotes, TMWRNJ | Leave A Comment »
No, it isn’t my fault. Since when were we all economists?
- As long as there is chocolate on the shelf, somebody is liable to eat it. As long as there is cash on the go, somebody is liable to take it.
Internationally, the emergence of the incredibly easy-to-use word, ’Bailout,’ now a term of everyday parlance among everyday people, has seen the common man become an economist of extreme convictions. On a national level, we have the delightfully chewable acronym, ‘NAMA.’ Couple that gem with general group terms like ‘the bankers’ and ‘the developers,’ there has been a lot for the coffee/smoke break economist to spit about over the last year or so. People who once talked about film and music that they scarcely understood now speak of financial policy.
With buzz words and hate figures holstered and ready for action in an instant, it is easy to forget the very systems we live within. For all that we’re discussing NAMA, bankers and governments, big, venerable old words like ‘capitalism’ and ‘socialism’ are forgotten. Of course, within systems that are quite comfortable for and accommodating to those who might have influence in such discussions, it is hardly likely that the broad cultures of greed that are encouraged by spectacle orientated capitalism will be opened up to a public tribunal. While we are outraged at individuals and rightly demand the execution of their characters, Ivor Callely and ‘the bankers’ most recently, investigations of the systems that foster greed culture are not called for.
One thing that is not acknowledged out loud is that bank bailouts and NAMA are capitalist stopgaps. These measures, while seemingly necessary within the current climate, save certain failing elements of systems preferred by the dominant hierarchy, capitalist systems that allow the accumulation of massive wealth for that hierarchy. That capability for the accumulation of wealth (which generally requires the loss of wealth by another who may or may not be partaking in the fight that is greed culture) proportionately filters down through the class system with obvious (are they obvious? Do people still remember that Ireland has a working class?) disadvantages for those at the bottom of the economic ladder. To be blunt, very few commentators seem to admit that bailing out financial institutions and the creation of the National Assets Management Agency are socialist answers to unpleasant capitalist problems. Maybe that is because economic commentators are of the middle classes and generally favour capitalist systems that benefit their capability for the accumulation of wealth. Socialism is an opportunity cost for the dominant hierarchy. But, to be fair, imagine Barack “Jesus” Obama admitted such a thing publicly, that socialism, of all things, was an answer? Imagine he told the adoring American public that socialist solutions had to save their beloved capitalism?
“Darlin’, did President Obama just say the ‘S’ word?”
“No honey, em, he said, um… Social List. It’s a list of his friends.”
“I knew it. He ain’t no Commie! *Insert generic Deep South phrase here*”
The very capitalist systems that are so precious to so many are only actually beneficial to those in the ascendancy on the financial food chain and, being one and the same, those who influence the lower rungs of that chain. However, that system can only succeed, and by success I mean facilitating wider benefits for the world at large, if everyone participating is 100% morally sound. And nobody is, or not many are anyway. Rather, we’re greedy, or, in capitalist speak, financially ambitious.
The Banker, the guy who ripped off his customers, is a greedy man. Obviously, there’s no doubt about it. And it’s okay to call him greedy flat-out because he’s The Banker. He sneaks into your house at night to steal your hard-earned money and on the way out he rolls up all your socks inside out, and we all know that banker sounds like…
But there are other greedy men who aren’t getting it in the neck, which is understandable, because some of them are the unwitting victims here. The average person, who ambitiously/greedily took out a mortgage on a house that he could only afford if everything went perfectly or better for him over the next twenty to twenty-five years, has now lost his house. Some may highlight stupidity as a potential quality of this synecdochical man but, it must be said, greed and stupidity are not mutually exclusive. So maybe he is greedy and stupid? And, shockingly, capitalist systems failed this man. But we’re all greedy, so is capitalism wrong?
And it is a bit close to the bone, isn’t it? Because there are plenty of us in this Joe the Plumber position, or with friends and family struggling with the same problems. It can’t even be said by those with power. If a politician hurts your feelings you won’t vote for them. Even If Mr. Obama says at some point that it was, perhaps, a little bit your fault, pointing down the lens of a camera towards an unsuspecting international audience, previous chants of “YES WE CAN,” would quickly mutate into the far less catchy and unfortunately long-winded, “We hate Obama, whatever happened to that other guy? He wasn’t that bad, was he? I had a job back then.”
So laissez-faire economic policies and free-to-exploit-others capitalism can’t work, not necessarily because it is systematically flawed, but because we are systematically flawed. Or, rather, capitalism is essentially flawed because those who partake in it are undoubtedly flawed. We all want to be in a better position than we are now. We all want a nicer car, a bigger house, luxury toilet roll or a Thai mail-order bride.
But of course, it is the fault of the bankers, isn’t it? And the government? Yes, it is their fault. If there was any justice, the bankers that have actively swindled honest people out of their money would all be put in prison to rot. They should, at the very least, apologise, shouldn’t they? And, one would think, the government should be taking some responsibility for poor economic controls and an inability to deal with crises. Why aren’t they saying sorry either? But, if we honestly expect this capitalist system to succeed, then we have to look at ourselves too as, after all, the collective controls the flow of cash in every transaction. But can capitalism succeed? No, but it could be a little more fair.
As long as the responsibility for our recent economic hardship is left in the lap of those bankers and developers, and while it remains the charge of that government to simply ‘fix’ economic problems, the average bloke won’t really have learned anything at all. It may be mostly their fault, but until we trade in our amateur economic analysis for some introspective honesty, the blame will always lie somewhere else and very little is likely to change.
July 25, 2010 | Categories: Cultural, Economic, Observation, Political, Social, Zeitgeist | Tags: Bailouts, Banks, Capitalism, Economic Responsibility, Government, NAMA, Recession in Ireland, Socialism | 1 Comment »



