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According to Diario Libre, a Dominican daily, they're expected to hand in a script before the summer. Regarding the plot, Quintero told us that "the guys [from Calle 13] picked a couple of premises, when it came to the characters, and we'll be developing the script in full." The team will be using the editing skills of Gab Coss, who worked on both Quintero's La motora roja tiene que aparecer and on Rita Indiana's music video.

Mind you, Indiana already has among other things, a novel (La estrategia de Chochueca), a play (Puentes) and three bands (Casifull, Miti Miti and Los Misterios; four if you count Los Niños Envueltos), so adding the screenwriting credit to her resumé should be a piece of arepa. As a matter of fact, she just called the copyright office, because she's legally slapping her name on the terms Multitasker, Renaissance Woman and Todóloga. And even if we're bigger fans of her music than her writing, given her recent track record we're holding high expectations for this project.

We can't wait to see what an on-screen slap in the face by el reggaeton del futuro feels like. Walter says he wishes he could feel anything in his face again.

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The whole thing is a 92-foot sign that reads "step backward for Latinas and black women," and reeks of romanticizing. Because according to Maldonado, a white hipster in skinny jeans who went to Pratt, we should celebrate the sartorial manifestations of poverty and exclusion that minority women engage in. "Inspired by my heritage, it illustrates a female aesthetic that is not usually represented in media or fashion advertising in Times Square. It recognizes the beauty of underground cultures such as reggaeton, hip-hop and dancehall and incorporates trends such as nail art and Latina fashion," the 26-year-old artist said.

And that, right there, is some noble savage crap. There is beauty in those subcultures, but Maldonado has somehow managed to only bring out their ugly side. A part of the women that inhabit northern Manhattan and certain parts of Brooklyn and the Bronx do, indeed, walk around with sass to boot in form-fitting, precariously covering clothes, with their nails and their hair did. But what does Maldonado mean when she says that this isn't usually represented in media? It's called the Latina stereotype, and it's everywhere. Everywhere. And it's a product of exclusion, and doesn't celebrate the true workhorses of the Latino community, the men and women who are making it beyond the Hispanic glass ceiling, but on their own terms.

And besides, the whole mural is so 2000's, both in scope and execution.

Sofía, you should have lived up to the cut of your jeans, and said that you were doing this ironically.

Read more after the jump.

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My prayers have been half-answered. The AMET is still the lion pack of Santo Domingo's concrete jungle, but a Peñalosa-influenced system is now making its way to my current home, New York City: The Department Of Transportation announced yesterday that the Transitway, a dedicated bus lane system will soon be in place on a 34th St crosstown route. According to Streetsblog, the plan "adds full separation from traffic, with two-way bus service operating on one side of the street." It also includes a pedestrian plaza between Fifth and Sixth avenues, and it's projected to "improve [bus speeds] 35 percent, cutting river-to-river travel time to 20 minutes."

Color me shocked. Is America The Mighty actually importing ideas from its southern neighbors? For a nation that aims to see itself as a green think tank, it must be humbling to be fishing for ideas in Colombia, of all places. If anything, even I would have expected the ideas to come from (fingers crossed) future world superpower Brazil.

But wait! The dedicated bus lane idea did come from Brazil, after all: Peñalosa's direct inspiration hails from the fast-flowing streets of Curitiba, Brazil's own green think tank. The city's URBS lines have offered dedicated express lines since the early 90's, and the tube-shaped street-level stations work the same way a subway platform would, enabling pre-boarding payment and line transfers. I remember being marveled at the nearly seamless and comparatively inexpensive system when I visited South Brazil, and became a full-on devotee when I made use of its Mexican offspring, the Mexico City Metrobus.

But I'm confused now. Does this mean that America could partially downgrade to developing status (after all, Saint Peñalosa opted for Transmilenio after the subway option was deemed to expensive), or that Brazil, Mexico and Colombia are getting closer to development? There might be a silver lining to the economic downturn in the urban planning sector: This might just be the decade of truly, not-just-for-show cost-effective solutions, regardless of their origin. All I know is that somewhere in the world, Julia Sweig is having a laugh.

VIA: Fast Company

Image: DOT

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According to The New York Times, Lincoln Center announced last Thursday that the musical is scheduled to open on November 4 this yar. The play was developed by director Bartlett Sher in conjunction with Almodovar himself, with the help of writer Jeffrey Lane (Dirty Rotten Scoundrels) and composer/lyricist David Yazbek (The Full Monty).

I can't wait to see who they're going to cast as "Pepa", the role made famous by an in-her-prime Carmen Maura. And I promise to stop talking trash about Penélope Cruz if Sher considers including a fitting version of the Tacones Lejanos' impossibly random Los Hermanos Rosario prison song-and-dance number -- one of the first tastes we got of what an Almodovar musical would sound and look like. In the meantime, hand me that gun.

Watch the video after the jump.

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