Un vídeo de un “ruined orgasm”. No se me ocurre manera honrosa de traducir eso. Es “estropear” el orgasmo al final, dejar que el orgasmo se quede en un “medio-orgasmo”, a menudo relacionado con el BDSM y femdom #ruinedorgasm #femdom #kink NSFW

7 fotos (algunos GIF) de chica embarazada (JeriLunns) #pregnant NSFW

A veces en el porno se producen pequeños gestos muy habituales por los que el espectador desarrolla cierto morbo especial, cierta preferencia....

Todas las ilustraciones sacadas de la web de Topps.

Síguenos para descubrir tu música favorita

La Pandilla Basura nunca para de crecer con nuevos personajes, algunos de ellos sin demasiada necesidad de cambiar la realidad porque el mismo inspirador ya da bastante asco como Donald Trump. Por suerte, la pandilla nunca para de reclutar a gente para sus aventuras.

Esta vez le ha tocado el turno a los músicos, con una serie especial sobre festivales, donde aparecen algunos de los cabezas de cartel habituales de todo festival musical que se precie: Morrissey, Radiohead, Axl Rose y su sillón mágico... La única lástima es que todavía no contemos con las increíbles traducciones al español que convirtieron alguno de esos personajes en clásicos (Vomito Ricardito, Chupón Agamenón o Guarrona Secundona). Hasta que eso llegue, disfrutad de alguno de nuestros favoritos:

Antes de esto, nuestra pandilla favorita ya había incorporado algunos otros músicos a su particular Hall Of Fame:

No nos digáis que no os entran ganas de volver a jugar a los cromos. Podéis ver la serie completa aquí.

Todas las fotografías por la autora

Se nos arruga el cuerpo, las carnes ceden, el habla se ralentiza, el cerebro se nubla... Así empezaría un documental pesado sobre la tercera edad de estos de caer en un sopor profundo.

En cambio, las pupilas se dilatan si una octogenaria se te planta delante y te dice que abrió las piernas y parió a su hija en un barreño, sola en una casita del monte gallego. O si un anciano te cuenta con ojos brillantes cómo una colombiana le hizo trizas el corazón.

El otro día estuve en la Residencia Casa Grande, en Maside (Pontevedra) y me llevé una buena lección de vida y muerte.

Tras horas de charla con estas personas que rondan o sobrepasan los 80, cayeron como losas de sabiduría frases tan sencillas como la de José González, que, con los ojos chispeando de risa tras sus gafas, sentenció: "En la vida se pasa bien y se pasa menos bien".

Después de hablar con ellos, es inevitable tomar consciencia de que los momentos del bien son fugaces, banales, luminosos, como la excursión de dos viudos y una viuda arrejuntados por la vida a comer a un merendero de pueblo, siendo por primera vez libres de cargas familiares y disgustos del pasado, o la satisfacción de un niño cuando se escapa de casa para espiar durante unos minutos las fiestas que le han sido prohibidas.

LUCRECIA VALENCIA 'LUCA'

Me dicen Luca, porque es más fácil que Lucrecia. Soy la quinta de siete hermanos. Antes se tenían muchos hijos, porque, al no haber televisión, los hombres se tenían que entretener con algo. Nací en Tenerife. Mi infancia fue bien negra, la escuela ni la vi.

Desde los 8 años estaba sirviendo en casas de ricos. Mi padre era epiléptico y en un ataque se cayó, se clavó un clavo en la sien y murió. Yo entonces tenía 11 años y todavía me orinaba encima de lo mal alimentada que estaba. Mi madre se fue a Venezuela, y yo me quedé en Tenerife.

Tengo un recuerdo horrible de cuando serví en casa de una señora que tenía un hijo que andaba con muletas. Se suponía que yo tenía que cuidarlo, pero él me intentó tocar, porque yo a esa edad me estaba desarrollando. Cogí un bolígrafo que había sobre la mesa y se lo clavé en la cara. Si no hubiese llevado gafas le habría sacado un ojo.

A los 19 fui para Venezuela a encontrarme con mi madre. En Caracas me hice socia del Centro Gallego, donde iban todos los españoles. Allí conocí a mi marido, que era un cocinero gallego. Pero me salió la torta mal, fue un matrimonio desgraciado. Me casé a los 20 y a los 25 me separé. Fui a mi madre y le dije: yo así no puedo vivir. Él ni bebía ni fumaba, pero era ver volar un pájaro y decir que era un bruja. Andaba con cosas de santería y me llenaba los armarios de hierbas. Cuando me puse de parto de mi primer hijo, me dijo que ese hijo no era suyo y que él no me llevaba al hospital. Me quitó todos los ahorros que tenía, 150 bolívares que tenía en la cartilla. Cuando nos separamos, el juez puso como condición que yo tenía que vivir dos años, como mínimo, en casa de mi madre. Así eran las leyes entonces.

Yo creo que Dios me castigó, porque yo siempre había dicho que no quería tener marido, que quería tener hijos y que yo era suficiente mujer para criarlos sola. Después de eso conocí a Cándido, que también era gallego, y con él estuve 30 años.

Era un músico quince años mayor que yo, y también estaba divorciado. Nos vinimos a Galicia, él con sus tres hijos y yo con mis dos. Después de 30 años juntos, a Cándido le dio alzheimer y se me murió. Las pasé negras. Y ya me vine a vivir a la residencia. He tenido problemas de riego en el cerebro, pero ahora estoy un poco mejor, aunque noto que se me empieza a ir la cabeza un poco. Y el otro día fui a la verbena y me caí, porque no puedo dar vueltas, que me mareo.

JULIA DANDAS DA COSTA

Nací en Portugal. A los 22 años vine a España y me casé aquí con un gallego. Tuve 12 hijos. Dos se me murieron: una niña de 5 meses y otra a los 38 años. Mi marido era vecino mío, algo mayor que yo. Yo no tenía muchas ganas de casarme, la verdad, pero era el destino que me había tocado.

Mi padre me dijo: "Hija, quédate en casa, que vas a sufrir muchas palizas y mucha hambre". Y así fue. Se emborrachaba, me daba palizas y no trabajaba. Yo trabajaba como una negra en lo que fuese. No me daban dinero, pero sí un poco de comida y ropa. Cuando había tenido 5 hijos, tuve un aborto. El médico dijo: ya no tienes más. Pero se equivocaba: tuve siete más. Con los dos últimos me tuvieron que hacer la cesárea. En la última ya me arreglaron para que no tuviese más familia.

Pero mi marido era desconfiado; yo no podía mirar ni hablar con nadie. Si llegaba tarde de trabajar del campo, se ponía hecho una fiera. En una de esas me dio una paliza que se me quedó este bulto que ves en el brazo. El alcalde dijo: hay que levantar denuncia. Nos mandaron al juzgado. A mi marido lo mandaron a ponerse de rodillas delante de un santo y jurar que no me iba a pegar más. Él lo prometió, pero luego al llegar a casa me dio una paliza, como siempre.

Una amiga maestra me decía: "Julia, márchate con los niños". Pero eran otros tiempos, a mí me daba vergüenza... Después el médico me dio a mi marido un tratamiento para que estuviese más tranquilo, pero él se lo tomaba con vino en lugar de agua. Un día le serví una cabeza de pescado con una patata y un vaso de agua, pero él se empeñó en comerlo con vino. Fui a buscar, y a la vuelta vi a mis hijos gritando. Le reventaron los hígados y se le fueron por la boca para fuera. Se lo llevaron para la residencia. Estuve quince días allí con él, día y noche. Y se murió. Después, como tenía tantos niños, metí a 5 en un colegio internos en Pontevedra. Iba a verlos cada 15 días.

Cuando mis hijos ya fueron grandes e hicieron su vida, conocí a Aníbal. Yo aún tenía 40 y tantos años. Él le preguntó por mí a un vecino. Era viudo. Un día fui al médico y estaba allí esperando para conocerme. Pagó todas las deudas que yo tenía en las tiendas. Estuvimos ocho años juntos. Pasé mi vida de viuda con él como una reina. Teníamos un vecino que también era viudo y tenía coche, y nos íbamos los tres en el coche a donde nos apetecía. Después él enfermó.

La memoria la tengo muy bien. Mis doce hijos se llaman: Luis, Rosa María, Alejandro, Fernando, Rubén, Cristina, María Jesús, Lola, María de los Ángeles, Inés, Chus y Julita. Y me acuerdo de todos mis partos. El que más recuerdo es el de la nena que murió a los 4 meses.

Fue el peor porque la tuve yo sola en casa. Yo sabía hacerlo, porque mi padre fue el partero de todos mis hermanos, y yo lo había visto. Cogí la palangana, trapos y un hilo de coser para cortar el cordón. Me agarré a la cama y eché a mi niña. La lavé, pero no tenía nada de ropa que ponerle. A los días vinieron unos vecinos, preocupados porque no me habían visto por el pueblo. Entraron en casa, vieron al bebé y me dijeron: "¡Ay, la puta que te parió! ¿Cómo se te ocurre parir sola? ¿Y si te hubiera dado una hemorragia?". Pero así eran las cosas entonces.

BENIGNO PUENTES

Nací en San Juan de Piñeiro, en una familia que se dedicaba al campo. Emigré a Venezuela a los 16 años, en el 55. Trabajé allí 47 años en una empresa textil. Empecé barriendo. Llegué pesando 48 kilos porque en el barco me mareé y no hacía más que vomitar. Ya de Vigo a La Coruña no pude comer. Solamente cuando entramos en el Mar Caribe pude echarme algo al estómago. Era un barco italiano, nos daban espaguetis con acelgas, y sólo el olor de aquella comida me ponía malo.

Después, cuando teníamos alguna bronca en la empresa, los otros me decían: "Cállate, españolito, que viniste aquí a matar el hambre". El jefe era un judío italiano que había puesto una empresa en Rusia, pero con el comunismo se tuvo que ir. Yo fui ascendiendo en aquella empresa, pasando de un departamento a otro. Conocí a una muchacha venezolana, conocí la vida y el amor... pero después vino otra, colombiana, y me mató. Me descompuso por completo. De una venezolana a una colombiana hay una diferencia como del día a la noche.

La colombiana me arruinó la vida bastante. Pero bueno, en Venezuela me corrí buenas juergas. Había muchas cosas nuevas para mí. Nunca había vivido en un país con una moneda tan fuerte como el bolívar en aquel entonces. Y allí había mucha gente de todos sitios. Recuerdo las hogueras de San Juan en Barlovento. Los negros hacían hogueras por toda la playa y se la pasaban desnudos, borrachos, bailando como locos.

Me acuerdo de una canción que decía "Barlovento, Barlovento, tierra ardiente y del tambor...". Lo que pasó fue que cuando se devaluó la moneda me desilusioné. Y tuve problemas con aquella señorita y después con la otra. Me casé con la venezolana, pero después ella se enamoró de un militar. Allí era todo más fácil: si a un hombre le gustaba una chica, no tenía más que seguirla, y lo mismo si a una mujer le gustaba un hombre. Hubo un momento en el que Venezuela ofreció la posibilidad de repatriar a los españoles que quisiesen volver. Yo allí vi a muchos españoles que no tenían trabajo, mucha miseria.

Hombres que se daban a la bebida, gente que se aficionaba a apostar a los caballos... Había gente llorando en las puertas de la embajada española pidiendo ser repatriada, pero no los recibían. Recuerdo estar comiendo en un restaurante y entró una pareja de españoles pidiendo limosna. Les di algo, pero él volvió y me dijo en gallego: "¿Tú crees que con esto puedo vivir?". Yo le pedí al camarero que les pusiese dos comidas, pero no quisieron. El hombre lloraba. Yo vi eso y me sentó tan mal que decidí rellenar el impreso de repatriación. Y al poco murió mi madre, y volví por primera vez.Como había huelga de pilotos, llegué días más tarde. Conocí en el avión un hombre que me dijo que me llevaría hasta el pueblo. Cuando llevábamos un rato de camino, me extrañé, porque veía que nunca llegábamos a mi pueblo. Y de pronto me di cuenta de que ya lo habíamos pasado, pero yo no lo había reconocido. Después tuve que volver a Venezuela, a seguir trabajando para asegurarme la jubilación.

Fíjate que ahora, después de tantos años trabajando, ahora nos quitaron la pensión a todos los que emigramos y volvimos. Con todo el lío que hay montado en Venezuela llevamos desde enero sin cobrar. Y yo recuerdo otros tiempos, en los que llevaban todo el dinero al Banco Central en Caracas y lo dejaban allí metido en unas cajas en la avenida principal y nadie tocaba el dinero.

BALBINA LÓPEZ

Nací en Dacón, en Ourense. La infancia la pasé bastante bien. Estaba interna en un colegio de monjas en Vigo con mi hermana. Mi padre era jamonero. Se murió cuando yo tenía catorce años, y tuvimos que volver mi hermana y yo al pueblo. Mi madre era muy lista, y aprendió a ser comadrona y practicante. Así fuimos tirando.

Ya con veintipico años me fui a Suiza a trabajar a la fábrica Omega. Allí conocí a mi marido, que era madrileño y trabajaba en la construcción. Total, que nos vinimos y nos casamos en Dacón. Mi marido no estaba bautizado, porque sus padres eran comunistas, pero se bautizó para casarse conmigo. A mis suegros les quemaron la casa por comunistas. Y después de eso mi suegro empezó a trabajar en una empresa de derechas porque no le quedó otro remedio.

Tengo aquí las fotos de la boda y de más cosas. Aquí salgo con las amigas, haciendo teatro, porque teníamos un grupo. Y este es nuestro bar de Madrid. Estuvimos 10 años allí con el bar en la Avenida Vinateros. Se llamaba Bar Flores. Yo era buena camarera, me querían con locura los clientes. Le decían siempre a mi marido: "Paco, ¿y la gallega dónde está?". Nos llevábamos muy bien todos los del bar, y cuando cerrábamos nos íbamos por ahí a tomar algo. Fui muy feliz, mi marido era muy bueno. Entonces nos vinimos para Galicia y decidimos invertir el dinero del bar en poner invernaderos.

Tuvimos un hijo, pero se metió en la droga. Yo lo acompañaba todos los días a que le dieran la metadona. El médico me quería mucho y luego me hizo muchos favores, era un hombre muy amable. Él nos habló de una clínica en Lisboa. Y allá que nos fuimos a llevarlo para que se desintoxicara. Duró unos meses, y luego se volvió en el tren, sin pagar. Me llamó porque lo había pillado el revisor y se había tenido que bajar varias paradas antes. Se creía que lo iba a reñir, pero no. Total, al final mi hijo se murió de un infarto. Ya estaba curado de la droga, trabajaba en el ayuntamiento y apareció muerto en el coche. A las siete de la mañana me llamó el guardia y me dijo "Balbina, encontramos a tu hijo muerto".

A mí me dio un ataque, empecé a gritar, vino todo el barrio. Empecé a ir al cementerio por la mañana y por la tarde. A los diez años de eso se murió el padre. A ver a mi marido fui una sola vez. Después lo pasé muy mal, muy mal. Pensaba: "¿Por qué me vine de Madrid?". Pero ahora, aquí en la residencia, estoy muy a gusto. Está todo muy limpio, que es lo que es bueno, y como hasta hartarme.

JOSÉ GONZÁLEZ

Soy soltero, de un pueblo de aquí al lado, Freas. Tuve infancia mala. Cuando tenía 9 años, en 1940, quedé sin padre. Fue en la terminación de la guerra y en esos años se pasó mucha hambre. Mis padres trabajaban en el campo, procurando un poco de maíz, unas pocas alubias, patatas... era lo que había.

Fui poco a la escuela, a pesar de que tuve la oportunidad, porque estuve unos meses en una escuela de pago. Éramos dos vecinos amigos y yo, y nos gustaba mucho quedarnos por el campo haciendo maldades. Recuerdo que mi padre murió en octubre y eran en diciembre las fiestas de Santa Lucía. Me escapé a la fiesta. Mi madre me dio una paliza que no me quedaron ganas de ir a otra fiesta. De aquella época se guardaba mucho luto, pero yo era un niño y quería un poco de alegría.

Trabajé siempre en el campo hasta que surgió una cosa de apuntarse en la lista de emigración y te daban un contrato. Yo no tardé mucho en irme porque tenía un amigo que era jefe allí.

Nos dieron un curso de alemán acelerado y nos mandaron a Alemania, a Hannover. Trabajé seis años en una fábrica de uralita. Después estuve en una fábrica de piezas de coche. Estábamos bien allí, lo pasábamos bien. Me defendía en alemán, aunque ahora poco lo recuerdo. Mi vida era trabajar, ir a la residencia en la que vivíamos a hacer de comer... en total estuve unos 15 años en Alemania, hasta que me jubilé. Allí no se hacían fiestas como las de aquí. Lo más que se hace es el Carnaval de Colonia, pero no era lo mismo. Bebíamos una poca de cerveza, aunque yo soy más de vino. Yo venía todos los años, porque tenía mucha morriña. Y así fue todo. Ahora sufro del azúcar, soy diabético. En la vida se pasa bien y se pasa menos bien.

Back from the Grave is a series compilation albums of 1960s garage rock created and compiled by Tim Warren and released by Crypt Records.
The series originally consisted of eight LP records released between 1983 and 1992. Volumes seven and eight were double albums. Starting in 1994, the series was reissued on compact disc. Due to the longer playing times offered by CDs, the first seven volumes were contained on four discs, save for a few tracks that were omitted. And, while all of the songs on the first four CDs are included on first seven vinyl albums, they do not necessarily correspond to the individual LPs bearing their same titles. However, the Volume 8 CD corresponds almost directly its LP double-LP counterpart, but with the addition of four bonus tracks…

320 kbps | 1.08 GB  UL | MC ** FLAC

…not included on the LP. The eight vinyl albums are titled consecutively “Back From The Grave, Volume 1, Volume 2, Volume 3, Volume 4, Vulume 5, Volume 6, Volume 7, Volume 8, Volume 9, and Voume 10.” In similar fashion the five CDs are titled “Back from the Grave, Volume 1, Volume 2, Volume 3, Volume 4, Volume 8, and Volumes 9 & 10” (which are both included on one CD). There are no volums 5, 6, or 7 for the CDs. Two separate LPs for Volume 9 and 10 were released in 2015 as well one CD, released the same year, which combines Volumes 9 and 10 onto one double-length disc.

Back from the Grave: Vol. 1&2

Back from the Grave, Volumes 1 and 2 (CD) is a newly re-mastered CD that combines into one disc volumes 1 and 2 of the original 1983 LPs in the Back from the Grave series of garage rock compilations out by Tim Warren of Crypt Records.This CD was released in 2015.It is not to be confused with the older Back from the Grave, Volume 1 and Back from the Grave, Volume 2 CDs released in 1996, which differed dramatically from their LP counterparts in terms of track selection. This new CD is a part of a new Back from the Grave sub-series of CDs which attempts to more faithfully replicate the song selection original LPs, bringing the series for the first time into multi-media coherence.

In keeping with all of the entries in the series, and as indicated in the subheading which reads “Rockin’ 1966 Punkers,” this collection consists of songs which display the rawer and more aggressive side of the genre and are often characterized by the use of fuzztone-distorted guitars and rough vocals.The set generally excludes psychedelic, folk rock, and pop-influenced material in favor of basic primitive rock and roll.The packaging features well-researched liner notes written by Tim Warren which convey basic information about each song and group, such as origin, recording date, and biographical sketches, usually written in a conversational style that includes occasional slang, anecdotes, humorous asides.The liner notes are noticeably opinionated, sometimes engaging in tongue-in-cheek insults directed at other genres of music.The packaging also includes photographs of the bands, and the front cover features a highly satirical cartoon by Mort Todd depicting a revivified “rock and roll” zombie who, along with his macabre cohorts, has just emerged from the grave to “bury” all specimens of supposedly “heretical” pop and progressive music which have come to prominence over the years, such as disco music and MTV.

The set begins with My Confusion,” by The Elite from Fort Worth Texas, succeeded by “Do You Understand Me,” which was the last release by the JuJus from Grand Rapides, Michigan.Two songs by the Alarm Clocks are included, “Yeah” and “No reason to Complain”—both recorded at Sound Ideas Recording Studio in Cleveland.The Fabs from Fullerton, California, are sometimes mistaken for being from Texas, because their cut, “That’s the Bag I’m In,” though recorded in Hollywood, was actually released on the Dallas-based Cottonball label.The fuzz-drenched “Cry” is by the Malibus from Providence, Rhode Island, while the Legends from Holland, Michigan, follow suit with “I’ll Come Again,” which was recorded in 1965 but not released until 1967 on Fenton Records.Several of the odder cuts are the “We All Love Peanut Butter” and an offbeat version of “Jack the Ripper,” both done by the One Way Streets and “Rat’s Revenge Part One” and “Rat’s Revenge Part Two” by the Rats.The Swamp Rats, from Pittsburgh do a rendition of the Sonics’s “Pycho.”Then, there is the unlikely inclusion of a song which, according to music writer Jeff Jarema, paradoxically resides “in the tradition of the Stooges and MC5…another 1970 punk classic,” called “Ghost Power,” but is by the Cords, who were a group of real-life Franciscan monks, who in the spirit of Vatican II decided to play rock & roll as a way to attract members of the younger generation to consecrated life.The song also appears on the Garage Beat ’66, Volume 4 CD compilation, released on Sundazed Records in 2005.”Victim of Circumstances,” by Roy Junior, is none other than Roy Acuff Jr., the son of country music legend Roy Acuff.The song was written by Don Turnbow, who also wrote “Hipsville B.C.” for Texas band the Sparkles.Detroit’s the Unrelated Segments sing “Cry, Cry, Cry.”The liner notes recount an incident when the Outsiders (of Tampa, Florida), whose song “She’s Coming on Stronger” is included in the set, ran into trouble when their van turned upside down while driving to play in Birmingham, Alabama—the band members ended up in jail.”(Would I Still Be) Her Big Man,” by the Brigands, is an about a man who dates a beautiful woman with expensive tastes, and pretends that he is wealthy, but wonders if she would accept him if she finds out that he works in a factory.The set concludes with “Crater Sota,” by the Thunderbirds.

1. The Elite / My Confusion [02:11]
2. JuJus / Do You Understand Me [02:34]
3. The Alarm Clocks / Yeah [02:45]
4. The Alarm Clocks / No Reason to Complain[02:12]
5. The Fabs / That’s the Bag I’m In [02:22]
6. The Malibus / Cry [02:15]
7. The Bel-Aires / Ya Ha Be Be [02:37]
8. Legends / I’ll Come Again [02:06]
9. Rats / The Rats’ Revenge, Pt. 1 [03:11]
10. Rats / The Rats’ Revenge, Pt. 2 [02:34]
11. One Way Streets / We All Love Peanut Butter[02:48]
12. Larry & the Blue Notes / Night of the Phantom[02:13]
13. One Way Streets / Jack the Ripper [02:20]
14. Swamp / Psycho [02:55]
15. The Cords / Ghost Power [03:02]
16. The Outsiders / Summertime Blues [02:50]
17. The Banshees / They Prefer Blondes [02:26]
18. Unknown Band / Little by Little [03:03]
19. Hatfields / Yes I Do [02:11]
20. The Reasons Why / All I Really Need Is Love[02:21]
21. Ralph Nielsen & The Chancellors / Scream[01:58]
22. The Mystics / Snoopy [02:27]
23. Hysterics / Won’t Get Far [02:07]
24. The Lyrics / They Can’t Hurt Me [02:49]
25. The Canadian Rogues / Keep in Touch [02:19]
26. Sweet Cherry / Funny Things Floating [02:53]
27. The Outsiders / She’s Coming On Stronger[02:19]
28. The Mods / Satisfaction [03:43]
29. Deverons / On the Road Again [02:40]
30. The Children Of Darkness / She’s Mine [02:33]

Back from the Grave: Vol. 3&4

Back from the Grave, Volumes 3 and 4 (CD) is a remastered CD that combines into one disc volumes 3 and 4 of the original 1983 and 1984 LPs in the Back from the Grave series of garage rock compilations out by Tim Warren of Crypt Records.[1][2] This CD was released in 2015.It is not to be confused with the older Back from the Grave, Volume 3 and Back from the Grave, Volume 4 CDs released from 1996-2000, which differed dramatically from their LP counterparts in terms of track selection.This new CD is a part of a new Back from the Grave sub-series of CDs which attempts to more faithfully replicate the song selection original LPs, bringing the series for the first time into multi-media coherence.

In keeping with all of the entries in the series, this collection consists of songs which display the rawer and more aggressive side of the genre and are often characterized by the use of fuzztone-distorted guitars and rough vocals.The set generally excludes psychedelic, folk rock, and pop-influenced material in favor of basic primitive rock and roll.The packaging features well-researched liner notes written by Tim Warren which convey basic information about each song and group, such as origin, recording date, and biographical sketches, usually written in a conversational style that includes occasional slang, anecdotes, humorous asides.The liner notes are noticeably opinionated, sometimes engaging in tongue-in-cheek insults directed at other genres of music.The packaging also includes photographs of the bands, and the front cover features a highly satirical cartoon by Mort Todd depicting revivified “rock and roll” zombies who have just emerged from the grave to “drop in a pit” all adherents of supposedly “heretical” pop and progressive music which have come to prominence over the years.

The set begins with “Be My Queen” by the Chentelles from Western Michigan.”I’ve Got Something to Say,” by the Interns from Akron, Ohio, received regional airplay, and the group even made a local TV appearance.The Monacles from Orange County, California also appeared on a local TV show in their area and perform “I Can’t Win.” “Don’t Cry to Me,” by Jerry & the Others, from Dayton, Ohio is set to pounding Bo Diddley rhythms and scintillating guitar parts.Murphy & the Mob from Tyler, Texas sing the highly despondent “Born Loser,” which was released on Talisman Records in 1966.”You Can’t Make Me,” is by the Montells from Miami, Florida, who had previously recorded as H.M. Subjects (Her Majesty’s Subjects). “Wild Man” by the Tamrons, from Concord North Carolina, begins with a Twilight Zone-inspired arpeggiated riff and was recorded at Arthur Smith’s Studio in Charlotte. “Dinah Wants Religion” is by the Fabs, from Fullerton, California, who are sometimes mistaken for being a Texas band. Tacoma, Washington garage rock legends, the Sonics, are represented on the set with the fuzz-drenched “Santa Claus.”Tonto & the Renegades from Ocean Port, New Jersey respond in kind with “Little Boy Blue.” Side two begins with “13 Stories High” by the Botumless Pit.L.A.’s the Sloths provide the blues-tinged protopunk of “Makin’ Love.” Chicago’s the Vectors are heard doing their venison of “What In the World.” The set concludes with “Night of the Sadist,” by Larry and the Blue Notes.

1. Little Willie & the Adolescents / Get Out of My Life[02:13]
2. Chentelles / Be My Queen [02:06]
3. Ken & the 4th Dimension / See If I Care[02:13]
4. The Fugitives / You Can’t Blame That On Me[02:42]
5. Me & Them Guys / I Loved Her So [02:11]
6. Intruders Five / Ain’t Comin’ Back [02:22]
7. The Monacles / I Can’t Win [02:10]
8. Lil’ Boys Blue / I’m Not There [01:56]
9. Jerry & The Others / Don’t Cry To Me [02:53]
10. The Royal Flairs / Suicide [01:59]
11. Murphy & The Mob / Born Loser [02:27]
12. The Mods / You’ve Got Another Think Comin'[02:31]
13. The Interns / I’ve Got Something To Say[03:27]
14. Sir Winston & The Commons / We’re Gonna Love[02:39]
15. The Montells / You Can’t Make Me [02:14]
16. Tamrons / Wild-Man [03:10]
17. The Cyclones / She’s No Good [02:16]
18. The Fabs / Dinah Wants Religion [02:38]
19. Red Beard & the Pirates / Go On Leave [02:21]
20. The Hallmarks / I Know Why [02:42]
21. Rocky & The Riddlers / Flash & Crack [02:42]
22. Tonto & the Renigades / Little Boy Blue[02:24]
23. Botumless Pit / 13 Stories High [02:40]
24. Aztex / I Said Move [02:09]
25. The Nomads / Be Nice [02:41]
26. Bunker Hill / The Girl Can’t Dance [01:57]
27. The Sloths / Makin’ Love [02:02]
28. The Wyld / Fly By Nighter [01:59]
29. The Vectors / What In the World [02:16]
30. The Huns / Shakedown [02:13]

Back from the Grave: Vol. 5&6

Back from the Grave, Volumes 5 and 6 (CD) is a re-mastered CD that combines into one disc volumes 5 and 6 of the original 1983 LPs in the Back from the Grave series of garage rock compilations out by Tim Warren of Crypt Records.This CD was released in 2015.Until the advent of this CD in 2015, there had been no prior releases of volumes 5 and 6 on CD, as all of the songs which were included on the volumes 5 and LPs, appeared instead on volumes 1-4 in the old CD series—the entries in that old CD series differed dramatically from the LPs. However, this CD is a part of a new Back from the Grave sub-series which attempts to more faithfully replicate the song selection original LPs, bringing the series for the first time into multi-media coherence.

In keeping with all of the entries in the series, this collection consists of songs which display the rawer and more aggressive side of the genre and are often characterized by the use of fuzztone-distorted guitars and rough vocals.The set generally excludes psychedelic, folk rock, and pop-influenced material in favor of basic primitive rock and roll.The packaging features well-researched liner notes written by Tim Warren which convey basic information about each song and group, such as origin, recording date, and biographical sketches, usually written in a conversational style that includes occasional slang, anecdotes, humorous asides.The liner notes are noticeably opinionated, sometimes engaging in tongue-in-cheek insults directed at other genres of music.The packaging also includes photographs of the bands, and the front cover features a highly satirical cartoon by Mort Todd depicting revivified zombies, in customary fashion, returning to wreak havoc, this time exacting joyful revenge on practically the whole human race (or at least on those members of it who do not satisfy their minimal requirements of what they consider to be hip), thus using a variety of noxious substances and even resorting to the nuclear option, while a handful of their victims wallow in a “hydroconformic acid hot tub.”

The set begins with “Warning,” by the Humans, from Albion, New York.followed by “Real Fine Lady,” by the Warlords. The Vestells were from eastern Pennsylvania and recorded “Won’t You Tell Me” at the Cameo-Parkway Studios in Philadelphia.Another featured cut is “City of People,” an invective against conformist society, by he Illusions, from Detroit.Also from the motor city, the Kegg’s follow with what Tim Warren has called their “tortured” anthem, “To Find Out.”They are later heard on the cut “Girl.”The Jesters of Newport provide the organ-driven protopunk “Stormy, while the Tigermen from upstate New York perform “Close That Door” and the Rising Tides sing “Take the World as it Comes.””My World Is Upside Down” by the Shames from Ipswich, Massachusetts, who are also later represented on the set with “Special Ones.”The Ascots form Ponitac Michigan play the revved up rocker “So Good.””Varsity Club Song” is by the Golden Catalinas from La Crosse, Wisconsin followed by “Say You Love Me,” by Billy & the Kids from Wenatchee, Washington.”Come on Mary” is by the Abandoned “Love’s a Fire” by the Werps. The set concludes with “Through the Night” by The Trojans Of Evol.

1. The Jesters Of Newport / Stormy [03:22]
2. The War Lords / Real Fine Lady [02:09]
3. The Henchmen / Livin’ [02:08]
4. The Jaguars / It’s Gonna Be Alright [02:13]
5. The Vestells / Won’t You Tell Me [02:37]
6. The Few / Escape [02:38]
7. The Nobles / Something Else [02:14]
8. The Keggs / To Find Out [02:14]
9. The Humans / Warning [02:22]
10. The Illusions / City Of People [02:25]
11. The Tigermen / Close That Door [02:31]
12. The Aztex / The Little Streets In My Town[02:07]
13. The Hatfields / The Kid From Cinncy [02:24]
14. The Centrees / She’s Good For Me [02:22]
15. The Tikis / Show You Love [02:23]
16. The Rising Tides / Take The World As It Comes[02:27]
17. The Shames / My World Is Upside Down [02:37]
18. Long John Silver & The Silvermen / Heart Filled With Love[02:16]
19. The Keggs / Girl [02:07]
20. The Beaux Jens / She Was Mine [03:07]
21. The Savoys / Can It Be [03:04]
22. The Abandoned / Come On Mary [01:58]
23. The Barracudas / Baby Get Lost [01:46]
24. The Ascots / So Good [01:41]
25. The Shames / The Special ones [02:23]
26. The Golden Catalinas / Varsity Club Song[02:19]
27. Billy & The Kids / Say You Love Me [02:09]
28. The Shandells / Caroline [02:07]
29. The Shandells / Mary Mary [02:32]
30. The Trey Tones / Nonymous [02:23]
31. The Bryds / Your Lies [02:22]
32. The Trojans Of Evol / Through The Night[02:24]

Back from the Grave: Vol. 7

Back from the Grave, Volume 7 is the seventh installment in the Back from the Grave series of garage rock compilations assembled by Tim Warren of Crypt Records and is available on LP and CD.It was originally released in 1988 as a double-LP containing 34 tracks, and has been newly re-mastered and re-issued in 2015.Though most of the LP’s tracks had appeared on volumes 3 and 4 of the Back from the Grave CD-specific sub-series (released between 1996 and 2000), in 2015, it was released on CD with the re-mastered material and closely matches the song content (and album cover artwork) of the original LP (containing all but two of the cuts on the original LP) as part of an effort to bring the LP’s and CD’s of the series into multi-medium coherence.In keeping with all of the entries in the series, and as indicated in the subheading which reads “Raw Blastin’ Mid 60s Punk,” this collection generally excludes psychedelic, folk rock, and pop-influenced material in favor of basic primitive rock and roll, usually consisting of songs displaying the rawer and more aggressive side of the genre often characterized by the use of fuzztone-distorted guitars and rough vocals.

The packaging features well-researched liner notes written by Tim Warren which convey basic information about each song and group, such as origin, recording date, and biographical sketches, usually written in a conversational style that includes occasional slang, anecdotes, humorous asides.The liner notes are noticeably opinionated, sometimes engaging in tongue-in-cheek insults directed at other genres of music.The packaging also includes photographs of the bands, and the front cover features a highly satirical cartoon by Mort Todd which once again depicts the customary revivified zombies whose ethos always demands strict adherence to what they consider to be the “one true faith” of “pure” rock & roll (i.e. with no admixture of “revisionist heresy”), and on this particular occasion they are accompanied by a very select remnant of survivors (“true” rock & roll fans and beautiful women) who have been allowed to seek refuge on rafts and be spared from the vengeful “apocalypse” (and its torrential flood of Biblical proportions prefigured typologically in earlier volumes of the BFTG series), which has been near-successfully waged against all forms of musio-cultural “heterodoxy” and its global adherents, in effect “crankin’ out” a handful of “blastin'” garage tunes (from the past) in order to “clear the way” for their envisioned “retro-future,” reducing civilization back to a supposed “Edenic” state or “glorified stone age”, making the world “safe” for the “triumphal” return of primitive two/three-chord “caveman rock”.

The set begins with “The Egyptian Thing” by the Syndicate, from Los Angeles (not to be confused with the Syndicate of Sound of San Jose), and they appear again on the rousing ninth track, “My Baby’s Barefoot.””Another Day,’ is by the Moguls, and its lyrics, instead of glorifying the rock & roll lifestyle, address the daily hassles and setbacks of being in a traveling band.The Worlocks from Elgin, Pennsylvania’s are heard on the highly frantic sixth track, “I Love You.”The Hush Puppies, continue in much the same vein with the spirited “Look for Another Love,” then later re-appear with the edgier twelfth track, “Hey, Stop Messin’ Around.”The Cliques, from Champaign, Illinois, follow suit with “So Hard,” a song whose lyrics express intense frustration with a lover.The blues-based “Orphan Boy,” by Half-Pint & the Fifths, is one of the highlights of the album and tells a tale about the dejected (and rejected) life of an orphan.The Spiders would later attain fame as Alice Cooper and are represented with two songs on the set, “Don’t Blow Your Mind,” which was a big hit in their hometown of Phoenix, Arizona, and “No Price Tag.”The Mystic Five, from Venetia, Pennsylvania, serve up the highly primitive protopunk of “Are You for Real, Girl?,” and The Bends respond in kind with “If It’s All The Same To You.”The closing track is “Slander,” by Ty Wagner.

1. The Syndicate / The Egyptian Thing [02:10]
2. The Tombstones / I Want You [02:49]
3. The Moguls / Another Day [02:20]
4. The Puddin’ Heads / Now You Say We’re Through[02:02]
5. Jim Whelan & The Beau Havens / Elizabeth[02:57]
6. The Worlocks / I Love You [02:42]
7. The Hush Puppies / Look For Another Love[02:32]
8. The Bugs / Slide [02:07]
9. The Gentrys / Wild! [02:34]
10. The Syndicate / My Baby’s Barefoot [02:41]
11. The Hush Puppies / Hey, Stop Messin’ Around[01:57]
12. The Cliques / So Hard [01:57]
13. The Heathens / The Other Way Around [02:36]
14. Beep Beep & The Roadrunners / True Love Knows[02:06]
15. The Snails / Snails’ Love Theme [02:46]
16. Mike’s Messengers / Gone And Left Me [02:54]
17. The Mustangs / That’s For Sure [02:04]
18. Tyme / Land Of 1000 Dances [03:21]
19. The Noblemen / Short Time [01:59]
20. The Invasion / Do You Like What You See [02:05]
21. The Travel Agency / Jailbait [02:51]
22. The Ron-De-Voos / The Maid [02:11]
23. It’s Us / Don’t Want Your Lovin’ [02:45]
24. Half-Pint & The Fifths / Orphan Boy [02:24]
25. The Spiders / Don’t Blow Your Mind [02:33]
26. The Grifs / Keep Dreamin’ [02:05]
27. The Retreds / Black Mona Lisa [02:55]
28. The Mystic Five / Are You For Real, Girl [02:46]
29. The Bends / If It’s All The Same To You[02:33]
30. The Cavaliers / Seven Days Of Cryin’ [02:00]
31. The Hides / Don’t Be Difficult [02:36]
32. Ty Wagner / Slander [02:06]

Back from the Grave: Vol. 8

Back from the Grave, Volume 8 (CD), is numerically, though not chronologically, the fifth installment on campact disc in the Back from the Grave series of garage rock compilations assembled by Tim Warren of Crypt Records.It was released on August 26,1996.The primary reason why there were no releases for Volumes 5, 6, and 7 in the CD-specific series (released between 1996 and 2000), is that the track listings on the albums and CD’s differed dramatically, and that most of the songs included on the first seven volumes of the LP series were configured onto the first four CDs.Making matters more complicated, Vol. 4 of the CD-specific series was actually released in 2000, four years after the release of Volume 8 (though the LP version of Volume 4 was released in 1996).In 2015, a totally new re-mastered CD series of Back from the Grave is in the process of being released, which will adhere more closely to the track listings of the LPs, and will bring the series for the first time into multi-medium coherence.

Unlike the preceding four volumes in the CD-specific series, the tracks on Volume 8 corresponded almost exactly with the LP, containing all of the songs on the LP (in the same order), but with the addition of several bonus tracks.In keeping with all of the entries in the series, and as indicated in the subheading which reads “Over 30 Cuts of Utter Snarling Mid-60’s Garage Punkrock,” this collection consists of many songs which display the rawer and more aggressive side of the genre and are often characterized by the use of fuzztone-distorted guitars and rough vocals.Accordingly, the set generally excludes psychedelic, folk rock, and pop-influenced material in favor of basic primitive rock and roll.The packaging features a booklet containing well-researched liner notes written by Tim Warren which conveys basic information about each song and group, such as origin, recording date, and biographical sketches, usually written in a conversational style that includes occasional slang, anecdotes, humorous asides.The liner notes are noticeably opinionated, sometimes engaging in tongue-in-cheek insults directed at other genres of music.The booklet also includes photographs of the bands, and the front cover features a highly satirical cartoon by Mort Todd depicting revivified “rock and roll” zombies who, on this occasion, target none of their customary victims (aside from an occasional prong from their devils’ pitchforks), but instead have turned up at the “mosh pit” at a 1990s “Lolabigloozzaz” festival, delightfully holding up “mosh pit cookbooks” (i.e. suggesting that the sixties garage bands were the precursors of all this), while hordes of Prozac-dependent “rejects” slam dance in the mud-drenched melee below.

The set begins with the bongo-punctuated revved-up drive of “Alright,” by the Groop, from Ohio, which was recorded at A&T Studios in Toledo, which is followed by “Can’t Tame Me,” by the Benders from Michigan.Adrian Lloyd then delivers a screaming vocal in, “Lorna.”The Chancellors from Potsdam, New York sing sarcastically about traveling around the country in “On Tour.”The Bojax, from Greenville, South Carolina released a single in 1967 on Panther records, “Go Ahead and Go,” which is included here and was produced by Rudy Wyatt of fellow Greenville band, the Wyld, who perform the next cut, “Goin’ Places.”The Painted Ship, from Vancouver, Canada, appear on two tracks, “She Said Yes” and then, later in the set, “Little White Lies.”The Merlin Tree from Austin, Texas also provide two songs: first the guitar-overdriven protopunk of “Look in Your Mirror,” the later “How to Win Friends.””I Don’t Want to Try It Again” was the debut single by the Dagenites, from Oxon Hill, Maryland, who shared the same manager with Link Wray.The Dry Grins from Lafayette, Louisiana sing the organ-infused “She’s a Drag.” Satyn’s Children close the set with “Don’t Go.”

1. The Groop / I’m Alright! [02:42]
2. The Benders / Can’t Tame Me [01:57]
3. Adrian Lloyd / Lorna [02:24]
4. The Chancellors / On Tour [02:43]
5. The Pseudos / A Long Way To Nowhere [02:26]
6. The Bojax / Go Ahead & Go [01:58]
7. The Wyld / Goin’ Places [02:35]
8. The Elite U.F.O. / Now Who’s Good Enough[02:30]
9. The Painted Ship / And She Said Yes [02:32]
10. The Merlynn Tree / Look In Your Mirror[02:29]
11. Dave Myers & The Disciples / Come On Love[01:52]
12. The Cindells / Don’t Bring Me Down [02:03]
13. James T & The Workers / That Is All [02:25]
14. The Outspoken Blues / Not Right Now [02:53]
15. The Painted Ship / I Told Those Little White Lies[02:35]
16. Just Too Much / She Gives Me Time [02:24]
17. The Cavedwellers / Run Around [02:04]
18. The Village Outcast / The Girl I Used To Have[02:00]
19. The New Fugitives / That’s Queer [02:38]
20. The Asenders / I Won’t Be Home [02:15]
21. The Tikis / We’re On The Move [02:08]
22. The Amberjacks / Hey Eriq! [02:18]
23. The Ravenz / Just Like I Want Her [02:41]
24. The Piece Kor / All I Want Is My Baby Back[02:54]
25. The Dagenites / I Don’t Want To Try It Again[02:27]
26. The Dark Horsemen / You Lied [01:42]
27. The Dave Starky 5 / Hey Everybody [01:55]
28. The Dogs / Don’t Try To Help Me [01:56]
29. The Sonics / Diddy Wah Diddy [03:11]
30. The Pulsating Heartbeats / Talkin’ About You[02:51]
31. The New Fugities / She’s My Baby [02:42]
32. The Merlynn Tree / How To Win Friends [02:28]

Back from the Grave: Vol. 9&10

Back from the Grave, Volumes 9 and 10 (CD), is numerically, though not chronologically, the fifth installment in the series of Back from the Grave of garage rock compilations released on compact disk in 2015 which, unlike the previous set of CD releases issued between 1996-2000, which it will be replacing, attempts to faithfully replicate the contents of the Back from the Grave LPs, which will bring the series for the first time into multi-medium coherence.Like all of the entries in the series it was assembled by Tim Warren of Crypt Records.In keeping with all of the entries in the series, and as indicated in the subheading which reads “Raw Blastin’ Mid 60s Punk,” this collection consists of many songs which display the rawer and more aggressive side of the genre and are often characterized by the use of fuzztone-distorted guitars and rough vocals.As with all of entries in the series, the set generally excludes psychedelic, folk rock, and pop-influenced material in favor of basic primitive rock and roll.

The first half of the set consists of tracks from the Back From the Grave, Volume 9 LP, beginning with the driving protopunk of “Circuit Breaker,” by the Pastels, from Pasco, Washington. The High Spirits form Saint Louis Park, Minnesota, do a version of the Zombies’ “It’s Alright With Me,” which at one point shifts from a slow tempo that accelerates in cadence, rising to an organ-drenched climax consummated by a guitar solo and cathartic screams.The Emeralds from Greenwood, Indiana perform the gritty blues-based “Like Father Like Son,” which recounts a tale based on A Tale of Two Cities, by Victorian novelist Charles Dickens, in which the character Jerry Cruncher is a porter by day and a grave robber at night, whose lyrics chime: “…my son goes to the church where they wear the black capes where you’re taught not to have your fun…” The Gentlemen, from Dallas, Texas perform the 1965 demo acetate version of “It’s a Cry’n Shame.” Knoll Allen And The Noble Savages sing the highly primitive sexually-charged “Animal.” On track 16, James Bond & The Agents perform “Wild Angel,” which is the opening cut on the Back From the Grave, Volume 10 LP edition. The Four, from Brownville, Tennessee sing the highly suggestive “69,” which was recorded at Sam Phillips’ Sun Studio in Memphis and is set to crunching Kink’s style riffs. “Return to Innocence” is by the Expressions, from Ringgold Georgia, and previously appeared on the Destination Frantic Volume Three compilation, put out by Zone 66 Records. The Hotbeats from Bristol, Rhode Island perform “Listen.”The set closes with GMC and the Arcelles humorous send up of the Sonics’ “The Witch.”

1. The Pastels – Circuit Breaker [02:13]
2. The High Spirits – It’s Alright with Me [02:04]
3. The Warlocks – Beware [03:09]
4. The Emeralds – Like Father Like Son [02:45]
5. The Why-Nots – Tamborine [02:28]
6. The Turncoats – Something Better [03:40]
7. The Classics – I’m Hurtin’ [02:25]
8. The Raevins – The Edge of Time [02:49]
9. Lord Charles & The Prophets – Ask Me No Questions [02:11]
10. The Gentlemen – It’s a Cry’n Shame [02:25]
11. The Shakles – Whizz #7 [02:42]
12. Unknown Group – When I Feel Better [01:53]
13. Knoll Allen & The Noble Savages – Animal [01:49]
14. The Donshires – Sad and Blue [02:20]
15. The Starfyres – No Room for Your Love [02:25]
16. James Bond & The Agents – Wild Angel [03:28]
17. John English III & The Heathens – I Need You Near [02:06]
18. The Four – 69 [02:14]
19. The Expressions – Return to Innocence [02:24]
20. The Orphans – Without You [02:45]
21. The Sires – Don’t Look Now [02:24]
22. It’s Them (TTHHEMM) – Baby (I Still Want Your Lovon’) [02:48]
23. The Orphans – Hey Gyp [02:24]
24. Nobody’s Children – Mother’s Tin Moustache [02:51]
25. South’s Soul – Lost [02:12]
26. The Hotbeats – Listen [02:13]
27. The Hard Times – Mr. Rolling Stone [02:29]
28. Four More – Problem Child [01:55]
29. The Color – Young Miss Larsen [02:20]
30. GMC & The Arcells – The Witch [02:15]

All text from Wikipedia, the free encyclopedia

En 2004, un grupo de investigadores observaron que unos pescadores marroquíes habían desarrollado el ritual de fumar resina de cannabis antes de salir por la noche en sus barcos. Los pescadores afirmaban que realmente podían ver mejor a través de la oscuridad cuando estaban en el mar, esperando la captura, y los científicos lo confirmaron. Sometieron a aquellos hombres fumados a varias pruebas de visión y, cuanto más fumados iban, mejores resultados obtenían.

Pero seguían sin saber por qué ponerse pedo mejoraba la visión, especialmente cuando la maría normalmente hace que la gente falle estrepitosamente cuando trata de hacer algo de utilidad. Sin embargo, un nuevo estudio publicado a principios de este mes en la revista eLife ofrece una pista muy prometedora en cuanto a cómo ingerir marihuana mejora la visión de los pescadores (o de cualquier otra persona).

Edward Ruthazer, profesor en el Instituto Neurológico Montreal de la Universidad McGill y autor principal del estudio, descubrió que los cannabinoides que contiene la marihuana pueden realmente incrementar la conexión entre el cerebro y el ojo en los renacuajos.

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"Somos un laboratorio que estudia el desarrollo de los circuitos cerebrales y usamos renacuajos porque son transparentes, así podemos observar las células cerebrales de los animales intactos y ver cómo se remodelan con el tiempo y forman conexiones", explicó. "Se sabe que los cannabinoides son importantes en algunos aspectos del desarrollo cerebral, así que queríamos observarlos en nuestro sistema para ver y registrar los cambios funcionales en su conectividad ". Aunque Ruthazer y su equipo esperaban ver cómo la funcionalidad decrecía, les sorprendió descubrir que el cannabis en realidad fortalecía la conexión entre el ojo y el cerebro, porque el cannabis "hace que el ojo sea más sensible a los estímulos visuales".

Dicho de otro modo, las células del ojo tienen más probabilidades de responder a los estímulos visuales cuando están expuestas a los cannabinoides. Ruthazer descubrió que la introducción de cannabinoides activa un receptor de cannabinoides del cerebro (CB1R) que mejora la respuesta de las células del ojo encargadas de alertar al cerebro para que detecte la luz. Aumentar los cannabinoides naturales presentes en los animales reproducía el efecto y bloquear el receptor lo inhibía completamente. Básicamente vio cómo sucedía todo esto a través de la piel de los renacuajos.

Sin duda resulta reconfortante saber que hay alguien ahí afuera que ha dedicado una parte de su vida a dejar que unas cuantas ranitas bebé naden en agua con marihuana para que podamos entender qué sucede en nuestros cerebros cuando fumamos hierba. Aunque es necesario llevar a cabo más investigaciones para confirmar si los sistemas de los mamíferos reaccionan del mismo modo, se trata de un paso importante a la hora de entender cómo afecta el cannabis a la función cerebral.

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Investigaciones anteriores han descubierto que no todos los efectos de esta droga son explícitamente positivos: un estudio ya ha demostrado que podría dañar la memoria, pero como aquí se muestra, se siguen estudiando sus posibles efectos terapéuticos.

"Los cannabinoides son capaces de controlar la actividad de las células del cerebro a través de una amplia gama de mecanismos", me explicó Ruthazer. "Casi podría decirse que hay todo un crisol de caminos de señales neurológicas en nuestro interior".

Hoxe rematei a miña colaboración As efeméridas no programa Galicia por Diante do gran Kiko Novoa. Foi unha magnífica experiencia na que cada semana exploraba sucesos máis ou menos anónimos (aínda que ás veces foi irresistible coller outros de maior entidade, pero moi descoñecidos para a sociedade actual), que aconteceran nesta semana. Nun país tan vello como Galicia, que ademáis conserva tanta documentación, facer este espazo radiofónico foi unha fonte continua de diversión e aprendizaxe.

Aínda que desde o programa me pediron que me continuara facendo a colaboración, as miñas obrigas impídenme en inverno levar a cabo esta produción, que require bastante tempo. Con todo, grazas ao mítico Dorfun, un dos grandes activistas de Internet desde o seu nacemento, aquí tedes acceso aos programas (nestes momentos só falta por engadir o último). Grazas, Dorfun!

A foto foi tomada o primeiro día de gravación por Kiko Novoa.

“Hola, Jake”. Era 1980 y un joven actor estaba a punto de debutar en el cine con esas dos palabras. Algo sencillo sí, pero dicen que en la gran pantalla no hay papel pequeño. Además, era un proyecto interesante, dirigido por un cineasta prometedor que había dejado a todos boquiabiertos con Taxi Driver y protagonizado por Robert De Niro, otra estrella en ciernes. Precisamente fue el actor de El Padrino II quien quedó impresionado por el trabajo de ese chico de 21 años en un obra de teatro del off Broadway. Él mismo le consiguió su primera audición y tras acudir a castings durante meses, logró hacerse con la mencionada frase. “Era muy joven” para darle más, le dijeron. 36 años y casi 100 películas después, los recuerdos de su primer papel en el cine, en Toro Salvaje, quedan ya muy atrás para John Turturro.

Cuatro películas con los Coen, siete con Spike Lee, tres de Transformers y otras tantas de Adam Sandler. También algún Chéjov, Brecht y Shakespeare en teatro. Seis filmes como director, contando además con Woody Allen y Sofia Vergara juntos, –sí, juntos– en una misma película. La esquizofrenia cinematográfica de la carrera de Turturro solo podría entenderse debido al heterogéneo talento de un actor de esos mal llamados secundarios. De los que honran la profesión sin hacer ruido. De los que se mueven con idéntica soltura en el blockbuster de estudio o en la producción independiente. Ahora, que triunfa en la televisión y que ha confirmado la vuelta de uno de sus personajes más recordados, queremos rendirle un homenaje. Los responsables de Toro Salvaje olvidaron entonces incluir en los créditos al joven Turturro. No lo olvidemos nosotros.

“Mi agente siempre está gritando y diciéndome que podría ser una persona muy rica. Bueno, lo hago lo mejor que puedo. Papeles pequeños, papeles grandes…”, dice el actor, que parece justificarse de su filmografía. Turturro, que ha hecho gala de una polifacética curiosidad artística, sabe que para poder financiar sus proyectos hay que pagar la factura con apariciones en Transformers. Hijo de un obrero de la construcción y de una cantante de jazz amateur (y modista durante la II Guerra Mundial), criado en Brooklyn y graduado en la prestigiosa Universidad de Yale, forma parte del –oficioso– lobby italoamericano que durante décadas ha reinado en Hollywood. Ese que lideraron De Niro y Pacino, pero en el que también figuran los Pesci, Palmintieri o Gandolfini. Turturro tiene tal apego por su descendencia siciliana, que ha rodado películas en el país transalpino con directores de la talla de Nanni Moretti e incluso consiguió hacerse con la doble nacionalidad hace cinco años.

Ya con pasaporte italiano, este tótem silencioso sigue tejiendo una de las carreras más interesantes y prolíficas de la industria del cine. No esperen declaraciones polémicas o episodios turbios en su vida, él sigue viviendo en el mismo barrio en el que nació. Un rostro clásico de Hollywood, a quien suelen confundir con otra figura italoamericana y compañero de reparto en El gran Lebowski, Steve Buscemi. Precisamente al igual que la estrella de Boardwalk Empire, Turturro ha conseguido en la televisión la oportunidad de liderar el reparto de una de las series más alabadas del año: The Night Of. El de Brooklyn borda su retrato de un abogado en decadencia en lo familiar (su mujer le ha dejado y su hijo pasa de él), en lo laboral (busca clientes en las comisarías) e incluso en lo físico (una infección en la piel le atormenta), pero que se resiste a darse por vencido.

The Night Of es una miniserie de ocho capítulos ligeramente inspirada en la producción británica Criminal Justice. Escrita por dos de las mejores plumas de Hollywood, Steve Zaillian (La lista de Schindler) y Richard Price (The Wire), la serie fue la última obsesión de James Gandolfini, el mítico Tony Soprano. Íntimo amigo de Turturro, iba a producir y protagonizar la producción, volviendo por fin a la televisión tras Los Soprano. Un mes antes de que la HBO le diera luz verde al proyecto, Gandolfini murió de un ataque al corazón en Italia. Tras tambalearse el futuro de la serie, sus responsables decidieron seguir adelante y buscar un sustituto. Después de rechazar el papel Robert De Niro por problemas de agenda, llegó el turno de Turturro.

“Éramos amigos. Fui a su boda. Fui a su funeral”, explica el actor, que se mostraba reacio a aceptar el papel pensado para su amigo. Finalmente, después de enviar una carta a la viuda de Gandolfini y contar con su aprobación, aceptó. En la serie Turturro interpreta a John Stone, un picapleitos neoyorkino de poca monta, hazmerreír de detectives, abogados rivales y jueces, que se encuentra por casualidad con Naz, un joven de origen pakistaní acusado de un brutal asesinato. La serie supone una perturbadora radiografía del sistema judicial norteamericano post 11-S y los desbastadores efectos de la encarcelación en el alma de un hombre. Un ejercicio de tensión y atmósfera angustiosa, considerada como la mejor serie del año según webs especializadas como Metacritic y Rotten Tomatoes. Turturro demuestra que puede cargar sobre sus hombros un proyecto de alto perfil en una interpretación tildada de “extraordinaria” (Los Angeles Times) y “apabullante” (The Wall Street Journal).

Quizá The Night Of llevé al actor al lugar en el que no estamos acostumbrado a verlo: las galas de premios. Turturro, como Buscemi, nunca ha sido nominado al Oscar. Ni su última película como director, Aprendiz de gigoló, en la que convirtió a Woody Allen en proxeneta (y a quién convenció a través de su peluquero común), ni Barton Fink, que le consiguió el premio al mejor actor del festival de Cannes, llamaron la atención de la Academia. Tampoco otro de sus roles más recordados, el jugador de bolos y excéntrico delincuente sexual, Jesús Quintana, en El gran Lebowski. La película de los Coen forma parte de ese grupo de obras que pasaron desapercibidas en su estreno y que con el paso de los años se transformaron en filmes de culto. “Cuando vi por primera vez la película, pensé que Jeff [Bridges] estaba genial, pero que mi papel era algo vergonzoso. Pero los chicos la descubrieron y se convirtió en el tipo de película que puedes ver muchas veces”, confiesa el actor en una entrevista.

Con apenas tres minutos en pantalla, Turturro consiguió aportar un tremendo carisma al personaje. Nadie mima la bola, al ritmo del Hotel California de los Gipsy Kings, como Jesús Quintana. Tanto predicamento tuvo entre los fans de la película que le han obligado a regresar por aclamación popular. Actualmente dirige, escribe y protagoniza Going Places, la secuela de El gran Lebowski centrada en su personaje. Audrey Tautou, Bobby Cannavale (Vinyl) y Susan Sarandon le acompañan en el reparto. La trama apunta maneras: El jugador de bolos y buscavidas competirá con un ladrón interpretado por Cannavale para provocarle a una mujer (Tautou) su primer orgasmo. El estreno del spin-off está previsto para 2017, casi 20 años después del estreno de la película original de los Coen. A ver quién se atreve a dejar fuera de los créditos el nombre de Turturro.

La entrada John Turturro, el merecido triunfo del mejor secundario aparece primero en S Moda EL PAÍS.

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As a woman with anxiety, I can tell you right now, I know that I am not the easiest person to love. Some days are harder than others. Some days I feel as if I am spinning out of control and can’t get anything right. I know that I may not be full of sunshine and daisies but I have people that love me very much, even when I can’t see it myself. Some people understand it because they’ve been there; some people think it’s a figment of your imagination. Whether it’s what you would consider “real” or not, it would mean the world to your anxious loved one if you could take a step back and listen to our needs and apply a few simple actions that would make our world a much easier place to handle. Let’s talk about some simple ways to ease your loved one’s anxiety, shall we?

1. Please for the love of God do not force us to make plans at the very last minute.

Rest assured, we already have our entire day or week planned out before you come up to us with some last minute dinner plans or an outing to a bar with the girlfriends after so-and-so’s latest break-up. It takes a lot for us to get motivated to get out into the world and ready to face other human beings. Please don’t make us have to do that before we’re mentally prepared. More importantly, don’t be offended when we say no.

2. Don’t say things like, “Look at me in the eyes.”

This is definitely impossible for us most of the time. Let’s not make things awkward by me having to openly deny your request for eye contact.

3. Don’t take if offensively if we don’t want to hold your hand.

Our personal bubble is a sacred place. When someone touches us, it can be a suffocating feeling, even if you’re trying to be loving or comforting. It’s nothing against you; we will return the love when we are ready.

4. Understand that small talk is excruciating.

I mean, really. Let’s not settle for those obligatory comments about the weather, what we’ve been up to lately or the scores of the latest football game. Get to the point or be quiet. I truly appreciate the silence much more than the unnecessary chatter.

5. We desperately need some time to recharge after being social.

It is emotionally draining to be around a group of people. Once we’re finally out of that situation, it feels like we have run a mental marathon. We need some down time with silence, solitude and a few days to recoup before we’re ready to face the world again.

6. It’s much easier if you will just make plans for us.

Truly, the least amount of options that I feel I am being forced to choose from, the better.

7. “Meeting the parents” never sounds like a fun idea. Let’s try to avoid this for as long as possible.

We already hardcore judge ourselves, what we say, how we look, and how we act. We will obsess over whether or not your folks approved of us. Let us become more comfortable, and let us prepare. This is a serious thing, and we want to get it right!

8. Don’t volunteer for us to host family members or friends in our home without my consent.

This is definitely something that needs to be discussed beforehand. Our home is our safe place. Don’t invite people into our safe place if we aren’t feeling so groovy that day. It makes it so much harder to entertain when we aren’t at our best.

9. Help us stay on top of upcoming plans/events and their dates so that we don’t stress out as much about having to remember it by ourselves.

We’ll obsess over it anyway but it would just be nice if we feel like we aren’t the only ones worrying about that sort of thing.

10. Fill up the gas tank before you come home so we don’t have to go to the gas station.

People don’t realize how extremely anxious gas stations can make people. The entire experience is filled with possible interactions with other people, remembering pump numbers and what you came inside to get, and trying to hurry so the person waiting for your pump doesn’t get aggravated and honk the horn. It’s really a lot to take in, and none of it is fun.

11. Don’t make fun of us if we don’t feel like speaking through a drive-thru window.

Speaking to others isn’t easy, even if you can’t see their faces. This is a real thing.

12. Offer to go inside a store if it isn’t necessary that we go in ourselves.

The best way to deal with a potentially awkward situation is to not deal with it at all.

13. Don’t send us texts like, “I have a question,” or, “we need to talk about something later.”

This will drive us literally crazy, and we will beat ourselves up trying to figure it out. Don’t do this to ANYONE, for that matter. Ever. It’s just wrong.

14. If there is any bill that can’t be paid online, then pay it on the phone yourself.

If it’s online, then don’t worry- we got you! Please don’t make us speak to anyone on the phone, though. The horror.

15. Don’t leave us home alone when the cable guy or some service person is scheduled to come fix something at our house.

It’s already overwhelming knowing that a stranger is scheduled to come to your house. It’s even more overwhelming knowing that you’ll have to let them in and speak to them.

16. Answer the door if someone is unexpectedly knocking, and we aren’t aware of who it could possibly be.

I know it sounds silly, but this is a life saver. When you have to mentally prepare before you socialize with others, unexpected visitors are not your friends.

17. Ask if we would prefer for you to drive when we’re going anywhere.

Driving can be a lot to handle, as well. (See more about this topic on Reason #27) If we aren’t feeling up to the challenge, then it would be just lovely if you would volunteer to drive instead.

18. Don’t call us if whatever you need to say can easily be sent via text message.

“Sorry I didn’t answer my phone when you called. That’s not what I use it for.”

19. If you know that we’re out of something, then pick it up at the store on your way home instead of asking us to take a special trip to get it.

A lot can happen to us during the day so you never know how we’re feeling until you get there. We could’ve had a hard day, and facing people doesn’t sound so appealing to us. It could end up being the straw that broke the camel’s back.

20. Don’t make unnecessary noises, ever.

The more noises that we hear, the more scattered our brains become. Please don’t add fuel to the fire.

21. Don’t touch us for no reason. I mean, no reason.

Once again — personal bubble, my friend. Do not burst my bubble.

22. If we are standing at a store waiting to check out, then take the initiative to speak to the cashier and pay for our items for us, even if we have to hand you the money.

Again, small talk. Awkwardness. Anxiety.

23. Don’t put the spotlight on us when we’re talking with a group of people by asking us a random question.

We’re really trying very hard to be present but blend in with the scenery. Being the center of a conversation is not on the list of things we’re trying to accomplish here.

24. Always remember the look we give you when we’re in public and are ready to leave.

Just pay attention. You know what look I’m talking about.

25. Take into consideration how long we stay at any given place.

The sooner we can leave, the sooner we can get back to our safe place.

26. Remember that we really don’t like surprises, and definitely don’t talk about a surprise before you intend to reveal it to us.

This is just as, if not more, excruciating than the dreaded “We have to talk” text messages. If you’re going to surprise us with a gift, then just do it. If you’re wanting to surprise us with a trip, then run it by us first before you make plans. We will still be thankful for the gesture.

27. Be extremely attentive when you’re driving us somewhere.

Please, please, please pay attention to the road and watch where you are going. We aren’t in control, and that’s a problem for us. Even if you’re a good driver, we’re still scared as hell about all the possibilities of what could go wrong on this journey. Be aware! That includes no texting and driving!

28. Don’t ask us to entertain someone that you’re speaking with so that you can go do something else.

This only leads to small talk, and it only drains our soul. Just say no.

29. Don’t get aggravated when we ask the same questions over and over again just so we can be sure.

We can never be too sure, and sometimes our insecurities and fears will never silence in our heads. Humor us, if you will, but it makes us feel better.

30. When we think that something is wrong and we want you to go check it out, please be polite and comply, even if you think it’s silly or unreasonable.

Even if that means checking to make sure the door is locked after we’ve already been in bed for over an hour.

31. When we tell you that we’re afraid of something, believe us.

Please don’t force us to do something that completely terrifies us, even if it seems like a ridiculous fear to you. It is very real and traumatic for us.

32. When we’re having a panic attack, please don’t speak to us or touch us.

We know that you’re just trying to help but believe us, we know how we’re supposed to ride this out. Nothing that you say or do is helping. Give us space. Give us silence. Then, give us comfort when we’re exhausted from how draining an anxiety attack really is, and don’t ask questions about it or draw attention to us until we’re ready to talk.

33. Don’t try to be love-y if we’re not feeling it.

I promise you, we’re not trying to be cold or unloving towards you. Sometimes we just need our personal bubble to not be popped. Just because we don’t want to cuddle, that doesn’t mean that we don’t love you very much.

34. Never be afraid of interjecting in a conversation when we are clearly struggling as we’re trying to get our point across to someone.

Like, really, you can see our eyes screaming, “SAVE ME.”

35. Always suggest staying in, ordering take-out and binge-watching on Netflix as an option instead of going out on the town in case we aren’t feeling the night life.

We aren’t hard to please kind of people. The less chaos, the better. We really truly enjoy these times with you much more than in a social setting.

36. When we tell you what we want to order before the waiter comes, then tell them what our order is for us.

We go ahead and tell you what we want so that you’ll do this, and no one ever does! It would be so nice. Why should we have to speak to someone when you could just as easily do it for us? Please!

37. Take the time to acknowledge when we try really hard to be as calm, cool and collected as possible when we have to force ourselves to be a situation in which we’d rather not engage.

It takes a lot out of us to do this. Even if it’s a simple, “thanks for trying today,” that is more than enough for us.

38. Answer our phones for us when an unknown number calls or a number that we don’t recognize.

The unknown makes us nervous. I mean, really nervous. Answering a call from an unknown number is like playing Russian Roulette for us.

39. If we make a mistake, then don’t point it out to us harshly.

We can take constructive criticism but make sure it is worded correctly. One comment taken the wrong way can set off a tidal wave of questions and doubts about ourselves followed by the immense feeling of failure. “Fragile: Handle with Care.”

40. Encourage us when we’re feeling down.

Unfortunately, anxiety and depression pretty much go hand in hand. With fears and obsessions of failure comes the depressing thoughts that become obsessive, too. Make sure we know how you truly feel about it. Point out the positives when we are too far in the dark to see them.

41. When we are ready to talk about everything that’s bothering us, please listen.

It takes a lot for us to finally open up and share our fears and insecurities that we know will sound trivial to anyone else, so when we are ready to express those things to you, don’t take that lightly. All we really want is for someone to listen and to understand.

42. Don’t let us go to bed confused or worried, if you can help it.

Your reassurance means more than you will ever know. If you are able to ease our minds, even in the slightest, then please try.

43. When we’re feeling overwhelmed with things at home, offer to take over some of the chores.

Even if it’s just doing the laundry, that’s one less thing that’s on our minds. We will be forever thankful for you to lighten our load. (no pun intended)

44. Encourage us to do whatever our hobbies we have that help to calm us.

Everyone has their own outlet that helps calms them and puts their thoughts to rest. Whether it’s sketching, painting, writing, crocheting, listening to music, going for a jog, doing yoga, whatever it may be- encourage us to get back to things that make us happy and can settle our busy minds.

45. Make us feel safe in your presence.

We know that not everyone thinks the way that we do. We know that some things we think, say or do are irrational to some. All we want is a safe haven to be found in you, where we are loved and accepted. Always make us feel welcome to express our feelings and needs to you.

46. Stick with us through these trying times, even when we feel like we don’t deserve you.

We are hard to live with. We know this. BUT WE ARE WORTH IT. Beneath the anxiety, we are passionate, caring people with every desire to love. If you can ride this out with us and find who we truly are away from the chaos, then you will be pleased that you did.

47. Inspire us to chase our dreams.

Our anxieties make us believe that if we ever try to achieve a goal that we have for ourselves, then there a million reasons why we will fail. We need you to push us to give it a shot, anyway. We need you to support us on our journey, and even if we do fail the first time, encourage us to try again because our happiness and fulfillment are worth it.

48. Talk to us about the favorite part of your day with us.

Since negativity fills our minds more times than not, we forget to focus on the good things that have happened. Remind us of what we did that made you happy to be there in that moment with us. Bring it to the light so we can see and cherish it with you.

49. Be our backbone when we have to face someone that is treating us poorly.

We can be quite the pushover because we tend to avoid confrontation. When you witness us being mistreated by a stranger or a friend alike, stand up for us. Remind us to stand up for ourselves because we don’t deserve to be put down. Influence us to seek better for ourselves.

50. Most importantly, love us, even when we don’t love ourselves.

That’s all we want.

Sean Daly sits in his candied painted Chevy, which he affectionally nicknamed "Cochina."

All photos by Gabriela Campos

Outside El Santuario De Chimayo, 20 miles north of Santa Fe, New Mexico, Arthur "Lowlow" Medina leans forward on his wooden staff. The local artist and one of the pioneers of New Mexico lowriding motions toward his prized 1976 Cadillac parked just up the street from the Chimayo church, the spiritual center of hispanic/chicano culture in the Southwest.

"It's my Holy Week car," says Lowlow, 62, running his free hand over the the soft blues, pinks, and whites that make up a dazzling (if cluttered) candy painted canvas of Christian imagery covering the car's exterior. "People come from all around to visit the Santuario" during the last week of March, says Lowlow. "And to see my car," he adds with a smile.

Lowlow's self-customized lowriders—tricked out vehicles with wire wheels, glittered paint jobs, and hydraulics—have been featured in magazines, art books, and academic journals. The lowrider tradition originated in the Mexican-American barrios of East Los Angeles in the late 40s, pioneered by young zoot suit-wearing chicano men who began self-customizing the American bombs and muscle cars of the time into "baroque automobiles." By the 1960s, the cultural tradition had made its way to New Mexico, cementing itself into the predominantly chicano/hispanic neighborhoods of the northern part of the state.

Donald Mascares drives his '85 Buick at the Show & Shine car show in Espanola. His car, "a hopper," is elevated onto two wheels through the use of a customized hydraulic system found in many lowriders.

From the beginning, lowriding was associated (often wrongly) with violence and gangsterism, mirroring the stereotypes surrounding the young chicano men who drove them.

"These vehicles were long viewed as something as marginal and anti-social, as lowriders acted outside of normative culture," says Andrew Connors, curator of art at the Albuquerque Museum. In recent years that has begun to change, as a growing respect for the self-taught artistry and cultural importance of these vehicles has emerged. "What else combines a self-taught knowledge of painting, upholstery work, and even hydraulics?" says Connor. "This is a pretty transgressive art form... in the best possible way."

For lowrider diehards like Lowlow, each whip is a canvas to display his culture, faith, and family bonds (his wife, Joan, and daughters, Anamaria and Marisol, help him soup up his cars), as well as a reflection of the evolution of the lowriding culture in New Mexico at large.

"For a long time anyone that had a lowrider was considered a gangster or drug dealer," says Sean Daly, owner of Straight Street Automotive—one of the preeminent lowrider customization shops in New Mexico. "Now our cars are in museums. The art and culture has come a long way."

"They represent the evolution of the culture," says fellow lowrider Rollan Salvas, noting how the Lowlow and the Medinas embody the family tradition now common in the elder lowrider generation. "We made it through our troublemaking days in Espanola and came out the other side. Now we have lowrider families."

Arthur 'Lowlow' Medina leans on his 1976 Cadillac lowrider, the entirety of the exterior covered in hand-painted Christian imagery.

The Medina compound—part pastoral auto park, part art studio, part Christian shrine—is located a few miles east of the Santuario church. Its interior is a cozy labyrinth of spaces—two garages, an art studio, bedrooms, and four separate prayer rooms. At home, Lowlow puts in countless hours working on his cars, often with the help of his family.

"Our house was built around these cars," explains Joan, standing next to a piece of glass where her girls had been practicing pinstriping. " is all about family, art, and faith. We do everything together."

Outside, nestled in nearly every corner of the yard, are some prized pieces of Americana: a 1967 Pontiac Grand Prix, a 1947 Chrysler Windsor, and a 1946 Jeep postal truck. "That's gonna be my lowrider ice cream truck," says Lowlow, who plans to turn the Jeep into a Mister Softee-style whip. "It's gonna be bad, bro."

"He's a lowrider farmer," jokes Joan, motioning toward the six cars that share the space with a few farm animals at the Medina's home. "They are like family members," says Joan. The family has had dozens over the years, but Lowlow's narrowed his collection as of late.

Joan, Marisol, and Anamaria Medina stand beside their father and husband's car, showing their support at one of the many lowrider events that Lowlow Medina attends.

"My daughters and their kids will each get one," says Salvas, speaking to VICE at the monthly "Show & Shine" car show the next day in nearby Espanola. "This is something I can pass down to my children and my children's children."

"I gave my older daughter the Pontiac for her Sweet 16," says Lowlow, arriving at the show in a newly-washed Grand Prix, family in stow. "These are part of our culture," he adds, motioning toward the dozens of vehicles in the parking lot. "We took something from there and made it ours."

"Lowriders are the quintessential American art form," says Connors of the Albuquerque Museum. "It starts with a medium that didn't exist anywhere else but the US, and is taken in a direction that completely defies the functionality of the object. It's almost a surrealist approach to sculpture—a folk art tradition deeply tied to the culture, faith, and families of these communities."

Mascares sits in his car clutching a tiny customized steering wheel, another hallmark of a lowrider interior.

"I was six years old when I first saw a lowrider... I was hooked," says Sean Daly of Straight Street Automotive, speaking to VICE from his garage in Albuquerque. Daly, in his early 40s, is of a newer generation of lowriders, which comes across in the pristine, "radical" style of the cars found in his garage. "Six years of work and 70K," explains Sean, standing next to his glistening '63 Chevy Impala SS, nicknamed "Cochina." "I'm about doing new and innovative things."

When asked about Lowlow's style, Daly replied, "Religious-themed cars are more of a traditional thing. But any true lowrider appreciates different styles. We all respect each other."

Like Lowlow, Daly sees his cars as foremost a "canvas for self expression."

"These are not 'good' investments," he laughs. "They are passion projects. I think of them as my kids sometimes."

Some treat it as work of art, others as work of life," says Connors, noting the differences in the tradition. "As a folk art without regulation there is a lot of variation within the tradition. Those variations don't kill the tradition, they move it in different directions."

Lowlow lowrider's limo showcased at the center of his museum-in-progress. Lowlow hopes this museum can be a space to showcase lowrider culture, the Christian faith, and be used to teach kids the artistry of pinstriping and other vehicle customizations.

Back at the Medina compound, Lowlow ushers us to a long, rectangular building attached to the side of the house.

"I haven't shown anyone this before," says Lowlow, his eyes brightening as he opens the door to his lowrider museum-in-progress, a makeshift space that he hopes one day can be used to promote lowriding culture and teach kids about "cars, art, and god," he says. The interior is covered by dozens of his religious paintings. At the center of the room sits a beautiful 1988 Chrysler limousine lowrider with a busty naked blonde woman painted on the hood and trunk.

"I was younger when I did this," says Lowlow, noting with some regret a different period of artistry and identity in his life. "My daughters are older now. It's time to cover them up," says Lowlow. "Maybe I'll put wings on them. Make them into angels."

Follow Sam on Twitter and Gabriela on Instagram.

See more photos below.

The Medina's 1947 Chrysler Windsor. This is one of six cars scattered through the overgrown yard, sharing the space with the family dogs, goats, sheep, chicken and a ram.

Lowlow posing for a photo displaying the old school garb associated with the early days of lowriding culture.

At Straight Street Automotive Garage, Sean Daly and a friend repair the hood of his '63 Chevy Impala SS. Sean's prized Impala has won numerous awards at lowrider shows in New Mexico and throughout the country.

Fanboys irredentos, estudiantes universitarios o cineastas del tercer mundo han peleado a brazo partido por el sueño de hacer cine aun disponiendo de escasos recursos. Dedicamos este especial a todos ellos, vigilados en todo momento por la atenta y más cristalina mirada del cine de género. Do It Yourself!

Ir a descargar

Más allá de cine experimental y fan films, la historia del cine de bajo coste es un buen reflejo de los cambios que se han producido en la industria del celuloide. Tomando buena nota de pioneros de la serie B como Roger Corman o gurús underground como Kenneth Anger, los inicios de los hoy celebérrimos Sam Raimi o Peter Jackson fueron puro cine guerrilla, ejerciendo de hombres orquesta, empeñados hasta las cejas y trabajando cuando el trabajo se lo permitía con más moral que el Alcolyano. Su pasión, ahínco y fe en un sueño han inspirado este sentido programa.
Si bien una buena parte de los más afamados cineastas de hoy dieron sus primeros pasos fajándose en producciones modestísimas, muchos más se quedaron en el camino o simplemente no quisieron pasar por el aro de una industria donde no pretenden encajar. Una segunda generación de fanboys que ha logrado que sus óperas primas tuvieran una distribución o reconocimiento masivo. Ahí quedan los ejemplos de directores como los entrañables Don Dohler, Van Bebber, Bookwalter  o R. Friedel. Más allá del underground americano o el ultragore aleman también encontramos ejemplos como los héroes de Nolliwood o Wakaliwood, que demuestran que se puede sobrevivir con producciones modestísimas a base de ilusión y mucha filosofía heredada de Juan Palomo.
Como cierre del especial, dedicaremos unos minutos a recordar algunos ejemplos que nos tocan de cerca. Cine independiente de verdad, hecho en nuestro país, desde las ópticas más dispares. Desde el realismo más cotidiano de Todos tus secretos a la fantasía más desbordante de El Barón contra los demonios.
Los últimos minutos del programa los dedicamos a repasar la variopinta trayectoria de Meg Foster, reconocible presencia por el fandom de medio mundo. Amparada por una imponente mirada azul que aún nos inquieta, ha tenido el privilegio de trabajar con Carpenter o Peckinpah, haber encarnado a Evil-Lynn o ser una de las musas de Rob Zombie. ¡Diosa!

Every day in the United States, 7,000 Americans try cannabis for the first time. Today there are at least 10 million more weed smokers in this shining city on a hill than there were 12 years ago. In 2002, 6.2 percent of Americans over 12 were 420-friendly; in...More »

Trabajar por dinero era algo así como prostituirse. Sin una renta base y una vida de tiempo libre era imposible disfrutar, a juicio de Aristóteles, de los más elevados placeres que proporcionaban la filosofía y la música. Sin embargo, de momento nos toca trabajar para pagar facturas.

Un nuevo estudio sugeriría, sin embargo, que el consumo de cannabis te desincentivaría de trabajar por dinero, y lucir mejor frente a Aristóteles.

Mayor pereza

Según un estudio presentado este jueves en la revista Psychopharmacology por parte de investigadores del University College de Londres, los efectos inmediatos del cannabis disminuyen la motivación de las personas de trabajar po dinero, si bien a largo plazo, entre personas adictas, no se ha detectado ningún efecto en este sentido. Según Will Lawn, el primer autor del estudio:

Aunque normalmente se considera que el cannabis reduce la motivación, esta es la primera vez en que se ha cuantificado esto de la forma adecuada.

El estudio se realizó con 57 voluntarios que debían participar en un juego en el que los científicos ponían a prueba su motivación de ganar dinero.

Estas decisiones implicaban un esfuerzo físico hecho con su dedo meñique. Podían escoger una prueba fácil en la que solo tenían que presionar una tecla del ordenador 30 veces en siete segundos y ganar una pequeña cantidad (como 50 peniques). O bien presionarla 100 veces en 21 segundos, para ganar entre 80 peniques y 2 libras. Con todo, se requieren hacer más estudios a fin de confirmar y comprender mejor la relación entre los efectos a largo plazo del cannabis y su influencia sobre la motivación.
Imagen | DonGoofy

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La noticia ¿Se te quitan las ganas de trabajar por dinero si consumes cannabis? fue publicada originalmente en Xataka Ciencia por Sergio Parra .

Seleccionamos canciones para una imaginaria cinta de casete que le regalamos a alguien especial. Así quedaría. Playlist; Marv Johnson (All the love I got), Tracy Pendarvis (Is it me), Jack Scott (Oh little one), Jonathan Richman (Important in your life), The Dirtbombs (Crazy for you), Reigning Sound (Pretty girl), Amy Rigby y Wreckless Erik (Do you remember that?), King Tuff (Unusual world), Big Star (Try again), Tim Easton (Troubled times), NRBQ (I want you bad), The Long Ryders (I can’t hide), The Plimsouls (Hypnotized), Pornosurf (Soy un desastre nena), Gentleman Jesse (Take it easy on me), Ming City Rockers (All I wanna do is waste my time with you) y Kevin Ayers (After the show). (02/09/16)

Space Marshals 2 is a big game. It wouldn’t feel out of place on Steam or one of the console download services — and that’s no bad thing. Sometimes there’s a distinct lack of chunk on the App Store, a distinct lack of depth, so finding something you can sink your teeth into is a welcome change. It doesn’t quite get everything right, and from time to time you could accuse it of being a little repetitive, but there’s still a lot going on here.

You’ll want to dive into it headfirst as quickly as you can, so it’s good that the game lets you do just that. This is a mix of stealth, action and tactics that clicks in pretty much all the right ways. And clicks with all the ferocity and ingenuity that’s sometimes missing from mobile games.

Space Marshals 2, as you might be able to guess from the title, is about policemen in space. Cowboy policemen to be precise. There’s some double crossing at the start of the story, then you’re chucked into a series of non-linear levels to find out what happened, capture some bounties, and generally be an intergalactic cop.

The controls are pretty much standard twin stick shooter. One joystick moves you around, another one aims your weapon. But if you’re expecting this to be a full-on onslaught of bad guys and bullets then you’re going to be a little disappointed. Instead Space Marshals 2 challenges its inner stealth game, throws in a bit of cover shooter, and then laces the whole thing with brief bursts of frantic action that get the pulse racing but are far from the norm.

The biggest twist here is the sneaky cover system. Tapping anywhere on the screen crouches your space marshal down, letting them hide behind cover and move more stealthily around the levels. When you’re crouched, you’ll automatically perform sneaky takedowns when you’re close enough to an enemy. Running into a fire-fight all guns blazing, especially at the start of the game, will usually end badly. You need to figure out how to take out the criminals one by one, preying on their weaknesses and then using brute force when the time is right.

You unlock new weapons, hats and armor as you progress through the game, and the variety of baddies you need to take down shifts from simple goons to tougher bosses and automated turrets.

And it all flows along very nicely. It’s fun planning which enemies to take out first, and figuring out the route you need to take to get to your goals. Sometimes you’ll feel a little lost, but while the levels are large they’re never big enough to really confuse you.

There is sometimes a lack of variety here, and when you’ve crept through a level taking down bad guys without really doing anything other than avoiding their vision cones it can feel like a bit of an anti-climax. But, and this is a big but, when the game gets things right it’s a splendid example of how genres that feel like they shouldn’t fit on mobile can be coaxed to work wonderfully. It’s slick, it’s engaging, and you’re never going to blame a slip of the controls for any of your mistakes.

Space Marshals 2 is a worthy sequel, one full of panache and swagger, and if you like your gaming on the go to have a little more to it than popping bubbles or squishing pigs, then you’re going to lap it up.

The post Space Marshals 2 Review: Yes Officer appeared first on Gamezebo.

One of my favorite books last year (and this year, because I'm re-reading it) was Yuval Noah Harari's Sapiens: A Brief History of Humankind, an immensely readable history of the myths humans have invented in order to survive in tribes of millions and billions of people. Those myths include religion, money, politics, corporations, laws, and morality.

Harari's follow-up book is, Homo Deus: A Brief History of Tomorrow, and will be released in February 2017. David Runciman of the Guardian got an advance reader's copy and reviewed it.

The evidence of our power is everywhere: we have not simply conquered nature but have also begun to defeat humanity’s own worst enemies. War is increasingly obsolete; famine is rare; disease is on the retreat around the world. We have achieved these triumphs by building ever more complex networks that treat human beings as units of information. Evolutionary science teaches us that, in one sense, we are nothing but data-processing machines: we too are algorithms. By manipulating the data we can exercise mastery over our fate. The trouble is that other algorithms – the ones that we have built – can do it far more efficiently than we can. That’s what Harari means by the “uncoupling” of intelligence and consciousness. The project of modernity was built on the idea that individual human beings are the source of meaning as well as power. We are meant to be the ones who decide what happens to us: as voters, as consumers, as lovers. But that’s not true any more. We are what gives networks their power: they use our ideas of meaning to determine what will happen to us.

When the European Parliament adopted Europe’s first net neutrality rules late last year, many net neutrality proponents were not happy with the outcome.

The rules, which are included in the Telecoms Single Market (TSM) regulation, would still allow targeted throttling of BitTorrent and other traffic, under the guise of network management.

In addition, opponents warned that the rules left the door open for ISPs to charge for fast lanes and restrict or slow down access to parts of the Internet for commercial reasons.

To change this, various activist groups launched a “EU Slowdown” campaign through which they got half a million people to respond to a public consultation that was held by BEREC.

Today, BEREC presented its final guidelines on the implementation of Europe’s net neutrality rules. Compared to earlier drafts it includes several positive changes for those who value net neutrality.

For example, while zero-rating isn’t banned outright, Internet providers are not allowed to offer a “sub Internet” service, where access to only part of the Internet is offered for ‘free.’

However, not all traffic is necessarily “neutral.” ISPs are still allowed to throttle specific categories for “reasonable” network management purposes, as the second subparagraph of article 3 reads.

“In order to be deemed to be reasonable, such measures shall be transparent, non-discriminatory and proportionate, and shall not be based on commercial considerations but on objectively different technical quality of service requirements of specific categories of traffic.”

This means that network management practices, including bandwidth throttling, could possibly target BitTorrent transfers under a broader file-sharing category, or VPNs as encrypted traffic.

“The requirement for traffic management measures to be non-discriminatory does not preclude providers of internet access services from implementing, in order to optimize the overall transmission quality, traffic management measures which differentiate between objectively different categories of traffic,” BEREC’s guidelines clarify.

In other words, it would still be possible for ISPs to throttle BitTorrent traffic if that would improve the overall “transmission quality.” This is not a far-fetched argument since torrent traffic can be quite demanding on a network.

While it’s not expected that BitTorrent or VPN traffic will be targeted any more than it is right now, the option remains open. This will be a welcome decision by networking specialists and ISPs in general, which have argued that selectively targeting congestion is a more sensible approach.

Setbacks aside, net neutrality activists have also generally responded positively. Their main goal was to prevent so-called “fast lanes,” which is largely achieved.

“The victory here is that Europe is clearly banning ISPs from creating paid fastlanes, as the US did. That was the biggest threat, because ISPs could have actually *profited* by slowing down our Internet, and then charging sites or apps for a fastlane,” Fight For The Future’s Holmes Wilson tells TorrentFreak.

“My understanding is that the rules still allow throttling under the guise of traffic management. But thanks to the ban on fastlanes, ISPs won’t have the same incentive to throttle, and regulators could stop ISPs from throttling in cases where it clearly had nothing to do with preventing future congestion,” he adds.

The full guidelines and additional background information are available at BEREC’s website.

Source: TF, for the latest info on copyright, file-sharing, torrent sites and ANONYMOUS VPN services.

The development of Dust: An Elysian Tail [$0.99] is almost as great a fable as the actual game. Having been developed entirely by one man in over three and a half years, the title became a cult hit on every platform it released on, and since its launch on Xbox 360 back in 2012 has sold over a million copies. When Dust finally made its way to the App Store in October of last year, it received the same glowing reception as its console iterations amongst both gamers and critics, and our review acclaimed it as one of the best games of the year on iOS. It really was one not to miss, but if you did avoid picking it up at its full launch price of $5.99, Dust is now on sale for the borderline criminal price of only $0.99.

Dust received such rave reviews for good reason - while there is not too much variety in the game's combat, the beautiful environments your character will explore and the cast of lively and interesting creatures that can be conversed with make Dust feel like an extremely expansive experience that is an absolute delight to explore. The iOS port also holds up very well, with responsive controls and all of the features from the console alternatives. Considering Dust is currently available for $14.99 on Xbox Live Arcade, the new price of $0.99 on iOS is an absolute steal, and as there is no indication of how long this sale will last, be sure to act quickly to experience a truly epic action platformer on mobile devices, and for further discussion on how brilliant Dust is, check out our forum thread.

Here’s a friendly reminder that pretty much everything you touch is covered in disgusting pathogens. If it’s not staph on the subway pole or E. coli in your Keurig, it’s fecal bacteria on your keyboard (or countertop, or clothing, or cup — “You find...More »

One of the more annoying quirks of human psychology has a name: hedonic adaptation. It’s a term psychologists use to describe the way you get used to the things that once made you happy. Getting a long-sought-after promotion at work, for example, initially makes you feel more satisfied...More »

The idea behind the TouchArcade Game of the Week is that every Friday afternoon we post the one game that came out this week that we think is worth giving a special nod to. Now, before anyone goes over-thinking this, it doesn't necessarily mean our Game of the Week pick is the highest scoring game in a review, the game with the best graphics, or really any other quantifiable "best" thing. Instead, it's more just us picking out the single game out of the week's releases that we think is the most noteworthy, surprising, interesting, or really any other hard to describe quality that makes it worth having if you were just going to pick up one.

These picks might be controversial, and that's OK. If you disagree with what we've chosen, let's try to use the comments of these articles to have conversations about what game is your game of the week and why.

Without further ado…

Space Marshals 2

Historically, dual-stick shooters are frantic shoot-fests where you can barely blink as you concentrate on not getting hit while blasting away everything in sight. They're great! And they're a great fit for mobile. However, when the original Space Marshals launched early last year, it showed that a dual-stick shooter could also be incredibly tactical. It used some typical stealth game tropes to slow down the action and force you to really think about how best to approach each situation. It was an absolute breath of fresh air, and one of my favorite games of 2015.

That said, Space Marshals never fully felt like a true stealth game. It sure looked like a stealth game, with patrolling guards and their classic "cones of vision" and mechanics like disguises or making noise to cause a distraction, but at the end of the day you were typically sneaking around in order to get the jump on some poor schmuck with your weapon. With Space Marshals 2 [$5.99], developer Pixelbite had the luxury of starting off with all the lessons they learned through the initial release and subsequent updates to the first Space Marshals, and I think this sequel represents their true original vision for making a tactical, stealth-based dual-stick shooter.

The changes in Space Marshals 2 aren't drastic, but they make all the difference. First and foremost you can now do proper stealth kills, meaning you can sneak up behind someone and physically take them out without drawing your weapon. Also, based on the cartoon "ZZzzs" coming from the enemies that you stealthily take out, you're not actually killing them, so there's also the pacifist aspect that's usually a part of stealth games. Perhaps "stealth kills" was the wrong choice of words. But hey, if you want to try and make your way through the game with killing as few people as possible, now you can.

Like I said, it's not a massive change, but it makes the stealth element of Space Marshals 2 feel more than just superficial. Coupled with larger levels, new weapons and gear, multiple playable characters, and an overall polish above and beyond what was seen in the first game, and Space Marshals 2 is the definitive Space Marshals experience. Sure, it's largely more of the same, as Carter said in our review, but it's bigger and better than it was before and finally feels like the true realization of what Pixelbite had in mind for this series.