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18 Nov 03:48

17 Experienced Guys Answer The Question ‘How Long Do You Have To Go Down On Her?’

by Lisa Woods
via twenty20/SashaNell
via twenty20/SashaNell

1. “As long as it takes? Really though, tongue cramps are a real thing. If it’s over fifteen minutes then I probably won’t be able to speak at all afterwards.”

—Nate, 26

beetlejuice

2. “Simple answer is that you don’t have to go down on her at all but she’ll never love you if you don’t and she’ll tell all her friends and you’ll never have sex again.”

—Jackson, 23

beetlejuice

3. “This really varies. I’ve dated girls that absolutely could not come from oral (or from my oral) but I’ve dated other girls that basically cum as soon as I’ve gotten to ‘D’ in the alphabet. I guess it depends on whether she’s comfortable with herself enough to relax and enjoy it.”

—Keith, 25

beetlejuice

4. “I don’t do oral. I’m not trying to hurt anyone’s feelings and I love women but I’ve just never liked the taste.”

—Richard, 20

beetlejuice

5. “Twenty minutes is a looooong time for someone to have to go down on a girl. If she’s wanting more than that then she’s just being greedy.”

—Martin, 22

beetlejuice

6. “If it takes longer than fifteen minutes or so then you should rethink your technique. Guys, ask her what she likes and don’t pressure her to get off.”

—Jonathon, 29

beetlejuice

7. “A better question might be why do I ever have to stop going down on a girl? This is literally my favorite thing to do. I’m a huge fan of wrapping my arms around her legs and pulling her crotch into my face and holding her there. This pussy is mine!”

—David, 30

beetlejuice

8. “It shouldn’t take longer than twenty minutes but I’ve noticed that even if you’re doing your best and really trying to get feedback on what feels good to her some women will not tell you either because they don’t know what they like or they’re too embarrassed to actually say the words.”

—Alex, 27

beetlejuice

9. “If it’s taking a really long time then try nibbling the clit. Be very gentle at first and see what happens. I’ve dated girls that literally wanted me to flick it hard between my teeth but didn’t know it until I did it. Then they got off like crazy.”

—Melvin, 21

beetlejuice

10. “I’m ashamed to say it but I’ve never gotten a single woman off through oral and believe me I’ve tried. Once spent forty minutes doing my best with the man in the boat and at the end of it she still hadn’t gotten off at all and I was completely exhausted.”

—Gary, 20

beetlejuice

11. “The only times I’ve found this to be an issue is when the woman I’m with really isn’t present mentally. When that’s the case, no amount of oral skill or dedication is going to get her to orgasm. So, I just understand that sometimes she’s not going to be able to get there and it has nothing to do with me.”

—Adam, 31

beetlejuice

12. “I’m willing to make myself uncomfortable in order for my girlfriend to get off but ladies, please, PLEASE, just tell us if it isn’t going to happen because it can get really painful after a while.”

—Bryan, 28

beetlejuice

13. “I have to confess that I’ve never liked going down on anyone. I do it for as long as I have to because I’m expected to. But fair is fair. I know that not every woman (maybe even most women) really aren’t into blowjobs.”

—Darren, 27

beetlejuice

14. “This isn’t ever a question I’ve asked myself. If my tongue gets tired then I just use my fingers and lips until it’s recovered. Besides, dudes who only use their tongues for cunnilingus are completely doing it wrong.”

—Oliver, 25

beetlejuice

15. “It’s hilarious because up until last week I’ve never gotten tongue cramps before I’d made a woman cum. If a girl is 45 minutes into a deep muff session with no end in sight then maybe she should accept that she’s either not turned on or she’s not giving her dude good instructions.”

—Peter, 23

beetlejuice

16. “If it takes longer than ten minutes then she’s not telling her man what she wants or he’s just ignoring it.”

—Sam, 30

beetlejuice

17. “You have to go down on her for 15.634 minutes. If you go longer then your tongue will fall off and she will die. If you go for less time then you are a misogynist.”

—Tim, 24 TC mark

17 Nov 02:29

[image description: drawing of a red panda saying “You’re rad!”...



[image description: drawing of a red panda saying “You’re rad!” in a brown speech bubble.]

requested by solarizm

17 Nov 02:05

10 Ways to Chip Away at That Tub of Miso in Your Fridge

by Caroline Lange

I moved out of my last apartment with a plastic tub of miso; that tub is currently loitering in the back left corner of the fridge in my new apartment, commiserating with its neighbors, a pint of tahini and a bag of ground flaxseed that, similarly, I have not been giving the attention they deserve. How best to chip away at the miso? I asked the community for their ideas—and here's how they wisely use theirs:

Photo by James Ransom
  • Make miso soup, of course! And it can even be done without a recipe. Or make a heartier, slightly spicy squash-based miso soup.
  • Make a miso dressing for salads and roasted vegetables. Ivorygalny uses a combination of miso, soy sauce, rice vinegar, flavorless oil, garlic paste, and a tiny pinch of sugar in hers.
  • HalfPint uses miso as a marinade for fish (plus, she says, some marinades use as much as half a cup, which is good news if you're trying to clean out the fridge). She likes this recipe, and we like this one.
  • Miso adds a big punch to a batch of hummus.
  • And a salty, sultry richness to creamed greens.
  • Blend a bit of miso with some softened butter and slather it on everything—like toast soldiers, cooked vegetables or hot pasta or rice.
  • In fact, Niknud will add a bit of miso to the water in her rice cooker or pasta pot to pre-season her grains.
  • And AntoniaJames makes a peanut-y sauce of miso, peanut butter, soy sauce, and lime juice for tossing with noodles. She likes to save some of these noodles for breakfast, and tops them with a runny fried egg.
  • Miso also makes a good sweet-salty breakfast when stirred into oatmeal.
  • And it adds complexity to sweeter desserts, like these butterscotch-miso blondies, or this caramel sauce, which is perfect for vanilla ice cream.

What ingredients are lingering in your refrigerator? What do you need help using up? Tell us in the comments.

17 Nov 01:48

A Coruña reclámalle á Igrexa terreos municipais que rexistrou como propios

by Miguel Pardo

O Concello vén de enviar unha circular ao Arcebispado de Santiago no que o insta a "rectificar de maneira voluntaria" a inmatriculación indebida que fixo de varias parcelas e zonas colindantes con tres centros parroquiais, dous deles igrexas situadas na Cidade Vella.

17 Nov 01:46

Compras exóticas

by @cequelinhos

Nos supermercados galegos cada vez hai máis produtos exóticos. Vaia, o adxectivo exótico aínda ten validez mais dentro duns anos moitas destas delicias ultramarinas han ser tan naturais como hoxe o son a pasta, o queixo azul ou os kiwis.

Como ocorre sempre cos neoloxismos, o galego ten o risco de chegar tarde, cando a lingua poderosa xa definiu o vocabulario sobre estes novos campos semánticos. Mais hai sempre que lembrar que os fenómenos lingüísticos case nunca son irreversibles e os castelanismos, por moito que alguén o pense, non son dogmas nin están gravados a lume sobre as linguas dos galegofalantes vivos. É o tempo e o costume os que definen un vocabulario. O galego ten que ser autónomo, dar todas as batallas, defenderse e presumir da súa propia pegada.

Utilizo o verbo presumir a mantenta porque nestes días están a emitir uns anuncios do Gadis que teñen tal lema. O locutor da campaña publicitaria presume de galego nun castrapo de pésima categoría pero neste caso o único que me interesa do Gadis é a súa condición de supermercado que vende algunhas das cousas das que si quero falar.

Collamos o carro (non carrito nin carriño) ou a cesta e empecemos a percorrer corredores. Onda as salsas atopamos uns frasquiños transparentes cun líquido escuro: é salsa de soia. De tradición asiática, pode usarse para substituír o sal aínda que a súa potencia de sabor fai que teña utilidades maiores. A soia atópase noutras aparencias: en abrochos, grelos ou rebentos (en castelán brotes), en gran, que se cociñan como legumes e incluso en formas máis elaboradas, caso do tofu (ou queixo de soia), tempeh (soia fermentada), leite de soia e incluso miso, un preparado xaponés que se engade a sopas e salsas cada vez máis empregado na cociña galega aínda que non é doado de atopar en calquera comercio. Como vedes, mantiven as cursivas naquelas palabras aínda pouco “rodadas” en galego. É norma común na escrita de calquera neoloxismo sen asentar.

Seguimos conducindo o carro até a sección de pastas e cereais. O máis novo é a kínua, un cereal con alto nivel de nutrientes que o castelán xa adaptou á súa grafía mais co que aínda hai dúbidas sobre a pronuncia. As diferentes marcas e establecementos propoñen quínua, quinoa, quinua, quinúa. En galego deberiamos respectar o máis posible a forma orixinal. En quechua dise kínua ou kinuwa segundo a zona, polo que podemos optar pola que máis se nos acomode. Se o cereal ten éxito, de seguro que haberá determinados vulgarismos que competirán coa forma canónica. Sempre ocorre con aqueles estranxeirismos de difícil pronuncia. Por exemplo, o eucalipto é para moita xente un alcolito, alcolitro, alcolinto… Coa kínua pode pasar o mesmo mais de momento é conveniente respectar as formas quechuas. Seguimos: hai todo tipo de pastas italianas, pastas de arroz transparentes, fideos dos de sempre, fideos chineses, arroz, arroz arborio (idóneo para facer risotos. Si, a palabra italiana xa se asentou e podemos adaptala á nosa fonética), arroz basmati (o galego, ao non ter un son propio para a forma sh (do inglés bashmati) opta pola adaptación cun s, arroz xasmín (o propio para facer os aromáticos pratos tailandeses), arroz de sushi, cuscús (mellor que a forma francesa cous-cous) e bulgur (elaborado a partir do trigo; a palabra é un préstamo do turco).

Paro un segundo no caso do sushi. O ortodoxo sería propiciar unha forma galega baixo o formato de suxi. Mais neste caso, a implantación e influencia do prato xaponés desaconsella crear un conflito onde non o hai. Así como o sh de bashmati se pronuncia s, o sh de sushi si se pronuncia maioritariamente como xi e non como si, polo que non hai necesidade de modificar a grafía. Por que pasa isto? Primeiro porque a palabra sushi aparece moito na televisión. Temos o oído afeito. E segundo porque ao contrario do sh de final de sílaba, o sh acompañado de vogal está moi estendido: Sheraton, Sharon, Shirley, fashion…

Na sección de lácteos refrixerados, entre o requeixo (non requesón), os iogures (a Academia considera que esta é a forma triunfante e recoméndaa mellor ca iogurte. A máquina para facer estas delicias é a iogureira, polo tanto) e a tona, nata ou crema (valen as tres formas) para montar e cociñar, atopamos un convidado relativamente novo: o quefir. Esta forma xa está recoñecida no galego diante da maioritaria en castelán kéfir. Para quen non saiba que é isto, trátase dun tipo de iogur en cuxa fermentación participa un fungo que non se integra no leite callado senón que medra grazas a el. Ademais de no supermercado, hai redes de distribución gratuíta dos fungos. O seu sabor potente ten tantos admiradores coma detractores.

Por último, que non están os tempos para gastar moito, detémonos na sección de Froitas e Verduras. Aquí si que imos gastar que os froitos exóticos son dos máis caros. Se queremos algo doce, untuoso e corido, podemos optar pola papaia. No Brasil chámanlle papaia só aos froitos máis grandes; os que se venden aquí alá chamaríanse mamóns. Non me vexo eu pedíndolle á froiteira medio quilo de mamóns sen que arrinque en gargalladas.

Xunto aos aguacates, os plátanos (ou bananas, definen o mesmo froito malia que nas Canarias busquen identificar os plátanos cos froitos que alí producen fronte ás bananas de orixe americana) e os maracuxás, atopamos as mangas. Este delicioso froito de orixe americana ou africana recibe este nome en galego, coherente coa forma brasileira. Igua faremos coa goiaba, mellor que guaiaba.

Tamén do Brasil vén a mandioca (yuca en castelán). É unha raíz cada vez máis habitual na nosa cociña. Dá para facer unhas chips (velaquí un anglicismo aínda non asentado) crocantes ben curiosas. Da mandioca extráese a tapioca (haina que comprar no corredor das pastas e arroces), o pan de queixo (hai a vender nos grandes hipermercados un preparado en pó para facelo na casa) e a farofa, unha comida moi famosa no Brasil que aínda non se coñece por aquí.

Non quero saír deste supermercado sen recordarvos que o churrasco, que parece máis galego que os canastros (ou hórreos) é unha palabra traída polos indianos que acabou por substituír case en todos os lugares a palabra asado. Así que nunca subestimedes as novidades do carro da compra.


17 Nov 01:43

Retrato dos ‘Cagados de Vigo’ - Atopamos no Museo Británico un grotesco grabado sobre a Batalla de Rande onde os vencedores defecan sobre españois e franceses

by Eduardo Rolland

Atopamos no Museo Británico un grotesco grabado sobre a Batalla de Rande onde os vencedores defecan sobre españois e galos

Retrato dos ‘Cagados de Vigo’ en GCiencia.

17 Nov 01:25

Dominicans speak only one word. And it is all of the words.

by Pirate-Bartender-Zombie-Monkey
16 Nov 14:41

Stephen Colbert te explica la diferencia entre arte y porno

by John Tones

Más concretamente, cuál es la diferencia entre lo que las cadenas estadounidenses creen que es arte, qué creen que es porno y qué pasa cuando esos dos conceptos se cruzan en algún punto. Colbert lo dejó claro con un delirante monólogo en el último The Late Show.

La base para todo esto posiblemente lo conoces: Bloomberg TV difuminó algunas zonas del Desnudo acostado de Modigliani al informar de su venta en una subasta. Colbert usa ese dislate (y los muy necios comentarios de los presentadores de “había que censurar esto porque lo cierto es que es una guarrería“) como punto de partida para explicar qué se debe y qué no se debe censurar en un canal como, por ejemplo, el suyo. Los criterios morales de la propia CBS son puestos en solfa gracias a directivas tan delirantes como “el David de Miguel Ángel, solo de lejos y no más de dos segundos“.

Quizás, quién sabe, esta es una nueva forma de entender la Nueva Sinceridad a a través de, yo que sé, el Nuevo Pornoarte. Prepare yourselves for some full frontal culture.

La entrada Stephen Colbert te explica la diferencia entre arte y porno aparece primero en Canino.

16 Nov 14:32

5 Body Language Tricks That Increase Attraction

by Dr. NerdLove

Body language is one of the most important aspects of attraction, but it’s one that we frequently end up neglecting. People continually underestimate the power of non-verbal communication by focusing strictly on  surface aspects. Non-verbal communication isn’t just about making sure we’re not inadvertently telling people to go away or trying to read people’s minds.

That's what Facebook is for. (Credit: nevodka / Shutterstock.com)

That’s what Facebook is for.
(Credit: nevodka / Shutterstock.com)

No, the strength in body language and non-verbal communication is in how much it controls whether or not people are attracted to us. Most people are utterly unaware of the messages that they’re sending out or the impact that they have on others; it’s like having a conversation with a Markov chat bot tied to the horse_ebooks Twitter account. You might get the right message across by accident but half the time you’re sending out more nonsensical word salad than a Freshman English major who just discovered Allan Ginsberg.

"Hey, how's it going?" "Crash social moaning matrix." "You come here often?" "Tax returns"

“Hey, how’s it going?”
“Crash the social moaning matrix.”
“You come here often?”
“Tax returns”

If, on the other hand, you’re aware of just what messages you’re sending, then you’re able to control and direct the conversation… and even affect how people feel about you. There are surprisingly simple body language tricks that can make the difference between being forgettable and having a magnetic connection. Despite what many of us think, our brains are very bad at understanding why we feel the way we do. More often than not, our brains are just feeling the sensations given to us by our bodies and rationalize the reasons for feeling that way after the fact.  When you’re conscious of this process, you can actually use body language to increase attraction and rapport. Keep this in mind; we’ll be returning to this idea a few times.

Assume That They Already Like You To Help Them Like You

This first trick is part of an ancient and sacred art that I like to call “Getting The Hell Out of Your Own Way.”

One mistake that people make all the time is treating meeting new people as though it were some hellish challenge that can only be overcome by passing several charisma checks, finding the Unholy Grail and answering the Riddles Three.

"So allI I really need to get twelve dozen rat asses to grind my fraction rating to 'friend'?"

“So all I really need to do is get twelve dozen rat asses to grind my fraction rating to ‘friend’?”

Now, in fairness, humans have survived as long as we have because we’re a communal species. We form social groups on the macro and micro level and we prioritize the well-being of our “tribe” because we know it helps us in the long run. As a result, we’re always wary around people who are from outside of our “tribe”, because we’re on the look out for freeloaders who’ll weaken our group by taking from it without giving in return. But at same time, most people are willing to give folks a chance and assume the best, provided they’re sending the right kinds of signals. People who come in defensively, or acting like they have to fight their way up from “pre-rejected”, are naturally off-putting; everything about their body language reads as “off” or “up to something”.

Assuming that you’re already friends, on the other hand, forces you to relax. We naturally behave differently around people we’re comfortable with. We aren’t as tense, our body language is more open, our way of speaking is warmer and friendlier… and people almost instinctively respond to that warmth. It becomes a self-fulfilling prophecy: believe that they like you and they will like you.

Anticipating that baseline of friendliness and acceptance is what helps set up this next trick…

Mirroring People Increases Your Charisma

One of the most important parts of attraction – and one that’s frequently left unaddressed – is feeling like the other person understands you on a deep and meaningful level. There’s something unbelievably powerful when meeting somebody who just gets you, who’s on the same wavelength. This is one of the reasons why it’s important to emphasize commonalities with people you’re interested in; the more we feel like the other person “gets” us, the more we feel connected to them. They’re showing that they’re similar to us instead of putting up weird objections and expecting us to crave their approval.

Not sure if negging or just an asshole...

Not sure if negging or just an asshole…

But while it’s good to find “me too!” moments in conversation, talk is actually a crude and inefficient way of communicating that sense of “we’re the same”. It’s our body language that does most of the heavy lifting. One of the quickest and subtlest way of creating that sense of intimate familiarity is to mirror their body language.

Two people who are attracted to one another end up in synch with one another. They pick up on one another’s mannerisms – perhaps adopting similar speech patterns or turns of phrasing or performing similar activities like taking a drink at the same time. It’s normally an unconscious process, but you can actually trigger it deliberately by mirroring the other person’s body language and positioning. So when you’re talking to someone you’re interested in or on a first date with, you want to subtly match their movements.

Notice how very carefully I said subtly? You’re not doing everything they’re doing, you’re simply matching the little things that they do. If she’s shifted her weight to lean against a wall, then lean up against it as well. If she gestures with her hands when she talks, make similar gestures when you talk. If she leans forward and puts her elbows on the table while you’re talking, then you also lean forward. If she crosses her legs, then do the same. If they tap their foot in a certain rhythm, drum your fingers in the same pattern. Again: you’re not trying to play “Man in the Mirror”; you’re just consciously making very small adjustments that put the two of you in synch in ways that people do unconsciously all the time. Do the least amount possible to mirror the other person; you don’t need to be exact, just close.

It takes surprisingly little time to build rapport this way; if you do it right, you may end up making someone feel like they’ve known you forever even though you met five minutes ago.

Pace And Lead To Set The Tone

The next step is to not just synch with them but to lead. Just as skilled conversationalists can direct where a conversation goes, when you’re consciously in synch with someone, you can go from mirroring them to prompting them to mirror you. This is known as pacing and leading; first you get in synch, then as you build rapport with the person, you start to change your body language and they mirror you.

When you’ve been talking with someone and building that rapport and attraction for a few minutes – making sure to subtly mirror them – deliberately make a small change. Cross (or uncross) your legs, tilt your head, change the tone of your voice and watch how they respond; if they match your change, then you know that you’re in synch. At this point, you’re in a position to make small changes that can completely alter the tone of the interaction.

Insert clever mirroring joke here.

For example, five minutes ago, they were about to fight to the death…

For example: by using pacing and leading, you can defuse a tense situation. By mirroring someone who’s upset or feeling defensive1 and then slowly adopting calmer and more open body language, you can prompt people to relax and calm down. Similarly, you can build excitement by adopting more excited behavior – a higher voice pitch, bouncier body language, etc. If you’ve ever seen people getting excited at a sports bar, then you’ve seen this behavior in action; by performing the same gestures, they’re building an excitement feedback loop.

If Texas could harness the excitement feedback loop produced during football season, we'd solve our energy dependence...

If Texas could harness the excitement feedback loop produced during football season, we’d solve our energy dependence…

Similarly, you can increase those feelings of rapport and attraction. There are a number of body language signs that are indicators of interest: pointing with the knees or feet, for example, or exposing the inside of the wrists or self touching on the neck or thigh. By pacing and leading the other person into adopting some of those indicators, you can increase that feeling of attraction; after all, the brain responds to the body’s behavior. Just as the act of smiling can make you feel happy and adopting a power pose can make you feel more confident, behaving in a manner that suggests attraction can increase attraction. This is part of why actors so often fall in love with one another on movie sets: they spend so much time pretending to be attracted to one another that they start to feel it for real.

Give (and Get) A Strategic Show Of Vulnerability

One of the things that we rarely think of is how much trust is necessary for attraction to exist. To have sex with someone – even just to make out with them – means making yourself incredibly vulnerable to them and vice versa. But that vulnerability is also part of what makes sex pleasurable; many erogenous zones on the human body are in a place where the skin is thinnest and the blood vessels are closest to the surface.

This is part of why so many indicators of interest are also signs of vulnerability. Displaying the inside of the wrist or drawing attention to the neck are both signs of trust – yes, they feel good when stroked or kissed, but by displaying them, you’re also opening yourself up to potential danger.

Assuming you actually LOOK at her neck...

Assuming you actually LOOK at her neck…

This is part of why vampires are frequently eroticized in fiction; the focus on the neck (and the wrists and the inner thigh) corresponds not just with major blood vessels but also the erogenous zones.

So how do we use this knowledge to increase attraction and rapport? By demonstrating our own willingness to be vulnerable… which encourages reciprocity in others.

If you watch people in conversations, you can often tell who likes whom by simple tilts of the head. By keeping your head straight and your chin level or even slightly raised, you’re giving the impression of being stand-offish, possibly even aloof. Giving a slight tilt of the head, however, indicates that you’re paying attention and that you trust them by putting yourself in a vulnerable position. Similarly, angling your chin slightly down is a friendlier and more welcoming gesture; tilting your chin upwards gives the impression of looking down your nose at someone. These gestures are signs that you like someone and we instinctively like those who like us. 

Just remember: if you're doing the "baroo?" then you're overdoing it.

Just remember: if you’re doing the “baroo?” then you’re overdoing it.

Similarly, making gestures with your hands that tilt your palms up and outward are signs of trust and openness by exposing the wrists. In fact, many politicians shake hands with their palms tilted upward – a subtle touch that increases likability and rapport.

Another key – and one that comes back to how our bodies control our emotions – is to consider your core. Our core – our chest, abdomen and waist – is where we’re most vulnerable; exposing it with open body language is a sign of confidence. This is why so many people who intend to start fights (or bluff their way out of them) start off with a chest-thumping, open arms pose; they’re deliberately making themselves vulnerable to show they don’t consider the other person a threat.

But exposing your core is also a sign of attraction. Humans are goal-driven and tend to orient ourselves towards the things we’re interested in whether it’s someone we want to bang or we just want to hit the bar. Just as we tend to point our knees and feet at people we’re interested in, we also point our open core at them. Just as mimicking signs of interest can increase actual interest, arranging yourself so that the other person’s open core is pointed at you can increase rapport. As you present a slightly angled body to her, find an opportunity to move slightly so that she’s facing you directly. It’s a very small thing, but it adds up.

Give Good Face

When we talk about body language and attraction, we tend to focus on the torso and arms: the importance of posture, where to touch (and not touch) someone, etc. One of the most underestimated aspects of attractive body language is – oddly enough – the face. Most people tend to underestimate just how powerful facial expressions and eye contact can be when it comes to building attraction.

One of the first keys to using your face properly is to understand the value of a smile. Out of all primates, humans are the only species that smile at people they like; in almost every other species, a smile is a threat display. A smile is a shockingly versatile expression – it can indicate pleasure, happiness, ironic detachment, appeasement, or a sense of superiority.

Also an invitation to see how well your fist fits into their face.

Also an invitation to see how well your fist fits into their face.

A warm, genuine smile can be the difference between being a likable person and a disturbing creeper. Smiling when talking to someone you’re interested in is incredibly important. However, how you smile can make the difference between being pleasant and being sexy. Giving a smile immediately upon meeting someone is being pleasant but not necessarily exciting; it’s the sort of expression you might give anyone you meet. Instead, the next time you meet someone you’re attracted to, hold off on the automatic smile. Instead, wait just a second or two as you meet their gaze, then let the smile build and reach your eyes. It’s a very subtle difference, but it creates an increased feeling of pleasure and intimacy – the sense that this smile is just for them alone.

Eye contact is also incredibly important; after all, not meeting somebody’s eyes is frequently a sign of being dishonest or uninterested. However, strategic eye contact can be incredibly powerful. When you hear about somebody’s intense gaze or their bedroom eyes, they’re someone who knows how to use eye contact to build attraction. One of the simplest ways is to just hold eye contact with them for slightly longer than normal; not so long that you’re staring but longer than you would hold it when talking with a friend. Hold it, then break contact by slowly looking to the side, almost as though you were reluctant to look away.

Another trick – and one that takes practice to use effectively – is the triangle gaze. Look in the person’s eye (right or left, it doesn’t matter) for a beat longer than normal, then let your eyes glance down to their lips before returning your gaze to their other eye and give a smile. It’s a powerful technique to use on someone you’ve been flirting with and one that often leaves people feeling surprisingly flustered… in a good way. It’s a subtle, almost subliminal suggestion of being interested in kissing them and more, prompting all sorts of interesting thoughts.

(Incidentally, this works on people you’re actually in a relationship with as well as strangers; give it a try and see how they respond.)

Keep in mind: none of these body language techniques are mind control. You’re not “hypnotizing” anyone, nor are you manipulating somebody into feeling something that isn’t actually there. You’re consciously building on what’s already there. Most people aren’t aware of the messages that their body language sends to others. But by understanding and utilizing proper body language, you can increase attraction and rapport and take a ho-hum interaction and make it electric.

Body Language Tips that Increase Attraction

  1. In a way that doesn’t encourage them to escalate or lash out

The post 5 Body Language Tricks That Increase Attraction appeared first on Paging Dr. NerdLove.

16 Nov 14:26

6 Hallmarks Of Disastrous Parenting (Confirmed By Science)

By Lisa Olsen  Published: November 16th, 2015 
16 Nov 13:57

Ya disponible el Fanzine para Chicas y Maricas #2

by administrador

CHICASYMARICAS2portadadefinitova-exterior

¿Es Fanzine para Chicas y Maricas un fanzine de los noventa? NO, porque, entre otros temas hay un extensísimo artículo sobre Pretty Little Liars, la serie de TV de los minnelials.

¿Es Fanzine para Chicas y Maricas un fanzine de actualidad? NO, porque encontrarás, entre otros artículos un reportaje de investigación sobre Verano Azul.

¿Es Fanzine para Chicas y Maricas un fanzine sobre televisión? NO, porque entre sus paginas hay una retrospectiva sobre el cine de John Waters.

¿Es Fanzine para Chicas y Maricas un fanzine underground? NO, porque también hacemos un repaso a la carrera de Sandra Bullock.

Fanzine para Chicas y Maricas vuelve después de haberse convertido en la sensación del verano 2015. Hemos preparado un número lleno de temas que te interesan todos sí o sí:  Las Aventuras de Enrique y Ana (La película), La Pandilla Basura, Sandra Bullock, Los consejos sexuales de Alaska, Spiceworld, Entrevista súperíntima a Iván G., John Waters, RELATO: Sola en la Ciudad, TEST: ¿Con qué tipo de chico ligarás? Nadie conoce a Nadie, Cosas de Antena 3, La Avispa, Verano azul, Eme DJ loves Buffy, Flexipop!, Las mejores Boybands, Pretty Little Liars, Siete pósters Súpercalientes y un especial Chulos de pelo en pecho. ¡NO TE LO PUEDES PERDER!

Así que ya sabes: apaga tus dispositivos electrónicos y sumérgete en la lectura de Fanzine para chicas y maricas #2.

______________________
CÓMO CONSEGUIR TU EJEMPLAR DE FANZINE PARA CHICAS Y MARICAS #2

Entra en nuestra tienda en Big Cartel para comprar el fanzine.

ENVÍOS FUERA DE ESPAÑA:

Consultar por e-mail a misternny@gmail.com

 

TIENDAS EN ESPAÑA

Tiendas en España interesadas en vender  FANZINE PARA CHICAS Y MARICAS escriban a  misternny@gmail.com

_________
MADRID

ELEKTRA COMICS (San Bernardo, 20)

CAFÉ MOLAR (Calle de la Ruda, 19)

_________
BARCELONA

ARKHAM COMICS (Xuclá, 16)

 

 

The post Ya disponible el Fanzine para Chicas y Maricas #2 appeared first on Teenage Thunder.

16 Nov 13:56

En España la función de la televisión no es informar, es opinar

by Jónatan Sark

En realidad la principal sería mantener entretenidos a sus espectadores. De ahí que se hable del info-entretenimiento. Solo que entonces pasa algo como lo del viernes en París y la parte de info no pasa.

La diferencia está, por supuesto, entre lo que creíamos que debería hacerse y lo que se haría. Las quejas fueron por no interrumpir la programación y emitir últimas horas desde Francia como estaban haciendo en tuiter las distintas centrales de noticias… ¿hubieran podido hacerlo? ¿Tienen las televisiones, aún las generalistas, a periodistas destacados en Paris? ¿Hay gente un viernes por la noche a la que avisar de esto? Pero, sobre todo, ¿y si hubiera sido en otro lugar? Es difícil pensar que pudiera ser más cercano que uno de los países con los que compartimos frontera así que supongamos que ocurriera en España. No en Madrid o Barcelona, claro, España es suficientemente más grande. ¿Suspenderían su programación?

Es curioso cómo durante las mañanas e incluso las tardes parece más sencillo alterar la programación, se por una noticia sobre ETA o por un fallecimiento de postín. Pero si la cosa no viene de antes el primer-time se muestra… Complicado. La BBC da el primer avance en sus Breaking News a las 22:02 y en las cadenas españolas la cosa tardó un poco más. Casi eran las doce cuando Antena 3 interrumpió por unos minutos su programación para dar esa noticia que “les acababa de llegar”, en TeleCinco esperarían hasta la una, en La Sexta o Cuatro estuvieron muy ocupados. Y cuando el 24 horas se dedicó a ello… Digamos que no era lo mismo que cuando se dedicaban realmente a la información, quizá fuera la falta de la CNN+ enfrente o los recortes, la realidad es que se entretuvieron con una tertulia en lugar de con datos y periodistas. Las intervenciones de los tertulianos de guardia, especialmente de Alfonso Rojo, causaron casi tanta ira en las redes sociales como la falta de información. La única otra cadena TDT -aunque aún no nacional, si no me equivoco- dedicado a ello fue 13tv. También con tertulias, claro.

Es decir, las dos maneras de afrontar la inmediatez fueron mediante la negación y la opinión. Peor aún, al día siguiente decidieron entre la información y la opinión. Decidieron seguir por el segundo lado, que siempre es más barato. En todos los sentidos.

Dentro de esto, con Ferreras y sus especiales -que incluyen a Marhuenda-, lo que tuvimos fue una serie de lugares comunes, vueltas a lo que ya se sabía y -por supuesto- opiniones. Algo innecesario cuando han pasado más de 12 horas desde que se estuviera produciendo en directo la noticia. Sí, pudo haber novedades -aún las puede haber- pero ya aparecen por investigación sobre unos hechos, no mediante la narración de lo que ocurre. La reflexión sobre lo sucedido es algo distinto y más cercano a la creación de una opinión.

Porque eso es lo que llevan vendiendo desde entonces. Tratando de decir lo que debemos pensar y lo que se supone que creen que ha pasado y que pasará. No es que debiera sorprendernos, una opinión sirve para establecer un discurso y afianzar la realidad que se conecta con lo que quieren vendernos, también es mucho más barato y menos fácil de meter la pata. Y si algo han hecho estos últimos días los medios ha sido precisamente ir cayendo en todos los errores posibles. Incluidos los de portada. Si eso -equivocarse con el tipo de música del concierto, poner a un inocente como terrorista, dar y dejar de dar por muerto a un español como si fueran el Ministerio de Defensa- ocurre un día después no quiero saber lo que podría haber pasado esa noche.

Y, sin embargo, era precisamente lo que se esperaba de ellos. Más aún, si mañana ocurriera otro suceso es lo que volveríamos a esperar. Sobre todo mientras se desarrolla. Aunque sea en prime-time. Aunque no haya logrado encontrar un antecedente de interrumpir el prime-time nocturno por una noticia -lo más cercano, el seguimiento al nacimiento de la primera infanta de la actual hornada regia- y aunque dude que llegaran a hacerlo. Porque da igual que haya más de veinte canales en la TDT actual, que tengamos más de media docena de generalistas, lo importante es tener los medios y la intención. Y en el actual panorama televisivo español no sé cuál de las dos cosas falta más.

Lo que sí sé es el resumen que sirve de título para todo esto: “En España la función de la televisión no es informar, es opinar”.

 

 

 

 

16 Nov 05:54

Anne Frank Scandal: An Underreported Copyright Monopoly Abuse

by Rick Falkvinge

copyright-brandedAnne Frank‘s Diary, if you haven’t heard of it, is the notes of a girl who hid in Amsterdam from the nazis toward the end of World War II. Sadly, she didn’t make it, and died at nazi hands in 1945.

Her diary has become a seminal work to understand what people in the occupied countries went through on a personal level, beyond the statistics. It was compiled after her death and after the war by her father, Otto Frank.

As Anne Frank died in 1945, this work would be elevated to the public domain in six weeks, on January 1, 2016 – 70 years after her death. However, the foundation that holds the copyright (and therefore collects a significant amount of money from this work) is now trying an obvious abuse of their monopoly, by suddenly naming her father Otto a co-author of her diary where he was previously just an editor. This move purportedly extends their own monopoly on the piece of heritage by decades – all the way through 2050 – out of the blue.

What’s really infuriating about this is how oldmedia doesn’t call it out as fraud at all, but takes a completely neutral stance. Most outlets seem to be rewrites of the New York Times story, which just neutrally reports “the book now has a co-author”, quotes a few people in the worst form of abdicative “he-said-she-said journalism”, and leaves it at that.

Let’s be clear on three points here: One, this is a fraud committed for the sole purpose of preventing the work from being elevated to the public domain; two, it is committed now as the book would otherwise be elevated to the public domain a mere six weeks from now — if Otto Frank was objectively a co-author, it would reasonably have said so from the beginning, and not when then monopoly was down to the wire; and three, oldmedia remains abysmally ignorant of how the copyright monopoly is used to punish and withhold, rather than the illusory encourage and reward.

Not one single oldmedia outlet has called out the fraud, even though it’s right in their face.

The tech outlets are less inhibited. BoingBoing is much more upright, calling it fraud in the very header.

The thing is that this ignorance is endemic to oldmedia. The Internet is the single most important piece of infrastructure we have, and policymakers are letting an old printing monopoly decide how it can and cannot be used – which should be cause for revolts and uprisings. Instead, oldmedia are collectively treating it with a yawn, while tech writers who understand the issue are calling a spade a spade.

What’s worse, it’s widely assumed that the cost of the monopoly is zero. But as BoingBoing observes, there have been two houses fighting in lockstep over petty monopolies to bring the story of Anne Frank to the world – and seeing how that number is typically limited to one, now that it’s evidently possible to have two, what sets a cap at two? Why can’t it be two hundred or two thousand?

That’s the harm of the copyright monopoly. Putting it differently, were it not for the copyright monopoly, we wouldn’t have had seven Harry Potter books but rather upwards of seven thousand, many utter crap but some outright stellar. There’s a real cultural cost, a real cost to our common heritage, right there. That’s how the copyright monopoly punishes and withholds us all.

And oldmedia is completely oblivious to it.

About The Author

Rick Falkvinge is a regular columnist on TorrentFreak, sharing his thoughts every other week. He is the founder of the Swedish and first Pirate Party, a whisky aficionado, and a low-altitude motorcycle pilot. His blog at falkvinge.net focuses on information policy.

Book Falkvinge as speaker?

Follow @Falkvinge

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

16 Nov 05:43

Fighting crime is just my hobby

by chrono_rabbit
Onepunch-man (ワンパンマン) a comedy/superhero webcomic created by ONE in 2009 hosted on his site which quickly became a viral hit over the years. It features the adventures of Saitama (サイタマ), an unlicensed hero, and his disciple Genos (ジェノス) as they protect the citizens in Z-city from a variety of villains and monsters. However, after all his dedication to training to become a serious hero he feels empty as everything is too easily resolved with one punch.

His hero name and costume is a homage to Anpanman (アンパンマン), a well-known children's character, often shortened to panchi (パンチ, punch).

Despite the amataur art style it has a certain level of charm then in 2012 it'd be been chosen to be publicated in Shueisha's Young Jump Web and redrawn by the well-known manga-ka Yuusuke Murata the artist for EyeShield 21. New updates are twice monthly but aren't limited to a set number of pages and there's more freedom to show off the latest fights. However, One's amazing writing and storyboarding skills remained the same and sequences were greatly improved upon.

Finally, announced earlier this year it's been adapted into a anime series for the current Fall Season 2015 produced by Madhouse. USA fans can follow Viz media for stream schedules weekly and read the redrawn edition online.

Meantime fans have translated the ongoing original OPM into english if you've caught up with the redrawn chapters. I'd recommend starting on chapter 52 as it starts to deviate from that point onwards with different scenarios.

Also, he's serialized Mob Psycho 100 (モブサイコ 100) for the same magazine and it's considered his more serious work vs OPM. Also, scanlated into english for fans online if you're looking for additional works with the same writing.
16 Nov 05:41

5 Ways You're Tricking Yourself Into Not Being Happy

By Winston Rowntree  Published: November 14th, 2015 
16 Nov 05:31

Socialism Vs. Capitalism: A side-by-side comparison

16 Nov 00:18

"What a pity it isn't illegal."

by The Whelk
" Chinese emperors of the Tang Dynasty liked their ice cream a special way: Fermented buffalo or goat milk was heated, then thickened with flour and seasoned with camphor, which made it flake like snow. For good measure fragments of reptile brain were added, along with an eyeball or two." - "It Ought To Be Called Vice Cream" - Austerity Kitchen on the social and technological history of Ice Cream.
16 Nov 00:14

English is not normal

by pravit
English is not normal. "No, English isn't uniquely vibrant or mighty or adaptable. But it really is weirder than pretty much every other language." (Aeon via Longform).
16 Nov 00:03

What Each Myers-Briggs Type Does When They’re Sick

by Heidi Priebe
marisa.zupan
marisa.zupan

INFJ – Avoids medication unless they absolutely HAVE to take it, but stays home to rest and recoup. No way are they going to let others see them in a vulnerable state!

ENFP – Refuses to rest or relax – disbelieving that this will help them get better – and goes about their day as usual, getting everyone they encounter sick in the process.

ENFJ – Maintains their commitments with a sunny face – not wanting to burden other people with their sickness – and then goes home and crashes hard.

ESFP – Texts all their friends that they’re DYING, who wants to come over for a movie night?

INFP – Stays home and fantasizes (in a totally non-morbid way, of course) about all the nice things people would say about them at their funeral.

ISFJ – Tries to convince everyone that they’re fine, really, they don’t need any help… while secretly wishing that one of their loved ones would ignore their pleas and come take care of them.

ISFP – Secretly revels in having a socially acceptable excuse to stay home and do their own thing for a week or so.

ESFJ – Tries to get better as quickly as possible so that they can take care of any friends or loved ones who have also caught their bug.

ESTJ – Works fervently from bed on their laptop while internally scolding their immune system for not trying harder.

ISTJ – Sticks determinately to whatever methods of getting better they were taught as a child, because that’s what has always worked for them, so why switch it up?

ISTP – Takes enough medication to get a little high and then relishes in the excuse to stay home and play video games.

ESTP – Pops some drugs, chugs an energy drink and goes about their business as usual. If it’s not terminal, what’s there to complain about?

INTP – Googles ten thousand variations of what they might have and ends up in the depths of Wikipedia, learning about a strange Polynesian virus that died out 1000 years ago.

INTJ – Pops some drugs, ignores their sickness and grows steadily more annoyed each time someone asks them how they’re feeling.

ENTJ – Rests for about 30 minutes, decides that’s enough self-care and then gets the hell back to work.

ENTP – Develops a plethora of strange new medicines that they test on themselves, ultimately extending their sickness weeks longer than necessary. TC mark

Heidi Priebe explains how to manage the ups, downs and inside-outs of everyday life as an ENFP in her new book available here.

The_Comprehensive_ENFP_Survival_Guide_font_1600x2400

15 Nov 21:06

Islam in Europe

by Alex E
15 Nov 21:02

Así reaccionó el dibujante Joann Sfar a los atentados en París

by John Tones

Anoche, como todo el mundo, nos quedamos petrificados en casa al enterarnos de las terribles noticias, de los demenciales atentados que, en el momento de escribir estas líneas, se han cobrado ciento veinte víctimas.

Pero a gente como el dibujante Joann Sfar (El gato del rabino, coautor de La mazmorra) la situación le ha inspirado una declaración dibujada que nos parece que viene muy a cuento, del mismo modo que tantas y tantas opiniones lúcidas, dibujadas y empapadas de humor amargo vieron la luz cuando tuvieron lugar los horribles atentados en Charlie Hebdo. Entre periodistas aprovechando el drama para enhebrar titulares carroñeros y columnistas que parece que están deseando que ocurran cosas así para poner sobre la mesa su agenda de incitación al pánico racial, destacan opiniones como la de Sfar por sosegadas, emotivas y firmes: #prayforparis es una forma lamentable y contradictoria de luchar contra el fanatismo religioso.

Aquí tenéis toda la secuencia de viñetas que Sfar ha publicado en su cuenta de Instagram.

(Gracias a Patricia Santiago y Kiko Vega por las lecciones de francés y a Carmen Granero y Raúl M, que nos han ayudado a corregir algunos problemas con la traducción)

Francia es un país antiguo, donde los enamorados se besan libremente.

Francia es un país antiguo, donde los enamorados se besan libremente.

París es nuestra capital. Amamos la música, la ebriedad, la alegría.

París es nuestra capital. Amamos la música, la ebriedad, la alegría.

Desde hace siglos, algunos enamorados de la muerte han intentado arrebatarnos la alegría de vivir.

Desde hace siglos, algunos enamorados de la muerte han intentado arrebatarnos la alegría de vivir.

No lo han conseguido.

No lo han conseguido.

Aquellos que aman, aquellos que aman la vida, al final son siempre los que ganan.

Aquellos que aman, aquellos que aman la vida, al final son siempre los que ganan.

Qué bonito, el lema de París.

Qué bonito es el lema de París:

'Fluctuat nec mergitur' (Fluctúa, pero no se hunde)

‘Fluctuat nec mergitur’ (Es batida por las olas, pero no hundida)

Amigos de todo el mundo, gracias por #prayforParis, pero no necesitamos más religión. ¡Nuestra fe está con la música! ¡Los besos! ¡La vida! ¡Champán y alegría! #parisisaboutlife

Amigos de todo el mundo, gracias por #prayforParis, pero no necesitamos más religión. ¡Nuestra fe está con la música! ¡Los besos! ¡La vida! ¡Champán y alegría! #parisisaboutlife

El terrorismo no es un enemigo. El terrorismo es un modus operandi. Repetir "estamos en guerra" sin encontrar coraje para señalar a nuestros enemigos. Nuestros enemigos son los que aman la muerte, bajo diversos uniformes están ahí desde siempre. La historia les olvida bastante rápido.Y París muere. Quién les manda a la MIERDA.

El terrorismo no es un enemigo. El terrorismo es un modus operandi. Repetir “estamos en guerra” sin encontrar coraje para señalar a nuestros enemigos no lleva a ninguna parte. Nuestros enemigos son los que aman la muerte, bajo diversos uniformes están ahí desde siempre. La historia les olvida bastante rápido. Y París permanece y es quien les manda a la MIERDA.

Los que han muerto esta noche estaban en la calle para vivir, beber, cantar. No sabían que se les había declarado la guerra.

Los que han muerto esta noche estaban en la calle para vivir, beber, cantar. No sabían que se les había declarado la guerra.

En lugar de dividirnos, nos habéis recordado lo precioso que es esto: nuestra forma de vida.

En lugar de dividirnos, nos habéis recordado lo precioso que es esto: nuestra forma de vida.

Enamorados de la muerte, si Dios existe, os repudia. Y ya habéis perdido, así en la Tierra como en el cielo.

Enamorados de la muerte, si Dios existe, os repudia. Y ya habéis perdido, así en la Tierra como en el cielo.

Esto significa: a la mierda la muerte.

Esto significa: a la mierda la muerte.

La entrada Así reaccionó el dibujante Joann Sfar a los atentados en París aparece primero en Canino.

15 Nov 18:13

Los beneficios de dibujar y colorear de adulto, aunque no tengas ni idea

by Jaime Rubio Hancock

Es posible que te hayas encontrado o alguien haya compartido contigo este texto sobre los beneficios de dibujar, que sugiere, por ejemplo, que si necesitas recuperar energía, dibujes paisajes y, en cambio, optes por un arcoíris para combatir la tristeza. Hay más: si estás enojado, dibujar líneas; si sientes angustia, haz una muñeca de trapo; si estás desesperado, dibujar caminos. Y así, hasta completar una lista que en Facebook cuenta con más de 36.000 me gusta y que se ha compartido más de 62.000 veces.

“No creo que tenga ninguna base científica ni que sea tan sencillo como lo exponen -explica a Verne la psicóloga Amaya Terrón-. Es decir, si estas cansado y dibujas flores, no vas a sentirte descansado, ni sentirás armonía y tranquilidad, directa y automáticamente”.

El texto, además, es una versión de este otro de la terapeuta Victoria Nazarevich, que en realidad sólo sugiere que dibujemos, “pase lo que pase en tu vida” y sin especificar el qué.

El dibujo y tu cerebro

Esto último tiene algo más de sentido. Dibujar “ayuda a concentrarse", explica Terrón, aunque no de forma tan específica como sugería el primer texto. Además y aparte de la satisfacción personal, dibujar (al igual que pintar y esculpir, por ejemplo) estimula nuestro cerebro y nos ayuda a mejorar nuestra memoria y nuestra capacidad de introspección, al combinar nuestros procesos cognitivos y motores, tal y como recoge Mic. Otros estudios hablan de cómo el arte puede proteger contra el declive de ciertas funciones cerebrales con la edad.

Y añade algo interesante para quien crea que no tiene mano con el dibujo o que simplemente se le da mal: “No hay nada de magia cuando desarrollamos una habilidad... Aunque sí trabajo duro”, escribe Richard Banks en Drawing: The Art-Science Connection. Es más, Banks cita estudios que aseguran que el hecho de ser mejor en una actividad “no es consecuencia de poseer dones innatos”. Es decir, todo (o casi todo) se puede aprender, aunque (evidentemente) esto no significa que lleguemos necesariamente a ser genios.

Terrón añade que “hay personas que encuentran el placer en el dibujo en sí, porque les gusta y se les da bien también, otras igual no tienen tanta destreza pero les ayuda a expresar lo que de otra forma no expresarían”. Y recuerda que el arte se puede usar incluso como herramienta de terapia, ya que puede ayudar “a expresar emociones que están enquistadas” y a entender nuestros "propios fantasmas y miedos”.

Y tú, ¿cuándo dejaste de dibujar?

A todos los humanos nos gusta dibujar desde hace unos 40.000 años. Y es algo que podemos hacer casi todos. Tal y como escriben en Scientific American: “Dibujar es simplemente hacer líneas y puntos en el papel. Si sabes escribir tu nombre, puedes dibujar”.

Es más, comenzamos a dibujar antes de saber leer y escribir. Todos los niños han dibujado en algún momento de su vida. Para ellos, escribe Banks, el dibujo “es una forma de aprender sobre el mundo en el que viven y acerca de su lugar en él”.

¿Y por qué dejamos de hacerlo? Banks sugiere que muchos niños “descubren otras formas de explorar su mundo, se involucran en otras actividades o, más a menudo, simplemente pierden interés. Su conocimiento se desarrolla más deprisa que su habilidad motora”, por lo que llega un momento en el que “no saben dibujar lo que su cerebro ve”, lo que ocurre sobre todo cuando a partir de los 8 o 9 años intentamos plasmar la perspectiva. A consecuencia “se frustran y pierden interés”.

“Dejamos de divertirnos”, resume el ilustrador John Hendrix en The Atlantic. De niños disfrutamos del dibujo sin preocuparnos por nada más, pero llega un momento en el que tenemos que aprender “cómo mostrar la luz, el espacio, la composición, la forma, la línea. Después de eso, tenemos que entrenarnos para jugar otra vez”. En su opinión, disfrutar es un primer paso esencial antes de encontrar nuevas ideas.

No dejes de garabatear, al menos

Pero aunque ya no compremos libretas de bocetos, ni podamos (o queramos) dedicar horas a esta actividad, esto no significa que tengamos que abandonar el dibujo por completo. “Ocasionalmente, todo el mundo tiende a garabatear, hacer bocetos o plasmar una idea -escribe Banks-; dibujar es un comportamiento que forma parte de la especie humana”.

Banks añade que los esbozos, dibujos rápidos, diagramas improvisados y demás son “un ejercicio en pensamiento libre, sin limitaciones. A menudo representan una forma de soñar despierto de forma gráfica que es beneficiosa para el proceso creativo del mismo modo que la preparación de un atleta ha de preceder a sus resultados”. Estos dibujos rápidos también “incrementan la destreza manual y refuerzan la conexión entre tus actividades motoras y tu sistema visual”.

Coincide Terrón, que añade el garabateo puede alejarnos “de la ansiedad que podamos estar sintiendo”, además de servirnos para “concentrarnos en una sola cosa y alejarnos de nuestros propios pensamientos”. Eso sí, “no todo el mundo le puede dar una misma finalidad”.

La escritora y consultora Sunni Brown es una de las principales defensoras del garabateo. En esta charla TED recuerda que garabatear en una reunión, por ejemplo, está mal visto, a pesar de que hay estudios que coinciden en que se trata de una herramienta que nos ayuda recordar, a procesar información y a encontrar soluciones creativas.

Otra defensora de los dibujos al margen de folios y cuadernos es la educadora Giulia Forsythe, que en este dibujete publicado en su galería de Flickr apunta que garabatear es una forma de pensamiento externo que conecta personas e ideas, tanto conscientes como inconscientes. Es una forma de soñar despierto que lleva a asociaciones al azar que permiten alcanzar soluciones creativas.

Pinta y colorea

Más de moda está otra actividad relacionada con el dibujo: los libros de colorear para adultos. Incluso Forges ha publicado uno. Aunque de entrada pueden parecer una rareza, Terrón explica que “es cierto es que los movimientos rítmicos, regulares y suaves con un impacto en el papel o colorear rellenando espacios delimitados pueden hacer que la persona se enfoque tanto en la tarea que está llevando a cabo que pueda desconectar de otros pensamientos intrusivos o ansiógenos con el entrenamiento correcto”.

Se trata, en definitiva, de ejercicios de concentración y relajación, aunque en este caso no sean necesariamente una expresión artística.

Similar, aunque ya nos vayamos al texto, es la caligrafía, un arte cada vez más practicado que sigue tradiciones tanto chinas, de hace más de 4.500 años, como europeas, heredadas de los monjes de la Edad Media. Como recogía Smoda, practicar la caligrafía, de modo similar a los simples esbozos y garabatos, "predispone a la conciencia plena, al ‘aquí y al ahora’, por lo que tiene mucho que ver con los estados meditativos. Su ejecución exige un estado mental en el que no tienen cabida ni el estrés, ni las preocupaciones, ni las tensiones musculares, ni los pensamientos intrusivos”.

Necesidad de motivación

Pero Banks añade algo que es fundamental y que a veces se olvida: todo esto sólo funciona si nos interesa. La emoción marca tanto nuestra atención como nuestra retentiva. Si nos aburre dibujar, una actividad que en la que pasamos horas de manera “casi semi consciente, concentrados y atentos”, de poco sirve que nos obliguemos. Y añade: “Es un mito que otras personas puedan motivarte”. La motivación “viene de dentro, instigada por la elección basada en tus intereses y metas personales”. No nos podemos obligar ni siquiera a hacer un triste monigote.

También añade que el hecho de que podamos aprender a dibujar de forma más que correcta no implica que vayamos a ser genios, ni tampoco que vayamos a ser más creativos, por mucho esfuerzo que le dediquemos: “El dibujo es una habilidad adquirida que puede ser muy útil en el trabajo creativo sin ser necesariamente una expresión creativa”. Puedes dibujar muy bien sin ser creativo y, claro, ser creativo sin ni siquiera saber coger un lápiz.

Pero sí que es cierto que las personas creativas “quedan fascinadas con una actividad en sí misma: la exploran con deseo e intensidad, e investigan cada aspecto de lo que les interesa en profundidad”. Y esto vale para dibujar, escribir, tocar un instrumento o cualquier cosa que nos atraiga.

En todo caso y si aún así no acabas de estar convencido, siempre puedes pasarte por la etiqueta #inktober en Instagram para inspirarte. Se trata de un reto que nació en 2009 y que consiste en hacer un dibujo diario durante el mes de octubre: todo un mes de dibujos a tu disposición.

15 Nov 17:49

Ute Lemper sings/chante Kurt Weill

by zero

Asked by Decca Records, Michael Haas was searching for a singer for a Kurt Weill album. He thought it should not be a professional classical singer, it should be an actress singer like Lotte Lenya.

After a long research, Haas encountered a German born actress, Ute Lemper. He discovered "the ideal combination of astonishing musicality and a text awareness which is both idiomatic and sensitive, whether the texts are German, French or English."

These recordings are cleverly well produced one and very entertaining. Lemper's singing succeeded in adding some new nuances on Lenya's interpretations. Her singing sometimes gets very close to the excessive points, but she never goes beyond. She stays in a good sense with humor.

Ute Lemper is a vocalist in that great European femme fatale tradition of Lenya, Piaf, and Dietrich and certainly to my lights the leading interpreter today of Weill's songs plus works by other European composers for the musical and cabaret.

Tracklist:

1 La Chanson De Bilbao 4:39
2 La Complainte De La Seine
3 Firebrand Of Chappel
4 La Chanson De Barbara 4:02
5 La Ballade De La Jeune Fille Noyée 2:28
6 Rosa, La Rouge 2:26
7 Chanson Du Fil A Retordre 0:51
8 Surabaya-Johnny 4:37
9 Le Tango Des Matelots 4:29
10 La Ballade De Lili L'Infernale 1:50
11 Oh! Songez Donc Monsieur Jakob Schmidt 1:13
12 Chansons Des Iles Brunes
13 La Lettre D`Adieu
14 Combien De Temps Encore?
15 J´Attends Un navire
16 Youkali
17 Chanson De Septembre
19 Tchaikowksi
19 Trouble Man
20 Reve D´Enfance

Ute Lemper sings/chante Kurt Weill
(192 kbps, front & back cover included)


15 Nov 17:45

Why John Kerry and the French president are calling ISIS "Daesh"

by Matthew Yglesias

In his statement describing the Paris attacks as an "act of war" against France, President François Hollande said the war "was waged by a terrorist army, a jihadist army, by Daesh, against France."

John Kerry also referred to Daesh in Vienna at an international conference on Syria. This is not a term most Americans are familiar with, but it's part of a larger dispute — largely between western governments and western media outlets — over how to refer to the group we call ISIS. One that puts the strategic agenda of governments against the goals of clear communication.

A short guide to ISIS's many names

There are, broadly speaking, four things that people call the group: ISIS, ISIL, the Islamic State, or Daesh. This is largely ISIS's fault; a big reason the group has so many names is that it keeps changing it.

When the group's predecessor organization was created in 1999, it was called Jamaat al-Tawhid wal-Jihad, which means Unity and Jihad. In 2004, the group's founder, Abu Musab al-Zarqawi, pledged an oath to al-Qaeda, changing his group's name to Tanzim Qaidat al-Jihad fi Bilad al-Rafidayn — or, as it was called in English, al-Qaeda in Iraq.

After AQI took over huge swaths of Iraq in 2006, the organization declared itself to be a state in northern Iraq, and started calling itself the Islamic State in Iraq. When it took a bunch of territory in Syria in 2013, it began calling itself the Islamic State in Iraq and al-Sham — ISIS.

Al-Sham is a difficult-to-translate Arabic term referring to a specific geographic area along the eastern Mediterranean that includes Syria. Some English speakers translate al-Sham as "the Levant," which refers to a broader region in the Middle East that generally overlaps with al-Sham. This is how you get ISIL (Islamic State in Iraq and the Levant), as the White House and others call it. Others still approximate al-Sham to Syria, which yields the same ISIS acronym.

The full name in Arabic is transliterated like this: al-Dawla al-Islamiya fi Iraq wa al-Sham — which produces the acronym DAIISH (usually spelled Daesh in English). That sounds an awful lot like the Arabic word "dahes," which the Guardian translates as "one who sows discord." ISIS kind of hates this insulting connotation, and so banned the name "Daesh" in its territory.

But it doesn't use ISIS either. Crucially, the group now claims to be a caliphate — that is, the successor of the original seventh-century founding Islamic nation. As such, it dropped the geographic identifiers from its name, and simply calls itself "the Islamic State."

The case for calling it "Daesh"

A French ISIS volunteer.

A lot of news organizations use "Islamic State" or "the Islamic State" for a simple reason: It's what the group calls itself, and accuracy is important. But politicians and governments generally don't. They've got some pretty good reasons: Calling it the Islamic State helps ISIS sell its message, and helps insult Muslims to boot.

The name "Islamic State," as opposed to ISIS or Daesh, is at its heart a propaganda tool. By claiming to be the caliphate, ISIS is implying that it's the only state true Muslims should obey: Around the world, they should pledge loyalty to the one and only Islamic State. This message is part of how ISIS recruits and thus keeps fighting.

Hence why British and French authorities are moving to the more derogatory Daesh, which doesn't imply that the group is either a real government or an authentic representation of Islamic thought.

"Islamic State, ISIL, and ISIS [give] legitimacy to a terrorist organization that is not Islamic nor has it been recognised as a state," 120 British MPs wrote in a letter to Lord Tony Hall, the director-general of the BBC.

It seems unlikely that anyone joins ISIS because of the words David Cameron or Barack Obama, let alone a TV news anchor, uses to describe the group.

But there's also an issue of insulting and stigmatizing Muslims. Using Daesh sends the message to French and British audiences that they should not equate ISIS with Islam. Given the large Muslim minorities in both countries, and their struggles with assimilation and intolerance, this is an important message. A group of British imams wrote a letter to Cameron last year asking him to call it the "un-Islamic state."

Cameron, during a BBC interview, called the name Islamic State "a perversion of the religion of Islam and many Muslims listening to this programme will recoil every time they hear the words Islamic State."

The case for calling the group ISIS

A Kurdish fighter poses with a destroyed ISIS truck. (Ahmad al-Rubaye/AFP/Getty Images)

While it's Cameron's job to combat ISIS propaganda in the UK, it's the BBC's job to accurately inform its audience about ISIS as an organization: what it believes, how strong it is, and what it wants. And, yes, what it calls itself.

For non-Arabic-speaking audiences, Daesh is merely another unfamiliar foreign word. But "the Islamic State" helps convey the group's core ideology: It sees itself as an Islamic government, not merely another terrorist organization.

Understanding this is critically important to understanding how the group works. It's also important for understanding how it's being fought. Because ISIS is ideologically committed to governing and defending its territory, it needs to fight a conventional war rather than an insurgency. This point is not well understood; most people think of ISIS as something like the Viet Cong or the Iraqi insurgents of the mid-2000s.

At the same time, "ISIS" is perhaps more accurate than "Islamic State" because, despite the group's efforts to sow violence in other countries such as Yemen and Libya, its claim to statehood only really stands in Syria and Iraq.

As for the issue of whether the last word in ISIS's name should be translated as "al-Sham" or "the Levant" or "Syria," there's not really a single answer. But one reason many organizations have stuck with ISIS over ISIL is that the former is by far the term readers are most familiar with, as this Google trends search emphasizes (ISIS is the one in blue):


Watch: Syria's civil war, explained

15 Nov 00:13

«Lo que hace el 90 % de la población no da riqueza»

by JOEL GÓMEZ
Explicó en el IES As Fontiñas su método, y que «toda persona es genio en algo y debe saber hacer dinero con su talento»

15 Nov 00:11

Miguel Anxo Fernán Vello encabezará a lista de En Marea ao Congreso por Lugo

by M.O.
En Marea vén de dar a coñecer a listaxe provisional coa que concorrerá ao Congreso e ao Senado, á espera de convocar unhas “eleccións primarias de validación”.
14 Nov 17:35

Cola Jet Set – El Fin Del Mundo (2015)

by exy

Cola Jet SetAfter a lengthy break and a drastic lineup shuffle, Spain’s impossibly effervescent indie pop combo Cola Jet Set come back strong on their third album, El Fin del Mundo. Anyone who fell in love, even deep like, with their bubbly, cheerful sound on the first two albums need not worry; their core remains intact. While lead singer Ana may have departed, former backup vocalist Alicia steps up to provide exactly the kind of sweet and cheerful vocals the songs demand. The band is still helmed by Felipe and he turns in a batch of songs that have sharp hooks, finger-snapping rhythms, and effortlessly sunny dispositions. The majority of the songs sound like they were lifted from the soundtrack of the brightest, peppiest movie made, with plenty of ’60s jangle and C-86 honey in the mix. This time out though, the band stretches a little and…

320 kbps | 89 MB  UL | MC ** FLAC

…throws some other colors into its rainbow. “Me Levantaré” features some grunge-lite guitar crunch and pounding drums, “Dosifícate” has some soulful strut going on, “Sábado” ups the noise quotient and comes off like a Lush track circa “Ladykillers,” and “Ahora Te Quiero Más” has a Los Bravos-inspired minor-key punch that really works when balanced against the rest of the record. In general, this is their most varied and balanced album to date, providing all the warm feelings one would expect while also throwing in a bit more emotional shade and showing some real stylistic growth. While Cola Jet Set were great as a happy-go-lucky indie pop group, the new directions and sounds they work into their basic template mean they are poised to become a full-fledged pop band capable of breaking your heart as well as making you want to get up and dance around happily. El Fin del Mundo is the work of a band on the verge of growing into something impressive and real; dismissing them as a chirpy novelty would mean missing out on their best work yet, and one of the best indie pop records of the year.

14 Nov 00:33

[Galería] [NSFW] Miley Cyrus vuelve a colaborar con Terry Richardson. Con resultados previsibles.

by John Tones

En esta casa, a Miley se la venera hasta lo indecible. Sus stunts provocadores, sus temazos llorones, sus experimentos con gatos virtuales. Todo. Lo de Terry Richardson, menos. Pero eh: algo tendrá. Desde luego, a la hora de sacar el lado marranazo de la diva, lo tiene.

En esta ocasión se trata de una sesión para la revista modernuqui CANDY Magazine, y le han quedado a Richardson algo más pulcras que anteriores sesiones con Miley, como aquella que parecía salida de la contraportada de una peli de zoofilia polaca sacada de la trastienda de una sex-shop de la calle Ballesta. Richardson, en cualquier caso, da cada vez más cosica: su figura de chico malo cada vez nos parece menos un juego y más una repulsiva realidad, y cada vez se alzan más voces en su contra.

En todo caso, Miley le ha defendido por activa y por pasiva (no olvidemos que le debe su, aún hoy, imagen más icónica desde su renacimiento artístico), y esta nueva sesión tampoco está nada mal. Si te gustan las chicas vestidas de bombero, lamiendo falazos de goma o haciendo cucamonas delante del propio sobaco, claro. A nosotros sí. Miley, esto es. Nos gusta Miley, se ponga como se ponga.

La entrada [Galería] [NSFW] Miley Cyrus vuelve a colaborar con Terry Richardson. Con resultados previsibles. aparece primero en Canino.

14 Nov 00:19

'Dangerous Men' Is the Funniest and Worst Movie You'll See This Year

by Harry Cheadle

Still courtesy of Drafthouse Films

If Dangerous Men were a competently made film, it would be nightmarish and grim. There are half a dozen attempted rapes during its 80-minute runtime, and pretty much all of the male characters who aren't cops are ready to sexually assault vulnerable women at the drop of a hat. Meanwhile, literally every woman who appears onscreen is defined by her sexuality, whether she's a prostitute, rape victim, or biker girlfriend—the only exceptions are a convenience store owner who gets shot by robbers a few minutes into the movie and a female cop who has no lines. Despite all that, it's probably possible to read Dangerous Men as feminist, since one of the main characters is a woman who spends her time stabbing, shooting, and threatening to cut the penises off of men.

But trying to ascribe meaning or a message to Dangerous Men is like talking about whether a bowl of soup supports civil rights—this is not a remotely competent film, and its real subject is its own failure. People who will seek it out it will watch it for the same reason people gawk at memes of poorly designed objects. It's fun and even sort of cathartic to mock someone else's mistakes, and not necessarily mean-spirited. Sometimes it's good to be reminded that we're all fallible and we all fuck up, even when we try our best.

And oh man, did the auteur behind Dangerous Men try his best. It took him a reported 26 years to put the film together, and he didn't have much help: IMDB lists him as the film's writer, director, producer, music composer, editor, production designer, and set decorator. He went by John S. Rad, though he was born Jahangir Salehi Yeganehrad. Not much else is known about him. He once told an LA Weekly writer that he was a millionaire architect and filmmaker in his native Iran before fleeing the 1979 revolution and that he had written thousands of songs and poems and made a pair of English-language films called Under the Skin of Night and Tough and Restless. (He is listed as a writer for Under the Skin of Night , which was directed by Iranian filmmaker Fereydun Gole.) Dangerous Men came out in 2005 in a few LA-area theaters and was noticed only by a few film fanatics. Rad died in 2007, so he never got a chance to see Drafthouse Films give his magnum opus a wide release this week.

Read: My Dinner with the Most Hated Girls in Brooklyn

I don't know how Rad would feel about his movie being embraced for its sloppy amateurishness, but that's the only reason to see it. Its schlocky no-budget lineage goes back to Ed Wood, but it probably most closely resemble's Tommy Wiseau's The Room in that it putters around aimlessly and pretty much plotlessly while dropping a few bizarre non sequiturs on its audience, who are hopefully high or drunk enough to find them funny. It's a movie meant to be talked back to and mocked by groups of trash connoisseurs.

It's probably even worse on a technical level than The Room. The dialogue is mindless and badly recorded; there's also a curious number of exchanges about renting a car or ordering drinks or dinner. (One scene centers around the heroine picking up her debit card from her dad.) The characters' motivations are unclear and so is the expected audience reaction—things just sorta happen, and then we move on. At one point, a police detective is called up by his girlfriend, who complains that she's on vacation and he should come have sex with her. Then he goes to her place and they have sex. This is not connected to anything else in the movie.

Other bizarre moments include an extremely long sequence where a biker gang leader and his girlfriend watch a belly dancer, then go have sex; a scene where a blind woman with a gun (!) attempts to kill a home invader; and a moment when our man-killing heroine pushes a car down a hill, where it explodes for no reason. My personal highlight concerns a Englishman who vaguely resembles a poor man's John Cleese getting stranded naked in the wilds of California after an attempted rape (of course) goes awry. He wanders through the bushes cursing himself, trying to figure out how he'll explain his situation to his wife, and insulting his penis for getting him into trouble. That's the only time we see him.

You can call Dangerous Men a bad movie, and you should, because it is, but how could a movie be entirely bad when it includes moments like this?

Or this?

Or this?

Or this?

As those shots show, this is a movie with a lot of nudity mixed in with the violence. All of it is slapdash and vaguely pathetic, but you can see the outlines of an actual film here, a B-movie wrapped up in themes of violence, revenge, justice, and the horrible things men are capable of doing to women. Instead, what we get is kind of a vague impression of a film, a imitation of an idea placed in Rad's head by countless hours of action movies and cop thrillers. Dangerous Men obviously wants to be dangerous, but it can't quite get there. Instead, it's something more interesting, a piece of outsider art that's more about the attempt to make a movie than anything else. You can't watch it without thinking about what it's doing wrong, and that experience of seeing the film fall apart into utter incoherence quickly becomes more entertaining than anything onscreen.

In one of his only interviews, Rad described watching the movie in theaters in 2005 and being mystified by the audience's laughing at scenes that he never intended to be funny. But he sounds happy that his film got a response of any sort, that his movie is appreciated for its singular nature, if nothing else.

"I create differently," he told the LA Weekly. "If it is bad, it's a bad different. If it's good, it's a good different."

Dangerous Men is out today from Drafthouse Films. Find out where it's playing here.

Follow Harry on Twitter.

14 Nov 00:00

Cocaine farmers are switching to chocolate

by Stefan Sirucek
Right now there’s more money in cocoa than in blow.