Women consistently rate scent as the most important factor in a man’s attractiveness and men have been manipulating that for centuries with scents of all sorts. Learn about the fascinating history -- and, well, art -- of making perfumes in this episode.

 

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A Xunta confirma que as autoridades comunitarias lle pediron información da presunta fraude nos cursos de formación xusto despois de que a trama irrompese na prensa. O PSdeG reprocha a imaxe que o caso proxecta de Galicia e o BNG anuncia unha pregunta na Eurocámara.

Pertenecen a un grupo criminal que la policía tiene identificado y que actúa en toda España

Viva! A great live band! They are from Nashville but they only speak to the audience in Spanish. Add the wrestling masks and funny dances and you have a killer live band. Their musicianship backs it up too, as this cd proves. Eddie Angel rocks! Produced by Ben Vaughn who gave you the tv theme song to Third Rock From the Sun. - By bunezuelaEveryone's favorite masked instrumentalists seem to have hit their peak (so far) with this 1996 release, their second. The fourteen song selection hits upon nearly every style in the encylopedia of rockin' instrumentals: you've got surf (Pacifica, Wrong Planet), a spy "movie" theme (Espionage), a western "movie" theme (Lonely Apache), tributes to the Ventures and Shadows (cleverly titled Venturing Out and Lurking in the Shadows), southern fried R & B influenced excursions (Swampfire, Brains and Eggs), Middle-Eastern and Oriental detours (Casbah, Tsunami), some exotic sounding minor key darkness (Nightmare in Monte Cristo) and some just plain no-brainer,three-chord bashing (Cavalcade, Outta Gear, Lawnmower). All are written by the various band members with producer Ben Vaughn getting one co-writing credit. The performances are great, the sound contemporary while nodding to tradition, and the atmosphere is contagiously upbeat.
This round-the-world-with-no-vocals trip is quite satisfying and keeps you riveted with the variety and depth of the material. Their debut disc approaches this one in terms of variety and quality, and their live set from 2001 is a barnburning summary of their first three discs with lots of choice covers thrown in, but anyone seeking to start a Los Straitjackets library is encouraged to begin here with their most complete, well-rounded set to date. Viva indeed! Reviewer: Alan Hutchins (Denver, CO United States)LOS STRAITJACKETS:

Back in December we learnt that NOFX’s Fat Mike had written a punk rock musical. It’s now streaming in full over on Soundcloud – scroll down to hear it.

Artists performing the songs read like a “who’s who” of the contemporary punk rokc scene, including:

NOFX, Descendents, Lagwagon, No Use for a Name, Alkaline Trio, Mad Caddies, Frank Turner, The Living End, Old Man Markley, Me First and the Gimme Gimmes, Dropkick Murphys, Bad Cop/Bad Cop, Dance Hall Crashers, The Aggrolites, Limp, The Real McKenzies, Mariachi El Bronx, R.K.L. and Hedwig & the Angry Inch.

Home Street Home tells the story of a homeless gutter punk kids and is based on Fat Mike’s own experiences. Adding serious “musical” kudos, Fat Mike wrote it with AVN Award Winner Soma Snakeoil and Avenue Q composer Jeff Marx and it includes lyrics such as…

“…with everybody doing drugs it makes the world a better place to be.”

The play debuts today in San Francisco, and the original soundtrack is available to purchase from Fat Wreck Chords website, which is where this quote comes from:

“Based on true stories of the authors’ experiences, the story of Home Street Home revolves around Sue, a 16-year old runaway who plunges headfirst into the deviant subculture and alternative lifestyle of the streets. After being adopted into a tribe of homeless teens, Sue finds empowerment and acceptance from her new chosen family.

“Fat Mike said, “Ever since I saw Rocky Horror when I was 8, I’ve been intrigued by musicals. Well, not all musicals, just the ones that break the mold. Luckily, I found two people, Jeff Marx and Soma Snakeoil, that love breaking things as much as I do. This is fucking fun!”

If you’re lucky enough to live in the states / San Francisco you can get tickets here.

The songs are brilliant, big emotion tickling numbers, as one would expect from any musical, and straight up “fucking fun” as Fat Mike says above. Check them out here:

The post NOFX Frontman Fat Mike Has Written A Punk Rock Musical. Stream Home Street Home Now appeared first on Louder Than War.

 
I never could understand the appeal of Beverly Hills, 90210, but I do remember when this happened because I so loved the Cramps. Around Halloween of 1995, the band appeared on the episode “

ECards says this video may be the Platonic ideal of Russian YouTube videos.

It has every element necessary:

• A bear.
• Someone engaging in reckless behavior around a large animal.
• People speaking calmly in Russian while faced with certain death.
• Bleakness.
• Raw meat.

After the announcement of her sister’s pregnancy, 32-year-old Jillian Sanchez confirmed she was leaving her previous role of “lame sister” to assume the post of “cool aunt.”

 

The features that were once considered achingly sad and dull by her friends and family have given way to an appreciation for this interesting aunt, who friends describe as “quirky.”

 

“This could be my niche,” says the aunt-to-be, as she knits another pair of underwear. “My family used to look down on my hobbies, but now that my sister’s pregnant, everything’s different.” She adds, “I just can’t wait to wow that kid with my cool stuff.”

 

The pregnancy announcement has brought waves of relief for Jillian’s family. “My husband and I have been trying for a baby ever since Jill’s first trip to the Serengeti,” says Jillian’s sister, Lisa Johnson. “She used to be a sad recluse who hoarded stuff from museum gift shops. But now, she’s a mystical woman with a huge collection of amazing artifacts.”

 

“We used to worry about her in that yurt, all alone, unless you count the cats she made out of papier-mâché,” says Jillian’s mother, Better. “But now that she’ll be an aunt, I know that she’ll always have her vacation pictures to keep her company.”

 

“I feel like I’ve really found my calling,” says Jillian.

 

 

Jillian currently resides in a quiet hamlet two hours west of her sister, who lives in Boston. “Jill’s lived here for almost a decade and not once have I seen her wear anything but billowy wool skirts,” says Jillian’s neighbor, Anita. “But a little niece or nephew would find those skirts to be very festive. She’s totally in her element.”

 

“I want my niece or nephew to have an aunt that inspires them,” says Jillian. “Also, an aunt who’s not afraid to slip them a little bit of wine.”

 

These days, Jillian spends her time preparing for the birth by doing everything precisely the way she had before her sister’s pregnancy. Raking patterns in her Japanese rock garden, firing lumpy coffee mugs in her home kiln, adding to her pug figurine collection, and planning out her cruise schedule for the year.

 

“I used to be so embarrassed of my sister,” says Lisa. “But now I see: She’s not lame, she’s maternal-adjacent.”

 

“I was skeptical at first,” says Jillian’s brother-in-law, Guy, “But then I realized that every child needs a quirky older woman in their life whose favorite ice cream is space ice cream. Jill will be perfect for that.”

 

“With my baby on the way, I see Jill in a totally new light. It’s like she’s exactly the same, but different,” says Jillian’s sister. “I think we’re all gonna like this new Jillian: Cool Aunt Jillian.”

Lame Sister Becomes Cool Aunt is a post from: Reductress

Martha Reeves and the Vandellas

Below you’ll find Motor City’s Burning: Detroit from Motown to the Stooges, A 2008 BBC documentary that gives a brief summary of the musical trajectory and evolution of Detroit’s music scene through the riotous decade. It’s a little overly ambitious...

En el principio, eran los grandes relatos. Eran muchos, y aunque se contradecían entre sí, todos estaban de acuerdo en una cosa: la vida tiene sentido y se dirige a un fin. Algunos de estos grandes relatos son el cristianismo, la Ilustración, el marxismo, y el capitalismo. Explicaciones morales, sociales y económicas que dicen no sólo de dónde venimos, sino sobre todo, a dónde vamos. Sigue estas reglas y llegarás a la meta. Por cierto, las cosas que están orientadas a un fin se llaman teleológicas. Los grandes relatos son teleológicos, no confundir con “teológicos”. Esto no tiene nada que ver con que sean optimistas: hay corrientes de pensamiento, o personas concretas, que creen que cualquier tiempo pasado fue mejor, pero porque hemos dejado de cumplir las reglas como antes. O porque hubo un progreso, y una Era Clásica, pero ya se acabó. Eso no es negar la idea de progreso: es ser pesimista.

Entonces llegó el siglo XX, dos guerras mundiales y el fascismo, y eso obligó a cambiar las ideas anteriores. Se abandonaron los discursos globales, oponiendo microvisiones, una defensa de lo pequeño, cambiante o único. Así surgió la posmodernidad.

Algunos de los teóricos que formularon ideas relacionadas con esto son Adorno, Lyotard y Vattimo. A mí me gusta Foucault. Otros que ya me gustan menos son Lacan y Derrida. No voy a explicar las ideas de ninguno de ellos, sino a dar características generales del conjunto de lo posmoderno junto con algunas de sus consecuencias.

La posmodernidad no cree en el progreso. No es que crea que desde principios del siglo XX estamos en crisis y cuesta abajo: es que todas las ideas anteriores de “progreso” eran falsas.  Descubrir América no fue un progreso para los nativos (y para los esclavos africanos, ya me dirás).

La posmodernidad se niega a ser definida. Desgraciadamente, muchos textos posmodernos (ya sean de “teoría sobre qué es la posmodernidad” o una crítica de cine, por poner un ejemplo) son deliberadamente confusos. Más allá de esto, lo posmoderno asume que no es posible hallar explicaciones del mundo que sean coherentes, globales y sistemáticas. Eso afecta a la propia posmodernidad. En el mejor de los casos, es una búsqueda de la importancia de lo olvidado, lo pequeño y lo múltiple. De aquí se deriva el valor que damos hoy día a la multiculturalidad y a los derechos de las minorías. Cualquier discusión acerca de si es posible la coexistencia pacífica de grupos diferentes, si es necesario que las minorías se “integren”, si podemos convivir sin aplastarnos, viene de aquí. Todo esto es posmoderno (no la existencia de minorías, sino tener estos debates teóricos).

¿Alguna vez has leído o escuchado que Esto-O-Aquello es una construcción cultural? Posmodernidad pura. La idea de que, por ejemplo “las mujeres no somos como vosotros nos habéis definido” es muchísimo más antigua (Mary Wollstonecraft ya lo decía hace dos siglos) pero la posmodernidad la lleva al máximo. Asumir que casi todo lo que crees que es natural es una construcción cultural es la base de muchas teorías feministas y sobre los géneros (cuidado, que los trans nos han enseñado que no todo es cultural en el género).

La posmodernidad rechaza la alta cultura, o pone otras manifestaciones al mismo nivel. Lo moderno es pensar que los clásicos educan, nos hacen mejores personas, transmiten los valores más importantes de la civilización. Lo posmoderno, que el gusto por las obras de arte está completamente desconectado de la moral y la bondad. Se pueden poner ejemplos sobre la relación de los nazis con el arte clásico. Una consecuencia de dejar de atribuir unos valores especiales a la alta cultura es el interés por estudiar otras expresiones culturales (series, anuncios, videojuegos) con el mismo rigor que antes se reservaba para lo clásico.

La posmodernidad desconfía de la ciencia como forma de progreso. La ciencia trae cosas buenas, pero también cámaras de gas, la bomba atómica y el cambio climático. El negacionismo científico, lo “ecológico”, etc. , no son una vuelta a una era tradicional premoderna, sino un rechazo posmoderno.

La posmodernidad cree que la comunicación es imposible, o muy difícil. Que siempre es un problema. Que nadie puede conocer de verdad a otra persona. Estudiar la relación y desconexión entre lenguaje y pensamiento, o la diferencia entre conocer o estudiar algo y que eso te haya pasado a ti, es posmoderno.

¿La posmodernidad se ha acabado? Bueno… hay quien piensa que esta época es posmoderna aunque no te guste, y quien piensa que se terminó con la globalización y el actual auge del neoliberalismo. Si le preguntas a un neoliberal medio si cree que hay reglas claras para el progreso, te dirá que sí.

¿La posmodernidad es mala o buena? Ni una cosa ni otra. Ha dado lugar a mucha basura, muchas tonterías, entre las que destacaría todo lo anticientífico, los escritos innecesariamente complejos hasta lo incomprensible, y llevar el relativismo a extremos absurdos o dañinos. Además, ¿cómo defender la justicia social si no crees en el progreso? Pero creo que ha aportado suficientes buenas ideas.

¿El feminismo es posmoderno? O dicho de otro modo, ¿hay feminismo posmoderno? Por supuesto. Aunque sus expresiones son, como no podría ser de otra manera, múltiples. Definir un feminismo como posmoderno lo único que hace es situarlo en los últimos 60 años. Usar el término para insultar no aclara nada.

Esta entrada ha contado con la colaboración imprescindible de @octubrista (al que he copiado la idea general y algunas frases); Indvbio, que escribió otra introducción a la posmodernidad; @annngst; e @ismamullor.

 

by Megh Wright

truTV is filling up its comedy roster. The network announced today that it's ordered a half-hour pilot for Adam Ruins Everything based on Adam Conover's hit CollegeHumor series of the same name. Like the web series, the pilot will follow Conover as he "explores topics and ideas many people take for granted and dispels widespread misconceptions through a combination of comedy, history, and science." Conover will also serve as an executive producer alongside Sam Reich, Spencer Griffin, and Jon Cohen. For more on Adam Ruins Everything, check out our in-depth interview with Conover here.

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The 10 worst misconceptions about medieval life that you would get from fantasy books debunks a number of fantasy-novel myths, inspired by this terrific Reddit thread where historians discuss high fantasy novel tropes [prev]. Some of the greatest misconceptions were around combat in the Middle Ages, which apparently included exotic weapons - like the scorpion bombs used in ancient warfare. [pdf] Also see the Medieval People of Color site to see some other dimensions of Middle Ages diversity that are often missing from fantasy novels. And, of course, a tip of the hat to the venerable and hilarious Tough Guide to Fantasyland.

"You need to know who Billy Wilder was. You need to know the names of people who are no longer alive. Because it's very important—it's what our history is made of. You need to see the movies the way they were—with the racism, the violence, and the censorship. All the things that let you see what the movie past had been so you understand where we are! But really nobody's interested in that right now. Their interests are so bifurcated." - An interview with Joe Dante (Part 1, Part 2)

The hipster invasion might not be readily apparent when you go for a stroll around most parts of Brooklyn, but load up a dating app like Tinder and you’ll see the hipsters are out there, and they’re looking for a hookup.

The Tinder In Brooklyn Tumblr was founded by a frustrated dater named Lindsay, who simply couldn't keep all the kooky dating profiles she discovered on Tinder to herself. Now Lindsay is dedicated to exposing these strange players in the game of love, sharing their profiles so the interwebs can decide whether they would pass or play.

Some are simply putting up their profile for their own amusement, others are genuinely trying to land a date while looking like a low budget Prince, and then there’s this guy, who made himself undateable for life with a strange quote and a smile:

-Via Elite Daily

Dumplings are a traditional Chinese Lunar New Year celebratory food that you can make all year around, and there’s no shortage of recipes online to try: From lamb and pumpkin dumplings, to pork dumplings, to vegetarian dumplings, to authentic Jiaozi, to six easy dumpling recipes that children can help make.

We like this homemade video by Dan Seto: Mom’s Chinese Dumpling Recipe. He writes:

This is my Mom’s original recipe to make Chinese dumplings. She adds tapioca flour to the wheat flour to give it a chewy texture. You can add more or less of the tapioca flour to get the texture that you like. The steaming time for the Chinese dumplings depends on the type of filling and the thickness of the dough. Fifteen to twenty minutes should do it. Enjoy!

For more yum, check out NYT’s Lunar and Chinese New Year recipe collection and The Serious Eats Guide To Dumpling Styles Around the World.

Watch this next: San Francisco’s Kei Lun Lion Dancers.

It was a very difficult time for me.

No. The truth is that your scalp produces natural oils–and they're more than enough to keep you looking your best.

Here's my hair while I was still using shampoo:

Zurijeta / Getty Images

And here's me without shampoo, six months later:

AP Mark Duncan

I've also cut out eating most meals.

---

View Entire List ›

Settlers of Catan was just gobbled up by a production company that wants to turn it into *shrugs* who knows? But we can only hope that this, too, will be turned into another needless police procedural featuring streetwise detectives Wool and Lumber.

Read more...

1.

—George Carlin

2.

—Woody Allen

3.

—Joycelyn Elders

4.

—Lily Tomlin

5.

—Mokokoma Mokhonoana

6.

—Chuck Palahniuk

7.

—Chelsea Handler

8.

—Robert Clark

9.

—Ron Jeremy

10.

—Les Claypool

11.

—Michael Thomas Ford

12.

—Robert Anton Wilson

13.

—Christopher Hampton

14.

—John Mayer

15.

—Taylor Momsen

16.

—Jeremy Piven

17.

—Thomas Szasz

18.

—Truman Capote

19.

—Milos Forman

20.

—Mason Cooley

21.

—Quentin Crisp

22.

—D. H. Lawrence

23.

—Lydia Lunch

24.

—Guillermo Del Toro

25.

—Betty Dodson

26.

—Karl Kraus

27.

—Unknown

One of the things that allows the Oscars to maintain their prominence as not just the preeminent film award but the preeminent entertainment award period is their relative paucity of trophies. The Oscars hand out awards in just 24 categories, all during their televised ceremony. Compared to, say, the Grammys' 83 prizes, the Oscars are relatively stingy — making each reward precious.

And yet it's not uncommon to have absolutely no idea what some of these awards mean. Sure, most of us know what it means to win an award for acting, and the term "Best Costume Design" is self-explanatory. But what's the difference between Sound Design and Sound Editing? How long is a short film? And just what does a director do anyway?

Read on, for we have answered your Oscar category questions.

So who wins Best Picture anyway?

Glamorous actors are the center of attention on Oscar night, but the biggest award of all is placed in the hands of producers who are typically obscure to the mass public. This is a throwback to the Academy's roots in the Hollywood of the late silent era, when producers were the most important figures in the film industry. (That description would largely hold — give or take a particularly prominent director — until the 1960s and '70s.)

Think of Gone with the Wind, for instance, which was long the film that had won the most Oscars. Directed by Victor Fleming (who actually replaced original director George Cukor), it was producer David O. Selznick who made adapting the novel into his passion project and got the biggest film of the era made, and it was Selznick who took home the Best Picture trophy (via his Selznick International Pictures company).

Today's films often have dozens of producers — occasionally just people who sign on to help secure funding, or help a movie get made — so the Academy has instituted a couple of regulations. To win, a producer must have a "producer" or "produced by" credit on the film, and only the three producers who have done the most work to make the film a reality (determined by the Academy) are nominated.

If you look at this year's ballot, however, you'll notice several films with four producers nominated — and American Sniper has five. The explanation here is that a team of two producers who are credited as a team and work closely together count as one producer, from the Academy's point of view. So, ultimately, three two-person teams could be nominated, thus allowing for a maximum of six nominees for a film.

So, um, what does a director do, anyway?

Don't be embarrassed! The answer to this question isn't necessarily intuitive, because the popular understanding of "director" is just "the person who's in charge on a movie set." And that's not wrong, but it also doesn't really dig into what a director does beyond bossing people around.

The simple answer for this is that in the '60s and '70s, the director replaced the producer as the most important person working on a film, in the understanding of the industry. (Many proponents of auteur theory would argue the director had always been the most important person working on a film, and it just took that long to catch up. But that's neither here nor there.) The director is responsible for the overall look, feel, and tone of a film. And assuming she has final cut, she's the ultimate decider, on everything from script notes to the edit that's released to theaters. (Yes, the studio will have some say in this, but the studio also doesn't get the Oscar.)

The thing that makes the job difficult to describe, ultimately, is that different directors handle the job in different ways. At a recent Q&A session I attended, Oscar-winning director William Friedkin argued the most important part of a director's job is getting the right cast and turning them loose. Robert Altman (director of MASH and Nashville, among others) assembled huge ensemble casts and allowed for ample room for improvisation and exploration. British director Mike Leigh (of the recent Mr. Turner) comes up with his scripts in conjunction with his actors, who improvise until the screenplay is arrived at, then begin the shoot.

But the most basic part of a director's job is making calls about what the film is going to look like. As a visual medium, the images are incredibly important to film, and the great directors have immediately recognizable, signature styles. Think of, say, the many times Steven Spielberg has shot characters staring at something in wonder, or the many times Martin Scorsese has employed bravura tracking shots that follow the character through his or her native environment.

What makes a screenplay original or adapted?

On its face, the answer to this is easy: adapted screenplays are based on other works, while original screenplays are based on the writer's own idea. In practice, it's (you guessed it) more complicated.

This year's nominees for Original Screenplay, for instance, include Foxcatcher, a film that is based on a true story. And yet because the script was written from screenwriters E. Max Frye and Dan Futterman's original research, it counts as original. If it had been based on one primary source, as with The Imitation Game, based on a biography of Alan Turing, then it would be in the Adapted category. Why do this? Studios or producers often buy the rights to specific books or articles, then hire screenwriters to turn them into scripts.

Making things even more confusing is that the Adapted category is also where all sequels go by default. Before Sunset and Before Midnight both ended up here, because they were based on characters from Before Sunrise, as did Toy Story 3. Even though the stories and scenarios of all three films were completely original, the Academy counted them as adapted because the characters in them had appeared in prior films.

All of which brings us to Whiplash's nomination for Best Adapted Screenplay. The Academy's decision to place it here is because director and writer Damien Chazelle made a short film from one of the script's scenes before making a feature. But even though the script for the feature version of Whiplash predates the short film version, the Academy still ruled that the feature is "based on" the short, landing it here.

Confused? So was the film's studio, Sony Pictures Classics, which only found out it was competing in Adapted when journalist Mark Harris did. (The Academy decides which screenplays go where in toss-up calls like this.)

Who decides whether an actor is lead or supporting?

This is the complete opposite of the screenplay categories. The Academy does not make hard rulings on who's lead and supporting. The actors and studios running their campaigns suggest where they would like to compete, but it's ultimately up to the voters, who can make up their own minds on category placement.

The Academy has all sorts of restrictions placed on actors — you can't be nominated if all of your dialogue was dubbed, you can't be nominated twice in the same category, etc. — but its regulations don't spell out any real differentiation between lead and supporting. Yes, it would have been ridiculous for Bradley Cooper to argue he was a supporting player in American Sniper, but Meryl Streep quite possibly could have gone lead or supporting for Into the Woods.

Where this really trips up the Oscars is in two particular cases. The first involves child performers, who are often slotted into supporting by default, even if they're the lead of a film. (The most recent example of this is Hailee Steinfeld in True Grit. She's the lead actress of that film but was nominated in supporting.) This campaign tactic doesn't always work, however. Keisha Castle-Hughes campaigned as supporting for Whale Rider in 2003, but the voters decided (accurately) to nominate her in lead.

The other instance comes when an actor has two roles they're winning acclaim for in a given year and doesn't want to split votes between them. (Remember: an actor can only be nominated once per category.) Thus, the studios involved usually agree to campaign one performance as lead and one as supporting. In 2008, for instance, Kate Winslet ran as lead for Revolutionary Road and supporting for The Reader. She ended up getting just one nomination, for The Reader, for which she was placed in lead, instead of supporting. She ended up winning, however, so probably she didn't mind.

Finally, if a performance receives votes in both lead and supporting (or if an actor receives multiple votes for multiple roles in the same category), the nomination goes to whichever category the actor qualifies in first.

Who wins the foreign film award?

The person you see giving the speech for the foreign film Oscar is almost always the film's director, and that's the person who will almost always take the prize home. But technically, the award goes to the film's country of origin.

Every country that's not the United States is allowed to choose one film from its local film industry to submit for Academy consideration, provided the film is not in English and was released in its country of origin between October 1 and September 30. (The foreign film calendar is slightly earlier than the Academy calendar.)

Thus, the United Kingdom is unlikely to win this award, but could if it submitted a film in Welsh. Indeed, Canada has won this award, for The Barbarian Invasions, a film in French.

Foreign films are eligible for all other Oscars, but only provided they meet the Oscars' general eligibility requirements (playing in at least one theater in Los Angeles Country for a week within the calendar year being awarded). If they don't, then nominated foreign films are ineligible for any further Oscars at future awards.

What is cinematography?

Technically (and to be incredibly pedantic about it), it's the ability to manipulate light to create images within film cameras. But functionally, the award is for much more than that.

A cinematographer is usually known as a "director of photography," and that name may be easier to immediately grasp. Within the industry, cinematography usually is understood to mean everything having to do with the camera — its movement, the images it captures, the light it receives, etc.

That's how the last several awards (Gravity, Life of Pi, Hugo) have gone to impressive camera feats that, while beautiful, were created in computers. (This is to take nothing away from the cinematographers who created those images, simply to say that they're often not as "pure" as they might appear.) This year's award might very well go to Birdman, which is all about the restless movement of the camera and appears to take place in one long shot. (Clever edits mask the cuts.)

The cinematographer and director often work closely together to create the images you see, but the Oscar for cinematography is usually one meant to express a film's visual beauty or, occasionally, its movement and momentum. In the 1980s and '90s, the award went to films with beautiful exterior landscapes; now, it goes to the creation of painterly images within computer-assisted visual effects.

What does a film editor do?

This one is simple — the film editor takes all of the footage shot and assembles it into the movie you see. They determine the rhythm of scenes, when you see certain camera angles, and what stays in or gets cut. They, too, work closely with the director, but instead of doing so on set (as the cinematographer does), they're present throughout the post-production process. Many directors with long-trusted editors — like, say, Martin Scorsese and editor Thelma Schoonmaker — will have those editors assembling footage into rough cuts even while filming continues.

Ultimately, the decision of final cut rests with the director or studio executives (usually the latter), but the editor is the person with the technical know-how to make that final cut happen. And they often have ideas of their own to contribute to this process.

What is production design?

This used to be called "Best Art Direction — Set Decoration," and that second term should tip you off. This is an award given to the sets you see in movies.

The production designer (or art director) can be better understood as a "set designer" (even if she doesn't always build the actual sets herself), while the set decorator places props and other items upon those sets to make them come to life. The category was originally called "Best Interior Decoration," and that's another good hint as to what's being rewarded here.

What's the difference between sound mixing and sound editing?

The Academy, as mentioned, is extra-judicious in what it rewards. So why are there two seemingly interchangeable awards for sound design?

The answer is that they reward two completely different things, weird as that might seem. The award for sound mixing used to just be called Best Sound. It rewards the overall soundscape — or soundtrack — of the film. In short, everything you hear in the film has to be mixed together and set to certain levels, to the director's specifications, and that job falls to the sound mixers. The nomination for Interstellar here has proved somewhat controversial, because that film's dialogue was famously difficult to understand, due to the booming noise from other parts of the soundtrack.

Sound editing, meanwhile, used to be called "sound effects editing," and that's a good clue as to what this award is given for. All of the sound effects you hear in a film have to be created, of course, and this prize goes to the best created sound effects.

Who decides if something is an original song?

The award for original song (and original score) is just what it sounds like — music written for the film specifically, rather than for something else. For instance, Jennifer Lawrence's performance of "The Hanging Tree" from the latest Hunger Games movie was ineligible, because its lyrics were written by Suzanne Collins for the book series. The music was original, but that's not enough.

Original songs also have to be important to the film they appear in. They must appear within the movie itself, or as the first song over the closing credits. And that "important" clause often means that songs by prominent artists are nevertheless snubbed, because they don't play in a major montage or musical number within the film. Indeed, the recent trend in the category has been to move away from songs that play over the closing credits. (That said, ironically, this year's award will probably be won by "Glory" from Selma — the first song that plays over the film's closing credits.)

How short is a short film? And why do they still give short films Oscars?

We'll tackle the first question first, because it's the easiest. A short film is 40 minutes or less, including credits. The award used to be split up by how many reels of film it used, with awards for "short subject — one reel" and "short subject — two reel," but those were collapsed into the two awards (for animated and live-action shorts) we now have. (The Documentary Short Subject also has a running time of 40 minutes or less, but that award is administered by the documentary branch of the Academy.)

The three shorts categories are often the ones suggested for elimination when questions of how to reduce the running time of the overall show are suggested. (It's also been floated that the awards be given at a separate ceremony.) And to be sure, the fact that the Oscars have awards for shorts is somewhat archaic. The prizes stem from the days when going to the movies meant seeing a short or two before the main feature, something that rapidly died out with the advent of television.

But short films are still an important way for up-and-coming filmmakers to break into the industry. Indeed, there's a clause in the Academy's regulations for these prizes that allow for award-winning student films to compete. So long as this remains true, the short film awards are unlikely to go anywhere.

Wired's first-ever sex issue:

• strange, vivid nudes meant to tap into your emotions
• young, attractive, and totally not into having sex
• according to hollywood, the future of sex is super awkward
• the sex talk you never had with your parents
• 10 extreme close-up photos of everyday objects
• your dick pics are about to be all over the internet
• virtual-reality porn is coming, and your fantasies may never be the same
• animal sex is dangerous and horrifying. so why does sex exist at all?
• penile strain gauges and other strange devices of sex science
• renaissance sex positions reimagined as dreamy erotica
• japanese sex hotels cater to all kinds of fetishes, even hello kitty s&m
• two revolutionary new sex toys, plus 14 top-selling dildos

John Kent nos trae la segunda época de la fabulosa Revista Creepy, realizado en alianza entre las comunidades CRG, Prix, Gisicom y HTAL.

Compilados de Historias de Terror auto conclusivas (en la mayoría de los casos), escritas y dibujadas por diversos artistas, conocidos como poco conocidos.

Idioma: Español.
Editorial: Dark Horse
Año: 2009
Guion: Joe Harris, Mike Baron, David Lapham, Jeff Parker, Dan Braun, Mike Woods, Dough Moench, Peter Bagge, Varios
Dibujo: Jason Shawn Alexander, Angelo Torres, Alex Thot, Greg Scott, David Lapham, Neal Adams, Steve Ditko, Richard Corben, Kelley Jones, Varios
Traductores: Darkvid, John Kent, Pandereta
Maquetadores: Melenudo, Mastergel, Master Cósmico, Room, Wrperal, Yosoyelcofla, John Kent
Colaboradores: Kupps, Sylvinho, cplzzz, Vinatea
Coordinación: Darkvid
Comunidades: CRG, Prix, Gisicom, HTAL
Archivos: 10
Tamaño: 312
Formato: CBR y CBZ.



Descargar:

• Creepy (Segunda Época)

Como mexicanos, estamos acostumbrados al picante, y siempre que tenemos oportunidad, agregamos un poco de chile a nuestros platillos. Y aunque tenemos bastantes variedades de chiles, no todos entran dentro de la categoría de los chiles más picantes del mundo. La clasificación se basa en la escala Scoville, que mide el picor o pungencia de los chiles.

¿Qué es la escala Scoville?

Para entender porque un chile se cataloga como el más picante, primero tenemos que entender que es la escala Scoville. La escala se inventó en 1912 por el farmacéutico Wilbur Scoville, que estaba en busca de un ungüento que produjera calor. Su método fue utilizar las papilas gustativas, así que poco a poco, diluía con agua un extracto a base de alcohol hecho con chile, y se los daba a grupos de personas hasta que ya no pudieran sentir el picor.

El grado de dilución se traduce en el SHU, por sus iniciales en inglés Scoville Heat Units. Así, de acuerdo a la escala Scoville, se necesitan 5,000 vasos de agua para diluir 1 taza de salsa Tabasco y no sentir el picor. Hoy en día, se utiliza el método de cromatografía líquida de alta resolución, con el que se determinan cuántas partes por millón de alcaloides causantes de picor, están presentes en un chile. Cuando obtienen ese número, lo multiplican por 16, y llegan a una aproximación muy cercana a la escala Scoville.

La capsaicina, el compuesto químico que se encuentra en los chiles y es la responsable del picor, activa los mismos receptores cerebrales que el calor, por eso sentimos esa sensación “ardiente”.

La lista de los chiles más picantes, cambia conforme se van creando nuevas variedades. Conozcamos algunas de las características de los cuatro chiles más picantes, registrados al día de hoy.

Hasta hace poco el chile Carolina Reaper era conocido como el chile más picante del mundo. Sin embargo, hace un par de meses fue sustituido por el chile conocido como Dragon Breath Chili con 2, 480, 000 SHU (un habanero, se cataloga entre 100,000 y 350,000 unidades Scoville). Fue cultivado por el galés Mike Smith, y se dice que es tan picante que puede causar un ataque anafiláctico mortal si se consume. El chile se encuentra esperando la confirmación de Guinness World Records para ratificar que efectivamente es el chile más picante del mundo.

Mike Smith creó el chile en asociación con la Universidad de Nottingham Trent, originalmente no estaba pensando para su consumo en salsas o en comida, sino más bien para la comunidad médica. Muchas personas son alérgicas a la anestesia, y esta variedad de chile es tan potente que su aceite podría aplicarse en la piel para adormecerla.

Siendo desplazado del primer lugar, en segundo lugar, queda el Carolina Reaper con 2,200,000 SHU. Alcanzo la cima de los chiles picosos en noviembre del 2013, y es la creación de Ed Currie en Carolina del Sur, en su empresa PuckerButt Pepper Co. Tardo casi 4 años realizando pruebas para validar el nivel de picor del Carolina Reaper. Tiene una textura corrugada y un color rojo intenso.

Si te gustaría probar un Carolina Reaper, puedes ordenar semillas, el chile o productos hechos con este chile, en la página de PuckerButt Pepper Co.

El tercer lugar lo ocupa el chile conocido como Trinidad Moruga Scorpion (2,009,231 SHU). Este chile fue el primero en alcanzar los 2 millones de unidades en la escala Scoville y, durante muchos años, ocupo el primer lugar. Su lugar de origen es Trinidad y Tobago. Cada chile es del tamaño de una pelota de golf y se estima que contiene la misma cantidad de capsaicina que un spray de pimienta de 25 mililitros.

El chile conocido como Chocolate 7 Pot (1,853,396 SHU) ocupa el cuarto lugar en la lista de chiles más picosos. También se conoce como Douglah. El origen de sus nombres es bastante original. El nombre de Chocolate 7 Pot, se refiere a su capacidad de darle picor a siete ollas de guisado; y la palabra Douglah, es utilizada en Trinidad y Tobago para hacer referencia a las personas de raza mixta.

Su característica más importante es su textura corrugada y su color café oscuro o hasta morado. Muchas personas consideran a este chile como uno de los chiles con más sabor; los que lo han probado dicen que tiene un sabor frutal inigualable con otros chiles en el mismo nivel de picor. Es originario de Trinidad y se puede encontrar en muchos platillos de esta isla caribeña.

Muchos científicos consideran que el picor de los chiles depende de las condiciones climáticas, la cantidad de agua y sol que recibe y del tipo del suelo en el que se cultivaron. Lo chistoso es que siempre decimos que los mexicanos comemos muy picante, pero ninguno de los chiles mexicanos está en el top 10.

Imágenes | Mark Fischer | Richard Elzey | World Record Academy | Richard Elzey | Beaglestorm |

En Directo al Paladar México | Los chiles más picantes consumidos en México En Directo al Paladar México | Trinidad Moruga Scorpion, uno de los chiles más picantes del mundo

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La noticia Los cuatro chiles más picantes del mundo fue publicada originalmente en Directo al Paladar México por Sweet Cannela .

Nala loves the snow basically more than anything else. (H/T Tastefully Offensive)

"...DAD. GUESS. WHAT. IT'S SNOW TIME!"

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"I'm in training! This is an Olympic sport, right?"

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"Check out my sweet ~extension~."

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"I fall for your teasing every time! Just gimme dat snow!"

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View Entire List ›

By Luke McKinney  Published: February 19th, 2015 

La ley de arrendamientos está detrás del cierre de la histórica droguería

She’s a Punk Rocker Documentary

Director: Zillah Minx

Stars: Gaye Advert, Nettie Baker, Julie Burchill

Out Now

Directed by Zillah Minx, She’s a Punk Rocker tells the story of women in punk rock via interviews, archive film, gigs, music, photos & flyers featuring original punk women such as Poly Styrene, X – Ray Spex, Eve Libertine & Gee, Crass, Vi Subversa, Poison Girls, The Slits, Caroline Coon, Gaye Advert, Julie Burchill and many more! There is a trailer for the film below which you may want to see before jumping in with Sophie Sparham’s review.

Many of us are used to hearing the story of punk’s history. We know it came about in the late 1970’s, we know about the Sex Pistols rise to fame and The Ramones’ involvement with CBGB’s; but do we really know as much as we think about the movement?

Lead singer of Rubella Ballet, Zillah Minx presents us with the well needed story of the women in punk. Featuring journalist Caroline Coon, Poly Styrene, Gaye Advert, ex bassist of The Adverts, Vi Subversa, the lead singer of Poisoned Girls, and Eve Libertine and Gee Vulture from Crass to name but a few. This documentary ignores the male dominated representation of the genre and finally allows the females that were involved to tell the world their experiences’ of UK punk.

‘She’s a Punk Rocker’ unravels the unheard tales of the subculture; exposing  aspects that have been largely ignored or misrepresented by the media- which, trust me, is a lot more than you’d first think. The women involved explain how punk evolved into what it is today and their experiences of growing up in the time. Some of my favourite accounts include the story of the punk actress Helen of Troy and Vi Subversa’s experience of being an older character and mother within the subculture.

What really stands out to me about this documentary is not just it’s honesty about the development of the genre, but how it doesn’t come across as overtly feminist. The women involved just tell it like it is and the way they do it is absolutely brilliant. There is no fancy timelines or dramatically storyline needed to enhance this brilliant tale. She’s a Punk is a documentary that is absolutely vital to any punk fan’s collect. I guarantee you’ll get a more honest recount of the genre than any documentary made by the BBC.

 

You can watch the documentary here.

~ 

All words by Sophie Sparham. More writing by Sophie on Louder Than War can be found at her author’s archive. 

The post Review: She’s a Punk Rocker Documentary appeared first on Louder Than War.

When performing live, band members all dress alike, wearing black clothing, gold medallions, and Mexican wrestling masks. Amis is the only member who speaks, introducing songs in fast, badly accented Spanish.The genesis of Los Straitjackets lies in the summer of 1988 when guitarist Eddie Angel, drummer Jimmy Lester, and guitarist Danny Amis formed the instrumental trio Straitjackets and played a handful of gigs around the Nashville, TN area. Six years later the band would re-form, with the addition of bassist Scott Esbeck, calling themselves Los Straitjackets and produce a demo tape which would eventually be released as the album The Utterly Fantastic and Totally Unbelievable Sound of... . Within months the band found themselves signed to the Upstart Records label and nominated for Nashville music awards "The NAMMIES".
A rigorous touring schedule commenced, and with a triumphant appearance at the South By Southwest festival and on the Conan O'Brien TV show, Los Straitjackets were a firmly established cult phenomenon. Relentless touring, appearances on TV and in the film "Psycho Beach Party", and the release of several 45 rpm singles and full length albums over the next few years earned Los Straitjackets a devoted audience following (especially in Mexico), critical acclaim, and working relationships with the likes of Tom Petty & The Heartbreakers, Link Wray, Big Sandy, The Reverend Horton Heat, and the The Ventures. Hooking up with the dance troop The World Famous Pontani Sisters, the Straijackets would host a series of concert events known as the Rock & Roll Party and Rock & Roll Christmas Pagent.
In 2003 the band was nominated for a Grammy Award for their split CD (with Eddie "The Chief" Clearwater) "Rock & Roll City" in the "Best Traditional Blues" category. In 2005 the band appeared in front of 70,000 fans in Mexico City at the request of the Mexican Government. The event was filmed for a documentary, and the band honored as "The Godfathers of the Mexican Surf Music Scene". The band continues to tour and record. - from rateyourmusicLOS STRAITJACKETS: