Snob

This is Momotaro, a cat whose documented response to unwanted food is a universal expression of "No. No. No. No. No." This cat has ruined my allegiance to the Nope Octopus.

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John Holt

John Kenneth Holt nació en Kingston (Jamaica) en 1947 y falleció el 19 de octubre de 2014 en un hospital de Londres (Inglaterra). Formó parte el grupo The Paragons, uno de los mejores grupos de rocksteady de los sesenta, y tuvo una prolífica carrera en solitario a partir de los setenta. Con un estilo muy particular y melodioso se hizo muy popular en los setenta en Inglaterra cantando con sus baladas sobre la tierra y los seres queridos que dejaron atrás en Jamaica. Entre ssu grans éxitos en solitario destacan "Stick be My" de los setenta o "Police in Helicoper" de los ochenta.  

Holt participó desde los 12 años en los conocidos concursos de talentos que se celebraban en Jamaica. En 1962 grabó su primer single de R&B con el productor Leslie Kong que incluía la balada "I cried a tear". En esa época también realizó varios dúos con Alton Ellis.

The Paragons

En 1964 substituyó a Terence Stamp en los Paragons acompañando a  Tyrone Evans y Bob Andy con los que cantó varios temas para Duke Reid como "Ali Baba", "Tonight", "I See Your Face", "On the beach", "Wear You To The Ball", versionado por U-Roy, "The Tide Is High" compuesto por él y que versionarían Blondie o Atomic Kitten, como "Man Next Door",  versionado por Dennis Brown, y Horace Andy con Massive Attack. Mientras estuvo con los Paragons también grabó en solitario en Studio One temas como "Fancy Make-up", "A Love I Can Feel", "Let's Build Our Dreams”, y "OK Fred", así como con Prince Buster, como "Oh Girl", y “My Heart Is Gone".

John Holt

En el año 1970 dejó a los Paragons y se centró en su carera en solitario. En 1971 sacó con Dennis Alcapone un sencillo con Banana con el tema "Don't Want To See You Cry". Uno de sus mayores éxitos fue el tema "Stick By Me". Fue el disco más vendido en Jamaica en 1972 y se incluía en una serie de grabaciones con el productor Bunny Lee. En 1973 sacó un álbum grabado en Londres llamado “Time Is The Master”. Trojan sacó tambièn ese año su conocido “1000 Volts of Holt”, una compilación de versiones reggae de Holt de los éxitos más populares, a la que siguieron otras ediciones similares, con covers de  "Help Me Make It Through the Night" de Kris Kristofferson, "Just the Way You Are" de Billy Joel o "Touch Me in the Morning" de Diana Ross. En 1976 sacó el disco de “roots”, “Up Park Camp”  con Channel One al que siguieron otros como “Roots of Holt” (1977).  Más tarde vendrían éxitos de dancehall como ‘Police in helicopter’ o ‘Sweetie Come Brush me’.

En 2003 actuó en el prestigioso festival Rototom Sunsplash acompañado por la We The People Band con el bajista Lloyd Parks de los Termites. 


Documento sonoros: 


En 1962 grabó su primer single de R&B con el productor Leslie Kong que incluía la balada "I cried a tear".


 "Man Next Door", tema interpretado por los Paragons en 1967.


Uno de sus mayores éxitos fue el tema "Stick By Me". Fue el disco más vendido en Jamaica en 1972

Otra de sus canciones más conocidas, "Police in helicopter", de 1983.

Spanish teenage twin sisters, Pili and Mili are the Crayons To Perfume's girls of the week! The girls became actresses quite by accident - they were discovered just by being themselves by Nicol Blanchery who was enchanted by their likeness and their humor. The girls learned to dance, sing and act enough to star as precocious sisters who constantly have mistaken identities which lead to silly, fun adventures. They starred in 10 films during the 60's with titles like "Twin Pistols", "Two Crazy Girls" and "Whiskey and Vodka", which you can watch, below.




Crayons To Perfume 13 not only celebrates Pili & Mili who left us with two great songs, but many 60's girl groups with twins and sisters like the Ronettes, Shangri-Las, Pattie Bersaudara, The Honeys and The Pleasure Seekers!

-make sure you join us next Monday morning for our all girl Halloween Special - an hour of frantically ferocious females!

Pili Y Mili – Si Tu Estas Cerca
Pili Y Mili – Un Chico Moderno
The Peanuts: Rock ‘n Roll Music
Les Jumelles L’embouteillage
Shangri-Las: Wishing Well
Les Chéries - Mais qui que quoi donc où
The Joy Sisters: Big John
Candy & The Kisses: C’mon Let The Good Times Roll
The Sisters: Ooh Poo Pa Do
Pattie Bersaudara - What Am I Supposed To Do
las robin - no te alejes
Sandra & sharon hey bird
The Angels: Wow Wow Wee, He’s The Boy For me
The Honeys: The One You Can’t Have
The Dixie Cups: I’m Gonna Get You Yet
The Ronettes: He Did It
The Velvelettes: He Was Really Saying Something
The Pleasure Seekers: Elevator Express
The Mama Cats: Miss You
Honey Ltd: Come Down Live
The Luv’d Ones: I’m Feelin’ Fine
The Clinger Sisters: Bread & Butter
The Heartbeats: Little Latin Lupe Lu

The Dilly Sisters: Sometimes Good Guys Don’t Wear White
Background: Sandy Nelson, What’d I Say

Crayons To Perfume would LOVE you to support WFMU's Rock'n'Soul Ichiban this month by clicking here!!

Dusty Springfield wasn’t known as a songwriter — she didn’t write more than a handful — so the logic behind Dusty Heard Them Here First is tidy: collect 24 songs Springfield would later cover. As some of Dusty’s biggest hits were Bacharach/David songs originally sung by American singers — “I Just Don’t Know What to Do with Myself” was first released by Dionne Warwick, for instance — it would seem that Ace’s 2014 compilation would heavily favor familiar tunes or hit singles, but that’s not the case. To be sure, this has songs that are quite well-known — usually songs originally released on Tamla/Motown, including the Velvettes’ “Needle in a Haystack,” Marvin Gaye’s “Can I Get a Witness,” the Miracles’ You’ve Really Got a Hold on Me” — but there are also relative rarities from stars (Aretha Franklin’s…

320 kbps | 164 MB  UL | FS | MC ** FLAC

…”Won’t Be Long,” Dionne Warwick’s “Every Ounce of Strength”) and, niftily enough, there’s a nice emphasis on feminist ’70s soul and it concludes with K.T. Oslin’s “Where Is a Woman to Go?,” a selection from an ’80s lady that hints at the depth and breadth of Springfield’s catalog. If Dusty Heard Them Here First has neither the surprises nor thematic weight of the best entries in Ace’s Heard Them Here First series, it nevertheless has an abundance of great music and says quite a bit about Dusty’s deep and varied soul roots.

1. The Velvettes – Needle in a Haystack [02:30]
2. Margie Hendrix – Packin’ Up [02:05]
3. Aretha Franklin – Won’t Be Long [03:07]
4. Marie Knight – Nothing in the World [02:05]
5. Marvin Gaye – Can I Get a Witness [02:47]
6. The Chiffons – Now That You’re My Baby [02:11]
7. The Miracles – You’ve Really Got a Hold On Me [02:58]
8. Baby Washington – Doodlin’ [02:24]
9. Garnet Mimms – Welcome Home [02:59]
10. The Honey Bees – Some of Your Lovin’ [03:11]
11. Carla Thomas – Every Ounce of Strength [02:13]
12. The City – That Old Sweet Roll (Hi-De-Ho) [03:20]
13. Norma Tanega – No Stranger [02:27]
14. Dionne Warwick – Another Night [02:26]
15. The 5th Dimension – The Magic Garden [02:49]
16. The Honey Cone – Girls It Ain’t Easy [03:12]
17. Betty Wright – Girls Can’t Do What the Guys Do [02:04]
18. Gladys Knight & the Pips – Ain’t No Shun Since You’ve Been Gone [02:43]
19. Barbara Acklin – Am I the Same Girl [03:01]
20. The Glass House – Crumbs Off the Table [02:45]
21. Evie Sands – You Can Do It [03:56]
22. Lesley Gore – Love Me By Name [05:03]
23. Chi Coltrane – Turn Me Around [04:09]
24. K.T. Oslin – Where Is a Woman to Go? [03:21]

When I think of comic books, many things come to mind. However, court battles are usually not one of them.

Below are 10 of my favorite legal issues concerning comic books.

 

1.  Neil Gaiman vs. Todd McFarlane

One of the least known comic book legal battles was over an issue of Spawn, number nine to be exact. McFarlane approached several respected writers to each do an issue of Spawn. Other than Gaiman, McFarlane also approached Alan Moore, Dave Sim and Frank Miller.

The issue arose over who owned the characters that were introduced by Gaiman. In that issue, Gaiman introduced the mythos that there were more Spawns throughout time and introduced the characters of Medieval Spawn, Cagliostro and Angela. Gaiman believed that he owned the characters since he created them for the issue, whereas McFarlane believed they were his property since they were created for a series that he owns.

They sued each other back and forth for a decade. Eventually Gaiman was awarded 50 percent of everything he created. Eventually, the two came to an agreement and split the characters among the two. The most noteworthy result was Angela recent introduced into the Marvel Comics universe as Thor’s long-lost sister.

 

2.  The Kirby Estate vs. Marvel

Arguably the greatest comic book creator of all time, Jack Kirby is credited with creating or co-creating Marvel’s most popular comic book characters. His estate in this dispute represented Kirby, who passed away in 1994.

The problem with the Kirby Estate stems from the authorship of characters and the question of whether or not Kirby had originally created them under a work-for-hire agreement. This means that if he had made them under this scenario then the characters are not his and are property of Marvel. But if they are not, then his estate would be owed for decades worth of toys, TV shows, movies and other comic book spin-offs from his characters.

Not a month ago, an agreement was reached by both Jack Kirby’s estate and Marvel. A joint statement was released on September 26, 2014 that read, “Marvel and the family of Jack Kirby have amicably resolved their legal disputes and are looking forward to advancing their shared goal of honoring Mr. Kirby’s significant role in Marvel’s history.” The details of the agreement have not yet been made public.

 

3.  Irving Berlin vs. Mad Magazine

It’s not surprising that Mad Magazine, a publication that pokes and makes fun of individuals and institutions, may get sued somewhere down the road.

On their website, Mad Magazine describes a time they were once sued by Irving Berlin and several other songwriters. Yes, that Irving Berlin–Mister God Bless America himself–once sued Mad Magazine over a featured songbook containing lyrics that parodied existing popular songs, including his. The judge eventually ruled in favor of Mad Magazine, stating that parodies like the songs they were being sued for were okay under fair use, and upheld the use of 23 of the 25 songs lampooned in the magazine. When Irving Berlin and his cohort then appealed, the second judge then ruled that all 25 songs were okay under fair use.

They never made it to the Supreme Court…

 

4.  The Family of Joe Shuster vs. Warner Bros

Similar to the Kirby Estate vs. Marvel, the family of the late Joe Shuster, co-creator of Superman, has been in a legal dispute with DC Comics and parent company Warner Bros over past royalties. Superman first appeared in Action Comics #1 in 1938 and is commonly referred to as one of the first superheroes. The first issue, in very fine condition (CGC graded 9.0), just sold at auction for $3.2 million.

The dispute wrapped up earlier this year, with Warner Bros. taking a victory when the lawyer representing the Shuster estate had his petition for a rehearing denied. The opinion of the Ninth Circuit Court of Appeals was that there was already an agreement made in 1992 where $25,000 a year for life was paid out for the rights to Superman.

 

5.  Tony Moore vs. Robert Kirkman

One of the most popular television shows today is AMC’s The Walking Dead. It’s based on a comic book series that shares its name. The artist for the first six comic book issues, Tony Moore, claims that he should be considered a co-creator along with Robert Kirkman, who is generally considered the sole creator.

Moore first sued his childhood friend, Kirkman, for his rights because he said he was tricked into giving them away to Kirkman and that he has neither been compensated fairly nor has he seen any profit statements. After this, Kirkman countersued Moore, stating that he was overcompensated and should be reimbursed. With that, Moore sued Kirkman again, but this time wanted a judge to declare that he is a co-creator of the series.

After a few months of going back and forth the two came to an agreement, which was not made public. It would have been interesting to see Moore be awarded by a judge because he would’ve been able to negotiate his own Walking Dead series on another channel. But I will say that while watching the last episode I did notice Tony Moore’s name as a creator.

 

6.  Gary Friedrich vs. Marvel

Gary Friedrich’s most famous work was co-creating Ghost Rider. He became upset when he learned of a film being produced about his character, claiming that the comic book rights to the character belonged to Marvel while the rights to all other mediums belonged to him. He also claimed that he was the sole creator of Ghost Rider.

According to a ruling in 2012, Friedrich didn’t have any rights to Ghost Rider and in fact owed Marvel $17,000 for selling unlicensed merchandise at conventions. Plus, he was told not to claim anymore that he was the sole creator of Ghost Rider.

Approximately a year later, another judge ruled that Friedrich did have some rights with the character, and a few months after that Marvel and Friedrich settled the matter privately.

 

7.  National Comics vs Fawcett Comics

In 1951 National Comics, which later became DC Comics, sued Fawcett Comics over its character, Captain Marvel. National Comics said that the Fawcett Comics character Captain Marvel infringed on the copyright of Superman.

At the time, Captain Marvel comic books were outselling Superman comic books. Due to the loss of their biggest title, Fawcett Comics quickly folded. While some characters’ stories were continued in other publications, Captain Marvel was not.

By 1994, DC Comics had completely bought all the rights to Captain Marvel, except by that time Marvel Comics had already gained the trademark for Captain Marvel. DC solved this problem by referring to their character as Shazam.

 

8.  Archie Comics

One of the oddest legal disputes in the comic book world comes from Archie Comics. Well, not so much the comics themselves but the workers and owners. In two separate charges, the management has been sued by both a group of men and a group of women for sexual harassment.

At the end of last year, several male employees sued the CEO of Archie Comics, Nancy Silberkleit, for gender discrimination. According to the filed court papers, Silberkleit preferred to call male employees “penis” rather than their names, brought a Hell’s Angel member to the corporate office to intimidate some employees and stalked several others.

A few months later, earlier this year, three women filed suit against the company because of how they were treated by male executives. They claimed that the male executives who sued Silberkleit refused to talk to her directly. The men would speak to another woman who would then have to speak to Silberkleit, even if they were all in the same room. Two other women were forced to sign in and out of the office, while nobody else was required to.

Maybe that’s why Archie’s books tend to be so clean; all the strife and drama are left in the drawing room.

 

9.  Stan Lee Media vs. Disney

Over the years, Stan Lee Media has been trying to acquire the copyrights to characters that Stan Lee created or co-created over the years. They sued Marvel several times over the years and have now sued Disney, who bought out Marvel.

A judge dismissed the suit and ruled in favor of Disney last year. Disney claimed that there were several things wrong with the lawsuit, including the fact that it did not specifically mention which characters they wanted the rights to. They also stated that the court papers were filed in Colorado and neither Disney nor Stan Lee Media do business in Colorado.

I believe it is important to note that Stan Lee hasn’t been connected to the company for a few years.

 

10.  The United States Government vs. Comic Books

One of the more recognizable features of past comic books had been the Comics Code Authority approval image. Since 1954, nearly every major comic book publisher in this country had used that image.

Because obscenity was so frowned upon in the 1950s, laws were created to punish public scenes of obscenity. Comic books were covered under these criteria.

In 1953, the United States Senate Subcommittee on Juvenile Delinquency was created to investigate why America’s youth was deteriorating. A year later, hearings were convened specifically to focus on comic books. Yes, comic books! America just finished fighting the Nazis and was taking up a cold war with the USSR and our government was focused on comic books.

As a result of those hearings, the Comics Code Authority was created. Essentially, it was a self-regulating approach to the censorship of comic books and magazines.

Some of the standards that the CCA set up in 1954 include:

1. Divorce shall not be treated humorously nor represented as desirable.
2. The treatment of live-romance stories shall emphasize the value of the home and the sanctity of marriage.
3. Crimes shall never be presented in such a way as to create sympathy for the criminal.    
4. In every instance good shall triumph over evil and the criminal punished for his misdeeds.    
5. Policemen, judges, government officials and respected institutions shall never be presented in such a way as to create disrespect for established authority.

As time went on, comic book publishers began using their own rating system and no major comic book publisher has displayed the approval graphic nor sought their approval since 2011.

 

I know there are several I left out because the sad reality is that publishers usually screwed most comic book writers. This is why there are organizations now like the Hero Initiative that goes around and tries to support comic book artists and writers who’ve been hit with financial troubles.

This is also another reason why there tends to be no new comic book characters. Writers know that they won’t fairly be compensated and don’t wish to be in litigation with their employers for years, decades, or even after they die.

If there’s a legal battle that you think I should’ve included let me know below!

 

(Slider image credit: http://accredited-online-colleges.org)

As partidas lingüísticas e culturais do Goberno galego pasaron de superar os 150 millóns de euros en 2009 a ficar por baixo dos 65 no vindeiro 2015. A promoción do idioma perdeu o 70% dos seus fondos co actual Executivo, que volve salvar dos recortes a Fundación Cela, rescatada en 2012.

O arzobispado de Tui-Vigo apartou ao líder de Orden y Mandato de San Miguel Arcángel ante as acusacións sobre a súa "conduta moral". Unha noticia denuncia "práctica sexuais" con elementos da misa. Polo menos dúas famosas conviviron coa orde.

A multinacional canadiana asegura que a Xunta participou deste acordo polo que a mineira quere iniciar o seu proxecto de extracción de ouro.

Desde adolescente, o topónimo Manzaneda, que nomea un dos Concellos máis interesantes de Galicia, famoso por acoller a única estación invernal de Galicia, me pareceu estraño. En aparencia era demasiado castelán. Que é unha manzaneda? A palabra non existe en castelán, que prefire como sufixo de abundancia vexetal outras formas, caso de -ar: manzanar, castañar… e -al: cerezal, robledal. Aínda así, existen casos nos que empregan os sufixos -edo, -eda, que si triunfaron no latín falado no oeste atlántico. O castelán admite cerecedo, robledo, castañedo… aínda que nalgúns casos aluda a que son dialectalismos asturianos ou leoneses (curiosamente os espazos máis próximos ao contacto coa lingua galega).

Volvendo a Manzaneda, máis que diante dunha forma castelá estamos ante unha forma castelanizada, ante unha deturpación de libro que tenta extirpar a galeguidade do topónimo mais, como de costume, só logra deformala: Carballino, La Estrada ou Puenteareas son outros casos parecidos.

Grazas aos estudos de Gonzalo Navaza, un dos máis grandes expertos en Onomástica de Galicia (é o Leo Messi da materia, para entendérmonos), sabemos xusto cando aparece Manzaneda. Foi a partir do século XVIII que se grafa así. E antes como se chamaba? Seguindo a Navaza, o nome tradicional non é ningún misterio. En todo o reino o lugar era coñecido –con toda a lóxica– como Maceda. Hai que lembrar que a vila conserva o seu pasado medieval, no deseño das ruelas e nos restos da muralla. É dicir, a Maceda da que falamos tiña moitos séculos cando o seu nome foi substituído por Manzaneda.

En Galicia hai outra Maceda cuxa sorte toponímica foi mellor. Seguramente non houbo ningún escribán ou alcalde ou abade ou arcediago tan espabilado coma o que detectou en Manzaneda a relación do topónimo coas mazás.

A relación entre as Macedas era, non obstante, coñecida de vello, tanto que na documentación unha aparecía como Maceda de Trives (a actual Manzaneda) e a outra como Maceda da Limia. Hoxe desorientámonos con ese apelido pois a Limia está veciña pero algo distante da vila (pertence hoxe á comarca de Allariz-Maceda) mais a Limia histórica era moito maior que a actual, atinxía ambas beiras do río, en territorio portugués e galego e tiña a súa capital en Allariz.

Entón, por que Manzaneda non se considera un topónimo deturpado e se oficializou a forma galega xenuína Maceda de Trives? O tempo ten máis forza que a filoloxía. Tres séculos de Manzaneda sepultaron o vello Maceda. As autoridades lingüísticas consideraron que era unha resurrección tan forzada que incluso podería ser contraproducente entre a veciñanza. É unha liña que se seguiu especialmente en canto á ortografía de diferentes topónimos, contraria á súa etimoloxía: Barcia, Alvedro, Cobas ou A Grova deberían grafarse Varcia, Albedro, Covas ou A Groba.

Con todo, estaría ben que en Manzaneda soubesen cal é a orixe do nome do lugar no que viven e que igual que foi a decisión duns poucos a que enterrou o vello Maceda ben pode no futuro alborexar de novo este bonito topónimo. Por certo, o que hoxe chaman Cabeza de Manzaneda (a montaña na que se situou a estación invernal, até hai moi pouco (anos, non séculos) era coñecida como A Cabeza Grande.

 

Jairo Álvarez

Muchos recordareis la película de 2003 que supuso el adiós definitivo de Sean Connery del mundo del cine, ‘La Liga de los Hombres Extraordinarios’, por la que el actor escocés renunció al papel del mago Gandalf en la trilogía de ‘El Señor de los Anillos’. Premisa más que interesante, ejecución infame. Lo que todo buen amante del cómic sabe también es que esta película estaba basada en el cómic homónimo de Alan Moore y Kevin O’Neill, una pequeña joya del noveno arte (sobre la que han surgido rumores acerca de una nueva adaptación para televisión por parte de la cadena Fox). Tras los dos primeros volúmenes publicados respectivamente en 1999 y 2002, nos llega ahora este tomo titulado ‘The League of Extraordinary Gentlemen: Dossier Negro’ que publica Planeta DeAgostini. Pero esto no se podría clasificar exactamente como una trilogía, ya que este último tomo es algo más que un nuevo capítulo en la historia de esta extraña compañía de seres peculiares. Podría decirse que ‘The League of Extraordinary Gentlemen: Dossier Negro’ es al resto de la colección lo que ‘El Silmarillion’ fue a ‘El Señor de los Anillos’.

La historia comienza en pleno 1958. Los únicos personajes de la Liga que conocimos en los dos volúmenes anteriores y que veremos en este tomo son Mina Harper y Allan Quatermain, ambos con un aspecto bastante juvenil teniendo en cuenta la época en la que nos encontramos. ¿Y a qué se dedica ahora esta pareja? Pues a buscar el Dossier Negro, documentación secreta que lleva buena cuenta de todas las misiones en las que la Liga ha estado metida desde su primera encarnación, así como un montón de información relevante a sucesos de extraña naturaleza. El porqué de esta búsqueda y el nuevo estatus de estos personajes nos serán revelados según avancemos en la trama.

Los pequeños guiños a aventuras anteriores y las referencias (un poco encubiertas a veces) a figuras literarias son una constante desde el inicio de la historia. Quizás el caso más llamativo y mejor llevado es el del agente secreto más famoso del imperio británico, James Bond (o Jimmy para los amigos), tratado aquí como un exagerado machista sin escrúpulos con unos curiosos gadgets que no siempre funcionan como deberían.

Y, por supuesto, el propio dossier es parte fundamental de la narración. Dejamos en varias ocasiones las páginas llenas de viñetas para echarle un ojo a estos documentos secretos, algo que en ocasiones rompe el ritmo narrativo. Tendremos así ocasión de echar un ojo a un escrito de Oliver Haddo titulado ‘Sobre la descendencia de los dioses’ que nos cuenta la verdadera naturaleza de algunas figuras mitológicas de nuestra historia. La biografía ilustrada de un nuevo personaje fundamental en la historia de la Liga llamado Orlando será relatada en una edición facsímil, y descubriremos de la mano del mismísimo William Shakespeare la fundación de los hombres de Próspero (la primera Liga) por parte de la reina Gloriana en un preludio de ‘La tempestad’.

También hay lugar para los relatos eróticos dentro de este peculiar dossier. En ‘Las nuevas aventuras de Fanny Hill’ se nos detallan varias aventuras de índole sexual de esta joven señorita, donde sabremos también de otros personajes tan conocidos como Gulliver. Uno de los extractos más interesantes lo podemos ver bajo el título ‘Sombras en el vapor’, dónde se nos relata como Mina Harper reclutó al capitán Nemo para la formación de su Liga en 1898. Igual de interesante es la correspondencia en forma de postales mantenida entre Allan, Mina, Campion Bond, Orlando y Thomas Carnacki a principios de siglo que nos revela mucho sobre lo ocurrido tras el segundo volumen de la colección.

En ‘La forma más sincera de adulación’ se nos relatan los intentos francés y alemán de copiar el equipo original de Mina en los años posteriores a la fracasada invasión marciana de 1898. Algo similar vemos en ‘El equipo Warralson’, el embarazoso episodio del intento de duplicar el éxito de nuestro grupo tras la guerra bajo el mandato esta vez de la heroína de la WAF Joan Warralson. Y el que, para mí, es la joya de la corona de este dossier es el relato titulado ‘Oh, dioses del abismo’, donde un cronista inglés narra un incidente de finales de la década de 1920 relacionado con el segundo grupo de Mina y una incursión en nuestro mundo por parte de entes sobrenaturales y primigenios, todo con claras referencias a la obra de H.P. Lovecraft y sus mitos de Cthulhu, pero sin el dramatismo ni el terror que el escritor de Providence plasmaba en sus escritos, sino que más bien se trata de todo lo contrario. A continuación, en ‘Cuando suene la sirena por última vez’, podemos leer una recopilación de informes de la posguerra relativos a las actividades de nuestro extraordinario grupo que enriquecen el trasfondo de los personajes y hace que su universo cobre aún más vida.

Las páginas más prescindibles sin duda de este tomo corresponden al relato ‘Esa loca e inmensa eternidad’, en el que Moore se ceba con el lector mediante un extenso texto ausente de las más básicas reglas de redacción, difícil de leer hasta para un asiduo al excéntrico escritor británico, en el que nos cuenta (o al menos pretende intentarlo) un encuentro entre Mina, Allan y el misterioso Doctor Sachs.

El final del cómic, ya de vuelta a las viñetas, nos cuenta el enfrentamiento final entre Bond y nuestra pareja protagonista, rodeados de los personajes más extravagantes posibles, en su huida en pos del llamado Mundo Llameante, lugar que en un alarde de originalidad y de forma muy acertada ha sido dibujado en 3D. Por suerte para el lector, el tomo contiene unas gafas de cartón con los míticos plásticos azul y rojo muy útiles para abordar sus últimas páginas.

El guión de Alan Moore es simplemente genial. Pero ojo, porque el nombre del guionista británico puede generar unas expectativas tan altas que no se puedan cumplir luego. Que nadie se espere un nuevo ‘Watchmen’ o ‘La broma asesina’. La calidad de este tomo es muy alta, pero sólo hasta cierto punto. Incluso esta historia puede salir perjudicada si la comparamos con los anteriores tomos de la colección, tanto por su estructura documental, que tiene sus cosas buenas y sus cosas malas, como por el considerable aumento de referencias decimonónicas y también de autoreferencias que pueden perder un poco al lector común. El hecho de estructurar esta obra como algo a mitad de camino entre el cómic tradicional y un compendio de historias varias hace que la lectura tenga un ritmo con altibajos. Si bien nos encontramos relatos realmente brillantes (no en todos los casos), el hecho de estar dando constantes saltos de un ámbito a otro puede resultar molesto en ocasiones. Aún así, estamos ante una historia más de este genio de Northampton con el tono habitual que lleva en sus obras durante los últimos años, con la despreocupación por el disfrute del lector como una de sus principales características, pero totalmente disfrutable para aquellos que le tenemos en un pedestal.

El dibujo de Kevin O’Neill es estupendo. Realiza un trabajo continuista con el resto de la serie que encaja a la perfección con la historia de Moore, tanto a nivel estilístico como narrativo. Personajes que van desde lo poco atractivo hasta lo realmente horrible, desnudos muy poco agraciados, complejos diseños para todo tipo de vehículos e infraestructuras de toda clase…las señas de identidad de O’Neill están claras. Quizás en este tomo haga más uso de recursos caricaturescos que en historias anteriores de la Liga, algo que se acentúa especialmente en las páginas en las que hace las veces de ilustrador de los relatos de Moore más que de dibujante común. Otro tema aparte sería el uso del color en esta obra, que se aplica de forma impecable.

El tomo ‘The League of Extraordinary Gentlemen Dossier Negro’ publicado por Planeta DeAgostini se presenta en formato cartoné de tapa dura. El tomo contiene 200 páginas a color, con un tamaño de página de 16,8 x 25,7 cm. Cabe destacar la inclusión en el tomo de unas gafas de cartón para poder visualizar correctamente las páginas dibujadas en 3D. El precio de venta recomendado es de 20€ y se puso a la venta en octubre de 2014.

Alan Moore

Nacido en Northampton (Reino Unido) en 1953, está considerado por muchos el mejor guionista de cómics de la historia. Debutó en su país natal con seriales para 2000 AD y Warrior que llamaron la atención de Len Wein, editor de DC, que le ofreció cruzar el charco. Así, a principios de los años 80, creó hitos como ‘La Cosa del Pantano’, ‘Watchmen’, ‘V de vendetta’ o las historias incluidas en ‘El Universo DC de Alan Moore’. También es el artífice de America’s Best Comics, de donde salieron obras tan destacadas como ‘Top 10′, ‘Promethea’ o ‘La Liga de los Caballeros Extraordinarios’.

The League of Extraordinary Gentlemen Dossier Negro

La entrada ‘The League of Extraordinary Gentlemen Dossier Negro’, puro Alan Moore pertenece a La Casa de EL - Artículos y noticias sobre cómics, cine, series y videojuegos.

YOUNG RAJOYANS

Cuando te enseñan la siguiente imagen piensas, ya está, ya han conquistado todos los mercados:

Los placodermos, unos peces prehistóricos, se fecundaban con penetración en una posición lateral

As a taster, it's important to know that compared with sour or salty, bitterness is slow to affect our palates. The first two are very simple chemical phenomena and require only the simplest of cellular mechanisms to fire off their signals to the brain. Bitterness, like sweetness and umami, requires an intermediate molecule, something called a G-coupled protein. It takes a little longer to do its thing, and this time dimension of tasting is something that you always need to pay attention to.

The design studio Goula Figuera, which consists of Pablo Figuera and Álvaro Goula, developed this clever couch design called Orwell. It's a couch for sitting, a bed for napping, and a pillow fort for . . . well, pillow forts are self-evidently useful. 

The name is a reference to George Orwell's novel Nineteen Eighty-Four. In the horrifying dystopia in which that novel is set, there is no privacy anywhere. There's a 2-way telescreen in every home which broadcasts propaganda and surveils every person.

Hopefully you don't live in such a nightmarish society. But a bit of privacy can be nice. When you need to retreat from the world, slide into the couch and lower the draperies.

There are few songs more cringeworthy than James Blunt’s “You’re Beautiful.” Like, maybe “You’re Having My Baby,” “Feelings,” “Young Girl,” and that terrifying Clay Aiken song about how if he was invisible he would sneak into your room and just stare at you like a creepy weirdo stalker. True story, the first I ever heard of it was when my mom called me to tell my that she heard it on some late night show and “thought she was having a seizure.”

It is truly a horrific song. I attempted to listen to it for the purposes of writing this post, but felt like jumping out of my skin by the time the first chorus rolled around and had to make it stop.

The song is so bad, it turns out, that even Singer/Ear Sadist James Blunt will agree that it was annoying, and regrets the fact that people now consider him to also be annoying because they hate that song so damn much.

Via Hello! Magazine:

“There was one song that was force-fed down people’s throats – ‘You’re Beautiful’ – and it became annoying,” he admits. “And then people start to associate the artist with the same word.

“I think, at the end of the day, I was marketed by a record company to appeal to women during ‘Desperate Housewives’ commercials and you lose 50 per cent of the population in doing so.

“The marketing also painted me out as an insanely serious person, an earnest person and, as all my friends know, I’m anything but. I have a couple of over-emotional miserable songs that I’m known for, but I think it’s turned that corner now. People can see I don’t take myself that seriously.”

Weird how he manages to be annoying as hell even when he is not singing.

I don’t know about you, but I only needed to hear that “You’re Beautiful” song once to want to die in my face. The fact that it was everywhere for a hot minute was only poisonous icing on a shit cake.

There is only so much “marketing” can do, and I would say that his repertoire speaks for itself. I was too busy affixing earmuffs to my head to even be aware of how he was “marketed.” Also, there are lots of earnest, serious, emotional singers and songwriters that people of both genders freely listen to and enjoy. I mean, I would hardly characterize Stevie Wonder as being “just for the ladies.”

For that matter, I don’t see anything unseemly about music that does tend to appeal to women more than men, and don’t like the idea of insinuating that things that do tend to appeal to more women than men are somehow “less than.”

Clearly, James Blunt is trying to find any reason other than “James Blunt’s voice and music are grating as hell” to rationalize why people can’t stand listening to it. Which is understandable, though misguided.

Cary Grant, who championed LSD's therapeutic qualities. Photo via Wikimedia Commons

My first experience with LSD was not pleasant. Six hours spent staring at bugs on London's Hampstead Heath were punctuated by a fat man calling me a prick and someone showing me a book of autopsy photos. It was harsh and boring, and I didn’t gain one new bit of insight—no secrets of the cosmos were revealed; I just learned that looking at human corpses while you’re tripping makes you feel kind of weird and upset.

I think the main problem was that I’d heard so many people crediting acid for their profound understanding of the world—musicians, authors, Steve Jobs, a man with a ponytail I met at a music festival, and, strangely, a couple of stars from Hollywood’s golden years. In fact, in the 1950s Tinsel Town provided fertile ground for early LSD experimentation, with Cary Grant, among others, using it as an aid during therapy sessions.

Albert Hofmann discovered the substance in 1943. Having messed around with fungi while working for Sandoz Laboratories in Switzerland, he synthesized Lysergic Acid Diethalymide-25, his 25th attempt at creating a stimulant for the central nervous system. Five years later, he got some on his fingertips by mistake and “perceived an uninterrupted stream of fantastic pictures, extraordinary shapes with intense, kaleidoscopic play of colors.” On his 100th birthday, he would call it “medicine for the soul.”

Dr Albert Hofmann in 2003. Photo via Wikimedia Commons

Among psychiatric practitioners it was initially considered to have psycho-mimetic properties—in layman’s terms, it simulates psychosis. This idea was scoffed at, then replaced with the notion that it could be used, at least experimentally, in therapy. In the UK, it was used modestly and in low doses in what became known as psycholytic therapy, a means of breaking through to greater insight when patients had reached a plateau.

Dr. Ben Sessa, a psychiatrist and proponent of the use of psychedelics in therapy, told me, “In the US, there emerged a different model: ‘psychedelic therapy.' In-patients took a single large dose and had a full-blown mystical experience, followed by non-drug integration sessions in which they explored the material that had emerged in the drug session.”

When LSD eventually made its way over to the US, a Dr. Oscar Janiger managed to get his hands on a shipment. In exchange for using it on his patients and reporting his findings back to Sandoz, the company would keep him in stock. The experiment’s participants included everyone from dentists, housewives, and students to Andre Previn, Aldous Huxley, and James Coburn.

Anaïs Nin visited Janiger’s house and wrote about it in her diary in 1955:

I watched a shoreline of gold waves breaking into solid gold powder and becoming gold foam, and gold hair, shimmering and trembling with gold delights. I felt I could capture the secret of life because the secret of life was metamorphosis and transmutation, but it happened too quickly and was beyond word. Comic spirit of Anaïs mocks words and herself. Ah, I cannot capture the secret of life with WORDS.

In its pre–Ken Kesey days, LSD posed a strange question for shrinks and gurus alike. It could be used to help troubled people feel normal, but to those who were aware of its full potential, the real value was in how it could help to transcend ordinary reality. Huxley, Nin, Janiger, and others were only too aware of this. They would discuss for hours the possibility of the drug having a place in society, and thought of the good that “just a few healthy magnums of LSD in the Beverly Hills reservoir,” in Cary Grant's words, could do.

Janiger compared his experiences with the Eleusinian Mysteries, an ancient ceremony conducted outside of Athens. Participants would drink something called Kykeon, believed to have hallucinogenic properties, and get collectively out of their minds in service to the gods. The doctor wondered whether such an outing could have a place in society 2,000 years later.

While Janiger’s interest seemed mostly experimental, the clinical basis of LSD’s therapeutic use remains fairly strong. Dr. Sessa is not alone in maintaining that psychedelics are very useful in helping to treat anxiety disorders, OCD, and PTSD, among other conditions. Dr. Mortimer Hartman, at the very least, would have agreed.

Having undergone years of probing analysis himself, Hartman was enthralled by the fact that instead of chipping away at the tough layer of ego, LSD melted it entirely and gave way to the molten subconscious underneath. He described the drug as intensifying “emotion and memory a hundred times.”

Hartman opened the Psychiatric Institute of Beverly Hills in the late 50s and, having secured a line of supply from Sandoz, started charging $100 a hit to indulge the inner tortures of the outwardly perfect. His patients would recount experiences of gender transformation, rebirth, and revelation, all while watching themselves as if they were both audience and actor. 

It was Cary Grant, Hollywood’s great leading man, who would declare his love for LSD the loudest. Grant had initially gone to Hartman looking to find out what his then wife Betsy Drake had been saying about him. However, he was a neurotic on a pedestal; any high-rent shrink’s dream. Soon enough, he succumbed to the possibility that LSD might cure the things that had haunted him for so long—what Dr Hartman had diagnosed as “prolonged emotional detachment.”

Of course, it’s not like you could blame him: Grant’s father had institutionalized his mother when he was nine and told him she was dead. He joined the circus the next year, when his father abandoned him to start a new family. A move across the Atlantic and three marriages later, in 1957, Grant found himself on Dr Hartman’s couch with the blinds closed, trying LSD for the very first time. 

Cary Grant in Notorious. Photo via Wikimedia Commons

Marc Eliot, Grant’s biographer, thinks the drug did a lot for him. “Through what he described as his ‘controlled dreams,’ he was able to ‘connect’ with himself,” he said. “LSD, I believe, took the locks off the prison doors that he had lived in, emotionally, for most, if not all of his life.”

It was the beginning of a long relationship with the drug and the doctor.

Grant’s experiences seemed to veer between calm, psychotropic lessons in life and the kind of nightmarish horror trips the police tend to describe when they come to your school for one of those apocalyptic drug talks.

On the former, he wrote: “I learned many things in the quiet of that small room. I learned to accept the responsibility for my own actions and to blame myself and no one else for circumstances of my own creating. I learned that no one else was keeping me unhappy but me; that I could whip myself better than any other guy in the joint.”

On the latter, he said: “You know we are all unconsciously holding our anus. In one LSD dream, I shit all over the rug and shit all over the floor. Another time I imagined myself as a giant penis launching off from Earth like a spaceship... I seemed to be in a world of healthy, chubby little babies’ legs and diapers, smeared blood, a sort of general menstrual activity taking place.”

Grant would become one of the drug’s greatest proponents, encouraging his friends and subsequent wives to take it. He would give interviews to Ladies Home Journal and Good Housekeeping on its transformative effects. On occasion, things took a slightly darker turn. A couple of decades after their messy divorce, Grant’s fourth wife, Dyan Cannon, told the Daily Mail that he had tried to “force-feed” her LSD and change her into the “shiny new wife who could effortlessly meld as one with her husband.”

Timothy Leary on a lecture tour in 1969. Photo by Dennis Bogdan, via Wikimedia Commons

Some say that it was Grant who told Timothy Leary all about the drug—and Leary, of course, set off to tell everyone else. However, Leary's ensuing appeals for everyone to “turn on, tune in, and drop out” were met with contempt by Janiger and Huxley; they felt the message was too assertive and confident, as the truth the drug revealed was too acute to unleash on an unprepared mass of people.

When acid got popular, the authorities started to take notice, then it began to become widely available as a street drug, inviting all the horror stories and gossip that inevitably comes with that.

In the early 60s, the Food and Drug Administration started to look a little more closely at the Psychiatric Institute of Beverly Hills, eventually forcing Hartman to close in 1962. With its reputation safely ruined in the eyes of the establishment, users were pushed into the shadows. By 1968, the drug was illegal—a bad decision, thinks Dr. Sessa: “Ever since then research has been difficult and the authorities have found themselves embroiled in an unwinnable drug war, which has served only to fund the mafia, criminalize otherwise law-abiding drug users, and, crucially, hamper all research into these safe and efficacious substances.”

Hartman had left California by then, and  Janiger had shut down his practice and quickly stopped his studies after the government had started investigating him. Cary Grant would continue to take LDS, albeit a little more quietly, and left $10,000 to his “wise mahatma,” Hartman, in his will.

There may well be a great deal of good that psychedelics can continue to offer us. “Traditional drug treatments [like antidepressants] tend to merely mask symptoms,” said Dr. Sessa. “In this respect, the psychedelic drugs can be used as tools to allow a deeper, more focused, and more effective route to helping the patient explore their problems with their therapist... they allow a person to reflect upon existential issues. This can be very useful, for instance in cases of drug addiction and possibly personality disorders, in which the patient could benefit from an opportunity to challenge ingrained, rigid behavioral patterns of deeply held negative belief systems.”

Things are changing. In 2012, an analysis of studies done in the 50s and 60s showed how helpful the drug was in treating alcoholism, and the first two papers on the effects of LSD since the 1970s were released this year. So who knows—with enough time, we may yet see what Grant was talking about.

Follow Max Metzger on Twitter. 

Helicobacter Pylori, a common stomach bacteria. Photo via Wikimedia Commons

Jeff Leach is a former anthropologist and the founder of American Gut and the Human Food Project, initiatives aimed at a far-reaching insight into our relationship with our gut fauna, the microbes that live in our digestive tracts. Ever since his daughter was diagnosed with type 1 diabetes ten years ago, Leach's been on a quest to right whatever microbial wrong he believes he unwittingly committed by allowing her to be born into an environment without enough bacteria and other microorganisms. 

Late last month Leach's journey took an odd and controversial turn, when he announced that he was replacing all the microbes in his intestines with the microbes belonging to the Tanzanian hunter-gatherers he was living with. According to a blog post pened on September 30, he "inserted a turkey baster into my bum and injected the feces of a Hadza man."

Hunter-gatherers, Leach told VICE, are "connected to the world in a way that we’ve always been until recently: the children are born in the dirt, they’re breastfed for an extended period, and men are covered in the blood and feces and stomach contents of animals. They haven’t been overrun by medications of the modern world. These people are the microbial Noah’s Arc."

Over the past two years or so, others have tried similar projects, giving themselves enemas full of the poop of healthy people; they claim the DIY procedure provides almost instant relief from the symptoms of diseases including ulcerative colitis and irritable bowel syndrome.

The ideas behind these sort of treatments are challenged by some. The anthropologist and pseudoscience debunker John Hawks called Leach's experiment "just wrong," and on October 2, Jack A. Gilbert, a sometime colleague of Leach's, published a paper warning that sloppy science, or sloppy science journalism, might cause people to perform risky and inappropriate procedures on themselves.

But at the same time that this field is being taken over by "citizen scientists," real strides are being made. As the New York Times reported recently, Massachusetts General Hospital in Boston just developed a pill that provides effective relief for sufferers of Clostridium difficile, or C. diff, a common and painful bacterial infection. The pill contains human poop, but swallowing shit that way is a much simpler and more comfortable than full-on fecal transplants.

These treatments are about helping a favorable community—for lack of a better term—of bacteria grow inside of you in the hope that it will overwhelm the nasty C. diff bacteria. In other words, bacteria don't simply make diseases disappear, and putting other people's poop up your rear end isn't a cure-all.

"I think people have grabbed onto this as sort of magical thinking: If I could just get a fecal transplant, my Crohn's disease would be gone!" said Dr. Elizabeth Hohmann, who helped develop the poop pills. But while there's good science behind fecal transplants, Leach's experiment sounded dangerous, she added. "Taking some bushman's stool and injecting it up your butt, especially if you're not an ill person, that doesn't make any medical sense to me and I certainly wouldn't recommend it."

The problem with ordinary people shooting poop up their anuses, Hohmann said, is that there's not enough data on these procedures and the benefits and risks. "We get into the questions of, Is this something you would need to repeat, how many times, what is the minimum dose?"

Leach was aware of the dangers of his experiment, and did try to be as safe as one can be when injecting a stranger's poop into one's bottom in the middle of Tanzania.

"We took the [poop donor] to a small hospital and had [HIV] tests done. The risk was I didn’t know anything about his parasites but I’m not necessarily overly concerned with parasites," he said. "There’re a lot of bad parasites out there, but there are parasites that maybe my immune system would appreciate."

In the six weeks since the procedure, Leach has been collecting stool, blood, and urine samples from himself to track what's happening to him. He didn't report suffering from any illnesses, but he has lost 16 pounds without changing his diet. When VICE spoke to him he was in good spirits.

"I think the fecal transplant stuff is going to become very mainstream," he said. "We used to not talk about marijuana and now that’s front and center and acceptable."

Follow Mike Pearl on Twitter.

By Soren Bowie,After Hours  Published: October 20th, 2014 

Like blasted pecs or a little rhinestone flag pin, esoteric taste in music is an indicator of values. Under the heel of the major-label system in the early '90s, indie taste meant more than liking weird bands. To care about obscure bands was to reject the perceived conformity of popular culture, to demand a more nuanced reading of the human experience than Amy Grant's "Baby Baby" and therefore to assert a certain kind of life. That assertion was central to my identity as a young adult, and I found that people who shared it were more likely to agree with me on seemingly unrelated issues. Like all aesthetics, taste in music is a worldview.

Lluvia de Estrellas

por Jaime Iglesias

I am a white, middle class male professor at a big, public university, and every year I get up in front of a hundred and fifty to two hundred undergraduates in a class on the history of race in America and I ask them to shout white racial slurs at me. The results are usually disappointing.

Now I gotta get to another class half-way across campus, so I don't have time to tell them that so-called "liberal guilt" is not the answer and that empathy and solidarity are. I don't have time to explain that learning to share anger at injustice is the start of a common conversation, and that they can learn how to recognize where privilege resides in their own lives by reading about and listening to the experiences of others who do not have it. But I gotta run, so I just say to them: "It's a long argument, and an endless series of principled choices, but the short version is simply: don't be a douchebag."

Venerated Members - Europe's History of Penis Worship

Many relics circulated through Europe, especially as a result of the Crusades. The True Cross, the Spear of Longinus, the Shroud of Turin. But possibly strangest among these was The Holy Prepuce, or The Holy Foreskin, as Jesus was certainly circumcised. It then became the object of theological debate, reliquary cults and Italy's oddest town.

Of course, there are hints and shadows of prior penis worship in Europe, and around the world[PDF]. Perhaps the mural of Massa Marittima is not just 'obscene.'

For more, older, reading, try A Discourse on the Worship of Priapus Sacred Texts, Archive.org), or The Worship of Generative Powers (Sacred Texts, Google Books), combined as Sexual Symbolism: A History of Phallic Worship. Or visit the museum.


previously on MetaFilter

No vindouro 7 de novembro sexta-feira, dous dias antes que na Catalunha, as/os sócias/os d’A Gentalha do Pichel estamos convocadas/os a um referendo sobre o futuro político da Galiza. Neste nosso 7-N haverá colégio eleitoral (o C.S. O Pichel), boletins de voto e urna. Será no marco dumha Jornada catalá da que vos iremos informando ao longo da semana que vem.

A PERGUNTA
Quer que a Galiza seja um Estado?
SIM / NOM
Caso afirmativo, quer que esse Estado seja independente?
SIM / NOM

CENSO ELEITORAL
Poderá participar neste referendo qualquer pessoa associada à Gentalha que esteja ao dia no pagamento das suas quotas.
As pessoas nom associadas poderám adquirir o direito ao voto neste referendo fazendo-se ‘in situ’ sócias/os da Gentalha.

VOTO EM URNA
As/Os sócias/os da Gentalha poderám exercer o seu direito ao voto neste referendo no decurso da Jornada Catalá que se celebrará no C.S. O Pichel na tarde-noite da sexta-feira 7 de novembro de 2014.

Para poder exercer o seu direito ao voto, a pessoa associada deverá acreditar devidamente a sua identidade (mostrando o seu B.I. galego ou espanhol, por exemplo).

VOTO POR CORREIO (ELECTRÓNICO)
Também será possível participar neste referendo enviando um e-mail para gentalha@gentalha.org com o assunto “7n2014″ e a resposta ou respostas às perguntas do referendo (“SIM SIM”, “SIM NOM” ou “NOM”) no corpo da mensagem. Este e-mail deverá ser enviado do endereço de correio eletrónico que figure na base de dados da Gentalha (ou de um outro que nom apresente qualquer dúvida sobre a identidade da/do remetente).

O prazo para o voto por correio electrónico começa às 00h00 da sexta-feira, dia 7, e termina às 23h59 do domingo 9 de novembro de 2014 (é dizer, que por este meio poderá votar-se ao largo de todo o fim-de-semana).

REFERENDO VIRAL
Este Referendo sobre o futuro político da Galiza quer ser um evento viral. Por isso, da Gentalha do Pichel, encorajamos todos os Centros Sociais, associaçons culturais, juvenís, desportivas, de vizinhas/os, etc. que gostem desta iniciativa, a copiá-la livremente.

Extrato da entrevista que José Manuel Barbosa fai ao historiador Anselmo López Carreira no 2014, na que repasa clarificadoramente os fundamentos da história galega.

um ano mais as comissons de meio natural e gastronómica do pichel imos apahar cogumelos!!!!

O domingo 26 de outubro, sairemos do CS O Pichel às 10h30 desde onde nos deslocaremos ate o monte Pedroso para reconhecer diferentes tipos de cogumelos e recolher aquelas variedades comestíveis.
A saída será guiada polo botánico e micólogo Martin Souto. A volta ao Pichel está prevista por volta das 14h00. A essa hora enquanto experimentamos alguns petiscos cozinharemos os cogumelos recolhidos para degustá-los depois.
Para qualquer dúvida podedes ligar para o 667723859 ou escrever ao mail gentalhadopichel[arroba]gmail.com