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26 Aug 23:08

The War Nerd: Today is the 200th anniversary of the wimpy so-called burning of Washington

by Gary Brecher

whitehouse

Editor’s note: This is a slightly edited version of an article first published by NSFWCORP (now part of Pando) as part of The War Nerd’s Guide to the War of 1812

Today is the 200th anniversary of the burning of the White House in 1814.

People talk about how the British troops “burned Washington” after the Battle of Bladensburg left D. C. wide open, but really, Americans have no idea how easy we got off. The British took it very, very easy on us, just like they did in the Revolutionary War. And for the same, simple reason: We were white, English-speaking Protestants like them. If you didn’t check every one of those boxes—not just white, but English-speaking and Protestant–you were in for a very different experience of British occupation, one that involved portable gallows, burning villages, and liberal use of the bayonet on one and all.

The occupation of D. C. was a simple move, once American forces had run the “Bladensburg Races” away from the battlefield. On August 24, 1814, immediately after the battle, General Ross, commanding British land forces in the campaign, sent a truce party into D.C.. Some hothead fired a few aimless potshots at them from a house, and in retaliation…they burned the house.

There, that tells you right there how easy we had it. One house? The Sri Lankans, who were experiencing British occupation at exactly the same time, would’ve screeched like the chained-up prisoner in Life of Brian: “You lu’ee, lu’ee barsdards! Oi lie awake a’ night dreamin’ of havin’ me house burned!”

After burning the house, British troops occupied the city and set fire to the White House, the Treasury building, and the temporary offices of the Senate and House (the Capitol wasn’t built yet). The only real loss in the burning of Congress’ offices was the book collection of the National Library, and Jefferson later gave his own collection to replace it.

The other story everybody knows, or thinks they know, about the burning of D.C. is “Dolley Madison, the first lady, bravely rescuing that painting of George Washington from the flames.” That name, “Dolley Madison,” always confused me as a kid, because it was also the name of a cheap baked-goods company in California (only they spelled “Dolly” the right way, with no “e”)—sort of a downscale version of Hostess. We always bought Dolly Madison donuts because they were a few cents cheaper than Hostess, especially if you got them day-old, which we generally did, at this lonesome access-road outlet place—we were the kind of family that bought day-old in bulk, and I was the kind of fat kid who reduced the bulk considerable with my nightly forays into the big freezer in the garage. So for me, Dolly means little white-frosted donuts eaten frozen and washed down with warm water straight from the tap…mmm-mmm, high livin’.

Well, it turns out I was right to be leery of the tales about Dolley’s heroism because—wouldn’cha know it—it was the slaves, the White House slaves, who saved the paintings from the flames, not Dolley. Dolley saved one thing and one thing only: her personal silver. I tell ya, these WASPs run true to form. The slaves didn’t get credit until recently when Obama finally had a thank-you ceremony, a mere two centuries late.

The only real victims in D.C. that day were inanimate objects. There’s one story about a newspaper office that shows you how lightly the British were treating us that day. The paper, the National Intelligencer, had been abusing Cockburn, the Rear Admiral who’d been burning ships and harbors along the Chesapeake. The paper had been abusing Cockburn in print, so when Cockburn arrived in D.C. the day after Bladensburg (August 25) he ordered a party of troops to burn its offices. Nothing excessive about that by military-occupation standards, then or now. But a bunch of local women begged Cockburn not to, for fear their houses would catch fire too. Believe me, if those women had been anything but fellow WASPs, they would’ve got a thoughtful musket butt in the face, at the very least, for their reply. But Cockburn not only listened, he ordered his men to dismantle the paper’s HQ, brick by brick, instead of burning it. Just to show what a lighthearted and jolly mood he was in, he added one whimsical little order: he told the men to confiscate all the letter “C’s” in the paper’s type collection, “So that the rascals can have no further means of abusing my name,” yuk yuk. Now that, friends, is a British occupation officer in an almost psychotically benevolent mood.

They weren’t always like that. That’s what Americans don’t get. It’s true for our whole military history: we have no idea how easy we’ve had it, in terms of military occupations. The friggin’ South is still whining about Sherman, when the fact is that Sherman took it way easy on them—on the whites, anyway. It always comes down to that: whether you’re white, whether you speak English, whether you’re Protestant. In America, race trumps everything, but Europeans don’t always see it that way. Tribes can mark themselves by just about anything; Serbs and Croats can’t be picked apart when you look at photos, but when they open their mouths you can tell—and once you can tell, you can separate them into those who are gonna be raped and shot and those who are going to join you in the raping and shooting. Religion, in particular, gets used in Europe to decide who goes on the kill-list, in a way Americans have trouble getting. We keep thinking in terms of skin color, and that’s just not the way it works in the European tradition.

Take British and Irish; look at a hundred photos, half Brits and half Irish, and you couldn’t tell one from the other. If anything, the Irish are whiter than the Brits, whiter, technically, than anybody—some of those micks look downright phosphorescent. But that didn’t soften Imperial policy after the failed 1798 Irish Rebellion. For the 100,000 British troops who stomped over the island putting down that rebellion, every Papist Irish was a rebel, and would look better on the little portable hanging-frames they carried around with them. 50,000 civilians dead in that one—and it’s nothing compared to what used to happen in European wars.

Take the Swedes. Nice, neutral, safe cars and gender neutrality, all that crap…but the Swedes were monsters, flat-out monsters, when they marched across Germany in the early 17th century. Yeah, I’m talking about the Thirty Years War, and people have this vague notion that a lot of civilians died, but they seem to think it was some force of nature that killed them off. It wasn’t. It was the friggin’ Swedes. I’m telling you, an expeditionary force from one of those supposedly nice Northern European countries is the most vicious thing this side of an army of giant weasels injected with pure meth—but only when they’re dealing with non-white, and/or non-Protestant populations.

The Swedes annihilated the entire population of some German regions. By consensus accounts, they destroyed something like 1500 towns, and the notion of sparing the civilian population of those places didn’t even enter their Abba-singing blond heads. It was SOP to kill everybody in the town, rape every woman and girl in the place, steal everything worth taking, and burn every building, be it ever so humble, to ashes. And it wasn’t any sudden attack of conscience that made the Swedes turn peacenik, it was Peter the Great teaching them what happened when you tried to attack the Russians on their own turf.

Sure, you can say that massacring civilians was less commonplace for European armies by 1814—but only when they were dealing with fellow Europeans. In fact, it’d be closer to the truth to say they’d just exported their massacrin’ ways to a whole new world: the colonies. Take Sri Lanka, which Britain did, at just about the time they were pussyfooting around with Washington D. C. They didn’t bother with any little jokes like destroying carefully dismantling newspaper offices, brick by brick. What they did to the Sinhalese there, in putting down revolts that happened at almost the same time as our War of 1812, ain’t pretty at all, so if you want your day spoiled, you can read all about that.

But if you want to feel just vaguely thankful, you can take my word for it: Americans don’t have a clue what it means to be occupied by a victorious foreign power that really doesn’t like us. At least not yet.

Editor’s note: This is a slightly edited version of an article first published by NSFWCORP (now part of Pando) as part of The War Nerd’s Guide to the War of 1812

Gary Brecher

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Gary Brecher is the War Nerd.
25 Aug 22:37

Famous Quotes, Different Person

by A B

Famous quotes that have a completely different meaning when said by a different person.

25 Aug 22:28

Teenage Mutant Ninja Turtles

My upcoming album, 'Linked List', has covers of 'The Purple People Eater', the Ninja Turtles theme, 'Itsy Bitsy Teenie Weenie Yellow Polka Dot Bikini', and the Power Rangers theme, with every song played to the tune of the next.
25 Aug 21:49

Cartel electoral de Alianza Popular para as eleccións de 1982. Ó...



Cartel electoral de Alianza Popular para as eleccións de 1982. Ó final non foi a hora de Fraga.

25 Aug 21:48

Rajoy promételle máis recortes a Merkel con Santiago como plató

by David Lombao

O presidente español garántelle á chanceler que non porá fin á "austeridade" nunha Compostela tomada pola Policía. A líder alemá apoia a De Guindos para presidir o Eurogrupo. Os antidisturbios cargan con dureza contra a protesta anti troika.

25 Aug 21:42

Galería: Los príncipes Disney, DESNUDOS

by administrador

home-disneyprincipes-ok

Si te gustaría ver cómo podrían ser los príncipes de Disney desnudos, estás de suerte. Te traemos esta galería de imágenes realizadas por la ilustradora Tara Jacoby en la que podemos ver completamente desnudos a los príncipes Disney más populares.

gaston la-bestia eric fernando principe-encantador Li-Shang phillip aladdin john-smith naveen flynn kristoff hans

The post Galería: Los príncipes Disney, DESNUDOS appeared first on Teenage Thunder.

25 Aug 21:31

Sophie Turner Talks About How Game of Thrones’ Sansa Stark Is Kind of Like Gollum - Lemon cakes are kind of like fish, right?

by Victoria McNally

sansa

Okay, nerd-quiz time: if you were going to start drawing comparisons between The Lord of the Rings and A Song of Ice and Fire, who would be Sansa? After all, there areonly three major female characters in the whole trilogy. Leave it to Game of Thrones actor and number one Sansa Stark fan Sophie Turner to come up with a really twisted and awesome idea.

In a recent interview with Vulture, Turner commented on Sansa’s dark, manipulative transformation over the course of season four, and how by the end she seemed more like Sansa’ evil twin. “Actually, that’s the real Sansa, to be honest,” she said. “That’s how I look at her. The Sansa who’s been lurking in the shadows. She’s like Gollum and Sméagol.”

Wait, what? Gollum? She clarified:

“The Sansa you saw up until season four… I mean, in season one, that’s who she was. But in seasons two, three, and four, she was kind of using the facade of her season one self, to deceive. So I think what we’ve done, you missed seeing the progression into the dark Sansa, and we’re just seeing it suddenly emerge, because she’s been deceiving people with this mask. Or at least that’s how I see it!”

Yeah, it totally works when you think about it: both fell in love with a shiny, pretty thing (the Ring; King’s Landing) and then that thing totally sucked all the innocence right out of them, and now they pretend to be more wretched and pitiable than they are to garner favor from people in a position of power above them. But will Sansa, like Sméagol, succumb to the darkness and start strangling friends and family members? Because Sophie Turner maybe kind to wants that to happen, just a little bit.

“I would love for her to go on a massive killing spree!” she said, upon being told of the speculation surrounding a “controversial” Sansa Stark chapter that will appear in The Winds of Winter. “But not like with a sword. Poison, or something. Like a huge, huge killing spree. A mass murder. I think that would be kind of fun to play. I think I’m starting to have a dark side as well!”

So, wait, wouldn’t that make Sansa into Shelob? Because I can get behind that 100%. Eat all the orcs and tricksy hobbitses you like, baby. You deserve it.

Previously in Queen Sansa

25 Aug 21:09

Tropes vs. Women in Video Games: Woman as Background Decoration, Part 2

by Victoria McNally

In the sixth video of the Feminist Frequency Tropes Vs. Women in Video Games series, Anita Sarkeesian expands upon the ideas from her last video—”Woman as Background Decoration”—and remarks on how female bodies are often seen both as sexual objects and as victims of male violence. Please note the content warning for graphic sexual and violent game footage.

Previously in Tropes Vs. Women in Video Games

 

25 Aug 21:07

31 Ridiculously Gorgeous People At Afropunk

This is just a smattering of the beautiful crowd at the Brooklyn-based music festival.

Marica Lowe

Marica Lowe

Tracy Clayton / BuzzFeed

Crystal Grant

Crystal Grant

Tracy Clayton / BuzzFeed

Tonya Rapley

Tonya Rapley

Tracy Clayton / BuzzFeed

Shaka Maidoh

Shaka Maidoh

Tracy Clayton / BuzzFeed


View Entire List ›

25 Aug 20:57

Story is powerful

by MartinWisse
Someone once asked me why "alpha males" were so popular in so much romantic speculative fiction, and I hesitated to answer it. Not because I didn't know, but because I knew I was going to have to have a discussion about teasing out the difference between finding pleasure in something you genuinely find pleasurable and taking pleasure in something you think you're supposed to find pleasurable.
Kameron Hurley talks about Gender, Family, Nookie: The Speculative Frontier.
25 Aug 20:54

"mouthwash with delusions of grandeur"

by the man of twists and turns
'It's hard to describe what Fernet Branca tastes like; it mostly tastes like Fernet Branca.' Fernet Branca is a kind of fernet, themselves a classifcation of amaro, bitter Italian digestifs. The Fernet Hot House: Don't Let Hipsters Ruin It For You

Or you could make your own.

Mysterious Liquids in Dark Bottles
Fernet is a liqueur so vile and dangerous that it is the national drink of Argentina. Only chefs drink it. Fergus Henderson, in his slaughterhouse of a recipe book The Whole Beast, provides this recipe:

A Miracle

2 parts Fernet Branca

1 part creme de menthe

ice

Mix together and drink. Do not be put off by the color.

I would add, don't be put off by the color of any of your bodily secretions after drinking it, either. It's worth it, since it cures everything from the plague to gout. Though, unfortunately, no diseases invented after 1830.
25 Aug 20:54

"I used to be with 'it,' then they changed what 'it' was."

by Cash4Lead
What Happens When 'The Simpsons' Becomes Dad Humor? With a ratings-smashing marathon running on FXX and a streaming app due to launch in October, perhaps now is the time to ask an impertinent question: When will The Simpsons become passé? Culture has moved on from The Simpsons, despite the show's unwillingness to pass into comedy Valhalla. In other words, Simpsons is becoming dad humor: structures so well trod that they can never again surprise, no matter how perfectly crafted. The aesthetic earmarks of this mid-90s humor juggernaut are becoming as antiquated as puns and pies-in-the-face.
25 Aug 20:52

It's a Godlis World: Early Photos of Punk Rock After Dark

by Matthew Leifheit
 
There were six or seven photographers present at the birth of punk, but there will only ever be one Godlis. That's right—I shit you not—we're talking about a punk photographer whose surname is actually Godlis. Many of those other photographers who were lucky or smart enough to have been shooting on the Bowery in the early 1970s favored the bright flash and sharp focus championed by music journals of the day, but David Godlis, newly arrived from Boston in 1976, began shooting in a romantic and painterly style using long exposures in available light. Drawing on his hero Brassaï’s nuanced scenes of Paris nightlife in the 30s, Godlis captured early shows by Blondie, Television, the Ramones, Richard Hell and the Voidoids, Suicide, Talking Heads, Dead Boys, Patti Smith, and more at their now legendary incubator, CBGB. 
 
 
Richard Hell, Bowery, 1977
 
Although objectively beautiful and unquestionably his own, Godlis’s style of photographing was deemed “unprintable” by newspaper and magazine editors of the day. For this reason, there has never been a comprehensive book of his photographs of early punk rock, despite the now widespread popularity of his subjects. 
 
I met Godlis last year through Henry Horenstein, the venerated Boston photographer who captured the last days of old-time country music in his series Honky Tonk. Henry knew that besides being photo editor of VICE, I self-publish a journal of emerging photography called MATTE, so he suggested Godlis and I meet. He may not have known that part of my inspiration for MATTE was John Holmstrom and Legs McNeil’s seminal Punk magazine, the DIY startup that gave the movement its name. Godlis had been thinking of publishing a book for years, and I had been looking to start a photography-book publishing imprint, so we agreed to team up on the project. We decided crowdfunding was the only way to make it happen, and within the first 48 hours we raised over $20,000 on Kickstarter for MATTE Editions’ first book, tentatively titled History Is Made at Night. I talked to Godlis about the combination of fate and intuition that made these historic photos possible. 
 
VICE: After almost four decades, there has been an incredible response to the pictures becoming a book.
Godlis: I’m kind of stunned to tell you the truth. I was prepared for nobody to do anything.
 
To spread the word, it seems like you reached out to a lot of the people who are in the pictures—people from the punk scene back then. 
Since I went on Facebook and got used to what I could do on it, I started to realize it was, like, hanging out with all the people I used to hang out with at the bar at CBGB's, except we’re all home, online, talking to each other. I realized that’s where all my friends from that time are now. They pay attention to the pictures I post, and I value their feedback. So those are the people I reached out to, and they jumped right on. 
 
Patti Smith, Bowery, 1976
 
Some of the stories that will accompany the pictures in the book will come from these people too, right?
Every time I post a picture, people remember things about that picture that I don’t even remember. Even my Patti Smith picture, we’re still debating who the person in the background is, on the left side of the photo. People just have great stories, and we’ll mix those in. 
 
Joey Ramone, St. Mark's Place, 1981
 
This is your first book, right?
Yeah, I’ve been in a lot of other books and documentaries, but I’ve never had my own solo book, let’s say. And so this was always planned to be a book. It was the way I shot it. But as time has passed over the years, things seem to be perfect to set it up this way, to use crowdfunding to make the book. It’s very much like what we were doing at CBGB back in the day. It’s DIY. This is a DIY way of putting together a book about a scene that was really DIY. So it feels like this is the way it should happen. Seems to fit perfectly. 
 
 
Alex Chilton, Bowery, 1977
 
You were trying to make pictures like the French photographer Brassaï, correct?
The last edition of his The Secret Paris of the 30s had come out in 1976, and I was charmed by it. At the same time I was hanging out at CBGB, and the two kind of conflated. So I did night street photos on the Bowery. 
 
 
You were using long exposures, and some people have called your pictures blurry. 
Well, I wasn’t using a flash. People were used to glossy photos shot with a flash, if it was a picture of a rock scene. Sometimes when I took people's picture, they’d say, “Hey, your flash didn’t go off.” Some art photographers were doing things like me, but music photographers were not. So every time I went to get it published, editors would say, “That won’t print.” Some of my pictures would get printed on newsprint by the New Musical Express in England, and they looked just fine there. But most New York editors I brought my work to turned me down. Nobody cared about punk when I was shooting that in America. It wasn’t until a year later, when the Sex Pistols hit. It took until the Sex Pistols for people to care.
 
 
Klaus Nomi, Jim Jarmusch, Christopher Parker
 
Jim Jarmusch is writing the foreword to the book.
Yes, Jim is an old friend, and a subject. I have a great picture of him outside CBGB. I knew him when he was a film student at NYU. We shared a subject, Christopher Parker, who was in his first film, Permanent Vacation. He’s exactly who I’ve always wanted to write the foreword for my book, because he knew the scene. 
 
 
Talking Heads, CBGB, 1977
 
How did you end up in that scene?
I saw a sparse, black-and-white ad in the back of the Village Voice with strange band names. What kind of band calls themselves Television? I’d seen a couple of issues of Punk magazine that had pictures of what was going on at CBGB. And I walked in and heard Television, and immediately I thought, OK, all these people have the same Velvet Underground album as me. The people were fun to hang around. Punk wasn’t considered to be threatening yet, until the Sex Pistols. Safety pins hadn’t happened yet. We were 25 to 26 years old, and there was hardly room to break into the rock 'n' roll business, so we had to find a place where we could make room and create a scene. That’s what people did down there. 
 
DIY. 
If a record company won’t sign you, put out your own 45. Start putting posters up. Play in a place nobody’s willing to play down on the Bowery. I saw the Ramones, and it was over. OK, this is where I’m hanging out. Blondie? No-brainer!
 
 
Blondie, CBGB, 1977
 
There was nothing you could define it by, because everybody was different. "Punk" came along with Punk magazine, this fanzine that put its stamp on it. That name kind of felt right for what everybody was doing. 
 
Yeah, that’s DIY too. Those were just three guys from Connecticut who started a magazine because they wanted to hang out. 
John Holmstrom was a genius cartoonist who was studying with Harvey Kurtzman, who had done Mad magazine. Everybody loved Mad magazine. It was the first place where you realized adults might be silly. He would create stories out of all the people who were hanging out in the scene. 
 

Dictators, Bowery, 1976
 
It’s a time and place that is heavily romanticized by younger generations. How do you think the way people look at these pictures has changed?
 
Well, music moves on, and in the 80s the pictures looked like yesterday's news. Then, when Nirvana hit, people started calling me for pictures. It was music that influenced people like Kurt Cobain, so it became music history. To some extent, the pictures were shot to look back at. If you’re a photographer, you know you’re a documenter as well as an artist. You’re trying to capture a time period so that when people look back at it, they have these photographs to look at.  
 
Godlis is a New York–based photographer and downtown institution. Follow him on Instagram.
 
Help support Godlis on Kickstarter, and pre-order the book here.
 
25 Aug 20:50

country music's identity crisis

by St. Peepsburg
what IS country music? Tensions have been brewing and there's been no shortage of public feuding among the genre's A-list. As country fights to figure out what it should look and sound like, its biggest stars are airing some very honest (and sometimes harsh) opinions. Here's a timeline of country's wild, crazy, and sometimes mud-slinging year.

The country music genre has gone through quite a transformation in the past couple years, adopting the electric guitar sounds of nearly-defunct rock radio, the rap-infused cadences and AutoTune normally reserved for hip hop, and, most controversially, the pop elements left behind as that genre gravitated toward electronic dance music. And attitudes have become ever more contentious between traditional and modern-country fans in 2013. (Entertainment Weekly)

Arguably the latest in the body count is Taylor Swift, whose recent pop earworm Shake It Off has been getting great reviews but prompted a clear distancing from the C.M.A., who tweeted "Good luck on your new venture @taylorswift13! We've LOVED watching you grow!"

The tweet was later deleted, prompting an analysis of the affair by The New Yorker.

Of course she's not the first artist to genre-hop; Rolling Stone compiled a top-10 list of artists who have switched teams. Yes, we all knew Katy Perry used to sing Christian Rock, and that Tegan and Sara have drastically changed their sound, but did you know Michael Bolton used to open for Ozzy Osbourne as part of Blackjack? Click if you dare. [Spoiler: his trajectory towards ballad-belting appears pre-destined by the Gods of Croon.]

And while 2014 is certainly not Country Music's "Year of the Woman," and given that country music isn't known for its boundary pushing, a special note must be made for Loretta Lynn's classic descriptions of motherhood and controversial ode to hormonal contraception, "One's On the Way / The Pill." ("The Pill" starts at 1:45)

previously
25 Aug 20:50

We Asked a War Correspondent About the Origins of ISIS

by Leighton Woodhouse

IS Members. Still from Islamic State.

Anand Gopal’s job is to report from the front lines of conflict. He spent years as the Wall Street Journal’s reporter in Afghanistan, and in a few months he will be heading to Iraq to take stock of the chaos enveloping the region.

In the wake of the Islamic State’s murder of photojournalist James Foley, VICE checked in with Gopal to find out what he thinks of the situation unfolding in Iraq and the risks inherent in reporting from a war zone.

VICE: You spent years living in and reporting from Afghanistan, first for the Christian Science Monitor and then for the Wall Street Journal. The last reporter the Journal had covering Afghanistan before you was Daniel Pearl, who was murdered by Pakistani militants in much the same way James Foley was by the Islamic State. Later this year, you’ll be traveling to Iraq to cover the turmoil there. Your job obviously requires you to take significant risks with potentially lethal consequences. Do you think of your work this way? Or do you become inured to the dangers it entails?
Anand Gopal: I have not become inured to the dangers, because the moment you do that, that’s when you’re the most vulnerable. Although I work in war zones, and I work in places that are considered dangerous, I actually take quite a bit of precautions when reporting. I make sure I know an area very well; I make sure I have a very trusted network of contacts. I tend not to take particular risks that some other types of journalists take—particularly photojournalists, I think, tend to take way more risks than print reporters do, because they need to be in the middle of the firefight to take the photos. I’m always more interested in the background to the fighting, the political underpinnings of the fighting, so I tend not to be the one to run to the scene of an explosion, whereas photojournalists tend to do that.

So, of course there are risks, but I try to mitigate those risks through preparation and through the types of stories that I pursue.

You’ve interviewed both foot soldiers and leaders in the Taliban, and Afghan warlords like Gulbuddin Hekmatyar. These were, obviously, dangerous men steeped in brutal violence and war. From a Western vantage point, however, the Islamic State seems as if it belongs to a different category altogether. The IS bloodlust seems to go even further than that of the Taliban, al Qaeda, and the other radical Islamic groups that the US has been at war with for the past 13 years. Is that an accurate description in your view, or is there a hype factor at work here?
To some extent it is accurate to say that ISIS, or the Islamic State, is quite different from the Taliban. Different from al Qaeda as well, but especially different from the Taliban, for a couple of reasons—one of which is that the Taliban’s goals have always been nationalistic, in the sense that they claim to be fighting on behalf of Afghans against a foreign occupier. They claim to have the extent of their political ambitions being the return of Afghanistan to the status quo before the 2001 American invasion. And so in that sense they’re very much sort of focused on Afghanistan, and also—something I’ve learned from talking to Talib fighters—is that the things that propel them to fight are very local, very parochial. It’s about some valley that you live in. There happens to be a warlord there who’s predatory or who causes human-rights violations, and you’re reacting against this warlord. And that’s really the extent of it, and you go and join the Taliban. So it’s a very locally oriented movement, whereas ISIS is not.

What’s very interesting about ISIS is that they seem to reject the international order altogether, and I think that’s very unique and different. Even when the Taliban were in power, they sought international approval to an extent. I don’t think ISIS is necessarily more bloodthirsty than the Assad regime, or the Taliban, or al Qaeda, but what’s different about ISIS is that they are very happy to show their atrocities. They post it on Twitter. They put it on YouTube. And it’s because they have basically rejected the international order, and they’re rejecting working with the international order, and claiming their own order, an Islamic order harking back to the caliphate days, and because of that it seems like they’re much more bloodthirsty than any other group. But groups that are in power, including the Syrian regime, and groups that are in opposition, including elements of al Qaeda or the Pakistani Taliban, can be just as bloodthirsty, except that they try to minimize their atrocities; they don’t want the world to know about them. They hide their atrocities, whereas ISIS, because they reject the international order, they have a completely different strategic logic. So they promote their atrocities, and because of that we tend to think that ISIS is somehow uniquely bloodthirsty, more bloodthirsty than any other group out there, but I don’t think that’s actually the case.

Journalist Anand Gopal. Photo via Brave New Films

On the surface, last week’s gruesome murder of James Foley seemed to be either a warning to the US to stay out of Iraq or a provocation to join the fight. But was the intended audience really the West, or could it have been aimed at a domestic Iraqi audience for recruitment purposes?
Well, it’s possible that it was both simultaneously. I think there’s less sympathy for the killing of an American in parts of Iraq, given Iraq’s recent history with the United States, than there would be for the killing of Iraqis or Syrians, which is also happening on a daily basis via ISIS. So it’s very plausible that on the one hand it was something that was intended for a local audience in terms of recruitment, but at the same time I do think it’s hard to deny that in some way it was intended for the West as well.

There’s a line of thought out there, which I think is plausible, which says that ISIS and its previous incarnation, going back to 2004, 2005, 2006, that what they were very good at was operating in a state of war—at sowing chaos, and using that chaos to draw recruits and function as a group. And you could see this as part of that strategy. They’re still operating in a state of war. Their efforts to actually build a state, even in places like Rakkah in Syria, aren’t as extensive as you may see in in other places, like if you compare it with Hezbollah, and the mini-state that Hezbollah has in Lebanon, or some other Islamist groups.

As monstrous as the Islamic State may be, its success is fueled by legitimate grievances on the part of a Sunni population that has been relegated to second-class status by the Maliki government, a government that came into power as a result of the United States' recklessly short-sighted invasion and occupation of the country. Now we’re essentially being dared by IS to intervene again in what has become a three-way civil war. Is there any kind of constructive role the US can play in this nightmare scenario, military or otherwise, or should the Obama administration stay as far away from the situation as possible?
I don’t think there’s a constructive role that the US can play. It’s important to keep in mind that the US is indirectly responsible for the very existence of ISIS because of its invasion, because of the chaos that was sowed by the invasion and because of the civil war that was ultimately caused by the United States’ invasion. So number one, given that, and number two, given the fact that it was US partners that laid the groundwork for Sunni disillusionment that ISIS was able to take advantage of, I don’t think the US has a very good track record in Iraq, and so I would be very wary of US involvement.

But beyond that, also, there’s really a dearth of good options. It’s not like a foreign power, a major power like the US can come in there and somehow defeat ISIS without causing unintended consequences or second- and third-order effects of the sort that gave rise to ISIS in the first place. I think if the Syrian Revolution were to change course, which unfortunately seems like it’s not very likely right now, but if it were to, if the less radical Islamists and the non-Islamist forces were able to become stronger, that might change the dynamic, but unfortunately it doesn’t seem like there’s a lot that can be done. It seems like there would be a lot of bloodshed for many years to come.

What we’re seeing, more broadly speaking, is the fact that we’ve had 30, 40, 50 years of dictatorship, secular dictatorship across the Arab world, in which you’ve had very weak left forces that can articulate a vision of social justice that’s also secular. Those forces have been extraordinarily weak, in large part because of these dictatorships, because of Arab nationalism and Baathism and a lot of these ideologies that garb themselves in left-wing rhetoric but actually, in practice, are very oppressive. And so I think that robs a lot of genuine social justice and left-wing political movements of their legitimacy. And instead what you have is left-wing dictatorships or Islamism as the alternative.

And so after the Arab Spring, the secular dictatorships have been overthrown for the most part, or they’ve been attempted to be overthrown, and there’s nobody else to fill that vacuum except for the Islamists, and so that’s what’s playing out across the Arab world.

I don’t think there’s an easy solution to that. It’s a generational thing. It’s going to take rebuilding, rediscovering these forms of politics and resistance that don’t have to do with Islamism and don’t have to do with Baathism and these other ruinous ideologies. It’s going to take a lot of time, and unfortunately, it’s going to be very bloody.

Portraits of Syrian dictator Bashar Assad in Damascus. Photo by James Gordon

You’ve written, of Syria, that there is “a powerful pull in the West to order a messy reality into a simple and self-serving narrative.” Do you see that process unfolding in media accounts of what’s happening in Iraq today?
Certainly. I think for one thing, people have forgotten the history. The debate right now, sadly, is whether Obama pulling out in 2010–2011 is what caused ISIS to grow and become strong, or whether not arming the Syrian rebels is what allowed ISIS to grow and become strong. But these are very selective and simplistic views because we have to take the longer view, which is the fact that this is all taking place within the context of the radical upheaval that the US caused by its intervention and occupation of Iraq. And that has to be the starting point to begin to understand this.

And secondly, people tend to think of ISIS as purely evil. I see that word a lot. And obviously they’re heinous and barbaric and I abhor them. But we don’t get very far by thinking of them as purely evil. We need to really think about what are the social origins, what are the political roots of ISIS. What are the conditions in Iraq, particularly after 2008 and 2009, that led to the feelings of disillusionment and disenfranchisement on behalf of Sunni populations and the anger toward the Maliki government that allowed a group like ISIS to become strong in the first place?

Follow Leighton Woodhouse on Twitter.

25 Aug 20:44

Profiles by VICE: Animal Fuckers

Bestiality is having a weird renaissance in Europe. Perhaps ironically, it kicked off when activists succeeded in banning the practice in places like Germany and Norway. In the background, something else emerged simultaneously: an animal-sex-tourism industry, which has been blossoming in Denmark. 

Denmark is far from the only place you can fuck a dolphin, horse, pig, or dog. In fact, more than a dozen US states and territories legally permit some form of man-bites-dog action, including Alabama, Connecticut, Hawaii, Kentucky, Nevada, New Hampshire, New Jersey, New Mexico, North Carolina, Ohio, Texas, Vermont, West Virginia, Wyoming, and Washington, DC.

But last year, Germany captured international media attention by actually legislating to criminalize sex with an animal—regardless of whether the creature is hurt in the process. Dr. Edmund Haferbeck, head of the Scientific and Legal Department at the animal rights group PETA’s Germany chapter, saw this as a mixed triumph—he claims other animal welfare laws were weakened despite his personal victory in barring sex with animals. Germany’s upper house of Parliament, the Bundesrat, passed the bill in February 2013 before it was signed into law by the government of Chancellor Angela Merkel.

So attempts to criminalize bestiality as an act, regardless of evidence of physical abuse to the animal, were spearheaded by animal-rights activists. Makes sense, right? But the ripple effects of the law were numerous, and one was the vocal protests of a fringe zoophile group known as ZETA (yes, that's a play on PETA). Their members admit they have sex with animals, and many also have human partners who are aware of their proclivities. It turns out that Dave Chappelle was off base in his famous stand-up special For What It’s Worth when he said, “Y’all can keep fucking these people, more monkey pussy for me!” People actually fuck animals and people, too. ZETA, in fact, even tried to get incorporated as a registered entity in Germany but got shot down by the powers that be. 

Bestiality has few public defenders, but Oliver Burdinski is one of them. He is the shining voice of ZETA, with his gentle tone and fading sex life with his only remaining dog, Joey, a blue-eyed Husky. Joey is not that motivated to anally penetrate Burdinski anymore, but the man is only the bottom in the relationship, and says, “I am his bitch.” Burdinski attributes the change in their sex life to the dog's age. Either way, it's a far cry from his heady early days as a zoophile, when he had three dog-partners all living with him. Burdinski says the group of dogs sometimes fought each other over the prize of sex with their human master. 

ZETA's problem with the law is its validity based on the German constitution, or Basic Law. The group claims that if an animal is not harmed, then this legislation is in fact a "moral law." This is a major issue in Germany, where human rights were strongly safeguarded after World War II because of the atrocities Adolf Hitler managed to commit using moral pejoratives. ZETA asserts that because of this, the ban is not constitutional. But Germany's government refuses to formally recognize ZETA.

Meanwhile, with Norway, Germany, and other European nations recently changing their bestiality laws, Denmark has been thrust into an animal-sex limelight that some residents of the country would just as soon be rid of. Reports of animal-sex tours in Jutland began to emerge for the first time in 2007. 

Journalists like Margit Shabanzadeh, currently a reporter for TV2 News in Copenhagen, were on the cutting edge of exposing this burgeoning problem. She found a woman that trained dogs to have sex with other women, and says that despite claims the dog was healthy, it did not appear particularly happy upon her arrival. "The dog was injured and seemed to be limping, and to have an aversion to humans in general," Shabanzadeh said.

Increased reporting of these incidents, which included barns being raided at night by animal rapists, sparked a public outcry. It drove the debate into the Danish political sphere, with activists demanding the government live up to the German standard and pressuring the former minister of agriculture to change the law. But he took no interest after a report by Peter Sandøe, the then chairman of Denmark's ethics advisory body, indicated that if no harm came to the animal, no crime had been committed. Sandøe, currently a professor of bioethics at the University of Copenhagen, conducted a study wherein he concluded that some animals could actually enjoy sex with humans.

This appeared to be the death knell for activists like Karoline Lundstrøm, who has been trying to penetrate the underground networks of practicing zoophiles for years. She peruses websites they use to organize meet-ups, such as Beast Forum, and has become a sort of country farmer turned vigilante cyber warrior, targeting zoophiles and beasts. The distinction is an important one to people who fuck animals: Zoophiles love their animals and care for them, whereas beasts just fuck and run.

Beasts tend to inspire the lurid imagery of zoophilia, like mutilated horses with condoms strewn at their taped-together legs, as described by veterinarian Dr. Lene Kattrup. Kattrup offers a wellspring of horror stories about atrocities committed against animals in Denmark, and is despondent about the way the country is failing to protect animals.

Activists anticipated a new day for animal protection following the arrival of Dan Jorgensen, Denmark’s new minister of agriculture. Longtime advocates like Peter Mollerup see him as a friend of the animal rights movement and their best chance to finally change the law. However, Jorgensen doesn't seem all that bothered by bestiality. He's made no statements regarding the practice, and hasn't publicly acknowledged it at all since he took office.

Danish fringe groups are now latching on to the issue in hopes of gaining seats in parliament. The most prominent example is Christian H. Hansen of the FOKUS party, who previously served in the Danish People's Party for a dozen years. 

Hansen suspects that Sandøe opposes the law because he's into fucking animals himself. FOKUS brands itself as “the greenest party” in Denmark, and is outspoken on environmental issues as well. It was created largely in reaction to the DPP's overwhelming focus on immigration law—and very little else—according to its founder.

The battle over the ethics of animal-human sexual relationships is far from over. Mythology surrounding bestiality dates back centuries and includes Greek gods, such as Zeus. Hysterical discussions and inability to face this issue head-on are the true enemy in this situation. If you're afraid to acknowledge a problem, then it's impossible to fix it.

-Connelly La Mar

25 Aug 20:42

John Oliver absolutely DESTROYED a piñata last night

by Robyn Pennacchia
John Oliver absolutely DESTROYED a piñata last night

Being that it is part of my job, I spend a huge amount of my day reading headlines in my Feedly, while trying to find something to write about myself. Probably my least favorite headline convention in the world is “So-and-so SLAMS So-and-So over SOMETHING“–mostly because 80% of the time these headlines involve reality stars I have never heard of tossing mild insults or backhanded compliments at one another.

The other 20% of the time, said headlines often have to do with John Oliver or John Stewart deftly taking on a controversial subject and making excellent points about it. Since Last Week Tonight has been on the air, every Monday, several sites will report that he SLAMMED or DESTROYED or ABSOLUTELY EVISCERATED whichever topic he went on a rant about Sunday night.

Honestly, although I wouldn’t go so far as SLAMMED in all caps because I think that’s cheesy, these descriptions are not always that far off base in the figurative sense. The man is good.

Anyway, as the show is about to go on a two week break, Oliver decided to give bloggers like me a present, and actually, literally SLAM, DESTROY and ABSOLUTELY EVISCERATE a piñata.

25 Aug 11:45

America's Song Butchers - The Weird World of Homer & Jethro

by The Commuter

America's Song Butchers - The Weird World of Homer & Jethro

01-Tennessee Border No.2.mp3
02-Baby, It's Cold Outside.mp3
03-Tennessee, Tennessee.mp3
04-I'm Movin' On No.2.mp3
05-Li'l Ole Kiss Of Fire.mp3
06-The Billboard Song.mp3
07-Jam-Bowl-Liar.mp3
08-You Belong To Me No.2.mp3
09-Don't Let The Stars Get In Your Eyeballs.mp3
10-(How Much) Is That Hound Dog In The Window.mp3
11-She Was Bitten On The Udder By An Adder.mp3
12-Hernando's Hideaway.mp3
13-Let Me Go, Blubber.mp3
14-Mister Sandman.mp3
15-Yaller Rose Of Texas, You All.mp3
16-Sixteen Tons.mp3
17-Hart-Brake Motel.mp3
18-The Battle Of Kookamonga.mp3
19-I Want To Hold Your Hand.mp3
20-Misty.mp3
25 Aug 11:44

"ROAD SONGS" CarTunes Classics 1942-1962

by noreply@blogger.com (RYP)
I recall reading a review many years back written by our esteemed editor, when he wound up a critique of some much-reissued Chess material with words along the lines or ‘you may have this material already but this set is great for listening to in the car’. I could write something similar about this triple CD set, but then, that actually is its ‘raison d’être’. Mind you, I am not sure how many readers would have all this material anyway – after opening with Nat ‘King’ Cole’s cool (Get Your Kicks On) Route 66’ (composer Bobby Troup and Chuck Berry open the following two CDs respectively with this same song), we shift into a higher gear with some fine hot rod themed rockabilly interspersed with a couple of examples of bebop, and also blues from Lightnin’ Hopkins and Lowell Fulson. I’m not sure if Connie Allen is really singing about cars on ‘Rocket 69’, but Jackie Brenston certainly is on the following ‘Rocket 88’. Billy Strange’s curious ‘Diesel Smoke, Dangerous Curves’ precedes Walter Horton’s ‘Cadillac Blues’, and the remainder of the CD includes Howlin’ Wolf, The Medallions (Screamin’ Jay would have been proud of the sound effects on ‘Buick ‘59’and ‘Speedin’), Billy Jack Wills with Bob Wills, Chuck Berry, and the slick jazz or Chet Baker and Art Pepper, with, to close out, ‘UAW-CIO’ by The Union Workers – Pete Seeger, Josh White, Burl Ives, Alan Lomax, Tom Glazer, Sonny Terry and Brownie McGhee. The other two discs are almost as varied, with a diversion into Bermudan calypso added to the mix on the second set – Al Harris supplies ‘Taxi’. This time around, I’m not sure Mildred Jones is really singing about cars either (‘my daddy’s got a long, long, long Cadillac…’)! Parking problems also become a theme too. By the time we arrive at the third disc, we also cruise into Serge Gainsbourg (well, it is a French release), Bob Dylan, The Mar-Keys and Nelson Riddle’s theme to the television series, ‘Route 66’, pulling up alongside Chuck Berry, Gene Vincent, Duane Eddy, The Del-Vikings, Bo Diddley, Charlie Ryan, Carl Perkins, Vince Taylor And His Playboys, The Delicates, Miles Davis, Vernon Green, Eddie Cochran and Ray Charles. Recommended to all petrol heads of course. It’s just the ticket and the way things are going. It’ll soon be cheaper than a litre of petrol.
Norman DARWEN – BLUES & RHYTHM
INFO:
http://www.fremeaux.com/index.php?page=shop.product_details&category_id=81&flypage=shop.flypage&product_id=1438&option=com_virtuemart

trax disc 1:
1. (Get Your Kicks On) Route 66 - Nat King Cole 2. Won't You Ride In My Little Red Wagon - Tex Williams 3. Automobile Blues - Lightnin' Hopkins 4. Car Rider - Arne Dommerus 5. Hot Rod Race - Ramblin Jimmie Dolan 6. Hot Rod Race Navy Style - Mick Woodward 7. Hardtop Race - Dave Stoger 8. Hot Rod - Shotgun Boogie, No.2 - Tillman Franks 9. Hot Rod Race, No.3 - Bob Williams 10. Let Me Ride Your Automobile - Lowell Fusion 11. Swing Low, Sweet Cadillac - Dizzy Gillespie 12. Rocket 69 - Connie Allen 13. Rocket 88 - Jackie Brenson 14. Diesel Smoke, Dangerous Curves - Billy Strange 15. Cadillac Blues - Big Walter Horton 16. Mobiling Baby Of Mine - Eddie Marshall 17. Driving This Highway - Howlin' Wolf 18. Motor Head Baby - Johnny Watson 19. Buick '59 - The Medallions 20. Cadillac In Model A - Bon Wills 21. No Money Down - Chuck Berry 22. The Route - Chet Baker 23. Uaw-Cio - The Union Boys
trax disc 2:
1. (Get Your Kicks On) Route 66 - Bobby Troup 2. Cops And Robbers - Boogaloo & His Gallant Crew 3. Highway 60 - Johnny Watson 4. Mr. Thrill - Mildred Jones 5. Coupe Deville Baby - Vernon Green 6. You Can't Catch Me - Chuck Berry 7. Maybellene - Chuck Berry 8. Come Back, Maybellene - Mercy Dee 9. Speedin' - Vernon Green 10. Parking Worries - Ted West 11. No Parking Here - Jimmy Littlejohn 12. Dig That Hot Rod - Paul Westmoreland 13. Hot Rod Rag - T. Texas Tyler 14. Taxi - Al Harris 15. Hard Top Race - Merrill Moore 16. Race With The Devil - Gene Vincent & His Blue Caps 17. Cruisin' - Gene Vincent & His Blue Caps 18. Pink Cadillac - Sammy Masters 19. Drivin' Down The Wrong Side Of The Road - Richy Riddle 20. Let's Coast A While - Bo Davis 21. Cruisin' - Clark Terry 22. Hot Rod Rock - The Hot Rod Rumble Orchestra
trax disc 3:
1. (Get Your Kicks On) Route 66 - Chuck Berry 2. Hot Rod - The Mar-Keys 3. Flat Tire - The Del Vikings 4. Pop, Let Me Have The Car - Carl Perkins 5. Sur L'autoroute - Miles Davis 6. Milestones - Miles Davis 7. Du Jazz Dans Le Ravin - Serge Gainsbourg 8. Brand New Cadillac - Vince Taylor & His Playboys 9. Road Runner - Bo Diddley 10. Hot Rod Lincoln - Charlie Ryan 11. Black And White Thunderbird - The Delicates 12. Ride On Josephine - Bo Diddley 13. Jaguar And Thunderbird - Chuck Berry 14. Push Button Automobile - Vernon Green 15. Cadillac - Bo Diddley 16. Forty Miles Of Bad Road - Duane Eddy 17. Show - Eddie Cochran 18. Why Don't You People Learn To Drive - Gene Vincent 19. Hit The Road Jack - Ray Charles 20. Highway 51 - Bob Dylan 21. Route 66 Theme - Nelson Riddle & His Orchestra
...served by Gyro1966...
24 Aug 23:46

Homer & Jethro assault the Rock 'n Roll era

by The Commuter

Homer & Jethro assault the Rock 'n Roll era

01-Houn' Dawg (take 2).mp3
02-Hart Brake Motel.mp3
03-Two Tone Shoes.mp3
04-Rock Boogie.mp3
05-Hernando's Hideaway.mp3
06-Middle-Aged Teenager.mp3
07-At The Flop.mp3
08-Screen Door.mp3
09-Itsy Bitsy Teenie Weenie Yellow Polkadot Bikini.mp3
10-The Battle Of Kookamonga.mp3
11-My Special Angel.mp3
12 Houn' Dawg (take 1).mp3
13-I'm Movin' On No. 2.mp3
14-Don't Let The Stars Get In Your Eyeballs.mp3
15-Yaller Rose Of Texas, You-All.mp3
16-Keep Them Cold Icy Fingers Off Of Me.mp3
17-The West Virginny Hills.mp3
18-Poor Ol' Koo-Liger.mp3
19-Hey, Good Lookin' No. 2.mp3
20-Jam-Bowl-Liar.mp3
21-Settin' The Woods On Fire No. 2.mp3
22-Oh Lonesome Me.mp3
23-I Guess Things Happen That Way.mp3
24-Sixteen Tons.mp3
25-Little Arrows.mp3
26-She Loves You.mp3
27-I Want To Hold Your Hand.mp3
28-No Hair Sam.mp3
29-Winchester Cathedral.mp3
30-El Paso - N£mero Dos.mp3
31-The Ballad Of Davy Crew-Cut.mp3
24 Aug 23:06

Detenido tras mantener relaciones en un parque infantil de Ferrol al quebrantar órdenes de alejamiento de su pareja

by Salgado

FERROL360 | Domingo 24 agosto 2014 | 22:12

La Policía Local de Ferrol detuvo en la tarde de este domingo a un hombre, que fue sorprendido mientras mantenía relaciones sexuales con una mujer en un banco del parque infantil del Cantón de Molíns. Según informó el cuerpo policial en su cuenta oficial de la red social Twitter, el imputado, de 44 años de edad, había quebrantado sendas órdenes de alejamiento de la mujer -45 años- con la que se encontraba en el momento de la detención.

policia

24 Aug 23:00

"It's not my choice."

by davidstandaford
24 Aug 22:58

A Long Way To Be Happy: tracks originally unreleased

by noreply@blogger.com (Snidely Whiplash)




1 Darlene Love: A Long Way To Be Happy
2 Big Maybelle: Ocean Of Tears
3 Johnny & The Hurricanes: The Dribble Twist
4 The Everly Brothers: Mr. Soul
5 Pete Best Combo: I Don't Know Why I Do
6 Duane Eddy: Mirriam
7 Ebah: I Am Gonna Unmask The Batman
8 Bonnie & The Treasures: I Just Want To Be Your Girl
9 Bonnie & The Treasures: Tell Me In The Sunlight
10 The Ronettes: Paradise
11 Shadow Morton: Dressed In Black
12 The Ad Libs: The Slime
13 The Coasters: The Slime
14 Eddie & Ernie: Lay Lady Lay
15 Donovan & Lulu: What A Beautiful Creature You Are
16 Cab Calloway: Smoking Reefers
17 Sir Douglas Quintet: Isabella
18 The Souvenirs: Voodoo Love
19 Johnnie Ray: Ooh! Aah! Oh! (This Is Love)
20 Don Woody: Morse Code
21 Doris Day: Coffee, Cigarettes And Memories
22 The Mellows: I'm Gonna Pick Your Teeth With An Icepick
23 The Mellows: So Strange
24 The Monkees: Kicking Stones
25 The Bee Gees: Dear Mr. Kissinger
26 The Stooges: Lost In The Future
27 Bobby Fuller Four: It's Love, Come What May
28 Frank Wilson: Do I Love You (Indeed I Do)
29 Barbara McNair: Baby A Go-Go
30 The Jayhawks: The Devil's Cousin
31 The Mynah Birds: Go On And Cry
32 The Mynah Birds: It's My Time
33 Barbara Mercer: Happiness Is Here
34 Len Barry: I'll Always Need You
35 Linda Gail Lewis: Ain't Nothing Shakin'
36 The Heartbreakers: Ain't Nothin' Shakin'
37 Stan Vincent with The Del Satins: Angel By My Side
38 The Beach Boys: I Do
39 The Beau Brummels: Gentle Wandering Ways
40 The Coolbreezers: The Other Night
41 The Kool Gents: Phoebe
42 Helen Raymond: My Kid's A Crooner
43 The Ronettes: Here I Sit
44 Little Miss Peggy with The Bill Parker Band: Yellow Pants (And Blue Suede Shoes)
45 Bonniwell Music Machine: Dark White

ORIG. UNREL.

24 Aug 18:34

El cine de terror y Paco Martínez Soria

by noreply@blogger.com (Javi Camino)

Hubo una época en mi infancia en la que fui un gran admirador de Paco Martínez Soria. Coincidió con un tiempo en que en la Tve1 echaba cada semana una de sus películas más emblemáticas en prime time:”Don Erre que erre”, “El abuelo tiene un plan”, “Vaya par de gemelos”... Cada semana, más o menos a la hora de la cena, esperaba ilusionado su emisión. Las anunciaban a bombo y platillo, como si fueran grandes peliculones. Lo recuerdo perfectamente porque una mala interpretación de una de sus promociones acabó condicionando mi gusto cinematográfico para siempre. El anuncio en cuestión decía algo así como “Un ciclo de cine dedicado al tristemente desaparecido Paco Martínez Soria”.

Para un niño actual esa frase no supondrá ningún trauma. Pero fue muy diferente para mí, un niño muy sensibilizado con las desapariciones a causa de un exitoso programa del momento: “¿Quién sabe dónde?” de Paco Lobatón. Un angustioso reality sobre personas desaparecidas. Gracias a Lobatón, en mi pequeño mundo, desaparecer sin dejar rastro era algo incluso más habitual que morir por causas naturales. Visto en perspectiva no es nada extraño que me tomara ese “tristemente desaparecido” de forma totalmente literal.

Un falso prejuicio que provocó que disfrutara las películas de Martínez Soria de una forma diferente a la gran mayoría del público. Mientras un parte de mí reía sus gracias y ocurrencias, otra parte más oscura no paraba de hacerse preguntas: ¿Cómo ha podido esfumarse este abuelete? ¿Habrá sido asesinado? ¿Vivirá con una nueva identidad en algún paraíso lejos de su familia? ¿Encontrarán algún día su cadáver en un lúgubre pantano?

Sus películas despertaron una agridulce pulsión mórbida en mi subconsciente. Paco Martínez Soria era un entrañable cómico pero también un fantasma, un no-muerto, un misterio sin resolver… Sus pelis eran luminosas comedias costumbristas, pero también pelis de terror por culpa de todos los oscuros  interrogantes que me generaban. Pasar de ser fan de los ciclos de don Paco a los de “Noche de lobos” o “Alucine” fue un paso lógico y natural.

Muchos años después que me volví acordar de él y busqué en internet detalles sobre su desaparición. Se me rompieron todos los esquemas al descubrir que nunca había desaparecido sino que había muerto en una habitación de un hotel a los 79 años ¿La causa?  Una nada misteriosa angina de pecho. Fue a base de hacer memoria y atar cabos como descubrí que la confusión había sido por culpa de aquel estúpido anuncio y el eufemismo sobre su fallecimiento.


Puede que la verdad sea ésa, pero lo que también es cierto aunque que sea por motivos falsos es que fueron dos Pacos los que plantaron la semilla del gusto por el cine de terror en mi cerebro: Paco Lobatón y Paco Martínez Soria.
24 Aug 18:33

treeeetreeee: viisionaire: his footwork tho.. Is that real...



treeeetreeee:

viisionaire:

his footwork tho..

Is that real life? Lol

24 Aug 18:33

Photo



24 Aug 18:29

¡A la caza del fideo! La tradición de Nagashi-Somen en Japón

by Liliana Fuchs

Nagashi Somen en Japón

Los amantes de los fideos tienen sin duda en la gastronomía japonesa todo un mundo en el que disfrutar, con una gran variedad de tipos y formas de prepararlos. Además se puede pasar un rato muy divertido con tradiciones como la de Nagashi-Somen, en la que los fideos se lanzan por una caña de bambú y hay que cazarlos con los palillos para comerlos.

Los Nagashi-Somen (流しそうめん), fideos que "fluyen", son una actividad muy popular en verano y típica en los festivales al aire libre que se celebran en Japón en esta época. Es una manera original y divertida que gusta especialmente a los niños, en la que hay que demostrar una buena habilidad con los palillos si no te quieres quedar con hambre.

El Sōmen es un tipo de pasta alargada muy fina elaborada con harina de trigo. Estos fideos tienen un grosor que apenas sobrepasa el milímetro, y por tanto son muy ligeros, rápidos de cocinar e ideales para servir en frío con caldos suaves o salsas sencillas.

Para el Nagashi-Somen los fideos se cuecen durante 1-2 minutos y a continuación se dejan caer por una larga caña de bambú en la que corre agua fría. Los comensales tienen que conseguir capturar sus fideos sobre la marcha usando los palillos, "compitiendo" con los demás e intentando que los somen no se desperdicien.

Nagashi Somen en Japón

Una vez cazada la ración de pasta se deposita en unos cuencos especiales, también de bambú, que llevan consigo cada participante. Entonces se añade la salsa o los aderezos deseados, normalmente un caldo frío ligero, cebollino, jengibre, wasabi, etc.

Algunos restaurantes montan cañas de bambú realmente largas, de hasta 30 m de longitud, convirtiendo la comida en toda una fiesta donde disfrutan las familias, sobre todo los más pequeños. Intentar capturar los Nagashi-Somen puede ser la manera definitiva de aprender a usar con habilidad los palillos.

Imágenes | d'n'c, Jennifer Murawski, tasteful tn En Directo al Paladar | Desde Japón con amor (y dashi), vídeo de la gastronomía nipona En Directo al Paladar | Los fideos Soba, una pasta diferente desde Japón

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La noticia ¡A la caza del fideo! La tradición de Nagashi-Somen en Japón fue publicada originalmente en Directo al Paladar por Liliana Fuchs.








24 Aug 17:38

Fletcherismo: excretando bolitas con sabor a galleta

by Sergio Parra

be2_masticar.jpgA menudo se nos dice que masticar mucho la comida es mejor que hacerlo poco. Sin embargo, durante la Primera Guerra Mundial, un tal Horace Fletcher, convenció a mucha gente de que masticar obsesivamente, hasta que la comida se licuara en la propia boca, permitiría absorber el doble de la cantidad de vitaminas y otros nutrientes.

Comer de esta guisa no solo constituía un ahorro, sobre todo en una época de vacas flacas, sino que también resultaba más saludable, siempre a juicio de Fletcher. Además, los trozos de comida mal masticados, sostenía, provocaban que el intestino se sobrecargara y las células se contaminaran con subproductos de “descomposición bacteriana pútrida”. En otras palabras: siguiendo el régimen de masticación de Fletcher, uno excretaría menos heces. Según él, sólo produciríamos una décima parte de los residuos corporales. Además, estas heces serían muy limpias, redondeadas, apenas sin olor.

Fletcher aseguraba que así podríamos vivir más saludablemente comiendo cuatro muffins de maíz fletcherizados y un vaso de leche. Nada más. Este fue uno de sus casos en particular, y Fletcher aseguraba que el interfecto excretaba bolitas con olor a galleta recién hecha. Tal y como abunda Mary Roach en su libro Glup:

Si se masticaba una vez por segundo, la fletcherización de un solo trozo de cebolleta exigiría más de diez minutos. La conversación durante la cena suponía todo un reto. (…) Quienes no practicaban el fletcherismo tenían problemas, pues se veían obligados a soportar lo que la historiadora Margaret Barnett llamaba “el tenso y desagradable silencio que acompaña a las torturas de la masticación”.

¿Quién fue Fletcher?

640px-horace_fletcher_1-1.jpgCuesta imaginar que Horace Fletcher consiguiera convencer a tanta gente de sus teorías delirantes (aunque no tanto si tenemos en cuenta las contemporáneas power balance, dosis homeopáticas o la enzima prodigiosa). Al parecer, aunque Fletcher no tenía estudios en medicina o fisiología, afianzó diversas relaciones sociales con médicos y fisiólogos de verdad.

Mientras vivía en un hotel de Venecia, en 1900, Fletcher trabó amistad con el doctor del hotel, Ernest van Somerem. Aunque originalmente estaba más interesado en la hijastra de Fletcher que en sus teorías, finalmente se metió en el bote a Van (o acabó ganándoselo por desgaste, pues las cartas de Fletcher, aunque alegremente escritas, eran larguísimas arengas). Van Someren decoró las teoríaas de Fletcher con jerga médica inventada como “reflejo secundario de la deglución”.

El propio Van Someren presentaría un artículo en una reunión de la Asociación Médica Británica en 1901, y también en el Congreso de Fisiología Internacional, llamando la atención (aunque con una ceja arqueada con escepticismo) de científicos de la Royal Society de Londres o la Universidad de Cambridge.

Ruseell Chittenden, de Yale, llevó a cabo un experimento en 1904 con trece chicos para demostrar la eficacia de la técnica de Fletcher, afirmando que había obtenido pruebas sobre ello. Sus resultados fueron criticados por otros científicos, pero los suministradores de alimentos en una época de escasez encontrar en tales teorías la solución a sus problemas.

En 1917, Chittenden se convirtió en consejero científico de Herbert Hoover, jefe del Departamento de Alimentación de Estados Unidos. A través de Chittenden, Fletcher logró convertirse en experto alimenticio honorario para asistir a la comisión de Hoover.

Juntos, él y Chittenden, hicieron todo lo que estuvo en su mano para convencer a Hoover de que incluyera el fletcherismo en la política económica de Estados Unidos, con los que se justificaría una reducción de dos tercios de la cantidad de raciones civiles que se mandaban al otro lado del Atlántico. Hoover prudentemente se resistió.

Si ahora viviera Fletcher, seguro que convencería a muchas celebrities para apuntarse a su carro de la masticación infinita. Si habéis visto la película de El balneario de Battle Creek, os sonará que John Harvey Kellogg también fue seguidor de la moda dietética de Fletcher, al menos durante un tiempo. Para que los comensales no se aburrieran mientras comían, animaba las horas de masticado e ingestión con un cuarteto de músicos que cantaban La canción del masticar, una composición original de Kellogg. A continuación, una de las estrofas:

Elijo masticar / porque quiero hacerlo / lo que la Naturaleza tenía en mente / Antes de que los malvados cocineros inventaran el guiso sabroso / Cuando la única forma de comer era masticar, masticar, masticar y masticar.

Foto | Paul Fornier

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La noticia Fletcherismo: excretando bolitas con sabor a galleta fue publicada originalmente en Xatakaciencia por Sergio Parra.




24 Aug 17:34

Recorrido de Pedro Sánchez por Santiago

Snob

ASSHOLE.

El secretario general del PSOE aterriza en la capital gallega antes de que mañana lo haga la canciller alemana para intentar dictarle una agenda de reformas
24 Aug 17:00

"Until I started taking my antidepressants, though, I didn’t actually know that I was depressed. I..."

“Until I started taking my antidepressants, though, I didn’t actually know that I was depressed. I thought the dark staticky corners were part of who I was. It was the same way I felt before I put on my first pair of glasses at age 14 and suddenly realized that trees weren’t green blobs but intricate filigrees of thousands of individual leaves; I hadn’t known, before, that I couldn’t see the leaves, because I didn’t realize that seeing leaves was a possibility at all. And it wasn’t until I started using tools to counterbalance my depression that I even realized there was depression there to need counterbalancing. I had no idea that not everyone felt the gravitational pull of nothingness, the ongoing, slow-as-molasses feeling of melting down into a lump of clay. I had no way of knowing that what I thought were just my ingrained bad habits — not being able to deposit checks on time, not replying to totally pleasant emails for long enough that friendships were ruined, having silent meltdowns over getting dressed in the morning, even not going to the bathroom despite really, really, really having to pee — weren’t actually my habits at all. They were the habits of depression, which whoa, holy shit, it turns out I had a raging case of.”

- Not Everyone Feels This Way — The Archipelago — Medium (via brutereason)