Snob

Between working on various writing projects – some fill-in scripting for Batman ’66 (issue 13, out this July!) a few back-up stories for a different comic book based on a TV show, a new graphic novel, and a bananas monthly book/webcomic with the tougher than leather Nate Doyle – I’ve been working on a strange labor of love: a mixtape of every song sung/played/talked about/heard in the original fifty issue run of Love & Rockets “Locas” stories by Jaime Hernandez.

The reason? Well, in addition to being a comics writer, I’m a music writer and journalist (lots of articles for Mojo and other magazines, plus a lot of album liner notes for a lot of different artists, including Dr. John’s Grammy-winning Locked Down). Music is one of my passions, and one day while flipping through some Locas stories it struck me how central music was to the experience of the characters. Or maybe central isn’t the right word – it was ESSENTIAL to their experience, from humming a song on the way to a job to going to a show to hanging out with some friends and listening to a record to cruising the strip in your car to watching TV. It’s all a part of the fabric of the lives of the characters, and it’s a testament to Jaime Hernandez’s storytelling abilities that each song that appears in the story feels natural and right. So yeah – using my galley copy of the giant Locas collection, I began identifying and listing every single goddamn piece of music over the course of 704 pages. Some stuff was annotated in the book, some stuff that wasn’t I knew off the bat, some songs required some creative use of search engines and a couple I had to crowd source, but I believe I got ‘em all.

What’s NOT here: Unfortunately, some of the most essential music in the stories is stuff made by the fictional bands Ape Sex and La Llorona/Missiles of October. Perhaps it’s better this way, because we can all still have our own idea of how awesome/terrible both of those bands are. When we fill it in ourselves it kinda makes the music MORE powerful. Also, there were a couple of instances where characters sang songs of their own invention to themselves. What am I gonna do?

What IS here: Lots of goodies for your listening pleasure. In one instance I made a judgment call – during a scene in the “Death of Speedy” storyline, the character Litos and his friends are chilling in a car listening to some music. The music isn’t identified, but it’s represented by the sound effect of THUMP CLAP THUMP CLAP. Having grown up half-Mexican in Southern California, plus knowing cholos and their musical taste in general, I assumed they could only be listening to one thing: Zapp featuring Roger Troutman. C’mon! The track I chose, “So Ruff, So Tuff” is technically a Roger Troutman solo jam, but it’s all Zapp to me. Also, the last two tracks are bonus; they were featured in a different Jaime story in L&R, but they’re so good I felt they deserved to be included.

(Credit where credit is due: The cover image of the mix — hastily cobbled together by the unskilled elves here at Bitchinville — includes part of Jaime’s cover to Love & Rockets #31.)

DOWNLOAD HERE.

Tracklisting:

Heigh-Ho – The Dwarf Chorus

All Alone in the World – Ebenezer Scrooge

Sukiyaki - Kyu Sakamoto

Car Wash – Rose Royce

Police Story – Black Flag,

Friday on My Mind – The Easybeats

Two Faces Have I - Lou Christie

Death May Be Your Santa Claus – Mott the Hoople

Situations – The Middle Class

Jackson – Johnny Cash and June Carter Cash

So Ruff, So Tuff – Zapp

Valentine – The Replacements

Why Don’t You Love Me Like You Used To? – Hank Williams

You – X

I Am a Cliché – X-Ray Spex

Ay! Mamá Inés – Libertad Lamarque

Tear in My Beer – Hank Williams

Whipping Post – Allman Brothers

Theme From Pee-Wee’s Playhouse – Mark Mothersbaugh

I Can’t Do Anything – X-Ray Spex

Dead End Justice – The Runaways

Doowhutchalike – Digital Underground

Cycling is Fun – Shonen Knife

What’s the Matter With Flintstone? – Fred Flintstone Chorus

Metal Guru – T Rex

Wig Wam Bam – Sweet

Deuce – KISS

Le Freak – Chic

I Wanna Be Sedated – The Ramones

The American in Me – The Avengers

I Am Woman Hear Me Roar – Helen Reddy

Los Luchadores – Conjunto Africa

Space Station #5 – Montrose

Brother Jukebox – Don Everly

Dry Bones – Delta Rhythm Boys

Beer Barrel Polka (Roll Out the Barrel) – Andrews Sisters

Theme From ‘Amazing Three’ – Amazing 3

Entrada Llevatelo – Various Artists

Awesome Foursome – J.J. Evans and Friends

Teenage Kicks – Undertones

Bonus Tracks:

 Smash it Up Part 1 – The Damned

Smash it Up Part 2 – The Damned

Según el sociólogo Scott Feld, de la Universidad de Purdue, en West Lafayette, al preguntar sobre la cantidad de amigos que tienen nuestros amigos, solemos determinar que ellos tienen más amigos que nosotros. Su estudio al respecto lo tituló “Por qué tus amigos tienen más amigos que tú”, publicado en el American Journal of Sociology en 1991.

La razón es que es más probable que alguien, al ofrecer una lista, mencione a amigos populares que poco populares. Es la razón por la cual en el gimnasio local nos tropezamos con más gente que está más en forma que nosotros: los que no lo están no suelen aparecer tanto por el gimnasio.

Para demostrar esta paradoja, que de media nuestros amigos tendrán más amigos que nosotros, Feld refleja un ejemplo básico en su artículo: en él hay ocho chicas y sus correspondientes amistades, como podéis ver en el gráfico. De este modo, Betty sólo tiene una amiga (Sue), pero Sue tiene cuatro amigas (Betty, Alice, Pam y Dale). La tabla resume el patrón de amistad entre estas amigas. Muestra que, de media, estas ocho chicas tienen 2,5 amigas. Pero las amigas de estas ocho chicas (que son las mismas ocho) tienen un promedio de 3 amigas. Es decir, somos más proclives a tener amigos con alguien que tiene más amigos que con alguien que tiene menos.

En el ámbito de la evolución, esta dinámica se produce en el sentido de que los más aptos o más comunes se reproducen más, tal y como explica Martin A. Nowak en su libro Supercooperadores:

A lo largo de generaciones sucesivas, estos individuos más adecuados se hacen más comunes. De este modo, la “evolución” se refiere a un cambio en la composición genética de una población. Una consecuencia directa de esto es que la estructura de una población puede desviar la trayectoria de la evolución.

Foto | Jorge Royan (CC)

Más información | Strambotic

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La noticia ¿Por qué mis amigos tienen más amigos que yo? fue publicada originalmente en Xatakaciencia por Sergio Parra.

Psycho-Pass is a fantastic anime written by Gen Urobuchi, the man who brought us 2011's brilliant Puella Magi Madoka Magica. Even if you are not an anime fan (I'm iffy on it myself), Psycho-Pass is worth checking out. Set in a "utopian" society where psychological profiles can be analyzed remotely, police carry guns that can only fire at would-be criminals, and aptitude tests determine how to provide "the greatest number of people with the greatest amount of happiness", Psycho-Pass asks intriguing, provocative questions about the relationships between humans and computers, criminals and society, and the responsibilities we owe society, versus the responsibilities said societies owe us in turn. There is also a good deal of people shooting each other, if you're into that sort of thing.

Psycho-Pass can be watched for free, either subbed or dubbed, at Hulu (as can Madoka if "lighthearted" "fantasy" is more your cup of tea).

En su día desde aquí mismo busqué un becario y di con el mejor. No sólo el mejor para mí, sino el mejor del mundo.
Ahora estoy buscando un hombre. No quiero una relación estable, y creo que no creo en el amor; pero por cuestiones de protocolo, ocio y necesidades sexuales, me vendría bien tener un compañero. La semana que viene la tengo cargadita de eventos, por ejemplo, y me encantaría ir acompañada, tener con quien comentar cada detalle absurdo y con quien compartir canapés y cañitas. También echo de menos viajar en pareja, algo que me chifla sin parar. Por eso, tras escudriñar Blendr, tinder y demás, me he decidido a hacer un rastreo directo desde aquí.
Muchas veces percibo miedo por parte de mis posibles conquistas. Doy una falsísima imagen de seguridad y tenerlo todo claro, que no enmascaran más que a una pringada con ínfulas de ser guay. Se asustan siquiera antes de intentar nada. Por eso les pido que no teman, que la confidencialidad está asegurada, y que lo peor que puede ocurrir es que nos tomemos una cervecita Alhambra con patatas bravas juntos. Mis requisitos son:

Edad: 25-43 años
Preferiblemente caucásico, delgado y con pelo largo.
Situación económica y laboral indiferente; pido, eso sí, intereses si no afines, compatibles con los míos. Básicamente que los tenga, que se preocupe del calzado, de la música, de los amigos... Imprescindible ser decidido, con iniciativa, ganas de hacer cosas y sin taras mentales relevantes.
Detesto los depresivos, autocompasivos, débiles, tristes y fríos y adoro la locuacidad, la sociabilidad, la inteligencia, el humor, la impulsividad y el romanticismo. Se valorará una buena higiene y cultura.

Ofrezco alegrías sin descanso.

Abstenerse calvos, mujeres, guardia civiles y gordos. Estoy en una etapa que no me apetecen.
Enviar foto realista y sin filtro y declaración de intenciones a dianaller@hotmail.com con el asunto HOMBRE.

Espero esta vez dar con el mejor hombre para mí, y con el mejor del mundo. Confío en mi suerte.

Lo dice Diana Aller

Chipotle Mexican Grill es una conocida cadena de restaurantes de cocina mexicana con más de 500 establecimientos ubicados en Estados Unidos, y recientemente han marcado tendencia ofreciendo qué leer a sus clientes mientras disfrutan su comida.

El proyecto, es una iniciativa de Jonathan Safran Foer, escritor que junto con un grupo de escritores y comediantes participan en éste, que consiste en imprimir sus pequeños ensayos en los vasos y en las bolsas de papel de los restaurantes de la cadena.

Sin duda, estos escritores han encontrado la forma de dar a conocer sus obras y demás ideas, bajo el lema “Cultivando el pensamiento”, una forma que sin duda va contra las recomendaciones zen de no hacer otra cosa mientras se come para así disfrutar con todo detalle los sabores y texturas de nuestros alimentos.

Entre los autores que participan en esta iniciativa, se encuentran Toni Morrison, ganadora del premio Nobel de Literatura en 1993; Malcolm Gladwell, Sarah Silverman, Jonathan Safran, Michael Lewis, Bill Hader, Judd Apatow, George Saunders, Steve Pinker y Sheri Fink.

Más información | Cultivating Thought

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La noticia Chipotle Mexican Grill y su literatura en vasos y bolsas de papel fue publicada originalmente en Directo al Paladar México por Mary Soco.

A veces dibujo en las reuniones…

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Descansan en la misma fosa de bella lápida tras estar en tumbas diferentes

• Memoria recuperada, injusticia reparada

A principios de junio la rúa solo se abrirá al transporte público y de servicios

«Alégrome», dice el presidente de la Xunta sobre la dimisión del concejal Adrián Varela

• Feijoo, sobre la dimisión del edil de Santiago Adrián Varela: «Alégrome»

by Bradford Evans

Danny McBride is coming back to HBO with a brand new show. The pay cable network has ordered 18 episodes of Vice Principals, a new comedy starring McBride as a high school administrator. The show was co-created by McBride and his Eastbound & Down partner-in-crime Jody Hill, and it follows "a high school and the people who almost run it, the vice principals." HBO has yet to announce when Vice Principals will premiere or how its 18 episodes will be split up into seasons. McBride and Hill's last series, Eastbound & Down, ended its four-season run on HBO last year.

Jody Hill talked to us about the project last year before the official announcement, explaining that Vice Principals "just focuses on different parts of the high school world. It's based off a [movie] script that Danny and me wrote a long time ago, and we're kind of evolving that into our show." It was also reported last year that Danny McBride had "several serious talks" with Lindsay Lohan, while working with her on the Eastbound finale, about her potentially starring in Vice Principals though HBO's announcement doesn't indicate whether Lohan is involved one way or the other.

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Macaulay Culkin just got bottled off the stage in England. It was the proper response by UK music fans–something we should have done last year–when the Pizza Underground was forcing bad hipster comedy into New York clubs that were seduced by the smell of cardboard, melted cheese, a former child-star drug vapors.

Now, the self-entitled brat has flown overseas and smeared America’s “cool factor,” whatever was left of it, by covering it in gooey processed cheese and pig fat–then, dousing it in cheap beer.

One song into their set at UK’s Dot to Dot Festival over the weekend, Macaulay Culkin’s The Pizza Underground, a pizza-themed Velvet Underground parody group, got nailed with flying pints of beer. Not long after that, they were jeered off the stage at Rock City. “Why are you throwing those? I’d rather drink them,” Culkin said in that whiny spoiled-rich-kid voice we’ve been accustomed to since like, 1990, when Home Alone was big.

The Brits apparently found the whole thing a sodding mockery of rock ‘n’ roll that has no place at a music festival (Pizza Underground is also booked for Riot Fest). The crowd in Nottingham tried to get into it at first, but after 15-minutes of nonsensical lyrics and trite PR tactics (handing out pizza to the crowd to get them “into it”) the whole thing fell apart.

Someone in the crowd described the scene: “It just sounds awful. I can’t believe he is doing this. Why bother? It must go down well in America or something.”

Last year, when Macaulay Culkin decided to get stoned and record a demo with the Pizza Underground, it seemed comical at first (especially if you were a stoned hipster with no job). For a moment there, it seemed as if Culkin was making a comeback in the form of a self-deprecating former child star obsessed with Michael Jackson and black leather (think Corey Feldman). Now, he’s getting stoned, literally, for being unfunny and lame.

It’s all turned into some fucked-up Andy Warhol practical joke, lacking all the genius of postmodernism. Hipsters who thought it was ironic for some millionaire celebrity to do this, are now seeing the result of allowing the Pizza Underground to become popular. Macaulay is even giving American hipsters a bad name with his performances.

And yes, this is just about Macaulay Culkin; anyone who thinks the Pizza Underground is a touring band because they’re somehow “interesting” is completely missing the point: The Pizza Underground is a freak show headlined by a former child star, supported by hipsters, and sold with free pizza.

Some people think the whole incident at Rock City is just the result of a few drunken blokes who ruined it for everyone. The band concurred, sending a tweet about how a few people ruined the show. It was more telling than a few drunkards throwing beer, no, this was more like a political speech being interrupted by protesters seeking to expose the truth. And the truth hurts.

The Pizza Underground leaving the “underground” has made Americans look a little less punk rock; a tad bit less interesting; in one fell swoop, the dweeb who decided it was “postmodern” to stuff his face with a slice of pizza on YouTube, gave the Brits a new reason to laugh at our obsession with child stars in the realm of unbridled “hipsterdom.”

The bookers and PR folks for the Pizza Underground don’t seem hear the laughter dying out. The same people who were fascinated by Macaulay’s weird behavior are now growing tired of it. Is he a drug addict? Who cares—he’s not funny, and it took foreign beer projectiles to get Americans to realize that sometimes we don’t need to export our famous-people problems overseas.

And now this shit needs to be contained. Handing pizza out to the crowd won’t calm down the hate directed at the warped imagination of a famous (and mostly forgotten) former child star who decided “hey, ah, I wanna be in band, man.” He even colored his fingernails black and started dressing like Kurt Cobain. And it’s going to get even worse over the summer, but hopefully, the Pizza Underground can return to their headquarters at the “Hipster Gestapo” in Brooklyn without causing a riot.

In light of some things being said regarding mass murderer Elliot Rodger, I’d like to take a moment to point some things out. Now, a lot of people seem to be frustrated that the media is suggesting that there were any contributing factors other than mental illness. A lot of “Whatever, this is all bullshit. He was just crazy but that doesn’t sell papers,” or, “The real problem is the mental health system in this country.”

I certainly wouldn’t argue that there are major problems with our mental health system, but most of those stem from the Reagan-propelled mass deinstitutionalization in the ’70s and ’80s, as well as his killing of Carter’s Mental Health Systems Act. The problem is that we don’t really have them. These problems would have had very little effect on someone like Elliot Rodger, whose family had the money to send him to a psychologist on their own dime. Which they did. He was also prescribed medication, which he refused to take.

It’s a really easy thing to say that if the psychiatrists had put him away or given him the right medication–if cops had put him on a 5150 hold after visiting his apartment–that this tragedy could have been avoided. The thing is though–involuntary commitment only lasts 72 hours, and is really only done when a person is very clearly is threatening to harm themselves or others. The police found him calm and shy, and claiming to have no intention to hurt anyone.

You can’t put someone on a psychiatric hold for that, and besides, a 72-hour hold probably would have only delayed his actions. It’s hardly a miracle cure. You also cannot–except in the most extreme cases, and with multiple doctors signing off on it–forcibly medicate anyone. You cannot force someone to seek outpatient treatment, or to take their meds. There are good reasons for this.

Police and psychiatrists cannot simply put someone away forever, before they do anything, because they happen to be mentally ill. 26.2% of the people in this country suffer from some kind of mental illness, and the vast, vast majority of them do not go on killing sprees. We’re not going to throw a quarter of the population in jail, and doing so would not reduce crime in any significant way. In fact, the perception of mental illness sufferers as violent is not only incorrect, but it also adds to the stigma of it, which prevents many people from seeking treatment. This is a problem in and of itself.

In reality, only 3-5% of crimes are committed by people with some sort of mental illness. Statistically, people suffering from mental illness are more likely to be the victims of crimes than the perpetrators of them. In fact, according to a study released in 1999, “people with severe mental illnesses, schizophrenia, bipolar disorder or psychosis, are 2 ½ times more likely to be attacked, raped or mugged than the general population.”

So no, a person being mentally ill is not actually a good indicator that they will commit a violent crime. Please remember this when you are talking about this particular case.

But what of the idea that the media is “just ignoring” the fact that he’s “just crazy”? I will tell you why the media isn’t covering that angle, and it’s not any kind of weird conspiracy to force you to read things. They’re not covering it that way because that would be extremely irresponsible. Because this guy had a lot more going on than “general craziness.” Actually, as far as I can tell, the only thing Rodger had been officially diagnosed with was Asperger Syndrome–which is not a mental illness, nor any kind of indicator of a violent temperament.

Chalking things up to “crazy” may feel very satisfying. It feels like a good explanation, one that wraps up everything in a nice little bow so we can all just go back about our daily lives and not think about this random anomaly. We don’t have to think of why it happened, because there is no “why.” But it’s not a good explanation and it’s not an anomaly. If you’d like to see just how little of an anomaly it is, I recommend you go right now and check out the “When Women Refuse” Tumblr, which has been collecting stories of the violence women experience when they reject sexual advances. There are way, way too many of them already.

Elliot Rodger didn’t kill people because he was “mentally ill”–he killed people because he was angry at women for rejecting him and resentful towards men they didn’t reject. He was consumed by it, and hatred will do terrible things to a person. His hatred was compounded by commiserating with other men online who were just as filled with hatred and resentment as he was, and who shared his beliefs and probably added to them. It’s hard to see that you have a problem or are thinking something ridiculous if you’re surrounded by people who agree with you. It’s like the “Allegory of the Cave.”

If we ignore these things and these people because they’re unpleasant, they’re just going to continue talking amongst themselves, compounding their hatreds until another one of them goes off and shoots somebody again.

Sheila Vogel-Coupe is by appointment only.

Of course, any prostitute over a certain age can’t work the streets or a motel room for walk-in business. For Vogel-Coupe, the 85-year-old doesn’t put up with that restless game. She pulls in roughly £250 per hour for making whoopee, and she’s only been doing it for four years.

According to Metro UK, when Vogel-Coupe’s husband died in 2004, she decided to become a prostitute. For awhile there, she saw roughly 10 johns per week. But a minor procedure (i.e. removal of an intestine) slowed business down–but not completely. “I don’t think I will ever stop,” she told Channel 4 in the new documentary “My Granny the Escort. Her clients, she said, are not fetishists but rather “see something about me. It is a nice feeling … I know I am very, very sexy.”

Vogel-Coupe also added that she loves sex and that “thinking about it makes me feel better.”

If you happened to be in the UK on Thursday, you can check out “My Granny the Escort” at 10pm on Channel 4.

HuffPo/image via Metro UK

Poet, educator and civil rights activist Maya Angelou has passed at the age of 86. She was found unresponsive in her Winston-Salem home this morning, days after having canceled an event at a Major League Baseball luncheon due to poor health.

Angelou, known as the “Black Woman’s Poet Laureate” first came into prominence in the early 1960s after the publication of her autobiography “I Know Why the Caged Bird Sings,” and was also active in the civil rights movement, working alongside both Dr. Martin Luther King and Malcolm X.

In addition to being a memoirist, activist, teacher and poet, Angelou was also an accomplished journalist, screenwriter and actress. Her screenplay “Georgia, Georgia,” produced and filmed in Sweden, was the first (produced) screenplay by an African-American woman. In 1993, she recited her poem “On the Pulse of Morning” at Bill Clinton’s inauguration, making her the first poet to do an inaugural recitation since Robert Frost.

She will be deeply missed.

Still I Rise

You may write me down in history
With your bitter, twisted lies,
You may trod me in the very dirt
But still, like dust, I’ll rise.

Does my sassiness upset you?
Why are you beset with gloom?
‘Cause I walk like I’ve got oil wells
Pumping in my living room.

Just like moons and like suns,
With the certainty of tides,
Just like hopes springing high,
Still I’ll rise.

Did you want to see me broken?
Bowed head and lowered eyes?
Shoulders falling down like teardrops,
Weakened by my soulful cries?

Does my haughtiness offend you?
Don’t you take it awful hard
‘Cause I laugh like I’ve got gold mines
Diggin’ in my own backyard.

You may shoot me with your words,
You may cut me with your eyes,
You may kill me with your hatefulness,
But still, like air, I’ll rise.

Does my sexiness upset you?
Does it come as a surprise
That I dance like I’ve got diamonds
At the meeting of my thighs?

Out of the huts of history’s shame
I rise
Up from a past that’s rooted in pain
I rise
I’m a black ocean, leaping and wide,
Welling and swelling I bear in the tide.

Leaving behind nights of terror and fear
I rise
Into a daybreak that’s wondrously clear
I rise
Bringing the gifts that my ancestors gave,
I am the dream and the hope of the slave.
I rise
I rise
I rise.

En nuestro país la comida japonesa tiene muchísima popularidad, y a la mayoría no se nos hace raro o extraño comer pescado crudo. Eso sí, nunca se nos pasaría por la mente comer un trozo crudo de pollo o de ternera. Leí un artículo muy interesante sobre las diferencias en el tipo de carnes, que hacen que comamos un sashimi o un nigiri sin ningún problema.

El biofísico Ole G. Mouritsen explica que la principal razón es la gravedad, o más bien la falta de gravedad. Suena un poco raro que la gravedad tenga que ver con nuestras decisiones culinarias, pero resulta que lo que nos hace comer un pescado crudo es su suave textura. Los peces no experimentan la fuerza de la gravedad, siempre están flotando y no tienen que soportar su peso corporal. Esto ocasiona que sus fibras musculares sean cortas, delgadas y menos duras comparadas con las de los animales terrestres. Por eso un pescado crudo tiene una textura sedosa y suave, cuando se cocina su textura es blanda y se desmenuza fácilmente.

En cambio los músculos de los animales terrestres, siempre están trabajando en contra de la gravedad para mantener el cuerpo en posición vertical. Sus fibras musculares son más gruesas, duras y firmes. Cuando vemos la carne cruda de una vaca, tiene una apariencia poco apetecible y correosa. Al cocinarla, se suaviza el tejido conectivo de la carne y mejora su textura, además se vuelve jugosa. Cuanto más trabaja un músculo, más duro se pone. Por el contrario si un músculo casi no trabaja, es muy suave.

La actividad física de los pescados también explica los diferentes colores de su carne. Los pescados que están en constante movimiento, como el atún, tienen músculos que siempre están trabajando y quemando carbohidratos aeróbicamente. Los músculos necesitan oxígeno para producir energía y la molécula que transporta el oxígeno a los músculos contiene hierro, como en el cuerpo humano. Por eso la carne de estos pescados es roja. Estos pescados generalmente viven en océanos con muchas corrientes.

Los pescados que casi no se mueven o que viven en lo profundo del océano, como el lenguado, tienen músculos que no necesitan oxígeno para crear energía. Si no se necesita oxígeno, tampoco se necesita hierro para transportarlo, así que los músculos son de color blanco. La mayoría de los pescados tiene una mezcla de los dos tipos de músculos, por eso algunas partes pueden ser de color rojo, blanco o rosa.

La excepción es el color naranja-rosado del salmón. Su color característico se debe a su tipo de alimentación, que se compone de mariscos con un pigmento relacionado con el caroteno de las zanahorias, la astaxantina. Este pigmento es el que le da el tono grisáceo a los camarones crudos y al cangrejo, pero cuando el salmón come los mariscos, la molécula se convierte en color rosado.

Vía | NPR Imágenes | avlxyz | Tony George |

En Directo al Paladar México | Jiro Dreams of Sushi, perfección y ética de trabajo En Directo al Paladar México | Yakimeshi con arroz integral y edamame. Receta

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La noticia ¿Por qué sí nos gusta el pescado crudo y no otras carnes? fue publicada originalmente en Directo al Paladar México por Sweet Cannela.

Invitando a los periodistas a pasar y comer todo lo que puedan “hasta que os pongáis rollizos”, Ferran Adrià ha presentado esta mañana el nuevo proyecto en el que ha estado trabajando desde que cerrara El Bulli hace casi tres años: una tétrica casa de chocolate situada en el corazón de...... Leer más

«Xa nin esperan a que medre o millo», apunta el ganadero afectado

Esta mañana se ha presentado un estudio comparativo de varias ciudades europeas, basado en el análisis de las aguas residuales

Pola contra é menor a de anfetamina ou metanfetamina.

Metrópoles Delirantes é un fantástico programa sobre fantasía, banda deseñada, ciencia ficción, que se emite na radio CampUSCCulturae pero que tamén podes descargar como podcast. O seu estupendo equipo realizounos unha entrevista a Manel Cráneo e máis a min que podes escoitar aquí.

Muchos estudiantes compostelanos cumplen con el ritual de esta masiva práctica: si estás nominado debes mojarte o, de lo contrario, pagar una mariscada

Roberto Cores, director del evento, apunta que es una «oportunidad única para exponer los productos y servicios relacionados con el sector religioso»

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Shadow Morton is one of the legendary cult figures of rock & roll, a mad genius who existed in, well, the shadows. He was one of the great girl group producers, best known for his cinematic work for the Shangri-Las, and he was one of the only Brill Building-related musicians to successfully transition from pop to psychedelia and acid rock, helming Janis Ian’s breakthrough 1966 single “Society’s Child (Baby I’ve Been Thinking) before producing heavy hits for Vanilla Fudge (“You Keep Me Hanging On”) and Iron Butterfly (“In-A-Gadda-Da-Vida”). The curtain on Shadow’s golden era closed with Too Much Too Soon, the second album by the New York Dolls, the melodramatic proto-punkers who were destined to work with Morton (they lifted the opening of the Shangri-Las’…

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…”Give Him a Great Big Kiss” for “Looking for a Kiss,” after all), after which he returned to the murky shadows from whence he came.

Sophisticated Boom Boom: The Shadow Morton Story, a 2013 compilation that’s part of Ace’s ongoing Producers series and arrives, sadly, just a few months after Morton’s death, shines a light on those shadows, both from his ’60s peak and in the decades afterward. Mick Patrick’s excellent liner notes reveal the extent to which alcohol was responsible for the long gaps of silence at his commercial peak and his retirement, with Morton himself frankly admitting to his reliance on the bottle, but much of his mysteriousness was a witty contrivance: Billy Joel, who played piano on Morton’s career-making “Remember (Walkin’ in the Sand),” recalls Shadow “wearing this big cape and dark glasses…he’s waving his arms in the air saying, ‘Give me more purple!’” This love of the dramatic infused all of Shadow Morton’s work, whether he was cobbling together “I Saw Her Standing There” and “I Want to Hold Your Hand” for a Fab Four cash-in called “Only Seventeen” by the Beattle-ettes, or barely restraining the chaos of a Mott the Hoople session. All this and more is evident on Sophisticated Boom Boom, but that doesn’t mean that it has everything of note Morton did. Most egregiously, “Leader of the Pack” has been left behind, as have several other mini-masterworks Morton made for the Shangri-Las, but it’s a testament to the strength of his vision, as well as the work of compiler Patrick, that the 24-track compilation tells a vivid, compelling story anyway. Cut over the course of 16 years, this collection begins with Morton as a Hicksville hustler, knocking out hot rod knock-offs before blagging his way into the Brill Building, where he reunited with old school friend Ellie Greenwich and then carved out his own histrionic, theatrical sound within the confines of the Brill Building. His showmanship served him well whether he was shepherding the sensitive Ian, expanding the horizons of the Blues Project, or delving into the heavy, acid-fried rock of Vanilla Fudge and the Vagrants. In this context, the New York Dolls do seem like a career-capping masterwork, drawing upon everything else Morton tried in the previous decade and a half, but Sophisticated Boom Boom shows that in between the Shangri-Las and the Dolls, Morton created a wild, wooly, visionary body of work that retains its mystique to this very day.

1. The Markeys Featuring Georgie Morton – Hot Rod [02:22]
2. The Lonely Ones – I Want My Girl [02:17]
3. The Beattle-Ettes – Only Seventeen [01:55]
4. The Shangri-Las – Remember (Walkin’ in the Sand) [02:53]
5. The Shangri-Las – Give Him a Great Big Kiss [02:12]
6. The Goodies – Sophisticated Boom Boom [01:59]
7. Ellie Greenwich – Baby [02:42]
8. Ellie Greenwich – You Don’t Know [03:05]
9. The Shangri-Las – Past, Present and Future [02:40]
10. Janis Ian – Society’s Child (Baby I’ve Been Thinking) [03:11]
11. The Nu-Luvs – So Soft, So Warm [02:53]
12. The Nu-Luvs – Take My Advice [02:00]
13. The Blues Project – Lost in the Shuffle [02:54]
14. The Shaggy Boys – Stop the Clock [02:16]
15. The Shangri-Las – I’ll Never Learn [02:40]
16. Janis Ian – Too Old to Go ‘Way Little Girl [03:09]
17. Vanilla Fudge – You Keep Me Hangin’ On [06:47]
18. The Vagrants – And When It’s Over [02:15]
19. Vanilla Fudge – Season of the Witch, Pt 2 [03:13]
20. Iron Butterfly – In-A-Gadda-Da-Vida [02:52]
21. Mott the Hoople – Midnight Lady [03:28]
22. The New York Dolls – Puss ‘N’ Boots [03:07]
23. The New York Dolls – Stranded in the Jungle [04:05]
24. Shadow Morton – Dressed in Black [02:52]

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