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Avante, sem trégua, o #ProjetoXanceda

Confidence AND a blush...  Very sexy!

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O filme Rush, estreado esta fin de semana, devólvelle o protagonismo ao piloto austríaco, tres veces campión de Fórmula 1 e neto de Juan Lauda Crespo, de Nogueira de Ramuín, que emigrou a Nova York a comezos do século XX.

Still from Pink Flamingos courtesy of BAMcinématek/Photofest

When the drag queen Divine ate dog shit at the end of John Waters’s Pink Flamingos, he knew he was participating in a great publicity stunt. What he didn’t know was he was about to become an icon of American culture. Over the course of nine films directed by his childhood friend John Waters, Divine starred in a series of cult films before dying of an enlarged heart in 1988 at the age of 42, just a few weeks after his role in Hairspray made him a bona fide movie star. Next Wednesday, I Am Divine, a new documentary about Divine’s life, premieres at BAM Cinematek in Brooklyn as part of a retrospective of his life and career.

Directed by Jeffrey Schwarz, the movie chronicles how Harris Glenn Milstead, originally a chubby kid from suburban Baltimore, created the Divine persona and reinvented drag in the process. This week, I spoke to Jeffrey over the phone to talk about the making of the movie, why today’s gay youth needs Divine, and the difference between John Waters’s films and today’s reality TV–centric trash culture.

VICE: What made you decide to make this movie?
Jeffrey Schwarz: I’ve always worshipped at the altar of John Waters and Divine since I was a teenager. As time went on, I thought that kids growing up today didn’t really have the firsthand experience of seeing those movies as they were coming out—Divine wasn’t known around the younger kids. I wanted to revive Divine’s memory.

Why do you think younger gay guys haven’t heard about Divine?
Midnight movies aren’t really a thing any more. You can’t go out and make a cult movie. Most gay men over 40 can quote every single John Waters movie verbatim, but those movies don’t play in theaters a lot. [But] people like Lady Gaga, who are popular with kids, essentially share Divine’s message: be yourself, don’t let anybody put you down for being different. I felt like Divine’s story of being the triumph of the outsider really resonates today.

Today, pop culture has a lot of women acting like drag queens—Lady Gaga and Katy Perry, to name a few—but few contemporary drag icons besides RuPaul, who became famous back in the 90s. Does it take a homophobic environment to produce someone like Divine?
I think drag is born out of repression. Drag culture has always been on the margins—even in gay and lesbian society. It’s always been a political statement. Divine certainly wasn’t the first person to do drag, but he was among the first wave of drag performers to really turn drag upside down and play with the notions of gender. A lot of the drag queens at the time wanted to be Miss America. They wanted to pass as women—beautiful, gorgeous creatures. Divine was a beautiful, gorgeous creature, but he was also 300 pounds.

Still from Hairspray courtesy of BAMcinématek/Photofest

Was it easy to convince your sources, like John Waters, to participate in the film?
I knew John, because he was in my first film, Spine Tingler! The William Castle Story. He was the first phone call I made, and I wanted to get his blessing. Not only did I get his blessing, but he opened a lot of doors for me and called everyone I wanted to interview and told them if I was going to get in touch with them, he supported this project, and they should do it.

Divine’s mother, Francis, was still with us when we started making the film. She was the first interview that we conducted. She didn’t live to see this film, but we dedicated it to her. I’m glad she was in it; she gave it its heart and soul.

Why was she so important?
I think a lot of people can identify with the story of a son and mother who knew her son was different—and unlike a lot of people in her generation, she didn’t reject him. If he got beat up at school, she’d show up at the school. They did have an estrangement for a time, but it wasn’t because he was gay, it was because he was a little nuts.

How so?
He was kind of a juvenile delinquent. He would write checks in his parents’ names to pay for extravagant parties. At a certain point, they had had enough. It wasn’t even about doing drag. They didn’t even know he was doing drag.

Does it take a juvenile delinquent to star in these movies and break boundaries?
Absolutely. As Divine, he could be in your face—he could do all the things Glenn never would.

Would he have continued to play the Divine role if he hadn’t died?
He probably would have continued working with John, but I don’t think he’d continue to be the star—Divine would have been more of a side character. He would have done more male roles. (He started to get more male roles towards the end of his life.) He probably would have been a grand dame of the drag world—he would be like the Dame Judi Dench of the drag women. We can’t know, but maybe it would have been Divine’s Drag Race instead of RuPaul’s Drag Race.

John Waters’s movies with Divine were criticized at first for being trashy. Now they’re being being celebrated in a retrospective at a cultural institution like BAM. In 20 years, do you think today’s trash will be celebrated?
I don’t think so. The trash of reality TV looks down on people—we’re encouraged to make fun of those people. But that’s not the case with Divine or John Waters films. You’re rooting for the characters. You’re rooting for the outsider. Maybe there will be nostalgia for those reality shows? I don’t know. I do know for a fact that in 20 years people will be watching Divine movies.

@mitchsunderland

More about the films of John Waters:

John Waters’s Role Models

We Interviewed John Waters, and It Was Great

John Waters Is Doing a Live Christmas Show, and I Interviewed Him

Olivia Mears was invited to an internet-themed costume party, so she dressed as Imgur, the image hosting website. Upvote!

What would a Neatorama dress look like?

Link -via Ian Brooks

¡Acción! ¡Romance! ¡Humor! ¡Gore moderado! ¡Guiños a la cultura comiquera! ¡La historia de Heracles (Hércules para los romanos) como nunca la habías visto!

Una profecía dictó que el primero que naciera, Heracles (hijo de Zeus y una humana) o su primo Euristeo, mandaría sobre el otro. Hera, furiosa por el adulterio de Zeus, adelantó el nacimiento de Euristeo, haciendo que el pobre semidiós tuviera que obedecer todas las órdenes de su despótico y cabrón primo (si no lo hace le pasarían cosas malas). Euristeo se aprovechaba de la situación para hacer que trabajase para sus intereses o para imponerle tareas peligrosas o humillantes. Herc no tiene problemas cumpliéndolas, viéndolo como una oportunidad de ayudar a los demás y de ejercer de héroe. Hera, incapaz de olvidar la traición de Zeus, manipula a Euristeo para que someta a 12 letales pruebas que espera que maten al semidiós bastardo. ¿Lo conseguirá?

Si conoces los mitos de Heracles ya sabes por dónde irán los tiros, pero David Rubín cambia muchos detalles y trocitos para que, sin perder esa base de fidelidad histórica, sorprenda al lector.
Es un cómic jodidamente magnífico. Si no lo lees… bueno, no te arrepentirás porque no sabrás lo que te pierdes, pero sería una lástima con lo bueno que es.

…

¿Debería mencionar que Craig Thompson (Habibi, Blankets, Adiós Chunky Rice)  es un fan de este comic y lo recomienda?

Idioma: Español.
Autor:  David Rubín
Tradumaquetadores:  Aruso [CRG]
Archivos: 2
Formato: CBR.
Tamaño:  109MB + 102MB

Descargar comics:

• El héroe

Enlaces P2P alternativos (eMule) - Lento pero duradero

• El héroe 01 (por Aruso) CRG.cbr
• El héroe 02 (por Aruso) CRG.cbr

Elmore Leonard, crime-fiction writer, died on August 20th at the age of 87.

In July 2001, Leonard wrote a short piece for The New York Times on his ten rules for writing that was eventually adapted into a book: Elmore Leonard’s 10 Rules of Writing.

His preface to the list is worth noting.

These are rules I’ve picked up along the way to help me remain invisible when I’m writing a book, to help me show rather than tell what’s taking place in the story. If you have a facility for language and imagery and the sound of your voice pleases you, invisibility is not what you are after, and you can skip the rules. Still, you might look them over.

Onto the rules.

1. Never open a book with weather.
If it’s only to create atmosphere, and not a character’s reaction to the weather, you don’t want to go on too long. The reader is apt to leaf ahead looking for people. There are exceptions. If you happen to be Barry Lopez, who has more ways to describe ice and snow than an Eskimo, you can do all the weather reporting you want.

2. Avoid prologues.
They can be annoying, especially a prologue following an introduction that comes after a foreword. But these are ordinarily found in nonfiction. A prologue in a novel is backstory, and you can drop it in anywhere you want. There is a prologue in John Steinbeck’s “Sweet Thursday,” but it’s O.K. because a character in the book makes the point of what my rules are all about. He says: “I like a lot of talk in a book and I don’t like to have nobody tell me what the guy that’s talking looks like. I want to figure out what he looks like from the way he talks. . . . figure out what the guy’s thinking from what he says. I like some description but not too much of that. . . . Sometimes I want a book to break loose with a bunch of hooptedoodle. . . . Spin up some pretty words maybe or sing a little song with language. That’s nice. But I wish it was set aside so I don’t have to read it. I don’t want hooptedoodle to get mixed up with the story.”

3. Never use a verb other than “said” to carry dialogue.
The line of dialogue belongs to the character; the verb is the writer sticking his nose in. But said is far less intrusive than grumbled, gasped, cautioned, lied. I once noticed Mary McCarthy ending a line of dialogue with “she asseverated,” and had to stop reading to get the dictionary.

4. Never use an adverb to modify the verb “said” …
. . . he admonished gravely. To use an adverb this way (or almost any way) is a mortal sin. The writer is now exposing himself in earnest, using a word that distracts and can interrupt the rhythm of the exchange. I have a character in one of my books tell how she used to write historical romances “full of rape and adverbs.”

5. Keep your exclamation points under control.
You are allowed no more than two or three per 100,000 words of prose. If you have the knack of playing with exclaimers the way Tom Wolfe does, you can throw them in by the handful.

6. Never use the words “suddenly” or “all hell broke loose.”
This rule doesn’t require an explanation. I have noticed that writers who use “suddenly” tend to exercise less control in the application of exclamation points.

7. Use regional dialect, patois, sparingly.
Once you start spelling words in dialogue phonetically and loading the page with apostrophes, you won’t be able to stop. Notice the way Annie Proulx captures the flavor of Wyoming voices in her book of short stories “Close Range.”

8. Avoid detailed descriptions of characters.
Which Steinbeck covered. In Ernest Hemingway’s “Hills Like White Elephants” what do the “American and the girl with him” look like? “She had taken off her hat and put it on the table.” That’s the only reference to a physical description in the story, and yet we see the couple and know them by their tones of voice, with not one adverb in sight.

9. Don’t go into great detail describing places and things.
Unless you’re Margaret Atwood and can paint scenes with language or write landscapes in the style of Jim Harrison. But even if you’re good at it, you don’t want descriptions that bring the action, the flow of the story, to a standstill.

And finally:

10. Try to leave out the part that readers tend to skip.
A rule that came to mind in 1983. Think of what you skip reading a novel: thick paragraphs of prose you can see have too many words in them. What the writer is doing, he’s writing, perpetrating hooptedoodle, perhaps taking another shot at the weather, or has gone into the character’s head, and the reader either knows what the guy’s thinking or doesn’t care. I’ll bet you don’t skip dialogue.

My most important rule is one that sums up the 10.

If it sounds like writing, I rewrite it.

Or, if proper usage gets in the way, it may have to go. I can’t allow what we learned in English composition to disrupt the sound and rhythm of the narrative. It’s my attempt to remain invisible, not distract the reader from the story with obvious writing. (Joseph Conrad said something about words getting in the way of what you want to say.)

If I write in scenes and always from the point of view of a particular character — the one whose view best brings the scene to life — I’m able to concentrate on the voices of the characters telling you who they are and how they feel about what they see and what’s going on, and I’m nowhere in sight.

What Steinbeck did in “Sweet Thursday” was title his chapters as an indication, though obscure, of what they cover. “Whom the Gods Love They Drive Nuts” is one, “Lousy Wednesday” another. The third chapter is titled “Hooptedoodle 1″ and the 38th chapter “Hooptedoodle 2″ as warnings to the reader, as if Steinbeck is saying: “Here’s where you’ll see me taking flights of fancy with my writing, and it won’t get in the way of the story. Skip them if you want.”

“Sweet Thursday” came out in 1954, when I was just beginning to be published, and I’ve never forgotten that prologue.

Did I read the hooptedoodle chapters? Every word.

(↬ @kathrynschulz, JA, and Detroit Free Press.)

Sponsored by #ogilvychange — Little ideas from big thinkers

Artist Toby Allen created an series called Real Monsters, meaning psychological conditions that haunt real people, illustrated as monsters. It's a work in progress, with more to be added. Link -via Laughing Squid

Tú eres un maricón y como te pille te pego una paliza. El francés se aprende solo, requiere muy poco esfuerzo, es una lengua romance conservada en salmuera por los putos franceses, esto es, una lengua viejuna, raruna, llena de giros e irregularidades que no son sino el penoso intento de los franceses por SER ESPECIALES haciendo su lengua artificialmente difícil. Pero es como viajar en autopista.

El alemán exige esfuerzo, sacrificio, dolor, sudor, pero te pone la cabeza como una caja de herramientas bien ordenada, es mil veces más bonito que el francés, su gramática es una ecuación termodinámica perfecta, su pronunciación es euclidiana, áurea, es un idioma que le da superfuerza a tu pensamiento, te permite objetivizar lo abstracto y además si lo hablas puedes cantar Lieder, estallando vaginas (de mujeres de bien) con la potencia de tu VOZ. Hablar alemán es lo más parecido a dominar la Voz Bene Gesserit. Sólo alguien muy mierdas podría no querer hablar alemán a la perfección antes de morir.

Yo he estudiado casi los mismos años de francés que de alemán: el francés lo chapurreo y si me hablan como a un tonto entiendo prácticamente el 100%. En alemán no sé ni decir “me he cagado encima” y si aprendo algo se me olvida en cinco días. Saca tus propias conclusiones, maricón, follaborrachas, que eres de los que metían los goles de cuchara todo el rato jugando al futbolín y en el Rescate sólo perseguían a las chicas porque corrían menos.

Además en Francia no hay franceses ya, sólo argelinos, negros y otras variantes del zombie moderno. Ladinos. Embaucadores. Hassasins. Y para las mujeres franceses siempre vas a ser un SUCIO NEGRO (pero con la polla pequeña). Y sólo se come bien ¡si te lo puedes permitir!

As if getting a virtual hummer from a prostitute wasn’t reason enough to pick up a copy of Rockstar Games’s groundbreaking “Grand Theft Auto V,” now you can assassinate a fictitious version of Facebook CEO Mark Zuckerberg.

For obvious legal reasons, Zuck is given the gentile name “Jay Norris” in “GTA V,” where he runs a company called “Lifeinvader” (close enough), and he’s just as douchey in the “GTA” universe as he is IRL. “This company has come a long way since we started it in my parents’ pool-house in East Carroway,” Norris says during a tech conference. “Today, you’re about to witness a new phase … We have put a billion peoples’ private data in the public domain and we have milked every penny we could in the process.”

The upside, according to the New York Post, is that at one point in the game, your anti-hero gets to make his noggin’ go ka-boom. But how does one pull off such a heroic feat?

From the Post:

Players must first don a disguise — sleeveless vest, cargo shorts and flip flops — to sneak into “Lifeinvader” headquarters, where they walk by parodies of the cheesy motivational posters the real Zuckerberg likes to keep on the walls.

Players are then asked to wait in a beanbag chair, before completing a mini-game and placing a bomb inside a prototype phone that the Norris/Zuckerberg character is about to debut at a tech conference.
The coup de gras comes as the fictional Facebook founder is seen promoting the mobile device on TV, and bragging about how it will complete his dream of information domination.

Moments later, players complete their crime by calling the booby-trapped phone, which goes off as Zuckerberg holds it to his head. In typical, gory, GTA style, the game shows the CEO’s headless body bleeding on the floor.

SOLD.

h/t Betabeat

This is Sir Stuffington. 

He was adopted after being attacked by a racoon.  His two brothers got adopted with him.

But Stuffington clearly outshines his brothers because he’s so tough.

Multnomah County Animal Services has provided the medical care needed for this young sir to recover from his injuries.

As well as helping him and his brothers recover from the upper respiratory infections and fleas that they had when they were found.

The treatments aren’t always the most fun.

And neither are baths.

But now that they’re all recovering, Sir Stuffington and his bros like to snuggle a lot.

And when their mom is at work and they’re left in the care of their dad, Sir Stuffington’s pirate side comes out.

CUTEST PIRATE TO EVER EXIST EVER.

And so we wish Sir Stuffington and his brothers the best of luck!  May they stay strong, pirate-like, and adorable for all of their days.

All photos via Sir Stuffington’s Facebook

Left side main photo by Amy Who Photography

Follow @megelizabeth

/dogswitheyebrows

via

Son Laura Brey y Adrian Brey, con Sol y Lois, los conocemos de sus lios sexuales en FAKings y de su adiccion al sexo. Era de cajon que teniamos que juntarlos en uno de nuestros videos porno, y aqui llega el acojonante resultado. Sexo liberal en estado puro con parejitas amateurs españolas y muy jovenes : Estamos de enhorabuena, y es que pocas veces en España se ha conseguido grabar el primer intercambio de parejas REALES de unos jóvenes que se inician en el mundo liberal. Lo creais o no, EL VIDEO NO ESTABA PLANEADO, y de hecho este video es anterior a los tríos que habéis visto de estas parejas, y es que nuestra idea inicial, para meter poquito a poco a Sol y Lois en el ambiente liberal, es que se acostumbraran a follar delante de otras parejas, buscándole el morbo a la situación, pero… el calentón que llevaba Sol era tremendo, Lois tampoco se quedaba corto viendo lo jodidamente bien que folla Laura Brey, todos son jóvenes, todos disfrutan del sexo, y pasó lo que tenía que pasar ELLA SE LANZÓ SIN PENSÁRSELO A LA POLLA DE ÉL. Lo que os traemos a continuación es una experiencia COMPLETAMENTE REAL, si estás pensando en inciarte en el mundo liberal con tu pareja, si tienes dudas… no te lo pienses: MIRA EL VIDEO .

Ver el video completo de 40:28 min >>
Acceso a todos los videos de FAKings por solo 2€ >>

Men have feelings for each other. DON'T FREAK OUT. It's totally normal. But if we treat it like a bizarre phenomenon, how are guys ever supposed to feel comfortable expressing themselves and the way the feel about each other?

In case you're wondering where you know this duo from, they starred together in the Cornetto trilogy: "Shaun of the Dead," "Hot Fuzz," and "The World's End."

An Upworthy original. Quote by Simon Pegg ("Star Trek," "Spaced," "The World's End") on the "WTF With Marc Maron" podcast. Background image by Trent Clarke, found on Wikimedia Commons and used under a Creative Commons license.

 
I first heard about Armando Bo’s lusty 1969 Argentinian sexploitation film Fuego (Fire) due to John Waters championing of the film, but I didn’t actually get to see it until last night. I’m always interested in seeing something that John Waters is enthusiastic about and I reckon that quite a few of you feel the same way. If so, then you need to get your hands on Fuego toot sweet.

It does not disappoint.

Fuego stars the outrageously hot, extremely well-endowed Isabel Sarli, who has the sort of “brick shithouse” build that Russ Meyer was so very fond of. Fuego and Meyer’s Vixen would make a great “nymphomaniac” double bill, but a more appropriate match-up would be Female Trouble and Fuego, which now that I’ve seen it, was obviously a big influence not only on John Waters, but also on Divine. Much of Dawn Davenport—the character’s fashion sense, walk and bouffant hairdo—would appear to be closely modeled on Isabel Sarli. Sarli was also an outrageously hammy actress and Divine just took her already over-the-top “undulating” acting style and turned the volume up to 11.

Sarli plays the insatiable, irresistible Laura and in this role, lemme tell ya, she is perfectly cast. Laura is a complete nymphomaniac and naturally this gives Sarli plenty of excuses to get naked, which she does constantly and we see her engaged in trysts with both men (any man seems to do, her catchphrase—normally screamed—is “I need men!”) and with her older, lizard-like lesbian maid. A wealthy businessman named Carlos (director Armando Bo, who also wrote the script and the insanely incessant music) sees some girl-on-much-older-girl action on the beach and later attends a party at Laura’s boyfriend’s house. Soon Carlos is seeing Laura, but he has no idea what he’s gotten himself into. She roams the streets flashing her tits and he is constantly catching her in bed with other dudes. It happens a lot.
 

 
The first part of Fuego is where most of the nudity occurs, whereas the later half is talkier, more melodramatic and more nuts. Laura realizes that her uncontrollable urges are causing her husband grief when he nearly kills an electrician he catches her bonking. They go to a “sex expert” to discuss what can be done about her “condition” (a Pocket Rocket might help…) During a gynecological exam, Laura has a thundering orgasm. The pair travel all the way to New York where Carlos is told by a doctor there that the only thing that can save Laura is his unwavering love.

I won’t tell you how it ends, but when you know in advance that Armando Bo and Isabel Sarli made 27 films together—with her rolling around naked in every single one of them—and that they were famously lovers for years (although he never left his wife for her), you can start to project all sorts of psychological things onto Fuego. First off, Bo wrote the script and so he therefore wrote the cuckold role for himself. There’s also the voyeuristic aspect of Bo arranging to see his woman getting her tits out for so many other guys.

There’s a certain “subtext” to Fuego, let’s just say.

Waters calls Fuego: “A hetero film for gay people to marvel at” and truly, it’s a movie that covers all the bases. I’d recommend watching it in a group, like Birdemic or something like that. It’s enjoyable no matter what, but like most “so bad that it’s good” movies, experiencing it for the first time with other people is the way to go. I also recommend the dubbed version, the actors obviously had fun with it.

Armando Bo died in 1981 and Sarli stopped making films, She is now a cult figure with a devoted following. Sarli was feted at Lincoln Center in 2010.
 

 
You can find Fuego cheap on Amazon and it’s also here.

The NSFW trailer for Fuego:
 

 
In the clip below from his John Waters Presents Movies That Will Corrupt You show, the Fellini of Baltimore waxes poetic about one of his favorite films, admits that he “stole” a lot of stuff from Fuego and you can see some of the opening titles:
 

ladyboy juicing herself originally appeared on My[confined]Space NSFW on September 19, 2013.

A 61-year-man in Texas went to a hospital complaining of dizziness. He was very drunk, but insisted he hadn't had a drink that day. His wife said he would become drunk at odd times. Hospital staff assumed he was lying about drinking, but gastroenterologist Dr. Justin McCarthy and Panola College dean of nursing Barbara Cordell wanted to get to the bottom of the case. They isolated the patient and monitored his blood-alcohol level for 24 hours, and found his alcohol level spontaneously went up after eating!

Eventually, McCarthy and Cordell pinpointed the culprit: an overabundance of brewer's yeast in his gut.

That's right, folks. According to Cordell and McCarthy, the man's intestinal tract was acting like his own internal brewery.

The patient had an infection with Saccharomyces cerevisiae, Cordell says. So when he ate or drank a bunch of starch — a bagel, pasta or even a soda — the yeast fermented the sugars into ethanol, and he would get drunk. Essentially, he was brewing beer in his own gut. Cordell and McCarthy the case of "auto-brewery syndrome" a few months ago in the International Journal of Clinical Medicine.  

The condition is quite rare, as brewer's yeast is usually not a problem for a healthy digestive system. Link -via Arbroath

I Am An Object Of Internet Ridicule, Ask Me Anything.

sarah silverman – nude in the shower – animated originally appeared on My[confined]Space NSFW on September 19, 2013.

Google! Always sneaking in ambitious projects when you’re not looking. This week they announced they’re starting a new company to try to invent the medical fountain of youth, and they also quietly produced a full documentary about The Clash as part of Google Play. Like most things the company does in the social or entertainment space, I still have no idea what Google Play is or what I’m supposed to do with it. But hey, they’ve used it create this 5-part in-depth documentary about the band with never-before seen footage of Joe Strummer. In part 1, which you can watch below, “the band explains how finding drummer Topper Headon made them a force that could transcend punk.” Watch the rest here.

H/t: BoingBoing
Image: JorgeFarah