Working girls in the Panamericana in the 90′s.

VIRGINIA MAESTRO..que DETALLAZO sería q COLECTIVO PANAMERA [en referencia a la carrera de resistencia PANAMERICANA donde en suelo AZTECA supero un PORSCHE SPIDER los 200 KM/HR x lo q crearon el PORSCHE PANAMERA y q me recuerda a q vi salir del actual estadio de atleti en la semana de su inauguración o sustituyendo al del MANZANA+eRES a "CAMINERO" cuando era director deportivo de ATLETI y el cual fue ENCAUSADO x Blanqueo de DINERO del NARCOTRAFICO..de hecho iba corriendo y se paro en el SEMAFORO a la Avda LUIS ARAGONES o el mercenario q prefirió fichar x un equipo TURCO donde FRACASO a cambio de muchos millones y dejar la selección española campeona de Europa'08 y con vistas al MUNDIAL de 2010 q ganaron con otro seleccionador como DEL BOSQUE q vino a verme a hacer la prueba o partidillo en REAL MADRID al ser amigo de la infancia en Salamanca de MARCIANO MARTIN o padre de mi amigo DANI MARTIN al q seleccionaron y a mi me dejaron la 1era parte en banquillo y en la 2da marque 2 goles , uno de CABEZA y otro de TIJERA..y no me seleccionaron..y al final a DANI MARTIN =EL CANTO DEL LOCO..le rompi la cara en la piscina de la urbanización.. ]..o NACHO TABUADA [novio de Sara CARBONERO.. q x cierto..todas sus parejas conocidas me son significativas o reveladoras incluso el ex_MISTER ESPAÑA presentador de la RULETA DE LA SUERTE Jorge FERNANDEZ]..te devolviera hoy en RIO BABEL la invitación que le hiciste para cantar EL RELOJ [tu nueva versión y single] en el BUHO REAL en 2022 [Creo q tiraste de todo tu ARSENAL ante mi "ACOSO APOCALIPTICO" sobre lo q dijiste q TODOS TENEMOS ALGO Q LIDIAR cuando no fuiste al TEMPO CLUB invitada x MELODY MAKERS en dic 2021 x supuesta indisposición tras el día antes haber estado en los cines PAZ en barrio de TRAFALGAR]..o NACHO MUR q actúa hoy también con la M.O.D.A. [Maravillosa Orquesta Del Alcohol] q se lanzaron con cd QUIEN NOS VA A SALVAR [q cierra NEW ORLEANS=sumergida en agosto 2005]..autores también del cd SALVAVIDA y el EP NI UN MINUTO MAS [7.47] grabado con ALBINI productor del cd IN UTERO d nIrVANa asi del cd FELPA de españoles DOBLE CAPA [=papel higienico] a los q vi junto a MATA MATA q presentaban cd SOMOS UN DESASTRE en sala SIROCO en mayo 2023....q fue tu guitarrista con el q p.e. fue un PLACER PURO METERSE EN LA CAMA tras tocar con él [no dejas claro si también te toco algo en la cama aunque lo q tengo claro es q no sería puro jaja] o con el q fuiste al CENTRO ANDALUZ DE ARTE CONTEMPORANEO o Monasterio de SANTA MARIA de las CUEVAS en cuyo patio PADRENUESTRO..esta la pintada de MONEY HAVING SEX de Jessica DIAMONDS con dibujo del Cigarrillo POST_COITAL q a lo mejor te fumaste con Nacho MUR q sustituyó como guitarrista la Transexual LUKA KRANKY antes ISA KRANKY cuando tocaba para ti como hizo con CRIS MENDEZ [presentando la canción VIDA contra el CANCER en el palco del BERNABEU para luego ser telonera y músico de DANI MARTIN del CANTO DEL LOCO y hacer la gira LA VERDAD sobre su cd QUE HAY DE MALO EN DISFRUTARLO] y de PATRICIA LAZARO autora de cd GLORIA PELEA..x lo q me pregunto si también fue un PLACER PURO tocar con ISA O LUKA KRANKY jaja

..y todo esto englobado en q el cabeza de CARTEL es JAMIROQUAI autor del DEBUT cd EMERGENCIA EN EL PLANETA TIERRA y cuyo ultimo cd es AUTO_MATON cuyo video homonimo es POST_APOCALIPTICO así como tiene x éxito BAD GIRLS

¿Una más? Claro que hay más con algo de #DanceHallReggae noventero con #ShabbaRanks #shabbaranksofficial #shabbaranksiskingofthedancehall y el ya muy conocido #AsRawAsEver #AsRawAsEverAlbum y todos los hits que nos hicieron bailar. Este fue el primer cassette de dancehalll reggae que tuve , fue un regalo de Radio Panamericana en aquel entonces. Lanzado en 1991 trae los siguientes temas A1 Trailor Load A Girls 3:57 A2 Where Does Slackness Come From 3:48 A3 Woman Tangle 3:47 A4 Gun Pon Me 3:50 A5 Gone Up 3:53 A6 Ambi Get Scarce B1 Housecall Featuring – Maxi Priest 3:38 B2 Flesh Axe 4:09 B3 A Mi Di Girls Dem Love 3:22 B4 Fist-A-Ris 3:31 B5 The Jam 3:23 #cassette #cassettes #cassettetape #cassettetapes #cassetteculture #cassetteigclub #cassettecollector #cassettestoreday #cassettecollection #cassetteplayer #musiconcassette #cassettelabel #cassettecollectors #cassettedeck #cassettealbum #cassetteplayers #cassetteg1ves #cassetterelease #cassetteclub #cassetteblog #cassetteaudio #cassetterecorder #cassettetapeplayer #taperecorder https://www.instagram.com/p/Cox6qO3P8h2/?igshid=NGJjMDIxMWI=

The Paper Girl (La Niña de papel) from AGPA 73: Pan American Graphic Arts (AGPA 73: Artes gráficas panamericanas), Maria Teresa Cuéllar Teyé, 1973, MoMA: Drawings and Prints

Gift of Cartón y Papel de México, S. A. Size: composition (irreg.): 19 × 15 13/16" (48.3 × 40.2 cm); sheet: 26 × 19 1/8" (66 × 48.6 cm) Medium: Lithograph from a portfolio of 11 screenprints (one with embossing), seven etchings (three with aquatint, one with embossing), six lithographs (one with etching), five linoleum cuts (one with embossing), one engraving, and one intaglio with embossing

http://www.moma.org/collection/works/67869

CANDY Aunque Candice White no era una heroína con súper poderes para combatir el crimen, el personaje creado por la japonesa Kyoko Mizuki (uno de los seudónimos de Keiko Nagita), significó un estandarte de liberación femenina para una época en la que el machismo y la sumisión de la mujer eran temas imposibles de tratar abiertamente en la sociedad. Pese a que otros personajes de la ficción como la Mujer Maravilla marcaban un símbolo para alzar la voz sobre la capacidades intelectuales e independientes del sector femenino tras la Segunda Guerra Mundial a través de los comics, “Candy Candy” logró acaparar un argumento similar pero bajo un carácter realista que abogaba por reflejar las pericias que una niña huérfana enfrenta para consolidarse emocional y profesionalmente a lo largo de su vida. “Candy Candy” ha sido sin duda una de las series animadas que marcó generaciones al ser traducida a más de 10 idiomas y llevada a todos los continentes bajo una idea pacifista que anteponía el instinto femenino como vértebra para determinar las buenas y malas acciones. Una de las virtudes de “Candy Candy” era su formato similar a las telenovelas con una narrativa en la que la trama del personaje principal atravesaba por distintas experiencias y aprendizajes, desde las más conmovedoras y llenas de esperanza, hasta las más solitarias y desgarradoras, dejando en claro que los finales felices no siempre eran obligatorias en las historias de ficción televisiva. Para Ligia García, maestra en Comunicación y Pedagogía de la Universidad Panamericana (UP), “Candy Candy” es un ejemplo del tipo de caricaturas que más allá de dibujos bonitos y coloridos, tiene un mensaje directo sobre los clichés que la mujer contemporánea tendría que romper progresivamente, pues más allá del drama de que “Candy” fuera huérfana, el personaje presentó a una mujer rebelde, autónoma y que evitaba quedarse callada ante las injusticias de su alrededor. A contracorriente Conforme la historia de “Candy” se revelaba a lo largo de dos años, a través de 115 capítulos, la serie animada también rompía un poco con la idea de los amores eternos y el “vivieron felices por siempre”, pues aparecían personajes que hasta cierto modo exhibían y criticaban estereotipos relacionados a las conductas masculinas en los terrenos sentimentales hacia las mujeres, además de abordar pasajes históricos que determinaban el actuar de la sociedad. “Para el momento en el que surgió ‘Candy Candy’, sí era una historia sumamente atractiva; los personajes abogaban por diferentes estereotipos de hombres, desde el más aventurero hasta el formalista o el guapísimo. ‘Candy Candy’ es una historia que, pese a ser un anime japonés, se desarrolla en Estados Unidos y hablaba de la aristocracia británica y norteamericana en un momento importante por ejemplo del país (Estados Unidos) posteriormente a la independencia”. Otro punto que consolidó “Candy Candy” fue la forma en que su contenido era expuesto en la pantalla chica al apostar por un formato radicado en el sentido educativo que daba prioridad a los valores universales como la familia, el amor, el reconciliación, la multiculturalidad, la libertad, elementos que no se destacan tanto en las series animadas actuales que se enfocan más en historias protagonizadas en la fantasía con situaciones lejanas a la vida real. “‘Candy Candy’ era un contenido de mucha calidad en la televisión. El personaje era complejo, incluso la historia, porque se abordaban temas sobre historia, cultura, se mencionaban las guerras civiles. La historia y su narrativa en sí eran muy ricas, por eso gustaba tanto, era una gran telenovela”. La académica universitaria, Ligia García, puntualiza que en el caso de “Candy Candy”, la repetición de mensajes positivos y métodos pacíficos para lograr la solución de problemas, son factores que ayudaron a la serie a convertirse en un referente motivacional sobre los paradigmas que la mujer estaba por enfrentar hacia la liberación e igualdad de género. “Había una diversidad en la historia que la hacía atractiva independientemente del personaje. Fue un acierto muy grande el tener como protagonista a una mujer recia, que contestaba, que buscaba sus sueños y que en el fondo creía en el amor, era huérfana y quería ese soporte familiar; sin embargo, en su mayor apogeo en los años ochenta y noventa, todos los mensajes de los medios de comunicación e incluso en las películas de Disney, idealizaban a la mujer buscando el amor y me parece que ‘Candy’, como personaje de ese momento, era de los más integrales que lo hacían de una forma distinta a la esperada”. ¿Qué se ve ahora? La especialista en pedagogía argumenta que “Candy Candy” representaba un lujo educativo al tener la posibilidad de que los niños comprendieran de manera independiente los argumentos e intenciones de los personajes, situación que no acontece con las caricaturas actuales, en las que se recomienda tener la supervisión del padre de familia para determinar si el contenido es o no apropiado para los niños. “En un niño influye todo porque todavía está en una etapa en la que su cerebro está en desarrollo, al igual que sus afectos y gustos. En el niño influye todo lo que ve y escucha, tanto en la calle, en casa o en televisión, es por ello que siempre necesita de la mediación de un adulto. Lo recomendable es que el padre de familia tiene que saber qué está viendo su hijo y le sepa explicar o mediar los contenidos”. La experta en Educación y métodos de aprendizaje explica que a diferencia de pasadas generaciones que encontraban en la televisión o el cine a personajes como modelos a seguir, ahora es situación no es determinante para los niños al existir otros medios de comunicación que ofertan contenido más variado, directo y sin distinción de etiquetas femeninas o masculinas como ocurría en las caricaturas. “Todo se ha diversificado y aunque siguen existiendo las historias tradicionales como Candy, también están aquellas más fantasiosas y de ficción. Ahora hay mucha diversidad de opciones y canales, no solo se trata de televisión porque ya podemos ver en internet cualquier cosa. Actualmente un niño puede sobrevivir sin televisión  si tiene a su alcance una computadora. Esa diversidad hace que esta plataforma tan extensa de opciones tenga contenidos con enfoques muy tradicionales con valores que apuestan por la familia pero también el otro lado hay contenidos sin una ideología clara”. CANDY Although Candice White was not a hero with super powers to fight crime, the character created by Japanese Kyoko Mizuki (one of the pseudonyms of Keiko Nagita), meant a banner of women's liberation for a time when machismo and submission of women were impossible subjects to deal with openly in society. Although other fictional characters like Wonder Woman marking a symbol to raise his voice on the intellectual and independent capacities of women's sector after World War II through the comics, "Candy Candy" managed to grab a similar argument but under a realistic character that advocated reflecting the skills that an orphan girl faces to consolidate emotionally and professionally throughout her life. "Candy Candy" was undoubtedly one of the animated series that marked generations to be translated into more than 10 languages ​​and carried all continents under a pacifist idea put in front vertebra female instinct to identify good and bad deeds. One of the virtues of "Candy Candy" was his like soap operas with a narrative in which the story of the main character was going through different experiences and learning from the most poignant and full of hope, even the most lonely and heartbreaking format, making it clear that happy endings were not always obligatory in television fiction stories. For Ligia García, a teacher in Communication and Education at the Universidad Panamericana (UP), "Candy Candy" is an example of the kind of cartoons that beyond pretty pictures and colorful, has a direct message about the clichés that contemporary women should break progressively, because beyond the drama that "Candy" was an orphan, the character presented a rebellious, autonomous woman who avoided being silent before the injustices around her. Counterflow It as the story of "Candy" was revealed over two years, through 115 chapters, the animated series also broke a little with the idea of ​​eternal love and "happily ever after" for appearing characters up In a certain way, they exhibited and criticized stereotypes related to masculine behaviors in the sentimental areas towards women, as well as addressing historical passages that determined the actions of society. "By the time 'Candy Candy' emerged, it was an extremely attractive story; the characters advocated different stereotypes of men, from the most adventurous to the formalist or the gorgeous. 'Candy Candy' is a story that, despite being a Japanese anime, is developed in the United States and spoke of the British and American aristocracy at an important time for example of the country (United States) after independence. " Another point that consolidated "Candy Candy" was the way in which its content was exposed on the small screen by betting on a format based on the educational sense that gave priority to universal values ​​such as family, love, reconciliation, multiculturalism , freedom, elements that do not stand out so much in current animated series that focus more on stories starring in fantasy with situations far from real life. "'Candy Candy' was a high quality content on television. The character was complex, even the story, because they addressed issues about history, culture, civil wars were mentioned. The story and its narrative itself were very rich, that's why I liked it so much, it was a great telenovela ". The university academic, Ligia García, points out that in the case of "Candy Candy", the repetition of positive messages and peaceful methods to achieve the solution of problems, are factors that helped the series to become a motivational reference on the paradigms that the woman was about to face liberation and gender equality. "There was a diversity in the story that made her attractive regardless of the character. It was a great success to have as a protagonist a strong woman, who answered, who looked for her dreams and who in the background believed in love, was an orphan and wanted that family support; however, in its heyday in the eighties and nineties, all the messages from the media and even in the Disney films, idealized the woman looking for love and I think that 'Candy', as a character of that moment , was one of the most comprehensive that did it in a different way than expected. " What do you see now? The specialist in pedagogy argues that "Candy Candy" represented an educational luxury when having the possibility that children independently understood the arguments and intentions of the characters, a situation that does not happen with the current cartoons, in which it is recommended to have the supervision of the parent to determine whether the content is appropriate for the children. "In a child everything influences because he is still at a stage in which his brain is developing, as well as his affections and tastes. In the child everything that he sees and hears influences, whether on the street, at home or on television, that is why he always needs the mediation of an adult. The advisable thing is that the father of family must know what his son is seeing and he knows how to explain or mediate the contents ". The expert in education and learning methods explains that unlike past generations who found in television or movies characters as role models, now it is not a determining situation for children to be other media that offer more varied content , direct and without distinction of feminine or masculine labels as it happened in the cartoons. "Everything has diversified and although there are still traditional stories like Candy, there are also those more fantasy and fiction. Now there is a lot of diversity of options and channels, not only is it about television because we can already see anything on the internet. Currently a child can survive without television if he has a computer at his fingertips. This diversity means that this extensive platform of options has contents with very traditional approaches with values ​​that opt ​​for the family but also the other side there are contents without a clear ideology ".

Dragon-related dialogue that happened yesterday at a birthday party. There’s a group of us known as the How To Train Your Animator gang because we all like HTTYD. An animator in my youth group is someone who coordinates the younger kids.

So. This conversation ensues:

Mica: So, has euge seen the movies yet? Euge: I did! I love the girl twin who says TAKE MEEEE Me: She’s also now mildly famous on tumblr Lagre: Why? Euge: I thought Hiccup would have a baby brother at the end of the second one (all laugh)  Porti: I bet we’re all going on the 31st, right? Roma: OF COURSE WE ARE.  Me: Let’s make a fucking party out of the 31st! We gather at Euge’s because it’s the middle point. At around two pm we go to the Showcase Cinema Porti: But that cinema doesn’t sell the toothless cup! Euge: We can cross the panamericana avenue and go to the other shopping mall. There’s a Hoyts Cinema there. You get a cup.  Porti: That’s good.  Me: -and at Showcase we get tickets for like, the 6 o’clock screening. Because Showcase is like 100 pesos cheaper. Mica: Then we cross the panamericana, get to Hoyts so Porti gets his cup and spend the afternoon there until like, half past five. Roma: And be buy some tissues because Sofi here will cry. Then we cross back to Showcase Lagre: (randomly comes over to me and hugs me) We need four 2x1 promos. We’re eight, including Ramiro who couldn’t come.  Me: ... guys. I love you all. 

(roma blows me a kiss, lagre kisses the top of my head, mica makes another mate and gives it to eugenia who smiles and imitates Ruffnut saying take meeeee)

In conversation with Andy Jackson ...

SIGNAL TO NOISE (2014)

Andy Jackson is a recording engineer best known for his work with the British progressive rock band ‘Pink Floyd’. He is also the owner and operator of Tube Mastering, a private studio specializing in recorded music mastering.

Originally trained in the profession by producer/engineer James Guthrie at Utopia Studios and serving as his assistant for several years, Jackson began work as an engineer for Pink Floyd in 1980, assisting in the recording of the performances of “The Wall” at Earls Court. As Guthrie's assistant once more he then worked on the film soundtrack recordings for “The Wall” and the studio album “The Final Cut”. Once Guthrie relocated to Los Angeles, Jackson became the band's primary engineer beginning with “A Momentary Lapse of Reason” and then “The Division Bell”; plus the material recorded for the soundtrack to the band's 1992 auto racing documentary film “La Carrera Panamericana”. He was also the Front of House engineer on the band's 1994 world tour. His current primary responsibility is as the Senior Engineer for David Gilmour's studio, ‘Astoria’ and has worked on all of Gilmour's recordings/multimedia projects as an engineer and/or co-producer since 1984. He was also the engineer on Roger Waters' first solo album “The Pros and Cons of Hitchhiking” and worked Front of House on Waters' 1984 tour.

Jackson (in collaboration with engineer Damon Iddings) has remastered the majority of the bonus features material on the Immersion editions of “The Dark Side of the Moon” and “Wish You Were Here” for the Why Pink Floyd...? reissue campaign.

In addition to his work with Pink Floyd, Jackson has also worked with artists such as ‘Heatwave’,’ Strawbs’, ‘The Boomtown Rats’ (most notably mixed their hit "I Don't Like Mondays"), ‘Incredible Kidda Band’ and goth rock group ‘Fields of the Nephilim’ – he was also guitar player in the live band version of ‘The Eden House’.

Jackson is a two-time nominee for the Grammy Award for Best Engineered Album for ‘A Momentary Lapse of Reason’ and ‘The Division Bell’.

Inbetween engineering, producing, AND playing bass on two of the tracks on Pink Floyd’s new album “Endless River”, Andy has also recorded his first truly Solo album.   Helen Robinson caught up with him recently to talk to him about ‘Signal To Noise’, and of course ... Pink Floyd!

HR : So, this is actually your 4th record, but your first entirely solo album?

AJ : It’s the 4th one I’ve made yeah, the others sort of leaked out and nobody noticed! So yes this is the first proper one.

How long did it take you to put it together from concept to mastering?  

When I finished working on the last ‘Eden House’ album at the beginning 2013 – I decided I’d done enough there and it was time to move on.  So I started thinking about the idea of doing my own stuff then, but there were all sorts of brick walls in the way, which all became part of the process; struggling through the barriers of taking on things that I couldn’t do. First one being lyrics ; I had never written lyrics on my own before -  I’d done a little bit in collaboration, but that was the first question I had to ask myself “can I do this, can I write lyrics?”. I started the process and started to get things that I liked and it became something that I felt confident in doing. I didn’t want to do things that were naff, and I certainly wasn’t going to write about girls and cars – I wanted to write about things that interest me, or something that I wanted to say.   Having done a lot of stuff through work where people struggle to have lyrics until late on in the process, I really thought that was NOT the way to do it! So it was a very deliberate thing with this to have the lyrics first. And then I either wrote the music from scratch, or maybe if I had an idea knocking around that went with it I would work on it - but lyrics were quite pivotal in the process.   So that was early in 2013 but it’s been quite bitty since because I’ve made a Pink Floyd album in the meantime, but there were long  periods where I wasn’t working and could get on with ‘Signal To Noise’

Was it a joyous experience or, because it’s what you do day in day out, did you find it frustrating?

No no! In some ways it’s actually fulfilling what I have always wanted to do. When I first got into recording it was on the basis of wanting to make records of my own. I wasn’t really trying to do that, but it was the next best thing.   I never felt I had the ability or the confidence to do stuff on my own. I played in bands a bit but nothing that really went anywhere. And I’ve been recording for long enough, so that part of its easy. Actually piecing it together and doing a lot of the music was quite quick. It was more the thinking about it stages and where I was tackling stuff that was quite difficult, but that became part of the ethos of the album as I said before. You know, doing stuff that was hard - which sort of became a lyrical thread, that ran through the album, about grabbing hold of life rather than just drifting. There were quite a few challenges but I felt it was good to have the challenges! It pushed me to my limits and it became a real interesting process of learning stuff.   It has made me listen to music in new ways. Having to sing myself, which was not what I originally intended to do. I was going to get a succession of guest singers to do it, but it became clear pretty quickly that I didn’t want to do that.  It just didn’t feel like it was my album with someone else singing it - having written the lyrics and done vocal demos to give an idea; people ended up singing them differently and it wasn’t really what I wanted. So that was a big challenge because I’d never sung myself, before. When I first heard it I didn’t like it, but I stopped for about 3 months and just concentrated on improving my vocals - Until I got to a point where I could listen to and think about it as if it was someone else singing . So that was quite tricky.

Which again echoes what you say about reflecting a life process where you take control of things ... Well exactly!  It’s a bunch of threads in my life coming together. It coincided with a time of quite big change in my life – personal circumstances. I was at a point in life where it would have been easy to just drift into a state of freewheeling and I became very determined not to do that. And not spend time wishing I was this or that, and just thought ‘well I can still do that’ – it was just a question of putting the work in. And it’s been really rewarding. In some ways doing things that are easy – there’s not a lot of value in it. If you push yourself to the limit, and do things that are hard, you get tremendous personal value from it. It’s been a great experience from that point of view.

So are you happy with it then?

Oh of course not!  [laughs]  But yes as well!  Anybody who makes records will always think there are a million details that you could have done better. But I’m also very aware – having worked with Pink Floyd so much, where everything takes such a long time – I’m quite keen to get to a point and just move on,  and if there’s stuff that can be better then,  do it next time!  Which I have already started to process, I’m already writing again for the next one; and just trying to learn all the time - find out new stuff - and I already think that the next one is going to be better than this one ... which is the way that it should be!

I’ll look forward to that ...

Yeah could be a while yet [laughs] although now I’ve finished the Floyd album I’m less busy ; and I like to be busy , I like to do stuff, I’m not good at just sitting around, otherwise I go riot!

Presumably you were a musician before you were a sound engineer?

I was a bad musician, yeah! [laughs] My dad taught me to play guitar when I was about 10. I was always really keen and played in bands at school and things like that ...

Was there a particular piece of music that inspired you to want to be a part of the recording process?

Well because of the age I am, my love through my teens was British Prog – King Crimson, Vandergraf and stuff like that. It was that that got me into music and - I would listen to it and picture in my head the people playing it and want to be recording it. Inevitably when you get into the industry, as a studio engineer, you’ll record anything that comes along really – mainly pop music – but then the opportunity came to go and work with Floyd and that really was the ‘never look back’ point.  Which has been fantastic – what a brilliant thing to have done. I just wish we’d been busier!! Actually recently it’s been busier because David’s [Gilmour] done a few things, and there have been reissue box sets and things, which have been nice to work on.

Do you have a Favourite piece of gear that you use in the Studio?

Oooh. I’ve got favourite guitars – i have a guitar collecting habit! In terms of recording stuff. No, I mean I’ve got things that I use a lot because I regard it as being really good, but nothing that makes me really excited like a favourite compressor or something!

Favourite Guitar then?

Well it changes all the time. At the moment its one I just bought.  It’s a Paul Reed Smith. I’ve had loads of them over the years but this one’s beautiful, unusual. As far as I know it’s the only sort they’ve ever made that has a Soapbar, tremolo, and not got a maple top. So that’s why I got it, but it weighs a ton! Ironically it’s not on the album! [Signal to Noise] I bought it more recently but I can actually say that all the guitars I own, have got on the album somewhere – because when you’ve got a part you just pick up each guitar until you find one that’s right for it, and I ended up using them all!

Have you embraced the evolution of technology – do you rate MP3 vs Vinyl / CD

No - they don’t sound very good, that’s for sure! It’s a real shame that it’s the first time we’ve ever gone backwards in sound quality.  There’s been a continual push forwards ; even within CDs – at the margins of the technology it was about how good the players were and how good converter technology was and things like that, and that all keeps going forwards.   But MP3s are a terrible backwards step!   There’s still clearly an appetite amongst some people for much higher resolution stuff and if you release it, people will buy it - above CD I mean, really high res stuff.   My album will be available like that. You can buy it just as a CD, or there’s a double disc version as an alternative which has 2 discs – CD bundled with a DVD which has got Hi-Res and a surround version on it. It’s been nice to do that.   I chatted to a few people when the ‘Division Bell’ [Pink Floyd] surround came out and a lot of people really liked that, so certainly there is a bunch of people who will buy it because it’s surround - and also because I love it! Every album I do now there’s a ‘surround’ with it as well.

Favourite album that you’ve worked on? It’s funny with working on albums because it puts it into a completely different mental place, and you can never hear it the way you hear an album you don’t work on. In some ways the ones that I enjoy listening to the most now, are the ones which were recorded incredibly quickly. For example – David Torn, who’s an avant-garde jazz guitarist, did an album called ‘Cloud About Mercury’, which I recorded, and it was done in 3 days. There’s almost no ‘pollution’ by the recording process, and I can just listen to it as if it’s someone else’s album.

I have to say that the new ‘Pink Floyd’ album “Endless River” was really fun to do because it was quite a different project to anything else I’ve done.   We were taking existing material and manipulating it, and that made it a very different process to the conventional one that we’d normally use, so I have really have enjoyed this album.

I really enjoyed making mine too, but for different reasons.   I’m already thinking on the next one, what I’d like to do – and maybe work in different ways, try to do it in much more of a band kind of way if I can find the right facilities to do it, because I can fit a drummer in my bedroom! [laughs].

Are you going to be able to listen back to ‘Signal To Noise’ in years to come without it really paining you that it’s summing up this period in your life now?

No, no, I listen to it all the time actually - I genuinely do listen to it for pleasure – I really like it!

Is there an album, which you haven’t worked on, that you’ve listened to and though ‘’Ah that would have sounded so much better if I’d have engineered / produced it’’?

Oh that’s not fair! I can’t answer that!  Yeah LOADS! But I’m not going to say anything ... [laughs] I would be critical of everything I ever hear to be honest, even if it’s done really really well, subjectively one would make different choices!   It’s inherently a subjective art form, and everyone’s work is different.  I can’t think of anything  I’ve listened to and thought that it’s perfect, but I’m sure people listen to my work and say exactly the same.  

Well if everything was perfect I suppose you’d never strive to create anything new or better ...

Well that’s right! It’s interesting, and talking to people I know who say the same thing – they’re their own worst critic and always feel that they could have done better, and that pushes you on. I really try to get better all the time. Even working on the new Floyd album, I was working with new techniques; because out of necessity I have to invent something, and then it becomes a really interesting area to explore and you can do new stuff that you’ve never done before. So I always try to keep learning, and I think I do!

You’ve been Nominated for 2 Grammys – is it important to you to have a recognised achievement like a Grammy, or is it enough to have been responsible for crafting a world recognised sound across Pink Floyds albums in the past 25 years?

Not really.  It’s nice, but to be honest, I really only have to answer to myself I think. Of course, other people’s opinions count, and inevitably we all have certain vanities, and enjoy it when people like what you do, but really it’s more about whether you can look at yourself in the mirror and know that you’ve maximised yourself and put the effort in. It’s certainly the way that I look at things now, and it really pushes me forwards to achieve things.

Is it testing to work with Pink Floyd?  Do you have conversations about the recordings before you begin? Do they come to you with a particular sound in mind, or do they let you have control?

It tends to be more talking about other things when we’re stopped really! People, with them, have always imbued it with a great sort of reason, even down to the most bizarre things like linking up ‘Dark Side Of The Moon’ with ‘The Wizard Of Oz’ – people give it meaning that’s over and above what it actually has.   When it comes down to it it’s much more intuitive - the same as most people making music really. It’s not fundamentally that different to anyone else’s recording process I don’t think, but yeah, as far as control goes – particularly when it comes to mixing, I’ve worked with them for so long now, since 1981, I have got a pretty good idea what it’s supposed to sound like and that makes it a much easier process.

What’s the most fun – Pink Floyd or David Gilmour’s solo recordings?

It’s not really very different to be honest. There are different people involved, but at the core, you’re working with David. Whether it’s Floyd or his Solo thing – he’s the dominant factor in it. If you group together his 3 solo recordings and include ‘Momentary Lapse of Reason’ and ‘Division Bell’, I think ‘On an Island’ was probably his best work.

Any artist who you’d really love to work with?

They’re all dead! [Laughs]

So your next project is to invent a time machine!

Yeah exactly!   It would have been interesting to have been the industry maybe 10 years before I started in 1976. There would have been some really interesting stuff to be involved in but ... I make my own interesting stuff ... I hope!!

New to streaming - 9/15/17

NETFLIX

American Vandal: Season 1 (Original)

First They Killed My Father (Original movie)

Foo Fighters: Back and Forth

George Harrison: Living in the Material World

Ghost of the Mountains

Jeff Dunham: Relative Disaster (Original)

Larceny

Offspring: Season 7

Pocahontas

Project Mc²: Part 5 (Original)

Rumble

Strong Island (Original)

The Forgotten

VeggieTales in the City: Season 2 (Original)

HULU

An American Werewolf in London (1981)

Anomaly (2014)

Child of God (2013)

Endless Love (1981)

Filth (2013)

Good Behavior: Complete Season 1 (TNT)

Once Upon a Time in Shanghai (2015)

Robo-Dog: Airborne (2017)

Skating to New York (2013)

South Park: Complete Season 21 (Comedy Central)

The Lookalike (2014)

The Mindy Project Season 6 Premiere (Original)

The Orville: Series Premiere (FOX)

The Road Within (2014)

The Thaw (2009)

The Women of Brewster Place (1989)

These Final Hours (2013)

Top of the Lake: China Girl 

Tyler Perry’s Madea Goes to Jail (2009) (9/16)

AMAZON PRIME VIDEO (Free trial or Free 6 mo. for students then 50% off)

An American Werewolf in London

Beauty and the Baker: Season 1

Endless Love

Frantz (2016)

ReGenesis: Seasons 2-4

The Ray Bradbury Theater: Season 6

The Thaw

The Women of Brewster Place

Tyler Perry’s Madea Goes to Jail (9/16)

HBO

Maquinaria Panamericana (AKA Panamerican Machinery) (2016)

La La Land (2016) (9/16)

Vice Principals: Season 2 Premiere (9/17)

(ht Decider)

Murder Mystery-2019

TAG-Heuer Grand Carrera Calibre 17 RS2

  Un oficial de policía de la ciudad de Nueva York finalmente lleva a su esposa a un viaje europeo largamente prometido. Un encuentro casual en un vuelo con un hombre misterioso los invita a una reunión familiar íntima en el súper yate de un anciano multimillonario. Cuando el hombre rico es asesinado, se convierten en los principales sospechosos.

  ********************

  Algunas críticas:

“Una experiencia satisfactoria, una comedia de verano sorprendentemente ágil que encuentra a Aniston y Sandler en su máxima expresión.”

Benjamin Lee para The Guardian 

  “‘Criminales en el mar’ se siente tan descaradamente chillona como las joyas de pasta,  una chuchería para las noches que no aspiran a nada más exótico que una pizza. Eso sí Aniston brilla de verdad.”

Amy Nicholson para Variety 

  “Cualquiera que haya visto ‘Hazme reír’, ‘Punch-Drunk Love’, ‘The Good Girl’, o las primeras temporadas de ‘Friends’, sabe que Sandler y Aniston son buenos artistas. Sin embargo, por la razón que sea, su filmografía está sobrecargada con menudencias como esta inocente aventura de Netflix.”

Elisabeth Vincentelli para New York Times

  “En su mayoría todo son adornos para escaparates en un cuento tan genérico y aburrido como su título.”

John DeFore para The Hollywood Reporter

  “Hacer películas agresivamente estúpidas para Netflix es probablemente lo más inteligente que puede hacer Sandler, ya que el gigante de la transmisión ha demostrado una y otra vez que pagará por las marcas de renombre.”

Barry Hertz para The globe and mail

  ********************

  De esta película absolutamente olvidable, mencionaré la aparición de una pieza icónica de TAG-Heuer de la mano del actor mexicano Luis Gerardo Méndez, quien da vida al piloto de fórmula 1 Juan Carlos Rivera.

Es cierto que no se lo puede apreciar más allá de un medio plano en el minuto 01:21:10. Pero al trata de una pieza con un diseño distintivo de TAG.Heuer, este reloj no pasa desapercibido aún en este tipo de planos.

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En el artículo de hoy intentaremos saber algo del TAG-Heuer Grand Carrera Calibre 17 RS2 de edición limitada, con caja de titanio de grado 2 y PVD de *carburo de titanio. Este modelo fue introducido, junto a la versión CAV518E.FT6016 con bisel y detalles de oro rosa, en el catálogo del año 2010 como una edición especial del TAG-Heuer Grand Carrera Calibre 17 RS lanzado en 2007.

*El carburo de titanio es un compuesto detitanio y carbono. Es un material cerámico, en forma de polvos grises o de sólído cristalino, negro, brillante, extremadamente duro, de 9 a 9,5 en la en la escala de Mohs. Conduce la corriente eléctrica y se utiliza en la fabricación de herramientas de corte.

    Lamentablemente casi no existe información disponible de este modelo más allá de sus características. Y al igual que su antecesor, se convirtió en ícono de TAG-Heuer. A 9 años de su lanzamiento solo pude encontrar una tienda –situada en Vicenza, Italia) que aún ofrece un ejemplar nuevo de este modelo de Gama Media Alta por us$ 6,796.

Resulta prácticamente imposible encontrar artículos o revisiones del modelo, aunque existe una buena oferta de piezas de segunda mano por precios que oscilan entre los us$ 2,700 y us$ 4,335 según el estado de cada uno de estos relojes y la pretención de cada propietario.

Para que este artículo no sea en vano, le echaremos un vistazo al modelo que lo precedió: el Grand Carrera Calibre 17 RS presentado en el año 2007.

La colección Grand Carrera Calibre 17 RS de 2007

Grand Carrera fue colección premium de relojes deportivos de Tag-Heuer, lanzada en 2007, después de cuatro años de desarrollo. La simplicidad del diseño, heredada del legendario reloj Carrera, así como el atrevido aspecto deportivo de sus relojes, se combinaron con un toque sutil de lujo y elegancia, proporcionando una forma distintiva que  encontró su lugar en el mercado relojero.

Esta fue la única colección de Tag Heuer que ofreció solo versiones mecánicas. Todas las piezas equipadas con movimientos automáticos oficialmente certificados como cronómetros (calibres 6RS, 8RS, 17RS y 36RS). “RS” se refiere al disco del Sistema de Rotación que es la marca registrada de la Colección Grand Carrera.

      43 años después del lanzamiento del primer Heuer Carrera, inspirado en la famosa Carrera Panamericana de la década de 1950 a través de todo México, TAG deleitó a todos los apasionados conductores y amantes de los relojes con esta colección premium. La serie Grand Carrera para hombres rinde homenaje al legendario modelo, pero la ofrecía de una forma algo distinta.

  En lugar de usar subesferas tradicionales, los relojes de la colección Grand Carrera cuentan con los discos del Sistema Rotativo, inspirados directamente en el diseño del motor de un auto de carreras GT. Por lo general, ofrecen una mejor legibilidad que algunos sub-dial tradicionales, aunque son menos precisos. Lo más importante es que los discos RS (Rotating System) brindan a los diseñadores una mayor flexibilidad, lo que contribuye al aspecto estético único de los relojes Grand Carrera, sean los modelos elegantes con prestaciones básicas o cronógrafos con mecanismos de alta velocidad.

El cronógrafo Grand Carrera Calibre 17 RS cuenta con dos subesferas: el segundero a las 3 en punto y el contador de minutos a las 9 en punto. Su caja de 43 mm está hecha de acero cepillado fino (excepto la edición limitada en oro rosa). Y combina con el bisel pulido y cepillado fino con escala taquimétrica y con la correa de cocodrilo o la pulsera de acero.

El reloj funciona con el movimiento automático Caliber 17 RS (ETA 2894-2), con dos sistemas giratorios. Este cronómetro oficialmente certificado trabaja con 28,000 vibraciones por hora (4 Hertz).

La esfera del reloj fue presentada con dos variantes: blanco y negro que representa la auténtica clásica elegancia de la marca. El centro opalino y la textura espiral externa le dan un toque estético único, mientras que la apertura de la fecha aplicada a mano a las 6 en punto, los marcadores de hora curvados aplicados con doble acabado y los marcadores luminiscentes en las manecillas garantizan una excelente legibilidad.

Otros elementos clave del diseño del Grand Carrera son el logotipo TAG-Heuer aplicado a mano, la corona y los botones pulsadores extragrandes y el doble fondo de zafiro, sellado con 6 tornillos. El reloj cronógrafo TAG-Heuer Grand Carrera Caliber 17 RS es impermeable hasta 100 metros y estaba disponible por us$ 4000, por lo que debemos considerar a este modelo dentro del segmento de Gama Media Alta.

      Características del Tag Heuer Grand Carrera Calibre 17 RS2 CAV518B.FC6237 L.E.

Movimiento: Calibre automático 17 RS2

Caja: Titanio de 43mm de ø

Bisel: Fijo

Cristal: Zafiro

Esfera: Negra

Tapa de caja: Transparente

Estanquidad: 100 metros

Correa: Piel de cocodrilo negra con pespunte rojo

Funciones: Hora, minutos, segundos, fecha y cronógrafo

Reserva Marcha: 42 horas

    Los 129 modelos Carrera

  Las 8 colecciones TAG-Heuer

  Catálogo TAG-Heuer 2010 pdf

  Website de TAG-Heuer

    PRÓXIMO ARTÍCULO: MURDER MYSTERY-2019 Y ROLEX

    GRACIAS POR SEGUIRNOS

MIJAEL MAZZ

    TAG-Heuer Grand Carrera Calibre 17 RS2 Murder Mystery-2019 TAG-Heuer Grand Carrera Calibre 17 RS2 Un oficial de policía de la ciudad de Nueva York finalmente lleva a su esposa a un viaje europeo largamente prometido.

El Archivo busca visibilizar cuerpos invisibilizados, rescatar testimonios que nadie escuchó. En los ochenta, en plena democracia en Argentina, fusilaban a travestis en la autopista Panamericana. Eso no se supo, o se supo y no importó. Chicas desaparecían y eran enterradas sin que se supiera qué había sido de ellas. El Archivo hace un gesto contrario. . @archivotrans . The Archive looks forward to making visible the bodies that were made invisible, rescuing testimonies no one ever heard of before. In the 80s, in times of full democracy in Argentina, transvestites were shot on the Panamericana Freeway. That was not known, or it was, and it didn`t matter. Girls disappeared and were buried and nobody knew what had befallen them. The Archive is the opposite gesture to that. #archivodelamemoriatrans #memoriatrans #lgtbqi #gender #transargentina #photography #fftakeover #fotofeminas

X cierto..Hablando de dar x el CULO..la recuerdo a VIRGINIA MAESTRO..q este DOMINGO se presenta en el FESTIVAL RIO BABEL [=temazo del malogrado CERATI q apesar de ser para mí el mejor cantante de Rock LATINO.. se le acabó TODO lo bueno con 50 años para pasar 4 años de CALVARIO junto a SU FAMILIA como es su hijo BENITO al q le dio un ATAQUE EPILEPTICO en el barrio de PALERMO como los q sufre VIRGINIA MAESTRO..cuando publico cd UNISEX]..su ex_guitarrista NACHO MUR con LA M.O.D.A. [Maravillosa Orquesta Del Alcohol=PUTO PAIS DE BORRACHOS Y PAJEROS O PUTEROS Y FUMATAS] así como su amigo NACHO TABUADA [novio de SARA CARBONERO q cuando tuvo tumores se separo de la ex_mujer de IKER CASILLAS infartado día del TRABAJADOR 2019 tras regalar su camiseta con la q ganó MUNDIAL 2010 a mi compañero de UNIVERSIDAD Y PUTA MILI Oscar DE LAS HERAS LICERAS según publico diario AS con titular TIERRA SANTA] con COLECTIVO PANAMERA [carretera PANAMERICANA en el q basan un modelo de PORSCHE] con el q VIRGINIA MAESTRO canto EL RELOJ [canción de un mexicano] en EL BUHO REAL en 2022 y cuya versión acaba de lanzar dentro de unas versiones q grabó en 2017 q fue la última vez q vino el cabeza de Cartel JAMIROQUAI [q debuto con cd EMERGENCIA EN EL PLANETA TIERRA en el q participó GLENN NIGHTINGALE como en cd BONITO de JARABE DE PALO]..presentando su cd AUTOMATON [cuyo video es post_apocaliptico y donde en el video CLOUD 9 sale Mónica CRUZ q tuvo q recurrir a la INSEMINACION ARTIFICIAL..xq hay q estar MUY LOCO o MUY RICO para tener un HIJO con una MUJER DE LA FALSA MORAL O DEL DINERO q es la q se estila de forma INSOPORTABLE..video rodado en ALMERIA como su famoso video conduciendo deportivos de lujo " COSMIC GIRL"]..en concreto 25_11_17 q yo vi en sala SIROCO a ARA_MUSA presentando su cd DIEZ q como el anterior cd ARCHE [=1er elemento de la creación.. q cuando lo presento en 2015 hizo una entrevista en la radio o programa PLANETA TENTACIONES tras VIRGINIA MAESTRO q había tocado el día anterior o de mi año 44=28_11_15 en sala EL SOL yendo yo a sala BUT a un homenaje a QUEEN x MOMO CORTES q grabó con Brian May una versión en español de TOO MUCH LOVE WILL KILL YOU del cd BACK TO THE LIGHT y q también incluyo en cd postumo MADE IN HEAVEN de QUEEN]..me regalaron sus amigas tras fotografiarme con ella casi a oscuras para luego irme junto a ellas al FULANITAS donde toco VIRGINIA MAESTRO tras sala EL SOL ese 2015

X cierto..antes q JAMIROQUAI toca BOMBA STEREO y el día antes toca en RIO BABEL el dominicano JUAN LUIS "GUERRA" y recuerdo q cuando vi en ese recinto de la CAJA MAGICA donde hacían el DOWNLOAD FESTIVAL 2018 a MARILYN [monroe][charles] MANSON [mayor Éxito cd ANTICHRIST SUPERSTAR] presentar HEAVEN UPSIDE DOWN [CIELO DEL REVES] había un pestazo del río MANZANA+eRES porque fallo la depuradora adjunta conocida como LA CHINA