old pioneer

Apothecary Lesson #2: Drying your herbs

     Guess who’s back, back again? Davide’s back, tell a friend. Either way, hello everyone, and today, we’re getting a little old-fashioned. Like real old-fashioned. Like, pioneer witch old, y’know? That’s right kids, we’re drying our own herbs, and I’ve got three methods for each herb-drier out there: The “I’m, like, totes a wiccan,” The “Well, this should work faster,” and then the “This better goddamn work.”


Method One: Oldest

What You’ll Need:

  • Herbs, tied with twine
  • Twine
  • Thumbtack

Instructions:

  1. You’re going to tie a piece of twine to the thumbtack, and attach the other end of the twine to the herb bundle. 
  2. Push the thumbtack either into the wall or the ceiling to hang them. 
  3. Let dry for 6-12 months (Keep in dry, warm room, and if you’re harvesting seeds, you might want to wrap your herbs in cheesecloth first) 

Method Two: Nature n’ Shit

What You’ll Need:

  • Herbs to dry
  • Table to place herbs on
  • Glass to put over herbs (and something to support the glass so it doesn’t touch the herbs) 

Instructions:

  1. Place herbs onto the table, and spread out so as to not have the herbs touch each other. 
  2. Put table into the sun, and place the glass panel over the table
  3. Let dry in direct sunlight for 12 hours (until brittle) 

Method Three: Ain’t Nobody Got Time for That

Originally posted by lussia-neve

What You’ll Need:

  • A Microwave
  • Paper Towels
  • Herbs to dry

Instructions:

  1. Place your herbs in a thin layer on one paper towel, and lay another paper towel on top of that. 
  2. Place into your microwave, and cook on high for one minute. Let rest for thirty seconds. Then microwave again for thirty seconds–you will repeat a series of rest for thirty seconds then cooking for thirty seconds
  3. The herbs should be dried after approximately 10-15 minutes

Well… that was fun, right? Either way, thank you for reading through this, and I hope you guys stay tuned for the next installment of “Apothecary Lessons.” Talk to y’all later :) 

anonymous asked:

Who would you say is the most iconic/important director (obvs female) and why?

This is such an interesting question. What is iconic, what counts as important? To me it would be someone who’s shown longevity in their career, someone who is critically well-regarded but has also had some measure of commercial success, someone with a distinct visual style and someone who has been influential to other filmmakers.

Off the top of my head I can think of maybe 10 women who would easily deserve that title.

If someone put a theoretical gun to my head right now and made me pick one I’d probably say Jane Campion. People maybe not have watched her movies but they usually know her name or if you mention The Piano they’ve heard of it even if they haven’t seen it. People also think she was the first woman to be nominated for Best Director at the Oscars (she wasn’t, it was Lina Wertmüller a woman with a distinctive incredible style who is one of my favourite filmmakers but one whose work has faded into obscurity). The Women and Hollywood blog does mini-interviews with every female director at every major festival and one of the questions they ask everyone is what their favourite film directed by a woman is and films by Campion routinely turn up (she’s probably one of the most cited directors).  

However even though she’s young and I still think has a long career ahead of her, I feel Sofia Coppola coming up fast. Coppola is another one of those few female film directors you can mention that everyone knows. Her earliest films are almost at their 20 year anniversaries and they have endured and are remembered. She’s won a slew of awards, her style is distinct to the point where it can be parodied. People like to mock her for her tumblrcore style but her movies predate tumblr by nearly a decade. Also as someone who watches a lot of no/low budget movies just because they’re directed by women her style is imitated a LOT. I admit that I used to take her talent for granted, but after watching the umpteenth movie about a teenage white girl having existential ennui while staring out a window I started appreciating Coppola as a filmmaker. She knows what she’s doing in a way people trying to imitate her just don’t.

Bigelow is another one I feel strongly about. I think she is super under appreciated as a filmmaker, even with the Oscar. I spent a few years watching all of her films and she’s so distinct, even her action movies are carefully crafted. The only thing with Bigelow is that despite her age she peaked rather late (after Coppola despite being twenty years older) and I still feel like her best work is ahead of her so it’s hard to say what her longevity as a filmmaker and her influence will be. Point Break and Strange Days have held up well, but I also want to know what the legacy of her late career work will be.

Of course, women didn’t just start directing in the 90s. There are many women who directed before then who put out iconic movies that are well regarded, but these women aren’t known at all to mainstream audiences, even if they are beloved by cinephiles. Alice Guy Blaché was the first woman to direct narrative films, but few people outside of film students want to watch shorts that are over a century old. Leni Reifenstahl pioneered several film techniques but her legacy is tainted by her associated with Hitler and the fact that her most innovative films are literal Nazi propaganda. Agnès Varda has a career that spans over 60 years, but until recently people didn’t take her seriously as a filmmaker and most of her films were unavailable outside of France. Chantal Akerman is a legend and so many filmmakers were inspired by her and borrowed from her, but her movies made little money, were not widely seen and are not well known to mainstream audiences.

And of course it wouldn’t be right to mention how many women of colour had their careers completely decimated literally for just being who they were and wanting to tell stories about people who looked like them. If there aren’t women of colour who fit my criteria of iconic/important it’s because they were never able to build up the body of work to be so. White women in western countries don’t necessarily have it easy (even someone as privileged as Coppola has faced rampant sexism, including accusations that she doesn’t direct her own films), but they do have more opportunities than other women.

Recently their has been a small resurgence of the work of black American female filmmakers getting released or re-released. I finally got to watch the work of Kathleen Collins and Julie Dash and you know what? These women had genuine talent, they were truly gifted, and they were never given the opportunities to create more than one feature film. That’s why I try to stress to people that it’s important to go to the theatre and buy tickets for movies made by women, especially women of colour, and to appreciate them in the now. Because if  you don’t support them they won’t be able to make more films and not everyone hits it out of the park their first time. Bigelow won an Oscar for her 8th film. So many women directors don’t even get to make a second.

First ascent team, El Capitan, Yosemite. 1964, Tom Frost, Royal Robbins, Chuck Pratt, and Yvon Chouinard

“I failed on a climbing problem eight times before realizing I was climbing as high as I knew I could and then letting go. On my next try I climbed with no thought of failure and reached the top. We cannot know what we can do in advance. The only way to find out is to go all-out trying, thinking only of success.” -Royal Robbins 

Dec 1, 1975: While out on bail visiting Seattle, Ted meets Ann Rule for lunch at the Brasserie Pittsbourg, a French restaurant in the basement of an old building in Pioneer Square. The both smoked cigarettes while talking. During their conversation Rule asked: “Ted … were you aware of all the girls up here who were missing last year? Had you read about it in the papers?" 

There was a long pause. Finally, he said, "That’s the kind of question that bothers me." 

Bothers how? I couldn’t read his face; he still looked away from me. 

"No,” he continued. “I was so busy going to law school at U.P.S. I didn’t have time to read the papers. I wasn’t even aware of it. I don’t read that kind of news. I don’t know any of the details,” he said. “Just things my lawyer is checking out." 

Of course he was lying to me (Rule 1989, 181). From “Ted Bundy: A Visual Timeline”

HE'S BACK !!!

After 15 years since 2003,
LUPIN THE THIRD IS BACK BABY !!!!

The announcement was made today that toonami will be broadcasting Lupin iii part 4 (A.K.A the blue jacket series) on june 17th at 2:00 a.m with the official English dub by discotek media with the return of the old pioneer dub cast

Tony oliver- lupin the third

Richard epcar- Jigen daisuke

Lex lang- goemon ishikawa

Michelle ruff- fujiko mine

Doug Erholtz- inspector zenigata (replacing jake martin)

Cassandra Lee Morris- Rebecca Rossellini

Michael Mcconnohie- agent Nyx (Update) The time is officially now 2:00 A.M and it looks like veteran voice actor Michale M. Who played count cagliostro, gordon from mystery of mamo and countless other anime will be playing the villainous agent, Nyx.

As for home release, information is still to come for a release date.

Lupin the third returns on saturday June 17th at 2:00 A.M.

An Ode to Silver Boxes

To those who got into video games only in the last 10 or so years, the appeal of the Konami name might not be readily apparent. Newcomers to the hobby probably associate them with Metal Gear, soccer games, and probably little else. But there was a time when the Konami name was as good as gold; in the days of the NES, Konami built itself up as a gaming powerhouse, and it delivered its trademark brand of 8-bit action with a distinct, eye-catching hook: action-packed artwork framed by a silver border.

To me, that silver box, with its weighted lines on either side that faded away to showcase the dynamic art, was a promise — a promise that something awesome was inside. Whether it was flying through space to save the galaxy in Gradius, running through the jungles with a buddy in Contra, hitting the ice in Blades of Steel, maneuvering an assault jeep across enemy territory in Jackal, or driving a stake into the heart of evil in Castlevania, there was almost always something good behind that silver veneer. It seemed like just about any game could get the Official Nintendo Seal of Quality, but to get into a silver box? That meant it had to be something special. It had to be elite: adrenaline-pumping gameplay, cutting-edge graphics, responsive controls, and some of the most memorable music you’ll ever hear from a sound chip.

Not every Konami NES game was great, of course. Top Gun was fun until you tried to land, and few games have disappointed me as much as The Adventures of Bayou Billy. But for the most part, Konami consistently delivered excellent game after excellent game. To me, Konami games were just as much of a reason to own an NES as the first-party Nintendo titles were. It could be considered sacrilege, I know, but as much as I love the Super Mario series, Zelda, Metroid, and Punch-Out!!, if I was forced to choose one library over the other, I might take Konami’s NES offerings over Nintendo’s.

And Konami’s appeal went beyond those silver borders. Konami’s second label, Ultra Games (created to circumvent Nintendo’s third-party publishing restrictions), didn’t feature the silver boxes, but typically delivered quality nonetheless (Metal Gear, anyone?), and Konami’s reputation for amazing gaming experiences continued late into the NES’s lifecycle and into the 16-bit era when Konami eschewed the silver frames for more conventional designs. But even when the silver was gone, the quality remained, with games such as Super Castlevania IV, Legend of the Mystical Ninja, Axelay, Contra III, Rocket Knight Adventures, and one of my all-time personal favorites, Snatcher.

And let’s not forget Konami’s licensed offerings. In an era when movie- and cartoon-based games were frequently unplayable garbage, Konami made licensed titles that weren’t just good but brilliant. As a kid, I wasn’t even a fan of Teenage Mutant Ninja Turtles, Tiny Toon Adventures, or The Simpsons, but I absolutely loved the games. (Well…not the first, awful NES TMNT game.) These games were fantastic whether you enjoyed the property they were based on or not, and the games actually got me interested in the franchises they were based on rather than the other way around. Co-op brawler TMNT IV: Turtles in Time, technique-filled platformer Tiny Toon Adventures: Buster Busts Loose!, and skull-crunching beat-‘em-up Batman Returns exude as much polish as anything released in the 16-bit era and remain among my favorite SNES games of all time. As for The Simpsons? Konami didn’t have home-console rights to the property, so when the opportunity presented itself, I bought the actual arcade machine.

As the gaming industry matured, consoles and gaming fads came and went, but Konami remained a leader, branching out into new genres, reinventing old ones, and pioneering its own with offerings that included Suikoden, Vandal Hearts, Metal Gear Solid, Castlevania: Symphony of the Night, Silent Hill, Zone of the Enders, and the groundbreaking Dance Dance Revolution and Bemani music series. When the Pokémon craze hit, I was excited by the prospect of this new, collectable take on RPGs, but I was even more excited hearing that Konami had its own spin on the formula with Yu-Gi-Oh, which I was sure would outclass Pokémon in every way. I was completely wrong, of course, and in retrospect I’m glad, but at the time, it certainly seemed like a possibility.

When I made my first trip to Japan in 1996, it warmed my heart to see a Konami building in the Tokyo skyline, complete with the classic red-and-yellow wave logo. “Those are my guys,” I thought as I looked at the building. I knew they were making magic in there. Maybe someday the Konami Omni Building from Snatcher would even be a reality.

But the magic didn’t last. Though Konami continued to pump out appealing games on both consoles and handhelds up through the PS2 and Nintendo DS eras (special shoutout to Contra 4, a game I’m incredibly proud to have had a hand in revealing), the company’s output dropped dramatically after that. The rising costs associated with the PS3/Xbox 360 era were not kind to Japanese gaming, and the teams responsible for beloved franchises got dissolved, development on some properties were outsourced to external companies, and resources were shifted to pachinko machines and lackluster mobile titles. Subsidiary Hudson Soft, purchased by Konami in 2011, was shut down, and its brands were all but wiped from existence. Later, reports trickled in of how some of gaming’s greatest minds were being mistreated by Konami management, and most of them abandoned ship at the first opportunity.

When I visited the once-proud company’s E3 booth on the second day of the show in 2014, it looked like an abandoned wasteland. An irate Konami fan once accused me of taking the photo shown here before they’d finished setting up the booth, but this was right in the middle of gaming’s biggest annual event, and they apparently didn’t have any products to display. Instead of warming my heart like it had 18 years prior, this Konami just made me sad.

Honestly, I applaud Konami for branching out into alternative revenue sources rather than go belly-up or face continuous losses like some Japanese gaming giants, but to say they threw the baby out with the bathwater is an understatement. By squandering their greatest resource — their creative personnel — and abandoning the brands that made them famous, Konami has eliminated the very things that made them special, and destroyed the good will and respect that they’d forged with a generation of fans.

Will Konami ever try to take back its place of greatness in gaming’s pantheon? Will they consider reviving brands like Gradius, Contra, Mystical Ninja, and Suikoden? Or could those series be licensed to talented outside studios who, like me, were inspired by Konami’s original works and would love to carry on the legacy? After seeing Konami’s revival of Bomberman R on Switch, it may be fair to say that those old brands may not be dead just yet.

Then again, if they are, I’ll still always have my old cartridges…and my memories of those captivating silver boxes.