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Gender: Female
Hometown: London
Home country: UK/Sweden
Current location: Stockholm, Sweden
Member since: Sun Jul 1, 2018, 06:25 PM
Number of posts: 24,026

Journal Archives

The 24 Best Stouts in America to Try This Winter

This is gonna get dark.


IPAs tend to hog a lot of the beer-loving spotlight, but for true believers, the holiest of grails are those containing stouts. There’s a reason beer nerds gather in dank cellars to swap precious, limited-edition, coal-black stouts, and why for some, Dark Lord Day brings more joy than Christmas morning. Whether they’re flagship offerings from great breweries or one-off, barrel-aged masterpieces that change in flavor profile every day, stouts are among the most beloved, complex, and sought-after beers on the planet.

So, choosing the best stouts of the moment is probably a fool’s errand. Luckily, we’ve (mostly) forgone consulting fools, instead opting to enlist a panel of beer experts to name the stouts you should be seeking out right now. While some of the stouts on this list are widely available, many require a pilgrimage to a brewery. Others demand that you buy a ticket to a launch event. And some require you to take to the dark (beer) web in order to find people willing to sell or trade their precious bottles after they’ve disappeared from shelves. But we’re confident you’ll be able to seek out even the whitest of whales on this list. And when you do…wanna trade?


Shop Small and Black-Owned in LA with Prosperity Market

The founders of the virtual marketplace and pop-up farmers market share their favorite farmers and vendors.


Rather than spend your precious weekends scouring mall parking lots or scrolling through endless pages of identical products on Amazon, avoid the stress and supply-chain delays by shopping small and local this holiday season. And if you’re in LA, look to Prosperity Market, a virtual marketplace and pop-up farmers market founded by Carmen Dianne and Kara Still, that promotes Black farmers and vendors. Prior to launching the market, Dianne was a makeup artist and Still worked in fashion, but both women were inspired to enter a new arena at the height of the COVID pandemic and a racial reckoning in America.

As Dianne explains, “We wanted to create economic impact in our communities. We were seeing such a big push to support Black businesses, but we were troubled by conflicting statistics. You hear about how a dollar only stays in the Black community for about six hours, but then you also hear about how the Black community has over a trillion dollars in buying power. The numbers didn’t add up, and we wondered: how do we use this buying power, but actually keep it in our communities? Exploring that, we found the gap in food.”

Prosperity Market sought to solve a specifically Californian conundrum: our state is the largest agricultural producer in the United States, but most of that food is exported, and Los Angeles is home to the largest population of food-insecure residents in the country. Over the last century, Black farmers have lost over 12 million acres of farmland and their numbers have dwindled from over a million to just 45,000 out of 3.4 million farmers across the country. In California, fewer than 1% of the state’s 70,000 farms are Black-owned or managed. By launching a mobile marketplace that travels across LA County, the market not only helps farmers and vendors expand their reach, but is able to provide fresh, whole foods to food deserts where farmers markets don’t exist.

“Our market is built on two pillars: economic impact and food access,” Still explains. She says that, “Part of the economic impact is being able to provide a lucrative platform for our farmers and our vendors. We want them to be able to provide their products to Malibu just as well as to people in Inglewood. It’s beneficial to them and it’s beneficial to our community. The other piece is food access: being mobile allows us to not only go to places where our vendors or farmers will profit, but to bring it to underserved neighborhoods and help people get reconnected to each other and to food, to create a sense of community and fun in a safe place.”

LOL, Trump self-owns, a true room temp IQ stable genius


Photos of the Week


Swedish recipes for the holidays

use Google translate


I will just show pics, they are easily found at the link

holidaze booze at the bottom


Glögg is a spiced, mulled wine or spirit.

Iscider is Nordic apple wine from late harvest frozen apples, it is soooooooooooo good!💙


Traditionella smaker

Lättglögg & alkoholfritt

Inspiration från naturen

Trendiga smaker

The Vatican lined up with Russia to block a Swedish proposal to to boost the role of women in

resolving international disputes.


Sweden's foreign minister Ann Linde (front right) with other leaders who attended the OSCE council meeting in Stockholm.

Sweden, which invented the concept of “feminist diplomacy” and holds the rotating chairmanship of the Organisation for Security and Co-operation in Europe (OSCE), had tabled the non-binding resolution.

But the text, which has not been made public, was blocked “by Russia and the Vatican”, Swedish Foreign Minister Ann Linde said at the end of a meeting of the organisation in Stockholm.

The declaration, which focused on “the economic empowerment of women”, was intended to affirm the need to strengthen their place in society to promote global security and their role in conflict resolution. Few texts are adopted at the OSCE, because of the requirement for unanimity and the divergent views of its members, especially Moscow. But Sweden had high hopes of getting this text adopted and was surprised to see the Vatican helping to torpedo it.

Moscow and the Holy See “do not agree on working on gender equality issues, which I deeply regret,” Linde said at the final press conference of the OSCE ministerial meeting. “I had really hoped that a decision would be taken on this, I am so disappointed,” she said. Of the 20 or so resolutions prepared by the Swedish during their chairmanship, only one was adopted, on climate.


At Long Last, Onscreen Portrayals of Lesbian Relationships Are Getting Complex

The shift comes after decades of stories that minimized romantic love between women as fruitless, or as some kind of phase.


Naima Green’s “Untitled (Riis)” (2017), part of a series the artist made at New York City’s Jacob Riis Park, an L.G.B.T.Q. meeting ground. “I’m thinking about queer waterways,” she says. “The ways that the beach is or can become a site of freedom, pleasure and transience for queer people and how we connect.”

In most parts of the world, to be gay or transgender is to at some point realize that you’ve been taught, to varying degrees, to deny who you are and to feel shame about your desire to love and be loved — to be entitled to a full life. This is true, as well, of queer lives onscreen, where, until very recently, most narratives centered around death, whether it was the trans person too tragic to continue living — either as a result of murder (“Boys Don’t Cry,” 1999) or suicide, a trope that has existed since “Glen or Glenda” (1953), one of the earliest films to highlight transgender issues — or gay men felled by their own murderous impulses (“Cruising,” 1980) and, later on, complications from AIDS, representations of which have regularly treated the disease as a form of punishment.

Then there were lesbian characters. They, too, were subjected to countless onscreen deaths, from Tara on “Buffy the Vampire Slayer” in 2002 to Poussey on “Orange Is the New Black” in 2016, but queer women have also been disappeared in a different way: For nearly a century, affection between two women has often been depicted as unrequited, predatory, transient or otherwise unserious. Just think of the menacing, lonely Mrs. Danvers in Alfred Hitchcock’s “Rebecca” (1940), a famously queer-coded character; or, on a lighter note, Roseanne Barr and Mariel Hemingway on the former’s sitcom in 1994, or Calista Flockhart and Lucy Liu on “Ally McBeal” five years later. All these stories seemed to argue that the ultimate tragedy of lesbianism was that it was a choice, and that smart women, wanting marriage and children, chose otherwise. Such “lesbian kiss episodes,” as they’re derided today, were usually (and unsurprisingly) dreamed up by straight male Hollywood showrunners as a kind of titillation, according to Sarah Kate Ellis, 50, the chief executive officer of GLAAD, who says, “Lesbian storytelling has historically been told through the eyes of men and their experience of that, of their own desire.”

Tara (Amber Benson), left, and Willow (Alyson Hannigan) on “Buffy the Vampire Slayer.”

Now, some two decades later, lesbian portrayals onscreen are finally starting to become deeper, more varied and more inclusive, moving beyond the aspirational (mostly rich, mostly white) women who dominated programs like Showtime’s “The L Word,” which debuted in 2004, or Todd Haynes’s 2015 film, “Carol,” based on “The Price of Salt,” Patricia Highsmith’s 1952 novel of mannered glances, and starring Cate Blanchett as a housewife who must choose between her female love and her daughter.

In the past two years, there have been “The Wilds” (2020), Sarah Streicher’s Amazon Prime video series about a group of teenage girls that doesn’t overly conflate coming out with conflict, as well as indie films like Céline Sciamma’s “Portrait of a Lady on Fire” (2019) and Miranda July’s “Kajillionaire” (2020), wherein love stories orbit around mutual desire rather than shared sexual frustration. In late 2019, when Showtime rebooted “The L Word,” the show was celebrated by fans for its more diverse cast — and more authentic writing, which didn’t shy away from the realities of menstruation, cunnilingus or seething jealousy. Gone was the tragic lesbian, forced to choose between love and a full life; instead, we got unpredictable, messy, complicated lesbian lives. “The ultimate privilege is being able to do anything we want,” says its 36-year-old showrunner, Marja-Lewis Ryan. “We’re getting closer to being able to have characters who are deeply [flawed] and not have them represent all of us.”

The third season of “Master of None” focused on the marriage and relationship between Alicia (Naomi Ackie), left, and Denise (Lena Waithe).


The Humble Beginnings of Today's Culinary Delicacies

Many of our most revered dishes were perfected by those in need, then co-opted by the affluent. Is that populism at play, or just the abuse of power?


Conway Pearl oysters and Maine lobster — two types of seafood that were once so plentiful they were undesirable, which have since skyrocketed in cost as they’ve become rarefied delicacies.

IN THE NEWLY moneyed Beijing of the early 1990s, a curious type of restaurant started to appear. Limousines idled in the street while, inside, diners hunched on logs or camp-style chairs strung with rope and feasted on the likes of crackly locusts, ants boiled into soup, damp weeds and wotou (a steamed bread of coarse cornmeal) — a subsistence menu that evoked the scant rations served at rural work-unit canteens during the Cultural Revolution, less than 20 years before.

A number of patrons were former zhiqing, among the more than 16 million urban and educated young people who, between 1956 and the official termination of the Up to the Mountains and Down to the Countryside movement in 1981, were forcibly resettled in undeveloped areas and assigned hard farm labor to purge them of bourgeois thinking. (China’s current leader, President Xi Jinping, was himself sent to work in the northern province of Shaanxi at age 15 after his father, a party official and revolutionary hero, fell from grace and was imprisoned; he spent seven years in Shaanxi, living in caves, building dams and cleaning out latrines.) Why would they wish to relive their difficult pasts — and pay a premium for the pleasure? For pleasure is what these restaurants promised: not a sober history lesson but feel-good theme park nostalgia, recreating in denatured form a time of atrocities when, historians estimate, between 500,000 and eight million people died because of political upheaval, and tens of millions more were subject to persecution.

As the anthropologist Jennifer Hubbert argues in her 2005 essayRevolution Is a Dinner Party: Cultural Revolution Restaurants in Contemporary China,” such spaces memorialized the zhiqing era, with dining rooms decked out in farm tools and attended by waitstaff wearing the army green uniforms of the feared Red Guard, but also exoticized it and turned it into a kind of perverse luxury commodity, “linking leisure to dispossession.” These restaurants, with names like Remembering Bitterness (from yiku sitian, a political campaign of the 1960s and 1970s in which citizens testified to past miseries to underscore the sweetness of life under communism), were private enterprises, after all, implicitly committed to capitalism, in repudiation of the Maoist ideology celebrated by their décor. And the people who could afford to eat at such places — where a meal might cost 10 times the average working-class lunch, as Rone Tempest reported in The Los Angeles Times in 1993 — were far removed from their onetime suffering on the black-earth plains of Heilongjiang, China’s most northeastern province, or the steppes of Inner Mongolia.

Littleneck clams alongside a can of Spam, both workaday regional ingredients that have, of late, increasingly appeared on sophisticated restaurant menus throughout the United States.

But it was precisely this distance, in space, time and above all class (even in a supposedly classless society), that made the food — once the barest minimum, eaten and endured only in order to survive — suddenly palatable. Because that distance meant it was no longer a necessity but a choice. The diners were eating out of a peculiar calculus of desire that had little to do with what the ingredients on their plates actually tasted like or how much nourishment they offered. They were displaying their power, to eat as much as they wanted, to crowd the table with plates, then leave them unfinished; to defy the austerity of old; to dare to waste.


A metal dish containing coq au vin, a traditional peasant preparation in France that’s now celebrated for the labor and skill required to make it — and, too, the price it might command.

Tweet of the weekend (so far)


Virginia GOP completes sweep of elections with House win


VIRGINIA BEACH, Va. (AP) — A three-judge panel overseeing a recount in a close Virginia state House race upheld the Republican candidate’s victory on Friday, a decision that also reaffirms the GOP’s takeover of the chamber and completes the party’s sweep of last month’s elections.

Republicans also claimed the statewide offices of governor, lieutenant governor and attorney general in the Nov. 2 balloting. Those wins were a dramatic turnaround in a state where the GOP had not won a statewide race since 2009. Democrats still hold a 21-19 majority in the Senate — where elections won’t be held until 2023 — splitting control of Virginia’s state legislature.

The certified results from the election showed Republicans leading in 52 districts and the Democrats leading in 48. The recount in the 85th District race resulted in Democratic incumbent Alex Askew gaining 12 votes, but he still trailed Republican challenger Karen Greenhalgh by 115 votes. There was one contested ballot. The panel found that the intent of the voter was unclear, so that ballot was not counted for either candidate. The 85th District covers a portion of the city of Virginia Beach.

After Democrats requested recounts in two races with razor-thin margins, that left open the remote possibility of a 50-50 split. Though the second recount, in the 91st District, is still expected to proceed next week, Democrats no longer have a shot at undoing the GOP’s majority. Askew is an incumbent freshmen first elected in 2019, when Democrats flipped both the House and Senate.

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