¿Cómo se Compone un Hit? Shigant-G, el CBD y su Trabajo como Productor de la Crema Musical Argentina

Nota por Hernán Panessi publicada originalmente en El Planteo. Más artículos por El Planteo en High Times en Español.

Síguenos en Instagram (@El.Planteo) y Twitter (@ElPlanteo).

Cuando arrancó con la producción musical, Nicolás “Shigant-G” Romano tenía un problema de atención y se mareaba viendo tantas perillas y canales. Pero, mágicamente, ordenó su cabeza en colores: “Los rojos son los que más consumen energía en una canción y llevan un nivel de importancia superior frente al resto de colores como el naranja, amarillo, verde y celeste”, cuenta.

A este método, el joven detrás de El Origen de Acru, Hecho a Mano de YSY A, “R.I.P.” de Cazzu, entre otras producciones, lo llamó “Método Arcoíris” y lo compiló en este, su primer libro, donde sistematiza su experiencia. Muy resumidamente: explica como hacer un hit.

Contenido relacionado: Acru Habla de Todo: Nueva Banda, Disco en Proceso, Mirada de la Escena y su Futuro en el Freestyle

Es la guía paso a paso que me hubiese gustado tener cuando me inicié en el mundo de la producción musical para diseñar el sonido de los álbumes que pasaron por mis oídos”, explica Shigant-G.

Hacelo vos mismo

El productor es un convencido de la revolución de las habitaciones, del boom del do it yourself, de las bondades de la producción hogareña: “Siento que es posible crear, grabar y mezclar tus canciones y álbumes usando cuatro elementos: un portátil, una interfaz, un micrófono y unos auriculares”, asegura.

“La magia está en la ecuación y no en la emoción”.

Por caso, su libro está orientado a productores musicales, artistas, mixers y creadores de contenido que están dando sus primeros pasos. Y, más allá de las técnicas, Shigant-G hace hincapié en el desarrollo personal y profesional contando cómo transitó su camino en la música.

Como hacer un hit: ¿qué hay detrás de las canciones que suenan en todos lados?

“Para que una canción funcione tiene que sorprender, emocionar y ser fácil de recordar”, narra este fanático del sonido de Dr. Dre, Fito Páez. Dave Brubeck y Hans Zimmer.

¿Qué canción de la historia de la música le hubiese gustado grabar? “Cherish the day” de Sade.

Contenido relacionado: Entrevista con YSY A: Cómic, Tango y el Fin del Trap

—Según tu experiencia, ¿cuál es el primer paso para grabar una canción?

—Usualmente, utilizo una instrumental de algún beatmaker de confianza o algún type beat de YouTube que me despierte una emoción. Puede ser de desamor, de euforia o simplemente de algo que me toque un nervio que hace años tenía guardado. Con la emoción a flor de piel, tarareo varias melodías sobre el beat. Hago de 3 a 6 grabaciones lo más rápido posible para no perder el fogonazo inicial. Luego comienzo a elegir las frases que más me gustan. Una vez terminado, compongo la letra sobre esas melodías. En el libro cuento más formas.

—De paso, van unos meses desde que salió. ¿Cómo viene el recibimiento del libro?

—Estoy sorprendido y muy feliz con los resultados. Escribí el libro con la intención de poner al servicio mi experiencia a una comunidad que lo está recibiendo con mucho amor y compartiendo de forma genuina. Vamos por la segunda tanda sold out. Lo que más me pone feliz es que la intención principal, desde el inicio, fue ayudar y eso está ocurriendo.

Respeto por el CBD y la historia de su abuela

Entretanto, el productor reconoce que su relación con el cannabis “es espectacular”.

Durante muchos años fumó marihuana, aunque -según narra- “su experiencia era limitada con su uso en todas sus formas”.

Sentía que le daba placer y, además, le servía para aplacar su ansiedad.

Con el paso del tiempo, su actitud pasional por hacer cosas, una manera intensa que roza la obsesividad, se volvió bastante dependiente: tuvo que dejar de fumar y buscar otros métodos para encontrar el foco. Así llegaron a su vida el deporte, la meditación y, fundamentalmente, el CBD.

Contenido relacionado: Cómo Tomar CBD: Aquí Exploramos Cuatro Métodos

“Al principio, cuando dejé el porro, como en toda ruptura, estaba enojado o confundido”.

Hasta que, hace unos años, su abuela empezó a utilizar aceite de cannabis para paliar sus dolores. “Ahí entendí el verdadero poder de la planta. Me regaló tiempo con una persona que amo”.

En lo personal, Shigant-G nunca usó el porro como un incentivo para componer: lo ponía lento y a él le gusta estar activo. “Es que me voy por las ramas. Y cuando fumaba, ya no sólo me iba por las ramas, sino que cambiaba de bosque completamente”, reconoce.

Foto de cortesía.

The post ¿Cómo se Compone un Hit? Shigant-G, el CBD y su Trabajo como Productor de la Crema Musical Argentina appeared first on High Times.

TV de Culto, Psicología del ‘Yo’ y Animación Nerviosa: Hablamos con Jonathan Katz, Creador de la Serie Dr. Katz

Nota por Hernán Panessi publicada originalmente en El Planteo. Más artículos por El Planteo en High Times en Español.

Síguenos en Instagram (@El.Planteo) y Twitter (@ElPlanteo).

Sobre el andamiaje de la vida cotidiana, el 99% de los problemas que brotan desde nuestros pensamientos se expanden gracias a su carácter egocéntrico. Una configuración monstruosa del “yo”, digamos. Y eso lo sabe bien el Dr. Katz, Analista Profesional, un psicoterapeuta que invita a dejar de pensar tanto en uno mismo y a apuntarse en unas sesiones privadas algo “especiales”.

En tanto, la psicología y la mente humana pueden convertirse en material catódico para revolver en miserias, angustias y traumas que, en forma de animación, devienen en comedia. Pacientes neuróticos, frustrados, comediantes de mucha y poca monta: todos rotos, todos con egos peculiares, todos problemáticos por igual.

Contenido relacionado: Drogas, Hangout, Fiestas y Radiohead: La Historia de Robin, la Serie que Nunca Viste pero Deberías

“Creo que el programa era realmente sobre el Dr. Katz, Ben [su hijo] y Laura [su secretaria]. Los pacientes eran más bien una herramienta de marketing”, aclara Jonathan Katz, el auténtico Dr. Katz, creador de la mítica serie animada que brilló entre 1995 y 2002, en conversación exclusiva con El Planteo.

Más o menos de eso iba la retorcida, flashera y terriblemente cool serie de 6 temporadas que, por América Latina, se vio gracias al extinto canal Locomotion y que, por estos días, aún tiene sobre sí una estela peculiar.

Una comedia para gente ‘especial’

“No sabía que Dr. Katz había sido un programa de culto en Latinoamérica”, se sorprende Katz. “Mi comedia no es para todo el mundo”, escribió en la biografía que figura en su sitio web personal. Casi como un disclaimer de su propia existencia.

Sin embargo, amén de asumir un espacio underground dentro del ecosistema humorístico, Jonathan Katz pasó unas ocho veces por Late Night with David Letterman, uno de los shows más populares de la televisión de Estados Unidos. Y su programa, Dr. Katz, fue parodiado por pesos pesados de los cartoons norteamericanos como South Park, Padre de Familia, Duckman, entre otros.

Animación nerviosa

Por caso, la serie estaba animada con un singular formato garabateado y nervioso gracias al Squigglevision, un rarísimo estilo de animación creado por Tom Snyder, socio de Katz en la producción.

Contenido relacionado: Dirigió un Videoclip para Dua Lipa y Elton John y Ahora Visita Argentina: Conocé a Raman Djafari, el Artista de los 500 Millones de Views

Allí, todas las personas y objetos animados eran coloreados y tenían contornos ondulantes, mientras que la mayoría de los objetos inanimados se yerguen estáticos y usualmente de color gris.

dr katz

“Eso fue una invención de Tom, quien tenía una empresa de software educativo y que, a través de esos productos que creó, descubrió el mundo de la animación. Yo no estuve involucrado en el proceso de animación”, recuerda Jonathan Katz.

Un deseo: la vuelta de Dr. Katz

A pesar de que el personaje de animación se llame igual, luzca idéntico y tenga un oficio parecido (uno atiende comediantes, el otro es un comediante), Jonathan Katz se desmarca del Doctor de la serie: “No puedo distinguirlos demasiado, pero uno es una persona real y el otro es un personaje inventado, de dibujos animados”.

dr katz

Pese al éxito, Dr. Katz, Analista Profesional fue cancelada a comienzos de los 2000. “Aunque fue un programa de culto, dejó de ser atractivo para el grupo demográfico que, en ese momento, perseguía el canal Comedy Central”, cuenta.

Contenido relacionado: Gabriel Lucero de Gente Rota: ‘Como No Me Quería Deprimir, Me Puse a Animar Audios de WhatsApp’

Entretanto, Jonathan Katz piensa “a menudo” en hacer una versión live action de Dr. Katz, Analista Profesional. ¿Y volvería con la serie animada? “¡¡¡Absolutamente!!!”, aclama.

Dr. Katz te firma la receta

A la sazón, en tiempos pandémicos y de pura histeria de las redes sociales, Jonathan cree que, a pesar de todo, en caso de retornar con su show y sus dramas de diván, “la serie probablemente sería igual, salvo por el hecho de que todos han envejecido”.

dr katz

En la actualidad, Jonathan Katz está metido en nuevos menesteres. De su boca: “Como la mayoría de los estadounidenses, tengo un podcast”, bromea. “El mío se llama Hey We’re Back”.

Contenido relacionado: Conocé a Marijuanaman, el Superhéroe Cannábico de Ziggy Marley: Hablamos con Uno de sus Autores

Y en sintonía con el avance de la discusión pública por el uso de la marihuana medicinal y recreativa y, fundamentalmente, con la cada vez más democratizada prescripción médica de cannabis, Jonathan Katz cree que el Doctor probablemente “nunca haya fumado porro” pero asume que “sí, absolutamente, recetaría cannabis a sus pacientes”.

The post TV de Culto, Psicología del ‘Yo’ y Animación Nerviosa: Hablamos con Jonathan Katz, Creador de la Serie Dr. Katz appeared first on High Times.

Video: el Mudial de Fútbol, las Drogas, Willie Johnston, Escocia y la Selección de los Excesos

En 1978, Argentina se preparaba para recibir la undécima edición del mundial de fútbol, en pleno contexto de dictadura militar.

Entre los planteles que fueron en búsqueda de gloria, se encontraba Escocia, que vivía su quinta experiencia mundialista. En su debut, los europeos sucumbieron ante la supremacía de Perú cayendo con un contundente 3 a 1.

Contenido relacionado: Video: el Mudial de Fútbol y las Drogas, la Historia de Diego Maradona

Una de las máximas figuras escocesas era William Johnston, volante ofensivo que formó parte de la nómina de control antidopaje en reemplazo de su compañero Archie Gemmill, quien no pudo dar la prueba por deshidratación.

Para tristeza del conjunto que comprendía el grupo 4 junto a Irán, Países Bajos y el propio Perú, “Willie”, dio positivo por haber consumido fencanfamina, psicofármaco también reconocido por la marca comercial Reactivan.

Así las cosas, la federación de su país decidió expulsar al futbolista y de esta manera nunca más volvió a vestir la camiseta de su selección.

Contenido relacionado: Entrevista con Juan Palomino: ‘Después de Interpretar a Maradona Ya Nada Volverá a Ser lo Mismo’

Pero Johnston continuó haciendo de las suyas en el verde césped. Su recordado paso por el fútbol de los Estados Unidos incluyó beber una cerveza antes de patear un tiro de esquina con la camiseta de Vancouver Whitecaps acción que terminó en gol y victoria para el conjunto canadiense.

De todos modos, el revoltoso paso de los escoceses, con Willie como emblema de su selección, dejó más historias fuera que dentro del campo de juego por su paso mundialista.

Positivo/Negativo: Willie Johnston

Mirá también el episodio 1 con Diego Maradona.

Foto por Jack de Nijs for Anefo, CC0, via Wikimedia Commons // Editada en Canva por El Planteo

The post Video: el Mudial de Fútbol, las Drogas, Willie Johnston, Escocia y la Selección de los Excesos appeared first on High Times.

La Mano Derecha de P. Diddy Explica Por Qué Entrarán en la Industria del Cannabis

Por Javier Hasse vía El Planteo

Esta semana, la empresa que lidera Sean “Diddy” Combs y de la cual es dueño, Combs Enterprises, anunció que firmaron los acuerdos definitivos para adquirir activos de cannabis de Cresco Labs (OTCQX: CRLBF) (CSE:CL) y Columbia Care (OTCQX: CCHWF) (NEO:CCHW) (CSE:CCHW) en Nueva York, Illinois y Massachusetts. Se espera que los acuerdos se cierren pronto en una transacción de combinación de negocios.

También se espera que la transacción de Combs Enterprises se formalice al mismo tiempo que Cresco adquiera Columbia Care. La contraprestación total por la transacción de Combs ascenderá a USD 185 millones.

Contenido relacionado: Whoopi Goldberg Sobre Cannabis y Emprendedurismo: ‘Lánzate e Inténtalo, Nunca Sabrás qué Puede Pasar Hasta que lo Hagas’

Ésta sería la primera inversión de Sean “Diddy” Combs en el sector del cannabis. Una vez concluida, la empresa se convertirá en el operador multiestatal más grande del país; integrado verticalmente; administrado por un grupo minoritario, y cuyos dueños son parte de este grupo.

Un día histórico

Conversamos con la mano derecha de Sean “Diddy” Combs, Tarik Brooks, quien nos brindó información sobre cuál es la estructura y los objetivos de Combs Enterprises, particularmente en la industria del cannabis. La empresa es una colección de negocios e inversiones, cuyos productos varían desde bebidas alcohólicas, medios, música, moda, bienes de consumo y más.

Brooks cree que es un día histórico. “La razón es porque se trata de una oportunidad excepcional donde un emprendedor afroamericano, con la plataforma y el alcance que tiene Sean Combs, tendrá la oportunidad de entrar en una nueva industria durante las etapas formativas y defenderá a su comunidad desde su nuevo rol”.

En realidad, la motivación principal de la empresa de Diddy de involucrarse en esta industria es para ayudar a que las minorías puedan progresar dentro de la industria del cannabis.

Contenido relacionado: Jay-Z Habla de Cannabis, Activismo y la Campaña de Sensibilización de Monogram

Brooks continuó: “Para nosotros, el propósito es mucho más importante que la popularidad del momento. Y si prestamos atención a la historia del cannabis, a pesar de que gente de todos los orígenes ha usado cannabis con la misma frecuencia, los afroamericanos han sido des proporcionalmente controlados de más por la policía y des proporcionalmente criminalizados. A decir verdad, a los afroamericanos nos detienen cuatro veces más seguido que a otros ciudadanos”.

Además, si consideramos el desarrollo del cannabis como una industria exitosa en EEUU, las empresas afroamericanas ocupan solo un 2% de todas las empresas de esta industria. “Esto no está bien ni tampoco es justo”.

De esta manera, Combs Enterprises siente la obligación de ayudar a impulsar el fortalecimiento económico de su comunidad. “Es nuestra responsabilidad establecer un negocio exitoso y próspero en esta industria, que genere productos de la más alta calidad y que contrate ejecutivos y expertos de diversos orígenes. Pero también asumimos la responsabilidad de ayudar a crear ecosistemas alrededor de nuestro negocio y asegurarnos de que esos ecosistemas también tengan participantes diversos; así todos tienen la oportunidad de competir”.

Sean Combs piensa exactamente igual. “Mi misión siempre ha sido crear oportunidades para emprendedores negros en industrias donde tradicionalmente nos han negado el acceso; y esta adquisición brinda la escala e impacto necesarios para construir un futuro más igualitario en la industria del cannabis”, comentó.

El enfoque de Combs Enterprises al impacto social también es amplio. Brooks dijo que la idea es potenciar la posición y la plataforma de la empresa. Además, planea debatir con reguladores y legisladores para asegurarse de que estén trabajando con estructuras razonables y manejables, que permitan a la gente participar en esta industria en sus respectivos estados (e incluso a nivel federal).

Contenido relacionado: Cannaclusive: Equidad Social, Racismo e Industria Cannábica en EE.UU. 

“Cuando llegue ese momento, queremos asegurarnos de que todo tipo de leyes y normativas que se diseñen contemplen la realidad de los empresarios pertenecientes a las minorías y no solo lo que ‘debería ser’. También queremos asegurarnos de no haya ninguna trampa o baches donde los emprendedores de estos grupos puedan tropezarse y que queden despojados de las oportunidades”, agregó.

Asimismo, Combs Enterprises buscará potenciar a las minorías en la industria del cannabis. Para que eso ocurra, la empresa deberá estar abierta y tener la voluntad de contratar gente que haya estado detenida en el pasado para ayudarla a poner su vida en orden y reinsertarse en la sociedad de manera productiva. Además, la compañía deberá proveer herramientas y programas disponibles para ayudar a los aspirantes de la equidad social a insertarse en la industria de forma segura y responsable.

Tarik Brooks explicó que la última pieza tiene que ver con el asesoramiento: “Cuando observas a cualquier emprendedor exitoso de cualquier origen, uno de los principales factores de éxito es la habilidad de encontrar mentores que se preocupen por tu éxito y poder acceder a las herramientas y asistencia técnica que te ayuden a acelerar el crecimiento. Y todo eso lo incorporaremos a la ética central de la empresa que estamos construyendo en la industria del cannabis”.

Buen timing

En una entrevista reciente, Diddy comentó que había estado considerando invertir en la industria del cannabis desde hace varios años. Entonces ¿por qué decidió hacerlo ahora?

Brooks respondió que “cuando consideramos una nueva industria, invertimos mucho tiempo en investigar y tratar de comprender qué la conduce y cuáles son las tendencias. Creo que una de las cosas en las que Sean Combs es realmente talentoso es en saber detectar puntos de inflexión dentro de una industria. Creo que el cannabis se encuentra en un punto de inflexión muy importante con lo referido a las regulaciones, ya que contamos con casi el 50% de los estados con cannabis legal en algún aspecto”.

Contenido relacionado: Equidad en la Industria del Cannabis de EEUU: ¿Estamos Incluyendo a las Minorías?

Y continuó: “También nos encontramos en un punto donde a medida que la industria se desarrolla, las marcas se vuelven cada vez más importantes. De todas formas, vuelvo al punto inicial de que para nosotros el propósito es más importante que la popularidad del momento. Entonces, el motivo por el cual Combs me dio luz verde para seguir insistiendo fue cuando vio que solo el 2% de las empresas de cannabis pertenecen a personas negras. Ahí me dijo: ‘tenemos que entrar y tenemos que hacerlo ahora’. Hay muchos  factores a nivel macro que hacen que ahora sea un momento muy atractivo para meterse en la industria. Pero en realidad, la poca participación de las minorías es el verdadero motivo por el cual hacemos esto ahora”.

Buenos mercados

Brooks habló de la transacción más en detalle y se refirió a las razones por las cuales se siente más optimista en los mercados de Nueva York, Illinois y Massachusetts.

En su opinión, Nueva York se va a convertir en uno de los mercados de cannabis más importantes del mundo cuando termine de desarrollarse.

También existe un factor sentimental. Combs es oriundo de Nueva York: nació en Harlem y allí construyó su primera empresa, Bad Boy Records, además de gestionar escuelas.

“Tenemos un patrimonio largo y profundo en Nueva York. Es parte de nuestro ADN”, comentó Brooks. “Illinois y Massachusetts también son dos mercados maduros que se están desarrollando rápidamente, donde el marco regulatorio está mejor posicionado que en Nueva York. Entonces, más o menos sabes dónde te estás metiendo, ves el recorrido y hacia dónde va”.

Contenido relacionado: Influencia Latina: Conocé a Vladimir Bautista, Figura Clave de la Legalización del Cannabis en Nueva York

Desde el punto de vista corporativo, debido a que la plataforma de Combs es muy amplia, la empresa puede ver como sus negocios y marcas aparecen en los diferentes mercados.

Brooks afirmó que Diddy ha demostrado, a lo largo de su carrera, ser uno de los creadores de marcas más prolíficos de la historia. “Combs tiene un talento único a la hora de entender hacia dónde va la cultura y crear marcas que se dirijan directamente a grupos psicográficos y demográficos que apoyan y entienden a lo que nos dedicamos. Así que aprovecharemos ese talento al máximo. Creo que lo que más subestima la gente es nuestra capacidad de sobreponer los datos e información que obtenemos al tener una plataforma tan amplia”.

Con miras al futuro

A medida que se desenvolvía la conversación, Brooks mencionó temas como la legalización y negocios. Al analizar el futuro, el presidente de Combs Enterprises dio su mirada sobre lo que se viene.

“Estamos entusiasmados porque en las próximas semanas vamos a lanzar una plataforma que venimos construyendo con Salesforce (NYSE:CRM) llamada Empower Global, y la cual es una manera de reimaginar cómo los comercios afroamericanos participan en el e-commerce”, dijo. “A diferencia de otras plataformas que han desarrollado directorios que ayudan a las personas a encontrar negocios pertenecientes a afroamericanos, nosotros vamos a permitir a la gente realizar transacciones directamente en nuestra plataforma de una manera fluida y hermosa”.

Diddy también seguirá incursionando en su música. Después de siete años en pausa, lanzó una canción llamada Gotta Move On, al que le está yendo muy bien en las listas de éxitos. Combs Enterprises también continuará construyendo su más reciente plataforma musical, Love Records. “Tenemos una plataforma muy dinámica que está haciendo maravillas. Así que seguirán escuchando sobre los proyectos fantásticos de Com Enterprises”.

Contenido relacionado: De Prisión Abandonada a Cultivo de Marihuana: Damian Marley nos Cuenta su Historia

Al finalizar la entrevista, Brooks hizo un llamado a la acción:

“Me gustaría invitar a todos los que forman parte de la industria del cannabis (y por todos me refiero desde los operadores hasta los proveedores, inversores, reguladores, legisladores y usuarios) a que se detengan un momento y observen a la actual industria del cannabis. Y que evalúen que tan equitativas están las cosas. Cuando las industrias recién empiezan a desarrollarse, es natural que exista cierta volatilidad respecto a cómo se desarrollará. Pero en este caso en particular, el crecimiento en esta industria debería enmendar los errores históricos que han sufrido ciertas comunidades, especialmente la comunidad negra e identidades marrones. Y considero que eso va a ser y tiene que ser fundamental en el crecimiento de esta industria. Cada uno de los que forman parte de este sector tienen un rol que cumplir; y estamos entusiasmados por asociarnos con cualquiera que quiera ser parte de este camino con nosotros”.

Puedes ver la entrevista completa aquí.

Vía Benzinga, traducido por El Planteo.

Foto: Cortesía de Revolt Media, editada por Javier Hasse.

The post La Mano Derecha de P. Diddy Explica Por Qué Entrarán en la Industria del Cannabis appeared first on High Times.

Video: el Mudial de Fútbol y las Drogas, la Historia de Diego Maradona

Los mundiales de fútbol de la FIFA tienen una larga historia en relación a las sustancias.

El Planteo presenta el ciclo documental Positivo/Negativo: historias de doping en los mundiales.

El capítulo estreno cuenta el caso de Diego Armando Maradona en la Copa de USA 1994.

Bajo el título “Diego Maradona. El Mundial que nos cortaron las piernas”, narra el momento más triste en la carrera del astro argentino cuando se halló efedrina en el control antidopaje.

Contenido relacionado: El día que Maradona Apoyó la Legalización de la Marihuana

Le siguen los casos de Andrés Escobar, el jugador colombiano asesinado tras convertir un autogol; Willie Johnston, el escocés de los excesos; Ernst Jean Joseph, el haitiano que sufrió la tortura tras dar doping positivo y la afición de Sulley Muntari por la marihuana.

En cuanto a selecciones se cuenta la historia de Alemania, campeona en 1954, que sembró un manto de dudas por supuesto consumo de sustancias -las que utilizaba el ejército nazi- en tiempos donde no existía el control antidoping.

Contenido relacionado: Juan Palomino: ‘Después de Interpretar a Maradona Ya Nada Volverá a Ser lo Mismo’

El ciclo es una idea de Hernán Panessi, con guiones de Cristian Baral y Ulises Rodríguez, producción sonora de Santiago Alonso y edición de Nahuel Rodríguez.

Con esta producción 100% original, El Planteo cuenta una parte de la historia de los Mundiales relacionado con lo prohibido y con momentos que, muchas veces, prefieren ocultarse o borrarse.

Mirá el primer capítulo de Positivo/Negativo, la serie sobre mundiales y doping, en YouTube.

Fotos de portada: Unknown author, Public domain, via Wikimedia Commons // Steindy (talk) 17:02, 29 November 2009 (UTC), CC BY-SA 3.0, via Wikimedia Commons // Jack de Nijs for Anefo, CC0, via Wikimedia Commons // Editadas en Canva por El Planteo

The post Video: el Mudial de Fútbol y las Drogas, la Historia de Diego Maradona appeared first on High Times.

Sean ‘Diddy’ Combs Acquires Assets To Launch Largest Black-Owned Cannabis Company

Entertainment mogul Sean “Diddy” Combs announced on Friday that he is launching what is billed as the world’s largest Black-owned cannabis brand with the $185 million purchase of existing licensed marijuana operations in three states. Combs is purchasing the business operations from Cresco Labs and Columbia Care, two multistate cannabis operators that are required to divest the assets to complete a previously announced merger of the two companies.

The transaction, if approved by state and federal regulators, would add to Combs’ portfolio of enterprises, which includes ventures in entertainment, media, fashion, and alcohol. Combs, the chairman and CEO of Combs Enterprises, said that he is purchasing the assets to address the inequities of the cannabis industry, where 81% of businesses are white-owned, according to a legislative report released in Maryland this week. 

Many Black entrepreneurs have said that difficulties with financing make it difficult for all but deep-pocketed business owners to succeed in the cannabis industry. The barriers to entering the legal market follow decades of marijuana prohibition that saw Black and Brown people disproportionately arrested and jailed for cannabis-related offenses.

“It’s diabolical,” Combs told the Wall Street Journal. “How do you lock up communities of people, break down their family structure, their futures, and then legalize it and make sure that those same people don’t get a chance to benefit or resurrect their lives from it?”

“My mission has always been to create opportunities for Black entrepreneurs in industries where we’ve traditionally been denied access, and this acquisition provides the immediate scale and impact needed to create a more equitable future in cannabis,” Combs said in a statement. “Owning the entire process — from growing and manufacturing to marketing, retail, and wholesale distribution — is a historic win for the culture that will allow us to empower diverse leaders throughout the ecosystem and be bold advocates for inclusion.”

$185 Million Deal

Under the deal, a new firm controlled by Combs will acquire nine cannabis retail stores and three production facilities in New York, Illinois, and Massachusetts. In return, Combs will pay $110 million in cash and another $45 million in debt financing, plus future payments based on growth benchmarks for a total amount of up to $185 million. Combs said he will leverage the new enterprise to help increase Black participation in the cannabis industry, a goal supported by Cresco CEO Charlie Bachtell.

“For an industry in need of greater diversity of leadership and perspective, the substantial presence of a minority-owned operator in some of the most influential markets in the country being led by one of the most prolific and impactful entrepreneurs of our time is momentous…and incredibly exciting,” Bachtell said in a statement on Friday. “We’re thrilled to welcome Sean and his team to the industry.”

In March, Cresco Labs announced that it would acquire Columbia Care in a $2 billion stock transaction. The merger of the two enterprises forms one of the largest cannabis companies in the United States, with operations in 18 states with legal cannabis including early adopters Colorado and California. But regulations governing the cannabis industry and business licenses require the companies to divest some assets in states where their operations overlap, such as Arizona, Florida, Illinois, Massachusetts, New York, and Ohio.

Bachtell said that the deal with Combs is bigger than the transaction itself, “and it couldn’t come at a time of greater significance and momentum.”

“We’ve seen executive power exercised to address matters of cannabis injustice, we’re seeing bi-partisan support for elements of federal reform, and we’re seeing some of the largest and most influential states in the country launch cannabis programs prioritizing social responsibility– this announcement adds to that momentum,” Bachtell said. “For Cresco, the transaction is a major step towards closing the Columbia Care acquisition and our leadership position in one of the largest consumer products categories of the future.” 

Largest Black-Owned Cannabis Company

The transaction is Combs’ first venture into the cannabis industry and will create the United States’ first minority-owned and operated, vertically integrated multistate cannabis operator in a sector projected to grow to $72 billion by 2030. The vertically integrated operations in New York, Illinois, and Massachusetts will provide Combs’ new company the ability to grow and manufacture cannabis products, while wholesale and distribution assets will market those branded products to licensed dispensaries in major metropolitan areas including New York City, Boston, and Chicago. The deal also includes retail stores in all three states. 

“These assets offer the Combs’ team significant market presence, enabling them to make the most impact on the industry as a whole,” said Columbia Care CEO and Co-founder, Nicholas Vita. “It’s been clear to us that Sean has the right team to carry on the strong legacy of these Columbia Care and Cresco Labs facilities, and we can’t wait to see how he helps shape the cannabis industry going forward through his entrepreneurial leadership and innovation.”

The deal is subject to several conditions, including regulatory approval, clearance under antitrust rules and the closing of Cresco Labs’ acquisition of Columbia Care. The companies are also in the process of divesting other assets to meet regulatory requirements ahead of the closing of the deal.

The post Sean ‘Diddy’ Combs Acquires Assets To Launch Largest Black-Owned Cannabis Company appeared first on High Times.

From the Archives: Getting Stoned in the Haut Monde (1979)

On a London television program some years ago, Rex Harrison was asked if he had been quoted correctly in a press interview as saying that he used to smoke pot back in the ’30s. He hesitated before he answered, then smiled and said diplomatically, “Let’s just say that it was smoked in the ’30s.”

It sure was. At that time I was an editor of the Condé Nast magazine Vanity Fair. I used to buy marijuana cigarettes, then called reefers or weed, from a hunchback Harlem hustler nicknamed Money. They cost $1.50 a joint and were a lot more potent than the tatty, adulterated stuff you often get today. Part of my job on the magazine was to go to all the theater opening nights and to the fashionable nightclubs and parties. I used to get to the office around 8:30 in the morning, and frequently I didn’t leave until just in time to dash home, shower and get into evening clothes. I kept a supply of reefers in my apartment and would usually have a smoke before going out to face the rigors of the night. It got rid of any fatigue and rallied my stamina for the dancing and the revelry, which often lasted until dawn.

Although the stuff was legal then (it wasn’t outlawed until 1937), I doubt if I ever saw it smoked in public places, as one does today in discotheques, in parks, at pop concerts and similar gatherings. After it became illegal, I would often get a whiff of that sweet, unmistakable smell in the powder rooms of smart nightclubs and restaurants; Tallulah Bankhead and I once shared a joint in the ladies’ room of the Waldorf during some society ball. Tallulah smoked everything, took everything, did everything. She never made any secret of her habits. Marijuana, hashish, cocaine and opium were as much in vogue then as they are now—as I guess they always have been—with musicians, artists, poets, theater and film people, as well as with many members of what was called “café society.” It was from personal knowledge that Cole Porter wrote, not necessarily truthfully, “I get no kick from cocaine,” a line barred from radio stations of the time except when changed to “I get no kick from champagne.”

I had my first pot experience in 1933 at a party in Havana. I saw this cigarette being passed from person to person, and although I didn’t understand the ritual, I took my turn when it came my way, tentatively imitating the heavy inhaling and slurping. I asked what it was supposed to do to me. The university professor who was my escort said that when he smoked it, it made him feel so powerful that he would be able to tear the faucets out of the bathroom, should the notion seize him. I refrained from commenting that most Cuban bathroom fixtures were so shaky they fell off if you touched them.

Of course, all the cigarette did was give me the giggles, which is the same reaction I get today, 46 years later. I don’t mean that I’m a dyed-in-the-wool pothead, but I have been smoking, off and on, throughout the years, and I am living proof that it is not harmful and does not automatically lead to heroin, a life of crime, and an inevitable grovel in the gutter. The reason I don’t keep it at home or carry it around with me is because it’s illegal, which is the only proven danger about it. I am by nature law-abiding and can be cowed by signs like DONT SPIT ON THE FLOOR, DÉFENSE DE FUMER, and KEEP OFF THE GRASS. Well, to be frank, it’s not so much that I’m lawabiding as that I’m a coward. I’m afraid of the police, and I certainly don’t want any of those damn trained dogs charging into my apartment and sniffing around.

Although I myself have stuck to pot, possibly on the assumption that what was good enough for the Phoenicians and the Scythians 3,000 years ago is good enough for me—but more likely because of my timidity—many of my acquaintances in the ’30s and ’40s were more adventurous. Cecil Beaton, whom I knew when he, too, was working for Condé Nast, has written in his diaries that he smoked opium with Jean Cocteau, and so, apparently, did everyone else in that international coven of literary and artistic highfliers, including Coco Chanel, whom Cocteau liked to call “a little black swan.” I used to come in on the aftermath of these sessions. Vogue editors in Paris would say to me, “My dear, you should have been at Bebe Berard’s last night. We all smoked opium and it was too divine!”

I seem to have breezed through those days meeting people before or after. I knew the brilliant writer Emily “Mickey” Hahn before she went to China in 1935, where she started smoking opium and loved it, although she now adds that she was cured of addiction through hypnotism and then switched to cigars. I met Aldous Huxley at a luncheon meeting in the Vanity Fair office. No mushrooms on the menu. It was several years later that he discovered the fascination of the mindbending fungi. However, I did know a beautiful red-haired fashion model who spent a month in Mexico and Guatemala trying them out. In Mexico alone, she told me, there were 250 different kinds of organic hallucinogenic mushrooms, but she was vague about the number she had sampled. She later married a titled foreigner of ambiguous background and thenceforth called herself Princess. Back home again, she made quite a splash, getting impressionable local society spaced out in such assorted cities as Detroit, Akron and New York, in each of which she was received with that sickening sycophancy (try to say that when you’re stoned!) Americans display when confronted with any title, even a spurious one.

During the same period, I also knew a young English photographer who was visiting New York and who was taken up by the so-called Smart Bohemian Set of the time. He told me he went to a party with Libby Holman, who said she was bored with reefers and coke and wanted something new. The hostess had some peyote. “I was frightfully keen to try it,” the photographer said, “because I’d heard and read about it. But it was so tough. It was like trying to chew a rubber shoe sole. We finally solved the problem by cutting it into little pieces and stirring them into Jello. After it was in the fridge for several hours it was okay to eat.”

I didn’t meet Errol Flynn until the early ’50s, when I went to Mexico to do a profile of him for Esquire. Along with Ava Gardner, Tyrone Power and Mel Ferrer, he was filming The Sun Also Rises. The company was in Merida, but all journalists were persona non grata. I learned later that the reason was because Errol was charging his head with everything he could get, and every time the company doctor got him partially detoxified he would take off and start flying again. Finally, they got him comparatively under control and the company moved to Mexico City. Errol was staying at my hotel. The film’s press agent took me to his room to meet him. The press agent knocked on the door and gave his name. He was obviously taken aback to hear Errol shout cheerily, “Come on in. I’m taking a piss and the old dong is longer than ever!”

When Flynn opened the door and saw me, he didn’t lift an eyebrow. He bowed and gallantly kissed my hand, too much a natural aristocrat to be abashed—or maybe too stoned. He offered us a choice of tequila, vodka, marijuana or cocaine, ignoring the panicky expression on the face of the press agent, who looked as if he was undergoing an incipient attack of apoplexy. I said I’d have some tequila, while the press agent murmured weakly, “Errol’s a great kidder.” Flynn looked at him benignly. Our visit that day was short, but I saw Flynn alone several times, and although we did share a couple of smokes, I refused the other goodies he offered.

He must have had a remarkably strong constitution. Girls, dope, liquor—usually at the same time. I was talking about him in London with Trevor Howard, who was telling me about the filming of Roots of Heaven in French Equatorial Africa, now Chad. “It was one of my happiest pictures,” Trevor said. “Flynn and I sent a cable to Fortnum & Mason, ordering huge amounts of caviar and smoked salmon sent out to us. We had some jolly times. We all slept in tents, and there was a native girl who used to go into certain tents at night. She’d give a signal by mewing like a cat. So Errol and I used to creep up near Darryl Zanuck’s tent and go meow-meow, and he’d come out looking all around. We almost choked laughing … Errol managed to get all the morphine from the nearest hospital. Cleaned them out. I don’t know how he did it. Had the company doctor requisition it or something, I suppose. Wonderful chap, Errol. Only person I ever knew who took dope and drank like a fish. The two don’t usually go together. A very splendid man.”

No, they don’t usually go together. This is probably why I’ve only smoked pot. I started to drink during Prohibition, and I had no desire for other forms of stimulation. Most people I knew who took cocaine in the ’30s were not heavy drinkers. I never knew anyone who could have been called an addict, or anyone who experienced adverse reactions. Doctors today are beginning to admit that it is not as dangerous as they once thought, and that it does have legitimate medical uses. My friends took it for the same reasons I drank or smoked pot: to get high, overcome fatigue, relieve depression, make people and conversation more interesting, feel euphoric. Also, in some cases it was used to enhance sex by applying it to the tip of the penis, a custom known in Latin America as “la vida real” (“the royal life”), although in Cuba it was claimed they could get the same effect with Baum Bengue.

Like everything else, it was a great deal cheaper then than now. It was also much purer. We called it snow. Where now the verb is “to snort,” it was then “to sniff.” There were few of today’s fancy frills. No silver spoons or gold straws, just ordinary straws, the kind soda fountains give you. No rolled-up $100 bills, either, although a few big-spender types used $10 bills. They were considered showoffs.

I met Peter Lorre shortly after he came to this country. He was Hungarian, born in the Carpathian Mountains region that later became part of Czechoslovakia. He had been making films in Germany, of which the most famous was M, based on the true story of a psychopathic murderer in Dusseldorf. It had a great success both in Europe and here, and his performance is still regarded as one of the great ones in the history of the cinema. I had him come to the Condé Nast studio to be photographed for Vanity Fair.

Afterward, we went out for a drink, so that I could get material for the caption I was going to write. I ordered a Scotch and soda. He said he would have coffee. “You don’t want a drink?” I asked. He looked at me with those mournful, staring eyes. “I am a dope,” he said. His English was far from perfect, so I thought he meant the equivalent of “I am a dumbbell,” or some similar slang of that period. It turned out that what he meant was that he took dope. I reassured him that this was okay and that some of my best friends were dopes.

About ten years ago, when I was living in London, I had lunch with Caresse Crosby, and afterward we spent the rest of the afternoon smoking pot in her hotel room. I was 60 and she was in her mid 70s. She had come up from Rome, where she lived in a castle and was known as the Princess something-orother—some Italian name I’ve forgotten—and spent all her time and energy soliciting funds for an ambitious plan for One World Citizenship.

I suppose most people today never heard of Harry and Caresse Crosby. If I mention the name Crosby, they think I mean Bing. They know about Scott and Zelda, and about Hemingway, but they don’t know about Caresse and Harry, who were the ’20s’most far-out couple, more than a match for any of today’s Beautiful People. They would have thought Studio 54 a bore and Plato’s Retreat too plebian.

Caresse, whose original name was Mary Phelps Jacob, was a descendent of the Plymouth Colony’s Governor Bradford, who came over on the Mayflower. Born in New York, she lived in a mansion on Fifth Avenue at 59th Street, now the site of the Plaza Hotel. Her father apparently had no profession but was supported in high style by his father. The latter’s house was where Rockefeller Center is now. Caresse, then known as Polly, was brought up in luxury, sent to the best private finishing schools, presented at court in London, the only American debutante to curtsy to King George V and Queen Mary. She wore a white brocade satin gown with a train eight yards long, and three white ostrich plumes in her dark hair.

She knew everybody in the upper echelons of society and was expected to follow the rules and keep her place in the Social Register. So she married Dick Peabody of the Boston Back Bay Peabodys, a product of Groton and Harvard. All bills were paid by their grandparents (both sets of them), and they lived with her father-in-law, penniless themselves, like her parents, but living expensively, a subsidized golden couple. When her children were born, her husband’s godfather, J.P. Morgan, the banker, chipped in to pay the bills.

Her life might have gone on this way, had she not met Harry Crosby in 1919, J.P. Morgan’s nephew. “It was love at first sight,” she often said. She divorced Peabody and married Crosby. He was 21. She was 27. J.P. Morgan, “Uncle Jack,” gave Harry a job in the Paris branch of his bank; the bride and groom sublet Princess Bibesco’s flat on the Fauburg St. Honore; and the dizzy merry-go-round began. Harry always wore a black gardenia in his buttonhole (he had them made especially for him at a place on the rue de la Paix), and Caresse bought her clothes at couture houses and her diamond necklace at Cartier’s. Her children by Peabody were sent to Swiss boarding schools. She was accompanied everywhere by her pet black whippet, Narcisse Noir. The dog wore a gold necklace and his toenails were lacquered gold. The Crosbys entertained constantly—princes, dukes, duchesses, counts and other titled guests mingling with sculptors, painters and writers. Harry quit work at the bank because, he said, life was too short to work. And Uncle Jack footed the bills.

Life was a gala of champagne, cocaine, marijuana, hashish and opium smoked in pipes with porcelain bowls and jade handles. Caresse and Harry took a flat of their own in the rue de Lille, where they sometimes entertained in bed, with small tables set up for guests, or in the bathroom, which had an open fireplace, a white bearskin rug and a sunken marble tub. The tub could hold four—and frequently did.

Their idea of a great party was the Arts Ball. Reminiscing as we sat in her London hotel room, Caresse described one such event: “I think it was in 1927. I went as an Inca princess. I wore a long blue wig and was stripped to the waist. I sat in the mouth of a huge papier mache dragon. First, we marched up the Champs Elysees. The girls were nude to the waist, the men completely nude. I rode on a baby elephant, and people crowded around me to kiss my painted knees. Harry wore a collar of dead pigeons and carried a bag of live snakes. When we entered the ballroom, I was carried in my dragon’s mouth by ten handsome nude young men. I won first prize. My breasts helped me win, I’m sure . . . When I went home I found Harry in the bathtub with three pretty girls. We slept seven in our bed that night.”

When not indulging in high jinks that make the ’70s seem tame, the Crosbys were both writing poetry. It was at that time that she adopted the name Caresse. In 1927 they started the Black Sun Press in order to publish their own poems. (She was charmingly vague about any financial sources.) Later, they branched out, printing a collection of Proust’s letters, poems by their close friend Hart Crane, stories by D.H. Lawrence and Kay Boyle, part of Joyce’s work in progress. Their own literary talents were limited, to put it politely, but their exuberant personalities and bizarre ways made them the most sought-after couple in Paris. Everyone visited them, from Schiaparelli, the designer, to Aldous Huxley, Andre Gide, Max Ernst, Giacometti. Even Eva Braun dropped in for a drink, brought by some Viennese acquaintance, and signed the Crosby guest book.

In 1928 they took a fateful trip to Egypt, fateful because Harry became enraptured of Ra, the sun god. He had a sun tattooed between his shoulder blades, and from then on he became increasingly weird until, on a New York visit in 1929, he committed suicide, believing that he was going to meet the sun.

Caresse was made of tougher fiber. She married a couple more times, and wherever she was—New York, Paris, London—she was a center of attention, the fascinating lode star of the wilder international set. Even when I last saw her, she was energetically campaigning for her World Citizen idea, a spunky old lady, loaded with charm and vitality. “I’ve had a great life,” she said to me. “I don’t see why people make such a fuss about dope. It never did me any harm. I used to hate pot because it made me choke, but I got over that. Everyone we knew in Paris smoked it and sniffed cocaine, so Harry and I did, too. But when you sniff cocaine it gets into your clothes, down your neck, under your nails. Opium was more fun, I used to think. It’s no more habit-forming than tobacco. Well, of course, tobacco is habit-forming, isn’t it? It’s much more harmful. It kills you.’’

I didn’t know her in the ’20s, when she was riding high and fast. Perhaps it’s just as well I didn’t. She was too far out for me, although I enjoyed hearing her talk about the old days.

My heyday was in the ’30s. Pot smoking was not as widespread as it is today, which only proves the stupidity of outlawing it. Of course, if you lie around and smoke pot all day, you don’t get anything else done. But if you lie around and drink coffee all day, you don’t get much done, either. There are always people who do things to excess, whether dope, alcohol or gluttony. These are people who would have a problem anyway. I expect that marijuana will eventually be legalized. Some six years ago the Young Women’s Christian Association, during a three-day convention in Michigan, passed a resolution calling for legalization. With such support from an irreproachably wholesome organization, whose official policy has never been to foster depravity, I think it’s about time to put a legal end to the myth that blowing grass makes you a dope fiend.

High Times Magazine, June 1979

Read the full issue here.

The post From the Archives: Getting Stoned in the Haut Monde (1979) appeared first on High Times.

Mayer Mizrachi: El Emprendedor Panameño que Rompió sus Prejuicios con el Cannabis

Nota por Ulises Román Rodríguez publicada originalmente en El Planteo. Más artículos por El Planteo en High Times en Español.

Síguenos en Instagram (@El.Planteo) y Twitter (@ElPlanteo).

Mayer Mizrachi es un niño-grande. Con una habitación-oficina en la que conviven Batman y Mario Bros, el emprendedor panameño nacido en 1987 creó el marketplace Geeky Drop al que bautizaron “el Amazon de Panamá”.

Graduado en Finanzas y Economía en la American University en Washington DC, Mayer creció pensando que todo el universo emparentado al cannabis era “malo, nocivo e ilegal”.

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El prejuicio alimentó buena parte de su juventud hasta que, a los 18 años, comenzó a sufrir epilepsia.

En esos difíciles momentos de salud, su médico le indicó que, cuando no pudiera acceder a los medicamentos indicados para el tratamiento, consumiera cannabis.

Eso significó un cimbronazo para su estructura mental acerca de la legalidad o ilegalidad de consumir “la planta prohibida”.

Sin embargo, consideró que no podía desestimar la sugerencia ante el desabastecimiento del medicamento.

“Así que comencé a consumirlo ante el temor de sufrir un ataque mientras conducía y provocar un accidente que pudiera dañar a otras personas”, cuenta a El Planteo desde su silla gamer.

Con visión de futuro

El joven empresario, que será uno de los disertantes en la conferencia Latam Cann Biz que se realizará este 1 y 2 de septiembre en Panamá, aún no ha invertido en la industria del cannabis en su país “porque es ilegal” pero sí lo ha hecho en Estados Unidos.

“Creo que, a nivel económico, el cannabis es una excelente fuente de ingresos fiscal para los gobiernos municipales, locales e incluso nacionales”, dice Mizrachi.

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¿Qué opinión tenés respecto a la legalización del cannabis en Panamá?

—Creo que hay que ser un buen replicador de lo que funciona en países más grandes, más eficientes y más ricos que los nuestros. La legalización de la marihuana a nivel fiscal ha funcionado, a nivel social ha funcionado y ha tenido impacto positivo.

Para Mayer, un ejemplo a destacar es el caso de Puerto Rico que, a nivel socioeconómico, se parece bastante a Panamá.

“Es un excelente caso para darse cuenta de que no se incrementó la criminalidad, ni el consumo o el índice de crimen por drogas”, sostiene.

De todos modos, el emprendedor panameño reconoce que no es “un súper fan del cannabis y no cree “que resuelva todo en la vida”.

Mizrachi entiende al cannabis “como fuente de activación económica y de solución medicinal alterna”, en un país como Panamá “que sufre el desabastecimiento de medicinas y los altos sobreprecios en medicamentos”.

Economía y salud

El empresario, que atravesó un proceso judicial por el que estuvo 6 meses en prisión, está convencido de que el primer paso que hay que dar en su país es “descriminalizar” para que consumir “no sea un crimen”.

Contenido relacionado: EXCLUSIVA: Andrés Fajardo, CEO de Clever Leaves, Habla de la Legalización del Uso Adulto del Cannabis en Colombia

¿Estarías dispuesto a invertir en tu país si llegara a legalizarse? 

—Sí, claro. Soy una persona que apuesta al desarrollo económico de Panamá e invierto activamente en proyectos que crean empleos, pero me entusiasma aún más proyectos que crean industrias.

Mizrachi cree que la industria del cannabis en Panamá “podría ser súper exitosa, de muchos beneficios a nivel salud, muchos beneficios a nivel económico, a nivel sector privado, a nivel comercial y a nivel estatal para la recaudación de impuestos”.

A pesar de estar formado en economía y finanzas, en un momento de su vida decidió dejar ese mundo para crear aplicaciones y emprendimientos basados en tecnologías, software y startups, y además de crearlos, invertir dentro de ellos.

En ese camino fundó GeekyDrop, un marketplace nacido durante la pandemia y al que todos llaman el “Amazon de Panamá”.

¿Cómo nació la idea de crear GeekyDrop?

—Se inició con un único rol: proteger a la gente de estafas, todas las cosas que hago tienen que tener un grado de impacto positivo en la sociedad.

Además, Mayer Mizrachi utiliza sus redes para promover obras solidarias. Con ese espíritu inició Toy O No Toy, un canal de YouTube, donde invitaba a las personas que estaban emprendiendo en plena pandemia y allí decidían si invertir en esos proyectos.

Fue tal el suceso, que ya va por su tercera temporada y ha sido levantado por la televisión nacional. Toy o No Toy lo realiza con dos socios, que poseen el mismo deseo de crear impacto y beneficiarse de él.

Contenido relacionado: EXCLUSIVA – Valeria Salech de Mamá Cultiva Argentina: Autocultivo, Feminismo y Economía del Cuidado

El otro universo

Entre los emprendimientos y los negocios, Mayer siempre deja un momento para el streamer y el gamer que lleva adentro.

Actualmente, es uno de los tops streamers y gamers de Panamá en Twitch: “Me apasiona desde niño todo lo que es tecnología”, dice.

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A pesar de su popularidad en el mundo virtual dice que no se considera “un influencer” sino “un emprendedor”.

Mizrachi le escapa a esta etiqueta de influencer porque afirma: “Yo no hago pautas, no cobro para usar marcas y si promuevo un libro es porque lo leí, me gustó y considero que compartir ese conocimiento con la gente es de mayor valor, no porque alguien me pagó”.

Fotos cortesía

The post Mayer Mizrachi: El Emprendedor Panameño que Rompió sus Prejuicios con el Cannabis appeared first on High Times.

Weed & Friendship: The Perfect Formula

Colson Baker (known professionally as Machine Gun Kelly) and Derek Ryan Smith (known professionally as Mod Sun) are childhood pals who like to make stuff. From hit music tracks to feature films, the duo has had great success creating together and individually. But when it comes to their creative partnership, there’s a certain type of magic that can only happen when you’re working with your best friend. According to Baker, he and Smith always have a rotating harmony when working on various projects. “It’s such a good yin-yang situation between us that we meet in the middle every time. We were given the blessing of if my tank was empty, he was full, and if he was empty, I was full.”

When we connect over Zoom, Baker and Smith are eager to share their movie-making insights and their weed smoking exploits, especially with respect to their latest film, Good Mourning, which they both wrote, directed, and starred in. Good Mourning follows London Clash (played by Baker) who wakes up to a message from his girlfriend that reads “I wish I didn’t have to do this thru text. Good Mourning.”—an assumed breakup text. This alarming possibility arrives on the same day that London has an important meeting that will determine the future of his acting career. His day becomes a wild adventure that forces him to choose between his love life and landing the big role. The ensuing conversation is further proof that the combination of both weed and friendship is the perfect formula for any successful creative pursuit.

Courtesy of High Times / Brigade Marketing

High Times: Growing up, did you guys ever envision writing, directing, and starring in your own feature films?

Derek Ryan Smith: I did. It was a goal I’d had since I was very young. I probably would say “movie” [instead of feature film] but—

Colson Baker: Yeah, I was gonna say. Every IG Story post that Mod’s done since the start of Instagram has said the word “movie.”

I was always that kid with the giant chunky camera—before they started inventing the smaller ones—filming skate tricks or smoking out of an apple. I was always documenting when I was younger. It kind of felt like everything was leading up to Good Mourning.

On that tip, Good Mourning isn’t your first movie collaboration together. What was the inspiration behind this one and why was it important for you guys to make it?

CB: It’s a very meta movie that came from a real situation that I was spiraling about, which is exactly what the character London was doing in the movie: Misreading a text message and not being able to get the answer back, so asking your friends “What does this mean, what does this mean?” And them just giving you terrible advice.

My favorite parts of the movie are the moments we wrote down that ended up coming to life later. Like the Batman reference. It’s London’s audition—it’s his big day getting his Batman audition—and this was before we even found out they were going to make a new Batman with Robert Pattinson. It’s funny [our] film comes out right after The Batman is the talk of the town.

It reminds me of—and I can’t believe I’m quoting this—Not Another Teen Movie, or Scary Movie, or any of those movies where they reference pop culture moments happening at the time. We didn’t intentionally have any knowledge of these things. Same with the Fake Drake.

DRS: The Fake Drake thing is just mind-blowing to me. I’ll never get over that.

CB: The fact that there wasn’t this viral Fake Drake thing happening when we wrote the movie…[it happened for us] because the role was originally supposed to be Drake. We couldn’t see [the character] as any other person. Drake was going to do the movie, but then because of scheduling, he could only make it one day. But we didn’t have the house that day, and the other day he was back in Toronto. He was like, “If you get a jet, I can make it,” which would have cost the entire budget of the movie to get him via jet to Los Angeles for this five-second shot. It worked even better with the Fake Drake.

DRS: That was my final straw. When I saw the Fake Drake viral thing, I was like, “Dude, stop.” I couldn’t believe it.

CB: Everything manifested from this film. It was a trip.

Do you think in some ways, you guys putting Fake Drake into the film helped it manifest in real life?

DRS: We wrote that skater boy bit and then all of a sudden now I’m engaged to Avril Lavigne [laughs], so I don’t know.

CB: The manifestation from this movie almost feels like it needed to come through some type of vessels, and we ended up being the vessels. Stoner comedies—especially for the new generations—are almost nonexistent, and they’re definitely nonexistent in the sense of actual stoners writing and directing them.

We were not smoking fake weed on set. We had pounds and pounds.

DRS: Shhhhhhhh.

This is High Times, you’re good. We want this information.

DRS: Okay, good.

weed
Courtesy of Brigade Marketing

CB: I reached out to Berner and he sent us a pallet of Cookies and every accoutrement you’d need to get high.

DRS: Whoa. What word did you just use?

CB: Every possible way you could smoke weed, he had it in the package. We knew we had to add to the legend of each classic stoner movie having either a [weed] game that you learn or a new way to roll that you learn. We probably have a 10-minute smoker’s montage in the movie, so if there isn’t one [legendary]…

DRS: Please be “the smorkle.”

CB: It’s either “the smorkle,” “five fingers of death,” or the giant Snoop Dogg joint. I’m hoping one of those lands in the classic stoner archives.

The takeaway being, if one kid emulates your smoking techniques, you guys have done your job.

CB: Absolutely. And by one kid, we hopefully mean one million. But yeah.

What’s the difference in your creative process between making a movie like Good Mourning and making an album?

CB: If we fuck our albums up, that’s just on us. If we fuck the movie up, we embarrass the cast, we embarrass our financiers, we embarrass ourselves.

DRS: Putting your art in other people’s hands is a different kind of monster to sleep with at night.

CB: Or them putting our art in our hands, but them being the ones giving us the money to do it.

DRS: It’s definitely a whole different experience and takes a whole different side of trust to happen. It’s one thing to trust in yourself, it’s another thing to trust in everybody on set.

Is there anything from the music world that you bring into your creative process when you’re making a film?

DRS: I think we might not have believed that we could start a script and finish it if we hadn’t learned how to write a song and be able to finish that. Or if we didn’t know how to finish an album. I think [finishing music] unlocked something in our brains to see something through until the end.

We live in Los Angeles, so how many people are outside this window right now like, “I’m working on [a] script.” And it’s been 30 years, you know?

CB: The other thing I took from music to movies was how collaborative music is. They don’t really bring that into movies too often outside of the Adam Sandlers and the Seth Rogens. There’s a few people who learned that reaching out and being collaborative on films is possible—that you can actually just pick up the phone and ask to collab on films the same way you can ask to collab on songs. That was something we came in with on this.

DRS: We filled this movie with amazing actors and people who have never acted before. People who we just believed could do it. 

You’re not only indoctrinating—hopefully—millions of people to new smoking techniques, you’re also breaking in the talent of your friends in a new lane for them.

CB: One-hundred percent. It was an honor to have the established comedians come in and bring their comedy to our film because some of those lines that Whitney [Cummings] and Pete [Davidson] said, you couldn’t write. Those were strictly from comedic genius brains.

weed
Courtesy of Brigade Marketing

People like GaTa—who we’ve watched on a great series like Dave be GaTa—we were able to give him a character to play that’s the complete opposite of GaTa. People like Megan [Fox], Dove [Cameron], Zach [Villa]—we got to watch them explore characters we haven’t seen them portray before. Like, I’ve never seen Dove in a stoner movie, right? She’s coming from a completely different end of the spectrum in film and TV.

And then Boo [Johnson] who’s this rad skater from Long Beach coming in and having a main role in a movie when he’s never acted before. I now have high hopes that I’ll see him in something else.

You mentioned you were well taken care of with weed on set. How does weed impact your creative process?

DRS: I think with [the Good Mourning] script, it was the genesis to everything. Writing a script can feel like homework and we did not go to college. We were done with school when we finished high school, and I’m pretty sure both of us barely finished high school. [Writing the script] kind of felt like a job, but being able to smoke weed with your best friend all day kind of gave it that cushion to be fun.

CB: I think the act of rolling [papers] is almost like a stress ball or something. It’s less even the smoking and more that you’re able to roll something while you’re writing and you’re sitting in one place. Having something to do with your hands is great. It’s either that, or punching each other in the face. I don’t know if that would have been as productive, but it also would have been satisfying.

Courtesy of Brigade Marketing

Was there any particular strain you guys gravitated toward?

CB: Growing up, I loved Green Crack. I will never forget when I smoked Green Crack for the first time and I was driving in a car that still had snow on the roof of it. In Cleveland, it snows a bunch, so it’s not like you brush the snow off the roof, you just leave it on there and get it off the windows. I was so high on Green Crack and my mouth was so parched that I just reached my hand out of the window and grabbed a giant glob of snow and ate it. It was the most refreshing water taste ever.

DRS: Mine was Jack Herer.

DRS and CB: Ohhhhhhhhhhhh!

CB: Jack Herer, dude! That was the go-to sativa.

DRS: That was the designer weed when we were young.

To that end, do you guys have any plans to create your own strains or partner with any brands?

CB: My friend has a great weed company called Rapper Weed. I think the name is genius, but I don’t have any part in it. I just think it’s a great name.

DRS: I still have plans to write a book where every page is a paper that you can smoke.

CB: Oh, that’s sick.

DRS: You can really digest the writing.

You could have your own smokable library.

CB: Yeah, that’s hard. You could light that library on fire. It’s a new twist on Fahrenheit 451, dude. It’s the less-dark version of that.

What was the most challenging aspect of making Good Mourning?

CB: It would have to be never actually having a cast until the day we would shoot. Even when we had the main cast casted the day before we had to shoot, there was always cameos or characters in the script where we were like, “Oh shit, we forgot there’s ‘Unknown Person #2’ that we always wanted to be so-and-so.” We were calling in favors left and right.

DRS: The hours were pretty crazy. [Colson] also had to show up an hour-and-a-half earlier than me every day to cover up his tattoos. And I think just directing the energy of a bunch of people in the same room and keeping the vibe where it needs to be to get the right shot.

Courtesy of Brigade Marketing

CB: We had to break up the weed montage into two days because there was so much smoking. A lot didn’t get used, but one day the smoke set off the fire alarm in the house, which originally was okay because we’d turned the sprinklers off. Or so we thought. One of the sprinklers was actually left on and it sprayed all over the camera equipment and wouldn’t stop. It was like a fire truck hose was going off.

Did that burn a day?

CB: It burned a lot of the day.

DRS: We flooded the house we were in pretty much.

But you still made a movie.

DRS: Somehow. Somehow we did.

goodmourningmovie.com

This article appears in the August 2022 issue of High Times. Subscribe here.

The post Weed & Friendship: The Perfect Formula appeared first on High Times.

Afroman’s Ohio Residence Raided by Local Law Enforcement

Afroman recently shared that his home in Ohio was raided on Aug. 21 by the Adams County Sheriff’s Office. Although he was in Chicago at the time of the raid, his neighbors told him about what was going on.

He also shared multiple security footage videos on Instagram showing law enforcement searching various areas of the house. “This is supposed to be a drug and narcotic warrant I had to pay technical people top dollar to install my camera system there’s no drugs or guns in my computer screen. These are burglars hoodlums breaking into the houses of law-abiding taxpaying citizens destroying property,” he wrote on Aug. 29. “I had to pay the camera people thousands of dollars to install my camera system I don’t need them kicc-ing down my door spreading monkeypox in my clothes and ripping up my camera systems so nobody will see these thieves disguised as law-enforcement officers stealing my money Just like the cops in Saint Charles Missouri.”

Afroman’s social media posts took off in popularity. As of Aug. 30, Afroman said he thanked “Police Officer Poundcake” for helping him gain 13,000 followers on TikTok. As of Sept. 2, the TikTok post has 4.7 million views.

According to a TMZ Live interview with Afroman, law enforcement didn’t find what they were looking for. “They took, like, some roaches, and a vape pen, and a jar of CBD. I think they thought I had like hundreds and thousands of pounds or something like that,” he said. “They didn’t have to run up my driveway with AR-15s and all kind of assault weapons. I would have gladly just given that to them.” Afroman also mentioned he has footage of cops pulling cash out of the pocket of his clothing.

“They said they want me to come down and make a statement. I need a lawyer, I don’t know why they came here like this,” he said.

TMZ also asked Afroman about a previous burglary that had occurred in the past as well. He said it took three days for police to visit his home and write a report on the incident. He continued to follow up with the local police station about the report. “I was following up with the progress of the case, and I guess the consistency of my calls was irritating them. They told me ‘If you keep calling up it will get addressed.’ I got a funny vibe, so I fell back, you know.”

Interviewers asked him to elaborate on the “funny vibe,” and inquired if that statement felt like a threat. “You know, a cop speaks politically correct…” Afroman started, but said that he felt like the police station told him to stop calling. 

On Sept. 1, a local news channel covering the incident claimed that the search warrant listed “possession of drugs, drug trafficking, and kidnapping.” “No kidnapping victims, no pounds of marijuana (especially in my suit pocc-ets) or narcotics. No charges. No warrant for my arrest,” Afroman wrote. Just A few roaches in my ash tray them on camera destroying my property, stealing my money like the cops in Saint Charles Missouri, and disconnecting my cameras so no one sees them stealing my money.”

Ohio legalized medical cannabis in 2016, but recreational cannabis is not allowed. Although there was a legalization ballot initiative in the works, it has been postponed until the 2023 election.

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