Delta 8 THC Guide

Delta 8 THC products are a new introduction in the world of natural herbal medicine. The most common of the offerings, Delta 8, is taken from marijuana plants and has a sedative effect. The plant is also said to act as a natural sedative for those who are highly stressed or who have issues sleeping. If you're looking for a product that can help you relax, be more alert, or just feel good, then Delta might be for you. Read on to find out more about this new addition to the market, and why it could be a real answer for those who are looking for a better way to deal with chronic pain.

The delta 8 thc products come in two forms - as a pill and as a gummy bear. The difference between the two is that the gummy bear version can be eaten, while the pill needs to be taken with water. The Delta 8 THC gummy bears are quite small, which makes them easy to take, and they're also high-quality. They have high levels of THC and therefore don't have many side effects for those who are sensitive to other pharmaceutical medications. People who are interested in trying the new Delta product should pick up a few doses and give it a try.

The Delta 8 thc products work very well in most people, although there are those who aren't comfortable taking them with food. If you pick up a bottle of the gummy bears, however, you won't have to worry about this issue. The low potency makes it easy to consume, and it's a great way to enjoy the taste of the Delta product without having to worry about mixing it with something that you're not going to like. These products are currently being offered online at a discount, so it should only take a few clicks to find a website where you can get the best selection of delta8 thc. Once you do find a website that has what you're looking for, make sure that you read through all of the products that are available before making your final purchase.

Best Delta 8 Products

  1. * Area 52's delta 8 products are the best ones for sale on the market today. There is a reason the company has the best selling delta 8 carts in the United States.
  2. * LAWeekly's post is a guide to finding delta 8 near me for consumers in a rush trying to get products in less than one business day. The vendors listed here offer overnight and priority shipping options.
  3. * LAWeekly also wrote about their list of the best companies that sell delta 8 THC. See if your favorite brand was praised or has any cons that you should be aware of, such as pesticides and inaccurate terpene labeling.
  4. * In order to find the best delta 8 products you will have to buy a few brands and see which gummies and tinctures you like best. For a shortlist of the best companies, read company reviews and watch brand critic videos.

Delta 8 THC Gummies

  1. * With the number of low quality brands out there, it can be hard tof ind the best Delta 8 THC Gummies. Always go with brands that provide transparency through lab tests and offer a refund guarantee so you can get high risk free.
  2. * Find a list of the strongest delta 8 THC gummies for sale today. The brands include extremely potent delta 8 products with CBN, CBD, CBG, and THCV as well.
  3. * Before you buy delta 8 gummies visit HeraldNet's guide on finding the best delta 8 gummies to buy in 2021. The list features how to avoid shady companies that sell black market distillate with harsh chemicals and harmful byproducts following extraction.
  4. * Look nowhere else than the roundup of Seattle Weekly's best delta 8 gummies. Featured brands include Everest, Area 52, 3Chi, and Diamond CBD.

Delta 8 Carts

  1. * The the best delta 8 carts are Area 52, Finest Labs, and Delta Effex. Stick to brands with full panel lab tests so you know that the CBD to delta 8 THC conversion process left no harsh chemicals or residues behind in your vape cart.
  2. * SFExaminer's critique of the best delta 8 carts calls out shady brands often found in gas stations, head shops, and smoke shops around the country. This includes Cake and Canna Clear who don't have proper licensing and lab tests required by the state of California.
  3. * Seattle Weekly made their own list of the commpanies think they make the best delta 8 THC carts. They tell first time consumers to be on the lookout for cheap distillate and brands that contain more than the 0.3% D9 THC limit.
  4. * Herald Net also looked at their favorite delta 8 carts. Their post includes resources from professional vapers and hardware manufacturers so you can store your carts safely to avoid leaking delta 8 vape carts.

CBD for Dogs

What to give a dog in pain - Modern Dog Magazine original article. According to CFAH, the best CBD oil for dogs with arthritis and best CBD dog treats are natural products that contain hemp extract and boswelia for a calming and inflammation reducing effect. Filipino American History Month exhibit at Princeton featuring NExSE collective navigates postcolonialism and liminal spaces beyond —

Filipino American History Month exhibit at Princeton featuring NExSE collective navigates postcolonialism and liminal spaces beyond

Escaping Dreamland by Francis Estrada

By Vina Orden

IN early 2020, eight intergenerational, emerging and mid-career Filipino American artists from New York, New Jersey, and Pennsylvania—Julio Jose Austria, Jeho Bitancor, Mic Boekelmann, Francis Estrada, Ben Iluzada, Ged Merino, Eva Marie Solangon, and Maria Stabio—formed the collective NExSE (for Northeast U.S. by Southeast Asia).

“I had felt isolated in Princeton,” Mic Boekelmann recalled in a recent phone interview. “So, I set a goal to connect with other Fil-Am artists on the Northeast Coast.” She consulted the Filipino American Artist Directory (created by Janna Añonuevo Langholz to bring together and uplift US- and Philippines-based visual artists) and was surprised to find others similarly disconnected from an artistic community in the US. After two exploratory meetings, the group of eight cohered as NExSE.

They initially were drawn to each other by their shared heritage and struggles as immigrants or children of immigrants, but more compelling exchanges ensued from their varied experiences as Filipino Americans and how or to what degree that was expressed in their art. This dynamic was ever-present as they navigated relationship-building and collaboration amidst a global pandemic.

NExSE’s Spoliarium Project, for example, was an experiment designed to introduce the artists to each other and test out virtual collaborations. Selecting the iconic painting Spoliarium by Juan Luna (arguably the first internationally recognized Filipino artist) as a reference point is significant, situating NExSE within a lineage of Filipino diasporic art that at once is influenced by and upends colonial traditions.

Philadelphia-based printmaker and book artist Ben Iluzada created a monotype ghost print inspired by Luna’s Spoliarium, passed it to Boekelmann who modified it with die cuts and woven paper made of abaca (or Manila hemp, grown in Bicol, Philippines where Boekelmann’s mother is from), who then turned it over to the next artist who transformed it further, and so on. In the resulting palimpsest, Luna’s ghost remains an invisible presence, even as each layer of erasures and additions creates new meanings and contexts.

The metaphor extends to contemporary Filipino and Filipino diasporic identities and cultures, which are simultaneous negotiations of the precolonial, colonial, and postcolonial. These tensions undergird work created this past year by NExSE, which will be featured in an upcoming exhibition at the Lewis Center for the Arts at Princeton University on October 6 for Filipino American History Month. Its title, 300 Years in a Convent, 50 in Hollywood, alludes to how many Filipinos understand their history in terms of Spanish and American colonization.

The “Philippines” and the “Filipino” have always been unstable constructs—designations foisted on an archipelago of 7,107 distinct islands and societies to signify possession by Spain under 16th-century monarch Philip II. Only in the 19th century did the Illustrados—educated natives like Luna and the writer José Rizal who had been inspired by the French Revolution—adopt the term “Filipino,” seeding the idea of a national identity that catalyzed the Philippine Revolution against Spain in 1896. Yet, as Luis H. Francia notes in A History of the Philippines, it was an identity “that reflect[ed] an improvisatory sense… blending then as now the indigenous and the foreign, the alien and the familiar, in a word, ‘Filipinizing’ them.”


A number of works in the show use language to explore the hybridization endemic to Filipino identity and culture. One of Ged Merino’s pieces, reminiscent of Duchamp’s “readymades,” is a gold filigree halo of stars (ubiquitous in depictions of the Virgin Mary) inscribed with a colloquial expression for surprise or disbelief, “SUSMARYOSEP,” also shorthand for the Biblical “Jesus, Mary, and Joseph.” Another of his pieces, a leather drape stenciled with dialogue excerpted from Jessica Hagedorn’s novel, Dogeaters—“Hoy, bruja! Kamusta? Ano ba—long time no hear!”—shows the easy commingling of Tagalog (one of 170 languages and dialects spoken in the Philippines), Spanish, and English in everyday speech.

Nosebleed by Julio Jose Austria

In contrast, Julio Jose Austria, who immigrated to New York in 2011 on an “alien of extraordinary ability” visa, illustrates the mental toll of code-switching. The background of his painting, Nosebleed, resembles a neural circuit, converging and diverging from groupings of words, acronyms, and colloquialisms in Tagalog and English, such as “BAWAL [forbidden] | JUDGMENTAL” and “I ALWAYS PUT IN MY ULO [head] … MY FAMILY, MY FAMILY | OMG …” In the center is a dark figure who represents a first-generation immigrant, blood gushing down their nose and mouth. Among Filipinos, “nosebleed” also happens to be a figure of speech for laboring to speak English with an American accent.

The identity, “Filipino American,” is also interrogated in different ways. Francis Estrada’s mixed media work, Escaping Dreamland, starts with a historical reference to make sense of “the complex relationship between the Philippines and the US—and our place in it.” A reddish-brown mannequin branded with a map of Luna Park recalls human zoos in the US and Europe at the turn of the 19th century, where Black and brown people (including the indigenous Bontoc people uprooted from the Cordillera highlands in the Philippines) were displayed in tableaux for white audiences’ entertainment. Foregrounding the mannequin are models of balangay, precolonial maritime vessels used throughout and beyond the archipelago—envisioning alternate, emancipatory possibilities for the Bontoc.

Eye of the Needle 03 by Maria Stabio

As a first-generation Filipino American, Maria Stabio’s connection with her heritage is tied more to memories than “identity in a national sense.” The paintings from her Eye of the Needle and Center Eye Study series layer familiar objects—tropical plants encountered on trips to the Philippines; a needle and winding thread that remind her of cousin who is a seamstress there; primary colors, which figure in the Philippine flag—in unfamiliar contexts, so they “begin to become something new.”

Other featured works include Jeho Bitancor’s audio interviews with three generations of Filipino Americans, embodied in the space by their personal effects; Boekelmann’s She’s Here, a terno dress the artist fashioned out of Manila envelope cutouts of sampaguita and gumamela flowers, along with words of affirmation in Tagalog and Bikolano, as “armor” for her daughter; and Eva Marie Solangon’s Allow Ilaw (light) and Remanifest Destiny—fluorescent, three-dimensional, conceptual self-portraits of the artist’s journey back from a fibromyalgia diagnosis and depression toward “self-rediscovery,” healing, and autonomy.

In 300 Years in a Convent, 50 in Hollywood, NExSE surfaces forgotten histories and resists, engages with, and transforms the detritus of Spanish and American colonization. It would be hasty to declare that the art has moved beyond postcolonialism—after all, the historical effects of colonialism continue to manifest in labor migrations from the Philippines, as Austria and Bitancor attest, and widening inequities in the pandemic also are exposing the limits of a hyper-globalist outlook. But outlines of the future emerge in liminal spaces, where artists like Stabio and Solangon move from a subjectivity grounded in memories and experiences outward, engaging viewers in the creation of new language, contexts, and possibilities for what curator Patrick D. Flores anticipates as a “third moment” in Filipino American art.

300 Years in a Convent, 50 in Hollywood opens at the Lewis Center for the Arts at Princeton University on October 6 from 10 a.m. to 8:30 p.m., with a walk-through at 4:30 p.m. followed by a panel (also livestreamed) with NExSE and Patrick Flores, professor of art studies at the University of the Philippines and Curator of the Vargas Museum in Manila, as well as Artistic Director of the Singapore Biennale 2019, moderated by Paul Nadal, assistant professor of English and American studies at Princeton, and Anne Cheng, professor of English at Princeton. 

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