#La Sassa

[pier-carlo-universe]

Klein Bottle Concert: Una Serata di Musica e Emozioni al Teatro Ambra di Alessandria. Con la partecipazione speciale di Paolo Vallesi e la conduzione brillante di Alessandra Piccione

Il Teatro Ambra di Alessandria è stato il palcoscenico di un evento musicale speciale, il Klein Bottle Concert, sabato 9 novembre 2024.

Il Teatro Ambra di Alessandria è stato il palcoscenico di un evento musicale speciale, il Klein Bottle Concert, sabato 9 novembre 2024. Una serata indimenticabile che ha visto l’esibizione del gruppo omonimo, formato dai talentuosi fratelli Mangano, accompagnati da artisti d’eccezione come Cristina Pavone (in arte Criwolf), Luigi Antinucci e Alex Banelli. Ogni performance ha saputo coinvolgere il…

[pyro-madder]

BONJOUR j'ai 200 ans de retard!! Mais bon anniversaire ♥♥♥  you get a bird boy this year and next year, who knows…. (maybe a giraffe)

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A BIRD BOY ?? IN MY INBOX ??? more likely than i think

j’ai crié seule dans ma chambre :’) merci mille fois jvais l’encadrer avec Aaru (en attendant la girafe :p)

[laiperoconi]

POF WUE NO PEUDO SER MARTINA, SARA, SASSA O LA MAMÁ DE POVEDILLA 😭😭😭😭😭

[sassailsasso]

Dato che la serie inventata dal sig Daio senza R sta spopolando ho pensato di portarla anche qui su Tumblr perciò via con la Stagione 1 puntata 1 di Sassa e la colazione dei campioni puntata nº1

A in questa serie ci saranno anche diversi ospiti infatti che so ci potrà essere anche @arckimonder e la colazione dei campioni oppure colpi di scena come Sassa e la non colazione dei campioni

[univers-paralleles-de-millina]

Top Ten Tuesday : Les 10 meilleures BDs / Mangas que vous avez lues

Top Ten Tuesday : Les 10 meilleures BDs / Mangas que vous avez lues Bonjour, Je vous présente mon top 10 des BD et Manga, avons-nous quelques saga en commun ou pas ? Quel est votre top ten ?

Cher.e.s voyageur.e.s, Je ne suis pas une inconditionnelle du Top Ten Tuesday, mais, une fois, de temps en temps, j’aime bien me prêter au jeu surtout quand le thème m’intéresse. Le rendez-vous a été repris par Frogzine. Elle propose des Top Ten avec des thèmes différents tous les mardis. Le thème de cette semaine sera pour moi “Les 10 meilleures BDs / Mangas que vous avez lues“. C’est un…

[borghitoscana]

📍 Casale Marittimo (Pisa) Durante le nostre vacanze nella Costa degli Etruschi ci siamo recati a Casale Marittimo, splendido borgo della Maremma Pisana, adagiato su un colle che domina la Val di Cecina, a circa 12 chilometri dal mare. Casale Marittimo può vantare la Bandiera Arancione del Touring Club (sul nostro blog trovate un articolo con l'elenco completo dei borghi bandiera arancione della Toscana). 📍 Vicino a Casale Marittimo puoi visitare anche Bibbona e consigliamo anche Sassa (non vicinissimo, ma molto bello). 👉 Ci sei mai stata/o? Quale altro borgo consiglieresti? https://instagr.am/p/CUB_Omljo5K/

[charlesoberonn]

Regarding the “Amphibia 1019” au, some crude name thoughts: for Sasha, it appears a diminutive of Astrid is “Sassa”; some names I’ve heard claimed as used in Thailand include Ananya (Sanskrit, means unique) and Anan (infinity, endless, unisex rather than female); for Marcy, haven’t found any “ma-“ names; maybe Meihui, which seems (based on my effectively nonexistent Mandarin) like it can be written with 慧, “bright/intelligent”, allows for nickname “Mei-Mei” a la “Mar-Mar”

I like these! I still prefer Alexandra for Sasha (which is likely also her given name in canon)

[fireworks-hurricanes]

Lettres chinoises, Ying Chen

16

J'ai reçu les documents que tu m'as envoyés. Je commence à les remplir, très lentement. Ils me semblent nombreux et compliqués.

Il n'est pas plus facile de quitter son pays que d'y rester. Je devine pourtant que la plupart des gens dans le monde se jetteraient sur ce genre de formulaires si l'occasion leur en était donnée. On vit dans une époque d'exil. Le mal du pays est devenu le mal du siècle. D'ailleurs, a-t-on jamais connu un siècle sans exil? On vagabonde sans cesse d'un endroit à l'autre. Et on va de plus en plus loin. On parle plusieurs langues, moins pour s'enrichir que pour s'effacer. On veut disparaître. Mais est-ce facile quand on en est réduit à se déplacer en masse et qu'on a tendance à devenir une "majorité visible." Je suis un peu découragée par les dilemmes de ce genre. Le chemin à parcourir pour te rejoindre me paraît extrêmament long.

Je vais souvent me promener sur la rue Nanjing. J'aime ces vagues de têtes qui, avec um mélange de chaleur et de froideur, s'élancent vers moi. J'aime cette sensation d'être noyée parmi les têtes qui me ressemblent un peu. J'ai un moment l'illusion de disparaître complètement. Rien ne vaut plus que le bonheur d'une disparition complète de soi. C'est pourquoi je n'ai pas peur d'abandonner une langue pour une autre. Je n'ai pas peur d'être étrangère. En un mot, je n'ai pas peur de m'effacer aux yeux des autres ou des miens. Non, ce n'est pas cela qui m'effraie dans l'exil. Au contraire, je crains de devenir trop visible dans un autre pays. C'est affreux de vivre sous les regards quand on a déjà perdu toute fierté pour sa propre image et pour son pays. Et s'il faut mourir, il vaut mieux que ce soit dans les ténèbres tranquilles que dans les lumières courieuses.

Mon stylo bouge sur les formulaires. J'ai l'impression que c'est mon corps que traverse ces lignes à la fois précises et déroutantes pour s'approcher de toi.

Ta Sassa,

de Shanghai

[pier-carlo-universe]

Torino si prepara a un grande evento musicale: il concerto dei Kleinbottle con l’Orchestra diretta dal M° Vince Tempera

Un progetto artistico promosso da La Rue ETS, Emmanuel ODV e SPC Music Publishing con ospiti d’eccezione

Un progetto artistico promosso da La Rue ETS, Emmanuel ODV e SPC Music Publishing con ospiti d’eccezione Torino sarà presto il palcoscenico di un evento musicale imperdibile, organizzato con passione e dedizione da un gruppo di realtà culturali e artistiche di spicco. L’Associazione Culturale La Rue ETS, l’Associazione Emmanuel ODV, rappresentate da Mario ed Elena, insieme all’etichetta SPC…

[ladyniniane]

Lectures de mars

Voici mes meilleures lectures parmi celles de mars, 100% garanties sans nanars. Et vous, quels livres ont marqué votre mois ?

N’hésitez pas à me dire si vous voulez être tagués sur ce type de post ;)

Romans et nouvelles

-Là où chantent les écrevisses, Delia Owens

-Soroé, reine des Atlantes, Charles Lomon, Pierre-Barthélémy Gheusi

-La dame à la louve, Renée Vivien

-La maîtresse des épices, Chitra Bannerjee Divakaruni

-Le parfum des fraises sauvages, Angela Thirkell

-Les femmes d’Heresy ranch, Melissa Lenhardt

Histoire

-Daughters of Isis, Joyce Tyldesley

BD et mangas

-Isabella Bird, femme exploratrice tome 6, Taiga Sassa

[royal-confessions]

“While searching for royal wedding dresses (for my imaginary wedding), I began to feel frustrated wishing that my body was like Alessandra de Osma and Beatrice Borromeo´s bodies. Sassa looked amazing in that Oscar de la Renta dress at her wedding and Beatrice wearing that cloud motifsValentino Haute Couture gown. Thanks God we are in quarantine and I have time to start exercising. So, maybe, someday, I can look like them when I get married.” - Submitted by Anonymous

[fredfilmsblog]

Best of Original Cartoons: What A Cartoon!  Part 1 [1995-1997]

“...[At] Hanna-Barbera Productions, a new kind of revolution began to brew: a return to old forms reworked by fresh, new voices.“  –John Maher, Vulture

  “‘Take Back Our Cartoons’ How What a Cartoon! tapped animation’s past to push the form into a new ’90s golden age.“  

It didn’t occur to me that my casual reading habits could have a giant impact on my “career” (such as it has been), but reading Leonard Maltin’s and Jerry Beck’s survey of classic cartoons jumped started my thinking that served me better than well when I stumbled in the cartoon business in the early 90s.

John Maher is the co-founder (with Eric Vilas-Boas) of the late, lamented The Dot + Line, the smart look at cartoons. Lucky me, he’s taken a deep dive into my very first foray into original cartoons, the shorts incubator “What A Cartoon!” for Hanna-Barbera and Cartoon Network. Great interviews with Genndy Tartakovsky (Dexter’s Laboratory, Samurai Jack, Hotel Transylvania), David Feiss (Cow and Chicken, I Am Weasel) Craig McCraken (The Powerpuff Girls, Foster’s Home for Imaginary Friends, Wonder Over Yonder), Van Partible (Johnny Bravo) , moi.

“That a program rooted in the history of the art form was so instrumental in pushing it forward only shows how important it was for studios to take chances on creators — to let them, as Partible puts it, ‘take back our cartoons.’ And that’s exactly what they did.

This article is the nicest yet written yet about the start of my half dozen “shorts shows” done over the past several years, and lays out beautifully what I hoped to accomplish with a program that launched those stellar talents, not to mention Seth MacFarlane (Larry & Steve, Family Guy), Pat Ventura (Yucky Duck, Jamal the Funny Frog) and John R. Dilworth (Courage the Cowardly Dog).

Of course, John could only touch on the high points and the visible folks, the creators (Vulture isn’t a geek pub, it’s for a mainstream reader). So let me just mention a few of the people who really made a difference to the show and made it sing.

Buzz Potamkin ran production for me at Hannna-Barbera. His background was animated commercials and then was founder of Southern Star’s LA division where he produced The Bernenstain Bears and Teen Wolf. As the founder of Perpetual Motion Pictures and Buzzco in New York he had produced the famous “Moonman” animation for Alan Goodman and me at MTV. I had bent his ear for years about the cartoon business –long before I’d ever imagined actually being in it– and he became the first champion and Executive Producer of What A Cartoon! in the studio. Not for nothing, he convinced Ralph Bakshi and a number of other out-of-LA filmmakers to become part of the program.

Larry Huber (Supervising Producer) was at the studio producing 2 Stupid Dogs, the home of a lot of future WAC! creators. He also was the only veteran (he had pretty much every creative and production job in the business since he graduated from CalArts in the 60s) who didn’t think I was nuts and enthusiastically volunteered to help work with all the young blood I brought to the company. Larry has worked on almost every one of the 250 shorts I’ve produced over the past decades.

Scott Sassa was my boss at Turner, the guy who took the long shot of convincing me to come into the cartoon business. “What do you have to lose? They haven’t had a hit since The Smurfs [in 1981], so if you do anything good everyone will think you’re a genius!” I’m not all that sure he loved WAC! at first, but he trusted me.

Jed Simmons was my shotgun-wedding husband at Hanna-Barbera, and over time we evolved into an organic partnership. He’d been a business development executive at Turner Broadcasting, and Scott Sassa assigned him to me as studio COO to award him an operating position and to make sure I didn’t screw up the whole thing too badly. He wasn’t exactly sure of what I was up to either, but he became my biggest defender and protector. Jed and I went on to be co-founders of Next New Networks more than 10 years later. 

Of course! The creators’ work speaks for itself, as you’ll see in the compilation below. You’ll recognize the shorts that begat series, but there are a lot of other gems that didn’t spin off that are worth your attention too.

[queenregnants]

hey guys!!! i’m kara and i’m so excited to be here!! under the cut you can read a little description of queen sassa, who is like a really weird but fun mix of queen elizabeth i and marie-antoinette. please dm me if you wanna plot!!! i love to brainstorm!

background

•sassa was brought up as men were at the time, learning about history and politics and archery, sword training with her father and brothers, learning multiple different languages, and has always secretly thought of herself as brighter than the men around her. She was always very arrogant and vain about her intelligence and abilities, and also about her looks and fashion.

•that being said, she NEVER expected to be the sole ruler of her country. She had always felt like she would be best, but it was never something she actually thought would be possible. With her brother dead, she’s incredibly nervous. Nervous that the men around her won’t take her seriously, nervous that she’ll ruin her families legacy, nervous that the gossip surrounding her will be enough to send her to the guillotine. She won’t outwardly show it, but she’s racked with anxiety at her newfound position despite the fact that it’s what she always wanted.  

•she’s supposed to marry well and very soon to secure her position, although secretly she hopes she can avoid it until it’s too late to bear any children. A la Elizabeth I, she’s afraid that a husband would overrule her and that producing any heirs would make her the target of a coup. She acts like she’s taking the matter very seriously, but in reality she has no plans or wishes to marry, and believes that it’s in the best interest of the country for her to rule alone as the sole queen regnant.

personality

•a good mix of elizabeth I and marie-antoinette, because the bitch is cold and hard and ready to command her kingdom, but she also wants to get drunk and smoke tobacco and have courtiers tell her how gorgeous she is.

•She can be very rigid on the surface, because her image is very important to her. She believes that one wrong move might eliminate her power, and so she’s always monitoring her own behavior. HOWEVER. the bitch loves to party.

•before becoming queen she dabbled heavily in courtly flirting, gambling, drinking and opium, and it’s only gotten worse since the crown was placed on her. She tries to hide it as to avoid gossip of any kind, but the more out of control she gets the harder it is.

•Shes just ?? very outwardly tough because she’s hiding a lot of vulnerability and anxiety about her position. she was always a tomboy and she’s VERY serious about doing her duty and being the best queen possible, but sometimes her wild antics get the better of her, and she feels almost as if she’s two entirely different people at the same time.

[bm-american-art]

Italian Sketchbook, Sanford Robinson Gifford, 1867-1868, Brooklyn Museum: American Art

Bound sketchbook of 38 pages with drawings of Italian landscape subjects and one Catskills, New York subject. Sketchbook bound with cardboard covers lined with tan fabric. Front cover: inscribed in artist's hand, "Maggiore / Como / Sicily / Rome / Genoa / 1868"; inscribed in different hands, "Presented to Jervis McEntee by [Jas?] Gifford [?] Sanford / [?] January 25 1881." and "From Sara McEntee to Geo. H. Hall / in memory of her Brother [and?] Gifford / Sept. [6 or 8?]. 1892. Palenville" [Museum numbered recto and verso pages in succession. All drawings in graphite unless otherwise noted] Inside front cover: small landscape sketch, inscribed in artist's hand, "S R Gifford / Studio Building 51 West 10th. St / New York" p. 1: landscape sketch, inscribed lower left, "Da Civita Lavinia. Oct 30th." p. 2: very sketchy landscape p. 10: small, lightly sketched landscape in rectangle oriented vertically p. 11: (half page) small landscape sketch in rectangle oriented vertically p. 12: (half page) figures and tiny sketch of island with towers in rectangle p. 13: landscape with buildings, inscribed lower right, "Road to Subiaco. Oct 16th. 68." pp. 14-15: panoramic landscape, inscribed bottom of p. 15, "Highlands of Neversink. July 23 1867" p. 17: sketch of Louvre in Paris viewed through trees with carriages in foreground, oriented vertically, inscribed at binding on facing p. 16, "June '68-" p. 18: small landscape sketch (same scene as on facing p. 19) p. 19: landscape sketch in mountains with foreground figures, inscribed lower left, "Val d'Aosta" and "Cormayeur [Courmayeur] July 10 68" and color notations on landscape elements including "g. gray", "[PB?]", "GB" p. 21: sketch of mountain peak in graphite with touches of white wash or chalk, oriented vertically, inscribed lower left "x Glacier" and color notation "green" in foreground p. 22: light sketch of structure atop rocks, oriented vertically p. 23: loose sketch of mountain with cabin & figures in foreground, oriented vertically pp. 24-25: panoramic mountain landscape, inscribed p. 25 lower right, "Col de Monte Moro-" p. 26: loosely sketched mountains, oriented vertically, inscribed lower left, "Val Antasca" p. 27: sketch of mountaintop pp. 28-29: partial sketch of buildings and panorama of island fortress in lake, inscribed p. 29 lower right, "Isla San Julio. Lago d'Orta. Julio [20th or 21st]. 1868." pp. 30-31: vertical landscape sketch, inscribed below "Montenerone?" and horizontal sketch of lakeside town, inscribed bottom of p. 31 "Borgo d'Orta" pp. 32-33: from left to right, vertical sketch of town with boats, small landscape in rectangle, panoramic lakeside landscape, inscribed along bottom of p. 33 "Sassa di Calci. July 30' 68" "Monte Ferro. Laveno from Stresa." "Cesso" p. 34: sketch of boats, two sketches of abbey in rectangle (same motif as p. 35) p. 35: sketch of abbey, inscribed at bottom, "Santa Caterina. Miracolo San Alberto. July 31st 1868." p. 37: view of roof of cathedral, inscribed lower right, "Milan. / July 27th 68." pp. 38-39: panoramic landscape, inscribed p. 38 "Monte Rosa" and "Mischabel" and p. 39 "Sempioni from the Campo Santo of Laveno. July 31st 68." pp. 40-41: vertical sketch of palazzo and of boat and sculpture, inscribed "Rtop brown red. Chim grey + red / Water yel white. / Boats blk white + red + grey / [Curtains?] brown yel."; horizontal panorama of palazzo on lakeside with figures, inscribed bottom of p. 41 "Palanza [Pallanza]. Aug 1st 1868." pp. 42-43: vertical sketch of lakeside village, inscribed below "Vira- / near Magadino / Aug 2nd. 1868. / Yel cupola"; and horizontal landscape sketch across lake, inscribed along bottom of p. 43 "Oria-" "Sassa di Carsognia - / higher and narrower" "[Sommanetti?] - Lago di Lugano - Aug 3rd." pp. 44-45: vertical sketch of lake with boat and mountains, inscribed below "Aug 6th. Sassa di Carsognia"; horizontal landscape sketch, inscribed at bottom p. 45 "Lago di Lecco. Aug 6th 68." pp. 46-47: from left to right, vertical sketch of figures in tunnel through mountain, inscribed at bottom "water" [two times] and "Galleries of the Stelvio Rd / Lake Como. Aug '68"; view of lake; horizontal sketch of tunnel; sketch of lake and outline of buildings pp. 48-49: panoramic landscape with town on lake, inscribed lower right p. 49 "Lago di Como / da San Giovanni / agosto 7th. 1868." pp. 50-51: vertical sketches of tower on rocky coast, inscribed below "La Lanterna / at Genoa / Aug 14th 68" and color notations "tower yel / base + lower walls grey / lower bastion red / tower thicker."; sketch of bastion and sailboats with "sentry", "lower bastion" and "sea"; small sketch of tower in rectangle; loose outline of bastion pp. 52-53: sketch of lakeside town, inscribed at bottom of p. 53 "Genoa. Aug 15th. 68." and artist's notations throughout image including "[1 Shadow?]", "yel", "red", "grey", "wt", "grey stained / with filth + / vegetation" and "white cloth / out of window" pp. 54-55: light sketch of lakeside village, inscribed bottom of p. 55 "Aug 25th 1868 near Chiavari. Riviera de Levante" pp. 56-57: sketch of ruins, inscribed lower right p. 57 "red brick + / grey stone." "Sept 14th. 68. / Taormina / Greek Theater." p. 59: landscape sketch in graphite with touch of white wash of volcano with town on shore, framed in rectangle, inscribed below "Giardini. Sept 14th. x City" pp. 60-61: landscape sketch with buildings and hilltop town. pp. 62-63: from left to right, vertically oriented sketch of mountains, inscribed lower left "Monte Venere."; small sketch of mountains in rectangle; landscape sketch, inscribed top right "mt.1/2 in longer.", in landscape foreground "Cone", and at bottom right "Near Bagaria. Bay of Palermo. Sept 22. 1868." p. 65: landscape with structure on lake shore, inscribed bottom right "Bay of Palermo. Sept 22' 1868." p. 67: sketch of lakeside town with boats and figures, inscribed at bottom "Road to Bagaria near Palermo.", "white clothes.", "yel rock" and on building in foreground "[Gr color?] pp 68-69: from left to right, vertically oriented sketch of ruins with figure in rectangle, inscribed below "Top of arch / same depth as / the blue. / Yel + grey white. / Sea darkest at bottom. / column grey. / Tiles red." and "Santa Rosalia. 23rd Sept. / Monte Pelegrino."; small sketch of ruins and figures in rectangle; horizontally oriented sketch of sailboat; horizontal landscape with boats and figures. pp. 70-71: [upside down (described from artist's orientation)], sketch of ancient arch in ruins with landscape in background, inscribed below on p. 70 "Arch of Nero / Oct 11, 1868"; several figures including one with color notations "yel / white / Blue / white / Red"; another sketch of arch in rectangle in graphite with touches of white wash p. 72: vertical sketch of seated woman p. 73: sketch of arch in ruins, inscribed lower right "Arch of Nero. Oct 11th" p. 74: several small sketches of townscape, seated woman, and landscape in rectangle p. 75: sketch of town in mountains in graphite with touches of white wash, inscribed lower right "Tivoli Oct 14th 68" inside back cover: two small sketches of landscapes in rectangles Size: 5 x 9 x 7/16 in. (12.7 x 22.9 x 1.1 cm) Medium: Graphite on tan, medium-weight, slightly textured wove paper

https://www.brooklynmuseum.org/opencollection/objects/96