#Nina García

[steph-schuyler]

stalking ur pfp just to say i love all your ith posts and also pjo i did not know you liked pjo 😭😭

ith fandom is dead enough for me to claim the #1 de la vega cousins fan title

thats so real theres like three of us left

i claim number one vanessa and nina fan because theres no competition

also yes im very multifandom 🫡🫡

[elmartillosinmetre]

"Los compositores no dejan de sorprenderte"

[La trompista valenciana María Rubio durante la grabación del CD. / IBS CLASSICAL]

La trompista valenciana María Rubio presenta en IBS su primer disco como solista, un recorrido por música de nuestros días

Miembro actualmente de la Orquesta de Valencia, María Rubio es una de las más activas intérpretes españolas de su instrumento, la trompa. Acaba de presentar en IBS un disco con nueve obras escritas en el siglo XXI.

–¿Qué quiere hacer saber?

–[Risas] El título es de la obra de Elena Mendoza que cierra el disco. La idea del CD surgió durante el confinamiento. Me habían escrito algunas obras compositores como Voro García o Amparo Edo, y siempre me decía que ya que las había estrenado estaría bien grabarlas. Durante el confinamiento decidí aprovechar para hacerlo. Empecé a seleccionar obras y planteé dos encargos, a Elena Mendoza y Joan Magrané. La idea era incorporar lenguajes diferentes pero con un hilo: tenían que ser obras para trompa sola o con acompañamiento pero sin piano, así hay una de trompa y percusión, que es la de Elena; trompa y ensemble, la de Nina Šenk; trompa y trombón, la segunda de Voro García; trompa y electrónica, que hay dos, las de Vicent Gómez Pons y Joan Gómez Alemany. Esa era la idea. Estamos en el siglo XXI y la música actual bebe de muchos lenguajes diferentes. Son obras escritas en nuestra época pero con lenguajes más rompedores y más clásicos. Se hace saber que todo cabe en la música actual.

–Veo encargos específicos, obras ya dedicadas previamente a usted y obras dedicadas a quienes fueron sus maestros, como las de Jörg Widmann y Vicent Gómez Pons…

–Exacto. Eso servía para cerrar aún más el círculo. Cuando escuché Air de Widmann me encantó, y es una obra muy grabada, no sólo por Bruno Schneider, que fue en efecto mi maestro, sino por muchos trompistas, y me decidí a meterla, porque además era abrir el abanico de compositores, no hacer sólo música de compositores españoles. También metí luego la obra de Nina Šenk, que es eslovena.

–La trompa está en la orquesta clásica desde sus mismos inicios, pero ha tenido un papel secundario como solista, ¿a qué piensa que se debe?

–Sabemos que Mozart escribió más de siete conciertos, Strauss tiene dos, el repertorio es muy amplio. Pero es cierto que no sólo la trompa, sino los instrumentos de viento hemos perdido la batalla respecto a los de cuerda y al piano. Mire cualquier programación de cualquier orquesta española y compare los conciertos de violín, violonchelo y piano frente a los de viento programados durante una temporada. Luego te dicen que el público quiere conciertos de violín y de piano; el público quiere aquello a lo que lo acostumbras, a lo mejor hay que insistir más en conciertos para instrumentos de viento, porque por repertorio no es. Por seguir con la trompa, el año que viene toco la Serenata de Britten, que es un obrón, una preciosidad. Lo fácil es programar a violinistas y pianistas, con todo el cariño y todo el respeto, por supuesto.

–Hay mucho repertorio pero se programa muy poco…

–Exactamente. Vende más el Concierto para violín de Chaikovski que uno para trompa de Mozart. Eso es así.

–Y por qué…

–El violín o el piano son instrumentos más populares y fáciles para los abonados. Pero es que además solistas de viento que se dediquen sólo a ser concertistas hay relativamente pocos. No te puedes dedicar a ser solista porque no hay programación suficiente como para subsistir como solista. La mayoría somos solistas de orquesta y hacemos ese doble papel o te dedicas a ser profesor en una escuela de música. No puedes vivir de ser solista de viento. Los que viven de ello los puedes contar con los dedos de una mano.

[María Rubio con el trombonista Vicente Enrique Boix durante la grabación del disco / IBS CLASSICAL]

–Decía que su idea era presentar distintos lenguajes de la música actual, ¿puede comentarlos?

–El más clásico es el que usa Amparo Edo, que es una compositora de música de películas. Ella es jefa del departamento de música contemporánea de Berklee, Boston, la escuela por excelencia de música de cine. Es su lenguaje, y es muy buena en eso. Maruna es una obra que yo le pedí para un bis hace mucho, antes de que fuera famosa, porque ella fue alumna mía de trompa, y ese bis se transformó en esta obra. Las obras de Voro García, Elena Mendoza o Jörg Widmann están mucho más cerca de lo que identificamos como música contemporánea. Ellos trabajan mucho la tímbrica del instrumento, la forma de modificar el sonido, mediante recursos muy técnicos (pisar media válvula, jugar con la misma nota en posiciones diferentes, porque son armónicos distintos...). En el caso de la obra de Widmann, por ejemplo las resonancias al proyectar el sonido sobre la caja abierta de un piano; en el caso de la de Mendoza tengo que gritar a la vez que toco, es muy teatral, y en directo gana much��simo. Las dos con electrónica son muy diferentes entre sí: la de Vicent Gómez fue una experimentación que se le encarg�� para el Congreso Internacional de Trompa que se celebró en Valencia en 2004, usa un lenguaje muy clásico que transforma mediante electrónica; en cambio la obra de Joan Gómez Alemany utiliza solos famosos del repertorio de la trompa (un concierto de Mozart, 5ª sinfonía de Chaikovski, Till Eulenspiegel de Strauss, Trío de Brahms o el motivo famoso de Sigfrido de Wagner), que reelabora mediante recursos técnicos de absoluta vanguardia junto con recursos melódicos y la electrónica. Las obras de Joan Magrané o Nina Šenk usan un lenguaje más convencional en el sentido de que está más cercano a la tradición.

–Para los encargos apuntó alto: Elena Mendoza y Joan Magrané son dos de los compositores más prestigiosos e influyentes de la actual música española…

–Sí, claro, ya que me ponía. En lugar de comprarme el coche, me he hecho un disco. Y ya está. Para los encargos me dejé aconsejar por Paco Moya y por Voro García, a partir de las obras que tenía ya y procurando que lo nuevo encajara con eso, pero desde una perspectiva diferente. Escuchando sus obras decidí apostar por ellos. Por ejemplo, Joan Magrané tiene una obra para trompeta sola que me encantaba, y la que me ha hecho bebe un poco de esa misma idea.

–¿Muchas técnicas extendidas en el disco?

–Todas…

–¿Está todo inventado ya?

–Pues acabo de estrenar una obra que encargué a Nuria Núñez para un Congreso al que acabo de asistir en Finlandia, y muestra una imaginación extraordinaria. Yo pensaba que lo había hecho todo y me demostró que aún se pueden inventar cosas. Lo que pasa es que luego hay que tener en cuenta el directo y la sala en la que toques, porque hay cosas que pueden funcionar muy bien en el estudio, pero en determinados auditorios a lo mejor no tanto.

–¿Qué es lo más raro que ha hecho con la trompa?

–Uf, no sabría decir, aunque lo de gritar y tocar alternativamente en la obra de Elena es muy heavy. En el uso de armónicos naturales tenemos ya el ejemplo clásico de Ligeti, que hizo una exhibición de eso en su Trío. En este disco hay de todo, y algunas cosas no las había probado. Por ejemplo a Joan Gómez le tuve que preguntar si quería determinadas cosas, que yo no había hecho nunca. Los compositores no dejan de sorprenderte, aunque la percepción de sus obras es diferente a la que tú tienes como intérprete.

[María Rubio en foto promocional / DAVID GIMENO VESES]

–¿Ha hecho todas las obras en concierto?

–Salvo las dos con electrónica, que son las más difíciles de programar, y la de Widmann, todas las demás sí.

–¿Las programa en ciclos de contemporánea o se atreve a meterlas junto a repertorio más clásico?

–Lo segundo. Esta es la idea. Lo contrario no me gusta demasiado, porque es crear un gueto para la música actual. Pienso que la forma de normalizarla es programarla con la clásica.

–¿Y la respuesta de la gente?

–Absolutamente normal. Mire. La obra con trombón de Voro García es un dúo que nos escribió para mi marido, que es el trombonista del disco [Vicente Enrique Boix], y para mí, una especie de discusión de pareja, y el año pasado la tocamos en un pequeño pueblo del interior de Valencia, que nos decíamos, cómo vamos a hacer esto aquí… Pues a la gente le encantó. Yo considero un deber hacer pedagogía, y la pedagogía empieza por explicar al público lo que hacemos: me dirigí a la gente para decirle que se tenía que olvidar de todo lo anterior porque íbamos a hacer algo muy diferente. Y les expliqué el trasfondo de la idea del compositor, que planteaba su obra como una discusión entre dos personas, y les puse en la pista de los motivos, a ver si eran capaces de identificarlos y seguirlos… Al final la gente vino para agradecerlo. Es una obligación. No podemos aislar la música contemporánea en festivales específicos. El mes pasado en Finlandia éramos todos trompistas y lo interesante de los conciertos es que se hacían amenos por la variedad de estilos. Creo que es lo mejor.

–¿Para quién está pensado este disco?

–Para todo aquel al que le interese el repertorio para trompa actual. Mi ambición no es que este disco se exhiba en El Corte Inglés y la gente vaya a comprarlo como compran (o compraban) discos de pop, pero dentro del mundo de la trompa tiene su espacio. El lunes [por el pasado 24 de julio] me voy al Congreso para trompa más importante del mundo, el de la International Horn Society, que se hace en Montréal, soy artista invitada, y cuando me invitaron hace dos años les dije ya que estaba preparando este disco y me pidieron justamente que por favor hiciera este repertorio. Hago tres recitales y en ellos presento las obras de Elena y Voro y estreno dos obras: el Trío de Roberto Sierra, que está grabado en IBS, pero no está estrenado en público, y otra obra que he encargado a Ramón Cardo para trompa y piano. En el tercer recital hago la de Voro, luego una obra de un compositor canadiense contemporáneo, la de Ramón Cardo, que es un lenguaje más jazzístico, y acabo con otro trompista portugués que toca en el recital haciendo una obra de Amando Blanquer para dos trompas y piano. Ese Congreso es el escaparate de los trompistas, está todo el mundo, es una promoción ideal y allí iré con mi CD, que está muy enfocado al mundo de la trompa. Ahora no haces un disco para venderlo. Lo haces para decir estoy aquí y esto es lo que puedo hacer con mi instrumento.

–Es su primer disco como solista, ¿le han quedado ganas para repetir?

–Sí y no. Por una parte sí. Me gustan los retos. Los retos me hacen mejorar. No toco igual que hace un año o dos. Voy mejorando. Todo aquello que técnicamente es un quebradero de cabeza, que te exige resistencia física me gusta, porque luego más allá de lo físico y lo técnico, hay que darle un sentido musical a las obras, que para mí es el reto más difícil cuando haces música contemporánea. Así que por ahí, sí. Pero por otro lado, uf. Es mucho trabajo y mucho dinero, porque esto me lo pago todo yo. Y también le digo que he cuidado mucho la imagen. El mundo del Clásico está a años luz del pop en este sentido. Creo que los músicos deberíamos vendernos mejor, aportar valor al producto a través del envoltorio, los textos... Ya que me he gastado el dinero, decidí que lo hacía lo mejor posible, y creo sinceramente que el esfuerzo ha valido la pena.

[Diario de Sevilla. 30-07-2023]

EL CD EN SPOTIFY

[dreamsrussell]

f1 academy silly season this year is going to have a huge impact on the future of the series & women in single-seater motorsport as a whole. here’s some more information (cross-posted as a thread on my twitter, also dreamsrussell)

for some context, f1 academy is a women-only racing series that is most similar to formula 4. drivers are eligible to compete for two years; after that, they are no longer eligible because the goal is to help advance women through the junior series. 

2023 was the first season of f1 academy. 2025 will be the first year where some drivers will no longer be eligible. this year, 2023 champion marta garcía & runner up léna bühler advanced to FRECA. 

abbi pulling, both al quabasi sisters, nerea marti, bianca bustamante, jess edgar, lola lovinfosse, emely de heus, and carrie schreiner will not be eligible to compete in f1a in 2025. as far as i’m aware, none of their seats for next year have been announced. 

essentially, 2025 is the first time we’ll see how successful f1 academy can be at promoting young female drivers. where should we be looking for them to be going? 

well, FRECA and formula 3 are the most sought-after spots, though it is likely some will remain in formula 4 for another season as they hope to make a big enough mark to secure the funding necessary to race in these expensive series. 

estimates place the cost of running a single f3 season at around 1.2 million dollars, and drivers who are associated with academies can expect to have an academy fund about half of that if they’re lucky. 

another option is formula e, the electric series; nerea martí and chloe chambers were announced today to be testing for andretti later this year. 

chloe chambers was the first f1 academy 2025 driver to be announced, and the haas-backed race-winner is joining red bull racing’s ford seat for 2025. it seems like more 2024 f1a rookies are likely to stay with the series for next year, but if other stand-outs like maya weug and doriane pin can secure seats in higher series, a move up isn’t out of the picture.

because f1 academy gets relatively little media coverage compared to other junior series, we don’t know a lot about who is expected to move into some of the seats opening up; nina gademan had one of the best wild card performances of the season and seems to be a favorite for one of them.

so why does this matter? i don’t think anyone reasonable should be expecting f1 academy to erase institutional bias against women in motorsport in a single season, but it’s important that f1a makes its mark on the media and their sponsors in order to secure its place going forward. 

these girls have worked so incredibly hard, and susie wolff described on the red flags podcast this week what is already being called the f1 academy efffect; more young girls are interested in karting bc they female role models to look up to.

that's all i have to say about this for now, but basically i just want to make f1a fans and f1 fans in general aware of how pivotal this silly season for f1a is going to be, even if it doesn't get the media coverage that it deserves.

[mariikado]

Bookshelf in Good Omens 2. What clues to look for and what to pay attention to when reading each book.

And don't show this to Neil! And don't ask him about it!

Carefully! There may be spoilers here.

1. I Capture the Castle by Dodie Smith.

The main character sits alone and writes a diary. There is also a very interesting love polygon in the book. At the very end of the book there is an interesting moment about the girl’s father, who writes his book in an interesting way.

For me, this was the answer to why Good Omens 2 was made the way it was: incomprehensible, confusing and with a lot of questions after viewing.

2. No Woman No Cry: My Life with Bob Marley by Rita Marley.

This is Maggie and Nina's book.

Look for the donkey, as well as the story of Rita's shooting. Notice what Rita says when she remembers Bob (he's dead, but he's everywhere).

3. The Crow Road by Iain Banks.

Not only discussions about God are important, but also the meaning of the expression “the crow road.” Notice the angelic goats dressed as ravens in the intro. Remember the story of Job, remember those little goats who followed the crow's path. Try to tie it all together.

And also pay attention to the meaning of matches. What do they mean for the story in the book and could they mean the same for our story?

Crowley recommends this book to Muriel not only because it contains a lot of discussions about God. He knows how important the matchbox is in the story, and he wants Muriel to know it too. Muriel must know that matches are the key to solving the mystery. At the very end of the second season, the story is just beginning to develop. The matchbox doesn't appear in the plot yet, but it will happen in the future, and Muriel must know in advance what it means. I think so.

4. The Curious Incident of the Dog in the Night-Time by Mark Haddon.

A very interesting main character, with a very interesting perception of the world around him. I think this is a hint on how to watch Good Omens 2. The second season needs to be watched the way this boy looks at the world around him. He also has interesting thoughts, some of which may be important to our story.

5. Catch-22 by Joseph Heller.

I have identified five characters. One of them is a naked man (note the reason for his undressing), the second character experiences déjà vu and has strange relationships with colleagues, the third character will do anything for profit (even if he has to bomb his own), the fourth character is compared to God (note , what ultimately happens to him), and the fifth is not entirely noticeable, but wears fake glasses and a mustache. Find them all and analyze what happens to them and why, what their goals are and what consequences their actions have. Think about how this all fits into our story and who these five characters are like.

6. Love in the Time of Cholera by Gabriel García Márquez.

Besides the wonderful love triangle, there are almonds to be found here. This is a small clue to the meaning of almond coffee. The character is a photographer with his secret love - I think this is also a small key to unraveling the mystery of Good Omens 2.

7. The Bell Jar by Sylvia Plath.

There are matches here too, find them. Try to analyze the thoughts of the main character. I still couldn't decide who this book belonged to: Aziraphale, Crowley or Muriel. I'm leaning towards Muriel. Although Neil said that Muriel may not be Muriel in season three. So Aziraphale or Crowley could become Muriel in the future. I still think it's Aziraphale.

The main character of this book underwent shock therapy, and this smoothly leads us to the next book.

8. 1984 by George Orwell.

If you still doubt that history is being rewritten within history, do not doubt it. This book is direct proof. I would also suggest that the shock therapy in the book is an analogue to the erasing of memory and reformatting of consciousness in our history. Then that would explain what I said earlier about Muriel. This book confirms all my previous theories and reasoning. Who, for what purpose and how many times rewrites history - we will find out in season 3.

9. The Big Sleep by Raymond Chandler.

This book contains another clue to the mystery of almond coffee. The book also features a dead bookstore owner who photographed the character's real killer, who was illegally transporting alcohol. There is a little quote about how everything was planned in advance, and this quote is said during the kiss.

10. In this post I talked about the Bible: here.

But I forgot to mention Aaron's rod. This is another key to almond coffee. Read the story of how flowers grew from Aaron's rod and what it means.

11. The Great Gatsby by Francis Scott Fitzgerald.

Gatsby was a liquor smuggler, he loved a blonde and in the end he got shot because of her, don't forget that. This all dates back to 1941. So who's shooting who?

12. The Catcher in the Rye by J. D. Salinger.

To be honest, I have a hard time understanding why this book is on the shelf. The book could be there because of a guy who has a dead red-haired brother (yes, Crowley's brother or twin could very well be real). The book may be there because of the story of catching children over an abyss (the story of Job). The book may be there because of the description of the film, in which a guy loses his memory after a war (after the apocalypse, someone has to survive).

13. A Series of Unfortunate Events by Lemony Snicket.

I recommend reading this series of books and also watching the series. I think the books and the show together will help you understand who Sadie is in Good Omens 2.

Also look for snakes, zombies, anything related to crows, secret codes used by characters (Prime uses them too). Look for smart thoughts, there are many of them. Look for librarians, read about the secret society. We ourselves are a small secret society: we collect information bit by bit, analyze it and share it with each other. Everyone notices something different and everyone is right in their own way. There are many clues in both the books and the show. Feel free to draw parallels. There are even moments that are filmed very similarly in both series.

14. Herzog by Saul Bellow.

A difficult book. Lots of talk about God and faith. I relate this book to the character who will survive the whole apocalypse mess in season 3. Read it for yourself, maybe you will have other thoughts.

15. A Tale of Two Cities by Charles Dickens.

This book needs to be read from cover to cover. The whole story with the revolution and the French guillotine. Think about who those same revolutionaries in our history could be.

All moments with similarities between the two main characters, and also pay attention to the spy. Remember that Jane Austen is a spy. I still assume Jane Austen is Shax. In episode 4, Shax becomes Crowley; Before the stunt, Shax becomes like Aziraphale. Thus, in the dressing room there is a spy and two characters similar to each other (you can read about this here). There is a scene at the end of the book that may shed some light on what is really going on in the dressing room.

In the book you can also find a rose on the hat. Think about this character and the reason he put a rose on his hat.

Find this sign “👆” and its meaning in the book.

Find a seamstress in a book who walks hand in hand with someone very similar to the main character.

This book is on many posters in the hands of Aziraphale for a reason.

16. Lord Jim by Joseph Conrad.

Just read Lord Jim's story and apply it to our Jim.

17. Treasure Island by Robert Louis Stevenson.

Jim is also in this book. And this Jim stole a treasure map from a bad pirate. We can only guess what Jim brought to the bookstore in our story: a “map of buried treasure,” a book of life, the power of God. What other options?

18. Pride and Prejudice by Jane Austen.

Yes, there is a very interesting love story and more than one. A parallel can be drawn with both couples from the book. Jane Austen herself also plays an important role throughout the second season.

Read books, look for clues, superimpose season 2 on these books. This is the wonderful world of Good Omens - an incredible work and an amazing journey!

[tina-aumont]

“The Gracia Family what we inherit is both Grace, beauty and intelligence and a lot of gifts and on the other side of that, almost as if we have to pay a price for it, here comes this sense of fate or destiny which means that we can die early”...

Raïna Paris ("Maria Montez, Mysteries and Scandals", 26th April 1998)

Joaquín Gracia Anadón - This story begins with Joaquín Gracia Anadón's father, Pablo Gracia González, little is known about him, but he died when he was 20 years old, leaving a young wife and a baby boy who was Joaquín Gracia Anadón, aged only one year and a half. Joaquín Gracia Anadón was a very smart and clever man, he worked as primary school teacher, secretary of the Peace Court, official and Secretary of the Town Hall in Garafía but in 1884, when he was 43 years old he was processed and sentenced to prison for a fire in Garafía's Town Hall. He served the entire sentence in prison and was released after 16 years and 7 months, in july 1900. He claimed always his innocence and in 2005, after a long investigation by his great granddaughter Pilar Cabrera Pombrol, his innocence was proven and the autorithies had to apologize to the family. He passed away in 1913 at 71 years old.

Isidoro Gracia García - He was born in 1873 and was the eldest of Joaquín Gracia Anadón's children. When he was ten years old he was subjected to a judicial interrogation, today totally unlawful, regarding the fire at the Garafía Town Hall, the charges for which had been brought against his father. This is, unfortunately, the manifestation of a minor, without procedural guarantees, which was included in the sentence and which should have marked Isidoro Gracia García for life. He settled in Baraona in 1904 as a very creditable merchant. He dedicated himself to the prosperous textile business and the export of guayacán wood. His final residence in the Dominican Republic must have been influenced by the advice of his father, who had known first-hand the possibilities of the Latin American country when he was young. His business capacity and human abilities earned him the appointment by the then Minister of State (today, Minister of Foreign Affairs) as honorary vice-consul, upon request of the Royal Consulate of Spain in the country. He died in 1933 in Barahona at 60 years old.

Gaudencia Gracia García - She was the youngest child of Joaquín Gracia Anadón who lived until adulthood as she had a younger brother, Agustín, who died when he was very young. She was born the 12th February 1882. She married José Pedro Pombrol Hernández and had eight kids: María Adoración, Araceli, José Antonio, Gaudencia, Enrique, María del Pilar, Mario and Antonina "Nina" Pombrol Gracia. She passed away in 1921 aged 39.

Isidoro Gracia Vidal - He was Isidoro's Gracia García eldest son and he was born in 1911 and passed away in 1956 at 45 years old leaving a fatherless girl who was only five years old.

Maria Montez - She was Isidoro's Gracia García's first daughter and was called María África for his dad's Country of Origin - The Canary Islands belong to Spain but are located next to Africa - . She was born in 1912. Since her childhood, María was different from other girls and boys her age, she created her own theater stages, and always said from a very young age that she would succeed in the world of cinema. Many children made fun of her for what she said, Maria then complained to her mother that others laughed at her but her mother encouraged her to go ahead, so she would sit under the palm trees and do her plays. On June 3, 1939, Maria arrived in NY for the first time. At that time it was very difficult to climb positions, especially if you came from the rural world. She used the resource of provocation to be able to do it. She not only used her beauty, but also her intelligence. She decided to go scouting, hired two designers to make her the most spectacular dresses ever seen. She begins to frequent night clubs and doesn’t go unnoticed so she begins to appear in the press. In July 1940 she arrived in Hollywood, there she changed her name (until then she was called Marie McFeeters) and also completely reinvented herself. After a successful carreer in Hollywood, she decided to travel to Europe to make some dramatic roles and she was receiveng very good reviews from the chritics and the public. Sadly, she passed away in 1951 at 39 years old leaving a motherless girl aged five...

Adita Gracia Vidal - She was María's younger sister and was born in 1924. Although María put big efforts in her younger sisters to succeed as actresses, they prefered a more classic way of life. In 1949 Maria with her husband and daughter left Hollywood to live in France, Adita went to live with them and so did Teresita. Is not known if Adita ever married or had children. At the time of María’s passing (1951) she was an unmarried woman and María gave her a big sum of money from her will as a way to protect her. Then Adita went to live with Consuelo and her family in Southern California. She passed away at 69 on 8th February 1993.

Lucita Gracia Vidal - She was María and Adita's younger sister, she was born in 1926. Lucita married Frech photo-journalist Jean Roy the 12th April 1946 and had three children: Yves, Jean-Pierre and Marcos. Jean Roy's real name was Yves Leleu and was a war photo-journalist. He was killed in Egypt on an assigment in 1956. Lucita was a young mother with three little kids on her own. She never remarried. Lucita passed away in 1979 in Paris at 53 years old due to cancer.

Jaime Gracia Vidal - He was María, Adita and Lucita's youngest brother and was born in 1927. In 1954, when he was 26 years old, he went to Hollywood to start a career was an actor and with his tall height and green eyes, he was quite a sensation there. After trying luck in Hollywood he went to the US Army and fought in Corean war and ended up having the grade of Sergeant. Regarding his personal life, he dated Merle Oberon while in Hollywood but later married Rosmery Didonato from whom had his only child Jimmy. They eventually separated. In 1977 he married again with Janet González in Santo Domingo. He died at 51 of a heart attack in 31st May 1979.

Teresita Gracia Vidal - She was María's youngest sister, born in 1929 or 1930. Teresita began her modelling in 1949 in France after taking modelling lessons. The photographers who mainly worked with her were Willy Maywald and Georges Saad and she was regularly seen in fashion spreads in magazines like L'Officiel, L'Art et la Mode and Vogue. She usually modelled Jacques Heim designs. She had a very successful carrer as a model in the 50s. In the early 50s, Teresita and Yves Manuel started dating and by February 1952 they got married and years later, by 1956/57 they had their daughter Raïna Manuel Paris Gracia. By 1959 Teresita had a strong and passionate relationship with Italian actor Maurizio Arena that meant the ending of her marriage with Yves Manuel and she settled in Rome as some italian producers spotted her, sadly, her relationship with Maurizio Arena didn’t last as he fooled her. Teresita passed away on January 17th 2023 at 93 years old.

Tina Aumont Gracia - She was María Montez only daughter. She was born in 1946 and when she was only five years old she lost her mum. She lived with her father and aunties but when he married Italian actress Marisa Pavan, aunties and uncles had to flee the house. The relationshio she had with her step-mother was very difficult and at the time she was 17, she married a friend of her dad just to get away from that crazy house. In 1964 a stillborn girl was born. One year later she separated Christian Marquand and went to live with Frédéric Pardo, the love of her life according to their closest friends. After breaking up in 1972, Tina started to use hard drugs and she became hooked to heroin. Although she had great success in cinema, by March/April 1978 Tina travelled to Thailand and send back to home two deities statues filled with opium, Frabrizio Lori received the statues at home and went directly to jail although he didn’t knew a thing. That meant the end of their relationship. Tina was arrested in Italy, and charged with illegal importation of 400 grams of opium. She was eventually sentenced to three years imprisonment, which she managed to reduce on appeal to nine months. Then she was banned from Italy, her country of adoption. Leaving Italy had broken her heart. She moved back to France. In the mid 80s her lifestyle was of partying everynight with her fiend Alain Pacadis and with her partner in crime actor Jean-François Ferriol who she married in January 1985. In the late 1990s Tina couln’t afford pretty much. After her glory days, her father’s heritage was in the hands of her stepmother and she was reduced to living in a minuscule apartment located in a modest Parisian quarter full of penniless immigrants, and the rent was paid by the city’s social services. In the year 2000 Tina’s health was failing as she suffered from a major stroke and had to live with medication for her lungs although she never gave-up smoking. She eventually cut loose from the metropolis and settled in Port-Vendres near the Catalunyan border. After a quiet couple of years she died in her sleep at home in late 2006. She was 60 years old.

María Montez Gracia Fiallo - She was born in 1951, two weeks after her famous auntie's passing, that's why she was called María Montez as name. Her dad Isidoro, passed away in 1956 when she was 5 years old, just as her cousin Tina. Since she was a little girl, María Montez Gracia Fiallo showed she had talent for performing. As a teenager, she earned a scolarship from the Fundación de Crédito Educativo, and with it she was able to travel to Madrid, Spain, in order to study dramatic art. She moved with her mother Safo. Later, she appeared in Spanish TV shows and films, and she was also very active in theatre for many years there too. Maria also starred in international productions from films, TV and the stage from the United Kingdom, Italy, Germany and France. For years she was part of the Roy Hart Theatre company in London. She stopped her artistic career when she was expecting her first child, daughter Desiree D'Alessandro, who was born with down syndrome, and two years later she had a son, Ricardo D'Alessandro. She lives in Dominican Republic.

Raïna Manuel-Paris Gracia - She is Teresita's only child and she was born between 1956 and 1959. Her parents divorced when she was little. Fairy tales and Legends were her refuges. They helped her understand the difficulties of her childhood. By the age of twelve, she had read most of the myths and legends of the world. From Ireland and Russia to Arabia. Her love of transformational story telling has taken her from an MFA in Film from Columbia University to a Ph.D. in Mythological studies and Depth Psychology. She is a published writer of non-fiction, poetry, and several scholarly articles, as well as a documentary filmmaker. Her understanding of what gives meaning to daily life has led her to her work with dreams, and to include meditation practice in her classrooms. She is a lecturer and scholar who speaks on several subjects. Nowadays, she lives in Ojai, California with her husky mix Numen and her horse Quincy.

[elektrasc]

Orientaciones Sexsuales Y Edades De Los Creepypastas (Mi Universo)

(PARA LOS HATERS SI NO TE GUSTA NO VEA)

(Advertencia : No Solo Va A Ver Orientaciones Del LGBTQ También Va A Ver Hetero, Yo No Rechazo A Nadie Por Su Orientación, Siempre Y Cuando Seas Una Buena Persona No Me Importa Lo Que Seas Te Voy Aceptar ^^, Nunca Se Sientan Mal Por Sus Gustos Somos Únicos Y Especiales Tal Como Somos, Fuerza A Todos Ustedes Nunca Se Rindan ^//w//^)

(Ahora Sí Disfruten La Información)

(Comencemos)

Slenderman (Edad: ¿?, 39-41 Cuando Era Humano) (Heterosexsual)

Jack Rodriguez/Eyeless Jack (Edad: 60, Aparenta 27 Años) (Hertero Y Asexsual)

Slenderwoman/Annelie Grünewald (Edad: ¿?, 52 Cuando Era Humana) (Heterosexsual)

Dr. Albert/Dr. Smiley (Edad: 49-50) (Heterosexsual)

Dewitt E. Grimm/Dr. Pain (Edad: 37-39) (Asexsual)

Rodrigo Ortiz/Cat Hunter (Edad: 30) (Bisexsual Y Aromático)

Wilson García/The Basher (Edad: 30) (Heterosexsual)

Heather Marshall/Rouge The Proxy (Edad: 29-30) (Heterosexsual)

Liu Woods/Homicidal Liu (Edad: 27) (Heterosexsual)

Jeff Woods/Jeff The Killer (Edad: 26) (Bisexsual Y Aromático)

Taylor (Edad: 26) (Lesbiana Y Aromática)

Lyra Rogers (Edad: 25-26) (Antrosexual)

Tim Wright/Masky (Edad: 25) (Hetero Y Aromático)

Jennifer Rhynes/Weeping Forest (Edad: 25) (Lesbiana)

 Ann Lusen Mia/The Nurse Ann (Edad: 24) (Bisexual Y Autosexual Sexopata)

Jane Arkensaw/Jane the Killer (Edad: 24) (Bisexual Y Autosexual)

Brian Thomas/Hoodie (Edad: 22) (Bisexual Casi Tirando A Sexopata)

Jay Merrick/Skully (Edad: 22) (Bisexual)

Jessica Locke (Edad: 21) (Bisexual)

Carl Ross/Cr (Edad: 20-21) (Heterosexsual)

Jonathan Blake/The Puppeteer (Edad: 20) (Hetero Y Asexsual)

Kate Matheson/The Chaser (Edad: 20) (Heterosexsual)

Tobias Erin Rogers/Ticci Toby (Edad: 19) (Pansexsual)

Esterk Cielo Analína/The Forest Nymph (Edad: 18-19) (Bisexual Y Autosexual)

Natalie Ouellete/Clockwork (Edad 18) (Pansexsual)

Alice Marie Jackson/Zero (Edad: 18) (Bisexual)

Nina Hopkins/Nina The killer (Edad: 17-18) (Bisexual Y Sexopata)

Mark Petterson/Skroll (En Mi Universo The Shark) (Edad: 17) (Heterosexsual)

Cody Rogers/X-Virus (Edad: 17) (Bisexual Y Autosexual)

Lulu (Edad: 16) (Heterosexsual)

Helen Otis/Bloody Painter (Edad: 15-16) (Heterosexsual)

Dina Angela Clark/Judge Angel (Edad: 15-16) (Heterosexsual)

Vailly Evans (Edad: 15) (Antrosexual)

Adeline Abendroth/Slender Doll (Edad: 14) (Pansexsual)

Charlie Matheson/The Pursuer (Edad: 13) (Bisexual)

(Villanos)

Zalgo (Edad: ¿?) (Asexsual)

Offenderman (Edad ¿?) (Degenerado)

Laughing Jack (Edad: ¿?) (Asexsual Aromática)

Laughing Jill (Edad: ¿?) (Bisexual)

Alex Kralie (Edad: 31) (Hetero Y Asexsual, Homofobico)

Dr. Sebastian/El Ex (Edad: 28) (Asexsual Necrofilo)

Sky Derman (Edad: 26) (Pansexsual, Es Casi Igual A Offender)

Lauren Brown/The Reaper (Edad: 22) (Bisexual Sexopata, Pero Es Pu)

Lyra The Inhuman (Edad 21) (Pansexsual, Es Pu)

David/Sin OJos (Edad: 17) (Bisexual)

Freddy Butcher (Edad: 19) (Antrosexual Y Asexsual)

Bloody Angel (Edad: 19) (Bisexual Y Aromática)

Lazari Swann (Edad: 14) (Antrosexual)

(Les Recuerdo Este Es Mi Propio Universo Algunas Orientaciones. Nombres. Edades. No Son Canónicas Y Otras Tal Vez Sí, Igual Si Me Equivoqué En Algo Me Lo Pueden Decir En Los Comentarios Amablemente, Muchas Gracias A Todos Por Su Apoyo ^^)

[docpiplup]

@asongofstarkandtargaryen There's news of an upcoming period drama: Las Pelotaris 1926. Here's the info I found:

Synopsis: "The series tells of the struggle of three Basque ball players who try to achieve their dreams by overcoming the prejudices and ties that prevailed in the 20s of the last century, when men monopolized all the power. Chelo (Zuria Vega), Idoia (Clara Salas) and Itzi (María de Nati) are successful athletes who assume the consequences of breaking the mold in a world where ambition and sexual freedom were denied to the female gender."

Marc Cistaré is the creator of this story that tells the story of three women who fight to fulfill their dreams in a world dominated by men. Cistaré leads a team of scriptwriters made up of Adriana Rivas (Vis a Vis, Estoy vivo, Águila Roja), Javier Naya (El barco, Rabia) and the Mexican Anaí López (XY, Bienvenida realidad, Infames).

Jesús Rodrigo (Vis a Vis, El internado, Estoy vivo, Un paso adelante) is in charge of directing the 8 episodes, which have Chechu Graf as director of photography (Toc, Toc , Campeones, La víctima número 8) and Fernando González (La casa de papel, Águila Roja) in charge of the setting as art director.

This series was filmed in various locations such as Ciudad de México, Tepoztlán and Las Estacas and later the filming moved to Spain, in locations in the Basque Country like Donostia, Biarritz, Artikutza and Pasaia, as well as some locations in other places such as Madrid and Guadalajara.

The international cast headed by the Mexican Zuria Vega (El refugio, Alma de Hierro, Inquilinos, Sin ella, La venganza de las Juanas, Un refugio para el amor) and the Spanish Claudia Salas (La ruta, Élite, La peste, Cerdita) and María de Nati (El buen patrón, El Reino, Que Dios nos perdone, Entrevías, La víctima número 8) will complete with these actors in the main male roles: the Argentinean David Chocarro (En otra piel, La Doña, El rostro de la venganza, La casa de al lado, El recluso) and the Mexicans Marco de la O (Rambo: Last Blood, El Chapo, Falsa identidad, R), Vicente Tamayo (El Club, La Guzmán, La Candidata, Luis Miguel: la serie), Héctor Kotsifakis (Luna de miel, El recluso, Hysteria, Ojos que no ven, Los minutos negros) and Antonio Gaona (Palabra de Ladrón, Educando a Nina, Rosario Tijeras), among many other actors. The cast, eminently female, includes the Colombian Viviana Serna (La ciénaga: entre el mar y la tierra, La Bruja, La ronca de oro, Por Siempre Joan Sebastián, Supertitlán) and the Spanish Alejandra Onieva (Alta Mar, Reinas, Presunto Culpable, El secreto de Puente Viejo), Krista Aroca (HIT) and Eva Rubio (El buen patrón, La voz dormida, Primaria).

Complete cast

Zuria Vega (Chelo Barbosa)

Claudia Salas (Idoia)

María de Nati (Itzi)

Viviana Serna (Rosa)

Carla Gris (Laia)

Gaizka Ugarte (Andrés)

Anastasia Russo (Malen)

Rachel Lascar (Dra. Dietrich)

Miguel Garcés (Gorka)

Hector Kotsifakis (Uribe)

Raúl Yuste (Teniente del Álamo)

Fernanda Valencia( Maca)

Daniel García (policía)

Alejandra Onieva

David Chocarro

Marco de la O

Vicente Tamayo

Antonio Gaona

Álex Onieva

Krista Aroca

Eva Rubio

Jesús Castejón

Peter Vives

' Las Pelotaris 1926' remains the definitive title of the first series that was born from the agreement between TelevisaUnivision and Mediapro Studio, being a co-production between Mexico and Spain. The series will premiere exclusively on ViX+, the premium subscription level of the ViX streaming service, which is available in the Spanish-speaking Latin America and the USA.

[fetichesonoro]

Early Fetiche Sonoro

Ibero-American music, hailing from diverse regions, underwent a departure from conventional norms and traditional ideals, potentially requiring the amalgamation of select elements to craft a novel and distinctive musical identity, in order to become what it is today. In retrospect, certain compositions and albums from the 1960s, 70s, and 80s bore the unfortunate brunt of subpar production resources and inadequate studio equipment. Nevertheless, this compilation endeavor strives to curate a selection of the most intriguing sonic expressions from this early period. Featuring: La Unión / Nina Galindo / Los Brincos / Juan Carlos Baglietto / Vainica Doble / Patricio Rey y sus Redonditos de Ricota / Cecilia Toussaint / Los Fabulosos Cadillacs / Frágil / Neón / Sumo / Pappo's Blues / Kiko Veneno / Gabinete Caligari / El Último De La Fila / Cómplices / Serú Girán / Sentimiento Muerto / Aviador Dro / Pescado Rabioso / Soda Stereo / Virus / Mocedades / Loquillo y Los Trogloditas / Charly García / Los Prisioneros / Mecano / Nacha Pop / Rodrigo González / Duncan Dhu / Moris / Jaime López y José Manuel Aguilera / Alaska y Los Pegamoides / Radio Futura / Volti / La Polla Records / Almendra / Jeanette / Maldita Vecindad y Los Hijos Del 5to. Patio / Los Toreros Muertos / Triana / Héroes Del Silencio / Mano Negra / Casino Shanghai / Santana / Los Lobos / Olé Olé / Kikí D'Akí / Ritmo Peligroso / Luz Casal / Los Encargados / Caifanes / Divina Gloria.

[baberoe-archive]

Hi, idk if you still want ask or not, but I love your writing <333 What's your inspiration? Your fav author or books?

hiiii thank you so much!!!!!!! u r too kind!!!!!!!! <3<3<3

i've been thinking about this all day to try to give a good answer but i sort of realized my inspiration could probably be best described by 2019 tendercore era tumblr lol. if u were not there for that truly magical experience of posting, it was a lot of crush by richard siken and various mary oliver poems and such classics as the goldfinch by donna tartt and movies like portrait of a lady on fire dir celine sciamma and my own private idaho dir gus van sant. and a lot of it has become very tumblr cliche by now, but they are very formative to me and are still some of my favorites and they r just good they hold up i think. also -- just remembered he was in this group -- but ocean vuong's first poetry collection was one of the first i read and it was just like. so amazing. i also really liked his novel on earth we're briefly gorgeous.

i think a lot about james baldwin and frank o'hara in terms of bringing the poetic to the everyday (giovanni's room is one of my favorites and "for grace after a party" is one of thee poems of all time for me. and "mayakovsky" and "on rachmaninoff's birthday" he has so many hits). recently i've been trying to get a little bit more experimental ish. i recently read and really liked garçon manqué by nina bouraoui (which wikipedia tells me is translated as tomboy).

all time favorite writer is federico garcía lorca. i don't really think i've got much of him in my writing but i'll always namedrop him. hes my weird dead gay historical figure friend forever and ever <3

[julianarevelo]

Diseño escenográfico y de vestuario

Fotografías de Julian Betancourt @julian.bq

Ficha técnica

Elenco: Natalia Bedoya (Enfermera) Mia Terán (María Andrade) Alejandro Martínez (Axel Martínez) Alejandro Calle (Alejandro Calle) Sandra Serrato (Sandra Serrato) José Manuel Ospina (José Manuel Ospina) Miguel Rico (Maestro Marcos Cruz) Camy Jiménez (Understudy-Suplencia). Directora de arte: Juliana Revelo. Asistente de dirección de arte: Yenny Sotelo Diseño de iluminación: Claudia Tobón Diseño sonoro: Alejandra Bernal Escenografía (Realización del telón): H&G Studios y Sebastian Jiménez Archivo de Patrimonio: Biblioteca Nacional Coreografía: Melissa Álvarez

Maquillaje: Fabián León Asistente de maquillaje: Nina León Prensa y medios: Astrid González Mercadeo y Marketing digital: Claudia Ximena Flórez Directora Ejecutiva: Luz Martínez Gerente de Negocios: José A. Pérez Productora Asociada: Cristina Rodas Productor Artístico: Wilson L. García Producción General: Fundación T de Teatro Diseño, Imagen y Publicidad: Ligia Henao

[agendaculturaldelima]

#ProyeccionDeVida

📣 Kino Cat / Cine Tulipán, presenta:

🎬 “TODO SOBRE MI MADRE”

🔎 Género: Drama/Melodrama/Teatro/Maternidad

⌛️ Duración: 105 minutos

✍️ Guion: Pedro Almodóvar

🎼 Música: Alberto Iglesias

📷 Fotografía: Affonso Beato

🗯 Argumento: En Madrid. Manuela es una madre soltera que ve morir a su hijo el día en que cumple diecisiete años, por echarse a correr para conseguir el autógrafo de Huma Rojo, su actriz favorita. Destrozada, viaja entonces a Barcelona en busca del padre del chico.

👥 Reparto: Penélope Cruz (Hermana Rosa), Marisa Paredes (Huma Rojo), Antonia San Juan (Agrado), Cecilia Roth (Manuela), Candela Peña (Nina), Agustín Almodóvar (Taxista), Rosa Maria Sardà (Madre de Rosa), Esther García Rodríguez, Michel Ruben (Alex), Eloy Azorín (Esteban) y Toni Cantó (Lola).

📢 Dirección: Pedro Almodóvar

© Productoras: El Deseo, Renn Productions & France 2 Cinema

🌎 Países: España-Francia

📅 Año: 1999

📽 Proyección:

📆 Martes 23 de Julio

🕗 7:30pm. 

🐈‍ El Gato Tulipán (Bajada de Baños 350 – Barranco)

🚶���♀️🚶‍♂️ Ingreso libre

[leblogdemacky]

SILENCIO (2024) - Trailer from Jonathan Ospina on Vimeo.

2024 | 59' | digital | color | 5.1 sound

A hybrid film that narrates the story of a sound recorder from a big city in Colombia who goes to the jungles in the pacific coast, in search of the sounds from a past that is still haunting the present. A personal journey of listening where she meets local activists of different generations engaged with the preservation of memory, and where music and oral traditions enact as liminal spaces in which mourning invokes and shakes the ghosts of a colonial heritage before the promises of the future.

written and directed by Jonathan Ospina cinematography : Alvaro Kreyden edit : Jonathan Ospina
 editing assistant : Nina Wolf sound: Daniela Cano, Andrés Rangel director assistant : Felipe Perea line producer : Ludis Zuñiga García sound design and mix : Oscar van Hoogevest mix assistant : Mara Micciche color grading : Dominik Zietlow producer : Mark Olexa - Dok Mobile production assistants in Colombia: Irma Sanchez Tejada, Juan Carlos Murillo music: Cumbavi, Tambacum

project tutor : Verena Paravel

production Master cinéma HES-SO ECAL/HEAD and DOK Mobile

[ipanemaisnotinlove]

Todo lo que ha sido junio

A la expansión ilimitada sagitariana, capri viene a darle forma, la tensión que emerge en ello. El humor de un meme casero. Qué extrañeza sentirse triste antes de un viaje. Dice mi analista: Es la primera vez desde que te conozco que un viaje no te produce la misma alegría y el mismo entusiasmo que suele generarte. Escuchar Concha Vulnerable y resonar tanto con Jime de sentirse vulnerable al momento de pedir algo del otro. Lo difícil que resulta pedir ayuda. Puedo sola. No, no puedo sola. Llorar mucho. Dice Lau: "Si no puedes estar vulnerable con alguien, si no puedes sentirte blanda y confiar, eso ya es una señal".

Todo eso que fue LASA, un tiempo sensible y abrumador de ver a un montón de gente y el poco entusiasmo de hacerlo. Las palabras amorosas de Myriem: “Sé que son ambientes intensos acompañados por algo súper complejo y al final de mucha mediocridad. Y nosotras como somos re, re sensibles a todo lo que hay alrededor, y que queremos siempre estar en un lugar luminoso y brillante, cuando no estamos ahí, es algo que realmente podemos sentir profundamente y que nos pone muy tristes. Te entiendo perfectamente, querida mía”.

Pensar en el fin del mundo, pensar en formas para que en el fin del mundo podamos encontrarnos con A. Las palabras, el lenguaje, pensar genuinamente en que ojalá nos toque juntos. Extrañar muchísimo lo que estaba pasando con A antes de este viaje, los planes, las comidas, dormir juntos. Extrañarlo a él, pensar todos los días en él. Pienso en ese texto de Pizarnik que dice: “Pero te quiero, ojalá lo entiendas, siempre te quiero, pero a veces mis abrazos no tienen calor y mi boca no sabe que decir… Pero te quiero, siempre te quiero, cuando no te convengo, cuando no me soportas, cuando te odio, te quiero.” Querer tanto. Querer como nunca se había querido. Allí también hay extrañeza. Llorar con una canción de Nina Simone pensando en qué hacer con el querer tanto. Volver a sacar los animalitos de su caja. Encontrar una postal vieja, ese ítem que dice: “Rutina que a uno le hace sentirse bien” Eso que ocurre cuando estamos juntos. Quebrarme con su “You’re not alone”. Tener ganas de abrazarlo y quedarme a vivir por siempre en esa frase. Seguir acumulando las ganas desde esa última vez de Challengers y explosionarlas en el reencuentro.

Los días en Bolivia, el viaje, otro mundo. Ese país en el centro. Un libro de Margarita García Robayo en la mesa del comedor de Marcianita. Los escritos de Lacan en la biblioteca del padre. Una mañana en el jardín botánico. Todo eso que se mira con curiosidad. Ser fan absoluta del achachairú.

[screenwritinggym]

Colombian-American fashion journalist - Ninotchka "Nina" García (born May 3, 1965) - Watch this - Apocalypse EXPLAINED - READ the Synopsis - Transformers: Rise of the Beasts

This movie is a high-stakes sci-fi adventure that merges the worlds of Transformers with human characters. It kicks off with Unicron, a planet-consuming entity, attacking the Maximals’ homeworld. The Maximals, led by Optimus Primal, flee to Earth with a powerful Transwarp Key, pursued by Unicron’s heralds, the Terrorcons.

The story then shifts to Earth in 1994, focusing on Noah Diaz, who unwittingly encounters the Autobot Mirage disguised as a Porsche. Concurrently, museum intern Elena Wallace discovers the Transwarp Key hidden in an ancient statue. This discovery sets off a chain of events as the Autobots, led by Optimus Prime, and the Terrorcons arrive on Earth to retrieve the key.

The conflict escalates as battles ensue, leading to revelations about the key being split in two halves to prevent Unicron’s access. Elena and the Autobots embark on a mission to find the second half in Peru, facing the threat of Scourge corrupting their allies and attempting to unleash Unicron.

Noah, initially aiming to protect Earth by destroying the key, eventually allies with Optimus to prevent Unicron’s invasion. A massive battle unfolds between Autobots, Maximals, and the Terrorcons. Noah, aided by Bumblebee and using an exo-suit fashioned from Mirage’s damaged body, plays a crucial role in the conflict.

In a dramatic climax, Optimus sacrifices himself to stop Unicron, but Noah and Primal manage to save him and thwart Unicron’s plans, leaving the Autobots stranded on Earth. The conclusion sees the Autobots accepting Earth as their new home, Noah finding unexpected opportunities, and the promise of continued protection for Earth.

The mid-credits scene hints at Noah’s resourcefulness in repairing Mirage, showcasing his growing connection to the Autobots’ world.

Click on the wiki link:

[freelessofficial]

Anna Wintour.

"Dame Anna Wintour CH DBE is a British and American media executive based in New York City, who has served as editor-in-chief of Vogue since 1988."

Andre Leon Talley.

"André Leon Talley was an American fashion journalist, stylist, creative director, and editor-at-large of Vogue magazine."

Nina Garcia, Editor at Elle Magazine.

"Ninotchka "Nina" García is a Colombian-American fashion journalist, the editor-in-chief of Elle, author, and a judge on the Bravo/Lifetime reality television program Project Runway since its first season."

Pat McGrath, Famous MakeUp Artist.

" A British make-up artist. She has been called the most influential make-up artist in the world by Vogue magazine and other commentators. In 2019 she was included in Time's 100 most influential people list. She is the first make-up artist to be made a Dame Commander of the British Empire."

[ardeportal]

Mujer Cebra presentó Clase B en Niceto

La banda insignia del nuevo under argentino presentó su segundo disco en el templo de la calle Niceto Vega y allá estuvo Arde, en su primera cobertura internacional

Por Ginny Lupin Fotos Gino Bomba

Las 20 horas marcaban el inicio de la veda alcohólica en vísperas del ballotage argentino y en la esquina de Humboldt y Niceto Vega las latas de cerveza fría se vendían, irónicamente, como pan caliente. A la hora pactada para la presentación de Clase B, unas centenas de jóvenes con camisetas de Mujer Cebra esperaban―en una fila que daba vuelta la manzana―escuchar el disco del año por primera vez en vivo.

La banda, fundada en 2018 e integrada por Santiago Piedra, Gonzalo Muhape y Patricio García Seminara; no para de cosechar éxitos desde el lanzamiento de su primer álbum, homónimo, grabado durante la pandemia y producido por Estanislao López.

Dos años después y con una suerte de cábala que los lleva a encerrarse en el estudio en momentos claves de la historia, López y los Cebra volvieron a la carga en plena Copa Mundial de Fútbol y con el viento en la camiseta cocinaron Clase B, un LP de 11 canciones que capitanea mi Spotify desde su lanzamiento el 10 de octubre pasado.

Poco antes de soltar las nuevas canciones, Mujer Cebra hizo gala de una energía envidiable recorriendo el país y aventurándose por primera vez en el extranjero con presentaciones en Chile y Uruguay, antes de viajar a México ya con el disco sonando en las playlists.

Antes de encarar un 2024 igual de vertiginoso que incluirá su presentación en el Lollapalooza Argentina, la banda despidió el año dándole la bienvenida a Clase B en un Niceto lleno de sus fieles.

La última noche

Cuando el reloj marcaba las 20.20, Nina Suárez tomó el escenario en solitario, guitarra en mano, para calentar la pista.

Luego de la apertura en formato íntimo, bajo y batería completaron la formación de power trío; repasando las canciones de Algo Para Decirte, primer disco de estudio del proyecto encabezado por la hija de Rosario Bléfari, lanzado en junio de este año.

Portando un look reminiscente a Alex Turner en sus tiempos de gomina, Nina pateó el tablero de una noche cargada de causas políticas: "Que se sienta como la última noche del mundo, pero que no lo sea", pidió en alusión a los comicios del día siguiente y por unas canciones creímos que sería posible.

El viento está cambiando

El rioplatense tiene una vocación admirable por hacer fila. Primero en la puerta y terminado el último acorde de Nina Suárez, en el stand de merchandising; que ofrecía remeras, láminas en serigrafía, pines, stickers y tote bags con la estética de la banda, a cargo del artista Santiago Moscardi. Para las 21.20 a nadie le faltaba su souvenir de la esperada noche. Sólo quedaba la sed de pogo.

"Y no me digan nada", primer adelanto de Clase B y track de apertura del álbum, fue la canción elegida para comenzar la noche. Antes del primer estribillo, quedaban pocos pies anclados al piso de Niceto, entre mosh y agite desenfrenado.

Frente a una pantalla que intercalaba imágenes del vivo con visuales de películas―en armonía con la estética cinematográfica que la banda viene curando desde sus primeros lanzamientos―los Mujer Cebra desmenuzaron los primeros temas de Clase B casi sin interrupciones. Para el tercer tema, la seguridad parecía desbordada de chicos volaban en brazos de otros. Esto no era Moscú ni el Strummer y para un foráneo puede ser difícil creer que tanto agite se suceda sin mayores incidentes, pero el equipo de Niceto pronto entendería que el pogo cuidado es una de las características del nuevo-under.

En tanto, sobre el escenario, "No te duermas" y "Nuevos miedos" lucieron a un Santiago cada vez más frontman, de a ratos poseído por un joven Robert Smith, con una capacidad alucinante para llevar al público al clima que quiera.

Una banda de clásicos

Que un trío formado hace cinco años, con dos álbumes publicados, tenga un repertorio plagado de clásicos suena imposible. Pero en Mujer Cebra sucede.

"Fantasma" tiene pocos meses en plataformas y sin embargo representa un himno para seguidores y curiosos reunidos en torno a la banda. Al grito de "me siento enfermo, me siento solo", el público de Mujer Cebra afirma un sentido de pertenencia que la banda acercó en plena incertidumbre post-pandemia y que es cimiento sólido para la construcción de la escena de la que tanto hablamos hoy. La única consigna gritada con tal intensidad fue el cántico "el que no salta vota a Milei", tan presente en el under de los últimos meses que brindaba una esperanzadora encuesta de nicho, horas antes de que abrieran las urnas.

"Verano (Sin personas)" fue uno de los más agitados. En Niceto la gente saltaba, cantaba, pogueaba, pero rara vez los encontré filmando o sacando fotos. Seguramente se llevaron algún registro, al fin y al cabo hay vicios generacionales difíciles de eludir, pero a diferencia de otros géneros, los escuchas de este "nuevo under" parecen tener una capacidad de disfrute en tiempo real que creíamos perdida. El ratio celulares : puños en el aire es ampliamente favorable para los últimos. Parecía un show de otra época, una bocanada de aire fresco.

Antes de su presentación en Uruguay, Mujer Cebra dio una entrevista para Latido Beat en donde confesaron que les gustaría escuchar a Fer Ruiz Díaz, de Catupecu Machu, reversionando "XXYY", de su primer disco. Spoiler velado con mucha anticipación o manfiestación concreta, el deseo tomó forma el pasado sábado.

"Mujer cebra la está rompiendo y ustedes la están rompiendo también. Increíble público", dijo Fer Ruíz Díaz, luego de que el público lo recibiera con una ovación. En cierta forma, su presencia simbolizó un pasar la posta de un ícono del rock argentino a la nueva generación.

El último bloque del show no dejó tiempo para respirar. Interpretando un hit tras otro, Mujer Cebra dejó todo sobre el escenario, mientras el público insaciable no dejaba de pedir más. La despedida llegó demasiado rápido y dejamos atrás Niceto con las ganas de seguir cantando por otras tantas horas, poesídos por el efecto adictivo de los riffs del trío con el vivo más poderoso del Río de la Plata.

Nina tenía razón, el sábado se sintió como la última noche en el mundo, con el diferencial de una certeza inequívoca: mientras suenen las bandas, seguiremos teniendo lugares a los que escapar de lo que pasa afuera.