#Raffaele Bueno

[alessandro55]

40.20.06 Raffaele B. * J.Ragusa

con la partecipazione di Giuseppe Gattuso Lo Monte

Grafiche Aurora, Verona 2006, 278 pagine, 21,5x38,7cm, ISBN 9788886899437

euro 30,00

email if you want to buy : booksinprogressmilano@yahoo.it

Una mostra a cura di Philippe Daverio Fondazione Credito Valtellinese, Sondrio 2006

La mostra a cura di Philippe Daverio è dedicata ai lavori di Raffaele Bueno, Giovanni Ragusa e Giuseppe Gattuso Lo Monte e si compone di circa centocinquanta opere tra dipinti, sculture e disegni. Di origini spagnole il primo, siciliano-cinese il secondo, Raffaele Bueno e Giuseppe Ragusa fanno parte di un gruppo di artisti (quali Frances Lansing, Maro Gorky, Matthew Spender, Sheppard Craige) che vivono appartati in Toscana, riscoperto e riportato all'interesse del pubblico negli anni '80 dalla Galleria Daverio di Milano. A Firenze hanno iniziato un sodalizio che dura dagli anni '60 (condiviso con il siciliano Giuseppe Gattuso Lo Monte sino alla sua morte) trovando continui stimoli nel confronto.

Raffaele Bueno fa parte di una grande famiglia di artisti: il padre e lo zio, Xavier e Antonio Bueno, nati in Spagna e poi migrati a Parigi e a Ginevra e quindi trasferitisi a Fiesole negli anni '40. I viaggi di Bueno sono frequenti e spesso verso Oriente, e il lavoro si svolge lontano da qualsiasi senso di competizione, così come invece impone la prassi dell'arte contemporanea.

Pittore romantico e simbolista, nella sua pittura troviamo elementi di misticismo, insieme ad un'attenzione alla materia, agli oggetti, alla poesia che deriva dall'amore e dall'attaccamento al contesto domestico. Fino al 1964 fa varie esperienze da autodidatta; costruisce robot umanoidi con materiali residui della tecnologia; passa successivamente alla scultura vera e propria: grandi uccelli metallici e pesci e uccelli in legno. Dalla metà degli anni '70, Raffaele si dedica solo alla pittura: è un pittura di piccolo formato, densa di racconto.

Giovanni Ragusa è nato a Shangai nel 1941. Pittore transoceanico ha partecipato a diversi viaggi in solitaria e con gli amici Gattuso e Raffaele. Dipinge fuori dal coro delle icone universali, e considera la pittura una questione alchemica mai finita. Il sedimento del primo e del dopo, del quotidiano e dello straordinario, si accumula a strati sui dipinti. Per lui l'atto di dipingere coincide con l'atto di pensare. Si tratta infatti dell'intreccio di tre tempi diversi: di lavoro, con l'atmosfera di ogni singola giornata; di ricordo e, più remoto di tutti, il tempo trascorso dall'evento iniziale - quel tempo vissuto in prima persona ,un viaggio nell'eterno presente. Due elementi in particolare uniscono i tre artisti: uno è la volontà di racconto - volontà particolarmente marcata nei lavori di Gattuso Lo Monte -, l'altro è la scelta di produrre un'arte libera e decisa a non farsi imporre alcun tipo di divieto.

La mostra è accompagnata da un catalogo edito da Fondazione Gruppo Credito Valtellinese con una selezione di testi critici, una rassegna delle principali esposizioni dei tre artisti precedute da un'intervista a Bueno e Ragusa.

17/09/23

[opera-ghosts]

Tito Schipa Recital aged 74

Tito Schipa (1888-1965) was a tremendously gifted lyric tenor whose five decade career encompassed opera, concert, film, recording, radio and TV. Born Raffaele Attilio Amedeo Schipa in Lecce on December 27, 1888 (although his birth was not registered until January 2 of 1889 to delay his eventual military service), he showed early promise as a singer and began studying privately at the age of 11. Schipa’s earliest musical experiences included soloing with his church choir and singing in the children’s chorus of local productions of Carmen and La Bohème. Following a brief period at a local seminary, the young singer returned to music, beginning studies with Alceste Gerunda. During his five years under Gerunda’s tutelage, Schipa not only solidified his vocal technique but learned composition as well. His operatic debut took place a little over a month after his 20th birthday, on February 4, 1909. The role was to become a favorite that Schipa was still singing 45 years later, Alfredo in La Traviata. The venue was, sadly, the poorest of 3rd rate houses, the Teatro Facchinetti in Vercelli, filled to the rafters with a raucous assembly of locals. It was not the most auspicious of debuts and led to a series of cut-rate tours for which the fledgling tenor only received travel and lodging expenses.

Luckily, Schipa’s fortunes improved and by 1913, he had launched his international career with appearances at Buenos Aires’ Teatro Colón. Important debuts in Montevideo, Rio and São Paulo followed and Schipa found himself in demand throughout South America. The tenor was also becoming quite popular in his homeland, with appearances in Naples, Bari, Milan, Rome and Genoa. His repertoire had grown to 20 roles, including The Duke in Rigoletto, Elvino in La Sonnambula, Edgardo in Lucia di Lammermoor, Faust in both Gounod’s and Boito’s operas and the title role in Werther. Schipa’s La Scala debut occurred in December of 1916 as Vladimir in Prince Igor. Three months later, he sang the world premiere of La Rondine in Monte Carlo.

Schipa’s US debut took place in Chicago as the Duke in Rigoletto on December 4, 1919. He became a beloved figure in the Windy City, frequently appearing at the Ravinia Festival during the summer months. Much of his time in the US was spent on tour and although he was a frequent guest at New York’s Lexington Theater, he avoided the Metropolitan Opera. This finally changed in 1932 when the tenor debuted as Nemorino in L’Elisir d’Amore. His performance was warmly received by the public and critics praised him as “an artist of taste, refinement and elegance”. Schipa sang a total of eight roles during his four seasons with the company, including the leads in Don Giovanni, Lucia di Lammermoor, La Traviata, Mignon, Manon and Don Pasquale. His last season at the Met (1941) concluded with a Barbiere di Siviglia on tour in Cleveland. Critics again praised his style but remarked that the voice had lost much of its freedom and strength. The tenor had also lost much of his upper range. Even in his prime, the voice stopped at B natural…a note the tenor used sparingly. At no great age, Schipa began to transpose to avoid top notes. Luckily, the accomplished music scribe wrote out his own transposed orchestra scores and brought them wherever he went.

By the mid 1940s, Schipa’s repertoire of 45 roles had been reduced to a handful of operas that didn’t require a plethora of top notes. The mainstays were La Traviata, Barbiere di Siviglia, Elisir d’Amore, Don Pasquale, Lucia di Lammermoor, L’Arlesiana, Manon and Werther. After a final Nemorino at Bari’s Teatro Petruzelli in April of 1955, the 66 year old tenor retired from the opera stage. Extravagant living, a costly divorce as well as bad investments had stripped Schipa of his fortune and he was compelled to continue concertizing. A farewell tour culminated in a series of recitals in 1962-63, after which the tenor retired to New York. Following a battle with diabetes, Schipa died on December 16, 1965, just two weeks shy of his 77th birthday.

Tito Schipa’s voice was not a heroic, ringing instrument. His was a small, sometimes husky voice, but one that he used with absolute mastery. During his prime, he had no trouble making himself heard, even in the largest theaters. Sadly, many remember him best from his final years, when his voice was in decline. Despite dwindling vocal resources, Schipa’s impeccable artistry and taste remained with him to the very end. Fortunately, these attributes have become the legacy of the great tenore di grazia.

Tito Schipa made over 400 recordings between 1913 and 1964 for The Gramophone Company, Victor, Pathé, as well as live and private recordings. Here, Schipa sings "Manolita". This was recorded on November 27, 1962, New York, Town Hall.

[armatofu]

¿Quién fue Al Capone y que hizo?

El 25 de enero de 1947 murió Al Capone, el mafioso que consiguió convertirse en el dueño de Chicago y en uno de los gánsteres más famosos de toda la historia criminal de Norteamérica y del mundo. El contrabandista falleció en su mansión de Miami Beach después de una larga enfermedad.

¿Cómo cayó Al Capone?

Su caída se produjo en 1931, cuando fue condenado a 11 años de prisión por el Gobierno Federal de los Estados Unidos por el cargo de evasión de impuestos, siendo enviado a la prisión de Alcatraz. El 25 de enero de 1947 murió de un paro cardíaco después de un derrame cerebral.

¿Qué delitos cometió Al Capone?

Esto a pesar del "imperio del crímen" que tenía bajo su control: "las apuestas, la prostitución, la venta ilegal de licor, los sobornos, los narcóticos, robos, 'negocios de protección' y asesinato" en el Chicago de 1929 eran de Capone, según un reporte del FBI.

¿Cuál era el negocio de Al Capone?

Sus negocios eran mucho más vastos que la venta ilegal de alcohol. Si bien así consolidó su imperio, también se ocupaba de los demás rubros con los que los mafiosos recaudaban: juego clandestino, protección y prostitución. El ABC del crimen organizado. Capone era bueno para los negocios.

¿Quién traiciono a Al Capone?

Francesco Raffaele Nitto (27 de enero de 1886 – 19 de marzo de 1943), más conocido como Frank Nitti o Frank "The Enforcer" Nitti (Frank "El ejecutor" Nitti, en español), apodo que recibía por obligar con violencia a obedecer sus órdenes, fue un gánster italoestadounidense.

¿Quién logro atrapar a Al Capone?

En 1931 Ness juntó las pruebas necesarias para que Capone fuera acusado de 21 casos de evasión fiscal por un monto millonario en dólares e innumerables violaciones a la ley seca. El 17 de octubre fue declarado culpable de cinco de los 22 cargos y condenado a 11 años de prisión.

¿Por qué metieron a la cárcel a Al Capone?

Tal día como hoy, 91 años atrás, el más temido capo de la mafia Alphonse Gabriel Capone, más conocido como Al Capone o Scarface, fue condenado a 11 años de prisión y una multa de 50.000 dólares por evasión de impuestos.

¿Donde mataron a Al Capone?

Ingresó a la penitenciaría de Atlanta el 4 de mayo de 1932, pero fue trasladado a la nueva prisión de Alcatraz, conocida como “La Roca”, en agosto de 1934.

¿Cómo lavaba dinero Al Capone?

Al Capone, para ocultar los beneficios obtenidos por el contrabando de alcohol, compró una cadena de lavanderías industriales para hoteles, restaurantes y hospitales que se llamaban “Sanitary Cleaning Shop” y daban servicio a toda la zona del gran Chicago.

¿Cuántos años vivio Al Capone?

Se dice que ordenó matar en su corta vida de 48 años a más de 500 personas. Pero jamás se lo pudo condenar por ello. Porque este hombre al que llamaban Scarface, que en inglés significa “cara cortada”, por un visible tajo que le cruzaba su mejilla, nunca dejó una prueba concreta de los crímenes que instigaba a cometer.

¿Cuándo salió Al Capone de Alcatraz?

1939

Cuando llegó a Alcatraz, Al Capone tenía sífilis, la que se agravó, y el prisionero comenzó a enloquecer. En enero de 1939 fue liberado de Alcatraz, pero pasó varios meses en otras cárceles y luego recibió un tratamiento médico en Baltimore.

[dragonadesibaris]

«Trenzaré mi tristeza»

Decía mi abuela que cuando una mujer se sintiera triste lo mejor que podía hacer era trenzarse el cabello, de esta manera el dolor quedaría atrapado entre los cabellos y no podría llegar hasta el resto del cuerpo; había que tener cuidado de que la tristeza no se metiera en los ojos pues los haría llover, tampoco era bueno dejarla entrar en nuestros labios pues los obligaría a decir cosas que no eran ciertas. Que no se meta entre tus manos- me decía- porque puedes tostar de más el café o dejar cruda la masa. Y es que a la tristeza le gusta el sabor amargo.

Cuando te sientas triste, niña, trénzate el cabello; atrapa el dolor en la madeja y déjalo escapar cuando el viento del norte pegue con fuerza. Nuestro cabello es una red capaz de atraparlo todo, es fuerte como las raíces del ahuehuete y suave como la espuma del atole. Que no te agarre desprevenida la melancolía mi niña, aun si tienes el corazón roto o los huesos fríos por alguna ausencia. No la dejes meterse en ti con tu cabello suelto, porque fluirá en cascada por los canales que la luna ha trazado entre tu cuerpo.

Trenza tu tristeza, decía, siempre trenza tu tristeza.

Y mañana que despiertes con el canto del gorrión, la encontrarás pálida y desvanecida entre el telar de tu cabello.

– Paula Klug

Por el italiano Raffaele Montepaone

[aka-raffaele]

Faz-se a noite, de novo, e a gente se reconstrói sob as sensibilidades da pele, sob o sensível que de uma forma misteriosa o claro do dia parece velar, ocultar entre as convencionalidades das coisas… De noite, sobretudo, corremos juntos, eu e ela, ali no Bueno, corrida noturna de rua, trotinho pra acalorar o que se mostra em luz e afeto. Depois fazemos uma pequena refeição aos arredores... E chegamos aqui, logo. Tecemos aleatoriedades, comentamos um fato avulso, dividimos detalhes. Silêncio, carinhos... De súbito, fala que tomará banho sozinha; está excessivamente suada e sente-se desconfortável na partilha da ducha, em tal caso. Retorna de toalha, olha as horas na tela principal do celular, não pode demorar muito, caminha os olhinhos para o além da vista da janela de meu quarto, vista bonita dada igualmente para o além daquilo que eventualmente não é apreendido — falo do céu de uma madrugada a se romper daqui a pouco —, sorri leve, talvez tímida, e eu a vislumbro, moroso, manhoso e com tesão: 40 anos, com esse corpo? Puta que pariu!… Em seguida, tomo eu minha ducha e, em seguida, refutamos qualquer moral idiota e, em seguida, abrimos caminhos pras delícias todas… O sexo é bom, o cheiro é bom, o toque é bom, a comunhão se faz passível de repeteco, a resumir (risos). Volta pra casa de Uber, me manda mensagem dizendo que chegou bem, mimos maranhados via WhatsApp, palavras alegres, sugestões recíprocas para um terceiro encontro, uma próxima corrida... Relembramos aquela piada de outrora, emogis, emogis, emogis, primícia de um tchau, o sono aperta, a lua emana, amanhã a academia fecha às 11h da manhã, pré-feriado, preciso dormir, dois beijos.

Raffaele

[areastampa]

SESTINO VILLAGE, IL BUON CIBO CHE UNISCE IN SICUREZZA!

Il Sestino Village cambia pelle e riapre, dal 26 GIUGNO, adeguandosi alle nuove norme vigenti per la salvaguardia della salute delle persone.

Il Sestino momentaneamente cambia pelle e concentra la sua attività sulla ristorazione. 

‘Una grande ristorazione’ in collaborazione con il grande Chef Raffaele di Botticino, napoletano DOC, con la farina nel sangue, che emigra al nord e con la sua grande professionalità diventa nel giro di poco tempo un grande ristoratore. Nasce così “Da Raffaele” ristorante pizzeria ritrovo per tutti coloro che amano mangiare bene e divertirsi. 

E dal 26 giugno sarà a Lonato Del Garda con il Sestino Village insieme a Puccio Gallo che da anni, con Yudi Bueno e Jerry Calà gestiscono ambienti eleganti dove la serata ‘comincia sempre a tavola’. Sia nel salone VIP che nel nuovo giardino estivo verrà proposta una cucina tipica napoletana con “menù alla carta” accompagnata da un’ottima musica d’ascolto, che esalterà e coniugherà il senso di intimità dell’ambiente al solito divertimento del Sestino Village. 

Condividere il cibo è, universalmente riconosciuto come uno dei modi fondamentali con cui si possono stabilire e mantenere rapporti interpersonali.

Il termine “compagno”deriva dal latino cum-pani, ovvero “dividere il pane con”. Quindi il cibo è sinonimo di amicizia, è piacere di stare con gli altri condividendo qualcosa di se stessi.

Il cibo è anche un elemento culturale sottoposto, nel corso della storia, a mutamenti per l’azione di forze economiche, politiche, sociali religiose ed oggi anche sanitarie.

Ma non c’è Italia senza ‘tavola’, precisa Puccio Gallo che da anni, con Yudi Bueno e Jerry Calà gestisce ambienti eleganti dove la serata ‘comincia sempre a tavola’.

Per questa stagione, in collaborazione con lo chef Raffaele, il Sestino Village apre i battenti esclusivamente come Ristorante Pizzeria.

La convivialità intesa come condivisione del cibo favorisce il dialogo, la riflessione e il piacere della socialità: ‘Un rito intramontabile del quale noi italiani restiamo leader ed icona nel mondo.’ precisa Puccio Gallo.

Secondo una ricerca internazionale condotta da Doxa e commissionata dalla più grande associazione alimentare Europea “Unione Italiana Food”, gli italiani sono i primi a vivere il cibo come strumento di socializzazione e convivialità. Per convivialità si intende il piacere che deriva dallo “stare a tavola con gli altri”. Il pasto conviviale è quello in cui ci si confronta, assaporando gusti e alimenti che hanno una storia e un significato simbolico, legato alle tradizioni locali della società di appartenenza, che si tramandano di generazione in generazione.

INFO +39 329 247 2452

[elpanoptico]

La conducta criminal parte 1

¿Qué es un criminal además de un sujeto que no funciona en sociedad? Se puede abrir este ensayo lanzando esta pregunta, pues no se puede hablar de crimen sin hablar de la sociedad, después de todo, los seres humanos estamos sometidos a una serie de normas y leyes que nos permiten convivir los unos con los otros, pero ¿Qué pasa cuando algún sujeto rompe este contrato social?

El sujeto criminal ha sido objeto de estudio atreves de los años, dicho estudio comenzó a tener mayor profundidad en el siglo XIX y XX con el inicio de la “escuela positivista” y el estudio de la “antropología criminal” de Cesar Lombroso, el cual definía al criminal como “un ser esencialmente distinto al resto de los mortales […] que desde su fisionomía podía ser reconocido” 1. Así nace el estudio de la criminología, con la cual “el crimen no va a ser asumido como manifestación de la libertad cuando el ser humano elige el mal pudiendo escoger el bien, sino como el resultado de un cumulo de circunstancias que fuerzan a un hombre a obrar de manera contraria a lo que se considera socialmente deseable” 1.

Con este nuevo enfoque de estudiar este cumulo de circunstancia nacerá la “escuela criminal positivista” liderada por Enrico Ferri y Raffaele Garofalo, la cual estudia la criminalidad desde 3 puntos, el psicológico, el social y el biológico. Garofalo “describe los aspectos psicológicos que permiten reconocer al criminal como un anormal, ya que carece de los sentimientos morales que son la base para la vida en sociedad”1; por su parte Ferri expresa “El medio social, pues, da la forma al delito, que tiene su base en el factor biológico”1.

El debate filosófico para tratar de dilucidar si el hombre es bueno por naturaleza pero la sociedad lo corrompe o por otra parte como propuso Lombroso, un sujeto puede nacer siendo criminal, aun continua vigente hasta nuestros días. Esto ha llevado a que el crimen sea estudiado desde muchas perspectivas; actualmente con el avance de la ciencia y la tecnología varias teorías he hipótesis han surgido para poder darle explicación a este sujeto que se ha salidos del contrato social.

(extracto de un ensayo escolar sobre la conducta criminal)

1.    Gallo, H. (2007) El sujeto criminal, una aproximación psicoanalítica al crimen como objeto social, Editorial Universidad de Antioquia: Medellin, Paginas 12, 13, 14.

[flavioximenes-blog]

Inauguração MAREL Design Mobili Evento exclusivo marca a inauguração da mais nova loja Concept da MAREL Design Mobili em Goiânia na noite de segunda (16). Seguindo os protocolos contra a Covid-19, as franqueadas Márcia e Maria Augusta Melo, organizaram o evento ao ar livre e trouxeram aos seus convidados um pouco da experiência proporcionada pela MAREL em seus projetos. O menu da noite foi assinado pelo buffet Splendore, com drinques do barmen Lucas Bueno e trilha sonora do Dj e saxofonista Tom Faria, acompanhado do violinista Raffael Borges. Credito da Foto Douglas Guedes (em Goiânia, Goiás, Brasil) https://www.instagram.com/p/CSsFbUBlt9R/?utm_medium=tumblr

[amnesiacarts]

HG/ Aural Sculpture(s) and Bad Seeds + ConiglioViola + Jadmx

A cura di Amnesiac Arts e in collaborazione con Komà Gallery 12 Novembre 2005- 08 Gennaio 2006

La mostra in collaborazione con Komà Gallery intende dare un punto di vista accurato del rapporto tra arti visive e musica presentando una versione ampliata di Aural Sculture(s), l’esposizione itinerante ideata da Karin Andersen e Michele Mariano con testo critico di Edoardo Bridda e Christian Rainer, più una sezione video con un lavoro di ConiglioViola ed uno di Jadmx.

-Aural Sculpture(s) è una raccolta di copertine di Cd realizzate da artisti (oltre 70) operanti in diversi settori dell’arte visiva contemporanea e provenienti da tutta Italia e dall’estero. Le copertine sono “finte” e descrivono identità musicali, più o meno nascoste, dei singoli artisti: un microcosmo di idee e filosofie contemporanee appartenenti alla musica, o perlomeno riscontrabili all’interno di questa. Così i partecipanti alla mostra inventano i loro alter ego, rockstar, folksinger, dee-jay……oppure fondano gruppi virtuali di musica pop, rock, elettronica, jazz,……in ultimo visualizzano, sulle copertine, le proprie ipotetiche uscite discografiche. La “compilation”, così organizzata, di copertine virtuali attraverserà l’Italia seguendo un itinerario destinato a far tappa in alcune delle maggiori città della penisola.

Elenco artisti:

Karin Andersen, Luigi Mastrangelo, Nicola Micatrotta, GianLuca Parente, Christian Rainer,Georgeanne Kalweit,Nark BKB,Alice Pedroletti, Daniela Guerrizio,Roxy in the Box, Massimo Colizzi, Alessandro Rivola , Pino Rizzo, Sara Capatti, Claudia Attimonelli,Alessandra Mancini, Juan Carlos Ceci, Tony Robles, Alice Volta, Elena Rapa, Marc Giloux,Lorena Viale,Smush,Alfredo Ricci,Roberto Ratti,Massimo Lovisco,Fausto Colavecchia,Monica Condini,VRU,Massimo Giacon, Sawako Aramaki, Benjamin Altermatt,Stefania Perdetti,Valeria Borrelli, Mariagrazia Colasanto, Flavio Demarco, SquP,Jennifer Ramsay,Stefano Pasquini,Domenica Bucalo,Paolo Maggi,Roberta Fanti,Daniele Girardi,Michele Santarsiere,Tucha,Rafael Arrabal, Alessandra Traverso, Sergio Dagradi, Bruno Benuzzi, Annalisa Cattani, Fabrizio Rivola, Rachele Salvioli, Eva Sauer, Davide Coltro, Elisa Laraia, Sarah Paupardin, Angelo Paolosanto, Stephanie Portoghese, Fedra Boscaro, Sarah Paupardin, Elia Fabbio, Marina Bolmini, Stefano Marchesini, Paolo Bernardini,Dario Mercuriali, Andrea Facco, Katharina Dieckhoff, Irene Zangheri,Gomez Bueno,Roberto Cascone, Roberto Freak Antoni, Giuseppe Pietroniro,Francesca Grilli,Silke De Vivo, Silvio Giordano, gruppo Sinestetico, Uccibiondi, Cristina Pavesi, Giulia Mazza, Edo Grandinetti, Kai Zen, Maurizio Salconi, Giuseppe Satta, Maseda, Francesco Mestria, Felice Lovisco, Evilia Di Lo Nardo e Daniele Tito, Luca Pagani, Pino Oliva, Mimmo Rubino, gruppo Assocartoons, Andrea Romano, Jadmx, ConiglioViola, Raffaele Iannone, Sergio Perrotta, Luciano Appignani, Michele Somma, Francesco De Molfetta, Vito Palladino, Vito Pace, Marisa Santopietro, Marcello Samela, Antonello Faretta, Michael Rotondi, Antonio Adobbato.

-ConiglioViola presenta un video del progetto "Recuperate Le Vostre Radici Quadrate", una contrapposizione dialettica tra l'estetica degli anni 80 e quella dei giorni nostri, tra "mitologia" e "ironia".

-Jadmx, autore di musica elettronica dall’identità “misteriosa” proporrà invece la video-performance PJTK18 dove è richiesta la partecipazione attiva del pubblico.

[weekendance]

“So cosa hai fatto lo scorso Natale/2”. Due istantanee dalla visita di Santo Stefano alla zia del proprietario di questo blog, nella riviera genovese di Levante. 1) c’è un bambino, a Chiavari, cui i parenti hanno regalato il giuoco da tavolo “Giorno di paga” e il noto tomo di Raffaele Alberto Ventura “Teoria della classe disagiata”, ma lui ha tenuto uno solo dei due, tipo pillola blu/pillola rossa di Matrix; 2) il Dancing Antares in corso Buenos Aires a Lavagna: il posto dove sarebbe (ovviamente) fantastico organizzare un Capodanno con Rebolledo. NATALE 2019

[collectorscorner]

CC Blogger - New Arrivals @ Collectors Corner : Wednesday - 6/26/19

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NEW ARRIVALS : WEDNESDAY - 6/26/19

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ACTION LAB ENTERTAINMENT Cold Blood Samurai #4, $3.99

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Robinson), $3.99 Friendly Neighborhood Spider-Man #8 (Cover B Adi Granov Spider-Man Iron Spider Suit Variant), AR Heroes Reborn Omnibus HC, $125.00 Magnificent Ms. Marvel #4 (Cover A Eduard Petrovich), $3.99 Magnificent Ms. Marvel #4 (Cover B Gerald Parel Spider-Man Cosmic Suit Variant), AR Major X #6 (Of 6), $3.99 Marvel Comics Presents #6, $4.99 Marvel Comics The World Outside Your Window HC, $50.00 Marvel Previews Volume 4 #24 (July 2019), $1.25 Marvel Rising #4 (Of 5), $3.99 Marvel Visionaries Stan Lee TP, $34.99 Marvels Poster Book TP, $24.99 Master Of Kung Fu Epic Collection Volume 2 Fight Without Pity TP, $39.99 Moon Girl And Devil Dinosaur #44, $3.99 Moon Girl And Devil Dinosaur Volume 7 Bad Dream TP, $15.99 Mr. And Mrs. X #12, $3.99 Not Brand Echh The Complete Collection TP, $39.99 Peter Porker The Spectacular Spider-Ham The Complete Collectection Volume 1 TP, $39.99 Runaways #22, $3.99 Spider-Man Annual #1 (Cover A David Lafuente), $4.99 Spider-Man Annual #1 (Cover B Ron Lim), AR Spider-Man Annual #1 (Cover C John Tyler Christopher Action Figure Variant), AR Spider-Man Annual #1 (Cover D Armstrong Hidden Gem Variant), AR Spider-Man Annual #1 (Cover E Animation Variant), AR Spider-Man Reptilian Rage #1 (Cover A Todd Nauck), $3.99 Spider-Man Reptilian Rage #1 (Cover B Ron Lim), AR Star Wars #67 (Cover D Bill Sinkiewicz), AR Star Wars Age Of Rebellion Darth Vader #1 (Cover A Terry Dodson & Rachel Dodson), $3.99 Star Wars Age Of Rebellion Darth Vader #1 (Cover B Tommy Lee Edwards), AR Star Wars Age Of Rebellion Darth Vader #1 (Cover C Mike McKone Puzzle Piece Variant), AR Star Wars Age Of Rebellion Darth Vader #1 (Cover D Artist Concept Variant), AR Star Wars Age Of Rebellion Darth Vader #1 (Cover E Gabriele Dell'Otto Greatest Moments Variant), AR Star Wars Age Of Rebellion Darth Vader #1 (Cover F Movie Variant), AR Star Wars Doctor Aphra Volume 5 Worst Among Equals TP, $24.99 Star Wars Galaxy's Edge #3 (Of 5)(Cover A Tommy Lee Edwards), $3.99 Star Wars Galaxy's Edge #3 (Of 5)(Cover B Caspar Wijngaard Hondo Ohnaka Variant), AR Starjammers TP, $29.99 Superior Spider-Man #8, $3.99 Thanos #3 (Of 6)(Cover A Jeff Dekal), $3.99 Thanos #3 (Of 6)(Cover B Pyeong Jun Park Variant), AR Thanos #3 (Of 6)(Cover C Nick Bradshaw Spider-Man Worldwide Suit Variant), AR Thor #14 (Cover A Michael Del Mundo), $3.99 Thor #14 (Cover B Yasmin Putri Marvels 25th Tribute Variant), AR Tony Stark Iron Man Volume 2 Stark Realities TP, $17.99 True Believers Marvel Tails Starring Peter Porker The Spectacular Spider-Man #1, $1.00 True Believers Spider-Man Spider-Man Vs Mysterio #1, $1.00 War Of The Realms #6 (Of 6)(Cover A Arthur Adams), $5.99 War Of The Realms #6 (Of 6)(Cover B Giuseppe Camuncoli Connecting Realm Variant), AR War Of The Realms #6 (Of 6)(Cover C Victor Hugo), AR War Of The Realms #6 (Of 6)(Cover D Irina Nordsol), AR War Of The Realms #6 (Of 6)(Cover E Luke Ross International Connecting Variant), AR War Of The Realms #6 (Of 6)(Cover F Michael Del Mundo Young Guns Variant), AR War Of The Realms #6 (Of 6)(Cover G Terry Dodson Spoiler Variant), AR War Of The Realms #6 (Of 6)(Cover H Arthur Adams Black & White Variant), AR War Of The Realms New Agents Of Atlas #2 (Of 4)(Gang Hyuk Lim 2nd Printing Variant Cover), $3.99 War Of The Realms New Agents Of Atlas #4 (Of 4)(Cover A Woo Dae Shim), $3.99 War Of The Realms New Agents Of Atlas #4 (Of 4)(Cover B Leinil Francis Yu), AR War Of The Realms Punisher #3 (Of 3)(Cover A Juan Ferreyra), $3.99 War Of The Realms Punisher #3 (Of 3)(Cover B John Mccrea), AR War Of The Realms Uncanny X-Men #3 (Of 3)(Cover A David Yardin), $3.99 War Of The Realms Uncanny X-Men #3 (Of 3)(Cover B Ivan Shavrin), AR West Coast Avengers Volume 2 City Of Evils TP, $17.99 Wolverine Exit Wounds #1 (Cover A Ryan Stegman), $4.99 Wolverine Exit Wounds #1 (Cover B Sam Keith), AR Wolverine Exit Wounds #1 (Cover C Rob Liefeld), AR Wolverine Exit Wounds #1 (Cover D Becky Cloonan), AR X-Men Eve Of Destruction HC, $100.00 X-Men Grand Design X-Tinction #2 (Of 2)(Cover B Ed Piskor), AR X-Men Milestones Dark Phoenix Saga TP, $24.99

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GAMES

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[opera-ghosts]

Riccardo Stracciari (June 26, 1875 – October 10, 1955) was a leading Italian baritone. His repertoire consisted mainly of Italian operatic works, with Rossini's Figaro and Verdi's Rigoletto becoming his signature roles during a long and distinguished career which stretched from 1899 to 1944. Stracciari first sang in an operetta chorus during 1894. He then entered the Bologna Conservatory, undertaking vocal studies with Umberto Masetti. He made his professional debut in 1899, at the Teatro Communale in Bologna, in Pesori's sacred work La risurrezione di Christo. The following year he made his operatic debut as Marcello in Puccini's La bohème in Rovigo. After appearing in various Italian opera houses, he made his debut at Italy's leading operatic venue, La Scala, Milan, in 1904. Stracciari's career quickly became international, with debuts at the Royal Opera House in London in 1905, followed by his first appearance at the New York Metropolitan Opera on December 1, 1906, as Germont in La traviata with Marcella Sembrich and Enrico Caruso. During his two seasons at the Met, his roles included: Rigoletto, Ashton, Amonasro, Nélusko, Valentin, Marcello, Sharpless, Lescaut, Alfio, Tonio, and Di Luna. He also appeared with the Chicago Opera, the San Francisco Opera, the  Paris Opéra, the Teatro Real in Madrid and the Teatro Colón in Buenos Aires. Stracciari performed widely, too, in his native Italy and retired from the stage in 1944. He is above all associated with Rossini's great comic creation Figaro, in Il barbiere di Siviglia, which he sang an estimated 1000 times, and Rigoletto, in Verdi's tragic opera of the same name. He made complete recordings of these two works in 1929, opposite Mercedes Capsir and Dino Borgioli. Both of these recordings are of particular historical value as illustrations of Italian singing styles of that period.   Stracciari sang in an era that was rich in outstanding operatic voices. But despite the high quality of the competition which he faced from rival singers, he is still widely considered to have been one of the finest Italian baritones of the 20th century, owing to the beauty of his voice during its peak period, his imposing interpretive style and his first-rate vocal technique. America's foremost soprano of the post World War I-era, Rosa Ponselle, was an enthusiastic admirer of Stracciari's singing. He also became a distinguished teacher at the music conservatories of Naples and Rome. Among his most notable students were Raffaele Arié, Paolo Silveri, Giulio Fioravanti, Zdeněk Otava, Mario Laurenti, Louis Quilico and Boris Christoff. He died in Rome aged 80.

[timeline-delta]

Agree to Disagree

In the spring of 1864, the new interim president of Uruguay, Atanasio Aguirre, asks for Paraguayan help against the Colorado rebels. At the same time, Brazil sends Jose Antonio Saraiva as an ambassador to try and mediate an end to the conflict and ensure the safety of Brazilian citizens. Saraiva eventually manages to get the British and French consuls in Montevideo involved, but the talks go nowhere. In August, Saraiva relayed an ultimatum from the Brazilian government which was rebuffed by the intransigent Aguirre and Brazil starts openly supplying the Colorado rebels though war is not declared. There is talk in Rio de Janeiro about sending Brazilian troops and a fleet to Montevideo in support, but that would mean another conflict with France and the last one did not go so well. Instead, military ships under flag of truce are sent up the rivers to protect Brazilian citizens with veiled references to hypothetical reprisals. Solano of Paraguay sends an ultimatum to Brazil to recall the ships, and when that is ignored, the Paraguayan steamer Tacuari captures the Brazilian ship Marquês de Olinda in November of 1864. In response, two British ships left over from the Buenos Aires blockade travel up the Paraguay River and force the Tacuari to relinquish its hostage. To try and prevent the conflict from spreading back to Argentina, Great Britain pressures Brazil into withdrawing support from the Colorados as the price for maintaining the Arroyo Grande navigation rights.

With external support removed from the Uruguayan civil war, except for the French and Paraguay, the Colorados still continue to gain control of the departments. When moderate Blanco Tomás Vilalba is elected as president on February 15th, 1865, he requests French troops which land at Montevideo. Villalba enters into talks with Flores and Paranhos. With the Sardinian resident minister Raffaele Ulisse Barbolani serving as intermediary, an agreement is reached. Flores and Manuel Herrera y Obes (representing Villalba's government) signed a peace accord on 20 February at the Villa de la Unión. A general amnesty was granted to both Blancos and Colorados, and Villalba hands over the presidency to Flores on an interim basis until elections can be held.

[elcorreografico]

Final de obras para planta depuradora en General Rodríguez con Vidal

Final de obras para planta depuradora en #GeneralRodríguez con #MaríaEugeniaVidal

La gobernadora de la Provincia de Buenos Aires, María Eugenia Vidal, estuvo la semana pasada en el municipio bonaerense de General Rodríguez donde recorrió el fin de obra de la Planta Depuradora de Líquidos Cloacales de Aguas Bonaerenses S.A. (ABSA) y luego visitó el centro comercial local para dialogar con vecinos.

Vidal estuvo acompañada por el intendente local, Darío Kubar; el subsecretario de…

[elturistologopr-blog]

A Pajarear en Puerto Rico

Por: Héctor L. Sánchez, El Turistologo

 Observar aves en el archipiélago de Puerto Rico es “como bailar en la casa del trompo” pues nuestro terruño cuenta con 354 especies. ¡Casi na! Te digo más, aquí hay una mayor cantidad de aves autóctonas que en los Estados Unidos continentales.  Puerto Rico tiene 17 especies endémicas, mientras Estados Unidos tiene solo 11. Esta variedad se manifiesta en un territorio 900 veces más pequeño ¿sorprendente no? De hecho, las aves constituyen el grupo más numeroso y estudiado de toda la fauna silvestre del país.

 Después de 1810, cuando André Pierre Ledru publicó su primer trabajo sobre las aves de Puerto Rico, muchos han sido los estudios realizados sobre nuestra avifauna. Entre la copiosa cantidad de investigaciones y publicaciones que desde ese momento se generaron, destacan los trabajos investigativos de Juan Gundlach en el 1874 y los estudios del Departamento de Agricultura federal, contenidos en el informe Wetmore de 1912. Además fueron muy significativos los estudios de las Áreas de Vida (habitats) y censos e identificación de aves llevados a cabo por el Forest Service, y desde el 1970, los realizados por el Departamento de Recursos Naturales en los bosques y reservas administrados por esa agencia.

 A su vez, científicos que laboraron con estas instrumentalidades y otros que impartían cátedra en universidades locales hicieron grandes aportaciones científicas y literarias.  Así fueron varias las publicaciones de aves que dieron luz desde finales del siglo pasado y que sirvieron para estimular el nacimiento y desarrollo de pequeños grupos de observadores de aves y de una cultura ornitológica criolla, que aunque lenta, continúa desarrollándose.

 Libros como “Las Aves de Puerto Rico” publicado en el 1970 por Virgilio Biaggi; “Aves de Puerto Rico y las Islas Vírgenes” de Herbert Raffaelle en el 1990 y tan reciente como el 2003, “Las Aves de Puerto Rico en fotografías” de Mark W Oberle, son recursos de primera mano cuando queremos adentrarnos al mundo de las aves en nuestro país.

 Como podrás notar, aunque nuestras aves son los animales mas intensamente estudiados y conocidos de s antillas, todavía nos queda mucho por hacer, sobre todos estrategias que debemos implantar para promover su conservación.

 En conocimiento que no hay exactitud ornitológica y si bien no sabemos, existe un número indeterminado de especies que no cuentan con poblaciones reproductoras aquí, es de aceptación general establecer que nuestra avifauna de distribuye de la siguiente manera:

 ·         Unas 120 especies crían regularmente en  nuestro archipiélago borincano

·         Alrededor de 115 especies son accidentales o divagantes (han sido citadas en muy pocas ocasiones)

·         35 han sido introducidas por el hombre (este grupo sigue creciendo)

·         Hay 17 especies que son autoctonas (es decir que oi se pueden encontrar en otro lugar) Otro termino muy usado es llamarlas endémicas.

 Te invito a pajarear

 Desde el saque, cuando empieces con la fiebre de pajarear, muy pronto percibirás que cada especie tiende a preferir un habitat que en muy raras ocasiones abandona. Por eso los observadores de aves con experiencia saben cuando y donde ubicarse para tener mas posibilidades de éxito.  Saben también que los mejores horarios para pajarear son temprano en la madrugada o tarde al atardecer cuando la luz del sol no es tan intensa y las aves están mas activas.

 Prepárate, pues los lugares so siempre serán cómodos.  No esperes una silla con una piña colada. Para observar aves, tienes que ir a su habitat.  Estos pueden ser lagunas, ciénagas y pantanos de mangle, lagos artificiales pastos y cultivos abandonados, acantilados, bosques húmedos, arboledas, costas y playas entre muchos otros lugares.

 Pajarear es un pasatiempo que requiere de mucha paciencia. Es primordial que cuando localices un sitio, te quedes tranquilito y dejas que las aves se muevan en tu entorno.  Recuerda que hay especies muy ariscas a los movimientos que sienten a su alrededor.  El buen observador de aves es imperceptible, no se ubica en lugares abiertos, no hace movimientos bruscos y evita hablar en voz alta.

 Para comenzar te recomiendo “calentar los motores” identificando las aves en tu vecindario.  Fíjate primero en sus características físicas. Observa su tamaño, los colores de su plumaje, forma del pico, de las patas, del rabo, su comportamiento y hábitos para encontrar alimento.  Consigue una libreta y oblígate hacer anotaciones. ¡Nunca confíes  en tu memoria!

 Por ahora, el equipo que necesitas para observar aves es un par  de ojos y dos buenos oídos, tal y como los Taínos y nuestros jíbaros lo hacían.

 Sin embargo, según vayas mejorando y vayas adquiriendo experiencia, es recomendable que compres alguna guía de aves.  Las de Rafaelle y Oberle (mencionadas arriba) son mas que suficientes.

 Con el tiempo, ya llegará el  momento de invertir en equipo y cuando llegue, es recomendable comprar algo básico:

  Unas buenas botas o zapatos de     explorador

Binoculares (con enfoque al centro     son los mejores (6x-8x)

Una buena cámara

 Observar aves es un pasatiempo intenso, que te brinda mucho placer y deleite,  veamos porque:

La biodiversidad que tiene el país,     nos ofrece la oportunidad de movernos fácilmente de un habitat a otro, en     poco tiempo y con mínimo de esfuerzo.

Podemos encintrar una gran cantidad     y variedad de especies en cada ecosistema.

Nuestro inventario de alternativas     para observar  aves llega a 21     bosques, 32 refugios de vida silvestre y hasta par de docenas de     embalces.  ¡Casi na!

Puedes alternar actividades.  Por ejemplo, puedes observar aves     temprano en la mañana Kayakear, bucear, nadar y hacer snorkeling, caving o     Hiking y hasta visitar chinchorros o restaurantes durante el día, para p[r     la tarde volver a pajarear.  Las     alternativas son divertidas e inagotables.

Únete  a los expertos. La Sociedad Ornitológica     lleva años promoviendo la conservación, el estudio y la observación de     aves en Puerto Rico (www.aves depuertorico.org).

 Me despido invitándote a pajarear. Recuerda que esto no es para todo el mundo y que es un pasatiempo divertido e intenso.  Si estas pompeao no te pierdas el próximo artículo que esto se va a poner mejor. ¡Atuquiti!