#berutti

[evrmors]

satisfied , the corners of giuliana’s mouth reel into something sharp and sadistic , furthest from an innocent smile as it could . school was a waste of time , the constantly truant woman always thought her lifespan was better well spent elsewhere . which is why the moment her sweetheart of a brother had turned his chin the other way , his car keys were plucked from his bag and dropped into hers . was halfway out the hallway before predatory eyes spotted prey , eleanor huggins: DEGRASSI DO GOODER . nothing particular wrong with that type , just a little boring in contrast of guliana’s beliefs . but that’s something the deviant seeks out , someone she could fit into her pocket , and eat up for dessert . “ perfecto ! “ exclaims with cheshire grin . chipped black fingertips engage with eleanor’s , an eager tug until they’re besides each other, close enough space for giuliana to interlock her arm with hers . “ there’s a bistro besides the mall . we can grab a bite then head there . i wanna give you a makeover. “

“i think a little danger is worth it, don’t you?” giuliana ( @evrmors​ ) asked eleanor.

eleanor huggins was a textbook good girl. obedient, kind, and rarely strayed from the structure that her parents had established for her. that being said – it was so fucking suffocating. each step during a normal day felt as though she had been slowly sinking into quicksand, and by the time she got home, she was ready to scream and isolate herself from the world. maybe giuliana was onto something – something dangerous sounded pretty good right now. not like she wanted to die, or anything, but something risky. something so unlike eleanor huggins that no one would ever expect it.

“okay, yeah - let’s do it,” the doing it in question had been skipping to go do a bunch of … fun girly things, ellie had assumed. she wasn’t really sure what else giuliana had on the agenda. “can we get lunch though, i am starved,” her lip jutted out as her stomach started to growl. “not here, of course – but maybe … the dot, or somewhere else, somewhere new!”

[evrmors]

very temporary muse page.

canon muses are found here.

calliope wilde, madison roberts, && giuliana & matteo berutti.

zoey sullivan. sea glass & mermaids, caressing the petals of every flower you pass, romcoms over horror, excessive lip gloss and popping bubblegum, pink room covered in posters, writing poetry about someone you’ve made eye contact with once. immigrated from sydney, australia at the age of twelve. kind, ambitious, superficial, spoiled, needy, talkative, enthusiastic, ditzy. portrayed by phoebe tonkin.

indigo becerra. chipped black nails, climbing fences, snug in abandoned buildings, spray paint stained hands, bruised knees, dope & cigarettes, skateboard covered in profanities, dirty converse, a painter staring at a blank canvas, running from the law. in & out of foster homes since the age of ten. chill, stubborn, gloomy, sly, impulsive, fidgety, sarcastic, trustworthy. portrayed by jenna ortega.

jasper hughes. bloody knuckles, holes in the wall, screaming into an empty void, thunderstorms you feel in your chest, the sharp cold of winter, dark circles beneath your eyes, staring at the mirror until your features start to disappear, the mistaken child. drunk && abusive step father with a timid mother. angry, protective. impulsive, stubborn, loner, observant, argumentative, alert. portrayed by jacob bertrand.

grayson delson. detention slips, falling asleep in class, silver case full of joints, lipstick stains against collars, humor to cope, poetry && casset tapes, film scattered across a messy room, sitting on a roof during a storm, throwing paper airplanes. middle child of a loving, overbearing family. cocky, humble, flirtatious, comic, depressed, adventurous, enigmatic, easy - going. portrayed by felix mallard.

wyatt king. expensive cologne, stacks of cash, gold rings, the “it” boy, house too big for your own good, center of attention, dreamy eyes, elaborate dates, coffee every morning, broken promises, shit-eating smirk, thinks that rules are optional. only son of lawyers whose only language is money. egotistical, spoiled, vain, flirtatious, mindless, driven, careless. portrayed by chad michael murray.

randall walton. love letters on coffee spilled paper, nervous laughter during chaos, waits while you tie your shoe, early mornings vs late nights, stops to pet a dog, be the change you wanna see in the world, impeccable notes in class, quotes shakespeare, late night study sessions. raised by a single mom, definite mamas boy. caring, trustworthy, anxious, smart, sensitive, talkative, overwhelming, helpful. portrayed by jonathan daviss.

[pazzoincasamatta]

Casa de Chá da Boa Nova (Alvaro Siza)

Te ma Cha

[concienciasolidariaong]

CHARLA "EL PLANETA TIERRA HOY", EN LA ESCUELA BERUTTI, EL CARRIZAL

Miembros del #CentroDeRescateAnimal, #SantuarioSierraDelCielo @santuariosierradelcielo, y #ConcienciaSolidaria ONG, presentaron la charla "El Planeta Tierra Hoy".

Esta vez, en la #EscuelaAntonioBerutti, en #ElCarrizal, #Charbonier, #Córdoba.

Un hermoso encuentro de aprendizaje y receptividad de parte de los presentes.

Videos ilustrativos del santuario, comentarios, anécdotas de los chicos, una  obra de títeres y actividad artística, fueron los momentos compartidos.

"Agradecidos de poder colaborar de este modo y extenso agradecimiento a la institución educativa que nos abrió las puertas con tanta calidez y alegría", expresó Iván "Wíonak" Berkman, colaborador del Santuario y de la ONG.

#ConcienciaSolidariaONG @concienciasolidariaong

@santuariosierradelcielo

[iegyptiandolphin93]

My mommy is the best mom in the world

My dad the best poker player

No Berutti i am undercover with Kansas city chiefs hat and the sunglasses

[rainerifernando]

Livro: Caminhos do Homem.

Autor: Flávio Berutti.

Editora Base.

Ano da obra 2010.

Volume Dois

História Ensino Médio.

Com 272 páginas.

Medidas: 20 cm largura x 28 cm altura.

Item usado, em bom estado de conservação.

Ideal para colecionadores ou estudantes.

Artes e Antiguidades

fernandoraineri@outlook.com

[diario-vespertino]

Lunes 13 y MIércoles 15: Operativos itinerantes de vacunación en barrios varelenses

El Municipio programa nuevas jornadas de inmunización a la ciudadanía donde colocarán dosis contra la Covid-19, antigripales y completarán las aplicaciones pertenecientes al Calendario Nacional. La Comuna selecciona puntos estratégicos del partido donde instalar las postas para inocular a los vecinos y las vecinas, de acuerdo al siguiente cronograma: - Lunes 13 de febrero, en la intersección de Diagonal Tomás Espora con Concejal Martín Gras, Villa Arias. - Miércoles 15 de febrero, en calle 1306 y calle 1337, Sarmiento. Asimismo, llevará a cabo un dispositivo sanitario integral el viernes 17 de febrero en Carlos Casares y Antonio Luis Berutti -Villa del Plata-. En esta oportunidad, además de la inmunización contra el virus SARS-CoV-2 destinada a grupos comprendidos en modalidad libre y de calendario, realizarán vacunación antirrábica y desparasitación de mascotas. En todos los casos, el horario será desde las 10 hasta las 14 hs. Suspenderán la atención ante condiciones climáticas desfavorables. Interesados e interesadas deberán presentar su Documento Nacional de Identidad y/o carnet de inoculación para verificar la información de cada esquema en forma personalizada. Read the full article

[mycinematheque]

[consumedbeing]

OPEN TO   :   f / m / nb. PLOT   :   random song lyric lolz.  CONNECTION   :   anything !

“   it's okay if you think that i'm sick. i know you like it, but you won't admit it.   “

[davidosu87]

[thesoundofallsounds]

Arcade Kitchen w/ TonyLight

This mini documentary dedicated to TonyLight and his work was originally published online in 2013. I first stumbled upon it in 2015 which raised quite a ruckus and leaded eventually to me befriending Stefania Carbonara – the partner in crime in the ongoing DSDV·III·BASS  Film Project.

Antonio Cavadini aka Tonylight is an italian audio-visual artist, musician and hard working electronic instrument designer (Leploop, Lumanoise). A restless DIY enthusiast and explorer, chiptune culture animator and also a good old friend and a life long inspiration for myself. To add up on top of that, his most recent enterprise involves in-house wine vinegar manufacturing (Aceto Artigianale Cavadini).

CONCEPT: Claudio Arena, Stefania Carbonara, Julian Berutti, Luca Cannone, Chiara Magazzù & Francesco Melle EDIT: Claudio Arena, Julian Berutti & Stefania Carbonara SOUND FX: Luca Cannone

[theoriginalladya]

That moment when you find several photos for the face claim of your character, you run them through the arcane filter and so many things just come together plot wise...

Giulio Berutti - face claim for Aubrey, John. A. Shepard's clone.

Yes, Aubrey will end up with a dog (probably a husky like here).

Yes, Aubrey will end up with the longer hair. Also, facial scruff.

Is it any wonder Kaidan falls for him?????

scurries off to take more notes...

[batmannotes]

Riddler

by Luciano Berutti

BatmanNotes.com

[justforbooks]

Enrico Caruso was born on February 25, 1873. He was an Italian operatic tenor. He sang to great acclaim at the major opera houses of Europe and the Americas, appearing in a wide variety of roles (74) from the Italian and French repertoires that ranged from the lyric to the dramatic. One of the first major singing talents to be commercially recorded, Caruso made 247 commercially released recordings from 1902 to 1920, which made him an international popular entertainment star.

Caruso's 25-year career, stretching from 1895 to 1920, included 863 appearances at the New York Metropolitan Opera before he died at the age of 48. Thanks in part to his tremendously popular phonograph records, Caruso was one of the most famous personalities of his day, and his fame has endured to the present. He was one of the first examples of a global media celebrity. Beyond records, Caruso's name became familiar to millions through newspapers, books, magazines, and the new media technology of the 20th century: cinema, the telephone and telegraph.

Caruso toured widely both with the Metropolitan Opera touring company and on his own, giving hundreds of performances throughout Europe, and North and South America. He was a client of the noted promoter Edward Bernays, during the latter's tenure as a press agent in the United States. Beverly Sills noted in an interview: "I was able to do it with television and radio and media and all kinds of assists. The popularity that Caruso enjoyed without any of this technological assistance is astonishing."

Caruso biographers Pierre Key, Bruno Zirato and Stanley Jackson attribute Caruso's fame not only to his voice and musicianship but also to a keen business sense and an enthusiastic embrace of commercial sound recording, then in its infancy. Many opera singers of Caruso's time rejected the phonograph (or gramophone) owing to the low fidelity of early discs. Others, including Adelina Patti, Francesco Tamagno and Nellie Melba, exploited the new technology once they became aware of the financial returns that Caruso was reaping from his initial recording sessions.

Caruso made more than 260 extant recordings in America for the Victor Talking Machine Company (later RCA Victor) from 1904 to 1920, and he and his heirs earned millions of dollars in royalties from the retail sales of these records. He was also heard live from the stage of the Metropolitan Opera House in 1910, when he participated in the first public radio broadcast to be transmitted in the United States.

Caruso also appeared in two motion pictures. In 1918, he played a dual role in the American silent film My Cousin for Paramount Pictures. This film included a sequence depicting him on stage performing the aria Vesti la giubba from Leoncavallo's opera Pagliacci. The following year Caruso played a character called Cosimo in another film, The Splendid Romance. Producer Jesse Lasky paid Caruso $100,000 each to appear in these two efforts but My Cousin flopped at the box office, and The Splendid Romance was apparently never released. Brief candid glimpses of Caruso offstage have been preserved in contemporary newsreel footage.

While Caruso sang at such venues as La Scala in Milan, the Royal Opera House, in London, the Mariinsky Theatre in Saint Petersburg, and the Teatro Colón in Buenos Aires, he appeared most often at the Metropolitan Opera in New York City, where he was the leading tenor for 18 consecutive seasons. It was at the Met, in 1910, that he created the role of Dick Johnson in Giacomo Puccini's La fanciulla del West.

Caruso's voice extended up to high D-flat in its prime and grew in power and weight as he grew older. At times, his voice took on a dark, almost baritonal coloration. He sang a broad spectrum of roles, ranging from lyric, to spinto, to dramatic parts, in the Italian and French repertoires. In the German repertoire, Caruso sang only two roles, Assad (in Karl Goldmark's The Queen of Sheba) and Richard Wagner's Lohengrin, both of which he performed in Italian in Buenos Aires in 1899 and 1901, respectively.

Repertoire

Caruso's operatic repertoire consisted primarily of Italian works along with a few roles in French. He also performed two German operas, Wagner's Lohengrin and Goldmark's Die Königin von Saba, singing in Italian, early in his career. Below are the first performances by Caruso, in chronological order, of each of the operas that he undertook on the stage.

World premieres are indicated with **.

L'amico Francesco (Morelli) – Teatro Nuovo, Napoli, 15 March 1895 (debut)**

Faust – Caserta, 28 March 1895

Cavalleria rusticana – Caserta, April 1895

Camoens (Musoni) – Caserta, May 1895

Rigoletto – Napoli, 21 July 1895

La traviata – Napoli, 25 August 1895

Lucia di Lammermoor – Cairo, 30 October 1895

La Gioconda – Cairo, 9 November 1895

Manon Lescaut – Cairo, 15 November 1895

I Capuleti e i Montecchi – Napoli, 7 December 1895

Malia (Francesco Paolo Frontini) – Trapani, 21 March 1896

La sonnambula – Trapani, 25 March 1896

Mariedda (Gianni Bucceri [it]) – Napoli, 23 June 1896

I puritani – Salerno, 10 September 1896

La Favorita – Salerno, 22 November 1896

A San Francisco (Sebastiani) – Salerno, 23 November 1896

Carmen – Salerno, 6 December 1896

Un Dramma in vendemmia (Fornari) – Napoli, 1 February 1897

Celeste (Marengo) – Napoli, 6 March 1897**

Il Profeta Velato (Napolitano) – Salerno, 8 April 1897

La bohème – Livorno, 14 August 1897

La Navarrese – Milano, 3 November 1897

Il Voto (Giordano) – Milano, 10 November 1897**

L'arlesiana – Milano, 27 November 1897**

Pagliacci – Milano, 31 December 1897

La bohème (Leoncavallo) – Genova, 20 January 1898

The Pearl Fishers – Genova, 3 February 1898

Hedda (Leborne) – Milano, 2 April 1898**

Mefistofele – Fiume, 4 March 1898

Sapho (Massenet) – Trento, 3 June (?) 1898

Fedora – Milano, 17 November 1898**

Iris – Buenos Aires, 22 June 1899

La regina di Saba (Goldmark) – Buenos Aires, 4 July 1899

Yupanki (Berutti)– Buenos Aires, 25 July 1899**

Aida – St. Petersburg, 3 January 1900

Un ballo in maschera – St. Petersburg, 11 January 1900

Maria di Rohan – St. Petersburg, 2 March 1900

Manon – Buenos Aires, 28 July 1900

Tosca – Treviso, 23 October 1900

Le maschere (Mascagni) – Milano, 17 January 1901**

L'elisir d'amore – Milano, 17 February 1901

Lohengrin – Buenos Aires, 7 July 1901

Germania – Milano, 11 March 1902**

Don Giovanni – London, 19 July 1902

Adriana Lecouvreur – Milano, 6 November 1902**

Lucrezia Borgia – Lisbon, 10 March 1903

Les Huguenots – New York, 3 February 1905

Martha – New York, 9 February 1906

Madama Butterfly – London, 26 May 1906

L'Africana – New York, 11 January 1907

Andrea Chénier – London, 20 July 1907

Il trovatore – New York, 26 February 1908

Armide – New York, 14 November 1910

La fanciulla del West – New York, 10 December 1910**

Julien – New York, 26 December 1914

Samson et Dalila – New York, 24 November 1916

Lodoletta – Buenos Aires, 29 July 1917

Le prophète – New York, 7 February 1918

L'amore dei tre re – New York, 14 March 1918

La forza del destino – New York, 15 November 1918

La Juive – New York, 22 November 1919

Caruso also had a repertory of more than 500 songs. They ranged from classical compositions to traditional Italian melodies and popular tunes of the day, including a few English-language titles such as George M. Cohan's "Over There", Henry Geehl's "For You Alone" and Arthur Sullivan's "The Lost Chord".

On 16 September 1920, Caruso concluded three days of recording sessions at Victor's Trinity Church studio in Camden, New Jersey. He recorded several discs, including the Domine Deus and Crucifixus from the Petite messe solennelle by Rossini. These recordings were to be his last.

Dorothy Caruso noted that her husband's health began a distinct downward spiral in late 1920 after he returned from a lengthy North American concert tour. In his biography, Enrico Caruso Jr. points to an on-stage injury suffered by Caruso as the possible trigger of his fatal illness. A falling pillar in Samson and Delilah on 3 December had hit him on the back, over the left kidney (and not on the chest as popularly reported). A few days before a performance of Pagliacci at the Met (Pierre Key says it was 4 December, the day after the Samson and Delilah injury) he suffered a chill and developed a cough and a "dull pain in his side". It appeared to be a severe episode of bronchitis. Caruso's physician, Philip Horowitz, who usually treated him for migraine headaches with a kind of primitive TENS unit, diagnosed "intercostal neuralgia" and pronounced him fit to appear on stage, although the pain continued to hinder his voice production and movements.

During a performance of L'elisir d'amore by Donizetti at the Brooklyn Academy of Music on December 11, 1920, he suffered a throat haemorrhage and the performance was canceled at the end of Act 1. Following this incident, a clearly unwell Caruso gave only three more performances at the Met, the final one being as Eléazar in Halévy's La Juive, on 24 December 1920. By Christmas Day, the pain in his side was so excruciating that he was screaming. Dorothy summoned the hotel physician, who gave Caruso some morphine and codeine and called in another doctor, Evan M. Evans. Evans brought in three other doctors and Caruso finally received a correct diagnosis: purulent pleurisy and empyema.

Caruso's health deteriorated further during the new year, lapsing into a coma and nearly dying of heart failure at one point. He experienced episodes of intense pain because of the infection and underwent seven surgical procedures to drain fluid from his chest and lungs. He slowly began to improve and he returned to Naples in May 1921 to recuperate from the most serious of the operations, during which part of a rib had been removed. According to Dorothy Caruso, he seemed to be recovering, but allowed himself to be examined by an unhygienic local doctor, and his condition worsened dramatically after that. The Bastianelli brothers, eminent medical practitioners with a clinic in Rome, recommended that his left kidney be removed. He was on his way to Rome to see them but, while staying overnight in the Vesuvio Hotel in Naples, he took an alarming turn for the worse and was given morphine to help him sleep.

Caruso died at the hotel shortly after 9:00 a.m. local time, on 2 August 1921. He was 48. The Bastianellis attributed the likely cause of death to peritonitis arising from a burst subphrenic abscess. The King of Italy, Victor Emmanuel III, opened the Royal Basilica of the Church of San Francesco di Paola for Caruso's funeral, which was attended by thousands of people. His embalmed body was preserved in a glass sarcophagus at Del Pianto Cemetery in Naples for mourners to view. In 1929, Dorothy Caruso had his remains sealed permanently in an ornate stone tomb.

Daily inspiration. Discover more photos at http://justforbooks.tumblr.com