#card love teatro

[pier-carlo-universe]

Teatro Vascello: Prime Nazionali, Circo Contemporaneo e Tributo a Chet Baker per una Stagione Straordinaria

Teatro Vascello: Prime Nazionali, Circo Contemporaneo e Tributo a Chet Baker per una Stagione Straordinaria

Teatro Vascello. Roma. FAUST Prima Nazionale Leonardo Manzan e Rocco Placidi dal 10 al 22 dicembre dal martedì al venerdì h 21, sabato h 19 e domenica h 17 – FLORA Prima Nazionale dal 27 al 31 dicembre speciale capodanno – LUZ DE LUNA Fabiana Ruiz Diaz dal 2 al 6 gennaio giovedì e venerdì h 21, sabato h 19, domenica e lunedì h 17 – 14/12 dalle h 20.30 JAZZ IN TEATRO Tributo a CHET BAKER Prima…

[monkeyssalad-blog]

Jarmila Novotna by Truus, Bob & Jan too! Via Flickr: German postcard by Ross Verlag, no. 6837/1, 1931-1932. Photo: Walter Firner, Berlin. Czech soprano Jarmila Novotná (1907-1994) was one of the world-renowned opera luminaries of the 20th Century. Her film appearances were unfortunately few and far between. Jarmila Novotná was born in in Prague, Czech Republic in 1907. She studied singing with Emmy Destinn. In 1925, the 17-years-old Novotná made her operatic debut at the Prague Opera House as Marenka in Bedřich Smetana's Prodaná nevěsta (The Bartered Bride). Six days later, the lyric soprano sang there as Violetta in Giuseppe Verdi's La traviata. The following year, she made her film debut in the silent film Vyznavaci slunce/The Sun Disciples (Václav Binovec, 1926), starring Luigi Serventi. In 1928 she starred in Verona as Gilda opposite Giacomo Lauri-Volpi in Verdi's Rigoletto and at the Teatro San Carlo in Naples as Adina opposite Tito Schipa in Gaetano Donizetti's L'elisir d'amore. In 1929 she joined the Kroll Opera in Berlin, where she sang Violetta as well as the title roles of Giacomo Puccini's Manon Lescaut and Madama Butterfly. When talking pictures arrived, she headlined in German films like Brand in Der Oper/Fire in the Opera House (Carl Froelich, 1930), with Gustaf Gründgens, Der Bettelstudent/The Beggar Student (Victor Janson, 1931), and the film version of The Bartered Bride, Die Verkaufte Braut (Max Ophüls, 1932). Hal Erickson at AllMovie on Die Verkaufte Braut (1930): “The original libretto, involving the comic misadventures of two mismatched couples, is given a respectable amount of attention, but the film's biggest selling card is the photographic dexterity of Max Ophuls, who never met a camera crane he didn't like. Since filmed opera was seldom big box-office in 1932, Ophuls concentrates on the farcical elements of the story; especially worth noting are comic contributions by Paul Kemp and Otto Wernicke, who seldom let their German film fans down. Curiously, star Jarmila Novotna, whose ‘live’ appearances in The Bartered Bride were much prized by contemporary critics, doesn't come off all that well in this film version.” Other films followed such as Nacht Der Grossen Liebe/Night of the Great Love (Geza von Bolvary, 1933) with Gustav Fröhlich. In January 1933 she created the female lead in Jaromir Weinberger's new operetta Frühlingsstürme (Spring Storms), opposite Richard Tauber at the Theater im Admiralspalast, Berlin. This was the last new operetta produced in the Weimar Republic, and she and Tauber were both soon forced to leave Germany by the new Nazi regime. Jarmila Novotnà returned to Czechoslovakia to star in the film Skrivanci pisen/Lark's Songs (Svatopluk Innemann, 1933). In 1934, she left for Vienna, where she created the title role in Franz Lehár's operetta Giuditta opposite Richard Tauber. Her immense success in that role led to a contract with the Vienna State Opera, where she was named Kammersängerin. She also appeared there with Tauber in The Bartered Bride and Madama Butterfly. In the cinema, she starred in the Austrian operetta film Frasquita (Karel Lamac, 1934) with Heinz Ruhmann, the Austrian romantic thriller Der Kosak und die Nachtigall/The Cossack and the Nightingale (Phil Jutzi, 1935) with Iván Petrovich, and in the French-British operetta film La dernière valse/The Last Waltz (Leo Mittler, 1935), which was made in two language versions. She then left the film industry to concentrate on her stage work with the Viennese State Opera. After the Anschluss of Austria, she had to leave Vienna. In January 1940 she made her debut with the Metropolitan Opera in New York, as Mimí in Puccini's La bohème. From 1940 to 1956, Novotná performed regularly at the Met. In 1946 she returned before the cameras in a straight dramatic role in the Hollywood production The Search (Fred Zinnemann, 1946), starring Montgomery Clift. The Search is a semi-documentary film on the plight of WWII orphans. Novotná played a Czech mother who has lost contact with her young son when they were in Auschwitz and she now travels from one refugee camp to another in search of him. Novotna's then played turn of the century diva Maria Selka in the biopic The Great Caruso (Richard Thorpe, 1951), featuring Mario Lanza. The film traces legendary tenor Enrico Caruso's ascension from adolescent choir singer in Naples to the uppermost ranks of the opera world. Mario Lanza's tenor voice made this film one of the top box-office draws of 1951, and this helped to popularize opera among the general public. On TV she appeared in The Great Waltz (Max Liebman, 1955), which charts the life and times of composer Johann Strauss, Jr. She also played Hans’ mother in the TV musical Hans Brinker, or the Silver Skates (Sidney Lumet, 1958), starring Tab Hunter. Her last screen appearance was as an interviewee in the documentary Toscanini: The Maestro (Peter Rosen, 1985). At 85, Jarmila Novotná passed away in 1994 in New York. Sources: Hal Erickson (AllMovie), Wikipedia, and IMDb.

[universepersonagens]

( ooc: +18 ) Os fãs não param de falar disso! Parece que Park Youngjae entrou para as redes sociais, sabia? Dizem que ele parece tanto com o Cho Seungyeon/Woodz! Ele nasceu em 20/04/1997 na cidade de Seoul, Coreia do Sul e atualmente tem 25 anos. Ele trabalha como ator na SENSE Entertainment, deve ser muito talentoso… Ah, você quer seguir ele? Procura por @youngjae_uv e fica de olho nas novidades.

DEMAIS INFORMAÇÕES.

Etnia: coreano.

Personalidade: divertido, educado e esforçado - intenso, egoísta e volátil.

Atua desde: 2005.

Fofocas/rumores:

Foi bem ao final do seu drama mais famoso como protagonista, que rumores de bullying começaram a surgir. Imagens de ocorrência na escola com o nome de Youngjae foram divulgadas na internet alegando que o rapaz havia participado de práticas violentas. Com a quantidade de fatos e imagens ficou cada vez mais difícil para a empresa defendê-lo, por isso o colocaram de hiatus e até mesmo lhe enviou para o serviço militar obrigatório. Durante o período que estava no exército a empresa conseguiu provar a inocência dele, já que a ocorrência havia sido assinada por todos os colegas de turma dele na época como ação disciplinar, Youngjae havia assinado como testemunha do caso e não como culpado.

Participa de um programa da Unicef que ajuda crianças carentes a terem acesso a educação de qualidade na Ásia Oriental.

É conhecido por ter muitas amizades na indústria, principalmente com atores e atrizes mais velhos, já que começou a carreira ainda criança. É muito querido por todos os staffs e colegas de trabalho, pessoas que ajudaram muito sobre o caso falso de bullying cometido por ele.

Sua mãe se envolveu em uma dívida, colocando no nome dele e por isso cortou relações com a matriarca, limpando seu nome e passando a dívida para o nome dela. Muitas pessoas julgam ele por ter deixado a mulher na mão em um momento de necessidade.

Trabalhos:

Filmes:

Ditto (2022) - Kim Yong Warriors of the Dawn (2017) - Prince Gwanghae Shoot Me in the Heart (2015) - Soo-Myung Tazza: The Hide Card (2014) - Aluno de Aw-Kwi Hwayi: A Monster Boy (2013) - Hwayi Sad Movie (2005) - Park Hee-chan

Dramas: Link: Eat, Love, Kill (2022) - Eun Gye-Hoon Hotel del Luna (2019) - Koo Chan-Sung Moon Embrace the sun (2012) - Lee Hwon (jovem) Giant (2010) - Lee Kang-Mo (jovem) Tazza (2008) - Go-Ni (jovem) IIjimae (2008) - Geom Lee (jovem)

BACKGROUND/HEADCANONS.

Youngjae começou a atuar com 8 anos de idade apesar de não ter nenhuma experiência prévia e nem ter feito aulas de teatro até aquele momento, o garoto apenas foi participar da audição por influência de seus pais. Mas foi na atuação que ele encontrou seu grande talento, fazendo com que ele se animasse com a carreira e começasse a frequentar aulas de teatro para aperfeiçoar ainda mais. No seu terceiro ano como ator, participou de dois dramas fazendo os protagonistas mais jovens, o que fez com que ele conseguisse o prêmio de Melhor Ator Infantil por ambos. Apesar do sucesso, o jovem apenas havia atuado em papéis menores até o ano de 2012. Foi com o seu papel no drama Moon Embracing the Sun que ele ganhou popularidade, já que na época foi o drama com maior audiência, chegando a ganhar o título de “drama da nação”. Fazendo com que Youngjae conquistasse seu terceiro prêmio como ator, dessa vez na categoria Juvenil.

Mesmo com a popularidade elevada, Youngjae chegou a conseguir trabalhos como protagonista em diversos dramas durante sua carreira, mas infelizmente grande parte deles não foram de tanto sucesso como os anteriores. Ao contrário de seus filmes que apesar de não ser protagonista em grande maioria, serviu para manter a popularidade e o crescimento de sua coleção de prêmios. Foi apenas em 2019 que ele recebeu o convite para ser protagonista do drama Hotel del Luna, seu maior trabalho como ator principal. O drama ganhou muito reconhecimento comercial, o colocando nos holofotes de novo e sendo sua grande oportunidade de conseguir trabalhos tão bons como aquele.

Mas então veio a sua queda, rumores de que ele havia praticado bullying durante a escola tomaram conta da internet e até mesmo fotos alteradas de ocorrências estudantis foram publicadas. Um colega de classe havia lhe acusado de práticas violentas, chegando a falar que o rapaz por ser uma celebridade desde criança acreditava ser superior aos outros, os tratando com desprezo e violência. Nessa época Youngjae fazia parte da Cultural Media, empresa que ele havia sido contratado logo após sua abertura. A empresa em questão preferiu colocá-lo de hiatus por tempo indeterminado para conseguirem fazer as investigações necessárias sobre o caso. Com a repercussão negativa, o hiatus acabou se tornando seu momento de entrar para o serviço militar obrigatório, passando os 18 meses no exército enquanto a Cultural provava a sua inocência do caso, o que não demorou muito mais do que 3 meses. Apesar de ter sido comprovado sua inocência, algumas pessoas acreditam que a empresa usou sua influência para acobertá-lo. Mesmo após seu período no exército, Youngjae ficou afastado da televisão e dos cinemas por mais de um ano, por conta dos boatos da dívida de sua mãe, participando apenas de peças de teatros e programas de variedades, conquistando de volta seu público. Fez seu retorno em 2022 como protagonista do drama Link: Eat, Love, Kill e do filme Ditto.

Por conta de seus problemas familiares e de todos os boatos negativos, Youngjae foi um dos artistas a ser transferido para a Sense Entertainment assim que anunciado a abertura da nova subsidiária, passando por um sistema mais rígido que a empresa anterior com a ideia de evitar que novos rumores sejam lançados sobre o rapaz. Apesar de ter cortado ligações com sua mãe, o ator mantém uma boa relação com seu pai que esteve presente na conferência de imprensa de seus dois últimos projetos para mostrar apoio ao filho e espantar os rumores de que ele não tinha mais qualquer ligação com os pais.

[varietaltiger23]

Hello!! Can I request Mikey fucking male reader? Or sugar daddy Akashi Takeomi fucking male reader coz like 😩

🤭 might do both cause sugar daddy akashi so this will be a mix of shorter smuts and yes I did roast takeomi and don't regret it. Also I made myself jealous cause damn I wish I was their sugar baby 😔

This talk/contains: smut, semi public sex, car sex, marking up, sugar baby reader, me roasting Takeomi, bratty reader with punishment, this is a mix of short pieces of smut and headcanons.

‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐

Becoming a sugar baby was your first good idea, becoming the sugar baby to the leader of bonten that was your best decision. Not even for the pay, trips, or the clothes in all honesty. What really was the grand prize was manjiro sano, the king of darkness and back breaking sex.

Finding out that he was a sex demon and the kinkest man to ever exist, he's taken you from every angle on every surface. The fondest one was after you had asked for a new car, a Toyota camry with a red interior that had black high lights. Of course mikey had bought it but before you even drove it off the lot. Mikey had you testing how good the durability of the seats were, bruising your prostate while he made you count how many times the car moved.

And we couldn't forget about the day when he took you to Italy to watch the Carnival of Venice, it was heavenly to witness the costumes dancing around each other to show the audience every extraordinary detail of their masks to the tips of their gowns and coats. But what tipped the night off was listening to Teatro La Scala while mikey treated you with such tenderness and love that it left phantom touches even today. From the gentle kisses that were focused on only two things which were to leav hickeies and encasing your nipples in overwhelming heat with a slippery snake of a tongue glazing you them, and the attention that your balls got was sinful enough that it would turn a dungeon master to a virgin. You were sure that mikey had left hickes on them even if you didn't check.

Picking the leader of bonten as your sugar daddy was the best decision and you planned to capitalize off of it right now, with nothing on you expect for satin sheets that slid off you shoulders to pool over your dick that was at full attention once you heard the click of the pent house lock. Walking was over rated when you fucked with mikey.

‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐

To be fair, when you first started fucking takeomi. You expected him to bust in the first 4 minutes and for him to not be that big. You left with a limp and refusing to touch yourself, takeomi was a suprise after all he looked one sip of McDonald's sprite from dying but he proved you wrong especially after you mouthed off to him.

You learned pretty quick that takeomi didn't take lip from you and would shut you down immediately even if in public, all he had to do was give you the look to shush and prepare for punishment. And his punishments were so cruel but creative all the same, if you insisted that you needed to spend more than allowed on something trivial such as cookies then the punishment would be to fuck your self again a dildo that was attached to whatever surface was closest to takeomi but he controlled how fast and hard you could go. While you were focused on gaining forgiveness and the ability to cum, he threw in degrading but praising comments then after you finally gained forgiveness from four organisms he would fuck you though at least three more if you were up to it though the treatment afterwards was heavenly with him calling in the maids to replace the sheets with you favorite ones and to draw a bath that was filled with kisses and promises of using all four of his black cards for being such a wonderful boy and taking him even if you were tired and spent.

Then the special treatment for the anniversary, well those shopping sprees in Paris and takeomi helping you choose sn outfit to match his; when yall went to your resume at Le Fouquet's. He practically kissed the path you walked on and the hungry look in his eyes only grew with each swipe of the card, you were a master piece that was reaching completion, he was ready to show you in every light with his hand marks peeking through when your clothes just couldn't follow you movements. Takeomi can't wait for you to try and explain to your friends, just why you let him mark you up so bad.

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Hm headcanons or smut thoughts idk honestly both

No, I'm not taking my roasts for takeomi back.

Takeomi picks out brats so he can enjoy taming them by first allowing them to do whatever they want and run their mouths.

Mikey picks the duel, he loves a brat but also someone who will follow directions with no question asked.

Takeomi dick curves a bit as it reaches the tip, call him captain hook cause he has you hooked on deep throating him.

Mikey is thicker at the base and narrows out, though he is leaning on the more normal side of length. Man's knows how to sling that dick.

Please mikey loves to take you with him to every meeting he is forced to go to and loves showing you off but in your own way, such as if you prefer jewelry to high light your facial features then expect jewelry to go with even your lazy wear. You prefer clothes then you have every style, from baggy to sleazy to priceless and he allows you to walls slightly infront if him to have everyone's eyes on your clothes.

And takeomi, there's a reason he allows his little sister to buy anything. It's because he wants to see you with everything you enjoy, spending all your allowance in the art supplies section/store well then expect your own work shop. You like love some sports and need some new shoes or a better bag well then you getting your own storage filled with everything you could ever need in any color. Oh you like mathematics and science (this includes cooking)  well guess what you getting a lab/kitchen so you may get all those crazy 3 am thoughts out but please let him know what your doing before you blow something up.

They are willing to support you as long as you talk in some way even if it's nonverbal, if you don't then please these boys will be stressed trying to figure out what's wrong.

In case you don't know what they do then listen please mind you business, they like you and wanna keep you bit if they think you gonna snitch or veiw them differently if you knew what they do then you gotta go.

[thegreatimpersonator]

Hey everyone! Here’s this weeks (july  25 - august 1) addition to my Creator Shoutout Series! For info about the series, I explained it in the first post here, but generally, it’s to show appreciate to editors and their creations that i love from the past week. To track this series or look at previous shoutouts, please check out the tag on my blog *creatorshoutouts. Have a great week everyone!

fear street horror homages gifset by @sulietsexual

måneskin: teatro d’ira - vol. 1 gifset by @hunterschafer

folklore: redesigned as joy division’s closer (1980) cassette edit by @galacticstern

fear street: deena + sam gifset by @softmaevewiley

schitt’s creek gifset by @amandaseyfried

taylor swift graphic by @cellphonehippie

bleachers: gone now gifset by @jakeperalta

taylor swift gifset by @jakeperalta​

stranger things gifset by @meliorn

taylor swift 1989 redesign by @bybdolan

the nice guys gifset by @magnusedom

paramore: all we know is falling edit by @itconsumesyou

taylor swift: rock band debut album concept design by @andtosaturn

halsey: you should be sad graphic by @vivianalbanus

petals for armor graphic by @vivianalbanus

taylor swift art by @becasketches

criminal minds: emily prentiss gifset by @elenas

the goofy movie gifset by @nicholas-brauns

never have i ever: aneesa + devi gifset by @montygreen

taylor swift: long pond studio sessions gifset by @tenminutealltoowell

the 1975: girls music video gifset by @shakeitup​

paramore: all we know is falling edit by the bandom creators server

taylor swift clean speech graphic by @cruellesummer

lorde: stoned at the nail salon graphic by @roouerie

bleachers graphic by @ttsoosn

taylor swift: mirrorball gifset by @ramonapest

stranger things gifset by @mikewheelerc

parks and recreation: ben + leslie gifset by @trueloveistreacherous

taylor swift: wildest dreams graphic by @tsthearcher

fear street trilogy gifset by @simon-eriksson

olivia rodrigo: deja vu music video gifset by @wlnterfalcon​

taylor swift: ode to melodrama ep concept design by @teddypickermp3

monsters inc gifset by @lokiies

black panther: don’t trust me by 30h!3 gifset by @aubrey-plaza

taylor swift graphic by @micasa

halsey: if i can’t have love, i want power poster design by @fwancine

fear street trilogy gifset by @thecobaltmonk

taylor swift: evermore as singles concept by @endiness

brooklyn nine nine season 8 trailer gifset by @tilldeaths

halsey: if i can’t have love, i want power gifset by @goddessloki

taylor swift: a free women in paris musical film concept gifset by @jonismitchell

paramore: eras edit by @bringmoreknives

f.r.i.e.n.d.s: top 10 highest rated episodes gifset by @sharpay

taylor swift art by @alibcook

moana gifset by @sashafierce

taylor swift graphic by @falsegxd​

never have i ever: richa moorjani as kamala nandiwadal gifset by @alinastarkrovs

taylor swift graphic by @dyingday​

sabrina carpenter gifset by @carpenter-sabrina

halsey: if i can’t have love, i want power gifset by @queenofbadlands​

taylor swift: folklore tarot cards edit by @glorious-sunrise​

billie eilish graphic by @thefuckingmelodrama

taylor swift: end game music video gifset by @treacherous

schitts creek: alexis rose gifset by @buckywilsn​​

lorde: stoned at the nail salon graphic by @cruellesummer​​

taylor swift icons by @arianagrnde

brooklyn nine nine gifset by @peraltastarkov​

taylor swift red era gifset by @jilyswift

fear street part one: 1994 gifset by @bisexualrights​

beyonce: black is king gifset by @beyonce-knowles-carter​

taylor swift august gifset by @loversmore

griff: shade of yellow graphic by @lostinaflimscene

clueless gifset by @tilldeaths​​

taylor swift art by @sparksflys​​​

[gatinhogari]

Mini Imagine - Lucifer

Translated✓

Capítulo: Único.

Contagem de Palavras: 241.

GN!Leitor

Chapter: Unique.

Word Count: 241.

GN!Reader

Português(Brasil)

Olhava a confusão que havia sido feita na sala de jantar. Mammon havia pego 'emprestado' o cartão de crédito de Satan e havia estropolado todos os limites com ele, péssima decisão. Satan estava prestes a esganar O Avatar da Ganância, Asmodeus gritava incentivos a Satan, Leviathan filmava com seu DDD narrando a situação, Beelzebub estava na frente de Satan o segurando pelos ombros para mante-lo no lugar enquanto falava coisas sem nexo para acalma-lo e Lucifer repreendia Mammon.

No meio da confusão eu peguei o DDD de Lucifer, e olhei a tela inicial do celular por alguns segundos. Via uma foto nossa do encontro que tivemos semana passada. Estávamos entrando no teatro, muito felizes e sorridentes por poder sair depois de semanas. Na foto eu segurava seu rosto para dar um beijo em sua bochecha avermelhada de vergonha, ele sorria timidamente alegre e segurava minha cintura com força.

- Eu adoro essa foto, mesmo que ela esteja um pouco tremida. - Lucifer sussurrou no meu ouvido. Com o susto eu soltei o DDD das minhas mãos e com rápido reflexo o homem ao meu lado tomou seu celular de volta. - Mas essa não é minha favorita. - Se sentando ao meu lado, ele abriu a galeria do seu celular. - Essa é.

E na foto estava nós dois sorrindo no The Fall, e atrás de nós estava Mammon sendo expulso do lugar pelos seguranças. Não me segurei e ri junto do meu amado.

English

He looked at the mess that had been made in the dining room. Mammon had 'borrowed' Satan's credit card and had pushed all the limits with him, a very bad decision. Satan was about to throttle The Avatar of Greed, Asmodeus was shouting encouragement to Satan, Leviathan was filming with his DDD narrating the situation, Beelzebub was in front of Satan holding him by the shoulders to hold him in place while he talked nonsense to calm him down and Lucifer was scolding Mammon.

In the midst of the confusion I picked up Lucifer's DDD, and looked at the home screen of the cell phone for a few seconds. I saw a picture of us from our meeting last week. We were walking into the theater, very happy and smiling to be able to leave after weeks. In the picture I was holding his face to kiss his cheek, reddened with embarrassment, and he was smiling shyly, happy, and holding my waist tightly.

"I love this picture, even if it is a little shaky." Lucifer whispered in my ear. With fright I let go of the DDD from my hands and with a quick reflex the man next to me took his cell phone back. "But this one's not my favorite." Sitting down next to me, he opened the gallery on his cell phone. "This one is."

And in the picture was the two of us smiling at The Fall, and behind us was Mammon being kicked out of the place by security. I couldn't help myself and laughed along with my beloved.

[libbymodernpace]

The past 2 weeks I’ve been in frantic planning mode for Welcome to the (analog) Neighborhood. My to-do list keeps getting longer, no matter how many things I cross off....but trying to dial into the parts I love, manage the parts that are hard for me, and not get too panicked about everything.

The weekend is shaping up really well though. In addition to the Phonotel, I have planned 4 “Maps of Delights” tours that will lead to spots in the neighborhood where you can gather, hang out, relax, recreate- for free. One to the Library, one to Buchanan Park, one to Linear/Janice Stork Park, and one to the Wolf Museum. Each will have spots along the way to stop and notice- neighborhood delights and portals to other worlds (all found during my asset-mapping and surveying), spots where you can get free stuff from local businesses, and narrative delights (lines of short fiction displayed around.) I’ll also have analog cameras, records, a message-delivery service, activity guides, live music, a small parade...oh man, I’m getting stressed thinking about it now.

The parts I love- no surprise- are the art and design. I’ve been slowly turning the card catalog (which has been operating as a haiku machine for the past year) into a Palm Springs inspired retreat *for* and *from* your phone. A fresh coat of paint, new drawers for the rooms. Hoping to keep some of Matty’s cacti around to complete the vibe. I’ve created a new logo, printed FAQ sheets to give to partners, designed and printed promotional postcards to hand out, set up events and posts on social media, contacted the LNP and WITF events calendar with info, redesigned and rewrote the Phonotel Survival Guide, full of tips on how to survive out there without your device, and started to turn the Art Barter Mart drawers into the new CrashPad for tablets.

The harder parts for me- the project management and coordination- has been going well, too. Here are some wins:

I’ve connected with a bunch of businesses who have agreed to offer rewards to Phonotel participants- discounts, giveaways, fist bumps, stickers. 

Secured Street Beans brass band to do a set and lead a small parade around the block for Saturday, May 21 at 3pm

Reached out to neighbors, friends, organizations to talk about participating, and potentially volunteering, at the event. Started making schedules and coordinating job roles. 

Met with the Executive Director of the Library to discuss a Map of Delights that leads to the Library 

Working on press releases and press lists

Reached out to Write Now! A local writers group , McCaskey English teachers, and fellow PACE artist Jose of Teatro Paloma to submit short written pieces to the weekend’s Map of Narrative Delights. Super excited that Jose is interested in submitting a piece in Spanglish

Super excited about the enthusiasm and feedback I’ve gotten from neighbor’s who I’ve asked to post parts of the Narrative Delights in their windows or as yard signs. I have 25 locations lined up and now need to coordinate the spots with the words and the maps...it’s like a giant puzzle

Working with Reynolds Middle School staff to encourage students to participate, have them be a focus of one of the Maps of Delights, potentially doing a mapping workshop with students, and on translating materials into Spanish with the help of Srta Cruz. 

Researched costs, suppliers and purchased many of the things I need for the weekend: polaroid film, disposable cameras, wood for signage, paint, etc.

Found a local woodworker who offered to cut the signage for me

I am ignoring all of my other client work. It’s hard doing all of this, balancing everything. But I love it. 

[miss-mollys-ballet-blog]

The ballets of Marius Petipa: Swan Lake.

These gifs are of Svetlana Zakharova of the Bolshoi as Odile (black swan) and Ekaterina Kondaurova of the Mariinsky as Odette (white swan).

The story of a beautiful Princess, Odette, who was cursed by an evil magician to be trapped as a Swan by day and turning human at night, Swan Lake is a tale of magic, love, betrayal, and sacrifice.  

Swan Lake is one of the most well known classical ballets, with almost everyone being able to recognize the stunning oboe theme carried through the ballet and the iconic white swans act where the corps de ballet dances stunning choreography in all white tutus and feather headpieces, and the dual role of Odette/Odile which is a true calling card of an accomplished ballerina.  However, when Swan Lake was first produced at the Bolshoi Theatre in Moscow in 1877, it was a complete failure from the music (composed by Tchaikovsky) and the choreography (original Julius Reizinger).  This ballet did not become a success until Marius Petipa and Lev Ivanov revived it for the Imperial Ballet at the Mariinsky Theatre in 1894.  

Almost every classical ballet company has their own production of Swan Lake, however many things remain the same throughout.  The choreography of the white act corps de ballet, the white pas de deux, the dance of the little swans, Odette’s variation, and the black swan pas de deux, are generally uniformed.  However, the most common version of Odile’s variation in act 3 is not the original.  The original variation and music is performed at the Bolshoi Theatre in Moscow, with a few other companies including the Stanislavsky Theatre and Teatro Alla Scala using the original music.  

Another difference between productions is the ending.  Most western productions end with Odette and Prince Siegfried jumping to their deaths into the Swan Lake to free Odette from the curse of Von Rothbart.  However, in Russian companies the ending is much different.  At the Mariinsky Theatre, the ballet ends with Prince Siegfried killing Von Rothbart and setting Odette free from her curse.  At the Bolshoi Theatre, the entire story occurs in the Prince’s dream and the ballet ends with Rothbart creating a storm in which Odette perishes and Siegfried suddenly wakes up alone on the shores of the Lake.  

[quarantinemusiccalendar]

Day 208: Claudio Monteverdi - Teatro d'Amore (L'Arpeggiata | C. Pluhar)

It’s quite well known in my friends circle, that when it comes to classical music, I am a sucker for old music. Meaning Renaissance and Baroque. Motets, madrigals, complex pieces for choirs of 8-16 voices and such. Renaissance music can sometimes feel a bit too calculated, too predictable, a little stale. But back then it was not uncommon to use mathematical principles when composing music. And then came Baroque as a gust of fresh air and the music suddenly felt wilder, more free and carried more emotions: affection, anger, fear, sorrow and even love and lust. At the center of this huge stylistic shift is Claudio Monteverdi. Claudio Zuan Antonio Monteverdi (1567- 1643), son of an apothecary from Cremona in northern Italy (belonged to Spanish Empire at that point), composer and in later life also a priest, spent most of his life employed as a court musician and choirmaster by Duke of the nearby Mantua and later by the Venician Republic as the maestro di cappella at the basilica of San Marco. Having started his career within the established renaissance musical forms and then incorporated new musical ideas from other musicians and composers (rejection of polyphonic style), he then developed his style even further by the groundbreaking basso continuo technique (bassline and a chord progression) and truly landed music in Baroque. And although he played a part in developing the new style, he was not the only composer responsible for making that leap into that new Baroque style. But he certainly is the most visible of this generation of north Italian musical pioneers of his generation. Just purely due to the fact that his music reached the furthest. In both geographical sense as well as in time. His is the ultimate bridge between Renaissance and Baroque.

As for his work, he composed both sacral and secular music. He wrote a huge variety of music for masses and other sacred occasions, but also 10 operas which were a completely new emerging genre at that time. Unfortunately only 3 of them survived ( L'Orfeo, Il ritorno d'Ulisse in patria,  L'incoronazione di Poppea), from 2 other ones we only have fragments and for further 4 we have only the libretto. He is not the founder of Italian Opera, as he is sometimes called, that title belongs to Jacopo Peri, but the new genre was indeed popularized and spread through Europe by Monteverdi’s works. His other secular works included 8 series of madrigals.

Christina Pluhar, a soloist and continuo player originally from Graz, Austria, found a deep passion for old music during her studies. In 2000 she founded the Arpeggiata ensemble. They are based in Paris and their particular focus is on Italian music of the 17th century. They are known for daring instrumental improvisations, exploiting rich textures created by the blending a variety of plucked instruments, and a vocal style strongly influenced by traditional music. Pluhar’s arrangements are driven more by the emotions and feel of each piece rather then the precise instrumentation directed by the score. On this album, Pluhar and her ensemble focus on Monteverdi and his secular compositions. It’s a showcase of the early use of ostinato and walking bass. And since these principles are also heavily used on jazz, this whole album does have a distinctive “classic meets jazz“ quality about it. It’s playful and lush. In the words of Charlote Gardener: “The technical perfection, and the easy informality with each other and the music, with which these pieces are performed, makes for a captivating listen. It's back to those ostinato and walking basses, though, for the disc's trump card. A walking bass is a bass line that moves step by step, and it is an ostinato bass if repeated over and over; they are often associated with jazz musicians, an example being the opening repeated downward bass line of Nina Simone's My Baby Just Cares For Me. Monteverdi, Christina Pluhar points out, actually invented such things as early as 1607. Here, on the tracks featuring a walking bass, the musicians have injected a swing (or, as Pluhar puts it, a 'scherzo musicale') that has turned these pieces into an extraordinary fusion of Baroque and Jazz. The first track on which it appears, Ohime ch'io cado, feels as though Miles Davis has swapped his trumpet for a Baroque cornett and time-travelled back with his band for a jamming session with Monteverdi.  Meld Philippe Jarroussky's sweet countertenor into the mix (who is also letting his hair down), and you've got something that is very special, and very surprising. A Must Listen.” (1)

From the five tracks I have selected, two are taken from Monteverdi’s operas:   L’Orfeo (Orpheus) and L’ incoronazione di Poppea (The Coronation of Poppaea). Ballo is a madrigal from Monteverdi’s Eighth Book of Madrigals, which was titled Madrigali guerrieri et amorosi (“Madrigals of Love and War”). It was was published in 1638, four years before the composer’s death. The Ballo was originally written for the 1608 wedding of Francesco Gonzaga, son and heir apparent of the Duke of Mantua, and Margaret of Savoy, but it remained unpublished until 1638. Zefiro Torna is a madrigal for 2 tenors and a basso continuo celebrating the return of spring. The lyrics are adapted from a poem written by Ottavio Rinuccini and describe the Greek god Zephyrus who brings spring to the mountains and valleys, filling them with sunlight, blossoming fields, and joy. Chiome d'oro, bel thesoro is a madrigal for 2 sopranos, 2 violins and lute/harpsichord from Monteverdi’s Seventh Book of Madrigals (published 1619).

Happy Sunday, relax and enjoy.

Album highlights: - L’Orfeo, Act 5: Sinfonie & Moresca (SV 318), Arr. Pluhar - Chiome d'oro, bel thesoro (SV 143) - L’ incoronazione di Poppea, Act 3: Pur Ti Miro (SV 308) - Ballo (Book of Madrigals 8, SV 154b) - Zefiro Torna (SV 251), Arr. Pluhar Playlist: https://spoti.fi/37EGELb

Links and references: - Claudio Monteverdi - Wikipedia - Transition from Renaissance to Baroque in instrumental music - Wikipedia - (1) C. Gardener (2009) Claudio Monteverdi: Teatro d'Amore. Review. BBC. - S. Childed (19 September 2019) Zefiro Torna: famous madrigal by Monteverdi lauds the west wind that brings spring. MusicTales.

[gildedhq]

THE SOCIETY WELCOMES YOU.

When the last of the invitations have been sent out, thick envelopes sealed in red wax and stamped with an emblem that means so many things so as to mean nothing at all, there is only the air of careful expectation. For many, this is the chance that they’ve all been waiting for, the history of their families drummed up for them since childhood onward; for others, it is an invitation to a strange and unknown world, one that is beyond their wildest imaginations and could eat them alive if they aren’t careful. Whatever the case, their lives will never be the same ever again.

THE SOCIETY IN ROME.

SETTING: Rome, Italy // pre-22nd of April 2020 

One by one, they gather unto Rome, that ever-eternal city that has been the cradle of their society ever since the beginning. It receives them fully, wholeheartedly, and the city opens up before them in a way that it doesn’t for anyone else, as if eager to welcome her children back home. Both members and initiates are allowed special access to places of history, privileged loci of authority that seem to speak of a brighter and better age, where they occupied the halls of power in a more visible position. It is these monuments and these artefacts and these buildings that impresses upon them the legacy which they are heirs to today, the duty they must carry if they are to do justice by their birthright: they are the torchbearers and the luminaries of their age. Power and wealth has been given to them for their enjoyment and perusal, yes, but noblesse oblige compels them to use this power for the greater good—for why else would they be blessed with such privilege? They are the beautiful and the chosen, equipped with authority and the right to rule and the adulation of the masses, and this is the time to mark what is theirs.

THE EVENTS.

A mass at St. Peter’s Basilica: For all those faithful (or professing to be faithful), a mass at St. Peter’s Basilica has been offered, with the Pope himself reportedly to give indulgences to any who seek it immediately afterwards. Let it not be said that the society has forgotten its roots, its special relationship with the Church, and the soft power that the institution still wields.

Exclusive tour of the Vatican Museums: After the mass, the members and initiates of the society are invited for a privileged tour of the Vatican Museums. Members and initiates alike can spend any number of hours inside, free to come and go as they please, with the Museums closed for a whole day (supposedly for “maintenance”) just for their own leisure.

Fine dining at Pierluigi: Pierluigi has transformed from trattoria to tourist spot, claiming world leaders and celebrities as its clientele. Serving fresh fish caught daily at the nearby comune of Ostia, this trattoria offers several seafood-based plates that is sure to be the talk of any who taste its fine maritime delights—and the society has managed to capture a permanent reservation for any member or initiate who wish to experience one of Rome’s best restaurants.

A tour of Rome underground: Above ground, the capital of the world is a majestic many-splendored thing, awash in the glory of the dawn; below ground, it is a mysterious, snaking, sly thing. Swaddled in darkness, there are labyrinthine crypts that can prove one’s end if one is not careful, each turn seeming like the other, the rows of bones in crypts almost haunting. There is the Capuchin Crypt, the Roman Catacombs, and the San Clemente Basilica—all of which can be freely explored with a competent and knowledgeable guide should any daring member or initiate wish to do so.

THE NEW MOON GATHERING.

SETTING: Palazzo della Fraternita // 22nd of April 2020

Here, at last, the culmination of their stay in the eternal city, the reason for their moot in Rome in the first place. The events prior have only been a taste of the vast control that the society could offer them, and now the curtains have been drawn. All masks are off. The tables have been set and all that’s needed is for them to find their place in the tableau. The dawning of the day comes like any other, but it would be wholly a lie to say that this day hasn’t been anticipated. For most of the initiates, this marks their first entry into the society, a journey that will hopefully take them from their middling rank of today to established archons that wield power with the full authority of the society.

Yet for all its love of tradition, the society itself seems to be on a precipice. Never before have they welcomed a batch of initiates this large, and the presence of new money is an unwelcome change for some who wish to keep the identity of the society static and unchanging. The Grand Archon sits on his throne, unmoved and unmoving, as if blind to the whispers and recent developments of the society itself. He is barely even there: a wisp of a shadow of a memory. Blink, and it is as if he disappears. Yet it it is through his machinations that the society has somewhat democratised, he the sole reason for the mass influx of new initiates. There is the feeling of something inevitable, but who knows what?

Through it all: the clinking of wine glasses, the twinkle of crystal chandeliers, the soft lull of piano music in the air. There is the air of civility and sophistication that abounds in the air, forced smiles and laughter like bells resounding in the rooms of the palazzo. All dressed up as they are, it is as if there is nothing wrong with them—a common habit of the privileged, one that has chosen to bare its venomous fangs for this special day. 

THE TIMELINE OF EVENTS.

An introduction of the society: The day kicks off with the society gathering in the Palazzo della Fraternita. It is meant to be a quiet event that would take up most of their time up until their luncheon, allowing initiates and members alike to get to know each other a little better in quiet conversation. Some of them might already know each other from before—after all, the society is populated by a cast whose last names are familiar with one another—but there are some whose claim to both power and wealth are evergreen and new, a fact which seems to bring a scowl to some of the society’s more established members. Elsewhere, there are cards and board games, decks made from when rococo was still in vogue and even older, and the chessboard pieces are crafted as crystal and hewn with precious gems, as if every display of wealth and power is to be ostentatious as possible, never once letting a single one of them forget the privilege that the society offers its members. 

Luncheon at La Pergola: Come lunchtime, the society is ushered towards atop a towering hotel. The society’s luncheon gives them a privileged place upon which to gaze at the whole of Rome and the Vatican, offered up to them like the oysters that now decorate their fine china plate. They are served course upon course of sumptuous meals, each plate upstaging the last, and offering every sort of cuisine that the mind can imagine—though, of course, there is a certain tendency towards Italian food, a proud emblem of the eternal city’s nourishment of the society seemingly materialising on their plates.

A showing of Mozart’s Don Giovanni: After their luncheon at La Pergola, they are led towards an exclusive showing of Don Giovanni at the Teatro dell’Opera di Roma, blocked out just for them, with endless champagne and scrumptious hors d’ouvres served on scintillating silver plates during the intermission.

Dinner at the Palazzo: The day ends where it begins. The society congregates once more to the Palazzo to cap off their whole day. Yet another sumptuous feast is provided; but the restrictions on decorum and etiquette are eased somewhat. Conversation flows just as easily as wine from the vintage bottles sourced from the nearby vineyards. 

OOC NOTE.

And that officially starts the first event for GILDEDHQ! Just to recap: all members and initiates have been invited to Rome for the 22nd of April, 2020. However, as the society understandably realises that most members will probably be arriving a few days before the actual day itself, it has deigned to organise a very many number of things with which your muse can participate in to pass the time as they wait for the 22nd of April to come. These events are not mandatory, but they should serve as easy starting-off points for starters and the like should you wish to plot out your characters meeting before the Gathering itself. Of course, you are not limited to these events should you so wish to set up a starter in some other place.

The New Moon Gathering itself takes the course of one day. Members and initiates alike are expected to come to the Palazzo della Fraternita to mingle with one another and “formally” acquaint themselves with one another—even if they already know each other before! This is one of the intricate rituals of the society, passed down since time immemorial, and there’s nothing the society loves more than tradition. The schedule is tightly packed and there are almost no opportunities to diverge from the list of events as dictated by the society. Theoretically speaking, your muse can diverge from the event—walk out of Don Giovanni, for example, or disappear completely after the luncheon—but this will have quite significant repercussions for your character and will need admin approval beforehand.

You are encouraged, but not required, to post starters, photosets of your muse, and anything at all related to the event with the tag gilded:new moon. Please only write starters set up until the 22nd of April, as there will be a second part to this event.

————— THIS EVENT WILL RUN FOR ONE WEEK FROM  [ 22ND OF APRIL 4PM GMT / 12NN EASTERN ]  TO  [ 29TH OF APRIL 4PM GMT / 12NN EASTERN ]

[cuentapararol]

Masterlist con maneras de pedir matrimonio

Para ningún personaje debería ser fácil dar el “Gran Paso”. Pedirle matrimonio a tu pareja (o a tu mejor amigo, o a un desconocido) para pasar el resto de una vida juntos no es fácil… y más si, como escritor o roleador, quieres que sea de la manera más simpática, original o romántica posible. Por ello, bajo el corte encontrarás una +100 maneras de pedir matrimonio. Disclaimer: algunas de estas ideas son demasiado random.

Por último, si consideras que esta entrada puede ser de utilidad para ti, para otros o vas a utilizarla, rebloguéala o haz click en el botón ‘me gusta’. Es lo único que pido para subir más contenido. Por otro lado, si encontráis errores o tenéis peticiones de guías o masterlists, no dudéis en poneros en contacto. ¡Gracias!

#1. A la luz de la luna.

#2. Con carteles, a lo Love Actually.

#3. En el castillo de Disneyland París.

#4. Un flashmob con su canción favorita.

#5. Cantando esa canción, la que sonó cuando se conocieron en aquel bar.

#6. En un crucero.

#7. En un plató de televisión.

#8. En un escenario.

#9. Cuando les apuntó la kiss-cam, en un partido de béisbol. O la dance-cam.

#10. "Piensa en un número del 1 al 1000. Si aciertas, nos casamos inmediatamente”. Resulta que lo adivinó a la primera...

#11. En un discurso. 

#12. En un bar con amigos.

#13. En una terraza.

#14. Durante un viaje en globo.

#15. Cambiando el anillo por un objeto más significativo. Como los Manolo Blahnic que le regala Big a Carrie en Sexo en Nueva York.

#16. Borrachos en una discoteca de Las Vegas.

#17. Pegando la proposición en la mira de un telescopio/prismáticos y haciendo que “mire a las estrellas”.

#18. Con música: un cuarteto de cuerda, una tuna, mariachis o un coro rociero. Por qué no. 

#19. Jugando con las etiquetas de las botellas de Coca-Cola (ej. click).

#20. Con una banda atada a un helicóptero.

#21. Escondiendo el anillo en un huevo Kinder.

#22. Con un arito de cebolla o de maíz.

#23. Con una rosquilla o donut.

#24. Con el cierre del pan de molde.

#25. Anudándole un pedazo de tela.

#26. Escribiendo la proposición en la tapa de la pizza. Se verá al abrirla.

#27. En la playa. Puede enterrar el anillo en la arena o introducirlo en una vieira.

#28. Con una galletita de la suerte.

#29. Graba un plato con la frase de proposición y espera a que se termine de comer lo que haya sobre él.

#30. Subraya la frase “cásate conmigo” de una novela.

#31. Con alguna manualidad (ej. click).

#32. En una sala de cine.

#33. Con el anillo dentro de un bombón.

#34. En el lugar en que os conocisteis.

#35. Escribiéndolo en el vaho de un espejo.

#36. Proyectando luces en un edificio.

#37. Con un mensaje en el cielo.

#38. Escribiéndolo en el suelo, en la arena.

#39. Con ayuda de su mascota, poniéndole el anillo en el collar.

#40. Con ayuda de sus hijos.

#41. Con globos con mensajes.

#42. Con un anillo de caramelo.

#43. Colgando un vídeo en redes sociales.

#44. Haciéndole una ruta en Google Maps con la forma de la frase “cásate conmigo”.

#45. En un karaoke.

#46. A través de un cuadro o un dibujo.

#47. En su lugar de trabajo. Ejemplo: si es maestra, puede pactar con sus alumnos (pueden llevar camisetas con sílabas) o escribiéndolo en la pizarra.

#48. En un fotomatón.

#49. Cosechando el campo para escribir la frase y que se vea desde el aire.

#50. Con un graffiti que diga: “¿quieres casarte conmigo?”.

#51. Por Whatsapp.

#52. Por carta.

#53. Preparando un juego de pistas por sus lugares favoritos.

#54. Con un poema.

#55. Buceando.

#56. En San Valentín.

#57. En un parque de atracciones.

#58. Mediante un anuncio en el periódico.

#59. Personalizando una taza y sirviéndole una bebida.

#60. Pagando para poner la pedida en una marquesina o en una valla publicitaria.

#61. Escribiendo una notita y pasándola.

#62. Con un avión de papel.

#63. Cambiando la clave del wi-fi por “casémonos”.

#64. Durante un viaje (en la Torre Eiffel, las cataratas de Iguazú o la muralla china).

#65. Llevan ensayando ese baile durante algún tiempo. Cuando por fin lo coreografían en la exhibición, no espera que el otro bailarín acabe el ultimo paso hincando la rodilla.

#66. Llevan ensayando esa obra de teatro durante algún tiempo. Cuando por fin la interpretan en la función, no espera que el otro actor comience a improvisar una pedida de mano.

#67. Con una e-card o un meme.

#68. Le pidió la mano a su padre o a su madre.

#69. Codificando un videojuego para que termine con un “¿te casas conmigo?”

#70. Imprimiendo la pregunta en una camiseta y llevándola puesta hasta que le pregunte si va en serio.

#72. Se la escribió en la mesa, antes de que comenzara la clase. 

#73. Se la escribió en un post-it.

#74. Se la tatuó.  

#75. Haciendo una tarta de bodas. 

#76. Podando un seto con la forma de un anillo. 

#77. Con un truco de magia. Sacando el anillo de una chistera.

#78. Grabándose en vídeo y sobrescribiendo la cinta de esa película favorita suya que siempre se pone.

#79. En una boda, coge el ramo de flores y le dice a su pareja: “¿aprovechamos que ya está todo montado?”.

#80. En el palco de un teatro.

#81. En un festival.

#82. Se disfraza de novio/novia para carnaval o una fiesta de disfraces. Pista: el anillo no forma parte del disfraz.

#83. Están jugando a la ouija. “Vaya, parece que el fantasma quiere casarse conmigo”.

#84. Le pregunta que cómo se dice “OK” con la mano, cómo se señala hacia arriba o con qué dedo se manda a la mierda en su país. Lo hace. El extranjero le pone el anillo en el dedo.

#85. ¿Todavía no he escrito “con un ramo de flores y una tarjeta”?

#86. En la tarima o escenario de una discoteca.

#87. Organizando una fiesta sorpresa.

#88. En un parque.

#89. Escondiendo el anillo en el fondo de una fuente de monedas.

#90. No es una petición, es que se subastaba como marido/mujer en una gala benéfica.

#91. A través de una plataforma que te permite saber con quién te casarás, y tener todo listo antes de conocerlo.

#92. Colocando el anillo dentro del roscón de reyes.

#93. Por Skype.

#94. Toc, toc. Abre la puerta y se encuentra una pedida de matrimonio a domicilio. Bombones, mariachis... todo el lote.

#95. Con un anillo vibrador.

#96. “No marques nada en tu agenda para abril, tenemos un evento”.

#97. Al pasar una estrella fugaz, mentalmente pide un deseo: que su pareja le pida matrimonio. Su pareja, pensando que es el momento propicio por lo romántico de la noche, saca un anillo y se lo pide. “¿Ya? ¡Qué rápido!”.

#98. Una gitana le asalta por la calle para leerle la mano. La otra persona intenta zafare y al final, la supuesta gitana le grita: “¡pero por lo menos llévate tu anillo!”. Era una actriz.

#99. Metiendo el anillo en una máquina atrapa-bolas y atrapa-peluches.

#100. Entran en una tienda de vestidos de novia para resguardarse de la lluvia y deciden probárselos para pasar el rato. Su pareja acaba emocionada y pidiéndole matrimonio.

#101. En el cumpleaños de uno de los dos.

#102. Envolvió el anillo en un paquete de más de 8 cajas que tuvo que ir desenvolviendo de una en una.

#103. Estaban en la cama, a punto de dormir. Uno simplemente le dijo al otro: “eh, hacemos muy buena pareja, ¿no? ¿Tú qué crees, nos casamos?”. Sin anillo, sin florituras.

#104. Están corriendo una maratón (puede ser profesional o solidaria) y, justo cuando van a llegar a la meta uno de los dos se arrodilla y le pide matrimonio. 

#105. En el desayuno. Puede meter el anillo en el café.

#106. En la cena, metiendo el anillo en champán. Un clásico.

[gramilano]

Giselle with Svetlana Zakharova e David Hallberg @ Brescia e Amisano, Teatro alla Scala 2019

Giselle is one of La Scala Ballet’s international calling cards. Together with Nureyev’s Don Quixote, this production has been seen all over the world, and rightly so. The company dances it beautifully, and its staging by Yvette Chauviré (based, of course, on the Jean Coralli and Jules Perrot choreography) would be difficult to better. It is clearly told, the story points being so carefully prepared that focus is always on the right spot at the right time. 

 The sets and costumes are traditional – using Aleksander Benois’s designs created for the Paris Opera Ballet, with Olga Spessivtseva as Giselle, in 1924 – and tone perfect, with a rich palette of harvest time hues at the opening, and the darkest, most threatening of forests in the second act. His old-fashioned gauzes and painted backcloths work their magic and produce a gasp from the audience on every opening of the curtain. The laying out of the set is superlative with a hidden ramp for the court, including Albrecht, to descend from its lofty castle to join the villagers; the entrance to the cottage that Albrect uses to hide his cloak and sword to ‘disguise’ himself as a peasant is towards the centre of the stage so the entire audience can see the essential moments of concealing and discovering his princely regalia; and a distant church is seen during the second act which is illuminated by the warm light of dawn as its bells chime 4 o’clock.

The costumes are sumptuous, so the villagers’ past harvests were clearly astonishingly abundant. Giselle’s first act costume has a generous, plump skirt, as is seen in Benois’s designs. Bathilde, though, is something of a confusion as her costume is so heavy and ornate that she appears to be the Duke’s wife, therefore Albrecht’s mother, not his betrothed. In addition, having her and the Duke entering hand in hand adds to this feeling whereas I remember, in earlier editions, that the Duke entered first and then presented Bathilde as she came on separately, which makes far more sense.

Giselle with Svetlana Zakharova e David Hallberg @ Brescia e Amisano, Teatro alla Scala 2019

The opening cast saw Svetlana Zakharova and David Hallberg in the main roles, bringing them back together after five years. They danced Swan Lake at La Scala in 2014, shortly before Hallberg suffered his devastating injuring (forcing him to cancel his performances at the theatre in Alexei Ratmansky’s The Sleeping Beauty with Zakharova, the following year). How wonderful to report that Hallberg is back in sublime form. He is innately elegant, and his lines are drawn to fit perfectly with those of Zakharova. Though always clear in his mime, he is a subtle actor, and the gentleness as he touches Giselle’s arms from behind as he joins her for their second act pas de deux is typical of his care to give each gesture a meaning. His plié is deep and soft, and the use of his legs and feet are the utmost in expressivity. Zakharova danced beautifully, as the Milanese audience has come to expect, and even though this isn’t her ideal role, she gave a pleasing performance. Her outstanding finesse is in every movement, though she will insist on taking her leg up unnecessarily high on occasions causing her tutu to start slipping down her leg – not a good look. She overdid her makeup a little (though at the back of the house this probably wasn’t seen) which gave her expression a harder edge than is ideal for the young peasant girl.

Giselle with Martina Arduino and Nicola del Freo @ Brescia e Amisano, Teatro alla Scala 2019

The peasant pas de deux with Martina Arduino and Nicola Del Freo was magnificent. Arduino would be better suited to playing Giselle or Myrtha, though she danced the steps ably even if she isn’t a natural for the role. Del Freo, however, was thrillingly perfect. His leg and footwork was extraordinary with steely precision and virile cockiness in each step. Maria Celeste Losa played Myrtha at almost every performance. Whether this is because no one else in the company can approach her level is doubtful, but she excelled in the jumps, gave humanity to her austerity, and her pas de bourrée crisscrossing of the stage was mesmerising. Her two main Wilis were Alessandra Vassallo and Emanuela Montanari, two of the company’s most personable dancers yet they gave suitably glacial interpretations with technically assured solos.

Mick Zeni was Hilarion, exuding suspicion, jealousy and finally hatred, and was pitiful in the second act. Equally suited to the role was Marco Agostino who also possesses some fine acting talent as well as great aplomb in his dancing. Christian Fagetti too never fails to deliver, and La Scala now boasts an impressive roster of male talent, which wasn’t so evident a decade or so ago.

Giselle with David Hallberg Mick Zeni @ Brescia e Amisano, Teatro alla Scala 2019

Giselle with Maria Celeste Losa @ Brescia e Amisano, Teatro alla Scala 2019

Giselle’s mother was played by Beatrice Carbone who is just a couple of years older than Zakharova, but she convincingly inhabited the part from the inside instead of wearing it like a costume. In an alternative cast, however, Daniela Siegrist looked more like a Julie Walters’ character as she bustled about, wringing her hands. Judging these parts can be trickier than tackling the main roles.

Federico Fresi and Antonella Albano were also splendid in the peasants’ pas de deux. Fresi comes with built-in springs in his legs, but it’s a pity that his perpetually anxious look makes him look as though he’s going into battle.

The other Giselle and Albrecht couples during the run were Nicoletta Manni and Timofej Andrijashenko, and Vittoria Valerio and Claudio Coviello. All four gave satisfying readings. The fact that Valerio dances the role well is a given, and La Scala has entrusted it to her many times even though she’s still a soloist with the company. She was paired with Coviello who performed, quite thrillingly, 34 entrechats six in front of Myrtha, and although he was beaten by Andrijashenko on number (36, as Roberto Bolle used to do), they were beautifully executed and on the spot. Hallberg opted for the diagonal series of brises.

Andrijashenko is an extremely good Albrecht and is very much of the upper classes – taking off his cloak and sword probably only fools Giselle. He was sunny and cunning in the first act, though facially he became somewhat invisible in the second act. His Giselle was Manni who was pitch-perfect from the moment she left the cottage – wide-eyed innocence never becoming cutesy, and she made each step appear simple and natural. As a Wili, she was cool but feeling, imploring with her eyes, and loving with the tilt of her head.

It was evident why this ballet remains the pièce de résistance of La Scala’s repertoire.

Giselle with Svetlana Zakharova @ Brescia e Amisano, Teatro alla Scala 2019

Giselle with David Hallberg @ Brescia e Amisano, Teatro alla Scala 2019

Review: Giselle at La Scala with Zakharova/Hallberg, Manni/Andrijashenko, Valerio/Coviello Giselle is one of La Scala Ballet’s international calling cards. Together with Nureyev’s Don Quixote, this production has been seen all over the world, and rightly so.

[nuclearblastuk]

AVANTASIA, the all-star rock opera spaceship piloted by EDGUY singer, songwriter and producer Tobias Sammet, release their eighth full-length album, Moonglow, via Nuclear Blast Records on February 15th. The new 11 track album sees Sammet reunited with some familiar faces from previous AVANTASIA albums. Guests include original QUEENSRYCHE lead singer Geoff Tate, PRETTY MAIDS frontman Ronnie Atkins, Michael Kiske of HELLOWEEN, Jørn Lande (ex-MASTERPLAN), Eric Martin (MR BIG) and MAGNUM’s Bob Catley. Moonglow also introduces new collaborators Hansi Kürsch of BLIND GUARDIAN, KREATOR’s Mille Petrozza and BLACKMORE’S NIGHT frontwoman Candice Night in a truly spectacular fashion.  Today, AVANTASIA release the second (of three) interview trailers, in which Tobias Sammet talks about the guest musicians on »Moonglow« and explains why he chose each of them for his songs. Watch it here: https://www.youtube.com/watch?v=Dy-gyWoKPTQ In case you missed the first trailer, watch it here: https://youtu.be/CVSU5VP_U2o Recently, AVANTASIA also released the epic new single 'Moonglow', featuring guest singer Candice Night. Watch the lyric video for the song here: https://youtu.be/vZGQ1LsdCUM  Get the song digitally here: nblast.de/AvaMoonglowSingle Listen in the NB Novelties Playlists: nblast.de/SpotifyNovelties | nblast.de/AppleMusicNovelties Tobias Sammet comments: "Yes, we’ve found a song on the new album that is below the 4 minutes benchmark and it would work as a single. And despite being rather short it’s also representative for the world of AVANTASIA. Somehow in hindsight I think that my admiration for Mike Oldfield shines through here, which wasn’t intentional but you can’t really control that. And by and large I find the song to be a typical AVANTASIA song nevertheless. The enchanting Candice Night did an amazing vocal job, and in all modesty, I think so did I, ha! 'Moonglow' is a declaration of love to the moon, the night; it’s about entering a different world and the sacred experiences that go along with it." Moonglow can be pre-ordered in the following formats: CD Digibook (36 pages) 2CD-Artbook (64 pages) 2LP (different colours) in gatefold BOX (Digibook + CD in sleeve + 2LP (ice blue + dark blue marble) in gatefold + bonus 10" (black) in sleeve + signed photo card + certificate + poster) *NB Mailorder-exclusive Pre-order the album here: nblast.de/AvantasiaMoonglow 'The Raven Child' lyric video: youtu.be/CTN2ZzpQRh4 Purchase the track here: nblast.de/AvantasiaTheRavenChild Listen in the U.K. Nukebox Playlist over on Spotify: nblast.de/SpotifyUKNukeBox Moonglow tracklist: 01. Ghost In The Moon 02. Book Of Shallows 03. Moonglow 04. The Raven Child 05. Starlight 06. Invincible 07. Alchemy 08. The Piper At The Gates Of Dawn 09. Lavender 10. Requiem For A Dream 11. Maniac Bonus Track 12. Heart

Tobias Sammet, hailing from Fulda, created the rock event AVANTASIA in 1999 and celebrated its live premiere in 2008. With over 3,5 million records sold, he is one of the most successful musicians from Germany, having worked with Alice Cooper, Klaus Meine and Rudolf Schenker (THE SCORPIONS), Bruce Kulick and Eric Singer (KISS), Eric Martin (MR. BIG) as well as many other stars from the international music business. For a long time Tobias Sammet's AVANTASIA has been considered an insider tip. But after countless headline performances at some of the world's largest rock festivals (Sweden Rock Festival, Québec Music Festival, Barcelona Rock Fest etc.), gold awards and several top 10 positions in the world charts, the upcoming AVANTASIA - Moonglow World Tour 2019 can only be considered the biggest rock event of the year! AVANTASIA - Moonglow World Tour 2019 27.03.   SK   Presov - Tatran Handball Aréna 28.03.   SK   Bratislava - Hant Aréna 30.03.   DE   Kaufbeuren - All-Karthalle 31.03.   IT   Milan - Alcatraz 02.04.   CZ   Prague - Forum Karlín *SOLD OUT* 03.04.   DE   Berlin - Huxleys Neue Welt 05.04.   DE   Ludwigsburg - MHP Arena 06.04.   DE   Bamberg - Brose Arena 08.04.   DE   Fulda - Esperantohalle 09.04.   DE   Saarbrücken - Saarlandhalle 10.04.   FR   Paris - Olympia 12.04.   DE   Osnabrück - Osnabrück Halle 13.04.   DE   Hamburg - Mehr! Theater *SOLD OUT* 14.04.   DE   Oberhausen - König-Pilsener-Arena 16.04.   UK   London - The Forum 18.04.   DE   Offenbach - Stadthalle 19.04.   CH   Pratteln - Z7 20.04.   CH   Pratteln - Z7 24.04.   ES   Bilbao - Santana 27 26.04.   ES   Barcelona - Razzmatazz 1 27.04.   ES   Madrid - Palacio Vistalegre 02.05.   SE   Stockholm - Arenan 04.05.   RU   Moscow - Glavclub Green Concert 06.05.   HU   Budapest - Barba Negra Track 09.05.   JP        Tokyo - Blitz Akasaka 12.05.   AU   Sydney - Metro Theatre 14.05.   AU   Melbourne - The Forum 17.05.   US   San Jose, CA - City National Civic of San Jose 19.05.   US   Anaheim, CA - City National Grove 21.05.   US   Chicago, IL - Patio Theater 23.05.   CA   Montreal, QUE - Metropolis 24.05.   US   Worcester, MA - The Palladium 26.05.   MEX     Mexico City - Auditorio BlackBerry 29.05.   RCH     Santiago - Teatro Caupolican 31.05.   RA       Buenos Aires - El Teatro Flores 02.06.   BR       São Paulo - Espaço das Américas Festivals:  11. - 13.07.     D         Balingen - Bang Your Head!!! 11. - 14.07.     CZ       Vizovice - Masters of Rock 14. - 17.08.     D         Dinkelsbühl - Summer Breeze More dates to be announced soon...! ICYMI: Check out the Moonglow snippet trailer: youtu.be/bHPpUbImZ5M Avantasia is: Tobias Sammet | additional keys & bass Sascha Paeth | guitars & bass Michael Rodenberg | keyboards, piano & orchestration Felix Bohne | drums Oliver Hartmann | additional lead guitars More info: tobiassammet.com facebook.com/avantasia nuclearblast.de/avantasia

[tempi-dispari]

New Post has been published on https://www.tempi-dispari.it/2022/11/09/kobane-calling-on-stage-dal-fumetto-al-teatro/

Kobane Calling on Stage, dal fumetto al teatro

Kobane Calling è un fumetto dell’autore italiano Zerocalcare: un reportage in forma grafica del viaggio che lo ha portato al confine tra la Turchia e la Siria a pochi chilometri dalla città assediata di Kobanê, tra i difensori curdi del Rojava, opposti alle forze dello Stato Islamico.

Un atto di solidarietà verso chi ogni giorno in Siria mette a rischio la propria vita, nato nell’ambito di Lucca Comics&Games su impulso del regista e drammaturgo Nicola Zavagli, che da anni persegue con l’attrice Beatrice Visibelli e la compagnia Teatri d’Imbarco un teatro popolare d’arte civile. Dopo aver venduto cento ventimila copie in Italia ed essere stato tradotto in francese, inglese, spagnolo, tedesco, portoghese e norvegese, Kobane Calling è diventato un atipico documentario teatrale.

Uno spettacolo che non spettacolarizza la guerra, ma la racconta grazie a una originalissima commistione di linguaggi. È un vero e proprio atto d’amore del teatro nei confronti del mondo poetico e comicissimo dell’autore, non è solo la trasposizione di una graphic novel, ma un’opera inedita che, partendo dalle pagine del fumetto, le trasforma sul palcoscenico in un autentico cortocircuito di emozioni, perché racconta con spietata leggerezza la verità brutale di un conflitto troppo spesso dimenticato. Un lavoro che si mantiene pericolosamente in bilico tra cronaca del nostro tempo e l’immaginario fumettistico.

NOTE DI REGIA

Trasformare Kobane Calling in uno spettacolo è stato un processo difficile ma entusiasmante. Mi ha consentito di toccare contemporaneamente le corde del grottesco e dell’impegno. Per un mese ho studiato con attenzione il materiale. Sono partito da una sceneggiatura con flashback e spostamenti, ricostruendo la linearità dei due viaggi e inserendo poi le citazioni pop e i siparietti surreali: elementi fondamentali per restituire la commistione di piani che rende così ricco e dinamico il fumetto.

Il risultato è una grande narrazione corale, con 13 giovani attori in scena, che alterna il dramma alla commedia, il basso e l’alto, il pop e il civile. In passato ho lavorato molto sui drammaturghi inglesi e irlandesi, che spesso riescono a fondere comicità e violenza, come raramente avviene nel teatro contemporaneo italiano. Qui ho avuto l’opportunità di giocare su più registri: un’occasione preziosa. Nicola Zavagli

Prezzi intero € 25, ridotto over 65, under 26 e nostri convenzionati € 18, ridotto studenti €15, info 065898031 promozioneteatrovascello@gmail.com – promozione@teatrovascello.it

Teatro Vascello via Giacinto Carini 78 Roma Monteverde

Acquista i biglietti on line https://www.vivaticket.com/it/ticket/kobane-calling-on-stage/182424

Il teatro rimarrà chiuso i giorni:

24-25-26 dicembre

1-2 gennaio

Sabato 31 dicembre ore 21:00

Speciale Capodanno

CARD

Card libera a 5 spettacoli a scelta su tutti gli spettacoli € 90 acquista on line https://www.vivaticket.com/it/ticket/card-libera-5-spettacoli/183697

Card Love a 2 spettacoli 4 ingressi a scelta su tutti gli spettacoli € 72 acquista on line https://www.vivaticket.com/it/ticket/card-love-2-spettacoli-4-ingressi/183698

Abbonamento PONENTINO € 75 (5 titoli)

20 dicembre-22 gennaio Hỳbris – Dal 28 marzo al 2 aprile

DAVID COPPERFIELD SKETCH COMEDY, un carosello dickensiano –

4–7 aprile Ragazze al muro – 2-14 maggio Miracoli metropolitani –

16-28 maggio Thanks for Vaselina

acquista on line https://www.vivaticket.com/it/ticket/abbonamento-ponentino-5-spettacoli/183696

Dal 15 al 20 novembre

Dal martedì al venerdì h 21 – sabato h 19 – domenica h 17

Kobane Calling on Stage

tratto dall’opera omonima di ZEROCALCARE

adattamento e regia Nicola Zavagli

con Massimiliano Aceti, Fabio Cavalieri, Marco Fanizzi, Michele Lisi, Carlotta Mangione, Alessandro Marmorini, Cristina Poccardi, Marcello Sbigoli, Pavel Zelinskij e con Niccolò Tacchini, Martina Gnesini, Francois Meshreki, Matilde Zavagli

musiche originali Mirko Fabbreschi video design Cosimo Lorenzo Pancini maschere Laura Bartelloni assistente alla regia Cristina Mugnaini luci Giovanni Monzitta fonica Alice Mollica costumi Cristian Garbo

direzione artistica Teatri d’Imbarco, Beatrice Visibelli, Nicola Zavagli direzione organizzativa Teatri d’Imbarco Cristian Palmi direzione artistica Cristina Poccardi

distribuzione e progetti collaterali Antonella Moretti organizzazione Patrizia Natale

GRAPHIC NOVEL THEATER È UN PROGETTO DI LUCCA CREA produzione Fondazione Teatro di Napoli – Teatro Bellini, Lucca Comics, Teatri d’Imbarco in collaborazione con Bao Publishing

Durata 90’

[elcinelateleymickyandonie]

Filmografía

Obras selectas

Cine

1964 Nothing But a Man

1967 Up the Down Staircase

1971 The Bold Ones: The Senator

1972-1974 Maude

1973 Cleopatra Jones

1974 Summer of My German Soldier

1974-1979 Good Times

1974 I Know Why the Caged Bird Sings

1981 Darkroom

1982 Flamingo Road

1983 La isla de la fantasía

1984 Finder of Lost Loves

1985 Murder, She Wrote

1987 P. K. and the Kid

1989 The Mighty Quinn

1989 Driving Miss Daisy

1993 House of Cards

1995 How to Make an American

1996 My Fellow Americans

1997 Rosewood

1998 Poltergeist: The Legacy

1998 Down in the Delta

2000 Train Ride.

Teatro

1965: Day of Absence.

1965: Happy Ending.

1965: The Amen Corner.

1969: Man Better Man.

1970: Akokawe.

1971: Ride a Black Horse.

1971: The Dream on Monkey Mountain.

1971: Rosalee Pritchett.

1972: Don't Play Us Cheap.

1972: A Ballet Behind the Bridge.

1980: Horowitz and Mrs. Washington.

1980: Nevis Mountain Dew.

1981: Dame Lorraine.

1989: A Raisin in the Sun.

1989: Member of the Wedding.

Créditos: Tomado de Wikipedia

https://es.wikipedia.org/wiki/Esther_Rolle

#HONDURASQUEDATEENCASA

#ELCINELATELEYMICKYANDONIE

[riding-alpacas]

Buenos Aires

The first stop of my trip is done and it was a promising start. Vancouver waved goodbye as only Vancouver can: With grey skies and plenty of rain. But a bit more than 24 hours and two stopovers later Argentina welcomed me with bright sunshine on a hot afternoon. Oh how much I missed this. The remainder of my first day turned out to be pretty lousy but in hindsight I blame my extreme fatigue for that (I didn't catch any sleep during the flight).

First thing I wanted to do after I checked in to my hostel was to get some cash and buy some food. The first two ATMs I tried didn't give me any money though. Everything on the screen was in Spanish, so I didn't really understand what the error message was saying. No problem I thought, then I'll pay for my food with my credit card. The first supermarket I went to didn't accept my Visa though and I had to leave confused, hungry and still empty-handed. Fortunately I managed to find one that did - but the process was quite laborious: They had to see my passport and didn't have these fancy electronic machines to transact the payment. I had to sign a receipt instead. This wasn't a surprise to me, I've read about this procedure before. But going through it for the first time when you're basically just buying some bread and butter just changes your perception. I was tired, I was overwhelmed, I just went to bed and hoped things would get better. Luckily they did.

There weren't many people in the hostel, but I managed to find a guy who explained the money situation in Argentina a little bit to me. Skip a few paragraphs if you don't wanna know. First of all, in Argentina cash is king (am I back in Germany?). Also the country is suffering from inflation - a lot. As a result, locals try to save their money in US dollars. All this shemozzle means that a few things are happening:

ATMs regularly run out of money during the day

You can't withdraw more than 4,000 pesos in one transaction (currently equals AUD 100 or 60 EUR)

You can't withdraw more than 8,000 pesos in one day

You are being charged between 300 and 600 pesos for every withdrawal (thankfully my Australian bank rebates these fees)

The government is making it hard for locals to exchange money and there are a lot of limitations in place

On top of that out of the two ATM networks here, one simply won't give me any cash. Ever. I tried many times. So far with the other ATM network my success rate was 50-50. I also found out that quite a few places actually accept credit card payments. You simply need to know where to go. My strategy now is to do little payments in cash and larger payments with credit card and I generally try to stay away from Argentine pesos as much as possible. You feel SO much better once you understand this stuff and can put a strategy in place.

Let's get back to Buenos Aires - the Paris of South America. This is actually true, a lot of buildings look very European and the majority of them look very French to me. The reason for that is quite funny, too: During it's best time (Argentina was the third richest country once), people wanted to differentiate themselves from all the other cities in South America. The rich travelled to Europe on a regular basis and when they came back, they tore down their buildings and decided to replicate all sorts of things they saw in Italy or France.

Teatro Colón

Well, rich humans just do super weird things when they are bored and it's quite apparent here when you dive a little into the history of this city. The most spectacular story I came across was the one about the church Basílica del Santísimo Sacramento. First of all only European material was used to build it. 100%. Every doorknob came all the way across the ocean. Then there is the motivation behind it: Mercedes Castellanos de Anchorena really, really wanted to be noble - nobody in Argentina was noble at that time. So she decided to build this church just across the road from where she was living in a decadent palace. She gave it to the church and ding - the Pope granted her a noble title. But the crazy story doesn't stop there. There was another rich woman called Corina Kavanagh who was the lover of one of Mercedes' brothers. Apparently Mercedes prevented them from getting married. Corina wasn't happy about that and she knew that Mercedes loved to see that church of hers from her balcony. So Corina went and bought the land right in front of the church, decided to put a high apartment building on it and block the view for Mercedes. At that time, this building was also the highest building in South America and became quite an iconic landmark for Buenos Aires. Revenge is a dish best served cold.

A church that makes you noble

I spent three days in total in the capital and it turned out to be the right amount of time. The city is quite big, very modern and I walked most of the time. First I explored San Telmo which is the oldest part of Buenos Aires. Lots of cafes and antique shops can be found on these old cobblestone streets. I also found some nice street art and the narrowest home - not wider than two doors basically. And it’s called La Casa Mínima. Spanish can be quite amusing.

Tiny house - not a new phenomenon

I continued strolling along Plaza de Mayo which is THE city square. On one end you find a big pink building which one might know from a speech held by a person called Madonna Evita.

Casa Rosada

For the rest of the day I decided to walk along a famous shopping street in the quest for one my most important purchase of the whole trip: A new pair of Havaianas. After finding them, I finished the afternoon with my first dulce de leche ice cream. Spoiler: There will be an extra paragraph about the food.

On day two I was mainly exploring Recoleta. This is where the posh people live and it was by far the cleanest area in Buenos Aires. It's also where I picked up the stories above. I learned a lot about the Falklands war, too and it made me hate Margaret Thatcher even more. The whole thing is still an important topic for Argentinians and during elections candidates are still being asked what their position is in regards to the Islas Malvinas. That whole conflict and how it came about left a huge scar in the nation's heart and it's still far from being processed.

I finished the day checking out the famous Recoleta cemetery. It was cruel and impressive at the same time. I'm always amazed when I go to cemeteries outside of Germany, they are usually so different. I think the correct term to use is "monumental cemetery", whilst in Germany "lawn cemeteries" are more common. Similar to what I've seen in Paris and London this cemetery is structured like a little town with street names and stuff. There are impressive monuments everywhere, some in really good shape, others sadly falling apart. Of course I had to go to Evita's grave which is actually quite easy to find - don't let tour operators fool you. Yes, there are cemetery tours up to 2 hours long. Now to the cruel part: I did a little research into how the remains of Evita and the national hero José de San Martín (there are statues of him everywhere) were treated and boy oh boy, humans can be so shitty to each other. Even when they're already dead. Both of them were basically constantly moved around, buried upside down, their coffins put in an angle... and all because they believed in things or did things in their life that other people didn't approve of.

I see dead people

On my last day I went North and explored the neighbourhood of Palermo. Apart from the usual stuff (shopping, restaurants, cafes...) there were also two museum in this area that sounded interesting: The Evita museum and a place called MALBA. The Evita museum obviously gives you a deep insight into Eva Peron's life. Very informative and nicely done. MALBA is an art museum in a pretty cool building. One of the exhibitions was quite interactive and fun.

MALBA

One of the things I missed the most on all three days was water! I have no idea how the citizens of Buenos Aires survive these hot summers without access to a natural body of water. There were some little pools that were totally crowded and even though it looks like the city would be by the sea, it's actually at the mouth of River Plate which is definitely not feasible for swimming as it is super silty.

One of the last things I have to write about is the food. I was looking forward to try the Argentine cuisine and so far I haven't been disappointed at all. In fact, if I continue eating like I did in the last few days I will very soon look like the guy in the illustration. This is the stuff I've tried so far:

Steak My favourite cut so far is called bife de chorizo. They sometimes put egg on it which makes we wonder if the dish then qualifies as breakfast.

Yum!

Pizza The difference to Italian pizza is that Argentinians like to put loads and loads of cheese and olives on their pizza. As a person who usually puts extra cheese on their frozen pizza, I surely won't complain about this.

Empanada Should be renamed to "pockets of gold". Small, fried dough pockets stuffed  with... well... meat! Prepare me a bath of Empanadas and I will swim in it the whole day.

Helado Argentinian ice cream. Coming from a country where I was struggling to find really good ice cream, pretty much every ice cream I had in Buenos Aires so far was a gazillion times better.

Also yum!

Alfajores A type of biscuit: Dulce de leche sandwiched between two crumbly cookies. Not my favourite but still a lot better than bloody Oreos.

Medialunas Like a croissant but a bit smaller and denser. I think I prefer them over croissants because they are less messy.

Mate (the tea) I'm not entirely sure yet what I should think about this drink. It will surely get a separate blog post at some point as it it closely linked to a whole social event with a mate etiquette etc. Stay tuned!

Short version: I think I'm in food heaven and it will be hard to continue with my one or two veggie days a week strategy. There is still a lot more to try and I can't wait to participate in my first Asado.

Tango tango

All in all I would say that I enjoyed my time in Buenos Aires. I felt pretty safe, the weather was great and the food was to die for. It would have been nice to have a few more people in the hostel (on my last day we were down to three) but this will probably change now that I'm on my way to Patagonia where it's peak season. I'll be in cold Ushuaia for a week or so before gradually going up North again.