#carlos de antonio

[deadgirlwalkingtaylorsversion]

Acabo de terminar de ver La Sociedad de La Nieve y estoy con mil emociones.

mucha gente se llena la boca diciendo que es una copia de Viven y siento que los que dicen eso o no vieron la pelicula o la vieron con los ojos cerrados. J. A Bayona y todo el equipo detras de esta pelicula le tuvieron el respeto y el cuidado que se merecia, no estoy tratando de faltarle el respeto a Viven pero hay que ser sinceros, cambiaron tantas cosas y pareciera que hicieron la pelicula sin ganas de hacerla, la cantidad de errores no solo en la trama sino tambien en todos los aspectos de la pelicula como el vestuario e imagen (me vas a decir que estuvieron 72 dias en Los Andes y tenian la ropa impecable? que no les crecia la barba? ni bajaran de peso?) y ni hablar de el momento del copiloto y el mate, que carajos es eso?

Volviendo con La sociedad de la Nieve, es una película de la puta madre, no me acuerdo la última vez que sentí tanto con una película. La escena antes de la avalancha? dios, fue de risa a llanto en un segundo, las transiciones y la actuación de todos fue impecable.

[artthatgivesmefeelings]

Antonio María Esquivel y Suárez de Urbina (Spanish, 1806-1857) Portrait of young Carlos Pomar Margrand, 1851 Museo de Bellas Artes de Sevilla

[realmadridfamily]

We are the Champions of the Supercopa de Espana 🏆

[sixaus-meaa]

SIX THE MUSICAL - MODERN!AU: illustration

Lina's family tree 2/2

[victusinveritas]

Summer 1962. Rio de Janeiro. At the Veloso Bar, a block from the beach at Ipanema, two friends—the composer Antonio Carlos Jobim and the poet Vinícius de Moraes—are drinking Brahma beer and musing about their latest song collaboration.

The duo favor the place for the good brew and the even better girl-watching opportunities. Though both are married men, they’re not above a little ogling. Especially when it comes to a neighborhood girl nicknamed Helô. Eighteen-year-old Heloisa Eneida Menezes Pais Pinto is a Carioca—a native of Rio. She’s tall and tan, with emerald green eyes and long, dark wavy hair. They’ve seen her passing by, as she’s heading to the beach or coming home from school. She has a way of walking that de Moraes calls “sheer poetry.”

Legend has it that Jobim and de Moraes were so inspired by this shapely coed, they wrote a song for her right on the bar napkins. It’s a good story, but it’s not quite true.

While Helô inspired the song, it was another Carioca who carried it beyond Rio. Astrud Gilberto was just the wife of singing star João Gilberto when she entered a NYC studio in March 1963. João and Jobim were making a record with tenor saxman Stan Getz. The idea of cutting a verse on “Ipanema” in English came up, and Astrud was the only one of the Brazilians who spoke more than phrasebook English.

Astrud’s child-like vocal, devoid of vibrato and singerly mannerisms, was the perfect foil for her husband’s soft bumblebee voice. Jobim tinkled piano. Getz blew a creamy smooth tenor. Four minutes of magic went to tape.

A year later, the song was casting its quiet spell of sea and sand on the charts, washing past the Beatles’ “I Want To Hold Your Hand.” It peaked in mid-June at No. 5, selling over two million copies.

“The Girl From Ipanema” went on to become the second-most recorded popular song in history, behind “Yesterday.” Covered by an A-Z gamut of performers, it’s become the ultimate cliché of elevator music—shorthand for the entire lounge revival of the ’90s.

Over the years, Helô Pinheiro (her married name) enjoyed country-wide fame, ranking with Pelé as one of the goodwill ambassadors of Brazil. She never settled on an occupation, dabbling in acting, then running a modeling agency. In 1987, she posed nude for Playboy (and again in 2003, with her daughter Ticiane). In 2001, Helô opened the Girl From Ipanema clothing boutique in a Rio shopping center.

Shortly after, the heirs of Jobim (who died in 1994) and de Moraes (who died in 1980) filed a lawsuit, claiming Helô was only inadvertently involved in the song’s creation and didn’t have the right to use it for commercial purposes.

Helô says, “I never made a cent from ‘The Girl From Ipanema,’ nor do I claim that I should. Yet now that I’m using a legally registered trademark, they want to prohibit me from being the girl from Ipanema. I’m sure that Antonio and Vinícius would never question the use of the name.”

After much ugliness in and out of court, Helô was able to keep the name for her boutique. Today, she reflects on the early ’60s in Ipanema with nostalgia. “I like the time when everything was prettier because of love, as it says in the Portuguese version of the song. I am still touched when somebody plays the song in my honor.”

—By Bill DeMain

Image: As a teenager, Helo Pinheiro was a regular on Rio's Ipanema Beach

[julio-viernes]

Falleció uno de los grandes embajadores de la bossa nova fusión a nivel mundial, Sergio Mendes a los 83 años. La culpa de todo la tuvo su versión de "Mas que Nada" de Jorge Ben en 1966, un brillante easy listening mezcla de bossa con cool jazz. Su repertorio de los años sesenta contuvo muchas versiones de artistas anglosajones de éxito, Beatles ("Day Tripper", "With a Little Help From My Friends", "The Fool On The Hill"); Burt Bacharach ("The Look Of Love", "What The World Needs Now") y hasta una gran toma de "For What It´s Worth" de Buffalo Springfield, en unión con grandes clásicos brasileños de Ben, João Gilberto, Vinicius de Moraes, Gilberto Gil o Antonio Carlos Jobim y algunos temas propios.

A mitad de los años setenta, ya como Sérgio Mendes and Brasil ‘77, Mendes cayó bajo el influjo de las despampanante música de Stevie Wonder e hizo al menos media docena de sus canciones en un par de álbumes. Y en el LP “Sergio Mendes And The New Brasil '77” (Elektra, 1977), incluyó dos inéditas de Wonder, “The Real Thing” y “Love City”. Un disco en el que además el genio tocó piano y clavinet.

[crescentcitybynight]

Ayer dirigí la sexta sesión de "Morte Ascendō", la introducción del pj Lasombra de @montedemo-blog a mi Crónica de #V5 "Crescent City By Night".

Los 3 Lasombra implicados, y el ghoul que les lleva a todas partes, acudieron a la mansión de la Primogénita Toreador de Nueva Orleans en el caro barrio de Garden para asistir a su fiesta de bodas de plata y, de paso, presentarse ante el Príncipe de la ciudad y hacer pesquisas sobre qué ocurre con el "Hombre de Negro".

Aún nos quedará una sesión para acabarla, pero también aprovechamos para darles un nuevo aspecto a tres de los pnjs más importantes de la Crónica: El Príncipe Antonio Calbullarshi, su Chiquilla Marie D'Richet y la Primogénita Toreador Doña Matilde de Gálvez-Balmis, además de actualizar el aspecto del pj de Carlos.

Fue toda una experiencia y un reto introducirle en un capítulo de la Crónica que ya fue jugado por el resto de mis jugadores hace cerca de dos años...

Carlos de Montedemo, Lasombra autarca.

Antonio Calbullarshi, Tremere, Príncipe de Nueva Orleans (según su escueta descripción en el suplemento "New Orleans By Night" de White Wolf de 1994)

Marie D'Richet, Tremere, Chiquilla del Príncipe Calbullarshi (según su escueta descripción en el suplemento "New Orleans By Night" de White Wolf de 1994)

Doña Matilde de Gálvez-Balmis, Primogénita Toreador de la Corte de Nueva Orleans (basada en su retrato real)

En breve, la conclusión.

[80smovies]

[docpiplup]

LA ABADESA (2024)

Synopsis

In the 9th century, Emma of Barcelona (c. 880-942), a 17-year-old girl, is named abbess in order to repopulate and Christianize border territories in 897. Upon arriving at the abbey, she will have to overcome the mistrust aroused by a woman determined to fulfill her mission, which will lead her to confront nobles, like her brother Count Guifré II Borrel of Barcelona (874-911), peasants and the nuns themselves. Despite everything, Emma will show that it is possible to challenge established power structures. Although she will pay a high price to get it...

Emma is willing to carry out the commission of her deceased noble father, Count Guifré I of Barcelona, Guifré el Pilós (840-897), founder of the House of Barcelona: convert the abbey that he founded in 885, the Monastery of Sant Joan de les Abadesses, for which she is now responsible into the engine of change and transformation of a society that comes down. She must help with all her resources to help the lands that are emptied due to hunger caused by border wars, which in turn are a consequence of the ambitions of the feudal lords of the area.

Emma acquired small or large properties with which the monastery came to have a territory equivalent to that of a county. Her sovereignty was also similar to that of a countess: by concession from her father, her domains were exempt from all interference from the neighboring counts, whom she knew how to oppose with resistance.

On cinemas: Friday 22 March

Filming began in January 2023 at the Loarre Castle, and included scenes filmed at the Turó de la Seu Vella, until concluding at the end of February 2023.

Main cast

Emma of Barcelona - Daniela Brown

Eloisa - Blanca Romero

Guifré II Borrel of Barcelona - Carlos Cuevas

Eduard - Ernest Villegas

Odón - Oriol Genís

Bishop Gotmar of Vic– Joaquín Notario

Clara-Berta Sánchez Bajona

Melisenda - Anäel Snoek

Elvira- Olivia Auclair

Data sheet

Script and direction: Antonio Chavarrías

Produced by: Antonio Chavarrías, Jose María Morales, Miguel Morales, Mónica Lozano

Photography direction: Julian Elizalde

Editing: Clara Martínez Malagelada

Music: Ivan Georgiev

Casting: Irene Roqué, Carla Bisart, Sara Bisart, Elena Gómez Zarzuca and Doriane Flamand

Direct sound: Elsa Ruhlmann

Sound editing: Corinne Dubein

Blends: Emmanuel de Boissieu

Art direction: Irene Montcada

Costumes: Catherine Marchand and Pau Aulí

VFX: Natacha Brohan

Assistant director: Falele Ygueravide

Production direction: Anna Boneta

Executive producers: Alba Bosch-Durán, Flavia Biurrun and Jennifer Ritter

Co-producer: Huber Toint, Alex Verbaere, David Claikens, Samuel Feller

Production of Oberon Media, Wanda Films, Icono 2020, Saga Film, RTVE and TV3.

Poster

(Based on a true story/ Based on a true woman)

[allthebrazilianpolitics]

Local politician attacks journalist in Brazil

Brazilian authorities should investigate a councilor’s October 23 attack on journalist Godofredo Brito while he was reporting and hold those responsible to account, the Committee to Protect Journalists said Tuesday. 

Brito was arriving in his car to report on a public paving project in Cocal, a municipality in the northeastern state of Piauí, when councilor Antônio Carlos Camelo de Pinho ran toward him with a knife, tried to slash at him, and punched him, according to multiple news reports and videos published on Brito’s Facebook page.

Antônio Carlos Camelo de Pinho, also known as Carlão, is a city councilor in Cocal and a member of the Workers Party (PT). 

Brito, also known as the People’s Inspector, is an independent reporter who covers Cocal news on Facebook and YouTube, where he has a combined 12,000 followers. Brito received stitches to his forehead and filed a complaint with the police the same day, according to those sources and the police complaint reviewed by CPJ.

Continue reading.

[beyourselfchulanmaria]

Tracks:

1 The Girl From Ipanema 00:00

2 Fly Me To The Moon 05:25

3 Non-Stop To Brazil 07:44

4 Only Trust Your Heart 10:12

5 It Might As Well Be Spring 14:30

6 My Foolish Heart 18:45

7 Misty Roses 21:32

8 Tu Me Delirio 24:11

9 Corcovado (Quiet Nights Of Quiet Stars) 27:53

10 Manha de Carnival 32:10

11 If You Went Away 34:08

12 Here's That Rainy Day 37:30

13 I Will Wait For You 40:17

14 Who Can I Turn To? 45:01

15 Once Upon A Summertime 47:11

16 The Shadow Of Your Smile 50:18

🎨 Lorenzo Mattotti (Italian, b. 1954)

Rituali Intimi, 2021.

[pelomundodascidades]

Antonio Carlos Jobim / Eumir Deodato, Corcovado I Inútil Paisagem.As Maiores Composições de Antonio Carlos Jobim, 1964

[aperint]

Un suceso pocas veces contado

Un suceso pocas veces contado #aperturaintelectual #palabrasbajollave @tmoralesgarcia1 Thelma Morales García

[alfredsnightmare]

La Mansión de Araucaima (Carlos Mayolo, 1986)

[donfadrique]

I've mentioned on Zorro Discord that non-noble Spaniards preferred navaja knives.

Here is the finale of 'Bodas de sangre' (Bloody Wedding) by Carlos Saura, where flamenco dancers (one of them is the famous Antonio Gades) symbolically depict a fight with such knives.

And there was also el cuchillo and other types of long knives...

A flesh-eating knife

with sweet, murderous wing

keeps flying and shining

around my life.

© „Un carnívoro cuchillo (A flesh-eating knife)“

by Miguel Hernández

[tina-aumont]

Ca. 1971 - Maria II portrayed by Antonio de Benito when she was in the stage company Carlos Arrinches. At least she acted in 2 plays with them: “Julieta Tiene un Desliz” and “La Cigüeña Dijo Sí”, both in 1971.From the stage program for both plays, teatro.es

🌟Hi @shannendoherty-fans!! 🌟

Thank you very much for sending me this photo along with the information, it’s nice little by little we find more things about her stage carrer and we are figuring out in which stages she was in, how many seasons, which countries she visited… it’s really interesting!

Thank you very much for your great help, it’s much appreciated 💜💜

Eleni