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giancarlonicoli · 4 years ago

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26 ott 2020 19:41

LUCHERINISSIMO! ''CLAUDIA CARDINALE UN PO' MALMENATA (SI DICEVA) DA PASQUALE SQUITIERI LA CHIAMAVAMO 'BELLA DI BOTTE'. I DUE DE LAURENTIIS: MOMENTI DI BORIA. GIULIANA DE SIO: LA MELATO IMMAGINARIA. ELEONORA GIORGI: BIONDA FRÉGALO. SERENA GRANDI: SOTTO IL VESTITO GENTE'' - RICORDI E SUCCESSI DEL PRIMO PRESS AGENT ITALIANO: LA PARRUCCA A FUOCO DELLA MILO, LA GUERRITORE CON LA TELECAMERA IN POSTI PROIBITI. E LO SPETTACOLO TEATRALE CHE ORA DOVRÀ RIMANDARE…

Rodolfo di Giammarco per “la Repubblica - Edizione Roma”

«Tutti i palcoscenici, i set e le opportunità della mia vita hanno a che fare con Roma. Dopo due anni di Medicina all' università per far contento mio padre, a piazzale della Croce Rossa incontro ragazze e ragazzi che m' invogliano a fare un provino all' Accademia Nazionale d' Arte Drammatica, entro, e studio recitazione» ricorda parlando a raffica Enrico Lucherini.

«E quando lì il maestro Orazio Costa mi dice di fare "Edipo Re", e qualcuno commenta 'Ecco Edipo ai Parioli', capisco che sono un cane, me ne vado, ma una collega, Rossella Falk, mi convince a lavorare con la Compagnia dei Giovani insieme a Romolo Valli e Giorgio De Lullo, e giriamo l' Italia, andiamo in tournée in Sud America con sette commedie dove dico solo tre parole, e intanto assisto ai lanci dei nostri spettacoli a Montevideo, Lima, Caracas e Santiago, e quando torniamo in Italia m' invento la professione di press-agent».

Oggi Enrico Lucherini, energico 88enne, ha all' attivo, come testimoniano mostre antologiche e docufilm, la bellezza di 582 eventi da lui curati, valorizzati, resi clamorosi.

I primi spettacoli dal vivo da lei lanciati in che sale della Capitale figuravano in programma?

«Feci un' esperienza non facile all' Eliseo nel 1960 con un allestimento coraggioso di Visconti come "L' Arialda" di Testori che suscitò polemiche, censure e dissensi, con Luchino che rispose al pubblico col gesto dell' ombrello, e con Morelli-Stoppa, e Orsini, che manifestarono per protesta davanti al Quirinale. Poi al Valle nel 1965 mi sono occupato de "Il giardino dei ciliegi" sempre con regia di Visconti, ancora con Morelli-Stoppa, nel cartellone del Teatro Stabile della Città di Roma. Al contrario di allestimenti dolorosi e di routine, era un Cechov tutto fiorito e di color rosa, e ce l' ho nel cuore. Ma ricordo con uguale entusiasmo anche il battage per l'"Adelchi" di Vittorio Gassman nella tenda-circo piazzata nei pressi dell' Hotel Parco dei Principi. Che avventura nuova!».

All' inizio degli anni Sessanta lei è stato parte integrante della comunità notturna di via Veneto...

«Si andava al cinema, c' erano solo due locali importanti allora, e poi senza dircelo ci ritrovavamo tutti lì, in fazioni separate. Da Doney c' era il clan Visconti con Patroni Griffi, La Capria, Rosi. Di fronte, al Cafè de Paris, c' erano Flaiano, Fellini, Gassman e la Ferrero, De Feo, Talarico. Più su da Rosati c' erano i più seri e composti, tipo Antonioni e la Vitti, il regista Franco Indovina con Soraya, magari il Re Faruk con la cantante lirica Irma Capece Minutolo (che ribattezzammo Irma-capace-di-tutto).

Fioccavano i soprannomi.

Claudia Cardinale un po' malmenata (si diceva) da Pasquale Squitieri: Bella di botte. I due De Laurentiis: Momenti di Boria. Giuliana De Sio: la Melato immaginaria. Eleonora Giorgi: Bionda frégalo. Serena Grandi: Sotto il vestito gente. L' agente Carol Levi: L' onore dei prezzi...».

Intanto lei sfornava dovunque promozioni clamorose e s' era alleato con bravi paparazzi...

«Operavo anche in società. Dopo gli incarichi ricevuti per "La notte brava", "La ciociara" e "Il Gattopardo" chiesi aiuto a Matteo Spinola. Ed ebbi una fortuna sfacciata, che un po' m' andavo a cercare. Tra le prime cose che mi aiutarono a far rumore ci fu la richiesta dello sceneggiatore Gualtiero Jacopetti di dargli una mano per promuovere il film " Il mondo di notte" a base di spogliarelli: coinvolsi una regina dello strip- tease, Dodo D' Hambourg, la introdussi nell' inaugurazione di sei vetrine del sarto Emilio Schuberth a via Condotti, le chiesi di mostrarsi completamente nuda buttando via di colpo la pelliccia di zibellino, e ottenni che i fotografi urlassero, e che Schuberth ci cacciò furente dal suo atelier. Ma il giorno dopo eravamo su tutti i giornali».

Lei in quest' ambiente vanitoso, interessato, e pronto a qualsiasi colpo di scena, ha mai avuto amicizie serie, legami umani?

«Ho voluto bene a Luchino Visconti, Peppino Patroni Griffi, Vittorio Gassman e Marcello Mastroianni».

Può confessare una sua gaffe, un suo pauroso incidente professionale?

«Un giorno mi telefona Antonioni, mi prega di andare da lui alla Collina Fleming. Trovo in casa Monica Vitti, piuttosto cambiata da come l' avevo conosciuta in Accademia. Lui ha in mano la sceneggiatura di "Deserto rosso". Lei tocca la coda d' un pianoforte e dice 'Michele, viene, mi parla', a me lì per lì sfugge un 'Che dice?', e tutti e due mi guardano come se avessi rotto la poesia. Penso d' averla fatta grossa, ci salutiamo, vado via, e poi però vengo incaricato del film, e in seguito ho assistito Monica per i suoi film comici».

Tra circostanze a rischio e geniali trovate innocue, quali momenti del suo mestiere l' hanno divertita di più?

«Nella bolgia per la ballerina attrice turca Aiché Nana spogliatasi al Rugantino io c' ero, e il fotoreporter Secchiaroli mise in tasca a me i rullini quando fu perquisito dalla polizia, e l' ultima pagina dell' Espresso uscì inondata da quelle immagini. Con un' ambulanza salvai Agostina Belli che stava morendo in cella in un film agli Studios sulla Tiburtina. Calcolai bene come lanciare Sandra Milo sul set di "Vanina Vanini" facendole andare a fuoco la parrucca che io, Rossellini e Terzieff le strappammo un po' a fatica. In una conferenza organizzai un feroce litigio tra Monica Guerritore e un produttore accusato di aver messo una cinepresa non autorizzata che la riprendeva in certi punti chiave del corpo: un bluff.

Terrorizzai la Cardinale facendole accarezzare un ghepardo per il film "Il Gattopardo". Ma mi vanto d' aver fatto accettare a Sofia Loren la foto-manifesto disperata e violenta per "La ciociara". Mi piacque sorprendere i giornalisti a casa mia facendo loro scoprire dietro una porta Pieraccioni che leggeva un brano de "I laureati", o portare la stampa dietro le quinte del debutto di "D' amore si muore" di Patroni Griffi per svelare che il rumore del mare si doveva al rullio di sfere dentro un tamburo. Adesso a dare il buon esempio ci pensa il mio socio Gianluca Pignatelli».

Quando non deve sostenere un' impresa artistica, che Roma cerca e riconosce sua?

«Mio padre mi cacciò di casa e mi comprò un ufficio ai Parioli, in una traversa di Viale Parioli. Fuori dal lavoro andavo al Bar della Pace, ma ordinariamente vado con giornali e riviste al bar Cigno. Se capita, sono uno spettatore teatrale. Dopo le direttive di ieri, aspetterò che le sale riaprano. Io la stavo per far grossa: il 6 novembre avrei inaugurato, da attore, la stagione dell' Off/Off, con "C' era questo, c' era quello", raccontando memorie di tanto lavoro, accanto a un amico ingegnere, Nunzio Bertolami».

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foryourart · 7 years ago

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Lina Bo Bardi, Bardi House (Casa de vidro), São Paulo, Brazil, 1949-1952, view from the northeast, photograph by Nelson Kon, 2002, Courtesy Nelson Kon. Image courtesy of Palm Springs Art Museum.

Thursday, October 19

LATIN AMERICAN ARTISTS IN THE MARCIANO COLLECTION, Marciano Art Foundation (Mid-Wilshire), 11am–5pm.

CULTURE FIX: HEATHER SHIREY ON THE BAIANA AND AFRO-BRAZILIAN IDENTITY, Fowler Museum (Westwood), 12–1pm.

Paul Brach Visiting Artist Lecture Series: Dorit Cypis, CalArts (Valencia), 12pm.

Psychedelic Cello by Justin Lepard, CalArts (Valencia), 12–1pm.

Chicana Photographers L.A., WEINGART GALLERY (Westchester), 5–8pm.

Albert Frey and Lina Bo Bardi: Environments for Life, Palm Springs Art Museum (Palm Springs), 5pm.

Architects for Animals® Giving Shelter, HermanMiller Showroom (Culver City), 5:30–9:30pm. $50–500.

Artist and scholar walkthroughs: Micol Hebron, Hammer Museum (Westwood), 6pm.

THE CUT | EL CORTE: A Fitness Class & Papel Picado Workshop, Craft and Folk Art Museum (Miracle Mile), 6–8pm. $20.

Alan Gutierrez: INTRO, Artist Curated Projects (Echo Park), 6–8pm.

San Pedro House History Workshop, Angels Gate Cultural Center (San Pedro), 6pm.

Climate Change and the Shaping of Asia, Getty Center (Brentwood), 7pm.

Bayard & Me Documentary Screening followed by a shorts program and Q&A, Vista Theater (Los Feliz), 7pm.

Adriana Varejao: Transbarrocco, Lloyd Wright Sowden House (Los Feliz), 7–9pm. Through October 21. RSVP here.

Dis Miss: Performing Gender, USC (Downtown), 7pm.

Film Night: Seven Cities of Gold, Laguna Art Museum (Laguna Beach), 7pm.

Rodrigo Valenzuela Lecture, Hammer Museum (Westwood), 7:30pm.

Film: Free Screening | 11/8/16, LACMA (Miracle Mile), 7:30pm.

Film Night: Seven Cities of Gold, Laguna Art Museum (Laguna Beach), 7:30pm.

Oscar David Alvarez, PØST (Downtown), 8pm.

Modernism week fall preview weekend, various locations (Palm Springs), various times. Through October 22.

Friday, October 20

Symposium – Art from Guatemala 1960 - Present, Museum of Contemporary Art Santa Barbara (Santa Barbara), 10am. $15.

International Orchid Show & Sale, The Huntington (San Marino), 10am–5pm. Through October 22.

School of Music Visiting Artist Series: Pascale Criton with Silvia Tarozzi and Deborah Walker, CalArts (Valencia), 10am–12pm.

STORY TIME AT THE FOWLER, Fowler Museum (Westwood), 11:30am–12:30pm.

Charles Phoenix: Addicted to Americana Live Comedy Slide Show Performance, Palm Springs Art Museum (Palm Springs), 3–5pm. $40.

Christopher Michlig and Jan Tumlir in Conversation, 1301PE (Miracle Mile), 5pm.

Inès Longevial: Sous Le Soleil, HVW8 Gallery (Fairfax), 6–9pm.

Stepping into the Radiant Future, LAST Projects (Lincoln Heights), 7–11pm.

Feathers of Fire: A Persian Epic, Wallis Annenberg Center for the Performing Arts (Beverly Hills), 7:30pm. $45–125. Through October 29.

Latin Rhythms: Cha Cha Cha Dance Class, Museum of Latin American Art (Long Beach), 7–9pm.

Mark Edward Rhodes & Jeanete Clough, Beyond Baroque (Venice), 8pm.

Book Launch: PLAYING MONSTER :: SEICHE by Diana Arterian, Human Resources (Chinatown), 8pm.

Princess Diana in Auschwitz, CalArts (Valencia), 8pm. Through October 24.

WHAP! Lecture Series: 'in/ibid./form', West Hollywood Public Library (West Hollywood), 7:30pm.

PST: LA/LA Santa Barbara Weekend, various locations (Santa Barbara), various times. Through October 22.

Saturday, October 21

UCLA ART HISTORY GRADUATE SYMPOSIUM, Fowler Museum (Westwood), 9am–5pm.

12th annual Los Angeles Archives Bazaar, USC (Downtown), 9am–5pm.

An Ephemeral History of High Desert Test Sites: 2002-2015, High Desert Test Sites (Joshua Tree), 9am. Continues October 22.

Family Festival, Getty Center (Brentwood), 10am–6pm.

The Beverly Hills Art Show, Beverly Gardens Park (Beverly Hills), 10am–5pm. Also October 22.

Frederick Hammersley: To Paint without Thinking, The Huntington (San Marino), 10am–5pm.

Modern Masters from Latin America: The Pérez Simón Collection, The San Diego Museum of Art (San Diego), 10am–5pm.

A Generative Workshop: Gathering Imagery from the Internal Well with Holaday Mason, Beyond Baroque (Venice), 11am–3pm.

Fall Yoga Series, Women’s Center for Creative Work (Frogtown), 10:30am–11:30am. $12–15.

Fall 2017 Brewery Artwalk, the Brewery (Downtown), 11am–6pm. Continues October 22.

Print making with recycled materials, Side Street Projects (Pasadena), 11am–1pm.

Strike a Pose: Improv Comedy in the Portrait Gallery, The Huntington (San Marino), 12:30, 1:30, and 2:30pm.

Festival For All Skid Row Artists, Gladys Park (Downtown), 1–5pm. Continues October 22.

The 3rd Space: Political Action Workshop, Women’s Center for Creative Work (Frogtown), 1–4pm. $5–10.

EXHIBITION TALK & TOUR: Eva J. Friedberg, Daria Halprin & Edward Cella, Edward Cella Art+Architecture (Culver City), 1:30pm.

ARTIST TALK: KAJAHL: Unearthed Entities, Richard Heller Gallery (Santa Monica), 3–5pm.

Alison Blickle: Supermoon, Five Car Garage (Santa Monica), 3–5pm. RSVP to [email protected].

The 2017 Eyeworks Festival of Experimental Animation, REDCAT (Downtown), 3, 5, and 8pm.

Jeffrey Schultz & F. Douglas Brown, Beyond Baroque Foundation (Venice), 4pm.

Jaime Guerrero & Bradley Hankey Artist Talks, Skidmore Contemporary Art (Santa Monica), 4pm.

Film: Mapa Teatro’s Project 24, LACMA (Miracle Mile), 4pm.

Los Angeles Filmforum presents Three screenings with Argentinian filmmaker Claudio Caldini, USC (Downtown), 4pm.

When Ice Burns: New works by Diane Best, Porch Gallery (Ojai), 5–7pm; artist talk, 4pm.

Astrid Preston: Upside Down World and Rose-Lynn Fisher: The Topography of Tears, Craig Krull Gallery (Santa Monica), 5–7pm.

VICTOR ESTRADA (IN CONJUNCTION WITH PACIFIC STANDARD TIME), MARTEL SPACE: RICHARD HAWKINS, MARTEL WINDOW PROJECT: MALISA HUMPHREY, Richard Telles Fine Art (Fairfax), 5–8pm.

ARCHAEOLOGY REINVENTED, R.B. Stevenson Gallery (La Jolla), 5–8pm.

The Xenomorph's Egg, Patrick Painter Gallery (Santa Monica), 6–8pm.

The Unconfirmed Makeshift Museum, Klowden Mann (Culver City), 6–8pm.

Personal Vacation and 3 Solo Shows, Los Angeles Art Association/Gallery 825 (West Hollywood), 6–9pm.

FRAY: Art and Textile Politics, Craft and Folk Art Museum (Miracle Mile), 6–8pm. $20.

Mike Kelley: Kandors, Hauser & Wirth (Downtown), 6–9pm.

Homeward Bound, Nicodim Gallery (Downtown), 6–8pm.

Kelly McLane: PECKERWOODS and Augusta Wood: PARTING AND RETURNING, DENK Gallery (Downtown), 6–8pm.

In Order of Appearance and Luke Butler: MMXVII, Charlie James Gallery (Chinatown), 6–9pm.

Jennifer Precious Finch (L7) & KRK Dominguez, Red Pipe Gallery (Chinatown), 6–10pm.

Open Studios, Keystone Art Space (Lincoln Heights), 6–10pm.

The Very Best of OMA Artist Alliance 2017, L Street Fine Art (San Diego), 6–8pm.

Dany Naierman: PORT CAPA, Angels Gate Cultural Center (San Pedro), 6pm.

Arco Iris, Giant Robot Store + GR2 Gallery (Sawtelle), 6:30–10pm.

South of the Border, The Loft at Liz’s (Mid-City), 7–10pm.

Killer Bees at MAR-A-LAGO, Tieken Gallery LA (Chinatown), 7–10pm.

Art Moura, The Good Luck Gallery (Chinatown), 7–10pm.

Rafael Cardenas - From The Holocene, Exhale Unlimited (Chinatown), 7–10pm.

Story Tellers: a DIA de los MUERTOS, Museum of Latin American Art (Long Beach), 7–11pm.

Yare: One More Dance by Cristobal Valecillos, Timothy Yarger Fine Art (Downtown), 7:30–10pm.

Laurel Atwell and Jessica Cook: Debris, Pieter (Lincoln Heights), 8–10pm. $15.

Sunday, October 22

Adrián Villar Rojas: The Theater of Disappearance, The Geffen Contemporary at MOCA (Downtown), 11am–5pm.

Healthy Urban Living Team Building, Women’s Center for Creative Work (Frogtown), 11am–1pm.

Origin Stories Workshop with Nicole Rademacher & Jerri Allyn, Self-Help Graphics & Art (Downtown), 12–3pm.

2017 A.G.Geiger Art Book Fair, 502 Chung King Plaza (Chinatown), 1–7pm.

Community Celebration, Museum of Contemporary Art Santa Barbara (Santa Barbara), 1–4pm.

Talk: Conversation & Book Signing: Michael Govan and Walter Isaacson on Leonardo da Vinci, Lacma (Miracle Mile), 2pm.

Nature Deficit Disorder Workshop, Women’s Center for Creative Work (Frogtown), 2–6pm. $60–75.

BORDERS and NEIGHBORS screening and panel discussion, Los Angeles Central Library (Downtown), 2pm.

Lecture: Jens Hoffman, Santa Barbara Museum of Art (Santa Barbara), 2:30–4pm.

PUBLIC WALKING TOURS: Lawrence Halprin: Reconnecting the Heart of Los Angeles, various locations, 2:30pm. Also November 5 and 19 and December 17.

Constellations and Connections: A Panel Discussion on Axis Mundo, West Hollywood Council Chambers (West Hollywood), 3pm.

Neighborhood Walk and Draw, Women’s Center for Creative Work (Frogtown), 4–5:30pm.

Akio Suzuki and Aki Onda, Baldwin Hills Scenic Overlook (Culver City), 4pm.

For Us By Us, Women’s Center for Creative Work (Frogtown), 6:30–10:30pm. $5 donation.

GALLERY TALK | Peter Frank with Robert Standish, KM Fine Arts (West Hollywood), 5–7pm.

FALL IN LOVE WITH FREY, Palm Springs Art Museum (Palm Springs), 6–9pm. $125–175.

Claudio Caldini, Echo Park Film Center (Echo Park), 7:30pm. $5.

Monday, October 23

Yare: One More Dance by Cristobal Valecillos, Timothy Yarger Fine Art (Beverly Hills), 10am–6pm.

Kellie Jones, Art + Practice (Leimert Park), 7pm.

Fantasmas Cromáticos: 8mm Visions of Claudio Caldini, REDCAT (Downtown), 8:30pm. $6–12.

Tuesday, October 24

The Bombay Sapphire Artisan Series, 101/EXHIBIT (West Hollywood), 10am–6pm.

Movement and Landscape: Celebrating the Halprin Legacy, Central Library (Downtown), 12pm.

PUBLIC DANCE PERFORMANCE: Heidi Duckler Dance Theatre, Central Library (Downtown), 12pm.

Film: The Invisible Man, LACMA (Miracle Mile), 1pm.

The Music of Latin America in Los Angeles, The Artform Studio (Highland Park), 6:30–9pm.

FLAVORS OF MEXICO, Skirball Cultural Center (Brentwood), 7:30–9pm. Also November 14 and December 12.

No Mas Bebes, Hammer Museum (Westwood), 7:30pm.

El Automóvil Gris, Skirball Cultural Center (Brentwood), 8pm.

Sounding Limits: The Music of Pascale Criton, REDCAT (Downtown), 8:30pm. $12–20.

Wednesday, October 25

FOWLER OUT LOUD: SAMANTHA BLAKE GOODMAN, Fowler Museum (Westwood), 6–7pm.

LAND's 2017 Gala, Carondelet House (MacArthur Park), 6–11pm.

Screening and Conversation with Filmmakers Ben Caldwell, Barbara McCullough, and Curator Erin Christovale, Fowler Museum (Westwood), 7–9pm.

We Wanted a Revolution, Black Radical Women 1965–85 curatorial walkthrough, Lezley Saar: Salon des Refusés, California African American Museum (Downtown), 7–9pm.

Making Athens Great (Again?): Modern Lessons from the Age of Pericles, Getty Villa (Pacific Palisades), 7:30pm.

Kellie Jones: South of Pico, Hammer Museum (Westwood), 7:30pm.

Soundbath With Chakra Crystal Singing Bowls Series, Women’s Center for Creative Work (Frogtown), 7:30–8:30pm. $16–20.

Performance: Live/Work, Honor Fraser Gallery (Culver City).

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skillzme · 6 years ago

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2018 In-House Creative Industry Report [Infographic]

It is always the question in a lot of organizations. Where does the creative team report to, where does their budget come from, how do costs get replicated to actual client job cards? In the 2018 survey of over 400 in-house creative teams in agencies, the questions get highlighted and answered.

Digital Marketing is not anymore like traditional marketing. In the era of digital transformation happening everywhere, marketers want a proof of their investment. The 2018 In-House Creative Industry Report by Cella The BOSS Group looks into the creative departments and compiled a summary of the report which we illustrated in the infographic below. Let's have a quick look at the most important findings in the survey.

Department Organization

83% of responding creative leaders indicated their department reported through a strategic, value-adding department such as marketing, communications, advertising, brand or some combination of those divisions. When the creative team is positioned within one of these divisions, the organization is more likely to be considered strategic and value-adding. In contrast, when a creative team reports through a shared-services division, the department is often viewed as a commodity, which makes it more difficult to succeed in becoming a strategic partner. It is possible to overcome the disadvantage of not being aligned with the marketing (or alike) department; it just requires the creative team to create a brand for itself outside of its "home". Leaders of in-house groups regularly face ongoing competing priorities, leaving them without adequate time to develop their leadership teams. It is important that leaders prioritize professional development for themselves and their direct reports to ensure the ongoing growth and success of the team members and group. Q: Into which division does your creative team/in-house agency report? 1 Hybrid of two or more: advertising, brand, marketing, communications and/or sales 2 Other includes advertising, brand and public affairs 3 Other includes but is not limited to: R&D, procurement, legal, finance, misc. executives

Department Funding

Regardless of an in-house agency’s financial model, proving the group’s value is a constant expectation. Tangible results stem from managing your group’s budget and demonstrating cost savings against external agencies, in addition to providing on-time, high-quality creative. Instituting a chargeback funding model is a natural evolution for an internal creative organization and an important step in eliminating a number of challenges common to “free” creative services. Typically, this shift is due to several factors, including department size, project volume/workload, resourcing and competition with outside agencies. This evolution requires many organizational changes that include standardization of processes and procedures, internal marketing activities, realignment of resources and improved project management. Moving to a chargeback model signals the team will operate more like a creative agency in both business operations and creative direction. Being a cost center (non-chargeback department) can be a great thing, the creative leader can focus on the value of the creative that his or her team is creating and won’t be burdened by financial pressures. However, the most significant challenges for non-chargeback departments still remains affecting client behaviors. Q: Have you ever been asked to provide a cost comparison between your in-house team and comparable external agencies?

The smaller a creative team/in-house agency, the more likely they are to not charge back. Case in point: only 27% of departments with fewer than 30 team members charge back,whereas 65% of teams over 50 charge back.

Department Resourcing

Creative leaders must be careful in demonstrating a desire to grow their team. Too often a desire to grow a team can be viewed as “empire building;” leaders must be prepared to substantiate headcount requests based on business need. In addition, leaders need to be prepared to promote the adoption of new processes and tools to support the growth in order to grow in a mature, scalable manner. Ensuring you’re appropriately staffed is a constant balancing act creative leaders face on a day-to-day basis. Flexible staffing models and principal partnership agencies continue to provide creative teams and in-house agencies support during peak periods without increasing staff size. Including a budget that allows for flexibility is critical — in fact, your budget may be better spent in not hiring an FTE and instead using the same funds to pay several temporary workers during peak periods. Q: What is your perception of the available talent in the marketplace right now?

Service Offerings

The number of projects creative teams and in-house agencies produces annually is loosely linked to their size. While it’s interesting to discuss volume in terms of the number of projects, it’s not an apples-to-apples comparison across organizations. Service offerings continue to evolve and expand, providing growth for creative teams and in-house agencies. However, new complexities require specific expertise and skill sets. Volume in its truest form should be discussed in terms of the number of “billable” or “utilized” hours per year. In addition, the various complexities in the work itself are not captured under project count and are better evaluated with hours in assessing the level of effort put into the project. Core Competencies Staying current with, let alone ahead of, the growing complexities of our ever-evolving service offerings opportunities is no easy feat. Determining which service offerings to expand into is a process, and you shouldn’t set your team’s goal to “be everything to everyone.” Be selective in your core competencies and stick to them, regularly reevaluate them and adjust as needed. Don’t be afraid to identify work to be outsourced to third parties. There is still value in your team art directing and project managing projects; creative execution of all media types doesn’t have to be within your core competencies. Q: What is the % of team hours spent on digital projects vs. print projects?

Partnerships

Partnering with agencies is often in the best interest of the business or organization and your internal team. So as a leader you must work to take away the fear of bringing in outside expertise and embrace the possibilities. It is difficult to do everything on your own. Beyond simply sharing the workload, there are other key reasons to further agency relationships, including keeping up with a dynamic business environment, “integrated” creative excellence, career development for your team and efficient delivery.

Global Operations

Firms are taking two approaches with global operations. Some teams are choosing to use a global approach in low-cost markets to take advantage of cost savings and offer a more “24/5” approach, while others are serving global creative needs by positioning their teams in global offices close to their customer base. For in-house groups with multiple locations, tactically evaluating the benefits and drawbacks of each location’s operations is critical. Most commonly you will find trends demonstrating a need for brand continuity, increased cost savings, which leads to shifting more capabilities and roles to a lower-cost labor market, either domestically or internationally. Following are challenges to prepare for with global operations: Technology: Remote teams often experience slowness in the shared network, which is something that may not be able to be improved. Process: There is a critical need for effective and efficient project hand-offs across locations. Communication of project details and creative direction is a constant challenge. The clock: Depending on the global locations, short or nonexistent time zone overlaps create hurdles in connecting and clarifying, which in turn can negatively impact turnaround time.

Values & Challenges of In-House Teams

Many creative groups stand on the value proposition of being lower cost (whether that is free or a charge back rate that is lower than agencies), and while that value will open doors, it won’t keep them open. It’s extremely important that creative leaders identify and preach the team’s value outside of cost. Institutional knowledge and shared company values and goals are other highly recognized values of an in-house group, with the greatest value being brand knowledge. Almost regardless of industry, company size and team size, the challenges of creative leaders are very consistent. Year over year, affecting client behaviors remains the greatest principal challenge. Resourcing, innovation and skill sets are also top challenges. Ensure your group’s value proposition by proactively creating a strategic plan with these challenges in mind.

Creative Leader

Though 74% of in-house creative leaders are mostly or extremely satisfied in their current roles, almost half responded that career pathing for themselves and their teams is one of their greatest challenges. It’s not surprising to learn that almost 30% of creative leaders aren’t confident in the job market for roles similar to the ones they are in. Although creative teams and in-house agencies are on the rise — both in size and number — there still isn’t an abundance of them, let alone open senior roles. So for the 61% of leaders who responded that their next career move could most likely be another in-house creative group, they may be looking at relocation or alternative options.

Summary - Survey Participant Demographics

Survey responses were filtered to represent only responses by in-house creative leaders. To identify leadership-level responses Cella filtered titles per the chart below. Responses were further narrowed down to eliminate duplicate responses and ensure one unique response per company and/or each in-house agency residing within an organization. See the summary infographic below and read the complete report, the link can be found below.Source: http://www.creativeindustryreport.com/2018/2018_IHCSIR_Report_by_BOSS_and_Cella.pdf Read the full article

#AdobeCreativeCloud #AdobePhotoshop #CorporateCommunication #DigitalContent #DigitalMarketing

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radioromania · 6 years ago

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Valentin Gheorghiu, Ana Blandiana, Alina Pavalache şi Lia Perjovschi, laureaţi ai Premiilor Speciale la Gala Premiilor Radio România Cultural

(26 februarie 2019)

Patru personalităţi ale culturii române, ale căror nume sunt sinonime cu excelenţa în cultură, patru oameni care au marcat de-a lungul anilor spaţiul cultural românesc şi internaţional prin realizările lor, primesc premiile speciale oferite de Radio România Cultural, în cadrul Galei care va avea loc, luni, 18 martie, de la ora 19:00, la Teatrul Odeon din Bucureşti.

Premiul de excelenţă îi va reveni maestrului Valentin Gheorghiu

Sunt mai bine de opt decenii de când maestrul Valentin Gheorghiu s-a dedicat artei pianistice mondiale. A trecut prin timp cu distincţie şi sobrietate, oferind publicului cu eleganţă originală momente memorabile pe scenele de concert. George Enescu, în scrisoarea adresată Ministerului Culturii din vremea aceea, l-a remarcat pe copilul Valentin Gheorghiu: „un talent ce trebuie supravegheat îndeaproape”.

„Valentin Gheorghiu a devenit dirijorul unui singur instrument, pianul, care sub degetele sale sună din toate instrumentele unei orchestre”, remarca despre el Cella Delavrancea.

Pianistul, pedagogul şi compozitorul Valentin Gheorghiu este astăzi un simbol al muzicii româneşti, personalitate care comprimă nobleţea artei sonore de aproape un secol.

Premiul 30 de ani de libertate este acordat scriitoarei Ana Blandiana

„Vom muri şi vom fi liberi’’ s-a strigat acum 30 de ani, la Revoluţie. În cele trei decenii care au trecut, românii au demonstrat, de multe ori, că nu sunt în stare să preţuiască şi nici să gestioneze libertatea câştigată prin luptă. Scriitoarea Ana Blandiana a ştiut, de la bun început, atât valoarea, cât şi preţul libertăţii. Ea a devenit repede una dintre cele mai importante figuri ale mişcării civice din ţara noastră. S-a numărat printre iniţiatorii Alianţei Civice şi a creat, împreună cu Romulus Rusan, Memorialul Victimelor Comunismului şi al Rezistenţei de la Sighetu Marmaţiei. Astfel, cea mai de temut închisoare din anii 50 a devenit primul memorial din lume dedicat victimelor comunismului. Aşa cum în aceste trei decenii de libertate Memorialul de la Sighet s-a impus ca cel mai important proiect realizat la noi împotriva uitării propriei noastre istorii, tot aşa Ana Blandiana a devenit un reper incontestabil al luptei noastre pentru adevăr şi libertate.

Premiul Sezonul cultural România-Franţa se acordă pianistei Alina Pavalache

Alina Pavalache, pianistă solistă şi acompaniatoare de origine română, naturalizată în Franţa, este unul dintre cei mai activi promotori ai muzicii româneşti în spaţiul francez.

Alina Pavalache este director artistic şi coordonator al Concursului Internaţional Georges Enesco, ajuns la ediţia a V-a, parte din Întâlnirile muzicale Georges Enesco de la Paris. Din 2014, organizează la Teşcani, în parteneriat cu Muzeul George Enescu’, cursuri de masterclass susţinute de mari personalităţi: Viorica Cortez, Leontina Văduva, Jean Philipe Lafont, cursuri cu specificitate pentru repertoriul românesc şi francez, realizând integrala lucrărilor pentru voce şi pian de George Enescu. A înfiinţat, la Bucureşti, la Colegiul Naţional George Enescu, prima academie a Şcolii Normale de Muzică Alfred Cortot din Paris, şcoală unde au cântat George Enescu, Dinu Lipatti şi alţi mari muzicieni români. Prin acest proiect unic, Şcoala Alfred Cortot acordă burse de studiu pentru tineri pianişti şi violonişti, în perioada 2018-2019 şi 2019-2020, ca o prelungire firească a ideii de colaborare permanentă între România şi Franţa în plan muzical.

Premiul România europeană revine artistei Lia Perjovschi

Lia Perjovschi deţine o incredibilă capacitate de a articula discursuri artistice care sparg graniţele convenţionalului. Artista lucrează cu arta fluid, ştiind, cu inteligenţă şi atenţie, să integreze o multitudine de alte discursuri ale lumii contemporane. Lia Perjovschi îşi transformă privitorii în martorii unei arte vii, o artă care nu se află nici în competiţie cu alte domenii, nici undeva sus într-o ierarhie imaginară. Din anii '80 şi până în prezent, arta sa este cunoaştere, arhivă, este o artă organică. Pentru Lia Perjovschi, arta contemporană este un teritoriu fără ziduri, aşa cum cunoaşterea nu are margini. Cu tenacitate, Lia Perjovschi duce mai departe spiritul european al avangardelor, analizează şi cercetează continuu, menţinându-şi vii scepticismul, curiozitatea, spiritul critic şi cel de revoltă.

A XIX-a ediţie a Galei Premiilor Radio România Cultural este un eveniment marca Radio România, produs de Radio România Cultural, în parteneriat cu Teatrul Odeon. Spectacolul va fi transmis în direct onair şi online de Radio România Cultural.

Nominalizările pentru cele opt categorii de premii vor fi anunţate pe 4 martie.

Invitaţiile la Gala Premiilor Radio România Cultural pot fi solicitate la tel: 021.303.1515

Serviciul Comunicare şi Relaţii Publice

Adăugat de Luciana Gingăraşu

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mademoisellesarcasme · 7 years ago

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Okay I already wrote 11 questions and now I’ve been tagged in 2 more and should go to sleep but am going to answer them instead.

tagged by @and-back-to-normal-life

1. Describe your “aesthetic”. Ideally, punk-rock 50s housewife. @catefrankie says Im well on my way. :3

2. If you were to decorate a bedroom with Christmas lights, what kind would you use? Um, warm whites. Probably the long strings of warm white incandescent bulbs, with a few warm white LED stars thrown in (I love the stars so much). And if I could find a true purple, I’d use those, but I have no idea where to find True Purple lights... they’re all always just so pink. (maybe a Halloween sale...)

3. What is your favorite medium of art? Pen and ink is fastest for me (or graphite, I’ve got a good grasp on that), but I really do love working with fabrics. I just don’t really see them as art, I guess. Not in the same way. They’re never Art Pieces... just fun things.

4. What is something odd that you always seem to notice in people or yourself? Handedness! Always notice fellow lefties. Also whether or not people have rings or religious medals.

5. Tell me 5 things about you that make you YOU. Uhhhh. 1. Exceedingly enthusiastic and passionate. About EVERYTHING. 2. Opinionated. So much. Again, about everything. 3. Huge fuckin nerd. In the past three days, I have recommended Miraculous Ladybug to a coworker, recommended Sesame Street to a francophone lady learning English, and told another coworker about Claire Temple the Night Nurse and the context in which Claire Temple exists (a gloss, but still). Also, on my desk are many pieces of paper containing made-up language and alphabet things for my oldest friend’s book. Which I developed. For funzies. 4. Slightly obsessed with communication. I think that’s why I want to learn so many languages. 5. *~* a e s t h e t i c *~*

6. Your preferred color palette? Cool colours, with pops of red/pink. Also silver.

7. Who was the main person who taught you how to drive? Did they do a good job? My mom did lots of the groundwork, and @coruscanttojerusalem has taken on the lion’s share of actual driving time lately. Mom did pretty okay; he’s also doing pretty okay. He is much more patient.

8. How many different places have you lived? Which place do you identify with the most? What is a place you aspire to live in one day and why? I have lived in 4 places, now: North Carolina, 2 cities in upstate NY, and DC. I identify the most with the place where my parents live because that’s where I go when I say “I’m going home for [event].” I aspire to live on a cliff overlooking one of the Great Lakes... some day. SOME DAY.

9. What is something from your childhood imagination that you still get occasional deja vu about? Um... deja vu might not be the word, but I still believe in magic. It’s just way lower-key than my childhood obsession with fairies. (the Artemis Fowl series absolutely fueled that obsession.)

10. Tell me about a conversation you’ve had with God recently. How was it? How do you feel about it? Cella dear I have told you all the good ones lately, and they’re not worth publishing publicly. <3

11. What is your favorite kind of music to dance to, or jam out to? Anything I know how to dance to, which is almost any kind of music in a few set tempo ranges! Lately work has been playing lots of old jazz and swing numbers, and I get excited and miss dancing when I hear them.

---- and now the set from @theoneman-army

1. Are you tired right now? Why or why not? Yes. It’s 2am. 2. Is there someone who you can be a total fool around and you don’t have to worry about it? Oh absolutely. 3. What is something bothering you right now? How are you working to solve the problem? I am house-hunting AND job-hunting at the same time and it’s awful. I’m... doing whatever I can? Looking up houses? reaching out to people? following up on leads? etc etc? 4. Do you like cooking? What is your favorite thing to cook? Do people think you are a good cook? Yeah, when I have the time! I make a lot of fried rice or quasi-Asian meals because they’re pretty easy and involve lots of eggs, but I think I most like making dinners for guests. Doesn’t really matter what. Most people do think I am a good cook, I guess? 5. Are you allergic to anything? Um, I think mineral oil. 6. Who is someone you can go to to talk about anything going on in your life? How has this person changed you? Well, @coruscanttojerusalem and I have had a really close spiritual friendship for the past couple years, and the changes we’ve made on each other are kinda... drastic? I guess? in a positive way. He kinda kicked me in the butt and made me actually develop a spiritual life. I remind him of this, and of all the things I’ve learned along the way, constantly. 7. Are you a morning person or a night owl? Which do you want to be? When are you the most productive? Night owl; I’m perfectly happy with it, honestly. I’m most productive between 9 or 10pm and 3am. 8. Do you like road trips? when was the last time you went on vacation? Where was it to? Oh yeah, but only with the right people! I guess Texas was my last vacation, in January... I’m not sure I’ve had a real “vacation” in ... years, by now... 9. What are some of your favorite tv shows? Any reasons why they are your favorites? Definitely Avatar: the Last Airbender. It’s clever and heartwarming and has wonderful characters. Also Brooklyn 99, despite recently punching my heart in the face, because it also has amazing characters. Pushing Daisies is excellent... I dunno. Yeah. 10. Write something nice to an 8-year old you. Dear little E, Keep writing! Keep drawing! Keep being you! You’re awesome! You should believe that forever! Love, Big E 11. When was the last time you did something nice for someone, even if it was a small gesture? What was the reaction? Why do you think this reaction happened? So you see, I work in retail. I often have opportunities to do something nice for people. Today I brought a regular her coffee even though she was planning on getting up and getting it herself. She looked very pleasantly surprised and told me she could come get it and I said it was no issue, did she see how dead it was? Which was true. It was pretty dead today. It’s not normal Starbucks service (bringing coffee to people) but it’s less uncommon than you think around my particular store (which specialises in hospitality as well as fancy-ass coffee). I do stuff like this a LOT because I realise I have one chance to make someone’s day better. I often give out compliments on outfits! That’s my favourite and easiest trick. Tell a girl her [outfit/aesthetic/ensemble/piece] looks nice, and she just lights right up.

I am so not doing eleven more questions I’m showering and going to sleep good night fellas

#taggy stuff

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pangeanews · 4 years ago

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“I poeti vivono nella notte, pregano e contemplano, per questo sono necessari”. Ascoltiamo Adam Zagajewski

Adam Zagajewski è tra i grandi poeti viventi, il 21 giugno scorso ha compiuto 75 anni, appartiene alla stagione di Seamus Heaney, Iosif Brodskij, Derek Walcott: effettivamente, si conoscevano tutti. Da tempo si dice che sarà il prossimo Nobel – profezia non beneaugurante –, negli Stati Uniti i suoi libri – compreso l’ultimo, “Asymmetry”, del 2018 – sono editi da Farrar, Straus and Giroux, l’editore più importante che c’è per la poesia, in Italia è stampato da Adelphi (“Tradimento”, 2007 e l’antologia “Dalla vita degli oggetti”, 2012), mentre la nota italica Wikipedia lo piglia sonoramente per i fondelli: “È noto soprattutto per la poesia Prova a cantare il mondo mutilato, uscita sul periodico statunitense The New Yorker dopo gli attentati dell’11 settembre 2001”. A volte mi pare che ci sia una cospirazione dei poetini italiani, quelli modesti, per evitare che i poeti veri approdino su queste coste; comunque, il menefreghismo è imperiale. Nato a Leopoli, Zagajewski subì il destino di molti dei suoi: costretto all’esilio in Polonia, studia a Cracovia. S’impegna contro “la falsificazione della realtà e il linguaggio ideologico promosso dalla propaganda comunista”, e i suoi testi vengono banditi dalle autorità polacche. Nel 1982 emigra a Parigi, abiterà per qualche anno negli Stati Uniti; dal 2002 è tornato a Cracovia. Nel 2017 la Spagna lo ha onorato con il “Princesa de Asturias”, andato, negli anni, a Philip Roth, Leonard Cohen, Paul Auster, Juan Rulfo… Per questo, per leggere di lui dobbiamo sfogliare “El País”. Di Zagajewski suggerisco due leccornie bibliografiche: l’antologia “Prova a cantare il mondo storpiato”, a cura di Valentina Parisi (Interlinea, 2019) e “Il fuoco eracliteo nel giardino d’inverno”, doppio volume edito da Raffaelli nel 2017, a cura di Alberto Fraccacreta.

***

Lei ha scritto di “giornalismo onnipresente” e dell’altrettanto onnipresente “scienza popolare”. Esattamente ciò che abbiamo assistito in questo periodo: lei, come lo vive?

Facendo ciò che ho sempre fatto… Rispetto i bravi giornalisti, che cercano la verità e indagano le cose, con profondità, è chiaro. Eppure: il giorno appartiene al giornalismo, la notte ai poeti, ai musicisti. Dalla parte notturna dell’esistere otteniamo un po’ di forza, perché la notte non è soltanto simbolo di oscurità e paura, ma anche di arte e riflessione… D’altro lato, continuo la mia vita sedentaria: non viaggio più, seguo ciò che accade nel mondo, vivo una vita mentale.

Ha vissuto parte della sua vita negli Stati Uniti. Cosa pensa della tragedia scaturita dal caso Floyd?

La società americana è profondamente divisa. È tragico che quel paese straordinario, che ha salvato per due volte l’Europa dal conflitto bellico, sia ferito da questa profonda frattura. Ho avuto diversi colleghi afroamericani che non hanno avuto alcun problema di integrazione. Uno dei miei migliori amici è stato Derek Walcott, l’immenso poeta caraibico. Londra mi pare un buon esempio di società multirazziale. Il problema, negli Stati Uniti, è che l’America bianca non ha un leader – non lo è certo l’attuale Presidente. Allo stesso modo, gli afroamericani non sono rappresentati da qualcuno della statura di un Martin Luther King.

Minneapolis è la metafora di quella emarginazione…

I demoni non scompaiono. Come ha detto René Girard, la violenza fa parte della società… Basta guardare, ad esempio, i campi profughi attaccati dalla pandemia. La miseria, la mancanza di futuro, sono parte della violenza. Chi è come noi non può capire la profondità della disperazione di quelle persone.

Lei è nato quando c’erano i campi di concentramento, sembra avere interiorizzato l’epoca oscura dell’Europa…

Di certo, sono un figlio della guerra, anche se non sono testimone di quegli orrori. Parte della mia vocazione è non dimenticare il cuore di tenebra di quella guerra. Non è l’unica cosa che faccio, ovviamente, non sono un politico, ma uno che guarda, una presenza. Ricordo sempre che Auschwitz era a un’ora di macchina da dove vivo. In un certo senso a Cracovia, una città molto bella, si vive all’ombra di Auschwitz. Di solito, i turisti vanno a visitare il campo di concentramento e le miniere di sale, come se fossero la stessa cosa.

In diversi punti della sua scrittura allude a una “Europa divisa”.

L’Europa è un paese. Diviso. Non mi fido dei politici, sono ossessionati dal mantenimento del potere, non conoscono l’idea aristotelica di ricerca del bene comune. Cercano, piuttosto, il bene proprio, cioè stare in un luogo di comando il più a lungo possibile… Penso che il problema essenziale, ora, sia capire se il mondo stia tornando alla lotta eterna per cui tutti i paesi vogliono primeggiare sugli altri, allargando i propri domini. La storia dell’umanità si basa su questa lotta eterna, che negli ultimi anni l’Europa ha cercato di ammorbidire. Continuo a credere nell’Europa ma abbiamo bisogno di politici visionari e geniali per dare sostanza a questa idea. Non so cosa bisogna fare. Ci sono persone che agiscono, altre che pregano. I poeti appartengono a quelli che pregano. Il mondo occidentale ha avuto bisogno dei monaci per consolidarsi: i poeti sono necessari ora come allora lo erano i monaci. I poeti pregano e contemplano, non aspettatevi da loro alcuna proposta diretta per la vita sociale…

Lei menziona l’Europa come eredità di Rilke, Milosz, Machado…

Il poeta scrive che esiste una Germania dell’industria e dell’esercito e una Germania della poesia e della musica. Nei nomi che ha citato c’è l’Europa segreta della poesia, un’Europa segreta che non ha alcuna influenza politica, ma che è indispensabile come luogo per nascondersi, come riserva di energia per il futuro.

Oscurità, crepuscolo, ombra, sono parole familiari nella sua scrittura.

Per me la nozione di oscurità è ambivalente. Non esiste solo l’oscurità malvagia, la tenebra. Adoro l’oscurità di giugno, quando il tramonto è lento, gli uccelli cantano. L’oscurità è quella del crimine, ma è anche quella dei merli che fischiano. L’Europa è piena di merli, credo che sia un uccello che canta per noi. Due cose ci dona il buio: meditazione, pace, ma anche la paura. Ci saranno sempre quelle due nozioni, intrecciate, il pericolo e la salvezza, perché di notte quando senti i merli una certa felicità ti inonda. La felicità della meditazione.

Lei ha scritto: “Un mondo senza aggettivi è triste come una sala operatoria che funziona la domenica”. E menziona una serie di aggettivi: buono, cattivo, subdolo, generoso, vendicativo… Con quale aggettivo celebrerebbe il mondo di oggi?

Drammatico. Come ciò che è aperto a ogni cosa. Drammatico non significa tragico. Dobbiamo scegliere che direzione prendere.

“Ciò che accade sarà invisibile, leggero”, scrive in una poesia. “Sarà azzurro come l’occhio della ghigliottina”.

Non puoi cogliere una visione da un punto, hai sempre bisogno di un gruppo di punti. C’è qualcosa di triste nel finale di quella poesia, ma un poeta non tenta una conclusione, mira alla complessità. Credo ancora nella gioia, nella speranza.

Da Kafka ha estratto questa frase: “Nella lotta tra uno e il mondo, uno deve schierarsi con il mondo”.

C’è sempre tempo per volgersi a se stessi. Per ora, per essere onesti, occorre schierarsi con il mondo. È facile dire: sono giusto, sono buono. Il mondo è più saggio di noi. Quindi, sì, dobbiamo volgerci al mondo.

Juan Cruz

*L’intervista, di cui si traducono alcuni brani, è stata pubblicata in origine su “El País”

Kierkegaard su Hegel

Kierkegaard diceva di Hegel: ricorda qualcuno che erige un enorme castello, ma vive in una semplice capanna, lì nei pressi. Così l’intelligenza abita in una modesta stanza del cranio, e quegli stati meravigliosi che ci furono promessi sono ricoperti di ragnatele, per ora dobbiamo accontentarci di un’angusta cella, del canto del carcerato, del buonumore del doganiere, del pugno del poliziotto. Abitiamo nella nostalgia: Nei sogni si aprono serrature e chiavistelli. Chi non ha trovato rifugio in ciò che è vasto, cerca il piccolo. Dio è il seme di papavero più piccolo al mondo. Scoppia di grandezza.

Adam Zagajewski

La poesia è tratta da: Adam Zagajewski, “Dalla vita degli oggetti. Poesie 1983-2005”, Adelphi, 2012

**In copertina: Adam Zagajewski in una fotografia di Tomasz Wiech (tratta da qui)

L'articolo “I poeti vivono nella notte, pregano e contemplano, per questo sono necessari”. Ascoltiamo Adam Zagajewski proviene da Pangea.

from pangea.news https://ift.tt/2VqXnuT

#L'Editoriale #Adam Zagajewski #Adelphi #El Pais #Interlinea #Poesia #Scrittura

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englishitaliantranslations · 5 years ago

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Using cognates to learn Italian vocabulary

In my article on using cognates to help you learn vocabulary in another language, I gave the example of trying to learn the German word for important, ‘wichtig’, and how there’s no hook there to help you remember it (which is why so many of us fall back on rote repetition to try to hammer vocabulary into our heads). However, I pointed out, if you knew that wichtig descends from a root that also produced weigh, weight, and weighty, you could reframe the translation as wichtig = weighty, important, and now you have your meaningful connection.

Such connections don’t do away entirely with the need to practice, but they do mean that much less practice is required. You just have to focus on that meaningful connection.

Let’s have a look at that in action.

A list of the 1,000 most commonly spoken Italian words, generated from subtitles of movies and television series, includes 475 nouns plus 17 numbers (cardinal and ordinal, so I’ve put them in a separate category).

I have classified all 475 nouns into groups based on the available meaningful connections for an English speaker learning Italian:

208 are very easy, meaning they’re very close to their English counterparts (Group 1)

54 are still fairly easy, being cognate with their English counterparts, and similar enough if you’re looking for it (Group 2)

101 are harder to see, but are still cognate (Group 3)

77 are still cognate, but more difficult (Group 4)

23 have cognates, but with obscure words or common French or Spanish words, or the similarity is much less evident (Group 5)

12, and only 12, are unrelated, and thus require a mnemonic connection (Group 6)

Of the 17 numbers, all are cognate, and most of them quite obviously so.

In other words, about 94% of this group have some meaningful connection with an English word. I will agree that the nouns and numbers are far more likely to be cognate than other parts of speech, but still, this is impressive.

I am working on a workbook that will expand on these, and contain all the top 1000 words. In the meantime, I hope the following lists of these nouns and numbers are useful.

Here are the numbers that appear in the list:

uno, one

due, two — think duo, dual

tre, three — also cognate with tri-, as in triangle, trio, tripod

quattro, four — think of quadruple, quadrilateral, quadruped, square

cinque, five — cognate with five, but this is not very obvious; also cognate with quinquennial and quinate, and of course French cinq

sei, six — cognate, but you do have to focus on the first part of ‘six’!

sette, seven — cognate but it may help to think of September (which used to the 7th month, before the Romans reformed the calendar by popping in what would become July and August), also septenarian and septuagenarian; also French sept

otto, eight — think octagon, octopus, octave

nove, nine — French neuf, English November (same reason: it started off as the 9th month), novena

dieci, ten — cognate with decimal, and French dix

venti, twenty — okay, there are words in English cognate with this, but they’re pretty rare; still, if you drop the initial t, the words become much more similar

cento, hundred — cognate with cent, century

migliaia, thousand — think of millimeter, millisecond, etc

milione, million

primo, first — think of primary

secondo, second

terzo, third

Ok, let’s look at the nouns. First, the ones that are very similar to their English counterparts:

Group 1

abilità, skill, ability

accordo, accord, agreement, chord (mus.)

animale, animal

appartamento, apartment, flat

area, area

arte, art

atomo, atom

atto, act

auto, car (automobile)

banca, bank

banda, band

bar, bar

base, base

bit, bit

blocco, block

bordo, edge, border

campo, field, camp

capitale, capital

capitano, captain

carattere, character

caso, case

causa, cause

cella, cell

cent, cent

centro, center

città, city, town

classe, class

colonia, colony

colonna, column

colore, color

commercio, trade, commerce

condizione, condition

consonante, consonant

continente, continent

controllo, control

copia, copy

corda, rope, cord

corrente, current

corso, course

costa, coast

costo, cost

cotone, cotton

cuoco, cook

cura, care, treatment, cure

danza, dance

decimale, decimal

deserto, desert

difficoltà, trouble, difficulty

discussioni, discussion, argument

divisione, division

dizionario, dictionary

dollaro, dollar

effetto, effect

elemento, element

energia, energy

esempio, example

esercizio, exercise

esperienza, experience

esperimento, experiment

est, east

evento, event

famiglia, family

fatto, fact

feltro, felt

fico, fig

fiera, fair, exhibition

figura, figure

finale, final

finitura, finish

foresta, forest

forma, form, shape

forza, force, strength

frase, sentence, phrase

frazione, fraction

frutta, fruit

gas, gas

gatto, cat

giardino, garden

gruppo, group

idea, idea

industria, industry

insetto, insect

interesse, interest

lettera, letter

liquido, liquid

linea, line

livello, level

log, log

lotto, lot

macchina, machine

magnete, magnet

mais, maize, corn

mappa, map

marchio, mark

massa, mass

materia, matter

materiale, material

melodia, melody

messaggio, message

modello, model, pattern

motivo, reason, motive

metallo, metal

metodo, method

minuto, minute

molecola, molecule

momento, moment

montagna, mountain

monte, mount, mountain

moto, motion

motore, engine, motor

musica, music

natura, nature

nazione, nation

nome, name

nord, north

nota, note

numerale, numeral

numero, number

oceano, ocean

offerta, offer

oggetto, object

olio, oil

ora, hour

ordine, order

organo, organ

pagina, page

palla, ball

papà, dad

paragrafo, paragraph

parte, part

partito, party

pausa, pause, break

periodo, period

persona, person

persone, people

pistola, gun

porto, port

posa, pose

posizione, position

possibilità, possibility, chance

pratica, practice

presente, present

problema, problem

processo, process

prodotto, product

proprietà, property

punto, point

quarto di gallone, quart

quota, share, portion, quota

quoziente, quotient

radio, radio

record, record

regione, region

resto, rest

risultato, result

rock, rock

rosa, rose

sale, salt

scala, scale

scienza, science

scuola, school

segmento, segment

segno, sign — also signal

senso, sense

sistema, system

sezione, section

sillaba, syllable

simbolo, symbol

soluzione, solution

sorpresa, surprise

sostanza, substance

spazio, space

stato, state

stazione, station

storia, story, history

strada, street, road

stringa, string

strumento, instrument, tool

studente, student

studio, study

successo, success

sud, south

suffisso, suffix

supporto, support

tavolo, table

team, team

temperatura, temperature

termine, term

test, test

tipo, type

tono, tone

totale, total

treno, train

triangolo, triangle

tubo, tube

turno, turn

ufficio, office

umano, human

unità, unit, unity

uso, use

valle, valley

valore, value

vapore, steam, vapor / vapour

velocità, speed, velocity

verbo, verb

vigore, force, vigor / vigour

villaggio, village

visita, visit

vittoria, win, victory

Group 2

the fairly easy nouns (but you may have to work a little to see the connection)

acqua, water — aqua, aquatic

amico, friend — amicable, Spanish amigo

angolo, corner — angle

anno, year — annual

amore, love — amorous, French amour

bambino, child, baby

barca, boat — barge, barque

bellezza, beauty — belle (the belle of the ball)

bevanda, drink — beverage

cane, dog — canine

carne, meat — carnivore

casa, home, house — well-known in English from the Spanish casa; also cognate with French chez (to, at), as in chez moi (at my house)

cavallo, horse — cavalry

cielo, sky — ceiling

collo, neck — collar

corpo, body — corpse

cravatta, tie — cravat

denti, teeth — dental, dentist

dimensione, size — dimension

discorso, speech, discourse

donna, woman — madonna, dame

erba, grass — herb

fine, end — final, also French fin

fratello, brother — fraternal, fraternity

libro, book — library

lingua, language — cognates, also linguistics, lingo

luna, moon — lunar

madre, mother — cognates, also maternal, maternity

mano, hand — manuscript (written by hand), also French main, Spanish mano

mare, sea — marine, maritime

mente, mind — cognates, also mental

meraviglia, wonder — marvel, marvellous

mercato, market — cognates, also merchant, mercantile

morte, death — mortal, mortality

naso, nose — cognates, also nasal

nave, ship — nautical, navy, navigate

pneumatico, tyre / tire — pneumatic tyre

poesia, poem — also poetry, poetic

posto, place, spot — post, position

potenza, power — potent

regola, rule — cognates, also regulate, regular

risposta, answer — response, riposte

salto, jump — saltatory, saltation, also French sauter

sangue, blood — sanguinary, sanguine, exsanguinate, also French sang, Spanish sangre

signora, lady — cognate with senior, sire

sole, sun — solar

stella, star — stellar

terra, land, earth, ground — terrestrial, also French terre

tratto, stretch (of road, river, land) — tract

uomo, man — human

vento, wind — cognates, also ventilate

vista, view, sight — vista

vita, life — vital

Group 3

Here are the words that are cognate, but less obviously so:

alimentazione, supply, feed, diet — alimentary (canal), alimentation

anello, ring — annulus, annular.

aria, air — aura, air, aerate, aerial

avviso, notice, advice, advertisement

calore, heat — calorie, calorific

campana, bell — is in fact the word for a church bell in English, but this is not a well-known word! also cognate with campanology, the study of bells

canzone, song — chant, French chanson

capelli, hair — capillary (because capillary veins are as fine as hair)

capo, chief — capo (come into English through the portrayals of the mafia), capital, per capita

cappello, hat — cap

coda, tail — coda, caudal, caudate.

copertura, cover — cover, covert

desiderio, wish — desire

dito, finger — digit

divertimento, fun — diversion

fattoria, farm — factor (meaning someone who acts as a business agent, especially a manager of a landed estate)

ferro, iron — ferric, meaning related to iron; also French fer

ferrovia, railway — ‘iron way’, A railway is an iron way, ferric via

fila, row — file (in the sense of people in a row, moving ‘in file’)

finestra, window — defenestrate, also French fenêtre, Spanish fenestra, German Fenster

fiore, flower — floral, flower; also Spanish flor, French fleur

flusso, flow — cognate with flux (when something’s in flux, it’s still in flow)

foglio, sheet, leaf — folio, foliate, exfoliate

fondo, bottom — fundamental, profound.

genitore, parent — progenitor, genitive

gioia, joy

giorno, day — journal, also French jour, journée

grado, degree, level, grade — grade, gradient

grafico, chart — graph, graphic

guerra, war — guerilla, also French guerre

immagine, picture — image, imagine

impianto, plant — implant, plant

isola, island — isle, isolated

lago, lake — lagoon

lato, side — lateral (relating to the side), quadrilateral (four-sided)

latte, milk — latte (milky coffee), lactose, lactating

lavaggio, wash — lave, lavatory, launder

lavoro, work, job — labour/labor

libbra, pound — this is why the abbreviation for pound is lb. (from Latin libra), also French livre, Spanish libra, and the zodiac sign Libra

luce, light — lux, lucent, translucent

lunghezza, length — from lungo, meaning long

maschi, men — macho, masculine

mattina, morning — matins (an early morning church service), also French matin

medico, doctor — medic, medical

mese, month — cognate with menses, trimester (3 months), semester (six months); also Spanish mes and French mois

mezzogiorno, noon — break it down into mezzo-giorno = mid-day

miglio, mile — cognates, and related to migliaia, thousand, from the Roman mile being 1000 paces

miniera, mine — cognates

modo, manner, way — mode

mondo, world — mundane (worldly, belonging to the world), also French monde, Spanish mundo

muro, wall — mural, immured

nascita, birth — nascent, renaissance

negozio, store, shop — negotiate

nemico, enemy — inimical, enemy

notte, night — nocturnal, and indeed night

nube, cloud — nebula, nebulous

onda, wave — undulate

oro, gold — auric, French or

orologio, watch, clock — horology

ossigeno, oxygen — cognates

osso, bone — ossify

ovest, west — cognates, also French ouest, Spanish oeste

padre, father — padre, pater, paternal, paternity

pane, bread — French pain, as in pain au chocolat; also Spanish pan

passo, step — pace

pensiero, thought — pensive, also French penser

pensione, board — pension

pesce, fish — Pisces, piscatory, also Spanish pez, and French poisson

pezzo, piece — cognates (also, you can think of a piece of pizza!)

pianeta, planet — cognates

piano, plane, plan, floor — cognates

piazza, square, plaza — plaza

piede, foot — pedal, pedestrian, also French pied, Spanish pie

piedi, feet — as before

pista, track — French piste, as in the English expression "off piste"

porta, door — portal, also French porte

primavera, spring — prima is cognate with primary (1st) and vera with vernal (relating to spring)

prossimo, neighbor — proximal, proximate

radice, root — radish

re, king — rex

riva, shore — river

rotolo, roll — rotate, roll

ruota, wheel — rotate, rota

sedia, chair — sedan chair, sedentary

sedile, seat — ditto

seme, seed — semen

soggetto, subject — cognates

soldato, soldier — cognates

soldi, money — solid, an old coin called the solidus, also French sol, sou

sorella, sister — sorority, also French sœur, Spanish sor

speranza, hope — esperance, desperate (out of hope), also Spanish esperanza, French espérer

spettacolo, show — spectacle

suolo, soil — cognate with French sol, Spanish suelo

suono, sound — cognates, also French son, Spanish son, sueno

superficie, surface — superficial

uovo, egg — ovary, also French œuf, Spanish huevo

viaggio, trip — voyage

vocale, vowel — vocal (because vowels are voiced by the vocal cords with little restriction on them, in an open way)

voce, voice — cognates

volontà, will — voluntary

zucchero, sugar — cognates

Group 4

harder cognates, where the links are more obscure:

acciaio, steel — the common root means sharp; cognate with acid, acerbic, acrimony

ala, wing — cognate with alar, agile, axle

albero, tree — cognate with arbor, arboreal, arboretum, also French arbre

azienda, company — cognate with hacienda

bastone, stick — cognate with bâton

caccia, hunt — cognate with catch

camera, room — used in the expression in camera, and cognate with bicameral, chamber, cabaret

camion, truck — comes from French camion, which has passed the word into many languages, including English; may derive from chemin, meaning way, path (see Spanish camino)

cappotto, coat — cognate with cape

carica, charge (as in attack), load — cognates, also car, chariot (think of a chariot charge and a car's load)

carta, paper — cognate with card, chart

cerchio, circle — cognates, also circus

chiamata, call — cognate with claim, declaim, proclaim

chiave, key — cognate with clavis, clavichord, clavicle, clef

collina, hill — cognates, also column, colliculus (anatomical term)

colpo, blow — cognate with the English/French word coup (coup de foudre, coup d'état, coup de grâce)

coppia, pair — cognate with couple; could also think of copied

cosa, thing — cognate with cause, also French chose

cuore, heart — cognate with core, accord, also French cœur

domanda, question, request, demand — cognate with demand

estate, summer — cognate with estivate/aestivate, estival/aestival, also French été

età, age — cognate with eternal, eon

figlio, son — cognate with filial, also French fils

filo, wire — cognate with filament, file

fiume, river — cognate with fluvial, flume, fluent, fluid

folla, crowd — cognate with full, folk, also French foule

fornitura, supply — cognate with furniture, furnish

foro, hole — cognate with door, forum, forensic

fretta, hurry — cognate with Fr frit, meaning fried (as in pommes frites), and indeed English fry, fried

fuoco, fire — cognate with focus (think of the hearth historically being the focus of the home or room)

gamba, leg — cognate with gambol, and French jambe

gamma, range — cognate with gamut, and of course the Greek letter gamma (but this doesn't point to the meaning in the same way)

ghiaccio, ice — cognate with glacier, and French glace (ice, ice cream)

gioco, game — cognate with joke, juggle, also French jeu, Spanish juego

giro, ride, tour, turn — cognate with gyrate

grido, cry — may be cognate with cry, also Spanish gritar

inverno, winter — cognate with hibernate, also French hiver

lattina, can, tin (diminutive of latta, meaning the same thing) — cognate with lath, lattice (all to do with being thin, narrow)

legge, law — cognate with legal

legno, wood — cognate with ligneous, lignite

letto, bed — cognate with litter (think of the litter used for carrying the sick or wounded, not trash), also French lit

lotta, fight, struggle — cognate with lock, locket, through a root meaning to bend, twist; also French lutte, Spanish lucha

mela, apple — cognate with melon

metà, half — cognate with median, mediate

moglie, wife — cognate with moll, mollify, Molly

neve, snow — cognate with Nevada, névé, nival, and indeed snow; also French neige, Spanish nieve

occhio, eye — cognate with ocular, oculist, monocle, and indeed eye; also Spanish ojo

orecchio, ear — cognate with aural, auricular, ear, also ‎French oreille

paese, country — cognate with peace, also French pays, Spanish país

parola, word — cognate with palaver, parole, parlay, parable, also Spanish palabra

paura, fear — cognate with French peur (also quite similar to fear)

pece, pitch — cognates

pelle, skin — cognate with pelt, pellagra, film

pericolo, danger, peril

peso, weight — cognate with suspend, pound, expense, pensive

piega, crease, fold, pleat — cognate with pleat, replica, duplicate

pietra, stone — cognate with petrify (literally, turn to stone), also French pierre, Spanish piedra

pulcino, chick — cognate with pullet, also French poulet, poule

punteggio, score — may be cognate with point (as in score a point)

rabbia, anger, rabies — cognate with rabies, rage

raccolto, crop — cognate with recollect, collect

raggio, radius, spoke — cognate with radius

ramo, branch — cognate with root, ramus, ramification (branching)

ricerca, search, research — cognates, also French chercher (Cherchez la femme!)

richiesta, claim, request, demand — cognate with require, request

rumore, noise — cognate with rumour

schiavo, slave — cognates

secolo, century — secular (from the Latin saeculum meaning generation, century, and also worldly), also French siècle, Spanish siglo

sega, saw — cognate with saw, dissect, secant, segment (notice the cutting theme)

sonno, sleep — cognate with somnolent

sostantivo, noun — cognate with substantive, with core of word (stant) cognate with stand; think of a noun as a substantive thing that stands, that is, a concrete object

spalla, shoulder — cognate with spatula, spatulate (think of the broad, flat nature of the shoulder blade), epaulettes, also Spanish espalda

tempo, weather — cognate with tempo, tempest, also French temps, Spanish tiempo

vece, stead, place (as in, in my place, in my stead) — cognate with vice versa, vice (meaning in place of, subordinate to), also week, vicissitude, vicar

vela, sail — cognate with veil, velum (a thin membrane like a veil)

vestito, dress — cognate with vestiment, vest, divest

vetro, glass — cognate with vitreous, vitrify, also French verre, vitre, and Spanish vidrio

Group 5

Those with with the hardest connections:

anatra, duck — cognate with an obscure English word, anatine, also German Ente

bisogno, need — cognate with French besoin; a possible keyword for those unfamiliar with this word is bison

bocca, mouth — another obscure cognate: buccal (relating to the cheek), also French bouche (as in Fermez la bouche!)

braccio, arm, branch — cognate with brachial; not cognate with branch, but similarity useful

bugia, lie — cognate with boast

cambiamento, a change, shift, turn — cognate with change, although not very obvious; perhaps clearer if you know that cambiamento derives from cambiare, to change, and the English comes from French changier

guscio, shell — may be cognate with cyst

pioggia, rain — cognate with pluvial, flood, float, also French pluie

pipistrello, bat — used to be vipistrello, which makes the link to cognates vespers (evening prayers) and western (where the sun sets) more obvious

pollice, inch, thumb — cognate with obscure word pollical (of the thumb), also French pouce (thumb, inch)

ruscello, stream — cognate with rivulet, also French ruisseau (but may be easier to go with a keyword: the rushing stream)

sabbia, sand — cognates from a root meaning to pour, also French sable

salita, climb — cognate with saltatory, saltation, also French sauter

scarpa, shoe — cognate with sharp, derives from Gothic word meaning sharp object with pointed ends, because shoes had a pointed end?

sentiero, path — cognate with French sentier, Spanish sendero; apparently not cognate with send, sent, but PIE root word *sent- meant to go, to travel, so could be considered so

sera, evening — here's an obscure cognate that some might know: serotine (a bat); more familiarly probably: French soir (as in bonsoir), and Spanish sera

settimana, week — cognate with September, through the sept=7 connection; also French semaine, Spanish semana

slittamento, slip, sliding — not cognate, but similarity sufficient for imagining so

sorriso, smile — cognate with risible (laughable) and riant (laughing); sorriso derives from Latin sub-rideo (below a laugh, as it were); also cognate with French sourire, souriant

stagione, season — cognate with station, also Spanish estación

taglio, cut — cognate with tagliatelle, intaglio

testa, head — cognate with French tête, Spanish testa

uccello, bird — cognate with avian, aviary, also French oiseau

Group 6

Those with no connections. These are the ones for which a mnemonic link is recommended, and I’ve provided some suggestions:

cantiere, shipyard, building site — canter into the yard

cibo, food — chip (actually cognate with ciborium, a receptacle for communion wafers, if you happen to know it; also Spanish cebo)

elenco, list — elect to the list

gara, race — cheer the race

mucca, cow — moo cow

partita, (sports) match, game — participate in the game (actually cognate with a musical term in English, if you happen to know it)

ragazza, girl / ragazzo, boy — ragged urchin

scatola, box — casket

scheda, card — the schedule is written on the card

se stesso, self — stetson

tuta, suit (sweatsuit, tracksuit, overalls) — tutu

volto, face — think of the expression volte face

#lessons

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rocktails · 6 years ago

Text

Isla de Caras: “Ya definitivamente no es un proyecto personal”

Todo empezó con un par de quiebres, como las cosas importantes. Lautaro Cura había finalizado su carrera universitaria y terminado con una relación amorosa de cuatro años. Se fue de viaje, volvió y grabó su primer EP bajo el nombre de Isla de Caras: Todo lo sólido se desvanece en el aire (2017). Pero con los meses, el proyecto solista fue convirtiéndose en una banda. “Ya definitivamente no es un proyecto personal y yo me siento mucho más cómodo en esta dinámica de lo grupal”, me cuenta Lautaro. Y al toque reflexiona: “Me agarró una anti-individualidad cada vez más pronunciada. Creo que también como una evolución propia del espíritu.” Isla de Caras evolucionó en espíritu y cuerpo. A Lautaro Cura y Nicolás Teubal (también en Agrupación Capitán) se incorporaron Salvador ‘Chapi’ Colombo de Bandalos Chinos en la batería y Francisco Nicholson de El Zar y Silvestre y la Naranja en el bajo. Con esa formación grabaron Chango (2018), su primer disco.

Una vez te pidieron que definas a Isla de Caras y lo hiciste simplemente con la palabra “pop”. La movida pop en Argentina está rebrotando fuerte, pero ¿qué te pasa con esas etiquetas?

En la música, y debe pasar en otras artes también, la gente necesita categorizar o encasillar para entender. Me parece que los seres humanos, producto de que nos entendemos a través del lenguaje, le ponemos nombre a las cosas de manera sistemática. Y nuestro entendimiento del mundo, del que no tenemos un carajo de idea, funciona todavía en cajoneras porque necesitamos organizar la información para poder procesarla. Algo que me gusta de Louta es que él habla del disco “antigénero”, de querer destruir las etiquetas y dejar de intelectualizar o racionalizar la música y sentirla.

A mí me parece que la palabra “pop”, por lo poco que leí de periodismo musical, le da nombre al formato canción. Por eso siento que es pop. A mí me nacen más estribillos que estrofas, compongo a partir de los estribillos. Generalmente escupo melodías con letra. Agarro la guitarra y al primer acorde que meto ya trato de insertar la idea, como de escupir a ver si sale algo. El 90% de las veces no sale nada, pero la mayoría de las canciones salieron así: toda la melo y la letra juntas.

En tu Soundcloud personal tenés algunos demos, maquetas, inéditos, rarezas…

Sí, ese es mi pasado más lo-fi. Y también mi presente, porque subí algunas cosas nuevas. Me gustaría en algún momento explotarlo más porque tengo amor por la canción lo-fi grabada en cuatro o seis canales. Hay un disco de Guided By Voices que a mí me flasheó mucho. Se llama Alien Lanes (1995), tiene 28 temas de treinta segundos y me acuerdo de salir del colegio, ponerme los auris y decir “uy qué masa”. Hay una canción que se llama ‘Chicken Blows’ que en un minuto logra emocionarme muy intensamente. Es como un gran estribillo. Tiene estrofa, puente y estribillo pero es una gran melodía.

Como que las melodías del mundo están ahí y capaz que nuestro lugar como músicos es tratar de ser el canal para devolverselas a todos. Eso es lo que pasa con la música popular, sentís que es algo que ya estaba ahí y lograste conectar. Y me parece que lo popular se vuelve a definir y redefinir constantemente. Es un género en formato de pregunta porque las cosas que representa van cambiando. Está bueno re-preguntarse qué es lo popular cada 5 o 10 años. Hoy el trap es también música pop y el lenguaje ya nos queda vez más corto.

Yendo a Chango (2018), ¿por qué la decisión de grabar un álbum en esta época de repleta de singles?

Siento que es un disco que tiene significado como disco y no como compilación de canciones porque capturó algo que estaba en ese momento, una experiencia humana vital.

Si bien las canciones nacen de mí, Islas de Caras se fue transformando en una banda, en una interacción humana y fuimos abrazando esa idea. El disco fue el producto de esas interacciones y la decisión de decir: “en diciembre nos vamos una semana al campo con estos 10 demos y vamos a ver qué pasa”. Nos fuimos los cuatro a Luján, a Estudio Los Pájaros, y nos quedamos 7 días. Y ahí hubo cosas capturadas de esa experiencia, como mostrarle ‘Me Avanzo’ por primera vez a Chapi, el batero, y que la toque de una sobre la maqueta. Y esa primera toma quedó. También por eso me parece que no hubo mucho enrosque en el disco, el EP lo habíamos laburado dos años. Al álbum lo grabamos y nos juntamos durante un mes casi todos los días con Teubi, el bajista, y listo. Después lo mezclamos con Mati Cella que nos salvó la vida porque hizo sonar el disco como teníamos en la cabeza, lo potenció y le dio un upgrade de sonido espectacular. Entonces el disco es eso, esa semana de nuestras vidas capturada en lo que se escucha.

¿Y cómo piensan el vivo después de producir y grabar los temas?

Ese era un problema que teníamos al principio porque los primeros singles los habíamos hecho todos en la compu con mucho VST, que son sonidos emulados de un sintetizador real. Éramos tres en ese momento y se nos complicaba un poquito más porque era todo una simulación. Tocábamos una batería electrónica, yo cantaba y Teubi tiraba algunas pistas o tocaba algún sintetizador según el tema. Lo que tiene Chango es que está grabado por cinco personas reales, nosotros cuatro y Santiago Martínez, un amigo que colaboró con la mayoría de los teclados. Entonces no hay una traducción o pérdida de información del disco al vivo, es lo mismo. Lo que suena en el vivo es el disco.

La tapa del disco está buenísima, ¿cómo la trabajaron?

La tapa la trabajamos con Lucila Taba, que para mí está haciendo las mejores portadas de Argentina. Al lado del estudio Los Pájaros teníamos un loro que cuando salíamos a fumar repetía todo lo que decíamos, fue como nuestra mascota. En enero hubo una tormenta muy fuerte y el loro no se la bancó, entonces queríamos traerlo de nuevo a la obra. Le dijimos a Lu: “queremos que haya un loro en la tapa.” Le pasamos una foto del loro y ella hizo su magia.

Esa portada tiene algo de tropical y el disco tiene algo de eso, sobre todo en la percusión. ‘Tiempo’, el primer track, empieza con timbales cumbieros…

Era un amague (risas). Igual grabamos percusiones para todo el disco sin saber demasiado lo que íbamos a hacer. Pero era diciembre, estábamos cagados de calor, llegamos al estudio y había djembé, congas, bongos. Entonces dijimos: “grabemos todo y después vemos si los usamos o no.” De hecho hay congas que grabamos para un tema y al final no las usamos, pero después en Ableton las pitcheamos y las pusimos en otro. Hay muchos detalles que grabamos en el estudio porque sabíamos que podíamos hacerlo.

¿Y qué se viene para Isla de Caras?

Ya tenemos maquetas de temas nuevos y muchas ideas. Tenemos ganas de hacer algo un poco más raro en cuanto a ritmos. Escuché un EP, que recomiendo mucho, de un chabón que se llama Baba Stiltz, un sueco del sello Studio Banhus. El pibe es raro porque es un bailarín de ballet que hacía música en su cuarto. Decidió dejar el ballet, que es una disciplina muy exigente, y dedicarse a la música. Él es DJ y productor de música electrónica, pero cada vez más se fue alejando más de la electrónica de 4×4 y bombo en negras. Y sacó ese EP con mucho sample, toda la bata partida. La música parece que se derrite, la que es una guitarra pasa a ser una batería, una cosa rarísima.

Siento que en Chango (2018) nos abrazamos a la canción más tradicional y ahora tenemos ganas de hacer algo más experimental.

Escucha Chango en Spotify.

Sigue a Martín en Twitter.

Sigue a Rocktails en Instagram.

La entrada Isla de Caras: “Ya definitivamente no es un proyecto personal” se publicó primero en Rocktails.

from Isla de Caras: “Ya definitivamente no es un proyecto personal”

#Isla de Caras: “Ya definitivamente no es un proyecto personal”

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kimsonvalon · 6 years ago

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#buckminster fuller

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cellabella-illuminates · 8 years ago

Photo

The second post of many. While I was visiting my parents, I went through 152 pieces of my art from 2007-2016. Much of my art is doing nothing but take up space, and it’s all very much up for sale! Please send me a message on my personal blog or my doodle blog If you are interested in purchasing a piece - prices are labeled on the images, and are very negotiable. Help my art find happy homes!

And as always, if you have any questions, just ask!

List of titles in approximate order:

Prints:

Mangia!

Fuzzy Feelings

Rapunzel

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Morning Coffee Blooms

Fuzzy Feelings

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Hobbit Hole Sketch

Portrait Study with Squares

Cowboy Fig. Study

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What Are We Worth?

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Figure Studies (1, 2, and 3)

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Walls of Lucca

Arches of Siena

Wining in Florence

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Nathaniel’s Ear

Iguanorkipede

Bangladesh Portrait

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Double sided page - Astraea and her grandmother with Lindy Hopping people on the back

#cella's art for sale #art for sale #cella bella illustration #artists on tumblr

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foryourart · 7 years ago

Photo

Photo courtesy of Noah Stern Weber. Image courtesy of REDCAT.

Thursday, November 9

37th Annual Sale, HENNESSEY + INGALLS BOOKSTORE (Downtown), 10am–8pm. Through November 12.

ArtOASIS Showcase, Museum of Contemporary Art San Diego (San Diego), 10am–12pm.

Young-Il Ahn and Ann Weber: Moon over San Pedro, Long Beach Museum of Art (Long Beach), 11am–8pm.

Alison Blickle Artist Talk, Five Car Garage (Santa Monica), 12:30–3:30pm.

Talk: Gallery Talk: The Art of Looking—Greek Goddesses: Reconstructed & Deconstructed, LACMA (Miracle Mile), 12:30pm.

Course: One-Day Workshop: Collage in Fine Art, LACMA (Miracle Mile), 1pm.

Garden Talk & Sale - Sex in the Garden, The Huntington (San Marino), 2:30pm.

LAND Sense of Place First Movement Reception, Santa Monica Pier (Santa Monica), 4–5:30pm. Reception to follow.

Gallery Talk: Erin Aldana, Guest Curator, University of San Diego (San Diego), 5pm.

Artist and scholar walkthroughs: Artemisa Clark, Hammer Museum (Westwood), 6pm.

Gravity's Peacock, MAK Center for Art and Architecture (West Hollywood), 7–9pm.

Danny Lyon: Vintage Works, Fahey/Klein Gallery (Hollywood), 7–9pm.

Conor Ekstrom, Hannah Hoffman Gallery (Hollywood), 7–9pm.

Los Angeles Filmforum at MOCA presents Poets, Artists, and Anarcho-super8istas, MOCA Grand Avenue (Downtown), 7pm.

Live! at the Museum: The Artisan Guitar Ensemble, Laguna Art Museum (Long Beach), 7pm.

Writing Now Reading Series: Fanny Howe, CalArts (Valencia), 7–10pm.

Paul Brach Lecture Series: Artie Vierkant, CalArts (Valencia), 7pm.

A.E. Stallings, Hammer Museum (Westwood), 7:30pm.

Film: An Evening With...Darren Aronofsky, LACMA (Miracle Mile), 7:30pm.

Boosting Your Side Hustle With Gina Delvac, Women’s Center for Creative Work (Frogtown), 7:30–9:30pm. $20–25.

Keeril Makan and Jay Scheib: Persona, REDCAT (Downtown), 8pm.

Persona, LA Opera (Downtown), 8pm.

Anne Bray Presents: How Can You Resist?, Echo Park Film Center (Echo Park), 8–10pm.

KCIA Presents: ACID TONGUE, CalArts (Valencia), 10pm.

Friday, November 10

"We Are CalArts" -The Role of the Spiral in Movement & the Body, with Babette Markus, CalArts (Valencia), 1–4pm.

School of Music Visiting Artist Series: Kate McGarry, Keith Ganz, Gary Versace, CalArts (Valencia), 2–4pm.

Documentary Screening: Frederick Hammersley: By Himself, The Huntington (San Marino), 3pm.

Off the Wall, Shoebox Projects (Lincoln Heights), 6–9pm.

Words and Music, LAST Projects (Downtown), 7–11pm.

Screening: Death by Delivery, California African American Museum (Downtown), 7–10pm.

Feminist Acting Class, Women’s Center for Creative Work (Frogtown), 7–10pm. Through November 12. $120–150.

William Kieffer: City of Fish, Long Beach Aquarium of the Pacific (Long Beach), 7–11pm.

POP-UP MUSEUM: JOURNEY, Museum of Latin American Art (Long Beach), 7–8:30pm.

X-TRA Fall Launch Event: Candice Lin and Miljohn Ruperto in conversation, Ghebaly Gallery (Downtown), 7:30–9:30pm.

James Tenney: Changes: Sixty-Four Studies for Six Harps, The Box (Downtown), 8pm.

The Seagull, CalArts (Valencia), 8pm. Through November 12.

Saturday, November 11

Quiet Mornings: Art x Mindfulness, The Geffen Contemporary at MOCA (Downtown), 9:30am.

Dance Resource Center's 3rd annual Day of Dancer Health, Art Share LA (Downtown), 10am–5pm.

Designer Con 2017, Pasadena Convention Center (Pasadena), 10am–7pm. Through November 12.

American Indian Arts Marketplace, The Autry Museum of the American West (Los Feliz), 11am–5pm. Continues November 12.

THE LATINO COMICS EXPO – DAY 1, Museum of Latin American Art (Long Beach), 11am–5pm.

Young-Il Ahn: When Sky Meets Water, ParticiPoetry with Karen Holden, and Ann Weber: Moon Over San Pedro, Long Beach Museum of Art (Long Beach), 11am–5pm.

Tony DeLap: A Career Survey, 1963—2017, parrasch heijnen gallery (Downtown), 12–3pm.

Vantage, Finishing Concepts (Monterey Park), 12–5pm.

LIT! A Menorah & Candelabra Clay Workshop with Ben Medansky, Craft and Folk Art Museum (Miracle Mile), 1–4pm.

Artemisa Clark: La clase de dibujo libre/Free Drawing Class (2000-2004/2017), Armory Center for the Arts (Pasadena), 1:30–4pm.

Build a Revolutionary Bear Workshop, WILLIAM GRANT STILL ARTS CENTER (West Adams), 2–4pm.

Lani Trock: Free Food, Big Pictures Los Angeles (Mid-City), 2–5pm.

PMCA 1234: Second Saturday Spotlight Talk, Pasadena Museum of California Art (Pasadena), 2pm.

In Dialogue: Film in Cuba, Pasadena Museum of California Art (Pasadena), 2:30pm.

LARISA LAIVINS: ONE DAY POP-UP SHOP, Arcana Books on the Arts (Culver City), 3–6pm.

Channing Hansen: Fluid Dynamics, Marc Selwyn Fine Art (Beverly Hills), 4–6pm.

Double Issue Book Release Party, Armory Center for the Arts (Pasadena), 4–6pm.

Materials & Applications 14th Anniversary Gala, Navel (Downtown), 5–8pm.

Workshop: Lighting Design for Dance and Performance with Carol McDowell, Pieter (Lincoln Heights), 5–9pm. $30–50.

Hot Flat, Angels Gate Cultural Center (San Pedro), 5–9pm.

Yossi Govrin, Stephanie Cate & Deborah Lynn Irmas, barba contemporary art (Palm Springs), 5–9pm.

David Krovblit: Shells and John Nyboer: The Real Future: Dancers at The Lot, Los Angeles, Lois Lambert Gallery (Santa Monica), 6–9pm.

Jimi Gleason: Reflected & Absorbed, William Turner Gallery (Santa Monica), 6–8pm.

Art Circles, Getty Center (Brentwood), 6–8pm.

Emily Counts: The Associations, Garboushian Gallery (Beverly Hills), 6–8pm.

JOSH REAMES: Don't cross streams while trading horses, Luis de Jesus (Culver City), 6–8pm.

MICHELLE GRABNER: PATTERNS IN METAL AND OIL and Michael St. John: Portraits of Democracy, Edward Cella Art & Architecture (Culver City), 6–8pm; talk with Mary Weatherford, 5pm.

Nevine Mahmoud: f o r e p l a y, M+B (West Hollywood), 6–8pm.

Hecate, Various Small Fires (Hollywood), 6–8pm.

Aria McManus: Relieviation Works, AA|LA (West Hollywood), 6–9pm.

Anthony Miserendino: Aromi, Moskowitz Bayse (Hollywood), 6–9pm.

Camilo Restrepo: Mera Calentura and Claire Milbrath: Crome Yellow, Steve Turner (Hollywood), 6–8pm.

Andrew Brischler: Lonely Planet, Gavlak (Hollywood), 6–8pm.

Strange Attractors: The Anthology of Interplanetary Folk Art Vol. 1 Life on Earth, Redling Fine Art (Hollywood), 6–8pm.

Gary Simmons: Balcony Seating Only and Tomorrow’s Man 4, Regen Projects (Hollywood), 6–8pm.

Elizabeth Ferry, Grice Bench (Downtown), 6–9pm.

TELMO MIEL: Bit and Pieces, Odds and Ends, Torrance Art Museum (Torrance), 6–9pm.

TELMO MIEL: Bit and Pieces, Odds and Ends, Fullerton Museum Center (Fullerton), 6–9pm.

THE FUTURE MOVES SLOW, Schoos Night Gallery (West Hollywood), 7–10pm.

Anja Salonen: new dimensions in recreation, Ana Segovia de Fuentes: Boys and Boots, and Ammon Rost: Paintings, ltd los angeles (Mid-City), 7–9pm.

Eric Leiser: Time Crystals, Museum as Retail Space (MaRS) (Downtown), 7–10pm.

Ghetto Gloss | The Chicana Avant-Garde, 1980-2010, Bermudez Projects (Cypress Park), 7–10pm.

Saturday Nights at the Getty Presents María Volunté: Blue Tango Project, Getty Center (Brentwood), 7:30pm.

Floricanto's Fiesta del Dia de los Muertos, Lee Strasberg Academy (West Hollywood), 8pm.

James Tenney’s Changes: Sixty-Four Studies for Six Harps, The Box (Downtown), 8pm.

Sunday, November 12

Terrain Biennial Los Angeles, Ana Mendieta Performance Day, 3651 Mimosa Drive (Glassell Park), 10am–7pm.

MOCA Day Party, The Geffen Contemporary at MOCA (Downtown), 11am–5pm.

CREATE - Opposites Attract / Los opuestos se atraen, ESMoA (El Segundo), 11am–3pm.

Mini Clothes Fun: Doll Clothes Workshop with Ruth Root, 356 Mission (Downtown), 12–6pm.

Talk: Korean Art Lecture Series | Fugitive Contemporaries: Korean Art After 1979, LACMA (Miracle Mile), 1pm.

Open Studios, FlechtroNEONics (Van Nuys), 1–5pm.

God’s Eye Yarn Weaving: A CraftLab Family Workshop, Craft and Folk Art Museum (Miracle Mile), 1:30–3:30pm.

Studio Sunday on the Front Steps, Santa Barbara Museum of Art (Santa Barbara), 1:30–4:30pm.

Volunteer Appreciation and Recruitment, ONE Archives (Downtown), 2–4pm.

The Landscape Designs of Ralph Cornell, The Huntington (San Marino), 2pm.

How Does Nature Deepen Our Connection to the Sacred?, Getty Center (Brentwood), 3pm.

WORN IN NEW YORK: 68 SARTORIAL MEMOIRS OF THE CITY by EMILY SPIVACK, Arcana Books on the Arts (Culver City), 3pm.

Walkthrough of Axis Mundo with Joey Terrill, MOCA Pacific Design Center (West Hollywood), 3pm.

Hannah Greely and Upstairs: William T. Wiley, Parker Gallery (Los Feliz), 3–5pm.

Alex Israel and Jack Bankowsky, Art Catalogues at LACMA (Miracle Mile), 4pm.

Human Resources Benefit Party and Auction, Ghebaly Gallery (Downtown), 5–8pm.

Performance | River of Everyone River of No One, Main Museum (Downtown), 6:30–8pm.

My Mother the Doctor, Leiminspace (Chinatown), 7–10pm.

Film Screening & Panel Discussion: Fresa y Chocolate/Strawberry and Chocolate, Pasadena Museum of California Art (Pasadena), 7:30pm.

Tuesday, November 14

Performing the Musical Body: Robyn Nisbet, Pieter (Lincoln Heights), 10am–2pm. $45.

Film: The Girl from Mexico, LACMA (Miracle Mile), 1pm.

Talk: Cur-ATE: Chagall and the Arts, LACMA (Miracle Mile), 6pm.

An evening with Analia Saban and Gabriel Kuri, Getty Center (Brentwood), 7–9pm.

Wednesday, November 15

Fall 2017 Visiting Artist Lecturer: Thinh Nguyen, Claremont Graduate University (Claremont), 4:30pm.

Heather Gwen Martin: Currents and Deborah Butterfield: Three Sorrows, L.A. Louver (Venice), 6–8pm.

AMBIGUOUS REALITY, Santa Monica Art Studios (Santa Monica), 6–9pm.

FOWLER OUT LOUD: MINDFUL MUSIC, Fowler Museum (Westwood), 6–7pm.

Wikipedia Fall Fundraiser, Annenberg Space for Photography (Century City), 7-9pm. $250–25,000.

Rethinking: Programming, Women’s Center for Creative Work (Frogtown), 7–9pm.

Distinguished Fellow Lecture - Did Early-Modern Schoolmasters Foment Sedition?, The Huntington (San Marino), 7:30pm.

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redazionecultura · 8 years ago

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sede: OCRA – Officina Creativa dell’Abitare (Montalcino).

Le opere sono caratterizzate dalla ripetizione del modulo circolare: in Come Quando le Api, la pianta esagonale della struttura – formata da diciannove cerchi, tre per lato – dà vita a una cella, elemento base di cui sono costituiti i favi, accorgimento necessario in natura per ottimizzare costruzioni e spazi. Poggiata a terra e attraversabile dallo spettatore – che, entrandovi, si sente parte di quel processo produttivo tipico delle api sociali – ci conduce nel secondo chiostro dove è esposta Nell’essere idrico, già presentata a Fermo nel 2015. Una cascata irregolare di particelle blu scende dalla copertura in vetro: pioggia o vortice, nutrimento o distruzione; acqua. L’installazione, che non ha né centro né un punto di osservazione predefinito, e che si sviluppa caoticamente toccando terra quasi nel mezzo dell’ambiente, bilancia il rigore geometrico della sala antecedente, inondando di riflessi turchesi l’intero volume. L’habitat ideale e lo sviluppo di un futuro sostenibile sono questo: equilibrio tra fenomeni atmosferici e laboriosa attività di progettazione; patto – o ritrovata intesa – tra naturale e artificiale. E non vi è luogo più significativo in cui sottolinearlo: dove l’architettura si studia, e si fa. Con la mostra presso OCRA, Marco Milia riprende il discorso, già sviluppato in precedenza, della radice del simbolo (dell’origine del linguaggio simbolico) da un lato e della ricerca sui quattro elementi dall’altro, sostituendo al quadrato delle sue città invisibili, dell’utopia, della realtà specchiata e duplicata, l’esagono, emblema di edificazione, spinta ascensionale, armonia del regno animale. Reiterando il cerchio traslucido – a significare la vita – e sfruttando il materiale a lui congeniale, il policarbonato, contrappone natura (suolo, aria e precipitazioni) e cultura attraverso una semplificazione formale fatta di accenni e giocata sui contrasti di toni, geometrie o superfici.

Marco Milia è nato a Roma nel 1976. Si è diplomato all’Accademia di Belle Arti di Roma, alla cattedra di scultura. La sua ricerca spazia dall’installazione al disegno, con cui analizza la rappresentazione e percezione dello spazio attraverso interventi site-specific, ed include l’interazione del pubblico, chiamato a fare esperienza dei suoi lavori fisicamente, sensibilmente. Nel 2007 entra a far parte della collezione permanente del Museo degli Argenti presso Palazzo Pitti a Firenze nelle nuove sale espositive dedicate al gioiello d’artista contemporaneo. Vive e lavora a Roma. Tra le principali esposizioni e riconoscimenti: “L’Ottavo giorno”, Sala Ottagonale del Liceo Gentileschi, Carrara, personale a cura di Luciano Massari nell’ambito delle Marble Weeks (2015); Biennale di scultura Piazzola sul Brenta, Villa Contarini, Padova (2015); “Crystal Time” Art Student’s League of New York, Vytlacil Artist in Residence (2014); “In aere in aquis”, Museo delle Case Romane del Celio, Roma, personale a cura Takeawaygallery (2013-14); “At what time? Early morning”, Scatolabianca (etc), Milano, personale a cura di Sonia Patrizia Catena; “Artefatto – moto urbis”, Museo Arte Contemporanea Revoltella, Trieste (2012); PremioBasi, Cava di Roselle, (GR), Site specific “Emotional Circles” (2011); “Urban Necessity”, Èstile gallery, Roma, mostra personale con testi di Valentina Bernabei.

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Marco Milia. Habitat sede: OCRA - Officina Creativa dell'Abitare (Montalcino). Le opere sono caratterizzate dalla ripetizione del modulo circolare: in Come Quando le Api, la pianta esagonale della struttura – formata da diciannove cerchi, tre per lato – dà vita a una cella, elemento base di cui sono costituiti i favi, accorgimento necessario in natura per ottimizzare costruzioni e spazi.

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whatsupsac · 8 years ago

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What’s Up With Your Weekend, 3/3 - 3/5/17

Friday

#firstfridaysacramento

WAL Public Market Gallery - Temporary Destinations: Bekah Wilson Smith & Adam Wever-Glen 6-8PM. Free.

First Friday at WAL: Head into the building to artists’ studios. 6-9PM. Free.

1810 Gallery - Depiction: Illustration group show featuring Akira Beard, Mandy Zee, Colleen Craig + more. 6-10PM. Free.

Beatnik Studios - Repose Opening Reception: Marc Foster & Micah Crandall-Bear team up to explore Mother Nature’s trash as their treasure. In the Pit. 6-9PM. Free.

Tastemakers: The folks at DISPLAY California are ready to reveal their latest lineup at the gallery in Oak Park. This time, the concept is “Tastemakers.” The Tastemakers are designers, makers, artists, or brands at the forefront of their industry. Most often achieved by creating groundbreaking change in everyday products. Come see over 30 designers, makers, artist and brands that are leading the charge and are making a change in their industry. 5-8PM. Free.

2nd Annual Burly Beers & Burly Beards Competition: The Mustache and Beard Social Club is having a beard competition at Federalist. Register for the competition on site til 630. Enjoy beer and food while observing the competition. 6-11PM.

Little Black IPA Cocktail Party and Wing Pairing: Head to Sactown Union Brewing to try their first collaboratory beer, Little Black IPA, made with the HopBroads. The beer comes as part of a flight of beers paired with wings from ZPizza. It’s a cocktail party, so wear your LBD! $3 from each sale goes to support local nonprofit Dress for Success. 6-11PM. No cover.

Arrington de Dionyso: Gold Lion Arts presents Arrington DeDionyso's "This Saxophone Kills Fascists" Tour w/guest San(s) Kazakgascar Solo (Olympia), Alto! (Portland), and Amy Reed (Sacramento). 730-10PM.

The Blacklight Lounge feat. Georgia Me: Come out to Queen Sheba for Georgia Me, star of HBO Def poetry and nationally recognized poetess. Also on the ticket, Hurrikane, Akronems, I'Klektik Jane, Andru Defeye, Dante Pelayo, and special guest: Rewop! Hosted by Khiry Malik. 10PM-1AM. $10 in advance, $15 at the door.

Total Recall at Highwater: Everyone’s favorite 90s cover band takes the stage at Highwater. 21+ 10PM-130AM. $5 cover.

Saturday

Open Data Day: Code for Sacramento, FullStack Labs, and Hacker Lab are hosting an event for #internationalopendataday. Come help the civic tech community advance the cause of open data and give back to your community. Challenges available for all levels of participation - you don’t need to be able to code to join the fun! 930AM-5PM. Free.

Mardi Paws Parade: Celebrate Mardi Gras with your dog and support Front Street Animal Shelter! March in the parade with your pup, then enjoy activities once you arrive in Old Sacramento. Check the link for more information.

Miller Time - Nick’s Picks Vol. 1: In celebration of Sacramento Beer Week, Nick Miller returns from the hinterlands to Pangaea Cafe for a Bay Area tap takeover featuring a lineup of his favorite beers from parts unknown. 21+ 2-10PM.

Edible Sacramento Launch Party: Come to Mulvaney’s for a special spring-themed cocktail party to celebrate the relaunch of edible Sacramento. Enjoy small bites and a seasonal cocktail as part of the entry fee. A full bar (non-hosted) also will be available for guests. The $10 fee goes wholly to California Foundation for Agriculture in the Classroom. 6-9PM. $10.

LaTour w/Philharmonik at Identity Coffees: Identity Coffees is hosting this killer all ages show - LaTour is an intoxicating musical family who bring delicious harmonies, electric grooves, traditional rhythms, and New Orleans Creole Funk to create a fresh boogaloo flavor and the Philharmonik is a local rising phenom - R&B, Hip Hop, and Soul artist and producer. All ages. 7PM. $5.

Album Release Show Fundraiser for Loaves & Fishes: Andrew Castro’s album release celebration includes Spacewalker and Megan Bone in support. At Sol Collective, benefiting Loaves & Fishes. All ages. 7-1030PM. $10.

Sunday

Beer & Chocolate Pairing: New Helvetia Brewing Co. and Ginger Elizabeth Chocolates are teaming up for a beer and chocolate pairing that’s sure to be delicious. 21+ 12-6PM. No cover.

Bike Dog Brewing - Assemble Sacramento Day: Support efforts to create “The Nest” and enjoy friendly bartender competitions between West Sacramento City Councilmembers Sandeen and Ledesma. At Bike Dog. $1 from each pint goes to support Assemble Sacramento. 1-6PM. No cover.

Oak Park Brewing Co’s Homebrew Competition: OPBC is hosting a homebrew competition for Sacramento Beer Week. There will be a panel of expert judges and a People's Choice division. The winning beer will be brewed and sold at the brewhouse in collaboration with the homebrewer. 21+ 2-5PM. No cover.

Real Live Comedians: Real Live Comedians brings 90 minutes of hot, live comedian action to Punch Line Sacramento for one special night. Featuring: Jason Mack (SF Sketchfest), Dash Kwiatkowski (Cobbs' Comedy Club), Mike Cella (Rooster T Feathers), Erik Krasner (SF Sketchfest), Allie Yada, Alyssa Westerlund. Plus Dorian Foster, Drea Meyers, Sydney Stigerts and more. Hosted by Mark Smalls. 18+ 7PM. 2 drink minimum.

#sacramento

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