#luigi quesada

[wendellcapili]

I am proud of my dear friend Joey Albert, who flew to Manila for gigs and shows. She was a guest at Pops Fernandez's anniversary concert at Solaire last week. She had a Valentine's Concert at Manila House last night. Tomorrow evening, she will be with The Company and several other performers for the Wish 107.5 FM Tides Concert at Smart Araneta Coliseum.

Millennials may not remember that Joey is the original vocalist behind some of the songs they grew up with, including:

Louie Ocampo and Allan Ayque's "Tell Me"

Jose Mari Chan's "I Remember the Boy"

Danny Tan and Jose Javier Reyes's "Iisa pa lamang"

Louie Ocampo and Freddie Santos's "Memories"

Louie Ocampo and Freddie Santos's "Points of View" (her iconic duet with Pops Fernandez)

Louie Ocampo and Freddie Santos's "Yakapin mo ako"

Louie Ocampo and Joey Albert's "Ikaw lang ang mamahalin"

Louie Ocampo, Joey Albert, and Janice de Belen's "It's Over Now"

Louie Ocampo and Jim Millbower's "Without You"

Cris Kuizon's "Say you're mine"

Robert More's “Million Miles Away"

Gerry Paraiso's "Over and Over"

Cecile Azarcon's "Goodbye"

Odette Quesada’s “Loving you” Ray-Ann Fuentes's "Porma ng porma"

Tony Perez and Allan Ayque's "Back in My Arms"

Luigi de Dios and Rina Caniza's "Only a mem'ry."

Luigi de Dios and Rina Caniza's "Roses in the Rain"

Luigi de Dios and Rina Caniza's "Brief Encounter"

Jose La Vina's "Just for a while"

Paola Luz's "How can I make you see"

Joey Albert's "Paano Sasabihin"

Archie Castillo and Onie Zamora's "Sa aking pagbabalik"

Manoling V. Francisco S.J., Silvino Borres and Philip Gan's "Sa 'yo lamang"

National Artist for Music Ryan Cayabyab and Jose Javier Reyes's "Kumukutitap."

Vancouver-based, she survived three cancers and continues to sing and write music, largely to support the Marian Missionaries of the Holy Cross-YMC, a Filipino Religious Congregation for priests and brothers founded in 1976 by Joey's mom, Mrs. Leticia Tordesillas Albert ( https://marian-missionaries.com/aboutus.html / https://www.facebook.com/mmhcymcofficial )

2024 marks her 43rd year as a musical artist. After listening to her latest single, Kundimang Kupas (By Robert More, composer, and lyricist of her 1980s hit, "A Million Miles Away"), I am convinced there are greater reasons why Joey Albert overcame her illnesses. Her meaning and purpose through music have empowered her to live.

[unionhispanoamericana]

Magnifico discurso sobre Gonzalo Jimenez de Quesada. Verdadero procer y padre de Colombia

Magnifico discurso, disertado por el doctor Luigi Leonardo Guinche, sobre Gonzalo Jimenez de Quesada. Verdadero procer y padre de Colombia, durante el evento "Hispanidad Colombia 2022" organizado en Bogotá por Mabel Sanchez y la asociación "Conocimundo".

Magnifico discurso, disertado por el doctor Luigi Leonardo Guinche, sobre Gonzalo Jimenez de Quesada. Verdadero procer y padre de Colombia, durante el evento “Hispanidad Colombia 2022” organizado en Bogotá por Mabel Sanchez y la asociación “Conocimundo”. La Unión Hispano Americana no es una Utopía.

[pretty-sweet-plums]

Was able to enjoy it at its last day! Lea was amazing! More than I even ever expected! So proud! 🇵🇭🇵🇭🇵🇭

[helloyoucreatives]

Tyred out? Stop by here to have a bite.

Publicis Perú and Cusqueña create the first Michelin restaurant in Perú

Peru is recognized as one of the best tourist destinations in the world, but despite the multiple global awards that Peruvian gastronomy has such as being chosen 9 times in the last 10 years as the best culinary destination in the world, having the best chef women in the world or have two restaurants in the global top ten; There are no restaurants with a Michelin star in the country since the gastronomic guide does not operate in Peru. But Michelin not only makes its gastronomic guide, but it also manufactures tires and in Peru, there is an infinity of Michelin tire stores.

This is how Cusqueña, the country's flagship beer are ideal for pairing, and Publicis Worldwide Peru conditioned a Michelin tire store and created "Michelin Tire & Dine", the first Michelin Pop Up restaurant in Peru, together with the renowned Chef Victor Gutierrez, the first Peruvian chef to win two Michelin stars in Spain-

“We decided to hire one of these as a location to create our restaurant branded by the same brand that awards such precious stars so that people can enjoy a unique and unrepeatable experience through exceptionally prepared dishes. We have managed to open the first restaurant “Michelin” in Peruvian territory (referring to the chef and the place that was a Michelin tire shop).” Nelson Fragoso, General Manager/Chief Creative Officer Publicis Worldwide Peru, explained.

In this way, and playing with a bit of humor and concepts, Publicis Worldwide Peru and Cusqueña managed to set up a unique and unrepeatable gastronomic experience that aroused great interest in the local press and opinion leaders in the "foodie" category, generating significant scope and great results.

“Cusqueña is the perfect beer to pair with Peruvian gastronomy; For this reason, we are constantly looking for opportunities to be able to support this purpose and generate great impacts that make it known to the entire world that Peru is undoubtedly the best gastronomic destination in the world and with this capitalize on the pride that Peruvians feel for their food.” Diego Devoto, Global & Local Premium Brands Director – ABInBev.

Credits

Fernando Bellotti

Publicis Groupe - Regional Creative Chairman

Nelson Fragoso

Publicis Worldwide Perú - Chief Creative Officer / General Manager

Katherine Carrillo

Publicis Worldwide Perú - General Account Director

Celso Zelaya

Publicis Worldwide Perú - Executive Creative Director

Luigi Rissi

Publicis Worldwide Perú - Creative Director / Art Director

Daniel Biasevich

Publicis Worldwide Perú - Creative Director  /Copywriter

Cynthia Alarcón

Publicis Worldwide Perú / Copywriter

Jorge García

Publicis Worldwide Perú - Multimedia designer / Editor

Raquel Becerra - Publicis Worldwide Perú

Production Manager

Jean Marcell Loro

Publicis Worldwide Perú - Agency Producer

Ana Morales

Publicis Worldwide Perú - Account Supervisor

Vania Toledo

Publicis Worldwide Perú - Account Executive

Alvaro De Luna

AB Inbev - Head of Marketing

Diego Devoto

AB Inbev - Global & Local Premium Brands Director

Eduardo Miró Quesada

AB Inbev - Brand Manager

Kiara Kottke

AB Inbev - Brand Manager

Micaela Rodriguez

AB Inbev - Lead

Rafael Acuña

Del Mate Producciones – Production

Antonio Sarria

Sangre - Film Director

[appleflavoredkitkats]

sweeney todd manila review

okay, just a heads up, i don’t know much about sweeney todd outside of this production and of what little bits i’ve heard of the other productions, so this won’t be the most professional review. i watched the show on the twentieth of october and i believe the whole cast was there.

btw, this is gonna be really messy bc i still have lots of stuff to do so i’m speed typing this review out KDDLJF.

(hello, @thegirlisuedtobe, this is for you! sorry if this is very late, i was really busy!)

- the set is phenomenal. before the show started, there was the sound of rain while smoke scattered across the stage. it really gave off a very eerie vibe to the show, even if it hasn’t started, and i give huge props to the set designers for setting the tone of the musical!

- here’s what amazed me the most about the set-- FLOATING CARS. there were cars hanging up on strings and just... wow. absolutely breathtaking. there was also an upperstage that was build particularly for this musical which was also well done as well. on stage left, there was this platform in particular that intrigued me because it was slanted and only had a railing that could possibly reach below your thigh. it was risky, i might say, and because of that, huge appreciation to the cast because they were able to maneuver themselves on that platform without slipping or injuring themselves.

- another interesting prop which i’m sure many of you have seen in promos was the red car that both mrs lovett and sweeney todd used. in my opinion, at first glance, the car looked cool, but there were some pros and cons.

- pros of the car: the car gave some kind of edginess to the musical. the main characters rode the car into the stage as their introduction and it really left a good impact! additionally, i loved the way how they moved the car around. all transitions were so smooth and commendable and i praise the designer who thought of all of these up.

- cons of the car: it was awkward when the setting was at the bakery of mrs lovett. the car represented the second floor of the building and the chair of sweeney’s barbershop merely rested on top of the car. it was... kinda confusing at first, especially when it is really up to the audience on how they want to interpret the murders that occurred on the car (more on that later). additionally, the car served as a weird divider to the shop, the bakehouse, and the barbershop, and honestly, they should’ve placed the barbershop on the upperstage instead of on top of the car. (gurl, when i say i was confused, i say i was confused.)

- the keep your cellphone message was really funny to me but... kinda long? like it was so unnecessarily long that i was confused whether the show started or not. i also thought they were checking the set since there was many props littered around. but when they eventually get to the point of things, it was really, really funny, so i commend them for adding this small comedic scene just for audience members to stop taking photos. 

- the singing of the cast was phenomenal! these people are just... so great, and it was definitely the highlight of the show. 

- now... here’s where i get a little bit iffy-- the costumes. i don’t really know what to say because the costumes seem... laughable. but not in a good way. it seems like they wanted to modernize the costumes which is understandable but at some cases, it kinda fails? 

- pros of costume: mrs lovett and pirelli really have the costumes which i loved. lea salonga did not look like herself but my god, did her costume stand out from the rest. and pirelli, on the other hand, had a cape that wooshed around a lot alongside a skirt, and boio, did nyoy volante nail this costume well. the modernizing costume thing didn’t really work with the others besides these two. other modernized costumes that look passable were tobias’ costume and some of the ensemble. (also, jonas fogg wore a denim jacket with a junji ito screencap on the back of it? uh, okay, i love junji ito but why is his manga featured here...)

- cons of costume: oh boy. sweeney todd’s costume was... eh. jeans, really? out of everything they could’ve given to sweeney fucking todd, they gave him a polo under a denim jacket under a blazer and jeans? then there’s the mess that is johanna’s costume design. girl, the designer probably went to an sm sale and decided to just shove anything they found in the department store into their cart. johanna’s dress was. eh. her wig? eh. the costumes didn’t snatch my wig but i’ll let them snatch my wig just so that they can replace whatever the heck johanna has on her head. additionally, not all costumes were modernized... which is like... what? the ensemble who had victorian era-esque costumes looked fine! they even could’ve given sweeney todd one of their costumes because it looked much better than the denim outfit they gave sweeney. it’s just quite... odd to see a mix of modernized costumes and oldstyle costumes mix all together because they lowkey clash with one another.

- okay, let’s move on to the actors themselves. let’s start of with lea salonga-- oh my god, she is a legend. she easily adapted into being mrs lovett and that is so commendable especially when she isn’t used to playing an insane role like that. her mrs lovett had consistent, chaotic energy which i admired and she really was the one to eye whenever you see her in a scene.

- jett pangan was great but he isn’t as consistent as lea when he portrayed his character. sweeney todd was insane, he is angery, he is chaotic but jett pangan portrayed him as stoic and silent in some parts. i really enjoyed his more insane side during little priest but i wished he kept it throughout the whole performance. what i did like about him is his voice is just so, so great. his vibratos were so good y’all, his singing in general makes up for everything. additionally, when sweeney gets emotional, he did a really good job portraying a sadder and more depressed kind of sweeney, almost like he was having some existential crisis on stage. (he really looked like he was regretting life choices during by the sea and the ending, it was actually kind of amusing).

- now, luigi quesada, an underrated actor from this production. god... he was just so consistent and energetic and an absolutely great actor. he really portrayed a pure soft boi through tobias and when he started to become insane, he portrayed that shift of character so fucking well. the shift of character was my absolute favorite thing because, in my opinion, it is the scariest thing that’s happened in sweeney todd. tobias was a pure, innocent child who wanted nothing more but to have a smol job and serve others nicely and then, bam, when he saw the corpses, something snapped in his head and it was so horrific to witness his change. additionally, luigi had such a cheerful singing voice which embodied the character well and accustomed to both the innocent and insane side of tobias.

- nyoy volante was another great treasure in this. he wasn’t as seen since his character died midway through but his stage presence is so great. he was so flamboyant while also being very comedic, using his costume to emphasize the comedy. also, he didn’t die immediately when he got attacked by sweeney, and he did portray the struggling pirelli so, so well. 

- gerald santos was... okay. he has a great singing voice, they all do, so i tend to judge how good they are based from their acting. gerald was really good at portraying a panicky anthony who was desperate for johanna. his character was really consistent and i like that! my main issue with gerald is at some times, his diction isn’t too great. i know that some filipinos (even me) would struggle pronouncing words in english, but if you’re an actor who’s worked on many musicals in english, i expect a lot from you. i think he had a really thick filipino/tagalog accent and mixed with a really mediocre british accent, it wasn’t too... understandable. i couldn’t understand most of his dialogue and because he can’t do accents well, his acting becomes affected. 

- mikkie volante’s voice is so fucking beautiful, how do you even sing that high and make it look easy? anyways, she portrayed a very frightful johanna very well, and i can’t believe how much the costume and wig really affects my perception of the character. it’s just... i can’t take her seriously if she looks... like that. okay, enough about the costumes-- her johanna felt scared and i felt that, but when she fell in love with anthony, she was desperate, and i fuckin loved it. being isolated for your entire life will leave you desperate for affection and mikkie fucking nailed it!

- andrew fernando was so-so as the judge. he wasn’t... creepy, or disturbing. his character is disgusting and so close-minded but i never felt any eerie vibes from him. i also think the costume he had was restricting him from doing anything because he had layers upon layers of clothing and when he began whipping himself, he looked like he struggled a lot to sing and do the actions (the costumes for this production is just so off in general it’s a bit offensive). there wasn’t much stage presence from him and i just wanted him to act a bit filthier.

- arman ferrer as the beadle was a trip. he portrays the character as so dumb and i loved it, it’s just the idiotic energy really cracks me up. additionally, his singing, oh my word, his singing is so good. he hits high notes like it was no problem and it was jawdropping. there was not much to say besides his fuckin costume was whack why did he wear that-- but overall, he was pretty solid!

- ima castro was good! she portrayed a crazy beggar woman which was so chaotic and funny and just fucking bonkers and i loved the energy she had! the only thing i note is that, at times, her voice would stop and i’m not sure if it was intentional or not? even if it wasn’t, it actually added to her character rather than brought her down.

- ensemble was... phenomenal. ignoring the costumes for the hundredth time, i love the ensemble so much because they don’t get enough credit yet they nail it every time they get into a production. their acting during the asylum scene? iconic. their accents? iconic. everything was so iconic.

- now, imma just say a few points in the show that i remembered which is worthy enough to tell yall of.

- here i’ll explain how the murders work. it’s kinda... weird. the execution was inconsistent and i remembered three ways on how they were able to kill and cook their victims. firstly, the murder with pirelli is the only one of its kind. sweeney sliced his throat and threw him into the driver’s seat of the car which was confusing considering how the other murders took place. the second kind of murder and the more common one is when sweeney sliced someone’s throat, the victim would walk off the car and walk into mrs lovett’s oven by themselves. i’m assuming that with pirelli, they didn’t bake him yet so they just hid him in some kind of box or crate somewhere. the third kind applied to the judge and the beggar woman wherein when they killed them, it was implied that they were brought to the bakehouse and not burnt.

- here’s my interpretation of how the murders go. in the original, the bakehouse was the basement, but here, i assume since they claim it’s a “bakehouse”, there’s a secret compartment in the barbershop that brings dead bodies directly into the oven. i’m guessing that with judge turpin and the beggar woman, the oven was not on so they were just... brought there? it’s really, really confusing and i wished they cleared it up so i won’t keep wondering about what is where and how things work. i do think that the victims walking into the oven is really genius because it was a perfect mix of comedy and eeriness which i really commend.

- i liked the way they portrayed the streets in this. they used the upper stage and it really clears up where each scenery is set! it isn’t like the bakery and barbershop wherein the set is confusing, it was much better than that. when mrs lovett and sweeney walked up to pirelli’s barbershop, the scenery was so interesting because they walk from above and look down at them. i really, really liked it.

- additionally, the sprays tobias advertised were cleaning sprays found in ace hardware store, that’s funny. also, the only time their haggard wigs would be effective is when tobias used it and nothing else. (i’ve seen better wigs in beautiful, where did those wigs go?)

- the way they portrayed johanna’s place was so, so good. johanna’s room would be atop the upper stage and, ugh, it’s just so well put-together. this whole set was the work of god and no one can convince me otherwise.

- the lighting was great but the sound design was a bit off for me. the electrocution noises were smart to use but i thought it was a bit too loud? like it was really off-putting. i wished they added gross sloshing noises when they were handling the body parts just to add give a better effect when mrs lovett was holding actual intestines and organs.

- the opening of act 2 was hilarious and one of the more intriguing parts of this musical. pangan’s voice? spectacular. lea’s look of distress whilst serving pies? hilarious. the ensemble? god’s gift to mankind. it was so comedic because sweeney is calmly singing about johanna whilst he slices throats and the victims, in a daze, just walk into an oven while mrs lovett’s expression just screams, “yea, that’s life.”

- i can’t believe. they used handkerchiefs to express what a wig is during the asylum scene. like............ really. where are the leftover wigs from beautiful???

- also, it was weird to me that johanna was the one who shot jonas fogg. it was kinda badass of her and perhaps portrayed her character to become more brave but i still kinda thought it was ooc? (ALSO DEAN ROSEN IS GREAT I LOVE HIM HE POSTS CAT STUFF ON IG AND THATS ALL HE DOES)

- okay someone clarify with me because i initially thought tobias escaped the bakehouse, hence why they went looking for him, but they said it was locked from the outside and i’m left confused why they left in the first place...?

- btw whenever lea speaks, i become more of a lesbian, thanks lea salonga.

- when the plot twist was revealed and mrs lovett and sweeney were slow dancing, that was a theatrical experience. god, just... mrs lovett with the most fearful look in her face as sweeney slowly moves her into the oven is so iconic and that has to be one of the more chilling scenes in the musical. then, once sweeney kills her off, she holds the beggar lady close to him and he looks absolutely mournful.

- AND THEN TOBIAS FUCKING COMES BACK AND GIVES THE BIGGEST CHILLS EVER. will i ever stop talking about how good tobias was written/how good luigi quesada is? probably not.

- anyways, tldr; sweeney todd was beyond average but wasn’t perfect, the costumes were. eh. the singing was perfect, the SET was amazing, lea salonga, nyoy volante, and luigi quesada own my heart, and philippine theatre really needs better wig suppliers, someone please donate your wigs to them.

[jgmail]

La internacional derechista

Por Juan J. Paz-y-Miño Cepeda

Fuentes: Informe Fracto - Rebelión

En un artículo anterior (https://bit.ly/39i9uR7) me referí a la reinterpretación histórica de la ultraderecha española (VOX), según la cual los conquistadores del siglo XVI fueron verdaderos “libertadores” de pueblos sometidos por los aztecas. No es una opinión aislada.

Desde hace años las derechas españolas vienen trabajando en una visión política que asegure no solo su posicionamiento interno (incluye la reivindicación del franquismo), sino su extensión en América Latina, a la que quieren involucrar en sus propósitos. Tres fundaciones cumplen el papel de “tanques de pensamiento” (think tanks) con amplio impacto: Fundación para el Análisis y los Estudios Sociales (FAES) presidida por José María Aznar; Fundación Disenso (FD), entre cuyos “patronos” está Santiago Abascal, presidente de VOX; y Fundación Internacional para la Libertad (FIL), presidida por Mario Vargas Llosa, literato peruano que vive en Madrid y cuyo giro al neoliberalismo ha merecido ser tratado por el demoledor libro de Atilio Borón El hechicero de la tribu. Coinciden en promover los valores de la libertad, la democracia y el Estado de derecho, vinculados al libre mercado, la empresa privada y el “humanismo occidental”. Realizan actividades académicas, tienen publicaciones, redes vinculadas o seguidoras, sostienen diversos programas de acción y capacitación, se respaldan en personalidades consideradas como referentes políticas o intelectuales. Desde luego, el enemigo principal contra el que hay que librar la batalla ideológica desde sus perspectivas, son las izquierdas, los “populistas”, los progresistas, ante todo en España, pero, además, en Iberoamérica e incluso FD habla de la “Iberosfera”, una comunidad de 700 millones de personas que “comparten una historia y una cultura común”. El pasado 9 de julio (2021), la FIL realizó el IV Foro Atlántico Iberoamérica: ¨Democracia y Libertad en tiempos recios¨, (https://bit.ly/3zfejFD) en el que, entre otras figuras, participaron Mario Vargas Llosa, Mauricio Macri, Isabel Díaz Ayuso, Enrique Krause, Sergio Ramírez, José Luis Martínez-Almeida, Roberto Ampuero, Álvaro Vargas Llosa, Julia Vilanova, Luigi Echeverri, Leopoldo López, Gerardo Bongiovanni y también, en forma virtual, los presidentes Iván Duque (Colombia), Luis Lacalle Pou (Uruguay), Sebastián Piñera (Chile) y Guillermo Lasso de Ecuador. Fue un derroche de palabrería sobre la libertad reducida a los “valores” de la empresa privada. El documento fundamental logrado por la FD es la “Carta de Madrid. En defensa de la libertad y la democracia de la Iberosfera” (https://bit.ly/3kgTntm) lanzada el 26 de octubre de 2020 y que ha sido ampliamente difundida y comentada. La suscriben numerosos “iberoamericanos” de los distintos países, incluyendo varios ecuatorianos (como Otto Sonnenholzner, vicepresidente de Lenín Moreno y Henry Kronfle del PSC), sin duda identificados en la derecha política nacional. También aparece Dora de Ampuero, del Instituto Ecuatoriano de Economía Política (www.ieep.org.ec), que igualmente consta como entidad adherida a la FIL. Además de haber unido propósitos compartidos entre VOX y PAN (https://bit.ly/3zkvPYR), la Carta se concentra en tres ideas centrales: 1. La identidad común de la “Iberosfera” como “comunidad de naciones libres y soberanas que comparten una arraigada herencia cultural”. Es una versión tradicional, que, además de desplazar la identidad propia de Nuestra América Latina (José Martí), para continuar manteniéndola “Ibérica”, soslaya la diferente perspectiva histórica que nació de la relación que en otra época se constituyó entre el imperio y las colonias. No hubo conquistadores “libertadores” de pueblos, ni unas colonias en igualdad de vida con la metrópoli, sino una relación económica y social de desigualdades en el desarrollo, que asentó la acumulación originaria de capitales en Europa sobre la base de la subordinación y la explotación de la Iberoamérica colonial. 2. La defensa del “Estado de Derecho, el imperio de la ley, la separación de poderes, la libertad de expresión y la propiedad privada”, un asunto que, por la visión, los documentos y la posición asumida tanto por las tres fundaciones en referencia, como por las “personalidades” y entidades que se identifican con la Carta, está vinculado exclusivamente con un tipo de economía: el neoliberalismo. De modo que, cuando se escribe que “la defensa de nuestras libertades es una tarea que compete no solo al ámbito político, sino también a las instituciones, la sociedad civil, los medios de comunicación, la academia, etc.”; y que “el futuro de los países de la Iberosfera ha de estar basado en el respeto a la democracia, los derechos humanos, el pluralismo, la dignidad humana y la justicia”, bajo las experiencias del neoliberalismo en América Latina y de los gobiernos conservadores y de derecha que lo han impuesto en la región, ese “Estado de derechos y libertades” ha ocasionado los resultados sociales más perjudiciales en la historia contemporánea, con la arrogante concentración de ingresos en una elite de grupos económicos dispuestos a no permitir alternativas a su poder. 3. La Carta finalmente considera que el enemigo común a derrotar es el “comunismo”, la “seria amenaza para la prosperidad y el desarrollo de nuestras naciones”. En el caso de América Latina queda muy claro que “está secuestrada por regímenes totalitarios de inspiración comunista, apoyados por el narcotráfico y terceros países. Todos ellos, bajo el paraguas del régimen cubano e iniciativas como el Foro de São Paulo y el Grupo de Puebla”. Es un “proyecto ideológico y criminal” que busca introducirse en otros países y continentes. En definitiva, son los viejos conceptos de la “guerra fría” renombrados para un presente que recuerda la década de 1960 con la Alianza para el Progreso, la OEA como instrumento de los EEUU y el directo y largo intervencionismo norteamericano en América Latina, precisamente para derrocar cualquier “comunismo”, lo que condujo, en la década de 1970, a la instauración de las dictaduras militares terroristas del Cono Sur, que no solo arrasaron con toda democracia y libertad, sino que violentaron derechos humanos, sin contemplaciones. Como puede apreciarse, existe una internacional derechista bien avanzada. Además, para completar el cuadro, hay que sumar las labores que cumple otro think tank: el Instituto Interamericano para la Democracia (www.intdemocratic.org), en cuya nómina de asesores institucionales consta Osvaldo Hurtado. En mayo 2021, el IID organizó el “Foro Defensa de la Democracia en las Américas”, al que fueron invitados los presidentes Carlos Alvarado Quesada (Costa Rica), Mario Abdo Benítez (Paraguay) y Nayib Bukele (El Salvador), además de los expresidentes Mauricio Macri (Argentina), Andrés Pastrana (Colombia), Luis Guillermo Solís (Costa Rica) y Osvaldo Hurtado (Ecuador), para hablar junto al Secretario General de la OEA, Luis Almagro (https://bit.ly/3zgewIL). El expresidente ecuatoriano Lenín Moreno fue el orador principal, con sus internacionalmente simpáticos y famosos discursos “académicos” (https://bit.ly/3nD5zXF); y en agosto fue la figura central del coloquio “Dictadura de Cuba y las Américas” (https://bit.ly/3Cq1Wbw), donde deleitó a sus seguidores. La derecha latinoamericana cuenta, entonces, con una internacional favorable. Su lucha por la “libertad” solo se refiere al régimen capitalista bajo el modelo neoliberal. Y está preparada para enfrentar una larga batalla que impida la construcción de economías sociales y Estados orientados por intereses populares. Una situación histórica que afirma la polarización en la que se halla la vida política, económica y social latinoamericana entre un proyecto “liberal” de intereses privados y otro de liberación de las poblaciones contra ese dominio.

Historia y Presente – blog: www.historiaypresente.com Artículo especial para Informe Fracto, México

[blissandvoid]

Demon Barber of Fleet Street I haven’t seen Phantom of the Opera because I don’t know the story (and it’s way more expensive) but still I saw this (even though I haven’t seen the Depp/Bonham-Carter film) just because friends tagged me along. Unfortunately for them something came up and I had to find a replacement buddy to watch or I’ll end up alone. Good thing, Jayse’s leave was approved hahah. Sweeney Todd is a tale of revenge and if you know me, I love a Marimar storyline hahah. Though there isn’t a “pulutin mo ang kwintas sa putik gamit ang iyong bibig” eksena, revenge was served piping hot. Creatively, if I may add. I’m always on edge when the lights turn red hahah. The cast is outstanding. Jett Pangan is kinda Valjean in my imagination i guess. Lea Salonga delivers the lines, melodies, and pies hahah and some Helena Bonham Carter realness. I like Gerald Santos as Anthony (he doesn’t sound Brit though) and Mikki Bradshaw-Volante as Johanna (though i could tell her weave is fake even from the balcony hahah). Nyoy Volante as Pirelli is fun to watch. And Luigi Quesada is a standout for me especially with his ballad Not While I’m Around. I cried literally. I felt the emotions hehe. Go watch it while it’s hot. 😉 #kumuculture (at The Theatre At Solaire) https://www.instagram.com/p/B3gnHHDnlm3/?igshid=874tmnc8qlz0

[whogotmyplaybill-blog-blog]

Come fly with us to Neverland in PETER PAN by Repertory Philippines at the Meralco Theater on OCTOBER 15, Saturday, 3:00 pm!  Sam Concepcion plays the boy who doesn't want to grow up with Michael Williams as his as his archenemy, Capt. Hook. It's a fanciful musical adventure fit for the entire family!

TICKET PRICES: 

ORCHESTRA CENTER: PhP 1600.00

ORCHESTRA SIDE: Php 1300.00

LOGE CENTER: PhP 1000.00

LOGE SIDE: PhP 900.00

BALCONY CENTER: PhP 650.00

BALCONY SIDE: PhP 500.00

Text 09175396147 or 09228960125 for ticket inquiries. Individual tickets and block-buy offered.

[aneddoticamagazinestuff]

Il prete che portò la patata nell' Alta Toscana - Storia di guerre, carestie e superstizione

New Post has been published on https://www.aneddoticamagazine.com/it/il-prete-che-porto-la-patata-nell-alta-toscana-storia-di-guerre-carestie-e-superstizione/

Il prete che portò la patata nell' Alta Toscana - Storia di guerre, carestie e superstizione

In origine era “potati“, poi “papa“, “batatas“, dopodichè la sua diffusione portò l’avvicendarsi di altri nomi ancora. In Italia all’inizio fu chiamata “tartifola“, vista la somiglianza che aveva con il tartufo, per lo stesso motivo in Germania la denominarono “kartoffel” e in Francia, culla della sua divulgazione in tutto il Vecchio Continente, in principio fu elegantemente chiamata “pomme de terre“, ossia mela di terra. Oggi è conosciuta semplicemente con l’appellativo di patata ed è il quarto alimento più consumato al mondo.

Re Federico il Grande controlla la coltivazione della patata dipinto di Robert Muller

Checchè se ne pensi non fu il solito Cristoforo Colombo ad esportare il tubero in Europa, ma bensì i suoi accoliti spagnoli una cinquantina di anni dopo la scoperta dell’America. I conquistadores si accorsero della presenza della patata nelle loro scorribande sulla cordigliera andina: Perù, Cile, Bolivia, nonchè  Messico e Colombia. Fu proprio nella lontana Colombia che si ebbero le prime testimonianze scritte della sua presenza, quando nel 1536 gli uomini di Gonzalo Jimenez de Quesada aprirono un varco nella foresta della Valle Magdalena ed irruppero nell’attuale villaggio di Sorocotà; gli indigeni, poveri sventurati, scapparono a gambe levate mentre i conquistadores saccheggiavano le loro capanne.

In una di queste capanne trovarono del cibo: fagioli, mais e una sorta di “tartufo”.

Nel suo resoconto Juan de Castellanos lo descrisse dettagliatamente: “piante con scarsi fiori viola opaco e radici farinose di sapore gradevole…“.

Fattostà, che nel tardo cinquecento lo strano tubero fece il suo ingresso in Europa. Il suo arrivo non fu accolto con manifestazioni di giubilo e tripudio, anzi, il suo esordio nelle tavole della gente non fu del tutto facile, tant’è che questo alimento non fu preso come fonte di nutrimento umano e fu relegato a cibo per animali da fattoria. La povera patata con il tempo fu quindi accusata di ogni nefandezza inimmaginabile, si arrivò a dire che era una delle cause della diffusione della lebbra, d’altronde che alimento può essere quello che il suo frutto nasce sotto terra? Addirittura nell’Enciclopedye del 1765 si asserisce che si tratta di “cibo flatulento“… A decretare il suo quasi “de profundis” ci furono poi dei casi d’intossicazione, infatti qualche scellerato mangiava non il prelibato tubero, ma bensì le foglie e i suoi frutti velenosi. La decisione dei governanti di costringere a mangiare tale “schifezza” ai soldati e ai galeotti portò poi la sua “fama” ai minimi storici. Fu proprio grazie però ad uno di questi soldati che la patata ebbe la sua riscossa.

Antoine Augustine Parmentier con il fiore di patata in mano

Il francese Antoine Augustine Parmentier, durante la guerra dei “Sette Anni” fu fatto prigioniero e nella sua cella fu cibato proprio a patate, l’uomo ne apprezzò il sapore e perdipiù constatò anche la sua facilità di crescita in terreni poveri. D’altra parte Parmentier parlava con cognizione di causa, visto che il suo lavoro non era fare il soldato, ma bensì l’agronomo, difatti ritornato in patria propose “la pomme de terre” allo studio dei più facoltosi personaggi di Francia, presentando il tubero come “pane già fatto che non richiedeva nè mugnaio, nè forno“. L’alimento suscitò il  grande interesse di tutti, tanto è vero che il re Luigi XVI, dopo la grande carestia del 1785, impartì l’ordine ai nobili di obbligare i propri contadini a coltivare la patata. Fu proprio a causa della carestia, della miseria e della povertà che qualcuno decise di introdurre la coltivazione della patata anche in Garfagnana.

Esiste infatti un nome ed un cognome di colui che portò “il pomo di terra” all’attenzione dei contadini garfagnini, così come esiste anche una data.

Metello

Lui era un prete, si chiamava Don Pietro Salatti, parroco di Metello (oggi comune di Sillano Giuncugnano), nonchè cappellano militare alle dipendenze di Napoleone Bonaparte. Fu appunto in una di quelle faraoniche campagne militari che il parroco conobbe la patata, era difatti la protagonista principale del rancio dei militari. Vide poi che era un alimento sostanzioso, abbondante, facile da coltivare e di poco costo, insomma, il nutrimento ideale per la sua gente di Garfagnana, sarebbe stato una valida alternativa alla castagna, un cibo perfetto in tempi di magri raccolti, per giunta sui monti garfagnini poteva crescere in prosperità. Fu allora, in quel lontano 1815, quando il prete tornò nella sua amata Metello che la storia della patata ebbe il suo inizio nella nostra valle. I sogni di gloria napoleonici erano terminati e Don Pietro portò all’attenzione di tutti i suoi compaesani questo frutto della terra, lo portò a loro come un dono di Dio, una vivanda in più da mettere sulle già povere tavole garfagnine… Ma l’ignoranza come si sa non conosce limiti e anche in Garfagnana si riaffermarono fantasie e credulonerie che si credevano ormai sopite: –… è il frutto del diavolo !!!-, qualcuno ebbe a dire, o sennò qualche altro benpensante affermò: –Questo frutto non è nemmeno citato nella Bibbia…-. Si disse perfino che era il cibo prediletto degli streghi, infatti come era già successo in Europa, qualcuno pensò bene di mangiarsi pure le foglie della pianta della patata, foglie che contengono solanina e scopolamina, due alcaloidi che possono provocare effetti allucinogeni e che secondo credenza popolare poteva permettere il cosiddetto “volo stregonico”. Non solo questo però, il Pievano di Gallicano così scriveva: “Gran parte dei contadini della montagna, sono intimamente persuasi che l’irregolarità delle stagioni sia effetto della coltivazione delle patate“…

Il pane di patate della Garfagnana

Ma il tempo come si sa è galantuomo e finalmente anche in Garfagnana ci si rese conto della bontà del prodotto. Oggi la patata è uno dei nostri prodotti d’eccellenza, la patata rossa di Sulcina è di una  prelibatezza unica, che dire poi del nostro pane di patate (per saperne di più clicca qua) e le squisite torte sono impareggiabili.

In definitiva, come abbiamo letto, mai nessun alimento al mondo come la patata ha dovuto penare così strenuamente per affermarsi sulle nostre tavole.

La sua definitiva consacrazione gli fu data perciò dal premio Nobel per la letteratura Knut Hamsun quando nel suo libro “I frutti della Terra” così la descrisse:

“La patata è un vegetale senza paragoni, che resiste alla siccità come all’umidità e cresce ugualmente; che sfida le intemperie e ripaga al decuplo le poche cure che l’uomo le concede. La patata non ha il sangue dell’uva, ma possiede la carne della castagna; si può cuocere sotto la cenere, o nell’acqua bollente, o friggerla. Chi ha la patata può fare a meno del pane. Non occorre aggiungervi molto, ed ecco preparato un pasto; la si mangia con una tazza di latte, con un’aringa: è sufficiente. Il ricco la mangia con il burro; il povero si accontenta di condirla con un pizzico di sale”.

Bibliografia:

“Italiani mangiapatate. Fortuna e sfortuna della patata nel Belpaese” di Davide Gentilcore . Il Mulino 2013

Studi interdisciplinari su varietà di patate di Stefano Martino e Arturo Alvino , maggio 2010, Lulu edizioni

[aneddoticamagazinestuff]

Il prete che portò la patata nell' Alta Toscana - Storia di guerre, carestie e superstizione

New Post has been published on https://www.aneddoticamagazine.com/it/il-prete-che-porto-la-patata-nell-alta-toscana-storia-di-guerre-carestie-e-superstizione/

Il prete che portò la patata nell' Alta Toscana - Storia di guerre, carestie e superstizione

In origine era “potati“, poi “papa“, “batatas“, dopodichè la sua diffusione portò l’avvicendarsi di altri nomi ancora. In Italia all’inizio fu chiamata “tartifola“, vista la somiglianza che aveva con il tartufo, per lo stesso motivo in Germania la denominarono “kartoffel” e in Francia, culla della sua divulgazione in tutto il Vecchio Continente, in principio fu elegantemente chiamata “pomme de terre“, ossia mela di terra. Oggi è conosciuta semplicemente con l’appellativo di patata ed è il quarto alimento più consumato al mondo.

Re Federico il Grande controlla la coltivazione della patata dipinto di Robert Muller

Checchè se ne pensi non fu il solito Cristoforo Colombo ad esportare il tubero in Europa, ma bensì i suoi accoliti spagnoli una cinquantina di anni dopo la scoperta dell’America. I conquistadores si accorsero della presenza della patata nelle loro scorribande sulla cordigliera andina: Perù, Cile, Bolivia, nonchè  Messico e Colombia. Fu proprio nella lontana Colombia che si ebbero le prime testimonianze scritte della sua presenza, quando nel 1536 gli uomini di Gonzalo Jimenez de Quesada aprirono un varco nella foresta della Valle Magdalena ed irruppero nell’attuale villaggio di Sorocotà; gli indigeni, poveri sventurati, scapparono a gambe levate mentre i conquistadores saccheggiavano le loro capanne.

In una di queste capanne trovarono del cibo: fagioli, mais e una sorta di “tartufo”.

Nel suo resoconto Juan de Castellanos lo descrisse dettagliatamente: “piante con scarsi fiori viola opaco e radici farinose di sapore gradevole…“.

Fattostà, che nel tardo cinquecento lo strano tubero fece il suo ingresso in Europa. Il suo arrivo non fu accolto con manifestazioni di giubilo e tripudio, anzi, il suo esordio nelle tavole della gente non fu del tutto facile, tant’è che questo alimento non fu preso come fonte di nutrimento umano e fu relegato a cibo per animali da fattoria. La povera patata con il tempo fu quindi accusata di ogni nefandezza inimmaginabile, si arrivò a dire che era una delle cause della diffusione della lebbra, d’altronde che alimento può essere quello che il suo frutto nasce sotto terra? Addirittura nell’Enciclopedye del 1765 si asserisce che si tratta di “cibo flatulento“… A decretare il suo quasi “de profundis” ci furono poi dei casi d’intossicazione, infatti qualche scellerato mangiava non il prelibato tubero, ma bensì le foglie e i suoi frutti velenosi. La decisione dei governanti di costringere a mangiare tale “schifezza” ai soldati e ai galeotti portò poi la sua “fama” ai minimi storici. Fu proprio grazie però ad uno di questi soldati che la patata ebbe la sua riscossa.

Antoine Augustine Parmentier con il fiore di patata in mano

Il francese Antoine Augustine Parmentier, durante la guerra dei “Sette Anni” fu fatto prigioniero e nella sua cella fu cibato proprio a patate, l’uomo ne apprezzò il sapore e perdipiù constatò anche la sua facilità di crescita in terreni poveri. D’altra parte Parmentier parlava con cognizione di causa, visto che il suo lavoro non era fare il soldato, ma bensì l’agronomo, difatti ritornato in patria propose “la pomme de terre” allo studio dei più facoltosi personaggi di Francia, presentando il tubero come “pane già fatto che non richiedeva nè mugnaio, nè forno“. L’alimento suscitò il  grande interesse di tutti, tanto è vero che il re Luigi XVI, dopo la grande carestia del 1785, impartì l’ordine ai nobili di obbligare i propri contadini a coltivare la patata. Fu proprio a causa della carestia, della miseria e della povertà che qualcuno decise di introdurre la coltivazione della patata anche in Garfagnana.

Esiste infatti un nome ed un cognome di colui che portò “il pomo di terra” all’attenzione dei contadini garfagnini, così come esiste anche una data.

Metello

Lui era un prete, si chiamava Don Pietro Salatti, parroco di Metello (oggi comune di Sillano Giuncugnano), nonchè cappellano militare alle dipendenze di Napoleone Bonaparte. Fu appunto in una di quelle faraoniche campagne militari che il parroco conobbe la patata, era difatti la protagonista principale del rancio dei militari. Vide poi che era un alimento sostanzioso, abbondante, facile da coltivare e di poco costo, insomma, il nutrimento ideale per la sua gente di Garfagnana, sarebbe stato una valida alternativa alla castagna, un cibo perfetto in tempi di magri raccolti, per giunta sui monti garfagnini poteva crescere in prosperità. Fu allora, in quel lontano 1815, quando il prete tornò nella sua amata Metello che la storia della patata ebbe il suo inizio nella nostra valle. I sogni di gloria napoleonici erano terminati e Don Pietro portò all’attenzione di tutti i suoi compaesani questo frutto della terra, lo portò a loro come un dono di Dio, una vivanda in più da mettere sulle già povere tavole garfagnine… Ma l’ignoranza come si sa non conosce limiti e anche in Garfagnana si riaffermarono fantasie e credulonerie che si credevano ormai sopite: –… è il frutto del diavolo !!!-, qualcuno ebbe a dire, o sennò qualche altro benpensante affermò: –Questo frutto non è nemmeno citato nella Bibbia…-. Si disse perfino che era il cibo prediletto degli streghi, infatti come era già successo in Europa, qualcuno pensò bene di mangiarsi pure le foglie della pianta della patata, foglie che contengono solanina e scopolamina, due alcaloidi che possono provocare effetti allucinogeni e che secondo credenza popolare poteva permettere il cosiddetto “volo stregonico”. Non solo questo però, il Pievano di Gallicano così scriveva: “Gran parte dei contadini della montagna, sono intimamente persuasi che l’irregolarità delle stagioni sia effetto della coltivazione delle patate“…

Il pane di patate della Garfagnana

Ma il tempo come si sa è galantuomo e finalmente anche in Garfagnana ci si rese conto della bontà del prodotto. Oggi la patata è uno dei nostri prodotti d’eccellenza, la patata rossa di Sulcina è di una  prelibatezza unica, che dire poi del nostro pane di patate (per saperne di più clicca qua) e le squisite torte sono impareggiabili.

In definitiva, come abbiamo letto, mai nessun alimento al mondo come la patata ha dovuto penare così strenuamente per affermarsi sulle nostre tavole.

La sua definitiva consacrazione gli fu data perciò dal premio Nobel per la letteratura Knut Hamsun quando nel suo libro “I frutti della Terra” così la descrisse:

“La patata è un vegetale senza paragoni, che resiste alla siccità come all’umidità e cresce ugualmente; che sfida le intemperie e ripaga al decuplo le poche cure che l’uomo le concede. La patata non ha il sangue dell’uva, ma possiede la carne della castagna; si può cuocere sotto la cenere, o nell’acqua bollente, o friggerla. Chi ha la patata può fare a meno del pane. Non occorre aggiungervi molto, ed ecco preparato un pasto; la si mangia con una tazza di latte, con un’aringa: è sufficiente. Il ricco la mangia con il burro; il povero si accontenta di condirla con un pizzico di sale”.

Bibliografia:

“Italiani mangiapatate. Fortuna e sfortuna della patata nel Belpaese” di Davide Gentilcore . Il Mulino 2013

Studi interdisciplinari su varietà di patate di Stefano Martino e Arturo Alvino , maggio 2010, Lulu edizioni