#Alma Nilsson | Explore Tumblr Posts and Blogs

findinghea · 2 years

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Romance Readers Bingo

Hi everyone! I’m taking part in Romance Readers Bingo! It’s a fab way for readers to discover new reads, and a huge prize pot is up for grabs! Here is how it works: Come Play Romance Readers Bingo 7/1/22-7/31/22 Read and review books shown on the card to get bingo. Once you have bingo, email the address listed below with your review links to be entered for a chance to win. You can review as many…

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tradermeximas · 19 days

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A pesquisa temática da GlobalData prevê um aumento nas receitas de blockchain de US$ 12 bilhões em 2023 para US$ 291 bilhões em 2030. A indústria de blockchain está preparada para experimentar um crescimento significativo, com receitas que deverão aumentar de 12 mil milhões de dólares em 2023 para 291 mil milhões de dólares em 2030, impulsionadas principalmente pelos desenvolvimentos na tokenização de ativos, de acordo com um relatório recente da GlobalData. Esta notável expansão é atribuída a uma mudança para investimentos mais focados em áreas como o desenvolvimento de blockchain e serviços de infraestrutura. O relatório da GlobalData, “Pesquisa Temática: Blockchain”, identifica um movimento estratégico que se afasta do uso amplo e indiscriminado da tecnologia em direção à sua aplicação em contextos estratégicos específicos. Esta evolução é marcada por uma aceitação mais ampla do papel da blockchain na infraestrutura digital. Nicklas Nilsson, Consultor de Inteligência Temática da GlobalData, destacou a onda inicial de entusiasmo que acompanhou a entrada do blockchain na esfera corporativa, que logo foi amenizada pela realidade de sua aplicação prática. O foco inicial na novidade em detrimento do valor estratégico levou a expectativas desalinhadas, ressaltando a importância de identificar casos de uso e setores adequados para a aplicação do blockchain. Apesar da diminuição do entusiasmo inicial, os avanços no setor de blockchain persistem, com desenvolvimentos notáveis, como o aumento da concorrência entre blockchains de contratos inteligentes, a mudança de marca para Web3, a introdução de tokens vinculados à alma e a popularização de criptomoedas. Uma conclusão importante do relatório é a importância crescente da tokenização de ativos. Este processo envolve a conversão de ativos físicos ou digitais em tokens digitais que podem ser divididos e negociados. Esta abordagem oferece uma nova forma de propriedade de activos, permitindo compras fraccionadas de activos, o que poderia ajustar o tratamento de activos ilíquidos como imóveis, metais preciosos e obras de arte. Nilsson destacou que a tokenização de ativos representa a segunda maior aplicação do blockchain depois das criptomoedas, atraindo interesse significativo das principais instituições financeiras nos últimos dois anos. Este interesse não é apenas orientado pelas tendências, mas reconhece o potencial da tokenização para reduzir as barreiras à entrada, aumentar a liquidez e facilitar liquidações mais rápidas, com impacto na distribuição de riqueza e nas operações económicas. Fonte: Tecnologia da Força Aérea

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movienized-com · 2 months

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Händelser vid vatten (2023- )

Händelser vid vatten (2023- ) #PernillaAugust #AlbaAugust #RolfLassgard #LivMjones #MagnusKrepper #AstaKammaAugust Mehr auf:

Serie Jahr: 2023- (Januar) Genre: Krimi / Drama Hauptrollen: Pernilla August, Alba August, Rolf Lassgård, Liv Mjönes, Magnus Krepper, Asta Kamma August, Alma Pöysti, Magnus Roosmann, Emelie Garbers, Cecilia Nilsson, Christian Fandango Sundgren, Pella Kagerman, Sven Boräng … Serienbeschreibung: An einem Sommerabend im Jahr 1970 wurden zwei Touristen in einem Zelt ermordet aufgefunden. Das…

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#Alba August #Liv Mjönes #Pernilla August #Rolf Lassgård

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adrihelena · 5 months

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🌿 Harry Nilsson - Everybody’s Talkin’ (TRADUÇÃO) 1969

🌿Suavidade em forma de canção: Everybody’s Talkin’ de Harry Nilsson encantará sua alma. Veja + detalhes no artigo inédito musical da semana 👉http://vivendoavidabemfeliz.blogspot.com/2023/11/a-suavidade-da-voz-de-harry-nilsson-em.html.

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allthingsdarkanddirty · 6 months

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LET'S GET SPOOKY! Whether you're celebrating Samhain or simply trick-or-treating, grab a copy of Supra Velum: A Spooky Sci-Fi Romance Anthology, today!

This incredible collection benefits the Native Justice Coalition's LGBTQI+ and Two Spirit Program. And it's #free to read in #KindleUnlimited!Universal: https://geni.us/SupraVelum Misty, spooky love and trouble; Tails, horns, and frightful cuddles. We spin our threads, we authors many, Of horror, sweets, ghosts, and frenzy, So you may sup on alien peen, To quench your thirst this Halloween.

Wander beyond the veil into a spooky season of scifi romance tales written by some of the genre's most influential authors and rising stars. From cute and sweet to horrific and death-defying, these tales span the breadth of autumn and Halloween vibes with everything from autumn foliage and chilly breezes to zombies and haunted trails.

These exclusive tales are written by: Alana Khan Alma Nilsson A.M. Kore Ami Wright Ava Ross Bebe Harper Bella Blair Chloe Parker Deysi O'Donal Erin Hale Etta Pierce Holly Hanzo Honey Phillips Iona Strom Ivy Knox Jade Waltz Cleo Rose Kahaula Kassie Keegan Latrexa Nova Marlowe Roy Michele Mills Nancey Cummings Olivia Riley R. K. Munin Rowan Merrick SJ Sanders Trish Heinrich V. C. Lancaster Vera Valentine Veronica Scott Vicky L Holt

This is a charity anthology. All proceeds will go to the Native Justice Coalition's LGBTQI+ and Two Spirit Program. If we make our goals, excess profit will go to emergency Native relief.

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rutaalrocknoticias · 1 year

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Hellsingland Underground, próxima gira en abril de la banda sueca de rock por España.

11 DE ABRIL. LA TEXTIL, BARCELONA 12 DE ABRIL. ROCK & BLUES CAFÉ, ZARAGOZA 13 DE ABRIL. LOCO CLUB, VALENCIA 14 DE ABRIL. CLAMORES, MADRID 15 DE ABRIL. LOUIE LOUIE, ESTEPONA 16 DE ABRIL. LA GUARIDA DEL ÁNGEL, JEREZ 18 DE ABRIL. MARDI GRAS, A CORUÑA. 19 DE ABRIL. LA FÁBRICA DE CHOCOLATE, VIGO 20 DE ABRIL. KAFE ANTZOKIA, BILBAO 21 DE ABRIL. FACTORÍA CULTURAL, AVILÉS 22 DE ABRIL. WIC, SEGOVIA 23 DE ABRIL. SALA NIÁGARA, SANTANDER

Hellsingland Underground comenzaron su andadura actuando en los bosques de la región de Hälsingland que les da nombre, en su Suecia natal, en un festival ilegal en el verano de 2006. Las primeras críticas celebraron las canciones de la banda, sus letras reveladoras, sus armonías y el puro y simple placer de tocar su música. El alma del grupo, el cantante Charlie Granberg compone estas canciones sentado en el porche de su pequeña casa en las orillas del rio Ljusnan. La escena podría resultar un cliché en comparación con el sur americano del que Hellsingland Underground tomaron prestadas tantas influencias en sus dos primeros discos, pero es pura autenticidad en mitad del frío nórdico. De ahí la etiqueta que ha acompañado a la banda; “northern rock”, es decir, rock sureño facturado en las tierras vikingas del norte de Europa. Su debut de 2008 supuso en affair amoroso con todas esas influencias comunes del southern rock americano, que se confirmaron en su continuación 'Madness & Grace' en 2010, consolidando también su propia identidad. Un camino que desembocó en 'Evil Will Prevail', donde sus letras se tornaron más oscuras y personales, acorde a los tiempos, serias sin ser pretenciosas, y los arreglos musicales más genuinos sin dejar de lado su poso sureño. Como unos Hellacopters tardíos que hubieran sustituido el legado de MC5 por el de Skynyrd y Allman Bros., o unos The Soundtrack Of Our Lives más tradicionales y apegados a las raíces folk, pero igual de inspirados melódicamente, Hellsingland Underground continúan la tradición de las grandes bandas de rock n' roll que los países escandinavos nos han brindado en las últimas décadas. ‘Understanding Gravity’ (2016) debutó en el número uno de las listas de vinilo en Suecia, siendo su trabajo más aclamado y mejor vendido hasta la fecha. Solos de guitarras dobladas que recuerdan irremediablemente a los mejores Thin Lizzy, pinceladas del blues rock británico de la era dorada y su impronta en bandas de hard rock setentero como Nazareth. El periodista sueco Stefan Nilsson los definió como si Glenn Hughes nunca hubiera abandonado Trapeze y la banda se hubiera establecido en la melancolía nórdica de los bosques suecos. Pero la sombra de Jon Lord llevando las riendas del sonido púrpura también es alargada. Incluso los toques folk que hacen de ellos una rareza única podrán recordar pinceladas de los Pogues o los Waterboys.

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Tras pasar por el Azkena Rock Festival, en lo que es uno de los momentos clave de su carrera, la salida del guitarrista Mats Olsson, sustituido por Jerry Ask, marca una nueva etapa para la banda, que se hace evidente en ‘A Hundred Years Is Nothing’ (2019) un trabajo que aunque mantiene los mimbres del sonido del grupo, incorpora nuevos elementos, como sintetizadores, redondeando un sonido que sigue siendo puramente setentero pero hacia terrenos ahora más atmosféricos, psicodélicos, y con pinceladas glam, como un cruce imposible entre The Doors, Pink Floyd, Queen y… ¡ABBA!. La llegada de la pandemia les hace replantearse su lugar en el mundo,y deciden construir su propio estudio de grabación, los Hellquarters, en una vieja carpintería de su ciudad, donde solidifican su amistad, y recobran el pulso por las guitarras a todo volumen sin olvidar la seña de identidad de sus melodías y su groove. Cambio de batería mediante (Johan Gröndal agarra las baquetas) facturan un disco lleno de optimismo pese al pesimismo mundial, que habla de la madurez de una banda de rock sin nostalgia, viviendo el presente y haciendo lo que más les gusta. El resultado es ‘Endless Optimism’ (2022), una nueva y explosiva colección de canciones en algún punto entre Dylan y Thin Lizzy que les muestra clásicos y contemporáneos al mismo tiempo, sentimentales pero íntegros, sin pretensiones, y con ganas de disfrutar de la vida en la madurez al ritmo de la música. ¿Qué más se puede pedir?

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donospl · 4 years

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JAZZOWE REKOMENDACJE: Wolfgang Haffner „Kind of Tango”

ACT Music, 2020

Tango i jazz często szły w parze. Od czasów Piazzolli łączenie obu stylistyk stało się czymś oczywistym, i niezmiernie daje atrakcyjny dla słuchacza efekt. Wolfgang Haffner sięgnął po tanga, tworząc trzeci album z cyklu „Kind of..” po cool jazzie oraz muzyce rodem z Hiszpanii.

Perkusista zaprosił do nagrania albumu z tangami gwiazdorski skład instrumentalistów, z których…

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#ACT Music #Alma Naidu #Astor Piazzolla #Bill Evans #Christopher Dell #Lars Danielsson #Lars Nilsson #Sebastian Studnitzky #Simon Osiender #Ulf Wakenius #Vincent Peirani #Wolfgang Haffner

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agcock · 3 years

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Updated list of (200+) wlw artists that don’t sound exactly like clairo and girl in red

The Aces: Alternative pop/rock

Acraea: Synth pop

Against me/Laura Jane Grace: Punk/alternative rock

Alex Lahey: Alternative rock/pop

Alex the Astronaut: Folk pop

Alice Gas: Hyperpop/experimental electronic

Alice Longyu Gao: Hyperpop/ experimental pop/electronic

Allison Ponthier: Pop

Allison Russell: Country/ Country pop

ALMA: Pop

Alyson Stoner: Pop

Amandla (Stenberg): Experimental pop

Amy Sargeant: Ambient

Amythyst Kiah: Folk/country

Amy Winehouse: Soul

Angèle: Pop

Angel Olsen: Pop/alternative country/rock

Ängie: Pop/trap

Anitta: Pop/funk

Ashnikko: pop/alternative rap/electronic

Asiahn: R&B

Astu: Pop/R&B

Auli’i Cravalho: Musical theatre/pop/children’s music

Austra: Dream pop/synth pop

Bali Baby: Rap

BbyMutha: Rap

Beatrice Eli: Alternative pop/dance

Be Steadwell: Pop/R&B

Beth Ditto: Synth pop

Black Dresses/Black Squares/Girls Rituals/Devi McCallion/Ada Rook: Noise pop/industrial/experimental electronic

Black Ends: Experimental rock

The Blow: Electro/lo-fi/pop

Boyfriend: Pop

Brandi Carlile: alternative pop/country/folk rock

Brandy Clark: Country

Brooke Candy: Rap/electropop

The Butchies: Punk

Camp Cope/Georgia Maq: Alternative rock

Carlie Hanson: Pop

Cássia Eller: Alternative rock

Charmaine: Rap

CHIKA: Rap/R&B

Childbirth: Garage rock/punk

CHLOBOCOP: Rap Christine and the Queens: Pop/electropop

Chlothilde Grace: Experimental pop

COBRAH: Experimental electronic

Courtney Barnett: Alternative rock

Cupcakke: Rap

Dai Burger: Rap

Destroy Boys: Punk/riot grrl

Diana Starshine: Hyperpop/experimental pop

Dizzy Fae: Alternative pop

Doja Cat: Rap/pop

The Dollyrots: Pop punk

Domo Wilson: Rap

Dounia: R&B

Dove Cameron: Pop

Dream Wife: Pop punk/indie

Dua Saleh: Rap/pop/R&B

Dusty Springfield: Pop/soul

Dyke Drama/G.L.O.S.S: Punk/hardcore/queercore

Elijah Woods x Jamie Fine: Pop

Ellen Loo: Pop/folk pop

Emily Vu: Pop

ERA: Experimental electronic

Eris Drew: Electronic

Ethel Cain: Dream pop

Ezra Furman: Art pop/folk pop/indie rock

Fabulous Disaster: Pop punk

Fanxy Red: C-pop

FIA: Trap pop

FLAVIA: Pop

FLETCHER: Pop Foxgluvv: Pop

Gaby G: Pop

Galen Tipton/Recovery Girl: Hyperpop/electronic

Gia Woods: pop

Gina Young: Folk

GIRLI: electropop/pop punk

Girl_Irl: Hyperpop/electronic

Gossip/The Gossip: Rock

Grace Jones: Disco/art pop

The Greeting Committee: Indie rock

Hands off Gretel: Punk

Heartsoft: Lo-fi

Holly Miranda: Folk

Hope Tala: Pop/R&B

IAMDDB: Alternative rap/urban jazz

Iamdoechii: Rap

The Internet/Syd: R&B

Ivy Sole: R&B/rap

Jaewynn: Rap

Janelle Monáe: pop/rap/R&B

Javiera Mena: Electropop

Jen Foster: Folk pop

Jill Sobule: Folk rock

Ji Nilsson: Pop

JoJo Siwa: Electropop

Kaash Paige: R&B

Kali Uchis: R&B/pop

Kate Nash: Indie Rock

Katie Pruitt: Country

k.d. lang: Country/folk

Kehlani: R&B/pop

Kelela: Electronic/alternative R&B

Kelsey Lu: Alternative pop

Kesha: Pop/electropop

K.Flay: Rap/pop-rock

Kitty/Kitty Pryde/The Pom-Poms: Rap/synth pop/hyperpop

Kodie Shane: Rap

Lady Gaga: Pop

Lady Leshurr: Grime/rap/pop/dancehall

La Roux : Synthpop

Lauren Jauregui: Pop

L Devine: Pop

Left at London: Pop

Leikeli47: Rap

Lesley Gore: Pop

Lez Pop: Electropop

Lido Pimienta: Synthpop/latin

Liniker: Soul/R&B

Lizzo: Pop/rap

Louisahhh: Experimental electronic

Lowell: Pop/dance

LP: Pop rock

LUDMILLA: Pop/funk

Luísa Sonza: Pop/funk

Madame Gandhi: Electropop

Maddie Ross: Pop

Madison Beer/K/DA: Pop

Malía: R&B

Mani Blu: Hyperpop/pop

Ma Rainey: Blues

Mara Levi: Folk pop

Marija Šerifović: Pop

Marika Hackman: Pop

Mary Lambert: Pop

Maththegamergirl: Hyperpop/electronic

Megan Thee Stallion: Rap

Melissa Etheridge: Country rock

Miley Cyrus: Pop

Mitski: Indie rock/alternative pop

MØ : Electropop

MUNA: Pop-rock

Nasty Cherry: Alternative rock/alternative pop

Nikki Blonsky: Musical Theatre

NIMMO: Dance/electronic

Octo Octa: Electronic

Only Fire (Not sure if whoever is behind this is wlw but they have a funny lesbian song so whatever i’m including it): Parody/comedy/electropop

Orion Sun: R&B/soul

Pale Waves: Pop/pop-punk

Partner: pop-punk/alternative rock

Peaches: Alternative rap/elecropunk/synthpop

Petal Supply: Pop

POCAH: Funk

Poly Styrene/X-Ray Spex: Alternative pop/neo-soul/punk

Pomme: Folk pop

Pussy Riot: Punk/ Riot Grrl

PVRIS: electropop/alternative rock

Queen Latifah: Soul/musical theatre/R&B

Rachael Sage: Folk

Raveena: R&B/pop

Rebecca Black: Pop/hyperpop

Remi Wolf: Pop/neo-soul

RHYME SO: Electronic

Rina Sawayama: Pop

Romy/The xx: electropop

Ruby Waters: Pop

S3nsi Molly: Rap

SASSY 009: Electropop/synth pop

Sateen: Disco/pop

Sevdaliza: Electonic/avant-garde/experimental pop

Shona Laing: new wave

Shura: synthpop

Shygirl: Rap/experimental electronic/club

Siena Liggins: Pop

Sinéad O’Connor: Folk rock

The Singing Nun: Folk

Sir Babygirl: Pop

Sister Rosetta Tharpe: Rock

Siya: Rap

Sizzy Rocket: Pop/pop-punk

Skinny Girl Diet: Punk/riot grrl

Slayyyter: Pop

Sleigh Bells: Noise pop/pop punk

Snow Tha Product: Rap

Sofya Wang: Pop

Soko: Pop/folk-pop

SOPHIE: Experimental electronic/pop/pc music/avant-garde

Stand Atlantic: Pop-punk

Studio Killers (the singer isn't wlw but the character Cherry is so im including it idc): Electropop/dance

St. Vincent: Indie rock

Summer Luk: Pop/synth pop

Suzi Wu: Rap/electropop

SZA: R&B

Tami T: Electronic/dance

Tayla Parx : R&B/pop

Teddy Geiger/Teddy <3: pop/pop-rock

Tegan and Sara: Pop/indie rock

Tinashe: R&B/pop

Tommy Genesis: Rap

Tove Lo: Pop

Tracy Chapman: Folk/soul

Uffie: Electropop/dance

UMI: Pop/R&B

Victoria Monét : Pop/R&B

Wendy and Lisa: Pop/funk

Willow: Experimental pop

Yaeji: House/dance

Young M.A.: Rap

Yung Baby Tate: Rap

Zolita: Pop/electropop

070 Shake: Alternative rap

#wlw #music #this is mostly for myself but you can rb if you want lol #there are people i left off for various reasons including that i just dont like them #not that im a fan of all of these ppl but i dont actively dislike them dfjgkg #im open to suggestions also but i cant guarantee ill add them #txt #mine #.

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queerlennon · 3 years

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2/2 In John's case, I even suspect if he wasn't a case of compulsory heterosexuality. The romantic and sexual bonds he had with the women in his life weren't half as intense as the ones he had with a long list of men, starting with Pete Shotton going to Stuart Sutcliffe, Brian Epstein, Paul McCartney, Allen Klein and Phil Spector. He also openly expressed he had never met a woman who had aroused him to a great extent and how his experiences with groupies left him with strong feelings of revulsion. John really didn't give off the vibe of a man who felt any desire for women except for mothering.

His women also seemed hilariously oblivious to his sexual inclinations. Cynthia had the nerve to say John distanced himself from her because of Alma Cogan (lmao) when everyone knows who the real threat was. Yoko was way smarter than that. Notice how her main rival has always been Paul and never Cynthia? That should say something. And May, well, she thought a fabulously dressed dude who was going to gay clubs with Elton John on the regular was straight. I legit think John was having sex with David Bowie and Harry Nilsson right under her nose.

While I do still personally believe he was bisexual I definitely agree there is a case to be made for compulsory heterosexuality. The points about him always wanting the women in his life to be mother figures more than anything else is definitely something I’ve noticed as well.

Having read May’s book, it does seem like John had genuine sexual interest in her however it is a memoir entirely from her perspective so I’ll admit it could be warped. And his desire to be mothered appeared in the relationship as well, in fact May talked about it being something she actively had to fight against and often had to encourage him to make his own decisions. John’s relationship with sexuality was definitely extremely complex, but it definitely didn’t fall into what society would consider heterosexuality.

#john lennon #beatles analysis #the beatles #anonymous #shut up fable #fable’s analysis

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chely-jpg · 4 years

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La danza es la metáfora favorita del alma

Kristy Nilsson

#dance #danza #contemporarydance

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riffsstrides · 3 years

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Kind of Tango - Wolfgang Haffner (2020)

The music within the album is highly creative but at the same time relaxed in nature, proving the old adage that you do not need to make a huge noise to produce a resounding impact on the listener.

Wolfgang Haffner (drs), Lars Danielsson (bs, cello), Christopher Dell (vbs), Simon Oslender (pno), Vincent Peirani (acc), Ulf Wakenius (gtr).

Guests; Alma Naidu (vcl), Sebastian Studnitzky (tpt), Bill Evans (sop), Lars Nilsson (fgl).

#Spotify

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somospax · 4 years

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Entrevista a @MartinaGusman

Martina Gusman, es actriz, psicóloga y directora ejecutiva de Matanza Cine, una productora argentina. Con una carrera enorme para su edad. Dueña de un gran talento. Gracias por darnos un rato de tu preciado tiempo.

¿Cuál es el primer recuerdo que tenés de tus ganas o deseos de actuar?De muy chiquita.... Entre los set de rodaje de mi mamá (que es vestuarista de cine) y en la sala de teatro de mi papá (quien tiene su escuela de teatro hace mas de 30 años)... recuerdo los camarines... los vestuarios... los maquillajes... jugando en el escenario.... esa capacidad o excusa para perderse en distintos mundos y personajes siempre me gustó...

¿Qué actores te marcaron o impresionaron, desde el punto de vista de espectador? ¿Tuvieron infuencia a la hora de conectar con tu vocación?Muchos... sobre todo aquellos que se entregan en cuerpo y alma a sus personajes... Pero podría decirte algunos lindos referentes, que fueron de mucha inspiración.. Meryl Streep, Gena Rowlands, Cate Blanchett, Diane Keaton... entre muchos otros.

¿Con quienes tuviste tus primeros pasos como estudiante de actuación? ¿Cómo fue la experiencia? Estudié actuación desde los 7 años, en paralelo a la escuela primaria y secundaria en el Ex Teatro Labardén, una escuela de arte... de todas formas mi gran maestro fue Carlos Gandolfo.

¿Cuando empezaste a trabajar de actor, te pusiste una meta a la hora de aprender o seguir aprendiendo este oficio? Cada personaje es un nuevo desafío y un gran aprendizaje.. tanto como actriz como persona.. Siento que cada personaje se lleva algo de mí y al mismo tiempo me aporta y enriquece como persona porque me permite experimentar y transitar mundos y visiones muy disimiles.

¿Como actor que fue lo que más te llenó en el proceso de aprendizaje? La posibilidad de vivir muchas vidas en una... La posibilidad de representar personas e historias que tal vez mucha gente desconoce... poder ponerme en la piel de esos personajes y aportar desde ese lugar en iluminar ciertas historias. Jugar, crecer, aprender, cambiar, transformarme desde cada personaje y transformar al mismo tiempo, desde la historia que podés contar.

¿Qué Método preferís a la hr de encarar un personaje? Depende el personaje, el proyecto, el género, el registro, la historia a contar... el director... Hay muchas variables que entran en juego en esa decisión.. Cada personaje es un nuevo desafío y te propone abarcarlo desde distintos lugares....

¿Cuál es tu escena favorita en el cine? In the mood for love... (Escena: http://www.youtube.com/watch?v=23oBMOvt85o ) porque en muy poco tiempo cuenta un universo súper envolvente, hipnótico, un clima perfecto de sensualidad e intensidad que define la clave de la película; hay algo en la manera, en la cadencia en que se entrelazan la música, la fotografía, el juego de luz y sombras, la calidéz de la imagen, la desaturación de los colores, el tamaño de plano, el movimiento de la cámara perfecto, el tempo dramático, que permite que los personajes transiten distintos estados de ánimo, pero principalmente ese profundo “ánimo de amar”. Cinema Paradiso ( Escena: http://www.youtube.com/watch?v=HYKPy3j70iI ) “Cinema Paradiso” es una película que constituye un retrato sentimental de la Italia de la posguerra y una declaración de amor al cine. … pero ante todo, es una reflexión sobre la fuerza de voluntad, sobre el aprendizaje y sobre el amor. Esta escena final me parece súper emotiva, de una hermosa sensibilidad y de amor hacia los personajes y hacia el cine en general.

¿Que personaje de una obra de teatro te gustaría hacer? Muchossssssssss.... Me cuesta elegir... Prefiero decirte autores: Ibsen, Strindberg, Brecht,Tennessee Williams, Arthur Miller.... entre tantos otros que me encantaría hacer... ¿En qué película clásica te hubiese gustado estar? Prefiero nombrarte directores... Bergman, Cassavetes, Scorsese... ayyyy... muchosssss...

¿Cuales son las principales características que tiene que tener un actor, según tu experiencia o tu exigencia? Disponibilidad... Flexibilidad... Verdad... Intuición... Entrega.. Técnica ... Constancia..

La siguiente pregunta esta escrita por Pablo Fábregas, su pregunta no sale publicada en su entrevista, ¿Existe algo así como el "cine argentino", tenemos una identidad? ¿Qué elementos la definen? La historia del Cine Argentino tiene ya larga data... desde sus inicios en el cine clásico... como el cine que arranca mas fuerte en los años 50´s desde Torre Nilsson, Ayala, Favio, Solanas, Hugo Santiago.... entre muchos otros... Después vino una gran censura relacionada con la dictadura... y una generación desaparecida y exiliada... lo que provocó un gran bache generacional, que comenzó a tomar forma nuevamente de a poco con el regreso de la democracia... donde comenzaron a surgir directores con necesidad de expresarse nuevamente... hasta que comenzó a arrancar mas fuerte en lo llamado (ya viejo) "nuevo cine argentino de los 90´s" Donde estaban Pablo, Caetano, Stagnaro, Lucrecia Martel, y muchos otros... Cada uno con su estilo... su forma... empezaron a aparecer muchos directores con ganas y necesidad de contar nuevas historias.. de expresarse.. fue una ola que comenzó a crecer cada vez mas... y se fue extendiendo en el tiempo y dio lugar a nuevos y nuevos directores y nuevos estilos... formatos... registros... y justamente ahí considero está nuestra identidad... en ese eclecticismo... en esa diversidad y variedad... No considero que haya elementos cerrados que nos identifiquen.... una unidad.. si no al contrario... creo que la variedad de registros, formatos, estilos, historias a contar ... etc.... es lo que nos representa...

Contame cuales son tus próximos proyectos. Se viene un año de cine... "Los que aman odian", Una adaptación de Alejandro Maci, sobre la novela de Bioy Casares y Silvina Ocampo, un policial de los años 40´s super interesante. Por otro lado, "Te pido un taxi", la ópera prima de Juan Pablo Martinez, una comedia de enredos, super divertida. En conversaciones también con otros dos directores para posibles proyectos, pero no están confirmados aún. Estoy cerrando fechas y esas cositas... así que prefiero no dar muchos nombres aún..

#MartinaGusman #Actriz #actrice #actress

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todayclassical · 7 years

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May 11 in Music History

1728 Birth of French composer and violinist Pierre Gavines in Bordeaux.

1731 Birth of composer Johann Gottfried Seyfert.

1738 FP of Hasse's "Alfonso" Dresden.

1772 Birth of composer Henri-Jean Rigel.

1791 Birth of Bohemian composer Jan Vaclav Hugo Vorisek in Wamberg.

1797 FP of Dalayrac's "La Maison isolée" Paris.

1811 Birth of Italian baritone Filippo Coletti in Anagni Italy.

1827 Birth of American composer Septimus Winner in Philadelphia, PA.

1830 FP of Herold and Carafa's "L'Auberge d'Aurey" Paris.

1840 Birth of composer Filippo Capocci.

1849 Death of German composer Otto Nicolai at age 38, in Berlin.

1855 Russian composer Anatoly Liadov.

1864 FP of Guiraud's "Sylvie" Paris.

1877 Birth of soprano Anna Slavikova-Jordanova.

1881 Birth of composer Jan van Gilse.

1882 Birth of Austrian composer Joseph Marx in Graz.

1884 Birth of Romanian soprano Alma Gluck in Bucarest.

1885 Birth of Dutch bass-baritone Joseph Groenen in Waalwijk, Holland.

1888 Birth of Belgian tenor Louis Morrison in Antwerp.

1888 Birth of American popular music composer Irving Berlin.

1895 Birth of American composer William Grant Still.

1896 Birth of composer Josip Slavenski.

1898 Birth of Swedish bass Sven Nilsson in Gafla Gäfle, Sweden.

1902 Birth of Brazilian soprano Bidu Sayao.

1905 Birth of American soprano Agnes Davis in Colorado Springs.

1905 Birth of tenor Paul-Henry Vergnes in Lagrasse.

1906 Death of baritone Gottardo Aldighieri.

1909 Birth of composer Herbert Murrill.

1913 Birth of American composer Clare Grundman.

1916 Death of German composer Max Reger.

1917 FP of Ferrucio Busoni's operas Arlecchino 'Harlequin' and Turandot at the Stadttheater in Zurich.

1928 Birth of German soprano Ingeborg Reichelt in Frankfurt.

1931 Birth of American bass Arnold Voketaitis in East Haven, CT.

1938 Birth of American composer Harvey Sollberger in Cedar Rapids, Iowa.

1940 Birth of American visualist-music composer Ron Pellegrino.

1940 Birth of American baritone Ron Bottcher in Sandpoint, ID.

1941 FP of Henry Cowell´s Tales of the Countryside for piano and orchestra in Atlantic City, NJ.

1942 Death of German soprano Helena Forti.

1944 Birth of American soprano Elaine Cormany in Clifton, TX.

1945 Birth of New Zealand cellist and conductor Ross Pople.

1945 FP of Leonard Bernstein's Hashkiveinu with text from the Sabbath Evening Service for Cantor, Choir and Organ, at Park Avenue Synagogue in NYC.

1946 Birth of American composer Lenore von Stein.

1947 Death of Swedish composer Ture Rangström.

1948 FP of Henry Cowell's Hymn, Chorale, and Fuguing Tune No. 8 for strings, at Florida State University Recital Hall. School of Music Faculty String Quartet.

1950 Death of tenor Charles Rousseliere.

1953 Birth of American experimental-music composer Steed Cowart.

1954 Birth of Scottish composer Judith Weir in Aberdeen.

1954 FP of Matyas Seiber´s Concertino for Clarinet and Strings in London.

1955 FP of Sir Arthur Bliss' Violin Concerto, in London.

1956 Birth of American composer Jane Ellen in CA.

1956 Birth of Belgian composer Marc Achille Matthys in Gehnt.

1957 Birth of Italian tenor Giuseppe Sabbatini in Rome.

1960 FP of Chailly's "Il mantello" Florence.

1960 FP of Bucchi's "Una notte in Paradiso" Florence.

1961 Birth of Filipino pianist Cecile Licad in Manila.

1963 Death of Italian tenor Guido Ciccolini in Rome.

1963 FP of William Grant Still's opera A Southern Interlude. University of Miami Opera. It was later revised as Highway 1, U.S.A.

1966 FP of Andrew Imbrie's Symphony No. San Francisco Symphony.

1976 Death of mezzo-soprano Enid Cruickshank.

1984 FP of John Harbison's Ulysses' Bow. New Haven Symphony, Murray Sidlin conducting.

1995 FP of John Adams' musical I Was Looking at the Ceiling and Then I Saw the Sky with the Paul Dresher Ensemble conducted by Grant Gershon in Berkeley, CA.

2000 FP of Colin Matthews' Pluto - The Renewer. Composed as an addition to Gustav Holst's The Planets. The Hallé Orchestra, Kent Nagano conducting, in Manchester England.

2002 FP of Kenneth Frazelle's Concerto for Chamber Orchestra. Los Angeles Chamber Orchestra, Jeffrey Kahane conducting in Glendale, CA.

#classicalmusic #today in music history #musichistory #todayclassical #onthisday

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asylum-ireland-blog · 6 years

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As Sweden Votes, the Far Right Gains Even in an Immigrant Bastion

New Post has been published on http://asylumireland.ml/as-sweden-votes-the-far-right-gains-even-in-an-immigrant-bastion/

As Sweden Votes, the Far Right Gains Even in an Immigrant Bastion

FLEN, Sweden — The entrance to the small mosque is blocked by a gate. A window is badly cracked around a hole from a rock or a BB gun. A sliding metal security door has been painted with a swastika, only partly removed.

But Yusuf Abdi, a member of the mosque, whose building was once an evangelical church, says in a room upstairs that he is not overly concerned. “Sweden is a democratic country, and there are rules and laws,” he said. Hussein Omar, of Somali origin, agreed. “We are part of the society, with the same rights and duties.”

That may be so, but the Sweden of old is changing, and immigration and crime have become the hottest issues in Sweden’s national elections on Sunday, when those rules and rights will be put to the test.

The wave of asylum seekers that landed in Europe in 2015 hit Germany and Sweden the hardest. Sweden took in about 163,000 of them — roughly 1.6 percent of the population — approximately the equivalent of 5.2 million people in the United States.

Since then attitudes have shifted, and Sweden is less welcoming than it once was. That has become true even in a place like Flen, a small town of roughly 7,000 people, two hours southwest of Stockholm, where the voices of residents reflect the anxiety of that change.

Sweden set up one of its first encampments for refugees in Flen in the 1970s, for people fleeing Vietnam. Today the town, once an important railway hub and the heart of a larger municipal region of about 17,000 people, retains a high proportion of immigrants, though many are now from Somalia and Syria.

But the far-right Sweden Democrats — outspokenly anti-immigrant and anti-European — have gone from one seat on the municipal council in 2006 to nine in 2014, the second-largest party, out of 45 total seats. There is an expectation the party will do even better on Sunday.

Even tiny Flen, with its long history of welcoming immigrants, is following the trend in much of the country, where the far right is expected to gain a fifth of the vote.

Kicki Johansson, 68, is a lot less sanguine about the consequences of the vote than her immigrant neighbors are.

“There are too many brownshirts now,” she said at a cafe in Flen’s dreary central square, surrounded by shops selling cheap goods. “What scares me? The Nazis.”

Many Swedes “are not happy with the way things are,” she said. “They’re not all racist but they want a change. A lot of immigrants vote for the Sweden Democrats, too — they also want to shut the door,” she said with some disgust. “It’s ignorance.”

Gote Nilsson is the leader of the Sweden Democrats in Flen. “It feels we have positive winds blowing for us,” he said. “We are being received in a different way, people are more positive toward the S.D., and that’s quite nice. Despite smear campaigns, half-truths and lies in the media, many people see through them.”

Now 73, Mr. Nilsson used to vote for the center-right Moderates, but he joined the Sweden Democrats five years ago, fed up with crime and reduced aid to retirees. “I think there are a lot of people in Flen who don’t recognize themselves, who perceive that there are too many people from non-European countries that come here,” he said. “It’s too much, quite simply. You push away ordinary people, it’s hard to get housing and people are living in tight quarters.”

The other main issue here is “order and security,” Mr. Nilsson said. “Many don’t feel as safe as before. We need more police on the streets. Law and order, quite simply law and order.”

People have “a lot of worry about the future, and luckily I’m old, so I don’t have to see it.”

Gunnar Sunnarberg says he’s “a leftie in my heart,” but at 80, he is troubled by what he sees. “Many people don’t want to integrate, they want to build their own caliphates,” he said. “To talk about immigrants is not allowed,” he added. “We’re not allowed to describe the situation as it is, with a lot of break-ins, drugs and shootings.”

As elsewhere in Europe, the populist far-right party has moved Sweden’s entire political spectrum to the right along with it, even as it has tried to soften its image and promote a defense of Sweden’s welfare state.

The center-left Social Democrats are still the country’s largest party. But since the 1990s, their share of the vote has been cut roughly in half and may end up at about 25 percent on Sunday. The Moderate party is also losing ground.

The far-right Sweden Democrats could end up being the country’s second-largest party, complicating the formation of a new government.

All of that is unsettling for many in Flen, which along with its heavily immigrant population, also has the county’s highest unemployment rate. Among those born abroad, unemployment is over 40 percent; among those born in Sweden, 6 percent. Nationally, the figures are 15.1 percent and 4.4 percent.

Two weeks ago, representatives of the major political parties accepted an invitation to come to the mosque and answer questions. All came except the Sweden Democrats and the small Feminist Initiative party, Mr. Abdi said.

“I asked them all — every time you come and want our votes and say nice things, but when the elections are over, nothing happens,” he said, sighing. “Of course they said that this time they will follow through.”

Immigrants feel targeted by the Sweden Democrat surge, said Mr. Omar, 45, a father of three and an X-ray technician at a hospital.

“But if the Sweden Democrats become the largest party,” he said carefully, “it affects all of Swedish society, not just us.”

Mr. Hussein said that if the head of the Sweden Democrats, the smooth-talking Jimmie Akesson, “does something stupid, it will not just be the Somalis who suffer, but the whole country.”

Anders Jansson, 64, who works at a Volvo maintenance plant in Flen, said he would vote for the Left party, which is on track to get 10 percent or more of the vote. He likes its focus on equality and its commitment to workers.

He decried what he called “the normalization” of the Sweden Democrats.

“That gives a playground for the real Nazi parties to play and get more ground,” he said. “It’s like people have forgotten history. How did Hitler come to power? He started out as a nice guy looking out for the working class.”

Of course Flen and Sweden have had difficulty absorbing so many refugees, he said, especially with tough requirements about language ability and job skills in order to enter the labor market.

“There are some problems when you take a lot of refugees to the same area,” Mr. Jansson said. “We don’t have a lot of violence here. But if you have a low salary and you see other people who appear not to be working, that makes you jealous. You want to blame someone else.”

There are a lot of Sweden Democrat voters in the plant where he works who complain about the laziness of refugees, he said. But many of the asylum seekers are waiting for a Swedish class or a job, he added.

The atmosphere is bad, with a new selfishness, he said. “We are going from a society where we took care of each other to a society where all we care about is a new kitchen, a new car and vacations in Thailand.”

His view was echoed by Erik Zsiga, a communications consultant close to the Moderate party. “The mood has become quite un-Swedish,” he said. “What we credited ourselves for and also made fun of ourselves for was our obsession with consensus, trying to avoid conflict.”

To that end, certain delicate topics were taboo, but no longer, he said. “Now the political debate is quite heated, people are rude to one another, not seeking consensus or trying to understand their opponent.”

By opening the borders so completely, he said, “we misunderstood the practical implications, that it wasn’t sustainable in the long term or even moral, because we ended up essentially closing our borders, which is worse.”

Near the Flen library, Alma al-Aallaf was walking with her younger cousin, both wearing headscarves. Three years ago, she came here as a refugee from Damascus, Syria, to join her aunts and pave the way for her parents and three siblings.

Now 18, she will vote for the first time and is taking her responsibility seriously, especially with the Sweden Democrats on the rise.

She feels visible but not unsafe, she said. “Sometimes I feel that some people don’t like me here,” she said. “But I don’t think they will do anything.”

“I’m worried, of course, because the Sweden Democrats are getting bigger and bigger,” she said in the English she learned from her mother, who was a teacher in Damascus.

“Sweden is a good country, but they could ruin it,” she continued. “They are damaging the things that are good in Sweden.”

Christina Anderson contributed reporting.

,https://www.nytimes.com/2018/09/07/world/europe/sweden-election-far-right.html

#Asylum Europe

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allthingsdarkanddirty · 7 months

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HAPPY INDIGENOUS PEOPLE'S DAY! Want to help a worthwhile cause and sneak in some great reads?

Check out Supra Velum: A Spooky Sci-Fi Romance Anthology, benefitting the Native Justice Coalition's LGBTQI+ and Two Spirit Program.

Any excess profit from this collection will be donated to emergency Native relief. Universal: https://geni.us/SupraVelumThis collection is also #free to read in #KindleUnlimited! Misty, spooky love and trouble; Tails, horns, and frightful cuddles. We spin our threads, we authors many, Of horror, sweets, ghosts, and frenzy, So you may sup on alien peen, To quench your thirst this Halloween.

Wander beyond the veil into a spooky season of scifi romance tales written by some of the genre's most influential authors and rising stars. From cute and sweet to horrific and death-defying, these tales span the breadth of autumn and Halloween vibes with everything from autumn foliage and chilly breezes to zombies and haunted trails.

These exclusive tales are written by: Alana Khan Alma Nilsson A.M. Kore Ami Wright Ava Ross Bebe Harper Bella Blair Chloe Parker Deysi O'Donal Erin Hale Etta Pierce Holly Hanzo Honey Phillips Iona Strom Ivy Knox Jade Waltz Cleo Rose Kahaula Kassie Keegan Latrexa Nova Marlowe Roy Michele Mills Nancey Cummings Olivia Riley R. K. Munin Rowan Merrick SJ Sanders Trish Heinrich V. C. Lancaster Vera Valentine Veronica Scott Vicky L Holt

This is a charity anthology. All proceeds will go to the Native Justice Coalition's LGBTQI+ and Two Spirit Program. If we make our goals, excess profit will go to emergency Native relief.

#charityanthology #charityblast #philanthropy #fundraising #greatcauses #nativejusticecoaliton #supravelum #scifiromance #sciencefictionromance #alienromance #spaceromance #sfr #romanceanthologies #romancecollections #romancebooks #steamyreads #hotreads #reading #readers #books #booklovers

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kyukurator-blog · 7 years

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DYSTOPIA NOW

In this politically inflamed, socially mediated era, large groups of people feel abandoned by society and their government. Alongside such alienation has come a spike in hate crimes triggered by the “fear” of people with different religious, ethnic and economic backgrounds.

More a cry of rage than a real solution, the border wall between the US and Mexico has turned into an ideological litmus test. Ironically, the fact that the wall is actually out for bids seems to have only increased the anger and violence.

This week’s film, The Bad Batch, tracks people in a very near future who are cast out of American society and banished to a desert wasteland.

As they enter the wasteland a sign reads:

“Beyond this fence is no longer the territory of Texas. Hereafter no person within the territory beyond this fence is a resident of the United States of America or shall be acknowledged, recognized or governed by the laws and governing bodies therein. Good luck.”

THE BAD BATCH (2017)

Ana Lily Amirpour (A Girl Walks Home Alone at Night) directs The Bad Batch, a multi-genre mashup of slasher-meets-horror-meets-dystopia- meets-love story.

Leading the way is Arlen (Suki Waterhouse), an apparently wholesome individual who is tossed into the Mexican desert in the film’s opening scene: she is part of the “bad batch”, inferior citizenry who are no longer wanted in the U.S. After briefly wandering the arid flats, she is kidnapped and taken to an encampment called The Bridge, filled with bulked-up steroid abusers; in short order she is chained up and two of her limbs severed for food like other “bad batchers” who have shared the same fate.

Arlen escapes thanks to a Fisher King-style hobo wandering the wilderness (Jim Carrey), and ends up in a second camp, called Comfort– a place of equally metaphoric implications. Comfort houses the real outcasts – immigrants, the mentally ill, the disabled – but on first inspection at least, appears to have rough charm and some form of rubbing-along livability.

Comfort, however, is controlled by a comically sinister cult leader (Keanu Reeves), who urges the inhabitants to “follow the dream” in an excellent deadpan.

BOMBAY BEACH (2011)

“The harder you work, the richer you’ll die.” Maybe this single line justifies the price of admission to Bombay Beach, an eerily compelling documentary about lost souls in a lost place, made by the former music-video director Alma Har’el.

Bombay Beach is the name of a ruined town on the Salton Sea, a saline lake in the middle of Southern California’s Colorado Desert. It was a smart vacation resort in the 1950s and 1960s, but abandoned when the water level rose. Now its seedy chalets and trailers are homes for America’s most needy, like a refugee holding camp for the poor, surreally living in the fragments of a forgotten dream of leisure and prosperity.

Har’el tells the story of three of these marginal souls, and does so with compassion and insight. One man had been arrested just after 9/11 on charges of maintaining what appeared to be a huge weapons and ammo dump in this wilderness. He says he’s no militia extremist, just a regular guy with an American affection for guns. Now he’s out of prison, and his son is addicted to Ritalin and other prescription medication.

An elegant oldster, like a character from a David Lynch movie, makes a living buying discount cigarettes from Native American reservations and selling them at a profit to his neighbors.

A young African-American boy has a future ahead of him with a possible football scholarship to college.

All these lives are recounted with flair and an eye for an exotic tale. It’s a rich slice of Americana, and there’s a great soundtrack from musicians including Bob Dylan.

MAD MAX: THE ROAD WARRIOR (1981)

Director George Miller’s follow-up to his own 1979 hit Mad Max is proof that not all sequels are inferior. If anything, this brutal sci-fi action film is even more intense and exciting than its predecessor, although the state of its post-apocalyptic world has only become worse.

Several years after the deaths of his wife and child, Max (Mel Gibson) has become an alienated nomad, wandering an Australian outback that has fallen into tribal warfare conducted from scattered armed camps.

After a road battle with psychotic villain Wez (Vernon Wells), Max meets up with the odd Gyro Captain (Bruce Spence), who takes him to the camp of a sympathetic group led by Pappagallo (Mike Preston). Since Pappagallo’s people are camped at a refinery, Max plans to take their oil — more precious than gold in this world — but eventually joins them to fight a band of marauders led by the evil Humungus (Kjell Nilsson).

The striking climax features a heart-pounding chase scene involving an oil tanker-truck and a frenzied rush for the coast, with Humungus and his forces in hot pursuit. Nilsson makes a scary villain, with huge muscles and a sinister pre-Jason hockey mask, edited at breakneck pace and staged with manic fury by Miller and stunt coordinator Max Aspin.

TEXAS CHAINSAW MASSACRE (1974)

Tobe Hooper’s film, made over 40 years ago, shocked the nation and gave birth to a new form of horror. The film’s release was troubled and there was increasing pressure to censor or ban the film but it has stood the test of time to become an iconic landmark.

When Sally (Marilyn Burns) hears that her grandfather’s grave may have been vandalized, she and her paraplegic brother, Franklin (Paul A. Partain), set out with their friends to investigate.

After a detour to their family’s old farmhouse, they discover a group of crazed, murderous outcasts living next door who also like to dabble in cannibalism. When the group is attacked one by one by the chainsaw-wielding Leatherface (Gunnar Hansen), who wears a mask of human skin, the survivors must do everything they can to escape.

This film never fails to terrify.

CANNIBAL HOLOCAUST (1985)

Ruggero Deodato’s film was banned and heavily censored across the world; the film’s director was even arrested on its release and the print was seized.

Deodato’s pseudo-documentary follows the plight of four arrogant filmmakers who fly out to the Amazon, in order to film their documentary The Green Inferno, believing that the scenes they capture will buy them inevitable success. They are never seen again.

The footage is recovered by Professor Harold Moore (Francesca Ciardi) who travels to the Amazon and finds the remains of the film crew along with their unseen footage.

The footage reveals their vile treatment of the South American tribe of cannibals who ultimately turned on them. Their brutal deaths at the hands of the tribe becomes the subject of their documentary.

SUSPIRIA (1977)

Dario Argento’s 1977 slasher is arguably the artistic apex of the giallo movement, a horror genre he pioneered along with fellow Italians Mario Bava and Lucio Fulci. This film has become the entry-level key to unlocking the whole genre, featuring its trademark lush, hyperstylized, color-saturated visuals, lashings of gore, its undercurrent of lurid female eroticism and its magnificent score —in this case provided by rockers Goblin and Argento’s “Tenebre.”

The film follows an American ballerina (Jessica Harper) who transfers to a sinister German dance academy covertly run by a satanic coven of witches, including Dark Shadows star Joan Bennett. The mish-mash of languages and accents from the multi-national cast doesn’t matter much since the whole thing was post-dubbed anyway. But once you become attuned to the garishness of Argento’s work, Suspiria is undeniably creepy and haunting, tuning in to burgeoning female sexuailty as a metaphor for a transformation process that is unknowable.

A remake directed by Luca Guadagnino starring Chloe Moritz and Tilda Swinton is being released later this year.

DYSTOPIA NOW was originally published on FollowTheThread

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