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elmartillosinmetre · 5 months

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"El derecho a la belleza es tan revolucionario como el derecho al pan"

[La pianista Carmen Martínez-Pierret y el violonchelista Israel Fausto / JUAN CARLOS MUÑOZ]

Carmen Martínez-Pierret e Israel Fausto Martínez Melero presentan un disco con tres sonatas de compositoras de principios del siglo XX

Directores del ciclo Rasgando el silencio, que cumple su tercera temporada en el Teatro de la Maestranza destinado a presentar música escrita por mujeres, la pianista Carmen Martínez-Pierret y el violonchelista Israel Fausto han llevado al disco un programa que hicieron ya dentro del ciclo en marzo de 2022 y que recoge tres sonatas escritas por otras tantas compositoras entre 1905 y 1919. "Se trata del segundo disco de la colección La chambre bleue dentro del sello Thelxínoe –comenta la pianista, fundadora de este sello–, que está dedicada a música de compositoras que nos parece que merecen pasar al disco".

–¿De dónde sale el título de La hora azul?

–CM: Es el de un perfume de Jacques Guerlain, que representa el fin de la Belle Époque. Guerlain lo crea en 1912 con la intuición de que estaba viviendo el fin de un mundo. La Sonata de Pejačević es justo de 1913. La de Mel Bonis es de 1905, pura Belle Époque y art nouveau, y luego está la de Bosmans, de 1919, que es ya la entrada en el art déco y el fin de la guerra expresado muy crudamente en la propia Sonata, obra llena de dramatismo y de dolor, una especie de réquiem musical.

–¿Por qué estas tres obras?

–IF: De todas las que escuchamos nos parecieron de enorme interés por sus propios valores, pero también por la evolución musical que se puede rastrear en ellas. Son tres obras muy distintas. Es una época en la que el repertorio para violonchelo y piano no es tan abundante. Desde un Romanticismo más clásico, el de Mel Bonis, a una escritura muy característica del cambio de siglo, sin dejar de ser romántica, con un tratamiento fantástico del violonchelo, por una gran sinfonista, la de Pejačević, que yo desconocía hasta hace unos años; y luego una obra muy impactante y exigente en sonoridad, colores, la de Bosmans: su padre era un gran cellista y eso debió de condicionarla de algún modo, el instrumento está muy favorecido en su música, aunque ella fuera realmente pianista. Le otorgó a la obra una forma circular; hay en ella algunos elementos que recuerdan al Concierto de Elgar, ese carácter cíclico y dramático, aunque la escritura no tiene nada que ver.

–CM: Son tres obras distintas de tres personalidades distintas. He intentado reflejar la personalidad de cada una con los acordes florales que cito en las postales que incluye el álbum [Bonis: bergamota, clavel y flor de vainilla; Pejačević: flor de naranjo amargo, iris y violeta; Bosmans: heliotropo, rosa y tuberosa], que no los he inventado yo, están en la propia página web de Guerlain. Mel Bonis era una mujer creyente y conservadora de ideas, valiente. No pudo casarse con el hombre que quería, y buscó alguien que le diera una posición económica sólida. Tuvo que pelear mucho para estudiar. Es fruto de esa época. En el libreto usamos textos suyos, pero cada una se expresa de una forma: de Mel Bonis escogimos los Diarios, no comunica hacia fuera; los sentimientos los vuelca en sus Diarios. Pejačević era aristócrata, pero acabó alejada de su familia y de su mundo, y ella se expresa a través de cartas: vuelca en confianza sus pensamientos. Es una mujer mucho más moderna. Mel Bonis durante la PGM hace beneficencia, pero Pejačević hace servicio social como voluntaria. Sus amigos la llaman “la socialista”. Bosmans es una mujer moderna: habla a través de sus entrevistas, hacia el exterior. Tres tipos de personalidades totalmente distintas, como mujeres y como artistas.

–En el disco las sonatas siguen el orden cronológico, pero también un camino hacia el pesimismo. ¿Pretendían enfatizar tanto ese contexto histórico en la grabación?

–CM: La idea es cronológica. Es un recorrido histórico: Estamos en esa hora azul, en esa premonición de un genio, como Guerlain, e inmediatamente llega la guerra, y eso se nota aquí.

–Guerlain da título al CD. ¿Cómo vincula su trabajo a la música?

–CM: El mundo de la perfumería me apasiona, se trabaja mucho con términos musicales, notas, acordes… Habrá feministas que me criticarán. Pero yo recuerdo que las primeras sufragistas americanas decían: “Queremos el pan, pero también las rosas”. Es decir, el derecho a la belleza, que es tan revolucionario como el derecho al pan. Por eso Lorca cuando hizo su discurso de apertura de la Biblioteca de Fuente Vaqueros dijo aquello de “A la gente hay que darle pan, pero también libros”. Esa reivindicación histórica de las feministas, el derecho a la belleza, parece haberse olvidado, pero está ahí. Me pareció que la historia del perfume venía muy bien. Guerlain era un genio, vio esa hora azul y tuvo esa premonición del fin de aquel mundo. Cuando los soldados franceses se iban al frente, las mujeres les perfumaban los pañuelos con L’heure bleue. La idea era esa: un mundo que iba a desaparecer, el de Mel Bonis, para la que la guerra fue el hundimiento del Titanic, estuvo siete años sin componer; luego Pejačević, con una obra auténticamente visionaria, pórtico de su madurez musical; y cierra Bosmans de forma bellísima pero desoladora. Las tres obras me parecen muy bellas: a Bonis se la relaciona mucho con Fauré, pero esta obra tiene estructura franckiana. Un mundo feliz, que se acaba.

–El mundo de ayer de Stefan Zweig planea sobre todo esto…

–CM: Sin duda. Es aquella frase de "Mis padres creían que vivían en una casa de piedra y en realidad vivían en un castillo de naipes", un castillo de naipes que cayó con estrépito.

–IF: De todas formas la obra de Bosmans tiene ese componente dramático pero hay también un punto místico. En el tercer movimiento, el lento, hay un punto que recuerda al Cuarteto para el fin del tiempo de Messiaen. El cuarto es un monumento bélico.

–También de la época es la extraordinaria Sonata para viola de Rebecca Clarke ¿Han tocado la versión para violonchelo?

–CM: Yo no la he tocado. Iba a hacerla con Gérard Caussé en París. La tenía trabajada, pero se interpuso el Covid, así que la preparé pero al final no pude tocarla.

–IF: Yo sí. Y además tengo un alumno en el Conservatorio que la está preparando, y tuve otra, que estudia ahora en Holanda, que también la preparó, por iniciativa suya, porque yo no le sugerí nada. En el ciclo hicimos el Trío de Clarke, que es una obra fabulosa.

–El trabajo material del disco es exquisito, ¿qué retorno esperan?

–IF: Hay un trabajo estético importante. Uno toca un concierto, el concierto se acaba y ya está. Pero el disco físico queda, es una carta de presentación, es la reivindicación de un repertorio desconocido, y la estética es fundamental. Le hemos dado muchas vueltas al título, al material que queríamos incorporar, los textos, el aspecto...

–CM: Yo soy fan del papel. Si puedo comprar un libro en papel no lo compro en otro soporte. Si haces un disco físico tienes que ofrecer un producto que aporte algo especial, que tenga belleza. Si no vas a hacer un disco bonito, no lo hagas, súbelo a las plataformas y ya está…

–¿Hay más discos previstos para el sello?

–CM: Hay uno en otra colección (Pour le piano), un disco Satie para 2025, que es el centenario, y Satie es un compositor que me ha acompañado mucho tiempo. Para La chambre bleue hay un proyecto con la soprano Delphine Mégret, que estuvo ya el año pasado en el ciclo y vuelve este año para el Concierto de San Valentín, y con Bastien Rimondi, un tenor muy brillante, que trabaja mucho en París, y está ahora de gira con Les Arts Florissants. Y nosotros seguiremos grabando juntos, porque hay sonatas espléndidas y las piezas breves esperando que se graben.

–IF: Entre ellas, indudablemente la de Rebecca Clarke, pero también música de Luise Adolpha Le Beau o de Emilie Mayer…

[Carmen Martínez-Pierret e Israel Fausto en otra foto para esta entrevista / JUAN CARLOS MUÑOZ]

–¿Rasgando el silencio termina este año?

–IF: El proyecto original era de tres años, con el compromiso de presentar a 60 compositoras en el escenario. Javier Menéndez está muy contento. Queríamos variar un poco para ir más allá de estas tres temporadas. Hemos mandado una propuesta para continuar una temporada con otro formato; el formato de diferentes grupos de cámara ya lo hemos explotado, queríamos hacer otras cosas para atraer otro tipo de públicos…

–CM: Hay mucho repertorio bueno. Hay obras maestras, y otras obras que a lo mejor no lo son tanto, pero merecen ser conocidas, porque forman parte de la historia y forjaron el sonido de su época. Por ejemplo, el programa que hago esta noche [esta entrevista se hizo el pasado 4 de diciembre; por la tarde, Martínez-Pierret tocó en el Maestranza un programa dedicado a compositoras españolas del período isabelino]: el piano español del XIX no es Albéniz. Yo le digo a la gente, si os pensáis que vais a descubrir a la Chopin o la Liszt españolas, no, porque sencillamente no los hay. Aunque Liszt escuchó a una de ellas, a Eloísa D’Herbil, y dijo, "esta niña es Chopin con faldas", pero bueno, no es Chopin. Esto surgió porque hubo una iniciativa de la Fundación March que sacó el nuevo canon del piano español, con muchos compositores que no son conocidos, pero no había ni una compositora. Yo entiendo que no las debieron encontrar porque si no las buscas no las encuentras. Y justo entonces me llamaron de Patrimonio Nacional para este proyecto de música de salón del XIX, y entonces nos pusimos a buscar, yo ya tenía cosas, y empezaron a salir compositoras. Muchas son obras escritas recién terminado el Conservatorio, con 22-23 años, incluso con menos, ¿por qué? Porque solían ser niñas de la aristocracia o de la burguesía que después se casaban, tenían hijos y dejaban de componer, así de simple; entonces lo que ahí se ve son obras juveniles, de compositoras en sus inicios a las que no se dio la oportunidad de forjar carreras, que no sabemos lo que habrían hecho con ellas. ¿Son obras interesantes? Sí, porque no todo tiene que ser de primer nivel para ser conocido. Hay que enriquecer el repertorio y poner esto a disposición de los intérpretes y de los oyentes. Hay un proyecto con la Universidad Complutense de editar las partituras y de hacer una grabación.

–IF: Es que además hay mucho repertorio de compositoras buenísimas que aún no hemos programado, como Florence Price y algunas otras americanas, por ejemplo. Y por ahí va nuestra propuesta para una cuarta temporada del ciclo.

–CM: Es importante trazar la genealogía de estas compositoras. Cuando se dice que la mujeres han sido borradas de la historia de la música… No han sido borradas, no han sido incorporadas. No puede ser borrado lo que no está. Es muy necesario hacer aflorar todo esto, darle luz, o, mejor, en este caso, sonido.

–¿Hasta cuándo hay que seguir rescatando música de mujeres por el hecho de ser mujeres?

–CM: Queda mucho trabajo por hacer. Nunca hablo desde el victimismo. Pero hay obras fruto del esfuerzo y de la voluntad, forjadas en muchos casos contra viento y marea, que son obras de gran valor. ¿Hasta cuándo? Hasta que podamos decir que se programa en igualdad de condiciones y que tengamos la posibilidad de acceder en igualdad de condiciones al repertorio de hombres y de mujeres. Hay un repertorio que ha sido omitido de la historia de la música y lo tenemos que reincorporar, al igual que el de otros muchos compositores que fueron eclipsados por el genio de turno. ¿Tienen sentido los ciclos de compositoras? Muchísimo hasta que salvemos ese desequilibrio.

LA HORA AZUL EN SPOTIFY

#mel bonis #dora pejacevic #henriëtte bosmans #carmen martínez-pierret #israel fausto #thelxñinoe #música #music

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boxboxlewis · 10 days

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prompt: galex + wings 🪽

It was kind of nice when Lily and Carmen weren’t around for a race weekend, not that George would ever say that. Simpler times, it reminded him of: when he and Alex were still single and fancy-free and having sex whenever they could find a door that shut. Sometimes they still hooked up, when their girlfriends weren’t around. For old times’ sakes.

They were in George’s hotel room. George was stretched out alluringly on his bed, one arm behind his head so his shirt rucked up and showed some stomach. Just trying to maximise his chances that the evening might be one of the sometimes.

“You’ve got your weird soppy-git face on,” Alex said, “what, are you thinking about your mum again?”

“No,” George said, and took his arm down. “I just—fancy blowing off some steam?”

George thought that probably he could be a good 60% less weird about Alex if Alex simply stopped smiling like that: a little dirty, a little fond, a lot as if he saw straight through George but still somehow liked him anyway.

“You need better lines, mate,” Alex said. “I’m not rewarding that.” He came and sat on the bed, though. Reached out and rubbed a thumb over George’s hipbone, considering.

“Did it hurt,” George said seriously, and then as Alex shoved his shoulder, “when you fell out of heaven—oi—!”

One moment Alex was braced over him, laughing, and the next he’d flung himself back, back off the bed and onto the hotel carpet, away from George.

“Er?” George said. Alex was breathing heavily (good, usually) and he’d gone all pale (very bad). George couldn’t think what might have happened to cause it. He tried a joke. “I did actually brush my teeth before you came over, so…”

“No, it’s not—” Alex was biting at his lip. “I shouldn’t, today. My shoulders.”

“Your shoulders don’t want us to have sex.”

“Don’t be a dick, George. Practice today was rough, that’s all.”

That’s never stopped us from hooking up before, George didn’t say. He stood up slowly, so as not to startle Alex, and moved towards him like a hunter towards a deer. Probably. “Let me see, then.” He put his hand on Alex’s waist. “Come on, let Dr George have a look.”

Alex’s face did something strange and vulnerable. “This is a terrible idea,” he muttered, “I’m an idiot, I—hey, careful, please!”

George was easing Alex’s shirt up over his head. “Turn around for me. Good lad.” Alex snorted at that, which was more normal, at least. “Oh, blimey.” Alex’s back was a welter of raw oozing skin, bloody and scraped to hell, like someone had been at his shoulderblades with a meat mallet. “Alex, you’ve—you need to see a doctor, I think, mate. This is proper bad. You’re going to get an infection if you’re not careful.”

“I’m not seeing a doctor.”

George recognised Alex’s implacable bastard voice when he heard it. “All right, fine, but—I’ve got some Germolene in my bag. At least let me put that on?”

“Fine, but don’t— Fine.”

George got the ointment and arranged Alex face down on the bed. Usually a great position for Alex: but usually he wasn’t fucking bleeding everywhere. “Right,” George said. “Right, I think it will be easiest if I sit on your arse.”

“Convenient,” Alex muttered. He had his hands folded under his cheek, face turned to one side. “Not at all because you’re obsessed with my arse.”

George ignored him and clambered awkwardly into place, sitting on Alex’s arse, knees snugly bracketing his back. It wasn’t all that comfortable, actually, Alex being a bony motherfucker. “Okay, this might sting a bit. Also, sorry if it’s cold.” He squeezed out some Germolene onto a finger and tentatively swiped it along Alex’s left shoulderblade. Alex hissed in a breath. “That all right, mate?”

“Yeah, it’s fine. Or it would be fine if you could just stop being so fucking—solicitous. Dickhead.”

George rolled his eyes and squeezed some more ointment onto his finger. “Sorry for caring.” He worked the thick cream into Alex’s broken skin, as gently as he could. Up and down, along the bony ridges on either side of Alex’s upper back. Alex’s skin was greasy and warm under his fingers, and the room was quiet except for the sound of their breathing. The antiseptic smell of the Germolene seemed loud, somehow.

“Uh,” Alex said. “I—this was a mistake, actually, I think, I need—George, stop!”

George pulled his hands back. Alex was breathing rapidly, like maybe he was turned on, which would be perhaps slightly weird under the circumstances but not weird enough to justify a freakout. They’d had weirder sex before, definitely. “It’s okay if you like it,” he said.

“No, I—” Alex pressed a hand over his face, long fingers splayed over his cheek. “Fuck. Fuck! George, you need to leave.”

“Er, right, point of order: this is actually my hotel room?”

“I really mean it, George, you need to—fuck!”

Before George could reply his attention was distracted by Alex’s back, which was rippling. The movement was happening underneath his skin, as if the bones were shifting, as if some creature inside were flexing and stretching. George was still sitting on Alex’s arse, and probably some spirit of self-preservation should have sent him sprinting for the door, but instead he leaned forward and pressed his hand to the skin of Alex’s back where it overlay whatever was happening inside his body. The squirming was viscerally unsettling to feel, but not unpleasant.

“George—”

“It’s all right,” George said, with false confidence, “I’ll just grab my phone and call 999—I think it works anywhere, right, they just reroute the call—no problem, mate, we’ll get an ambulance here for you—”

And then he stopped talking, because something was erupting from Alex’s back. Two things, actually, bony and huge and covered with pale brown feathers. They unfolded, stretching up almost to the ceiling, and beat once; and then tucked themselves back down along Alex’s sides, warm and thick against George’s legs.

“Fuck,” Alex said.

George said, “You’ve got wings.”

“Yeah, no shit, George.”

“You’ve got—” George managed to stop himself from repeating You’ve got wings, but only barely. “You. Erm. How long? Have you—”

“Years,” Alex said. His wings twitched, almost smugly. “Used to be easier to keep them hidden, though. Past couple of months it’s been a real—ah.”

George was carding his fingers through the feathers of Alex’s right wing, exploring the textures, how they parted for his fingers. “There’s different kinds of feather,” he said. “These really long ones up here, and then the short fluffy ones—”

Alex made a sort of broken sob noise, and immediately stuffed his fist into his mouth. George jerked his hand back.

“Sorry, shit, sorry, is it—can I touch them,” he asked belatedly. “Does it—it must feel weird, I guess.”

“It feels good. No one has, before.”

The neanderthal part of George’s mind hefted its club and began grunting triumphantly. “You haven’t shown anyone else?”

“No, I mean, it’s like. Kind of a weird thing to bring up, right?”

“Mildly weird,” George agreed, and started stroking Alex’s wing again: the first person ever to do so.

thank you to @janinaduszejko for reading this over and to @onadarklingplain for the prompt!

#galex #my fic #gr63 #aa23 #occam's razor suggests that alex probably DOES have wings #bc surely that is more likely than williams simply not being able to fit his seat so his shoulders don't bleed after every race

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alvcrd · 1 year

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🌙 s𝐞𝐧𝐬𝐞𝐬 𝐚𝐧𝐝 𝐨𝐭𝐡𝐞𝐫 𝐨𝐝𝐝𝐥𝐲 𝐬𝐩𝐞𝐜𝐢𝐟𝐢𝐜 𝐡𝐞𝐚𝐝𝐜𝐚𝐧𝐨𝐧𝐬.

tagged by: @cicatriicem ty! tagging: @lunarscaled @judaspriested @monstriiss @ofwitchery @blccdsucker @malxshrine @hhemeraa @sosordid @mellodiies

what does your muse smell like? Alucard isn't really a physical entity persay so I like to think that he takes on the smell of what he consumes/is around him. After a fight or feed? He would smell like gunpowder and the metallic tang of blood. Just resting at the manor he might smell like red wine if he's drinking it or even nothing at all! He can't really get musty because he doesn't sweat or produce bodily odors like a human does, and he prefers to not really bother with fragrances too often because they are WAY too strong for his heightened sense of smell.

what do your muse’s hands feel like? Cold. He wears gloves nearly all the time, so his hands are rather soft. The backs of his palms possess his seals, the same as his gloves except they are literally burned into his skin. Fingers are long, a little bony and tipped in slightly pointed nails.

what does your muse usually eat in a day? So I made a headcanon about this in the past, but Alucard generally has an allotment of around 5 blood bags a day. For Integra, it's a fine line because as powerful as he is he requires a substantial amount of blood to remain healthy, but too much would make him far too powerful. It also seems that Alucard is allowed to indulge as much as he wants before a big fight, since before he went to kill Rip Van Winkle, there's a scene in the manga where he is SURROUNDED by empty blood bags. Furthermore, he isn't opposed to stealing blood from either humans or other vampires while out on a job, as seen during the Rio massacre so I guess the true answer is 'it depends.'

does your muse have a good singing voice? You know this isn't really something I've explored; I'd love to say yes but I'm leaning towards more of an average voice.

does your muse have any bad habits or nervous ticks? He does have his fair share of bad habits; being nosy, no concept of personal space, being blunt to the point of being a dick, but I can't say Alucard has any nervous ticks.

what does your muse usually look like / wear? Alucard can look however he wants! He can take any shape/form/gender, but his default look is his long scrawny body type with mid-back length hair, the black suit and red duster coat. Don't forget the reflective glasses and wide brimmed hat! A look I like to call the carmen sandiego, but it's actually copied from the look Integra's grandfather wore the day he defeated Alucard. He's not particular with clothes, and might only modify what he wears to suit a specific purpose such as blending in with humans as seen with the suit in Rio or to fight such as the leather body suit seen during several battles.

is your muse affectionate? how much? how so? The broad answer to this would be no, but that's not true with specific cases. Alucard does show affection to Integra and Seras, and to his past lover Mina; but generally Alucard isn't the type to do romance, to cuddle or show much outward affection. On rare occasions he does it's almost always in private and with small gestures such as doing little favors for those he cares about, the softening of his expression, inviting them in to spend time around him.

what position does your muse sleep in? Alucard generally falls asleep in his chair, legs crossed and hands either folded in his lap or being used to lean his head against. Rarely does he sleep in his coffin, if only for regenerative purposes. When he's in the coffin he obviously sleeps on his back or just becomes an amorphous blob of black miasma that fills it.

could you hear your muse in the hallway from another room? It depends. His voice has a baritone to it that can probably be heard in a muffled way, but when generally speaking his volume is more on the low side. He doesn't mumble and speaks clearly, but he only raises his voice when angry or excited. When he's loud he's LOUD, and would clearly be able to be heard several rooms over.

#𝕴 𝖇𝖊𝖑𝖔𝖓𝖌 𝖙𝖔 𝖆 𝖜𝖔𝖗𝖑𝖉 𝖜𝖍𝖊𝖗𝖊 𝖆𝖑𝖑 𝖎𝖘 𝖉𝖊𝖆𝖙𝖍 — ( HEADCANONS )

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mylesmatisse · 2 years

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MYLESLANDIA Presents... HEAD: Celebrating Prince, Jimmy Jam & Terry Lewis + MPLS Related!

Saturday June 11th 2022! 10pm-1am! (PT)!

On: twitch.tv/mylesmatisse

I Host & VJ "HEAD", My Virtual Night Celebrating the Music, Visuals & Videos of PRINCE, JIMMY JAM AND TERRY LEWIS + RELATED MINNEAPOLIS SOUND ARTISTS! It's my "CLUB HEAD" Party!

This edition of HEAD will also be celebrating the BRAND NEW ALBUM "Break On Free" by ST. PAUL PETERSON which drops on June 24th as well as St Paul's ST. PAUL AND THE MINNEAPOLIS FUNK ALL STARS shows at Herb Alpert's Vibrato (w/Jesse Johnson) in LA on June 12th + at Dakota (w/Elisa Fiorillo) in Minneapolis on June 24th!

MPLS Artists/Groups in past HEADs:

Prince, Morris Day, Sheila E, Jill Jones, Madhouse, Jesse Johnson, Janet Jackson, Cherrelle, Alexander O'Neal, The Time, Original 7Ven, The Family, fDeluxe, Wendy & Lisa, Prince and The Revolution, New Power Generation, SOS Band, Mazarati, St. Paul Peterson, Carmen Electra, Mayte, Jellybean Johnson Experience, Madhouse, Elisa Fiorillo, Jody Watley, Brownmark, Herb Alpert, Prince And The NPG, Cat Glover, Dez Dickerson, Shelby Johnson, Cheryl Lynn, Vanity 6, Apollonia 6, Eric Leeds, Andre Cymone, Tevin Campbell, Ingrid Chavez, Andy Allo, Sheena Easton, Rosie Gaines, Martika, Judith Hill, Mavis Staples, The Revolution, 3rdeyegirl, Jason Peterson Delaire, Liv Warfield, Candy Dulfer, Tony Mosley, Boni Boyer and More!

Watch my show LIVE as parts of the audio is silenced afterwards by outdated copyright restrictions.

10pm - 1am!! Pacific Time!

Go to this free link to enjoy:

twitch.tv/mylesmatisse

If you'd like to donate or tip, go to:

VENMO: @Myles-Matisse

CASH APP: $MylesMatisse

PAYPAL: PayPal.me/mylesmatisse

Enjoy and feel free to join in the chat and make requests!!!!!

#princeandtherevolution #princeandnpg #prince #jimmyjamandterrylewis #flytetyme #paisleypark #mplssound #alexanderoneal #vanity6 #apollonia6 #minneapolissound #jamesharrisiii #terrylewis #mazarati #sosband #princerogersnelson #morrisdayandthetime #jilljones #sheilae #newpowergeneration #fdeluxe #thetime #jessejohnson #andrecymone #rosiegaines #stpaulpeterson #madhouse #cherrelle #wendyandlisa

#princeandtherevolution #princeandthenpg #st paul #minneapolis sound

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crushondonald · 7 years

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Italian silent movie actress Carmen Boni posing in front of a beautiful Peugeot, 1920s

#Carmen Boni #Italian actress #silent movies #silent era #1920s #vintage advertising #Peugeot

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italiasparita · 1 year

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Carmen Boni

#Carmen Boni

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thedabara · 3 years

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BEAUTIFUL ITALIAN ACTRESSES

Isa Miranda

Doris Duranti

Marcella Albani

Pina Menichelli

Dria Paola

Anna Fougez

Maria Jacobini

Lyda Borelli

Francesca Bertini

Carmen Boni

#isa miranda #marcella albani #pina menichelli #dria paola #anna fougez #maria jacobini #lyda borelli #francesca bertini #carmen boni #doris duranti #thedabara

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elmartillosinmetre · 2 years

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Mi crítica del concierto de Israel Fausto Martínez y Carmen Martínez-Pierret esta noche en el Maestranza.

#israel fausto martínez melero #carmen martínez-pierret #mel bonis #dora pejacevic #henriette bösmans #música #music

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catherine-sketches · 4 years

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Explaining José Carioca. José “Zezinho” do Patrocínio Oliveira: The History of the voice and inspiration of a beloved parrot.

SENTA QUE LÁ VEM HISTÓRIA (Sit Down, Here comes some History)

In 1942, When he was introduced to Walt Disney in the United States, the musician José do Patrocínio Oliveira immediately started a conversation using his heavily accented English. Upon hearing him speak, Walt recommended: “Don’t try to be American, we already have enough of those. Be Brazilian” And that was something Oliveira knew how to do really well. Inspired by him, Disney created his first Brazilian character: Zé Carioca

But the man behind de parrot... was Paulista!

Fun Fact #1: The word “Carioca” means “Born and raised on the state and city of Rio de Janeiro”. If Joe had being born outside the city of Rio, but still lived in the state of Rio he would be named José Fluminense.

Fun Fact #2: The word “Paulista” means “Born and raised in the state of São Paulo”. If he had being born in the city of São Paulo, he would be Paulistano

(For the people wondering : São Paulo and Rio de Janeiro are states, and both have a city which bears the same name

The state and city of Rio de Janeiro

The state and city of São Paulo

So as a rule: Every Carioca is Fluminense, but not all Fluminense are Carioca. Same thing for Paulista and Paulistano)

Born in Jundiaí in 1904, the violinist and cavaquista (ukulele player) Oliveira, Zezinho as his friends called him, had many knacks. “He was all quick, never stoped moving himself or stoped speaking”, says the Tv director José Amâncio, that was really close to the musician. “It wasn't that Zezinho was similar to Zé Carioca.

He was Zé Carioca!”

Many thought that Zezinho was making impressions when voicing Zé Carioca.

“Nope! It was his voice all the way”, says José Bonifácio de Oliveira Sobrinho, Boni for short, show runner of Tv Vanguarda, that had meet Zezinho through his father in his childhood. In 1957, when he was 22 years old, Boni meeted Zezinho again and kept a friendship that lasted 30 years ---- were never lacked histories about how was the life of an animated character.

“Disney even used to say that Zezinho had a parrot nose. Then he would take him to the studio, put a hat in his head, gave him an umbrella and asked him o walk, sambar and rebolar (or as you americas say, shake around the studio)... The animators kept looking so they could make the parrot move in the same way. And Zezinho always joked: “But I don't know how to rebolar, I’m Paulista!”

(this is a Brazilian joke. we say that people from São Paulo don’t know how to rebolar to save their lives.

But as you can see in the movie, Zezinho was both an exception and a liar that lies)

Before and above being José Carioca, Zezinho was a great musician. Since the 30s, he accompanied the singers Aurora and Camen Miranda (the first one appearing in The Three Caballeros) when both of them fulfilled their daily schedule pre-carnival at 7:30pm, in the Record Radio of Rio de Janeiro. In Carmen’s biography Carmen, the writer Run Castro tell us the Aurora and her more famous sister adored Zezinho, thanks for his peculiar personality.

Zezinho, for example, was a former employee from the Butantan Institute of São Paulo, know for its study of venomous animals.

“When he got excited, he talked about snakes by their names in Latin,” write Ruy Castro.

His friend José Amâncio remembers that there was something else that did not come out of Zezinho’s head: all the stations of the São Paulo train lines.

“He used to quote one by one, in the right order”

Zezinho's incredible memory allowed him to decorate practically all Carnival songs ever made. “We used to say the year, and he then listed each marchinha (also know as the carnival marches) and samba. If we asked, he would sing ”, says Boni. In addition to guitar and ukulele, Zezinho was an ace in the mandolin and in more than ten instruments. He went to the United States in the late 1930s, in the wake of Carmen Miranda's success. There, he recorded three albums with Aurora and, in 1942, became part of Bando da Lua (Pack of the Moon), the group of musicians who used to accompany the two sisters.

(Carmen Miranda and the members of Bando da Lua. From left to right: Zé Carioca, Vadico, Nestor Amaral, Afonso, Stenio and Aloysio de Oliveira)

In 1942, Zezinho made his film debut playing with Bando da Lua in the film Minha Secretária Brasileira, starring Carmen Miranda.

Soon after, in Saludos Amigos, he did more than dub Zé Carioca: he appeared playing “Na Baixa do Sapateiro” and “Os Quindins de Iaiá”, by Ary Barroso.

In 1944, he gave voice to Zé Carioca again and acted in yet another combination of film and cartoons produced by Disney Studios: the classic The Three Caballeros. There, alongside Aurora, he played “Aquarela do Brasil”, also by Ary Barroso, and “Tico-Tico no Fubá”, by Zequinha de Abreu.

Brazilian music, which had conquered the United States with Carmen Miranda, gained even more space with the push given by Disney in the cinema. After the premiere of The Three Caballeros , Zezinho played with Aurora in Mexico.

According to Ruy Castro, despite the fame of the singer, her name was the second on the posters of the shows. It came just below “Joe Carioca” - Zezinho had taken on the name of the parrot because of its popularity. The musician played samba until the age of 75, in several American states. He performed almost every night in luxury hotels, restaurants, casinos and at Disneyland, California. His first appearance there was at the opening of the theme park in 1955 - he entered the stage announced by Disney himself.

Like Zé Carioca in Saludos Amigos, Zezinho was a warm host: he insisted on keeping the doors of his home in the United States always open, transforming it into a kind of informal Brazilian embassy. According to Boni, the musician became a co-director of directors who, later on, would stand out on Brazilian TV, such as Daniel Filho and Augusto César Vanucci. “Friends wanted to get to know Hollywood better, to see how things were done there. I arranged with Zezinho and he took us to all the studios. Everyone there knew him ”, he says.

Once, the friend José Amâncio witnessed how the fame of the musician was perpetuated. In the early 1980s, the TV director visited Disneyland for the first time, accompanied by Zezinho. As soon as he arrived at the park, he was amazed to see all the employees greeting the musician, waving and saying: “Hey, Joe Carioca”.

“I knew he was the man behind Zé Carioca, but I didn't think he was recognized that way. That day I found out how dear he was ”, he says.

Zezinho was almost 80 when that moment took place - and the character's debut film was over 40 years old.

In 1987, after much bohemia, Zezinho died. And he left the scene in the best Zé Carioca style. "On his headstone it says: 'Awesome' Because for him everything was 'Awesome'," says businessman José do Patrocínio Oliveira Júnior, the parrot's son. Or rather, the musician’s son.

TL;DR : Zezinho was the most lovable dork. He loved Samba, Snakes and Trains, made fast friend with everyone he meet, travelled the world with Carmen Miranda, was a walking musical encyclopaedia, was a walking snake encyclopaedia, he thought that everything was awesome and through the power of friendliness alone he meet some of the greatest names on Brazilian music, cinema and television.

Truly a legend.

#jose carioca #josé carioca #explaining Jose carioca #saludos amigos #the three caballeros #ducktales #jose do patrocinio oliveira #carmen miranda #aurora miranda #long post #the first voice actor #the man kept rolling 20 in charisma everyday of his life #he was too powerfull #an also can you imagine how cute he was?#him getting all excited and talking about his passions about snakes and trains #he must have been adorable #from now one Joe has a fascination with snakes samba and trains #thats is now cannon #i dont make the rules

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pensieridiunaragazzadiversa · 3 years

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Sugnu sempri alla finestra

e viru a ranni civiltà ca ha statu,

unni Turchi, Ebrei e Cristiani

si stringeunu la manu.

Tannu si pinsava ca

"la diversità è ricchezza".

Tempi di biddizza e di puisia,

d'amuri e di saggezza.

Zoccu ha statu aieri,

oggi forsi ca putissi riturnari

si truvamu semi boni di chiantari

'nta sta terra 'i focu e mari,

oggi sentu ca mi parra u cori

e dici ca li cosi stannu pì canciari.

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its-sixxers · 4 years

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Meet the Muse

Tagged by @marvilus73. Thank you so much! :D :D

|| The Basics ||

Name: Carmen

Nickname(s): The Courier, Courier Six

Age: Mid 20s during the events of New Vegas, mid 30s in the Commonwealth

Species: Human

|| Personal ||

Alignment: True Neutral

Religious Belief: Agnostic

Sins: Lust / Greed / Gluttony / Sloth / Pride / Envy / WRATH

Virtues: Chastity / Charity / Diligence / Humility / Kindness / Patience / Justice

Primary Goals In Life: Aside from survival, ensuring no one ever goes through what she’s suffered. If she has to put a few bullets in heads to do it, so be it.

Languages Known: English, Spanish

Secrets: Quite a sensitive soul beneath the cold exterior. Her past before the bullet to the skull is a secret even to herself.

Quirks: She likes to press flowers and herbs, a botanical record of her travels. Carmen also takes incredibly good care of her hair, devoting more time than is perhaps reasonable to keeping it brushed.

Savvies: Deadly aim, very good at lockpicking, intimidation, survival, good with animals.

|| Physical ||

Build: Slender / Scrawny / Bony / Fit / Athletic / Herculean / Babyfat / Pudgy / Obese / Other

Height: 5′8″

Weight: 135lbs

Scars/Birthmarks: A very wicked crescent shaped scar at her temple c/o Benny, various small defensive scars across her forearms, healing scars along her torso and thigh from bullet wounds.

Abilities/Powers: She borders on empath levels when it comes to picking up on the emotions of people around her. It helps her in her dealings with people, as her schmoozing skills leave something to be desired.

Restrictions: Anything restricting her neck launches her right into high stress territory. Radio static at the wrong time can set her into a panic attack. The Sierra Madre left its share of scars on her mind.

|| Favorites ||

Favorite Food: Desert Salad.

Favorite Drink: Whiskey, though nothing hits like purified water if she’s not looking to get drunk.

Favorite Color: Gold

Favorite Music Genre: Classical or folk.

Favorite Book Genre: Romantic era literature.

Favorite Movie Genre: Westerns.

Favorite Season: Spring

Favorite Butt Type: Glory earned her code name in more ways than one.

Favorite Swear Word: Motherfucker, probably.

Favorite Scent: The desert after the rain.

Favorite Quote: “The poetry of the earth is never dead.” - John Keats

|| Fun Stuff ||

“Boss” Theme Music: All Along the Watchtower - Jimi Hendrix (this one was real hard)

Loud Burper Or Soft Burper: Loud / Soft / Neither

Sings In The Shower: Yes / No

Likes Bad Puns: Yes / No / Only if they are relevant to the situation

Tagging: YOU YES YOU DO THE THING

#tag memes #oc: courier six/carmen

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lunareficio · 4 years

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𝙲𝙷𝙰𝚁𝙰𝙲𝚃𝙴𝚁 𝙸𝙽𝚃𝙴𝚁𝚅𝙸𝙴𝚆.

NAME: Kay Rafael Lucas Vasquez-Vaun ALIAS: “Mr. Strilontas” AGE: 28 FAMILY: Biological family unknown. Adopted by: Miguel and Gia Vasquez (Parents), Carmen Chevere (Grandmother), Antonia Ruiz and Sonia Harding (Sisters), Estrella and Maritza Ruiz (Nieces), Santiago Harding (Nephew) SIGNIFICANT OTHER: Ezra Shachath Eriquet Vaun (Husband)

𝙿𝙴𝚁𝚂𝙾𝙽𝙰𝙻.

RELIGIOUS BELIEF: Non-practicing Catholic / Catholic-adjacent. Does not think well of most higher powers. SINS: greed / gluttony / sloth / lust / pride / envy / wrath VIRTUES: chastity / charity / diligence / humility / kindness / patience / justice PRIMARY GOALS IN LIFE: Love and protect his husband. Find personal success in his line of work. Spark joy in others. KNOWN LANGUAGES: His native tongue is a language he no longer has the capacity to speak, but can still read, write, and understand it fluently. Also speaks English, Spanish, Latin, Greek, and ASL. If he drinks the blood of a native speaker, he can speak that language for a time. (Ex: If he drank a pint from Zion, he’d be able to speak Portuguese for a week.) SECRETS: He has a number of contacts within the criminal underground. Some know him as a tailor who fashions tactical formalwear for assassins. Others know him to be an undertaker of sorts; a living garbage disposal when someone has bodies (alive or dead) that must never resurface. SAVVIES: Business, persuasion, anatomy, cooking, fashion, motorcycles

𝙿𝙷𝚈𝚂𝙸𝙲𝙰𝙻.

BUILD: scrawny / bony / slender / fit / athletic / curvy / herculean / pudgy / average HEIGHT: 5′11 SCARS / MARKS: Freckles across the bridge of his nose. Notepad tattoo on left wrist. Accurate ruler tattoo on left index finger. Black ankh tattoo on right forearm. Heartbeat tattoo over heart. Feather and “They That Did Dream” tattoo on ribs. ABILITIES / POWERS: Inhuman strength and speed. Can consume and digest almost anything. Has control of his bodily functions. Accelerated natural healing. Ages extremely slowly. Conditionally immortal. Multiple abilities that he has yet to uncover. RESTRICTIONS: His moral compass occasionally puts him at odds with what must be done. He can be poisoned by pure silver. Long stretches of immobility will cause rigor mortis to act up.

𝙵𝙰𝚅𝙾𝚁𝙸𝚃𝙴𝚂.

FOOD: Tiramisu DRINK: Blood Coffee PIZZA TOPPING: Feta COLOR: Red MUSIC GENRE: Metal BOOK GENRE: Fantasy, Romance, Self-Help MOVIE GENRE: Horror, Rom-Coms SEASON: Autumn CURSE WORD: Fuck SCENT(S): Clean linen, Lavender

𝚁𝙰𝙽𝙳𝙾𝙼.

BOTTOM OR TOP: Switch SINGS IN THE SHOWER: No, but he does sing while he’s cooking. LIKES BAD PUNS: Unfortunately.

Tagged by: @pluvicor (Thank you for thinking of me!) Tagging: The person reading this ¯\_(ツ)_/¯

#Out Of Style #Character Sheet

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