A beautiful scene from the movie Microcosmos. Music of this piece is called: L`Amour Des Escargots, by composer Bruno Coulais and it was created for this movie.
Madonna booed after 45min gig and called a slut at Paris concert..
“To listen to her monologue, you’d think we were at a speech by Miss France running for president,” Julien Chadeyron added. “We’re not here to hear you talk, honey. If you wouldn’t mind singing, that would suit us fine!”
A écouter son monologue, on se croirait à un discours d’une Miss France qui se présenterait à la présidentielle. On n'est pas là pour t’entendre parler ma grande, si tu voulais bien chanter ça nous arrangerait !
Desfile da Mangueira, no Rio de Janeiro (Fotoarena)
wiki
The Carnival of Brazil (Portuguese: Carnaval, IPA: [kaʁnaˈvaw]) is an annual festival held forty-six days before Easter. On certain days of Lent, Roman Catholics and some other Christians traditionally abstained from the consumption of meat and poultry, hence the term "carnival," from carnelevare, "to remove (literally, "raise") meat."[1] Carnival have roots in the pagan festival of Saturnalia, which, adapted to Christianity, became a farewell to bad things in a season of religious discipline to practice repentance and prepare for Christ's death and resurrection.
Rhythm, participation, and costumes vary from one region of Brazil to another. In the southeastern cities of Rio de Janeiro and São Paulo, huge organized parades are led by samba schools. Those official parades are meant to be watched by the public, while minor parades ("blocos") allowing public participation can be found in other cities. The northeastern cities of Salvador, Porto Seguro and Recife have organized groups parading through streets, and public interacts directly with them. Also in northeast, Olinda carnival features unique characteristics, part influenced by Venice Carnival mixed with cultural depictions of local folklore.
The typical genres of music of Brazilian carnival are, in Rio de Janeiro (and Southeast Region in general): the samba-enredo, the samba de bloco, the samba de embalo and the marchinha ; in Pernambuco and Bahia (and Northeast Region in general) the main genres are: the frevo, the maracatu, the samba-reggae and Axé music .
Carmem Costa & Colé - Cachaça ( marchinha de carnaval - 1953 )
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Copacabana (1947) - Carmen Miranda - "Tico Tico No Fubá"
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*****
Carmen Miranda - Chica Chica Boom Chic
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FREVO:
FREVO de Pernambuco em Budapest (Pimenta)
Frevo describes is a wide range of musical styles originating from Recife, Pernambuco, Brazil, all of which are traditionally associated with Brazilian Carnival. The word frevo is said to come from frever, a misspeaking of the Portuguese word ferver (to boil)
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Axé :
Pancadao_Axe-Bahia
(suspicious about this genre because it is considered a cliché and stereotype purely commercial music but I find it amusing .)
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bossa nova :
DORIVAL CAYMMI " SAUDADE DA BAHIA "
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Stan Getz Feat Astrud Gilberto Samba De Una Nota /One Note Samba
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As 10 melhores marchinhas de Carnaval de todos os tempos :
"For Buddhists, suffering is the endless push-pull of desire – for a new car, for a nicer boss, to be anywhere at all other than where you are right now."
According to a video created as part of the ad campaign, a quick name change instantaneously changes men’s perceptions, making them compliant with women’s wishes (“The colour she wants with a name he’ll agree to”):
romance or duct tape light? ( different names for the same color)
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There are similar knitted interventions happening in other cities to, from Sweden to New Zealand. The most common name for it is “Guerilla Knitting”, like Guerilla Gardening, which involves people secretly planting flowers in empty urban spaces. Guerilla Knitting also has a political angle. In Vienna, for example, it is direct protest against the inequality women experience in society. goethe.de
a "dressed" signifier
(Saussure defined language as a “system of signs that express ideas” and the sign as the basic linguistic unit. The concepts of the signifier and signified were introduced by Saussure, who argued that their relationship was completely arbitrary. In other words, he believed that there was no underlying rationale for using red octagon to symbolize a command to stop at an intersection. He thought such associations developed completely by chance)