tag:blogger.com,1999:blog-82285969815461013722024-03-19T13:48:53.840+00:00Listen, Learn, Readwhat I am reading or watching or listening toKirillhttp://www.blogger.com/profile/00719435019715182189noreply@blogger.comBlogger1230125tag:blogger.com,1999:blog-8228596981546101372.post-25116675493412662522024-03-17T20:00:00.006+00:002024-03-17T20:02:46.407+00:00Dune: Part Two<b><i>a film by</i> <a href="http://en.wikipedia.org/wiki/Denis_Villeneuve" target="_blank" title="Denis Villeneuve in Wikipedia">Denis Villeneuve</a></b>
<p> Tamara kept telling me how good <a href="http://www.ocinepremium7palmas.es/" target="_blank" title="Ocine Premium 7 Palmas">Ocine 7 Palmas</a> cinema was, so finally we all went there to see <a href="http://en.wikipedia.org/wiki/Dune:_Part_Two" target="_blank" title="Dune: Part Two in Wikipedia"><i>Dune: Part Two</i></a> in VOSE. I was impressed. By the movie theatre, I mean. Huge screen, great sound and, most importantly, electric reclining chairs. Nice. </p>
<p> I have to say that I neither read the <a href="http://en.wikipedia.org/wiki/Dune_(novel)" target="_blank" title="Dune (novel) in Wikipedia">novel</a> nor watched the <a href="http://en.wikipedia.org/wiki/Dune_(2021_film)" target="_blank" title="Dune (2021 film) in Wikipedia">first part</a>. Maybe (I said, maybe) otherwise I would enjoy the movie not as much as I did. Which I did. It’s got stunning visuals: Miyazaki-esque machinery in <a href="http://listenlearnread.blogspot.com/2020/02/kin-dza-dza.html" target="_blank" title="Кин-дза-дза! @ this blog"><i>Kin-dza-dza</i></a>-ish setting. Not as funny as <i>Kin-dza-dza!</i> though. I find the (apparently important) genealogy stuff pretty boring. How can <i>anyone</i> be surprised to discover that this or that dude is also their sibling/cousin/grandparent is beyond me. Just look at the European royal families. </p>
<p> <a href="http://en.wikipedia.org/wiki/Paul_Atreides" target="_blank" title="Paul Atreides in Wikipedia">Paul</a> the main guy (<a href="http://en.wikipedia.org/wiki/Timoth%C3%A9e_Chalamet" target="_blank" title="Timothée Chalamet in Wikipedia">Timothée Chalamet</a>) is a bit meh, and by the end of the movie grows almost as creepy as <a href="http://listenlearnread.blogspot.com/2010/11/lord-of-rings.html" target="_blank" title="The Lord of the Rings @ this blog">Frodo</a>. Totally no match for the most psychotic of his secret cousins, <a href="http://en.wikipedia.org/wiki/Feyd-Rautha" target="_blank" title="Feyd-Rautha Harkonnen in Wikipedia">Feyd-Rautha</a> (<a href="http://en.wikipedia.org/wiki/Austin_Butler" target="_blank" title="Austin Butler in Wikipedia">Austin Butler</a>). Comic relief courtesy of Stilgar (our Canarian bro <a href="http://en.wikipedia.org/wiki/Javier_Bardem" target="_blank" title="Javier Bardem in Wikipedia">Javier Bardem</a>). Assorted <a href="http://en.wikipedia.org/wiki/Bene_Gesserit" target="_blank" title="Bene Gesserit in Wikipedia">Bene Gesserit</a> women, naturally, look like clones of each other. <a href="http://en.wikipedia.org/wiki/Chani_(character)" target="_blank" title="Chani (character) in Wikipedia">Chani</a> (<a href="http://en.wikipedia.org/wiki/Zendaya" target="_blank" title="Zendaya in Wikipedia">Zendaya</a>) is both cute and cool, in the style of Miyazaki’s heroines. She seems to be the only principal character who does not buy into the Messiah bullshit. Respect. </p>
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<p> Now, the blue liquid known as Water of Life. What the hell is that? According to <a href="http://dune.fandom.com/wiki/Water_of_Life" target="_blank" title="Water of Life | Dune Wiki | Fandom">Dune Wiki</a>, it’s the bile of a young sandworm. Sorry, but there is no bile in invertebrates. My hunch is that it is <a href="http://en.wikipedia.org/wiki/Hemolymph" target="_blank" title="Hemolymph in Wikipedia">haemolymph</a> of the creature, and its colour is thanks to <a href="http://en.wikipedia.org/wiki/Hemocyanin" target="_blank" title="Hemocyanin in Wikipedia">haemocyanin</a>, which is not particularly toxic and could even have anticancer effects. (Another theory is that “Water of Life” is simply a translation of <a href="http://en.wikipedia.org/wiki/Aqua_vitae" target="_blank" title="Aqua vitae in Wikipedia"><i>aqua vitae</i></a>, and what we see in the movie is a coloured spirit such as <a href="http://fandomwire.com/rebecca-ferguson-came-up-with-the-perfect-solution-for-the-water-of-life-one-night-before-filming-her-pivotal-scene-in-dune-part-two-rumor-unraveled/" target="_blank" title="Rebecca Ferguson Came Up With The Perfect Solution For The Water Of Life One Night Before Filming Her Pivotal Scene In ‘Dune: Part Two’ — Rumor Unraveled @ FandomWire">Kosako Vodka Mora Azul</a> brought on set by <a href="https://en.wikipedia.org/wiki/Rebecca_Ferguson" target="_blank" title="Rebecca Ferguson in Wikipedia">Rebecca Ferguson</a>.) Never mind that: they don’t give Water of Life to every Tom, Dick and Harry but only to a few chosen. Easy enough to convince the rest that the chosen <i>don’t die</i> precisely because they are chosen. Do the recipients of Water of Life suffer the “spice agony”? Sure, why not, because they think they <i>might</i> die. Never underestimate the power of the placebo. </p>Kirillhttp://www.blogger.com/profile/00719435019715182189noreply@blogger.com0tag:blogger.com,1999:blog-8228596981546101372.post-36459685806675193672024-03-13T13:00:00.002+00:002024-03-13T14:23:09.199+00:00Ekstra Bladet: Uden for citat<b><i>a film by</i> <a href="http://www.imdb.com/name/nm1279993/" target="_blank" title="Mikala Krogh (I) @ IMDb">Mikala Krogh</a></b>
<p> If a year (compressed in, well, just under 100 minutes) in life of a declining <a href="http://en.wikipedia.org/wiki/Ekstra_Bladet" target="_blank" title="Ekstra Bladet in Wikipedia">Danish tabloid newspaper</a> sounds to you like fun viewing, watch this <a href="http://www.imdb.com/title/tt4014108/" target="_blank" title="The Newsroom: Off the Record @ IMDb">documentary</a>. Otherwise, don’t bother. </p>
<p> The central story, if there is one, deals with the media coverage of <a href="http://www.straitstimes.com/world/danish-filipino-hostages-freed-in-somalia-after-two-year-captivity" target="_blank" title="Danish, Filipino hostages freed in Somalia after two-year captivity @ The Straits Times">two Danes held captive by Somalian pirates</a> (the four fellow Filipino hostages were not even mentioned in the film). Naturally, the prominence is given to the newspaper’s stance (“if not for us, the world would forget about Eddie and Søren”) while the alternative points of view (“you guys are not helping”) are pretty much dismissed. In the end, one of the released hostages <a href="http://cphpost.dk/2013-06-05/general/former-pirate-hostage-slams-humiliating-media-coverage/" target="_blank" title="Former pirate hostage slams ‘humiliating’ media coverage @ The Copenhagen Post">filed a complaint</a>, <i>Ekstra Bladet</i> was <a href="http://cphpost.dk/2013-12-12/general/editor-of-criticised-tabloid-we-will-not-stop-being-journalists/" target="_blank" title="Editor of criticised tabloid: “We will not stop being journalists” @ The Copenhagen Post">reprimanded</a>, the sales continued to fall, all in the midst of general apathy.
Meanwhile, Shipcraft, the owner of the hijacked vessel, was “<a href="http://cphpost.dk/2013-10-30/general/report-shipcraft-couldnt-prevent-pirate-hostage-crisis/" target="_blank" title="Report: Shipcraft couldn’t prevent pirate hostage crisis @ The Copenhagen Post">cleared of any wrongdoing</a>”. Great. </p>
<center><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/ZEYMmBJZI6E" title="YouTube video player" width="560"></iframe></center>Kirillhttp://www.blogger.com/profile/00719435019715182189noreply@blogger.com0tag:blogger.com,1999:blog-8228596981546101372.post-7460708129887151122024-03-07T14:00:00.020+00:002024-03-12T14:09:45.568+00:00A Clockwork Orange<b><i>a film by</i> <a href="http://en.wikipedia.org/wiki/Stanley_Kubrick" target="_blank" title="Stanley Kubrick in Wikipedia">Stanley Kubrick</a></b>
<p> I first learned of <a href="http://en.wikipedia.org/wiki/A_Clockwork_Orange_(film)" target="_blank" title="A Clockwork Orange (film) in Wikipedia">this film</a> from the 1974 book called «Алекс и другие. Полемические заметки о мире насилия» (<i>Alex and others. Polemical notes on the world of violence</i>), by one <a href="http://ru.wikipedia.org/wiki/%D0%96%D1%83%D0%BA%D0%BE%D0%B2,_%D0%AE%D1%80%D0%B8%D0%B9_%D0%90%D0%BB%D0%B5%D0%BA%D1%81%D0%B0%D0%BD%D0%B4%D1%80%D0%BE%D0%B2%D0%B8%D1%87" target="_blank" title="Жуков, Юрий Александрович в Википедии">Yuri Zhukov</a>. I remember how much I enjoyed reading this tendentious and hypocritical piece of work, especially the bits mentioning sex because, as we all know, there was <a href="http://www.bbc.co.uk/programmes/p0574s3p" target="_blank" title="No Sex in the USSR @ BBC">no sex in USSR</a>. Revisiting this book now — <a href="http://coollib.net/b/193105" target="_blank" title="Юрий Жуков «Алекс и другие. Полемические заметки о мире насилия» @ КулЛиб">thanks, Internet!</a> — I wonder if its author indeed believed all the things he wrote (unlikely), wanted the reader to believe them, or was just taking a piss. </p>
<blockquote> По правде говоря, я долго колебался, прежде чем решил прикоснуться к этой теме: так ли уж актуальна для нашего читателя проблема преступности в буржуазном обществе? И стоит ли копаться в столь грязных делах, не оскорбят ли чистую душу советского человека их отвратительные детали, о которых неизбежно придется говорить по ходу повествования, ибо без деталей никакая картина не может быть достоверной? </blockquote>
<blockquote> Truth to be told, I hesitated for a long time before deciding to touch upon this topic. Is the problem of crime in bourgeois society really that relevant to our reader? And is it worth delving into such dirty deeds? Will their revolting details, which we inevitably have to talk about in the course of the story, insult the pure soul of the Soviet citizen, for no picture can be trustworthy without details? </blockquote>
<p> Whatever it was, I am grateful to Mr. Zhukov (RIP) for those revolting details. Since then, I was longing to see the film in all its disgusting glory. </p>
<p> Much later, already in the early 1990s, I read the <a href="http://en.wikipedia.org/wiki/A_Clockwork_Orange_(novel)" target="_blank" title="A Clockwork Orange (novel) in Wikipedia">Burgess’s novel</a> (as «<a href="http://ru.wikipedia.org/wiki/%D0%97%D0%B0%D0%B2%D0%BE%D0%B4%D0%BD%D0%BE%D0%B9_%D0%B0%D0%BF%D0%B5%D0%BB%D1%8C%D1%81%D0%B8%D0%BD" target="_blank" title="Заводной апельсин в Википедии">Заводной апельсин</a>») which was published in the magazine «<a href="https://ru.wikipedia.org/wiki/%D0%AE%D0%BD%D0%BE%D1%81%D1%82%D1%8C_(%D0%B6%D1%83%D1%80%D0%BD%D0%B0%D0%BB)" target="_blank" title="Юность (журнал) в Википедии">Юность</a>» (<a href="http://en.wikipedia.org/wiki/Yunost" target="_blank" title="Yunost in Wikipedia"><i>Yunost</i></a>). I wasn’t impressed much by the Russian translation. The original remains on my to-read list. </p>
<p> Finally, I watched the movie as a part of the cycle <i>«<a href="http://www.laprovincia.es/ocio/agenda/filmoteca-canaria-futuro-alcance-96584217.html" title="Filmoteca Canaria: Hasta que el futuro nos alcance @ La Provincia">Hasta que el futuro nos alcance</a>»</i> of Filmoteca Canaria. What a surprise! I was preparing myself to be clockworkin’ shocked. Didn’t happen. I certainly haven’t expected so much Pythonesque comedy. I can easily imagine John Cleese as Chief Guard Barnes, Terry Gilliam as Dim, Eric Idle as Joe the Lodger, Graham Chapman as any of the officials and/or the Cat Lady, Terry Jones as Alex’s mum, and Michael Palin — sorry, <a href="http://en.wikipedia.org/wiki/Malcolm_McDowell" target="_blank" title="Malcolm McDowell in Wikipedia">Malcolm McDowell</a> — as Alex himself. Another surprise was to see Prince Charles lookalike (2001 model) as the Minister of the Interior (<a href="http://en.wikipedia.org/wiki/Anthony_Sharp" target="_blank" title="Anthony Sharp in Wikipedia">Anthony Sharp</a>). A masterpiece worth waiting 40+ years for. </p>
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Kirillhttp://www.blogger.com/profile/00719435019715182189noreply@blogger.com0tag:blogger.com,1999:blog-8228596981546101372.post-10268774079434133452024-03-05T16:00:00.003+00:002024-03-05T16:01:32.605+00:00En familie<b><i>a film by</i> <a href="http://en.wikipedia.org/wiki/Pernille_Fischer_Christensen" target="_blank" title="Pernille Fischer Christensen in Wikipedia">Pernille Fischer Christensen</a></b>
<p> Ditte (<a href="http://www.imdb.com/name/nm1052286/" target="_blank" title="Lene Maria Christensen @ IMDb">Lene Maria Christensen</a>) faces a trilemma: to have a baby; to move to New York, New York; or to stay in Copenhagen with her terminally ill father, Rikard. There’s nothing particularly gripping about this Danish, um, family <a href="http://en.wikipedia.org/wiki/A_Family_(2010_film)" target="_blank" title="A Family (2010 film) in Wikipedia">drama</a> — as in [Danish (family drama)], or maybe [(Danish family) drama]. Grim outlook and general non-grippedness notwithstanding, it is actually quite watchable and at times even humorous. Although Ditte is meant to be the central character, it’s <a href="http://en.wikipedia.org/wiki/Jesper_Christensen" target="_blank" title="Jesper Christensen in Wikipedia">Jesper Christensen</a> (lot of unrelated Christensens here) as Rikard who dominates the film; he alone makes it worth watching. The movie is spoiled — here comes another spoiler — by its happy sex ending. I mean, happy sex is great, I just don’t believe that Ditte could be back with her Picasso of a boyfriend (<a href="http://en.wikipedia.org/wiki/Pilou_Asb%C3%A6k" target="_blank" title="Pilou Asbæk in Wikipedia">Pilou Asbæk</a>). </p>
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<p> <i>En familie</i> opened the new cycle <a href="http://www.vertigocine.com/novedades/2024/2/28/mujeres-directoras-en-dinamarca-protagonizan-marzo-y-abril-en-el-cicca" target="_blank" title="Mujeres directoras en Dinamarca protagonizan marzo y abril en el CICCA — Asociación de Cine Vértigo"><i>Cine danés en femenino</i></a> in <a href="http://www.fundacionlacajadecanarias.es/" target="_blank" title="Fundación La Caja de Canarias">CICCA</a>, organised by <a href="http://www.vertigocine.com/" target="_blank" title="Sitio web de la Asociación de Cine Vértigo">Asociación de Cine Vértigo</a>. </p>Kirillhttp://www.blogger.com/profile/00719435019715182189noreply@blogger.com0tag:blogger.com,1999:blog-8228596981546101372.post-7914651503194580052024-03-01T17:00:00.006+00:002024-03-01T17:50:51.180+00:00Cuerpos vivos & Guián<p> Two Central American documentaries by women directors, screened yesterday in <a href="http://www.vertigocine.com/proyecciones/2024/2/29/guin-cuerpos-vivos-c" target="_blank" title="Guián + Cuerpos vivos (c) @ Vértigo Cine">Casa de Colón</a>. </p>
<h3><small>Cuerpos vivos</small></h3>
<b><i>a film by</i> <a href="http://www.imdb.com/name/nm12234039/" target="_blank" title="Andrea Arauz @ IMDb">Andrea Arauz</a></b>
<p> An experimental <a href="http://www.imdb.com/title/tt22023132/" target="_blank" title="Living Bodies @ IMDb">short</a> dealing with gender violence in Honduras. </p>
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<h3><small>Guián</small></h3>
<b><i>a film by</i> <a href="http://www.imdb.com/name/nm6883834/" target="_blank" title="Nicole Chi (II) @ IMDb">Nicole Chi Amén</a></b>
<p> Nicole is a young Costa Rican of Chinese descent who doesn’t speak Chinese. Her granny Guián, born in China, never learned Spanish. So the two women were never able to communicate in the same language. After the death of Guián, Nicole embarks on a journey to her grandmother’s natal home... An intimate yet universal story. You know, it’s OK to belong neither here nor there. </p>
<center><img height="400" src="https://images.squarespace-cdn.com/content/v1/58da0500d482e966e04cae1b/ff797499-2c3b-4634-974e-fc49fbafde60/4+Col%C3%B3n+Cinema+%28l%29+Gui%C3%A1n+cartel+2.jpg" width="267" /></center>
<p> The title of the <a href="http://www.imdb.com/title/tt27489876/" target="_blank" title="Guián @ IMDb">film</a> supposedly means “paternal grandmother”. But <a href="http://en.wiktionary.org/wiki/%E5%A5%B6%E5%A5%B6#Chinese" target="_blank" title="奶奶 in Wiktionary"><b>奶奶</b></a> is pronounced nothing like “guián”: /<span style="color: #660000;">nǎinai</span>/ <a href="http://upload.wikimedia.org/wikipedia/commons/8/83/Zh-nainai.ogg" target="blank" title="Pronunciation of nǎinai @ Wikimedia">🔊</a> in Mandarin, /<span style="color: #660000;">naai naai</span>/ <a href="http://upload.wikimedia.org/wikipedia/commons/c/cf/Zh-yue-%E5%A5%B6%E5%A5%B6.opus" target="blank" title="Pronunciation of naai naai @ Wikimedia">🔊</a> in Cantonese. Could it be because Nicole, as she says herself, used to confuse it with <a href="http://en.wiktionary.org/wiki/%E5%A4%96%E5%A9%86#Chinese" target="_blank" title="外婆 in Wiktionary"><b>外婆</b></a>, /<span style="color: #660000;">ngoi po</span>/ in Cantonese, “<i>maternal</i> grandmother”? Still, does not sound exactly like Guián! </p>Kirillhttp://www.blogger.com/profile/00719435019715182189noreply@blogger.com0tag:blogger.com,1999:blog-8228596981546101372.post-83635201998782423822024-02-29T22:00:00.009+00:002024-03-09T20:40:02.523+00:00Free live music in Las Palmas, February 2024<p> Contrary to what <a href="http://www.canarias7.es/carnaval/medina-balance-absolutamente-positivo-carnaval-20240219100147-nt.html" target="_blank" title="Medina hace un balance «absolutamente positivo» del carnaval pese al fiasco de los drones @ Canarias7">the councillor of the Ayuntamiento says</a>, the Carnival of Las Palmas de Gran Canaria 2024 was anything but a success. For me, the worst Carnival I’ve seen here. For many locals, too. La Gran Cabalgata (Saturday 17 February) was underwhelming to say the least. <a href="http://www.laprovincia.es/carnaval-de-las-palmas/2024/01/30/suadu-sene-faye-buena-reina-97547560.html" target="_blank" title="Suadu Sene Faye: 'Una buena Reina debe conocer la tradición carnavalera' @ La Provincia">Suadu Sene Faye</a> — Second Maid of Honour who really should have been the Queen of the Carnival of Las Palmas, and who was the main reason I went to see the Cabalgata — was not even there. The procession was eerily silent; <i>not a single samba band</i> as far as I could see. <i>Mucha policía, poca diversión.</i> On Sunday, miserable <a href="http://en.wikipedia.org/wiki/Entierro_de_la_Sardina" target="_blank" title="Entierro de la Sardina in Wikipedia"><i>Entierro de la Sardina</i></a>, featuring the smallest ever sardine on these shores, followed by the never-materialised <a href="http://www.laprovincia.es/las-palmas/2024/02/19/fallido-espectaculo-drones-carnaval-palmas-coste-98385174.html" target="_blank" title="El fallido espectáculo con drones para despedir el Carnaval costaba 59.000 euros @ La Provincia">drone show</a>, was the cherry on top of this disaster. Praise the sardine, it’s over! </p>
<p> Enough negativity: finally, <i>good quality</i> live music is back, and it has nothing to do with Carnival. I wish it was a bit warmer (and drier) outside though: the only indoor event I went to was the masterclass in <a href="http://www3.gobiernodecanarias.org/cultura/ocio/teatroguiniguada/" target="_blank" title="Teatro Guiniguada @ Gobierno de Canarias">Teatro Guiniguada</a>. </p>
<ul>
<li> 14 February: Quartet D’Arezzo @ Palacete Rodríguez Quegles, Calle Benito Pérez Galdós, 4, Las Palmas de Gran Canaria
<ul> Mozart, Bach and some tangos. Featuring Pablo Melián (violin), Luis Montesdeoca (violin), Ayose García (viola) and Marisa Roda (cello). </ul>
<div class="separator" style="clear: both; text-align: center;"><p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWdAVLGHQMjXALlMQJBzYfNF5jSMpC6w9MTBoKQ94Dj4cuJ0QEgA2MZ_TRJXuDhaz-tAWhbtYFkT6AfrfTKLWQS2UFmyh6wjlqelufSvoQNZoeV9Y0u5YXJRBbaEW9-Z4g3-Sui_DVsUsyVIq9N1s51JtsuylRRaZg1rAVN4UBFZNfiX4W7upcG22-ItE/s843/Cuarteto_de_cuerdas_D'Arezzo.jpg" style="margin-left: 1em; margin-right: 1em;" title="Cuarteto de cuerdas D'Arezzo poster"><img border="0" data-original-height="843" data-original-width="843" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWdAVLGHQMjXALlMQJBzYfNF5jSMpC6w9MTBoKQ94Dj4cuJ0QEgA2MZ_TRJXuDhaz-tAWhbtYFkT6AfrfTKLWQS2UFmyh6wjlqelufSvoQNZoeV9Y0u5YXJRBbaEW9-Z4g3-Sui_DVsUsyVIq9N1s51JtsuylRRaZg1rAVN4UBFZNfiX4W7upcG22-ItE/w320-h320/Cuarteto_de_cuerdas_D'Arezzo.jpg" width="320" /></a></p></div>
</li><li> 15 February: Beatriz Martín @ Museo Castillo de Mata, Calle Domingo Guerra del Río, 147
<ul> The singer-songwriter from Tenerife was a star of the second concert from the cycle <i>«<a href="https://lpacultura.com/notices/94a77a5b1ba51015ea07b75cd73ac29384e42c54" target="_blank" title="Luis Quintana abre este jueves 25 de enero el ciclo «12 Noches de autor» en el Castillo de Mata @ LPA Cultura">12 Noches de autor</a>»</i> (I missed the first one in January). </ul>
<div class="separator" style="clear: both; text-align: center;"><p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmjz7gZPrKfF_BOUYxUyZ19VAQpWPmI9Ukbu05YFRbK0Rnf20PWdL5Gxnqf4pd_Q_KYIXZDdHdZZ6SMmA9cflMx9EKApCu1y1Xbov_jsDOJrUKRhuQHqbl5UC9YBG2bt0S7jfXQghUaCZHbg3sboIW9o2TBRnMRpMH6pbvi7GcV5z_5Ze9Zmnm8MEMCIk/s843/Beatriz_Martin.jpg" style="margin-left: 1em; margin-right: 1em;" title="Beatriz Martín poster"><img border="0" data-original-height="843" data-original-width="843" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmjz7gZPrKfF_BOUYxUyZ19VAQpWPmI9Ukbu05YFRbK0Rnf20PWdL5Gxnqf4pd_Q_KYIXZDdHdZZ6SMmA9cflMx9EKApCu1y1Xbov_jsDOJrUKRhuQHqbl5UC9YBG2bt0S7jfXQghUaCZHbg3sboIW9o2TBRnMRpMH6pbvi7GcV5z_5Ze9Zmnm8MEMCIk/s320/Beatriz_Martin.jpg" width="320" /></a></p></div>
</li>
<li> 24 February: <a href="http://www.veronicaferreiro.es/" target="_blank" title="Página web oficial de la cantante y compositora gallega Verónica Ferreiro">Verónica Ferreiro</a> @ Teatro Guiniguada, Plaza F. Mesa de León
<ul> The first <a href="http://www.eldiario.es/canariasahora/cultura/compositora-cantante-veronica-ferreiro-imparte-3-masterclasses-gratuitas-mes-febrero_1_10908527.html" target="_blank" title="La compositora y cantante Verónica Ferreiro imparte tres masterclasses gratuitas este mes de febrero en Canarias @ Canarias Ahora">masterclass</a> of this year organised by <a href="http://mousikelalaguna.com/" target="_blank" title="Mousikê - Asociación sociocultural">Mousikê La Laguna</a>. </ul>
<center><p><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/-v6APbv930c" title="YouTube video player" width="560"></iframe></p></center>
</li>
<li> 24 February: <i>«Con alma mexicana»</i> @ Auditorio José Antonio Ramos, Parque Doramas
<ul> Fabiola Trujillo has opened the new <a href="http://lpacultura.com/notices/fe48639db83a275b8cef8832cc5b96426181e83c" target="_blank" title="Fabiola Trujillo inaugura una nueva etapa en la que «Musicando» se mueve por distintos emplazamientos @ LPA Cultura"><i>Musicando</i> season</a>. Very different from her <i>«<a href="https://listenlearnread.blogspot.com/2021/05/free-live-music-in-las-palmas-may-2021.html#Fabiola_Trujillo" target="_blank" title="Free live music in Las Palmas, May 2021 @ this blog">La flor de la canela</a>»</i> programme of 2021 — as you can guess from the name, this time the focus was on Mexico. The “mariachi band” included Luis Montesdeoca, Carlos Marrero, Óscar Guerra and Izan Falcón (violins), Juan Ramón Martín, Juan Antonio Guerrero and José Antonio García “Pepé” (trumpets), Ivanoff Rodríguez (bass), Daniel García (vihuela), Abraham Sierra (contra) and Juan Carlos Sierra (guitar, musical director). </ul>
<div class="separator" style="clear: both; text-align: center;"><p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJkwaU2htLz05lQbvq-G4Qfy9hGnkY584eAQB23Stco06Ud_zQ7Spbbu4vtAwiuLy1od0uBA0KZB-xITm0_6CEUECvzNaKCSQWYwPka6WftDbjYW3DmeLqYPLCRgG28gbgjdoLzvMfo0FvIMbafzu5t_qH7TRervKKRtdvi8pqeJfo4ktBcySmVX5z_NY/s843/Fabiola_Trujillo_Alma_Mexicana.jpg" style="margin-left: 1em; margin-right: 1em;" title="Fabiola Trujillo «Con alma mexicana» poster"><img border="0" data-original-height="843" data-original-width="843" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJkwaU2htLz05lQbvq-G4Qfy9hGnkY584eAQB23Stco06Ud_zQ7Spbbu4vtAwiuLy1od0uBA0KZB-xITm0_6CEUECvzNaKCSQWYwPka6WftDbjYW3DmeLqYPLCRgG28gbgjdoLzvMfo0FvIMbafzu5t_qH7TRervKKRtdvi8pqeJfo4ktBcySmVX5z_NY/s320/Fabiola_Trujillo_Alma_Mexicana.jpg" width="320" /></a></p></div>
</li>
<li> 28 February: <i>«Italia»</i> @ Palacete Rodríguez Quegles
<ul> Chiara Salerno (soprano) and Nauzet Mederos (piano) offered an evening of Italian opera and Neapolitan song. My favourite was their rendition of <a href="http://en.wikipedia.org/wiki/%27O_surdato_%27nnammurato" target="_blank" title="'O surdato 'nnammurato in Wikipedia"><i>’O surdato ’nnammurato</i></a>. </ul>
<div class="separator" style="clear: both; text-align: center;"><p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiY8imkHYsGCVjjmFQZpLpKRyMne1sMCTpR_DBfMM4gHoCXUyCmhqs6-U0E6RKbNYNIocIYi0dqlMul2nX4ygx8A4Zu1Hnled63_crZBJYa3XqGRgHZNEb-QLJ-vsRW7UIrx9WyL-rVXUqeJoolysAC9V0krTqFIOOCW5N1nr5aPYRx0fR_0iCFCTnQ6J0/s843/Chiara_Salerno_Nauzet_Mederos.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="843" data-original-width="843" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiY8imkHYsGCVjjmFQZpLpKRyMne1sMCTpR_DBfMM4gHoCXUyCmhqs6-U0E6RKbNYNIocIYi0dqlMul2nX4ygx8A4Zu1Hnled63_crZBJYa3XqGRgHZNEb-QLJ-vsRW7UIrx9WyL-rVXUqeJoolysAC9V0krTqFIOOCW5N1nr5aPYRx0fR_0iCFCTnQ6J0/s320/Chiara_Salerno_Nauzet_Mederos.jpg" width="320" /></a></p></div>
</li>
</ul>
<p> And that was it for February. </p>Kirillhttp://www.blogger.com/profile/00719435019715182189noreply@blogger.com0tag:blogger.com,1999:blog-8228596981546101372.post-87779608247917931422024-02-28T00:00:00.008+00:002024-02-28T00:07:28.181+00:00Domingo Domingo<b><i>a film by</i> <a href="http://www.imdb.com/name/nm14202145/" target="_blank" title="Laura García Andreu @ IMDb">Laura García Andreu</a></b>
<blockquote> <i>Hallo, mein Name ist Domingo Domingo. Willst du meine Mandarinen probieren?</i> </blockquote>
<p> A humorous and touching <a href="http://www.imdb.com/title/tt23221304/" target="_blank" title="Domingo Domingo @ IMDb">documentary</a> about an inventive farmer from Valencian community. While the old timers spend their days in the bar (nothing wrong with it) complaining how orange growing is going to the dogs, Domingo Domingo has a cunning plan... (In Valencian, with Spanish subtitles.) </p>
<center><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/KPA3JnF8qIU" title="YouTube video player" width="560"></iframe></center>Kirillhttp://www.blogger.com/profile/00719435019715182189noreply@blogger.com0tag:blogger.com,1999:blog-8228596981546101372.post-70623591014091089152024-02-19T23:00:00.016+00:002024-02-19T23:10:39.070+00:00Planet Earth III<b><i>a film by</i> <a href="http://www.imdb.com/name/nm3702818/" target="_blank" title="Kiri Cashell @ IMDb">Kiri Cashell</a>, <a href="http://www.imdb.com/name/nm6547657/" target="_blank" title="Tom Greenhalgh (II) @ IMDb">Tom Greenhalgh</a>, <a href="http://www.imdb.com/name/nm8015198/" target="_blank" title="Abigail Lees @ IMDb">Abigail Lees</a>, <a href="http://www.imdb.com/name/nm3082494/" target="_blank" title="Will Ridgeon @ IMDb">Will Ridgeon</a> and <a href="http://www.imdb.com/name/nm7262800/" target="_blank" title="Sarah Whalley(II) @ IMDb">Sarah Whalley</a>
<br />
<i>presented and narrated by</i> <a href="http://en.wikipedia.org/wiki/David_Attenborough" target="_blank" title="David Attenborough in Wikipedia">David Attenborough</a></b>
<blockquote> Whales should be saved and you agree wholeheartedly about that, except as far as you knew they were all pretty strong swimmers anyway. Rhinos should also be saved, but where would you get a rubber ring big enough to go round them? </blockquote>
<div style="text-align: right;"><a href="http://en.wikipedia.org/wiki/Gray_Jolliffe" target="_blank" title="Gray Joliffe in Wikipedia">Gray Joliffe</a>, <a href="http://listenlearnread.blogspot.com/2010/10/lazy-persons-guide-to-life-apathy-made.html" target="_blank" title="The Lazy Person’s Guide to Life: Apathy Made Easy @ this blog"><i>The Lazy Person’s Guide to Life</i></a></div>
<p> If <a href="http://listenlearnread.blogspot.com/2019/01/planet-earth-2.html" target="_blank" title="Planet Earth II @ this blog"><i>Planet Earth II</i></a> was a brilliant update to <a href="http://en.wikipedia.org/wiki/Planet_Earth_(2006_TV_series)" target="_blank" title="Planet Earth (2006 TV series) in Wikipedia"><i>Planet Earth</i></a>, its follow-up, <a href="http://en.wikipedia.org/wiki/Planet_Earth_III" target="_blank" title="Planet Earth III in Wikipedia"><i>Planet Earth III</i></a>, looks like an unnecessary postscript to <i>Planet Earth II</i>. As usual, amazing camerawork and stunning locations. It’s all but destroyed by simplistic writing repeating the same (not winning) formula episode after episode and by a force-fed tree-hugging agenda that would convert born vegans to whale-munching carnivores. Also, some scenes, if not actually staged, certainly <i>look</i> as if they were staged. </p>
<p> OK, I admit it, there <i>are</i> parts worth watching. For instance, </p>
<ul>
<li> A <a href="http://en.wikipedia.org/wiki/Sea_angel" target="_blank" title="Sea angel in Wikipedia">sea angel</a> hunting the <a href="http://en.wikipedia.org/wiki/Sea_butterfly" target="_blank" title="Sea butterfly in Wikipedia">sea butterfly</a> (<i>Coasts</i>); </li>
<li> <a href="http://en.wikipedia.org/wiki/African_jacana" target="_blank" title="African jacana in Wikipedia">African jacana</a> chicks learning to walk on water (<i>Freshwater</i>); </li>
<li> <a href="http://en.wikipedia.org/wiki/Temminck%27s_tragopan" target="_blank" title="Temminck's tragopan in Wikipedia">Temminck’s tragopan</a> gets disheartened by the sight of the <a href="http://en.wikipedia.org/wiki/Golden_pheasant" target="_blank" title="Golden pheasant in Wikipedia">golden pheasant</a>’s mating dance (<i>Forests</i>); </li>
<li> Jaime Culebras looking for a mate for <a href="http://en.wikipedia.org/wiki/Atelopus_halihelos" target="_blank" title="Atelopus halihelos in Wikipedia">Sad Santiago</a> (<i>Heroes</i>); </li>
<li> Almost all of the <i>Extremes</i> episode. </li>
</ul>
<p> I’ve found on YouTube some pretty cool <i>Behind the Scenes</i> footage that unfortunately didn’t make it to the <a href="https://amzn.to/3ULaGpp" target="_blank" title="Planet Earth III [DVD] @ Amazon.co.uk #CommissionsEarned">DVD</a>. Such as this: </p>
<center><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/Tq5KxIc12Uo" title="YouTube video player" width="560"></iframe></center>Kirillhttp://www.blogger.com/profile/00719435019715182189noreply@blogger.com0tag:blogger.com,1999:blog-8228596981546101372.post-21541776011744333832024-02-15T15:00:00.013+00:002024-02-17T11:45:57.468+00:00Поёт Марк Бернес<b><i>by</i> <a href="http://en.wikipedia.org/wiki/Mark_Bernes" target="_blank" title="Mark Bernes in Wikipedia">Mark Bernes</a></b>
<p> Very different from <a href="http://listenlearnread.blogspot.com/2023/02/les-grandes-musiques-de-films.html" target="_blank" title="Les Grandes Musiques de Films / Музыка из кинофильмов @ this blog"><i>Les Grandes Musiques de Films</i></a> but equally loved by my mum was an LP called simply «<a href="http://www.discogs.com/release/4864476-%D0%9C%D0%B0%D1%80%D0%BA-%D0%91%D0%B5%D1%80%D0%BD%D0%B5%D1%81-%D0%9F%D0%BE%D0%B5%D1%82-%D0%9C%D0%B0%D1%80%D0%BA-%D0%91%D0%B5%D1%80%D0%BD%D0%B5%D1%81" target="_blank" title="Поет Марк Бернес (1968, Vinyl) @ Discogs">Поёт Марк Бернес</a>» (<i>Mark Bernes sings</i>). Since the mid-seventies, although she was perfectly able to put it on the turntable, my mum would rather ask my brother or me to do it. As a result, the vinyl was scratched beyond any reason. So yes, another record I grew up listening to and damaging it in the process. </p>
<p> On the sleeve, a black and white photo of a middle-aged man holding a mike. Back then, I’d probably say “an old man”. Old? The album was released in 1968; Mark Naumovich Bernes (<a href="http://ru.wikipedia.org/wiki/%D0%91%D0%B5%D1%80%D0%BD%D0%B5%D1%81,_%D0%9C%D0%B0%D1%80%D0%BA_%D0%9D%D0%B0%D1%83%D0%BC%D0%BE%D0%B2%D0%B8%D1%87" target="_blank" title="Бернес, Марк Наумович в Википедии">Марк Наумович Бернес</a>) died the following year aged 57. </p>
<center><a href="http://www.discogs.com/release/4864476-%D0%9C%D0%B0%D1%80%D0%BA-%D0%91%D0%B5%D1%80%D0%BD%D0%B5%D1%81-%D0%9F%D0%BE%D0%B5%D1%82-%D0%9C%D0%B0%D1%80%D0%BA-%D0%91%D0%B5%D1%80%D0%BD%D0%B5%D1%81" target="_blank" title="Поет Марк Бернес (1968, Vinyl) @ Discogs"><img border="0" height="200" src="https://i.discogs.com/AAKHZXNPQo5jDdok-ha_Jn-EwOKjWvnNd-wVzyw8AGY/rs:fit/g:sm/q:90/h:600/w:599/czM6Ly9kaXNjb2dz/LWRhdGFiYXNlLWlt/YWdlcy9SLTQ4NjQ0/NzYtMTM3Nzg2MzQ0/NS05MzI4LmpwZWc.jpeg" width="200" /></a>
<a href="http://www.discogs.com/release/4864476-%D0%9C%D0%B0%D1%80%D0%BA-%D0%91%D0%B5%D1%80%D0%BD%D0%B5%D1%81-%D0%9F%D0%BE%D0%B5%D1%82-%D0%9C%D0%B0%D1%80%D0%BA-%D0%91%D0%B5%D1%80%D0%BD%D0%B5%D1%81" target="_blank" title="Поет Марк Бернес (1968, Vinyl) @ Discogs"><img border="0" height="200" src="https://i.discogs.com/aX8zTEb71scZtpNiGfIGzR7PE0Rwo-eEDagUm9AyE8U/rs:fit/g:sm/q:90/h:600/w:589/czM6Ly9kaXNjb2dz/LWRhdGFiYXNlLWlt/YWdlcy9SLTQ4NjQ0/NzYtMTM3Nzg2MzQ1/MC01NTc2LmpwZWc.jpeg" width="196" /></a></center>
<p> I myself would never call Bernes «певец» (singer) — I felt that word was reserved for the likes of <a href="https://en.wikipedia.org/wiki/Joseph_Kobzon" target="_blank" title="Joseph Kobzon in Wikipedia">Iosif Kobzon</a>, <a href="http://en.wikipedia.org/wiki/Lev_Leshchenko" target="_blank" title="Lev Leshchenko in Wikipedia">Lev Leshchenko</a> or <a href="http://en.wikipedia.org/wiki/Muslim_Magomayev_(musician)" target="_blank" title="Muslim Magomayev (musician) in Wikipedia">Muslim Magomayev</a>. Bernes was a <i>chansonnier</i>. He was not singing his heart out but talking, joking, telling a story. </p>
<p> I can’t listen to this disc now with the same ears as 50 years ago. The opener, «<a href="http://ru.wikipedia.org/wiki/%D0%A1_%D1%87%D0%B5%D0%B3%D0%BE_%D0%BD%D0%B0%D1%87%D0%B8%D0%BD%D0%B0%D0%B5%D1%82%D1%81%D1%8F_%D0%A0%D0%BE%D0%B4%D0%B8%D0%BD%D0%B0" target="_blank" title="С чего начинается Родина в Википедии">С чего начинается Родина</a>» (<i>What Does the Homeland Begin With</i>), just makes me cringe. I can live with most of the lyrics — I mean, it’s all right, not worse than a typical Anglophone pop song — such as the one of surprisingly jazzy «<a href="https://www.youtube.com/watch?v=MBCX4qPgPUg" target="_blank" title="Всё ещё впереди @ YouTube">Всё ещё впереди</a>» (<i>Everything is Still to Come</i>). Two tracks, however, are unquestionable masterpieces: «<a href="http://ru.wikipedia.org/wiki/%D0%A2%D1%91%D0%BC%D0%BD%D0%B0%D1%8F_%D0%BD%D0%BE%D1%87%D1%8C" target="_blank" title="Тёмная ночь в Википедии">Тёмная ночь</a>» (<a href="https://en.wikipedia.org/wiki/Dark_Is_the_Night_(Soviet_song)" target="_blank" title="Dark Is the Night (Soviet song) in Wikipedia"><i>Dark is the Night</i></a>) and «<a href="http://ru.wikipedia.org/wiki/%D0%A8%D0%B0%D0%BB%D0%B0%D0%BD%D0%B4%D1%8B,_%D0%BF%D0%BE%D0%BB%D0%BD%D1%8B%D0%B5_%D0%BA%D0%B5%D1%84%D0%B0%D0%BB%D0%B8" target="_blank" title="Шаланды, полные кефали в Википедии">Шаланды, полные кефали</a>» (<i>Scows Full of Mullet</i>)<sup><a href="#Footnote_*" title="Footnote *">*</a></sup>, both composed by <a href="http://en.wikipedia.org/wiki/Nikita_Bogoslovsky" target="_blank" title="Nikita Bogoslovsky in Wikipedia">Nikita Bogoslovsky</a> with lyrics by Vladimir Agatov for the 1943 film «<a href="http://ru.wikipedia.org/wiki/%D0%94%D0%B2%D0%B0_%D0%B1%D0%BE%D0%B9%D1%86%D0%B0" target="_blank" title="Два бойца в Википедии">Два бойца</a>» (<a href="http://en.wikipedia.org/wiki/Two_Soldiers_(1943_film)" target="_blank" title="Two Soldiers (1943 film) in Wikipedia"><i>Two Soldiers</i></a>). The songs in the movie sound quite different from those on the 1968 record. For example, in the “original” «<a href="https://www.youtube.com/watch?v=Z0kFQlf1xRk" target="_blank" title="Шаланды @ YouTube">Шаланды</a>» Bernes pronounced the name <a href="https://en.wikipedia.org/wiki/Odesa" target="_blank" title="Odesa in Wikipedia">Odessa</a> as «Одэсса» /<span style="color: maroon;">ɐˈdɛsːə</span>/ while in the <a href="https://www.youtube.com/watch?v=Sp3O6yC0NW4" target="_blank" title="Шаланды (Remastered) @ YouTube">’60s rendition</a> it’s the normative «Одесса» /<span style="color: maroon;">ɐˈdʲesːə</span>/. Imprinting and all, I still prefer the latter version<sup><a href="#Footnote_†" title="Footnote †">†</a></sup>. </p>
<center><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/Z0kFQlf1xRk" title="YouTube video player" width="560"></iframe></center>
<p> As for «Тёмная ночь», it deservedly became one of the most famous and beloved Soviet songs created during the Great Patriotic War... and that despite neither being patriotic nor mentioning the war. Yes, we know, the war is raging on — in the film. Bullets, mortal combat, death are all present, but there is no word “war” in the lyrics. And so the song transcends time, place and circumstances. An immortal classic. </p>
<center><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/Q2CPZw995dY" title="YouTube video player" width="560"></iframe></center>
<a name="Footnote_*"></a>
<a name="Footnote_†"></a>
<table>
<tr><td colspan="2"><hr style="background-color: black; border-width: 0px; height: 0.5px; margin-left: 0px; text-align: left; width: 50%;" /></td></tr>
<tr><td valign="top">*</td>
<td> Curiously, the word <a href="https://ru.wiktionary.org/wiki/%D1%88%D0%B0%D0%BB%D0%B0%D0%BD%D0%B4%D0%B0" target="_blank" title="шаланда в Викисловаре">шаланда</a> comes from the French <a href="http://en.wiktionary.org/wiki/chaland#Etymology_2" target="_blank" title="chaland in Wiktionary"><i>chaland</i></a> (barge), and that, in its turn, from Ancient Greek χελάνδιον; <a href="http://en.wiktionary.org/wiki/%D0%BA%D0%B5%D1%84%D0%B0%D0%BB%D1%8C" target="_blank" title="кефаль in Wiktionary">кефаль</a> (mullet) from <a href="http://en.wiktionary.org/wiki/%CE%BA%CE%AD%CF%86%CE%B1%CE%BB%CE%BF%CF%82" target="_blank" title="κέφαλος in Wiktionary">κέφαλος</a>; and <a href="http://en.wiktionary.org/wiki/%D0%9E%D0%B4%D0%B5%D1%81%D1%81%D0%B0" target="_blank" title="Одесса in Wiktionary">Одесса</a> (Odessa) itself was named after the ancient Greek city of Odessos (Ὀδησσός).
</td></tr>
<tr><td valign="top">†</td>
<td> According to <a href="http://ru.wikipedia.org/wiki/%D0%A8%D0%B0%D0%BB%D0%B0%D0%BD%D0%B4%D1%8B,_%D0%BF%D0%BE%D0%BB%D0%BD%D1%8B%D0%B5_%D0%BA%D0%B5%D1%84%D0%B0%D0%BB%D0%B8#%D0%98%D1%81%D1%82%D0%BE%D1%80%D0%B8%D1%8F" target="_blank" title="Шаланды, полные кефали: История в Википедии">Nikita Bogoslovsky</a>, «Шаланды», its success notwithstanding, was harshly criticised by Soviet bureaucrats (who likened the song to criminal folklore) and not recommended for official performances. </td></tr>
</table>Kirillhttp://www.blogger.com/profile/00719435019715182189noreply@blogger.com0tag:blogger.com,1999:blog-8228596981546101372.post-19045227037386803832024-02-07T20:00:00.011+00:002024-02-11T19:37:51.396+00:00Too Much Happiness<b><i>by</i> <a href="http://en.wikipedia.org/wiki/Alice_Munro" target="_blank" title="Alice Munro in Wikipedia">Alice Munro</a></b>
<p> Ten delightfully complex, dark and/or disturbing gems from arguably the greatest living short story master. </p>
<p> Inevitably, the “<a href="http://www.bookbrowse.com/author_interviews/full/index.cfm/author_number/1071/alice-munro" target="_blank" title="An interview with Alice Munro @ BookBrowsers">our Chekhov</a>” cliché (attributed to <a href="http://en.wikipedia.org/wiki/Cynthia_Ozick" target="_blank" title="Cynthia Ozick in Wikipedia">Cynthia Ozick</a>) has found its way onto the book’s dustjacket. Have those who repeat it ever read <a href="http://en.wikipedia.org/wiki/Anton_Chekhov" target="_blank" title="Anton Chekhov in Wikipedia">Chekhov</a>? Or Alice Munro? Well, Munro is nothing like Chekhov. She’s in a class of her own. </p>
<p> The first nine stories all take place in Canada. Now, as a note aside: I don’t know much about Canada. It’s a huge and sparsely populated country. Apart from ice hockey, it gave us, off the top of my head, <a href="http://en.wikipedia.org/wiki/Margaret_Atwood" target="_blank" title="Margaret Atwood in Wikipedia">Margaret Atwood</a>, <a href="http://en.wikipedia.org/wiki/Farley_Mowat" target="_blank" title="Farley Mowat in Wikipedia">Farley Mowat</a>, <a href="http://en.wikipedia.org/wiki/Yann_Martel" target="_blank" title="Yann Martel in Wikipedia">Yann Martel</a>, <a href="http://en.wikipedia.org/wiki/Leonard_Cohen" target="_blank" title="Leonard Cohen in Wikipedia">Leonard Cohen</a>, <a href="http://en.wikipedia.org/wiki/Joni_Mitchell" target="_blank" title="Joni Mitchell in Wikipedia">Joni Mitchell</a>, <a href="http://en.wikipedia.org/wiki/Maynard_Ferguson" target="_blank" title="Maynard Ferguson in Wikipedia">Maynard Ferguson</a>, <a href="http://en.wikipedia.org/wiki/Oscar_Peterson" target="_blank" title="Oscar Peterson in Wikipedia">Oscar Peterson</a>, <a href="http://en.wikipedia.org/wiki/Kenny_Wheeler" target="_blank" title="Kenny Wheeler in Wikipedia">Kenny Wheeler</a>, <a href="http://en.wikipedia.org/wiki/Diana_Krall" target="_blank" title="Diana Krall in Wikipedia">Diana Krall</a>, <a href="http://en.wikipedia.org/wiki/Lhasa_de_Sela" target="_blank" title="Lhasa de Sela in Wikipedia">Lhasa de Sela</a>, <a href="http://en.wikipedia.org/wiki/Tanya_Tagaq" target="_blank" title="Tanya Tagaq in Wikipedia">Tanya Tagaq</a>, <a href="http://en.wikipedia.org/wiki/Peaches_(musician)" target="_blank" title="Peaches (musician) in Wikipedia">Peaches</a>, <a href="http://en.wikipedia.org/wiki/Lido_Pimienta" target="_blank" title="Lido Pimienta in Wikipedia">Lido Pimienta</a>, <a href="http://en.wikipedia.org/wiki/Leslie_Nielsen" target="_blank" title="Leslie Nielsen in Wikipedia">Leslie Nielsen</a>, <a href="http://en.wikipedia.org/wiki/Dan_Aykroyd" target="_blank" title="Dan Aykroyd in Wikipedia">Dan Aykroyd</a>, <a href="http://en.wikipedia.org/wiki/Mike_Myers" target="_blank" title="Mike Myers in Wikipedia">Mike Myers</a>, <a href="http://en.wikipedia.org/wiki/Keanu_Reeves" target="_blank" title="Keanu Reeves in Wikipedia">Keanu Reeves</a>, <a href="http://en.wikipedia.org/wiki/Donald_Sutherland" target="_blank" title="Donald Sutherland in Wikipedia">Donald Sutherland</a>, <a href="http://en.wikipedia.org/wiki/Rush_(band)" target="_blank" title="Rush (band) in Wikipedia">Rush</a>, <a href="http://en.wikipedia.org/wiki/Godspeed_You!_Black_Emperor" target="_blank" title="Godspeed You! Black Emperor in Wikipedia">Godspeed You! Black Emperor</a>, <a href="http://en.wikipedia.org/wiki/Cirque_du_Soleil" target="_blank" title="Cirque du Soleil in Wikipedia">Cirque du Soleil</a>... And, of course, Alice Munro. The <a href="http://en.wikipedia.org/wiki/Klondike_Gold_Rush" target="_blank" title="Klondike Gold Rush in Wikipedia">Klondike Gold Rush</a> inspired many a work by <a href="http://en.wikipedia.org/wiki/Jack_London" target="_blank" title="Jack London in Wikipedia">Jack London</a> that I enjoyed reading as a kid. Yet the first thing that springs to my mind is <a href="http://en.wikipedia.org/wiki/The_Lumberjack_Song" target="_blank" title="The Lumberjack Song in Wikipedia"><i>The Lumberjack Song</i></a>. Oh, the power of a stereotype. </p>
<p> To be fair, a wood cutter by the name of Roy actually <i>is</i> a protagonist of the short story called <i>Wood</i>. <a href="http://dougdyment.com/hscott.html" target="_blank" title="Heather Scott: “As Canadian as possible under the circumstances” @ doug dyment">As Canadian as possible under the circumstances</a>? Maybe. To me, Roy is a stereotypical Finn. </p>
<p> This curious diagram from <a href="http://en.wikipedia.org/wiki/Alice_Munro#Creating_new_versions" target="_blank" title="Alice Munro in Wikipedia: Creating new versions">Wikipedia</a> shows the evolution of sections in <i>Wood</i>, first published in 1980 and then in its revised form in this collection (2009): </p>
<center><img border="0" src="https://upload.wikimedia.org/wikipedia/commons/e/e7/Alice_Munro_Wood_section-variants.png" />
<blockquote><span style="font-size: x-small;">“The 2009 version comprises eight sections to the 1980 version’s three, and has a new ending.”</span></blockquote></center>
<p> The title story — at 50+ pages, shouldn’t it be called a novella? — is quite different from the rest. It is based on the life of the Russian mathematician <a href="http://en.wikipedia.org/wiki/Sofya_Kovalevskaya" target="_blank" title="Sofya Kovalevskaya in Wikipedia">Sofya Kovalevskaya</a> (Sophia Kovalevsky in the story) and, as far as I can see, pretty faithful to historical events. </p>
<p> As another note aside: yes I heard about Kovalevskaya when I was in school, and later at the university. Not much though. The fact that she was not able to attend a university, let alone get any teaching job, either in Russia or abroad, was somehow glossed over<sup><a href="#Footnote_*" title="Footnote *">*</a></sup>. Her mentor, <a href="http://lothruput.blogspot.com/2024/01/weierstrass-meets-kovalevsky.html" target="_blank" title="Weierstrass meets Kovalevsky @ low-throughput: some random thoughts and quotes about organised (and disorganised) science">Karl Weierstrass</a> — <i>that</i> <a href="http://en.wikipedia.org/wiki/Karl_Weierstrass" target="_blank" title="Karl Weierstrass in Wikipedia">Weierstrass</a>, the author of an <a href="http://en.wikipedia.org/wiki/List_of_things_named_after_Karl_Weierstrass" target="_blank" title="List of things named after Karl Weierstrass in Wikipedia">endless list of theorems</a> — also appears in the story. </p>
<p> The amazing thing is, even here, even knowing <i>how</i> it’s gonna end, Munro’s stories and characters are not predictable. </p>
<p> If I were to choose three stories, it would be those that are narrated in the first person: <i>Child’s Play</i>, <a href="https://web.archive.org/web/20240117035949/https://www.newyorker.com/magazine/2008/12/22/some-women" target="_blank" title="Alice Munro 'Some Women' | The New Yorker @ Internet Archive"><i>Some Women</i></a> and <i>Wenlock Edge</i>. </p>
<center><a href="https://amzn.to/3UoXhTs" target="_blank" title="Too Much Happiness @ Amazon.co.uk #CommissionsEarned"><img border="0" height="200" src="https://m.media-amazon.com/images/I/818Vo+nTw5L._AC_.jpg" width="123" /></a></center>
<blockquote> She was never at a loss. Sometimes she came equipped with riddles. Or jokes. Some of the jokes were what my mother would have called smutty and would not allow around our house, except when they came from certain of my father’s relatives who had practically no other kind of conversation.
<br />
These jokes usually started off with serious-sounding but absurd questions.
<br />
Did you hear about the nun who went shopping for a meat grinder?
<br />
Did you hear what the bride and groom went and ordered for dessert on their wedding night?
<br />
The answers always coming with a double meaning, so that whoever told the joke could pretend to be shocked and accuse the audience of having dirty minds.
<br />
And after she had got everybody used to her telling these jokes Roxanne went on to the sort of jokes I didn’t believe my mother knew existed, often involving sex with sheep or hens or milking machines.
<br />
“Isn’t that awful?” she always said at the finish. She said she wouldn’t know this stuff if her husband didn’t bring it home from the garage. </blockquote>
<div style="text-align: right;"><i>Some Women</i></div>
<a name="Footnote_*"></a>
<table><tr><td colspan="2"><hr style="background-color: black; border-width: 0px; height: 0.5px; margin-left: 0px; text-align: left; width: 50%;" /></td></tr>
<tr><td valign="top">*</td>
<td> Or so I thought until I came across the 1948 essay by <a href="https://en.wikipedia.org/wiki/Pelageya_Polubarinova-Kochina" title="Pelageya Polubarinova-Kochina in Wikipedia">Pelageya Polubarinova-Kochina</a> [1]. The author does not make any secret that Kovalevskaya was not employable in pre-revolutionary Russia — and <a href="https://archive.org/details/nauchnye_raboty_sofyi_kovalevskoy/page/n349/mode/2up" target="_blank" title="Ковалевская, Софья Васильевна. Научные работы. Редакция и комментарии члена-корреспондента АН СССР П. Я. Полубариновой-Кочиной. Издательство Академии Наук СССР, 1948, p. 342 @ Internet Archive">adds</a> that
<blockquote> Currently in the Soviet Union, all conditions have been created for a woman to engage in science equally with a man, if this corresponds to her natural inclinations. </blockquote>
Polubarinova-Kochina, a <a href="https://mathshistory.st-andrews.ac.uk/Biographies/Kochina/" target="_blank" title="Pelageia Polubarinova Kochina (1899-1999) - Biography - MacTutor History of Mathematics @ University of St Andrews">distinguished mathematician</a> herself, lived through the birth and death of the USSR and died at the young age of 100. </td></tr></table>
<ol>
<li> Полубаринова-Кочина, П.Я. Софья Васильевна Ковалевская (очерк научной деятельности). В сборнике <i>С.В. Ковалевская. Научные работы. Редакция и комментарии члена-корреспондента АН СССР П.Я. Полубариновой-Кочиной.</i> Издательство Академии Наук СССР, Москва, 1948, стр. <a href="https://archive.org/details/nauchnye_raboty_sofyi_kovalevskoy/page/n315/mode/2up" target="_blank" title="Ковалевская, Софья Васильевна. Научные работы. Редакция и комментарии члена-корреспондента АН СССР П. Я. Полубариновой-Кочиной. Издательство Академии Наук СССР, 1948, p. 313 @ Internet Archive">313—342</a>.</li>
</ol>Kirillhttp://www.blogger.com/profile/00719435019715182189noreply@blogger.com0tag:blogger.com,1999:blog-8228596981546101372.post-47570198844369509462024-02-04T14:00:00.001+00:002024-02-04T14:00:33.112+00:00Rock and Roll y malas compañías<b><i>a film by</i> Lauren Jordan</b>
<p> Imagine the clip below going on for 100 minutes. That’s what <a href="https://exileshmagazine.com/2023/10/malas-companias-lauren-jordan.html" target="_blank" title="Lauren Jordán: Rock and Roll y malas compañías. Documental (2023) @ Exile SH Magazine">this film</a> is like. </p>
<center><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/4k2soNsiap0?si=4k3J0KwbpwhZqS5o" title="YouTube video player" width="560"></iframe></center>
<p> It seems to be made for (and by) folks with attention span of about 15 seconds. If you want to learn about history of rockabilly in Spain — or to hear at least one complete song other than that by the very Lauren Jordan — look elsewhere. </p>
Kirillhttp://www.blogger.com/profile/00719435019715182189noreply@blogger.com0tag:blogger.com,1999:blog-8228596981546101372.post-59542471637992796682024-02-01T14:00:00.001+00:002024-02-01T14:00:24.704+00:00Alis<b><i>a film by</i> <a href="http://es.wikipedia.org/wiki/Clare_Weiskopf" target="_blank" title="Clare Weiskopf en Wikipedia">Clare Weiskopf</a> and <a href="http://www.imdb.com/name/nm7655131/" target="_blank" title="Nicolas van Hemelryck @ IMDb">Nicolás van Hemelryck</a></b>
<p> La Arcadia is a shelter/boarding school in Bogotá, Colombia, for teenage girls who had been homeless or “had a complicated past”. Twenty of its residents, interviewed individually, were tasked to describe their new imaginary classmate, <a href="http://www.imdb.com/title/tt17080096/" target="_blank" title="Alis (2022) @ IMDb"><i>Alis</i></a>. How does she look, what does she like. Why she is here. What will become of her in the future. As the <a href="https://www.youtube.com/watch?v=SXZyn4WtV34" target="_blank" title="Alis | Berlinale Meets... Clare Weiskopf & Nicolás van Hemelryck | Berlinale 2022 @ YouTube">film’s creators explain</a>, there was no preparation; all girls created/improvised their own versions of Alis during the interview. When asked at the end of the interview if Alis really exists, they were affirmative. <a href="http://alis-exists.com/" target="_blank" title="Alis Exists">#AlisExiste</a>. </p>
<center><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/_j4XirOZrXA" title="YouTube video player" width="560"></iframe></center>
<p> <a href="https://www3.gobiernodecanarias.org/noticias/filmoteca-canaria-arranca-el-ano-de-proyecciones-con-el-documental-colombiano-alis/" target="_blank" title="Filmoteca Canaria arranca el año de proyecciones con el documental colombiano ‘Alis’ @ Gobierno de Canarias"><i>Alis</i></a> was the first <i>Documental del Mes</i> of 2024. Although the film is in Spanish, I wish they put the Spanish subtitles too, for at times it was difficult to understand the dialogue. </p>Kirillhttp://www.blogger.com/profile/00719435019715182189noreply@blogger.com0tag:blogger.com,1999:blog-8228596981546101372.post-50076697381290507162024-01-31T21:00:00.003+00:002024-01-31T21:02:51.716+00:00Free stuff in Las Palmas, January 2024<p> There was not much in terms of free live music in Las Palmas this month. So I didn’t see any. </p>
<p> Some arty stuff: </p>
<ul>
<li> 8 November 2023 — January 2024: <i>«<a href="https://www.lavozdelanzarote.com/actualidad/cultura/aeropuerto-cesar-manrique-acoge-exposicion-escultorica-mis-vientos-en-t2_222246_102.html" target="_blank" title="El Aeropuerto César Manrique acoge la exposición escultórica 'Mis Vientos' en la T2 @ La Voz de Lanzarote">Mis Vientos</a>»</i> @ Airport César Manrique, T2, Lanzarote
<ul> This exhibition of sculptures by <a href="https://m.facebook.com/profile.php/?id=100085737884533" target="_blank" title="César Corujo Saavedra Creador Artistico @ Facebook">César Corujo Saavedra</a> was supposed to last till 10<sup>th</sup> December but evidently stayed on longer as we saw it in the airport of Lanzarote in January. In the catalogue that I took with me, a photo of each sculpture is accompanied by a poem and a title of a hard rock song (inspiration? suggested listening?), with a heavy emphasis on Led Zeppelin. </ul>
<center><p><a href="http://www.lavozdelanzarote.com/actualidad/cultura/aeropuerto-cesar-manrique-acoge-exposicion-escultorica-mis-vientos-en-t2_222246_102.html" target="_blank" title="El Aeropuerto César Manrique acoge la exposición escultórica 'Mis Vientos' en la T2 @ La Voz de Lanzarote"><img border="0" height="320" src="https://www.lavozdelanzarote.com/uploads/s1/28/59/94/1/231108-ace-ft-exposicion-escultura-3.jpeg" width="311" /></a></p></center></li>
<li> 15—31 January: <i>«Mi Primera Exposición»</i> @ Biblioteca Pública del Estado en Las Palmas, Avda. Muelle de Las Palmas
<ul> An exhibition of paintings by Antonio Santana Trujillo. </ul>
</li>
<li> 19 January — 23 February: <i>«<a href="https://caixaforum.org/es/otrasubicaciones/islas-canarias/p/otros-mundos-viaje-por-el-sistema-solar-de-la-mano-de_a165620479" target="_blank" title="Otros mundos. Viaje por el sistema solar de la mano de Michael Benson @ CaixaForum">Otros mundos</a>»</i> @ Parque de San Telmo
<ul> Forty photographs of the planets of the Solar system captured by the space probes of NASA and ESA, selected by <a href="http://en.wikipedia.org/wiki/Michael_Benson_(filmmaker)" target="_blank" title="Michael Benson (filmmaker) in Wikipedia">Michael Benson</a>. </ul>
<center><p><img height="320" src="https://caixaforum.org/documents/14793702/14817802/Itinerants_Otrosmundos_cartell_desktop_es.jpg" width="254" /></p></center>
</li>
</ul>
<p> And an excursion: </p>
<ul>
<li> 27 January: <i>Visita guiada por el Risco de San Juan</i>
<ul> Free guided tour of the colourful San Juan neighbourhood organised by the <a href="http://fundacionfarrah.org/" target="_blank" title="Fundación Canaria Farrah">Fundación Canaria Farrah</a>.
</ul>
<div class="separator" style="clear: both; text-align: center;"><p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJbJD0kSVhQaK8WQJppzs25Zo6wwa83BWCvV4usUKDUzbcRiSizldvXYq2RsHjP6MSh8lenqBTf4dB7N0ZPX4qR91UOvamzsQ0H6O4sanLSs7xAD1rslUfn8sTpc76RFRzbVXjolynfRtMhgd3wBn6EiZflvHzDj4P-3iAWM-z09lUjFxjBEh_CqnGtrk/s843/Visita_Guiada_Risco_San_Juan.jpg" style="margin-left: 1em; margin-right: 1em;" title="Visita guiada por el Risco de San Juan"><img border="0" data-original-height="843" data-original-width="843" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJbJD0kSVhQaK8WQJppzs25Zo6wwa83BWCvV4usUKDUzbcRiSizldvXYq2RsHjP6MSh8lenqBTf4dB7N0ZPX4qR91UOvamzsQ0H6O4sanLSs7xAD1rslUfn8sTpc76RFRzbVXjolynfRtMhgd3wBn6EiZflvHzDj4P-3iAWM-z09lUjFxjBEh_CqnGtrk/w320-h320/Visita_Guiada_Risco_San_Juan.jpg" width="320" /></a></p></div>
</li>
</ul>
<p> Looking forward to live music in February. </p>Kirillhttp://www.blogger.com/profile/00719435019715182189noreply@blogger.com0tag:blogger.com,1999:blog-8228596981546101372.post-73951982983022131872024-01-26T11:00:00.001+00:002024-01-26T11:05:16.844+00:00Fifteen short films<p> I missed them <a href="http://www.atlanticohoy.com/cultura/teatro-guiniguada-cortometrajes-san-rafael-corto_1512534_102.html" target="_blank" title="El Teatro Guiniguada proyectará el palmarés de la Muestra de Cortometrajes San Rafael en Corto @ Atlántico Hoy">last January</a>, but this Wednesday, just like <a href="http://listenlearnread.blogspot.com/2022/03/thirteen-short-films.html" target="_blank" title="Thirteen short films @ this blog">year before</a>, and all these years before that, I went to <a href="http://www3.gobiernodecanarias.org/cultura/ocio/teatroguiniguada/" target="_blank" title="Teatro Guiniguada @ Gobierno de Canarias">Teatro Guiniguada</a> to see the 15 winning shorts of <a href="http://festhome.com/es/festival/muestra-de-cortometrajes-san-rafael-en-corto" target="_blank" title="San Rafael en Corto @ Festhome">San Rafael en Corto</a>. I have to say that the quality of the films went up — I liked <i>all</i> of them. My favourites were <i>Araceli</i> by Andrea Gutiérrez, <i>El Alquimista</i> by Oscar Santamaría, <i>Patata</i> by Emilio González and <i>SAI</i><sup><a href="#Footnote_*" title="Footnote *">*</a></sup> by Aldo and Celia González. </p>
<center><a href="http://www.eltajinastedevalsequillo.es/el-teatro-guiniguada-proyecta-los-quince-trabajos-del-palmares-de-la-19o-edicion-de-la-muestra-de-cortometrajes-san-rafael-en-corto/" target="_blank" title="El Teatro Guiniguada proyecta los quince trabajos del palmarés de la 19º edición de la Muestra de Cortometrajes San Rafael en Corto @ El Tajinaste"><img border="0" height="224" src="https://www3.gobiernodecanarias.org/cultura/ocio/teatroguiniguada/wp-content/uploads/2024/01/Cartel-Palmares-Guiniguada-19-SREC-H.jpg" width="400" /></a></center>
<a href="https://www3.gobiernodecanarias.org/cultura/ocio/teatroguiniguada/eventos/palmares-19a-san-rafael-en-corto-2023/"></a>
<center>
<table><tr>
<td align="center">
<h4>Proyección del palmarés de la XIX edición de SREC</h4>
Teatro Guiniguada, Las Palmas de Gran Canaria <br />
Tuesday, 24 January 2024, 19:30 </td>
</tr>
<tr>
<td>
<ol>
<li> <i>La Espera</i> by Manel Salgueiro </li>
<li> <i>Araceli</i> by Andrea Gutiérrez García </li>
<li> <a href="https://www.youtube.com/watch?v=UWi0SrQbbn4" target="_blank" title="Allegro (ma non troppo) @ YouTube"><i>Allegro (ma non troppo)</i></a> by Zhana Yordanova </li>
<li> <a href="https://www.youtube.com/watch?v=joGGLvOh23k" target="_blank" title="Heroínas @ YouTube"><i>Heroínas</i></a> by Iris Carballo Déniz </li>
<li> <a href="https://www.youtube.com/watch?v=Bfa26g_vq6U" target="_blank" title="Desmadres @ YouTube"><i>Desmadres</i></a> by María Sanz Esteve </li>
<li> <a href="https://www.youtube.com/watch?v=a98AgZrcRio" target="_blank" title="El Alquimista @ YouTube"><i>El Alquimista</i></a> by Oscar Santamaría </li>
<li> <i>El mejor fruto del huerto</i> by CEIP La Zafra </li>
<li> <i>Volver contigo</i> by Iván Umpiérrez Cañada </li>
<li> <a href="https://www.youtube.com/watch?v=0nHnfQlTGSU" target="_blank" title="Mar&Flor - Ep1: #Amazonas @ YouTube"><i>Mar & Flor Amazonas</i></a> by Elena Gracia, Marta Fuenar & Natalia Martínez </li>
<li> <i>La era de Verdugo</i> by Daniel Santana Sosa </li>
<li> <i>Patata</i> by Emilio González</li>
<li> <a href="https://www.youtube.com/watch?v=t-roW5iZY_o" target="_blank" title="VIh-VIR @ YouTube"><i>VIh-VIR</i></a> by Estella Lola Cedrún Lastra & Ana Rosa González </li>
<li> <a href="https://www.youtube.com/watch?v=swl59zAwQk4" target="_blank" title="Eco Papa Whisky @ YouTube"><i>Eco Papa Whisky</i></a> by Himar Soto Martín </li>
<li> <i>SAI</i> by Aldo González & Celia González </li>
<li> <i>Fría</i> by David Sanz </li>
</ol>
</td>
</tr></table></center>
<a name="Footnote_*"></a>
<table>
<tbody><tr><td colspan="2"><hr style="background-color: black; border-width: 0px; height: 0.5px; margin-left: 0px; text-align: left; width: 50%;" /></td></tr>
<tr><td valign="top">*</td>
<td> <i>SAI</i> stands for <a href="http://es.wikipedia.org/wiki/Sistema_de_alimentaci%C3%B3n_ininterrumpida" target="_blank" title="Sistema de alimentación ininterrumpida en Wikipedia"><i>Sistema de Alimentación Ininterrumpida</i></a> (uninterruptible power supply). </td>
</tr>
</tbody></table>Kirillhttp://www.blogger.com/profile/00719435019715182189noreply@blogger.com0tag:blogger.com,1999:blog-8228596981546101372.post-38289538849430224912024-01-25T13:00:00.020+00:002024-01-25T14:35:54.650+00:00Холода<b><i>a song by</i> <a href="http://en.wikipedia.org/wiki/Vladimir_Vysotsky" target="_blank" title="Vladimir Vysotsky in Wikipedia">Vladimir Vysotsky</a> <br />
<i>English lyrics by</i> Mika Tubinshlak</b>
<p> It’s been cold outside, innit? Even here in Canarias it’s pretty chilly by night. So this song came up in my memory. </p>
<center><blockquote> В холода, в холода... </blockquote></center>
<p> Of course Vysotsky would normally accompany himself on the guitar, but this jazz-waltz version recorded with <a href="http://en.wikipedia.org/wiki/Georgy_Garanian" target="_blank" title="Georgy Garanian in Wikipedia">Georgy Garanian</a>’s big band Melodia (<a href="http://ru.wikipedia.org/wiki/%D0%9C%D0%B5%D0%BB%D0%BE%D0%B4%D0%B8%D1%8F_(%D0%B0%D0%BD%D1%81%D0%B0%D0%BC%D0%B1%D0%BB%D1%8C)" target="_blank" title="Мелодия (ансамбль) в Википедии">Мелодия</a>) is exquisite. As I just have learned from <a href="http://ru.wikipedia.org/wiki/%D0%93%D0%B0%D1%80%D0%B0%D0%BD%D1%8F%D0%BD,_%D0%93%D0%B5%D0%BE%D1%80%D0%B3%D0%B8%D0%B9_%D0%90%D1%80%D0%B0%D0%BC%D0%BE%D0%B2%D0%B8%D1%87" target="_blank" title="Гаранян, Георгий Арамович в Википедии">Russian Wikipedia</a>, in 2009 Garanian founded the jazz festival «Играем джаз с Гараняном» (“Playing jazz with Garanian”) which has been taking place annually on 25 January! </p>
<center><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="350" src="https://www.youtube.com/embed/bJLLVpymr9M?si=q4ocK0EBjl2D779W" title="YouTube video player" width="350"></iframe></center>
<p> I’ve found a number of <a href="http://wysotsky.com/1049.htm?55" target="_blank" title="Холода @ Vladimir Vysotsky (1938-1980, the famous Russian bard, if someone does not know yet) in different tongues">English translations</a> which render the words «в холода» as “<b>to</b> the cold”, “<b>into</b> cold”, or “<b>into</b> the cold”. Oh dear. «<b>В</b> холода» really means “<b>when</b> it’s cold” (outside), “<b>in</b> cold weather”. This is a completely different meaning of the preposition «<b>в</b>»! And even if we wanted to go to a colder place, neither <a href="http://en.wikipedia.org/wiki/Minsk" target="_blank" title="Minsk in Wikipedia">Minsk</a> nor <a href="http://en.wikipedia.org/wiki/Brest,_Belarus" target="_blank" title="Brest, Belarus in Wikipedia">Brest</a> would do: they are normally <i>warmer</i> in winter than, say, Moscow. I like the <a href="http://wysotsky.com/1033.htm?366" target="_blank" title="Through the mist @ Vladimir Vysotsky (1938-1980, the famous Russian bard, if someone does not know yet) in different tongues">re-interpretation of this song</a> by Mika Tubinshlak: not literal (for example, he swaps the cold for the mist and rain) but quite poetic and true to the spirit. </p>
<center>
<table>
<tr><td width="50%">Владимир Высоцкий <br />
<b>Холода</b></td>
<td width="50%">Vladimir Vysotsky, Mika Tubinshlak (translation) <br />
<b>Through the mist</b></td></tr>
<tr><td><blockquote> В холода, в холода, <br />
От насиженных мест <br />
Нас другие зовут города, <br />
Будь то Минск, будь то Брест, <br />
В холода, в холода. <br />
<br />
Неспроста, неспроста, <br />
От родных тополей <br />
Нас суровые манят места, <br />
Будто там веселей. <br />
Неспроста, неспроста... <br />
<br />
Как нас дома ни грей, <br />
Не хватает всегда <br />
Новых встреч нам и новых друзей, <br />
Будто с нами беда, <br />
Будто с ними теплей. <br />
<br />
Как бы не было нам <br />
Хорошо иногда, <br />
Возвращаемся мы по домам. <br />
Где же наша звезда? <br />
Может — здесь, может — там... </blockquote>
</td>
<td><blockquote> Through the mist, through the rain <br />
From our sheltering nest <br />
Other places are calling our names <br />
To the east, to the west, <br />
Through the mist, through the rain. <br />
<br />
Home is where we belong <br />
But we hear them again <br />
Distant voices we’ve known all along <br />
Like the missing refrain <br />
From an old favourite song. <br />
<br />
And it seems, yes it seems <br />
Live can be so much more <br />
New adventures and friendships and dreams <br />
Once we walk through the door <br />
So it seems, so it seems. <br />
<br />
But no matter how clear, <br />
How light-hearted we are <br />
Home is waiting, and we reappear. <br />
Where is our lucky star? <br />
Maybe there, maybe here... </blockquote>
</td></tr>
</table></center>Kirillhttp://www.blogger.com/profile/00719435019715182189noreply@blogger.com0tag:blogger.com,1999:blog-8228596981546101372.post-5823869149873570902024-01-15T21:00:00.020+00:002024-01-22T13:05:18.587+00:00Guerra de almohadas<b><i>by</i> <a href="http://brianbilston.com/" target="_blank" title="Brian Bilston’s Poetry Laboetry">Soledad Salim</a></b>
<center><table>
<tr><td>
<blockquote> Послушай, дедушка, мне каждый раз, <br />
Когда взгляну на этот замок Рётлер, <br />
Приходит в мысль: что, если это проза, <br />
Да и дурная?..... </blockquote>
<div style="text-align: right;"><a href="http://ru.wikipedia.org/wiki/%D0%9F%D1%83%D1%88%D0%BA%D0%B8%D0%BD,_%D0%90%D0%BB%D0%B5%D0%BA%D1%81%D0%B0%D0%BD%D0%B4%D1%80_%D0%A1%D0%B5%D1%80%D0%B3%D0%B5%D0%B5%D0%B2%D0%B8%D1%87" target="_blank" title="Пушкин, Александр Сергеевич в Википедии">А. С. Пушкин</a></div>
</td><td>
<blockquote> Now listen, granpa, to me, every time <br />
I take a glance upon this <a href="http://en.wikipedia.org/wiki/R%C3%B6tteln_Castle" target="_blank" title="Rötteln Castle in Wikipedia">Röttler Schloss</a>, <br />
A thought occurs: what if this is just prose, <br />
and, moreover, bad one?..
</blockquote>
<div style="text-align: right;"><a href="http://en.wikipedia.org/wiki/Alexander_Pushkin" target="_blank" title="Alexander Pushkin in Wikipedia">Alexander Pushkin</a></div>
</td></tr></table></center>
<p> In his famous <a href="http://ru.wikisource.org/wiki/%D0%9F%D0%BE%D1%81%D0%BB%D1%83%D1%88%D0%B0%D0%B9,_%D0%B4%D0%B5%D0%B4%D1%83%D1%88%D0%BA%D0%B0,_%D0%BC%D0%BD%D0%B5_%D0%BA%D0%B0%D0%B6%D0%B4%D1%8B%D0%B9_%D1%80%D0%B0%D0%B7_(%D0%9F%D1%83%D1%88%D0%BA%D0%B8%D0%BD)" target="_blank" title="Послушай, дедушка, мне каждый раз (Пушкин) в Викитеке">epigram</a>, Pushkin parodied the blank verse of «<a href="http://ru.wikisource.org/wiki/%D0%A2%D0%BB%D0%B5%D0%BD%D0%BD%D0%BE%D1%81%D1%82%D1%8C_(%D0%93%D0%B5%D0%B1%D0%B5%D0%BB%D1%8C;_%D0%96%D1%83%D0%BA%D0%BE%D0%B2%D1%81%D0%BA%D0%B8%D0%B9)" target="_blank" title="Тленность (Гебель; Жуковский) в Викитеке">Тленность</a>» by <a href="http://en.wikipedia.org/wiki/Vasily_Zhukovsky" target="_blank" title="Vasily Zhukovsky in Wikipedia">Vasily Zhukovsky</a>. Which, in turn, is a translation of the Alemannic poem <a href="http://de.wikisource.org/wiki/Die_Verg%C3%A4nglichkeit" target="_blank" title="Die Vergänglichkeit in Wikisource"><i>Die Vergänglichkeit</i></a>, also written in blank verse, by <a href="http://de.wikisource.org/wiki/Johann_Peter_Hebel" target="_blank" title="Johann Peter Hebel in Wikipedia">Johann Peter Hebel</a>. (Pushkin actually copied the first two lines verbatim from Zhukovsky’s poem.) Yet Alexander Sergeyevich himself was not exactly a stranger to blank verse: <a href="http://en.wikipedia.org/wiki/Boris_Godunov_(play)" target="_blank" title="Boris Godunov (play) in Wikipedia"><i>Boris Godunov</i></a> and <i>The Little Tragedies</i> show his mastery of the form. I don’t know what was Pushkin’s opinion on either <a href="http://en.wikipedia.org/wiki/Free_verse" target="_blank" title="Free verse in Wikipedia"><i>vers libre</i></a> or <a href="http://en.wikipedia.org/wiki/Prose_poetry" target="_blank" title="Prose poetry in Wikipedia">prose poetry</a> but suspect he shoudn’t have cared of them at all. </p>
<p> Now why do I even bring in Pushkin, when he’s got nothing to do with free verse? Forget about him. The point is that, now and then, I come across some free-form poetry that I happen to like. </p>
<center><blockquote> <i>¿Y si la felicidad siempre ha estado <br />
a la vuelta de la esquina?</i> </blockquote></center>
<center><a href="http://www.canariasebook.com/plataforma-de-crowdfunding/proyectos/guerra-de-almohadas/" target="_blank" title="Guerra de almohadas @ Canariasebook"><img border="0" height="200" src="https://www.canariasebook.com/plataforma-de-crowdfunding/wp-content/uploads/edd/2021/06/Captura-de-pantalla-2021-06-04-a-las-11.20.46-175x300.png" width="117" /></a></center>
<p> <a href="http://canariasebook.com/libro/guerra-de-almohadas-de-soledad-salim/" target="_blank" title="“Guerra de almohadas”, de Soledad Salim @ Canariasebook"><i>Guerra de almohadas</i></a> is a debut collection by Sole Salim, a social worker by day and an amateur poet, it looks like, always. Sole says in an <a href="http://margencero.es/margencero/guerra-de-almohadas/" target="_blank" title="Guerra de almohadas · Soledad Salim (entrevista) | Revista Almiar">interview</a> that she writes prose poetry or, rather, short stories which are almost 100% autobiographical. My favourites are several of her “micropoems” (the erotic ones), and others such as <i>Rara</i>, <i>Momentos</i>, <i>La mujer que habla y sonríe con los ojos</i>, <i>¿Seguimos sumando?</i> and, of course, <i>Me gusta</i> — basically, the lists of things Sole loves. Poems to share with friends and ask them how many items they identify with. </p>
<center><a href="http://canariasebook.com/libro/guerra-de-almohadas-de-soledad-salim/" target="_blank" title="“Guerra de almohadas”, de Soledad Salim @ Canariasebook"><img border="0" height="320" src="https://canariasebook.com/wp-content/uploads/2021/10/Guerra-de-almohadas.png" width="205" /></a></center>
<p> Read some of Sole’s works <a href="http://www.canariasebook.com/plataforma-de-crowdfunding/proyectos/guerra-de-almohadas/" target="_blank" title="Guerra de almohadas @ Canariasebook">here</a>. </p>Kirillhttp://www.blogger.com/profile/00719435019715182189noreply@blogger.com0tag:blogger.com,1999:blog-8228596981546101372.post-79302509703657465582024-01-08T20:00:00.005+00:002024-02-01T20:28:05.623+00:00Трудно быть богом / Hard to be a God<b><i>by</i> <a href="http://en.wikipedia.org/wiki/Arkady_and_Boris_Strugatsky" target="_blank" title="Arkady and Boris Strugatsky in Wikipedia">Arkady and Boris Strugatsky</a> <br />
<i>translated by</i> Olena Bormashenko <br />
<i>foreword by</i> <a href="http://en.wikipedia.org/wiki/Hari_Kunzru" target="_blank" title="Hari Kunzru in Wikipedia">Hari Kunzru</a> <br />
<i>afterword by</i> Boris Strugatsky</b>
<p> I first read «<a href="http://ru.wikipedia.org/wiki/%D0%A2%D1%80%D1%83%D0%B4%D0%BD%D0%BE_%D0%B1%D1%8B%D1%82%D1%8C_%D0%B1%D0%BE%D0%B3%D0%BE%D0%BC" target="_blank" title="Трудно быть богом в Википедии">Трудно быть богом</a>» in the mid-Seventies, by way of my brother who borrowed it from a classmate. He kept doing it every year till he finished the school. Later, the pattern repeated with his university mate, a lucky owner of a different edition. Naturally, I carried on re-reading the novel. </p>
<p> Even though literary-wise it’s not at the level of its predecessor, <a href="http://en.wikipedia.org/wiki/Escape_Attempt" target="_blank" title="Escape Attempt in Wikipedia"><i>Escape Attempt</i></a>, I loved it. Not as much sci-fi as a swashbuckler, set in some mediaeval quasi-Hispanophone kingdom, both revolting and fascinating — light-years away from a desolate world of Saula. For me, Anton aka Don Rumata, “our man in Arkanar”, was an almost perfect hero: part <a href="http://en.wikipedia.org/wiki/Aramis" target="_blank" title="Aramis in Wikipedia">Aramis</a>, part
<a href="http://en.wikipedia.org/wiki/Stierlitz" target="_blank" title="Stierlitz in Wikipedia">Stierlitz</a>. His best friend Baron Pampa was, of course, 100% <a href="http://en.wikipedia.org/wiki/Porthos" target="_blank" title="Porthos in Wikipedia">Porthos</a>. The immortal formula «не вижу, почему бы благородному дону не...», “I see no reason why a noble don shouldn’t...” (© Don Sera), became an integral part of our discourse, as it surely did for a major part of our generation. And the previous generation. And the following one. </p>
<p> I said “almost perfect” because with each reading the naïveté of the protagonist and his (incidentally, Russian-speaking) colleagues irritated me more and more. It’s as if they never read <i>Escape Attempt</i>. </p>
<center><p><a href="http://www.amazon.co.uk/dp/B00SLUGSD4?&linkCode=ll1&tag=lilere-21&linkId=d8b9a4cf24e548e48ac5a0a20b87ae10&language=en_GB&ref_=as_li_ss_tl" target="_blank" title="Hard to Be a God @ Amazon.co.uk"><img border="0" height="320" src="https://m.media-amazon.com/images/I/51hgCHF-jyL.jpg" width="207" /></a></p></center>
<table><tr>
<td valign="top"><blockquote> Хорошо бы всё-таки ввести в моду нижнее бельё, подумал Румата. Однако естественным образом это можно было сделать только через женщин, а Румата и в этом отличался непозволительной для разведчика разборчивостью. </blockquote>
<blockquote> Насколько было проще с носовыми платками! На первом же балу Румата извлёк из-за обшлага изящный кружевной платочек и промакнул им губы. На следующем балу бравые гвардейцы уже вытирали потные лица большими и малыми кусками материи разных цветов, с вышивками и монограммами. А через месяц появились франты, носившие на согнутой руке целые простыни, концы которых элегантно волочились по полу. </blockquote></td>
<td valign="top"><blockquote> It really would be good to bring underwear into style, thought Rumata. However, the only natural way to do so would involve the ladies, and in this respect Rumata happened to be unforgivably picky for an operative. </blockquote>
<blockquote> It had been so much simpler with the handkerchiefs! At his very first ball, Rumata extracted an elegant lace handkerchief from his sleeve and dabbed his lips with it. At the next ball, dashing guardsmen were already wiping their sweaty faces with pieces of embroidered and monogrammed cloth of various sizes and colors. And in a month, there was a spate of dandies sporting entire bedsheets draped over an arm, the tails of which dragged elegantly across the floor. </blockquote></td></tr></table>
<p> The story of the book didn’t end with its publication, or with lives of its authors. For instance, the novel
quotes just the first line of the farewell sonnet of Zuren the Truthful: «Как лист увядший падает на душу» (“As a wilted leaf falls on my soul”). It was my late friend <a href="http://listenlearnread.blogspot.com/2017/06/in-memory-of-sergey-valkov.html" title="In memory of Sergey Valkov @ this blog" trget="_blank">Sergey Valkov</a> who told me about myriads of fan-versions of this poem<sup><a href="#Footnote_*" title="Footnote *">*</a></sup>. Sergey himself wrote a song to the version of Kir Abramovich (Кир Абрамович). </p>
<p> <i>Hard to Be a God</i> was published in 1964. Is it still relevant? Why, very much so. If we ignore for a moment the <a href="http://en.wikipedia.org/wiki/Noon_Universe" target="_blank" title="Noon Universe in Wikipedia">world of triumphant communism</a>, that is. I said, for a moment. Cutting to the chase: do I concur with Don Condor that our eagle Don Reba should have been — has to be — “removed”? Totally. Would it help? Rumata was not sure, neither am I. That would be a good start though. In any case, it’s not up to Rumatas but to the good citizens of Arkanar. I don’t hold my breath. </p>
<p> According to <a href="http://en.wikipedia.org/wiki/Hard_to_Be_a_God" target="_blank" title="Hard to Be a God in Wikipedia">Wikipedia</a>, the first English translation of <i>Hard to be a God</i>, by Wendayne Ackerman (1973), was made from a German one. Thanks to the <a href="http://en.wikipedia.org/wiki/Internet_Archive" target="_blank" title="Internet Archive in Wikipedia">Internet Archive</a>, I was able to read the excellent <a href="http://archive.org/details/hardtobegod0000stru_z8w2/page/16/mode/2up" target="_blank" title="Hard to be a God @ Internet Archive">2014 translation</a> by Olena Bormashenko. The afterword by Boris Strugatsky sheds some light on the history of the writing. How come that I didn’t know until now that Don Reba originally was to be named Don <i>Rebia</i>, a too transparent anagram of <a href="http://en.wikipedia.org/wiki/Lavrentiy_Beria" target="_blank" title="Lavrentiy Beria in Wikipedia">Beria</a>? </p>
<a name="Footnote_*"></a>
<table>
<tr><td colspan="2"><hr style="background-color: black; border-width: 0px; height: 0.5px; margin-left: 0px; text-align: left; width: 50%;" /></td></tr>
<tr><td valign="top">*</td>
<td> See, for example, <a href="http://abcolyt.ru/istoriya-pro-curena-pravdivogo-proshhalnyj-sonet-i-prevratnosti-sudby-1979-j-god/" target="_blank" title="История про Цурэна Правдивого, прощальный сонет и превратности судьбы — 1979-й год @ АБСолют">here</a>, <a href="http://www.rusf.ru/abs/konkurs/k_son11.htm" target="_blank" title="Фантасты братья Стругацкие: Конкурсы: Конкурс на лучший сонет @ Русская фантастика">here</a> and <a href="https://stihi.ru/avtor/sonetsyrena&s=0&book=1#1" target="_blank" title="Как лист увядший падает на душу. Сонет Цурэна @ Стихи.ру">here</a>. </td>
</tr>
</table>Kirillhttp://www.blogger.com/profile/00719435019715182189noreply@blogger.com0tag:blogger.com,1999:blog-8228596981546101372.post-59655388166599176272024-01-01T00:00:00.015+00:002024-02-28T10:38:00.104+00:00Free live music and stuff in Santander and Las Palmas, December 2023<p> This is what I’ve seen in December: </p>
<ul>
<li> 2 December: Carmen Lang @ Discos Cucos, Calle Santa Lucía, 41, Santander
<ul> Carmen Lang (vocals, acoustic guitar), accompanied by Paco Gómez (electric guitar), was presenting her new EP <i>Dandelion in the Wind</i>. </ul>
<div class="separator" style="clear: both; text-align: center;"><p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3KIdXj1T002K-f9nOBaFIWrr9GME8laycDw956XlLDtuCCZtN4S7lMH0eTOS0WEoaOgcenWbzFEydPWi8WVjqlJiwtcbJoqqmYKNBc1bwSZ7KRuUeN3eZu79AZwM-9DSBjMvEAnOtfB4dT_hcBaPycFkBZflR60wkqGIl3OOIKJ08sbc4WYJEwCRhULQ/s960/Carmen_Lang.jpg" style="margin-left: 1em; margin-right: 1em;" title="Carmen Lang Poster"><img border="0" data-original-height="960" data-original-width="768" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3KIdXj1T002K-f9nOBaFIWrr9GME8laycDw956XlLDtuCCZtN4S7lMH0eTOS0WEoaOgcenWbzFEydPWi8WVjqlJiwtcbJoqqmYKNBc1bwSZ7KRuUeN3eZu79AZwM-9DSBjMvEAnOtfB4dT_hcBaPycFkBZflR60wkqGIl3OOIKJ08sbc4WYJEwCRhULQ/w256-h320/Carmen_Lang.jpg" width="256" /></a></p></div>
</li>
<li> 2 December: Noche de rumba @ Bar Bolero, Calle San Celedonio, 35
<ul> Later the same day, with Esencia Trío featuring Jose Hernández (vocals, bass guitar), Tony León (flamenco guitar, bass guitar) and Dani Peña (cajón), with a guest Dani Simons (bass guitar). </ul>
<div class="separator" style="clear: both; text-align: center;"><p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCQf7zLvL6ihtCL2vOHt5z4Qr9oy-A-P4T1U5iAbU0JEhPWVG93HI5TBiSYNZabcKRguLUCRyWOZ84pHrG1xLGGKsVU5iB633yNsJy6jYkr3M6V2H4xVGVZ2CY-4gWJ83K-If7LLpHwk9gl-w9zmb5FnSE_314fNfpsoW-2qG65ehvl6IbLY4YyTqxs_0/s905/Esencia_Trio.jpg" style="margin-left: 1em; margin-right: 1em;" title="Esencia Trío Poster"><img border="0" data-original-height="905" data-original-width="724" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCQf7zLvL6ihtCL2vOHt5z4Qr9oy-A-P4T1U5iAbU0JEhPWVG93HI5TBiSYNZabcKRguLUCRyWOZ84pHrG1xLGGKsVU5iB633yNsJy6jYkr3M6V2H4xVGVZ2CY-4gWJ83K-If7LLpHwk9gl-w9zmb5FnSE_314fNfpsoW-2qG65ehvl6IbLY4YyTqxs_0/w256-h320/Esencia_Trio.jpg" width="256" /></a></p></div></li>
</ul>
<p> Back to Las Palmas: </p>
<ul>
<li> 9 December: <i>«<a href="http://www.laspalmasgc.es/es/ayuntamiento/prensa-y-comunicacion/notas-de-prensa/nota-de-prensa/Musica-en-el-corazon-de-Vegueta-llega-en-Navidad-a-tres-patios-y-dos-plazas-del-casco-historico/" target="_blank" title="«Música en el corazón de Vegueta» llega en Navidad a tres patios y dos plazas del casco histórico @ Ayuntamiento de Las Palmas de Gran Canaria">Música en el corazón de Vegueta</a>»</i> @ various locations, Vegueta, Las Palmas de Gran Canaria
<ul> Fewer venues than <a href="http://listenlearnread.blogspot.com/2023/06/live-music-las-palmas-june-2023.html#Vegueta" target="_blank" title="Live music in Las Palmas, June 2023 @ this blog">this June</a> but still, a nice and quite full programme for a Saturday evening.
<ul>
<li> 20:00: Augusto Báez @ Patio de la Fundación MAPFRE Canarias, calle Castillo, 6 </li>
<li> 20:30: Trío Gabriel Rodó featuring Pilar Bolaños (cello), Ana Marrero (piano) and Liliana Mesa Montané (violin) @ Patio de Los Naranjos, calle Espíritu Santo </li>
<li> 21:00: Chromatic Dúo feat. Derque Martín (timple) and Nicolás Mendoza (guitar) @ Patio del Colegio de Abogados, calle Agustín Millares, 25</li>
<li> 21:30: Iván Quintana Trío @ Plaza de San Agustín </li>
<li> 22:00: Midnight Soul @ Plaza del Pilar Nuevo </li>
</ul>
</ul>
<center><p><iframe allow="autoplay; clipboard-write; encrypted-media; picture-in-picture; web-share" allowfullscreen="true" frameborder="0" height="400" scrolling="no" src="https://www.facebook.com/plugins/video.php?height=476&href=https%3A%2F%2Fwww.facebook.com%2FLpaCultura%2Fvideos%2F346674091398791%2F&show_text=false&width=476&t=0" style="border: none; overflow: hidden;" width="400"></iframe></p></center>
</li>
</ul>
<p> The <a href="http://www.laprovincia.es/cultura/2023/12/08/castillo-mata-blinda-cancion-autor-95502450.html" title="El Castillo de Mata blinda la canción de autor en '9 cañones sin banda' @ La Provincia">fifth edition</a> of the author song cycle <i>«<a href="http://www.laspalmasgc.es/es/ayuntamiento/prensa-y-comunicacion/notas-de-prensa/nota-de-prensa/La-artilleria-de-autor-llega-al-Castillo-de-Mata-con-9-canones-sin-banda/" target="_blank" title="La artillería de autor llega al Castillo de Mata con «9 cañones sin banda» @ Ayuntamiento de Las Palmas de Gran Canaria">9 cañones sin banda</a>»</i> — and the first time that I went to see it. The titular <i>9 cañones</i> refer to the nine cannons of the venue, <a href="http://es.wikipedia.org/wiki/Castillo_de_Mata" target="_blank" title="Castillo de Mata en Wikipedia">Museo Castillo de Mata</a> (Calle Domingo Guerra del Río, 147), as well as to the nine <i>cantautores</i> (I presume every year they have nine artists). </p>
<ul>
<li> 14 December: Jesús Garriga / Sandra Bautista / Guiu Cortés
<div class="separator" style="clear: both; text-align: center;"><p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhD5TyFbAioLmW7uXSz-EupYJmbj8XvyNe7YNsgQI7RuMH1ILMgGHoPQo5PN8iTsCvqHbSibhGVUMJEAovdHCni4XAf9uNYsimji_UxpjZQfn0BSyyoNirB-NDnDtoV5-3rjwjg7gjYl_D1Z8d8Qo0pdI5eETfNwZxcrniWqeLjAZAr67GgWM8kTaWbiWg/s843/9_canones_sin_banda_14.12.2023.jpg" style="margin-left: 1em; margin-right: 1em;" title="9 cañones sin banda 14.12.2023"><img border="0" data-original-height="843" data-original-width="843" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhD5TyFbAioLmW7uXSz-EupYJmbj8XvyNe7YNsgQI7RuMH1ILMgGHoPQo5PN8iTsCvqHbSibhGVUMJEAovdHCni4XAf9uNYsimji_UxpjZQfn0BSyyoNirB-NDnDtoV5-3rjwjg7gjYl_D1Z8d8Qo0pdI5eETfNwZxcrniWqeLjAZAr67GgWM8kTaWbiWg/s320/9_canones_sin_banda_14.12.2023.jpg" width="320" /></a></p></div>
</li>
<li> 15 December: Juan Gallardo / Luis Quintana / Fede Comín
<div class="separator" style="clear: both; text-align: center;"><p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXb03DnBhQTE_Ub4_alf9qXFPGyKPt0z1HmywMJVTKXUAIq95tMvoj50BM45qgQ1XMugRMhNvL6DlTeZC0lXNWEnqerXSiDEBrRoqSTt00L4Ps7JsKa5wgOJ9i7PU5LwlW9s8fwajdu-rEvN3xjL-rSj04P4Q-3MRBepy4-4lIJp2aD18-66bc_yoZ3p8/s843/9_canones_sin_banda_15.12.2023.jpg" style="margin-left: 1em; margin-right: 1em;" title="9 cañones sin banda 15.12.2023"><img border="0" data-original-height="843" data-original-width="843" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXb03DnBhQTE_Ub4_alf9qXFPGyKPt0z1HmywMJVTKXUAIq95tMvoj50BM45qgQ1XMugRMhNvL6DlTeZC0lXNWEnqerXSiDEBrRoqSTt00L4Ps7JsKa5wgOJ9i7PU5LwlW9s8fwajdu-rEvN3xjL-rSj04P4Q-3MRBepy4-4lIJp2aD18-66bc_yoZ3p8/s320/9_canones_sin_banda_15.12.2023.jpg" width="320" /></a></p></div>
</li>
<li> 16 December: Isa Izquierdo / Alicia Ramos / La Otra & Jhana Beat
<div class="separator" style="clear: both; text-align: center;"><p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4Pef8FcC4rfIHVsV8RUw1xeAVbm2DCGFuxrflmmraj9uPmlRXpL-evfLhC-k034lzhOjZJKS2IRLscYfAQEu3f79kUhu53OcEeLJgrE2gp943bjND7CJ4jIrBFlP0LK9dYLISu1aKVM2d3wiGEKLFbOhLCGYdZbThyzkvBhgvoG4nFfZ4B38xBUG-yIk/s843/9_canones_sin_banda_16.12.2023.jpg" style="margin-left: 1em; margin-right: 1em;" title="9 cañones sin banda 16.12.2023"><img border="0" data-original-height="843" data-original-width="843" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4Pef8FcC4rfIHVsV8RUw1xeAVbm2DCGFuxrflmmraj9uPmlRXpL-evfLhC-k034lzhOjZJKS2IRLscYfAQEu3f79kUhu53OcEeLJgrE2gp943bjND7CJ4jIrBFlP0LK9dYLISu1aKVM2d3wiGEKLFbOhLCGYdZbThyzkvBhgvoG4nFfZ4B38xBUG-yIk/s320/9_canones_sin_banda_16.12.2023.jpg" width="320" /></a></p></div></li>
</ul>
<ul>
<li> 19 December: <a href="http://quinteto-resonancia.hubside.es/" target="_blank" title="Quinteto Resonancia Web Site">Quinteto Resonancia</a> @ Palacete Rodríguez Quegles, Calle Benito Pérez Galdós, 4
<ul> Featuring Gabriel Simón (first violin), Nebojsa Milanovic (second violin), Francisco Quintana (viola), Jozef Racz (cello) and Voicu Burca (double bass), plus Margot García (vocals). </ul>
<div class="separator" style="clear: both; text-align: center;"><p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_qQRbCdtOdUYZm0QhzPEdWgkG8J08Gs-MOC4JBeQ2xg5YOoHZ1pxhGNWdm3Oub3KCMfrSSWRRiiqLcQd3SatbNXPpft9ZARMOuyrVFvue5Q621f-fW8zFSHFYzexw5WJzhhbzyYNdcj3sxtcHUreVlXaQPoAd7Qb3FycnvOeKEBJSH0SL2fKdbpD0qzs/s900/Quinteto_Resonancia.jpg" style="margin-left: 1em; margin-right: 1em;" title="Quinteto Resonancia"><img border="0" data-original-height="600" data-original-width="900" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_qQRbCdtOdUYZm0QhzPEdWgkG8J08Gs-MOC4JBeQ2xg5YOoHZ1pxhGNWdm3Oub3KCMfrSSWRRiiqLcQd3SatbNXPpft9ZARMOuyrVFvue5Q621f-fW8zFSHFYzexw5WJzhhbzyYNdcj3sxtcHUreVlXaQPoAd7Qb3FycnvOeKEBJSH0SL2fKdbpD0qzs/w400-h266/Quinteto_Resonancia.jpg" width="400" /></a></p></div>
</li>
<li> 19 December: <i>«<a href="http://teatroguimera.es/portfolio/la-inmortalidad-delirium-teatro/" target="_blank" title="La inmortalidad – Delirium teatro – Teatro Guimerá">La inmortalidad</a>»</i> @ Teatro Guiniguada, Plaza F. Mesa de León
<ul> Later the same evening: a <a href="http://www.canarias7.es/cultura/teatro/inmortalidad-antonio-tabares-regresa-martes-teatro-guiniguada-20231217231741-nt.html" target="_blank" title="'La inmortalidad' de Antonio Tabares regresa este martes al Teatro Guiniguada @ Canarias7">tragicomedy</a> by <a href="http://es.wikipedia.org/wiki/Antonio_Tabares" target="_blank" title="Antonio Tabares en Wikipedia">Antonio Tabares</a> tells the stories of five young students in La Laguna during the years of <a href="https://en.wikipedia.org/wiki/Spanish_transition_to_democracy" target="_blank" title="Spanish transition to democracy in Wikipedia">the Transition</a>. Staged by <a href="https://deliriumteatro.com/" target="_blank" title="Delirium Teatro Web Site">Delirium Teatro</a> (Tenerife). Actors: Silvia Criado, Delia Hernández, Abel Moral, Daniel Sanjinés and Javier Socorro; directed by Severiano García. </ul>
<center><p><a href="http://deliriumteatro.com/obras/2022-la-inmortalidad/" target="_blank" title="Delirium Teatro | La inmortalidad"><img border="0" height="267" src="https://deliriumteatro.com/wp-content/uploads/2022/10/97B1343.jpg" width="400" /></a></p></center></li>
</ul>
<p> And three double councerts from the cycle <i>«<a href="http://www.laspalmasgc.es/es/ayuntamiento/prensa-y-comunicacion/notas-de-prensa/nota-de-prensa/Los-muros-del-Museo-Castillo-de-Mata-se-rinden-al-jazz/" target="_blank" title="Los muros del Museo Castillo de Mata se rinden al jazz @ Ayuntamiento de Las Palmas de Gran Canaria">Jazz entre muros</a>»</i>, again in Museo Castillo de Mata: </p>
<ul>
<li> 20 December: Esther Ovejero Trío / Esther Alfonso Da Costa
<ul> Esther Ovejero Trio with Esther Ovejero (vocals), David Quevedo (piano) and Tana Santana (double bass); Esther Alfonso Da Costa (vocals) accompanied by Rayko León (piano), Fofi Lusson (electric bass) and Javi Montero (drums). Unfortunately the rain cut short the second set.
</ul>
<div class="separator" style="clear: both; text-align: center;"><p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7EPCao1J0iq9681iCmGJ4yMA8iaJzISVewhIz-dO56gKLU9KobOnXDLbSIs6Vw1G6ewd2SyZNRLV_Gz9IBgxuO0GC3j99JsWd7KSSmfmC-qufXHidpYGPJ0VN0HYAe233tTXYGXsm2KihCHblHzr6FVJQnmQyR4rmlt748GSBQSgNvyo7QoDZ4TDNlhA/s960/Jazz_Entre_Muros_20.12.2023.jpg" style="margin-left: 1em; margin-right: 1em;" title="Jazz entre muros 20.12.2023"><img border="0" data-original-height="960" data-original-width="960" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7EPCao1J0iq9681iCmGJ4yMA8iaJzISVewhIz-dO56gKLU9KobOnXDLbSIs6Vw1G6ewd2SyZNRLV_Gz9IBgxuO0GC3j99JsWd7KSSmfmC-qufXHidpYGPJ0VN0HYAe233tTXYGXsm2KihCHblHzr6FVJQnmQyR4rmlt748GSBQSgNvyo7QoDZ4TDNlhA/s320/Jazz_Entre_Muros_20.12.2023.jpg" width="320" /></a></p></div>
</li>
<li> 21 December: Yul Ballesteros / Pino Quimont
<ul> The trio of Yul Ballesteros (guitar), Akior García (drums) and Tana Santana (double bass); Pino Quimont (vocals), Miqui Delgado (piano) and José Carlos Cejudo (electric bass). </ul>
<div class="separator" style="clear: both; text-align: center;"><p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_I8dHSnS6i4AzHgI_YKCxaEnoq505yz4RpQYW-O7qFdrg1rwjZCC-EPYlnCcpKwnfJLCMPkCEeHLHV8Ac4RhyphenhyphenYu8WNwnNoWqEb9tGu7gyYXFdoikta0SaMlw8pZTvtABuDdPjCIhUf6P78Y_iZSDveghZ3W6M7G2wETXqVxf1Bf5TeLv4NFzkkhsJLTI/s960/Jazz_Entre_Muros_21.12.2023.jpg" style="margin-left: 1em; margin-right: 1em;" title="Jazz entre muros 21.12.2023"><img border="0" data-original-height="960" data-original-width="960" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_I8dHSnS6i4AzHgI_YKCxaEnoq505yz4RpQYW-O7qFdrg1rwjZCC-EPYlnCcpKwnfJLCMPkCEeHLHV8Ac4RhyphenhyphenYu8WNwnNoWqEb9tGu7gyYXFdoikta0SaMlw8pZTvtABuDdPjCIhUf6P78Y_iZSDveghZ3W6M7G2wETXqVxf1Bf5TeLv4NFzkkhsJLTI/s320/Jazz_Entre_Muros_21.12.2023.jpg" width="320" /></a></p></div>
</li>
<li> 28 December: Jonay Mesa & Luis Sánchez / La Local Jazz Band
<ul> Jonay Mesa (electric guitar) and Luis Sánchez (piano), plus a guest vocalist Carla Vega; La Local Jazz Band featuring Miqui Delgado (piano), Miriam Fleitas (vocals), Abraham Ramos (double bass), Ernesto Montenegro (trumpet), Miguel Ramírez (tenor sax) and Suso Vega (drums). </ul>
<div class="separator" style="clear: both; text-align: center;"><p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3ZfCiY6GaNjGwF2RhZVDU4nyiDCVvCD3G3NOa_3DbB9fIdLAssczVfgKlZ6QTVqyb9AVDJSyrKBu6EdnVOUHztyOrnIlZ0DgAPMHHXHMWnL5aP6I_qpeIOhf2WkzOz-8rDBmCHl2k_BaVToQc86kGvwZpoPA9qFbgGq152b5KJJwQzfXIqE1DVn3N7hA/s960/Jazz_Entre_Muros_28.12.2023.jpg" style="margin-left: 1em; margin-right: 1em;" title="Jazz entre muros 28.12.2023"><img border="0" data-original-height="960" data-original-width="960" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3ZfCiY6GaNjGwF2RhZVDU4nyiDCVvCD3G3NOa_3DbB9fIdLAssczVfgKlZ6QTVqyb9AVDJSyrKBu6EdnVOUHztyOrnIlZ0DgAPMHHXHMWnL5aP6I_qpeIOhf2WkzOz-8rDBmCHl2k_BaVToQc86kGvwZpoPA9qFbgGq152b5KJJwQzfXIqE1DVn3N7hA/s320/Jazz_Entre_Muros_28.12.2023.jpg" width="320" /></a></p></div>
</li>
</ul>
<p> And a bit of art: </p>
<ul>
<li> 1—14 December: <a href="https://teldeactualidad.com/art/157589/acuarelas-canarias-en-la-ermita-de-san-pedro-martir-de-telde" target="_blank" title="Acuarelas canarias en la ermita de San Pedro Mártir de Telde: En una exposición de la Asociación Canaria de Acuarelistas @ Telde Actualidad">Acuarelas canarias</a> @ Ermita de San Pedro Mártir, Telde
<ul> An exhibition of watercolours organised by La Asociación Canaria de Acuarelistas, featuring two works by Tamara.
</ul>
<div class="separator" style="clear: both; text-align: center;"><p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7X2KL6uLnyMZ_hQl40GoUTP0MjXqpsy0shczqj4EwHf5397TTDzpBzVaLdOyoktEnehzP2cmFI2CdvmsqbgvxXtW2uSHCstafxYi79Ew91G0YapoOStiUyRIEdkIyTBqBqiPXCoxgL1INKR2iAQZ5CfU4pIH0btp4pZLn_vHU75hnPgOhcUb3YlD4tMY/s1080/The_Shape_of_Wind.jpg" style="margin-left: 1em; margin-right: 1em;" title="Tamara Kulikova - The shape of wind"><img border="0" data-original-height="755" data-original-width="1080" height="280" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7X2KL6uLnyMZ_hQl40GoUTP0MjXqpsy0shczqj4EwHf5397TTDzpBzVaLdOyoktEnehzP2cmFI2CdvmsqbgvxXtW2uSHCstafxYi79Ew91G0YapoOStiUyRIEdkIyTBqBqiPXCoxgL1INKR2iAQZ5CfU4pIH0btp4pZLn_vHU75hnPgOhcUb3YlD4tMY/w400-h280/The_Shape_of_Wind.jpg" width="400" /></a></p></div>
</li>
<li> 14 December 2023 — 12 January 2024: <i>«<a href="http://www.digitalfarocanarias.com/index.php/2023/12/11/la-creadora-paqui-martin-clausura-el-ano-en-el-centro-de-artes-plasticas-con-la-individual-la-aventura-de-encontrar-un-mundo-mejor/" target="_blank" title="La creadora Paqui Martín clausura el año en el Centro de Artes Plásticas con la individual ‘La aventura de encontrar un mundo mejor’ @ Digital Faro Canarias">La aventura de encontrar un mundo mejor</a>»</i> @ <a href="http://www.grancanariacultura.com/artes-plasticas" target="_blank" title="Centro de Artes Plásticas y Taller de Grabado - Cabildo de Gran Canaria">Centro de Artes Plásticas</a> (CAP), Calle Colón, 8
<ul> Re-interpretation of historical and mass media photos by Paqui Martín. </ul>
<center><p><a href="http://www.digitalfarocanarias.com/index.php/2023/12/11/la-creadora-paqui-martin-clausura-el-ano-en-el-centro-de-artes-plasticas-con-la-individual-la-aventura-de-encontrar-un-mundo-mejor/" target="_blank" title="La creadora Paqui Martín clausura el año en el Centro de Artes Plásticas con la individual ‘La aventura de encontrar un mundo mejor’ @ Digital Faro Canarias"><img border="0" height="256" src="https://www.digitalfarocanarias.com/wp-content/uploads/2023/12/Una-de-las-obras-de-Paqui-Mart%C3%ADn-640x410.jpg" width="400" /></a></p></center></li>
</ul>
<p> And that was it for 2023. Happy New Year! </p>Kirillhttp://www.blogger.com/profile/00719435019715182189noreply@blogger.com0tag:blogger.com,1999:blog-8228596981546101372.post-35449208071974939912023-12-31T00:00:00.015+00:002024-01-13T10:04:41.641+00:00Mujeres que follan: Historias de sexo real contadas por ellas<b><i>by</i> <a href="http://es.wikipedia.org/wiki/Adaia_Teruel" target="_blank" title="Adaia Teruel en Wikipedia">Adaia Teruel</a></b>
<p> I learned about this book quite by chance, thanks to <a href="http://www.pikaramagazine.com/2023/05/mujeres-que-follan/" target="_blank" title="Mujeres que follan @ Pikara Magazine">an excerpt</a> published in <a href="http://es.wikipedia.org/wiki/Pikara_Magazine" target="_blank" title="Pikara Magazine en Wikipedia"><i>Pikara Magazine</i></a>. Then I forgot all about it. And then I saw it in the library, leafed through it and knew that I had to read it. </p>
<p> The book includes interviews with 26 women in their forties who happen to live in Barcelona, although not all were born there. Plus two “bonus tracks”: Candela, a trans woman of 63, and Iris, a pansexual girl of 33. Single, married, separated, divorced, widowed, with and without children, straight, gay, bi, poly, vanilla, kinky, submissive, dominant, you name it — if you must. </p>
<blockquote> Clasificar la sexualidad en función del estado civil o las preferencias sexuales tiene el mismo sentido que hacerlo en función del color de pelo de las entrevistadas. Si de algo me ha servido entrevistar a estas mujeres es para darme cuenta de que no hay una única manera de practicar sexo, sino tantas sexualidades como personas. </blockquote>
<a name='more'></a>
<p> Many of the interviewees identify themselves as feminists, very much of “<a href="http://listenlearnread.blogspot.com/2021/03/feminismo-vibrante.html" target="_blank" title="Feminismo vibrante: Si no hay placer no es nuestra revolución @ this blog">if there’s no pleasure, it’s not our revolution</a>” persuasion. Their experiences — good, bad, ugly, and frankly gross — led the women to prioritise what is truly important <i>for</i> them, say, sexual pleasure, over what is expected <i>from</i> them. And so they talk about all this brutally honestly and openly. The best thing, however, is their sense of humour. It’s the funniest book about sex I read since <a href="http://listenlearnread.blogspot.com/2011/03/orgasms-for-two-joy-of-partnersex.html" target="_blank" title="Orgasms for Two: The Joy of Partnersex @ this blog"><i>Orgasms for Two</i></a>. The language is as alive and colourful and totally not politically correct as its speakers: <i>cada vez que muere un obispo</i>, <i>de tres pares de cojones</i>, <i>estrellita de mar</i>, <i>hay mucha rubia de bote que tiene el coño morenote</i>, <i>mandarlo a Parla</i>, <i>más salida que la pipa de un indio</i>, <i>metesaca</i>, <a href="http://dle.rae.es/teta#FzeeH9J" target="_blank" title="pasarlo teta @ RAE"><i>pasarlo teta</i></a>, <i>pepitilla</i>, <i>perrete</i>, <i>pinganillo</i>, <i>yuyu</i>, <i>zorrón</i>... Marvellous. </p>
<p> Just one thing (maybe several): do the protagonists really say “<i>mi marido</i>”, “<i>mi mujer</i>”, “<i>mi pareja</i>”? Or it’s the author’s literary/stylistic licence? I guess it’s all right to employ those terms <i>once</i> during the interview, no need to repeat them ad nauseam. Don’t their lovers have <i>names</i>? Well then use them — as does, for example, Iris, who talks about Mireia and Thais, not “my ex-partners” or such. That the names have been changed, just like those of all the narrators, is beside the point. If the author reads this post: please, please, change that in the future edition(s) which hopefully will follow. </p>
<center><a href="https://www.amazon.co.uk/dp/8419119342?&linkCode=li3&tag=lilere-21&linkId=8612cb1189df9c53241ddb51f564ba24&language=en_GB&ref_=as_li_ss_il" target="_blank" title="Mujeres que follan: Historias de sexo real contadas por ellas @ Amazon.co.uk"><img border="0" height="200" src="https://m.media-amazon.com/images/I/51wldj039fL._SY425_.jpg" width="131" /></a><img alt="" border="0" height="1" src="https://ir-uk.amazon-adsystem.com/e/ir?t=lilere-21&language=en_GB&l=li3&o=2&a=8419119342" style="border: none; margin: 0px;" width="1" /></center>
<blockquote><p> No soy de hablar. Lo máximo que hago es dirigirles. Porque si un pavo me masturba y me va a dejar el clítoris escocido, como que no. Y cuando me lo comen tengo tendencia a moverles la cabeza como si se tratase de un joystick. Espérate que ya te coloco, por aquí, por allí. Más allá de eso no le voy a decir explícitamente nada. ¿Para qué? </p>
<div style="text-align: right;"><i>Verónica, 46 años, soltera, sin hijos</i></div>
</blockquote>
<center> 🌸 🌸 🌸 </center>
<blockquote><p> Los bosques no me van porque hay algunas chicas a las que podrías dejar caer un boli y, con esa mata de pelo que tienen, desaparecería al instante. </p>
<div style="text-align: right;"><i>Natalia, 43 años, casada, sin hijos</i></div>
</blockquote>
<center> 🌸 🌸 🌸 </center>
<blockquote><p> No sé fingir, ni un orgasmo ni nada. También te digo que a veces, depende del polvo, por dentro estoy pensando: «¿Mañana para comer qué hago? ¿Lentejas?». Otras veces quizá no me apetece y pienso: «¿En serio? ¿Ahora tengo que hacerlo?», y acabo: «Venga, nena, ponte». </p>
<div style="text-align: right;"><i>Luz, 44 años, madre soltera</i></div>
</blockquote>
<center> 🌸 🌸 🌸 </center>
<blockquote><p> No solo fuimos a cenar, sino que después le invité a subir a casa. Y fue buenísimo porque nada más entrar me dijo: «¡Qué casa más limpia!». Y yo pensé: «¿Cómo tiene que estar la suya para que me diga que la mía está limpia?». </p>
<div style="text-align: right;"><i>Lidia, 40 años, separada, dos hijos</i></div></blockquote>
<center> 🌸 🌸 🌸 </center>
<blockquote><p> A él le cuesta mostrar afecto en público; es una putada. Me gusta morrearme delante de la gente. ¿Qué pasa? Méteme la mano en el culo también. ¿Quién nos va a decir algo? Probablemente, los que nos vean estén deseando hacer lo mismo. </p>
<div style="text-align: right;"><i>Tamara, 43 años, casada, una hija</i></div></blockquote>
<center> 🌸 🌸 🌸 </center>
<blockquote><p> Me hubiera gustado tener menos parejas porque me hubiera ahorrado a unos cuantos gilipollas. </p>
<div style="text-align: right;"><i>Montse, 43 años, soltera, sin hijos</i></div>
</blockquote>
<center> 🌸 🌸 🌸 </center>
<blockquote><p> No me gusta que me llamen «señora». No me identifico con esta palabra. Por dentro soy la misma persona que era a los veinte años. Ahora mismo estaría dispuesta a morir follando. </p>
<div style="text-align: right;"><i>Shantal, 42 años, casada, dos hijas</i></div>
</blockquote>
<center> 🌸 🌸 🌸 </center>
<blockquote><p> A este tío al final lo dejé porque solo quería que lo enculara, cuando cogen el hábito ya no quieren otra cosa. </p>
<div style="text-align: right;"><i>Lucía, 47 años, soltera, sin hijos</i></div>
</blockquote>
<center> 🌸 🌸 🌸 </center>
<blockquote><p> Igual que es importante hacer ejercicio para mantener tu cuerpo en forma es importante ejercitar tu vagina para que no se atrofie. Así que a partir de ahora voy a follar como una loca. </p>
<div style="text-align: right;"><i>Nancy, 48 años, casada, sin hijos</i></div>
</blockquote>
<center> 🌸 🌸 🌸 </center>
<blockquote><p> A este tipo de chico yo le llamo «catalán familiar», es el típico chico educado, familiar y afable, pero soso. Él corta fuet para los aperitivos del domingo, pero no le pidas más, lo más subversivo que hará será beber Voll-Damm en lugar de Estrella. </p>
<div style="text-align: right;"><i>Adriana, 40 años, soltera, sin hijos</i></div>
</blockquote>
<center> 🌸 🌸 🌸 </center>
<blockquote><p> Hacer el amor está bien, pero follar mola más. </p>
<div style="text-align: right;"><i>Valentina, 41 años, casada, una hija</i></div></blockquote>
<center> 🌸 🌸 🌸 </center>
<blockquote><p> Para que te hagas una idea: con dieciocho años follaba con la luz apagada. Con cuarenta, lo hago en un comedor sin cortinas y me la sopla. </p>
<div style="text-align: right;"><i>Lis, 41 años, separada, dos hijos</i></div></blockquote>
<center> 🌸 🌸 🌸 </center>
<blockquote><p> Mi primera relación fue una mierda. La segunda también, porque el chico tenía una tranca descomunal. Me la metía y me dolían hasta las entrañas. Después me enamoré de un maltratador. Luego me casé con un hombre del que no estaba enamorada. Y, al final, acabé teniendo un hijo con un tío que es un cabrón. Tendría que haber un manual. ¡Me habría ahorrado muchos disgustos! </p>
<div style="text-align: right;"><i>Gloria, 45 años, madre soltera</i></div>
</blockquote>
<center> 🌸 🌸 🌸 </center>
<blockquote><p> Lo mismo, cuando tienes la regla. Al día siguiente te levantas y te encuentras las paredes de casa como si fueran el escenario de <i>La matanza de Texas</i>, con huellas por todas partes. ¿Y no es cachondo ver la cara del tío después de comerte el coño? Parece el conde Drácula. Lo mismo cuando intentas mearte encima del otro y no te sale el pis. Es supernormal estar ahí apretando, venga, venga y que no puedas mear. Si no te ríes con estas cosas es que no tienes sentido del humor. </p>
<div style="text-align: right;"><i>Edurne, 43 años, divorciada, una hija</i></div>
</blockquote>
<center> 🌸 🌸 🌸 </center>
<blockquote><p> En otra ocasión, vino un cliente y tras ver a todas las chicas escogió a una rubia. Luego preguntó cuánto le cobrábamos por el perro. El perro era mío, no me lo podía creer. Le pedí cincuenta euros. Cuando la chica salió nos contó que el señor le estuvo chupando el rabo. </p>
<div style="text-align: right;"><i>Dafne, 39 años, casada, un hijo</i></div>
</blockquote>
<center> 🌸 🌸 🌸 </center>
<blockquote><p> ¿Si voy a su casa tendré que saludar a la mami? ¿Y si follamos? ¿Tendré que hacerlo en silencio? A mí un hombre que vive con su madre me baja la libido. </p>
<div style="text-align: right;"><i>Marina, 48 años, viuda, dos hijos</i></div>
</blockquote>
<center> 🌸 🌸 🌸 </center>
<blockquote><p> A mí me gustaría tener polla para follarme a mi marido. Si tuviera polla estaría todo el día dándole a la bandurria. </p>
<div style="text-align: right;"><i>Rebeca, 43 años, casada, una hija</i></div>
</blockquote>
<center> 🌸 🌸 🌸 </center>
<blockquote><p> Yo no quiero tener pareja. Tampoco, que me den los buenos días o las buenas noches. Yo quiero sexo. Y quiero disfrutar. Soy una mujer todoterreno que sabe lo que quiere, pero tengo que ir con cuidado. En el pueblo todos nos conocemos, así que por respeto a mis hijos no traigo hombres a casa, siempre soy yo la que va a la de ellos. Primero, porque me marcho cuando me da la gana. Y segundo, porque no quiero que mis hijos traigan chicas a casa. Que se vayan a follar al bosque o que lo hagan en el coche, como hice yo de joven. Esta es mi casa y estas son mis reglas. </p>
<div style="text-align: right;"><i>Claudia, 47 años, divorciada, tres hijos</i></div>
</blockquote>
<center> 🌸 🌸 🌸 </center>
<blockquote><p> «Mamá, ¿para qué quiero yo a un señor al que voy a tener que cuidar. Yo cuido de mí misma y ya». Porque en general los hombres son unos inútiles para la vida diaria. Necesitan a alguien que les haga la comida, que les lave los calzoncillos y les planche las camisas. Pues mira, no. Que te saque los mocos tu abuela. Y total, ¿para qué? Para un polvo mal hecho. Paso. </p>
<div style="text-align: right;"><i>Anna, 47 años, soltera, sin hijos</i></div>
</blockquote>
<center> 🌸 🌸 🌸 </center>
<blockquote><p> Pusimos un anuncio en internet. «Pareja bisexual busca persona para jugar en la cama». No contestó ni una mujer, pero salieron hombres de debajo de las piedras. Ten en cuenta que escribimos el anuncio en catalán y recibimos centenares de ofertas. Hombres que desean ver a su mujer follando con otro, sumisos que quieren ser azotados, incluso nos ofrecieron hacerlo con una cabra. </p>
<div style="text-align: right;"><i>Estefanía, 48 años, poliamorosa, dos hijos</i></div>
</blockquote>
<center> 🌸 🌸 🌸 </center>
<blockquote><p> Combinar el <a href="http://es.wikipedia.org/wiki/Dominaci%C3%B3n_femenina" target="_blank" title="Dominación femenina en Wikipedia">rol</a> con la vida diaria es difícil. «Hoy te pones el cinturón de castidad». Doy esta orden y luego me voy a trabajar y me olvido. Él va como una moto porque siente que está conectado conmigo, pero yo he hecho una reunión de trabajo, he jugado en el parque con los niños y he ido a la compra sin pensar en él un solo minuto. Es decir, está cumpliendo una orden que a mí me importa tres pepinos. </p>
<div style="text-align: right;"><i>Lola, 42 años, separada, dos hijos</i></div></blockquote>
<center> 🌸 🌸 🌸 </center>
<blockquote><p> Antes era una persona muy cuadriculada. Hasta que no hice la transición no había comido un solo yogur en toda mi vida. En mi cabeza no entraba que los señores comieran yogures. No me preguntes porqué. Ahora los como y no me importa ni el sabor. </p>
<div style="text-align: right;"><i>Candela, 63 años, casada, una hija</i></div>
</blockquote>
<center> 🌸 🌸 🌸 </center>
<blockquote><p> Si te quiero mucho, ¿cómo voy a decirte que no te comas esa hamburguesa? Cómetela, y luego me cuentas qué tal. O me das la mitad. </p>
<div style="text-align: right;"><i>Iris, 33 años, soltera, sin hijos</i></div>
</blockquote>Kirillhttp://www.blogger.com/profile/00719435019715182189noreply@blogger.com0tag:blogger.com,1999:blog-8228596981546101372.post-39546319029876317512023-12-27T00:00:00.006+00:002024-01-03T20:06:30.843+00:00The Telling<b><i>by</i> <a href="http://en.wikipedia.org/wiki/Ursula_K._Le_Guin" target="_blank" title="Ursula K. Le Guin in Wikipedia">Ursula K. Le Guin</a></b>
<blockquote> “We’ll be making love on a world nobody even knows the name of now, a thousand years from now!” </blockquote>
<p> If <a href="http://en.wikipedia.org/wiki/The_Telling" target="_blank" title="The Telling in Wikipedia">this book</a> was written by anybody else, it would likely be considered pretty good or at least promising. Compared though to the <a href="http://en.wikipedia.org/wiki/Earthsea" target="_blank" title="Earthsea in Wikipedia"><i>Earthsea</i></a> cycle or, say, <a href="http://en.wikipedia.org/wiki/The_Dispossessed" target="_blank" title="The Dispossessed in Wikipedia"><i>The Dispossessed</i></a>, <i>The Telling</i> comes out as weak and, worse, unnecessary.</p>
<p> I liked the story. This is what it really should have been: a short story. As a novel, it doesn’t work for me. The characters are two-dimensional at best and one can see how it’s gonna end miles ahead. Cut, cut, cut. And yet... I feel that the subplot of Pao and Sutty could have been developed (was developing?) into something interesting. Something truly big. Alas, Ursula Le Guin is no longer with us so we’ll probably never know. </p>
<center><a href="https://www.amazon.co.uk/dp/B0049MPKGE?&linkCode=li3&tag=lilere-21&linkId=98872ae57dd22c5cd43b96b1c021f8b9&language=en_GB&ref_=as_li_ss_il" target="_blank" title="The Telling @ Amazon.co.uk"><img border="0" height="200" src="https://m.media-amazon.com/images/I/51pnzOxgvHL._SY425_.jpg" width="124" /></a><img alt="" border="0" height="1" src="https://ir-uk.amazon-adsystem.com/e/ir?t=lilere-21&language=en_GB&l=li3&o=2&a=B0049MPKGE" style="border: none; margin: 0px;" width="1" /></center>
<blockquote> Pao had tried on Sutty’s old grey-and-silver saree once, to entertain Sutty while she was convalescing, but she said it felt too much like skirts, which of course she had been forced to wear in public all her life because of the Unist clothing laws, and she couldn’t get the trick of securing the top. “My tits are going to pop out!” she cried, and then, encouraging them to do so, had performed a remarkable version of what she called Indian classical dance all over the futons. </blockquote>Kirillhttp://www.blogger.com/profile/00719435019715182189noreply@blogger.com0tag:blogger.com,1999:blog-8228596981546101372.post-42865421162699693062023-12-24T23:00:00.039+00:002024-01-03T20:02:41.809+00:00Книга бессмыслиц<b><i>by</i> <a href="http://en.wikipedia.org/wiki/Edward_Lear" target="_blank" title="Edward Lear in Wikipedia">Edward Lear</a> <br />
<i>translated by</i> <a href="http://en.wikipedia.org/wiki/Mark_Freidkin" target="_blank" title="Mark Freidkin in Wikipedia">Mark Freidkin</a> <br />
<i>foreword by</i> <a href="http://ru.wikipedia.org/wiki/%D0%94%D0%B5%D0%BC%D1%83%D1%80%D0%BE%D0%B2%D0%B0,_%D0%9D%D0%B8%D0%BD%D0%B0_%D0%9C%D0%B8%D1%85%D0%B0%D0%B9%D0%BB%D0%BE%D0%B2%D0%BD%D0%B0" target="_blank" title="Демурова, Нина Михайловна в Википедии">Nina Demurova</a></b>
<p> In the first post-Soviet year, when we had no money and were surviving being permanently drunk on new, as we thought, freedom, I bought <a href="http://imwerden.de/publ-5839.html" target="_blank" title="Эдвард Лир. Книга бессмыслиц. Пер. с англ. Марка Фрейдкина @ «ImWerden»: Электронная библиотека Андрея Никитина-Перенского">this book</a> from a rickety stall somewhere in the vicinity of <a href="http://en.wikipedia.org/wiki/Park_Kultury_(Koltsevaya_line)" target="_blank" title="Park Kultury (Koltsevaya line) in Wikipedia">Park Kultury</a> metro station. I loved it so much that I kept returning to that stall, so many of my friends and colleagues have got it as a gift. Some of its <a href="http://en.wikipedia.org/wiki/Limerick_(poetry)" target="_blank" title="Limerick (poetry) in Wikipedia">limericks</a> (or parts thereof), in Russian translation, became our cultural references that stood the test of time. </p>
<center><a href="http://imwerden.de/publ-5839.html" target="_blank" title="Эдвард Лир. Книга бессмыслиц. Пер. с англ. Марка Фрейдкина @ «ImWerden»: Электронная библиотека Андрея Никитина-Перенского"><img border="0" height="200" src="http://imwerden.de/pdf/lear_edward_kniga_bessmyslits_1992.jpg" width="158" /></a></center>
<p> A few years later, already in Leeds, I got hold of <a href="https://amzn.to/4aBEdHl" target="_blank" title="Edward Lear's Complete Nonsense (The Folio Society) @ Amazon.co.uk"><i>Edward Lear’s Complete Nonsense</i></a>, a gorgeous edition by the <a href="http://en.wikipedia.org/wiki/Folio_Society" target="_blank" title="Folio Society in Wikipedia">Folio Society</a>, with a preface by <a href="http://en.wikipedia.org/wiki/Quentin_Blake" target="_blank" title="Quentin Blake in Wikipedia">Quentin Blake</a>.
<a name='more'></a>
I just took this volume down from the shelf for a reference. To my surprise, I discovered inside a receipt from the now-defunct <a href="http://www.leodis.net/viewimage/137127" target="_blank" title="Woodhouse Lane, nos. 182 - 170 @ Leeds City Council">Austicks book shop</a> where I, apparently, purchased this book on 21 January 1997 for a princely sum of £9. </p>
<center><a href="https://amzn.to/3TN6g0x" target="_blank" title="Edward Lear's Complete Nonsense (The Folio Society) @ Amazon.co.uk"><img border="0" height="150" src="https://m.media-amazon.com/images/I/71YJNehT5hL._SX606_.jpg" width="200" /></a></center>
<p> Another amazing find, this time thanks to <a href="http://en.wikipedia.org/wiki/Mark_Freidkin" target="_blank" title="Mark Freidkin in Wikipedia">Wikipedia</a>: the translator, Mark Freidkin (<a href="http://ru.wikipedia.org/wiki/%D0%A4%D1%80%D0%B5%D0%B9%D0%B4%D0%BA%D0%B8%D0%BD,_%D0%9C%D0%B0%D1%80%D0%BA_%D0%98%D0%B5%D1%85%D0%B8%D0%B5%D0%BB%D1%8C%D0%B5%D0%B2%D0%B8%D1%87" target="_blank" title="Фрейдкин, Марк Иехиельевич в Википедии">Марк Иехиельевич Фрейдкин</a>, 1953—2014), turned out to be <i>the</i> Mark Freidkin, a <a href="http://en.wikipedia.org/wiki/Bard_(Soviet_Union)" target="_blank" title="Bard (Soviet Union) in Wikipedia">bard</a> whose songs I’ve been enjoying since 2000<sup><a href="#Footnote_*" title="Footnote *">*</a></sup>. Now, for the first time (!) looking at those limericks side by side, I have to say that I prefer some of Freidkin’s translations to the originals. For instance: </p>
<center>
<table border="0">
<tr><td align="center" colspan="2"><a href="http://www.nonsenselit.org/Lear/BoN/bon100.html#bon100" target="_blank" title="Edward Lear. A Book of Nonsense [91-100] @ Edward Lear's Nonsense Poetry and Art"><img border="0" height="146" src="https://www.nonsenselit.org/Lear/BoN/bon100.gif" width="320" /></a></td></tr>
<tr><td width="50%"><blockquote> There was a Young Lady of Sweden, <br />
Who went by the slow rain to Weedon; <br />
When they cried, ‘Weedon Station!’ <br />
She made no observation <br />
But thought she should go back to Sweden. </blockquote></td>
<td width="50%"><blockquote> Молодая особа из Итона <br />
Села в поезд, идущий до Видона. <br />
Но приехавши в Видон, <br />
Поняла, что на вид он <br />
Очень мало отличен от Итона. </blockquote>
</td></tr>
</table></center>
<p> The translator does away with Sweden and rhymes Weedon not only with Eaton but also with <b>на вид он</b>, “it looks like”. Sending the Young Lady back where she came from is not really funny: after all, Lear does that to many of his characters. Instead, Freidkin creates his own punchline: Weedon isn’t much different from Eaton. Just another bloody English town. </p>
<p> Here are some more: </p>
<center>
<table border="0">
<tr><td align="center" colspan="2"><a href="http://www.nonsenselit.org/Lear/BoN/bon010.html#bon008" target="_blank" title="Edward Lear. A Book of Nonsense [1-10] @ Edward Lear's Nonsense Poetry and Art"><img border="0" height="185" src="https://www.nonsenselit.org/Lear/BoN/bon008.gif" width="320" /></a></td></tr>
<tr><td width="50%">
<blockquote> There was an Old Man with a gong, <br />
Who bumped at it all day long; <br />
But they called out, ‘O law! <br />
You’re a horrid old bore!’ <br />
So they smashed that Old Man with a gong. </blockquote>
</td>
<td width="50%">
<blockquote> Музыкальный старик на Меконге <br />
Без конца упражнялся на гонге. <br />
Все кричат: «Где закон, <br />
Чтоб такие, как он, <br />
День и ночь не играли на гонге?» </blockquote>
</td></tr>
<tr><td align="center" colspan="2"><a href="http://www.nonsenselit.org/Lear/BoN/bon020.html#bon013" target="_blank" title="Edward Lear. A Book of Nonsense [11-20] @ Edward Lear's Nonsense Poetry and Art"><img border="0" height="180" src="https://www.nonsenselit.org/Lear/BoN/bon013.gif" width="320" /></a></td></tr>
<tr><td><blockquote> There was an Old Man of Kilkenny, <br />
Who never had more than a penny; <br />
He spent all that money, <br />
In onions and honey, <br />
That wayward Old Man of Kilkenny. </blockquote></td>
<td><blockquote> Непутёвый старик из Килкенни <br />
Зарабатывал в день по два пенни. <br />
Этот скромный доход <br />
Лишь на лук и на мёд <br />
Тратил вздорный старик из Килкенни. </blockquote></td></tr>
<tr><td align="center" colspan="2"><a href="http://www.nonsenselit.org/Lear/BoN/bon020.html#bon016" target="_blank" title="Edward Lear. A Book of Nonsense [11-20] @ Edward Lear's Nonsense Poetry and Art"><img border="0" height="191" src="https://www.nonsenselit.org/Lear/BoN/bon016.gif" width="320" /></a></td></tr>
<tr><td><blockquote> There was a Young Lady of Portugal, <br />
Whose ideas were excessively nautical: <br />
She climbed up a tree, <br />
To examine the sea, <br />
But declared she would never leave Portugal. </blockquote></td>
<td><blockquote> Молодая особа из Фриско <br />
По натуре была маринистка. <br />
Взгромоздясь на сосну, <br />
Знай глядит на волну, <br />
Но не хочет уехать из Фриско. </blockquote> </td></tr>
<tr><td align="center" colspan="2"><a href="http://www.nonsenselit.org/Lear/BoN/bon040.html#bon034" target="_blank" title="Edward Lear. A Book of Nonsense [31-40] @ Edward Lear's Nonsense Poetry and Art"><img border="0" height="151" src="https://www.nonsenselit.org/Lear/BoN/bon034.gif" width="320" /></a></td></tr>
<tr><td><blockquote> There was an Old Person of Dover, <br />
Who rushed through a field of blue Clover; <br />
But some very large bees, <br />
Stung his nose and his knees, <br />
So he very soon went back to Dover. </blockquote></td>
<td><blockquote> Прыткий джентльмен, приехавший с севера, <br />
Побежал через заросли клевера, <br />
Но отнюдь не учёл <br />
Агрессивности пчёл, <br />
Оказавшихся в зарослях клевера. </blockquote></td></tr>
<tr><td align="center" colspan="2"><a href="http://www.nonsenselit.org/Lear/BoN/bon040.html#bon039" target="_blank" title="Edward Lear. A Book of Nonsense [31-40] @ Edward Lear's Nonsense Poetry and Art"><img border="0" height="184" src="https://www.nonsenselit.org/Lear/BoN/bon039.gif" width="320" /></a></td></tr>
<tr><td><blockquote> There was an Old Person of Philæ, <br />
Whose conduct was scroobious and wily; <br />
He rushed up a Palm, <br />
When the weather was calm, <br />
And observed all the ruins of Philæ. </blockquote></td>
<td> <blockquote> Скрупулительный джентльмен из Фила <br />
Вел себя непонятно, но мило. <br />
Он взбирался на пальму <br />
И, сколь можно, детально <br />
Изучал все окрестности Фила. </blockquote></td></tr>
<tr><td align="center" colspan="2"><a href="http://www.nonsenselit.org/Lear/BoN/bon080.html#bon080" target="_blank" title="Edward Lear. A Book of Nonsense [71-80] @ Edward Lear's Nonsense Poetry and Art"><img border="0" height="150" src="https://www.nonsenselit.org/Lear/BoN/bon080.gif" width="320" /></a></td></tr>
<tr><td><blockquote> There was an Old Man who said, ‘Hush! <br />
I perceive a young bird in this bush!’ <br />
When they said, ‘Is it small?’ <br />
He replied, ‘Not at all! <br />
It is four times as big as the bush!’ </blockquote></td>
<td> <blockquote> «Тише! — крикнул старик из Кордобы, — <br />
Там щебечет птенец средь чащобы!» <br />
«Он совсем ещё мал?» <br />
«Я бы так не сказал! <br />
Он раз в пять больше этой чащобы!» </blockquote>
</td></tr>
<tr><td align="center" colspan="2"><a href="http://www.nonsenselit.org/Lear/MN/mn010.html#mn009" target="_blank" title="Edward Lear. One Hundred Nonsense Pictures and Rhymes [1-10] @ Edward Lear's Nonsense Poetry and Art"><img border="0" height="205" src="https://www.nonsenselit.org/Lear/MN/mn009.gif" width="320" /></a></td></tr>
<tr><td><blockquote> There was an old person of Wick, <br />
Who said, ‘Tick-a-Tick, Tick-a-Tick; <br />
Chickabee, Chickabaw,’ <br />
And he said nothing more, <br />
That laconic old person of Wick. </blockquote></td>
<td><blockquote> Лаконичный старик из-под Ниццы <br />
Произнес: «Ламца-ца́, дри́ца, дри́ца. <br />
Ламцаца́, дрицаца́», <br />
И с тех пор ни словца <br />
Не промолвил старик из-под Ниццы. </blockquote></td></tr>
<tr><td align="center" colspan="2"><a href="http://www.nonsenselit.org/Lear/MN/mn050.html#mn043" target="_blank" title="Edward Lear. One Hundred Nonsense Pictures and Rhymes [41-50] @ Edward Lear's Nonsense Poetry and Art"><img border="0" height="188" src="https://www.nonsenselit.org/Lear/MN/mn043.gif" width="320" /></a></td></tr>
<tr><td><blockquote> There was an old person of Filey, <br />
Of whom his acquaintance spoke highly; <br />
He danced perfectly well, <br />
To the sound of a bell, <br />
And delighted the people of Filey. </blockquote> </td>
<td><blockquote> Обаятельный джентльмен с Тортуги <br />
Широко был известен в округе. <br />
Он под «дон-диги-дон» <br />
Мог сплясать ригодон, <br />
Чем пленял населенье Тортуги. </blockquote>
</td></tr>
<tr><td align="center" colspan="2"><a href="http://www.nonsenselit.org/Lear/MN/mn060.html#mn057" target="_blank" title="Edward Lear. One Hundred Nonsense Pictures and Rhymes [51-60] @ Edward Lear's Nonsense Poetry and Art"><img border="0" height="189" src="https://www.nonsenselit.org/Lear/MN/mn057.gif" width="320" /></a></td></tr>
<tr><td><blockquote> There was an old person of Ware, <br />
Who rode on the back of a bear: <br />
When they ask’d, — ‘Does it trot?’ — <br />
He said ‘Certainly not! <br />
He’s a Moppsikon Floppsikon bear!’ </blockquote> </td>
<td><blockquote> Рассудительный джентльмен в Майнхеде <br />
Разъезжал на косматом медведе. <br />
Все кричат: «Вы б, ей-Богу, <br />
Не пускались в дорогу <br />
На таком масипастом медведе!» </blockquote></td></tr>
<tr><td align="center" colspan="2"><a href="http://www.nonsenselit.org/Lear/MN/mn090.html#mn085" target="_blank" title="Edward Lear. One Hundred Nonsense Pictures and Rhymes [81-90] @ Edward Lear's Nonsense Poetry and Art"><img border="0" height="204" src="https://www.nonsenselit.org/Lear/MN/mn085.gif" width="320" /></a></td></tr>
<tr><td><blockquote> There was an old person of Pinner, <br />
As thin as a lath, if not thinner; <br />
They dressed him in white, <br />
And roll’d him up tight, <br />
That elastic old person of Pinner. </blockquote></td>
<td><blockquote> Эластичный старик из Эстонии <br />
Тонок был, как доска, коль не тонее. <br />
Ему дали лимон, <br />
И скатали в рулон, <br />
И послали обратно в Эстонию. </blockquote>
</td></tr>
</table>
</center>
<p>
</p><hr style="background-color: black; border-width: 0px; height: 0.5px; margin-left: 0px; text-align: left; width: 50%;" />
<p></p>
<a name="Footnote_*"></a>
<table>
<tr><td valign="top">*</td>
<td> In retrospect, I should have guessed — there are not that many Freidkins in the world. And only a true wordsmith would come up with gems such as «<a href="http://www.shansonprofi.ru/archiv/lyrics/freidkin/p3/freidkin_nash_uchitel_.html" target="_blank" title="Музей Шансона. Тексты песен. Наш учитель Автор: М. Фрейдкин, Композитор: С. Костюхин, Исполнитель: Марк Фрейдкин">он шёл по жизни напролом с раскрытым Мандельштамом</a>» or «<a href="http://mychords.net/ru/frejdkin-mark/170526-frejdkin-mark-pizmon.html" target="_blank" title="Фрейдкин Марк - Пизмон, аккорды, текст, видео @ mychords.net">надо экстренно послать Израиль Нетаньяху</a>». Genius. </td></tr></table>Kirillhttp://www.blogger.com/profile/00719435019715182189noreply@blogger.com0tag:blogger.com,1999:blog-8228596981546101372.post-83456429646726734042023-12-14T14:00:00.028+00:002023-12-14T14:57:27.906+00:00Արշալույսի լուսաբացը<b><i>a film by</i> <a href="http://www.imdb.com/name/nm3777849/" target="_blank" title="Inna Sahakyan @ IMDb">Inna Sahakyan</a></b>
<p> An <a href="http://en.wikipedia.org/wiki/Aurora%27s_Sunrise" target="_blank" title="Aurora's Sunrise in Wikipedia">animated documentary</a> based on the life of <a href="http://en.wikipedia.org/wiki/Aurora_Mardiganian" target="_blank" title="Aurora Mardiganian in Wikipedia">Arshaluys “Aurora” Mardiganian</a> (1901—1994). It also includes interviews with Mardiganian and surviving fragments of the 1919 silent film <a href="http://en.wikipedia.org/wiki/Ravished_Armenia_(film)" target="_blank" title="Ravished Armenia (film)"><i>Auction of Souls</i></a>. </p>
<p> Here’s a bit of info that appeared in the end titles: it was not until 2021 that the United States recognised the <a href="http://en.wikipedia.org/wiki/Armenian_genocide" title="Armenian genocide in Wikipedia" target="_blank">the massacre of Armenians</a> by the Ottoman Empire as genocide. Is it correct? I <a href="http://en.wikipedia.org/wiki/Armenian_genocide_recognition" title="Armenian genocide recognition in Wikipedia" target="_blank">looked it up</a>: yes, correct. Worse still: neither UK nor Spain, as sovereign nations, are there yet, although the parliaments of Scotland, Wales and six Spanish autonomous communities have recognised the Armenian genocide. </p>
<center><iframe width="560" height="315" src="https://www.youtube.com/embed/VimnG7k7cuM" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen></iframe></center>
<p> <i>Aurora’s Sunrise</i> was the last film of the cycle <a href="https://www3.gobiernodecanarias.org/noticias/un-ciclo-de-cine-revaloriza-la-memoria-viva-como-parte-del-patrimonio-cultural/" target="_blank" title="Un ciclo de cine revaloriza la memoria viva como parte del patrimonio cultural @ Gobierno de Canarias"><i>Tiempo de memoria, memoria en el tiempo</i></a>, organised by <a href="http://www.icdcultural.org/" title="Instituto Canario de Desarrollo Cultural" target="_blank">Instituto Canario de Desarrollo Cultural</a> (ICDC), the only one that I’ve seen. Before <a href="https://www3.gobiernodecanarias.org/noticias/el-documental-auroras-sunrise-relata-en-primera-persona-la-masacre-del-genocidio-armenio/" target="_blank" title="El documental ‘Aurora’s Sunrise’ relata en primera persona la masacre del genocidio armenio @ Gobierno de Canarias">the screening</a>, the Canarian flautist Cristian Suárez played three short pieces in memory of the war victims. </p>Kirillhttp://www.blogger.com/profile/00719435019715182189noreply@blogger.com0tag:blogger.com,1999:blog-8228596981546101372.post-76580786075300135542023-12-12T19:00:00.023+00:002023-12-12T19:27:00.735+00:00Ми не згаснемо<b><i>a film by</i> <a href="http://www.imdb.com/name/nm8120909/" target="_blank" title="Alisa Kovalenko @ IMDb">Alisa Kovalenko</a></b>
<p> Five teenagers living in a small town in Donbass have a dream. Well, they have a lot of dreams, mostly about the end of <a href="https://en.wikipedia.org/wiki/War_in_Donbas" target="_blank" title="War in Donbas in Wikipedia">the war</a>, or about getting out of this arse end of nowhere. But the most outlandish one is to visit Himalayas. </p>
<center><p><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/F-cvmlHwy74" title="YouTube video player" width="560"></iframe></p></center>
<p> As it happens, this is the one dream that actually comes true. Pretty unbelievable, I say. And the <a href="http://en.wikipedia.org/wiki/We_Will_Not_Fade_Away" target="_blank" tutle="We Will Not Fade Away in Wikipedia">film</a>, I’m afraid, does not make it believable — a fatal flaw in a documentary. Which is a shame. I can’t blame the director — she interrupted the work on the picture she had been filming for three years when the full-blown Russian invasion of Ukraine started in order to <a href="http://variety.com/2023/film/global/berlin-alisa-kovalenko-we-will-not-fade-away-1235528363/" target="_blank" title="Christopher Vourlias 'How Ukrainian Docmaker Alisa Kovalenko Lost and Found Her Faith in Film After Fighting on the Frontline' @ Variety">fight on the frontline</a>. It could be that she lost the interest in the film, at least for a while. That she eventually managed to finish it, after coming back, is already a miracle. In any case, the film as envisaged does not exist. The war added a <a href="https://www.moderntimes.review/we-will-not-fade-away/" target="_blank" title="Sevara Pan 'Coming of age in times of war' @ Modern Times Review">harsh epilogue</a>: three protagonists became refugees; the contact with the remaining two who fell under occupation was lost. </p>
<center><p><a href="http://variety.com/2023/film/global/berlin-alisa-kovalenko-we-will-not-fade-away-1235528363/" target="_blank" title="Christopher Vourlias 'How Ukrainian Docmaker Alisa Kovalenko Lost and Found Her Faith in Film After Fighting on the Frontline' @ Variety"><img border="0" src="https://variety.com/wp-content/uploads/2023/02/We-Will-Not-Fade-Away.jpg?w=560" /></a></p></center>
<p> <i>We Will Not Fade Away</i> (rendered in Spanish as “<i>Nosotras, mañana</i>”) was the last <a href="https://www3.gobiernodecanarias.org/noticias/filmoteca-canaria-cierra-el-ano-con-un-documental-sobre-cinco-jovenes-que-huyen-de-ucrania/" target="_blank" title="Filmoteca Canaria cierra el año con un documental sobre cinco jóvenes que huyen de Ucrania @ Gobierno de Canarias"><i>Documental del Mes</i></a> of this year. </p>Kirillhttp://www.blogger.com/profile/00719435019715182189noreply@blogger.com0tag:blogger.com,1999:blog-8228596981546101372.post-90711617073683408982023-12-05T19:00:00.003+00:002023-12-05T19:05:52.693+00:00Un amor<b><i>a film by</i> <a href="http://en.wikipedia.org/wiki/Isabel_Coixet" target="_blank" title="Isabel Coixet in Wikipedia">Isabel Coixet</a></b>
<a name="quote"></a>
<blockquote> <i>Me sorprende cómo la gente juzga a este personaje desde una especie de atalaya de superioridad moral, desde una estupidez que me alucina.</i> </blockquote>
<div style="text-align: right;">From the <a href="http://www.eldiario.es/cultura/cine/isabel-coixet-35-anos-dirigiendo-he-tenido-aguantar-digan-nivel-salvaje_1_10667727.html" target="_blank" title="Isabel Coixet: “En mis 35 años dirigiendo he tenido que aguantar que me digan de todo y a un nivel muy salvaje” @ elDiario.es">interview</a> with Isabel Coixet</div>
<p> If you are running away from somebody or something, a godforsaken village in the middle of nowhere should be at the bottom of your destination list. However, this is exactly where Nat (<a href="http://en.wikipedia.org/wiki/Laia_Costa" target="_blank" title="Laia Costa in Wikipedia">Laia Costa</a>) finds herself, and, predictably enough, things don’t go well. The men in her way — the landlord (<a href="http://en.wikipedia.org/wiki/Luis_Bermejo_(actor)" target="_blank" title="Luis Bermejo (actor) in Wikipedia">Luis Bermejo</a>), Píter (<a href="http://en.wikipedia.org/wiki/Hugo_Silva_(actor)" target="_blank" title="Hugo Silva (actor) in Wikipedia">Hugo Silva</a>), and Andreas “the German” (<a href="http://en.wikipedia.org/wiki/Hovik_Keuchkerian" target="_blank" title="Hovik Keuchkerian in Wikipedia">Hovik Keuchkerian</a>) — are all quite repulsive, albeit in their own ways. By embarking on an affair with Andreas, Nat is simply bound to be judged, by the villagers and the viewers alike. Isabel Coixet <a href="#quote" title="A quote from Isabel Coixet interview">says</a> in an interview that she is surprised by the latter’s reaction; on the contrary, I don’t find anything remotely surprising in that. <i>Esto es lo que hay.</i> </p>
<p> But wait. In <a href="http://en.wikipedia.org/wiki/Un_amor" target="_blank" title="Un amor in Wikipedia"><i>Un amor</i></a>, Coixet masterfully juggles the disturbing and the comic; the <a href="http://en.wikipedia.org/wiki/La_Rioja" target="_blank" title="La Rioja in Wikipedia">Riojan</a> locations are breathtaking; and — a bit of a spoiler here — it all ends much better than expected. So long, assholes! The finale, with Nat reuniting with her true love, Sieso the dog, and dancing to <a href="https://youtu.be/NTGHCJXl2l0" target="_blank" title="Es wird wieder gut (Instrumental) @ YouTube"><i>Es wird wieder gut</i></a> by <a href="http://en.wikipedia.org/wiki/Palast_Orchester" target="_blank" title="Palast Orchester in Wikipedia">Palast Orchester</a>, is gloriously uplifting. It will make you (want to) dance too. </p>
<center><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/VmgeP_gAR38" title="YouTube video player" width="560"></iframe></center>Kirillhttp://www.blogger.com/profile/00719435019715182189noreply@blogger.com0tag:blogger.com,1999:blog-8228596981546101372.post-74946206322756312872023-12-01T00:00:00.004+00:002023-12-04T12:37:27.341+00:00Live music and stuff in Santander, November 2023<p> Finally, some rock and jazz! This is what I’ve seen this month: </p>
<ul>
<li> 2 November: Could Seed & Stone From The Sky @ Rock Beer The New, Calle Peñas Redondas, 15, Santander
<ul> Two psychedelic/prog rock bands from France. I asked for the names of the musicians and I’ve got the names although not surnames. Could Seed are Jordan (guitar), Dimitri (guitar), Thomas (bass) and Élie (drums); Stone From The Sky are Florent (guitar), Dimitri (bass) and Clément (drums). </ul>
<center><p><a href="http://www.santandercreativa.com/eventos/stone-from-the-sky-y-could-seed" target="_blank" title="Stone From The Sky y Could Seed @ Fundación Santander Creativa"><img border="0" height="400" src="https://www.santandercreativa.com/uploads/event/main_image/8325/Captura_de_pantalla_2023-11-02_a_las_14.02.57.png" width="318" /></a></p></center>
</li>
<li> 3 November: <i>«Aquelarre»</i> @ Galería Este, Mercado del Este, Calle Hernán Cortés, 4
<ul> Inauguration of the exhibition of the Cantabrian artist Nuria Velázquez, with live music by the artist’s group Concha Juana and some friends. </ul>
</li>
<li> 4 November: <a href="http://www.facebook.com/peligrociervos" target="_blank" title="Peligro Ciervos @ FaceBook">Peligro Ciervos</a> @ Discos Cucos, Calle Santa Lucía, 41
<ul> Cantabrian country music trio presenting their new album in my favourite record shop in Santander. </ul>
<div class="separator" style="clear: both; text-align: center;"><p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-YcknDAD_q3cduX98GohgwQejhJYM9RvRLU6c-lFHCsTiMJIVsmsFj6wbwkfF5miGLwDiKzxITLOXbKJ5VyjGT3I1vv3zxvcnF9wWqe_9EK87sV-Ad3bzqMHer-vfdiveNNUALNwg7CTUVCaMxRFQzf9UjpmWhvV6K837BT_XA6iXlqt2RMaOwSS0e3E/s1000/Peligro_Ciervos.jpg" style="margin-left: 1em; margin-right: 1em;" title="Peligro Ciervos Poster"><img border="0" data-original-height="1000" data-original-width="707" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-YcknDAD_q3cduX98GohgwQejhJYM9RvRLU6c-lFHCsTiMJIVsmsFj6wbwkfF5miGLwDiKzxITLOXbKJ5VyjGT3I1vv3zxvcnF9wWqe_9EK87sV-Ad3bzqMHer-vfdiveNNUALNwg7CTUVCaMxRFQzf9UjpmWhvV6K837BT_XA6iXlqt2RMaOwSS0e3E/w283-h400/Peligro_Ciervos.jpg" width="283" /></a></p></div>
</li>
<li> 9 November: Safree @ Teatro CASYC, Calle Tantín, 25
<ul> As it was a part of the cycle <a href="http://www.santandercreativa.com/noticias/el-folclore-urbano-y-la-musica-electronica-convergen-este-jueves-en-casyc-up-con-safree" target="_blank" title="El folclore urbano y la música electrónica convergen este jueves en CASYC UP con Safree @ Fundación Santander Creativa"><i>Excéntricos 2023</i></a>, I expected some standard of quality. Instead, I found myself at the worst show I’ve ever paid money to see in Santander. Boring reggaeton from somebody who can neither compose nor sing. Best avoided. </ul>
</li>
<li> 16 November: Mujerklorica @ Teatro CASYC
<ul> There was no better way to get rid of the bad taste in the mouth left by the preceding concert than to return to CASYC a week later for a healthy dose of <a href="http://www.santandercreativa.com/noticias/excentricos-celebra-el-flamenco-este-jueves-en-casyc-con-el-concierto-de-mujer-klorica" target="_blank" title="Excéntricos celebra el flamenco este jueves en CASYC con el concierto de Mujer Klórica @ Fundación Santander Creativa">flamenco</a>. With Alicia Carrasco (cante), José Manuel León (guitar), Carlos Merino (percussion) and Sara Vázquez (baile).
</ul>
<center><p><a href="http://www.santandercreativa.com/noticias/excentricos-celebra-el-flamenco-este-jueves-en-casyc-con-el-concierto-de-mujer-klorica" target="_blank" title="Excéntricos celebra el flamenco este jueves en CASYC con el concierto de Mujer Klórica @ Fundación Santander Creativa"><img border="0" height="343" src="https://www.santandercreativa.com/uploads/post/main_picture/5039/large_Mujer-Kl%C3%B3rica_16noviembre.jpg" width="400" /></a></p></center>
</li>
<li> 16 November: Sebastian Raspanti @ Bar Bolero, Calle San Celedonio, 35
<ul> Maybe not the best singer-sogwriter out there but the anecdotes he was telling were very entertaining. </ul>
</li>
<li> 18 November: <i>«Danza de las Sombras»</i> @ Eureka Santander, Calle San Simón, 8
<ul> Pretty unlistenable music that might have been called avant-garde some sixty years ago and sounds awfully dated now. The dance was not so bad but not exactly engaging either. Featuring Cecilia Gala (dance), Marta Sainz (voice) and Enrique Zaccagnini (sounds). </ul>
</li>
<li> 23 November: Marathon Jazz @ Escenario Santander, Avenida de la Constitución 39 (Parque de las Llamas)
<ul> Plenty of familiar faces paid a moving homage to Marcos Rvbicón.
<ul><li> Antonio Gamaza (piano) and Javier San Miguel (saxophones) </li>
<li> Javier San Miguel Quartet: Manuel Cavero (double bass), Antonio Gamaza (piano), Adela Green (drums), Javier San Miguel (saxophones) </li>
<li> Rafael Santana Trio: Toño Gutiérrez (electric bass), Rodri Irizábal (drums) and Rafa Santana (piano) </li>
<li>Toño Gutiérrez Sextet: featuring Javier Escudero (guitar), Chus Gancedo (drums), Johannes Gunkel (trumpet), Toño Gutiérrez (electric bass), Rafa Santana (piano, keyboards) and Chisco Villanueva (tenor sax)</li>
<li> Special guest: Francesco Bearzatti (tenor sax) </li>
</ul>
<center><p><iframe allow="autoplay; clipboard-write; encrypted-media; picture-in-picture; web-share" allowfullscreen="true" frameborder="0" height="316" scrolling="no" src="https://www.facebook.com/plugins/video.php?height=316&href=https%3A%2F%2Fwww.facebook.com%2Ftono.gutierrez.9%2Fvideos%2F1128740658510074%2F&show_text=false&width=560&t=0" style="border: none; overflow: hidden;" width="560"></iframe></p></center>
</ul></li>
<li> 25 November: <i>«<a href="http://www.eldiario.es/cantabria/baile-cante-sombras-llega-palacio-festivales-dia-eliminacion-violencia-mujer_1_10704117.html" target="_blank" title="El baile y el cante de 'Entre sombras' llega al Palacio de Festivales el Día de la Eliminación de la Violencia contra la Mujer @ elDiario.es">Entre sombras</a>»</i> @ Palacio de Festivales de Cantabria, Calle de Gamazo
<ul> A show by Compañía Sentidos dedicated to the <a href="http://en.wikipedia.org/wiki/International_Day_for_the_Elimination_of_Violence_against_Women" target="_blank" title="International Day for the Elimination of Violence against Women in Wikipedia">International Day for the Elimination of Violence against Women</a>. Featuring Rubén Borjas, La Mimi, Jacqueline Borjas (baile), Borja Borja (cante), Antonio Domínguez (guitar) and Poncho (violin). </ul>
<div class="separator" style="clear: both; text-align: center;"><p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1rXDEtKyeuPuuRI6C0hJgBC1y4flXCWcu3gRWg4Vmme6Q3PcJV7MYDMI7TbKjFwZxH2PYTKjyANYYO9y2FgL3Fo8Ffe9fg1NycX02E0zwBRsKnPLvL4tSEhyUBTJ3WrwVmmQEaGWXmoaEHPjZFl8AeSDmtV2FRPokPv1WnW73X_eG4dIFDowsEhl2Apg/s900/Entre_Sombras.jpg" style="margin-left: 1em; margin-right: 1em;" title="Entre sombras poster"><img border="0" data-original-height="900" data-original-width="720" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1rXDEtKyeuPuuRI6C0hJgBC1y4flXCWcu3gRWg4Vmme6Q3PcJV7MYDMI7TbKjFwZxH2PYTKjyANYYO9y2FgL3Fo8Ffe9fg1NycX02E0zwBRsKnPLvL4tSEhyUBTJ3WrwVmmQEaGWXmoaEHPjZFl8AeSDmtV2FRPokPv1WnW73X_eG4dIFDowsEhl2Apg/w320-h400/Entre_Sombras.jpg" width="320" /></a></p></div>
</li>
<li> 25 November: Blues & Jazz Jam @ Bar Bolero
<ul> Later the same day, with Dany Garcia (guitar), David Costas (piano), Antonio Romero (bass) and the guests. </ul>
<div class="separator" style="clear: both; text-align: center;"><p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiU1H_wN5WjslNvBRZbCRYwGYldmYUINtU2Tliz8Ql7UwEtU3nFKN-N3tHbQtt0aAZNpIQukjJJPZYqcHPXsIUf9Rrry5BJFP4zvYDzIQpngIAQlxuhHu_1wA13AcnzqYBx1mhN4DoRbe8CzIRexBGYc7oeW4pskumleu8ih8r3JiuVdIaJHZvp6CcxiE/s1294/Bolero_Jam.jpg" style="margin-left: 1em; margin-right: 1em;" title="Bolero Jam poster"><img border="0" data-original-height="1294" data-original-width="1080" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiU1H_wN5WjslNvBRZbCRYwGYldmYUINtU2Tliz8Ql7UwEtU3nFKN-N3tHbQtt0aAZNpIQukjJJPZYqcHPXsIUf9Rrry5BJFP4zvYDzIQpngIAQlxuhHu_1wA13AcnzqYBx1mhN4DoRbe8CzIRexBGYc7oeW4pskumleu8ih8r3JiuVdIaJHZvp6CcxiE/w334-h400/Bolero_Jam.jpg" width="334" /></a></p></div></li>
</ul>
<p> And two exhibitions: </p>
<ul>
<li> 10 November 2023 — 4 February 2024: <i>«<a href="http://www.puertosantander.es/es/noticias/el-agua-espera" target="_blank" title="El agua espera | Puerto de Santander">El agua espera</a>»</i> @ El Palacete del Embarcadero, Muelle de Calderón
<ul>
The <a href="http://www.puertosantander.es/es/noticias/cesar-diaz-presenta-la-exposicion-el-agua-espera-en-el-palacete-del-embarcadero" target="_blank" title="César Díaz presenta la exposición El Agua Espera en el Palacete del Embarcadero | Puerto de Santander">last exhibition</a> in El Palacete del Embarcadero before they close it for renovations next year. </ul>
<center><p><a href="http://www.eldiariomontanes.es/culturas/agua-espera-exposicion-monografica-documental-trazara-historia-20231015085955-nt.html" target="_blank" title="'El agua espera', exposición monográfica documental, trazará la historia del Palacete @ El Diario Montañés"><img border="0" height="280" src="https://s3.ppllstatics.com/eldiariomontanes/www/multimedia/2023/10/14/palacete-kZGC--1200x840@Diario%20Montanes.jpg" width="400" /></a></p></center>
</li>
<li> 24 November — 11 December: <a href="http://www.eldiario.es/cantabria/ultimas-noticias/certamen-tipos23-reivindica-diseno-creado-fuera-grandes-nucleos-urbanos_1_10604370.html" target="_blank" title="El certamen 'Tipos23' reivindica el diseño creado fuera de los grandes núcleos urbanos @ elDiario.es">Tipos23</a> @ Muelle de Albareda
<ul>
The <a href="http://santandercreativa.com/noticias/tipos23-inaugura-este-viernes-su-exposicion-de-carteles-sobre-las-periferias-de-santander" target="_blank" title="Tipos23 inaugura este viernes su exposición de carteles sobre las “periferias” de Santander @ Fundación Santander Creativa">exhibition of posters</a> dedicated to peripheries of Santander. Featuring works by Cristina Arce, Jesús Allende Valcuende, Celia Andrés Ruamayor, Natalia Andueza, Patxi Antxón, Javier Clérigo, Begoña Cueli, Isabel de la Sierra, Gorka Gil, Víctor Fernández, Carmen Gutiérrez Somavilla, José Antonio Quintana, Ruth Martín Casanova, Verónica Ruiz Vicente, Rafa San Emeterio and Manuel Teira. </ul>
<center><p><a href="http://santandercreativa.com/noticias/tipos23-inaugura-este-viernes-su-exposicion-de-carteles-sobre-las-periferias-de-santander" target="_blank" title="Tipos23 inaugura este viernes su exposición de carteles sobre las “periferias” de Santander @ Fundación Santander Creativa"><img border="0" height="400" src="https://santandercreativa.com/uploads/gallery_image/file/3380/large_RackMultipart20231122-25624-x3oqzo.jpg" width="320" /></a></p></center></li>
</ul>Kirillhttp://www.blogger.com/profile/00719435019715182189noreply@blogger.com0