sábado, 21 de diciembre de 2013

Painter: Renoir Pierre-Auguste - Part 41 - Portraits - Retratos - 13 paints - Links to precedent parts




Pierre Renoir in a Sailor Suit


Pierre Renoir in a Sailor Suit


Pierre-August Renoir - Peasant Woman Standing in a Landscape


Pierre-August Renoir - Pensive Young Woman Leaning on Her Elbow


Pierre-August Renoir - Philippe Gangnat


Pierre-August Renoir - Portrait in a Pink Dress


Pierre-August Renoir - Portrait of a Girl


Pierre-August Renoir - Portrait of a Girl


Pierre-August Renoir - Portrait of a Girl in Red


Pierre-August Renoir - Portrait of a Kid in a Beret


Pierre-August Renoir - Portrait of a Little Girl


Pierre-August Renoir - Portrait of a Woman


Pierre-August Renoir - Portrait of a Woman (Nini Fish-Face)




Links



Painter: Renoir Pierre-Auguste - Part 41 - Portraits - Retratos - 13 paints - Links to precedent parts






Ricardo M Marcenaro - Facebook

Blogs in operation of The Solitary Dog:

Solitary Dog Sculptor:
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Solitary Dog Sculptor I:
byricardomarcenaroi.blogspot.com/

Para:
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My blogs are an open house to all cultures, religions and countries. Be a follower if you like it, with this action you are building a new culture of tolerance, open mind and heart for peace, love and human respect. Thanks :)


Mis blogs son una casa abierta a todas las culturas, religiones y países. Se un seguidor si quieres, con esta acción usted está construyendo una nueva cultura de la tolerancia, la mente y el corazón abiertos para la paz, el amor y el respeto humano. Gracias:)



(::)


Music: JuJu - Justin Adams and Juldeh Camera - Djanfa Moja - Nightwalk - Yorubistic rock music - Juju data in Eng-Esp - 2 Vids



JuJu
Justin Adams and Juldeh Camera

video

JuJu - Djanfa Moja




Jùjú is a style of Nigerian popular music, derived from traditional Yoruba percussion. The name comes from a Yoruba word "juju" or "jiju" meaning "throwing" or "something being thrown." Juju music did not derive its name from juju, which "is a form of magic and the use of magic objects or witchcraft common in West Africa, Haiti, Cuba and other South American nations." It evolved in the 1920s in urban clubs across the countries, and was believed to have been created by AbdulRafiu Babatunde King, popularly known as Tunde King. The first jùjú recordings were by Tunde King and Ojoge Daniel from the same era of the 1920s when Tunde King pioneered it. The lead and predominant instrument of Jùjú is the Iya Ilu,"' talking drum. Some Jùjú musicians were itinerant, including early pioneers Ojoge Daniel, Irewole Denge and the "blind minstrel" Kokoro.[1]

Afro-juju is a style of Nigerian popular music, a mixture of Jùjú music and Afrobeat. Its most famous exponent was Shina Peters, who was so popular that the press called the phenomenon "Shinamania". Afro-juju's peak of popularity came in the early 1990s.

History

Following World War II, electric instruments began to be included, and pioneering musicians like Earnest Olatunde Thomas (Tunde Nightingale), Fatai Rolling Dollar, I. K. Dairo, Dele Ojo, Ayinde Bakare, Adeolu Akinsanya, King Sunny Adé, and Ebenezer Obey made the genre the most popular in Nigeria, incorporating new influences like funk, reggae and Afrobeat and creating new subgenres like yo-pop. Some new generation juju artistes include Oludare Olateju and Bola Abimbola. Although Juju music, like apala, sakara, fuji, and waka was created by Muslim Yoruba (NOTE: Tunde King was a Muslim and an alhaji until his death in the 1980s); however, the music itself remains secular. King Sunny Adé was the first to include the pedal steel guitar, which had previously been used only in Hawaiian music and American country music.
Performance

Jùjú music is performed primarily by artists from the southwestern region of Nigeria, where the Yoruba are the most numerous ethnic group. In performance, audience members commonly shower jùjú musicians with paper money; this tradition is known as "spraying."

One of the centres of the performance of Jùjú music is in Ibadan. Most jùjú musicians are based in the zone of market forces, and most of these are in an area of immigrant neighbourhoods. There are several contexts in which jùjú music is performed. On of these contexts is ‘The Hotel’. The Hotels are concentrated in the immigrant areas and they serve as taverns, dance halls and brothels. They range from very small wooden structures to clusters of two or three building with a stage in the middle. Most activity takes place after nine pm and the hotels are the centre of Ibadan’s nocturnal economic structure. One of the economic activities associated with the hotels is the sale of drinks and food and also prostitution. The Hotels are seen as places of relaxation, where patrons, mainly men, come to escape every day life. They are places where people can come to do things that they might not want to be seen doing at home. The Jùjú music performed is not the focus of the venue but most patrons prefer live music to records. The bands that perform do not have a guaranteed wage; instead they rely upon donations from patrons. Most bands will only perform during the weeknights, leaving the weekends free for more lucrative gigs. Another context in which Jùjú music is played is at celebrations called àríyá. These celebrations are parties which celebrate the naming of a baby, weddings, birthdays, funerals, title-taking, ceremonies and the launching of new property or business enterprises. These events are sponsored so the musicians are guaranteed payment. The wealth of the hosts and the guests is shown through their reward to the entertainers. It is customary to press the contribution to the musician’s forehead so that everyone can see how wealthy they are. The musicians will often return good payment with praise songs to the donors. Live music is crucial to the proper functioning of an àríyá.

http://en.wikipedia.org/wiki/J%C3%B9j%C3%BA_music





El jùjú es un género de música nigeriana popular, nacida a partir de la percusión Yoruba tradicional y el género apala. Se desarrolló en los años 20 en clubs urbanos. Las primeras grabaciones de jùjú fueron de Tunde King y Ojoge Daniel.

El apala, un estilo tradicional de Ijebu, en Yoruba, también se hizo muy popular en los años 60, desarrollado por músicos como Haruna Ishola, Sefiu Ayan, Kasumu Adio, y Ayinla Omowura. Ishola, que era uno de los fabricantes de éxitos más constantes de Nigeria entre 1955 y su muerte, en 1983, grabó numerosas canciones apala, que alternaron entre lo lento y emocional; y lo rápido y enérgico. Su lírica era una mezcla de alabanza improvisada y versos del Corán, así como proverbios tradicionales. Su trabajo tuvo una influencia formativa sobre el desarrollo del estilo fuji.

A finales de los años 60 aparecieron las primeras bandas de fuji. El fuji obtuvo su denominativo por el grupo Golden Fuji Group que a su vez tomó su nombre del Monte Fuji en Japón, aunque el motivo fue puramente por el sonido de la palabra según Alhaji Sikiru Ayinde Barrister, líder del grupo y creador del estilo.1 Fuji es una síntesis del apala con un "adornado y libre ritmo" vocal de los músicos piadosos ajisari2 y acompañado por el sakara, un tambor- pandereta, y la guitarra hawaiana. Entre las estrellas más tempranas del género encontramos a Haruna Ishola y a Ayinla Omowura. Ishola obtuvo numerosos éxitos a partir de finales de los años 50 y principios de los años 80, convirtiéndose una de las ejecutantes más famosos del país. Fuji se fue regularmente más popular entre los años 60 y los años 70, estando estrechamente asociado con el Islam.

El fuji ha sido descrito como jùjú sin guitarras aunque, irónicamente, Ebenezer Obey una vez lo describió como mambo con guitarras.3 Sin embargo, en sus raíces, el fuji es una mezcla de musulmán tradicional ajiwere de los ajisari con aspectos de percusión apala, canciones vocales y música filosófica sakara.4 De todos estos elementos la base fundamental del fuji es el apala.5 Las primeras estrellas de fuji fueron las bandas rivales Alhaji Sikiru Ayinde Barrister y Ayinla Kollington.6 Alhaji Sikiru Ayinde Barrister comenzó su carrera en el fuji a principios de los años 70 con el Golden Fuji Group aunque había cantado canciones musulmanas cuanto tenía 10 años. Él cambió el nombre de su grupo por Fuji Londoners cuando volvió de un viaje a Londres, Inglaterra. Después un muy mucho tiempo, con éxitos como "Orilonise", "Fuji Disco/Iku Baba Obey", "Oke Agba", "Aye", " y "Suuru", cambió el nombre del grupo a Supreme Fuji Commanders con un éxito, "Orelope", que fue platino al instante. El rival de Ayinde era Ayinla Kollington, Baba Alatika, conocida para usar letras burdas y vulgares entrelazadas con incoherentes comentarios sociales. En los años 80 les siguieron estrellas como Wasiu Ayinde Barrister.


http://es.wikipedia.org/wiki/J%C3%B9j%C3%BA


video

JuJu - Nightwalk



Music: JuJu - Justin Adams and Juldeh Camera - Djanfa Moja - Nightwalk - Yorubistic rock music - Juju data in Eng-Esp - 2 Vids






Ricardo M Marcenaro - Facebook

Blogs in operation of The Solitary Dog:

Solitary Dog Sculptor:
byricardomarcenaro.blogspot.com
Solitary Dog Sculptor I:
byricardomarcenaroi.blogspot.com/

Para:
comunicarse conmigo,
enviar materiales para publicar,
propuestas comerciales:
marcenaroescultor@gmail.com

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My blogs are an open house to all cultures, religions and countries. Be a follower if you like it, with this action you are building a new culture of tolerance, open mind and heart for peace, love and human respect. Thanks :)


Mis blogs son una casa abierta a todas las culturas, religiones y países. Se un seguidor si quieres, con esta acción usted está construyendo una nueva cultura de la tolerancia, la mente y el corazón abiertos para la paz, el amor y el respeto humano. Gracias:)



(::)


NASA: North Pole - Arctic Waters Keep Warming in 2013 - 12.21.13


Color bar for Arctic Waters Keep Warming in 2013
acquired August 1 - 31, 2013 download large image (304 KB, JPEG, 1000x832) 
 
The Arctic continued to shift to a warmer, greener state in 2013. That was the headline from the latest Arctic Report Card, an annual update prepared by scientists from the National Oceanic and Atmospheric Administration (NOAA) and partner organizations such as NASA. Scientists are tracking a variety of environmental indicators including: air temperature, snow cover, sea ice extent, ocean temperature, vegetation growth, and wildlife behavior. In comparison to 2012, most indicators this year were closer to their long-term averages, but signs of change (fueled by long-term warming) were still present.
For instance, most surface waters within the Arctic Circle were warmer than average in summer 2013. This map shows where sea surface temperatures (SSTs) in August 2013 were warmer (red) or cooler (blue) than the 1982–2006 average. Sea ice extent is solid white. Although some areas experienced unusually cool SSTs in August 2013—especially in the Chukchi and East Siberian Seas—unusually high temperatures dominated most of the Arctic Ocean and surrounding straits and seas.
Warm waters in the eastern Arctic were probably related to an earlier-than-normal retreat of sea ice from the area and possibly an inflow of warmer water from the North Atlantic. Retreating sea ice would have left the Kara and Barents Seas exposed to warm summer sunlight. Meanwhile, on the western side of the Arctic, sea ice retreat was later and less extensive than normal, contributing to cooler-than-average surface temperatures in the Chukchi and East Siberian Seas.
By September, surface waters around the Barents Sea Opening (between Svalbard and Scandinavia) were about 5°F (3°C) warmer than they were in 2012. Southern Barents Sea temperatures reached 52°F (11°C), which is 9°F (5°C) warmer than the 1977–2006 average.
During a press conference about the report, University of Virginia scientist Howard Epstein emphasized that ongoing changes in the Arctic are not happening in a vacuum. “The Arctic is not like Vegas,” he said. “What happens in the Arctic doesn’t stay in the Arctic. The major changes that we see in the sea ice, the spring snow cover extent, the increasing vegetation, the potential changes in greenhouse gases fluxes—these are all things that have implications that extend beyond just the Arctic to the rest of the world.”
Map by NOAA Climate.gov, based on data provided by Mike Steele and Wendy Ermold, University of Washington; and the National Snow and Ice Data Center. Caption by Rebecca Lindsey and Adam Voiland.
Instrument: 
NOAA-19 POES - AVHRR



NASA: North Pole - Arctic Waters Keep Warming in 2013 - 12.21.13






Ricardo M Marcenaro - Facebook

Blogs in operation of The Solitary Dog:

Solitary Dog Sculptor:
byricardomarcenaro.blogspot.com
Solitary Dog Sculptor I:
byricardomarcenaroi.blogspot.com/

Para:
comunicarse conmigo,
enviar materiales para publicar,
propuestas comerciales:
marcenaroescultor@gmail.com

For:
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marcenaroescultor@gmail.com

My blogs are an open house to all cultures, religions and countries. Be a follower if you like it, with this action you are building a new culture of tolerance, open mind and heart for peace, love and human respect. Thanks :)


Mis blogs son una casa abierta a todas las culturas, religiones y países. Se un seguidor si quieres, con esta acción usted está construyendo una nueva cultura de la tolerancia, la mente y el corazón abiertos para la paz, el amor y el respeto humano. Gracias:)



(::)


Poesia: Alda Merini - O labbra, labbra disunite e bianche - A Manuela - Veleggio come un'ombra - Links a piu poesia AM






O labbra, labbra disunite e bianche

O labbra, labbra disunite e bianche
nel valore del pianto penitente,
labbra disunite dentro il bacio
in tenera protesta di follia,
o labbra senza tempo
che avete amato un uomo,
labbra senza perdono
ponete la protesta fuori da una finestra.
O labbra della Vergine divina
che cantan l’Angelo che ormai si avvicina,
è pronto il gran segreto,
vengo meno a un divieto.

(da “Ballate non pagate”)
 



A Manuela

E un’altra figlia ho ancora, Manuela,
piena di grazia come una Madonna;
ma una serpe finissima è riposta
dentro il suo cuore e lì vi ha fatto nido
e tormenta la povera memoria.
O lo so, Manuela,
che tutto può questa tua madre antica,
ma quel serpe venuto dal di fuori
deve morire, dolce figlia mia:
per lui il mio fiato diverrà  veleno.

(da “Destinati a morire”) 



Veleggio come un'ombra

Veleggio come un'ombra
nel sonno del giorno
e senza sapere
mi riconosco come tanti
schierata su un altare
per essere mangiata da chissà chi.    
Io penso che l'inferno
sia illuminato di queste stesse
strane lampadine.
Vogliono cibarsi della mia pena
perché la loro forse
non s'addormenta mai.







Poesia: Alda Merini - O labbra, labbra disunite e bianche - A Manuela - Veleggio come un'ombra - Links a piu poesia AM






Ricardo M Marcenaro - Facebook

Blogs in operation of The Solitary Dog:

Solitary Dog Sculptor:
byricardomarcenaro.blogspot.com
Solitary Dog Sculptor I:
byricardomarcenaroi.blogspot.com/

Para:
comunicarse conmigo,
enviar materiales para publicar,
propuestas comerciales:
marcenaroescultor@gmail.com

For:
contact me,
submit materials for publication,
commercial proposals:
marcenaroescultor@gmail.com

My blogs are an open house to all cultures, religions and countries. Be a follower if you like it, with this action you are building a new culture of tolerance, open mind and heart for peace, love and human respect. Thanks :)


Mis blogs son una casa abierta a todas las culturas, religiones y países. Se un seguidor si quieres, con esta acción usted está construyendo una nueva cultura de la tolerancia, la mente y el corazón abiertos para la paz, el amor y el respeto humano. Gracias:)



(::)