#Study Tabla

[songs345]

10 Best Songs of Arijit Singh

[durancodes]

Codember: 2023 — Golondrina/Woodswallow

Pastebin — Post de Rol

Spanish / English

Bueno, esta salió más simple. La verdad, no tenía nada en mente, pero recordé que mi pareja estudia lenguaje y que más de alguna vez encontré un libro de Alejandra Pizarnik en nuestro hogar. Leí varios poemas y busqué otros y me topé con este en algún momento. Me trajo varios sentimientos y lo tuve en el olvido hasta este codember. Me llegó bastante y guardo este poema con ternura.

Dejaré los detalles bajo el cut para que no quede tan largo este post.

—El ancho es de 440px y la altura se tiene que ajustar dependiendo de lo que se escriba. El cambio no es complicado de hacer, puesto que el tamaño está hecho en variables. Sólo tienen que ir a la variable cuyo nombre es --minheight: y ajustar qué tan largo deseen su post.

—Tiene una imagen de fondo que puede cambiarse de color. Para ello, deben ir probando en la variable --imgcolor. Como verán, hay muchos filtros y el principal es uno que se llama hue-rotate. Vayan probando a medida que aumenten o disminuyan los grados.

—Los colores generales los encontrarán en el root. Son tres y tienen las variables --c1, --c2, --c3. En el caso del --c3 es el texto principal.

—Las fonts usadas son Times y Champhin. Pueden cambiarlas si gustan. Pueden cambiar los tamaños y características en sus respectivas variables de todas las letras (si mal no recuerdo).

—Los datos del pie de la tablilla, si quieren cambiar el color del fondo corresponde a la variable --ctransparent

—El código es de uso libre. Sólo te pido que no quites los créditos ni uses la tabla como base.

—Un reblog siempre se agradece

________________________________________________

EU

Well, this one came out simpler. Actually, I didn't have anything in mind, but I remembered that my partner studies language and that more than once I found a book by Alejandra Pizarnik in our home. I read several poems and looked for others and came across this one at some point. It brought me several feelings and I had it in oblivion until this codember. It touched me quite a bit and I hold this poem tenderly.

I'll leave the details under the cut so this post doesn't get so long.

—The width is 440px and the height has to be adjusted depending on what is written. The change is not complicated to make, since the size is made in variables. They only have to go to the variable whose name is --minheight: and adjust how long they want their post to be.

—It has a background image that can be changed in color. To do this, you must go testing in the variable --imgcolor. As you will see, there are many filters and the main one is called hue-rotate. You can test as you increase or decrease the hue-rotate.

—The general colors you will find in the root. They are three and have the variables --c1, --c2, --c3. In the case of --c3 is the main text.

—The fonts used are Times and Champhin. You can change them if you like. You can change the sizes and characteristics in their respective variables of all the letters (if I remember correctly).

—The data of the foot of the table, if you want to change the color of the background corresponds to the variable --ctransparent.

—The code is free to use. I only ask that you do not remove the credits or use the table as a base.

—A reblog is always appreciated

@elalmacen-rp

[harrisonarchive]

Happy birthday to Dhani Harrison! (Photo by David M. Benett.)

“When your parents are cool hippies, the only way to rebel is to get straight A’s, do sports and enroll in a military school. That’s what I did.” - Dhani Harrison, New York Post, February 17, 2009

“Seeing how amazing, sweet and talented Dhani is, and how cool and amazing Olivia is — you can tell a lot about a person by who their friends are and who they love. […] They’re such incredible people, and they love him so much, and you can see how much he loved them. I love his art, his gardens and his home, and all the incredible things he’s written, but I think my favorite moment of George’s is Dhani and Olivia." - Regina Spektor, Filter, Fall 2011

“Shortly after Dhani was born Ravi and Alla Rakha took the train over to visit us [George, Olivia and Dhani], and I picked them up at Reading. They came over to see the baby, and Ravi wrote a tune called ‘Dhani.’ The name 'Dhani’ actually came from my study of Indian music: from the scale of Sa-Ri-Ga-Ma-Pa-DHA-NI-Sa. So he wrote this song, and Alla Rahka played on one half of the tabla, the bayan.” - George Harrison, Raga Mala (1997)

“Of course one of my favorites on there [Gone Troppo] is ‘Unknown Delight.’ He was saying, ‘What should I write about? What should I write a song about?’ I said, ‘Write a song about Dhani,’ and he wrote this beautiful song which was very prescient actually.” - Olivia Harrison, Dark Horse Radio, 2018

“‘Jerry Moss [A&M co-founder] put my mom on the Dark Horse project because she was the only person cool enough there,’ adds Dhani. ‘She was a meditator, and they figured she would get on with my dad real well, which evidently she did.’ The two were married in 1978, the year Dhani was born: ‘I was one of their early releases,’ he says drolly.)” - Rolling Stone, March 9, 2020

“I didn’t really learn to play from my dad, I learned to play with my dad. He never really taught me anything but the 12-bar and the fundamental chords; we just played a lot together.” - Dhani Harrison, Filter, Fall 2011

“[Dhani] fondly recalled how the two would often sit together at home, strumming their acoustic guitars, as they played vintage blues songs by Leadbelly, Robert Johnson and J.B. Lenoir.” - Pop Talk, creators dot com

“‘George never held anything back, even when Dhani was really young, so they were very close, and Dhani had a clear understanding. Some of the things George told him, it was almost like he knew he might not be around later on, so he had to tell him then. ‘So yes, it’s difficult to make your own way, but that’s what it was, and Dhani loved that guy, they were very close.’ Olivia could equally be talking about herself.” - Huffington Post, September 24, 2014 (x)

[maitaiwiththecorpses]

In Every Universe

They had been summoned, to Urvashi's abode in the Otherworld. Just the two of them, no Mini or Brynne or Rudy. Not even Boo and the twins.

Just Aru and Aiden.

They hadn't spoken on the way to her palace, the tension of some ridiculous demand the apsara had hung between them as Aru anxiously paced in the enchanted elevator to the top floor.

"Shah," Aiden tried, his voice just barely on the edge of a smolder, trying to trick her brain into just listening for a minute.

"Yeah?" She looked at him, brows furrowed. It worked. Aiden patted the carpeted floor next to him, a silent ask for her to sit. She slumped over to him, curling up beside him as he wrapped an arm around her.

"It can't be that bad, you know," he said softly.

"But it could," she replied, voice almost desperate.

He had nothing to say to that. It could.

And so they were silent.

When they finally got off the elevator, they booked it past the grand bronze doors to Urvashi's living (?) room. The apsara was there, mid-air and meditating with her eyes closed, the distant sound of anklets jingling and a tabla filling the space.

"Mashi?" Aiden called, keeping Aru at the doorframe. The last thing you wanted to do was anger an immortal being as they meditate.

"Come in," Urvashi responded, not bothering to open her eyes. They looked at each other nervously before walking up to the goddess. "I have a job for you," she said sternly.

"Yes?" Aru asked, trying to get to the core of it. She was impatient, ready for the worst.

Aiden couldn't blame her.

The apsara's serene face crinkled slightly as she frowned in annoyance. "There has been... a blip."

"A what?" Aru exclaimed. It sounded ominous. It sounded like something Spider-Man had to deal with.

"Hush, child, or I will feed you to my deer." Aru's eyes grew wide, and with a slight redness in her cheeks, she stepped back a bit, keeping her head down. "As I was saying- a job. A quest. The Timeline Of Lovers has been glitching recently. I need you two to do a very simple task: get yourselves together."

Aiden blinked once, twice, and then stared at his aunt for a moment. Had he forgotten to tell her that he and Aru were dating? No, it couldn't be. It had been over a year.

"Mashi, apologies if I hadn't already mentioned, but Aru and I-"

Urvashi opened her eyes furiously, glaring straight at her nephew. "Aiden. I know. Even a fool would know you two are together. I meant your alternate selves." A holographic screen of sorts appeared in front of them, Aru poking and prodding it curiously as it displayed different versions of the two of them. "In this universe.... A timeline, I suppose you could say, you two are not reincarnations of the Pandavas." They gawked at her for a moment as she continued. "In fact, in this timeline the Otherworld is equipped with the late Pandava's powers, and handles world-ending exigencies on their own." She met their eyes gravely. "You two are completely human in this world. Normal."

"Oh," Aru said softly, studying her laughing self on the screen. She couldn't tell if the fact that she wasn't a Pandava in this timeline made her sad or incredibly relieved.

Neither could Aiden.

Urvashi sighed wistfully at the screen. "You two are still neighbors. Friends. There is no Mini. No Brynne. Barely Rudy," she added later, in forethought. "And yet, in this timeline, you two are not getting together." She paused, flicking through feed of the two of them in the alternate timeline. "It's frustrating to watch, and it's messing with the events of the timeline." Urvashi turned to them, looking each of them in the eyes. "It's your job to get your alternate selves together."

Aiden was the first to speak. "Okay, when do we begin?"

"Now." Urvashi snapped once, and they were sent into a tunnel of darkness, twisting and turning through amethyst mines and cloud mice.

They landed in the museum lobby, disoriented and confused.

And two feet away? An Aru with blue-striped hair and an Aiden with a yellow sweater laughed their heads off. They seemed so easy, perfect with each other.

"Oh my god, get a room," Aru said, staring at them.

Were they that insufferable, too?

A note was on the ground next to Aiden's feet, and in crisp handwriting from Urvashi herself it said:

You two are cloaked by invisibility magic. NO plant stalking. Get the job done and pull a Wizard Of Oz to get home. - Mashi

Aru gawked at the note, astonished at the movie reference the goddess made. "Is she kidding?"

"I don't think so," Aiden murmured, tucking the note into his back pocket.

This should be easy, right?

They followed Alternate Aru and Aiden to a fro-yo shop, Aru whispering aggravatedly in his ear, "are we sure they're not already together? Because they seem to be on a date-"

She was interrupted by her alternate self, throwing her striped blue hair over a shoulder. "So... what're you going to do with Poppy's number?" Alternate Aru asked nonchalantly, studying the Aiden across from her.

"Throwing it out," Alternate Aiden huffed. Regular Aru stared at the interaction, slowly turning to meet Aiden's eyes.

"They have a Poppy here too?" She asked annoyedly, frowning when Aiden shushed her.

A plan was forming in his head- and as he shared it with Aru, she smiled in agreement, adding on steps to the plan to make it flow easier.

Just call them matchmakers, cause they were about to get some oblivious motherfuckers together.

It started out that night, Aru sneaking into her alternate universe room, and Aiden doing the same. They each planted notes in the other's writing inviting their alternate selves to the soccer field two blocks away, where they had spent the whole afternoon setting up fairy lights and food and a picnic blanket.

Each note said the same thing- sweet and succinct:

Soccer field, 7.30,

For all the dreams we share and those we don't.

Aru texted Aiden mere ten minutes later, remarking on how her other universe-self was so socially anxious that she just started booking it to the field, not even bothering to text her counterpart.

Aiden recounted the same thing.

In fact, they were counting on the fact that their alternate selves would be so awkward, that they wouldn't even ask about setting the date up.

It was perfect.

They met in the bushes behind the picnic spot, watching the blue-haired Aru and brightly-dressed Aiden sit and eat, at first awkwardly and with a painful amount of tension, then slowly warming up with each other.

They made fun of each other and laughed, and suddenly, at one point in the night, Alternate Aru stopped and stared at her Aiden, prompting the boy to lean in and kiss her.

Aru pumped her fist beside Aiden in the bushes, watching their other universe selves go from kissing to laughing to kissing again.

"I think our job here is done," Aru said softly next to Aiden, pecking him on the cheek. Alternate Aru and Aiden had just set up another date, for the next week at an ice cream stand.

"I think so too," Aiden said satisfactorily, pulling his aunt's note out of his back pocket. "Would you do the honors?" He asked Aru presenting her with the note.

"There's no place like home, there's no place like home, there's no place like home," Aru whispered under her breath, clutching Aiden's hand and closing her eyes. When she opened them again, they were in the museum lobby, a new note in her hand:

Remember that love perseveres in every universe. -Urvashi.

"You're aunt's a little crazy." Aru said, showing him the note.

"No," he said, smiling at the words. "She just cares way too much."

"Eh, fine. But all that talk of ice cream's made me hungry," she complained.

"Maggi noodles?" Aiden asked, already heading to the kitchen.

"You know it, Wifey!"

A/N: @sleep-can-wait thank you for the encouragement! Enjoy!

[illimitablespaces]

Dear Reader, you might recall the music I shared a few days prior, the one from the soundtrack to Tears of the Kingdom (the Gleeok battle sequence, specifically).

I've been listening to that one obsessively, trying to decipher the form (loosely) and the metric changes. It's been a slow go thus far, since the frenetic pacing and unorthodox instrumentation (as far as concert music is concerned) are tenuous territory for me. I've never been that good at transcription by ear, and even with a score on hand, I want to arrive at a sense of form on my own.

As of today (13-8), it seems that the sequence is divided into four parts, along with a brief introduction. Of those four parts, two general motifs are apparent to me--a statement in the low brass (let's label it 'A'), followed by a response in long tones from the upper brass (we'll label this 'B'). When these are developed (in a general sense, not as in classical form), A¹ is stronger, bolder and in a 6/4 (or related) meter; B¹ is slightly embellished, in a fanfare of sorts, but remains in a straight 4/4. The other instruments--strings, some ethnic-sounding percussion ans auxiliary instruments (forgive me, I don't have the requisite knowledge for those specifics; possibly tabla and Erhu, most likely others), synthesizers and piano--play mostly filigree and add color and ornamentation; sometimes frenetic gestures, sometimes rhythmic motifs.

This is all quite rudimentary and off-the-cuff, so to speak, since I'm listening while I am out and about, rather than a concentrated listen while seated and in a quiet place. However, I've been pleased to imagine that I've arrived at some deciphered form, at least in part.

Listening to this excerpted section--without the visual component--allows me to appreciate the scoring for this particular game, The Legend of Zelda: Tears of the Kingdom, more so, I believe, than if I were to listen while playing the game itself. In quite impressed, especially with these rhythmic numbers, and the slower moments have an appreciable, meditative tenderness.

**Another listen (15-8), and a realization...

I had been mistakenly grouping the first part of the "theme" in low brass as 4/4, and while it did align, in a metrical sense, the feeling was awkward and a bit off. I thought perhaps this was the intention, seeing as this is music accompanying battle with a Gleeok, a monstrous three-headed dragon, so what better than to depict musically its unwieldy physiology with an unwieldy grouping within the meter?

I now believe the first main section should be in 6/4, just as it's prime is metrically grouped later on. In this meter, the accented beats of this theme now align much neater, and in sensible phrases falling on strong beats.

I do not know whether my description is sensible, though... I struggle to find an analogy to make this more tangible to the Reader less experienced with music. Also, though I have studied music, I never took to the academic bent, I've always been more of a "feeler" than a theoretician. Thus, my descriptions are more poetic than technical. But that is a subject for another time.

Back to the track in question--it is my suspicion the 6/4 meter prevalent throughout may (in a completely subjective and abstract sense) be symbolic for the 3-headed Gleeok (where those 6 beats divide into 3 compound beats, with two smaller beats for each of those) then that would (to my mind, subjectively speaking) make the triumphant-sounding 4/4 (common time) fanfare in the upper brass representative of Link, our hero. As I stated earlier, it seemed to me this track is divided, in many ways, into two themes: low brass contrasting with upper brass; menacing contrasting with triumphant; 6/4 meter contrasting with 4/4...

For me, this new thought (or the development of previous) is an exciting one, although purely subjective. As a composer, I've taken to imbuing my work with symbolism--keys and chords take on emotional meanings; individual notes are ciphered into hidden messages; note durations and rhythms indicate physical gestures, etc. Strictly speaking, what I compose might not (is not) considered music by some, especially those trained in the art of composition. I know this, and accept it--my desire for extra-musical meaning outside the written notes in the score is something of an embarrassment to more conservative artists. Again, this is another subject for another time. My point here being that the symbolic clash of Monster vs. Hero is too bold to ignore, and musical symbolism isn't unthinkable (think of any leitmotif in opera or film score).

It has occurred to me this dissection may be reaching too far and digging too deep into something more superficial. Yet it has been something to at least distract me from worse thoughts, and if I ever do compose music again (unlikely) then it's an insightful look into something (video game music) that I would not have imagined exploring--and enjoying--some years prior. Curious, then, how I now can't imagine my life without it.

I hope to share more of these rambles over time, on what subjects, well, that's anyone's guess. But it is my sincere hope that you, Reader, have found something of interest in my writing. It has been my pleasure to share it with you.

Until next time, be well, and take care--M

[aurianneor]

La imprecisión artística de los coches ecológicos

I) ¿Qué significa esta tabla sobre coches ecológicos?

Los fabricantes de coches más serios tienen distintos enfoques para reducir las emisiones tóxicas:

Mejorar la eficiencia del motor y la combustión con una mejor calidad de construcción (por ejemplo, Mazda Skyactive-G).

Ayudar a un motor de gasolina o diésel con una batería autocargable. Son los coches híbridos (por ejemplo, el Toyota Auris).

Alternar entre gasolina y electricidad utilizando una batería para cargar el enchufable a la red eléctrica. Son los coches híbridos enchufables (por ejemplo, el Toyota Prius o el Volvo V60).

Carga 100% eléctrica en el punto de recarga (por ejemplo, el Nissan Leaf).

El Nox es el gas de escape responsable de la niebla tóxica en las grandes ciudades. Se debe principalmente a la combustión incompleta del combustible. Eche un vistazo a esta explicación TED-Ed del fenómeno del smog: https://youtu.be/CdbBwIgq4rs?si=39OCCQvY8WW_69v3

Las emisiones de CO2 deben medirse no sólo en el tubo de escape, sino también en la central eléctrica si el coche utiliza electricidad de la red. Hay grandes diferencias entre países según la fuente de energía. Países como Francia recurren a la generación de energía nuclear, que no emite C02, pero traslada el riesgo al de una catástrofe industrial y la contaminación creada por los residuos nucleares. Puede consultar aquí las emisiones de CO2 por kilómetro de los coches eléctricos por países: http://shrinkthatfootprint.com/electric-car-emissions

Algunos fabricantes optan por utilizar aluminio para la carrocería. Esto hace que el coche sea más ligero y, por tanto, consuma menos combustible en carretera. Pero producir aluminio requiere 20 veces más combustión de petróleo que producir acero. Fabricar un coche de aluminio equivale a 2 ó 3 años de consumo de combustible en carretera en términos de emisiones de CO2. Así que, a la hora de comparar vehículos, hay que reevaluar las cifras de los coches de aluminio.

Para la elaboración de este cuadro se ha optado por utilizar datos de «conducción real», es decir, realizada por grupos de científicos independientes.

II) Cuando l’Open science cruza con la industria automovilística

No hay que olvidar que el escándalo Volkswagen fue el resultado de un enfoque de Open science. Investigadores universitarios midieron y compartieron su trabajo sobre la medición de las emisiones de CO2. Hasta entonces, sólo lo habían hecho los fabricantes de automóviles. Los científicos de la Open science comparten sus técnicas y resultados en línea. Este nuevo fenómeno ha pillado por sorpresa a Volkswagen, pero también a otros fabricantes como Fiat y Renault. Ya no pueden jugar con las cifras todo lo que quieran.

Si quieres saber más, lee estos artículos:

– This is the testing rig that caught Volkswagen riding dirty – The Verge: https://www.theverge.com/2015/9/23/9387613/volkswagen-emissions-test-photo-scandal

– Researchers Who Exposed VW Gain Little Reward From Success – New York Times: https://www.nytimes.com/2016/07/25/business/vw-wvu-diesel-volkswagen-west-virginia.html

– Exhaust particles of modern gasoline vehicles: A laboratory and an on-road study – Science direct: https://www.sciencedirect.com/science/article/pii/S1352231014006190

III) No dejes que los gobiernos te avergüencen. Los individuos no son ni mucho menos los únicos culpables.

Aunque la búsqueda del coche más limpio es un objetivo importante, el transporte sólo representa el 14% de las emisiones de gases tóxicos. Para poner estas cifras en perspectiva, compare este porcentaje con los de la industria agrícola y los sistemas de calefacción doméstica, que juntos representan el 49% de las emisiones de CO2. Los datos están disponibles en este documento: Emisiones por sector económico: https://www.epa.gov/ghgemissions/global-greenhouse-gas-emissions-data

Hagamos un paralelismo con los antibióticos. La gente debería usar los antibióticos con sensatez, pero el 50% de la producción mundial se administra a animales de granja(http://www.who.int/bulletin/volumes/93/4/15-030415.pdf) y el 70% de la producción en Estados Unidos (http://www.pewtrusts.org/en/research-and-analysis/fact-sheets/2016/12/antibiotics-and-animal-agriculture-a-primer). 

Para más información, consulte mi artículo Le parapluie à cachetons: https://www.aurianneor.org/le-parapluie-a-cachetons-la-recherche-sur-les/

Es importante volver a centrarse en lo que más contamina: la fabricación de bienes de consumo, el sector inmobiliario y la ganadería intensiva.

How to Avoid a Climate Disaster – The Solutions We Have and the Breakthroughs We Need – Bill Gates

IV) El alquiler social es una subvención camuflada para los fabricantes

Cuando el Gobierno ofrece un coche eléctrico a 100 euros al mes, el dinero público paga la diferencia con el precio de venta al fabricante, que puede subir el precio a voluntad porque el cliente final siempre pagará la misma cantidad. Con la excusa de ayudar a la población, es dinero de los impuestos que va directamente a los bolsillos de los vendedores.

V) El proteccionismo no siempre es virtuoso

El Gobierno francés impone un recargo a los coches eléctricos producidos en China. La medida llega tras el enorme éxito de MG, que ofrece modelos de bajo coste con una tecnología de baterías menos contaminante y más resistente al frío. Esta medida proteccionista significa que los fabricantes europeos no tendrán que innovar y seguirán vendiendo caros vehículos eléctricos de litio que pueden incendiarse cuando hace frío y que se explotan en condiciones ecológicamente deplorables para extraer litio en tierra o bajo el mar.

Es más, estos coches tienen ajustes que contaminan: por ejemplo, el aire acondicionado se enciende cuando no hay nadie en el Tesla, automáticamente porque Elon Musk así lo ha decidido.

Sería mejor concentrarse en los coches eléctricos que utilizan sal o hidrógeno.

VI) Contaminación de los neumáticos

Los neumáticos producen una media de 1850 veces más partículas que los tubos de escape. Con la tecnología actual de coches eléctricos de litio, que tienen una autonomía de unos 500 km, los vehículos necesitan una gran batería, lo que los hace más pesados. Las emisiones de partículas de los neumáticos están relacionadas con el peso. Esta contaminación relacionada con los neumáticos es más importante que la de los tubos de escape. Esta contaminación por partículas aumenta el riesgo de cáncer y actúa como disruptor endocrino para la fauna. El 87% del Mediterráneo está contaminado por microplásticos.

Car tyres produce vastly more particle pollution than exhausts, tests show – The Guardian: https://www.theguardian.com/environment/2022/jun/03/car-tyres-produce-more-particle-pollution-than-exhausts-tests-show

Do electric vehicles produce more tyre and brake pollution than their petrol and diesel equivalents? – RAC: https://www.rac.co.uk/drive/electric-cars/running/do-electric-vehicles-produce-more-tyre-and-brake-pollution-than-petrol-and/

VII) Si quieres comprobar las cifras de mi tabla, aquí las tienes:

– Registre néerlandais des émission de CO2  pour les véhicules routiers: https://www.emissieregistratie.nl/erpubliek/documenten/Lucht%20(Air)/Verkeer%20en%20Vervoer%20(Transport)/Wegverkeer/TNO%20(2016)%20Dutch % 20CO2% 20emission% 20factors% 20for% 20road% 20vehicles.pdf

– Émissions de Nox et de Co2 testées sur la route: https://www.theicct.org/sites/default/files/publications/ICCT_RoadTested_201709.pdf

https://www.test-achats.be/auto-velo/autos/dossier/dieselgate-faites-vous-partie-des-gens-trompes/telecharger?ressourceUri=F3D9F3DFD8B55DCFD01E8D383C55963C0BDACB40

– Calculateur d’analyse des émissions: http://www.nextgreencar.com/tools/emissions-calculator/

– Émissions liées aux carrosseries en acier et en aluminium: https://www.oecd.org/env/cc/2483490.pdf

http://www.electroheatinduction.com/how-to-calculate-electricity-cost-for-melting- métal-dans-induction-fusion-four

Electric cars grab almost half of sales in oil-producing Norway – Reuters: https://www.reuters.com/article/us-autos-electric-norway/electric-cars-grab-almost-half-of-sales-in-oil-producing-norway-idUSKCN1TW2WO

Electric cars grab almost half of sales in oil-producing Norway – Reuters: https://www.reuters.com/article/us-autos-electric-norway/electric-cars-grab-almost-half-of-sales-in-oil-producing-norway-idUSKCN1TW2WO

La Tesla Model 3 obtient la note maximale au test européen de sécurité des passagers – @phonandroid : https://www.phonandroid.com/tesla-model-3-obtient-note-maximale-test-europeen-securite-passagers.html

TESLA Model 3 vs BMW M3 Track Battle | Top Gear: https://youtu.be/DSRWKxytW40

Arnold Goes Undercover as a Used Car Salesman to Prank Customers: https://youtu.be/rXodSqMpuUQ  

Deep-Sea Mining –  Last Week Tonight with John Oliver (HBO): https://youtu.be/qW7CGTK-1vA?si=7wHLB_cxPz4nx3jb

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Transportes públicos gratuitos: https://www.aurianneor.org/transportes-publicos-gratuitos/

Piste scooter / Moto: https://www.aurianneor.org/piste-scooter-moto-healthy/

Le Paon Scooter: https://www.aurianneor.org/le-paon-scooter-econoniques-par-rapport-a-une/

Healthy Road: https://www.aurianneor.org/healthy-road-etre-en-meilleure-sante-etre-plus-a/

Aviones propulsados con hidrógeno: https://www.aurianneor.org/aviones-propulsados-con-hidrogeno/

Le transport zéro émission: https://www.aurianneor.org/le-transport-zero-emission/

Fund: https://www.aurianneor.org/fund-selon-le-dernier-rapport-du-fonds-monetaire/

Consumption: Dream & Reality: https://www.aurianneor.org/consumption-dream-realitymore-love/

Le parapluie à cachetons: https://www.aurianneor.org/le-parapluie-a-cachetons-la-recherche-sur-les/

Tomorrow – Chap 2: L’énergie: https://www.aurianneor.org/tomorrow-chap-2-lenergie-demainlefilm/

Energy and Civilization – Vaclav Smil: https://www.aurianneor.org/how-energy-makes-life-possible-bill-gates/

Solar Oven: https://www.aurianneor.org/solar-oven/

La vivienda: https://www.aurianneor.org/la-vivienda/

Les intermédiaires: https://www.aurianneor.org/les-intermediaires/

The artistic blur of ecological cars: https://www.aurianneor.org/the-artistic-blur-of-ecological-cars-i-what-this/

Le flou artistique des voitures écologiques: https://www.aurianneor.org/wp-admin/post.php?post=1118&action=edit

[gothgirlmahi]

Carpe Noctem - Seize The Night Part 1

Pairing: Demon!Bucky x Reader

Summary: You screw up your Latin homework and end up summoning a demon. Again. Good news is he’s hot. And he makes you wanna scream, but without the s.

Word Count: 700 words

Warnings: not much here but part 2 is spicy

--------------------

The diner wasn't too crowded. A couple tables over there was an older man sipping a coffee and reading the paper. A few booths away from you was a young couple on a date, whispering urgently to each other. You sat at your own table alone, your textbook spread open, laptop turned on and pencil writing furiously in your notebook.

You stopped and scratched your head in confusion, the pencil twirling in your free hand as you perused the words in your textbook. Latin had never been your strong suit, but you were determined to get this right. Your tongue dipped out of your mouth slightly in concentration as you read the phrase out loud.

The next second, it felt like all of the warmth had been sucked out of the room. You turned your gaze out the window and saw the sky had gone red. You huffed in annoyance before turning your gaze back to the restaurant. Everyone was frozen in their spots. The waitress was stuck refilling the older man's coffee and the young couple was frozen in their argument.

A cloud of shimmering black smoke across from you revealed someone you hadn't seen in a while.

Bucky leaned back in the chair with an easy smile on his face. He leaned over to steal a fry form your plate before looking at you seriously.

The first time this happened it was scary. The second time, it was off putting and nerve wracking. The third time was just plain embarrassing.

“Doll, this is the third time. I’m starting to think it’s on purpose.”

“No, Mr. Demon sir," you still weren't really sure how to address him, "I swear I’m just really shitty at Latin. How as I supposed to know how to say tabula.”

“You didn’t say that. You said tabla and that's not the only mistake you made. That’s why I’m here. You could have used google translate or something. That didn't even sound like Latin. If anything, it was closer to really really broken Spanish. How the hell do you accidentally summon a demon? That's talent."

“I did use google translate.”

“Apparently not well because look where I am."

“You’re giving me a lot of hostility right now and honestly I don’t need that because I’m already anxious about getting a good grade in this class.”

“You’re anxious about the class and not the demon in front of you?” Bucky was looking at you incredulously, as if he was shocked you weren't pissing your pants and crying right now. You had bigger fish to fry.

“Look, man. You’re scary but not scarier than my student loans. I literally can’t afford to fail a class this semester. And I’m supposed to graduate. Failing is not an option.”

The demon rolled his eyes.

“Whatever. Just don’t summon me again unless you want to make a deal.”

“Well clearly you speak Latin so if you helped me study this wouldn’t happen again," you told him matter-of-factly. Bucky looked at you like you had grown a second head right in front of him.

“Help you study? Have you lost your mind? Do I look like a tutor?”

You shrugged. Hmm. Maybe flattery would work?

“You look more like a really pretty fallen angel with those baby blues.”

The demon sighed deeply, a crease forming between his brow as he looked you over. You were a hopeless enough case that you even had a demon feeling sorry for you.

“Okay. I’ll help you with your fucking homework.”

You fought the urge to jump out of your seat and dance. Sure, you were shitty at Latin, but you'd be lying if you said you didn't have any ulterior motives. The truth is, Bucky was gorgeous and you wanted a slice of that. Any way you could get it.

You knew being around a demon should make you want to cry out or scream for help, but this one…was hot. You were screaming alright. But without the s.

You opened your notebook and the two of you got to work.

---------------------

Mahi's Monster Mash

[burlveneer-music]

Nicolas Mortelmans - MĀYĀ - Indo-jazz fusion from Belgian sitarist & band

Nicolas Mortelmans is a passionate sitar player and multi-instrumentalist from Antwerp, Belgium. Nicolas is a fusion sitar player and student of Indian classical music. In 2010, he bought his first sitar and left for India. He fell in love with the mystical sounds of the sitar and immersed himself in it. For the next 7 years, he went to India every winter to study the traditional way with different sitar masters. Since 2017, he has been trained by the world-renowned Anoushka Shankar. Live, Nicolas plays an electric sitar with which he tries to build a bridge between his recent love for Indian music and his roots in rock, jazz and electronica. Nicolas has an open mind and literally any musical style or tradition can inspire him. His concerts can be both meditative and explosive. MĀYĀ is his debut album as a leader of his own band. Musicians: Nicolas Mortelmans (electric & acoustic sitar, tanpura) Tarang Poddar (tabla&vocals) Ravichandra Kulur (flute) Benny Bettane (handpan) Joeri Wens (tombak) Jonas Meersmans (guitar) Roland van Campenhout (guitar) Stef Kamil Carlens (bass) Tim Vanhamel (guitar) Simon Segers (drums) Surya (vocals) Artwork & Graphic Designy by Pieter Pan.

[aftaabmagazine]

In that Breath - Spiritual Lyrics as Gateway to the Divine from Kabul’s Kharabat 

در آن نفس

In that Breath 

Two captivating renditions of a composition by the revered استاد محمد هاشم چشتی Ustad Mohammad Hashim Chishti (1944-94) featuring lyrics by the master poet of the ages, سعدی Saadi, vividly showcase the distinct and intriguing musical traditions of کابل Kabul and هرات Herat. 

These performances, by two celebrated vocalists, استاد مهوش Ustad Mahwash and استاد جلیل احمد دل‌آهنگ Ustad Jalil Del Ahang, present a rare and precious chance to delve into the unified artistic expression born from the rich cultural heritage of Kabul’s خرابات Kharabat musician quarter.

The Poem by Saadi  سعدی

In that breath when I pass, may I be yearning for you 

بدان امید دهم جان که خاک کوی تو باشم

I give up my life with the hope of becoming the dust of your alley

حدیث روضه نگویم گل بهشت نبویم

I will not speak of the gardens of paradise nor smell the flowers of heaven

جمال حور نجویم دوان بسوی تو باشم

I will not desire the beauty of the houris but steer towards you

Translated from the Farsi by فرهاد آزاد Farhad Azad with edits by پروین پژواک Parween Pazhwak

استاد مهوش Ustad Mahwash's Version Liner Notes

This song In that Breath was composed by Ustad Mohammad Hashim Chishti (1944-94). 

This recording by Ustad Mahwash was released in 2007 by the Accords-Croises label based in فرانسه France. She was the first woman to have been conferred the honorary title of "Ustad" in 1977 in Kabul by the Ministry of Culture. 

Spiritual Lyrics as Gateway to the Divine from Kabul’s Kharabat 

By Farhad Azad 

The lyrics embody صوفی Sufi ideals, expressing fervent longing for the beloved, rejecting worldly pleasures in favor of divine love, seeking annihilation of the self in union with the Divine, and using the beloved as a symbol for the ultimate reality. 

In Kharabat, where the songs held deep spiritual significance, استادان masters or ustads would often require their students to perform an ablution وضو (wuzu), before singing. This ritual purification emphasized the sacred nature of the poetry and music, ensuring the singers approached their performance with reverence and spiritual readiness.

Reflecting on her musical journey in the CD’s liner notes, Ustad Mahwash says “I am a follower of the sufi path and our Master Mohammad Chishti who encouraged devotion through the practice of 'mystical audition' or سماع Sama. I sing everything that relates to love.” 

Ustad Del Ahang's Version Liner Notes

This استاد جلیل احمد دل‌آهنگ Ustad Jalil Ahmad Del Ahang’s (1961-2018) rendition of در آن نفس (In that Breath) is a moving example of the Kharabati school of music, honed under the tutelage of استاد سرآهنگ Ustad Sarahang (1924-83) and later استاد موسی قاسمی Ustad Musa Qasemi (1936-95). 

From Kabul to Herat: The Journey of Kharabat’s Spiritual Music

By Farhad Azad 

The music of کابل Kabul’s خرابات Kharabat district, a cultural gem, embarked on a poignant journey to هرات Herat as early as the 1930s. This migration was not merely a physical movement of aspiring artists to Kabul to study under the masters, but a profound cultural exchange that shaped the musical landscape of Herat, carrying with it the emotions and aspirations of a community.

This استاد جلیل احمد دل‌آهنگ Ustad Jalil Ahmad Del Ahang’s (1961-2018) rendition of در آن نفس (In that Breath) is a profoundly moving example of the Kharabati school of music, a testament to the emotional depth and beauty that can be achieved through music. His soulful interpretation, filled with longing and devotion, resonates with the spiritual essence of the Chishti Sufi order, inviting the listener on a journey of self-discovery and transcendence. 

Exiled in ایران Iran in 1998, Ustad Jalil Ahmad Del Ahang captured the haunting performance, accompanied by استاد رحیم خوشنواز Ustad Rahim Khushnawaz (1943-2010) on robab, عظیم حسن‌پور Azim Hassanpour on tabla, and غلام سخی رسولی Ghulam Sakhi Rasouli on dutar. 

The reverend musician and composer استاد محمد هاشم چشتی Ustad Mohammad Hashim Chishti (1944-94) traced his lineage to the چشتی Chishti Sufi order a spiritual tradition established in the 900s AD by ابو اسحاق شامی Abu Ishaq Shami in the town of چشت Chisht, located in present-day Herat province افغانستان Afghanistan. The Chishti Sufi order, with its emphasis on music as a spiritual practice, played a pivotal role in developing and preserving the Kharabati school of music, infusing it with spiritual depth and significance. 

The Chishti practice, renowned for its profound emphasis on سماع Sama, a devotional practice of evoking the divine presence through music and poetry, is not just a performance, but a transformative spiritual journey. This unique aspect of the Chishti practice adds a layer of depth and richness to the music, elevating it beyond mere entertainment to a profound spiritual experience that resonates with the soul.

The unique lineage of this صوفی Sufi musical tradition is a testament to the enduring power of cultural exchange and the fluidity of art and culture. Born in the heart of Herat, the Chishti Sufi order’s musical essence found its way to Kabul through the descendants of Ustad Hashim Chishti. 

His descendants, invited from هند مرکزی central India by امیر شیرعلی خان Amir Sher Ali Khan, the ruler of کابلستان Kabulistan in the 1870s, played a crucial role in carrying forward the musical tradition, demonstrating the enduring power of cultural exchange and the fluidity of art and culture, and the importance of preserving such cultural practices.

The poet لیلا صراحت روشنی Layla Sarhat Rushani (1958-2004) aptly observed that artistic works with “simplicity in the expression” are akin to  “a stream of pure, clear water, and clear waters often make their depths appear shallower than they actually are.” 

While seemingly lovely and simple on the surface, these two renditions of Ustad Hashim’s composition carry a profound depth—a millennia-long journey of verse and melody passed down through generations, traversing vast distances before returning to their ancestral home. The music, a testament to the interconnectedness of human expression, transcends geographical boundaries and historical epochs, resonating with listeners across time and space.

[dustedmagazine]

Milford Graves, Arthur Doyle, Hugh Glover — Children of the Forest (Black Editions)

Children of the Forest by Milford Graves, Arthur Doyle, Hugh Glover

Drummer Milford Graves rarely recorded during his lifetime, and, until recently, most of his releases were long out of print. Corbett vs. Dempsey began to rectify that with key reissues of Bäbi, his trio with reed players Arthur Doyle and Hugh Glover, and The Complete Yale Concert 1966, his duos with Don Pullen. TUM records stepped in with Wadada Leo Smith’s Sacred Ceremonies, a 3 CD set including an incendiary duo with Graves along with a trio with Graves and bassist Bill Laswell. Since his death in February, 2021 Black Editions Archive has stepped up the game, digging in to Graves’ vaults, first with an issue of a trio set by Peter Brötzmann, Milford Graves, William Parker, and now, with Children of the Forest, a set of recordings captured in Graves’ Queens workshop with Doyle and Glover in the months leading up to the Bäbi session. The two-LP set documents a January 1976 duo session with Graves along with Glover on tenor saxophone, a brief drum solo from February of that year and a March trio session with Graves, Glover on klaxon, percussion and vaccine (a Haitian one-note trumpet) and Doyle on tenor saxophone and flute. The torrid rawness of these recordings looks toward the torrential barrage of Bäbi but brings out a more ritualistic edge to the playing.

Graves had spent his early years studying African drumming, tablas and playing timbales in Latin jazz bands and that sense of time, extended from African and Caribbean ceremonial music and ritual imbue these sessions. Hugh Glover talks about this and the time he spent with Graves, whom he refers to as Prof, in the extensive interview included with the LP set conducted by Jake Meginsky. “We were listening to the music of the peoples of the interior forest of the Congo… First, the Prof’s mood sets up a tribal-like atmosphere. It’s Congo-like — possession states. The rhythms, I think they immediately stimulated the need to dance… The next thing one must know and be aware of is that Milford Graves, he is not a time-keeping drummer like most jazz drummers. Prof represents the epitome of traditional hand drumming. I’m talking about ceremonial music and ritualistic sounds most familiar with divination.” 

Hugh Glover only recorded a few times so the January duo session with him and Graves is a particular find. The first of the four improvisations starts out with the percussionist’s churning thunder, leading to the entry of the tenor player’s hoarse, braying cries. The two had known each other for a decade at that point and Glover had been part of a European tour of Graves’ quartet along with Joe Rigby and Arthur Williams. That symbiosis is immediately evident. There’s a fluid sense of polyphony and elastic polyrhythms at play as the two bound along with ebullient intensity. The music is charged with open, spontaneous interchange and while the intensity level is high, they never overpower each other. Graves’ percussion work is revelatory here, spilling across his kit with a limber, propulsive dynamism. One can hear the legacy of African and Latin American rhythms exploded out with the drummer’s lithe control of tuned skin and slashing cymbals, with masterful control of dynamics and timbre. The inclusion of a short, 2-minute recording from the session reveals their careful attention to detail as the two sound-check the room and their balance and then charge into a compact give-and-take. Their concluding 7-minute improvisation is a particular highlight as they ebb and flow with synchronous fervor. 

The inclusion of a three-minute drum solo, recorded in February, is a brilliant addition to the set, particularly since Graves didn’t release any solo recordings until his two discs on Tzadik that came out in the late 1990s. On this 1976 recording, Graves distills his unified, multi-limbed attack into a roiling tempest of energy. Each thundering salvo, each cymbal crash, each resounding wallop of the bass drum is meted out with focus and intention. Glover remarks that listening to the solo recording he was struck by “the melody, and the melody of the tones that he gets, the way he rocks from one melody pitch to another. It has always been a mystery to me how Cuban drummers in Bata were able to modulate the rhythm and the meter. Well, it takes more than one player to do it Cuban style. Prof shows you can do it as one player.” 

The three March improvisations with Graves, Glover, and Arthur Doyle provide a notable link in the trajectory toward the session recorded a few weeks later that would be released as Bäbi. Glover reminisces about the March session here, noting “When we played, though, Doyle and I, we weren’t thinking of BÄBI [a name Graves used for his conceptual approach to improvisation]. We were thinking of… well I know I was thing of, and I’m pretty sure he was thinking, how do we keep up with Prof!” While that may have been going through their minds, that uncertainty never reveals itself in their playing. Graves begins the 12-minute improvisation that opens the set with tuned cascades of rim shots and toms and the two quickly join in, with Doyle’s raspy tenor crying out against the shifting percussion. The modulating rhythms and meters of Graves’ solo are the foundation of the buzzing whorls that develop in three-way, spontaneous orchestration which never flags for a moment. The shorter second piece kicks off with an extended section of chattering drums, making way for the two partners to interject barking, ecstatic exclamations that mount with intensity as Graves hurtles in with clanging cowbell. The final piece is the most abstracted, with Doyle’s high-pitched flute skirling against the chafed yawp of Glover’s klaxon and Graves’ coursing flow. Here, improvisation and ritual are melded together with pelting focus. 

Glover concludes his interview reminiscing  that “It was like Prof was saying, there is no ensemble, there is no musical configuration that I can’t play with as long as I’m allowed to play what I want to play. In other words, his confidence factor was like, I know I have the essence of where any group wants to go. If they allow me to do my thing, I’ll take them there.” The sessions released on Children of the Forest are a fitting testament to that belief and provide a welcome addition to the documentation of the lineage of Graves’ musical legacy. Here's to hoping that Black Editions continues to mine the Prof’s archives. 

Michael Rosenstein

[imtheflash]

Hello, I see u have stumbled into my blog! About me myself and I'm trans! Love that for me. I am a nerd. Still studying. I am barely sane. I have 4 names Aditya Raj Dayal u don't get the fourth </3. I love old music. I play saxophone, primarily baritone sax, acoustic and electric guitar, a wee bit of piano and I plan on learning tabla!

Here you shall find

- me simping over people (usually marvel but others as well)

- fanfiction sometimes I writes sometimes I don't shoot me an ask or a request and ye shall be answered

- a shit. Ton. Of. Stupidity. The sheer amount of it may blind you

-the occasional video of me playing guitar

- a bunch of trans boy things!

- a bunch of music shit. Like a lot. I love this stuff it's literally the only reason I'm alive I live die and breathe music if u send me song recs I will love you forever

- the occasional post in Hindi, my Bengali is not very good, if any of you would like to speak to me in Bangla gimme a hot sec

I am a sucker for Indian classical arts, dance music anything I've been trying to figure out what taal is? Yep still don't understand..i desperately want the preciseness of a bharatnatyam dancer and grace of a Kathak dancer while simultaneously having the quads of a kuchipudi dancer and expressions of a kathakali while also the flow of oddisi - y'all get the point. Send me anything about that and holy shit id die for u. I might even live for u.

[sciencefor2]

Werner’s dream - El sueño de Werner

Alfred Werner was born in Mulhouse, Germany. Chemist and professor at the University of Zurich. Some of us will remember him for winning the Nobel Prize in Chemistry in 1913, others because he proposed the periodic table classification as we know it today, and others for his numerous contributions to coordination chemistry, with more than 170 publications. But what struck me most was the story my professor of Symmetry and Molecular Topology told me.

Werner was a natural worker. He developed his thesis on the stereochemistry of metal complexes and was insistent on this scientific field, which was then the topic of the moment. He was so focused on metal coordination complexes that one night, he dreamed up the ideas we now see embodied in his postulate on Kinetic Coordination Theory. He got out of bed and began to write and work on what he had dreamed. Thus, he came to postulate the following: 

"Even if, judging by the valence number, the combining power of some atoms is exhausted, in most cases, they still possess the ability to participate in the construction of complex molecules with the formation of well-defined atomic bonds. The possibility of acting in this way leads us to conclude that, in addition to the affinity bonds designated as principal valences, the atoms can form other bonds called auxiliary valences"—excerpt from Inorganic Chemistry, T. Moeller.

Regarding the nomenclature proposed by Werner, it has been modified with the evolution of science, but it has served as a basis for subsequent studies.

Moral: You will never know where inspiration is going to come from. That's why you should always have a notebook, pen, or cell phone. Those ideas may be impossible, but they can come true if you dream them. 

Alfred Werner nacido en Mulhouse, Alemania. Químico y profesor de la universidad de Zurich. Algunos le recordaremos por haber ganado el Premio Nobel de Química en 1913, otros porque propuso la clasificación de la tabla periódica que conocemos actualmente y otros por sus numerosas aportaciones a la química de coordinación, con más de 170 publicaciones. Pero lo que más me impactó a mi fue la historia que mi profesor de Simetría y Topología molecular me contó.

Werner era un trabajador innato. Desarrolló su tesis en la estereoquímica de complejos metálicos y fue insistente en este tema, que por aquel entonces era el topic del momento. Estaba tan enfocado en los complejos de coordinación metálicos que una noche, soñó con las ideas que ahora vemos plasmadas en su postulado sobre la Teoría de la coordinación cinética. Se levantó de la cama y comenzó a escribir y trabajar sobre lo que había soñado. Así llegó a postular lo siguiente:

“Aun cuando, a juzgar por el número de valencia, el poder de combinación de algunos átomos quede agotado, en la mayoría de los casos todavía poseen la capacidad de participar, además, en la construcción de moléculas complejas con la formación de enlaces atómicos bien definidos. La posibilidad de actuar de esta forma nos hace llegar a la conclusión de que, además de los enlaces de afinidad designados como valencias principales, los átomos son capaces de formar otros enlaces denominados valencias auxiliares”. Extracto sacado de Química Inorgánica, T.Moeller.

En lo referente a la nomenclatura propuesta por Werner se ha ido modificando con la evolución de la ciencia, pero ha servido como base para los estudios posteriores.

Moraleja: Nunca vas a saber dónde te va a venir la inspiración, por eso siempre hay que tener cerca un cuaderno y un boli, o tu móvil. Esas ideas pueden ser imposibles, pero se pueden hacer realidad si las sueñas.

[poetrificationfestival]

I performer che saliranno sul palco dello Spazio211

Federico Sanesi inizia a studiare percussioni in giovanissima età con i maestri Italo Savoia e Enrico Lucchini. In seguito con David Searcy presso la Civica Scuola di Musica di Milano. Si nutre di numerose e fondamentali esperienze artistiche con suo padre Roberto Sanesi, artista, poeta e traduttore. Dal 1980 viaggia in India, dove intraprende lo studio del Tabla con il Maestro Pt.Sankha Chatterjee tra Venezia, Calcutta e Berlino. Il suo lavoro di musicista si volge all'integrazione di diverse culture e linguaggi musicali ed extra musicali come teatro, danza, cinema, arti visive e poesia. Dal 2001 insegna Tabla nel Dipartimento “Tradizioni musicali extraeuropee ad indirizzo Indologico” presso il Conservatorio “A. Pedrollo” di Vicenza. Ha svolto attività didattica anche presso i Conservatori di Alessandria, Cagliari, Milano, Padova, Parma e Brescia. Ha tenuto concerti in Europa, Africa, Asia, Nord e Sud America, suonando con musicisti di tutto il mondo.

Nuria Sala Grau è nata a Barcellona, ​​in Spagna. Ha studiato le tecniche di danza moderna Graham e Limon a Losanna, Svizzera e ha continuato la sua formazione nella danza classica e contemporanea in Francia, Lione e Parigi. Ha lavorato con la compagnia di danza "Cecil P. Booth", diretta da Chantal De Launay, e al Conservatorio di Vicenza. Nel 1988 incontra Savitry Nair, con la quale inizia gli studi di Bharatanatyam. Ballerina di danza contemporanea, Nuria ha scelto l’India come luogo di formazione e la guida di celebri maestre come Krishnaveni Lakshmanan e Kamala Rani. Il suo lavoro oggi la porta a rileggere in chiave moderna e occidentale la secolarità di questa danza ieratica, dalle origini millenarie.

Barbara Giuliani, nata a Pescara nel 1979, ha frequentato il collettivo Voici la Bombe e Cochonnerie Labile; ha fondato due piccole case editrici, Barrette Indipendenti e le edizioni trepuntinidisospensione; è stata slammer e MC per PoetrySlamAbruzzo; è redattrice per la sezione Odile della rivista Neutopia; da gennaio 2019 insegna scrittura poetica presso la Scuola Macondo di Pescara; con Debora Vinciguerra, la trilogia di installazioni di poesia reale (Eptá - 2912 metri sul livello del mare - Velanidiá); direttrice artistica del FLAP (Festival di libri e altre cose sezione Poesia). Ha pubblicato le raccolte di poesia Bergamo Mantova solo andata (BCE Samiszdat - 2009), Floppy (Autoprodotto - 2015), Cloroformio (Prospero Editore - 2016), L’Aria Rancida (Gli elefanti edizioni - 2018), Bianca (Neo Edizioni - 2022), Occidente (Round Midnight Edizioni - 2023). Al Premio Roberto Sanesi presenterà una performance tratta dal suo ultimo poema inedito, Materia Madre.

[ajivasanacademy]

Discover the Best Tabla Classes and Harmonium Classes at Ajivasan Music and Dance Academy

Are you passionate about Indian classical music and looking to enhance your skills? Whether you’re a beginner or an experienced musician, Ajivasan Music and Dance Academy offers exceptional opportunities for learning and mastering traditional instruments. Our music academy, renowned for its diverse and high-quality offerings, is your destination for the best tabla classes near me and harmonium classes.

Why Choose Ajivasan Music and Dance Academy? Ajivasan Music and Dance Academy stands out as a premier institution for music and dance in Mumbai. We take pride in our comprehensive curriculum, expert instructors, and welcoming environment. Our commitment to nurturing talent and providing top-notch education makes us the preferred choice for those searching for the best tabla classes near me and harmonium classes.

1. Expert Instruction in Tabla and Harmonium

At Ajivasan Music and Dance Academy, we understand that mastering an instrument requires guidance from experienced teachers. Our tabla classes are conducted by seasoned musicians who have honed their skills over years of practice and performance. Similarly, our harmonium classes are led by experts who bring a deep understanding of this beautiful instrument. Both our tabla and harmonium instructors are dedicated to helping students reach their full potential, ensuring that you receive personalized attention and feedback.

2. Comprehensive Curriculum

Our curriculum for tabla and harmonium classes is designed to cater to students of all skill levels. For beginners, we offer foundational courses that cover the basics, including rhythm patterns, hand techniques, and basic melodies. Advanced students can delve into complex compositions, improvisation, and performance skills. Whether you’re looking for tabla classes to develop a strong rhythmic foundation or harmonium classes to explore intricate melodies, our academy provides a structured path to achieve your musical goals.

3. State-of-the-Art Facilities

Our academy is equipped with modern facilities and high-quality instruments to ensure that every student gets the best possible experience. When you join our tabla classes or harmonium classes, you’ll have access to well-maintained instruments and a comfortable learning space that fosters creativity and focus.

4. Performance Opportunities

One of the unique aspects of studying at Ajivasan Music and Dance Academy is our emphasis on practical experience. We regularly organize recitals, concerts, and workshops where students can showcase their skills and gain valuable performance experience. Our tabla and harmonium classes are designed not just to teach you how to play, but to prepare you for real-world performance scenarios, helping you build confidence and stage presence.

5. Personalized Learning Experience

Understanding that every student has different learning needs and goals, our academy offers a personalized approach to teaching. Our instructors take the time to understand your musical interests and tailor the lessons accordingly. Whether you’re interested in exploring traditional compositions or contemporary adaptations, our tabla and harmonium classes are flexible and customized to meet your needs.

Enroll Today and Start Your Musical Journey If you’re searching for the best tabla classes near me or harmonium classes, Ajivasan Music and Dance Academy is the perfect place to start. Our expert instructors, comprehensive curriculum, and supportive environment are designed to help you achieve excellence in your musical journey.

Don’t miss the opportunity to be part of Mumbai’s leading music academy. Contact us today to enroll in our tabla and harmonium classes and take the first step towards mastering these wonderful instruments. We look forward to welcoming you to our academy and helping you unlock your musical potential.

https://ajivasanmusicacademy.com/tabla-classes/

https://ajivasanmusicacademy.com/harmonium-classes/

[hannahshekinnah0]

CREATIVE NONFICTION

Blog Again

REFLECTION

THE CHANGES A PERSONAL LIFE IN HIGH SCHOOL

When I was in high school, I experienced cutting classes because I was influenced by my friends and classmates. I started skipping school and didn’t prioritize my studies because I thought it wouldn’t take me anywhere.

When we reached grade 10, I couldn’t believe that my friends would leave me and betray me for a new group of friends they met. I realized that I wasted so much time and days because I chose them over my education. I realized that it was wrong to ruin my studies just because of them. They were the wrong choice, not my education. I made a big mistake when I was still in high school, and even when I graduated from junior high, I said I wouldn’t continue studying in grade 12 because I chose selling instead. But it didn’t continue because I became lazy. When I enrolled in senior high, I chose a course that I wanted, but unexpectedly, it wasn’t available in the school I enrolled in. I didn’t have a choice anymore, so I chose ITC. I continued, but in the second semester, I suddenly became lazy because I didn’t learn anything due to online classes because of COVID-19. I stopped and repeated grade 11 because I got involved with my friends again. I stopped because I chose hanging out with them, but I didn’t expect to be left alone again. So I decided to enroll again in a public school because I thought the course I wanted was available there, but I didn’t expect that it wasn’t. But I didn’t lose hope because I chose to take Humss.

What I learned is that I realized I was doing something wrong because I didn’t notice that I was neglecting my studies because I got involved with my friends and learned how to drink because of my association with them. My grades were affected because I didn’t study properly, and I realized that in the end, regret comes too late because I didn’t prioritize my studies and chose hanging out with friends instead.

The overall lesson from my education is that I learned to focus on my studies rather than hanging out with friends because they don’t bring anything beneficial to my education. They influenced me to stop and imitate their actions like hanging out or other things.

TRAVELOGUE

Unveiling Nature’s Treasures

Romblon, a hidden gem in the Philippines, is a paradise waiting to be explored. Inah’s recent journey to this captivating province was a remarkable adventure that left her in awe of its natural beauty. Join her as she unveils the treasures of Romblon in this travelogue.

Anticipation grew as she set foot on Romblon’s shores. The warm welcome from the locals and the gentle sea breeze instantly made her feel at home. After settling into her cozy beachfront accommodation, she wasted no time and headed straight to the nearest beach. The pristine white sand and crystal-clear turquoise waters were a sight to behold.

Island Hopping in Tablas Island Embarking on an exhilarating island hopping adventure, Inah’s first stop was Alad Island. Its secluded beaches and vibrant coral reefs provided the perfect backdrop for snorkeling. Swimming amidst a kaleidoscope of colorful fish and coral formations left her mesmerized. Next, she visited Looc Bay, known for its breathtaking limestone cliffs and hidden coves. The panoramic views from the top of the cliffs were simply breathtaking.

Exploring Romblon Town Dedicated a day to explore Romblon Town, the capital of the province. As she strolled through the charming streets, she marveled at the Spanish-era buildings that stood as a testament to the town’s rich history. A visit to the Romblon Marble Industry was a highlight of her day, where she witnessed skilled artisans crafting intricate marble sculptures.

Trekking to Mount Guiting-Guiting For the adventurous soul in Inah, conquering Mount Guiting-Guiting was a must. Accompanied by experienced guides, she embarked on a challenging trek to the summit. The lush forests, cascading waterfalls, and panoramic views from the peak rewarded her efforts and left her in awe of nature’s grandeur.

Relaxing in Carabao Island concluded our trip by unwinding on the serene beaches of Carabao Island. The tranquil atmosphere and crystal-clear waters provided the perfect setting for relaxation. She spent our day basking in the sun, swimming in the inviting waters, and indulging in delicious local cuisine.

Journey through Romblon was a transformative experience. From the hidden beaches to the majestic mountains, she discovered the true essence of this underrated destination. Romblon’s natural wonders not only captivated her senses but also allowed her to connect with herself and the world around her. It was a trip that left her with cherished memories and a desire to explore more of the Philippines’ hidden treasures.

LITERARY JOURNALISM

“The Invaluable Pillar of Philippine Cinema”

In the world of Filipino cinema, there are a few names that have made a mark and left a deep impression. One of these names is Piolo Pascual, an actor who has proven that true talent and dedication are keys to continuous success. Piolo Pascual, also known as “Papa P”, is not just an actor. He is also a singer, model, and producer. His first television appearance was in 1994 on a teen-oriented show called “Gimik”. Since then, his rise in the industry has been continuous.

Pascual’s ability to play a variety of roles has become his trademark. From being a romantic leading man to characters requiring deep emotion, there’s no doubt that Piolo is a versatile actor. But his talent doesn’t stop in front of the camera. As a co-founder of Spring Films, Piolo is a leading figure in the independent film scene in the Philippines. His passion for making meaningful and heartfelt films inspires a new generation of filmmakers.

Despite his success, he remains humble and always ready to help those in need. His foundation, the Hebreo Foundation, continues to provide scholarships to underprivileged children. Piolo Pascual is not just an actor. He is an inspiration, a pillar of the industry, and a testament that true success is not only measured by the number of awards or the size of income, but by the positive influence left on people and the Industry.

Overall, the life and career of Piolo Pascual is a testament to the importance of hard work, dedication, and love for the arts. With his continuous offering of his talent and service, there’s no doubt that he will remain one of the pillars of Philippine cinema.

Memoir

“Life Behind My Loved Ones”

In a quiet town in the Philippines, there’s a young woman named Janice. She’s a simple girl who cares deeply for her family and friends. In her life, the two most important people are Kezia, her best friend, and Mommy April, her mother. Janice is a cheerful girl who is always there for Inah. In their friendship, they help, care for, and love each other. With every problem Inah faces, Janice is there to provide advice and support. Whenever Inah encounters a problem, Janice is the first one to rush to her aid. Through their bond, Inah learns the importance of true friendship.

Mommy April, on the other hand, serves as a guide and light in Inah’s life. Through her words and actions, Inah learns lessons that she carries throughout her life. With every challenge that comes, Mommy April is Inah’s rock. Through her hugs and smiles, Inah learns the true meaning of a mother’s love. Between these people, Inah learns the importance of love and friendship. In their company, Inah learns that life is not just about herself, but also about the people who bring color and joy to her life. Through their hugs and smiles, Inah learns that life is a precious journey that should be fought for and cherished.

Overall, Inah’s life is a testament that the true wealth in life is not material things but the people who love and care for us. Inah’s story is a reminder to us that despite the challenges we face, there are people ready to help and love us. Inah’s story is an inspiration for all of us to value our loved ones.

Facial recognition

A TALE OF BEAUTY, KINDNESS, AND STRENGTH

the beauty of Princess Janice M Brito is not only seen in her physical form but also in her character. In her home in Imus, Cavite, she is recognized as a loving woman with a good heart. Wherever she is, her kindness and beauty are always associated with her name.

She stands at 5’2, but her kindness and beauty are immeasurable. Her eyes, sparkling with goodness and happiness, are like fire dancing in the day and night. Under her unique gaze, her beauty is undeniable.

With her skin as clear as a cloudless sky, she embodies the essence of value that gives her the love that dances freely. Even in moments of her furrowed brows, she becomes an animated character like an angry bird, showing her ability to be happy and positive even in the midst of life’s challenges.

Despite her beauty and kindness, it cannot be denied that Princess Janice is a strong woman. Despite the trials she faces, she never loses hope and continues to fight. Her strength and determination inspire many people who know her.

Every day, she continues to bring light and hope to the people around her. With every smile, hug, and word of love, she brings joy and happiness to the people she loves.

The story of Princess Janice M Brito is not only about her beauty and kindness but also about her strength and determination. She is an inspiration to all of us who continue to fight and bring light to the world.

Self obituary

An expression of joy and gratitude

My Dearest Family,

In this moment of expression, I want to convey my profound joy and gratitude. Although writing one’s obituary is no easy task, I believe now is the right time to reflect on the life I have lived and the happiness I have experienced.

Inah, a name always associated with strength, resilience, and a heart overflowing with love. I was born and raised in the beautiful country of the Philippines, a place that taught me deep appreciation for my culture, my fellow countrymen, and the world around me.

From a young age, I have been a beacon of positive outlook and happiness. My laughter is infectious, my smile capable of illuminating a room, and my spirit unwavering. Life is not always easy, but I have faced every challenge with grace and courage, always emerging stronger and wiser.

My life has been a journey filled with amazing experiences, unforgettable people, and beautiful moments. I have traveled, learned, loved, and lived. Every moment, every person, every experience is a chapter in the story of my life, and I wouldn’t change a single page.

I have been blessed with an incredible family and friends who have supported me at every step of my journey. Their love and support have been my strength, their faith in me my inspiration. I hope I have made them proud as they have brought immense joy to my life.

As I reflect on my life, I feel a deep sense of contentment. I have lived with vigor, a heart full of love, and a soul filled with gratitude. My legacy is not material possessions but rather love, kindness, and happiness.

I want to be remembered as someone who lived with heart and purpose, who loved wholeheartedly, laughed often, who never gave up in the face of challenges, and who brought light into the world through her presence.

Inah, the woman with dreams etched in her heart, the woman with a soul brimming with love. That is the real me, and that is how I hope to be remembered.

With love and happiness,

Inah

[burlveneer-music]

Buddy Rich & Alla Rakha - Rich à la Rakha - Sundazed has just reissued this 1968 album on vinyl & CD

Jazz snare & ride cymbal meet classical Indian tabla & pakhawaj! What happens when one of the best jazz drummers of all time combines efforts with one of India’s most renowned tabla players? Voilà! Rich À La Rakha. Calypso-flavored compositions, spontaneous jams, and a genuine instrumental dialogue between the two greats truly makes this a one-of-a-kind listen. Cut all analog and pressed on colored vinyl! In 1968, as young America’s interest in Indian classical music was surging to its peak, Alla Rakha made a landmark record with the big band jazz drummer Buddy Rich. Rich, like Alla Rakha, is an icon, often ranked very near the top of any list of ‘greatest drummers’ regardless of genre. Rich was an exuberant, hot tempered man who frequently alienated friends and peers but, at the same time, “was one of the most technically gifted drummers to ever walk our planet. He had incredible speed and control, power and touch.” Ravi Shankar composed several compositions for both men to play together and brought in smooth jazz flautist Paul Horn (who studied meditation in Rishikesh at the same time as The Beatles in 1968) as well as sitarist Shamim Ahmed to create a musical space within which the two geniuses could experiment. The album Rich à la Rakha, which we share today, is a milestone in the ‘jazz meets Indian classical music’ story. – Nate Rabe (Harmonium: Musical Culture from South Asia and the Diaspora) Includes: Khanda Kafi (Ravi Shankar) • Duet In Dadra • Rangeela (Ravi Shankar) • Nagma E Raksh (Alla Rakha) • Tal Sawari