#veruska

[ddaenig]

𖦹 guess who's back? may is here! purple core! ☆

créditos não são obrigatórios, like or reblog if you save.

[eurovision-revisited]

Eurovision 2004 - Number 6 - Veruska - "Un angelo legato a un palo"

Meanwhile at Sanremo. It's not been a vintage year at the Ariston Theatre. There are so many relatively unknown names that it failed to attract it's usual audience. The TV ratings for the show have been falling and this year, they're the lowest yet.

However there are some bright points even if the names haven't got the longest pedigree in the Italian music industry. Take Veruska Pieroni. She was discovered and encouraged by actress and record producer Claudia Mori. She's had four singles out on a variety of labels over the previous four years and a debut album in 2002 that was debuted at the penultimate ever Un Disco per l'Estate. Her second album is due out later in 2004 and this time she's managed to get an upgrade to Sanremo to promote it. The song she's sent to Sanremo is the title track - Un angelo legato a un palo (An Angel Tied to a Pole).

That does sound like a particularly strained metaphor, yet the story behind it is tragic. For the first verse and a half, she and her partner are happy together. Their love lets Veruska soar even if she thought he was a bit dumb at first. But then there's an explosion. A bomb. I'm unsure if this is a figurative bomb or a real one - it certainly put all the doves to flight. Whatever happened was sudden and he is no longer there, nor will he ever be again.

She puts a whole bunch of feeling and strength into her vocal as the orchestra swells to the crescendo of the choruses - she has to compete with most of the string section as well as the more conventional rock band instrumentation, but her voice can cope well and she's not overwhelmed. I feel that as the song closes, it could easily have gone on for another couple of minute with more of a coda. It's vocal melodrama.

I don't know why this strikes such a chord with me. Of all the songs this year at Sanremo, why is it this one that I love so much? I'm still trying to work it out. I think I may be alone here.

She didn't do great. Even in this weak year, Veruska could only finish eighteenth of the twenty-two songs. The album was released to presumably little success, and then she just disappears. All the biographical information for Veruska just ends with the release of her 2004 album, but there is one tantalising possibility.

In 2009, an Veruska Pieroni published a book on an illuminated manuscript, the Graduale D, held in Prato Cathedral (St. Stephen's) in Tuscany. It still seems to be one of the main works regarding this particular manuscript, although it is the only work published by the author. Although singer Veruska is from Catania in Sicily and not Tuscany, her name is not that common. Did she shift from singing about angels to ecclesiastical history?

[crownsandqueens]

Veruzka Ramirez. Miss Venezuela 1997.

[seramilla]

Veruska and odette starting to date, Clara still hasnt met her and now she's dating her sister! No fair!

Uh oh! How long is that going to last when Carmilla finds out? 😂😂

Odette, your sister isn't going to try and steal your girlfriend. Geez. She just wants to meet her. Introduce her already!

[l3iide]

veruska. Russia, 2017.

character belongs to my friend @/el_diablo_977o on twitter!

instagram | twitter | commissions

[corntort]

av writing concept: Trace having a moment(tm) (either having an derealization episode or agere episode) after waking up from his veruska dream state, and athetos genuinely having to help him through it outside of the usual screwing with him when they get at each other's throats

AUUGGHH THIS ONES RLLY GOOD

[oficialreview75]

🛑 Curso Técnico Profesional en Cejas Y Pestañas Funciona? Veruska Villam...

[hazbinbossbrainrot]

Barbie “Wire” Buckzo

VO: Jinhee Joung

Fave quotes:

“You fuckin' WHAAAAAAAT?!”

— Barbie to Counsellor Jimmy after finding him about killing Blitz’s client

*laughs mockingly* “You don't fucking get it! Just cuz I'm outta rehab doesn't mean I wanna see you. I never wanna see you EVER!"

— Barbie to Blitz after he tries to reconnect with her

Basics:

Zodiac sign: Aries

(Since Barb and Blitz are twins they would have landed on the same birthday, common knowledge really 😂)

Nationality: American (Appalachian) 🇺🇸

Sexuality: Lesbian (not confirmed yet)

Sex: Female

Occupations:

• Pharmacist (incognito)

• Circus performer (formerly)

• Drug lord/smuggler (formerly)

• Rehab patient (formerly)

AU:

Employee of I.M.P

Dislikes:

• Her twin brother

<> Blitz trying to reconnect with her

• Humans

• Being jobless

<> Circumstance threatening her to become jobless

• Being in rehab

Likes:

• Manipulating humans

• Doing or selling drugs

• Having her own life

_____________________________________

Nicknames:

• Barb (by Councillor Jimmy & Blitz)

AU:

• The Traditional Twins (by T.J. >>> when referring to or about Blitz & Barbie 🤣)

* B&B

_____________________________________

Romantic interests (AU):

• Marchioness Stella (post divorce)

• Verosika Mayday

• Calitzzo (OC)

• Sallie May

_____________________________________

Family:

Mother: Tilla Buckzo

Father: Cash Buckzo

(twin) Brother: Blitz Buckzo

(adoptive) Niece: Loona Buckzo

RP (Tixel):

Axel x T.J. = Tixel

Status: Ongoing 🥰

Brother-in-law: Stolas of the Ars Goetia (inevitable)

(step) Niece: Octavia of the Ars Goetia (inevitable)

Niece: T.J. of the Ars Goetia

Nephew-in-law: Axel of the Ars Goetia

Great-niece: Abria of the Ars Goetia

Vampiric name: Ria

Pronounced: Aria

(Like father like daughter 😂)

Great-nephew-in-law Samuel Beaufoy

Great-great-nephew: Claudius Beaufoy of the Ars Goetia

Great-nephew: Axel "A.J.” Junior of the Ars Goetia

Great-niece-in-law: Snow Dust of the Ars Goetia

(illegitimate) Nephew: Nikolas Buckzo-Mayday

Sister-in-law: Royce Sinclair

Niece: Marianne “Mare” Buckzo

Nephew: Sylas Sinclair Buckzo

RP (Blitzika):

Blitz x Verosika = Blitzika (prior breakup)

Status: Discontinued

Mother-in-law: Veruska Mayday (OC)

Father-in-law: King Asmodeus

Sister-in-law: Verosika Mayday

Nephew: Astaroth Mayday

Niece: Tilla Mayday (Jr)

Niece: Evika Mayday

Aunt-in-law: Carmen Lovelace

Cousin-in-law: Mirabel Lovelace

Cousin-in-law: Chloe Lovelace

Other:

(illegitimate) Nephew: Avani of the Goetia-Buckzo

Niece-in-law: Odessa of the Ars Goetia (AU)

Niece-in-law: Enid Zayl of the Ars Goetia

Brother-in-law: Lunar of the Ars Goetia

(adoptive) Nephew: Nero Elderitch

Sister-in-law: Calitzzo of the Ars Goetia

Brother-in-law: Deko of the Ars Goetia

Nephew-in-law: Jack of the Ars Goetia

Great-nephew: James of the Ars Goetia

Great-niece: Rose of the Ars Goetia

_____________________________________

Enemies:

• Employees of I.M.P

* Blitz Buckzo (one sided; former coworker)

* Moxxie Knolastname

Others:

• Counsellor Jimmy (drug supplier; deceased)

• Verosika Mayday (acquainted)

• Fizzarolli (former coworker)

_____________________________________

Abilities:

Natural:

• Human disguise

* Disguise - In "Unhappy Campers" she uses a special wrist watch containing an Asmodean Crystal to take on a convincing human appearance to disguise herself in the living world.

• Prehensile tail

* She is able to use her tail to grab and throw things, as shown when she did this while fighting Moxxie to try prevent him from killing Jimmy in "Unhappy Campers".

• Endurance (TBA)

• Charisma

She can use her charm to manipulate humans, showcased in "Unhappy Campers" when she acted cutesy while making sexual gestures toward Jimmy, so he did what she wanted.

Skillset:

• Summoning portals to earth

• Combat prowess

* She is very handy in hand-to-hand combat, as she was able to throw Moxxie with her tail easily. She takes on aggressive actions more as she was able to fend off Moxxie and Blitz by herself.

• Acrobatics

She may be talented with acrobatics since her family owed a circus.

• Improv (TBA)

• Stealth (TBA)

_____________________________________

Appearance & personality:

Being Blitz's twin sister, she has a striking resemblance to him. Barbie is a slim, red Imp with large curled horns, red eyes with yellow sclera, sharp teeth and black, claw-like fingers. Like the rest of her family, she has a heart-shaped skull marking on her forehead.

Across her black skin are white stripes, some forming crosses on her forearms as well as one crossing out the marking on her forehead. She wears a white and dark red, short striped dress with black, knee-high boots.

As of "Unhappy Campers", she also wears a sleeveless jacket and a wrist watch, which contains a Asmodean Crystal inside the orb allowing her to shapeshift into a human disguise.

Young:

As a child, she lacked the white markings on her arms and forehead she has as an adult. At the time, she also lacked the black markings on the tips of her fingers.

Human form:

When using the power of the Asmodean Crystal, Barbie takes the form of a tan-skinned human woman with dark brown hair in two pig-tails. While she retains her white markings and clothing, her eyes irises change to purple and her sclera to white.

How would you describe Barbie Wire’s personality?

• Manipulative (towards humans)

• Hostile >>> towards Blitz

• Easily triggered

• Demanding

• Narcissistic

• Arrogant

• Cunning

• Selfish

• Rude

[web-series]

amores tropicais - 71

Dandara decide continuar mantendo segredo sobre a sua relação com Heitor.

[Dandara]- por que tá me perguntando isso? Acha que eu tô sendo bancada?

[Vicente]- não, me desculpa, mas é que eu sei que essas clínicas são bem inacessíveis. A maioria é clandestina e oferece muitos riscos pra mulher e pro bebê. Enfim, me perdoa mesmo, não foi minha intenção te ofender.

[Dandara]- sim, realmente essas clínicas são bem complicadas, mas eu tinha...umas economias e consegui arcar com tudo. O dinheiro do meu casamento tinha que servir pra alguma coisa, né.

[Vicente]- é. Você fez bem. 

[Dandara]- e a Natália?

[Vicente]- o que tem?

[Dandara]- vai ter o bebê?

[Vicente]- acho que sim. Ela tá muito confusa com toda essa história.

[Dandara]- não a culpo por nada, mas ainda preciso de um tempo pra conversar com ela. Espero que o Eduardo pelo menos cumpra seu papel e a ajude.

[Vicente]- a minha vontade era de denunciar aquele cara, na boa. 

[Dandara]- a vida vai tratar de fazer com que ele pague. Vamos dar tempo ao tempo.

Vanessa mente e conta para Zulu que vive um relacionamento abusivo.

[Vanessa]- não sei o que faço, sabe? Sempre que falo em terminar, ele me ameaça, discutimos...tô desesperada.

[Zulu]- isso não pode ficar assim! Precisamos, sei lá, denunciar esse desgraçado!

[Vanessa]- ele é muito influente, Zulu, não dá. Qualquer coisa que fizermos se voltará contra nós.

[Zulu]- mas você vai ficar nessa pra sempre? Não pode viver assim!

[Vanessa]- eu vou ser bem sincera: desde que te conheci, estou tão melhor. Me sinto como uma adolescente boba vivendo a primeira paixão.

[Zulu]- não quero que continue assim.

[Vanessa]- por favor, não faça nada e nem conta pra ninguém. Só de ter me ouvido, já...

[Amanda]- licença. Zulu, as mesas estão enchendo, preciso de você.

[Zulu]- sim, já vou. Vanessa, qualquer coisa pode me chamar, tá?

Vanessa afirma com a cabeça, enquanto encara Amanda.

Jéssica se assusta ao receber a visita de Renato em seu apartamento.

[Jéssica]- quê que cê tá fazendo aqui?

[Renato]- cadê a Taiane?

[Jéssica]- mas é muita cara de pau mesmo vir procurar sua filha depois de tudo que aconteceu, né?

[Renato]- agora vai me dizer que eu tenho culpa da morte da Veruska?

[Jéssica]- mas é claro que tem! A Veruska estava muito mal e você teve, sim, influência em tudo que aconteceu com ela!

[Renato]- e você, como uma grande amiga, a acolheu. Que coisa mais linda. Pior que a Veruska ainda morreu sem ao menos saber nosso segredinho. Acho que ela devia ter sabido que tivemos um casinho bem gostoso no passado, não acha?

[Jéssica]- cala a boca! Cala a sua boca e nunca mais toca nesse assunto, fui clara?

[beautyevoce]

📣 CURSO TÉCNICO PROFESIONAL EN CEJAS Y PESTAÑAS FUNCIONA? Veruska Villamizar ¿VALE LA PENA?

[veradelphi]

Amanhã será tarde

Em breve, tudo estará diferente: as ruas, as casas, os parques, a vida. Tudo que temos hoje já não será mais nosso, e aquilo que tinha tanto valor perderá sua importância. O que um dia foi novo se tornará velho, e o que é velho será esquecido nas sombras do nosso olhar.

Aqueles que nasceram recentemente viverão seus melhores dias, enquanto os que aproveitaram ao máximo a juventude da vida deixarão de existir. Não estaremos mais aqui, e as vozes, palavras, sussurros e reclamações se tornarão parte do silêncio que inunda nossas almas.

Em breve, o presente será apenas uma lembrança, e a presença dará lugar à saudade do que nunca foi. Não teremos medo, lágrimas, cansaço ou dor. A coragem perderá seu significado, pois não haverá mais nada a enfrentar.

O rosto de quem amamos desaparecerá, e não ouviremos mais suas vozes, elogios ou queixas. Não haverá sol ou lua, noite ou dia que nos devolva o tempo perdido, as oportunidades que tivemos ou a vida que se foi.

Mas o agora é hoje, e o hoje ainda é tempo de mudar o que viveremos em breve.

Veruska Delfino

Texto sobre;

Filme: Close

Ano: 2023

Direção: Lukas Dhont

Disponível: Netflix

[um-soa]

Enhancing Synagogue Security and Identity Through Architecture

Student: Caroline Rothschild

Thesis Advisors: Veruska Vasconez, Richard John

The original architectural identity of the synagogue has long been lost as a result of the disruption of the diaspora and the passage of time. The average American synagogue today bears little relationship to the most important sacred buildings of ancient Israel: the First and Second Temples. The floor plan given to the Jews by God in the Torah indicates how to position the ark and the bimah, and yet today their locations are based on the layout of a Christian church. We face Jerusalem and read from a book dating back over 3,000 years; we cover our heads and count our tefillin; we hold on to our traditions and celebrate how they make us who we are and reflect on how they solidified our survival. We do all this, however, our buildings reflect our need to hide. Today synagogues blend anonymously into their locations. Their architecture has been camouflaged to the extent that even the floor plans are ecclesiastical. In this thesis, cognizant of the current heightened threat, I have incorporated a wide range of security measures, so the building no longer needs to be hidden thus allowing the identity of the Jewish people to come to life through architecture.

[ovcsabia]

GLOBO É CONDENADA A PAGAR R$ 50 MIL À REPÓRTER VERUSKA DONATO

[edwin--artifex]

THE ENIGMA OF THE MASTER OF SAINT FRANCIS - The Stil Novo in Thirteenth-Century Umbria

Perugia, National Gallery of Umbria (Corso Pietro Vannucci, 19)

10 March – 9 June 2024

For the first time, sixty masterpieces reveal the secrets of the most important artist to have worked in Central Italy after Giunta Pisano and before Cimabue. The exhibition is being held in the framework of the celebrations marking the eighth centennial of the appearance of the stigmata on Saint Francis of Assisi.

Following the record-breaking exhibition dedicated to Perugino in 2023, from 10 March to 9 June 2024 the National Gallery of Umbria in Perugia will host another prestigious undertaking, introducing the general public to the figure of the Master of Saint Francis, one of the most important artists of the thirteenth century after Giunta Pisano and before Cimabue.

Curated da Andrea De Marchi, Veruska Picchiarelli and Emanuele Zappasodi as part of the celebrations marking the 800th anniversary of the appearance of the stigmata on the body of Saint Francis of Assisi, this exhibition brings together for the first time 60 masterpieces from some of the world’s most prestigious museums, from the Louvre in Paris and the National Gallery in London to the Metropolitan Museum in New York and the National Gallery of Art in Washington.

From the National Gallery of Umbria, which holds the most substantial nucleus of the works on panel by the Master of Saint Francis, the exhibition extends ideally to feature the cycle of Stories from the Life of Christ and Stories of Saint Francis painted by the artist in the Lower Basilica of Saint Francis in Assisi, one of the consequences of the agreement of valorisation concluded between the Franciscan friary of the Sacro Convento and the museum in Perugia.

The thirteenth was a century of enormous social, economic and cultural upheavals. Umbria was to prove itself the region that was best capable of absorbing and developing on the religious and cultural revolution generated by the birth of the mendicant orders, in particular the Franciscans, transforming it into positive energy. Umbria and Assisi, where some of the most singular works of the art of the age were created, became the new fulcrum in the system of European arts, where the mysterious figure emerged of the Master of Saint Francis, to whom scholars are still incapable of giving a name. Indeed, this is why he is known after the panel with the effigy of Saint Francis painted on the same board on which tradition tells us that the saint passed away, now preserved in the Museum of the Porziuncola at the church of Santa Maria degli Angeli, in Assisi, and exceptionally on show in the exhibition in Perugia.

It was to him that the friars minor turned, first to work on the stained glass in the Upper Basilica, flanking the master craftsmen from Germany and France, then to decorate the entire Lower Basilica. Creating myriad different friezes, in imitation of enamels and the fine work of goldsmiths, the Master set the first cycle of Stories of the Life of Saint Francis in the basilica’s single nave, telling them in parallel with those of the Life of Christ, as specified by Bonaventura da Bagnoregio, then the General of the Order: for the first time, the saint was identified as Alter Christus, a man whose similarity to Christ himself also extended to his body, with the gift of the stigmata.

Employing relief scans made using 3D lasers for the occasion, the exhibition will include an immersive room using new technologies to reconstruct the mural paintings by the Master in the Lower Basilica in Assisi, some of which suffered as a result of subsequent work executed at the end of the thirteenth century, in particular after the arrival of Giotto.

The exhibition will hinge around the Crucifix, dated 1272 and coming from the church of San Francesco al Prato in Perugia, one of the most important pieces of all the works housed in the Gallery, providing a focus for the majority of the painter’s works, which are returning to Umbria from various museums all over the world. A climate-controlled showcase will house the surviving section of the double-sided reredos that used rise above the high altar in the church of San Francesco al Prato, visually completing the great Crucifix, of which the National Gallery of Umbria now houses the largest number of fragments.

The exhibition will also attempt to furnish an articulated and as systematic as possible documentation of all painting produced in Umbria in the period when the Master of Saint Francis was active, from the middle of the century to the inauguration of the project to adorn the Upper Basilica of Assisi under Pope Nicholas IV. The symbolic starting point will in any case be the work in Umbria of Giunta Pisano, attributing the new, later dating of approximately 1230 to the reredos with Saint Francis of Assisi and the Four Post-Mortem Miracles from the Museum of the Treasury of the Pontifical Basilica of Saint Francis in Assisi, one of the century’s masterpieces, and comparing it with the other version now in the Vatican Museums and with the signed Crucifix of the Porziuncola. Of no less significance is the possibility to appreciate the works probably by Gilio di Pietro from Pisa, who was active in Siena and Orte in the middle of the century.

Alongside the Master of Saint Francis, reconstructions will also be ventured of some of his contemporaries, such as the Master of the Franciscan Crucifixes and the Master of Santa Chiara, the latter case made possible by the exceptional loan of the hagiographic altarpiece from the Basilica of Saint Clare, dated 1283, and of the monumental painted crucifix from the Rocca Flea Civic Museum in Gualdo Tadino. The production of the Master of the Marzolini Triptych, which has some singular affinities with Armenian miniature painting, will provide eloquent evidence of the extraordinary polyphony of works and of artists in Umbria in the second half of the thirteenth century, grown to maturity in the shadow of the international construction project in Assisi.

The region unquestionably constitutes a privileged observatory for understanding the nature of the intense exchanges that criss-crossed the Mediterranean trading routes in that period, between the Holy Land and central Italy, the cradle of the Franciscan movement, and of the epoch-making artistic revolutions that would have been inconceivable in the absence of the climate created in the Basilica of Saint Francis.

The exhibition is the result of a partnership between the National Gallery of Umbria, the Ministry of Culture, the Pontifical Basilica and Franciscan Friary of the Sacro Convento of Saint Francis in Assisi and the “San Francesco d’Assisi” Seraphic Province of the Friars Minor of Umbria, with the support of the Perugia Foundation and in synergy with the Region of Umbria.

The Enigma of the Master of Saint Francis. The Stil Novo in Thirteenth-Century Umbria

Perugia, National Gallery of Umbria (Corso Pietro Vannucci, 19)

10 March – 9 June 2024

Edwin Alexander Francis is the audioguide narrator. Produced by OrpheoGroup. Recorded at StudioColosseo, Rome

[personal-reporter]

L'arte del Perugino per la Mostra di Natale 2023 a Milano

Anche quest’anno il Comune di Milano in occasione del Natale propone per la cittadinanza una mostra diffusa, che partendo dall’opera esposta a Palazzo Marino coinvolge tutti i nove Municipi del Milanese. In occasione delle celebrazioni per il Cinquecentenario della morte del Perugino (Pietro Vannucci), il tradizionale allestimento in Sala Alessi sarà dedicato al grande Maestro con. in programma dal 5 dicembre al 14 gennaio, una serie di visite guidate ad ingresso libero, alla scoperta del suo capolavoro Il Battesimo di Cristo. Il Battesimo di Cristo di Perugino resta un opera fondamentale per comprendere il successo riscosso dal grande artista a cavallo fra Quattro e Cinquecento in un allestimento di eccezione, pensato per raccontare al pubblico il contesto in cui l’opera è nata e la sua destinazione originale, attraverso installazioni fisiche e multimediali. Infatti Il Battesimo di Cristo fu pensato per campeggiare al centro di un importante polittico voluto dai frati di Sant’Agostino a Perugia per l’altare maggiore della loro chiesa. La mostra Perugino. Il Battesimo di Cristo è curata da Marco Pierini, Veruska Picchiarelli e da Domenico Piraina; promossa da Comune di Milano – Cultura, patrocinata dal Comitato Perugino 1523 – 2023, progettata da Palazzo Reale, in collaborazione con Galleria Nazionale dell’Umbria, Gallerie d’Italia – Milano e l’Area Biblioteche e i Municipi. Organizzata da Civita Mostre e Musei, partner istituzionale Intesa Sanpaolo, con il sostegno di Rinascente. Catalogo edito da Skira Editore. L’accesso alla mostra a Palazzo Marino su Perugino. Il Battesimo di Cristo è gratuito, inoltre include la visita guidata condotta da storici dell’arte, che accompagneranno i visitatori all’interno di Sala Alessi dove il capolavoro del Perugino è esposto all’interno di una riproduzione dell’originale struttura architettonica del polittico. Inoltre lo scenografico progetto allestitivo della mostra Perugino. Il Battesimo di Cristo, curato dagli architetti Franco Achilli e Luigi Ciuffreda, evoca la sacralità dell’acqua, simbolo per eccellenza della vita, della rinascita e della purificazione, dove l’acqua è sempre più percepita come risorsa fondamentale dalla coscienza collettiva e, per integrare tale connotazione e nel rispetto dell’ambiente, l’allestimento è totalmente sostenibile e completamente riciclabile. Sono protagonisti dell’evento anche gli altri otto municipi, che dall'11 dicembre al 5 gennaio ospiteranno un’opera ciascuno nelle biblioteche di riferimento, partecipando a un  grande progetto espositivo diffuso, con lo scopo raccontare il tema dell’infanzia e del battesimo nell’arte, grazie ad importanti prestiti provenienti dalla Galleria d’Arte Moderna, Museo del Novecento (collezione Boschi Di Stefano) e Casa Museo Boschi Di Stefano: un percorso tra opere dell’Ottocento e del Novecento, per contribuire alla conoscenza e valorizzazione del patrimonio cittadino, sempre sul tema del battesimo e dell’infanzia nell’arte. Read the full article

[radiofolkperu]

Veruska Verdú estrenó videoclip del tema “Me cansé de ti” versión salsa http://dlvr.it/SyzW7m