Inaugurazione Baia degli Angeli 2010 - S.Andrea Bagni - Parma
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Questa è la festa che non vi aspettavateee!!
Family Enjoy in collaborazione con AmiciAmici.com e Bakkano Crew sono lieti di presentarvi
Boom Boom Party!!
Alla Baia Degli Angeli A S. Andrea Bagni (PR)
Foto
Gian Marco Tedaldi
Viaggio
Da Arce a Frosinone in 6 nel furgonato.... + un decespugliatore....
Milonga Imperial - Bari, Marzo 2011
Fantastica Milonga Imperial a Torre a Mare ( Ba )
Pasion de Amor: Kissing | EP 7
Sari and Oscar kiss each other at the bar.
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Episode Cast:
Jake Cuenca (Juan) / Arci Muñoz (Norma Elizondo) / Ejay Falcon (Oscar) / Ellen Adarna (Sarita Sari Elizondo)
Milonga La Social - Bari
Una serata tra amici alla Milonga La Social di Bari
Blue Star Band - Dukes Of Hazzard
Recorded on July 28, 2012.
Milonga della Stazione 2011 Foto-Video
Foto-Video 2011 della Milonga della Stazione, Roma, by
Edoardo Lapegna
2010 febrero Ricardo Bellozo, milonga en Roma, M4H00579
Punto de partida:
Contacto: Ricardo Bellozo 1140887445 // 1163731271 (Baires), también al 3404586910
Milonga organizada por Ricardo Bellozo en Cascabelito con estilo de Buenos Aires el domingo 20 de febrero del 2010. El sitio en:
Andrey Panferov y Ekaterina Petrova. Tango Emotion Festival 2018
Андрей Панферов - ведущий преподаватель танго клуба La Bocа и Екатерина Петрова.
Элегантное выступление на фестивале Tango Emotion в Италии
2010 febrero Ricardo Bellozo, milonga en Roma, M4H00578
Punto de partida:
Contacto: Ricardo Bellozo 1140887445 // 1163731271 (Baires), también al 3404586910
Milonga organizada por Ricardo Bellozo en Cascabelito con estilo de Buenos Aires el domingo 20 de febrero del 2010. El sitio en:
Maquina de analise do café na Feira Internacional do Cafe em 2018
Milonga en Villasimius
Milonga Improvisada en los días de la Boda de Odette Abramovich, en Cerdeña.-
CONJUNTO SALSA QUINTET
CONJUNTO SALSA QUINTET: Minna Mustasilta (vocals) Antero Salonen (trumpet, vocals) Lauri Viitaniemi (keyboards) Jouni Hokkanen (bass, vocals) Zoltán Kárpáti (percussion) LIVE at Terrace - PORI, recorded by Päivi Helasmeri 2018
THE BEST DAY TRIP TO ROME
Start: Take bus no. 30, 40, 62, 64, 70, 87, 95, 170, 492, or 628 to Piazza dell'Ara Coeli and climb the stairs to Piazza del Campidoglio.
1. Piazza del Campidoglio
The Campidoglio stands on the summit of Capitoline Hill, the most sacred of ancient Rome, where the Temples of Jupiter and Juno once stood. This was the spiritual heart of ancient Rome, where triumphant generals made sacrifices to the gods for giving them victories.
At the top of the graceful steps leading to the Campidoglio is the fabled equestrian statue of the emperor Marcus Aurelius. Actually, it's a copy; the original is in the Capitoline Museum on your left. Across the piazza is the Palace of the Conservatoribased on an architectural plan of Michelangelo. Save these museums for a future visit.
Walk around the corner (as you face it) of the Senatorium (Town Council) for a panoramic view of the Roman Forum, which we'll visit later. In the distance you can see the Colosseum, also coming up later in our itinerary. The decaying columns and crumbling temples of Imperial Rome rank as one of the grandest man-made views you'll see in Europe. Allow at least 30 minutes or more to walk up and down the steps leading to Capitoline Hill taking in the view.
After Capitoline Hill, head east for a walk along Via dei Fori Imperiali, taking in:
2. Fori Imperiali (Imperial Forums)
From the railing that skirts Via dei Fori Imperiali, you can take in the view of the famous forums of Imperial Rome in about 30 minutes. Arm yourself with a trusty map so you'll know which ruins you're viewing. Right off Piazza Venezia stands Trajan's Column, with its intricate bas-relief sculpture depicting Trajan's victorious campaign against Dacia at the dawn of the 2nd century. Immediately east of the column is Basilica Ulpia, whose gray marble columns rise roofless into the sky. Moving east you come to the Forum of Julius Caesar, the site of the ancient Roman stock exchange and the Temple of Venus. Next you'll pass on your left the Forum of Augustus, built before the birth of Christ and once home to a mammoth statue of Augustus. On your right is the Forum of Nerva, honoring an emperor with a 2-year reign (A.D. 96-98). Directly east of Nerva is the Forum of Vespasian begun by the emperor after the capture of Jerusalem in A.D. 71. Immediately following that is the Temple of Venus and Roma, or what little is left of it.
At this point you'll be at the doorway to the Colosseum.
3. Colosseum
Construction on this amphitheater began in A.D. 72, and it was a marvel of engineering since its enormous weight rested in a swamp (Nero's former lake) on artificial supports. The completed stadium was dedicated by Titus in A.D. 80. Covered with marble, it could hold 80,000 spectators who watched games that nearly rendered extinct many species of animals from the Roman Empire. Allow at least 1 1/2 hours to explore it.
Next to the Colosseum is the:
4. Arch of Constantine
This spectacular arch was erected in honor of Constantine's defeat of the pagan Maxentius in A.D. 312. You can gaze in awe at this remarkable arch with its intricate carving for at least 15 minutes before pressing on. Before tackling the Roman Forum and the Palatine Hill, we suggest a luncheon break in the area of the Colosseum. If you don't want to waste precious time, you can avail yourself of food on the run at a street vendor, or else patronize one of the trattorie in the vicinity, if you're seeking a sit-down meal.
Within a short walk of the Colosseum you can take in the glories of:
5. Forum Romano (Roman Forum), Palatino (Palatine Hill), and Museo Palatino (Palatine Museum)
The Roman Forum was the literal heart of ancient Rome, a center for trade, religion, and politics. The entrance is off Via dei Fori Imperiali, right at the intersection with Via Cavour. There is also a walking tour of the area if you need more guidance.
After you view the Roman Forum, you can explore Palatine Hill, which was once covered with the palaces of patrician families and early emperors. Today it's a tree-shaded hilltop of gardens and fragments of ancient villas. Allow at least 3 hours to take in these attractions and the Palatine Museum.
To reach our next attraction, pick up bus no. 46, 62, 64, 170, or 492 at Arco di Costantino to Largo di Torre, or Metro to Barberini.
6. The Pantheon
This fabulous ancient monument was built and rebuilt several times, first by Agrippa who began it in 27 B.C. The present structure is the result of an early 2nd century A.D. reconstruction by the Emperor Hadrian. The Pantheon stands on Piazza della Rotonda, which is complete with obelisk and baroque fountain. It is in an astonishing state of preservation, considering nearly 2 millennia of vandalism. Allow 45 minutes for a visit.
Take the Metro to Spagna for our next stop.
7. Caffe Sant'Eustachio
For a break, head nearby to this cafe, which Romans claim serves the most superior coffee in Rome. What's the secret? The pure water
Renato Malavasi - Performance at Tufts University
Renato Malavasi (Drums), Will Slater (Bass), Alexei Tsiganov (Piano).
Concert at Tufts University recorded on April 20, 2011.
'For Youth' by Alexei Tsiganov.
tango
street tango, Bodrum/Turkey
ABC TV | How To Make Ginkgo Biloba From Crepe Paper - Craft Tutorial
Ginkgo Biloba (maidenhair) as a tree type many known as is one of the oldest living tree species ( often referred to as a “living fossil.” This large tree may live over 1000 years) and its extracts have been used most widely for the treatment of memory loss and dementia. Originally native to China. But characteristics make I'm attracted to this tree is the leaves of them, which suitable for indoor decoration like maple leaves
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Material for Flower Making:
- Crepe paper made in Italy 140gsm
- Yellow and light green floral tape
- Scissors, white glue, floral wire.
- Oil pastel, foam ball for craft.
I can't know exactly what information about this flower in your country, can you help me add more information in the link below, thank you very much:
Tango-Milonga - Bari
Video -- 1° filmato - Tango-Milonga - Bari (Puglia) -- 10.04.2013. Compleanno di Silvio insegnante di Tango Argentino.
State of the Field 2016: Archaeology of Egypt – First Session
September 24th, 2016
9:00 am First session – “Breaking temporal boundaries”: Introduction – Laurel Bestock (Brown University)
9:10 am Josef Wegner (University of Pennsylvania) – The Archaeology of Messy Politics: Recent Evidence on Egypt’s Second Intermediate Period
Many scholars have observed the inadequacies of the long-engrained division of Egyptian history into the Kingdoms and Intermediate Periods. Compartmentalizing long eras of cultural and social change under these single overarching terms fundamentally detracts from the understanding the dynamic political and social changes that span these large historical phases. Egypt’s Second Intermediate Period (ca. 1700-1550 BCE) is a phase where historical and archaeological evidence continues to challenge us. Standard interpretations of the era revolve around an essentially bipolar model: a territorial division of Egypt into a northern Hyksos Kingdom (15th Dynasty), and a southern Theban Kingdom (16th-17th Dynasties) which grew from the southward retraction of the final stage of the Middle Kingdom (the 13th Dynasty). The recent discovery of a royal cemetery at South Abydos consisting of the burials of eight Second Intermediate Period kings, and including the previously unknown ruler Seneb-Kay, provides new evidence for this period. Rather than a bipolar model we see indications a more complex mosaic of territorial and political division. The Second Intermediate Period emerges as an ever more complex era, determined by political forces of the Hyksos in the Nile Delta, the impact of the Kerma kingdom in Nubia, and competing factions within the Egyptian Nile Valley. New research by archaeologists working from the Delta to Nubia will help to further refine our understandings of this crucial phase in Egypt’s development.
9:30 am Elizabeth Bolman (Temple University) – The Red Monastery Church: Breaking Boundaries
The early Byzantine triconch sanctuary in the Red Monastery church, near Sohag in Upper Egypt, has been the subject of a fifteen-year project of conservation, documentation, analysis and publication funded by USAID and administered by ARCE. This dynamic monument breaks numerous boundaries: temporal, geographical and methodological. It contains an astonishing array of figural and ornamental paintings that cover the surfaces of an equally remarkable multi-tiered architectural ensemble. The sanctuary and its decoration date to the late fifth and sixth centuries, thus well beyond the standard temporal scope for Egyptology. The church, which was almost completely unknown before conservation, undermines the longstanding view that Upper Egypt was geographically and culturally isolated in this period. Instead, it demonstrates unequivocally that this region was thoroughly integrated into the early Byzantine world. This fact has gone unnoticed by art historians, and thus the conservation and publication of the building is radically altering our picture of visual production in the empire. Newer digital methods of documentation undertaken during the project, including an online, interactive 360 panorama of the triconch and the laser scanning of the entire church make the church available to a global audience and preserve a high-quality record of its state at the end of the project.
9:50 am Response: Ian Straughn (Brown University)
10:10 am Discussion
Z556.- NIÑA HERMOSA ¿QUÉ QUERÉIS? , JOAQUINMI101, de (Bohemios), de Vives.
Z556.- NIÑA HERMOSA ¿QUÉ QUERÉIS? , JOAQUINMI101, de (Bohemios), de Vives.
COSSETTE.- (Adelantándose).- ¡Ro-ber-to!.- ROBERTO.- ¿Quién, me lla-ma?.- COSSETTE.- (Como arrepentida de lo que ha hecho).- ¡Dios mí.-o!.- ROBERTO.- ¡U-na mu-jer!.- COSSETTE.- (Aparte).- ¡Oh, Cos-sette! ¿Qué hi-cis-te, lo.-ca?..- ROBERTO.- (Con dulzura y adelantándose a Cossette).- Ni-ña, her-mo--sa, ¿qué que-réis?. No ba-jéis al sue-lo, vues-tros lin-dos o-jos, no vues-tras me-ji-llas, en-cien-da el ru-bor., ¿por--qué te.-me-ro-sa, por-qué te-me-ro-sa, que-réis a-le-ja-ros? ¿Por qué que-réis a.-le-ja-ros, des-pués de lla-mar-me?. Ro-ber-to soy yo.- COSSETTE.- Es-toy tem-blan-do, tem-blan-do es-toy.- CECILIA.- (A Juana).- A-quí so-bra-mos.- JUANA.- Ya lo es-toy vien-do.- ROBERTO.- Pres-tar-me, ni-ña, vues-tra a-ten-ción.- CECILIA.- Se-rá, su a-man-te.- JUANA.- Pues cla-ro es-tá.- COSSETTE.- Sin que él lo se-pa, mue-ro por él.- CECILIA.- Cuan-do le lla-ma, no ca-be du-da.- ROBERTO.- Es-ta mu-cha-cha, qué her.-mo-sa es..- LAS DOS.- A-diós, Ro-ber-to.- ROBERTO.- Con Dios que-dad.- LAS DOS.- A-diós., Ro-ber.-to..- ROBERTO.- A-diós, a-diós. ¿Por qué, vues-tros la-bios, per-ma-ne-cen, mu-dos?. No a-cier-to a ex-pli-car-me, vues-tra ti-mi-dez.-
COSSETTE.- ¡De-jad-me, os lo rue-go!.- ROBERTO.- ¡Im-po-si-ble!. Quién sois, be-lla ni-ña, yo quie-ro sa-ber.. Co-no-céis mi nom-bre, yo ja-más os vi. Pe-ro aho-ra que os ve-o, tan be-lla y gen-til. No pue-do, no, de-ja-ros, al me-nos sin sa-ber, qué nom-bre pue-do da-ros, si a-ca-so, os vuel-vo a ver..- COSSETTE.- ¡De-jád-me, no, no pue-do!. ¡Mi nom-bre!, ¿pa-ra qué?.- ROBERTO.- (Acercándose más).- Pues ten-dré que lla.-ma-ros, ¡A-mor mí.--o!.. Si os en-cuen-tro o-tra vez.- COSSETTE.- ¡De-jad-me, no, no pue-do!. ¡Mi nom-bre!, ¿pa-ra qué?. Mi nom-bre, ¿pa-ra qué?.- ROBERTO.- (Acercándose más).- Pues ten-dré que lla-ma-ros, ¡A-mor mí-o!, si os en-cuen-tro o-tra vez..- COSSETTE.- Tan pron-to, por tal nom--bre, no os he de res-pon-der. Cuan-do vol-váis a ver-me, lla-mad-me Cos-sette.- ROBERTO.- ¡Cos-sette!.- COSSETTE.- Cos-sette. De-jad-me, de-jad-me, par-tir. De-jad-me, Ro-ber-to, mar-char. E-sas fra-ses ar-dien-tes, dea-mor, no he de es-cu-char.- ROBERTO.- Por siem-pre, ren-di-do que-dé., por siem-pre, ya vues-tro, soy yo., y es-cla-vo y di-cho-so se-ré, de vues-tro a-mor.. De vues-tro a.-mor..- COSSETTE.- ¡Oh, ca-llad, por fa-vor!. Na-da os pue-do de-cir..- ROBERTO.- Yo vues-tra au-sen-ci-a, no pue-do su-frir..- COSSETTE.- ¡Oh!. De-jad-me, por Dios. Sí, de-jad-me par-tir. (¡Oh, qué im-pru-den-te, por qué le lla-mé!).- ROBERTO.- Nun-ca, o-tro ros-tro, mas be-llo, mi.-ré..- COSSETTE.- Qué di-cho-sa, se-ré, si con-si-go, sua-mor.- ROBERTO.- El a-mar-la, se-rá., mi ven-tura, ma-yor..- COSSETTE.- ¡Ca-ba-lle-ro!.- ROBERTO.- Os a.-do.-ro..- COSSETTE.- Sed pru-den-te.- LOS DOS.- ¡Por. pie-dad. ya.-mor!..