Best Bars Pubs & hangout places in Pescara, Italy
Welcome to Pescara, Italy Food and Drinks Guide. This is MUST WATCH video if you are looking for the best wine and dine spots in Pescara. We have sorted our top picks for Pubs / Bars and places to hang out in Pescara for you after reviews received by our users and our in house Travel Specialists.
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List of Best Bars and Pubs in Pescara
Camden Pub
Gatsby
Bar Fabrizi
cafe settantasei
White Cliff - birreria & cocktail bar
Enoteca Visaggio cocktails and wine
Temple Bar Irish Pub
König Ludwig Bier-Keller N.2 (Pescara)
Pooka
Post Bar
Please note :
- The background images shown in the video is for beatification purpose only, these images are NOT the actual pics of the place mentioned in the video.
- We and our channel DO NOT support drinking Alcohol in any way, This video has been made on request of our users / subscribers.
- Drinking Alcohol is injurious to Health.
Be Safe.
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Stornelli italiani @ Temple Bar Dublino.3gp
Da una manciata di sconosciuti italiani,abbiamo creato il più grande agglomerato di turisti/artisti improvvisati italiani a Dublino
Mike Joyce dj set at Mono Spazio Bar - Pescara 18/03/2011
Mike Joyce (former drummer with the Smiths) dj set at Mono Spazio Bar in Pescara, Italy.
Traditional session at Morrisseys
Irish music session at Morrisseys pub Loughrea
Montesilvano Raccontata da Un Montesilvanese: Qui Siete Tutti Benvenuti
Montesilvano Raccontata da Un Montesilvanese: Qui Siete Tutti Benvenuti.
Montesilvano (Munzelvàne in dialetto locale]) è un comune italiano di 54 186 abitanti della provincia di Pescara in Abruzzo.
Situata a nord di Pescara, con cui confina e forma un unico agglomerato urbano, è divisa in Montesilvano Colle, il vecchio centro in cui sono ancora presenti resti degli antichi edifici medievali (amministrativamente, una frazione), e Montesilvano Marina (o Montesilvano Spiaggia), già Contrada Marina, la parte più popolosa e moderna, sede del comune.
Montesilvano, quello insediato sul colle, risalgono al 1114 e sono contenute in un documento del re normanno Ruggero II. Nel documento si menziona la chiesa di S. Quirico (oggi non più esistente) e si nomina per la prima volta la località di Montesilvano, che ricompare qualche anno più tardi, nel 1140, in una descrizione della diocesi di Penne. Nei secoli successivi, il borgo, oggetto di permute e riscatti, seguì le sorti del Regno di Napoli, passando prima agli Angioini, poi, nel XV secolo, agli Aragonesi, che lo concessero in feudo a vari signori locali e stranieri. Nel Cinquecento entrò a far parte dei domini degli Asburgo di Spagna, che tennero Montesilvano (e l'intero Regno di Napoli) fino al trattato di Utrecht (1713); tramite il trattato lo Stato veniva ceduto all'Austria.
Arriviamo cosi all’ Età contemporanea
Sviluppo della Contrada marina
Montesilvano tornò ai Borbone (1815). Negli anni venti e trenta dell'Ottocento alcuni cittadini aderirono alla Carboneria e, attorno alla metà di quello stesso secolo, il paese, per le modeste dimensioni e in assenza di uomini capaci di governarlo, fu aggregato al comune di Cappelle sul Tavo.
Il 13 luglio 1997, il Presidente della Repubblica Oscar Luigi Scalfaro, in visita in terra d'Abruzzo, sceglie la Chiesa Parrocchiale cittadina di S. Antonio di Padova, per assolvere al suo precetto religioso domenicale.
Montesilvano, sviluppatasi in massima parte lungo l'Adriatico, ha acquistato la sua fisionomia attuale solo nella seconda metà del Novecento. Dopo le devastazioni della seconda guerra mondiale e la successiva ricostruzione, la città è infatti praticamente rinata orientandosi sia verso lo sviluppo turistico con i primi insediamenti alberghieri (1963-1966), sia verso quello commerciale, dei servizi e, in minor misura, artigianale e industriale, che determineranno la vigorosa espansione urbana degli ultimi decenni e il notevole benessere economico che oggi la contraddistinguono.
La città è infatti passata dai circa 7.300 abitanti del 1951 agli oltre 54.000 odierni (2017), con una vera e propria esplosione demografica che, in questo stesso periodo, non ha conosciuto nessun altro centro della regione. La vicinanza con Pescara, primo polo demografico d'Abruzzo, giustifica, in gran parte, tale tumultuoso sviluppo, sostenuto da un fiorente terziario (terziario avanzato, in alcuni settori) e dalle numerose attività artigianali ed industriali che hanno trovato modo di insediarsi in questa dinamica fascia costiera. Un posto di rilievo nell'economia locale continua ad essere occupato dall'industria turistica che poggia su una ricettività alberghiera, che può vantare un Palazzo dei Congressi, unico nella provincia, e dà vita a un indotto di ampie proporzioni: locali notturni, bar, attività del terziario avanzato, ristoranti, ecc.
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Street artists in Rome - Tip tap performance at sunset
Street artists in Rome - Tip tap performance, big soap boubles, fire eater :)
Ufomammut with God at Tube Cult Fest, Pescara, 2-4-16
Di Pescara Northbrook Bar Mitzvah by Jody Garland
jodygarland.com Tradition with a twist. We specialize in Bar/Bat Mitzvah photography. We shot the party as well as the decor photography on the orange wall to create a unique look to the sweet table. DJ was Bizar Entertainment. Cool fence name sign by Epic Events. Centerpieces by Lance. Photography by Jody Garland Design & Photography 847.707.4174
Capodanno al Cutty Sark di Pescara
Karma To Burn Live in Pescara-Italy 18-09-15
Celtic Druid Irish Pub
Next to Piazza Maggiore, this is one of the first truly traditional pubs in the center of Bologna. They offer a handful of snacks until late at night, Irish and imported beer, local and artisan brews, cider and bitters. There's a smoking zone upstairs.
Cloches à travers les feuilles - LIVE Recording (Debussy Images - Série I) - John Clement Anderson
John Anderson performs Debussy Images, Book 2, No. 1: Cloches à travers les feuilles. Recorded live July 24, 2010, at the Centro culturale Elisarion, Minusio, Switzerland.
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johnclementanderson.com
JOHN ANDERSON has two diplomas from the Music Academy of Pescara, where he studied with Bruno Mezzena. He began his musical education with Phyllis Olsen at the age of four in his hometown, Lawrence, Kansas, (USA), and continued to study privately with her until university, and attended occasional masterclasses with Byrnell Figler and one with José Ramos Santana. He graduated from Hertford College, Oxford, in 2004 with a First in music, and in 2005 served as artistic director to the first Oxford International Music Festival. He received perfect marks from the Academy of Pescara for his first piano diploma, and was awarded perfect marks, lauds and special mention for his second diploma concentrating in 20th century piano repertoire. He was a regular participant of the Ticino Musica Festivals in Lugano/Ascona/Locarno Switzerland from 2001 until 2010. He continues to study with Bruno Mezzena in Pescara.
He has performed in the USA, Italy, Switzerland, UK, and in Russia, and with various orchestras, including performances of Stavinsky's Concerto for Piano and Winds (with the Pescara Academy Orchestra), Saint-Saens' Rhapsodie d'Auvergne, Shostakovich's Piano Concerto No. 2 (with the Lawrence Chamber Orchestra and Juan Francisco LaManna conducting), and the Schumann Concerto in A minor (with Hertford College Orchestra, Oxford, and the Pescara Academy Orchestra). His interests also include composition and analysis, which he studied with his Oxford tutor, Hugh Collins Rice. He was a jury member of the 2009 international singing competition Putevka k zvezdam in Moscow. He is president of the Italian music association Project Odradek.
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Debussy dedicated Cloches à travers les feuilles (Bells sounding across the leaves) to his friend, the sculptor Alexandre Charpentier, who was a master of miniature reliefs and was part of the movement towards the Art Nouveau. The piece, entirely understated, is a like a miniature landscape itself, or a bas-relief in sound. There is only one bar marked forte, of which only three notes are fortissimo. The rest of the piece never rises above mezzo piano. According to the critic Laloy (to whom the second of this series was dedicated), the piece suggests the deathknell resounding from Vespers on All Saints' Day to the funeral mass on All Soul's Day and traversing, from village to village, the yellowing autumnal forests in the silence of eventide (trans. from preface of Henle edition). The opening bars present to us these melancholic tolling bells, calling and responding from three different directions it seems.
The opening four bars are basically geometric in construction and the music is abstracted entirely from a research into pure tone quality itself, with the timbre of each note carefully articulated with a unique combination of marks in the score. We have four strata of entirely independent sonorities, but all constrained within a pianissimo. Such rarefied textures, finding means of expression on the very edge of silence, would become very frequent characteristics in much of the music following for the rest of the 20th century. Perhaps this along with the second movement, which shares in many of these traits, are Debussy's most refined works for the piano, and triumphant culminations of his investigations into the piano's sound world.
Just as Mallarmé and the symbolist poets were making poetry not of ideas, but of just words, the musicien français was creating musical meaning not out of linear development or progression, but out of a static juxtaposition of sound events, with musical sense inherent in sonorous effect, a triumph of art for art's sake. Debussy, in spite of his Germanic conservatory training, managed to refocus attention to the actual sound event, and it was thus largely he who provided the gateway to modern music; Schoenberg, Stravinsky, Bartok, and Berg all acknowledged their great debt to him. If one were to look for his equivalent in painting, Debussy could be called an impressionist composer, though he himself preferred the term symbolist. If there is Impressionism in music, Oscar Thompson writes in his book on Debussy, Reflets dans l'eau is one of the most perfect examples of it. Whether his music refers to or suggests something outside it (as Debussy said, suggérer, c'est le rêve), the music is never a means of expression as it is for Schoenberg, but is the artistic principle in its own right.
Amalfi Coast Night Life - Africana Famous Club - Buon Compleanno Africana 2014 - Circo Nero
Il circo della musica e delle passioni che urlano dentro, il circo della notte, il Circo Nero... a Praiano Amalfi Coast
UM LUGAR MÁGICO - PINETO - EPISÓDIO 6
Pineto foi um lugar muito especial por onde passamos, uma cidade no mínimo encantadora! O que mais nos chamou atenção foi o caminho de pinheiros que formavam uma paisagem espetacular!
Made In Italy New York City@Pier66.....Party On The Boat!!!! ......July '09!!!!!
The track is Palm springs (Jonathan Sterli rmx)...The dj is Ro 'b' Lyza....The party has Made In Italy...The location is the Pier66, Hudson River...On The Boat... The city is New York!!!! We export the music of our own house in the world!!!!.... Enjoy the show!!!
Cloches à travers les feuilles (Debussy Images - Série II) - John Anderson
John Anderson performs Cloches à travers les feuilles, the first of Debussy's second book of Images.
johnclementanderson.com
Debussy dedicated Cloches à travers les feuilles (Bells sounding across the leaves) to his friend, the sculptor Alexandre Charpentier, who was a master of miniature reliefs and was part of the movement towards the Art Nouveau. The piece, entirely understated, is a like a miniature landscape itself, or a bas-relief in sound. There is only one bar marked forte, of which only three notes are fortissimo. The rest of the piece never rises above mezzo piano. According to the critic Laloy (to whom the second of this series was dedicated), the piece suggests the deathknell resounding from Vespers on All Saints' Day to the funeral mass on All Soul's Day and traversing, from village to village, the yellowing autumnal forests in the silence of eventide (trans. from preface of Henle edition). The opening bars present to us these melancholic tolling bells, calling and responding from three different directions it seems.
The opening four bars are basically geometric in construction and the music is abstracted entirely from a research into pure tone quality itself, with the timbre of each note carefully articulated with a unique combination of marks in the score. We have four strata of entirely independent sonorities, but all constrained within a pianissimo. Such rarefied textures, finding means of expression on the very edge of silence, would become very frequent characteristics in much of the music following for the rest of the 20th century. Perhaps this along with the second movement, which shares in many of these traits, are Debussy's most refined works for the piano, and triumphant culminations of his investigations into the piano's sound world.
Just as Mallarmé and the symbolist poets were making poetry not of ideas, but of just words, the musicien français was creating musical meaning not out of linear development or progression, but out of a static juxtaposition of sound events, with musical sense inherent in sonorous effect, a triumph of art for art's sake. Debussy, in spite of his Germanic conservatory training, managed to refocus attention to the actual sound event, and it was thus largely he who provided the gateway to modern music; Schoenberg, Stravinsky, Bartok, and Berg all acknowledged their great debt to him. If one were to look for his equivalent in painting, Debussy could be called an impressionist composer, though he himself preferred the term symbolist. If there is Impressionism in music, Oscar Thompson writes in his book on Debussy, Reflets dans l'eau is one of the most perfect examples of it. Whether his music refers to or suggests something outside it (as Debussy said, suggérer, c'est le rêve), the music is never a means of expression as it is for Schoenberg, but is the artistic principle in its own right.
JOHN ANDERSON has two diplomas from the Music Academy of Pescara, where he studied with Bruno Mezzena. He began his musical education with Phyllis Olsen at the age of four in his hometown, Lawrence, Kansas, (USA), and continued to study privately with her until university, and attended occasional masterclasses with Byrnell Figler and one with José Ramos Santana. He graduated from Hertford College, Oxford, in 2004 with a First in music, and in 2005 served as artistic director to the first Oxford International Music Festival. He received perfect marks from the Academy of Pescara for his first piano diploma, and was awarded perfect marks, lauds and special mention for his second diploma concentrating in 20th century piano repertoire. He was a regular participant of the Ticino Musica Festivals in Lugano/Ascona/Locarno Switzerland from 2001 until 2010. He continues to study with Bruno Mezzena in Pescara.
He has performed in the USA, Italy, Switzerland, UK, and in Russia, and with various orchestras, including performances of Stavinsky's Concerto for Piano and Winds (with the Pescara Academy Orchestra), Saint-Saens' Rhapsodie d'Auvergne, Shostakovich's Piano Concerto No. 2 (with the Lawrence Chamber Orchestra and Juan Francisco LaManna conducting), and the Schumann Concerto in A minor (with Hertford College Orchestra, Oxford, and the Pescara Academy Orchestra). His interests also include composition and analysis, which he studied with his Oxford tutor, Hugh Collins Rice. He was a jury member of the 2009 international singing competition Putevka k zvezdam in Moscow. He is president of the Italian music association Project Odradek.
Hotel NapoliMia & bella Napoli (Italy)
Hotel NapoliMia, Via Toledo 323, Napoli, Italy;
Deluxe Room ~95€ incl. Breakfast;
Golfo di Napoli; Citytrip;
(April 2017)
Maggiano's Little Italy Skokie Bar Mitzvah by Jody Garland Photography
jodygarland.com Tradition with a twist. 847-707-4174 Jody Garland & co. We specialize in Bar & Bat Mitzvah photography. Party was at Maggianos Skokie.
Last Drive Live Hamburg Fabrik 20-02-87
ANTIKRIST KOMMAND - Antikrist Kommand (live @ Ragnarok Live Pub, Campobasso)
AK live @ Slaughter On The Dance Floor, 7/09/12 (w/ Relinquish & PersecutioN), CAMPOBASSO.