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indomitable-mrs-barkley · 2 years

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Where was this the entire SEASON!? WHERE? 😭😭😭😭😭😭😭😭😭😭😭😭😭😭

#romance club #rc adrian #adrian newman #Andrea and Adrian #rc rott #rc rage of the titans

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offside-the-lines · 1 month

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‘Extracurricular activities’ in EDM - LAK Gm 3 | 4.26.24

#honestly cant get over leon just skating circles on the outside of the sceum its so cunty #oilers lb #evander kane #andreas englund #vincent desharnais #anze kopitar #adrian kempe #dylan holloway #brett kulak #leon draisaitl #edmonton oilers #la kings #jordan spence #quinton byfield

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operafantomet · 9 months

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...my music.... my music... 1. to 4. Irina Ioana Baiant and Adrian Nour, Romania 2015 5. and 6. Astrid Giske and Espen Grjotheim, Norway 2018-2019 7. Mira Ormala and Espen Grjotheim, Norway 2018 8. Astrid Giske and Espen Grjotheim, Norway 2019 9. to 11. Astrid Giske, Norway 2018-2019 12. and 13. Astrid Giske and Andreas Hoff, Norway 2019 14. and 15. Amy Manford and Ben Forster, Greece 2020 16. Georgia Wilkinson and Dougie Carter, Greece 2023 17. Harriet Jones and Tim Howar, Greece 2023 (MOTN in Romania / Norway / Greece, designed by Andrew Riley)

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redsnowdrop · 1 month

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HAAS & Kick Sauber;

Bearman, Antonelli, Newey

F1 masterlist

Yesterday it was announced Niko Hülkenberg will drive for Kick Sauber F1 Team next year.

It is not the biggest deal but it is interesting to think whose place he took. I believe it is Valterri’s. I have read Zhou is a “payer” driver since he brought a sponsor with him so it wouldn’t make sense to lose him for Hülkenberg. Bottas and Niko are more experienced drivers and they are very helpful to improve Kick’s performances but the problem is the car. Valterri won and had an amazing career in Merceds and now he can barely scores points, Zhou was a great young driver in F3 and F2! In 2021 he participated with the Abu Dhabi Racing by Prema team in the Asian F3 Championship. In the last race on the Yas Marina circuit he won the championship with sixteen points behind Pierre-Louis Chovet. Also in F2 he finished 3^ as best result. Not so bad after all! He also deserves a better car! So if he’s a payer the Scuderia needs him, if he’s not he still deserves a seat in Kick (especially after his amazing performance during the Sprint Race in China!)

People are speculating Oliver Bearman will take Niko’s place in Haas. It would be awesome for him to drive AGAIN an F1 so young but after his performance I was hoping he would get a better car. But everyone has to start somewhere from the bottom and then raise.

Let’s pretend Magnussen will re-sign with Haas, do you think Kevin is willing to cover Oliver’s shoulders? As an experienced driver he wouldn’t be so keen to do so to someone so young! (Or at least I presume, maybe he will get orders from the box to do so or maybe he will understand his time as a driver has come and help “the boy”). But we are not so sure about Kevin’s contract so let’s go on with our news.

I have read on Italian sites that Williams might want to replace Logan with Andrea Kimi Antonelli, the Italian enfant prodige, who skipped F3. It’s just a rumor but if it turns out to be true I’m not so sure I agree with it. I have this feeling that Kimi’s career it’s getting burned, people are expecting him to be the new Senna and I think it’s not good for him. I know F1 is a though job, drivers have a strong mentality and it’s literally their job to manage such things. But kindness and respect are free, we should not push him BEFORE his debut in F1. “Every fruits have their on season”. And if he doesn’t replace Sargeant do you think Mercedes will take him to take Lewis’ place? I’m not so sure, I think they will take him in 2026 but next year might be too soon.

Last rumor of the day! Apparently Newey has rejected Aston Martin’s offer! It is getting more and more interesting, TIFOSI LET’S KEEP OUR FINGERS CROSSED!

Thank you guys for your attention, let me know what you think!

xoxo

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scenesandscreens · 1 year

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All Quiet on the Western Front (2022)

Director - Edward Berger, Cinematography - James Friend

"What is a soldier without war?"

#scenesandscreens #all quiet on the western front #Im Westen nichts Neues #edward berger #james friend #felix kammerer #albrecht schuch #aaron hilmer #moritz klaus #adrian grünewald #edin hasanovic #daniel brühl #Thibault de Montalembert #devid striesow #Andreas Döhler #sebastian hülk

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live-laugh-loverpool · 16 days

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and IIIIIIIII will always love you

#liverpool fc #lfc #liverpool #jurgen klopp #thiago alcantara #adrian san miguel #joel matip #pep lijnders #peter krawietz #andreas kornmayer #john achterberg #vitor matos

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squishywizardd · 1 year

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NO BUT IM SORRY THIS WAS SO FUNNY ARTEMIS ATE ZEUS UPPPPPPPPP she’s really THAT BITCH

#romance club #rc #rc rage of the titans #rc rott #rage of the titans #rc artemis #rc andrea #rc zeus #rc hades #rc adrian #rc pierce #rc murphy #your story interactive

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gatsby-system-folks · 1 year

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We're so normal about them.

Part of a fic we're writing (well. "Writing") where Hellboy, Gargoyles, and Rottmnt (among a couple other stories but these are the main ones) all take place in the same universe.

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lakings9 · 7 months

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Credit: LA Kings

|10/24/2023|

LA KINGS WIN!!!

Pheonix Copley: 24/27, .889 SV%

LA Kings Goals:

1st Goal: Anze Kopitar, Assists: Fiala, Kempe

2nd Goal: Trevor Lewis, Assists: Lizotte, Englund

3rd Goal: Trevor Moore, Assists: Danault, Anderson

4th Goal: Blake Lizotte, Assist: Doughty

5th Goal: Kevin Fiala, Assists: Gavrikov, Spence

6th Goal: Adrian Kempe, Assists: Byfield, Kopitar

Three Stars:

⭐️ Blake Lizotte (1 G, 1 A, 2 P)

⭐️⭐️ Kevin Fiala (1 G, 1 A, 2 P)

⭐️⭐️⭐️ Drew Doughty (1 A, 1 P)

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clemsfilmdiary · 1 year

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Despair (1978, Rainer Werner Fassbinder)

3/7/23

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indomitable-mrs-barkley · 1 year

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Bridgerton posters are just too gorgeous. ❤️❤️❤️❤️❤️💜💜💜💜💜

@rc-appreciationweeks

#BeMyValentine #edits by Ash #romance club #rc reinhold #reinhold x ellaire #rc Adrian #Adrian x Andrea #Rc Niall #Niall x nikkal #bemyrcvalentine

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box-tunnel-survivors-group · 2 years

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It's full moon so that means it's time for the first episode of the Being Human podcast! You are wlcome to our little enclave of the lost! We discuss the birth of the show and the pilot in full.

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operafantomet · 2 years

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Christine + the Phantom’s sheet music in Romania/Norway/Greece

Irina Baiant and Adrian Nour, Bucharest

Astrid Giske, Oslo

Astrid Giske and Andreas Hoff, Oslo

Astrid Giske and Espen Grjotheim, Oslo

Astrid Giske, Oslo

Amy Manford and Ben Forster, Athens

Astrid Giske and Espen Grjotheim, Oslo

#phantom of the opera #music of the night #the phantom's organ #music that burns #irina baiant #adrian nour #astrid giske #andreas hoff #espen grjotheim #amy manford #ben forster #andrew riley #non replica

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rookie-critic · 1 year

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All Quiet on the Western Front (2022, dir. Edward Berger) - review by Rookie-Critic

Showing the atrocities of war is always a tightrope walk. You want to show how brutal it is, you want to show people that this thing, this behemoth that has overtaken the world more times than can ever be counted, is horrid and should be avoided if at all possible, but you don't want to desensitize, you don't want to present it so fast, so hard, so unprofoundly nihilistic that it loses its meaning. You don't want to numb people to the pain or push your messaging past its limit, to make the term "war is hell" into a parody of itself. While there were a lot of things I really liked about Netflix and Edward Berger's remake of All Quiet on the Western Front, I feel like this is its biggest issue.

It revels in its "more is more" approach to showing how horrible the Western front lines of the first World War were and it causes the immersion to break and it cheapens the film's very real and very potent anti-war sentiment. The anti-war film is nothing new, we've seen this song dance a million times before, made extremely evident by the fact that this is a remake of the world's first significant anti-war film by the same name, which came out in 1930, 94 years prior to its successor. We've had close to a century of powerful, magnetic, devastating anti-war stories: from Chaplin's The Great Dictator to Kubrick's Paths of Glory AND Full Metal Jacket AND Dr. Strangelove to The Deer Hunter to Apocalypse Now to Das Boot, Platoon, Grave of the Fireflies, 1917, Jojo Rabbit, and on, and on, and on. We get the song, we get the dance, it is a very important message, but we no longer need it spoon-fed to us. The unfortunate thing about the new Western Front is that its images and iconography are intensely powerful and very profound, they get there and they do it fabulously, but then they don't stop. Every scene has an element to it that feels superfluous, that feels like they're bashing your head against the wall that says "war is hell" and screaming at you "DON'T YOU GET IT?!" The answer is, yes, I do, I got it, and I would have without a lot of the, for lack of a better term, extra that's here.

To lay out my point with an example from the film, and don't worry it's not really going to spoil anything (although if you really don't want to know then you should just skip ahead to the next paragraph), but there's a scene in the film involving the general who is in charge of our protagonist's regiment. This immediately follows what is possibly the most intense and brutal sequence in the entire film (which, again, outside of a handful of superfluous elements, is really quite a powerful sequence), and the film juxtaposes all the horror we just witnessed with this general, sitting safely in a very large dining room, eating a feast with a direct subordinate. We get extreme closes ups of everything on the table: olives, fresh bread, a whole leg of lamb, wine, which he drinks a few sips of then tosses the rest on the floor and asks for more. He does this thing with the wine several times throughout the scene. He asks his subordinate about his life back home and what he will return to once the war is over and the subordinate tells him about his family's riding saddle manufacturing/selling business. The subordinate asks the same question to the general and the general goes on a tangent about how he is a soldier who was born in the wrong time because, before this current war, his whole life had been peaceful. He says "what is a soldier without war?" Then tosses what looks like more than half of the meat on his plate to the dog sitting on the floor. This scene would be so infuriatingly impactful and meaningful if the film didn't insist on shoving the message down our throats. I didn't need close ups of the food, I didn't need the spectacle of watching him deliberately waste food and drink, I didn't need this man's hypocrisy slammed into my eyeballs a thousand times over. The atrocious nature of the scenario lies in the scenario itself! Just cut to this horrible man eating his clearly excessive meal in safe quarters after we just watched a lot of men that he is responsible for get brutally mowed down for nothing; no close-ups of the food, no excessive food waste, just the scene itself. Let him talk about how much of a soldier he is. Let this moment be peaceful, that in and of itself would be powerful enough. We, the audience, will get there. We will understand what the film is getting at, it's not that difficult to comprehend, but this is the kind of thing that permeates the entire film.

Here's the thing, I'm still going to give All Quiet on the Western Front a good score, because the truth is I still really liked it. The film has an excellent core. The acting, for the most part, is amazing. The cinematography is unbelievable and the production value is off the charts. Even the story itself, while not really new, is engaging and has a very strong foundation. I just wish it had trusted its audience more and didn't feel the need to just keep adding to itself, to keep piling on more and more until it's just hard to stay engaged. I'm sure this will win a fair amount of Oscars, and it's not entirely undeserving of them, but I don't think it entirely deserves the near-unanimous praise its been getting, because there are a fair amount of problems with it.

Score: 7/10

Currently streaming on Netflix.

#All Quiet on the Western Front #All Quiet on the Western Front 2022 #Edward Berger #Felix Kammerer #Albrecht Schuch #Aaron Hilmer #Moritz Klaus #Adrian Grünewald #Edin Hasanovic #Daniel Brühl #Thibault de Montalembert #Devid Striesow #Andreas Döhler #Sebastian Hülk #film review #movie review #2022 films

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fairyysoup · 2 years

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Andrea marowski, Eddie Munson, and Adrian chase

you've got to be kidding me uhhhhhh

Eddie is so husband shaped so i'll go with him. One night stand with Adrian Chase bc duh that would go so hard. And best friend Andrea bc he just needs a friend ok look at him 😭

#G O D #adrian chase #andrea marowski #eddie munson #what a weird lineup tho #asks

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elmartillosinmetre · 23 days

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"Podemos acercarnos mucho a cómo se tocaba en el siglo XVII"

[La violinista hispanofrancesa Leonor de Lera / RAQUEL PASCUAL]

La violinista Leonor de Lera publica un álbum con disminuciones propias sobre repertorio vocal de principios del Seicento

Especialista absoluta en el repertorio para violín del siglo XVII, Leonor de Lera publica su primer disco sin su grupo, L’Estro d’Orfeo.

–¿Por qué este nuevo formato?

–Sentía que en este momento de mi carrera necesitaba hacer algo fuera de mi grupo. No es que haya pasado nada con él ni que piense dejarlo, pero creí que era el momento de hacer algo así, como Leonor de Lera, con todo el peso sobre mí. Obviamente no puedo tocar este repertorio yo sola como si fueran las Sonatas de Bach, tengo a gente que me acompaña. A Nacho Laguna lo conocí trabajando en otro grupo, y de Pablo FitzGerald había oído hablar muy bien, fui a verlo cuando vino a tocar aquí..., me gusta mucho cómo tocan los dos. Las cuerdas pulsadas me venían muy bien para el tema de la Arcadia que había elegido, porque los pastores de este entorno siempre acompañaban el canto con laúdes y guitarras. Era una forma de cambiar el acompañamiento al que estaba más acostumbrada con mi grupo y al ser dos me da una variedad para usar diferentes combinaciones.

–Insiste en el Seicento. Su especialización en la música para violín del XVII es absoluta, ¿qué le atrae de esta música?

–Su lenguaje, tan distinto al del XVIII. Tiene un algo en las armonías, en el modo de hacer las melodías. Es el momento en que el instrumento se hace solista y empieza el virtuosismo instrumental. Hay muchísima exploración, a ver dónde puedo llegar con este instrumento… y eso se refleja en la música que escribían. Cuando me puse a estudiar el violín barroco desde el principio tuve una conexión muy fuerte con este estilo de música y por eso quise profundizar en ella. Es la que más feliz me hace. Me parece apasionante, y me encanta cómo suena esta música. Como es un lenguaje tan diferente al que viene más tarde tienes que estudiarlo en profundidad, tienes que leer mucho, poner mucho en práctica, pensar mucho, tocar mucho para poder llegar a expresar una idea clara del estilo… Ya sabemos que son interpretaciones nuestras de hoy en día, porque no tenemos un disco para escuchar cómo tocaban entonces, pero pienso que con el material que tenemos nos podemos acercar bastante. Si uno lo interpreta bien podemos acercarnos mucho a cómo se tocaba en el siglo XVII. No estoy de acuerdo con los que dicen que nos estamos inventando las cosas. No. Tenemos suficiente material como para saber por dónde iban los tiros.

–El repertorio instrumental de esta época es amplio, pero menor del que vendrá después. Así que aquí decide meterse en música vocal…

–En realidad no hago más que lo que hacían ellos en la época. Como esta música no está tan cerrada formalmente, hay mucha libertad para ornamentar, y de ahí viene todo mi interés por la disminución, porque era consustancial a la música del período. En la partitura no está todo escrito, se esperaba que el intérprete añadiera ornamentaciones en las cadencias y en determinados pasajes de las obras, en las repeticiones, como era práctica usual coger obras vocales conocidas y componer nuevas melodías con disminuciones. Todos los tratados de disminuciones tienen ejemplos justamente de eso. A mí me da tantas posibilidades… Me permite ser muy creativa y hacerme medio compositora de esa obra, lo cual es muy gratificante. En mis dos discos con L’Estro d’Orfeo ya hacía disminuciones: en el primero hice sólo una obrita, pero ya en el segundo, que se titula justamente L’arte di diminuire, hice alguna más. Y en este prácticamente todas son mías: 16 de 18. Las otras dos son disminuciones del tiempo: Un Gay bergier de Riccardo Rognoni, que no se ha hecho mucho, y el Vestiva i colli de Francesco Rognoni que sí es bastante habitual. En Vestiva i colli sólo añado una cadencia final a lo Rognoni, hecha en su estilo, para eso estaban en su trabajo las páginas dedicadas a la cadenza final, para añadirlas…

[Nacho Laguna / KEN YOSHIDA]

–Es un CD con temática literaria: la Arcadia.

–Es nuestro decorado. Son textos de los poetas famosos sobre la Arcadia, Sannazaro, Guarini... Textos pastorales, un tema que hizo olas, se hizo muy popular, luego perdió importancia y a finales del Renacimiento volvió a subir mucho. Textos en torno a la Arcadia, historias con dioses, semidioses, pastores, que conviven en un ambiente idílico y casi todos son en torno al amor en sus diferentes posibilidades. Escogí madrigales, canciones y villanescas que me inspiraban mucho, y con ellos hice un programa creo que variado.

–¿La ordenación en el CD tiene algún sentido? ¿Se cuenta una historia?

–No hay un guion de historia. Tenía claro con qué quería empezar. Busco algo de variedad y contrastes, el moverme de afecto a afecto.

–¿Una especialización tan marcada es una ventaja o un hándicap para salir al mercado de los conciertos?

–Cuando empecé pensé justo en si no me estaba cerrando muchas puertas, pero hablando con mis compañeros que tienen grupos para hacer música antigua posterior tampoco es que estén trabajando el doble o el triple que yo. Además es lo que más me gusta… No me apetece montar un grupo, con todo lo que eso lleva, para hacer algo que hace todo el mundo o que no me apasiona. Yo voy a seguir con esto, aunque sea difícil, hasta donde pueda. Es cierto que España no es el mejor sitio para presentar este tipo de repertorio instrumental, porque los programadores no lo conocen mucho y actualmente se orientan sobre todo en recuperación de repertorio español o música con cantantes, porque parece que solo la música vocal con un cantante famoso es lo que vende. Es difícil salir de ahí, lo que me parece erróneo, pero ya sabemos cómo es el mundo… Obviamente hay que vivir, pero mientras pueda yo voy a seguir por este camino, haciendo lo que estoy haciendo.

[Pablo FitzGerald / KEN YOSHIDA]

–¿Cómo llega a Pan Classics?

–Los dos primeros discos estaban en Challenge, pero quería cambiar. Contacté con varias discográficas y escogí a Pan Classics, porque me ofrecía las mejores condiciones de acuerdo a lo que yo quería hacer.

–¿Espera más trabajo con la publicación de este disco?

–No lo sé. Espero que dé sus frutos… Pero aunque a mí no me salieran más conciertos, me hace mucha ilusión que la gente lo escuche, porque es mi proyecto más personal, ya que la mayor parte de la música la he escrito yo…

youtube

–¿Hay ideas para próximos proyectos?

–Tengo como cien ideas para discos. Lo que no tengo es dinero…

–¿Y la música algo posterior, la de los Pandolfi Mealli, Uccellini, Schmelzer, Biber…?

–Pandolfi lo he hecho en concierto ya muchas veces. Este verano estaré en el Alcázar de Sevilla tocando Uccellini y Biber junto a Nacho Laguna. Haré Sonatas del 81, que me encantan, incluso más que las del Rosario, y que toqué mucho cuando estudiaba.

[Diario de Sevilla. 12-05-2024]

ARCADIA EN SPOTIFY

#leonor de lera #nacho laguna #pablo fitzgerald #pan classics #Giammatteo Assola #Giuseppino del Biado #Giaches de Wert #Andrea Falconieri #Claudio Monteverdi #Francesco y Riccardo Rognoni #Philippe Verdelot #Giulio Caccini #Bartolomeo Tromboncino #Vincenzo Ruffo #adrian willaert #sigismondo d'india #música #music #Youtube

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