They were both bottom. Jabra is vergin let’s be honest. Him and Gatherine they only made it dating stage nothing more. Carlos in other hand his one night stand usually he’s bottom.
Bang Bang (Thomas Dudley) was an eccentric elderly gentleman in Dublin in the 1950s and 1960s who achieved fame as a character in the city. A fan of cowboy films, Bang Bang used to travel the buses and trams of the city staging mock shoot-outs with passing people (hence his nickname). He carried a large church key in his pocket which he used as a ‘gun’. Dubliners, who enjoyed his good-natured…
The remains of a sanctuary dedicated to the god #Mithras, along with leftovers from ritual banquets, have been found during #excavations at the Villa del Mitra in Cabra, #Spain.
THE CHINESE HOROSCOPE and THE YEAR OF THE DRAGON
HOLA MUNDO..!!
El horóscopo chino es un sistema astrológico basado en el calendario lunar chino, que se utiliza para determinar la personalidad, las características y las tendencias de una persona según el año de su nacimiento. A diferencia del zodiaco occidental, que se basa en el movimiento del sol a través del zodiaco, el horóscopo chino se…
I posted this around April 9 2024. I was sacred to post this platform but i remember i love this video and who cares if fell heart. I just love them.
How it started vs how its going Jabra edition. Jabra is pretty sure he is into woman but some reason he fell for Carlos. mostly because carlos didn't be little him or make fun of him and found him cool but also fun hang out with
Cabra is a group from Spain that offers a modern take on the musical traditions of that country. The members — Efrén López, Isabel Martín, Carlos Ramírez, and Juan Francisco Ballestero — play an incredibly wide range of instruments, including hurdy gurdy and various lutes, bagpipes, fiddles and hand percussion, as a video produced for the project shows. The lyrics are original, by Martín, but seem to deal with subjects appropriate to the music, typically, love and longing. This version of Spanish roots music is, quite simply, lovely, beautifully played and full of mystery.
The sound, given the instrumentation, is reminiscent of medieval and Renaissance music, and Martín’s pure voice, sometimes multi-tracked, has some similarities to the voices of Sandy Denny and Annie Haslam. Often, her singing combines with string and woodwind drones that float over rattling percussion. On slower songs, such as “Bolero” and “Fandango Lidio,” alternating instrumental and vocal sections create mounting tension that resolves in satisfying ways.
Each track is carefully arranged and distinctive. The epic-length opener “Narisco + No Te Cases” starts things off with a soaring vocal over rippling plucked strings, develops steadily, and comes together at the end like a well-told tale. On “En Lo Mas Alto del Cielo,” gentle flute and strings hold forth for more than two minutes, at which point Martín introduces a complex vocal line that becomes submerged in percussion, and the track resolves in a flurry of winds and strings. The instrumental “Corrido” is a three-minute thrill ride with something of an Ennio Morricone feel. Examples of the attention to detail throughout the recording include what sounds like a jaw harp near the end of “La Avellana,” what sounds like a backwards-tracked instrument at the beginning of “En Lo Mas Alto del Cielo,” the sounds of chickens accompanying Martín at the beginning of “El Toro de Mieza,” and a percussion breakdown in the middle of “Gorrontxategitarren Pandangoa” that makes clear this is not easy listening music.
My knowledge of the genre is too limited for me to say how distinctive Cabra’s music is within the modern folk scene in Spain or its relationship to the deep tradition of Spanish music. In any case, the potential appeal of Vol. 1 seems quite wide, including listeners with a taste for traditional, folk, and medieval/Renaissance music and those eager to hear unusual sounds, and they are likely to find themselves looking forward to Vol. 2.