Some pictures of the medieval church of S. Rufus, of Piedimonte Casolla (or old Caserta) , with particular attention to signs on wooden portal of the church ...
Saturday, October 30, 2010
Can Lightning Strike Dish
" San Rufo, Piedimonte of Casolla, particularly Portal "
Some pictures of the medieval church of S. Rufus, of Piedimonte Casolla (or old Caserta) , with particular attention to signs on wooden portal of the church ...
Some pictures of the medieval church of S. Rufus, of Piedimonte Casolla (or old Caserta) , with particular attention to signs on wooden portal of the church ...
Friday, October 29, 2010
How To Get Free Stars On Club Nintendo
" Scauri, autumn sea ... "
Also the series of weekends, but it is the beginning of this month ...
Also the series of weekends, but it is the beginning of this month ...
Thursday, October 28, 2010
Where Do I Get /y License Renewed In Columbus Oh
OtraMilonga : martedì 2 novembre 2010
TUTTI I MARTEDI'
dalle ore 21,30 alle ore 2,00 circa al Salone delle Feste, in via Viglieri 7, a Borghetto Santo Spirito (SV). Inizio alle 21,30 con tanghi d’ascolto ballabili; alle 22 circa segue milonga con tandas alternate di tanghi tradizionali classici, vals, milonghe e tanghi contemporanei ed atipici.
Sala climatizzata.
Ingresso 6 € con bevande a disposizione.
INFO:
Maura +39.320.4251724
Claudio +39.335.7710027
OtroTango: +39.380.1407051
e.mail: otramilonga@gmail.com
Come arrivare: Autostrada dei Fiori A10 Savona/Ventimiglia, Uscita di Borghetto Santo Spirito, seguire indicazioni per Borghetto Santo Spirito; dopo circa 2 km., prima di immettersi sulla via Aurelia, si sbuca sulla grande Piazza Caduti del Lavoro. Parcheggiare l’auto e proseguire a piedi verso il centro storico. Il Salone Delle Feste è ampiamente visibile ed a soli 100 metri di distanza dal parcheggio. 
TUTTI I MARTEDI'
dalle ore 21,30 alle ore 2,00 circa al Salone delle Feste, in via Viglieri 7, a Borghetto Santo Spirito (SV). Inizio alle 21,30 con tanghi d’ascolto ballabili; alle 22 circa segue milonga con tandas alternate di tanghi tradizionali classici, vals, milonghe e tanghi contemporanei ed atipici.
Sala climatizzata.
Ingresso 6 € con bevande a disposizione.
INFO:
Maura +39.320.4251724
Claudio +39.335.7710027
OtroTango: +39.380.1407051
e.mail: otramilonga@gmail.com
Come arrivare: Autostrada dei Fiori A10 Savona/Ventimiglia, Uscita di Borghetto Santo Spirito, seguire indicazioni per Borghetto Santo Spirito; dopo circa 2 km., prima di immettersi sulla via Aurelia, si sbuca sulla grande Piazza Caduti del Lavoro. Parcheggiare l’auto e proseguire a piedi verso il centro storico. Il Salone Delle Feste è ampiamente visibile ed a soli 100 metri di distanza dal parcheggio.
Thursday, October 21, 2010
Mysore Mallikaonline View
" country church "
country church, between Dugenta and Love ...
More bets for the weekend,
recently,
dusk ...
Il Filare di pioppi dà l’idea del paesaggio
di quella zona, un po’ particolare per il Sud...
Il pioppo è tipicamente padano, in
senso tipicamente paesaggistico ed agricolo,
non in quello politico che, purtroppo, ha preso...
La seconda foto mi piace molto, con quel raggio di sole
che s’insinua attraverso il campanile piccolo,
and it does shine in a special way ...
Wednesday, October 20, 2010
Ipa File Converter Online
OtraMilonga : Martedì 26 Ottobre 2010
TUTTI I MARTEDI'
dalle ore 21,30 alle ore 2,00 circa al Salone delle Feste, in via Viglieri 7, a Borghetto Santo Spirito (SV). Inizio alle 21,30 con tanghi d’ascolto ballabili; alle 22 circa segue milonga con tandas alternate di tanghi tradizionali classici, vals, milonghe e tanghi contemporanei ed atipici.
Sala climatizzata.
Ingresso 6 € con bevande a disposizione.
INFO:
Maura +39.320.4251724
Claudio +39.335.7710027
OtroTango: +39.380.1407051
e.mail: otramilonga@gmail.com
Come arrivare: Autostrada dei Fiori A10 Savona/Ventimiglia, Uscita di Borghetto Santo Spirito, seguire indicazioni per Borghetto Santo Spirito; dopo circa 2 km., prima di immettersi sulla via Aurelia, si sbuca sulla grande Piazza Caduti del Lavoro. Parcheggiare l’auto e proseguire a piedi verso il centro town. The Ballroom is widely visible and just 100 meters away from the parking lot. 
TUTTI I MARTEDI'
dalle ore 21,30 alle ore 2,00 circa al Salone delle Feste, in via Viglieri 7, a Borghetto Santo Spirito (SV). Inizio alle 21,30 con tanghi d’ascolto ballabili; alle 22 circa segue milonga con tandas alternate di tanghi tradizionali classici, vals, milonghe e tanghi contemporanei ed atipici.
Sala climatizzata.
Ingresso 6 € con bevande a disposizione.
INFO:
Maura +39.320.4251724
Claudio +39.335.7710027
OtroTango: +39.380.1407051
e.mail: otramilonga@gmail.com
Come arrivare: Autostrada dei Fiori A10 Savona/Ventimiglia, Uscita di Borghetto Santo Spirito, seguire indicazioni per Borghetto Santo Spirito; dopo circa 2 km., prima di immettersi sulla via Aurelia, si sbuca sulla grande Piazza Caduti del Lavoro. Parcheggiare l’auto e proseguire a piedi verso il centro town. The Ballroom is widely visible and just 100 meters away from the parking lot.
Saturday, October 16, 2010
Brazilian Womens Football Team Shower
" Old Caserta, 2007 "
Photos of old Caserta, September-October three years ago, before that, with the second half of 2008, the "storm" starts to precipitate ([*]) Earth ...
[*] " rush to diabolo " Hermetic axiom ...
It is not over, who says it wrong. What is happening is that the crisis, only economic, it will become increasingly political and policy alone, become filosofica, religiosa, generale insomma e differenza...
Ma veniamo alle photo...
Tre vedute del Campanile della Cattedrale di Caserta vecchia
Tre vedute della facciata della Cattedrale di
Caserta vecchia
Facciata della Cattedrale, un particolare,
pietra romana inglobata
Facade of the Cathedral, detail.
animal figures on the Portal
View of hidden side of Caserta old
the portal, the square, on that side,
portale di solito chiuso
La Torre sullo sfondo fu decisiva nella battaglia
che oppose Aragonesi ed Angioini
Altro lato di Caserta vecchia,
veduta verso il Sannio
La brutta pianura campana vista dalla strada
che porta a Caserta vecchia
Monte Tifata sulla sfondo, visto
dal lato nascosto
Caserta old
Vesuvius, seen from above
old Caserta
Photos of old Caserta, September-October three years ago, before that, with the second half of 2008, the "storm" starts to precipitate ([*]) Earth ...
[*] " rush to diabolo " Hermetic axiom ...
It is not over, who says it wrong. What is happening is that the crisis, only economic, it will become increasingly political and policy alone, become filosofica, religiosa, generale insomma e differenza...
Ma veniamo alle photo...
Caserta vecchia
pietra romana inglobata
animal figures on the Portal
the portal, the square, on that side,
portale di solito chiuso
che oppose Aragonesi ed Angioini
veduta verso il Sannio
che porta a Caserta vecchia
dal lato nascosto
Caserta old
old Caserta
Thursday, October 14, 2010
Period 6 Days Late Negative Test
Stili di Tango - da Tangologia di G. Lala
The Tango has undergone transformations from these influences and to create various styles and techniques over time have been proposed from time to time as the best and most authentic interpreters of the various local realities and socio-cultural. On the other hand, the simultaneous coexistence of multiple styles is also a result of gradual adaptation to different situations and environments. Hand in hand with the different styles more or less codified steps and figures that have emerged, however, are not considered individual creations that anyone can claim as proprietary, but even when made established by a specific performer, are to merge into that body of knowledge, feelings and experiences that are now common cultural heritage. As a result, even the Argentine nation can claim ownership or rights over individual choreography, much less will do an individual or organization. The Argentine commentator
Lidia Ferrari, psychoanalyst and scholar of the Tango "Buenos Aires Tango" reads as follows (translation by Joseph White) on the evolution of styles: "When we talk about styles and coded to dance the tango (milonguero, Salon, fantasy, canyengue, etc.). we tend to regard them as something static, as if since he invented the tango, had already been clearly defined. Just as each dancer builds his dancing with the years, the same way the styles you have been coding styles are not created and stuffed once and for all. They are the fruit of laborious development of folk art collecting, transforming themselves over time.
In an era of prevailing Tango performance by the great masters can come from there. Then may come a time when they start to flower the milongas, and some teachers are born in these spaces. In turn, these different styles are mixed, change, grow, consolidate and then what we believe to be an authentic style of the origins is not really a transformation nel tempo e nelle persone, il che non lo fa meno vero.
CANYENGUE
Si tratta di uno stile storico molto popolare fin dagli anni 20 ma che tuttora trova estimatori e viene insegnato da qualche maestro; il nome, termine “lunfardo”, significa “gente dei sobborghi”.
Eseguito all'epoca nei locali cittadini, prevedeva abiti lunghi e stretti e passi veloci, su di un ritmo in 2/4 spesso sincopato; con la testa e il corpo inclinati in avanti, abbraccio chiuso, viene danzato in un intreccio di gambe che si allacciano in frequenti gancios su un complesso lavoro di piedi. Nell’epoca di maggiore popolarità la caratteristica posizione spavalda della coppia veniva spesso accentuata dalla mano sinistra dell’uomo tenuta infilata in tasca, e della mano destra della donna appoggiata sul fianco destro.
TANGO ORILLERO
Più diffuso nelle periferie, caratterizzato da sincopati e veloci movimenti dei piedi dell'uomo, con la presa spesso più aperta e la donna più libera di volteggiare, i movimenti più ampi e con meno preoccupazione per lo spazio disponibile e per la linea di ballo, in quanto i locali in cui veniva praticato erano in genere spaziosi e meno affollati. La musica, veloce e spesso sincopata, "elettrica", ha come orchestra di riferimento quella di Juan D'Arienzo, che con il pianista Rodolfo Biaggi innovò profondamente, a partire dalla metà degli anni 30's style music. In the '40s, that golden age, style orillero, that is, with many turns and variations, was opposed to the Tango Salon (ie room).
TANGO SALON
this style to 'era, was danced in a very elegant, composed and linear (sometimes called Tango was walking) along the line of dance, and is still danced in this form in the most traditional and peripheral by older dancers who have trained at that time.
style event has evolved over time to the present day retaining some of its main features, with the dancers take a hug or semi-closed, ie the pair is substantially open to the left side of man, with a hug and more closed on the right side of it (similar to the known position of the promenade, where the bodies are open to form a V to the left of the knight, the head turned in the same direction, which coincides with the direction of movement), the woman moved slightly to the right of partners, non-contact at chest height.
Over the decades the tango salon has greatly enriched the repertoire incorporating new steps and figures, supported by the high quality of music, characterized by highly danceable (even by inexperienced dancers) thanks to a very noticeable musical rhythm in 4 / 4 beats accentuated by the percussion. Great interpreters of this music are, to name but a few, the orchestras of Osvaldo Pugliese, active since the late '30s, and Carlos Di Sarli, whose fine recordings are considered classics now, as they are representative of the time Golden Tango.
STYLE OR APILADO CONFITERIAS
largely carried out in the premises of the city center (confiterias, clubs and cafés), crowded and space is limited, and, moreover, mainly by young people looking for physical intimacy with their girlfriends, was danced with small steps and in a very closed, always characterized by the typical inverted V-shape the couple, the man's right arm completely surrounds the female body, and the left arm of this rests entirely on his body, his hand caressing the nape of the neck or partner. The rigidity of the embrace strongly closed allows the woman a few changes and bravura.
STYLE MILONGUERO
course takes its name from the milongas, as it is called a kind of local restaurants, and whose patrons are called milongueros. By extension, now called milonga is given, both in the platense the rest of the world, most of the places where you dance the Tango, Tango and even at social evenings held in public venues and clubs associations and schools of Tango.
today represents the evolution of style is that of what orillero apilado, time to dance in a way more rich and satisfying, having built over time many of the figures is that of Tango Salon Tango orillero. It is danced mostly in central Buenos Aires milongas and Montevideo, which are those most visited by tourists, and therefore appears to the superficial between them as the only form of Argentine Tango.
Hugging is generally of the closed, inverted V, with or without contact at chest level, bodies tilted forward, the feet of one partner away from the other, with the tops of the two bodies parallel to each other (the man's right shoulder is close to the left of the woman, like the man's left shoulder is kept as close to the right shoulder of the woman).
The embrace ended, while requiring little space and facilitates marcacion performed with the body, makes it difficult for the execution of complex shapes by the woman, and only very experienced pair of dancers are able to combine the elegance of virtuosity.
The music of choice for this style is fast, syncopated D'Arienzo, Biagi, but is also the ballad, classic, Osvaldo Pugliese and to Di Sarli, pronounced by the beats, the passion of Anibal Troilo, one melodic Miguel Calo to Tango Nuevo and Astor Piazzolla's music, created in large part to listen for the dance, making good summary of the character that this style has become, especially in recent years of revival and rediscovery of the tango dance .
no coincidence that many speak of tango and tango salon milonguero as a unique style with different faces depending on the premises, teachers, schools and geographical location, and even the style and musical sensitivity of the individual pairs, like combined result of a long and ongoing archaeological research and innovative style at the same time, by a wide array of teachers, dancers and scholars.
Broadly speaking, e limitandoci all'attuale situazione nella zona di origine, diremo che i giovani platensi preferiscono forse il modo di ballare più intimo prevalente nelle milongas del centro, mentre alcuni anziani ballano un Tango da sala più lineare e meno complicato lungo le linee di ballo dei locali di periferia.
Va comunque precisato che, anche nello stesso locale e nella stessa serata, i vari stili possono coesistere, alternandosi nella scaletta musicale gruppi di brani musicali di epoche diverse e di diversi generi, e che gli appassionati riconoscono come ballabili nell'uno o nell'altro stile, e di conseguenza li ballano in maniera diversa oppure si astengono dal ballare finchè non vengano di nuovo eseguiti brani del genere più gradito.
TANGO TANGO FANTASY OR SHOW
This is a way to dance conceived for the stage, entertainment, exhibition, and therefore requires a preliminary study by the teacher and the couple made up of professional dancers or any of great skill in order to develop a choreography to be performed during the performance.
Here the emotion of the dance intimate, spontaneous and with a strong element of improvisation, gives way to search for technical perfection in the performance figures of increasing complexity, it draws from the repertoire available in different styles already listed and not without some figures and the introduction of extraneous steps to the Tango Social and borrowed, from time to time, from the repertoire of Latin American or from that of classical ballet and modern. 
The Tango has undergone transformations from these influences and to create various styles and techniques over time have been proposed from time to time as the best and most authentic interpreters of the various local realities and socio-cultural. On the other hand, the simultaneous coexistence of multiple styles is also a result of gradual adaptation to different situations and environments. Hand in hand with the different styles more or less codified steps and figures that have emerged, however, are not considered individual creations that anyone can claim as proprietary, but even when made established by a specific performer, are to merge into that body of knowledge, feelings and experiences that are now common cultural heritage. As a result, even the Argentine nation can claim ownership or rights over individual choreography, much less will do an individual or organization. The Argentine commentator
Lidia Ferrari, psychoanalyst and scholar of the Tango "Buenos Aires Tango" reads as follows (translation by Joseph White) on the evolution of styles: "When we talk about styles and coded to dance the tango (milonguero, Salon, fantasy, canyengue, etc.). we tend to regard them as something static, as if since he invented the tango, had already been clearly defined. Just as each dancer builds his dancing with the years, the same way the styles you have been coding styles are not created and stuffed once and for all. They are the fruit of laborious development of folk art collecting, transforming themselves over time.
In an era of prevailing Tango performance by the great masters can come from there. Then may come a time when they start to flower the milongas, and some teachers are born in these spaces. In turn, these different styles are mixed, change, grow, consolidate and then what we believe to be an authentic style of the origins is not really a transformation nel tempo e nelle persone, il che non lo fa meno vero.
CANYENGUE
Si tratta di uno stile storico molto popolare fin dagli anni 20 ma che tuttora trova estimatori e viene insegnato da qualche maestro; il nome, termine “lunfardo”, significa “gente dei sobborghi”.
Eseguito all'epoca nei locali cittadini, prevedeva abiti lunghi e stretti e passi veloci, su di un ritmo in 2/4 spesso sincopato; con la testa e il corpo inclinati in avanti, abbraccio chiuso, viene danzato in un intreccio di gambe che si allacciano in frequenti gancios su un complesso lavoro di piedi. Nell’epoca di maggiore popolarità la caratteristica posizione spavalda della coppia veniva spesso accentuata dalla mano sinistra dell’uomo tenuta infilata in tasca, e della mano destra della donna appoggiata sul fianco destro.
TANGO ORILLERO
Più diffuso nelle periferie, caratterizzato da sincopati e veloci movimenti dei piedi dell'uomo, con la presa spesso più aperta e la donna più libera di volteggiare, i movimenti più ampi e con meno preoccupazione per lo spazio disponibile e per la linea di ballo, in quanto i locali in cui veniva praticato erano in genere spaziosi e meno affollati. La musica, veloce e spesso sincopata, "elettrica", ha come orchestra di riferimento quella di Juan D'Arienzo, che con il pianista Rodolfo Biaggi innovò profondamente, a partire dalla metà degli anni 30's style music. In the '40s, that golden age, style orillero, that is, with many turns and variations, was opposed to the Tango Salon (ie room).
TANGO SALON
this style to 'era, was danced in a very elegant, composed and linear (sometimes called Tango was walking) along the line of dance, and is still danced in this form in the most traditional and peripheral by older dancers who have trained at that time.
style event has evolved over time to the present day retaining some of its main features, with the dancers take a hug or semi-closed, ie the pair is substantially open to the left side of man, with a hug and more closed on the right side of it (similar to the known position of the promenade, where the bodies are open to form a V to the left of the knight, the head turned in the same direction, which coincides with the direction of movement), the woman moved slightly to the right of partners, non-contact at chest height.
Over the decades the tango salon has greatly enriched the repertoire incorporating new steps and figures, supported by the high quality of music, characterized by highly danceable (even by inexperienced dancers) thanks to a very noticeable musical rhythm in 4 / 4 beats accentuated by the percussion. Great interpreters of this music are, to name but a few, the orchestras of Osvaldo Pugliese, active since the late '30s, and Carlos Di Sarli, whose fine recordings are considered classics now, as they are representative of the time Golden Tango.
STYLE OR APILADO CONFITERIAS
largely carried out in the premises of the city center (confiterias, clubs and cafés), crowded and space is limited, and, moreover, mainly by young people looking for physical intimacy with their girlfriends, was danced with small steps and in a very closed, always characterized by the typical inverted V-shape the couple, the man's right arm completely surrounds the female body, and the left arm of this rests entirely on his body, his hand caressing the nape of the neck or partner. The rigidity of the embrace strongly closed allows the woman a few changes and bravura.
STYLE MILONGUERO
course takes its name from the milongas, as it is called a kind of local restaurants, and whose patrons are called milongueros. By extension, now called milonga is given, both in the platense the rest of the world, most of the places where you dance the Tango, Tango and even at social evenings held in public venues and clubs associations and schools of Tango.
today represents the evolution of style is that of what orillero apilado, time to dance in a way more rich and satisfying, having built over time many of the figures is that of Tango Salon Tango orillero. It is danced mostly in central Buenos Aires milongas and Montevideo, which are those most visited by tourists, and therefore appears to the superficial between them as the only form of Argentine Tango.
Hugging is generally of the closed, inverted V, with or without contact at chest level, bodies tilted forward, the feet of one partner away from the other, with the tops of the two bodies parallel to each other (the man's right shoulder is close to the left of the woman, like the man's left shoulder is kept as close to the right shoulder of the woman).
The embrace ended, while requiring little space and facilitates marcacion performed with the body, makes it difficult for the execution of complex shapes by the woman, and only very experienced pair of dancers are able to combine the elegance of virtuosity.
The music of choice for this style is fast, syncopated D'Arienzo, Biagi, but is also the ballad, classic, Osvaldo Pugliese and to Di Sarli, pronounced by the beats, the passion of Anibal Troilo, one melodic Miguel Calo to Tango Nuevo and Astor Piazzolla's music, created in large part to listen for the dance, making good summary of the character that this style has become, especially in recent years of revival and rediscovery of the tango dance .
no coincidence that many speak of tango and tango salon milonguero as a unique style with different faces depending on the premises, teachers, schools and geographical location, and even the style and musical sensitivity of the individual pairs, like combined result of a long and ongoing archaeological research and innovative style at the same time, by a wide array of teachers, dancers and scholars.
Broadly speaking, e limitandoci all'attuale situazione nella zona di origine, diremo che i giovani platensi preferiscono forse il modo di ballare più intimo prevalente nelle milongas del centro, mentre alcuni anziani ballano un Tango da sala più lineare e meno complicato lungo le linee di ballo dei locali di periferia.
Va comunque precisato che, anche nello stesso locale e nella stessa serata, i vari stili possono coesistere, alternandosi nella scaletta musicale gruppi di brani musicali di epoche diverse e di diversi generi, e che gli appassionati riconoscono come ballabili nell'uno o nell'altro stile, e di conseguenza li ballano in maniera diversa oppure si astengono dal ballare finchè non vengano di nuovo eseguiti brani del genere più gradito.
TANGO TANGO FANTASY OR SHOW
This is a way to dance conceived for the stage, entertainment, exhibition, and therefore requires a preliminary study by the teacher and the couple made up of professional dancers or any of great skill in order to develop a choreography to be performed during the performance.
Here the emotion of the dance intimate, spontaneous and with a strong element of improvisation, gives way to search for technical perfection in the performance figures of increasing complexity, it draws from the repertoire available in different styles already listed and not without some figures and the introduction of extraneous steps to the Tango Social and borrowed, from time to time, from the repertoire of Latin American or from that of classical ballet and modern.
Wednesday, October 13, 2010
How Much Should An Online Database Cost
OtraMilonga : martedì 19 ottobre 2010
EVERY TUESDAY '
starting at 21.30 at about 2.00 at the Salone delle Feste, in Viglieri 7, Borghetto Santo Spirito (SV). Beginning at 21.30 with danceable tangos to listen, to about 22 milonga follows tandas alternating with traditional classic tangos, vals, milongas and tangos contemporary and unusual.
Air conditioning.
Admission € 6 with drinks available.
INFO:
Claudio Maura +39.320.4251724 +39.335.7710027
OtroTango:
+39.380.1407051 e.mail: otramilonga@gmail.com
Directions: Autostrada dei Fiori A10 Savona / Ventimiglia, output Borghetto Santo Spirito, follow signs for Borghetto Santo Spirito, after about 2 km. Before you take the Via Aurelia, you will come out on the great job of Memorial Square. Park your car and walk towards the old town. The Ballroom is widely visible and just 100 meters away from the parking lot. 
EVERY TUESDAY '
starting at 21.30 at about 2.00 at the Salone delle Feste, in Viglieri 7, Borghetto Santo Spirito (SV). Beginning at 21.30 with danceable tangos to listen, to about 22 milonga follows tandas alternating with traditional classic tangos, vals, milongas and tangos contemporary and unusual.
Air conditioning.
Admission € 6 with drinks available.
INFO:
Claudio Maura +39.320.4251724 +39.335.7710027
OtroTango:
+39.380.1407051 e.mail: otramilonga@gmail.com
Directions: Autostrada dei Fiori A10 Savona / Ventimiglia, output Borghetto Santo Spirito, follow signs for Borghetto Santo Spirito, after about 2 km. Before you take the Via Aurelia, you will come out on the great job of Memorial Square. Park your car and walk towards the old town. The Ballroom is widely visible and just 100 meters away from the parking lot.
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