The Beatles - Oh! Darling
38 987 reproducciones
There is no beauty without some strangeness.
Edgar Allan Poe
jajajajajajajajajajaaja

jajajajajajajajajajaaja

Chano Pozo carajo!

bailate ‘sa ñelda

(8)ya no se puede rumbiá en el aaafriiicaaaaaaaaaaaaaaa(8)

scarymansion:

Mark Rothko. Untitled White, Blacks, Grays on Maroon, 1963

scarymansion:

Mark RothkoUntitled White, Blacks, Grays on Maroon, 1963

hustlerswhore:

Virginia Woolf in Venice

hustlerswhore:

Virginia Woolf in Venice

cross-connect:

Visions by Benoit Paillé

VISIONS: when my eye/mind focus on somethings
and take time to comtemplate, and all other disturbing
things disapaire, this is what I try to show you with this serie,
more close to painting than photography, maybe hyper real-realistic post-painting.  - Benoit Paillé
// selected by Mariana

diasporadash:

Dizzy Gillespie & Chano Pozo - Manteca

"Manteca" is one of the earliest foundational tunes of Afro-Cuban jazz. Co-written by Dizzy Gillespie, Chano Pozo and Gil Fuller in 1947, it is among the most famous of Gillespie’s recordings (along with the earlier "A Night in Tunisia") and is “one of the most important records ever made in the United States”, according to Gary Giddins of the Village Voice. “Manteca” is the first tune rhythmically based on the clave to become a jazz standard.

In 1947, Gillespie asked Mario Bauzá to recommend a Cuban percussionist for his big band. Bauzá suggested Pozo, a rough-living percussionist already famous in Cuba, and Gillespie hired him. They began to work Pozo’s Cuban-style percussion into the band’s arrangements.

The band was touring in California when Pozo presented Gillespie with the idea for the tune. It featured a bridge of two eight-bar trumpet statements by Gillespie, percussion patterns played by Pozo, and horn lines from Gillespie’s big band arranger Walter “Gil” Fuller.

According to Gillespie, Pozo composed the layered, contrapuntal guajeos (Afro-Cuban ostinatos) of the A section and the introduction, while Gillespie wrote the bridge. Gillespie recounted: “If I’d let it go like [Pozo] wanted it, it would have been strictly Afro-Cuban all the way. There wouldn’t have been a bridge. I thought I was writing an eight-bar bridge, but after eight bars I hadn’t resolved back to B-flat, so I had to keep going and ended up writing a sixteen-bar bridge.” The rhythm of the ‘A’ section melody is identical to a common mambo bell pattern.”

Same root, many branches! I love learning about Afrodescendants from all over creating together. 

electrolos:

Bach

missanisah:

"Most of my photos are grounded in people, I look for the unguarded moment, the essential soul peeking out, experience etched on a person’s face."Steve McCurry 


Sátántangó (1994)

Sátántangó (1994)

karamazove:

Don Hong-Oai (1929–2004) - Part 1