Search results for mares female
Results 1-7 of about 7 (Found in 0.086s)
9,
01:25,
2007-01-19 17:23:41
Description: Taken at the 2007 Stallion Show: Another famous and very popular stallion is Jasper. Known for his impressive trot, Jasper has already sired four approved sons (Jisse 433, Haitse 427, Dries 421 and (More) Taken at the 2007 Stallion Show: Another famous and very popular stallion is Jasper. Known for his impressive trot, Jasper has already sired four approved sons (Jisse 433, Haitse 427, Dries 421 and Beart 411) and he was only born in 1995! Jasper and son Beart have been named world champions in the past, and young Haitse shows similar promise. Jasper has a similar proven record with producing female offspring - he has an amazing 50% lifetime ster rating on mares (as of end of 2006). And if all this is not enough, Jasper also is a high level dressage horse. Yes, he has it all. (Less) Channel: youtube
32,
00:47,
2007-08-16 00:35:59
Description: Centaurs are ancient strange creatures in ancient Greek semi-horse and semi-human presentation by the author Gregory Zorzos.
CENTAURS. That is, the "bullkillers," are according to the (More) Centaurs are ancient strange creatures in ancient Greek semi-horse and semi-human presentation by the author Gregory Zorzos.
CENTAURS. That is, the "bullkillers," are according to the earliest accounts a race of men who inhabited the mountains and forests of Thessaly. They are described as leading a rude and savage life, occasionally carrying off the women of their neighbours, as covered with hair and ranging over their mountains like animals. But they were not altogether unacquainted with the useful arts, as in the case of Cheiron. (Hom. Il. i. 268, ii. 743, in which passages they are called ph?res, that is, th?res, Od. xxi. 295, &c.; Hesiod. Scut. Herc. 104, &c.) Now, in these earliest accounts, the centaurs appear merely as a sort of gigantic, savage, or animal-like beings; whereas, in later writers, they are described as monsters (hippocentaurs), whose bodies were partly human and partly those of horses. This strange mixture of the human form with that of a horse is accounted for, in the later traditions, by the history of their origin. Ixion, it is said, begot by a cloud Centaurus, a being hated by gods and men, who begot the hippocentaurs on mount Pelion, by mixing with Magnesian mares. (Pind. Pyth. ii. 80, &c.) According to Diodorus (iv. 69; comp. Hygin. Fab. 33), the centaurs were the sons of Ixion himself by a cloud; they were brought up by the nymphs of Pelion, and begot the Hippocentaurs by mares. Others again relate, that the centaurs were the offspring of Ixion and his mares; or that Zeus, metamorphosed into a horse, begot them by Dia, the wife of Ixion. (Serv. ad Aen. viii. 293; Nonn. Dionys. xvi. 240, xiv. 193.) From these accounts it appears, that the ancient centaurs and the later hippocentaurs were two distinct classes of beings, although the name of centaurs is applied to both by ancient as well as modern writers.
The Centaurs are particularly celebrated in ancient story for their fight with the Lapithae, which arose at the marriage-feast of Peirithous, and the subject of which was extensively used by ancient poets and artists. This fight is sometimes put in connexion with a combat of Heracles with the centaurs. (Apollod. ii. 5. § 4; Diod. iv. 12; Eurip. Herc. fur. 181, &c.; Soph. Trachin. 1095; Nonn. Dionys. xiv. 367; Ov. Met. xii. 210, &c.; Virg. Georg. ii. 455.) The scene of the contest is placed by some in Thessaly, and by others in Arcadia. It ended by the centaurs being expelled from their country, and taking refuge on mount Pindus, on the frontiers of Epeirus. Cheiron is the most celebrated among the centaurs.
As regards the origin of the notion respecting the centaurs, we must remember, in the first place, that bull-hunting on horseback was a national custom in Thessaly (Schol. ad Pind. p. 31.9, ed. Boeckh), and, secondly, that the Thessalians in early times spent the greater part of their lives on horseback. It is therefore not improbable that the Thessalian mountaineers may at some early period have made upon their neighbouring tribes the same impression as the Spaniards did upon the Mexicans, namely, that horse and man were one being. The centaurs were frequently represented in ancient works of art, and it is here that the idea of then is most fully developed. There are two forms in which the centaurs were represented in works of art. In the first they appear as men down to their legs and feet, but the hind part consists of the body, tail, and hind legs of a horse (Paus. v. 19. § 2); the second form, which was probably not used before the time of Phidias and Alcamenes, represents the centaurs as men from the head to the loins, and the remainder is the body of a horse with its four feet and tail. (Paus. v. 10. § 2; Plin. H. N. xxxvi. 4.) It is probably owing to the resemblance between the nature of the centaurs and that of the satyrs, that the former were in later times drawn into the sphere of Dionysiac beings; but here they appear no longer as savage monsters, but as tamed by the power of the god. They either draw the chariot of the god, and play the horn or lyre, or they appear in the train of Dionysus, among the Satyrs, Fauns (Panes), Nymphs, Erotes, and Bacchantes. It is remarkable that there were also female centaurs, who are said to have been of great beauty. (Philostr. Icon. ii. 3.) (Less) Channel: youtube
11,
02:40,
2008-04-21 16:18:13
Description: Mad - Paul and his Gang 2003 Paul Bocciolone Strandberg from Sweden, cornet player, singer and teacher of early jazz, started as a bandleader in 1973. Since then he has been heading several (More) Mad - Paul and his Gang 2003 Paul Bocciolone Strandberg from Sweden, cornet player, singer and teacher of early jazz, started as a bandleader in 1973. Since then he has been heading several successful jazz orchestras and taken part in the major events on the traditional jazz scene in Europe. At the appearance at the New Orleans Jazz & Heritage Festival in 1982 he was honored with the "Certificate of Merit" by the Mayor of the City. Paul and his Gang was founded in 1990 and won the most prestigious orchestra competition at Europe's biggest festival for traditional jazz in Breda, Holland two years later. In his website Paul describes his musicians: I first heard Dymitr Markiewicz already back in 1965 when he visited Sweden for the first time to play trombone with a rather rough but enthusiastic Polish orchestra. The multi- reed man Lars-Erik Ström was to me a well established « modern » musician. l happened to give him a call at a moment when he had just quit one of Sweden's (and Europe's) leading Big Bands. That was about ten years ago. When l was in desperate need of a tuba player in the beginning of the 80's, l came across Jonas Eilert, who came from the brass band tradition playing also trombone and trumpet but from then on specializing on sousaphone. From the beginning of the band there have been many occasions where we had to play without a piano (this was before the digital piano's came about) and to serve us the chords Dennis Johnsson on banjo came in handy Then we took a daring step. We added another very personal voice to this weIl balanced, strong line-up. Marie-Christine « Kiki » Desplat from Paris, surely one of the few first-class female cornet players in the world, was a breath of fresh air to the well reputed French traditional jazz scene when she entered it at the end of the 80's. l first heard her play at the Breda Jazz Festival with The Watergate Seven in 1991. A friend of mine called me and said: « Look at this girl ! I never saw anyone so happy about what he or she is doing in any profession or activity. » And my reaction when she played is best described by a reference to jazz history; Armstrong when hearing Bix said, "There's someone as serious about music as myself" note: In the youtube featured tunes recorded in 2003 Kiki plays piano. We all look forward to see and hear Kiki playing the trumpet in future clips as well. Paul has several CD's available. These can be ordered from his website at http://www.paulandhisgang.com/cd.htm (The not often played tune "Mad" is one of my favourite melodies. It originates from a 1923 recording from another Paul. Paul Mares and his New Orleans Rhythm Kings was already a hot band and an inspiration to Bix Beiderbecke (Less) Channel: youtube
19,
03:45,
2008-04-21 18:07:59
Description: CENTAURS Strange creatures in ancient Greece by Gregory Zorzos. CENTAURS. That is, the "bullkillers," are according to the earliest accounts a race of men who inhabited the mountains and (More) CENTAURS Strange creatures in ancient Greece by Gregory Zorzos. CENTAURS. That is, the "bullkillers," are according to the earliest accounts a race of men who inhabited the mountains and forests of Thessaly. They are described as leading a rude and savage life, occasionally carrying off the women of their neighbours, as covered with hair and ranging over their mountains like animals. But they were not altogether unacquainted with the useful arts, as in the case of Cheiron. (Hom. Il. i. 268, ii. 743, in which passages they are called ph?res, that is, th?res, Od. xxi. 295, &c.; Hesiod. Scut. Herc. 104, &c.) Now, in these earliest accounts, the centaurs appear merely as a sort of gigantic, savage, or animal-like beings; whereas, in later writers, they are described as monsters (hippocentaurs), whose bodies were partly human and partly those of horses. This strange mixture of the human form with that of a horse is accounted for, in the later traditions, by the history of their origin. Ixion, it is said, begot by a cloud Centaurus, a being hated by gods and men, who begot the hippocentaurs on mount Pelion, by mixing with Magnesian mares. (Pind. Pyth. ii. 80, &c.) According to Diodorus (iv. 69; comp. Hygin. Fab. 33), the centaurs were the sons of Ixion himself by a cloud; they were brought up by the nymphs of Pelion, and begot the Hippocentaurs by mares. Others again relate, that the centaurs were the offspring of Ixion and his mares; or that Zeus, metamorphosed into a horse, begot them by Dia, the wife of Ixion. (Serv. ad Aen. viii. 293; Nonn. Dionys. xvi. 240, xiv. 193.) From these accounts it appears, that the ancient centaurs and the later hippocentaurs were two distinct classes of beings, although the name of centaurs is applied to both by ancient as well as modern writers. The Centaurs are particularly celebrated in ancient story for their fight with the Lapithae, which arose at the marriage-feast of Peirithous, and the subject of which was extensively used by ancient poets and artists. This fight is sometimes put in connexion with a combat of Heracles with the centaurs. (Apollod. ii. 5. § 4; Diod. iv. 12; Eurip. Herc. fur. 181, &c.; Soph. Trachin. 1095; Nonn. Dionys. xiv. 367; Ov. Met. xii. 210, &c.; Virg. Georg. ii. 455.) The scene of the contest is placed by some in Thessaly, and by others in Arcadia. It ended by the centaurs being expelled from their country, and taking refuge on mount Pindus, on the frontiers of Epeirus. Cheiron is the most celebrated among the centaurs. As regards the origin of the notion respecting the centaurs, we must remember, in the first place, that bull-hunting on horseback was a national custom in Thessaly (Schol. ad Pind. p. 31.9, ed. Boeckh), and, secondly, that the Thessalians in early times spent the greater part of their lives on horseback. It is therefore not improbable that the Thessalian mountaineers may at some early period have made upon their neighbouring tribes the same impression as the Spaniards did upon the Mexicans, namely, that horse and man were one being. The centaurs were frequently represented in ancient works of art, and it is here that the idea of then is most fully developed. There are two forms in which the centaurs were represented in works of art. In the first they appear as men down to their legs and feet, but the hind part consists of the body, tail, and hind legs of a horse (Paus. v. 19. § 2); the second form, which was probably not used before the time of Phidias and Alcamenes, represents the centaurs as men from the head to the loins, and the remainder is the body of a horse with its four feet and tail. (Paus. v. 10. § 2; Plin. H. N. xxxvi. 4.) It is probably owing to the resemblance between the nature of the centaurs and that of the satyrs, that the former were in later times drawn into the sphere of Dionysiac beings; but here they appear no longer as savage monsters, but as tamed by the power of the god. They either draw the chariot of the god, and play the horn or lyre, or they appear in the train of Dionysus, among the Satyrs, Fauns (Panes), Nymphs, Erotes, and Bacchantes. It is remarkable that there were also female centaurs, who are said to have been of great beauty. (Philostr. Icon. ii. 3.) (Less) Channel: youtube
11,
04:15,
2009-09-06 03:30:30
Description: Laura Pausini (Faenza, Ravenna, 16 mei 1974) is een Italiaanse zangeres die immens populair is in de Italiaans- en Spaanssprekende wereld. Ze heeft ook veel aanhang in Belgi en Nederland. Ze zingt (More) Laura Pausini (Faenza, Ravenna, 16 mei 1974) is een Italiaanse zangeres die immens populair is in de Italiaans- en Spaanssprekende wereld. Ze heeft ook veel aanhang in Belgi en Nederland. Ze zingt vooral romantische liedjes, niet alleen in het Italiaans maar ook in het Spaans, Portugees (met Gilberto Gil) en Engels. Zij heeft een warme krachtige stem met een groot stembereik. Haar nummers gaan vooral over de liefde, maar Laura zingt ook over vrede, armoede en racisme. Pausini groeide op in Solarolo. Ze is door haar ouders opgeleid in het zingen. Vader Fabrizio Pausini liet haar als barpianist en zanger kennismaken met songs van Tina Turner, Barbra Streisand en Ella Fitzgerald. Op haar achtste trad ze op bij een verjaardagsfeest en vanaf toen wist zij dat op het podium haar toekomst lag. Na de basisschool besloot Pausini naar de Italiaanse kunstacademie Liceo Artistico di Faenza te gaan. Haar eerste album I Sogni di Laura nam ze vervolgens in 1987 in eigen beheer op. Ze werd daarmee officieel ontdekt door producer Angelo Valsiglio. Op 25 februari 1993 stond hij tijdens het jaarlijkse San Remo-festival aan de wieg van deze ster in wording. Met het nummer La Solitudine won de toen 18-jarige Pausini het festival. Dit nummer sloeg ook aan in Nederland en vormde daarmee haar internationale doorbraak. La solitudine werd door Paul de Leeuw vertaald tot Ik wil niet dat je liegt, dat - net als het origineel - ook op nummer 1 kwam. Haar eerste commercile album, Laura Pausini, verscheen ook in 1993 bij Warner Music. In 1994 nam Pausini voor de tweede maal deel aan het San Remo-festival, dit keer met het nummer Strani Amori waarmee ze op de derde plaats eindigde. Haar tweede album Laura verscheen rond diezelfde periode en werd een groot succes in bijna veertig landen. Ook Spaanstalige landen toonden intussen interesse in Pausini, zodat de zangeres besloot om een geheel Spaanstalig album op te nemen. Het werd een plaat met de beste nummers van haar eerste twee Italiaanstalige albums en verscheen eind 1994 in de Spaanstalige wereld, alwaar het een gigantisch succes werd. Aan haar management veranderde vervolgens het een en ander. Marco Marrati, die Pausini begeleidde vanaf het moment dat ze een ster werd, bleek grote delen van het verdiende geld in zijn eigen zakken te laten verdwijnen. Ook vond hij de zangeres enkel goed voor het inzingen van 'door anderen gekozen' liedjes en liet hij haar niet ontwikkelen als liedjesschrijver, wat wel haar ambitie was. Na flink wat confrontaties was Pausini in 1996 klaar om met een schone lei te beginnen en begon zij na een kleine pauze vol goede moed aan een nieuw album. Gedurende zes maanden hield zij zich bezig met de realisatie van dit album, dat in het Italiaans en het Spaans zou verschijnen. Ook kwamen er drie liedjes in het Portugees uit, die in Brazili op de Italiaanse versie stonden. Het album werd in september door Warner Music uitgebracht, in het Italiaans onder de titel Le Cose Che Vivi, in het Spaans als Las Cosas Que Vives. De plaat bereikte wereldwijd de hoogste plaatsen van vele hitlijsten. Nog voor het eind van het jaar ging Pausini voor de allereerste keer op wereldtournee. De succesvolle Laura Pausini World Tour 96/97 bracht de zangeres naar de verste uithoeken van de wereld. Tijdens de tour deed de zangeres inspiratie op voor een nieuw album. Rond kerst 1997 gaf de zangeres een exclusief optreden voor Paus Johannes Paulus II in het Vaticaan. In 1998 besteedde Pausini aandacht aan haar vierde plaat. Voor schrijfsessies en opnames vloog zij over naar New York en Los Angeles. Het album werd in oktober van dat jaar door Warner Music over meer dan vijftig landen verspreid. Net als de vorige cd opnieuw in een Italiaanse en een Spaanse versie, respectievelijk La Mia Risposta en Mi Rispuesta. Het album was - in tegenstelling tot Pausini's eerdere materiaal - een stuk persoonlijker. Ook ontpopte zij zich met deze plaat al redelijk als songwriter. Om de plaat te ondersteunen ging Pausini in 1999 opnieuw op wereldtournee. Verder maakte ze in dat jaar een uitstapje naar de Engelse taal: ze nam de soundtrack van de speelfilm Message In A Bottle, met Kevin Costner in de hoofdrol, voor haar rekening. Het desbetreffende nummer heette One More Time en werd geschreven door zanger Richard Marx. Na een pauze begon Pausini in 2000 te werken aan haar vijfde album. In het september verscheen het album onder de titels Tra Te E Il Mare (Italiaans) en Entre Tu y Mil Mares (Spaans) en werd opnieuw een bestseller. Deze keer werd er geen wereldtournee aan het nieuwe album verbonden. Pausini had inmiddels diverse aanbiedingen gekregen om een geheel Engelstalig album op te nemen. Het plan werd alleen telkens verschoven, aangezien de zangeres er nog niet aan toe was. In 2001 bleek Pausini genoeg succesvol materiaal te hebben om een verzamelalbum te vullen. Naast bekend werk, nam Pausini voor dit project enkele nieuwe nummers op. Het album verscheen in oktober, wederom in een Italiaanse (E Ritorno Da Te - The Best Of) en een Spaanse versie (Volver Junto A Ti). Eind 2001 begon Laura aan een nieuwe wereldtournee, die tot halverwege 2002 duurde. Na de tour vloog Pausini naar de Verenigde Staten om dan eindelijk haar eerste Engelstalige album op te nemen. Ze verbleef er een half jaar voor het opnemen van liedjes en voor het opdoen van indrukken van de Amerikaanse bevolking en haar cultuur. Om de kans op een doorbraak in Amerika te vergroten, werden voor het album diverse bekende Amerikaanse producers en liedjesschrijvers aangetrokken. In november werd het album onder de naam From The Inside uitgebracht in de VS en in Canada. De eerste single van het album was Surrender. Daarmee behaalde Pausini de eerste plaats van de Amerikaanse dancecharts. Pausini baalde echter van het feit dat de single overal in Amerika te horen was in diverse remixen, maar niet in de originele versie. Zij werd in de VS gezien als dance-artiest, terwijl ze dat dus niet was. Haar Amerikaanse platenlabel beloofde haar vervolgens op een andere manier neer te zetten. Aanvankelijk was From The Inside enkel voor de VS en Canada bestemd, omdat dat Pausini in Noord-Amerika nog niet was doorgebroken. Toch werd het album door veel mensen gemporteerd via internet. Om haar fans tegemoet te komen, werd From The Inside begin 2003 alsnog in Europa en Japan uitgebracht. Ze behaalde er redelijke successen mee, maar mensen zagen Pausini toch liever Italiaans of Spaans zingen, dat was een feit. Op 8 maart 2003 kreeg Pausini voor de totale verkoop een diamanten plaat uitgereikt. Er waren tot dan toe, wereldwijd minimaal 25 miljoen albums verkocht. In de VS werd intussen - geheel tegen Pausini's zin - opnieuw een single met diverse remixen uitgebracht, waarmee ze opnieuw de dancecharts besteeg. Pausini zette daarop alle promotie die voor de VS nog op het programma stond stop. Ze keerde terug naar Itali en trad tijdelijk uit de spotlights. Haar volgende album verscheen in oktober 2004: Resta In Ascolto was de Italiaanse persing, Escucha de Spaanse. Op 23 november 2004 kreeg Pausini tijdens opnames van het televisieprogramma All You Need Is Love de Life Time Music Award voor de verkoop van 1 miljoen exemplaren van haar tot dan toe verschenen albums in de Benelux. Tijdens de tournee ter promotie van haar nieuwe album werden opnames gemaakt voor de live cd/dvd Laura Pausini - Live In Paris '05 die in november 2005 door Warner Music werd uitgebracht. Eind 2005 won Laura Pausini de Latin Grammy voor Best Female Pop Album of the Year. Niet veel later, begin 2006, won ze de Grammy voor Best Latin Pop Album. Rond diezelfde tijd werd ze ook genomineerd voor vier Lo Nuestro Awards, waarvan ze er n mee naar huis mocht nemen. In het najaar van 2006 heeft Laura het coveralbum Io Canto / Yo Canto uitgebracht. In 2007 gaf ze als eerste vrouw een solo-concert in het San Siro in Milaan. Hier werden een cd en dvd van uitgebracht, beide met de naam San Siro 2007. (Less) Channel: 123video
0,
02:51,
2009-11-16 07:21:02
Description: A new performance of a universally loved song from 1943. Funny visuals to go with clever song. Performance by Ann Earthling of the Earthlings Electric Washboard Band.
Channel: youtube
14,
02:40,
2007-08-23 12:44:16
Description: Mad - Paul and his Gang 2003
Paul Bocciolone Strandberg from Sweden, cornet player, singer and teacher of early jazz, started as a bandleader in 1973. Since then he has been heading several (More) Mad - Paul and his Gang 2003
Paul Bocciolone Strandberg from Sweden, cornet player, singer and teacher of early jazz, started as a bandleader in 1973. Since then he has been heading several successful jazz orchestras and taken part in the major events on the traditional jazz scene in Europe. At the appearance at the New Orleans Jazz & Heritage Festival in 1982 he was honored with the "Certificate of Merit" by the Mayor of the City. Paul and his Gang was founded in 1990 and won the most prestigious orchestra competition at Europe's biggest festival for traditional jazz in Breda, Holland two years later. In his website Paul describes his musicians:
I first heard Dymitr Markiewicz already back in 1965 when he visited Sweden for the first time to play trombone with a rather rough but enthusiastic Polish orchestra. The multi- reed man Lars-Erik Ström was to me a well established « modern » musician. l happened to give him a call at a moment when he had just quit one of Sweden's (and Europe's) leading Big Bands. That was about ten years ago.
When l was in desperate need of a tuba player in the beginning of the 80's, l came across Jonas Eilert, who came from the brass band tradition playing also trombone and trumpet but from then on specializing on sousaphone. From the beginning of the band there have been many occasions where we had to play without a piano (this was before the digital piano's came about) and to serve us the chords Dennis Johnsson on banjo came in handy
Then we took a daring step. We added another very personal voice to this weIl balanced, strong line-up. Marie-Christine « Kiki » Desplat from Paris, surely one of the few first-class female cornet players in the world, was a breath of fresh air to the well reputed French traditional jazz scene when she entered it at the end of the 80's. l first heard her play at the Breda Jazz Festival with The Watergate Seven in 1991. A friend of mine called me and said: « Look at this girl ! I never saw anyone so happy about what he or she is doing in any profession or activity. » And my reaction when she played is best described by a reference to jazz history; Armstrong when hearing Bix said, "There's someone as serious about music as myself"
note: In the youtube featured tunes recorded in 2003 Kiki plays piano. We all look forward to see and hear Kiki playing the trumpet in future clips as well.
Paul has several CD's available. These can be ordered from his website at
http://www.paulandhisgang.com/cd.htm
(The not often played tune "Mad" is one of my favourite melodies.
It originates from a 1923 recording from another Paul.
Paul Mares and his New Orleans Rhythm Kings was already a hot band and an inspiration to Bix Beiderbecke (Less) Channel: youtube
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