Domingo passado a Ana cozinhou para a gente um prato típico da Colombia. O nome do prato é ‘Bandeja Paisa‘. É feito com feijão vermelho (fríjoles) com cebloa e tomate picados, arroz e carne. A gente come tudo junto num potinho e ainda adiciona ‘plátano maduro‘ frito em rodelas. Eu não sabia o que era e achei que não ia gostar, mas combinou perfeitamente com o feijão. O formato é de uma banana gigante mas não tem cor nem gosto de banana. Ainda bem pois não gosto de banana!!

Para acompanhar isso tudo ela fez ‘arepa con queso‘. Um bolinho de farinha especial com queijo. Uma delíca. Lembra muito tapioca.

Deu um trabalhão para ela fazer. Quatro horas cozinhando. E ainda teve sobremesa: arroz con leche (igual a arroz doce). Tudo uma delícia. Os ingredientes ela trouxe da Colombia. Não sei se é fácil de achar aqui ou no Brasil.

O sabor lembra muito comida mexicana mas eles não usam pimenta.

Pena que não levamos a máquina.. essas fotos eu peguei no google mesmo.

E não é que ela existe???

Ohhh, quase tive um treco quando vi! Fomos na estação de trem King’s Cross e lá estava ela: a Plataforma 9 3/4 do Harry Potter. É atraves dela que os bruxos pegam o trem para Hogwarts.

Incrível. E o melhor: enquanto estávamos procurando a plataforma, achamos um aviso dizendo que ela tinha mudado de lugar por causa das obras. Primeiro mundo é outra coisa… tudo organizado. Claro que tirei foto com o aviso também!

Wrocław jakoś przeżyty, dałam radę jakoś, najgorzej chyba nie było… Ciekawie to będzie za 2 tygodnie kiedy będę miała zaliczenie z ochrony środowiska i pierwszą część egzaminu z genetyki…

W sobotę byłam w kinie z dziewczynami na “2012″. Musze przyznać, że film robi wrażenie jeżeli chodzi o efekty, przynajmniej kiedy ogląda się go w kinie. Nie podobało mi sie jedynie że sceny pełne napięcia przerywane były jakimś idiotycznym żartem co zupełnie nie pasowało do scenerii. Ogólnie to ok.

A dziś wyciagnęłam kolejne wnioski z życia… koniec z proponowaniem czegokolwiek pewnym osobom. Mój błąd. Więcej sie nie powtórzy. Pomyślałam tylko, że dwa dni wolne od pracy pozwolą spokojnie zaplanować coś co jak myślałam uciszyłoby obie strony. zamiast tego dostałam brzydko mówiąc “po pysku”.  Ale  jeżeli ktokolwiek myśli, że może po mnie jechać z tego względu, ze chcę coś ustalić bo lubie wiedzieć na czym stoje to jest w błędzie. Jeżeli cokolwiek zrobię ma się na mnie odbijać w negatywny sposób to przestaję robić “to” cokolwiek. Ot proste, jak sznurek w kieszeni.

Bardzo lubię kłamstwa a raczej znajdowanie ich. Swego rodzaju zagadka, a ja takowe lubię. Kiedy dzwonisz do kogoś kto chciał pogadać i już w pierwszych słowach wyczuwasz po drugiej stronie słuchawki niczym nie pohamowany bardzi chamski ton to zastanawiasz się od razu o co może chodzić, szczególnie widząc na gg opis tej osoby z uśmieszkiem. Hmm… na pewno coś zrobiłaś Kamilo, tylko co? Może chodzi o to, ze spałaś? Albo, np. że  jakaś trzecia osoba zdenerwowała twojego rozmówce a na tobie sie jak zawsze odbija czy w ogóle o co innego chodzić może. Nie wnikam i nie interesuje mnie to. Bo tego, że jeśli ktoś kogoś wkurwi i ta osoba odbija to na tobie nigdy się nie zaakceptuje. Zwyczajnie nie jestem Matką Teresą biorącą na sebie wszytskie winy świata. Na moich barkach spoczywa zbyt wiele problemów i zmartwień ostatnio, żeby jeszcze wysłuchiwać jak ktoś na mojej osobie odreagowuje swoje złości. Co to, to nie.

Ostatnimi dniami chodzę bardzo zmęczona, udało mi się dzisiaj odpocząć chwilę po południu bo już zaczynałam tracić kontakt ze światem zewnętrznym. Do pracy jeszcze jutro idę a później to jak już napisałam, dwa dni wolne. Chyba pojadę do koni gdzieś, żałuję tylko, ze nie będę mogła zobaczyć Karej… Ale niestety, życie jest bardzo brutalne a to, ze mnie nie oszczędza to wiadomo nie od dziś. Nawet nie mogę opiekować się koniem, którego układałam, któremu poświęcałam mnóstwo czasu i którego wszystkiego nauczyłam… Wspaniale jest jednak popatrzeć na Karą i wiedzieć, że jest tam cząstka mnie i mojej pracy.

“Aby zdobyć zaufanie zwierzęcia – żywego stworzenia, płochliwego, nieufnego potrzeba lat ciężkiej pracy.”

Não preciso nem dizer que compramos no Tesco, né?!

Muito fofo e divertido! Os meus ficaram lindoooos!! Nunca tinha comido esses biscoitinhos, tem gosto de gengibre mesmo, meio apimentado. Beeeem gostosinho!

Deu muita pena comer depois…

Estava eu, no intervalo do meu curso, lendo o jornal do metrô, quando, de repente vejo um anúncio de página inteira: `Hoje, somente hoje, bazar de natal na Marks & Spencer – produtos selecionado por apenas 1 centavo. Corra pois when it`s gone, is gone!`.

A história não termina por aí, porque eu, como uma boa brasileira, me lembrei que no caminho para a casa tinha outro Marks & Spencer! É, gente, eu fiz isso! Coloquei o saquinho na mochila e entrei na fila do outro! Comprei mais coisas, mas dessa vez dei mais dinheiro para a caridade!!!!!

On Tuesday night, I went to my first Meetup event with Vancouver’s The ‘A’ List, which is a social and professional networking group.  The event was held at The Edge Social Grille & Lounge – a comfortable, contemporary space with plenty of seating as well as room to stand and chat.

There were more than 140 RSVPs prior to the event, and ultimately there was a great turnout.  Speaking with a number of members who frequent the group’s meetups, they commonly mentioned that the best events are the ones with the highest attendance – there are simply more opportunities to meet people when a larger group is present.  Members from an outdoors club were also in attendance.

Karina, otherwise known as CityGirl on Meetup, is the group organizer for The ‘A’ List.  Truly, she is the ideal Meetup hostess.  Karina introduced herself to new members personally, and spent time welcoming each person in the room.  You could tell that she has an extremely genuine and kind spirit, which is reflective of the group she maintains.

The people in The ‘A’ List are a warm and social bunch.  You could say hello to anyone, and instantly be included in the conversation – there is no room for awkwardness because members are so welcoming, reciprocal and kind.

This is a private group, in which you have to join online by answering general questions about your intentions of joining and what your social lifestyle is like.  Still, I strongly recommend joining this group if you’re new to networking and want to ease yourself into speaking with strangers, or if you’ve been looking for opportunities to meet new people in general.

This small sample of Vancouverites personifies the city’s personality: genuine, spirited and fun.

* Dancing With the Stars *

Image credit: Craig Sjodin/ABC

NO GIMMICKS HERE

Mya and Dmitry toned down the flash and kicked up the technical prowess

By Annie Barrett | Nov  2009

Two major plot points marked Week 8 of season 9 of Dancing With the Stars. First: The triumphant return of the giant disco ball lined with red velvet that gives it the illusion (or not) of actually being a cake! If this prop didn’t exist, how would we be deceived into believing the dance-drawings were ”totally random”? It’d feel like a completely different show. And second: a dance-through-the-decades Latin round that was truly totally random and one of the best ideas ever exhibited on DWTS. The Latin round was an especially rich frosting, considering how DANCMSTR has been complaining about Mya and Dmitry’s use of gimmicks throughout the season. Oh, well. Some questions are better left unanswered, like ”Who are the nameless pros dancing with Tony and Mark in the red-fringed Latin demo?” I was particularly interested in Mullet Man, though my favorite was the girl with the ribbon in her hair and full torso coverage — she was giving off a strong ”Canned Heat” in Center Stage vibe. Click on that, trust me.

Did you really think I wouldn’t discuss the most important segment of the season before beginning with the rankings? You must be new here. The five remaining couples took time out of their busy schedules to show the viewing public the different ways in which they could vote. Kelly went online; Mya and Joanna casually texted; Aaron poked at an AT&T-networked smartphone. Of course, Donny demonstrated how to use a land line. Hilarious.

Mya and Dmitry Chaplin 59 out of possible 60 Thank god/Lord Mirrorballus that Mya and Dmitry took a ridiculous field trip to escape the redundancy of the ‘’smelly feet aromas” back in the dance studio by riding ranch horsies past random patches of manure on a trail. Were they really that relaxed?! Something must have clicked, though, because Mya and Dmitry finally got the high scores they’ve been gunning for all season. DANCMSTR set them up with some line about how he was disappointed…that there was nothing to criticize!, in the same way that Mya and Dmitry tricked us by discussing the importance of the ‘wow factor’ over technical safeness for the quickstep but then not delivering any gimmicks whatsoever. After their samba — which greatly amused Sabrina Bryan; oh, good — Dmitry ”proposed” to Mya with a gaudy ‘10′ ring. I need that ring. Ideally I’d like to wear 10 of them as I type my recaps.

For the couple’s perfect-30 ’70s samba, bestowed upon us after a zoom-in of a giant SOLID GOLD disco ball, Mya donned a hot-pink catsuit with fringed leg openings, of course, while Dmitry went with a horribly clashing red print shirt and authentic ’70s mustache. This will sound weird, but I actually think Dmitry’s ’stache made Mya’s excellent performance stand out to me more because it made him seem so nonchalant towards the dance, the scene, everything. They truly struck me as a couple who would just roll into a nightclub and start samba-rolling the hell out of it, like, ”Oh, hey, far out to see you, we’re just gonna take over the dance floor, can you dig it?” Or something. The point is, they succeeded at the assignment. Bruno did not succeed at imitating Diana Ross.

Joanna Krupa and Derek Hough: 52/60 For the standard round, Joanna’s quickstep truly was too much ”runnin’ about” like DANCMSTR said. Bruno thought it looked like Derek and Joanna were running away from the scene of a crime. Maybe Derek tripped one of the camera men for not framing him correctly during the dress rehearsal? Carrie Ann called the usually higher-scoring Joanna out for not pointing her toes — perhaps she should have paid more attention to the helpful how-to video Derek played for her of Mya and Dmitry. Nothing says ”Look at the pro dancer, Mya” than a tutorial video session. Very subtle! I thought Joanna deserved an extra point from all three judges for the fringe dangling from her full-length gloves.

NEXT: Karina gives Aaron good face

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Heute morgen waren wir bei Karina und Andre in Köln zum Frühstück eingeladen. Es war total schön dort. Andre hat für Moritz und mich je ein Ü-Ei besorgt und ganz leckere Rosinenbrötchen. Das war einfach super. Es richtig gut geschmeckt:-)

Ich habe mich auch extra hübsch gemacht:-)

Ich habe dort mit Mamas Fotokamera gespielt. Schaut mal meine “tollen” Bilder an;-) Ich glaube, ich muss noch ein wenig üben:-)

Continuing my journey through the life and works of Jean-Luc Godard, I recently watched A Woman Is a Woman for the umpteenth time. While Contempt is his best film, A Woman Is a Woman is my favorite, the one I most frequently return to.  I think it is one of his best looking films, thanks to both Anna Karina and DP Raoul Coutard. It is also one of his most clever.

On the surface, A Woman Is a Woman seems like a mere confection. With its highly artificial tri-color palette (red, white and blue) and gauzy look, it is easy to mistake it for a light picture, early-period Godard, before he gets really cantankerous. Yes, the film has a cuteness about it (I have a friend who hated it, who told me that he wanted “to drown it in a bathtub”), but I think to only remark on the sweet playfulness is to totally neglect the implications of the formal cues Godard gives the spectator.

The main source of formal experimentation in the film comes from its sound. From what I’ve read in Richard Brody’s book, this was a source of great commotion for audience members when the film opened. Many thought something must’ve been wrong in the projection booth for the sound to behave the way it does. Listen: what they heard was Godard pulling back the curtain on non-diegetic sound. The beautiful noises we hear from traditional soundtracks, the swelling of strings that alert us to heightened emotion, say two characters kissing – Godard exposes it all as cinematic convention. He makes us hear a soundtrack as unnatural. The score, written by Michel Legrand, roars to life, only to cut out moments later, seemingly with a will of its own. This is played for laughs, but, as I will discuss, the implications make them more than just creative gags.

Take note during a crucial turning point in the film: right before things between Émile (Jean-Claude Brialy) and Angéla get real ugly, a slow left to right pan begins, as text crawls across the screen. It is a moment of slowness that feels different compared to the breathless (haha) pacing of the film’s first thirty minutes. And the viewer has the peculiar sense that the film slows here because the screenplay demands it. During a typical Hollywood picture, we’re lulled into believing that what we see happens because of the diegetic logic of the film. Sure, we understand that all of this was mapped out beforehand, but in the darkness of the theater we are taught to forget that. Not so in A Woman Is a Woman. Godard’s is a film turned inside out so that the audience may admire each stitch, every seam. But it has none of the stuffiness one may expect from such a postmodern exercise. It’s too pretty for that.

A Woman Is a Woman deals in artifice and performance. It destroys the demarcation between diegetic and non-diegetic. There is no “world of the film” within A Woman Is a Woman. There is only the film. And this is what the viewer must understand. It is all a construction, and because of this, the film invites the spectator to see its subject matter as construction; relationships between men and women, gender itself. Think about Karina’s very artificial appearance, or the way Belmondo’s character wants to get home to watch himself in Á bout de souffle – what of this is not a complete construction? Perhaps Godard didn’t realize it, but I think A Woman Is a Woman prefigures the breakthroughs in identity politics that emerged during the 90s.

The phrase a woman is a woman is a tautology. It says nothing. The film calls attention to this with its showy self-consciousness. We are asked to spend just 84 minutes with a delightful cast and a series of gorgeous shots. And we do this, willingly. The film is a film, and why would we expect it to be anything else? But for Godard, a film was reality. And thus we have the far-reaching implications of the film’s acknowledgment of construction and convention. Of course, sitting atop all of this is the specter of Godard’s very real marriage to and very real problems with Anna Karina during the making of the film. So is this a comedy or a tragedy, a question posed a number of times in the film. It depends on how closely you attend to its candy-colored images and rebellious soundtrack. For the record, I’d say it’s both.

or

An aside:

I realize that this review feels closer to academic film criticism than, say, a Roger Ebert review. There is a bifurcation between film reviews and film criticism, and I’m not here to say whether this is correct and good, or really to make any judgment about it. I only want to stress that while A Woman Is a Woman is a highly intelligent piece of art that comments on film and gender (things that maybe don’t sound like the average person’s definition of entertainment) it is also great fun.

RS

(Further Reading: J. Hoberman’s brief essay on A Woman Is a Woman that is included along with Criterion’s release of the film. I’m indebted to Mr. Hoberman’s astute observations.)

Karina, la popular cantante y actriz que alcanzó fama y celebridad en la década de los 60 y 70, y que representó a España en Eurovisión en 1971, ofrecerá este sábado un concierto gratuito en la Casa de Cultura de Calp, en el que reeditará muchos de los temas que la consagraron en el panorama musical. La actuación, que comenzará a las 20 horas en el auditorio del complejo cultural calpino, está patrocinada por la Diputación de Alicante, y la Concejalía de Tercera edad que dirige el edil Pedro Jaime Fernández. Aunque el espectáculo está pensado para satisfacer los gustos y preferencias de personas mayores, cuenta con ingredientes para resultar entretenido y del agrado de todo tipo de público.

Foto 1 – Olha quem encontramos na Torre Eiffel!! Ele estava de folga nesse dia e estava passeando por Paris. Pedimos para tirar uma foto dele e ele deixou!

Foto 2 – Eu e minha linda-parisiense-boina!

Foto 3 – Galerias Lafayette já iluminada para o Natal. Lindo! Amanhã vamos na Oxford Street, aqui em Londres, para ver a iluminação. Deve estar linda também.

Foto 4 – Paris a noite!