Thursday, June 26, 2008

Mustangs

Mustangs
The killing fields
Jun 26th 2008
From The Economist

Long a symbol of freedom, America's wild horses may soon be no more


In 1964 a new car was launched at the New York World's Fair: the Ford Mustang. Both its name and its galloping horse logo, adapted from Frederic Remington’s portraits of the Old West, epitomised a peculiarly American dream about a land of cowboys and big skies. More than 8m Mustangs have been sold. But on America’s old frontier, the free-roaming wild horses now struggle for survival.

Deanne Stillman, a journalist, began researching this history in 1998 after 34 wild horses were massacred in the Virginia Range of mountains near Reno, Nevada. The horse began evolving on the North American continent 55m years ago, before crossing the Bering land bridge and spreading through Asia and Europe. The word mustang derives from the Spanish. Ms Stillman traces the return of the horse with the conquistadors; its partnership with Native Americans; its use in wars and cattle drives; its role in literature, lore and films; and its demise during the “Great Removal” of 1920-35 when hundreds of thousands of mustangs were sent to slaughter to provide cheap meat.

Her book culminates in the fight against the powerful cattle-ranching lobby which sees the animals as pests and wants them removed from the public (federally owned) land where cattle graze. Yet, as Ms Stillman points out, the area where most of America’s mustangs run free today supplies just 3% of the country’s beef.

The author quotes some startling statistics. In the 1700s there were so many mustangs in Texas that maps marked some areas merely as “Vast Herds of Wild Horses”. In the American civil war, 1.5m horses and mules were killed or wounded. By the turn of the 20th century some 2m wild horses roamed the American wilderness. Only about 25,000 remain today, most of them on Nevada’s vast swathes of public land, where wild horses have flourished beyond the reaches of man.

Legendary mustangs gallop through the book. Comanche survived being shot several times at the Battle of the Little Bighorn and lived out his days at Fort Lincoln begging for sugar-lumps and buckets of beer. Steamboat ejected thousands of cowboys from his saddle and became famous as “the horse who couldn’t be rode”.

Ms Stillman also includes William “Buffalo Bill” Cody and his Wild West shows, Charles “Pete” Barnham, a 19th-century mustanger whose method of running horses through a jute-lined chute into a trap is still used today, and Velma Johnston, better known as “Wild Horse Annie”, who launched a campaign to give mustangs federal protection. She succeeded in 1971, after a 20-year struggle, when President Richard Nixon signed the Wild Free-Roaming Horses and Burros Act, banning inhumane round-ups of mustangs and donkeys on public lands and preventing their sale for slaughter.

Special interests have since chipped away at that legislation. In late 2004 Conrad Burns, the then Republican senator for Montana, introduced a controversial amendment removing all protection for wild horses over the age of ten (which is not that old for equines) and those that have not been adopted on the third attempt under the government’s controversial Adopt-a-Horse programme. Between 1971 and 2006, 200,000 mustangs were taken from the wild by Department of the Interior agencies such as the Bureau of Land Management (BLM), which administers America’s 264m acres of public land.

“Mustang” makes for harsh reading. The cruel round-ups of the past, famously portrayed in John Huston’s 1961 film “The Misfits”, are more than matched by today’s incidents in which mustangs are surreptitiously shot or fenced off from their water sources. The author argues strongly against the current federal round-ups—or “gathers” as the BLM prefers to call them—where helicopters run exhausted and panicking horses into corrals before they are sent to various fates. Around 30,000 mustangs are now kept in government holding facilities—more than those that still roam free. Some are due to be sold for adoption as “living legends”, some will be sent to long-term pastures in Kansas and Oklahoma, where cattle ranchers are paid by taxpayers to keep them. Thanks to Mr Burns, approximately 8,000 will end up at the slaughterhouse. A sad end for the animal that was revered by Native Americans. “Horses are gods,” a Hidatsa elder once said: “Treat them well. They have minds and understand.”

Mustang: The Saga of the Wild Horse in the American West.
By Deanne Stillman.Houghton Mifflin; 348 pages; $25
(June 9, 2008)
ISBN-13: 978-0618454457

Sunday, June 22, 2008

El Carrao De Palmarito

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Added: September 18, 2007 El Carrao De Palmarito El Clarin de la llanura el mejor cantante que ha parido el estado apure inigulable voz... q dios me lo tenga en la gloria cantanto por aya... Pa´El Chamo Carrao ~ Elarpistaplecentero

El Carrao de Palmarito
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El Carrao de Palmarito

Background information
Birth name
Juan de los Santos Contreras
Also known as
El Carrao de PalmaritoClarín de la Llanura
Born
April 7, 1928(1928-04-07)Palmarito, Apure state, Venezuela
Died
December 10, 2002 (aged 74)Barinas, Barinas state, Venezuela
Genre(s)
Joropo
Occupation(s)
musician, singer, composer
Label(s)
VelvetDiscomodaCahilapo
Associated acts
José Romero BelloÁngel Custodio LoyolaSentimiento ApureñoJoseíto Romero group
Juan de los Santos Contreras, better known like El Carrao de Palmarito and Clarín de la llanura, was a Venezuelan composer, and singer of joropo, son of Juan de Mata Laguna and Carmen Cecilia Contreras, was born in Palmarito, Apure state, April 7, 1928. Passed his childhood working in a farm near of hometown, started to sing from very young, reason why frequently was guest at the celebration and parties of Palmarito. In 1955 started to live in Barinas. His first performance as singer, was in the radio station Radio Barinas, at the program Fiesta Criolla, where he acquires the pseudonym El Carrao de Palmarito, proposed by Luis Eduardo Camejo, a presenter of the station.
At this city obtained contract as singer in the Llano Alto hotel, acting during nine months, after this he travels to Caracas, appearing at the stations Radio Rumbos and Radiodifusora Venezuela, the presenter Alfredo Acuña Zapata add the nickname Clarín de la Llanura to Contreras. One successfully at the media, make tours around Venezuela, for the projection of his career. Represented Venezuela in several international events, participating at the film Más Allá Del Orinoco (Beyond the Orinoco), next to the Mexican artist Javier Solís. Also at the Venezuelan production, Agua y Sangre, next to the actor Carlos Olivier.
In 1976 the governments of the states Apure and Portuguesa, made a tribute to him, revealing a bust of the artist at the town of Palmarito. Also in that year, records with José Romero Bello, and the group of Joseíto Romero, La Leyenda de Florentino y El Diablo (The legend of Florentino and the Devil) based on the poem of Alberto Arvelo Torrealba, with this interpretation Juan de los Santos Contreras consacrates like artist.
El Carrao de Palmarito, participated at many Joropo Festivals, some of them, The first International Match of Joropo, celebrated in Arauca, Colombia, obtaing two gold medals and 15000 pesos, Second Festival of Joropo, San Fernando de Apure, winner of the Cantaclaro de Oro First Contest, also obtain three first places at the Festivals of Villavicencio, Colombia, second place at the Maracaya de Oro, in Maracay, and an Honorary degree at the Florentino de Oro, for his musical career.
In 1998, directed by John Petrizzelli and Mercedes Ramírez, was presentated a documentary film about his life, with the title of Carrao, exploring the daily life, the beliefs, customs and memories as well as the artistic trajectory and biography of the singer. This film was awarded by the Cinemateca Nacional de Venezuela.
Contreras was condecorated in many occasions, for his contribution to the Venezuelan folk music, received recognitions from institutions like, Kids Foundation of Venezuela, Central University of Venezuela, Chacao Municipality, Aragua state Government, a tribute by the embassy of Venezuela in Jamaica, and the National Prize of Music in 1998.
Between his best known songs, they emphasize, Florentino y el Diablo, Aquella mujer que amé, Furia, Chaparralito llanero, Cajón del Arauca apureño, Llanura yo soy tu hijo, Plegaria llanera, Travesía de San Camilo, Faenas del llano, Dulce María, Mis retoños, El morrocoy de doña Carmen, Caminito de Arichuna, Recorriendo a Barinas, Los martirios del Carrao, El sueño de Julio Verne, Villavicencio, among others.[1]
On December 10, 2002, at the age of 74, this legend of the Venezuelan folklore dies in Barinas,

[edit] Discography

El Carrao de Palmarito watching his bust
In 1954, records his first 45 rpm disc for the Velvet seal, titled Fiesta de los Santos, in 1965 Llanura yo soy tu hijo, with the Cachilapo seal. Llanura ... aquí están tus hijos, with the group Sentimento Apureño, Florentino y El Diablo in 1976, his discography includes in addition two 45 rpm discs, and thirty five 33 rpm, accompanied with groups and artists like: Eugenio Bandres, Eudes Álvarez, Omar Moreno, Cándido Herrera, Gustavo Sánchez, Nery Torrealba, Luis Rojas, Joseíto Romero.[

Al Atardecer Llegaron

Al atardecer
llegaron a la caballeriza
todavia oliendo a sabana,
a polvo del paradero,
a mastranto del camino
y a buen caballo
a recordar los hechos del dia
y a fumar tabaco
debajo del alumbrado del cielo
que cubria la enormidad
del Llano
y aqui termina camarita
mi relato Llanero
improvisado
cg

Saturday, June 21, 2008

The Peanut Vendor - Len Lye 1933

This is the creepiest puppet film ever made, an experimental piece by filmmaker Len Lye in 1933.

~ Scuzzbobber

The Peanut Vendor (Der Erdnußverkäufer)

Added: February 28, 2008 John Brigs und sein Jazzensemble mit RefraingesangKalliope K 1711 mx. 33752Berlin, 1931

Dairynab716

El Manisero-Hibari Misora

Added: April 13, 2008 In this footage from 1952, Hibari sings the Japanese versiton of the Latin American tune 'El manisero' or 'The peanut vendor song' as commonly known around the world. Hear her hit the high F♯ at the end

=0 !!南京豆売り豆 おせんはいかがですか、キャラメルはいかがですかすてきに美味しい ほやほやのアンパン一つ食べてごらんなさい 初恋の味がする甘いチョコレート さあさ皆さん お買いなさいおなかをすかせてたのじゃ あの子がかわいそうですよお買いなさい お買いなさい

Oldies - El Manisero - A. Machin - Homenaje

Added: March 09, 2008 Hace 80 años nacia esta cancion. Feliz cumpleaños!

~ Elpatiodenessun

Antonio Machín - El manisero

Added: April 08, 2008 Antonio Machín -

El Manisero

Maní

Maní

Si te quieres por el pico divertir

cómete un cucuruchito de maní

Qué calentito y rico está

Ya no se puede pedir más

Ay caserita, no me dejes ir

Porque después te vas a arrepentir

Y va a ser muy tarde ya

Manisero se va

Manisero se va

Caserita no te acuestes a dormir

Sin comerte un cucurucho de maní

Cuando la calle sola está

casera de mi corazón

El manisero entona su pregón

Y si la niña escucha su cantar

Llama desde su balcón

Dame de tu maní

Dame de tu maní

Que esta noche no voy a poder dormir

Sin comerme un cucurucho de maní

~ Alcalata

Manisero para Arpa

Added: October 02, 2006
Hola, esta es una versión que hice para arpa del MANISERO, rumba cubana de Simons. En realidad es una adaptación que hice sobre una versión de Bebo y Chucho Valdés. Le añadí algun ritmo criollo y diversas variaciones. El resultado no queda mal. espero que lo disfruten. ~Jesuscarni

Musica Llanera Venezolana de Arpa en Paris

Added: November 04, 2006 Musica de mi patria venezuela interpretada majestuosamente en Paris por un Arpista español.~ Silmenlitul

Wednesday, June 18, 2008

Aventura En Rio Bita Y Orinoco

PESCA LA SELVA
Wildlife Fishing Adventure
Orinoco 2008
Se acerca el inicio de la temporada de pesca en la Orinoquía, uno de los mejores lugares para la pesca del Pavón (Peacock Bass) en el mundo y PESCA EN LA SELVA lo invita a disfrutar de ella.
La temporada de sol hace que los ríos bajen de nivel y se de inicio a las migraciones de peces, de los cuales podrá pescar: pavones, payaras, sardinatas, caribes, agujetos, arawanas, bocones, yamus, pirañas, cachamas, bagres, cajaros, amarillos, valentones, paletones, mapurites, doncellas etc.
El refugio se encuentra ubicado a 42 kilómetros terrestres de Puerto Carreño, allí encontrará restaurante, luz eléctrica, agua potable y cómodas cabañas con habitaciones y baño privado.

El programa incluye:
Recepción en el aeropuerto de Bogotá Colombia, transporte y estadía con alimentación (cena y desayuno) en el hotel donde pasará la primera noche.
Al día siguiente transporte al aeropuerto donde tomará el vuelo hacia Puerto Carreño.
Recepción en el aeropuerto de Puerto Carreño y transporte terrestre al refugio .
Alojamiento en el refugio.
Alimentación (tres comidas diarias) en el refugio .
Seis días de pesca en el río Bita, en embarcaciones de fibra de vidrio para dos pasajeros cada una, equipadas con motores Suzuki 2T 15 HP y manejadas por motoristas expertos.
Hielo permanente ,bebidas naturales, bebidas gaseosas cervezas y licores nacionales durante su estadia.
Transporte refugio - aeropuerto Puerto Carreño.
Trayecto aéreo Puerto Carreño – Bogotá.
No incluye: tiquetes aereos desde su procedencia hasta Bogota (Colombia) Bebidas alcohólicas importadas estas se venden por separado.