Daily Rome Shot 1489

This is awesome…

Carabinieri police in Rome unveil the latest addition to their fleet: the electric Fiat Topolino.https://t.co/tnVoDsMCEp

— Wanted in Rome (@wantedinrome) November 22, 2025

And…

On November 23, 1927, Father Miguel Pro walked calmly from his prison cell into the courtyard where the firing squad awaited. A photographer stood ready to capture the moment. The images reveal a man of unshakable courage: kneeling before his executioners, refusing a blindfold,… pic.twitter.com/ZsuhZsoJll

— Mark Lambert (@sitsio) November 21, 2025

truth…

Chessy news… I got my ass kicked… I helped… by The Romanian™ today.  I’m irritated.  I can visualize the move where I went sideways.

This.

I had the misfortune while driving of hearing something of a concert from … Philadelphia?… complete excrement.   The announcer’s description horrified me.  I can’t remember it, but I looked on the inter webs. HERE Be ready to become stupider.

Gabriela Lena Frank [Of Lithuanian Jewish heritage and her mother is Peruvian, of Chinese descent. She grew up in Berkeley, California. Her parents met when her father was a Peace Corps volunteer in Peru in the 1960s.]
Pachamama Meets an Ode (2019)

[…]

Many climatologists attribute the origins of humankind’s destructive behaviors to the Industrial Revolution, the backdrop to Ludwig van Beethoven’s life. Just as the iconic 9th Symphony (Ode to Joy) was coming to life, across an ocean, the exploitation of the New World’s natural resources (along with those from Africa and the Indian subcontinent) fueled Europe’s churning engines of commerce and technology, with brutal results for native Americans.

Among these people, the Cusco School of Painters were in quiet revolt. Reaching the peak of their expressive power as Beethoven was achieving the same, these largely anonymous Peruvian indios, who had been drafted into a service of pictorial evangelism, mastered oil and canvas to portray scenes from biblical stories. Yet, amidst depictions of European countrysides and visages, images of native birds, animals, flowers, and trees were snuck in, an act of subversive preservation of the gifts of Pachamama (“Mother Earth” in the Inca-Quechua language).

In my choral-orchestral work Pachamama Meets an Ode, Beethoven is treated to a scene of an indigenous painter plying his trade in a Spanish church with Moorish (Mudéjar) arches constructed on the remains of a demolished Inca temple. The painter hides spirits from bygone native cultures (Chavín… Moche… Huarí) amidst European figurines, equipping them with protective natural talismans (huacas) and friendly fauna. He is readying his subjects for their journeys, as paintings, into lands violently transformed by colonization. Even old indigenous myths take on new meanings as a Peruvian pistaqo is no longer simply a highland boogie man, but also an urban capitalist murdering indios for their body fat to grease factory machines.

[…]

What a load of B as in B, S as in S. However, I will note the connection with the Jesuit Reductions. Just sayin’.

And after hearing this dreck?