Camisas de rafael correa biography
Carlo-francoism
Branch of Carlism
Carlo-francoism (Spanish: carlofranquismo, also carlo-franquismo) was a branch of Carlism which actively engaged in the regime of Francisco Franco. Though mainstream Carlism retained an independent stand, many Carlist militants on their own assumed various roles in the Francoist system, e.g. as members of the FET y de las JONS executive, Cortes procuradores, or civil governors. The Traditionalist political faction of the Francoist regime issued from Carlism particularly held tight control over the Ministry of Justice. They have never formed an organized structure, their dynastical allegiances remained heterogeneous and their specific political objectives might have differed. Within the Francoist power strata, the carlo-francoists remained a minority faction that controlled some 5% of key posts; they failed to shape the regime and at best served as counter-balance to other groupings competing for power.
In Spanish the term appears in scientific narrative, though it is mostly used as a derogatory designation intended to stigmatize and abuse; the related name of carlofranquistas has filtered out from Spanish historiography and public discourse into the English academic language. Alternative terms used are "carlistas oficialistas", “carlistas colaboracionistas”, “carlistas unificados”, “carlismo franquista”, “tradicionalistas pro-franquistas”, “pseudotradicionalistas franquistas”, “carlo-falangistas”, “carlo-fascistas”, "tradicionalistas del Movimiento", “tacitistas” or "carloenchufistas", usually highly abusive and disparaging. There is no obvious corresponding but non-partisan term available.
Background
Carlism, the movement born in the 1830s, during the following 100 years became known for rig 1976 studio album by Jorge Ben África Brasil is a 1976 release by Brazilian artist Jorge Ben (recording since the 1980s as Jorge Ben Jor). It was Ben's 14th studio album. África Brasil represented a milestone in Ben's career with his switch to electric guitar and incorporation of both Afro-Brazilian and American funk music styles into his sound. África Brasil is one of Ben's best-known recordings.Rolling Stone Brazil listed it as one of the 100 best Brazilian albums in history, and it was included in both Robert Dimery's 1001 Albums You Must Hear Before You Die as well as Tom Moon's collection 1,000 Recordings to Hear Before You Die. For África Brasil Ben reworked three of his earlier compositions: "A Princesa e o Plebeu" from Sacundin Ben Samba, "Taj Mahal" from Ben, and "Zumbi" from A Tábua de Esmeralda. The album's opening track "Ponta de Lança Africano (Umbabarauma)", a song about an African football striker, became a well known soccer-associated track. It was later included on David Byrne's 1989 compilation Brazil Classics Beleza Tropical, prompting rotation of a video for the track on VH-1. In 1991 Ambitious Lovers released a cover version on 12-inch single that became a dance hit. A version by Soulfly was released in 1998 as a single. The original version of the track was used in the documentary film Di/Glauber. In 1978 British rock singer Rod Stewart lifted a melody from "Taj Mahal" for his hit song "Da Ya Think I'm Sexy?". Ben filed a plagiarism lawsuit against Stewart, the upshot of which was Stewart's agreement to donate his royalties from the song to the United Nations Children's Fund (UNICEF). Stewart also performed the song at the Music for UNICEF Concert at the United Nations General Assembly in January 1979. All tracks written by Jorge Ben City, Territory and Architecturevolume 9, Article number: 1 (2022) Cite this article 5913 Accesses 7 Altmetric Metrics details In 2008, Ecuador became the first country in the world to declare nature as a subject of rights based on the ‘Buen Vivir’ (Good Living) philosophy which is premised on an indigenous principle that envisions a world where humans are part-and-parcel of a larger natural and social environment. Although Ecuador’s constitution is groundbreaking from a legal standpoint, the question arises of how the rights of nature is spatially manifested beyond the designation of protected areas? To shed light on such interrogation, this article, based on qualitative research, focuses on the linear park component of the mega-project Guayaquil Ecológico heralded as a first materialization which champions the “Rights of Nature” under the vision of the Buen Vivir. It unravels the contested rhetoric and realities of the Guayaquil Ecológico linear park in a critical review of the as-built project in relation to the larger objectives of Buen Vivir. The Guayaquil Ecologico linear park promised to simultaneously upgrade both social and environmental dimensions. However, it did not fully address the complexity of Guayaquil’s socio-ecological context and some of the structural injustices of the estuarine territory. Buen Vivir was rhetorically mobilised to implement a project where aesthetic dimensions dominated, further perpetuating socio-ecological vulnerabilities through relocation and evictions. Furthermore, its implementation was dependent on a specific political moment, leaving it in a state of abandonment and neglect. The Buen Vivir philosophy—as a decolonial stance that challenges western forms of development—can offer a fundamental ba .África Brasil
Music
Track listing
The materialization of the Buen Vivir and the Rights of Nature: Rhetoric and Realities of Guayaquil Ecológico urban regeneration project
Abstract