Polyglot(t).ed

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everythingcentralasia:

Capitals of Central Asian Countries:
Astana, Kazakhstan. - “Capital” (x)
Tashkent, Uzbekistan. - “Stone City” (x)
Bishkek, Kyrgyzstan. - “Pishpek (churn)” (x)
Dushanbe, Tajikistan. - “Monday” (x)
Ashgabat, Turkmenistan. - “City of love” (x)
Kabul, Afghanistan. - “Named for Kabul river.” (x)

thisiscaucasian:

Ossetian maiden’s dance

(Source: traditional-music-and-dance)

maggie-headed:

Yerevan, Armenia

maggie-headed:

Yerevan, Armenia

(Source: lmbxuch)

historyofarmenia:

Photo: Charles Aznavour born 22nd, 1924 in Paris as Shahnour Varenagh Aznavourian
Charles Aznavour is perhaps the best-known French music hall entertainer in the world — renowned the world over for the bittersweet love songs he has written and sung, which seem to embody the essence of French popular song, and also for his appearances on screen in such wildly divergent fare as Shoot the Piano Player, Candy, and The Tin Drum. His status as the quintessential French popular culture icon is something of an irony for a man who identifies himself most closely with his Armenian heritage.
Born Shahnour Varenagh Aznavourian, his French roots derive from the fact that his family fled the threat of massacre by the Turks — his father was a singer and sometime-restaurateur, while his mother was an actress and part-time seamstress. His father’s singing, done in a notably impassioned style, heavily influenced Aznavour’s approach to singing as a boy. During his career of 60 years he has sold over 100 million records.
The words of the master himself: My father Mischa Aznavourian, my mother Knar Baghdasaryan and my sister Aida, born in Greece during the journey from Armenia, were temporarily in France waiting for a visa to the US. In fact, my family did not realize at this time that they would settle here indefinitely. I was born on May 22nd, 1924 in Paris. The hospital was located in the 5th arrondissement rue Assas.
My father was a wonderful man, a hard worker but he was more gifted in music than in running a business. His restaurant, Le Caucase, would invite Hungarian orchestras and offer free lunches to the less fortunate and also certain friends. This of course did not last very long since the business made hardly any profit.
My mother, who had a degree in literature, had to take temporary jobs as a seamstress. However, my parents’ real interest and passion were the shows they produced with their immigrant friends for the diaspora. I grew up surrounded by so much love but with little means. Mischa and Knar were always happy and positive.
I started my career in show business at a very young age, my sister and I making appearances in plays here and there.

Although we left school rather early I have always been proud of my first and only degree a “Certificat d’Etudes”.
It took me another 70 years to get a second one and receive the title of Doctor Honoris Causa in several universities around the world. It is one of my greatest achievements since I always felt a bit uncomfortable with my lack of a higher education.  
My father enlisted as a volunteer in the French army in order to honor the country which had welcomed him.
It was a strange war. His only weapon was a mobile kitchen unit. His task was to cook for the troops of foreigners and volunteers.  When returning home, he showed true courage by hiding several Armenian and Russian Jewish immigrants from the German Army.   At this time I was a teenager and met Missak Manouchian, a leader of the French Resistance and other figures of the “Affiche Rouge”.
At the end of the war my career took off. At school I met a gangly young man, Pierre Roche, a very gifted pianist.

We composed music and wrote lyrics for ourselves and later on for others. Mr Raoul Breton and hiswife nicknamed “La Marquise” by Charles Trenet gave us some valuable assistance.  It is thanks to them that we were introduced into French show business and especially to Edith Piaf.  I wrote several songs for her and became her manager. From this collaboration grew a very strong friendship. She invited us to tour the USA between 1947 and 1948. Pierre and I settled down for some time in Quebec. During this period, Seda, my first daughter, was born on May 21st, 1947.
Our duet with Pierre worked well; we recorded our first six records (78s) in Québec. We had done over 40 weeks of concerts at the “Faisan Doré” at a rate of 11 shows a week and we slowly became local celebrities. I felt homesick but Pierre was happy to stay in Montreal. Back in France nobody knew who I was and I had to start all over again, but alone this time.
In 1950 I met Gilbert Bécaud. This helped me to become more recognized in France as a songwriter. It was a wonderful period even if the critics were very harsh. What were my faults? My voice, my size, my gestures, my lack of culture and education, my honesty, or my lack of personality. My voice? I cannot change it. The teachers I consulted all agreed I shouldn’t sing, but nevertheless I continued to sing until my throat was sore. My voice developed from a small tenth of an octave to a range of nearly three octaves. I have the capabilities of a classical singer but with a slight “veil” that obscures my voice. My tenacity paid off.
In 1952 I even applied, however in vain, to replace Marc Herrand who was leaving the “Compagnons de la Chanson”. Still, I remained on good terms with them and was asked a few years later to be the godfather of Fred Mella’s daughter, Laurence. To this day Fred remains my very good friend.
The year 1956 marked my first breakthrough as a singer. During a recital in Casablanca, the public’s reaction was such that I was immediately propelled into stardom. For my first show at Olympia, I wrote “Sur Ma Vie” (1956), which became my first popular song. I received more and more engagements and after another three months at Olympia my singing career was firmly established.
I remember one particular evening on December 2nd, 1960 after performing seven songs in front of a very “frosty” public, I sang my last song “Je m’voyais déjà”, which tells the story of a failed artist. At the end of the show the spotlight was on the audience. No applause. Behind the scenes, I was ready to give up. I came out for one last bow and heard all of a sudden the Alhambra alive with roars, applause and cries. It was at last a triumph, …  
The following years saw the release of several successful compositions ; Tu t’laisses aller (1960), Il faut savoir (1961), Les comédiens (1962), La mamma (1963), Et pourtant (1963), Hier encore (1964), For Me Formidable (1964), Que c’est triste Venise (1964), La Bohème (1965), Emmenez-moi (1967) et Désormais (1969). Most of these songs refer to love and time passing by.
 During this period I also perfomed in several films as an actor.
During one of my trips to New York in 1964, I met an energetic and ambitious young man, Levon Sayan. We started our collaboration in 1966 and a few years later he became my Personal Manager.
Following these successes, in 1968 I found love and stability with Ulla , my wife.
Thanks to her, I was able to draw a line and get rid of all the “parasites” surrounding me. We had three children and she still stands by my side to this day. In 1969 my daughter Katia was born, followed a year and a half later by Mischa, my son.
In 1972 I wrote the song “Comme ils disent”. It was the first of its kind dealing with homosexuality in all seriousness and without disrespect. My entourage at the time advised against it, since it could possibly damage my image. But I decided otherwise and took my chance because I felt strongly about this subject and I had to take a stand.

In 1976 I moved to Switzerland with my family and in 1977 my son Nicolas was born.
During this period I was always on the road performing concerts around the world. In 1982 my family and I moved again to live in America for two years, first in Los Angeles and thereafter in Greenwich, Connecticut. In 1984 we moved back to Switzerland in order to fulfill my daughter Katia’s wishes.
The terrible earthquake that struck Armenia in 1988 was a turning point in my life. Having always been very close to my family and adoring my parents, Armenia and Armenians are in my heart and in my blood. It was unthinkable that I would do nothing faced by so much misfortune and suffering. We moved heaven and earth, surrounded by a few followers to respond to immediate needs of the population. I donated all proceeds and rights of the song “Pour toi Arménie” (1989), recorded with the collaboration of more than eighty artists. Since the foundation of ONG “Aznavour pour l’Arménie” (APA) we have continued to support Armenia. In 2001, the authorities named a square in the center of Yerevan, the Armenian capital, after me. They even erected a statue of me in Gyumri, one of the cities most affected by the seism.
In 1995 Gérard Davoust and I acquired the music publishing company “Editions Raoul Breton”. Raoul Breton, the same person who had helped me almost 50 years earlier. It was now my turn to continue the legacy and support the work of talented French composers and songwriters. We have since published and worked with many artists including Lynda Lemay, Sensseverino, Alexis HK, Yves Never, Gerard Berliner, Agnes Bihl…. But most of all I was pleased to have become the publisher of my favorite poet, Charles Trenet.
It took me until the end of the century to devote myself to writing books, starting with a first collection of short stories, “Mon Père ce Géant”. I wrote about sensitive family issues, or comic situations. Then slowly, page after page, I began to write my autobiography and real-life stories. I wanted to share my experience and my innermost thoughts about the work that I am so passionate about. I had acquired a growing taste for writing books, which is quite different from writing songs since it is a slower and more reflective process.
December 26th 2008 the President of the Republic of Armenia, Serzh Sargsyan, gave me the Armenian citizenship and a year later in 2009 I accepted the position as Ambassador of Armenia to Switzerland. I also serve as a Permanent Representative of Armenia to UNESCO in Paris. I am not trying to boast but I have to admit that for an uneducated son of an immigrant I could have done far worse!
During my eighty year career, I’ve played in over sixty films; I have composed over 600 songs, sung in eight different languages. Above all I did it with love and dedication and for the pleasure for my audience.
 SOURCES: charlesaznavour.com & billboard.com]

#Armenian #CharlesAznavour #Aznavour #French #France #music #icon #musician 

historyofarmenia:

Photo: Charles Aznavour born 22nd, 1924 in Paris as Shahnour Varenagh Aznavourian

Charles Aznavour is perhaps the best-known French music hall entertainer in the world — renowned the world over for the bittersweet love songs he has written and sung, which seem to embody the essence of French popular song, and also for his appearances on screen in such wildly divergent fare as Shoot the Piano Player, Candy, and The Tin Drum. His status as the quintessential French popular culture icon is something of an irony for a man who identifies himself most closely with his Armenian heritage.

Born Shahnour Varenagh Aznavourian, his French roots derive from the fact that his family fled the threat of massacre by the Turks — his father was a singer and sometime-restaurateur, while his mother was an actress and part-time seamstress. His father’s singing, done in a notably impassioned style, heavily influenced Aznavour’s approach to singing as a boy. During his career of 60 years he has sold over 100 million records.

The words of the master himself:

My father Mischa Aznavourian, my mother Knar Baghdasaryan and my sister Aida, born in Greece during the journey from Armenia, were temporarily in France waiting for a visa to the US. In fact, my family did not realize at this time that they would settle here indefinitely. I was born on May 22nd, 1924 in Paris. The hospital was located in the 5th arrondissement rue Assas.

My father was a wonderful man, a hard worker but he was more gifted in music than in running a business. His restaurant, Le Caucase, would invite Hungarian orchestras and offer free lunches to the less fortunate and also certain friends. This of course did not last very long since the business made hardly any profit.

My mother, who had a degree in literature, had to take temporary jobs as a seamstress. However, my parents’ real interest and passion were the shows they produced with their immigrant friends for the diaspora. I grew up surrounded by so much love but with little means. Mischa and Knar were always happy and positive.

I started my career in show business at a very young age, my sister and I making appearances in plays here and there.

Although we left school rather early I have always been proud of my first and only degree a “Certificat d’Etudes”.

It took me another 70 years to get a second one and receive the title of Doctor Honoris Causa in several universities around the world. It is one of my greatest achievements since I always felt a bit uncomfortable with my lack of a higher education.  

My father enlisted as a volunteer in the French army in order to honor the country which had welcomed him.

It was a strange war. His only weapon was a mobile kitchen unit. His task was to cook for the troops of foreigners and volunteers.  When returning home, he showed true courage by hiding several Armenian and Russian Jewish immigrants from the German Army.   At this time I was a teenager and met Missak Manouchian, a leader of the French Resistance and other figures of the “Affiche Rouge”.

At the end of the war my career took off. At school I met a gangly young man, Pierre Roche, a very gifted pianist.

We composed music and wrote lyrics for ourselves and later on for others. Mr Raoul Breton and hiswife nicknamed “La Marquise” by Charles Trenet gave us some valuable assistance.  It is thanks to them that we were introduced into French show business and especially to Edith Piaf.  I wrote several songs for her and became her manager. From this collaboration grew a very strong friendship. She invited us to tour the USA between 1947 and 1948. Pierre and I settled down for some time in Quebec. During this period, Seda, my first daughter, was born on May 21st, 1947.

Our duet with Pierre worked well; we recorded our first six records (78s) in Québec. We had done over 40 weeks of concerts at the “Faisan Doré” at a rate of 11 shows a week and we slowly became local celebrities. I felt homesick but Pierre was happy to stay in Montreal. Back in France nobody knew who I was and I had to start all over again, but alone this time.

In 1950 I met Gilbert Bécaud. This helped me to become more recognized in France as a songwriter. It was a wonderful period even if the critics were very harsh. What were my faults? My voice, my size, my gestures, my lack of culture and education, my honesty, or my lack of personality. My voice? I cannot change it. The teachers I consulted all agreed I shouldn’t sing, but nevertheless I continued to sing until my throat was sore. My voice developed from a small tenth of an octave to a range of nearly three octaves. I have the capabilities of a classical singer but with a slight “veil” that obscures my voice. My tenacity paid off.

In 1952 I even applied, however in vain, to replace Marc Herrand who was leaving the “Compagnons de la Chanson”. Still, I remained on good terms with them and was asked a few years later to be the godfather of Fred Mella’s daughter, Laurence. To this day Fred remains my very good friend.

The year 1956 marked my first breakthrough as a singer. During a recital in Casablanca, the public’s reaction was such that I was immediately propelled into stardom. For my first show at Olympia, I wrote “Sur Ma Vie” (1956), which became my first popular song. I received more and more engagements and after another three months at Olympia my singing career was firmly established.

I remember one particular evening on December 2nd, 1960 after performing seven songs in front of a very “frosty” public, I sang my last song “Je m’voyais déjà”, which tells the story of a failed artist. At the end of the show the spotlight was on the audience. No applause. Behind the scenes, I was ready to give up. I came out for one last bow and heard all of a sudden the Alhambra alive with roars, applause and cries. It was at last a triumph, …  

The following years saw the release of several successful compositions ; Tu t’laisses aller (1960), Il faut savoir (1961), Les comédiens (1962), La mamma (1963), Et pourtant (1963), Hier encore (1964), For Me Formidable (1964), Que c’est triste Venise (1964), La Bohème (1965), Emmenez-moi (1967) et Désormais (1969). Most of these songs refer to love and time passing by.

 During this period I also perfomed in several films as an actor.

During one of my trips to New York in 1964, I met an energetic and ambitious young man, Levon Sayan. We started our collaboration in 1966 and a few years later he became my Personal Manager.

Following these successes, in 1968 I found love and stability with Ulla , my wife.

Thanks to her, I was able to draw a line and get rid of all the “parasites” surrounding me. We had three children and she still stands by my side to this day. In 1969 my daughter Katia was born, followed a year and a half later by Mischa, my son.

In 1972 I wrote the song “Comme ils disent”. It was the first of its kind dealing with homosexuality in all seriousness and without disrespect. My entourage at the time advised against it, since it could possibly damage my image. But I decided otherwise and took my chance because I felt strongly about this subject and I had to take a stand.

In 1976 I moved to Switzerland with my family and in 1977 my son Nicolas was born.

During this period I was always on the road performing concerts around the world. In 1982 my family and I moved again to live in America for two years, first in Los Angeles and thereafter in Greenwich, Connecticut. In 1984 we moved back to Switzerland in order to fulfill my daughter Katia’s wishes.

The terrible earthquake that struck Armenia in 1988 was a turning point in my life. Having always been very close to my family and adoring my parents, Armenia and Armenians are in my heart and in my blood. It was unthinkable that I would do nothing faced by so much misfortune and suffering. We moved heaven and earth, surrounded by a few followers to respond to immediate needs of the population. I donated all proceeds and rights of the song “Pour toi Arménie” (1989), recorded with the collaboration of more than eighty artists. Since the foundation of ONG “Aznavour pour l’Arménie” (APA) we have continued to support Armenia. In 2001, the authorities named a square in the center of Yerevan, the Armenian capital, after me. They even erected a statue of me in Gyumri, one of the cities most affected by the seism.

In 1995 Gérard Davoust and I acquired the music publishing company “Editions Raoul Breton”. Raoul Breton, the same person who had helped me almost 50 years earlier. It was now my turn to continue the legacy and support the work of talented French composers and songwriters. We have since published and worked with many artists including Lynda Lemay, Sensseverino, Alexis HK, Yves Never, Gerard Berliner, Agnes Bihl…. But most of all I was pleased to have become the publisher of my favorite poet, Charles Trenet.

It took me until the end of the century to devote myself to writing books, starting with a first collection of short stories, “Mon Père ce Géant”. I wrote about sensitive family issues, or comic situations. Then slowly, page after page, I began to write my autobiography and real-life stories. I wanted to share my experience and my innermost thoughts about the work that I am so passionate about. I had acquired a growing taste for writing books, which is quite different from writing songs since it is a slower and more reflective process.

December 26th 2008 the President of the Republic of Armenia, Serzh Sargsyan, gave me the Armenian citizenship and a year later in 2009 I accepted the position as Ambassador of Armenia to Switzerland. I also serve as a Permanent Representative of Armenia to UNESCO in Paris. I am not trying to boast but I have to admit that for an uneducated son of an immigrant I could have done far worse!

During my eighty year career, I’ve played in over sixty films; I have composed over 600 songs, sung in eight different languages. Above all I did it with love and dedication and for the pleasure for my audience.

 SOURCES: charlesaznavour.com & billboard.com]

#Armenian #CharlesAznavour #Aznavour #French #France #music #icon #musician 

polyglotsoftheweek:

Some advice for those of you who want to go to France.

Also, I forget to mention this, but my high school French teacher taught us what she likes to call the “magic phrase”: “Excusez-moi de vous dérangez, mais j’ai un problème” - which means “excuse me for bothering you, but I have a problem.” Since you’re saying “excuse me,” being polite, speaking in French, and using “vous” (which is more formal and polite than “tu”), this will most likely get you on the native’s good side right away. Then you can state whatever it is you need.

About to get a little preachy…

dnyjsoudlouhe:

So I know I’ve had my rants about this before, but bear with me. Also, there is a tl;dr at the bottom of this post.

As regards the memes that float around about the differences in languages where a word from a series of languages in the same family is compared and then a COMPLETELY unrelated language is thrown in for contrast, mainly to belittle that language (mostly German… which angers me for a totally different reason), this pattern needs to STOP!

If one seeks ridiculousness among languages, there is no need to bring in an unrelated language when comparing a given family. For Germanics, look no further than Icelandic. An example being something I reblogged earlier and edited to take Finnish out of the picture (the post about spider below this one) and substituted Icelandic instead. Is it really necessary to use Finnish’s hämähäkki in this instance? What’s wrong with Icelandic’s kónguló? Kónguló is far enough removed from spider/Spinne/spin etc. that using Finnish’s different word for spider (which comes from it being in a GODDAMN DIFFERENT LANGUAGE FAMILY THAN THE OTHERS BEFORE IT) is nothing more than, as I stated before, belittling.

Now… let’s compare Finnish, Estonian and Hungarian, as they are all part of the same language family. And let’s take a simple word like… wind.

Finnish: tuuli
Estoniantuul
Hungarian: szél

There is enough ridiculousness (if you want to call it that) among language families if you want to compare word choice that it is wholly unnecessary to bring in a language from a different family just to make fun of it. In the example above, Finnish and Estonian (I’m imagining them like the flag balls in polandballcomics) would be looking incredulously at their family member, Hungarian, and Hungarian would just kind of be there like “yeah, what?” not really understanding what the big issue is.

Let’s take Finnish, Estonian and Hungarian again and use the spider example, just to bring things full circle. The following are the words for “spiders” in these three languages.

Finnish: hämähäkit
Estonian: ämblikulised
Hungarian: pókok

And this is the point where all 3 languages just stare at each other and say, what the fuck, guys? How are we related?

My point is thusly illustrated… find ridiculousness among members of a common language family.

TL;DR: Stop using one language family to make fun of a member of another.

La sinjoro, kiu falas

rollinwitdolfinz:

keeptheredflagflyinghigh:

I found an amusing picture used to illustrate compound tenses in my Esperanto book:

image

  • La sinjoro estas falonta = The man is about to fall
  • La sinjoro estas falanta = The man is falling
  • La sinjoro estas falinta = The man has fallen

Sometimes i think people forget about how Esperanto verbs can show incredibly complex ideas simply by changing a vowel.

When I taught a 2-hr crash course in Esperanto at a summer camp like 3 years ago a kid asked about more complex verbal forms. How do you say about to? Or what if you want a future passive or a past passive progressive… So I started giving examples of how to break down these endings of -nt- and -t- plus the -o/-a/-i and putting them in different places and these kids (like 80+ of them actually) were just like “DAMN!”

Esperanto is pretty awesome…. I’m thinking of picking it back up actually!

is "l'esprit de l'escalier" a real thing?

Anonymous

awesomefrench:

Nope 

nope 

no 

no (spanish accent)

niet

nEIN

It’s an old metaphor which first appeared around 1780 (I don’t bullshit you when I say it’s old) and I guess someone saw it in a book at some point, went crazy because it’s oh so damn hipster, and now all cheezy francophiles use it as their motto. Truly, I’ve never used it, not a single time in my whole life. And I’m a Diderot fan. 

We were actually talking about this the other day in a class (my prof mentioned that a “Parthian shot” is the exact opposite of l’esprit de l’escalier. And I verified the meaning of l’esprit de l’escalier but then I realized, “I have never actually heard it used…. like ever. It’s just this phrase that people talk about.”

tesdefonceoutesgay:

quintanear:

salviprince:

stromae talked about some real shit on his last album and i didnt even notice because it was in french.

*Tout le monde sait comment on fait des bébés mais personne sait comment on fait des papas!*

Mais t’es Hutu ou Tutsi ?
Flamand ou Wallon ?
Bras ballants ou bras longs ?
Finalement t’es raciste
Mais t’es blanc ou bien t’es marron ?

I’m not sure if people realize this… but Stromae says lots of real shit that needs to be heard…. And his music is catchy.

Like seriously, if you speak or are learning French and you don’t listen to Stromae, we probably shouldn’t be friends. And if you don’t speak French. Listen to him anyways, find english translations of the songs, and enjoy that shit!

(Source: basel26)