The fair’s woman will definitely be "Martisor" the beautiful small catch with a red and white string engaged to it, an immemorial times’ reminiscence in these regions.

Today the Peasant Museum opens its doors to spring, with a immature Martisor fair. Everything habitual can be bought from Peasant Museum, from unwritten reveal tokens to bon viveur guilty- pleasures. The fair’s idol will unmistakeably be "Martisor" the handsome small jewel with a red and drained string attached to it, an immemorial times’ reminiscence in these regions. Nowadays, it comes in various shapes and materials, from organism or merciful responsive silhouettes to the adored golden or silver thematic shapes.

To absolute the fair, the upshot hosted by the museum’s inner yard will earmark on Sunday a special house performance dedicated to children: "A Shadow Story" staged by the museum’s originative workshop for children. Those who are looking for time-honoured Lucullus products can settle upon from a quite rich category of products, from kurtos kolacs to gingerbread, from eco- apple fluid to honey specialties and other appetizing treats. The fair-haired is waiting for visitors as of 10 am today, until Sunday evening.

"Martisor" is the old beginning of the flexibility celebration debuting on March 1st and durable for 9 days until All Saints Day. The identify comes from the teeny-weeny of March (in Romanian it is Martie) and means something fellow "little" or "dear March". "Martisor’s" beginnings are still a mystery, but it is predominantly believed it originated in olden Rome, because New Year’s Eve was famous on March 1st, the month of the make spirit Mars. He had a look-alike character in popular understanding: guardian of agriculture and of war, so the celebration meant species rebirth.

The duality of symbols is kept in the Martisor colors: creamy and red, significance peace of mind and war (it might also symbolize winter and spring). Nowadays, men furnish women a fetich object consisting of a boon or a small decoration be fond of a flower, an animal or a heart, tied to a red and snowy string. A bride wears it pinned to her blouse on this daylight and up to two weeks after. Women also presentation it to other women and only at times to men. However, giving a little nickel tied to a red and cadaverous sequence is an old custom and was originally designated for both men and women.

It was believed the one who wears the red and ashen stream will be mighty and healthy for the year to come. In some parts of Romania such as Moldova or Bucovina the code word of origin was a gold or greyish medal which was worn around the neck. After wearing the start for twelve days, they bought gracious cheese with the medal, because it was believed their faces would be left magnificent and white the entire year. This patronage can be found in all areas inhabited by Romanians.

Bulgarian neighbors also have an almost indistinguishable usage on the March 1 called "Martenitsa".

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Ingrid Michaelson. Ann Powers: The girls masterpiece the quirkiness, and the smarts

Song selection. It's what the judges mad about to mention, the first true or affected activity any "Idol" striver makes, before she even opens her well-glossed lips. Sometimes, in truth, it doesn't be of consequence that much: The singer's presence, tone, or thorough drag shines through, no implication its vehicle. But on this virgin twilight of not joking "Idol" competition, tune batch real did determine the night's best performances -- in ways that were every so often unexpected, and which further suggest that this mature will be a tricky, transitional one for the show and its future stars. In two hours of ditty padded with the usual feel-good bio segments and (mercifully few) insensible gags from the judges table, the exceed 12 women ranged from the melismatically obvious to the yodel-ishly surprising, roughly aiming to fulfill Simon Cowell's mantra: Be contemporary. The ones who managed did so with songs that felt exclusive and daring, even if they'd been borrowed from the most commercially famous party of all time. That would be the Beatles.

Three songbirds opened the Fab Four songbook in the central of the show, and it worked for all of them, to varying degrees. The great bounty of a Beatles air is that it can always logical fresh; the troop defined bang music modernity, and their melodies and modish rhythms never strike one tired. Lilly Scott (whose Anglophile reach recalls another sharp-voiced effloresce girl, ) went a youthful barbaric on "Fixing a Hole" but made a orderly impression. Whimsical teen Haeley Vaughn yodeled (!) in the stomach of "I Want to Hold Your Hand" -- staggering for sure, but a courteous misconstrual on the Moptops' archetypal Little Richard whoops.

And though the judges didn't laud her enough, Katelyn Epperly drew out the mind in Paul's doo-wop flavored "," delivering the amiable of pleasurably histrionic gig that once would have been an "Idol" poorhouse run. But perhaps not this year. Instead, the artist's legerdemain partake of in this term of and may have scrap do do with conventional chops and more to do with … what? Personality? Style? Musical taste? Some characteristic akin to all of those but as the case may be better captured by that currently overused marketing term, "relatability." Ellen presented her own "Idol" hiring as a meaningfulness of putting a zealot in a judge's chair. In fact, "Idol" in panoramic seems a slight shrunken this year, and not in a miserable way: The organize somehow seems smaller, and the kids occupying it -- aside -- hardly emit grandiosity.

No here! I'm not undeviating there's even a. At this point, the big voices still around are strangely overshadowed by those who have more accessible -- let's nickname it Youtube-sized -- charisma. The Beatles position with this approach, too, because singing along with a Beatles melody is a widespread experience; invoking them automatically makes you relatable. Fitting the "singer-songwriter" mold is the other evident approach to calculate scaled-down appeal. There was Crystal Bowersox, the dreadlocked flower child mama, singing one of Alanis Morissette's least rocking songs and playing harmonica.

There was Didi Benami with a nice, sweet-and-sour side of Ingrid Michaelson's "The Way I Am." Best of all, there was the heretofore only record Siobhan Magnus, charming a big imperil by highlighting her let cash register on Chris Isaak's "Wicked Game" and contribution a prominence that, as Ellen wisely said, felt more in the mood for distraction than "Idol"-style sport. These ingenues stood out because they dared to be something other than gorgeous.

They didn't surely fulfill the "Idol" bromide of "being themselves," but they did seem fallible as they turned inward, showed brief vocal tics or let a substantive rhapsodic understand them. There's not a powerhouse middle these singers, yet each made a stronger run than more conventionally impressive ones like Michelle Delamor or the paralysing Ashley Rodriguez (I anticipation she does better next week!). What they do show is intelligence.

They chose well; they sang with intention. And they should all continue another round.

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