This is a list of characters in the MÄR series developed and designed by Nobuyuki Anzai.
(虎水ギンタ Toramizu Ginta)
Voiced by: Motoko Kumai (Japanese), Spike Spencer (English)
(バッボ)
Voiced by: Banjou Ginga (Japanese), Michael McConnohie (English)
Babbo is a unique ÄRM that was first wielded by Phantom and is later wielded by Ginta. He resembles a metal kendama. He contained the soul of the previous Elder of Caldia.
Babbo has many forms:
Loco (1823–1905 or 1909) was a Copper Mines Mimbreño Apache chief.
It is unknown whence Loco received his name. One theory suggests that he was named for the fact that he was "'crazy' enough to trust the white men." Another theory says that he got his name from his actions at a battle against the Mexicans, where he supposedly braved gunfire in order to save an injured warrior.
Unlike the militant Geronimo and the proud but aware Victorio, Loco was an advocate for peace. After the death of Cuchillo Negro, chief of the Warm Springs Tchihende, (1857) and Mangas Coloradas, chief of the Copper Mines Tchihende, (1863), the Copper Mines Mimbreños and the Warm Springs Mimbreños, under Pindah's pressure, were forced to leave the Pinos Altos area, near Santa Rita del Cobre, and try to concentrate in the Ojo Caliente area both of the tribe's bands; after Delgadito's death (1864) the Copper Mines Tchihende Loco, along with the Warm Springs Tchihende Victorio (who, already chosen as his son-in-law by Mangas Coloradas, was preferred to the older Nana), became the chiefs. The Mimbreños accepted to settle in a reservation, before at Ojo Caliente and later at Cañada Alamosa, but the Mimbreño reservation was abolished, and Victorio's and Loco's people was sent to the Mescalero reservation at Tularosa. When the Government stated to deport the Mimbreños to San Carlos, in 1877 Victorio and Loco led back their people to Ojo Caliente, but, in 1878, 9th Cavalry was sent to bring them back to San Carlos. Victorio took again the warpath, but Loco was arrested. Loco didn't join Victorio in his last war in 1879-1880, remaining in the San Carlos reservation. In 1882, when a party of Apaches including Geronimo forced Loco to leave for Mexico, Loco instead waged guerilla warfare against the Chiricahuas. In 1886, Loco went to Washington, D.C. to negotiate; however, like Geronimo, he was made prisoner and sent to Florida.
Loco is an orchestral composition in one movement by the American composer Jennifer Higdon. The work was commissioned by the Ravinia Festival of Highland Park, Illinois to commemorate the Ravinia train as part of the Train Commission Project. It was first performed on July 31, 2004 at the Ravinia Festival by the Chicago Symphony Orchestra.
Loco has a duration of roughly 8 minutes and is composed in a single movement. Higdon described her inspiration for the piece in the score program notes, writing:
The work is scored for an orchestra comprising two flutes, piccolo, three oboes, three clarinets, two bassoons, contrabassoon, four French horns, three trumpets, three trombones, tuba, piano, timpani, three percussionists, and strings.
Jeremy Eichler of The Boston Globe described Loco as "a gleaming and rambunctious curtain-raiser". Scott Cantrell of The Dallas Morning News similarly called it "seven minutes of high-energy scurries, clatters, chatters, jabs, chugs and fanfares." Andrew Druckenbrod of the Pittsburgh Post-Gazette wrote, "This piece imitates a "fast-moving train," and it roared into the hall. The fanfare-like work filled every nook and cranny with rhythmic pulsing and walls of sound." He added:
Mambo is the fifth studio album by Spanish duo Azúcar Moreno, released on CBS-Epic in 1991.
The duo's two previous studio albums Carne De Melocotón and Bandido had resulted in the release of two remix albums, Mix in Spain and The Sugar Mix Album. Mambo was their first studio album on which the influences from contemporary dance music genres like house music, R&B and hip hop were fully integrated in the original production; the track "Feria" even saw the sisters making their debut as rappers. The album was also the first not to be entirely recorded in Spain or predominantly produced by their longtime collaborator Julio Palacios - it had no less than ten producers.
The lead single "Torero!", although as typically flamenco-flavoured as their international breakthrough single "Bandido", was in fact written and produced by Englishmen Nick Fisher and Garry Hughes and German Zeus B. Held and was recorded in London. Fisher and Hughes have since gone on to collaborate with numerous artists in the electronica/experimental/world music genres under the moniker Echo System, including Björk, The Shamen, Salif Keita, Garbage and Pop Will Eat Itself. "Torero!" was in 1992 covered in Turkish under the title "Yetti Artik" ("That's it" in Turkish) by Tarkan, one of Turkey's biggest stars both domestically and internationally. The song was included on his debut album Yine Sensiz ("Again without you" in Turkish).
Mambo is a musical form and dance style that developed originally in Cuba, with further significant developments by Cuban and Puerto Rican musicians in Mexico and the USA. The word "mambo" means "conversation with the gods" in Kikongo, the language spoken by Central African slaves taken to Cuba.
Modern mambo began with a song called "Mambo" written in 1938 by brothers Orestes and Cachao López. The song was a danzón, a dance form descended from European social dances like the English country dance, French contredanse, and Spanish contradanza. It was backed by rhythms derived from African folk music.
Contradanza arrived in Cuba in the 18th century, where it became known as danza and grew very popular. The arrival of black Haitians later that century changed the face of contradanza, adding a syncopation called cinquillo (which is also found in another contradanza-derivative, Argentine tango).
By the end of the 19th century, contradanza had grown lively and energetic, unlike its European counterpart, and was then known as danzón. The 1877 song "Las alturas de Simpson" was one of many tunes that created a wave of popularity for danzón. One part of the danzón was a coda which became improvised over time. The bands then were brass (orquestra tipica), but was followed by smaller groups called charangas.
Mambo is the term for a female (as opposed to the Houngan, or male) High Priest in the Vodou religion in Haiti.
Mambo are the highest form of clergy in the religion, whose responsibility it is to preserve the rituals and songs and maintain the relationship between the spirits and the community as a whole (though some of this is the responsibility of the whole community as well). They are entrusted with leading the service of all of the spirits of their lineage.
There are two ranks of mambo, mambo asogwe (high priestess) and mambo sur pwen / mambo sur point ("junior priestess"). A mambo asogwe is the highest member of clergy in vodou; she is the only one with authority to ordain other priests.
Hay tantas formas de decir
Que no puedo estar si tí
Y que me vuelves loco
Hay tantas formas de contar
Que nuestro amor es de verdad
Y que me vuelves loco
En mi ventana nace el sol
Que es el reflejo de tu amor
Porque me vuelves loco
Me vuelves loco, niña
Me vuelves loco
Cada pasito que das
A mi me vuelve loco
Si algo te hace sonreir
Yo ya lo sé sin preguntar
Porque me vuelves loco
Si algo queda por hacer
Juntos lo vemos crecer
Porque me vuelves loco
Siempre quedara el rincón
Y la historia entre tú y yo
Que nos volvió tan locos
Me vuelves loco, niña
Me vuelves loco
Cada pasito que das
A mí me vuelve loco
Será tu forma de mirar
O el dulce aroma de tu piel
Cuando me quieres abrazar
Diciendo ven y bésame
Cuando compartes tu ilusión
Y te dejas aconsejar
Porque no hay nada para mi
Que a ti se pueda comparar
Me vuelves loco
Me vuelves loco, niña
Me vuelves loco