"Newsletter" Aerolatino-Geba
(Aerolatino y todas las Danzas que se practican en Geba)
exclusiva para suscriptores, mié 19 marzo 2008
Reciben esta Newsletter 453 suscriptores

BOHEMIAN WONDERLAND The cast of ‘In the Heights.’ [JOAN MARCUS]
BOHEMIAN WONDERLAND The cast of ‘In the Heights.’ [JOAN MARCUS]

Richard Rodgers Theatre, 226 West 46th St., NYC
(Between Broadway & 8th Avenue)
PERFORMANCE SCHEDULE:
Tue-Sat at 8pm, Sat & Sun at 2pm, Sun at 7pm;
Starting March 5, select Wed matinees at 2pm (please inquire)
intheheightsthemusical.com
Video:0:25

Jersey Boys Newsletter

martes, 18 de marzo de 2008 03:50
Jersey Boys March Update

Jersey Boys

Jersey Boys Newsletter
Jersey Boys Newsletter
jerseyboysinfo.com

Show Fotográfico Domingo 30/03; 15,30 h (Cristina Rivera)

lunes, 17 de marzo de 2008 13:51
SHOW FOTOGRAFICO.

Cristina Rivera

Fecha: domingo 30/03 15.30hs.
Lugar: sede San Martín
Modelos: suscriptores de la Newsletter
Objetivo: divertirnos y formar un banco de imágenes para la Newsletter de Geba (creada y dirigida por nuestro querido Augusto Lapeyre)

Los espero a todos, también estamos gestionando una clase especial al aire libre con Charly, Walter y todo profe del club que se quiera sumar para que la fiesta sea completa!!
Cris....

Cristina Rivera
estudio fotográfico
cristinarivera.com.ar

Allí estaremos Cristina ! Le estamos pasando mensaje a Walter Herrera por si estuviera disponible para pilotear fiestón en la Terracita. Charly ha confirmado su disponibilidad 15.30.

Bailador ! Si no estuviste en el Baile de diciembre te esperamos ! (y si estuviste también, jajajá !)

Feliz Semana Santa ! (Nancy Braga)

lunes, 17 de marzo de 2008 10:33
FELIZ SEMANA SANTA!

Nancy Braga

Con mucho afecto para todos, ya que se acerca Semana Santa.!!

Nancy

Felices Pascuas (Pedro Weissmann)

lunes, 17 de marzo de 2008 09:16
Felices Pascuas

Pedro Weissman

Huevo de pascuas

Pedro Weissmann y Flia.

A Chorus Line at the Schoenfeld Theatre

lunes, 17 de marzo de 2008 08:08
One singularly sensational ticket price for "A Chorus Line" with Playbill!

Playbill Club Manager

THE BEST MUSICAL. EVER.
A CHORUS LINE
THE BEST MUSICAL. EVER.
A CHORUS LINE [fuente]

TICKETS ONLY $59!
NOW THROUGH APRIL 13
Tues. at 7, Wed. & Sat. at 2,
Wed. – Fri. at 8, Sun. at 3
Visit BroadwayOffers.com or call
(212) 947-8844 and use code CLPBX73
or bring this offer to the Schoenfeld Theatre,
236 West 45th St.

Diggity by the Paul Taylor Dance Company

The New York Sun, 17 March 2008

HOT ‘DIGGITY’ DANCE

Paul Taylor’s engaging canine caprice made a spirited return to the stage this season, Joel Lobenthal writes.

Joel Lobenthal

[JACK MITCHELL]
CABBAGE PATCH Above, Lisa Viola and Joao Mauricio in Paul Taylor’s ‘Diggity
JACK MITCHELL
CABBAGE PATCH Above, Lisa Viola and Joao Mauricio in Paul Taylor’s ‘Diggity [fuente]

CUTE POOCH The set features dogs designed by Alex Katz.
CUTE POOCH The set features dogs designed by Alex Katz. [fuente]

This season, the Paul Taylor Dance Company danced the choreographer’s 1978 work “Diggity” for the first time in New York since 1994. At Saturday matinee’s performance, the audience started to chuckle the moment the curtain rose. The stage was seeded with little cutout silhouettes — made by Alex Katz — that were modeled on Mr. Taylor’s dog Deedee. “Diggity” makes paramount Mr. Taylor’s interest in flora and fauna, which sometimes seems to be more openhearted than his response to the human race. One feels that he finds us a little disappointing.

Mr. Taylor puts the eight-member cast on all fours a good deal of the time. The piece takes its cues from the slang exclamation, “Hot diggity dog!” It is permeated with the faux-homespun rhetoric of carefully crafted mass entertainment. There seem to be Hollywood references, but they are scrambled and framed with ironic asides, as well as pokerfaced put-ons. Donald York’s score is 1940s pastiche. Mr. Katz’s mise-en-scène derives from Pop art and its ambivalent use of commercial brands and emblems. In “Diggity,” the live dancers are in their own ways colophons as well. There’s the perky pixie Julie Tice, who kicks off the piece, and Amy Young as an Alberto Vargas drawing come to life, prancing out wearing only her lingerie.

Throughout this engaging caprice, Mr. Taylor’s choreography is finely structured, even as he seems to be going along for the ride navigated by the musical score, sets, and props (which include a giant cabbage that is brought out with a kitchen-garden Venus). Toward the end, things get winsome for a while as the score evokes Aaron Copland in a twilight-coming-down mood. Michelle Fleet and Robert Kleinendorst drew in the audience as they danced alongside each other on Saturday, each questing for something that the other might be able to provide. High spirits resumed once their duet was done. When the entire cast broke out into barks, we knew where Mr. Taylor’s heart lies.

When Mr. Taylor’s dancers aren’t imitating the noble traits of man’s best friend, they are often caricaturing the vagaries and vicissitudes of human interaction. Sometimes the caricatures have a savagery worthy of Jonathan Swift. Sometimes they take on the deceptively innocent coloration of a marionette show. In the latter category falls Mr. Taylor’s “Antique Valentine,” which followed “Diggity” on Saturday. It was made in 2001 to a hodgepodge of greatest classical hit tracks rendered quaint by being played on an assortment of demotic music-making devices. Cuckoo clock sounds introduce a stage full of human wind-up toys. Costumes by Santo Loquasto further miniaturize the participants by submerging them in outlandish poke bonnets and striped tights like the French Incroyables of the Revolutionary era. The eponymous valentine is passed between Lisa Viola and Mr. Kleinendorst. Ms. Viola is the more aggressive active party in the wooing, as she frequently is in the comic works Mr. Taylor has made for her.

Eventually, we see only Ms. Viola and Mr. Kleinendorst left standing, as everyone else onstage is flat on his or her back. The two lovers wend their way through their supine colleagues, who then stagger to their feet and carry the nuptial pair on their shoulders to the tune of Mendelssohn’s Wedding March. All fall down, and then all get up again. It’s a maladroit but invincible species we’re watching.

Mr. Taylor has great powers of sleight of hand. His “Esplanade,” which closed the Saturday matinee, is often described as consisting of entirely untutored movement, such as walking and running, the universal locomotion of untrained human bodies. But it is extraordinary how much like dance Mr. Taylor makes the pedestrian look. And it is interesting to see the way he makes us aware of the common cognate between sophisticated dance steps as well as quotidian and “natural” movement. A number of times throughout “Esplanade,” he slyly inserts an almost identical facsimile of a textbook balletic step, but we have been so lulled into the ostensible non-theatricality of what we’re seeing that we hardly notice them.

In Saturday’s performance, the climactic last movement of hurtles and crashes and running leaps into miraculously awaiting arms was especially vigorous and brilliant. When Mr. Taylor came out for his curtain call with the dancers, he gave them a gave thumbs-up which they heartily deserved.

Sabor a Jazz en Velma Café (Bettina Toyos)

lunes, 17 de marzo de 2008 07:33
VELMA CAFE - SABOR A JAZZ - HAPPY EASTER JAZZ!!!

Bettina Toyos

Velma Cafe
Reservas 4772-4690
Gorriti 5520 - Palermo Hollywood
velmacafe.com.ar

Nuevo Show en Velma Café (Emanuel Sota Latino)
Nuevo Show en Velma Café (Emanuel Sota Latino)

¡¡ Cena y Baile el Sábado 12 de Abril !! (Ariel Lichtig)

domingo, 16 de marzo de 2008 17:16
¡¡Cena y baile el sábado 12 de abril!!

Ariel Lichtig

Síííí.
El concesionario del restaurante de sede San Martín organiza cena con baile el sábado 12 de abril.
Vayan planeando los que quieran pasar una noche animada y divertida entre amigos.
Vamos a planear la música y esperamos contar con videos que acompañen las canciones (aporte de nuestro inestimable proveedor Augusto) si la tecnología nos acompaña.
Así que salseros, merengueros, rockeros, tangueros y románticos vamos a tener una nueva oportunidadde bailar en "casa".
Saludos, Ariel Lichtig

Bien Ariel !, allí estaremos !!!

Cursos 2008

sábado, 15 de marzo de 2008 12:03
consulta

Gymfitness

Alvin Ailey's Director on What's Next

The Wall Street Journal, 15 March 2008

A Driving Force

As the Alvin Ailey American Dance Theater celebrates its 50th anniversary, a look at the career and influence of Judith Jamison, the troupe's artistic director.

[Eduardo Patino]
Students of The Ailey School's Professional Division rehearsing in the Weill Center. The center includes 12 climate-controlled studios equipped with pianos, sprung floors, mirrors, and sound systems. In addition to rehearsal rooms and a physical training room for the troupe's dancers, there are classrooms for the company's school, which trains professional and amateur dancers.
Eduardo Patino
Students of The Ailey School's Professional Division rehearsing in the Weill Center. The center includes 12 climate-controlled studios equipped with pianos, sprung floors, mirrors, and sound systems. In addition to rehearsal rooms and a physical training room for the troupe's dancers, there are classrooms for the company's school, which trains professional and amateur dancers. [fuente]
online.wsj.com/article/SB12053 ... tml?mod=djem_we

Photo Slide Show (1-6): online.wsj.com/article/SB12053 ... tml?mod=djem_we
Related Article: online.wsj.com/article/SB12055 ... tml?mod=djem_we

Argentine Nights

sábado, 15 de marzo de 2008 01:08
Travel Dispatch: Argentine Nights

The New York Times, March 16, 2008

Argentine Nights

[Lalo de Almeida for The New York Times]
David Lampson, from Boston, and Maria Faccioti, of Argentina, tango at Salón Canning.
Lalo de Almeida for The New York Times
David Lampson, from Boston, and Maria Faccioti, of Argentina, tango at Salón Canning. [fuente]
travel.nytimes.com/2008/03/16/ ... l/16buenos.html

By DENNY LEE

Slide Show (1 - 12)
Buenos Aires: Bohemians-in-Exile
Slide Show (1 - 12)
Buenos Aires: Bohemians-in-Exile
nytimes.com/slideshow/2008/03/ ... ENOS_index.html

[Lalo de Almeida for The New York Times]
In the Palermo SoHo neighborhood.
Lalo de Almeida for The New York Times
In the Palermo SoHo neighborhood. [fuente]
travel.nytimes.com/2008/03/16/ ... l/16buenos.html

[Photo: Lalo de Almeida for The New York Times]
Le Bar, a new martini lounge and restaurant, was started by several French expatriates. It features sunken seats, a rooftop terrace and global tapas.
Photo: Lalo de Almeida for The New York Times
Le Bar, a new martini lounge and restaurant, was started by several French expatriates. It features sunken seats, a rooftop terrace and global tapas. [fuente]
travel.nytimes.com/2008/03/16/ ... l/16buenos.html

THE tango dancers took their places inside a cramped apartment in downtown Buenos Aires, as David Lampson, a 29-year-old television writer from Boston, wiped his brow. Despite the 100-degree weather, the fans had been shut off, spotlights switched on and windows blacked out with trash bags. The cameraman waited until the smoke machine blurred the parquet floor before yelling “Action!” Then just as the iTunes track reached its dramatic crescendo, the fuse blew. For the fourth time.

“Let’s unplug the other fan and try again,” Mr. Lampson told the polyglot cast and crew, which included a Greek mother, a Colombian architect and an Argentine shoemaker. Also present was a New York City film student, who was editing the footage for YouTube distribution. Mr. Lampson likened the process to creating art from garbage. “There is a tango dance based on this idea,” he added, “called cambalache.”

A better term might be bohemians-in-exile. A new kind of tango is taking shape along the crooked back streets of Buenos Aires. At a former furniture factory on Calle Honduras, the British music engineer Tom Rixton, who has worked with top acts like Depeche Mode, runs a stylish boutique hotel called Home with his Argentine wife. Nearby on Calle Garruchaga, Amanda Knauer, a fashion designer from Manhattan, sells a chic line of leather handbags at Qara. And at Zizek, a weekly dance party run by an expat from San Antonio, the cha-ch-ch-cha rhythms of cumbia folk music quivers to an electronic beat.

...

travel.nytimes.com/2008/03/16/ ... l/16buenos.html

Links:

Buenos Aires Travel Guide
Where to Stay
Where to Eat
What to Do

Zumanity at Las Vegas

viernes, 14 de marzo de 2008 14:11
ZUMANITY's New Mistress of Sensuality

Madame

Bonjour Agus!

It's been too long, non? I'm sorry I have been away so long, but spring is in the air, and I've been spending my days and nights watching all the beautiful new things blooming on stage at the Zu.

As you know, the end of 2007 saw us bid adieu to our dark fauna and resident Mistress of Seduction Joey Arias. It was sad to see him go but, as the saying goes- "out with the old, and in with the new". And darlings, do we have something special for you!

Please give a warm bienvenue to Edie: ZUMANITY's new Mistress of Sensuality. With legs up to her neck that even I can't compete with, this gorgeous glamazon is heating up the human zoo nightly with her trademark brand of sensuality and sass. Hailing from New York City, Edie is a classically trained dancer and singer who has toured the world with her solo cabaret show. Not only was this flirtatious diva named "Entertainer of the Year" at the Glammy Awards, but she has performed on the MTV Video Music Awards, the Rosie O'Donnell Show, and appeared on Sex and the City.

I'm hot and bothered just thinking about her! And I know you will be, too. We are thrilled that Edie has left the Big Apple to join us in Sin City, and can't wait for you to experience her champagne curves and caviar thrills for yourself.
Au revoir my loves! Until next time…

P.S. Good things come in threes, so feel free to pass this along to someone special.

*A free registration is required in order to receive Zumail and to gain access to the articles in Under the Covers. You must be 18 or older.

zumanity.com/en/underthecovers ... .asp?i=11&s=800

Salsa en San Fancisco, Ca.

salsacrazy.com

Boeing, Boeing on Broadway

viernes, 14 de marzo de 2008 11:13
Friday, March 14, 2008 1:13 PM

Playbill Club Manager

Boeing, Boeing on Broadway
Boeing, Boeing on Broadway
broadwayoffers.com

3 WAYS TO BOOK
YOUR DISCOUNT TICKETS:
ONLINE
CLICK HERE or visit BroadwayOffers.com and enter code BBPBX54
BY PHONE
Call 212-947-8844 and mention code BBPBX54
IN PERSON
Beginning March 24, bring a printout of this offer to the Longacre Theatre box office at 220 W. 48th St. (between B’way and 8th Ave.). Box office hours: beginning 3/24, Mon - Sat 10 - 8; beginning 4/20, Sun noon - 6.

Lin Manuel Miranda in Washington Heights

The New York Times, March 14, 2008

Heights Before Broadway

[Ruth Fremson/The New York Times]
Lin-Manuel Miranda in Washington Heights, the neighborhood that inspired his musical, “In the Heights.”
Ruth Fremson/The New York Times
Lin-Manuel Miranda in Washington Heights, the neighborhood that inspired his musical, “In the Heights.” [fuente]
nytimes.com/2008/03/14/theater/14heig.html

[Sara Krulwich/The New York Times]
Lin-Manuel Miranda, center, in the musical “In the Heights.”
Sara Krulwich/The New York Times
Lin-Manuel Miranda, center, in the musical “In the Heights.” [fuente]
nytimes.com/2008/03/14/theater/14heig.html

Audio Slide Show
Latin Beats on Broadway
Audio Slide Show
Latin Beats on Broadway
nytimes.com/interactive/2008/0 ... TS_FEATURE.html

(Bailador ! Traducción: Salsa, Merengue, Bachata, Reggaeton. Está dicho en el Audio Slide Show)

By MELENA RYZIK

TO be perfectly clear, Lin-Manuel Miranda did not grow up in Washington Heights, the physical and spiritual setting of his musical “In the Heights,” which opened on Broadway this week. He was raised in Inwood, an area some blocks north with a similar landscape of immigrants, Spanish speakers and urban decay softened by panoramic vistas. Why not stage a musical there?

“Washington Heights is hillier, it’s more climactic, it’s more well known, it’s more iconic,” Mr. Miranda, who wrote the music and stars in the show, said. “And it sings better.” He tried to stretch Inwood — Innnwooood — into a passable tune. No dice.

But Mr. Miranda, 28 and a self-described nerd, did not hang out in the barrio depicted in movies like “Shaft.” Instead he grew up commuting to the elite public Hunter College elementary and high schools on the Upper East Side and making videos on his own. They were pursuits that his parents — Luis Miranda, a community activist turned political consultant, and Dr. Luz Towns-Miranda, a psychologist — supported. The neighborhood kids, he said, “would chill on the corner, and I would see them when I took out the recycling on Fridays.”

He also spent summers with his grandparents in Puerto Rico, where — “sink or swim,” he said — he learned Spanish. At home he was looked after by Edmunda Claudia, a surrogate grandmother who was once his father’s baby sitter. A compulsive gambler, she let Lin-Manuel pull the arm on the illegal slot machines at the bodega. She appears in the show as Abuela Claudia, a beloved local with a scratch-off lottery habit.

The world of “In the Heights,” which had its debut Off Broadway last year, is like that: an amalgam of personal detail and creative license, grounded in an environment that is as much pan-immigrant as it is pan-Latino, a familiar American dream set to a salsa and hip-hop beat. Ticket sales have been strong.

And so on a recent morning, under a sky threatening and soon delivering rain, Mr. Miranda, dressed down like a high school kid in loose jeans, white sneakers, a hoodie, an army-green jacket and a Nintendo backpack (geek habits die hard), offered a tour of a neighborhood that is half real and half invented. First stop: El Nuevo Caridad, at Broadway and 172nd Street.

...

nytimes.com/2008/03/14/theater/14heig.html

Related

Theater Review | 'In the Heights': The View >From Uptown: American Dreaming to a Latin Beat (March 10, 2008)
You’re 27. Here Are Millions to Stage Your Musical. (February 18, 2007)
Theater Review | 'In the Heights': From the Corner Bodega, the Music of Everyday Life (February 9, 2007)

Irish Tap Dance at Public School 59, The Bronx

The New York Times, March 14, 2008

For Bronx School’s Dancers, the Moves Are Irish

[Andrea Mohin/The New York Times]
Caroline Duggan, a music teacher at Public School 59, with its troupe, the Keltic Dreams.
Andrea Mohin/The New York Times
Caroline Duggan, a music teacher at Public School 59, with its troupe, the Keltic Dreams. [fuente]
nytimes.com/2008/03/14/nyregion/14educ.html

Video: nytimes.com/2008/03/14/nyregion/14educ.html
Duración: 05:39

By ELISSA GOOTMAN

Taja Garnett’s parents are from Belize, but her nickname is “Irish girl.”

Ever since Taja, 10, joined the Keltic Dreams, the Irish dance troupe that is the unlikely pride of her Bronx elementary school, she has been so consumed by high kicks, heel clicks and treble hop backs that she practices “on the street, at the bus stop, sometimes at the train station, in the living room, on the bus when I’m standing up and there’s no seats.”

Oh, and also in class. In class? That’s right, with her fingers, she explained, demonstrating the way her index finger acts as the left foot and her middle finger as the right.

“I look at the teacher,” Taja chirped, her eyes gleaming mischievously behind wire-rimmed glasses, “and do it at the same time.”

With a student body that is 71 percent Hispanic and 27 percent black, Public School 59 does not seem an obvious home for a thriving Irish dance troupe. And when Caroline Duggan first arrived from Dublin at age 23 to try her hand as a New York City public school music teacher, it wasn’t. Many of her students had never heard of Ireland. Why, they wanted to know, did she talk funny?

Then, to stave off homesickness, Ms. Duggan hung a “Riverdance” poster in her fifth-floor classroom, and one thing led to another. The children pointed to a long-haired dancer on the poster and asked if it was her. No, she laughed, but I could show you a few steps. The impromptu lesson grew into a wildly popular after-school program and, for the first time last year, a trip to Ireland that still inspires dreamy looks among those lucky enough to go.

“The grass wasn’t like ordinary grass,” recalled Nyiasha Newby, 10. “It was like sparkling and stuff, because the water was on it. It was, like, fresh.”

On a recent afternoon, as cars blaring hip-hop music rolled past P.S. 59, on Bathgate Avenue near 181st Street, and neighbors called to one another in Spanglish, the school auditorium swelled with the soaring sounds of drums, fiddles and uilleann pipes.

Sixty growing feet laced into clunky black shoes spun, kicked and hop-1,2,3’d their way across the stage, in routines that Ms. Duggan, now 29, had choreographed, infusing the traditional Irish dancing she was reared on with elements of hip-hop, salsa and African dance. Toothy smiles mingled with the bitten lips of deep concentration. The Keltic Dreams were at it again.

“It kind of took on a life of its own,” marveled the principal, Christine McHugh.

There was Anna Perez, 10, her hair pulled back into a tight bun, who wants to be a professional Irish dancer when she grows up. There was Alice Olom, 11, rehearsing alongside third-graders even after having moved on to middle school herself.

“There are some people in here that are very, very shy, so I’m here to let them know that shyness is not an option in Irish dancing,” Alice said, her long braids pulled back in a ponytail. “You have to be confident in everything you do.”

For years, Ana Sotomayor, 47, had tried to teach her son, Angel Perez, 11, the salsa moves she had learned growing up in Puerto Rico. For years, she recalled, he had shrugged her off, saying he didn’t like it and couldn’t do it.

But there Angel was, center stage, hands on his hips and baggy jeans flapping as he began a routine with a short solo.

“Every time I see him in a show I cry, because I’m very proud of him,” Ms. Sotomayor said. “He’s very shy, but then when I see him dance I see another Angel, very secure in what he’s doing. He’s very different.”

Parents agree that the dancing has filtered into other aspects of their children’s lives.

“She knows that she has to do good in school to keep up with her Irish dancing,” Maritza Rosa, 42, said of her daughter Karilis Javier, 11.

Ms. Rosa was taken aback when Karilis first mentioned her new hobby.

“I thought she would do, you know, the Latin dance, the merengue, the salsa, the English music that’s here in the Bronx,” she said. “I said, ‘Irish dancing?’ And then I said, well, something different, something new for the kids.”

Now, Ms. Rosa said, she finds herself experimenting with steps. “You see your child perform,” she said, “and you get into it.”

It has not always been easy. In the months leading up to last year’s trip to Ireland, Ms. Duggan had a window into the difficulties in her students’ lives. In her quest to obtain passports, which only a few children had, she navigated tricky immigration issues and helped track down a number of fathers who had not seen their children in years.

One student had a tearful reunion with her father in the back of the school auditorium. Another, an 8-year-old, showed up for rehearsal clutching her passport just weeks before the trip; after months of trying, relatives had finally managed to contact her father in Puerto Rico to get his needed signature.

Ms. Duggan had long feared she would never be able to raise enough money for the Ireland trip. That changed two years ago, after she met Tim O’Connor, then the Irish consul general in New York, who put her in touch with a network of Irish-American New Yorkers. She eventually raised $70,000, enough to take to Ireland 32 students and 19 chaperones, among them Mrs. McHugh, who had never been overseas.

The group performed on Ireland’s “Late Late Show” and at the official residence of the president, Mary McAleese. They were filmed for a documentary, “A Bronx Dream,” which is scheduled to be shown on Irish television on Monday, St. Patrick’s Day.

One of Jesely Salcedo’s favorite memories, though, is of the visit with Ms. Duggan’s mother, who hid foil-covered chocolate leprechauns in her backyard. “We even had our own little treasure hunt,” Jesely, 11, recounted.

Now, Ms. Duggan is struggling to raise money for this year’s trip to Ireland and preparing her young charges for another big day: The St. Patrick’s Day parade in Manhattan on Monday, in which they will march for the first time.

Ms. Duggan has outlasted most of the young teachers she met when she first came to New York, who, like her, had been recruited from overseas to fill shortages. “The administration wasn’t supportive or they didn’t like their school or they missed their family,” she said.

She credits the people of P.S. 59, from Mrs. McHugh — who welcomed her for Christmas Eve dinner in Riverdale one year when she could not afford a ticket home — to students like Jesely, who have embraced Irish dancing as though the culture were their own. Which, in a sense, it now is.

“As I get older I’ll even show my kids, so that way they, like, can spread it around,” Jesely said. “Cause I think like the whole world should know about it.”

Video: Ruth Brown, Linda Hopkins y número de Tap, Minskoff Theatre, 26Jan1989 (Augusto César Lapeyre)

miércoles, 12 de marzo de 2008 16:20
T'Ain't Nobody's Business If I Do

Augusto César Lapeyre

BLUES & TAP

Creo que te va a gustar:

http://www.youtube.com/watch?v=MidXL4DOzoM (video no disponible)

(T'Ain't Nobody's Business If I Do - Black & Blue)
PERFORMED BY RUTH BROWN AND LINDA HOPKINS FROM THE PLAY BLACK
AND BLUE, MUSIC PORTER GROINGER, LYRICS EVERETT ROBBINS, THEATRE
MINSKOFF THEATRE, OPENING DATE JAN 26, 1989. PERFORMANCES: 829

acl

Excelente aporte Profe ! Por supuesto que me gusta ! ¿Cómo tomaste conocimiento de este video de 1989?

From: Augusto César Lapeyre
To: Augusto Lapeyre
Sent: Thursday, March 13, 2008 11:57 PM
Subject: Re: T'Ain't Nobody's Business If I Do

Porque escuché un blues de un CD que me compré en oferta (11.90$ o algo así) que me pareció semejante a un tema de "Pappo's Blues" (la banda del argentino). Me fijé el nombre del tema y empecé a buscar: "Ain't Nobody's Business If I Do".
El tema de Pappo es "Como un viejo blues", también se lo puede encontrar bajo el nombre "Desconfío".
acl

Link IBDB Internet Broadway Data Base: ibdb.com/production.asp?ID=4528

Antes que te caigas de espaldas al leer la ficha te adelanto una línea:
Conceived by Claudio Segovia and Héctor Orezzoli; Directed by Claudio Segovia and Héctor Orezzoli. "Black and Blue" won four Tony Awards, including one to its creators for best costume design.

- Bailador ! Justamente el miercoles 12, antes de comenzar su clase inaugural 2008, le pregunté al Maestro Carlos Borques por Segovia y Orezzoli, y, me habló del talento de estos creadores con quienes compartió muchísimo tiempo en "Tango Argentino". (Segovia sigue en actividad. Orezzoli falleció a los 38 años en 1991) .
Otra, los bailarines de tap son todos morenos y en la lista también aparece Savion Glover como "Younger Generation".

Black And Blue: A Musical Revue (1989 Original Broadway Cast)
Black And Blue: A Musical Revue (1989 Original Broadway Cast)
amazon.com/dp/B000000PIF

Otros Links

Ruth Brown (1928-2006) ruthbrown.net
imdb.com/name/nm0114616
Linda Hopkins (1924) global-mojo.com/specialsite/hopkins
imdb.com/name/nm0394223
minskofftheatre.com

Watch Clips of Patrick Swayze

From The Times, March 6, 2008

Patrick Swayze: watch the dirty dancer

Hilary Rose

Watch clips from Dirty Dancing, Ghost, Point Break

http://www.youtube.com/watch?v=D3L2jz7N_Dk (video no disponible)

http://www.youtube.com/watch?v=ZsukB39t6eA (video no disponible)

http://www.youtube.com/watch?v=d4-Fso2EZq8 (video no disponible)

The news that Patrick Swayze, 55, is suffering from pancreatic cancer is terribly sad, not least to those of us who hold fast to our belief that Point Break, Ghost and Dirty Dancing, in which he starred, are among the greatest films ever made.

Desperate not to be typecast, Swayze has in his career played a transvestite and a paedophile, but it was in Point Break, playing a bank robber opposite Keanu Reeves in a fetching white T-shirt, and as the dance teacher Johnny Castle in Dirty Dancing, that a generation of girls will remember him. “You have to accept that to be the actor you want to be, you have to have the courage to turn down work,” Swayze has said. “I haven't worked hard all my life to be stuck in a box.”

He was born in Texas to an engineer father and a dance-teacher mother. It was at one of her classes that he met his wife of more than 30 years, Lisa Niemi. One of four children, he was relentlessly teased for studying ballet.

“See these knuckles?” he once said. “There's a reason they look like that. I got bashed from the day I was born. It was why I learnt martial arts.”

He began his career not in Jackie Chan style, but as Prince Charming in Disney on Parade. But his big break came in 1985, when he was cast in the American TV mini-series North and South. Dirty Dancing followed, then the role of Sam Wheat, opposite Demi Moore, in Ghost. He won Golden Globe nominations for both, and it's a hard heart that can watch the clay-moulding scene without sobbing. By 1991, he was being voted Sexiest Man Alive, shortly after which, in typical style, he took a role as a drag queen.

But it wasn't all plain sailing. The death of his father and, in 1994, the suicide of his sister drove him to drink and a spell in rehab. The loneliness of fame, he said, was messing with his head. “The moment you give in to indulgence, everything goes wrong. It could have got out of control - I could have been an alcoholic - but I have self-preservation in me.”

Just as well, given that he once only narrowly survived a bush fire, and on another occasion was temporarily paralysed from the waist down after being thrown from a horse. It took 12 operations and a truckload of titanium to rebuild him. “I am,” he joked, “the new $6 million man.”

Although reports vary as to the seriousness of his condition, he is believed to be undergoing chemotherapy in California, and to be touched by the international concern. “I have a great deal of faith in faith,” he told one interviewer. “I would like to believe ... that there's life after death because if there isn't, why are we here?” His fans around the world are hoping that it's not his time to find out.

entertainment.timesonline.co.u ... icle3496778.ece

Duración:
Dirty Dancing: 06:34
Ghost: 01.50
Point Break: 01:05

Avenue Q, The Musical

jueves, 13 de marzo de 2008 09:48
Win and Egg-stra Special Present

Avenue Q - The Musical

Curtains on Broadway

miércoles, 12 de marzo de 2008 16:09
Curtains Newsletter

Curtains On Broadway

Curtains on Broadway
Curtains on Broadway
curtainsthemusical.com

Semi-Opera King Arthur

The New York Times, March 12, 2008
Dance

Mark Morris and Purcell in King Arthur’s Court

[Richard Termine for The New York Times]
Members of the Mark Morris Dance Group with the singers Mhairi Lawson and Daniel Mobbs, right, in Purcell’s “King Arthur.”
Richard Termine for The New York Times
Members of the Mark Morris Dance Group with the singers Mhairi Lawson and Daniel Mobbs, right, in Purcell’s “King Arthur.” [fuente]
nytimes.com/2008/03/12/arts/dance/12arth.html

More Photos > nytimes.com/slideshow/2008/03/ ... SHOW_index.html

By ALASTAIR MACAULAY

At a performance by the Paul Taylor Dance Company at City Center last weekend, the man in front of me told me how he loved Mark Morris’s production of “King Arthur” at New York City Opera. He’d seen it in Berkeley, Calif., and he hoped soon to have seen it seven times.

...

King Arthur” continues through Saturday at the New York State Theater, Lincoln Center; (212) 721-6500, nycopera.com.

nytimes.com/2008/03/12/arts/dance/12arth.html

[Photo: Sara Krulwich/The New York Times]
Dancers in rehearsal for Mark Morris’s production of Henry Purcell’s semi-opera “King Arthur.”
The piece, already seen at the English National Opera in London and at Cal Performances in Berkeley, opens Wednesday at the New York City Opera.
Photo: Sara Krulwich/The New York Times
Dancers in rehearsal for Mark Morris’s production of Henry Purcell’s semi-opera “King Arthur.”
The piece, already seen at the English National Opera in London and at Cal Performances in Berkeley, opens Wednesday at the New York City Opera. [fuente]
nytimes.com/2008/03/12/arts/dance/12arth.html

Jornada Evolución Fitness

miércoles, 12 de marzo de 2008 10:58
Jornada Gratuita

Jornadagratuita

Jornada Evolución Fitness

GALA GIM * AV. RIVADAVIA 4053 * T. 4983 2325 / 6675 *

Fitness Total en Olavarría (Claudia Tarazona)

martes, 11 de marzo de 2008 21:00
FITNESS TOTAL EN OLAVARRIA

Claudia Tarazona

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Sent: Tuesday, March 11, 2008 5:11 PM
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Altar Boyz

martes, 11 de marzo de 2008 12:45
A New Matthew To Make You Wanna You-Know-What

Altar Boyz

Altar Boyz
Altar Boyz
altarboyz.com

In the Heights Now Open on Broadway

martes, 11 de marzo de 2008 11:48
In the Heights Newsletter

In The Heights

In the Heights Now Open on Broadway
In the Heights Now Open on Broadway

Astaire & Rogers, 3: Roberta (1935)

imagen

Roberta: imdb.com/title/tt0026942

imagen imagen imagen

imdb.com/media/rm3878066432/tt0026942

Roberta

imagen

amazon.com/gp/product/images/B000H6SXLU

Vintage Film Poster

Dirty Dancing
twentieth anniversary
Dirty Dancing
twentieth anniversary [fuente]

Links:

Dirty Dancing (1987): imdb.com/title/tt0092890
Emile Ardolino (1943-1993), Director: imdb.com/name/nm0001915
Eleanor Bergstein (1938), Writer: imdb.com/name/nm0075044
Jennifer Grey (1960), Frances 'Baby' Houseman: imdb.com/name/nm0000426
Patrick Swayze (1952), Johnny Castle : imdb.com/name/nm0000664

El Logotipo de Hoy

Andrea Burns, Janet Dacal and Eliseo Roman
[Photo credit: Joan Marcus]
Andrea Burns, Janet Dacal and Eliseo Roman
Photo credit: Joan Marcus
intheheightsthemusical.com

Coplita

Todas las horas del día
las he repartido ansí:
nueve con vos soñando
y quince pensando en tí.

Fuente:
Jorge M. Furt
Cancionero Popular Rioplatense: Lírica Gauchesca Tomo II
Alicante : Biblioteca Virtual Miguel de Cervantes, 2003
Edición digital basada en la de Buenos Aires, Imprenta y Casa Editora "Coni", 1925.
cervantesvirtual.com/servlet/S ... 91/p0000006.htm

Imágenes de Salida

National Gallery of Art, 4th and Constitution Avenue NW, Washington, D.C.

Henri de Toulouse-Lautrec
French, 1864 - 1901
The Trap, 1880
oil on wood, 15.88 x 21.91 cm (6 1/4 x 8 5/8 in.)
Collection of Mr. and Mrs. Paul Mellon
1994.59.13
Henri de Toulouse-Lautrec
French, 1864 - 1901
The Trap, 1880
oil on wood, 15.88 x 21.91 cm (6 1/4 x 8 5/8 in.)
Collection of Mr. and Mrs. Paul Mellon
1994.59.13 [fuente]
nga.gov/cgi-bin/pimage?88494_0_0

The New York Times, 07 March 2008, Color As Field: American Painting

[Photo: Ken Noland/Licensed by VAGA, New York, courtesy American Federation of Arts]
“Following Sea” (1974) by Kenneth Noland
Now Color Field painting — or as Greenberg preferred to call it, Post-Painterly Abstraction — is being reconsidered in a big way in “Color as Field: American Painting, 1950-1975,” a timely, provocative — if far from perfect — exhibition at the Smithsonian American Art Museum.
Photo: Ken Noland/Licensed by VAGA, New York, courtesy American Federation of Arts
“Following Sea” (1974) by Kenneth Noland
Now Color Field painting — or as Greenberg preferred to call it, Post-Painterly Abstraction — is being reconsidered in a big way in “Color as Field: American Painting, 1950-1975,” a timely, provocative — if far from perfect — exhibition at the Smithsonian American Art Museum. [fuente]
nytimes.com/slideshow/2008/03/ ... 307-COLO_2.html

“Color as Field: American Painting, 1950-1975” is at the Smithsonian American Art Museum, Eighth and F Streets, NW, Washington, (202) 633-7970, through May 26.

Arte al Dia Internacional, 15 de Noviembre de 2007 Newsletter semanal artealdia.com
EL SITIO RECOMENDADO pablodimasso.com.ar

Pablo Di Masso
RED RICK
2006
29 x 42 cm
Pablo Di Masso
RED RICK
2006
29 x 42 cm
pablodimasso.com.ar

THE NEW YORK TIMES, 14 FEBRUARY 2008
Poussin and Nature: Arcadian Visions

[Photo: Musée des Beaux-Arts, Rouen]
Nicolas Poussin (1594-1665): "Landscape with a Storm"
/ Classical schmassical. Who cares about that? The notion of Classicism, once so central to our thinking, has moved off to the side, where it is associated with outdated monuments and academic art.
/ This is where “Poussin and Nature” comes to the rescue. It is the quietest, most intimate-feeling major exhibition in town. It is also one of the moodiest, with images of blue skies and battering storms, languid love and violent death, in tense coexistence. Together, the 40 paintings and dozens of drawings demonstrate an old but very modern truth: Classicism is the sun-facing side of Romanticism. Poussin encompassed both.
Photo: Musée des Beaux-Arts, Rouen
Nicolas Poussin (1594-1665): "Landscape with a Storm"
/ Classical schmassical. Who cares about that? The notion of Classicism, once so central to our thinking, has moved off to the side, where it is associated with outdated monuments and academic art.
/ This is where “Poussin and Nature” comes to the rescue. It is the quietest, most intimate-feeling major exhibition in town. It is also one of the moodiest, with images of blue skies and battering storms, languid love and violent death, in tense coexistence. Together, the 40 paintings and dozens of drawings demonstrate an old but very modern truth: Classicism is the sun-facing side of Romanticism. Poussin encompassed both. [fuente]
nytimes.com/slideshow/2008/02/ ... 215-POUS_4.html

TRIBUNE NEWSPAPERS, 13 MARCH 2008
Travel Unraveled Newsletter
Travel Photo Gallery

[Newsday]
A dancer at the Shadow Bar in Caesar's Palace, Las Vegas.
Newsday
A dancer at the Shadow Bar in Caesar's Palace, Las Vegas. [fuente]

jueves, 13 de marzo de 2008 22:00
Today's Headlines, Ad
Advertisement

THE NEW YORK SUN 14 MARCH 2008

[T H E M E T R O P O L I TA N M U S E U M O F A RT]
FOLDED ART This undated eight-panel screen, ‘Books and Scholar’s Possessions,’ is part of the Metropolitan Museum of Art’s exhibit.
T H E M E T R O P O L I TA N M U S E U M O F A RT
FOLDED ART This undated eight-panel screen, ‘Books and Scholar’s Possessions,’ is part of the Metropolitan Museum of Art’s exhibit. [fuente]

THE NEW YORK SUN 14 MARCH 2008, AD.

The Metropolitan Museum of Art
The Metropolitan Museum of Art [fuente]

Le Figaro 14/03/2008

[Crédits photo : REUTERS]
La reine Elizabeth II, accompagnée de Stephen Nelson, directeur général de la British Airports Authority (BAA), a inauguré, hier,le nouveau terminal 5 de l'aéroport londonien de Heathrow.
Crédits photo : REUTERS
La reine Elizabeth II, accompagnée de Stephen Nelson, directeur général de la British Airports Authority (BAA), a inauguré, hier,le nouveau terminal 5 de l'aéroport londonien de Heathrow. [fuente]
lefigaro.fr/societes-etrangere ... de-heathrow.php

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