- Nuevo Espacio para Eventos en San Justo (Claudio Monteros)
- Ballroom Dancing to the Olympics?
- Afro/Ljo en el Gimnasio Fitness One (Fabián Edgardo Biscione)
- Madame: Zones Critiques
- Rakatan in London up to June 22, 2008
- The Alvin Ailey American Dance Theater
- Between's en Vivo con "Lo Mejor del Jazz y Bossa Nova", Viernes 13 Junio en Montjuic Restó, Martínez (Sabrina E. Márquez)
- The Busby Berkeley Collection, 5: GOLD DIGGERS OF 1935
- Vintage Film Poster
- El Logotipo de Hoy
- Imágenes de Salida
(Aerolatino y todas las Danzas que se practican en Geba)
exclusiva para suscriptores, mié 11 junio 2008
Reciben esta Newsletter 446 suscriptores
lunes, 09 de junio de 2008 18:54
Nueva Sede para Eventos
Hola como estás?
Gracias a tu apoyo en el Oeste y en el Sur, seguimos sumando Sedes para que no solo tengas las Mejores Jornadas, sino Gimnasios que te puedan dar más comodidades.
Esta es una nueva apuesta, es un lugar grande.... pero lo vamos a llenar............
Como siempre sorteos de Indumentaria Sownne, y mucho más.
Te espero, un beso.
Gracias por acompañarme siempre.
The Wall Street Journal Online, June 7, 2008
Ballroom Dancing Wants Olympics To Give It a Whirl
Reality Television Put Tango on World Stage, But Is It Really a Sport?
By BARRY NEWMAN
June 7, 2008; Page A1
Tug of war, which was yanked out of the Olympics in 1920, would like to get back in. The Tug of War International Federation acknowledges, however, that the sport falls on its face in the vital Olympic arena of mass exposure. "The biggest thing with tug of war is we don't get any television," says Glen Johnson, a construction worker in Orfordville, Wis., and the federation's secretary general.
You can't say that about ballroom dancing. Like tug of war, it's on the International Olympic Committee's 31-sport waiting list for a spot in the Summer Games. On the IOC's latest seven-sport short list, at least two -- golf and rugby -- get good play on TV. But for the world-wide mega-audiences that Olympic impresarios place high on their checklists, ballroom has outdone them both.
It's got a reality show.
http://www.youtube.com/watch?v=_gg9p3SUr8Q (video no disponible)
See ballroom dancers Eugene Katsevman, Maria Manusova and their proteges in action. (June 6)
"Dancing With the Stars," a pastiche of samba, celebrity and melodrama, went world-wide in 2005, a year after the Olympics in Athens. Local versions now air in 25 countries -- from Estonia to India to Israel to South Africa. In the U.S., where the show's newest boldface champ is ex-Olympic figure skater Kristi Yamaguchi, 20 million people watch. In China, the first week's audience was 40 million.
To ballroom's promoters and to the show's producers, those numbers ought to convince the IOC that tango has as good a claim to Olympic status as beach volleyball, a recent addition with a similar emphasis on deep tans.
"We run a serious competition that has massively raised the profile of ballroom dancing and would make it a successful Olympic sport," says Paul Telegdy, the executive at BBC Worldwide America who introduced "Dancing with the Stars" to ABC.
"Ten years ago, the only people who would watch ballroom dancing were ladies over the age of 50," says Peter Pover, who heads the U.S. arm of ballroom's main amateur body, which now calls itself the International DanceSport Federation. "It's all been transformed by 'Dancing With the Stars.' "
So has ballroom's customary decorum. TV fame -- plus the idea of Olympic glory -- has ignited a feud between the amateur federation and ballroom's international organization of professional dancers. The professionals, who mount big for-profit competitions like England's famous Blackpool Dance Festival, worry that the Olympics will relegate their own events to ballroom's bush league.
The spat has led to angry public exchanges and the rise of rival world championships. But aside from the chances of making or not making a lot of money, the quarrel comes down to differences over ballroom's true nature.
Is it an art, like ballet? A sport, like fencing? Or a contest, like hot-dog eating?
"It's competitive," Eugene Katsevman was saying not long ago, as he drove his SUV in New York City traffic. "But it's artistic."
From the back seat, Maria Manusova said, "And creative. But accidents happen. You crash into other couples."
"I guess we're dancers," said Mr. Katsevman.
"Or athletes," said Ms. Manusova.
Either way, they are good at it. Mr. Katsevman, 29 years old, and Ms. Manusova, 28 -- both born in Ukraine -- won the U.S. National Latin Championships 11 years in a row before turning pro this year. They were heading home, to Brooklyn, after an hour with an instructor in a Times Square studio, working through a dramatically physical pasodoble they planned to unreel in Blackpool.
Reality TV piles on publicity, they agreed, and the Olympics confers legitimacy. But neither quite addresses ballroom's essence, which seems to lie somewhere between bumper cars and choreography.
"That show isn't about dancing," said Mr. Katsevman, hunting for a parking place in Bensonhurst. Said Ms. Manusova, who weighs 100 pounds, "It's about diets. Always, 'Look how much weight I lost.' "
"The whole sports thing came from the DanceSport federation and the IOC," Mr. Katsevman said. He found a spot to park in front of a Turkish snack bar. "The word wasn't in our vocabulary before all that."
All thatbegan in 1990, after the IOC rejected an application from what was then the International Council of Amateur Dancers. Mr. Pover, now 76, was a council officer. "What did we have to do to convince these Olympic people that we were a sport?" he says. "Well, the first thing was to call ourselves a sport."
So ballroom dancing was rechristened as "DanceSport." A video was made in Germany of splendidly fit dancers swimming laps. A split screen showed an 800-meter runner alongside a couple doing the quickstep. Then, a German researcher from the University of Freiberg performed tests demonstrating stress levels in the two events to be equal. "And our women do it backwards in high heels," says Mr. Pover.
DanceSport was a game without rules. It doesn't even have a set of tricks like figure skating. Couples moved with the music and tried catching the spirit of a dance. Judges watched and picked winners. Still, the federation got something down on paper -- including a code of ethics -- and in 1997, DanceSport achieved Olympic "recognition."
That put it in a class with bridge and bowling. DanceSport hired IMG, the sports marketer, to impress the IOC with TV deals in more countries. No luck. At the 2000 Sydney Olympics, hundreds of dancers did a samba with big kewpie dolls in the closing ceremony. Their reward was a joke about pulled hamstrings by a sportscaster on NBC.
Then reality TV struck. Revitalized, DanceSport now has branches in 90 countries and IOC affiliates in 65. In May, Mr. Pover got an invitation, his first, to visit the U.S. Olympic Committee in Colorado Springs. "I met all these people from hockey, swimming, curling," he says. "We instantly bonded. It was totally great."
The IOC itself, though, is sitting this one out. Its officials have nothing public to say about ballroom's aspirations. But 2012's Olympic calendar is already full, and the IOC drew up its short list of candidates for 2016 before "Dancing With the Stars" blasted off. So if DanceSport ever does ride the reality comet into the Games, it won't be for 12 years -- too late for Bensonhurst's Eugene and Maria.
After a Turkish meal in a neighborhood where Italians once discoed, they were in their own mirror-walled row-house studio, laying down the laws of cha-cha for two potential 2020 Olympians.
Armen Petrosyan, 17, from Armenia, and Nicole Pyatetskaya, 14, from Ukraine -- the 2008 U.S. National Youth Latin Champions -- took a break to think about it: Will they go to the Olympics?
"As soon as possible," young Armen said.
"Probably not," said Nicole. "All sports in the Olympics are different from this. This is not a sport. This is art."
"How do you like that?" Ms. Manusova interrupted. "Everybody has an opinion. Now, get back to work. Two, three, cha-cha-cha..."
Write to Barry Newman at
jueves, 05 de junio de 2008 14:03
Newsletter Aerolatino-Geba exclusiva para suscriptores, mié 04 junio 2008
Fabián Edgardo Biscione
Querido Augusto,te escribo para agradecerte las noticias del mundo artistico, es una verdadera enciclopedia de las artes, aprovecharé para agregar un chivo de lo que estoy haciendo en el Gimnasio Fitness one, en Palermo, calle Bondpland 2168,todos los jueves a las 21,00 hs y los sabados a las 18,00 hs estoy con Afro/Ljo está siendo um éxito total, y ya piensan agregar dos días mas. La próxima vez te mando fotos y puede ser algun video. Te agradezco si lo podés publicar y desde ya están todos invitados.Fabiano
Bien Fabiano ! Gracias por mantenernos informados ! Esperamos fotos y video !
jueves, 05 de junio de 2008 01:26
05/06/2008 - La lettre d'info du figaro
Le Figaro. Fr
Mincir là où il faut
The Guardian, 20 May 2008:
Havana Rakatan perform at the Peacock theatre in London, May 21-June 22 2008
The New York Times, June5, 2008
A Pageant of Early Aileys on a Journey to Posterity
By ROSLYN SULCAS
New York audiences are so used to the Alvin Ailey American Dance Theater’s annual winter appearances at City Center that the idea of finding the company at the Brooklyn Academy of Music in June is positively disconcerting. But it was resident at the Brooklyn Academy from 1969 to 1971, and the fit seems natural — or so thought the Joyce Theater directors who are presenting the Ailey company’s short run this week.
They were right. A packed, wildly enthusiastic house greeted the company — which has not performed in a Brooklyn theater for over two decades — in a program titled “Classic Ailey.” All the works come from the early part of Alvin Ailey’s career. “Night Creature” and “Pas de Duke,” both to music by Duke Ellington, were choreographed in 1974 and 1976; “Masekela Langage,” in 1969, and “Revelations,” which rightly made Ailey’s name, in 1960.
“Masekela Langage,” set to the music of the South African jazz musician Hugh Masekela, was first performed in its entirety at the company’s first season at the Brooklyn Academy, and it hasn’t been seen in New York since 1998. That’s surprising, since it is a truly fine work that shows Ailey’s gift for transmuting emotional drama into movement with pitch-perfect timing and theatrical flair. There isn’t a wasted gesture or step, and to the great credit of the Ailey dancers (and those who teach and rehearse them), they are rarely self-indulgent with material that could easily be overstated.
The program notes describe the setting as a South African shebeen — a rough-hewn township bar, illegal during the apartheid years — and a poster of the South African bush swings above the stage, which is populated by stools, wicker chairs and a jukebox. But visually alone this setting felt entirely un-South African, as did the costumes and manner of the dancers.
That hardly matters. The performers represent desperate people, anywhere, and Ailey, who grew up in a dirt-poor town, Rogers, Tex., is clearly alluding to the “apartheid” in the lives of Americans. The piece opens as the dancers, seated in the chairs along the front of the stage, gaze out blankly and hopelessly. It ends in the same way, a dead man’s body, ignored, sprawled at their feet.
Between these tableaus come a series of dances, perfectly attuned to Mr. Masekela’s languid jazzy lines and township jive rhythms. A woman (the marvelous Linda Celeste Sims who also shone in “Pas de Duke”) jumps into a searing, lashing solo, angrily pushing away the men she has summoned. A man (Clifton Brown) in a Panama hat — a preacher? a demagogue? a politician? — briefly tries to rouse the others from their torpor. Another woman (Renee Robinson) is the most disturbing of all, her eyes haunted, her face empty as she moves haltingly at center stage. And then a man (Matthew Rushing), blood spattered over his white shirt, lurches in to die among them. Life, unchanged, goes on implacably.
Some of the social dance references — a snaking up-close conga line, jitterbugging couples — in “Masekela Langage” also appear in “Night Creature,” a frothy confection that shows Ailey’s ability to blend dance styles seamlessly. Alicia J. Graf was her mesmerizing self in the central role, an alluring spider drawing all the others into her web. And Kirven J. Boyd shone in a tricky balletic section that combines small jumps — feet crossing and beating in the air — with large-scale abandon.
What is left to say about “Revelations” that hasn’t been said? When you see it often enough, you can think there is nothing left to see anew. Tuesday night proved me wrong. When Ms. Robinson sashayed forward in “Wading in the Water,” the white fringes of her parasol fluttering in the air, her white dress swaying, the blue panels of fabric undulating behind her, there was a moment of pure movement, pure magic.
The Alvin Ailey American Dance Theater will perform through Sunday at the Brooklyn Academy of Music, 30 Lafayette Avenue, at Ashland Place, Fort Greene, (718) 636-4100, bam.org.
Between's en Vivo con "Lo Mejor del Jazz y Bossa Nova", Viernes 13 Junio en Montjuic Restó, Martínez (Sabrina E. Márquez)
miércoles, 04 de junio de 2008 10:11
Between's en Vivo
Hola!!! Aquí les mando la data de mi próximo show!!
Un fuerte abrazo!!!
Sabrina E. Márquez
Tel/Fax: +54(11) 4717-5703 / 15 5738 9769
El Dúo Between's presenta el show "Lo mejor del Jazz y Bossa Nova"
El viernes 13 de Junio a las 21:30 hs, se presentará el reconocido dúo vocal femenino, para recrear un verdadero tributo a estos géneros musicales, en un renovado y especial espectáculo.
"Lo mejor del Jazz y Bossa Novaâ" es un show especialmente dirigido a los amantes de este estilo de música, en el cual se interpreta un repertorio de 25 inolvidables temas clasicos de Cole Porter, Richard Rogers, George Gershwin y Tom Jobim. En esta ocasión, las gemelas Larisa y Sabrina Márquez , estarán acompañadas por el músico: Juan Manuel Sevilla (Saxo)
Av. Fleming 2015 Martínez
Consultas y Reservas: 4836 2394 4836 0101
Sabrina ! Great Showwoman ! (y gemelina compañera de Tap) Muchas gracias por mantenernos informados!
- Bailador! Los gigantes de Broadway y Tom Jobim, en las voces e interpretaciones del Dúo Between's!
Directed by Busby Berkeley, USA 1935
Busby Berkeley's first full-length job of direction (previously he handled only dance numbers) reveals a bitterness and cynicism that never again surfaced in his work. The mercenary motives of the characters are pushed far beyond the requirements of the formula, and then there's the wrenching climax of the famous "Lullaby of Broadway" number. None of it is very deep or coherent, but the film does suggest that there was something more to Berkeley than his fine sense of spectacle.
Berkeley's musical comes equipped with a plot as fluffy as ever, just waiting to be eclipsed by a string of classic tunes (notably the Oscar-winning standard 'Lullaby of Broadway'). The plot, for what it's worth, follows an impresario's attempts to make money by putting on a lavish production in a luxury hotel, only for the show to be threatened when the financier gets a little too close to the tangled backstage romances that ensue. It's shallow but provides an acceptable framework on which to hang the breathtaking, brilliantly choreographed musical numbers.
Theatrical Release: March 15th, 1935
Reviews More Reviews DVD Reviews
DVD Review: Warner - Region 1,2,3,4 - NTSC
DVD Review: Warner - Region 1,2,3,4 - NTSC
DVD Box Cover
Also part of The Busby Berkeley Collection with Footlight Parade / Gold Diggers of 1933 / Dames / Gold Diggers of 1935 and 42nd Street.
Warner Home Video - Region 1,2,3,4 - NTSC
Video 1.33:1 Aspect Ratio
Average Bitrate: 5.55 mb/s
NTSC 720x480 29.97 f/s
Audio English (Dolby Digital 2.0)
Subtitles English, Spanish French, None
Release Information: Studio: Warner Home Video
Aspect Ratio: Original Aspect Ratio 1.33:1
• New Featurette: (buz'be bur'kle)n. A Study in Style
• Vintage Featurette: Double Exposure
2 Vintage Cartoons:
• Gold Diggers of '49
• Shuffle Off to Buffalo
• Direct from Hollywood Radio promo
• Gold Diggers Trailer Gallery
DVD Release Date: March 21st, 2006
Collection is 5 Keep Cases inside a cardboard box
This is more strong quality from Warner - perhaps a shade grainer that the others, but still looks fine. There may be a few more speckles than some of the other releases, but once again the extras are stacked. The film was Berkeley's first solo directorial effort and has some darkness to it, but still an essential part of his ouvre.
Gary W. Tooze
Hugh Herbert (derecha)
Dick Powell and Dorothy Dare
Dick Powell, Gloria Stuart
La pareja de bailarines Ramón y Renita, atrás sentados Wini Shaw y Dick Powell. ("Lullaby Of Broadway")
Busby Berkeley's "Lullaby of Broadway"
production number from Gold Diggers of 1935
Gold Diggers of 1935 publicity photo
Ramon and Renita were world famous dancers of the stage and screen and were featured in the motion picture "Gold Diggers of 1935" and on the cover of The Dance Magazine of that period.
circa 1935: Gloria Stuart, (4jul 1910 - ) the American leading lady of the thirties is pictured wearing a glamorous evening dress of white satin with a draped bodice, especially designed for the 20th Century Fox film 'Poor Little Rich Girl' which she is starring in.
2002 Long Beach International Film Festival
Gloria Stuart, Lifetime Achievement Award (Motion Pictures)
September 22, 2002 — Queen Mary, Long Beach, CA (US)
Biography for Gloria Stuart: imdb.com/name/nm0001784/bio
Foto publicitaria - 1935
Dick Powell and Dorothy Dare
Video, 07:01, Gold Diggers of 1935 (Part One), es.youtube.com/watch?v=qZws4r7IQPk (Wini Shaw "The Lullaby of Broadway"
Video, 06:51, Gold Diggers of 1935 (Part Two), es.youtube.com/watch?v=1gGVryQDvv4
Video, 07:29, Busby Berkeley Gold Diggers of 1935 56 Dancing Pianos, es.youtube.com/watch?v=-Ro8BQW5e4o
Video, 10:29, Gold Diggers of 1935 "Lullaby Of Broadway", es.youtube.com/watch?v=GSpCoodWaJ8&NR=1
£1,500 - £2,000 ($3,089 - $4,118)
Vintage Film Posters
20 November 2007
London, South Kensington
Yo te presento esta flor
matizada con azahar,
ahora me has de decir
con quién te andás por casar.
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
National Gallery of Art, 4th and Constitution Avenue NW, Washington, D.C.
Arte al Dia Internacional, 14 de Junio de 2007 Newsletter semanal artealdia.com
EL SITIO RECOMENDADO antoniaguzman.com.ar/index.htm
Christie's, 04 June 2008
$4,000 - $6,000
Prints And Multiples
29 - 30 April 2008
New York, Rockefeller Plaza
Arte al Dia Internacional, 15 de Noviembre de 2007 Newsletter semanal artealdia.com
EL SITIO RECOMENDADO pablodimasso.com.ar
THE NEW YORK TIMES, 27 MARCH 2008
Heinrich Zille (1858-1929)
“Zille intended his photographs to serve as inspiration for his drawings, in which he somehow added the smell of sweat and spilled beer and smoke and gaslight. Mobs jam his city scenes like circus clowns in a Volkswagen, and nothing takes place in private, least of all sex. Today, when much of Berlin feels empty and underpopulated, the ghosts of Zille’s pictures take up available space in the imagination.”
THE NEW YORK TIMES, 04 APRIL 2008
Murakami at the Brooklyn Museum
Le Figaro.fr 30 de Mayo de 2008 La lettre d'info du figaro
Enquêtes. Lacoste, les dents de la mode
THE NEW YORK SUN 04 JUN 2008
Arts & Letters
THE NEW YORK SUN 05 JUN 2008
Arts & Letters
THE NEW YORK SUN 05 JUN 2008
Until September 7 (1083 Fifth Ave., between 89th and 90th streets, 212-369-4880).
THE NEW YORK SUN 05 JUN 2008
Dance Teacher magazine, 05 de Junio de 2008
This Month in Dance History
THE NEW YORK SUN 06 JUN 2008
THE NEW YORK SUN 09 JUN 2008
LOS ANGELES TIMES, 10 JUNE 2008