Caballito, Buenos Aires
Caballito is a barrio of the Argentine capital, Buenos Aires. It is the only barrio in the administrative division Comuna 6, it is located in the geographical centre of the city, limited by the following streets and avenues: Rio de Janeiro, Av. Rivadavia, Av. La Plata, Av. Directorio, Curapaligüe, Av. Donato Álvarez, Av. Juan B. Justo, Av. San Martín, Av. Ángel Gallardo. The name is said to come from the horse-shaped weather vane from a local pulpería. In Caballito there are numerous points of interest. Among the area's cultural points of interest are the Church of Caacupé, belonging to an order of Irish nuns although receiving its name to a sculpture dedicated to the Virgin of Caacupé, the Faculty of Philosophy and Literature of the University of Buenos Aires. Other places of interest are the Cid Campeador monument, located at the corner of San Martín Avenue, Gaona Avenue, H. Pueyrredón Avenue, A. Gallardo Avenue and Díaz Vélez Avenue. Opened to the public in 1910, Parque Centenario was so christened in honor of the hundredth anniversary of 25 May 1810, proclamation that led to independence.
Designed by renowned French-Argentine urbanist Charles Thays, the 50-acre park is one of Buenos Aires' largest as well as home to a concentration of public facilities. The park, in 2006, underwent extensive refurbishment, as well as the installation of a swan lake in replacement of the two existing smaller ones. Neighbourhood commuters are served by Underground Line A, opened in 1913 as the city's first Underground line; the neighbourhood has a long historical connection with the Underground, since it is the site of the Polvorín Workshop, where the line's famous La Brugeoise rolling stock was repaired. The workshop is now the site of the Buenos Aires Heritage Tramway, which runs through the neighbourhood. There is the Sarmiento Line, a commuter rail service which takes passengers westward to Greater Buenos Aires or eastward to Once railway station and closer to the city centre. Www.infocaballito.com www.caballitoenlinea.com www.vivecaballito.com Historic Tramway in Caballito – Asociación Amigos del Tranvía
Mario Vargas Llosa
Jorge Mario Pedro Vargas Llosa, 1st Marquess of Vargas Llosa, more known as Mario Vargas Llosa, is a Peruvian writer, journalist and college professor. Vargas Llosa is one of Latin America's most significant novelists and essayists, one of the leading writers of his generation; some critics consider him to have had a larger international impact and worldwide audience than any other writer of the Latin American Boom. In 2010 he won the Nobel Prize in Literature, "for his cartography of structures of power and his trenchant images of the individual's resistance and defeat."Vargas Llosa rose to fame in the 1960s with novels such as The Time of the Hero, The Green House, the monumental Conversation in the Cathedral. He writes prolifically across an array of literary genres, including literary criticism and journalism, his novels include comedies, murder mysteries, historical novels, political thrillers. Several, such as Captain Pantoja and the Special Service and Aunt Julia and the Scriptwriter, have been adapted as feature films.
Many of Vargas Llosa's works are influenced by the writer's perception of Peruvian society and his own experiences as a native Peruvian. However, he has expanded his range, tackled themes that arise from other parts of the world. In his essays, Vargas Llosa has made many criticisms of nationalism in different parts of the world. Another change over the course of his career has been a shift from a style and approach associated with literary modernism, to a sometimes playful postmodernism. Like many Latin American writers, Vargas Llosa has been politically active throughout his career. While he supported the Cuban revolutionary government of Fidel Castro, Vargas Llosa became disenchanted with its policies after the imprisonment of Cuban poet Heberto Padilla in 1971, he ran for the Peruvian presidency in 1990 with the center-right Frente Democrático coalition, advocating classical liberal reforms, but lost the election to Alberto Fujimori. He is the person who, in 1990, "coined the phrase that circled the globe," declaring on Mexican television, "Mexico is the perfect dictatorship," a statement which became an adage during the following decade.
Mario Vargas Llosa was born to a middle-class family on March 28, 1936, in the southern Peruvian provincial city of Arequipa. He was the only child of Ernesto Vargas Maldonado and Dora Llosa Ureta, who separated a few months before his birth. Shortly after Mario's birth, his father revealed. Vargas Llosa lived with his maternal family in Arequipa until a year after his parents' divorce, when his maternal grandfather was named honorary consul for Peru in Bolivia. With his mother and her family, Vargas Llosa moved to Cochabamba, where he spent the early years of his childhood, his maternal family, the Llosas, were sustained by his grandfather. As a child, Vargas Llosa was led to believe that his father had died—his mother and her family did not want to explain that his parents had separated. During the government of Peruvian President José Bustamante y Rivero, Vargas Llosa's maternal grandfather obtained a diplomatic post in the northern Peruvian coastal city of Piura and the entire family returned to Peru.
While in Piura, Vargas Llosa attended elementary school at the religious academy Colegio Salesiano. In 1946, at the age of ten, he met his father for the first time, his parents re-established their relationship and lived in Magdalena del Mar, a middle-class Lima suburb, during his teenage years. While in Lima, he studied at the Colegio La Salle, a Christian middle school, from 1947 to 1949; when Vargas Llosa was fourteen, his father sent him to the Leoncio Prado Military Academy in Lima. At the age of 16, before his graduation, Vargas Llosa began working as an amateur journalist for local newspapers, he withdrew from the military academy and finished his studies in Piura, where he worked for the local newspaper, La Industria, witnessed the theatrical performance of his first dramatic work, La huida del Inca. In 1953, during the government of Manuel A. Odría, Vargas Llosa enrolled in Lima's National University of San Marcos, to study law and literature, he married Julia Urquidi, his maternal uncle's sister-in-law, in 1955 at the age of 19.
Vargas Llosa began his literary career in earnest in 1957 with the publication of his first short stories, "The Leaders" and "The Grandfather", while working for two Peruvian newspapers. Upon his graduation from the National University of San Marcos in 1958, he received a scholarship to study at the Complutense University of Madrid in Spain. In 1960, after his scholarship in Madrid had expired, Vargas Llosa moved to France under the impression that he would receive a scholarship to study there. Despite Mario and Julia's unexpected financial status, the couple decided to remain in Paris where he began to write prolifically, their marriage lasted only a few more years, ending in divorce in 1964. A year Vargas Llosa married his first cousin, Patricia Llosa, with whom he had three children: Álvaro Vargas Llosa, a writer and editor.
¡Tango! is a 1933 Argentine musical romance film, the first film to be made in Argentina using optical sound technology Many existing stars of the Argentine stage and radio appeared in the film, but its success was limited due to poor sound quality and weak acting. ¡Tango! Established a formula that would be used by many subsequent tango films. ¡Tango! follows a formula established by Carlos Gardel with films such as Luces de Buenos Aires in which a melodramatic story is interspersed with tango songs. However, the film had more music, making it more like a musical revue; this format would be copied by many subsequent films. The plot is derived from tango songs. Many of these songs tell of the seduction of an innocent slum girl by a rich man who promises her a glamorous life, but who abandons her when her looks fade; the stylized and sentimental plot of ¡Tango! Revolves around a young man, abandoned by his girlfriend for an older rich man and is heartbroken; the film follows his misfortunes. The final scene has the hero, dressed as a typical compadrito, singing Milonga del 900.
The song, by Carlos Gardel, ends: The 80-minute black and white film was directed by Luis Moglia Barth, who co-wrote the script with Carlos de la Pua. It was Argentina Sono Film's first production; the film showed strong Hollywood influence in its cinematic techniques. It was the first optical sound feature film to be produced in Argentina, at Argentina Sono Film's new optical sound studio; the stars included the singer and actress Libertad Lamarque, the stage actor Pepe Arias, the singer Azucena Maizani and the comedian Tita Merello, all well-known theatre or tango performers. The film featured the tango orchestras of Juan de Dios Filiberto, Osvaldo Fresedo and Pedro Maffia.¡Tango! was released in Argentina on 27 April 1933. The approach of hiring well known performers ensured that devotees of popular theater and of radionovelas would form a ready audience for sound films. Luis Sandrini, who played "the poor kid from the barrio and insecure," became the first Argentine film star. However, ¡Tango! had poor sound quality, which made it less successful than it should have been given its star-studded cast.
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José Carlos Marrone was an Argentine actor and humorist. His beginning was in the radio, his recurring catchphrase was Cheee! He married twice and had a daughter, "Coqui", with his first wife, Rosa. while still married, Marrone fell in love with Juanita Martínez, but they waited to get together until Rosa died. In 2001, eleven years after Marrone's death, Juanita committed suicide, her body was found with a picture of Marrone in her hands. "Pepitito" Jose Marrone was one of the most outstanding comedians in Argentina between the early 1950s and the late 1960s. Su última pelea La barra de la esquina Buenos Aires, mi tierra querida Vida nocturna]] Rebelde con causa Cristóbal Colón en la Facultad de Medicina El mago de las finanzas La chacota El turista Alias Flequillo De profesión sospechosos La cigarra está que arde, released in English as La Cigarra is on fire. Patapúfete Pimienta y Pimentón, released in English as Pepper and Red Pepper Balada para un mochilero Todos los pecados del mundo Sujeto volador no identificado Una viuda descocada José Marrone on IMDb Pepe Marrone at Cinenacional.com
Mauricio Borensztein, known by the stage name Tato Bores, was an Argentine film and television comedian, who specialized in political humor. His ironic TV monologues, delivered at a fast pace, became a reference point for generations of Argentines, he was born into a family of Polish Jewish heritage. He took his first steps into the humor field in 1957, after the fall of Juan Perón, debuting in state-owned Channel 7; when in character, he wore dress coat, white bow tie and a deliberately badly cut wig, waved a cigar. Besides the monologues, at some point during each show he pretended to dial the number of the Casa Rosada and speak to the President, asking pointed questions or commenting on uncomfortable news. Near the end of his life, Borensztein abandoned the weekly show format and resorted to "special programmes" every month or sometimes more often. In one of these, he appeared as Dr. Helmut Strasse, "argentinologist", an archeologist specialized in the lost land of Argentina, which had sunk into the Atlantic Ocean 500 years before the fictional time frame of the show.
The show was a humorous mockumentary about the downfall of Argentina where Borensztein, speaking in a mixture of Yiddish and some odd words in Spanish, overdubbed into straight Spanish by a narrator, commented on the latest findings and theories while he toured a digging site. Before the broadcast of one of the programmes, federal judge María Servini de Cubría was warned that the show contained an ironic comment about a ridiculously low fine she had received for mishandling a case. Servini ordered the offending segment to be cut out, forbade Borensztein to mention her name; this violated free speech, since the programme had not been broadcast and she had not verified it was criminally offensive. Borensztein received overwhelming support from the artistic community of Argentina, but respected the judicial order, from on referring to the judge as "the unnameable" or as Jueza Barubudubudía until the censorship was lifted. Un pecado por mes La comedia inmortal The Path to Crime Esta es mi vida Mala gente Por cuatro días locos Casada y señorita Vida nocturna Vacaciones en la Argentina El Asalto Propiedad El televisor Viaje de una noche de verano Disputas en la cama Departamento compartido Amante para dos He is the father of Alejandro Borensztein, Sebastián Borensztein and Marina Borensztein.
Argentine humour Tato Bores on IMDb Tato Bores at Cinenacional.com Youtube channel
Pepe Arias was an Argentine actor and comedian. José Pablo Arias Martinez was born in the former Mercado de Abasto district of Buenos Aires on 16 January 1900, he first appeared on stage in 1916, became a remarkable stage actor in grotesque and drama roles. In 1922 the influence of the company of Madame Rasimi and her Ba-Ta-Clán, arrived from Paris, established the structure of the Buenos Aires revue. Arias learned his art among the founders of Argentine theater, such as Luis Arata and Enrique Da Rosas, he perfected all the elements of grotesque, with his face painted with extreme make-up. He played serious roles, earned the Municipal Award for best dramatic actor for his performance in Ovid by Laurent Doillet at the Odeon Theatre in 1942. Arias' style became established when he moved to radio, he was a pioneer of talking films, appeared in twenty four films. These included the brilliant Kilómetro 111 directed by Mario Soffici and Fantasmas en Buenos Aires directed by Enrique Santos Discépolo, he became known on radio for delivering monologues as characters such as "Don Vistobueno Ciruela".
He starred in long-running revues at the Maipo and the Nacional theaters, would deliver his monologues on stage. He avoided television, which he called "a dreadful fire that burns with lightning speed". In 1963 Arias described the monologue as a type of political reporting, he said that he read the headlines and told the news on stage, adding a humorous comment but always with up-to-date information. Thursday's political joke is not funny on Friday, he would call his audience his "dear filipipones". The nonsense word came from "philippic", was used by his "Brother José" character in El hermano José; the mocking but affectionate greeting became the trademark of his monologues. It is the title of his 1989 biography by Carlos Inzillo. In 1956 Arias said that political jokes were a basic element of revues in Buenos Aires, he had never had real problems, he called politics a gentleman's game, which the public always understood, as did the governments of Yrigoyen, Uriburu, Justo and Castillo. Those political leaders knew.
They knew that humor turned politics into a game and stripped it of solemnity and seriousness, which are always dangerous. Politics is those who are not gentlemen can not play politics. There was only one period when satire disappeared from revues, he was banned between 1955 by the Peronist government. In the late 1950s Pepe Arias fell in love with the resort town of Pinamar, he began to spend much of his time there with his partner Petra, in peace and quiet at their home on Burriquetas Street. Pepe Arias died in his sleep at 5:00 p.m. on 23 February 1967 in Buenos Aires. His last film was La señora del intendente by Armando Bó, released after his death, where he looked tired beside Isabel Sarli. Pepe Arias appeared in the following films