I missed the debate (I don't get the big three networks with DirectTV - satellite), but my sister sent me this...from MoveOn.org...
Subject: Enough is enough
Hi,
If you missed the Democratic presidential debate on ABC Wednesday night, Editor & Publisher called it "perhaps the most embarrassing performance by the media in a major presidential debate in years."
Moderators George Stephanopoulos and Charlie Gibson spent the first 50 minutes obsessed with distractions that only political insiders care about--gaffes, polling numbers, the stale Rev. Wright story, and the old-news Bosnia story. And, channeling Karl Rove, they directed a video question to Barack Obama asking if he loves the American flag or not. Seriously!
I just signed a petition to ABC and other media that says: "Debate moderators abuse the public trust every time they ask trivial questions about gaffes and 'gotchas' that only political insiders care about. Enough with the distractions--ABC and other networks must focus on issues that affect people's daily lives."
Want to sign it too? We need a bunch of signers for ABC to take this concern seriously.
Click here to sign:
http://pol.moveon.org/enoughdistractions/?r_by=-9166385-41vDBQ&rc=paste
Thanks!
Friday, April 18, 2008
Thursday, April 17, 2008
Seduced by Tango :: David Caditz & Lisette Perelle
Here's their audition demo...the camera operator could have choked back on the "woohoo" at the end...
Charmed, I'm sure...
From Nina Pesochinski on Tango-L...
"If a man has charm, he can be a bad dancer and I will not even notice
it. But if a man has no charm, then I will hold him to the highest
standard of dancing."
Ouch. Now I'm wondering if I have any charm, or if I need to get my ass to work on my tango....?
Here is her entire post...
To: tango-L@mit.edu
Subject: [Tango-L] dressing well?
From: Nina Pesochinsky <>
Date: Thu, 17 Apr 2008 19:19:04 -0600
--------------------------------------------------------------------------------
Joe,
Yes, indeed, one might need a cold shower or two after that. I would
love to see that, instead of the amoeba tango so prevalent everywhere now.
Dressing well in tango is not about the clothes. It is about respect
- of yourself and others. The author of the article made it very
clear that, in his opinion, in bad nuevo, bad clothes communicate no respect.
It is about self-care. It is also about the stimulus value - knowing
what effect you have on others and being able to control that.
Personally, I respect a man that can dress himself well (and does not
need a woman to pick out his ties). Maybe the bad clothes
communicate "Save me!" or "I am looking for a home". Or maybe they
just communiate that a person does not know himself/herself well and
how he/she presents himself/herself to the world. Or maybe they say
- "Stay away!" or "look at me!", or "I am a rebel!". Or maybe the
bad clothes clearly state a "nuevo" gang affilliation. Do they have
their colors? :)
Dancing well is not a phenomena isolated from other things about a
person. A person cannot dance well and remain a slob in his/her
life. Tango does not forgive lying. If one tries to lie in this
dance, he/she willl pay with self-esteem.
Personally, if a man has charm, I don't care what he wears, as long
as he smells good. But charm is rare and very expensive in a
non-material way. It requires a purposeful cultivation of an innate
talent. And a very controlled ego.
If a man has charm, he can be a bad dancer and I will not even notice
it. But if a man has no charm, then I will hold him to the highest
standard of dancing.
Best,
Nina
At 01:50 PM 4/17/2008, Joe Grohens wrote:
>Well, let's watch a traditional couple who really knows how to dance
>tango, and who are dressed properly. Keep your fire extinguisher
>handy. You may need a cold shower afterward.
>http://www.youtube.com/watch?v=TDKwI0I8xms&feature=related
>
>
>
>
"If a man has charm, he can be a bad dancer and I will not even notice
it. But if a man has no charm, then I will hold him to the highest
standard of dancing."
Ouch. Now I'm wondering if I have any charm, or if I need to get my ass to work on my tango....?
Here is her entire post...
To: tango-L@mit.edu
Subject: [Tango-L] dressing well?
From: Nina Pesochinsky <>
Date: Thu, 17 Apr 2008 19:19:04 -0600
--------------------------------------------------------------------------------
Joe,
Yes, indeed, one might need a cold shower or two after that. I would
love to see that, instead of the amoeba tango so prevalent everywhere now.
Dressing well in tango is not about the clothes. It is about respect
- of yourself and others. The author of the article made it very
clear that, in his opinion, in bad nuevo, bad clothes communicate no respect.
It is about self-care. It is also about the stimulus value - knowing
what effect you have on others and being able to control that.
Personally, I respect a man that can dress himself well (and does not
need a woman to pick out his ties). Maybe the bad clothes
communicate "Save me!" or "I am looking for a home". Or maybe they
just communiate that a person does not know himself/herself well and
how he/she presents himself/herself to the world. Or maybe they say
- "Stay away!" or "look at me!", or "I am a rebel!". Or maybe the
bad clothes clearly state a "nuevo" gang affilliation. Do they have
their colors? :)
Dancing well is not a phenomena isolated from other things about a
person. A person cannot dance well and remain a slob in his/her
life. Tango does not forgive lying. If one tries to lie in this
dance, he/she willl pay with self-esteem.
Personally, if a man has charm, I don't care what he wears, as long
as he smells good. But charm is rare and very expensive in a
non-material way. It requires a purposeful cultivation of an innate
talent. And a very controlled ego.
If a man has charm, he can be a bad dancer and I will not even notice
it. But if a man has no charm, then I will hold him to the highest
standard of dancing.
Best,
Nina
At 01:50 PM 4/17/2008, Joe Grohens wrote:
>Well, let's watch a traditional couple who really knows how to dance
>tango, and who are dressed properly. Keep your fire extinguisher
>handy. You may need a cold shower afterward.
>http://www.youtube.com/watch?v=TDKwI0I8xms&feature=related
>
>
>
>
Step :: Tango Short Film
This is a short film about a lonely woman longing for a partner. She dreams about meeting him while dancing Tango. This short film is by director Momo Yu-Wen Hsiao with cinematography by A'ngel Granados. Filmed in San Diego, CA.
Sandra Bullock :: Kiss and Tango the film
Hola! Would someone mind translating this and posting it as a comment? Thanks in advance.
From LaNacion.com
Tango, un amor imposible
Sus aventuras porteñas en un film de Sandra Bullock
Miércoles 6 de febrero de 2008 | Publicado en la Edición impresa > Ver opiniones de lectores (26) Enviá tu opiniónImprimirEnviar por e-mailCambiar de tamañoPublicar en tu sitioVotar (17)Ya votaste (17) CompartirLink permanente
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Mister-Wong
Cuando Marina Palmer visitó la Argentina por primera vez, en enero de 1997, no se imaginó que ocho años después saldría de sus manos el libro Kiss and Tango , en el que imprimió sus mejores recuerdos del mundo del tango y, sobre todo, su sueño más audaz: encontrar el amor (el de su vida) en Buenos Aires, buscándolo en una milonga.
Tampoco se imaginó que la agencia Creative Artists Agency (CAA) de Hollywood le compraría los derechos de su libro a pedido de la actriz norteamericana Sandra Bullock, que en 2009 filmará la película de Kiss and Tango en Buenos Aires. "Será un muy lindo homenaje a esta ciudad que me regaló una pasión muy fuerte", dice esta mujer greco-norteamericana en Buenos Aires, una noche antes de mudarse a Oxford, Gran Bretaña.
Entusiasmada por el proyecto, Bullock ya está tomando clases de tango en el Sandra Cameron Dance Center de Nueva York.
"Lo que le gustó a Sandra Bullock es la historia, porque habla de una chica tradicional, con una vida convencional. La actriz se enteró de mi libro a través de mi agente literario. Lo leyó y quedó encantada", dice Palmer, que ya firmó el contrato para que se produzca la película. "El guión ya está casi armado. Ojalá que no haya otra huelga de guionistas", suspira.
"No sé cómo van a desarrollar el guión ni cómo lo van a interpretar. En el libro hablo de mi búsqueda del amor, donde hubo muchos desencuentros, de amores que no prosperaron o que no se concretaron. Creo que en la película tendrán que encontrar un hombre que funcione", se ríe la autora.
Palmer tenía 30 años, residía en Nueva York y, como corresponde a una chica de "buena familia", vivía y trabajaba a la espera del momento en que encontraría la pareja indicada para casarse, tener hijos y llevar la vida que imponía su educación.
"Trabajaba todo el día como publicista, no tenía novio ni tiempo para encontrarlo. Me tomé un mes de vacaciones y vine a la Argentina", cuenta la escritora, que entonces visitó una milonga por primera vez.
"El impacto con este baile fue apasionante, fue el principio de una verdadera historia de amor. De allí fui a tomar clases, grupales e individuales, y cuando volví a Nueva York me anoté en un curso para seguir bailando", dice, y confiesa que pasó dos años tratando de hacer realidad el sueño de ser bailarina profesional de tango.
"En realidad, el libro es la historia tragicómica de este sueño. Es la búsqueda de la pareja ideal con la que realizarlo", cuenta la escritora, que vivió su experiencia milonguera bailando "a la gorra" con un grupo de bailarines de la calle Florida, ofreciendo shows en milongas y clases.
"El tango es tan adictivo, tan intenso, que suele pasar que uno quiera dejar todo para poder bailar todo el tiempo", sigue Palmer. Y fue por eso que dejó su trabajo, Nueva York y su vida convencional para volver a la Argentina y dedicarse al tango, donde durante tres años, entre 1999 y 2002, bailaba diariamente 12 horas.
Una elección difícil
"El tango tiene un lado físico que me atrapó: todo empieza con un abrazo. Es el placer de estar mimada y contenida por un hombre. Es una entrega de la mujer, cosa que tiene también su lado complicado. Es cerrar los ojos y dejarse llevar por el hombre, confiar en él. Es una manera de volver a la contención del útero materno", filosofa Palmer con brillo en los ojos.
Cuando en 2002 la Argentina entró en una de sus peores crisis, Palmer se cansó: había perdido la esperanza de encontrar el amor, la pasión, la pareja de tango y de vida.
Se fue a Grecia y en seis meses escribió el libro. En 2004 volvió a la Argentina y participó en el Festival Internacional de Tango de Buenos Aires. "Allí conocí a un chico, bailé con él mejor que nunca y llegamos a la selección final. Pensaba que iba a volver a empezar el sueño -sigue Palmer-, pero en el momento de la final el chico no apareció, y allí volvió a empezar la parte tragicómica de no poder confiar nunca en una pareja."
Y así las cosas, Palmer bailó hasta que encontró, fuera del tango, a Daniel, su actual marido. Ahí, dejó de bailar. "El era todo lo opuesto a la pareja de tango que yo había esperado. Tenía que elegir entre él y el baile. El tango fue mi primero y verdadero amor, pero me di cuenta de que era un amor imposible", dice Palmer, ahora embarazada de su primer hijo.
Se dio cuenta de que la milonga traía con ella una forma de vivir equivocada: "Cuando descubrí el amor verdadero fue todo muy distinto, muy real. En cambio, el tango es seducción y provocación, un histeriqueo de sensaciones que nunca se concretan", sigue apasionada.
Sin embargo, en las milongas suena una frase recurrente: nunca se deja el tango de verdad, siempre se vuelve.
Ginerva Visconti
No sólo baile
"No debería confiar en un Dios que no sabe bailar", dijo el filósofo Friedrich Nietzsche, y Marina Palmer lo citó en la introducción de su novela, que ya se ha traducido al chino, el húngaro, el griego, y pronto se hará al ruso. Todavía no se ha traducido al castellano, pero ya tiene título: "Quién me quita lo bailado".
Mientras, en su sitio www.kissandtango.com, Palmer ofrece buenas direcciones para quien se abandona por primera vez a la aventura del tango.
From LaNacion.com
Tango, un amor imposible
Sus aventuras porteñas en un film de Sandra Bullock
Miércoles 6 de febrero de 2008 | Publicado en la Edición impresa > Ver opiniones de lectores (26) Enviá tu opiniónImprimirEnviar por e-mailCambiar de tamañoPublicar en tu sitioVotar (17)Ya votaste (17) CompartirLink permanente
Menéame
Google bookmark
YahooMyWeb
Newsvine
BlinkList
Digg
Del.icio.us
Mister-Wong
Cuando Marina Palmer visitó la Argentina por primera vez, en enero de 1997, no se imaginó que ocho años después saldría de sus manos el libro Kiss and Tango , en el que imprimió sus mejores recuerdos del mundo del tango y, sobre todo, su sueño más audaz: encontrar el amor (el de su vida) en Buenos Aires, buscándolo en una milonga.
Tampoco se imaginó que la agencia Creative Artists Agency (CAA) de Hollywood le compraría los derechos de su libro a pedido de la actriz norteamericana Sandra Bullock, que en 2009 filmará la película de Kiss and Tango en Buenos Aires. "Será un muy lindo homenaje a esta ciudad que me regaló una pasión muy fuerte", dice esta mujer greco-norteamericana en Buenos Aires, una noche antes de mudarse a Oxford, Gran Bretaña.
Entusiasmada por el proyecto, Bullock ya está tomando clases de tango en el Sandra Cameron Dance Center de Nueva York.
"Lo que le gustó a Sandra Bullock es la historia, porque habla de una chica tradicional, con una vida convencional. La actriz se enteró de mi libro a través de mi agente literario. Lo leyó y quedó encantada", dice Palmer, que ya firmó el contrato para que se produzca la película. "El guión ya está casi armado. Ojalá que no haya otra huelga de guionistas", suspira.
"No sé cómo van a desarrollar el guión ni cómo lo van a interpretar. En el libro hablo de mi búsqueda del amor, donde hubo muchos desencuentros, de amores que no prosperaron o que no se concretaron. Creo que en la película tendrán que encontrar un hombre que funcione", se ríe la autora.
Palmer tenía 30 años, residía en Nueva York y, como corresponde a una chica de "buena familia", vivía y trabajaba a la espera del momento en que encontraría la pareja indicada para casarse, tener hijos y llevar la vida que imponía su educación.
"Trabajaba todo el día como publicista, no tenía novio ni tiempo para encontrarlo. Me tomé un mes de vacaciones y vine a la Argentina", cuenta la escritora, que entonces visitó una milonga por primera vez.
"El impacto con este baile fue apasionante, fue el principio de una verdadera historia de amor. De allí fui a tomar clases, grupales e individuales, y cuando volví a Nueva York me anoté en un curso para seguir bailando", dice, y confiesa que pasó dos años tratando de hacer realidad el sueño de ser bailarina profesional de tango.
"En realidad, el libro es la historia tragicómica de este sueño. Es la búsqueda de la pareja ideal con la que realizarlo", cuenta la escritora, que vivió su experiencia milonguera bailando "a la gorra" con un grupo de bailarines de la calle Florida, ofreciendo shows en milongas y clases.
"El tango es tan adictivo, tan intenso, que suele pasar que uno quiera dejar todo para poder bailar todo el tiempo", sigue Palmer. Y fue por eso que dejó su trabajo, Nueva York y su vida convencional para volver a la Argentina y dedicarse al tango, donde durante tres años, entre 1999 y 2002, bailaba diariamente 12 horas.
Una elección difícil
"El tango tiene un lado físico que me atrapó: todo empieza con un abrazo. Es el placer de estar mimada y contenida por un hombre. Es una entrega de la mujer, cosa que tiene también su lado complicado. Es cerrar los ojos y dejarse llevar por el hombre, confiar en él. Es una manera de volver a la contención del útero materno", filosofa Palmer con brillo en los ojos.
Cuando en 2002 la Argentina entró en una de sus peores crisis, Palmer se cansó: había perdido la esperanza de encontrar el amor, la pasión, la pareja de tango y de vida.
Se fue a Grecia y en seis meses escribió el libro. En 2004 volvió a la Argentina y participó en el Festival Internacional de Tango de Buenos Aires. "Allí conocí a un chico, bailé con él mejor que nunca y llegamos a la selección final. Pensaba que iba a volver a empezar el sueño -sigue Palmer-, pero en el momento de la final el chico no apareció, y allí volvió a empezar la parte tragicómica de no poder confiar nunca en una pareja."
Y así las cosas, Palmer bailó hasta que encontró, fuera del tango, a Daniel, su actual marido. Ahí, dejó de bailar. "El era todo lo opuesto a la pareja de tango que yo había esperado. Tenía que elegir entre él y el baile. El tango fue mi primero y verdadero amor, pero me di cuenta de que era un amor imposible", dice Palmer, ahora embarazada de su primer hijo.
Se dio cuenta de que la milonga traía con ella una forma de vivir equivocada: "Cuando descubrí el amor verdadero fue todo muy distinto, muy real. En cambio, el tango es seducción y provocación, un histeriqueo de sensaciones que nunca se concretan", sigue apasionada.
Sin embargo, en las milongas suena una frase recurrente: nunca se deja el tango de verdad, siempre se vuelve.
Ginerva Visconti
No sólo baile
"No debería confiar en un Dios que no sabe bailar", dijo el filósofo Friedrich Nietzsche, y Marina Palmer lo citó en la introducción de su novela, que ya se ha traducido al chino, el húngaro, el griego, y pronto se hará al ruso. Todavía no se ha traducido al castellano, pero ya tiene título: "Quién me quita lo bailado".
Mientras, en su sitio www.kissandtango.com, Palmer ofrece buenas direcciones para quien se abandona por primera vez a la aventura del tango.
Bertram Gaston Arrey
For Johanna...I might as well play...
Your Uncommon Name Is: |
 |
Bloggus Interruptus or Best of Fest :: Atlanta Tango Festival
I've written a couple of posts about my experience at the Atlanta Tango Fest. I have even written another "bloggus interruptus" post. Obviously, I haven't posted any of them.
I wrote a rant yesterday about a NY Times article "Big Tax Breaks for Businesses in Housing Bill", published it, and then pulled it a couple of hours later.
I'm not sure what's going on.
I'm reluctant to write the typical "festival review" post. I almost forgot about my "Thank You" post - but I didn't get into specifics in that one.
I'm reluctant, especially when everything about it was so good. I didn't have a single complaint, really. Sure, the A/C didn't work for about two hours the first night. This was Alex until Angel & Engineering got the bugs worked out. Sure, there were some floorcraft/nav issues, but I've come to believe this is the nature of the beast. Blogbitching about it isn't going to cure the problem.
Nearly all of my dances were good - I would even go so far as to say very good. I had a tanda with one woman practicing the ancient lost art of the Tibetan thumb guillotine. I looked at my left thumb and it was bright red. Another woman reminded me of carrying a 90lb sack of cement. I actually left early because my back was tweaked from that experience.
I also had one other negative dance - one of the ones where within the first few seconds of the first dance you already wish it was over. It was an energy thing. I didn't want to be in her energy.
As far as the positive ones, there were many. At past festivals, I might have one or two in ten good dances. So this Atlanta Fest was a huge breakthrough for me. Dozens of good/great dances, with really only three or four that I would not want to repeat.
So, without further adieu, here they are:
#1
Comfy blue velvet waltz...
#2
I thought of dancing tango with my sister, then it passed...thank god!*
#3
Memphis milonga...
#4
Happily ever after, for 1/2 of a song...
(badly, badly, screwed and mangled invite...)
#5
One song...
(another screwed invite where I was not keeping count of the songs in a tanda...)
#6
Tall, thin, beautiful, statuesque...cold...
#7
Open...and cold...
(the energy thing where I wanted it to end from the beginning...)
#8
A really good vals...
#9
Dancing bears...made me want to be a younger man...*
#10
Nothing memorable to report...
#11
Thall shalt not covet thy new friend's partner...*
#12
Horizontally desireable, vertically challenging...
#13
She smelled like honey, and danced like a butterfly...superb connection...*
(careful with this one Alex, she has an open and available heart...careful my friend...)
#14
She trembles in my embrace...*
#15
Skin tight red velvet pants...*
(still flashbacking on this one...)
#16
Out of my league...*
#17
"mm", or "I'm glad I put my shoes back on..."*
#18
Best of fest...*
There were more, obviously, but these were the most memorable - all good, fantastic dances, sublime connections. There were four or five with really sublime connections - marked with an asterisk (*) above. Really, really, really sublime. There were also bunches and bunches of women that I didn't get to dance with, sadly.
Mrs. Best of Fest, was, unfortunately, "Mrs.". I don't think her husband was there. I never saw her with anyone. She has only been dancing 10 months, but felt like she has been dancing 10 years. In a class, I cheated in the leader rotation so I could end up with her. She was tall - 5'-8" or 5-9". Geometrically, architecturally, we fit like a glove. Her natural breasts nestled perfectly into my chest. I don't think she wore a bra, which made for a nice comfy sensation.
I wish I could find the words to describe the connection with her. I don't have the words, nor the writing ability to describe it. It would be pretty close to holding someone you are in love with who you haven't seen in a long time. It was also nice have a mutual expression of that sublime connection in between songs. There wasn't a lot said, but it was a mutual understanding. She knew I was in heaven. I knew she was in heaven. We didn't want to let go between songs.
I didn't catch her name.
I wrote a rant yesterday about a NY Times article "Big Tax Breaks for Businesses in Housing Bill", published it, and then pulled it a couple of hours later.
I'm not sure what's going on.
I'm reluctant to write the typical "festival review" post. I almost forgot about my "Thank You" post - but I didn't get into specifics in that one.
I'm reluctant, especially when everything about it was so good. I didn't have a single complaint, really. Sure, the A/C didn't work for about two hours the first night. This was Alex until Angel & Engineering got the bugs worked out. Sure, there were some floorcraft/nav issues, but I've come to believe this is the nature of the beast. Blogbitching about it isn't going to cure the problem.
Nearly all of my dances were good - I would even go so far as to say very good. I had a tanda with one woman practicing the ancient lost art of the Tibetan thumb guillotine. I looked at my left thumb and it was bright red. Another woman reminded me of carrying a 90lb sack of cement. I actually left early because my back was tweaked from that experience.
I also had one other negative dance - one of the ones where within the first few seconds of the first dance you already wish it was over. It was an energy thing. I didn't want to be in her energy.
As far as the positive ones, there were many. At past festivals, I might have one or two in ten good dances. So this Atlanta Fest was a huge breakthrough for me. Dozens of good/great dances, with really only three or four that I would not want to repeat.
So, without further adieu, here they are:
#1
Comfy blue velvet waltz...
#2
I thought of dancing tango with my sister, then it passed...thank god!*
#3
Memphis milonga...
#4
Happily ever after, for 1/2 of a song...
(badly, badly, screwed and mangled invite...)
#5
One song...
(another screwed invite where I was not keeping count of the songs in a tanda...)
#6
Tall, thin, beautiful, statuesque...cold...
#7
Open...and cold...
(the energy thing where I wanted it to end from the beginning...)
#8
A really good vals...
#9
Dancing bears...made me want to be a younger man...*
#10
Nothing memorable to report...
#11
Thall shalt not covet thy new friend's partner...*
#12
Horizontally desireable, vertically challenging...
#13
She smelled like honey, and danced like a butterfly...superb connection...*
(careful with this one Alex, she has an open and available heart...careful my friend...)
#14
She trembles in my embrace...*
#15
Skin tight red velvet pants...*
(still flashbacking on this one...)
#16
Out of my league...*
#17
"mm", or "I'm glad I put my shoes back on..."*
#18
Best of fest...*
There were more, obviously, but these were the most memorable - all good, fantastic dances, sublime connections. There were four or five with really sublime connections - marked with an asterisk (*) above. Really, really, really sublime. There were also bunches and bunches of women that I didn't get to dance with, sadly.
Mrs. Best of Fest, was, unfortunately, "Mrs.". I don't think her husband was there. I never saw her with anyone. She has only been dancing 10 months, but felt like she has been dancing 10 years. In a class, I cheated in the leader rotation so I could end up with her. She was tall - 5'-8" or 5-9". Geometrically, architecturally, we fit like a glove. Her natural breasts nestled perfectly into my chest. I don't think she wore a bra, which made for a nice comfy sensation.
I wish I could find the words to describe the connection with her. I don't have the words, nor the writing ability to describe it. It would be pretty close to holding someone you are in love with who you haven't seen in a long time. It was also nice have a mutual expression of that sublime connection in between songs. There wasn't a lot said, but it was a mutual understanding. She knew I was in heaven. I knew she was in heaven. We didn't want to let go between songs.
I didn't catch her name.
New Tango Blogger :: Tango Padawan
A beginner blog...
"Padawan" means "apprentice" in Star Wars speak (the movie)...
www.tangopadawan.com
"Padawan" means "apprentice" in Star Wars speak (the movie)...
www.tangopadawan.com
Wednesday, April 16, 2008
Reasons I won't ask a woman to dance :: #004
If she uses liquid dishwasher detergent instead of the powdered kind.
Resons I wont aks a women to dance :: #001
If a women cant spel or punkchooate propperly genrally i wont ask her too dance. Luckyly meny woman arnt like this.
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