HOJE na kitinete tem :: Lançamento Oficial da Banda Gentileza :: dj set com os meninos gentileza e mais aniversário do garapa
depois La Lupe com Back to 50`s com djs Murillo(Funk You)+ Koti(Chucrobillyman)+Chris(Lolitas)

diversao garantida pra este sabado!

kitinete 20:00 h ::: R$3,00

La lupe 23:30h ::: R$6,00

É isso aí modaFUNKER! Este é o cartaz q fiz pruma das festas mais massa dos ultimos tempos! Sonzera da boa com uma galera q não fica por menos. É diversão garantida e contagiante! chega lá! dia 4. obs: o nome do shasko, na verdade é schasko! foimal aê.

 I’ve come to the conclusion that I must be spoiled. Not in the way of gifts, goodies and money from Dad, but spoiled by Chefs and their creativity. I realized this after two recent food excursions in Philly. I had a craving for tacos- I just wanted a little, delicious, soft, sweet corn taco. I didn’t really care what it was filled with as I love all types of fillings; from al pastor, to pescado to barbacoa, to chorizo, to legua. Damn even a vegetariano taco can be the perfect finger food. I just get these craving for Mexican spice. The kind that stirs-up the taste buds on your tongue, the creaminess of perfectly cooked beans, the fresh herbaceousness of chopped cilantro, and the warmth of the corn tortilla folded between my finger tips.

So back to my excursions, I decided to hit up La Lupe (1201 S. 9th St) in the Italian/Mexican Market area. I must confess it was my first La Lupe trip. Not that I’ve been out of the La Lupe loop- it has been on my food hit-list for quite sometime now. Actually ever since my former boss told me how deliciously authentic and cheap the legua tacos were there- after he found out I was overpaying for them at Distrito. So there I was in the bright garage like room of La Lupe with 5 tacos in front of me- goat, spicy pork, chorizo, beef tongue and chicken. Covered on chopped cilantro, minced onions and a puree of guacamole, they certainly looked like the perfect taco treat although rather large in size, but a steal for $2.50 a pop. A bite of each one revealed a similarity between each. Fresh, warm, but empty in the flavor explosion that I crave. I doused them with a goop of the hot salsa verde that comes served on the side with the crispy tortilla chips. That picked up the heat, but I can honestly say the only one I found truly gratifying was the chorizo. Which makes sense because chorizo naturally has so much to savor that it could never be bland. The spicy pork was a second runner-up. It had a slight marinade of spices that gave it an extra punch than the ordinary chicken taco that was on the plate. And sure the lengua had that superb tenderness that I adore, but fell flat on MY tongue.

So what gives, I thought? Did our soon to be Next Iron Chef  José Garces spoil me with his intoxicating flavor combinations at Distrito? Never have I found his chicken tacos to be insipid. Infact the pollo that’s been pulled so that each shred is clothed in the tomato based ropa vieja sauce is as

The Next Iron Chef??

addictive as it is messy. And José’s legua taco is pure luxury, the soft silky texture and the Guajillo chile glaze that infuses this tender muscle with a tinge of moderate heat and a dollop of salsa verde adds another complex layer of zing. Could tacos get anymore flawless?? Bone fide ingredients? Yes, but authentic in taste? Well not exactly. The flavors are definitely glorified and indeed take extra steps in the preparation process- but the end result is a taco that not just simmers on the palate, but rocks the inside of your mouth with a multitude of fervent flavors!

Could I be bored with authentic? I decided to give it another try. So there I was in Fishtown, doing some cabinet shopping when I thought of Taco Riendo. “There’s a taco place called Taco Reindo around here- right?” I asked my Kelli, the sales woman. She replied “oh yeah, it’s around the corner on 5th & Thompson, the tacos are really good”. When we got done, I was starving so in the car and off to 5th St to find Taco Riendo (1501 N. 5th St), I went. Now this place had charm. I sense of warmth and cheeriness with its orange-hued wood and open air windows. I ordered 3 tacos, the enchilada pork, the grilled fish, and the veggie. And a drink of the day special- a non-alcohol Champurrado (an extra thick mixture of warm chocolate, masa, milk and cinnamon). It reminded me of an extremely gooey chai latte, and was my favorite part of lunch. The tacos were again larger than Chef Garces’ and almost as big as La Lupe’s. The pescado had such an off putting smell, that it rendered it inedible. The pork was tough and chewy, so the only edible one was the vegetariano- a mixture of rice, whole beans, cheese, lettuce and pico de gallo. The simple fresh flavors, along with my addition of a drizzle of their chipotle salsa was respectably tasty enough. I looked down at my one third eaten taco lunch disappointedly. I sipped on my Champurrado, contemplating the slogan of Taco Riendo- “Authentic Mexican Taqueria La Salsa Hace La Differencia” which means the Salsa makes all the difference. But does it?

I think the salsa makes all the difference when it is integrated in the taco filling itself, and not just placed on the side or on top. I can’t help but feel unfulfilled by my Riendo and La Lupe experiences. In fact it makes me crave the intensity of Distrito’s spices, or the slow baked pork in the achiote marinade that makes the Cochinita Pibil served with warm tacos on the side at Las Bugambilias so memorable. I truly believe our great Chefs have spoiled me. And I can not deny, I like being spoiled, it’s pure pleasure!

You can be sure I will be hitting up Distrito soon. Hey, I still have that taco craving, and there’s an Iron Chef Party coming up! What better way to route for one of the Chef’s who spoiled me than with a taco (and margarita) in hand?

Sexta 13

Lançamento do quadrinho Tarja Preta em Curitiba

La Lupe 22:30h ::: R$6,00

HOJE !!! (quinta 12/11)

A festa começa na
Kitinete,vai pro Jägerbus e depois pro La Lupe. 3 djs 2 bares e 1
busão. aeeeeee Dj Anaum Dj Jeff Bass Dj murillo degustação de
Jägermeister no ônibus passaporte da alegria à venda na Kitinete

R$7,00 ::: 20:00h

via @beinglatino

La Lupe aka La Yiyiyi, born Guadalupe Victoria Yolí Raymond (Santiago de Cuba, 23 December 1936 – The Bronx, New York, 29 February 1992), was a Cuban-American singer of several musical genres: boleros, guarachas and latin soul in particular. She was famous for her histrionic manner on stage, her hands constantly moving, touching her face, renting her clothes, throwing her shoes, seemingly only just in control, and thriving on the emotions of the moment.

Born in the barrio of San Pedrito in Santiago de Cuba, La Lupe was a singer of extraordinary talent. He her father was a worker at the local Bacardi distillery and a major influence on her early life. Her introduction to fame was in 1954, on a radio program which invited fans to sing imitations of their favorite stars. Lupe bunked off school to sing a bolero of Olga Guillot’s, called Miénteme (Lie to me), and won the competition. The family moved to Havana in 1955, where she studied to become a teacher. Like Celia Cruz, she qualified as a schoolteacher before she became a professional singer.

Lupe married in 1958 and formed a musical trio with her husband Eulogio “Yoyo” Reyes and another female singer. This group, Los Tropicuba, broke up along with the marriage in 1960. She began to perform her own act at a small nightclub in Havana, La Red (The Net), which had a clientele of distinguished foreigners. She acquired a devoted following, which included Ernest Hemingway, Tennessee Williams, Jean Paul Satre, Simone de Beauvoir and Marlon Brando. She also performed regularly on radio. She released her first album, Con el Diablo en el cuerpo (With the Devil in my body) in 1960, for which RCA Victor gave her a gold disc. Her first television appearance on Cuban television, singing this number, which reportedly shocked some viewers.

In 1962 she found herself exiled to the United States. In New York City she performed at a cabaret named La Barraca, where she was discovered by Mongo Santamaria and started a new career, making more than 10 records in five years. She married a second time, to salsa musician Willie García, with whom she had a son. The marriage ended in divorce, after which she had a daughter by one of her lovers.[5]

Lupe’s passionate performances covered the range of music: son montuno, bolero, boogaloo, venturing into other Caribbean styles like Dominican merengue, Puerto Rican bomba and plena. It was her recordings which brought Catalino Curet Alonso (El Tite) into prominence as a composer of tough-minded boleros in the salsa style. She also began to write her own lyrics, and examples appear in most of her albums from the mid-1960s.[citation needed] In the 1960s she was the most acclaimed Latin singer in New York City due to her partnership with Tito Puente. She was the first Latin singer to sell out a concert at Madison Square Garden. She sang a wide variety of cover versions in either Spanish or accented English, including Yesterday, Dominique by The Singing Nun, Twist & Shout, Unchained Melody, Fever and America from West Side Story.

The quality of her performances became increasingly uneven. There were pesistent rumours of her drug addiction, and her life was “a real earthquake” according to close friends.[6] She ended some of her on-stage engagements being treated with an oxygen mask.[5] Although she may have been poorly managed by her record producers, Fania in particular, she managed and produced herself in mid-career, after she split with Tito Puente.

Religious beliefs:

A devout follower of Santeria, she continued to practice her religion regardless of the influence, fortune, and fame she had acquired throughout the height of her career. Her record label, Fania Records, ended her contract in the late 1970s, perhaps simply because of falling sales. She retired in 1980, and found herself destitute by the early 1980s. In 1984 she injured her spine; she initially used a wheelchair, then later a cane. An electrical fire made her homeless. After being “healed” at an evangelical Christian Crusade, La Lupe abandoned her Santeria roots and became a born-again Christian. In 1991, she gave a concert at La Sinagoga in New York, singing Christian songs.

She died from undisclosed causes at 55 years old. She was survived by her second husband, their son (Rene Camaro) and her daughter (Rainbow). She is interred in Saint Raymond’s Cemetery in the Bronx.

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Reference:

http://en.wikipedia.org/wiki/La_Lupe

______________________________________________________________

About Being Latino:

Being Latino is a communication platform designed to educate, entertain and connect all peoples across the global Latino spectrum.  Our aim is to break down barriers and foster unity and empowerment through informative, thought-provoking dialogue and exchanging of ideas.  Being Latino seeks to give a unified voice to the multitude of communities that identify with the multidimensional culture that is Latino.

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Nessa segunda-feira dia 19/10 Zegon o ganhador do ultimo VMB de música eletrônica desembarca em Curitiba e toca no La Lupe.

completam o line-up os Dj’s Schasko(Cambalacho e Funk You) e Jeff Bass (Cambalacho).

a festa funk you rola hoje no La Lupe com os Dj’s Schasko e Murillo, e o Cambalacho rola aos domingos no Era só o que faltava e conta com Dj’s Anaum, Jeff Bass e Schasko.

19/10 ::: La Lupe ::: H $20,00 : M $15,00 :::    OBS a casa nào aceita nenhum tipo de cartão

16/10 ::: Funk You ::: H $8,00 : M $5,00 :::  OBS: a casa não aceita nenhum tipo de cartão

Era só o que faltava ::: todos os domingos

Todos eventos imperdíveis

Pos como que ya se volvio culebron tipo Televisa, pero bueno esta entretenido. Disfrutenlo … en puntas.

Por cierto,  los admiradores de Betty BO5 y sus chocoaventuras, podran seguirlas por Telehit todos los jueves a las 10:00 pm y en repetición todos los lunes a las 2:00 am, para que sigan disfrutando de su cuerpo, su instrumento, de esta artista multidisciplinaria a lo Cher, Tina Turner, Madonna…

Vamos a conocer un poquito acerca de La Lupe

Llamada también “La Yiyiyi”, poseedora de una voz potente cargada de un sabor que El Caribe y su trip a Madrid, otros viajes y demás trips mentales le brindaron. La pasión, el caracter y el calor hechos voz.

Natural del barrio San Pedrito en Santiago de Cuba. Entregó todo en los géneros de boleros, guarachas y latin soul.

Entre sus seguidores estuvieron Ernest Hemingway, Tennessee Williams, Jean Paul Satre, Simone de Beauvoir y Marlon Brando.

Compartió trabajos con Tito Puente y Catalino “Tite” Curet Alonso (compositor).

Otro tema que me fascina es “Se Acabó”… it’s all over baby, all over!!!

Y este es el tema “Puro Teatro”, un placer para la apreciación, el descanso, el karaoke, y todo lo demás.

Igual que en un escenario,
finges tu dolor barato.
Tu drama no es necesario,
ya conozco ese teatro.

Mintiendo que bien te queda el papel,
después de todo parece
que esa es tu forma de ser.

Yo confiaba ciegamente
en la fiebre de tus besos.
Mentiste serenamente
y el telón cayó por eso.

Teatro… lo tuyo es puro teatro,
falsedad bien ensayada,
estudiado simulacro.

Fue tu mejor actuación…
destrozar mi corazón,
y hoy que me lloras de veras,
recuerdo tu simulacro.
Perdona que no te crea,
me parece que es teatro.

Y acuérdate que según tu punto de vista yo soy la mala.

Teatro… lo tuyo es puro teatro,
falsedad bien ensayada,
estudiado simulacro.

Fue tu mejor actuación…
destrozar mi corazón,
y hoy que me lloras de veras,
recuerdo tu simulacro.
Perdona que no te crea,
me parece que es teatro.

Perdona que no te crea,
lo tuyo es puro teatro.

Más sobre “La Lupe”
Buena info en la Wikipedia en Inglés
La Lupe en Last.fm
La Lupe en MySpace

Dj Jeff Bass apresenta Do the Funky Robot hoje na Kitinete

depois pra quem aguentar, rola um continue no La Lupe com

Dj Anaum e Jeff Bass.

Kitinete

R:Duque de Caxias 175 ::: R$3,00 ::: 20:00h

La Lupe

R. Trajano Reis 351 ::: R$5,00 ::: 00:00h

This moving interview with Juan Almeida Bosque, one of the very few remaining Commandantes of the Cuban Revolution, who died a week ago last Friday, was filmed 33 years ago.  Subtitles are, unfortunately, a little bit complicated to master, so you’ll have to wait a bit for those.  In the meantime you can at least watch the video with an English transcript in hand (thanks to Manuel Talens for the Spanish transcription).  The emotion transcends any language barrier.  The song Almeida mentions: La Lupe, sung by Silvio Rodríguez, follows.

Almeida: Well, Santiago, I was a revolutionary who was committed to my movement.  We’d gotten out of Isla de Pinos and we continued in the same kinds of situations for which we’d attacked the Moncada and spent 22 months in the Isla de Pinos prison, and Fidel had left for Mexico along with another group of compañeros, Raúl and others, and I decided to rejoin my compañeros.  I took off on a boat; I’d talked with Yeyé and told her to help me get a passport – she worked in José Manuel Gutiérrez’s firm.  They asked me for a passport, I worked in various ways to come up with the money to go, I talked to my old man – he was the first to give me money so that I could go – other compañeros, and we put together some dollars and we left; compañero Darío López, the Gallego they called him, and another compañero who died in the landing, compañero Cabrera.

We left, and we arrived at Veracruz, and from Veracruz, we arrived by train in Mexico City, and, I’m going to tell you something frankly and I’m going to talk about something that I have experienced all my life, and it would be dishonorable if I didn’t say it: I felt for the first time, in Mexico, like a human being.  I’m going to explain what that means.  At that time, you remember how blacks lived here, in this country (Cuba).  If you went to a bar, they turned it into a Club, so you couldn’t go in.  All the limitations, the lessons, the relations, it was a tough situation.  And in Mexico, honestly, in a group of compañeros and there in the Mexican capital, I felt as though I could move around like a human being, I went to the places I’d longed to go.  It wasn’t like here, where you had to first think about where you were going and once you got there, whether they’d let me in.  That was one of the best moments that I felt in my life.  Emotional and transcendental moments?  Those I’ve had throughout this entire process.  I couldn’t tell you which has been the most transcendental for me, nor the most important; everything has been moving, I put my will into everything, I’ve left personal things behind, everything has been on behalf of the Revolution.  I gave my youth for the process and my old age, well, I’ll continue giving those years for the Revolution as well.

Interviewer: And this old age is hardly upon you…

Almeida: Well, no, but I’m not that young either, next year I’ll turn 50 already.

Interviewer: Before Moncada and the Granma, what kind of work did you do?

Almeida: I was a mason, I worked for awhile in a masonry, other times I built cement forms, but well, more or less that was my…

Interviewer: And you had a talent for music.

Almeida: Yes, but that I had since the age of 14; what happened was that I started to write verses, then I saw that nothing happened with the verses and so I put them to music, and with music still nothing happened, because I went to the radio stations at the time, the CMQ, with my piano pieces to see if they had any interest and nobody was interested.  So the revolutionary process had to take place for me to be known, for me to know myself (wide smile) as a composer.  The most emotional piece for me is the one to do with the gratitude that I explained to you, that made me feel like a human being; it was dedicated to a woman in Mexico, to Lupe…(opening chords).  There I talked about things to do with her, and the things that had influenced me to write that song in that country.  And now it is dedicated not just to that Mexican woman, but to all Mexican women.  And to Mexico.

La Lupe, performed by Silvio Rodríguez

¡Viva Cuba Libre con La Yiyiyi!:

Hyped for this! Don’t miss out this weekend in Lausanne. Some of the highlights are: Audiojack, Sinden, Wildlife!, Toddla T, Housemeister, Zombie Nation, Boxcutter, Beardyman and many more. Check out the full lineup and location info at: http://www.electrosanne.ch

Here are a few samples! I mos def recommend Manabadman with the fatty bassline! and.. ‘What you need’ and ‘Secousse’ are mad groovy for your budging needs.

Toddla T – Manabadman (Andy George Refix)
Radioclit – Secousse (Wildlife! Remix)
La Lupe – Fever (Sinden Remix)
Tiga – What You Need (Zombie Nation Remix)
Porno Breaks – Trippin Me Out (Audiojack Remix)

Cover of Changing Tunes; image courtesy of musicweb-international.com

Since a lot of folks (including many friends) are back in school, I thought I’d do another book report. Tonight, I’ll jot down my notes on Changing Tunes: The Use of Pre-existing Music in Film. Just as my friend Kit pointed me in the direction of this useful, diverse anthology, I thought I’d do the same, especially for any other burgeoning feminist soundtrack/score enthusiasts there may be. Term paper deadlines will come closer than you think.

As Robynn Stilwell was one of the co-editors of the collection who penned the particular essay Kit recommended to me, what better place to start? After all, her piece is called ”Vinyl Communion: The Record as Ritual Object in Girls’ Rites-of-Passage Films.” Here, Stilwell looks at four movies featuring girl protagonists and preoccupied with such themes, two of which I’ve yet to see (Little Voice and Heavenly Creatures) and two of which are all-time favorites (Ghost World and The Virgin Suicides). As Stilwell’s reading of Little Voice aligns with Pamela Robertson’s, I will refer you to a previous entry where Robertson’s essay is discussed. And while I would’ve liked more development of each text (hell, I could read a whole book on each of these movies) and would have appreciated some movies that consider the mediated representations of vinyl practices from girls of color, I still found Stilwell’s insights valueable. And obviously, I’m going to need to watch all these movies.

To Stilwell, Ghost World’s Enid believes that vinyl, and its technological apparatus, has no instrinsic value as an object. In one scene, she pretends to break her record collector friend Seymour’s vintage LP. She also has no interest in creating an authentic listening experience, playing old vinyl releases on a  33 1/3 record player that were meant to be played on a 78. Instead, Enid turns to record-playing for its transportive and transformative qualities. She wants a form of escape from her suburban SoCal surroundings, trying on punk, retro, and gothic fashions and turning to Bollywood, Indian rock music, and blues singer Skip James’s hauntingly androgynous tenor in “Devil Got My Woman.”

With Peter Jackson’s Heavenly Creatures, itself based on the Pauline Parker-Juliet Hulme murder, the schoolgirls’ fandom for tenor Mario Lanza serves as a buffer for true homosexual feelings, a development that Stilwell explains by using late theorist Eve Kosofsky Sedgwick’s notion of the homosocial triangle.

Thus, in order to own those feelings, Pauline and Juliet must disavow themselves from Lanza, burning their records to aver these feelings in the process.

Record burning is considered in a much different context in Sofia Coppola’s The Virgin Suicides, instead constructed as authoritative punishment rather than a declaration of one’s identity. The Lisbon girls, a mysterious and cloistered quintet, consider records to be a form of communication between one another and to the neighbor boys with whom they’ve been forbidden to interact with by their parents. Songs like Heart’s “Magic Man” and “Crazy on You” speak on their behalf, conveying the lust and sexual agency that girls feel and Lux Lisbon acts upon for high school heartthrob Trip Fontaine. Thus, mother Lisbon’s command that Lux burn her rock records after Trip Fontaine sleeps with and abandons her on the football field after the Homecoming game suggests a tragic loss of voice, demanding that she align with soft rock male singer-songwriters like Gilbert O’Sullivan and Todd Rundgren instead of continuing to listen to libidinous cock rock bands like Aerosmith.

With Vanessa Knights ‘ “Queer Pleasures: The Bolero, Camp, and Almodóvar,” we have a consideration of how Pedro Almodóvar asserted a queer identity in his earlier films, utilizing the campy potential of bolero, as well as acknowledging the contributions bolero singers like La Lupe have given to queer fan culture, particularly among gay men.

While Almodóvar may have more often utilized Cuban musicians’ contributions to movies made within a strictly Spanish context, Phil Powrie’s “The Fabulous Destiny of the Accordion in French Cinema” considers the accordian, originally an Italian musical instrument, as a French national symbol. He considers the accordian’s heroic period between 1930 and 1960 and how the instrument was used as an audiovisual marker of utopian community in movies like René Clair’s Sous les toits de Paris. While Powrie does not make it clear, I hazard to guess that there may be some connection, however tenuous, between this period and the chanteuse réaliste movies Kelley Conway has discussed elsewhere.

By 1949, Powrie notes that movies like Jacques Tati’s Jour de Fête were commenting on the decline of the accordian’s ubiquity in French culture as the country shifted from a working-class country with a strong sense of history to a modern society with tremendous interest in other cultures and a particular interest in American life. This is a point Powrie argues that Tati makes aurally, as Jo Lefevre’s accordian opens and closes a film about a character who tries to emulate American customs, cued through the film’s use of swing music.

The move away from the accordian’s aural connotation of national identity is evident in 80s French cinema. The accordian instead becomes a visual, unheard marker of community demise in movies like Jean-Jacques Beineix’s Diva. From the 1990s on, the accordian has become a post-modern instrument for French cinema to Powrie, suggesting both a utopian ideal and evident of self-aware nostalgia, most evident in Yann Tiersen’s score for Jean-Pierre Jeunet’s Amélie.

And finally, we have Ronald Rodman’s “The Popular Song as Leitmotif in 1990s Film,” which considers how the use of theme music written for specific characters in classical music and film can be translated into contemporary film’s use of popular music and how leitmotif is used as a connotative signifier. This seems like a tremendously useful exercise that I’ll make sure to remember when I get to be a boss professor lady.

Rodman considers Pulp Fiction and Trainspotting, two successful movies made noteworthy, in part, because of their exclusive use of popular music. With Pulp Fiction, protagonist hit man Vince Vega becomes associated with surf rock and Elvis as a means of connoting his class and white ethnic cultural positioning as an Italian American with a working-class background. In Trainspotting, Scottish heroin addict Mark Renton is associated with art-damaged, anti-establishment classic rockers like Iggy Pop, Lou Reed, and David Bowie, before getting clean and making his classed ascent into the bourgeoisie, which is highlighted by his musical association with Brit pop and popular techno.
  

While I appreciate Rodman’s argument for Trainspotting, I do wonder what he’d make of the wave of regional pictures in the UK during the 1990s and early 2000s. Just as Trainspotting focuses on Edinburgh, so to did 24-Hour Party People depicted Manchester’s singularity. That said, I do value Rodman’s effort to reconsider how popular music functions similarly to classical music in movies, and look forward to reading more on the interplay from similarly-invested scholars. Please feed me titles if you’re so inclined.

Music, once admitted to the soul, becomes a sort of spirit, and never dies.

like latin music, it refreshes your soul with percussions and sweet vocals!

Here are some tracks that I’m into these days .. ENJOY!

Gloria Estefan – Como Me Duele Perderte

La Lupe – Fever

Bebel Gilberto – Aganju

Irreverente, marginal, hiriente, trepidante, teatral, visceral, impúdica, salvaje, ciclónica, agresiva, demente, sensual, escandalosa, excitante, única, truquera, descarada, excéntrica, legendaria, irrepetible…
¿Pero, quién era esta mujer que no cabía en sí misma? ¿Quién era, que no alcanzaban las palabras?

Por si no bastase, valga el testimonio de algunos que sabían muy bien cuanto decían: “Eres un genio”… (Pablo Picasso)… “La creadora del arte del frenesí” (Hemingway)… “Un animal musical“ (Jean Paul Sartre) y…

por Reinaldo Cedeño en La Isla Y la Espina…lee más…