Lupe Vélez ~Mexican Spitfire~ A Media Luz~Floridians скачать в хорошем качестве

Lupe Vélez ~Mexican Spitfire~ A Media Luz~Floridians

If you have a chance, check out Joan Crawford dancing Tango "A Media Luz"    • JOAN CRAWFORD E O TANGO, 1931   María Guadalupe Villalobos Vélez, known professionally as Lupe Vélez (July 18, 1908 – December 13, 1944), was a Mexican and American stage and film actress, comedian, dancer and vedette. Vélez began her career as a performer in Mexican vaudeville in the early 1920s. After moving to the United States, she made her first film appearance in a short film in 1927. By the end of the decade, in the last years of American silent films, she had progressed to leading roles in numerous movies like The Gaucho (1927), Lady of the Pavements (1928) and Wolf Song (1929), among others. She was one of the first successful Latin American actresses in the United States. During the 1930s, her well-known explosive screen persona was exploited in a series of successful films like Hot Pepper (1933), Strictly Dynamite (1934) and Hollywood Party (1934). In the 1940s, Vélez's popularity peaked after appearing in the Mexican Spitfire films, a series created to capitalize on Vélez's well-documented fiery personality. Nicknamed The Mexican Spitfire by the media, Vélez's personal life was as colorful as her screen persona. She had several highly publicized romances and a stormy marriage. In December 1944, Vélez died of an intentional overdose of Seconal. Her death, and the circumstances surrounding it, have been the subject of speculation and controversy. Vélez's well documented temper and jealousy also served to perpetuate the "Mexican Spitfire" persona. Her often tempestuous romantic relationships became tabloid fodder and often overshadowed her career. Vélez did nothing to stop these stories and regularly contacted gossip columnists to give them stories about her romantic exploits. Oft repeated tales chronicling her notorious temper include Vélez chasing her then lover Gary Cooper around with a knife during an argument and, on one occasion, slashing him severely enough to require stitches. After their breakup, Vélez attempted to shoot Cooper while he boarded a train. During her marriage to actor Johnny Weissmuller, stories of their frequent physical fights were regularly reported in the press. As with Cooper, Vélez reportedly inflicted scratches, bruises and hickeys on Weissmuller during their fights and "passionate lovemaking". Vélez's ire and jealousy was often targeted at fellow actresses whom she deemed as rivals, professionally or otherwise, a habit which began back in her vaudeville days and continued in films. Vélez's image was that of a wild, highly sexualized woman who spoke her mind and was not considered a "lady", while fellow Mexican actress Dolores del Río projected herself as sensual but classy and restrained, often hailing from aristocratic roots. Vélez hated del Río, and called her "bird of bad omen". Del Río was terrified to meet her in public places. When this happened, Vélez was scathing and aggressive. Vélez openly mimicked del Río, ironically making fun of her elegance.[ Vélez also disliked Marlene Dietrich whom she suspected of having an affair with Gary Cooper while filming Morocco in 1930. Her rivalries with Jetta Goudal, Lilyan Tashman and Libby Holman were also well documented. In retaliation, Vélez would perform scathing impersonations of the women she disliked at Hollywood parties. Lyrics for "A Media Luz" 3, 4, 8 Corrientes Avenue, 2nd floor with elevator. There’s no concierge and no neighbour. Inside, cocktail and love. The little apartment furnished by Maple: a piano, a mat, a bedside table, a phone that answers, a phonograph that weeps old tangos from my youth, and a porcelain cat which doesn’t mew at love. And everything in dimmed light, what a sorcerer love is, in dimmed light the kisses, in dimmed light the two of them. And everything in dimmed light a twilight indoors. What a soft velvet the dimmed light of love is! 12, 24 Juncal avenue, don’t hesitate to call. In the afternoon, tea and pastries; at night, tango and songs. Sundays, dancing teas; Mondays, desolation. There’s everything in the little house: cushions and sofas; cocaine like at the pharmacy; rugs that muffle sounds and a table set for love.