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radiotelefonia

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About radiotelefonia

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  1. Having problems recording films? I was about to complete a film called THE LEGEND OF SISTER BEATRICE (1923), directed by Jacques de Baroncelli, when the Internet stream from Argentina (there is no cable or satellite for me in order to get these obscure films) was abruptly cut before the last seconds... I hope!!!!!
  2. Here is the correct link: http://www.photoplay.co.uk/indiv%20film%20pages/ind%20film%20page%20Woman%20of%20Affairs.html
  3. I miss them all... probably because I am totally disagree with the incompetent choice of sound films.
  4. I have something you don't even know that have survived... The main song written for the film!!!!!!!!!
  5. Richard Barrios probably didn't investigate what I mentioned here; I doubt that this film ever made money. There is a rule of thumb for that: why the film is not easily available.
  6. To put it in context, BROADWAY was one of the big all time artistic and financial disasters ever to come from Hollywood. Some would waste time unnecessarily speaking about some camera shots done in a special crane rather than go back and describe its catastrophic run. At the time, there were NO Spanish language films, and Universal promoted (in Spain and Latin America) as the very first one. A new technique was introduced in order to replace the voices of the original actors with others that spoke another language. Audiences contemptuously called this system as "dubbing" because in Spanish
  7. Gardel and Chaplin were friends (that photo was taken in Paris, in 1931). In fact, according to things I read about the comedian it seems that he was a better dancer than Valentino. Not to mention that in his honor there have been a lot of tangos!!!!! Gardel didn't write music for silent films. In the twenties, he wrote only a few songs because he didn't know music notation, although he was able to play the guitar. At the time, there was almost an army of composers providing music to him (if you read some scores you can immediately discover this fact since they were obviously written with
  8. An event ignored by film historians, though not by tango collectors, took place in 1959. RCA Victor began a series of reprints of the Julio De Caro recordings for the label. The series produced only 5 LPs intermittently published between 1959 and 1980 and not even half of the entire discography was reprinted. But the articles in the back cover of the very first LP (and the other articles in the later reprints) offered key information that tried to give historical perspective to the recordings. The first LP also featured a version of the article in English, although it was not a translation
  9. The nine player structure of a tango orchestra was generally adopted around 1934. Before, from around 1917 on the orchestras had six people. That was the basic musical structure that provided background music in second run theaters in Buenos Aires. Audiences went to those theaters not to watch the films but to listen to their favorite orchestras. Among them, you had the Julio De Caro ensemble, Julio Pollero's, Cayetano Puglisi's, Carlos Di Sarli's, etc., that left recordings for Victor. Francisco Canaro's, Roberto Firpo's, Francisco Lomuto's and Osvaldo Fresedo recorded for Disco Nacio
  10. It is online for free, but you need to capture the signal since I'm speaking about a broadcasting channel. The show is Filmoteca, produced by Filmoteca Buenos Aires. Note that they not always play silents. The weekly schedule of the show (not renewed at this time) can be seen here: http://www.canal7.com.ar/canal7/modulos/ficha_programas/ficha.php?id=58'>http://www.canal7.com.ar/canal7/modulos/ficha_programas/ficha.php?id=58'>http://www.canal7.com.ar/canal7/modulos/ficha_programas/ficha.php?id=58'>http://www.canal7.com.ar/canal7/modulos/ficha_programas/ficha.php?id=58 T
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