Cannes
Cannes France.jpg
Cannes
Location within Provence-A.-C.d'A. region  Cannes
Administration
Country	France
Region	Provence-Alpes-Côte d'Azur
Department	Alpes-Maritimes
Arrondissement	Grasse
Mayor	Bernard Brochan (2008–2014)
Statistics
Elevation	0–260 m (0–850 ft)
Land area1	19.62 km2 (7.58 sq mi)
Population2	72,939  (2008)
- Density	3,718 /km2 (9,630 /sq mi)
INSEE/Postal code	06029/ 06400
1 French Land Register data, which excludes lakes, ponds, glaciers > 1 km² (0.386 sq mi or 247 acres) and river estuaries.
2 Population without double counting: residents of multiple communes (e.g., students and military personnel) only counted once.

Coordinates: 43°33′05″N 7°00′46″E / 43.5513°N 7.0128°E / 43.5513; 7.0128

Cannes (French pronunciation: [kan], in Occitan Canas) is a city located in the French Riviera. It is a busy tourist destination and host of the annual Cannes Film Festival. It is a commune of France located in the Alpes-Maritimes department.

The city is also famous for its various luxury shops, restaurants, and hotels. On 3 November 2011 it played host to the G20 organisation of industrialised nations.

History[link]

By the 2nd century BC the Ligurian Oxybii established a settlement here known as Aegitna. Historians are unsure what the name means. The area was a fishing village used as a port of call between the Lérins Islands.

Cannes seen from Spot Satellite

In 69 AD it became the scene of violent conflict between the troops of Othos and Vitellius.^[1]

In the 10th century the town was known as Canua^{[citation needed]}. The name may derive from "canna", a reed. Canua was probably the site of a small Ligurian port, and later a Roman outpost on Le Suquet hill, suggested by Roman tombs discovered here. Le Suquet housed an 11th-century tower which overlooked swamps where the city now stands. Most of the ancient activity, especially protection, was on the Lérins islands and the history of Cannes is the history of the islands.

An attack by the Saracens in 891, who remained until the end of the 10th century, devastated the country around Canua. The insecurity of the Lérins islands forced the monks to settle on the mainland, at the Suquet. Construction of a castle in 1035 fortified the city by then known as Cannes, and at the end of the 11th century construction was started on two towers on the Lérins islands. One took a century to build; the other, three.

Around 1530, Cannes detached from the monks who had controlled the city for hundreds of years and became independent.

During the 18th century, the Spanish and British both tried to gain control of the Lérins Islands, but were chased away by the French. The islands were later controlled by many, such as Jean-Honoré Alziary, and the Bishop of Fréjus. The islands had many different purposes; at the end of the 19th century, one was a hospital for soldiers in the Crimean War.

Henry Brougham, 1st Baron Brougham and Vaux bought land at the Croix des Gardes and constructed the villa Eleonore-Louise. His work to improve living conditions attracted the English aristocracy, who also built winter residences.

At the end of the 19th century, several railways were completed. This prompted the arrival of streetcars. In Cannes, projects such as the Boulevard Carnot, the rue d'Antibes and the Carlton Hotel on the Promenade de la Croisette were carried out. After the closure of the Casino des Fleurs (hôtel Gallia), a luxury establishment was built for the rich winter clientele, the Casino Municipal next to the pier Albert-Edouard. This casino was demolished and replaced by the new Palace in 1979.

With the 20th century came new luxury hotels such as the Miramar and the Martinez. The city was modernised with a sports centre, street cars, a post office, and schools. There were fewer British and German tourists after the First World War but more Americans. Winter tourism gave way to summer tourism and the summer casino at the Palm Beach was constructed.

The city council had the idea of an internation film festival shortly before World War II. The first opened on 20 September 1946, held in the Casino Municipal.

Geography[link]

Population

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Climate[link]

Cannes has a Mediterranean climate and the city enjoys 12 hours of sunshine per day during summer (May to September), while in winter (December to February) the weather is mild. Both seasons see a relatively low rainfall and most rain occurs during October and November, when 110 mm falls.

Cannes summers are long and warm, with summer daytime temperatures regularly hitting 30 °C (86 °F), while average temperatures are about 25 °C (77 °F). Temperatures remain high from June to September, the busiest time of the year. Despite the hot daytime temperatures, a Mediterranean breeze keeps summer evenings comfortably cool.

Temperatures drop below 10 °C (50 °F) for only three months of the year (December to February). The spring and autumn are also warm, although more suited to those who prefer slightly cooler weather.

Panorama of the waterfront

Boulevard de la Croisette along the waterfront.

Economy[link]

The Cannes Mandelieu aero centre

The area around Cannes has developed into a high-tech cluster. The technopolis of Sophia Antipolis lies in the hills beyond Cannes. The Film Festival is a major event for the industry. There is an annual television festival in the last week in September.

The economic environment is based on tourism (business fairs), trade and aviation. Cannes has 6,500 companies, of which 3,000 are traders, artisans and service providers. In 2006, 421 new companies were registered.

Cannes hosts the Cannes Mandelieu Space Center, headquarters of Thales Alenia Space, the first European satellite manufacturer.

Landmarks[link]

The Promenade de la Croisette is the waterfront avenue with palm trees. La Croisette is known for picturesque beaches and for restaurants, cafés and boutiques. La Suquet, the old town, provides a good view of La Croisette. The fortified tower and Chapel of St Anne house the Musée de la Castre. The Man in the Iron Mask was imprisoned on the Île Sainte-Marguerite.

Museums[link]

The Musée d'Art et d'Histoire de Provence houses artifacts from prehistoric to present, in an 18th century mansion. The Musée de la Castre has objects from the Pacific Atolls, Peruvian relics and Mayan pottery. Other venues include the Musée de la Marine, Musée de la Mer, Musée de la Photographie and Musée International de la Parfumerie.

The villas of Cannes[link]

Nineteenth-century Cannes can still be seen in its grand villas, built to reflect the wealth and standing of their owners and inspired by anything from medieval castles to Roman villas. Lord Brougham’s Italianate Villa Eléonore Louise (one of the first in Cannes) was built between 1835 and 1839. Also known as the Quartier des Anglais, this is the oldest residential area in Cannes. Another landmark is the Villa Fiésole (known today as the Villa Domergue) designed by Jean-Gabriel Domergue in the style of Fiesole, near Florence. The villas are not open to the public. Villa Domergue may be visited on appointment.

Île Sainte-Marguerite (St Marguerite Island)[link]

It took "The Man in the Iron Mask" 11 years to leave this tiny, forested island. The mysterious individual was believed to be of noble blood, but his identity has never been proven. His cell can be visited in the Fort of St Marguerite, now renamed the Musée de la Mer (Museum of the Sea). This museum also houses discoveries from shipwrecks off the island, including Roman (first century BC) and Saracen (10th century AD) ceramics.

Île Saint-Honorat (St Honorat Island)[link]

Cistercian monks are the only inhabitants of the smaller, southern St Honorat Island. Monks have inhabited the island since AD410 and, at the height of their powers, owned Cannes, Mougins and Vallauris. Medieval vestiges remain in the stark church, which is open to the public, and in the ruins of the 11th-century monastery on the sea’s edge. The monks divide their time between prayer and producing red and white wines.

Theatre and music[link]

Cannes is not renowned for traditional theatre. However, small venues stage productions and host short sketches during the annual International Actors’ Performance Festival. Popular theaters include the Espace Miramar and the Alexandre III.

Festivals and show events[link]

• The Cannes Film Festival (French: le Festival international du film de Cannes or simply le Festival de Cannes), founded in 1939, is held annually, usually in May.
• Midem, the foremost trade show for the music industry
• MIPIM, the worlds largest property-related trade show
• Cannes Lions International Advertising Festival
• Carnival on the Riviera is an annual parade through the streets to mark the 21-day period prior to Shrove Tuesday.
• The International Festival of Games is festival of bridge, belote, backgammon, chess, draughts, tarot and more (February).
• Festival de la Plaisance is an event for boating enthusiasts in the Vieux Port (September).
• The International Actors’ Performance Festival: comedy sketches and performances by fringe artists
• The International Luxury Travel Market brings together under one roof the top international luxury travel providers and suppliers from all around the world.[1]
• Le Festival d’Art Pyrotechnique is a magnificent annual fireworks competition held in the summer at the Bay of Cannes.
• Mipcom and MIPTV, held in October and April respectively, the world's most important trade markets for the television industry.
• The Pan-African Film Festival, held in early April and featuring films from the African diaspora

Transport[link]

Nice Côte d’Azur Airport

Located 24 km (15 mi) from Cannes, Nice Côte d’Azur Airport has close to 10 million passengers a year. The smaller Cannes – Mandelieu Airport is also nearby. CannesExpress operate a regular door-2-door Airport Shuttle service between Nice Airport and hotels/accommodations in Cannes. Price per seat is 20 Euros.

Rail

TGV rail services to the Gare de Cannes provide access from major French cities, including Nice, Marseille, Lyon, Paris and Toulouse. Other cities with rail connections include Brussels (6 hours), Milan (5 hours), Basel (10 hours), Rome (10 hours) and Venice (10 hours). The minor train stations Gare de Cannes-La Bocca and Gare du Bosquet serve only regional destinations.

Bus

Coach services arrive at the Gare Routière de Cannes, in the centre of the city, near the Town Hall. Companies from abroad include Eurolines and Agence Phoceens. Regional services are by Rapides Côte d’Azur and CTM, with services from Nice and Grasse/Mandelieu respectively. Local bus services are provided by Bus Azur.

Ferry

Ferries are available in Nice harbour from Bastia and Calvi in Corsica, with services provided by SNCM Ferryterranée and Corsica Ferries. From Bastia, the journey is 4 hours, 45 minutes on conventional ferries and 3 hours, 40 minutes on express ferries, while from Calvi, conventional vessels take 3 hours, 45 minutes and express vessels take 2 hours, 45 minutes. An average of four ferries a day sail on these routes, with more during summer.

Panorama of Cannes Waterfront, from which many ferries can be caught.

Twin cities[link]

Cannes is twinned with:

• 

  The aerial view of Cannes

• Cannes Marina.jpg

  The marina at Cannes

• Jardins de la croisette, Cannes.jpg

  The Croisette gardens

• Ile st honorat.jpg

  St Honorat Island

• Cannes Town Hall .jpg

  Hôtel de Ville (The City Hall)

• Rocks on the beach in Cannes.jpg

  The rocky beaches in Cannes

• 

  The old harbour

See also[link]

• Communes of the Alpes-Maritimes department

References[link]

• INSEE

External links[link]

Wikimedia Commons has media related to: Cannes

• Cannes at the Open Directory Project (English)
• Information and photos from Provence Beyond web site
• Photos fine art of Cannes
• The City Hall official website (French)
• Cannes Film Festival official website (French) (English)
• News site for travellers to Cannes (English)
• Panoramic virtual tour of the Cannes seafront
• Photos, videos, paintings of Cannes and Cannes film Festival (frenc/english and more)

v t e Communes of the Alpes-Maritimes department Aiglun Amirat Andon Antibes Ascros Aspremont Auribeau-sur-Siagne Auvare Bairols Le Bar-sur-Loup Beaulieu-sur-Mer Beausoleil Belvédère Bendejun Berre-les-Alpes Beuil Bézaudun-les-Alpes Biot Blausasc La Bollène-Vésubie Bonson Bouyon Breil-sur-Roya Briançonnet La Brigue Le Broc Cabris Cagnes-sur-Mer Caille Cannes Le Cannet Cantaron Cap-d'Ail Carros Castagniers Castellar Castillon Caussols Châteauneuf-d'Entraunes Châteauneuf-Grasse Châteauneuf-Villevieille Cipières Clans Coaraze La Colle-sur-Loup Collongues Colomars Conségudes Contes Courmes Coursegoules La Croix-sur-Roudoule Cuébris Daluis Drap Duranus Entraunes L'Escarène Escragnolles Èze Falicon Les Ferres Fontan Gars Gattières La Gaude Gilette Gorbio Gourdon Grasse Gréolières Guillaumes Ilonse Isola Lantosque Levens Lieuche Lucéram Malaussène Mandelieu-la-Napoule Marie Le Mas Massoins Menton Mouans-Sartoux Mougins Moulinet Les Mujouls Nice Opio Pégomas Peille Peillon La Penne Péone Peymeinade Pierlas Pierrefeu Puget-Rostang Puget-Théniers Revest-les-Roches Rigaud Rimplas Roquebillière Roquebrune-Cap-Martin Roquefort-les-Pins Roquesteron Roquestéron-Grasse La Roquette-sur-Siagne La Roquette-sur-Var Roubion Roure Le Rouret Saint-André-de-la-Roche Saint-Antonin Saint-Auban Saint-Blaise Saint-Cézaire-sur-Siagne Saint-Dalmas-le-Selvage Sainte-Agnès Saint-Étienne-de-Tinée Saint-Jean-Cap-Ferrat Saint-Jeannet Saint-Laurent-du-Var Saint-Léger Saint-Martin-d'Entraunes Saint-Martin-du-Var Saint-Martin-Vésubie Saint-Paul-de-Vence Saint-Sauveur-sur-Tinée Saint-Vallier-de-Thiey Sallagriffon Saorge Sauze Séranon Sigale Sospel Spéracèdes Tende Théoule-sur-Mer Thiéry Le Tignet Toudon Touët-de-l'Escarène Touët-sur-Var La Tour Tourette-du-Château Tournefort Tourrette-Levens Tourrettes-sur-Loup La Trinité La Turbie Utelle Valbonne Valdeblore Valderoure Vallauris Venanson Vence Villars-sur-Var Villefranche-sur-Mer Villeneuve-d'Entraunes Villeneuve-Loubet

La Argentina

Antonia Mercé y Luque (September 4, 1890 – July 18, 1936), stage name La Argentina, was a dancer known for her creation of the neoclassical style of Spanish dance as a theatrical art.^[1] She was one of the major influences on Japanese butoh dancer Kazuo Ohno.^[2]

It is given to few artists to incarnate in their art, at a given epoch, the distinct characteristics of their race and its conception of the beautiful, and this, in a manner so in complete and significant that their names get identified with a peculiar way of living and the story of their life becomes a page of history. It is to one such artist representative of her art, of her country, of her age that this short study is consecrated. The recent unexpected renaissance of Spanish dancing, an art whose creative power seemed to have been exhausted, is due primarily to the singular genius of one dancer, La Argentina. Alone she has epitomized and regenerated a form long cheapened and falsified by the music-hall gypsies turned out wholesale in Seville. And her indescribable success has loosened a new onslaught of Spanish dancing, the oldest and noblest of European exotics."^[3]

Early life[link]

She was born in Buenos Aires, Argentina. A talented young dancer, her career was greatly influenced by her parents Manuel Mercé (an Andalusian), and Josefina Luque (a Castilian), themselves professional Spanish dancers. It was due to them that La Argentina's entire life was mainly focused on dance, where her parents greatly wanted her to excel. She studied ballet with her parents in her youth. She trained mainly with her father, who taught her to dance at the age of four. When she was nine years old, she debuted at the Teatro Real in Madrid, Spain. At the age of 11, she was a star dancer at the Madrid Opera.

Shortly after the death of her father, La Argentina retired from ballet. After this life-transforming event, at the age of 14, La Argentina started studying native Spanish dances with her mother.

Career[link]

For several years to come, her style of dancing was not highly admired in her society; therefore she could not perform in theatres or in concerts (in which she was used to dancing). She danced wherever she could, which meant performing in café cantantés and music halls.

Prior to World War I, La Argentina was extremely admired in Paris,^{[citation needed]} where she accepted invitations to dance at the Moulin Rouge, the Théâtre des Champs-Élysées, and other important locations. Years later, she took interest in a gypsy-style dance and made it her own.

In her career she made six transcontinental tours in North America, sometimes accompanied by flamenco guitarist Carlos Montoya.

Awards[link]

She received several awards, including the French Légion d'honneur and the Spanish Orden de Isabel la Católica.

Death[link]

She died on July 18, 1936, in Bayonne, France.

Contribution to formal dance[link]

Her contributions to formal dance are expressed in her style, her choice of music, her use of castanets, and her structuring of performances.

Style[link]

« For the past year I have had a passion for Argentina. The rigour of her classical formation, her knowledge and her taste bring dignity and nobleness to Spanish folklore, and fills me with respect. I feel like I am entering the Escurial when I am with her. » (Edwige Feuillère )^[4]

« While there had always been a great flowering of folkloric dances in Spain, the history of formal dance itself began only in 1920 with Argentina and Escudero. Diaghilev admired them a lot. » (Serge Lifar)

« From what it was, a colourful facet of popular culure, Spanish formalized dance turns, thanks to her genius and infinite patience, into a choreographic style destined to universal acceptance. »(Jean Dorcy)

La Argentina created her own style. Spain has 49 provinces with very different traditions, where the levels of artistic interpretation go from the crudest popular taste to the most austere sobriety. Certain dances were shapeless, deformed, and forgotten as society changed. La Argentina revived the folklore, catalogued it, sought traditional steps wherever she could fnd them in village squares and in humble dance schools ; she used diplomacy and even subterfuge to be shown a particular step or dance by the elders, such as occurred near Salamanca, where she was able to reconstitute the genuine charrada. She felt strongly that what was presented under that name on stage was not authentic. In denying its popular ancestral roots, Spanish dance in the theatre had become insipid. Italian and French influences had deprived it of its originality. The spirit of genuine Spanish dance had deserted it. La Argentina rekindled that spirit. ^{[5] [6]}

Parallel with this search for authenticity, she systematically made the dances she found conform to her own aesthetic. She married the purity of classical style with the ardour and character of popular art. No element, musical or plastic, escaped her labour of re-creation. She devoted more than eight hours a day to it, submitting each pattem of steps to her sense of rhythm and music. She refined and pruned, keeping only what was essential, she stylized and transformed the lead of regional dances into the finest gold. Thanks to her, Spanish formal dance went into a new phase, and rose to a hitherto unattained level of sublimation.

What do we mean by stylizing or adapting for the stage ? Stylised dance must retain the nature and flavour of folklore while respecting the demands of the stage. What are these ?

- To create space - To accentuate movement - The different parts must fit into the whole - The body becomes moving architecture.

The Spanish dancer has the advantage on this last point. Classical dance extends the form and inflects only during moments of transition, in linear continuity. Essentially it offers surfaces, the Spanish body volumes. Classical dance offers surfaces because it is a product of the stage. On stage we are best seen from the front and in three quarters profile; seen from the side the body loses its radiance. and from the back it loses it entirely. Traditionally the Spanish dancer is seen from all angles. He constantly offers volumes to the eye. A thousand fluid body positions give vigour, ardour and celerity. Classical dance paints, Spanish dance sculpts. Classical form elongates itself, shimmers, rises on tip-toe ; it glides, it loses substance, becomes idealised. Spanish form is earthy, it strikes, presses, accentuates downward, stays close to the ground. Made of broken lines, of sinuous and constantly inflected form. It is ready to leap not in the air as in classical dance. but like a wild animal. In adapting itself to the stage, Spanish dance must retain its specific shapes. If it conforms only to stage demands, it would undoubtedly turn into classical dance. It has no right to do so, because of its roots: it is born in the street, in the bars. It represents a region. It reflects the life of the people. its games and bullfighting, the enticing fan of a young girl, African eroticism, oriental gypsy mystery. The court dancer did not possess the triple benefit of their historical, ethnographical and psychological background. That is why he could care only about linear beauty. (^[7])

Music[link]

La Argentina was the first to use music for Spanish dance of the great contemporary composers such as Isaac Albéniz, de Falla, Granados and Turina. The musical monuments of these four composers demanded broad choral movements that folklore did not possess. Taking as their base the guitar's melodic micro-universe, and influenced by foreign (especially Russian and French) composition styles, they considerably widened their musical palette. She also elicited scores from the young composers of her country such as Halffter, Espla, Duran.

Great artists accompanied her on the piano. In 1926 Joaquin Nin, pianist and composer arranged many popular songs and Amparo Navaro, née Iturbi, sister of José Iturbi. Carmencita Perez played in 1926 and 1929–30; Miguel Berdion in late 1929 and 1930, and in 1931 in New York. Luis Galve was her accompanist from 27 March 1931 until the end.

La Argentina used any music that suited her temperament. The interaction between music and dance, the parallels she found between melodic line and body profile, intermingled. Her inner vigour seemed to produce both music and dance, so much that any gesture became music for the eye.

Castanets[link]

Of using castanets she

As a little girl ( I was three or four perhaps), I used to hear the insistent, percussive sound of the big castanets when my parents gave lessons. The unmusical noise irritated me so much that I would go and hide in the furthest part of the apartment so as not to hear its reverberation. There I would practice my tiny hands on a pair of castanets my father had given me, and more or less unconsciously - one hardly uses reason at that age - I sought to draw sounds from my instrument that did not hurt my ears. Such were my beginnings and I can only say that my liking for castanets came from the disgust that other’s castanets inspired in me".^[8]

Even as a simple accompanist to regional dances, Argentina became an astonishing soloist and the castanets a genuine concert instrument, even going so far as to modifying their design to obtain more satisfying tones. "The public not only liked Argentina's dancing, and her slim, gently curving arms, it also enjoyed her castanet performance. It was a virtuoso display. "The perfection of her interpretation and the faultless manner of expressing the smallest musical nuance drew comparison with the great Toscanini. « Her performance contained such subtleties » André Levinson said, « such a variety of tones that they were almost like a voice, and such an intensity of expression impatience, challenge and triumph - that they not only amounted to a voice but to a language! « As the famous Spanish-Cuban composer, Joaquin Nin, who styled himself as teacher of perfect Bach and whom I used to see for this reason once said, I always refused to be shackled, even if the chain was the customary pearl necklace offered young women after marriage. But I adored the thread of pearls provided by Argentina's castanets, when she would come as my lessons with him were fnishing to rehearse the wonderful dances of her first recitals at number 27, rue Henri-Heine. » Nothing henceforward would be as before. She was imitated. Some tried to equal her. All the great artists of Spain adopted her musical notation for castanets. She gave Spanish dance her own special imprint, which nowadays it would be inconceivable to do without; she showed the way to future castanet performers, and facilitated the instrument's admittance to the orchestra.^[9][10]

Recital format[link]

Argentina was also the first to inaugurate the recital format, performing her own choreography for concerts in which she was alone on stage, accompanied simply by a pianist, occasionally by a guitarist, especially for the flamenco dances. Her guitarist throughout was Salvador Ballesteros, a family friend. She did not succeed all at once. Like everything else in her career (which began very modestly in Madrid, to end up at the Paris Opera), it happened progressively. She first performed dances in variety programmes, then in pieces with orchestral music; later on in dances where less importance was accorded the orchestra. Her first shows in 1925 during a European tour and in the South of France were shared with Joaquin Nin the composer and soloist, the singer Alicita Felici, with Mme Ginesty-Brisson at the piano, or with the opera singer Dolores de Silvera. The same programme took place at the Salle Gaveau, in Paris, on January 10, 1926. It was in Berlin, on October 15, 1926, that she gave her first solo recital with Carmencita Perez as accompanist. At the end of October of the same year, she gave the same performance in Stockholm, then at the Salle Gaveau in Paris. From then on, she retained the same format:

1927: Salle Gaveau, Théâtre Femina 1928: Salle Pleyel 1929: Théâtre des Champs-Elysées 1933: On December 3, first recital at the Paris Opera 1934: Gala at the Opera, and recital at the Opera Comique 1936: Springtime saw her in Cannes where the kings of Sweden and Denmark applauded her; in May she retumed to Paris and, except for her own ballets, always performed alone on stage with ever-increasing triumph around the world. Argentina was also the first artist of such fame to give recitals at inexpensive prices that were within everybody's range, at the old Trocadero which held more than fve thousand seats. The success of these popular shows was sheer madness. She was obliged to renew the experience several times a season as it had become a tradition expected by all Parisians, who jammed the box-offces, the thousands of seats available beind sold out in a single day.

Main creations[link]

1. Concert dances

1912 El Garrotin, based on a popular air. La Corrida, music by Valverde (taken from choreographies created in 1910 for the opérette l’Amour en Espagne Tango Andalou, music by Ballesteros.

1916 Danse des Yeux verts, music specially composed by Granados.

Between 1916 and 1921 :Habanera, music by Pablo de Sarasate. Cordoba, music by Albeniz. Danza V, music by Granados.

1921 Sevilla, music by Albeniz. Serenata, music by Malats. Sérénade Andalouse, music by C. Ruecker.

1925 Danse du Feu, music by Manuel de Falla. Andalouse Sentimentale, music by Turina. Boléro Classique, music by Iradier. Bohémiene, based on a popular air. Seguidilla (without music).

1926 Mexicaine, based on a popular air. Ciel de Cuba, based on a popular air.

1927 Valencia, music by C. Ruecker. Chaconne, music by Albeniz.

1928 Serenata Andaluza, music by Manuel de Falla. Jota Valenciana, music by Granados. Danse Gitane, music by Infante. Lagerterana, music by Guerrero.

1929 la vie brève, music by de Falla. Carinosa, popular music from the Philippines. Jota Aragonesa, music by de Falla.

1930 Goyescas, music by Granados. Danse Ibérienne, music specially composed by Joaquin Nin. Danse de la Meunière, music by de Falla.

1932 Almeria, music by Albeniz. La Romeria de los Cornudos, music by Pittaluga (The Shawl Dance - a dance from Granada). Puerta de Tierra, music by Albeniz. Danse du Meunier, music by de Falla. Légende, music by Albeniz. Charrada, popular music from Salamanca. Malaguena, music by Albeniz. Castilla, music by Albeniz, « Matid 1 800 ». Cuba, music by Albeniz. Alegrias, music by Ballesteros.

1933 Zapataedo, music by Granados. Tientos, music by Infante.

1934 Sacra-Monte, music by Turina. Esquisse Gitane, music by Infante. La Fregona, music by Vives. Suite Argentine, based on a popular air (Condicion-Bailecito - Zamba). Suite Andalouse, based on popular airs (Sevillanas-Peteneras - Bulerias).

1936 1935 Fandango, music by Turina. Polo Gitano, music by Breton. La Firmeza, based on Argentinian popular music, becoming the last dance in the Suite Argentine.

2. Ballets

1925 L’Amour Sorcier, music by Manuel de Falla.

1927 El Fandango de Candi, music by Duran. Argentina successively expressed feminine shrewdness, thwarted love, tenderness, wearing a pink costume with cubist flounces cut into scallops.

1927 Au coeur de Seville, cuadro flamenco based on a popular air.

1928 Sonatine, music by Ernesto Halffter. This ballet, a mixture of Old France and Castilla, made Spanish courtly dancing come to life again. With delightful touch, Argentina introduces a shepherdess on stage, gliding and pirouetting imperceptibly.

1928 Le Contrebandier, music by Oscar Espla, where the future Empress Eugénie meets Prosper Mérimée and where the countess of Teba saves a smuggler who is pursued by two opérette gendarmes.

1928 Juerga, music by Julien Bautista. Scenes of popular life in Madrid around 1 885 : returning from a popular festival, young people from good families in search of pleasure mingle with common folk, and give themselves to unrestrained jollity : turmoil, dancing, and colourful to-ing and fro-ing.

1929 Triana, music by Albeniz. Lovers' tiffs during the Corpus Christi in Sevilla.

Notes[link]

Further reading[link]

• Suzanne F. Cordelier: La vie brève de la Argentina. Paris 1936
• Monique Paravicini (ed.): Argentina. Gilberte Cournand, Paris 1956
• Argentina. Bienal de Arte Flamenco (V el Baile). Sevilla 1988
• Ministerio de Cultura (ed.): Homenaje en su Centenario 1890-1990 Antonia Mercé 'La Argentina'. Madrid 1990
• Suzanne de Soye: Toi qui dansais, (you danced and danced) Argentina. Paris 1993
• Carlos Manso: La Argentina, fue Antonia Mercé. Buenos Aires 1993
• Ria Schneider (ed.): Argentina. Antonia Mercé. Kastagnettenstücke, entstanden 1912-1936. IGkK, Köln 1993
• Brygida M. Ochaim, Claudia Balk: Varieté-Tänzerinnen um 1900. Vom Sinnenrausch zur Tanzmoderne, Ausstellung des Deutschen Theatermuseums München 23.10.1998–17.1.1999., Stroemfeld, Frankfurt/M. 1998, ISBN 3-87877-745-0

External links[link]

• La Argentina's biography
• Short Biography
• Tarot & Dance: The Dancing Queens, Antonia Merce, La Argentina, Queen of Coins(c) Cheryl Lynne Bradley 2003] at TarotCanada.tripod.com La Argentina
• Legado de Antonia Mercé La Argentina en la Fundación Juan March(Spanish).
• Archive of Antonia Mercé La Argentina, Fundación Juan March-Madrid(English).

1. REDIRECT Amitabh Bachchan

Leonardo DiCaprio
DiCaprio at the Shutter Island premiere at the 60th Berlin International Film Festival.
Born	Leonardo Wilhelm DiCaprio (1974-11-11) November 11, 1974 (age 37) Los Angeles, California, U.S.
Occupation	Actor, film producer
Years active	1989–present
Website
www.leonardodicaprio.com

Leonardo Wilhelm DiCaprio (/dɨˈkæpri.oʊ/; born November 11, 1974)^[1] is an American actor and film producer. He has been nominated for the Golden Globe Award eight times as an actor, and won the Golden Globe Award for Best Actor for his performance in The Aviator (2004). He has also been nominated by the Academy Awards, Screen Actors Guild, Satellite Awards, and the British Academy of Film and Television Arts.

Born and raised in Los Angeles, California, DiCaprio started his career by appearing in television commercials prior to landing recurring roles in TV series such as the soap opera Santa Barbara and the sitcom Growing Pains in the early 1990s. He made his film debut in the comedic sci-fi horror film Critters 3 (1991) and received first notable critical praise for his performance in This Boy's Life (1993). DiCaprio obtained recognition for his subsequent work in supporting roles in What's Eating Gilbert Grape (1993) and Marvin's Room (1996), as well as leading roles in The Basketball Diaries (1995) and Romeo + Juliet (1996), before achieving international fame in James Cameron's Titanic (1997).

Since the 2000s, DiCaprio has been nominated for awards for his work in such films as Catch Me If You Can (2002), Gangs of New York (2002), The Aviator (2004), Blood Diamond (2006), The Departed (2006), and Revolutionary Road (2008). His latest films Shutter Island (2010) and Inception (2010) rank among the biggest commercial successes of his career.^[2] DiCaprio owns a production company named Appian Way Productions, whose productions include the films Gardener of Eden (2007) and Orphan (2009). A committed environmentalist, DiCaprio has received praise from environmental groups for his activism.^[3]

Early life and family[link]

DiCaprio, an only child, was born in Los Angeles, California. His mother, Irmelin (née Indenbirken), is a German-born former legal secretary, and his father, George DiCaprio, is an underground comic artist and producer/distributor of comic books.^[4] DiCaprio's mother moved from Oer-Erkenschwick at the Ruhr, Germany, to the U.S. during the 1950s. DiCaprio's father is of half Italian (from the Naples area) and half German descent (from Bavaria), and is a fourth-generation American.^[1][5][6] DiCaprio's maternal grandmother, Helene Indenbirken (1915–2008),^[7] who was born Yelena Smirnova, was a Russian immigrant to Germany.^[8]

DiCaprio's parents met while attending college and subsequently moved to Los Angeles.^[1] He was named Leonardo because his pregnant mother was looking at a Leonardo da Vinci painting in a museum in Italy when DiCaprio first kicked.^[9] DiCaprio was raised Catholic.^[10][11]

His parents divorced when he was a year old and he lived mostly with his mother. The two lived in several Los Angeles neighborhoods, such as Echo Park, and at 1874 Hillhurst Avenue, Los Feliz district (which was later converted into a local public library), while his mother worked several jobs to support them.^[1] He attended Seeds Elementary School and graduated from John Marshall High School a few blocks away, after attending the Los Angeles Center for Enriched Studies for four years.

Career[link]

Early career[link]

DiCaprio's career began with his appearance in several commercials and educational films. After being booted off the set of children's television series Romper Room for being disruptive at the age of five,^[12] DiCaprio followed his older stepbrother Adam Farrar into television commercials, landing an ad for Matchbox cars at 14.^[12] In 1990, he got his break on television when he was cast in the short-lived series based on the movie Parenthood. After Parenthood, DiCaprio had bit parts on several shows, including The New Lassie and Roseanne, as well as a brief stint on the soap opera Santa Barbara, playing the young Mason Capwell. His involvement in Parenthood and the daily soap earned him a nomination for the Young Artist Award for Best Young Actor each.

1991–95[link]

His debut film role was in the comedic sci-fi horror film Critters 3, in which he played the stepson of an evil landlord, a role that DiCaprio described as "your average, no-depth, standard kid with blond hair."^[13] Released in 1991, the movie went direct-to-video.^[13] Soon after, he became a recurring cast member on the ABC sitcom Growing Pains, playing Luke Brower, a homeless boy who is taken in by the Seaver family. DiCaprio made his big screen breakthrough in 1992, when he was handpicked by Robert De Niro out of 400 young actors to play the lead role in This Boy's Life, co-starring Ellen Barkin and De Niro himself.^[12]

Later in 1993, DiCaprio co-starred as the mentally handicapped brother to Johnny Depp in What's Eating Gilbert Grape, a comic-tragic odyssey of a dysfunctional Iowa family. Director Lasse Hallström admitted he was initially looking for a less good-looking actor but finally settled on DiCaprio as he had emerged as "the most observant [actor]" among all auditioners.^[13] Budgeted at US$11.0 million,^[14] the film became a financial and critical success, resulting in a domestic box office total of US$9.1 million and various accolades for DiCaprio, who was awarded the National Board of Review Award and nominated for both an Academy Award and a Golden Globe for his portrayal. New York Times critic Janet Maslin praised DiCaprio's performance, writing "the film's real show-stopping turn comes from Mr. DiCaprio, who makes Arnie's many tics so startling and vivid that at first he is difficult to watch. The performance has a sharp, desperate intensity from beginning to end."^[15]

DiCaprio's first effort of 1995 was Sam Raimi's The Quick and the Dead, a western film in which he appeared alongside Gene Hackman, Sharon Stone, and Russell Crowe, playing the role of Hackman's alleged son named Kid. Sony Pictures was dubious over DiCaprio's casting, and as a result, Stone decided to pay for the actor's salary herself.^[16] The film was released to a dismal box office performance, barely grossing US$18.5 million in the United States, and received mixed reviews from critics.^[17] Jonathan Rosenbaum from the Chicago Reader observed that "Raimi tries to do a Sergio Leone, and though The Quick and the Dead is highly enjoyable in spots, it doesn't come across as very convincing."^[18] Afterwards DiCaprio starred in Total Eclipse, a fictionalized account of the homosexual relationship between Arthur Rimbaud and Paul Verlaine, played by David Thewlis. He replaced River Phoenix in the role of Rimbaud, who had died during pre-production on the project.^[19] A minor arthouse success, the film grossed US$0.34 million throughout its domestic theatrical run.^[20]

DiCaprio appeared alongside friends Kevin Connolly and Tobey Maguire in the mostly improvised short film called Don's Plum as a favor to aspiring director R.D. Robb.^[12] When Robb decided to expand the black-and-white film to feature length however, DiCaprio and Maguire obtained its blocking, arguing that they never intended to make it a theatrical release as it would have commercial value thanks to their stardom.^[12] Nevertheless, the film eventually premiered at the 2001 Berlin International Film Festival, where it was well-received by critics, with Time Out New York writer Mike D'Angelo calling it "the best film [I saw] in Berlin." DiCaprio's last film of the year 1995 was The Basketball Diaries, a biopic about Jim Carroll.

1996–2001[link]

In 1996, DiCaprio appeared opposite Claire Danes in Baz Luhrmann's film Romeo + Juliet, an abridged modernization of William Shakespeare's romantic tragedy of the same name which retained the original Shakespearean dialogue. The project was one of the first films to cash in on DiCaprio's future star-status, with a worldwide box office take of $147 million.^[21]

Later that year, he starred in Jerry Zaks' family drama Marvin's Room, reuniting with Robert De Niro. Based on Scott McPherson's screenplay adaptation of his own 1991 stage play of the same name, the film revolves around two sisters, played by Meryl Streep and Diane Keaton, who are reunited through tragedy after 17 years of estrangement.^[22] DiCaprio portrayed the character of Hank, Streep's troubled son, who has been committed to a mental asylum for setting fire to his mother's house.^[23] On his Chlotrudis Award-winning performance, Lisa Schwarzbaum of Entertainment Weekly commented: "The deeply gifted DiCaprio [..] keeps right up with these older pros [Keaton and Streep]. The three are so full-bodied and so powerfully affecting that you're carried along on the pleasure of being in the presence of their extraordinary talent."^[23]

DiCaprio at a press conference for The Beach in February 2000

In 1997, DiCaprio starred in James Cameron's Titanic (1997), alongside Kate Winslet. Cast as twenty-year-old Jack Dawson, a penniless Wisconsin man who wins two tickets for the third-class on the ill-fated RMS Titanic, DiCaprio initially refused to portray the character but was eventually encouraged to pursue the role by Cameron who strongly believed in his acting ability.^[24] Against expectations, the film went on to become the highest-grossing film to date (it was surpassed in 2010 by Cameron's directorial follow-up, Avatar), grossing more than US$1.843 billion in box-office receipts worldwide,^[25] and transformed DiCaprio into a commercial movie superstar, resulting in fan worship among teenage girls and young women in general that became known as "Leo-Mania."^[26] He was nominated for most of the high-profile awards, including a second Golden Globe nomination. Upon the success of Titanic, DiCaprio stated in 2000: "I have no connection with me during that whole Titanic phenomenon and what my face became around the world [...] I'll never reach that state of popularity again, and I don't expect to. It's not something I'm going to try to achieve either."^[27]

The following year, DiCaprio made a self-mocking cameo appearance in Woody Allen's caustic satire of the fame industry, Celebrity (1998). That year, he also starred in the dual roles of the villainous King Louis XIV and his secret, sympathetic twin brother Philippe in Randall Wallace's The Man in the Iron Mask, based on the same-titled 1939 film. Despite receiving a rather mixed to negative response,^[28] the film became a box office success, grossing US$180 million internationally.^[29] Though DiCaprio's performance was generally well-received, with Entertainment Weekly critic Owen Gleiberman writing that "the shockingly androgynous DiCaprio looks barely old enough to be playing anyone with hormones, but he's a fluid and instinctive actor, with the face of a mischievous angel,"^[30] he was awarded a Golden Raspberry Award for Worst Screen Couple for both incarnations the following year.

DiCaprio's next project was the drama film The Beach (2000), an adaption of Alex Garland's same-titled 1996 novel. Starring alongside Tilda Swinton and Virginie Ledoyen, he played an American backpacking tourist looking for the perfect way of life in a secret island commune in the Gulf of Thailand. Budgeted at $US50 million, the film became a financial success, grossing $US144 million worldwide,^[31] but as with DiCaprio's previous project, the film was largely panned by critics.^[32] Todd McCarthy of Variety noted that "Richard [DiCaprio's role] is too much the American Everyman and not enough of a well-defined individual to entirely capture one's interest and imagination, and DiCaprio, while perfectly watchable, does not endow him with the quirks or distinguishing marks to make this man from nowhere a dimensional character."^[33] The next year, he was nominated for another Razzie Award for his work on the film.

2002–07[link]

DiCaprio's first film of 2002 was the crime-comedy Catch Me If You Can, based on the life of Frank Abagnale Jr., who, before his 19th birthday, used his charm, confidence, and several different personas, to make millions in the 1960s writing bad checks. Directed by Steven Spielberg and co-starring Tom Hanks and Christopher Walken, the film was shot in 147 different locations in only 52 days, making it "the most adventurous, super-charged movie-making" DiCaprio had experienced yet.^[34] Catch Me If You Can received favourable reviews and proved to be an international success, becoming Dicaprio's highest-grossing film since Titanic with a total of US$351.1 million worldwide.^[35] Roger Ebert praised his performance, and noted that while "DiCaprio, who in recent films [...] has played dark and troubled characters, is breezy and charming here, playing a boy who discovers what he is good at, and does it."^[36] The following year, DiCaprio received his third Golden Globe nomination for his work on the film.

DiCaprio at the pre-premiere of Gangs of New York at the 2002 Cannes Film Festival.

Also in 2002, DiCaprio appeared in Martin Scorsese's Gangs of New York, a historical film set in the mid-19th century in the Five Points district of New York City. Director Scorsese initially struggled selling his idea of realizing the film until DiCaprio became interested in playing protagonist Amsterdam Vallon, a young leader of the Irish faction, and thus, Miramax Films got involved with financing the project.^[37] Nonetheless production on the film was plagued by blown-out budgets and producer-director squabbles, resulting in a marathon eight-month shoot and, at US$103 million, the most expensive film Scorsese had ever made.^[37] Upon its release, Gangs of New York became a financial and critical success however.^[38] DiCaprio's acting was well-received but remained overshadowed by Daniel Day-Lewis' performance among most critics.^[37][39]

Forging a collaboration with Scorsese, the two paired again for a biopic of the eccentric and obsessive American film director and aviation pioneer Howard Hughes in The Aviator (2004). Centering on Hughes' life from the late 1920s to 1947, DiCaprio initially developed the project with Michael Mann, who decided against directing it after back-to-back film biographies in Ali and The Insider.^[39] The actor eventually pitched John Logan's script to Scorsese, who quickly signed on to direct. Altogether, DiCaprio reportedly spent more than a year and a half in preparation for the film which was not necessarily shot in continuity because of actors and locations schedules.^[39] The Aviator became a critical and financial success.^[40] DiCaprio received rave reviews for his performance and won a Golden Globe Award for Best Actor, also receiving another Academy Award nomination.

In 2006, DiCaprio starred in both Blood Diamond and The Departed. In Edward Zwick's war film Blood Diamond, he co-starred alongside Jennifer Connelly and Djimon Hounsou as a diamond smuggler from Rhodesia who is involved in the Sierra Leone Civil War. The film itself received generally favorable reviews,^[41] and DiCaprio was praised for the authenticity of his South African Afrikaner accent, known as a difficult accent to imitate.^[42] In Scorsese's The Departed he played the role of Billy Costigan, a state trooper working undercover in an Irish Mob in Boston. Highly anticipated, the film was released to overwhelmingly positive reviews and became one of the highest-rated wide release films of 2006.^[43] Budgeted at US$90 million, it also emerged as DiCaprio and Scorsese's highest-grossing collaboration to date, easily beating The Aviator´s previous record of US$213.7 million.^[44] DiCaprio's performance in The Departed was applauded by critics and earned him a Satellite Award for Best Supporting Actor. The same year, both the Golden Globes and the Screen Actors Guild nominated DiCaprio twice in the Best Actor category for both of his 2006 features, and in addition, DiCaprio earned his third Academy Award nomination for Blood Diamond.

2008–present[link]

In 2008, DiCaprio starred in Body of Lies, a spy film based on the novel of the same name by David Ignatius, set in context of the Middle East and the War on Terror, unfolding the story of three men battling a terrorist organization, and each other.^[45] Directed by Ridley Scott and co-starring Russell Crowe and Vince Colosimo, DiCaprio dyed his hair brown and wore brown contacts for the role, which he chose to pursue because he considered it a throwback to political films in the 1970s such as The Parallax View (1974) and Three Days of the Condor (1975).^[45] The film received mixed reviews from critics,^[46] and at a budget of US$67.5 million, became a moderate box office success, grossing US$115 million worldwide.^[47]

DiCaprio at a charity event in March 2009.

The same year, DiCaprio reunited with Kate Winslet to film the drama Revolutionary Road (2008), directed by Winslet's then-husband Sam Mendes. As both actors had been reluctant to make romantic films similar to Titanic, it was Winslet who suggested that both should work with her on a film adaptation of the 1961 novel of the same name by Richard Yates after reading the script by Justin Haythe, knowing that plot had little in common with the 1997 blockbuster.^[48] Once DiCaprio agreed to do the film, it went almost immediately into production.^[49] He noted that he saw his character as "unheroic" and "slightly cowardly" and that he was "willing to be just a product of his environment."^[50] Portraying a couple in a failing marriage in the 1950s, DiCaprio and Winslet watched period videos promoting life in the suburbs to prepare themselves for Revolutionary Road, which earned them favorable reviews.^[51] For his portrayal DiCaprio garnered his seventh nomination from the Golden Globes.

DiCaprio continued his run with Scorsese in the 2010 psychological thriller film Shutter Island (2010), based on the 2003 novel of the same name by Dennis Lehane. Co-starring Ben Kingsley, Mark Ruffalo and Michelle Williams in supporting roles, the actor played U.S. Marshal Edward "Teddy" Daniels, who is investigating a psychiatric facility located on an island and comes to question his own sanity. With US$41 million, the film opened at number-one at the box office, giving both DiCaprio and Scorsese their best box office opening yet.^[52]

Also in 2010, DiCaprio starred in director Christopher Nolan's science-fiction film Inception. Inspired by the experience of lucid dreaming and dream incubation,^[53] DiCaprio portrays the character of Dom Cobb, an "extractor" who enters the dreams of others to obtain information that is otherwise inaccessible.^[54] Cobb is promised a chance to regain his old life in exchange for planting an idea in a corporate target's mind.^[55] DiCaprio, the first actor to be cast in the film,^[56] was "intrigued by this concept — this dream-heist notion and how this character's gonna unlock his dreamworld and ultimately affect his real life."^[57] Released to critical acclaim, the film grossed over US$21 million on its opening day, with an opening weekend gross of US$62.7 million.^[58]

In 2011, DiCaprio starred in Clint Eastwood's J. Edgar, a biopic about J. Edgar Hoover, the controversial first director of the FBI. He was also cast in the title role in Oliver Stone's film Travis McGee, in which he is expected to play a salvage consultant who helps his clients to recover lost property, and is attached to star as a father who kidnaps and tortures the man who kidnapped his daughter in the thriller Prisoners.^[59] In addition, DiCaprio is said to be involved in the pre-production of Ridley Scott's projects The Wolf of Wall Street and Brave New World, Marc Forster's The Chancellor Manuscript and the biopic Sinatra, a film about Frank Sinatra to be directed by Martin Scorsese.^[59] In July 2010, it was announced that DiCaprio had pulled out of a Viking movie to be directed by Mel Gibson amid controversy over Gibson's rage-fueled rant tapes and domestic violence probe.^[60] On November 1, 2010, it was announced that DiCaprio's production company had acquired the rights to the Erik Larson novel, The Devil in the White City.^[61] The novel tells the true story of Dr. H. H. Holmes, a serial killer responsible for the death of hundreds of women during the Chicago World's Fair.^[62] It has also been announced that DiCaprio will star in the film, playing the role of serial killer H. H. Holmes.^[63] He was also cast in the role of Jay Gatsby in Baz Luhrmann's upcoming adaptation of the novel The Great Gatsby.^[64]

On November 19, 2010, it was announced that DiCaprio will produce and star in the upcoming 2013 movie based on the book Legacy of Secrecy by Lamar Waldron and Thom Hartmann. The storyline examines how, in the early 1960s, the combined forces of the Central Intelligence Agency and the Mafia conspired to initiate and execute the assassination of President John F. Kennedy.^[65] DiCaprio is expected to play FBI informant Jack Van Laningham. The book asserts that Mafia godfather Carlos Marcello confessed to Van Laningham that he had ordered JFK's assassination, while the CIA and the Mafia were conspiring together to try to assassinate Fidel Castro. After the assassination, as part of a dangerous and long-secret undercover operation, the FBI positioned Van Laningham to become a confidant to Marcello, who ruled organized crime in Louisiana and most of Texas for decades.

DiCaprio will star as villainous Calvin Candie in the upcoming Quentin Tarantino film, Django Unchained.^[66] Principal photography started in California, Wyoming, and Louisiana in the first few months of 2012.^[67][68][69] He will reunite with Scorsese for the fifth time in The Wolf of Wall Street, a true story based on the life of stockbroker Jordan Belfort, who was arrested in the late 1990s for security fraud and money laundering.^[70][71]

Personal life[link]

DiCaprio is a close friend of actor Tobey Maguire, whom he met while auditioning for the Parenthood series in 1990, and is a longtime friend of both fellow actors Kevin Connolly and Lukas Haas,^[72] and Titanic and Revolutionary Road co-star Kate Winslet. He was a childhood friend of Christopher Pettiet.^[73]

DiCaprio at the red carpet at the 2007 Tribeca Film Festival.

His romantic relationships have been widely covered in the media.^[74] DiCaprio dated model Kristen Zang on-and-off for several years, and British model and socialite Emma Miller.^[75] In 2001, he met Brazilian model Gisele Bündchen with whom he had an on-and-off relationship until their separation in 2005. DiCaprio began a relationship with model Bar Refaeli in November 2005 after meeting her at a Las Vegas party thrown for members of U2.^[76] In the course of their trip to Israel in March 2007, the couple met with Israeli president Shimon Peres and visited Refaeli's hometown of Hod HaSharon.^[77] The relationship was on hold for a period of six months starting in June 2009; in early 2010, the romance was rekindled.^[78][79] In May 2011, it was reported that the couple had ended their romantic relationship, although still remaining friends.^[80] In August 2011, it was reported that he was in a relationship with actress Blake Lively since mid-May.^[81][82] They ended their relationship in October 2011.^[83]

DiCaprio owns a home in Los Angeles and an apartment in the TriBeCa neighborhood in Lower Manhattan. In 2009, he bought an island in Belize on which he is planning to create an eco-friendly resort. He also owns an apartment in Riverhouse, an eco-friendly building overlooking the Hudson River in Manhattan.^[84]

In 2005 DiCaprio's face was seriously injured when Aretha Wilson, a model, hit him over the head with a broken bottle at a Hollywood party. After pleading guilty in 2010, Wilson was sentenced to prison for two years.^[85]

Environmental activism and philanthropy[link]

A committed environmentalist, DiCaprio has received praise from environmental groups for his activism.^[3] In the past,^[86] he has opted to fly on commercial flights instead of chartering private jets, he owns an electric Tesla Roadster,^[87] Fisker Karma plug in hybrid,^[88][89] and a Toyota Prius.^[90] He has also installed solar panels on his house.^[3] In an interview with Ukula about his film the 11th Hour, DiCaprio cited global warming as "the number-one environmental challenge."^[91]

At the 2007 Oscar ceremony, DiCaprio and former Vice President Al Gore appeared to announce that the Academy Awards had incorporated environmentally intelligent practices throughout the planning and production processes, thus affirming their commitment to the environment, and on July 7, 2007, DiCaprio presented at the American leg of Live Earth. In 2010, his environmental work earned DiCaprio a nomination for the VH1 Do Something Award. The awards show, produced by VH1, is dedicated to honoring people who do good and is powered by Do Something, an organization that aims to empower and inspire young people.^[92]

In 1998, DiCaprio and his mother donated $35,000 for a "Leonardo DiCaprio Computer Center" at the Los Feliz branch of the Los Angeles Public Library, the site of his childhood home. It was rebuilt after the 1994 Northridge earthquake and opened in early 1999.^[93] During the filming of Blood Diamond, DiCaprio worked with 24 orphaned children from the SOS Children's Village in Maputo, Mozambique, and was said to be extremely touched by his interactions with the children.^[94] In 2010, he donated $1,000,000 to relief efforts in Haiti after the earthquake.^[95]

During the 2004 Presidential election, DiCaprio campaigned and donated to John Kerry's presidential bid. FEC showed DiCaprio gave $2300 to Barack Obama's presidential campaign in the 2008 U.S. Presidential election, the maximum contribution an individual can give in an election cycle.^[96]

In November 2010, DiCaprio donated $1,000,000 to the Wildlife Conservation Society at Russia's tiger summit. DiCaprio arrived late after two near-miss flights, causing Prime Minister Vladimir Putin to describe him as a "muzhik" or "real man".^[97][98] In 2011, DiCaprio joined the Animal Legal Defense Fund's campaign to free Tony, a tiger who has spent the last decade at the Tiger Truck Stop in Grosse Tete, Louisiana.^[99]

Filmography[link]

References[link]