"I don't know, I really hope that I am there though. I will be working hard and hopefully I can improve my times and start to run some really fast times again," [Asafa Powell] said. "But if I keep doing that, then I will be there (2016 Olympic Games)." "I would love to be in Brazil," said Powell Thursday, August 23 during an interactive online question and answer session with his fans through his sponsor LIME. A very light-hearted Powell, while joking about his age, says he will be working hard to give himself a chance of making the trip to Rio and he is hopeful that he will still be active by the time the next instalment of the Olympic Games comes around.
Jamaica's Usain Bolt and [Shelly-Ann Fraser-Pruce]-Pryce, along with Jessica Ennis, Missy Franklin, Andy Murray, Michael Phelps, Ye Shiwen, Bradley Wiggins and Serena Williams, are among those who received nominations when the shortlist was announced in Rio de Janeiro Monday, December 17. With the exception of Lindsey Vonn, who won her fourth overall skiing World Cup in five years, the nominations for the Laureus World Sportswoman of the Year Award are all dominated by the Olympics. Jamaica's Shelly- Ann Fraser-Pryce, the fastest woman on earth after successfully defending her 100m Olympic title, and Britain's Jessica Ennis, who won the heptathlon gold in front of an ecstatic home crowd, are also among the six nominees.
Considers the role of music, both symbolic and material, in screen representations of Rio de Janeiro since the 1950s. The music of Rio's streets and hillsides has played more than a mere supporting role in the cinematic representations of the city across the last half-century. Embracing samba, bossa nova, MPB, soul, funk, funk carioca (a local variant of Miami bass), and rap, the heterogeneous voices of Rio's soundscape have arguably shaped audiences' understanding and imagination of its cultural geography and social dynamic as much as the films' visual narratives and dramas. The author discusses some key examples spanning the last 50 years, from Nelson Pereira dos Santos's Rio, Zona Norte (Rio, North Zone, 1957) and Marcel Camus's Orfeu negro (Black Orpheus, 1959), to Carlos Diegues's remake Orfeu (Orpheus, 1999) and Fernando Meirelles and Kátia Lund's Cidade de Deus (City of God, 2002). Taking as his point of departure the mythical narrative of Orpheus, he explores the representation of popular music as a force for social redemption, regeneration, and reconciliation. He interrogates the interplay of different musical styles and idioms, such as samba and bossa nova, on screen, and challenges one of the common assumptions about shifts in style and sound: the idea that the harder soundtracks of most recent films (centering on rap and funk carioca) correspond to a necessarily more realistic and truthful representation of the city, as opposed to the allegedly sentimentalized depictions associated with the bossa nova-influenced scores of Orfeu negro and Rio, Zona Norte. In cinematic representations of the city, Rio's musical identity continues to be performed in a dialogue between tradition and innovation, the local and the diasporic, with no song style being more real than any other.
Brazil's tourist-jammed cities are some of the most violent on the planet. A considerable number of the country's 43,000 annual murders occur on the streets of Sao Paulo, Recife, and Rio de Janeiro. And Brazilian cities are not alone in what might be called a bad neighborhood. The fact is that most major Latin American and Caribbean cities are today plagued by an epidemic of violence. With more than 20 murders per 100,000 people, the regional homicide rate is roughly three times the global average. Many of the larger urban centers -- from Caracas and Ciudad Juarez to Kingston and Port-of-Spain -- register the highest rates of lethal violence in the world.