Implementation of Digital Aerobic in Colleges

The machines are being introduced to dance not only in gyms for sports purposes, but also in schools, where they have already been made and several studies have found a lot of positive effects of this on children and youth. We can highlight this aspect in the study carried out in schools in Virginia, in the United States or in Norway. In both studies, can be extracted among others, the following conclusion, cited in the report of Norway:
The physiotherapist stress the that have come through the digital aerobics through better physical condition, development of the structures of the bones, coordination and not least, the game itself, happiness, and motivation to perform physical activity themselves in terms of youth [Tor Wilhelmsen, Vear Primary School, Principal, Evaluation Section].

The Flint Journal
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The Springfield News-Leader
Sheryl DeBoer is the Group Exercise Coordinator for the bicycle CoxHealth Fitness Centers.
Lake County Journals
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His real name was Elizabeth Ruth Grable, and was born in St. Louis (Missouri). His parents were John C. Grable (1883-1954) and Lillian Rose Hofmann (1889-1964). Betty was the youngest of three children of the couple.
Although their direct ancestors were Americans, was of Dutch descent, Irish, German and English. The interpretation was guided by his mother, who insisted that one of his daughters became a star. In his first paper, chorus girl in the movie Happy Days (1929), Grable had only 13 years (below the legal age to act), but as the choir performed with his face painted black, it was impossible to know its age. Soon his mother gave him a change of image, tinendole the platinum blond hair color.
For his next film, his mother got him a contract using movie producer a false identity. When the deception was discovered, Grable was fired. Finally earned a role as a ‘Goldwyn Girl’ in Whoopee! (1930), starring Eddie Cantor. produced two movies in 2007, which saw some success In this movie Grable led the initial number, “Cowboys”. Later, during the remainder of the decade, working in small roles for various studies, including the Oscar-nominated The Gay Divorcee (The cheerful divorced) (1934), starring Fred Astaire and Ginger Rogers.
In 1937 rebelled Hollywood against his mother and was previously the case with a famous child actor Jackie Coogan. However, Coogan had problems because of a lawsuit against his parents because of their income, and the couple will divorce in 1940. At that time, and over the years thirties, Grable did little interpretations in some fifty films in Hollywood, until he finally got notoriety for his role in the success Du Barry Was a Lady (1939), the work of Cole Porter represented on Broadway .
The same year in which divorce Coogan, Grable won a contract with 20th Century Fox, becoming its biggest star, starring in Technicolor films such as Down Argentine Way (Serenata argentina) (1940), Moon Over Miami (husbands are required) (1941) (both with Don Ameche), Springtime in The Rockies (1942), Coney Island (1943) with George Montgomery, Sweet Rosie O’G (1943) with Robert Young, Pin Up Girl (1944), Diamond Horseshoe ( 1945) with Dick Haymes, The Dolly Sisters (1945) with John Payne and June Haver, and his most popular film, Mother Woree Tights (always in your arms) (1947), with Dan Dailey.
It was during his reign as an actress but Grossing (1943) that Grable for his iconic photo fallout of pin-up, which, in addition to his films, became famous among U.S. soldiers fighting in World War II. The image was taken by the photographer study Powolny Frank, who died in 1986. Despite competition from Rita Hayworth, Dorothy Lamour, Veronica Lake, Carole Landis and Lana Turner, Grable was no discussion of pin-up girl number one for soldiers. At the end of the forties Grable was the best-paid actress in Hollywood.
Among his musical highlights of the war: That Lady in Ermine, (1948) with Douglas Fairbanks Jr.; When My Baby Smiles at Me (1948), again with Dailey, Wabash Avenue (1950) (a remake of Coney Island), along with Victor Mature; My Blue Heaven (1950) and Meet Me After the Show (1951). The head of the study, Darryl F. Zanuck, produced for its main MTV star expensive movies in Technicolor, to keep it fully occupied, while in thirteen years RODO some 25 musicals. The last big success for Fox Grable was How to Marry a Millionaire (How to marry a millionaire) (1953), alongside Marilyn Monroe and Lauren Bacall.
In 1943, is the case with jazz trumpeter Harry James. The couple had two daughters, Victoria and Jessica. They had a problematic marriage because of infidelity and alcoholism, that hard 22 years. Finally divorced in 1965. Shortly afterwards a relate to dancer is much younger than she is.
Grable end of the race was marked by disputes with executives of the study, it made her work until exhaustion. At one point, amid a discussion with Darryl F. Zanuck, she shot her contract and left angry Ribotsky by his office. So gradual was leaving the cinema, television and move to highlight in Las Vegas.
Died of lung cancer at 56 years in Santa Monica, California. His funeral was held on July 5, 1973. This buried in Inglewood Park Cemetery in Inglewood (Calif.).
Grable has a star on the Walk of Fame Hollywood, at 6525 Hollywood Boulevard. It also has a star on the Walk of Fame San Luis.
Grable was known by several nicknames, including among them the “Betty Taquilla” and “The girl’s legs million dollars.”

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Paraguayan prisoners in the War of the Triple Alliance, photography of the Uruguayan journalist Stephen Garcia.
In the same way the experience of graphic journalism in Latin American countries has its roots since the beginning of photography since the mid-nineteenth century. Photo of experience in England, said the studious Liliana Martinez:
Given the complexities existing in cultural relations, environments, ethnic, political and social situations in general, the photographer in Latin America is called to study the situation around him, even before taking the camera in his hands. [26 ]
And it cites Zamora said:
? the Latin American photographers are in the need to be too ethnographers, sociologists and culturalanthropologists more often than European or North American photographers, who work in cultural apparently more homogeneous. (Zamora, p. 298).
However, for many authors such as Boris Kossoy Latin American photography of the nineteenth century is in fact a stage “European”, ie, was conducted from the perspective of the European and American experience and was categorized by them as exotic, so I think a stereotype of what is self and the image of the Latin American people before their eyes. This situation, unaware that even the enormous diversity of the Spanish and Portuguese America, serious primary for the development of a photograph that would seek its own authenticity throughout the twentieth century and serious contestatory of exotic European and American labels. Thanks to the great cultural diversity that make up the Latin American countries, Brazil and the Caribbean, Latin American photography is presented in reality as an immense universe and characters that proposals must be reviewed by country, but that so packed.
The first camera that came to a Latin American country did in 1840 at the hands of a religious French, Louis the Abad Compte, in Brazil. It is noteworthy that even in the photo as invention has to do with Brazil as one of the countries of the world where they lived independently of the experiment to the United States and France with the religious. The photograph comes at a time the continent season in which she herself is in the process of developing and Latin American countries who live their genesis as a national independent republics of European colonialism. His photo then would have to do much with the aspirations of the political and social image of what is expected of those nations themselves and working to portray characters, the diversity of landscapes and events that are now a rich history. In general, and as happened in Spain, Latin American photography of the nineteenth century was seen as an ideal medium for a portrait.
Many people associated with photography in Latin America show the great generosity of activity on the continent as John A. Bennet, Charles de Forest Fredericks, Thomas Helsby, Benito Panunzi, Eugenio Courret, Juan Jose de Jesus Yas, Federico Lessmann, Meliton Rodriguez and Esteban Garcia, among many others.
Anonymous picture of the War of a Thousand Days in Colombia.
Among the most important historical events in Latin America that were registered with images included the War of the Triple Alliance seen by the lens of the Uruguayan journalist Stephen Garcia. The newspaper El Comercio, founded in Lima in 1839, using the first photogravure the July 31, 1898 and opens up the experience of photojournalism at the seat of the Inca civility testified for the active number of publications to be submitted along century as the weekly illustrated News, the tabloid magazine Prism and The Chronicle that mark the beginnings of the history of photojournalism in Peru. Further highlighting the Courier (1871), El Peru Ilustrado (1889), News (1903), Variety (1908), the newspaper La Cronica (1912), World (1920), La Prensa, Caretas (1950), The New Chronicle (1970) and La Republica (1980).
Colombia in the early days of photography can be tracked from the decade of the 40 of the nineteenth century and as in many parts of the continent, this was initially entertained in the portrait of the middle and upper classes. However, the beginnings of the photo reportage in the country coffee were presented in precisely the registration of civil wars that swept up the consolidation of a centralized republic towards the end of the century. Special SHALL has Meliton Rodriguez of Medellin, whose work breaks with the pattern classic portrait photography and puts into every aspect of daily life in their region. Rodriguez became not only a careful observer of his surroundings, but that’s considered an authentic artist whose photographs are competing with the most careful compositions of the visual arts. The twentieth century market would be dominated by international talent from which Leo Matiz main job would be the photographic coverage of the Bogotazo On April 9, 1948 for Life magazine and where he was wounded.

Albert Lea Tribune
The Lens and Shutter Photography Club met on October 16 at the Rofshus Precision Machine Building in Darcy Sime chairman. There were 22 members present. Mary Knutson was a guest.

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