Precision Attachment Partial

Kids grow

But then they grow and I'm proud of that. Eight months ago that I, Criseyde, stopped working and I have been among other things to take care of Diego and Santiago. During these months our relationship has been enriched by many things and I've noticed the challenges of being a full time Mom. I want to say that he never had a chance to be the one to stay home. Ana itself. Ana had the opportunity in the first year of the boys and now that I do feel that mixture of pride, happiness and frustration because I love him to go outside to practice my profession and bring money home. Fortunately or unfortunately, Monterrey, since I returned from Houston has not had much to offer in that aspect but life goes on and I have to learn to live with what I have. And yes I have a wonderful wife who is part of the back to take us forward and what I do I have a couple of children is also wonderful in that I can roll over themselves and that I can make a difference.

Yesterday was the assembly of Benito Juárez and the Spring Festival. Diego and Santiago are second in kindergarten and since January the change to public school for many reasons, primarily economic. In Mexico, education is secular, free and compulsory and the truth of why we have to fall back and have to make that reality. Went to a kindergarten is five blocks from our house. So every morning we walked to school. The savings are twofold: they have to pay tuition (if the fees that all public schools are asking that if for the physical education teacher, if for improvement, if for materials) and not have to pay for transportation because we walk.

Is it better or worse public education? Well like everything, depends on how it is used. Diego and Santiago have had their period of adjustment but for me it was a pleasant surprise to see him dancing without the typical cries. I recorded it for Ana because she could not miss work and was excited to see so much concentrated and participating in dance in your living room. Diego is the bee:

And as the school policy is to keep the groups separate the twins, James is in another section and have other friends and colleagues. James seems far more easily adapt to change and I saw very loving with their peers. Of course, James is one of the worst mischievous. When she took the stand to lay a butterfly dance, Diego tries to put in place and that may distract the attention of his brother. Either way but as he danced his dance was the last time I was so bored by then. Behold, the blue bird the foreground.

Southpark Doe Letöltése

A Trojan Horse to reclaim the works of exile .-

The structure built wooden crates, unlike what tells the story of the Odyssey, contains in its interior artwork, produced by academic and cultural Argentines suffered exile during the most violent years of the last military dictatorship. Today, 35 years of the coup that left a deep wound in the history of our country, two fellow Mexicans were ordered to repay some of those pieces produced by hundreds of rioplatenses pushed to live in remote areas to the ground where they were born.

Sabatés
By Paula Frederick Stock Feulliade

Moscoso Buenos Aires, March 25 (agency NAN-2011) .- "With the grateful hope for a safe return to their homes after an absence of nine years, the Greeks dedicate this offering to Athena," read the left side of the Horse Trojan, this monumental gadgets as the Greeks devised to destroy his enemy city after years of violent war. If we change those nine years to thirty-five, to the Greeks by the Mexicans, and revenge for a noble gesture of brotherhood, we find The Horse of the Argentine exile in Mexico or Argenmex Horse, a style structure the legendary horse, draft Yamina Mexican artists of the Royal and Roland Rose, built with wooden crates containing all the artistic work produced by academic and cultural Argentine exiles in Mexico during the last military dictatorship. "The work gives back much to Argentina. Materially, because we bring important productions. And symbolically, because this is a job that should have occurred here and it was there, "says the agency NAN de la Rosa, which he accused has nine horses in various social struggles.

The Horse made its formal presentation on Wednesday in the academic campus of the Universidad Nacional de Lanús (UNLa) and rode up yesterday at the National Day Memory for Truth and Justice. Their riders were Argenmex themselves, who proudly pulled the reins while horns sounded their daughters songs of exile, some remembered and others discovered. "We felt a pending issue that all this production back to Argentina and build the project considering the Argentines who stayed here were to march to feel proud to see everything their compatriots occurred during his absence," says Yamina del Real, photographer, writer and researcher Mexican who lived in Argentina for six years, where he says failed to connect with the people who now honors from his art. The structure will now continue travel and for the next 35 days will be exhibited in Buenos Aires as part of contemporary art. The material will be in the center of studies of the Mexico-Argentina UNLa, which may be consulted.

Among the materials - which include artwork, audiovisual, writing and research - are from a book of poems written anonymous prisoners in the jails, a documentary about a missing child who was exiled and documentaries on the Triple A , to studies of Professors Néstor García Canclini and Pilar Calveiro. "All this work, even when it comes to academics, is permeated by the pain of exile, the struggle for survival by ideas, freedom and security that is worth continuing to fight for a better country. Because, even if you're isolated, you are your work history, "muses the artist. Is that the project "creates an open channel of communication between the two Argentinas, the geographical and imagined, that in the end they are still others that same as in 1976 left him no choice but to hide some other flags to think what they wanted to think but, fundamentally, not to die in oblivion. "Bringing the horse full of that production is to give tangibility to the acculturation process that caused the exile, because what the Argentineans were created here during the dictatorship is another thing altogether to which exiled Argentines did, "says Real.

The sculpture took only 20 days to take shape and was made possible through the support of the Embassy of Argentina in Mexico and the UNLA. It has four feet, four inches less than the maximum height allowed to pass through tolls Buenos Aires. For de la Rosa, "the horse as an animal has a tradition of strong social control, and this time lets unite two peoples which in itself is very fond of using an artistic work and not by a government measure or agreement between embassies. " The artist has already planned a series of documentaries produced by xy ArgenMe they plan to walk the material around the country before the final receipt Suburbs. "The important thing to bring is not to be saved is to be broadcast," said the sculptor, who also made small models, replicas, one of which has already been delivered to the holder of the Grandmothers of Plaza de Mayo, Estela de Carlotto.

"The maximum value that we try to highlight the solidarity, to show how a country opens its doors to people who can not follow in his, and how it operates beyond governments. Because we call on all people who were exiled, and do not know if they were Peronist montoneros or were nothing, "points of Real, making clear that, even if it contains the Argentine hands sweat, the Argenmex bicultural certainly is a horse created by people split into two, with the penalty of those who are forced to leave their place - note the foot many Argentine artists would not participate in the project because they felt that in Argentina are well regarded for having "escaped" (sic) - and thanks to a people who received no buts. And proving that the horse may be the strongest of all, the only land he rides really makes it clear that anyone, if you will, can be a land of all.

Pokemon Silver For Dosbox

A terrible for children Che .-

"Che, a revolutionary Star" is the first children's story about the history of the Argentine revolutionary. The Ministry of Education to be shortlisted as study material in classrooms and school libraries. However, the publication of The Brand opened the debate: the voices against soon appeared.

For Soledad Arréguez Manozzo
Photo courtesy of The Mark

Buenos Aires, March 20 (agency NAN-2011) .- With a star as a guide, each page is a step forward in the history of a character revolutionary. And every line, colorful blend to give life to the protagonist of this children's story. It is not about fairies, goblins, superheroes or other fictional character. Che leaves, the star of a revolutionary (Editorial La Marca, 2010) tell for the first time for the kids thought and the ideals that guided the Ernesto Che Guevara along the South American continent. In multicolor sheets, youngsters can read some of the phrases that were hundreds of reasons to think of a better world. This children's publication, which is already in bookstores, it could even be part of classrooms and school libraries, based on a presentation to the Ministry of Education. However, the possibility of reaching into the hands of hundreds of students fanned the debate: What can or can not read stories to kids about real life?

poster, t-shirt and merchandising militant, revolutionary leader first came to children's literature in Argentina. With pure color illustrations, the text strings together as a factual story with some of the thoughts of one of the most important twentieth century. And in turn, is the story of an adventurous journey in which a young man named Ernesto discover your own star, to guide the rest of the road. Just the five-pointed star in the story is a metaphor for the values \u200b\u200bthat guided the project Che in Latin America. The same qualities that the publication of The Mark wants to rescue with the objective of inspiring younger readers: courage, commitment, dedication. "It is a book for young readers and younger ones guided by their parents and teachers know the life and values \u200b\u200bof one of the greatest idealists of history", remarked from the publisher. The book has already sparked criticism. Soon, the site received hundreds of messages from the story for children of Che, who described the book as "an illustrated manual of guerrilla." So

poetic doves, flowers and colors, the book covers in a concise manner the life of Che. It all starts with his friend Alberto Ernesto decide to go on a bike Latin America, through various experiences, until he decides to take other paths to new revolutions. Of course, the story avoids talking to armed conflicts, episodes of violence or the assassination of Che in Bolivia. "Like any historical figure, his life is complex. So as a sums it from a position where you want to read the work or the public that the work is dedicated. This is a book for kids, "he told NAN Guido Indij Agency, Editorial founder of Brand and author of the book by Constanza Brunet. The pages feature colorful illustrations of the South Korean Lee Yun Ju, also used in a book about Che for children in the country of the artist. As the horrors of war and the struggle against American dictatorships are reserved for other biographies of Che aimed at adults, who can guide the younger guys.

Under the premise of L'enfant terrible - an expression to refer to children who ask naive terribly embarrassing to adults - this year the publisher released a children's collection called La Marca Terrible. "Che, a revolutionary Star" is one of the volumes that were published to mark the 18th anniversary of the brand. Publishers and other titles are planned on characters of the story, but these projects are still in process. There will be biographies of classical and astronomer Galileo Galilei, the painter Pablo Picasso and scientist Alfred Einstein. However, Brand is more terrible, and will focus on children's books, less common, as the story of the life of Eva Peron, The Beatles.

- Why did you decide to tell the life of Che ?
- We wanted to save some of their human values \u200b\u200bthat are possibly as a parent you would like to convey to their children. The "Che" embodies the solidarity, work for others, commitment to the ideas and the constant struggle against adversity ... Their attitudes and the way he lived, independently of other aspects of his thought, are valid. These are being redeemed in this book. The fact that we do not put emphasis on the aspects of his life tied to blood, or self, does not negate the fact that had values \u200b\u200bthat is recognized worldwide as an icon of the struggle, commitment and ideals.

- What reaction caused by the fact that most kids can read about the thinking of Che?
- Books on the street when confronted with the public and here come the answers. The controversy install the daily La Nación with a note, which had 1200 comments 24 hours exacerbated and very shocked. Readers responded to this stimulus, all commented without reading the book. However, the reception was very good. This character irritated readers Nation.

Ernesto, the protagonist of the story, fueled the debate about what readings (policies) may be accessible to the kids and what not. Soon, the site received hundreds of messages from the story, who described the publication of children as "illustrated manual of guerrilla."

Despite these criticisms, the book on Guevara was shortlisted by the Ministry of Education's Office to be students, classrooms or school libraries. For now, the process continues to progress at the Ministry. So the possibility remains that thousands of kids can read the history of the revolutionary leader, as an invitation to investigate even after the history books with the guidance of adults. "After traveling thousands of miles, how Ernesto saw the world has changed. Is that a trip can transform the mind and heart of a man ... "says one of its pages.

Why Is My Poop Dark After Drinking Red Wine

The Scam Dub in the Spanish Theatre .-

From the combination of 11 musicians from different styles of music scene Neuquén came this new time bomb that, in addition to sharing the stage with The Wailers, Nonpoint, Los Cafres, presented his self-titled album before 500 people in more prestigious areas of the valley.

For Guillermina Watkins
Photo courtesy of Gisela Chang

Neuquén, March 22 (agency NAN-2011) .- When does a success? With the recognition of the people? When the "product" is good? With the effort of those who make flesh, or one of those lucky breaks that take you by surprise and make you realize the size of things? In the case of The Hoax Dub, the dub reggae band and Neuquén, seem to have conjugate all factors the same time. Therefore, it is no coincidence that almost 3 years of training, success has come up with a formula that they seem to work in every way naturally.

Thus, in these 11 artists, music functions as something physical, instinctive, animal. Something Luis Ferri, Mariano Gonzalez, Juan Fort, Hector Navarro, Lisandro Parada, Gerardo Navy, Lucas Debenedetti, Christian Massei, Franco Salas, Victor Barria Alvaro Castro Rivas, Victor Amadeo Bonaiuto Zuccoli and demonstrate their art and beyond musical structures and forms, no need to think much but feel it. That was demonstrated on Saturday during the show two hours gave the English Film Theatre before more than 500 people.

When the lights went out, about ten o'clock at night, the entire theater was filled with expectations. Dub is that the scam has emerged in recent years in the revelation of the valley, a big-band Neuquén that each show has been adding songs to his repertoire and the public has responded so rewarding. As with the release of their self-titled album in February, a masterpiece of 13 tracks and a version of "Guachi Guara" Chano Pozo and Dizzy Gillespie. An album that is also a super artistic and musical production that makes the listener to travel through several textures and soundscapes, dub always key.

Thus, the presentation of the album was that and much more. In addition to the 14 items included in The Scam , joined 11 other topics in the repertoire which alternates climate instrumental versions of classic reggae and not so much, and shaking of revelry and joy among some ska and dub. In the first part, quieter than the closing tracks on the album sounded more like "Fat Back", "Parrots," "Days go by," "Song for Rico", "understanding", "Slave" and "Reason of Dub ", plus a cover of Morphine and Sly & Robbie with the participation of Alex de San Lorenzo City rap group Neuquén. At this point in the night, the audience asked for more, celebrated with spirited rhymes that Alex slid not mince words about the reality of western Neuquen and more.

Then came time for "no reason" one of the themes of authorship itself older than many parasen got in front of their seats and begin to move with wave motion and rhythm dubbero, slow, tiring. It is in this area where, besides the rapper Ras Lucas, surprised by the melodic voice of John Fort accurate that is gaining prominence in this ship multi-instrumentalist of wind, string, percussion, and keys.

A key moment? After one hour and no reasons after starting the show, the air in the English Theatre grew more relaxed. He got to play the Monkey Lion "To Frattini" with an acoustic guitar to fuse dub tango, and continued a version of "Perhaps" to warm the spirits and also joined Fox onstage to Collon "When when when" by Osvaldo Farres instrumental version with winds below. The night continued with more guests, with Nora Reves in flute for a version of "Peanut Vendor", a Cuban classic which stressed the one woman who was on stage.

Almost two hours into the show, was imminent that would end. But How close something that did not seem to want to close or to the musicians or the public? The best way was with an incredible version of "Baby I love you" from the Ramones and the invitation to all musicians to make "Guachi Guara", the theme of Gillezpie-key to a jam session in general and full of righteousness, joy and friendly wink.

What else had failed? Almost anything, perhaps a little more room to dance, but even when one of the most prestigious theaters in the Upper Valley, where groups have played national and international reputation, not without Coronas with lemon for those who wanted to feel at home the hand of a of the best musical offerings of the region.

Weak Bladder And Legs

Albums: "Tonolec folk, carved steps (Tonolec, 2010) .-

In his third album, the band northern electrofolk offers versions of songs of great composers of Latin American folklore. Shocking, surprising disk along seven tracks not only what has been achieved since the merger but also instrumental version of "Five centuries as" first sung in Toba language.

By Laura Cabrera

Buenos Aires, March 21 (agency NAN-2011) .- As happened with the past, this new material represents the resistance Tonolec and the resurgence of native culture. In order to pay homage to the great musicians of Creole and Latin American folklore, the band and Diego Perez Bogarín Charo performed a selection of seven subjects after reversion to the style that characterizes electrofolk. This juicy

delivery, electronic mergers are perceived in the melodies but also made the side to make room for more unplugged and primitive sounds like the chaschas, accordion and n'biké - instrument a string, typical of the Toba community -. From the opening track, "What have I got to love" by Violeta Parra, to "Toba Indian" by Ariel Ramirez and Felix Luna, carved steps is a constant interplay between classical and new sounds in the language of the people naturalized tuff occurs as if the songs had been written that way.

Half disc, the duo Chaco surprised by the audacity to interpret the historic popular song "Five centuries alike," de León Gieco, Toba language and rested on a gentle melody featuring the drum, guitar and an electronic base lost among the strings. But is not the only oddity, and also recreate "Cacique Catalan, Luis Mendoza, Mocoví language and a happy tune.

More Beyond the clean versions, carved steps not speak only of the way of the great singers but the story that the band itself writes: Committed to social reality and the need to keep alive the culture of native peoples, the production the album featured the collaboration of community Derqui tuff.

We close this third plate, the commitment is reflected in a heartfelt rendition of "Indio Toba", sung by Rosalie Patricio, a woman from the community Qom, who is accompanied by electronic sounds timid dazzles with a voice that makes the poetry in prayer.

But little more hard disk half an hour (they say that "good twice as good if brief), for which they are eager to hear more, offered as a bonus video track of" Indio Toba "in a more electronic, interpreted by Charo Bogarín and Diego Perez.

On another level, the cover art is notable for its clear reference to the nature and contact with humans as part of the landscape. A tiger leaning on the arm of a man, trees, plants and even a horse-headed man (or horse to human body), give the impression that all is one, and lead to the idea of \u200b\u200bthe roots and origin .

The sum of details makes The steps carved miss classic disc. Has a unique personality for achieving air parle other popular songs that have already been performed on several occasions. Fresh and intense, this is a production recommended for fans of folklore and for ears accustomed to the new sounds.

Lorna Morgan 2010 Forum

I

I define myself. I make up the definition. With beautiful words I create a person. But this self that I invention is only half the story. You have the rest. Tea are my witness. Testigx / coautorx of myself that I am not, but what you want it to be.
I define myself and I claim my right to say "I am who I am and I do not seem to Naida" although to be put to use borrowed phrases.
I am me. The state says I'm Ana I am Ana Elizabeth Alejandro García. The world says a lot about me. I am a person. I am a human animal tormented forever define who he is. Who art think I am?
I decided to do many things, but not necessarily all that I AM, much less what I say, and I stopped being for it. These are only temporary states of myself which I define. A part of me, but not all.
say I am a woman, lesbian, mother, artist ... And sometimes I have told you. But not me subject, nor circumscribe me just that.
I am an artist, but I work in a call center. I'm bisexual, polysexuality, pansexual or asexual as the day of the month, but I live a life of lesbian feminist (my generation is depending on the day) with political positions (and bed) flexible. I am married, monogamous, legally, but I believe in polyamory. I polyamorous, but circumstantially monogamous. I'm hedonistic
eclectic believer in all things visible and invisible, but I behave like a hardened agnostic, almost atheist, thank God. I'm anti-Catholic, but I pray the Our Father and I am convinced that eventually I will leave my hetero remnants.
I am an artist and I think of clay. I am God breathed life. I set in gold and pearls I cover. I am wise. I am divine. I am beautiful. I'm yours, I'm me, I am of everyone. I'm a bitch. I'm a whore ethics. I'm all, I am nothing.
I am a shapeless mass of nerves die every time you look. I am an insecure girl who is afraid of everything. I am a brave warrior. I am persevering. Above
all things which I do not know: I'm no role model for anyone, I am responsible for my life and just my life. Anyone else's. I am responsible for my ideas and my actions. I do not owe anything to anyone and do not pay bills that are unrelated. I am Anna I
Gutan, but Maricosita. I am Life, the Bug, the Mom, sister and friend.
I am what you want. If you want, I will.
I am many things. I am what I want to be the day that I like. I'm what you want to be the day you ask me. I
peace. I love. I am light. I am energy.
I am you and we are part of a larger whole in the universe.
I am me.
I am.
Yo.

Names Of Female Wax Shapes

Marcelo Katz: "We do stunts internal" .- A 200 000

In what can and what the new show is not one of the most famous clowns of the local area. The cornerstone of Deeds is precisely the acceptance of both the successes and failures. "The clown takes fuck what happens seriously," Katz defined. The maximum clownish materializes in this show for young and old, and live musicians.

By Lola Kuperman
Photos courtesy of Deeds

Buenos Aires, March 18 (agency NAN-2011) .- The last mate is usually fought the clowns who give the final touches that make-up go on stage. Deeds is about to begin , the new work of Marcelo Katz, co-directed by Mark Arano, Recoleta Cultural Center (Friday 19.30, Saturday and Sunday at 19). The clowns, according to Katz, eliminate the concept of fourth wall and talk openly with the public. To April inclusive, the show with live music in the Courtyard of the cistern is offered to those who want a fun evening to laugh at the exploits that come out. But above all, with no.

Katz recalls the phrase "amuse you if you cheap" and relates to the essence of the magic craft of clowning. Then clarifies that "cheap" only in quotes because a lot of work is essential and previous training. However, when the clowns of Deeds are present on the scene, we realize that they need nothing more than to themselves. Given the ephemeral nature of theater phenomenon, Katz emphasizes to NAN Agency: "That's what the public has generated surprise, amazement and admiration, generate a world with nothing. " What is clear is that they have fun and that's definitely fun to the public.

Us and them, them and us

- Are there echoes of the fourth wall in the clown?
- really work without the fourth wall and present-tense dialogue between the clown and the viewer. The scenic material was generated during the tests begins to close when the public understands what they are indicating where in step eventually becomes a location that fattening. With each feature, there are more elements attached and less room to move. The idea is to be open to really beat the public, there are always small and almost imperceptible changes in how the character is feeling the scene, colleagues and the public. If there is a fourth wall, behind the theater closes.

- how the public weighs in the balance of the construction of the clown?
- The first link in the chain is the same clown, works for himself and then to the public. One of the things that interest me and I wonder much of the trade is when you're playing good rope, you start to move things of different size and color. And then you give it to your public transit by different emotions and feelings. Viewers not only enjoy what the clown, but what he does with what happens. And to work, the clown must never forget to have fun.

- The book goes through different stages, it always points to the humor, how a balance is achieved organic?
- I work a lot with three strands: the visual, poetic and touching and comic. Now the cistern in the courtyard of the Recoleta, no black box and there are too many external stimuli, like birds, airplanes, bells, fruits that fall from the palm trees ... Then in the poetic feats to give him little room because it is more difficult to build peaceful climate.

- How do you adapt the interpreter to the three strands is proposed?
- There are some actors who are specifically motivated him and others in the comic. From what is needed in the show, I propose triggers for internal material and through certain slogans and proposals that led to the trial, I guided between the emotional and comic. Even in the roles, the actors tell me, "people laughed," but I do not want to break the weather, I want to happen otherwise. Although in the balance if two hundred people laugh or not, many times, laughing at the clowns drunk. Therefore, it is necessary to be outdoors and not engolosinarte, to get different colors and decide what you want at all times. Anyway, we like a lot to laugh, we are clowns.

- What is the boundary between individual creation and the role of director?
- There are clowns who improvise in line with what you have to have the show and the smell it produces. Ten things to prove, all might have been, while with others, ten, almost no because they failed to understand, neither the show. I want to prove, but there are people that do so little empathy in the field of improvisation that I prefer not to play anything. My role is to score from outside which was a goal, which should not be re-done and to do certain things momentum.

- A clown takes its characteristic features and exacerbates?
- No two clowns the same because each has different colors to put in play, because no two people alike. Just as a person carries a gene from their parents and ancestors, the clown has a large genetic load of the actor who is composing. The work is one put into play. At school we say it is "taken into fuck what happens to you seriously." What is your paranoia, staging can make fun and make others enjoy. When you see that is not so terrible and that people amused, liquefy much you weighed before.

- So Is it a means of promoting self-esteem?
- Yes, because when you learn to tolerate what and who you're with the good and the hand is a great way to befriend ourselves and scenic use. This enormous work of making peace with one is hard, while spectacular, and the way, if you're not looking for the result, it is also a goal. Six years ago I did not act and I'm about to release a single judge has to do with the story of my life. I hope to release by May, I really enjoy being on stage, acting is much stronger than direct.


playful status

- With a work like deeds, do you need a return to children and adults regain their ability to play?
- I think the people sitting to watch a clown show is looking for a lock their lost childhood. No game is great technology, but have to do with a universe that everyone lived. The clown returns as the guys playing, not taking, but as an adult who has already grown and has its joys and its scars, yet who manages to recover the capacity of children and playful puppies. What we do, those great stunts inside, we all know, the ability to have fun with anything, not to control the head and from there children recovered.

- lost the ability Adult fun?
- It is very difficult, we are very much into the Western education that will mark a path that has to do with creativity, to be intelligent and educated. And simultaneously, there is a standardization of the physicality of the movements, and you have to backtrack a long way to recover the body open, playful, spontaneous, with a head that this post of "what fun" and not a priori . Training takes years of clowning, the friendly vacuum and not knowing, with the moment of chaos that precedes any state of order playful. A first class of the school, I answer question, it costs much to recover that ability and put it into play.

- After all, what is the great feat of Marcelo Katz?
- able to live what is happening with your acceptance, tolerance, joy, that's a feat. There are a few things that is hard to live it well, but most of our bugs and Mufasa and daily disappointments are things that when we are open and light we can live differently, they are not so heavy as to ruin the evening. That is what the show, things that go and not.

Where Can I Find A Bmx For Under £100

I'm not like the others. Try to convince me that every day. My morality is that which governs the world or the world I govern myself. And I know that when I say it sounds just as crazy as many other crazy people who have gone before me. I'm not like anyone, and thank goodness because it assumes that everyone is different. Even so I end up doing exactly the same. I get tautological, ontological, and fancy ... or rebuscona as read ... For my heart
ridiculous vernacular had already traversed. For my past pain, by so many absurdities I overwhelm in life, and the only thing I managed to defend it with "I'm not like others." It bothers me to follow the rules. Having to deal with the authority should be. It bothers me feel locked in my own body in my decisions. It bothers me feel imprisoned by my expectations.
But I'm not like the others that they can accept it maturely. I fought, I tantrums. Jump, scream, cry, beam walls, break things.
'm angry, so angry that I can not mourn. I am mad to say clearly what I feel. I'm mad at me for falling for the game of good behavior. I'm mad at me for wanting to meet self-imposed roles successfully. As a self-imposed punishment. As a compromise forced. I feel trapped me. I am an ordinary foul call center operator has no further troubleshooting the call the next day. I am forever lost in a huge bill for a thousand days without explanation and without reason.
Sorry, currently our operators are busy assisting other customers, please stay on the line. And stay on line ... How long will I stay on line before getting tired? Depends on me getting tired. I begin to tire. When will I go?
I'm not like the others. I am not of those who leave. I'm staying. I'm not like the others. I cry in the afternoon, regardless of the day of the month. I get angry, I laugh. I keep waiting, I'm staying until I run or until I leave ... Or until I leave.

Phrases Express Sympathy

keys to open the doors of the visibility .-

With a huge monument of ten tons bronze, artist Andres Zerneri seeks honor and "make visible" the native peoples of Latin unredeemed. The impressive work of ten meters take the form of a female body, the native women. But the mission is not complete until replace the statue of Julio Argentino Roca Sur Diagonal anchored in the center of the City of Buenos Aires.

By Natalia Arenas Stock Federico
Moscoso Feulliade

Buenos Aires, March 16 (NAN Agency, 2010) .- would like to contribute to the famous bit. But in this case, in practical terms and literals, to collaborate the Monument to the Indigenous Peoples that we need to make is about 30 grams of bronze. A key. An instrument which, symbolically, would open the door to reveal a historical social reality systematically hidden, that of the true original inhabitants of America: Mapuche, Tehuelche coyas, many Aymara and other indigenous communities that are impregnated with genetically, that 61 percent of Argentina's population has a blood link with the people sons of this land.

The maker (in material terms) of the ambitious sculpture is the artist Andres Zerneri, who in 2008 conducted a similar project although smaller, and immortalized and Che Guevara on a monument located in the city of Rosario, as a result of a collection of 75 000 keys (three thousand kilos of bronze). The mentor, almost by chance, was the historian Osvaldo Bayer. "As part of the inauguration of the monument to Che, Bayer suggests it would be nice to pay tribute to the native peoples with the same system of collection of keys," says Zerneri, and stressed: "He will set the north. The suggestion was compelling enough for us to start not to collect bronze at first, but to consult with men and women of indigenous people what they thought this idea. "

Of the ten tons of bronze needed, and gathered three-thirty. "When the project began, I thought that part of the Bicentennial, and we would be finishing it. Later we were to accept the donation of bronze is the process more difficult. More even than when he was a monument to Che, because that was all the more binary, you like or do not like, "explains Zerneri, who was realizing that" there are a lot of information on indigenous peoples is not known, so the process is much slower. " But the slow pace of this trip is very positive for the artist: "It will be the most legitimate way, because when built the monument, the fact that more is known about the indigenous peoples will have been produced in 200 thousand people. "

- Why symbolizes the indigenous people with the female gender?
- In the original peoples of genres there is no struggle, because their own cultures have great respect for women. In symbolic terms, to build a monument which speaks of the peoples represented in the body of a woman is like the evolution that is happening in political terms, for the presence of women in our society. And I think a very good opportunity for two reasons: to represent the women to talk about indigenous peoples is a new way to generalize. When we say that there are colleagues and peers, to generalize say "fellow." But in sculptural terms, to generalize is perhaps better to speak through a woman's body. Moreover, although I'm not in the gender struggle and I do not claim gender from that, I think in the history of the monuments, the few Indian sculptures that were made in the City portrayed an Indian savage, thief, mean. And in the body of a woman, a broken and with this intention, with this idea. For me, the monument is not a milestone considering the indigenous peoples to the past but what we want to talk is their future.

Once the sculpture, the committee in charge of the project will deliver to the City of Buenos Aires, under the so-called "donation fee", which means that the pass is made with a condition. In this case, and to close the circle of this original project is to replace the monument reminiscent of former President Julio Argentino Roca, Buenos Aires located in the street that bears his name.

- You say that the project will be completed when replacing a rock sculpture by native peoples: Argentina believes that society is mature enough to accept this change?
- No. Just a challenge because conditions are not ripe. And this process of bringing together each of the 30 or 20 grams it weighs a key to get to the ten tons, which would be 200 000 keys, is a process of transformation. Obviously with a sculpture not going to change the head to anyone, nor will we make a revolution, but give us the possibility of an argument, for a contribution to this process that originally called the "visibility", because for so many years were invisible . In fact, we do not care that measures ten meters, what interests us is to win over more tufts daily, even in media never speak of native peoples. Then, with the excuse to build between all of a sculpture, he goes to meet the small contribution to this maturation is the understanding that our identities are a family and in that six out of ten families have a genetic link with indigenous peoples. We understand that the sculpture is not a goal but a means, a tool for making all of this is accomplished.

Moving from talk to action

"We are confident that this is a viable, politically, because if we took 14,700 people when the monument to Che and in this work, which is 250 percent larger , attended by about 50 thousand people, no legislator is going to ignore such an expression " Zerneri risk. "It's much stronger than a coupled firms. People are putting their will but also some material, "he explains.

The artist explains, moreover, is a project of deep respect, even for those who believe in rock, for those who want to keep thinking he's a hero. " "We're not asking for the bronze monument of our sculpture, we are not asking for sawing off the head, or demolished. What we want, whether it is out there and give it to the city you request, to see what happens to people with this monument, "he says.

The spirit of the project, democratic and a symbolic target fundamental invited to take actions which often dies in words. "We're not focused today on the legislative task of removing rock. Because first we measure our own forces. When built the sculpture, bringing to Rock will be much easier, because our backs, in political terms, they will be much wider, "he says, concluding:" We want the whole act is based more on what built in what is destroyed. The whole process is also part of the action, not just speech but a concrete action, real. "

* To collaborate with the project, they can approach any of the centers detailed collection www.mujeroriginaria.com.ar . For more info, call 4862-8051 or write to zerneria@hotmail.com .

How To Unlock Mount And Blade Full Version

"Nipples butterfly" in the chapel of the Muses .-

The artwork created by Bernardo Cappa staged the stark reality of the neighborhood clubs struggling to cope well while holding high the banner of passion.

By Maria Daniela Yacca
Photo courtesy of Butterfly Nipple

Buenos Aires, March 15 (agency NAN-2011) .- The story is simple, everyday, tender, nostalgic, and at the buffet a neighborhood club achieves poetry through the small, despite their manners and thanks to him (which is exquisite paradox when speaking of local under). The hunger for glory is butterfly nipples, one of the latest creations of director Bernardo Cappa, who staged the most intense passion Argent and his staff at the same time, football. That hunger for glory - that the character of the undisputed possession Lorenzo Quinteros - contrasts with the stillness of the buffet and the passage of the days without rhyme or reason, embodied in a vintage furniture and have come down to far to suggest that something is about to change. Butterfly Nipple

not called that because it includes among its characters to a Botineras group. The title refers to Lionel (Fernando de Rosa), a young man who works alongside Chaco Cesareo (Quinteros) in the club buffet. The relationship unites a "family", but more strategic affective Cesareo, who in the past was a great player, he projects the young their desire to win, even though Lionel is no longer playing for some time and is dedicated to cleaning toilets to be significantly overweight. "I have grown breasts. The tits were not so great, "Cesario says Lionel, which has rollers and belt, and preparing to go out there with an odd system of pulleys. Both expect a call from Bolivia to change the course of events.

While preparing the medal skate for girls - with whom we fantasize and excited - it falls to the buffet Ricardo (Dario Levy), a member of the board. Since entering the place frozen in time it shows that what brings no good news: the move shows that the site has entered the decline, stressing that there is only one table and order a coffee which hints the machine is in who knows how long ago abandoned. At a second meeting, clearly hostile, Ricardo Cesareo comes to tell who is in debt to handle. And you forget once and for all of the buffet, rethink its role in the club.

The plot of Butterfly nipples has its anchorage in the grim reality for the neighborhood clubs, dating a couple of years ago (in 2004 he photographed Luna de Avellaneda, the film of John Joseph Campanella). "We had a dance floor, we have no more. This was a football club, skateboard now! Skate! Fuckin ', we're all fucking! Here was a stage of cement sold ... to the stage, "says Cesario, one of the parliaments that allude to the decline of the institution. It is also true that while the work of a real and undeniable event, builds his own world and strange, but plausible (Eg, the boy and the pulley system.) In this affects the quality of the performances.

a whole, butterfly nipples functions as a metaphor of yearning, as says the old tango that Caesarius sings Lionel, "Passionate", "No you will never understand what love and go crazy. What it is like dying of anxiety. " A goal that hunger is so intense in the heart of the characters and is visible in its submission to the most intricate of tests, as well as unexpected lies and betrayals. And the desire is so strong that it seems to ignore the environment, geography consists of a series of useless junk and obsolete, they are paradoxically has won the trophy Caesarius of their golden years as a player. Maybe that's why so values \u200b\u200bthat space. The dialogue is consistently among the objects that make up the geography, what they say, feel and do the characters (talk about gearboxes Eliseo Veron metonymic) and an outside that is dangerous, censorious.

Finally, any work that just football talk in an ultimate sense, the identity, way in the course of the work is not so obvious nor necessary, for victory and failure seem to be the yardsticks by which we measure what happens. But actually, the plot weaves in snippets of Argentina: the rejection of Bolivia, the Chaco, the lively Creole, tango nostalgia, Peronism, the passion for women and irrepressible sexual desire. Although the events travels fast and the dialogues are full of meaning, the pace of work is always slow, deliberate, and the life of the club on the corner still bid for survival. And perhaps that is what the win ...

* Friday and Saturday at 23 to 21 in the chapel of the Muses, Mario Bravo 960.

Milena Velba Milk Files

me all Monterey, dear land ... 850/100

Millennium

Today in the morning newscast left a note on discrimination in Monterrey. The note makes me very confused for many reasons, but the most alarming of all is that we have first place in almost all discrimination. The study, whether or not serious, was to survey people in Guadalajara, Mexico City and Monterrey. And as the Tec de Monterrey, requires us to be better ... but better discriminators. Check out

Millennium note the following link: exhibit to NL leader in discrimination.

In short, the people of Monterrey thinks is right:

A. Beating women.

B. Where women are raped because they provoke men.

And so weirdos think things like that:

C. The Indians are poor because they do not work hard enough.

D. Catholics should have more rights than other religions.

If you watch the following video may notice that:

E. 36% of respondents would like to live with lesbians.

F. 30.6% with homosexuals.

G. 29% with AIDS patients.

City "progressive? I'm sad all we have to learn the royal and what we are foolish and stubborn to accept with humility another perspective on life. I think that is what keeps us from killing ourselves.

Bible Verses For Housewarming Invitation

Books: "herpes" (Mana, 2010) .- Viva

The first book of this new author who conceals his name on your imagination and known only occupation and marital status is a real pineapple in the temple: Partnership of poetry, prose and drama, their words are a voice that sometimes sound ethereal and other wonders of existence.

By Nicolas Alonso

Buenos Aires, March 14 (agency NAN-2011) .- Mana invites fantasy, magic, alchemy whereby literary a book can turn your character author. Mana is an event, "occurs at the intersection" between a pseudonym identity that ensures that the diluted, and a heteronymous the style of Fernando Pessoa, who founded one of the blue. This User ID (if you opt for this characterization) takes its body, its rationale, of herpes (Traveling Editorial), the first book of this novel and talented writer who conceals his name to be confused with the characters of his own imagination. We only know their craft: copywriter who "never reached the era of glitter, and marital status" single formal, really loose. "

herpes functions as a multifaceted language of the phrase (those we use to talk, to transact business or make love to a girl) arms that turn against their own reader and even (can sense) against the writer himself. Herpes mine the language, the environment and every day objects, forming a Buenos Aires that is thinned in the particular view of the narrator. In "Today I prepare lunch tomorrow," describes the existential crisis Mana man haunted by the oppression of a Tupperware , with tragic consequences ("If you had cooperated [...] If you had understood").

This book rabid red cap and lowercase title is an unexpected blow that is expressed in different facets of the impossibility to act. It is a profound saying, a saying that goes deep, passing through the body of the reader which character spooky. Sometimes ground, and looking straight ahead, face to face with the known extrañación of entering a world that may not be able to master. As in the story "The Antiquarian", that impossible place where the known, normal (that's every day) assumes an aura of strangeness bordering on the sinister. This is obviously tongue-in conflicts with their world, which at times seems not to take their conditions of existence, comes to the site (the House of Antiquities) through the indication of "Astro", a sort of friend / alter ego the protagonist: "929. Fender. Right hand. Third location. So the card said. Same as Astro gave me last night. The same as if I had not had the nightmare I had. " Sometimes this voice comes from elsewhere, with stories or fragments of impossible love. As in "The frost came and we were standing," "Without a 140 with your keys, or rather, your digital code", or "The average shadow gave you blindness."

Language

multiforme, or tongue impossible. That is perhaps the crux of herpes . Drama, prose, poetry. It is not mix, no, not an experiment, an alchemy of different styles blended under a common name (herpes). It is a voice, at times ethereal, interweaving worlds, atmospheres tacking always tainted by the isolation, loneliness and sadness disguised as ironic humor. For others, strong, clear and tangible. Achieves the effect of a punch in the head ("no ticket worth as much / to bank is living).

Somehow herpes is a language impossible, a desperate attempt to find a way to say that for which has not yet created the right words. It is a voice that, like all others, can never find the word that the fill, fill out, that the totals. The voice on herpes just trying to say, no experience with poetry, prose or drama. Just pronounce, just say without addressing the gender boundaries or categories impose. Herpes passes, leaving the reader stunned as an unexpected blow. Contaminated, disturbed, "now the stigma /-colonized / dermis, pores and moons / are evident."

How Do You Get A Copy Of A Name Change Avidavid

Elastic: "If Street is rock argentino, we suck an egg be because that band sucks" .-

The Longchamps has been the slogan of the '90s English rock and electronic music, without forgetting the uncouth punk 2 Minutes. It was a revelation last year. Alexander Schuster, a singer who enjoys traveling and listening to cumbia hypermarkets, get off the bondi of returning to work and consider:

"

At first we thought re: magazine called we consume ten years ago ... Then we realized that what journalists say the same thing as you think about it, only that much more power.

"

By Emiliano Cabaleiro

Photo courtesy of Cecilia Salas

Buenos Aires, March 11 (agency NAN-2011) .- under Many bands seem destined to fail or to remain in force but with a very limited number of followers. Others become more "commercial" to succeed. Viva Elastic refuses to either of these alternatives and seeks success through a unique style and a leader who sees a paradigm shift in music culture. Meanwhile, play continued, the audience grows, sells discs and press the full of praise.

Alejandro Schuster, singer and composer of almost all the songs from the band, is convinced that one must understand the music from the other side. It carries the slogan of the '90s English rock and electronic music, but does not forget his origins, his admiration for the suburban punk 2 minutes, the beer in the neighborhood or the dirt roads of Longchamps. Came by bus, directly from their work, to explain the contradictory rise of a suburban band sounds nineties Britpop and aspires to popularity.

- At first, Viva Elastic was not a serious band, but in recent times became the batteries, took a self-titled album and played all weekend. How was the process?

- When weaPONS a band with your friends and suddenly you see that you spend doing so well that you want shit laughing. But suddenly, when you see that you have a job opportunity or leaving things out there beyond the music can benefit you, you put on a little more serious. Must be harnessed things that happen here, because they spend a lot and passing are blessed. Nor is that now we're saints, but at least we are pleased to start playing well, if not hoarse for that day, the discs are good and are not whispering.

- At what point was that change?

- We had 21 or 22 years. I was just cutting up with my girlfriend and was a re difficult time, I kept myself in fart, super wild. I ruined a pair of concerts taken over by those things. Like the time we played with Rosario Bléfari, that of Suarez, and there were 500 people ... But hey, are things going back.

At age 24, Schuster is still living with his parents at Longchamps, south of Buenos Aires. As a child led him to study painting, but he decided it was not for him and grabbed the guitar. At school he met Matthew Zabala, who now accompanies him on guitar, and has since toured together in the way that leads to Viva elastic, a band with little experience and only one disk is for many one of the best in the under Buenos Aires. His music is characterized by simple structure but with a sound ambitious, neighborhood aesthetics and pop rock imprint.

- Viva Elastic had many media appearances recognized How do you take that?

- I will not lie: At first I thought re, I called a consumer magazine about ten years ago ... But then I realized that what journalists say the same thing as you think about it, only that much more power. If you're thinking there's really worth listening to a CD because I recommend it to a journalist or if it because I recommended a friend.

Elastic

When playing live, Alejandro gets all the attention. Is expressed with the guitar, body and voice. His style is unique, sing weird, but good. Indecent speech evokes the Palo Pandolfo and delicacy of Robert Smith. While gestures and dances, the guitar seems an extension of their arms. When off the stage, mixing with the public: it is one more. "I talk to everyone. I want to know who is coming to see me, why they do or because that's where you make friends with a chabón. Is good, if I meet someone I say, 'Hey, Venite the dressing room, we'll take a beer', because I have fun, I love meeting people, "he explains.

- And when you compose, do you think the public?

- When I first started writing songs, thinking about how I would when playing, but then I realized that was not important. I like the popular, it is for everyone, which can consume all. What you can hear my mom, dad, an architect or a bricklayer. Not so you can hear only one type of person, because otherwise the communication is very poor, do not build anything. If it is for a select group becomes boring and autodiscriminatorio.

Alejandro says that sports touring hypermarkets and glaring with everything there is to buy silver but will not reach. Always has about a screen: I like movies, cartoon channels and spends hours on the internet. This "over-communication" is where Viva lyrics born Elastic. "The ideas come from movies, images, all day seeing all kinds of information. What happens on the street, on the Internet, on TV, radio. Or you talk to people, their way of acting and the things that happen. That is poetry, "he concludes.

His influences range from Juana La Loca to the Sex Pistols, to Pulp, Nirvana, David Bowie, Radiohead and The London Suede, but also turns to the electronic music of the Chemical Brothers or Daft Punk. This musical variety lacking any logic can be useful to explain how it is that simultaneously hearing today Alfredo Zitarrosa, Julieta Venegas and the electronic avant-garde European label Warp Records. In addition, bluntly confesses he likes to listen to cumbia, and thus downplays rivalry between genders that is slowly disappearing.

- How is the current music scene? Many people say that the best of the music is over ...

- The music went through a part of production and now is not supported by that which transcends: music design. In other words: take different parts from different eras and built from there, is taken from the '60s, '80s and '90s and transformed into what is now. The validity of the music as a method is no longer the same as before. For example, in the 90's bands had four albums and were looking for the fifth based on what they already had. Now what you do is make a record out there is re good, as in the case of The Strokes and Is this it, and suddenly on the third album completely change their gender, they sound completely different. So no transcends both. However, I like what's happening with the music: there are very good songs and not just albums or artists. This is true because the songs are with you.

- Find exponents attractions in the Argentine rock?

- It's the most boring out there. It is very sad that the Argentine rock really, because whatever is in here should be "rock argentino" but ends up creating a kind of metal band that does not enrich the musical culture at all in Argentina. Bands taken by certain archetypes or political forms are considered the Argentine rock. If Street is Argentine rock suck an egg to be me because that band sucks. Same with La Renga, which I do not like anything. If that is the Argentine rock, the truth is sad.

- However, those are the bands that capture much public and Viva Elastic, as you said, aims to achieve that. How do you think can be successful in an environment as inscribed on the market?

- I believe in the forms of identity. Things that happen to me happen to everyone, do not see why you hear a chabón lice can not live Elastic pews because there is no difference. They come only from the political point of view or where we go.

"Everything is for everyone," Alexander repeats. Why does not distinguish between genres and has a very particular musical environment. For now, listen carefully the good wishes and hopes that one day their songs are massive as well as innovative.

MySpace: http://www.myspace.com/vivaelastico

Reverse Phone Detective Gratis

Fangs, or the art of "biting two" .-

is a duo, but it sounds like a band. Vanesa composed Kidney and Nacho Martinez, promoted from Burzaco contact between musicians from Latin America. Without a defined style is characterized by a raw punk blues sound. musicians spoke with NAN Agency about the advantages of being just two, your choice to sing in English and his intention to exchange experiences with other groups on the continent.

By Laura Cabrera
Photo courtesy of Diego Giménez

Buenos Aires, March 9 (NAN- Agency 2011) .- Vanessa kidney, low-fi girl (well known for his radio program in an on-line) I wanted to start a new musical project. In this search he met Nacho Martínez, a guitarist - and brother of one of his friends - with whom he shared some musical tastes. Motivated by the idea of \u200b\u200bhaving fun jamming, it s trials consisted in exchanges of sounds and styles, while thinking of putting together a group with other musicians. That idea was short, and they noticed they did not need more than a bass and vocals led by her, and a guitar with a drum to set the pace, a task that he undertook. And so the duo began to sound like you would a band, with the only difference that when discussing is much easier to understand in pairs.

No chance that a couple of music is called differently: "The long fangs bite of two, and when you leave two holes nailed," said Vanesa to agency NAN. And so personally took the name of a little , digging and chewing sounds of South America managed to install itself as a distinct style and constant innovation.

Gories Influenced by bands like The Doors and Gun Club, the band started doing puzzles that arose between zapadas and gra bacione home that led to the first issues. With raw sounds and simple lyrics, the duo took their first steps in Uruguay, back in 2006, but managed to make himself known to return, when the first bit Uncle public Bizarro, Burzaco bar known for its style under. From that time began to dig into different scenarios of Chile and Peru. The latter country - who arrived in 2010 - was the most important for professional growth the band, because he managed to be one of the few to which the label Discos Gorda reissued his first album.

"Many people thought we were going to run out a way to make music so limited it was to be two people, but the truth is that we are taking turns to history and does not seem to be so," analyzed Vanesa who also said he is very questionable for rock style sung in English. But the prejudice that was exposed is not something they worry. So when responding to the public all reasoning is simplified in that language that reaches around the world and therefore his music reach everywhere. While the new

year is composing new songs and taking their music to the scenes of Buenos Aires, the "duo orchestra gave an overview of its history and preferences.

- On stage, the audience can see they are a duo, but when you close your eyes and listen to the combinations sound like a band. How do they live the experience of being two and four sound like? Vanesa
Kidney: - Basically, what we do and how we leave out. We never did something that was premeditated, this works well and we like. We sound like a band because we do not lose the "bump" sight and are a duo, something more streamlined and minimalist, more direct. Being two is better, more comfortable. Before playing with a band (the Courvets) and when many had many differences. Of two is easier to understand.
Nacho Martínez: - Playing well is better because we always understand as well as compact everything. One of the things that attracts me musically this is that we sound as a band and also use old techniques of the blues, the kind where you saw a black man playing guitar and marking time with his shoe.

- That should make a big difference when composing ...
VR: - And yes, because sometimes we get together to improvise, we recorded and we like listening to a piece of the item but not all. Sometimes it happens that we return to play and part of another item ends up being the continuation of which we had left. The good thing is that we focus on composing, do what comes out without pressure. We played together or separately, and share what comes out.

- are characterized by a very primitive and raw sound, the style of the '60s and '70s, but still have some air today. How are the mergers?
VR: - do not have much drama with it. Progress we see what looks good and sometimes bass, bass guitar and we added some other instrument. We are changing but always on our bases. This is because although we have defined the rawness of the sounds, do not have a marked style and that allows us to change. Many people thought we were going to run out a way to make music so limited it was to be two people, but the truth is that we are taking turns to history and always sounds different. The slogan is to play for fun and unplugged from other activities.
NM: - The predominant style is because we love the music of that time, in fact our influences are related to those years. But with the issue of mergers are pretty open to trying all because they do not try to recreate or copy items as they are, what we do is put our label, use them as molds to do the same.

- And within the logic of "playing for fun" were walking by some Latin American countries and sharing experiences. What was all that?
NM: - met a lot of people that follow after contacting us, we invite you to play, arrange dates, exchange ideas. Getting to Peru was one of those experiences. Manganzoides met there, a band of like very much also helped us to make this album reissued by Fat Records. Was a nice experience.
VR: - The band started with the exchange. We made our debut in Uruguay. After the band played here in Peru and last year we went there. We like the idea of \u200b\u200bstrengthening the ties between musicians from South America because although the distances are great, this is not like in Europe where there are more festivals, and it is good that the exchange will begin to mobilize Latin American gang.

- Taking into account this idea of \u200b\u200bthe union of Latin American musicians and their tendency to write lyrics in English thinking Have they ever crossed the chance to sing in Castilian?
NM: - I think it is more difficult to compose letters in Castilian. Upon hearing so many bands that sing in English I find it more natural. Anyway, try to make a pair in Castilian but we like to be business as usual.
VR: - is by the nature of style. We are sometimes criticized for singing in another language, but we like the soul and the blues, which began to sing in this way. Doing it in Castilian would be like singing a tango in English. Think you have to write in our language is to think that this will not reach all, why everything has to be here, so nationalistic? Things simple but sing in English, not kill us thinking Lyrics so that later end up being interpreted in any way, we sing about what happens to us every day.
NM: - In this we agree, which does not mean that bother us sing something in Castilian. We boxes but we do best in English because that's what we like.

Site: http://loscolmillos.bandcamp.com/

Women Reference Images

"Other women" in La Tertulia. -

From the junction of the texts The other and Two women, both the playwright Javier there is the dizzying work of Aldana Contreras whose key solitude, with its unhealthy products: fears, contradictions and fantasies .

By Facundo Gari
Photo courtesy of Other women

Buenos Aires, March 8 (NAN Agency, 2011) .- In Other women, a play that was shown on Fridays at 23 La Tertulia (Gallo 826, Buenos Aires), the communication medium through which the sisters played by the young Siri Delfina Soledad Danelotti and give with a hunk of blind dates is a notice in a publication on paper and just that point to record that this work linking texts res Two women and The other both the playwright Javier was not aggiornamiento by newcomer Director Aldana Contreras to the days when much of this type of event is growing in the web 2.0. Not a condition of necessity, rather the lack of updates again attention to the presumed ability of art to address key issues, with texts of limited significance and yet unlimited surveys.

Here the axis is the loneliness, or their unhealthy products, and is well known to be on the basis of a collective work of a group of students staging of the Metropolitan School of Drama. It is not the first time that someone comes to play with these two dramas from writer and director of theater as an act of celebration "(something that the choice axiom forced to serve as a toast Agency AN N towards you, readers, for the pleasant holiday carnival yesterday and today in Argentina): Martin Ortiz had done in the same theatrical space in 2007 titled Women , with performances by Cecilia Bruza and Magali Melia. But here is formal originality, aesthetics, rather than content, and therefore the wealth of the fantastic.

At first, under the text of Two women , Danelotti and Siri - of good performances - are dressed as dolls, living doll in a room and move like dolls, hieratic. To speak as dolls, in a mostly neutral English exclamation, not detract from the actual money terms and vernacular language, and that opens the door to the comedy. Go at full speed with the speed that their languages \u200b\u200band allow the viewers' brains can absorb later than sooner, if one looks at the brevity of the work.

argumentative speaking, waiting for the meeting agreed with a stranger on them reveals the contradictions and fears, but what appears to be an attempt to match with the subjectivities of the audience is in Orsai. Moments dream through, the ellipsis is possible, but not too accurate as a discursive strategy. The same is true in the second part, corresponding to The other, which one gets to the left with a corpse in the bathroom and runs the decision on a finding that matches the starting point: the press release says that commercials promoting the show, these women "are not able to give or receive."

The end is announced by a dim light that runs over the bodies of the protagonists and the viewer is left wanting to pour more content into a form that will undoubtedly captivate.

How To Cheat On Gpsphone Emerald

Albums: "Autopunch" (ERP, 2010) .-

waves and not all queues Reef in the coastal sector of the country proves it Romantic Army Beach, banda Chapadmalal bathtubs and Mar del Plata who has just released a rock rebel.

For Guillermina Watkins

Buenos Aires, March 7 (NAN Agency, 2011) .- a movie a few years ago sought to portray the life of silver as a stereotype lifeguards protruding animal momentum early, the desire holiday, the beach and sand sucun sucun dum dum in equal portions. But not everything is nice and tails wave Reef in the coastal area of \u200b\u200bArgentina. As a counterpart, the ERP (Army Romance of the beach), a band of Chapadmalal lifeguards and Mar del Plata, appears in the music scene with an album of thirteen songs that is a bucket of good vibes, joy, tambourines and rock guitars and a dark flavor among so din sudan fur in summer.

ERP is a rock from elsewhere. Not like the musical lines of Buenos Aires with his Argentine rock style as the bases nor indie platenses because they propose other codes. If not consider the appearance a bit melodic, a little melancholy and songwriters that had Loquero at the time where punk rock was more square. Thus, with one member who was once part of Loquero, precisely, the band formed by Jorge Areta, Juan Pablo Matías Taglioni and offers a warm Arano and electronic rock sound with the stamp of a poem that ran, like any army, large margins in the country and seeks to explain why in their songs.

Autopunch , the band's first album, is a powerful blend of rock, voices that seek to delay spread in time and space of a note, powerful lyrics of love and trips streets and alleys, hidden pleasures and criticism of certain Western standards as the Church, the state and the state, too, of things.

appear shades and styles that make surfing the listener sounds like DDT, and some reminiscence Loquero Babasónicos. "Martina" opened the game for fun, because it is a love song with great guitars surfing wave, as it is with "Carcass Cheo" a cappella voices and low well ahead to be turning at the most danceable album begins and ends when "E" or "South" F "two erpianamente chill-out themes that speak of a windy landscape of sea, where" the wind brings the answer to an old question. "

more introspective in that key issue appears by its title might be quietly del Indio Solari, "Madonna delivery", which is a plea to Santa Evita Montonera, goddess of the fallen in Cro-Magnon, a virgin mother in her womb takes "to the wayward children of the revolution Guerrilla, pray for us, Rolling Stones, lost in the smoke of the flares and marijuana. Amen. " Or the dark song with touches of post-punk which tells essentially the story of a homeless person for their own institutions "what will you expect from the Constitution? Or what you will expect from the Rural Society? "And they call rock and subversive.

To close, four rather abstract themes, dance, dark, electronic, that are available to an active listener who wants to dive into the depths of the Pacific Army romantic beach. Thirteen songs that speak to us in rock key, but a rock from somewhere else.

Mellerware Breadmaker Manual

Luxor: "If there is a revolution not the bun. Shall be women "

some time, the artist transformed the city with colorful murals. In this note, talks with Nan Agency about how street art can be a tool for feminist struggle, a way of combating insecurity and a meeting space and artistic interaction.

By Carolina Sánchez Iturbe Stock
The Dark Flack

La Plata, March 4 (NAN Agency, 2011) .- "Why do I have to eat your wall blanquita? The wall of your face is all and if you do not like, andate the countryside or Move to a country. " Luxor is one of those artists who know exactly what they want. Far from thinking of art from a purely aesthetic, he knows that paintings done in record time on the walls of La Plata can be a tool of struggle, to build a more just society. And who does not believe in the possibility of avoiding the destination, with its certainties to the surface, no commitment dribbles and spray in hand, block after block describes what the world in which to live.

struggle is defined from Luxor and a good time. He is a feminist and as such, his works contain a message that, under oath, is for women and for women. "The truth is that if I paint it I would make a woman out there would be thought of as crazy. Now, as I paint I am chabón, I'm cool. I'm not a damn cornered. To me it is very easy to get out to paint me about feminism because no one tells me things on the street, nobody touches my ass, nobody looks at me and no legs gets me in fear that one day in my life going to be raped. If a woman does, is a hysterical, is a lesbian who walks with short hair, "he says with conviction, and then confess it costs to draw figures that refer to a female aesthetic.

The truth is that the militancy of Luxor is longstanding. As a teenager, he met anarchism and soon joined the ranks of various groups who looked to this form of political construction. However, in the case of Sandra Ayala Gamboa, the girl who was raped and murdered in 2007 in the building of the former Archives of the Ministry of Economy is in La Plata and today became ARBA, learned a new way of approaching the world of women. "I thought that feminism can have a broader reading, contrary to what happens with anarchism. I would define my activism as a feminist cultural anarchism, which is like doing a reading of reality from a feminist to understand that there is a capitalist and patriarchal system that can be solved from anarchy, but taking as a tool for this construction to culture, "he explains. Since then, the walls of the city is filled with colorful levitated girls with tousled hair and looks strong and bird locked in his heart of hearts girls vermilion, all surrounded by phrases rather than conclusive, by legends, eg reading "when they move, males retreat."

"I am sexist." Undaunted by what might seem a strong contradiction in his speech, the artist says one of the hardest things in the process of artistic activism is to escape the cultural imprint masculinity that marked him from birth: "All men are like heterosexuals, the issue is to deconstruction. It happens that the construction of the machismo of a man is a process, then the deconstruction of understanding things that way, too. It is a long and difficult process, but worth it because feminism is a tool to defend against the oppression of the pattern. " So yes, Luxor is defined as a man who shares the feminist cause and seeks to end the submission that comes in this spiral of violence does not discriminate classes and whose root is in the exercise of power. "I do not show my face in the pictures I take with the murals because they are designed for feminisimo, I'm just the middle. It is important that men who are accompanying the struggle of women to understand that you can criticize our space implies that space just to run them power without trying to be the head of the race. If there is a revolution going to be women, not the chongos. " Luxor

know that the streets are the canvas above, the place from which to observe, say, think and, at the hands of street art, diving into the unknown to modify the order. "For me, things are not fought from inside, or you share You fight or does not change anything inside because that is the first step to burocratizarte" says in a firm voice, then explain that his job is to produce changes that, from short puffs, transformers are: "Changing the crossing point is to change the way of people passing through. Then, it causes small changes in the lives of those people because you do reflect, to enjoy, to be put in a good or bad mood. " Thus, the intervention of public space is presented as "a strong political decision."

"Best of paint on the street is to share, meet people, find yourself chatting with a neighbor, knowing his life and history. This is an attack of insecurity. The more color, more safety. More bars, less color, less security, "says the boy who has tattooed on one arm the image of women portrayed on the walls to quickly explain that citizens often look favorably on their work, but the situation turns when feel that their private property can be attacked.

Abocado to an art form that often does not have financial rewards, Luxor found a way to fund their encouraging urban paintings at the same time, the collective contribution. So when someone calls to decorate the patio or any part of his house, he asks how much you can collaborate and making clear that the work can cost less money, suggests that serve to resolve the remaining work on the road: "I do not pay labor to buy spray paint in the street. Then, automatically, that person is supporting my work. A do not use that money for something else, that money is of aerosols, is designed to folk art, to think the art on the street. I do not want that money for my life because I would be lying. "

Luxor now dreams of a FLIA of graffiti, a space where they can meet to, painting, transforming the city. With some trials of what he calls Magenta Intervention made during the past year, now expects to achieve a dynamic group that advocate for folk art and where they can also be integrated artists from other fields: "This year I want to add people to make music, to open the proposal. I do murals, DJ's and invite people to go dancing. Why We Can not Dance weekdays, shit? Why do we have to wait for Saturday to brazen? "

" My idea is that people are active, sharing the street. Can anyone like what I do, I care, the issue is to shake. So much art for me is people coming out to write on the white wall mouth dale, dale wolf as I do. We all resignifying the street ", says while planning new ways of meeting art on the sidewalk where, again, to share the space with various artists who have very different ways even to his watch and capture the world in the pictures, but they are willing to, next to each other, transforming the daily: "I do not think like me. Now, I'm going to paint a woman is bow, firefly, is going to be a woman is not going to be a bun. "

Blog: http://soyluxor.wordpress.com/