Simmi Garewalmera Naam Joker

romantic difficulties of playing the romantic

Fourth concert of the season of the Philharmonic Orchestra of Málaga.

amaze not continue to pose problems for orchestras some scores that involve integrated into the basic repertoire, such as Dvořák Cello Concerto . Yet in none of the tutti the first time one could say that the orchestra offered a sound properly constructed, which requires that the string sections having much more presence and bite to this main body sustain metals. The result was that the exposure of the first plea lacked the necessary sense of growth and that the interventions of the trumpet (not lucky) sounded detached the orchestra, almost like a cacophony isolation. Diemecke handled better small instrumental passages, but the wood always tended to play forte: as a result, certain details which are intended only to eventually hide a color free environment which also lacked direction. As the soloist, Vassilieva proved able to play all the notes, but in some cases too weak tone. Lacked the vibrant and heroic sound of the first half and generally perceived ease with which even smaller sections of the orchestra gulped. One interpretation that could only be highlight the more lyrical moments (Adagio ). The orchestra was improving over Finale.

Improvement

which culminated in the second half, with a new Bruckner more solvent (such as Seventh of last June). Without being no wonder, the strings played with more intensity and was very expressive passages, like the violins in the recapitulation the first time or the cello in the slow time. The tutti rang with the power that is assumed in metals brucknerianos but without giving the impression of fanfare that was seen in the first part: for example in initial exposure or the titanic coda that concludes the work. Woods showed more varied dynamics and passed the difficult test tubes representing the Symphony. Diemecke chose tempi but enriched with an extensive personal use of rubato , sometimes a little exhibitionist ( Finale), but was grateful to escape the routine. The Scherzo vibrant, page views according to some cuts grateful that he practiced in the past. An interpretation that above all gave the impression of having been planned in earnest toward its stunning conclusion.

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Why Is My Atv Backfiring

Theatre Violin

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The worst ( X): James McCracken

McCracken's case is worthy of an X-Files : so much would be difficult to explain how a tenor of these features will make an important race. The protagonist of this story got his first roles at the Metropolitan Opera House as partichino and comprimario in 1953: Parpignol, the messenger of "Aida", Normanno, Roderigo, the judge in "Ballo" or Melot succeeded until 1957. Then the young challenger from Gary, Indiana, received permission from the theater management to travel to Europe and complete your homework and become a star tenor. In Austria fulfilled his dream and began to acquire a certain prestige as Otello in Vienna and Zurich. In this role she heard Rudolph Bing, after one of the most baffling decisions by the famous entrepreneur, McCracken became the dramatic tenor of the house actually assuming the portfolio of Mario del Monaco, absent from the Met since 1959. Radames, Manrico, Canio, Don José and, above all, Othello became its property between 1963 and 1978. So it is precisely "Otello" Opera returns to mark a turning point in his career, because the theater offers no star in the role to be televised (the chosen Jon Vickers was) and he angrily leaves the company until 1983, when she stars in her second return to the stage of New York.

McCracken's voice will hit anyone for little opera I've ever heard, because his hearing becomes unpleasant to the ear. The voice was unpleasant, with a rare quality "percussive" and explained well the difference between dark rings that are simply dull and deaf to be issued without a mask. According to the chronicles it was a bulky instrument, himself a robust man, this was enough to classify it as a heroic tenor. Almost completely devoid of art, in the passenger area practiced a kind of parody coverage in the broadcast was squeezed painfully, often Calante and always clinging to Angola, and from there appeared sounds like music should never be accepted. The sharp end, detached from the rest of the voice, causing anguish for the deadly strain that suggested not only by the terrible vibrato stretto. There was a ringing sound as it should be heard in an opera singer but raucous and discordant. Forcing his line was rigid, lacking any type of modulation (if not in falsetto) and unbearable both the monotone and for the sloppy diction, which continually distorted to suggest dramatic intensity. As often happens in the bad singers, bad taste McCracken exercised with complete sincerity (in this he was a faithful follower of Vinay) which earned him fame as an interpreter "convincing." Naturally the field were the papers written in the central belt, where the momentum seemed outrageous in his declamation to the effect - if one were to accept the reduction of the characters to puppets vociferous.

The Anglo-Saxon audiences and critics, impassive, accepted this and may even think that McCracken would be further evidence of the antipathy of these audiciencias for ringers genuine tenor - clear and Squillo . Did not record much, since it also had a complex relationship with the record: with Decca ended even in court. A few records remain certain prestige, "Otello" (Barbirolli) and "Carmen" (Bernstein) . His incarnation of the Moor of Venice is a decalogue of everything that can be addressed without touching a microphone and singing by chance. In the memory are hearing the eerie howling of the Quartet of the second act and a terrific speech on the r that makes you wonder about the role of the producer of record. On this "Otello" must also say that is representative of a desitalianizar desire Italian opera, but carefully address delinquent and non-sparking theater, a couple scruffy character in a baritone voice and that while singing very well, seems to be reading a PhD at Cambridge. In "Carmen" fails all or nearly all, under the flamboyant leadership of Bernstein we have an eminent vocalist desnortada in the dramatic scenes and a Don Jose's, which surprisingly took good intentions but never stopped being vocal personality Parpignol. Open bar

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Interview magazine PS: Art and Psychoanalysis

Marcel Duchamps Gioconda - a disturbing Dadaism or parody?

ART AND PSYCHOANALYSIS
"Making the hole right where a ghost sleep
and wake at the same time "

-Interview with Enrique Acuña-(*)

For Ms. Paola Boccalari.

http://www.posdatas.com magazine postscripts .ar/posdatas1.pdf

What is art for you?

is a pretty broad question that allows
dwell. I stand by the effects of art that
Psychoanalysis teaches me. A universal work, for example
the Mona Lisa's smile is as enigmatic as
enough to generate effects
unique in a stunned audience.

That depends on aesthetic judgments (Kant) and pleasure
obtained thanks to the fantasy (Freud). Each
observers read the box with its own vocabulary, ie
a decoding machine that allows
explain the feature to see it stopped. But that slightly deviated
lip simulating a pleasure, also can generate
rejection.

could say that there is an art and a
full vacuum. The "full" is the surprise that leaves us astounded,
-media image, is the admiration
wonder, numbs us. Then there's the art
the "empty" words "enigmas" that allows
to raise concern.

That would be the art: the action of making the hole where a ghost
just fall asleep and wake up at the same time
.

In both cases the image of the painting or the literary letter, a blind
anything, open a
interstitial space is intentional. That detail called an interpretation. The effect
anamorphosis (
where perspectives des-hidden object), the picture is a trap to catch glances
-Lacan poses for
underscore that "full-empty"
convenes public exposure. There is a look of someone on an object that shines
.

This subject divided by the wonder,
exchanged their affections. Then there is a market economic
is responsible for giving value to change that picture
like and so hard, distributed, consumed
, etc. ( Art by Francois Lacan
of Regnault)

"Briefly
we could specify what are the convergences and divergences between psychoanalysis and art
?

psychoanalysis, from Freud, uses art as
detail to show that the unconscious
works on a vacuum. In that sense
a dream that the dreamer to tell the truth, something that was secret and
impossible to say, may be the best work of art
a neurotic.

would have to distinguish "art" of "the artist." The
artist is ahead of us (the analyst) because
works first-hand what your unconscious
emerge without going through the couch. Maybe that's why some artists fear
psychoanalysis, believe that if they would stop fantasizing
say things that cause your
art, or lose a supposed originality.

This is convergence: the artist's teaches us something
formations of the unconscious.
you operate with dreams, jokes, and symptoms as their creation
shown in an imaginary object which
symbolic link with others.

The difference is that the artist believes
be cured only with its art, then it calls another
interpretation other than that already made her unconscious. Example

James Joyce that achieved with writing a comic
cynical position with the language, he dominates his neologisms
the point of offering his Ulysses to the University
study it for a century.

Artists are overwhelmed by what they do;
and analysts for his act. Art is ex_nihilo arises
anything, but it's something. That creates sometimes a
invention, such as avant-garde.

you are the Director of the documentary "The Fog
-Tatachiná-" there is recounted the cultural conflict between communities
Guarani
missions and values \u200b\u200bof our civilization. What was it that led him to realize
?, What did he prove?

If Tatachiná is a multiyear research
riding between psychoanalysis and anthropology. Study
the forgotten language of the original. As
all documentary evidence collected
true protagonists. That works as a trigger: in
each projection is a table-like
debate was a "ethics committee", a guardian of the common
opinion when we are at the time that the big Other
longer works.

Here is a basic language that
Guarani kept as secret
healing in the case of the child, Julian.

The priest plays the god with the haze of smoke from his pipe
that transports SEN Pora: the beautiful
ancestral dialect words that "
white Christians could never understand because
not believe in our God. "

fragmented

Knowing
meets the character of the priest-physician that heals and pray "with some effectiveness
symbolic. There is this power but at the time
is impossible to translate.

is a poetic tale of myth and ritual in their disparity
lead to a war of beliefs.
I think cinema can sometimes transporting the void of art. In this case demonstrate
impossible
translation of what Levi-Strauss called "secret names" and Lacan
homologous to "repressed." Anthropology American
say "conflict of inter-cultural discourse breed.

Could you forward something about the novel
who is writing?

That novel was transformed into a prose poem
of several pages called "Scapular"-maintains a
epic tone, with rows of history, a lost object
been for centuries without knowing why it agalma-

Perhaps

psychoanalysis makes us snipers
with gusts of literature: not a poet but sound
vectors.

The repetition of the enjoyment of sense, we
leads to something else, a brief condensation in finite density
in a flash durable.

why I believe that psychoanalysis seriously,
may impact on the art and generate a sensible objects
foreign, other than those dark
pictures hanging on the wall.

lucky for the rabbit
Alice through the looking glass: the hole, fall
and return to their own language .-

(The full text www.posdatas.com.ar)

pd. 12pd. 12

(*) Enrique Acuña psychoanalyst and writer.

Director of the teachings of the Association La Plata psychoanalysis.

Author of Silence, "Resonance and other poetic Psychoanalysis (Ed. Edulp).

As an author, also taps the literary genre with stories, novels and poetry
also works as a screenwriter


art & psychoanalysis

Downtown Los Angelesgay Cruising

Opera Nights: Apotheosis of Sutherland

belcanto

addition, French Romantic opera was the great Joan Sutherland specialty . One of the highlights of his career in the code was "Les Contes d'Hoffmann", having been the first singer who took the four decades leading soprano roles . Quite a feat given the extensive vocal range of them, from the agile soprano (Olympia) to Giulietta, rather close to the mezzo . The Decca led to the study (1971) the opera in the first edition of the same philological, critical to its revaluation conducted by Richard Bonynge expressly for the record. A couple of years after the debut MET production for the showcasing of the diva, who won a spectacular victory in each of the characters. As expected, one of the highlights of the night is "Les oiseaux dans la Charmille" Olympia's song in Act III. Soprano voice, used to whistle, a bell is a pleasure full, broad and vibrant on this page. Scales, chopped notes, trills, no soprano vocal pirouette not dominate with a master's insulting: in the second round of the song is a trill at a height unlikely. Only a slight hesitation in the last treble reminds us that this is a woman of flesh and bone. The public, heard, appreciated the comic talents of Sutherland for the number. Impressive also his gurgling of the waltz. As for the Venetian Act in principle the farthest of its strengths, it is true that does not allow much brilliance (still had not recovered solo Giulietta page) can rightly speak of success. Although not as complete as in the record edition, portraits of the hateful court is surprisingly vivid for work on the accent and even compares favorably with the enthusiastic advances Domingo. However, is the Act which establishes Antonia a very large interpretation. Although the paper is designed for a voice with a more youthful color than it had at that point in his career, the gentle melancholy of the song ("Elle to left, the Tourterelle") and the modest expression of love (the scene with Hoffmann) are nearly ideal for the character - perhaps missing some more in chiaroscuro love song. Finally, the slancio phrasing, the nerve of accent and clarity of his upper register comparisons do not support the masterful trio, a page where the lyric sopranos are serious problems. The last bars of this number could be cited as one of the highlights of a career: the terrifying rise to do # 5, a range almost impracticable, is resolved with a perfection that summarizes a lifetime of study of the technique. A note does not suggest any effort and yet it is hurtful in its limpid beauty. If the recording is admirable study this passage in vivo seems even inhuman. Not far behind its intervention in the wonderful quartet of Epilogue. Sutherland's voice here flies the set with a monstrous facility. The highs are real lightning: you can not imagine more brilliant sound.

starring roles from Richard Tucker (between 1955 and 1957) could not be heard at the Met (or anywhere) a Hoffmann as exciting and passionate as that of Placido Domingo . The tenor affinity to the role is particularly fortunate for the scenes with his beloved, not only for the privileged velvet timbre, but the suggestion of his tremendous singing. This is particularly noticeable in the duet with Antonia, who shows him affection and caressing even without recourse to really low voice. These qualities also shine during the first act monologue. Seductive ways Sunday - well known and recognizable - fit completely sentimental style and cast the role, certainly not in special need of depth. For this reason there is only one of his best roles, but in this case just a couple of tenors that you can compare. Superb, by pushing and sympathy, is their story "Il était une fois", although the central section finds it a bit hard and diction tends to be a blur of sound "in bocca." A defect that is often cited in this singer. Less bright are the couplets Venetian the Act: the issue "cello" letting you get that ring dense and voluptuous in the range Central has its limits, even when in top form, when the tessitura demands slancio in passenger area, then becomes somewhat stringy and vulgar. Some of this is also seen at the beginning of the duet with Giulietta ("O Dieu! De quelle ivresse") although in this case the writing is more lucid linked. The site reaches a glowing passion for both parties ("Ah! Aujourd'hui les larmes"). Brilliant intervention in the Quartet, imposing the stunning breadth and intensity of its tone. The few high notes of the paper, isolated and therefore are acceptable and offered no major problems to the young Domingo.

As for the villains, for Bonynge was beyond dispute that should assume a single singer and the task fell to Thomas Stewart . Net baritone, is comfortable as Coppelius and Lindorf, Couplets whose voice acquires decidedly dull, guttural tone. Things get worse in the aria dAPERTutto, since it is down a half step, yet the sharp increases you are very arduous. So, the problem seems intractable. Miracle is the best role exceeded, particularly in terms of accent, always honest and effective in any case.

Huguette Tourengeau is much better than might be expected in This singer, who inexplicably went on to hold a fixed place in the Clan. The buzzer sounds fresh and without the haughty ingrate who used to spoil. The rest of the papers comprimarios is covered with the usual (and recognizable) Effectiveness of the house.

address Bonynge in the background is due to the remoteness of the orchestra (this is a live recording in- ). Fortunately fascinating musicological and musical work is properly documented by the studio record. But still emerge from its colorful flashing, its elegance and fantasy nervous.

This feature is the premiere production, which won a huge hit with audiences. Not well understood however, the coldness of Shawe-Taylor in his review (available in the database TEM).

Enjoy.

November 29, 1973

Hoffmann Placido Domingo
Olympia ................ ................. Joan Sutherland Joan Sutherland
Giulietta
............... ................. Antonia Stella Joan Sutherland
...... Joan Sutherland
Lindorf ............ ................. ............. Thomas Stewart
Coppelius .. ............. Thomas Stewart Thomas Stewart

Dappertutto Dr. Miracle ............. Thomas Stewart .............. Nicklausse

Huguette Tourangeau Huguette Tourangeau
Muse Andrès .................... ...... Andrea Velis
Cochenille ............ .............. ........... Pitichinaccio
Andrea Velis Velis
Andrea Frantz. Andrea Velis
Luther ................. .................. ....... Edmond Karlsrud
Nathanael Anthony Charles Hermann
........ ................. .............. Russell Christopher
Spalanzani
Nico Castel
Harvuo Schlemil Crespel ................ ................. Clifford James Morris
Voice of Antonia's mother ... Cynthia Munzer

...... ............... Richard Bonynge Address


CD 1 CD 2

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life and career:

Born in Sydney in 1926, his first singing lessons from his mother the Muriel Ashton, a mezzo that did not sing professionally. In 1950 he won the competition "The Sun aria", allowing you to move to London, where he studied at the Opera School of the Royal College of Music (with Clive Carey, a pupil of Jean de Reszke). Earlier in 1947, his debut in Australia in "Dido and Aeneas." It first appeared in the Royal Opera House as First Lady Die Zauberflöte . During these early years, his goal is to become a dramatic soprano, especially the German repertoire: his idol is Kirsten Flagstad. In 1954 she married Richard Bonynge, who will guide you towards the vocality and repertoire that end up turning into myth. Until then he had frequented as Clotilde comprimarios papers (with Callas) and Aida Priestess , its first lead character Amelia's "Un Ballo in Maschera." Then come Aida, Woglinde, the Forest Bird, Antonia and Olympia (Tales of Hoffmann "), Agathe, Pamina and the Countess of Weddings . After a brief retirement to have a child, takes his career and final bound: Handel Alcina in London for the Handel Society (1957) and Gilda at Covent Garden. In the London theater star gets his consecration as Lucia di Lammermoor starring (1959) with musical direction and scenic Serafin Zeffirelli. This paper assumes a continuation of their status as Maria Callas in the recovery of romantic bel canto, and it debuted at the Met and La Scala (1961). Delve into this repertoire with Amina, Beatrice di Tenda, Elvira and Marie, but do not forget the Baroque: Samson , Rodelinda, Giulio Cesare and again Alcina at La Fenice, where the christened The Stupendo in Italian debut. It was the early 60's of his greatest successes in the peninsula - Genoa, Palermo, Venice - culminating with Gli Ugonotti of Meyerbeer and Semiramide at La Scala (1962). In the words of renowned journalist Massimo Mila: "Sutherland sang the beautiful aria della Turenne Suola Lieto (...) and immediately had the feeling that something big was happening. Belcanto of the nineteenth century was miraculously resurfaced (...) "In America attended Chicago, San Francisco, Buenos Aires (with less success) and especially the MET (220 appearances). Converted one of the bastions in the renaissance of vocal virtuosity, to mid 60's is an artistic couple its height in Luciano Pavarotti, whose career drives and guides. In the 70 takes on new challenges as Norma, Le Roi de Lahore , Lucrezia Borgia, Maria Stuarda and, as a symbol of artistic and vocal zenith, the four female characters in Les Contes d'Hoffmann . The first signs of decline appear at the end of this decade. During the 80 took refuge in the Sydney Opera House with features designed as mediocre deals with incorporating some papers outside their qualities (Adriana Lecouvreur, Suor Angelica). Withdrawal arrives in 1990 with a gala performance of Die Fledermaus at Covent Garden. Since then, full of honors and during his career, is dedicated to the patronage of the lyric contests (like the BBC Cardiff Singer of the World competition ") and lives quietly in Switzerland. Log in divine regions that always belonged to his voice on 11 October 2010.

His voice and his art:

Joan Sutherland's voice has been one of the most exceptional of S. XX. The ring had an amazing view of the extension shaft inside, with pure color and glaze Argentina and caressing. The broadcast reached an unassailable perfection over the overpass, with a brilliant 5 Eb of spectacular brilliance, while maintaining a respectable fa security even to the treble. The grave, however, was obviously weak as central was subject to variations in its fullness and clarity. By all accounts was a considerable volume, which together with the personality of the tone and projection just separated it from the sopranos light to use for decades. Naturally the true Sutherland appeared with the guidelines Bonynge, recovering a virtuosity that evoked the vocality voice-instrument Baroque. The perfect trills, even acute areas, notes chopped executed at breakneck speed and with an unerring pitch, but the legato pulidísimo and game intensities, all formed one of the few true vocal phenomena S. XX (in the words of Marilyn Horne). The Australian was one of the first to take the witness of Callas in the rehabilitation of bel canto, bringing even further not only the virtuosity, but the color qualities (sweetness, homogeneity) characteristics were as important or more than that. However, more because of his personality than by a conscious decision, Sutherland did not inherit the Divine concern for the portrait and psychological drama of the characters. Nor was characterized by giving the parola of real significance due to a very irregular Italian pronunciation and diction problems. On this subject has been repeatedly affected or even no agreement in indicating whether an operation on the carotid sinus - practiced in 1959 and never fully explained - resulted negatively on the ability for the consonants did not interfere with the vowel sound. Lacking somewhat theatrical sense also, Sutherland remains outside the fusion of classic and modern songs will verisimilitude: it all was, so to speak, allegory. Remain, along with the targeted vocal qualities, strong musicality, good taste and a special sensitivity to the angelic expression of romantic heroines and the extraordinary baroque styling.

Over the years, Sutherland was able to accompany their strengths for greater emotional involvement and in 70 enlarged without losing his voice on the sharp brilliance. It stressed, however, the veiling of the midrange. At the end of that decade was seen the beginning of the decline in attacks aspirated and unintelligible speech, but it kept until the end the control of vibrato and pitch.

Repertory and discography:

Everything about is reflected in the roles for which he won his greatest triumphs. Above all in importance is the Lucia dreamy, ethereal, stunning. In the famous scene of madness the perfection of singing, away from the poignancy of Callas, suggested evasion, flight from reality into a world hostile ghost. These qualities also adorned their Amina and Elvira, but the singing was spectacular sometimes go to the background values \u200b\u200bof these romantic characters emotional, which also afflicted her Gilda Violetta and especially, but not their interpretations of earlier melodrama. In characters as Mary Stuart and Norma - though this is a complete creation - just come to mind a couple of rivals, while his Beatrice di Tenda Not at all. In Semiramide or the operas of Handel left imperishable examples vocal virtuosity as a means of awe and wonder, what was the pure essence of bel canto. Marie (La Fille du Regiment ) and four women courted by Hoffman gave an opportunity to complete some of his best performances on stage.

Decca Sutherland recorded voice from the beginning. Recordings of the 60's show with a pure crystal, but the deals were not always measure up. Unfortunately, they could count on the fingers of one hand to the male singers were singing so without detracting from his side. It is worth noting the pair made with Cornell MacNeil in Rigoletto , reaching unprecedented levels of beauty both before and after. Fortunately records are kept live I Puritani and Sonnambula with Kraus and Gedda, in vivo The Stupendo involved seemed more and more strongly perceived sense of amazement, disbelief, that caused his voice the viewer. Things began to change with "Beatrice di Tenda", coupled with the still Pavarotti immature. Their second recording I Puritani, Lucia di Lammermoor and Rigoletto with her new partner enjoyed classic status; his Turandot is debatable but accepting the environmental benefits very beautiful and quite different; Esclarmonde has become one of its big hits. Respectively located outside of the Rossini renaissance and the Baroque movement, his recordings of Handel Semiramide and remain strictly musical and aesthetic value.

For fans who love the human voice as the supreme manifestation of Beauty, today is a very sad day.

recommended listening to some of the great examples of his art, as well significant to mark his debut album and the resumption of his career after the operation, respectively. Operatic Arias


The Art of the Prima Donna

free bar views, m? Music and what happens to me, that this is my blog.

Birthday Party Catch Phrases

NUDE Among the Shadows: ORIGINAL SHOW Haffe Serulle

OF 09 TO 28 NOVEMBER CONFERENCE ROOM

MANUEL PEDRO STREET HENQRIQUEZ UREÑA ESQ, RICHARD ROBLES, PLAZA OF CONSERVATORY, SANTO DOMINGO, DN



GO TO THE PROHIBITED AND PREPARE to undress. Age restrictions


Over 16, under 45 years

Unless they want the challenge.

Alejandro Jodorowsky

What To Do If You Swallow Purple Listerine?

RESISTANCE DAY (AND NOT THE BREED)

October 12: THE FIRST DAY OF RESISTANCE certainly mark the day among the 365 that has one year, not much, just to fulfill the mandate of the calendar. But if the issue date is 12 October, the case takes on another hue. Until recently, when studying at school, we celebrated Columbus Day that was to hold the "providential arrival of Columbus to" discover "this land away from the hand of God that confused with" The Indies. " Until recently, it was a powerful cult of forgetfulness, it actually imposed on the entire society, a pedagogy of oblivion and falsehood. Seeking oblivion just to erase guilt, seeks to look the other hand, seeks the impossible innocence, wishes to continue business as usual. But as Borges said, "there is only one thing and forgetting." And we add, there is no oblivion because there are traces, evidence, witnesses, facts and documents reported clearly what happened. And all this concatenated, and all is relative. Just the defenders of Columbus Day, the same ones who advocate genocide and slavery perpetrated by the anti-worker Julio Argentino Roca, are the same as during the process Videla chanted absurd litany that "there must be a" repeating as if it were a philosophical axiom able to explain the impossible to explain or justify, as was the disappearance of tens of thousands of citizens and even the kidnapping of 500 infants, of which, fortunately, nearly a hundred have been recovered. At a time now, from different educational, cultural centers, deliberative councils, departments of local cultures, unions and the Congress and the Nation, begins to question the celebration of Columbus Day. " There is growing consensus that does not accept joyfully celebrate the invasion. For example, in multiple acts, is commemorated on October 11 as "last day of American liberty" and it's good that this is done. Necessary. However, in our case, we prefer to celebrate FIRST rather than the latter. We prefer to celebrate October 12 as the FIRST DAY RESISTANCE to this outrage, to the criminal occupation that was the Conquest, which is so very far from having been a sweetened "meeting of cultures." Of course, some of this effect "sweetener" is seen in the transfer of the October 12 holiday the first Monday, to "take the long weekend" . In no way can understand or justify such a transfer to a date to remember the greatest genocide the history of mankind. Can you imagine the japonenses moving commemoration of the atomic bombs burst of U.S. imperialism on Hiroshima and Nagasaki to take a long weekend? Is inconceivable! Acts like these days are going on around the country, serve, not to end, but to hurt the pedagogy of amnesia and forgetfulness what was the greatest genocide in world history. These acts are multiplied indicate a change, something is changing, there is a desire to end country and a historiography that celebrates hovers genocide and mass murderers. The Hernan Cortes, the Francisco Pizarro, Julio Argentino Roca, the Jorge Videla should be behind a good time. Must be left behind those racist who can not accept the humanity of indigenous, those who need to maintain their native peoples rather than serfs, biofuel, without reasoning or barbarian culture, servants, in short: of slaves in the shadow of the master. Just to end this racism, to end such discrimination, we are pleased that contrafestejos multiplication, and the struggles that follow from them as they are starring in many parts of the country to replace the unhealthy behalf of Conquest of the Desert Rock and genocide. Marcelo Valko Holder of the Chair Prof. Imaginary Ethnicity, Memory and Resistance " University Popular Madres de Plaza de Mayo