Berlusconi Communications and the tentacles of power
The tentacles of power include the Italian boot Berlusconi whole and across borders. The concentration of power in one hand is something that goes against the most basic principles of democracy. Now we will see one of the consequences of the absence of plurality. Einaudi is an Italian publisher and Berlusconi, the Italian prime minister, is the owner. The publisher did not publish the last work of Nobel Portuguese The Notebook, for criticizing the Italian Prime Minister a'll Cavaliere. " Saramago said no one has asked him to delete any passage about Berlusconi and said that after living censorship during the Portuguese dictatorship achieved no "to amputate one's own work." The Nobel Prize concluded that "it must be hard to live when political power and business meet. I do not envy the fate of the Italians, but in the end is in the will of the voters to maintain this status quo or change it. " The Notebook, which has just been published in English (Alfaguara) and Portuguese (Caminho), contains reflections that Saramago has posted on his blog http://cuaderno.josesaramago.org/ . Every day should remind us that democracy is a starting point and not a point of arrival. Watch out for the puppets.
The Galician government check out the native language of Galicia
On May 17, Galician Literature Day, rallied around 40,000 people in Santiago de Compostela against the repeal of the decree of Galician in education and on behalf of the Galician language. The immediate response of the autonomous government after the massive demonstration does not seem to want the aforementioned "consensus" and have nothing to do with "bilingualism friendly" touted by Alberto Núñez Feijoo. Two days after the demonstration, the Regional Minister of Education, Jesús Vázquez announced that maintains its intention to reduce the presence of Galician in the classroom and considered the possibility of segregating students according to language preference. The news: President of the Xunta de Galicia, Alberto Núñez Feijoo, says the survey will be promoted on the mother tongue of each child will be binding. He jefe del Ejecutivo Independent highlights the need for "bilingual transfer model he de la calle to School" and sentences that "he who decides on the education of the nests are the fathers and he government." He a writer and journalist Manuel Rivas, in su weekly article edition of Galicia newspaper El Pais, describes Acierto what derogación means "a Galician government that wants to unlock the Galician language, depriving him of legal measures positive for his recovery, which by consensus Soler all political forces, after centuries of discrimination. " He Galician Government incurs in an irresponsible: this measure will mean a return to the status of Galician discriminatory, pre-constitutional state itself and autonomic. Will there be a thousand springs more to the Galician Álvaro Qunqueiro wanted?
Josefa Benitez: "The media have lost credibility ... why? "
The Conference on the borders of civilizations. New order in the global communication system, which is held in URJC, places the audience in the traditional triad: the cultural sphere, the sphere of communication and policies that affect both.
The theoretical exposition of these relationships is in the hands of Professor RR.II. University Complutense de Madrid, Rafael Calderon Cervera. For Calderon, still "can not speak of a universal civilization as we are taking the first steps." The problem is that "globalization is interdependence and globalization," but "the interdependence is not equal." And is that "Europe, North America and Asia are the most used Internet. And the rest, Africa, Latin America, Oceania and the Middle East, just use it. When that change ... another rooster crow. " On the borders between civilizations, the ambassador of Denmark in Spain, Niels Pultz said the crisis in the Muhammad cartoons as a paradigmatic example of disagreements between civilizations.
A practical example of economic and political subordination between countries exposes the teacher Elaine Levine through a study on the new map of the situation of migrants in the United States and an analysis of Obama and his policy Immigration: "America is the country that immigrants currently in the world and, of course, has always been a country of immigrants. Most of these were from Europe but in the last 30 years that has changed and is now Latin America and some Asian countries which are at the top ", especially Mexicans. The United States receive much of their wealth from the work of Hispanic and Asian immigrants, and yet, they are not any right. Migration was a contentious issue in debates prelimares of the U.S. elections but the weight of the economic crisis overshadowed the issue downgrading. There are two facts on which a journalist has to smell.
The role of journalists in the new world communication order is essential. So says Joseph Benitez, RNE Foreign journalist who uses his full speaking time to talk about the profession: "Journalism is journalism when you have something have to be made of general interest. It should be a criterion to interpret facts and no viable way to decorate the information. When in doubt should be release soon. " Before the debate of whether those who write blogs are journalists, Josefa is emphatic: "No. The media have lost credibility ... why? You have to ask. People want to know. The citizen search the Internet to their point of view, critique, etc. The international media when it comes to the Iraq war, we repeated the same images, and tell us 'Alyasira' is the opposite of CNN but we do not contribute anything. Business and politics are very mixed and do journalism. "
Benitez's words caused several reactions among future journalists attending the conference. Most of his interventions are in the same direction: we want to change the world but no work.
Gonzalo Uriarte, born in A Coruña in 1952, is an actor from Galicia who practices his profession since 1978 in the theater and, since 1985, also in film and on TV. She has also worked as a voice actor in numerous films and television series. Is a co - founder of the company theater "Troulos" in the difficult early days of professional theater in Galicia. He was awarded the Maria Casares 1997 for best lead actor for the interpretation of the character in the play August Strindberg A noite das tribadism , under the direction of Lake Xulio, best supporting actor for the role of Horatio in Hamlet show and Agapi Award 1998 for best male performance for his work on the film A lingua das Bolboreta Joseph L. Rope.
What was your first theatrical experience? My first contact with the theater was seven years in the work Don Mendo's revenge Pedro Muñoz Seca, an amateur theater company called La Coruña Farándula where my father worked. I left the page with a cushion, I sat next to the chair of the King and there was the time I was told I had to be.
How did you get into theater? The Marist College of A Coruña, when he was 16, with a partner and friend who is still in the middle, Antonio Simon (Current Galician theater director) decided to mount an amateur group called: Aspasia New Humanist . Dramatic texts they produced could be included in what is called Theatre of the Absurd.
Where we work? We acted in local parishes. At that time, representations were for small circles and had little impact. We arrived to try to represent A voda two small bourgeois B. Brecht.
And then? Then when we got to college divide the group into two parts: the section that was in A Coruna Antonio Simon ran it and the section came to Santiago, Juan A. Les Hernández (currently a professor at the School of Communication of the Galician capital.) I remember we set up a concert Felipe León's poems with which we were to act to Lugo. The press echoed a group of Dukes of A Coruña.
In 70 receives the award for best actor in a drama college for the work of Italo BURULAN Ricardi Franco flat. What did it mean? I have no memory of it was something special. It was a character on stage left in a sack and had another individual, Paco Puga, who was giving me the ax. I left in the bag and the man reproached him everything I was doing. At the very end, when this sadistic oppressor had with the character of the bag, appeared a doll hanging from a rope, a sort of scarecrow. I remember the trip we made to Valladolid, picking up luggage and go with the straw doll with us in the department of the train. We call Follardo. It was funny but unprofessional.
How was the theater company "Troulos? The idea of \u200b\u200bforming "Troulos" began in the summer of '77 but we can not release until June 78. This means that it was a project that was about to go to hell. My colleagues returned to Madrid to try to form professional theater companies but use Galician as a communication vehicle. That's when the idea to mount "Troulos.
What did become "Troulos" in those years? I get into the madness of "Troulos" because it was still crazy, with no guarantee professional. How nothing can become a professional actor in a country such as Galicia, which was spineless in that time. It was quite risky.
When is it possible to live theater? is essential to the formation of the autonomous State which is a small contribution of resources. Drama Center is created and subsequently Gallego, in the year 85, the TVG. Then, all these elements are those that begin to allow a person who wanted to be an actor here does not go to Madrid.
How would you define the political theater performed in Galicia? We still have plenty deficiencies because they do not comply with the requirements of the profession or the public. Currently, in Galicia are released about 50 stage shows in Galicia, an outrage. Then, there is a policy that favors the emergence and maintenance of small cores of production. History is a bit of bread for everyone. I think it would be better to spend the money to enhance the more established production centers and that somehow enable them to do shows más ambiciosos. Había menos núcleos pero mejores.
Entre numerosos premios, fuiste galardonado con el Premio María Casares (2007) al mejor actor secundario por la interpretación del personaje de Horacio en el espectáculo Hamlet . ¿Por qué crees que tuvo éxito esta obra? A la elección del texto, a la presentación muy inteligente en los medios de comunicación y a la elección de un reparto de actores conocidos como Luís Tosar, Miguel Pernas… En mi vida estuve en una gira tan bien organizada. En el espacio de dos meses y medio se hicieron alrededor de treinta y tantas funciones a teatro lleno en todas ellas. Algo very difficult. And with a fantastic audience reactions.
Gonzalo Uriarte in the role of Horace along with Hamlet, played by Luis Tosar.
Career
In the last twenty years has worked, among others, the following theatrical productions: in O wake and Anastas, ou da Orixe constitution, with company "Troulos" in Woyzeck the Drama Centre Gallego, O sick imaxinario , As three Irmãs , A refaixo for Celestina, Local , Swindling Rooster , Caligula, Abrente Him, etc.., With the company's Atlantic Theater "in not cry, Crazy Love , Dollhouse , Tribes of the night, Love D. Perlimplín with Belisa in the garden, Vanzetti, etc. Saxo Tenor with "Theatre Three," Medea with "products from Northwestern and The elderly should not fall in love with " Theatre of the Bat " . You're popular participation by su in the TV series of Galicia as " Combined Dishes," "Great Family ", "Galicia Expres", "Avenue. of America, "" Baywatch, "" The laws of Celavella "as well as in other" Hospital Central "," He commissioner. " In cinema he stands su participation in such films as The language of butterflies ( Jose Luis Cuerda , 1997) O lapis do Carpinteiro ( Reixa Anton, 2003), Thirteen badaladas ( Xavier Villaverde , 2002 ), and a small contribution in there Pan's Labyrinth (Guillermo del Toro , 2003). His last film van Os Mortos to prey (Ángel de la Cruz, 2009).
Mary Amelia died, the grandmother of the world oldest blogger
Maria Amelia Lopez Solis was the author of the successful blog In my 95 , a blog that became an Internet phenomenon with 1.5 million entries and prize winner of the prestigious BOBs (2007 ) issued by Deutsche Welle TV, the best cyber newspaper published in English. The blogueira , born in the Galician coastal town Muxía in 1911, chronicled aspects of his life and time, from the postwar years until his recent experiences in Brazil. Maria Amelia
discovered "the Internet" and his whole world of possibilities and new friends thanks to gift "Tacky" to her grandson. That explained the origin of my 95 A: "I spent much time alone because my grandson was going to work and did enough to give me this blog. I wanted to buy the Internet, but my birthday gave me a blog. That gift is worthless, he said. But he told me I could communicate with everybody. Now I have that loneliness. I am very together. " The blogger grandmother died last Wednesday aged 20 to 97 years.
CRISTINA DEL VALLE, THE FIGHT FOR THE DIGNITY OF WOMEN
At first glance, his black gaze conveys serenity, very clear principles ros y un fuerte carácter. Al iniciar la conversación, descubrimos también un gran corazón, una generosidad inmensa y una asturiana con vocación de torbellino. De su tierra ha heredado la capacidad de lucha; de su madre, la fuerza para sobreponerse a todos los sufrimientos; de su trabajo con las mujeres víctimas de la violencia, la fortaleza y el amor a la libertad. Nos habla de todas aquellas mujeres admirables que se esconden en las casas de acogida, en Ciudad Juárez, en los campamentos saharauis o en Palestina. Lo que no dice es que ella también lo es. Desde pequeña vivió los malos tratos y parece que se prometió no permitir que la violencia contra las mujeres fuera silenciada. Siempre ha trabajado al lado de the most disadvantaged, but one day he discovered that music could serve to be the speaker of all women who suffer violence. Thus was born the Platform of Women Artists Against Gender Violence, which speaks in this interview.
has consolidated a successful career. But also a long history of voluntary social welfare projects. Where does this commitment almost innate desire to improve the world?
I believe that education and the area where we socialize and grow conditions us many things in our life and our behavior. Long ago I said publicly that it was a survivor of violence, as many of the daughters of battered women. I had the pleasure, and I think the honor of being educated by a brave woman who saved his life and came out of this situation by not wanting to continue to negotiate their dignity and freedom. That education helped me to have a world view different from any other child. My house was always a reception area, from 12 years working with social organizations.
Have you always been connected with movements of cooperation and assistance to women?
active membership as I started at 13 - 14 years in Asturias. He was singer and composed at a very young and played in cultural centers. He also worked in an active way with my family in all that was a social movement. Also started very young to be active in leftist parties and youth movements in high school. in Valencia, when we moved to escape the situation in Asturias, started a cultural association named Ayora who worked in slums with the elements of culture, music and art. When I arrived in Madrid in '79, I started collaborating with the Human Rights Association and Enrique de Castro in the project of El Pozo del Tio Raimundo and worked as a volunteer in Valdemoro prison.
Perhaps the biggest commitment that has become the spokesman of a cause is the Platform of Women Artists Against Gender Violence. This platform was created in 1999 with the intention of being the voice of victims of abuse, why then was necessary that they be heard?
wore in Madrid working time and working with women's organizations. Once, in one of the shelters for battered women, lived a very special experience. As a child he lived in a foster home, obviously had nothing to do with today. But it was like a regression, go back to see you in a space which has past, but was also a very careful where they were a big family, where, suddenly, I had the feeling of being very protected. It was very special. And going a whole day with women, talking and sharing experiences, I realized how little had changed since I had lived the experience. Women reproduce the same pictures, the same ordeal when you have a complaint or go to the police station, describing the same thing: social intercourse against violence. Then I realized the shame it was that had not changed anything. elections coming up in Spain, and well out of there ... with lots of emotions inside. It was a Saturday, I called some of the fellow artists and I called in my house. From that day, we decided to work together and be speakers of many women's organizations and, especially, women who were suffering violence in this country were many young people move to this was a problem of all and than at any time any of us can be a victim of domestic violence.
The first draft of the Platform was to get the approval of the Comprehensive Law on Gender Violence, how were those over 4 years of political negotiations? Hard
because we had a government opposed. A government that had publicly committed to us in an act of the fundraising, but when he came to power declined, not only took the law, but also said it was committed. Then they showed a clear lack of political will at the time of putting domestic violence on the front page, a problem that was a state problem, for us, very serious. From there, we had many problems, we were very uncomfortable politically. It was not easy working in a country where the will of the government was quite contrary to the fight we had. We become upset artists, by artists that no longer we sounded in some ways, we were not as sweet certain television channels, ...
Platform not only develops projects nationwide. In fact, you work a lot in Ciudad Juárez. There, the rate of rape and murder of women is very high and few arrests of offenders, how has experienced this situation?
I would define it in one word: impunity. The murders are crimes of state when the government agrees to violence against women in a massive way, the figures are there, more than 400 killed and 4,000 missing in a city of 1,500,000 inhabitants. Women have the feeling that they can be killed, tortured and raped no cost to the dancer. Mexican women said that there is a language between people who says, "If you want to get rid of your wife, go to Ciudad Juárez and throw it in the desert." also highlight the incredible work of mothers. These mothers have been those that have made the world know what is Ciudad Juarez, have remained strong and brave, despite the daily police harassment and social condemnation by many employers and media.
also maintain other open international fronts as the Palestinian people, the Sahara and Iraq. Why do you think that some controversy arose with the Platform trip to Baghdad? Some
not aroused much controversy! We had just visited the Saharawi refugee camps. And when we returned, the government of this country, suddenly gets into an international violation was the invasion of Iraq. We as people thought it was our role and our consistency going to go there to denounce the war. I picked up the feelings of millions of English citizens, at the time the survey spoke of that 90% of citizens did not want Spain's participation in this illegal act. What we did was something as simple as going to put a face to the victims. We knew it was going to do political damage, so we went. We were a group of women who were enjoying the sympathy of the public, artists had no suspicion that policy because we did not belong to any party. We as citizens of the world to condemn what was happening and to bring media to be the eyes of this reality and contra which I believe is one of the keys to the work of the people of culture and media. trip was very hard in every way. Obviously we had a cost, which we knew, but never thought it would be so hard, it was a brutal attack by the media at the service of power. I then worked in RNE and was ejected. We broke artistic and theatrical contracts. We heavily burdened.
The main criticism made was that they had gone to support Saddam's regime.
course! It was inexpensive and easy attack. We then went, as all delegations, a country that had a government, but we would denounce that. But obviously, the attack was that easy and you had to attack us wherever. Anyway, after the story and the time showed the truth.
How war affects especially violence against women?
Yes, we say that violence against women is not a violence that is isolated from global violence. Is a violence has a masculine structure and is exercised in the workplace, at home or in social or political. The structure of violence is made in the same way. We always talk about the Platform report the structure of violence. As part of this culture of violence, war is a clear manifestation. In countries in conflict, especially women are always doubly victimized, the more suffering the impact of violence.
were also in Palestine when the construction of the wall, how is daily life there? If travel there if you do not see that reality, it is difficult to get an idea of \u200b\u200bwhat is happening. It's all so embarrassing that we start talking about the Palestinian-Israeli conflict as two equal, and no, we're talking about a victim and an executioner. An executioner is not only the state of Israel, is the international community to clean the moral debt that has the unquestionable Holocaust gives a State of Israel. And given telling a population that has to transfer part of its territory. Hence, Israel began to occupy much of what had been agreed internationally. I was a week in Palestine and saw what they did with the Palestinians. There were hundreds of sick, pregnant, children, who were down from the ambulance and were on the floor for hours in the heat or rain. That combined with not allowing pregnant women are treated in hospitals for the Arab population does not grow, coupled with the wall, which our Israeli ambassador has been defined as "a security fence because of the Jews." I've seen it, know it's a concrete wall about 10 feet high, separating families and casually that "vallita" security passes through the richest area of \u200b\u200bgroundwater leaving the people of Palestine without their land culture.
Another place where the role of women is highlighted in the organization society are the Saharawi refugee camps, how is life in these refugee camps?
The vast majority of men when the Green March begins go to struggle. Women suddenly alone with the elderly and children, built a society based on values \u200b\u200bwhere the whole in the schooling and culture. In 75, when the Green March, 90% of women under English colonization were illiterate, and suddenly, the company has become a society where 100% of women are educated, have even considered a career many of them. All the political and social, of course, falls on women. is an example of a society values \u200b\u200bbased on community work and socialization of all structures.
change the subject and focus on the current situation. Today, youth are more involved, perhaps at levels we have not achieved before, in themes such as cooperation, participation in NGOs or social movements. Yet we are accused of being one of the generations with less political participation. How does the situation?
We are at a critical time because on one hand are the first generation, according to all international reports, we can end hunger in the world. There are all action, all media for no poverty or misery. The shame is that suddenly they are not doing. I believe that we can not think of a single actor, such as governments can change things. This is a work of several actors, social movements, civilians, women, unions, political parties, governments, ... but the people always has the title role. We can not keep blaming what's happening in the world to politicians. We vote, we are citizens, consumers, therefore, we are intervening in the developing world. mobilization and citizen participation is essential at this time.
The Absolut Suite Meets Music Festival, in-room split
Open the door -room split at one of the early hours of Tuesday to Wednesday at Radio Link (107.5 FM) with a program devoted to music and artistic creativity without boundaries. In this issue we will present the festival poster Absolut Suite Meets Festival to be held this week at the Fine Arts and, for engaging the trip, two voices dramatized a chapter of On the Road by Jack Kerouac.
addition, we will issue a fragment of the Proclamation of Monte Alto sung by the writer Manuel Rivas with accompanying diplomats Os Monte Alto and provoke a laugh with a piece of tragicomic Argentine Les Luthiers. As every week, we review the most relevant news for our colleagues issued more voices.
split-room is emitted to the one in the morning from Tuesday to Wednesday Radio Link.
How to become a body without organs. (Here roars). Radioperformance.
"opens the circle of six crosses. Because we have to produce. To be someone must have a bone, not being afraid to lose bone and losing the meat through. This is how you shall hear Tutuguri dance. Where it smells like shit smells to be. And the war alive, right? "
Antonin Artaud, to end the view of God.
occasion of the exhibition "Artaud" Lit House of Caja Madrid receives the next 21 and 22 May show "How to become a body without organs. (Here roars) "a radioperformance inspired by the radio program" To end the trial of God " that Antonin Artaud conducted in 1947 on behalf of the National Radio French. The radio broadcast was censored, despite having been announced for February 2, 1948. Was performed a private screening in an abandoned movie theater in Paris. Artaud died a month later. The program was not broadcast on radio until 1973.
Antonin Artaud in a group of thinkers who revolutionized twentieth-century scene, actor and art critic in the thirties, was a passenger pilot, writer, cartoonist and, above all, a poet. Known as a writer and theorist recognized as a new way of understanding theater, his text The Theatre and Its Double is still read in the field of performing arts, with the same devotion to the theories of Stanislavski and Grotowski.
Other faces, sounds, colors. Other voices. Other streets. Rai Robledo nice moves in the dark, in fact lodged in the back. It is the photographer of the other stars, the mirror underground.
Our purpose was to usher in the mind of the photographer to show you just sensed that in his images. This , we cite in the center of Malasaña, his neighborhood, his main stage and its characters. We could not choose a better place diving on the inside. A few minutes of conversation, we understand the complicity that is breathed in her portraits. Rai Robledo is an artist with a refined technique and a natural intuition that allows you to recover the essence of everything that catches your goal. His passion was born in childhood, when he took his parents' camera to photograph what moves the imagination of a child. Now, the old Olympus, witness of his early work, accompanies him on trips to photograph this city with the fresh color of the past.
They have been portraying the alternative scene in your town but how do you hit the jump to the professional world? How was the road?
I went very slowly and combining it with other work. I've always been somewhere between passion or hobby, and how to get economic benefit. But is it first, so I enjoy it so much, because I've never seen such a job. For me it is a joy, it would free.
're integrated in many social networks that helped you professionally?
Yes, very much. I think the best way to get noticed. Wear them over two years, I've uploaded over 2000 photos and thanks to this, I met many people and got some more work. The website is in the best mime but it's very static. Most visitors come to her through my blog and social networks, Flickr, MySpace and Facebook, are much more mobile.
work several specialties in photography, which one you feel better?
depends on the time. Fashion photography I love, but it is colder. The last thing I did was in Cibeles, where I was the official photographer David Dolphin. You have to run back and forth from the gateway to the backstage, stalking the guests. It is very stressful, I prefer the book work. Regarding music, I love going to concerts. Besides that I've worked with is very likely to have been just because I liked the groups. But working at festivals is crazy, jumping from one setting to another and when you finish you get the feeling of not seen anything. It's when you realize you are working.
Making a good photograph in these circumstances involves a greater difficulty, is not it?
Yes, if a picture turns out well in a concert I think you're ready to work anywhere, because the conditions are terrible. First, a trench that is not conditioned, full of dust, sand and where vessels are standing. In addition, your position is very low and, being so close to the stage, you have an angle muy malo, así que siempre juegas con el factor suerte. Ahora acabo de hacer una inversión en un teleobjetivo porque me gusta sacar al artista muy de cerca, para captar el gesto, la mirada, aquello que la gente no está viendo. Retratarles, ahí se ve lo que realmente me gusta.
El retrato es tu objeto de exploración en estos momentos. Se percibe mucha complicidad en tus imágenes, ¿cómo lo consigues?
Creo que el papel más importante del fotógrafo es hacer que la persona se sienta cómoda. He tenido the fate of which has always created a very nice atmosphere, a link. I can not tell what is the secret, just that I like to talk before the session, meet and relax the person. It is important to talk, make you feel good and you know you are going to leave some good photos.
change scenarios you like, leave the studio.
Having clear the location is going to each specific person is part of the job. I like to look different places for each session, beautiful or decadent, but with charm. For example, in the case of Marisa, a great model, she missed out photographs that she herself, without disguise. It came in the room Nasty Malasaña. In the pictures shown with leather miniskirts, his shirt torn and his hair combed. It's rock and supermacarra and the stage, pointed to its personality. Although I also believe that the study has more merit get pass something. Because you only have the look of the sitter, his mouth and his features on a white background.
Malasaña The neighborhood is a common background of your photographs, like its inhabitants. Is there still the alternative scene?
Yes, there are still plenty of movement and with great force. Is a neighborhood that is constantly reinventing self. I love photographing her characters. They have a very strong and powerful. They are funny, endearing. His portraits are a reflection of an era. Someone tells me that in the end I managed to photograph the whole scene malasañera and true. Little by little I have been creating an album of characters who, when you see them all together you think "will rock!".
While you were creating that file in the Madrid underground scene, you also fueled from the stage, what relation are you to these two facets, music and photography?
I've always collated but now is when the two are taking more power. Every time I make more in photography and in the new group where I play drums, Bodies, we are excited. Although different disciplines, they are very close because it is still something artistic and, in my case, when photographing groups are mixed I like or follow. One session I remember most fondly is the promotion of the album "Snake Park" of Humbert Humbert. Had a great time and ended up making me a friend of its members, Miguel B. Paco Nunez and Alcázar. Incidentally, now I play with Michael in the new group. They never cease to amaze me the turns life.
What is your usual team? What camera with you in urban catch?
Working with a Canon 350D, but in a couple of months I will jump to the 5D. Use of all targets, fixed lenses for a 85mm portrait is very bright, "an SUV that is always the camera-mounted 28 - Tamron 74 mm, and angular. For urban catch'm going to analog and I'm enjoying it. Before carrying a Canon G7 compact but since I recovered the Olympus the family camera that has more than 30 years, is delighted me what is coming. I like to take it when I leave for Madrid, without a certain course, it is very small and leaving some great photos. The results are leaving me stunned. Saco sights of Madrid and mythical places Malasaña. I'm excited because as is the thing, I think in a few years, will have to reinvent the scene because the current will be dead.
"The look is the key to who photography." They are your words, how is your look?
I think my style could be described as very personal, intimate. I like to think I get out the soul of the people or what I photograph, I can tell a story or convey a feeling. You get skin bristle.
And she succeeds, his head continues to cover new projects. Music, pictures, drawings, combinations unexplored. New mirrors underground.
Underground Tribute Mirror journalist Javier Ortiz
opened the door of the room split at one of the early hours of Tuesday to Wednesday at Radio Link to listen to the voice of journalist Javier Ortiz, who died last April 27.
remember the journalist through an interview documentary made by two members of this room and try to rescue his texts drawer to keep talking about journalism without complexes. All accompanied by a selection of songs that issued the chords needed to tune the frequency to dream and hope. Also we will review the political and social information of our fellow More Voices and inform our Music Event agenda this week: Universimad and "Rock Villa de Madrid Awards."
-room split is emitted to the one in the morning from Tuesday to Wednesday Radio Link.
If 
