Friday, October 30, 2009

Sew In Tracks Side Bang

While some cry, others enjoy the

On October 28/09 the only concept enrollment of firsts parturition of Medicine for the first half of 2009, the Universidad de Los Andes will receive approximately six billion pesos, as its list of supported is 425 students, who must pay an enrollment of $ 14,370,000.

Le Chateau Ottawa Dresses

tuition public universities do not want reform of Article 86 of

October 28/09 Danilo So said Reinaldo Vivas, president of the State University System-SUE-and rector of the Universidad del Cauca, because, in his view, it is not equitable Minister's proposal to revise Article 86 of Law 30, to change resource allocation criteria.

Universities are dissatisfied with the approval of 160 billion additional dollars that made the Congress, because: 1) The money is not enough according to his calculations, 2) In practice, the 160 billion, only 70 billion will be used will actually be used for direct use of the IES, and 3) Those 70 000 not be included based on the budget of the IES, so will not constitute a basis for negotiation for the following year.

Meanwhile, in several universities in the country, as the District and UTP, academic abnormalities in protest at budget.

Wednesday, October 21, 2009

How To Build A Sosage Stuffer

Act 30 public universities that refuse to handle the additional budget Icetex

October 19/09 The financial crisis in public universities as a result of strong growth in enrollment in recent years, sustaining inertial system of allocation of resources by the State , seems to find a palliative in the proposal pending in Congress that the 2010 budget has an additional increase of 5%, equivalent to 95 billion pesos.

Of that money, to date the Government has made a budgetary reserve of 70 billion, equivalent to 3.67%, and announced that these funds would go to a fund managed by the MEN and Icetex, which, according to the universities, does not solve your problem, so have asked Congress to spend such monies as compensation to the base budgets of each university.

The following is the text of the open letter of SUE.

Honorable Members of Congress:

When the National Council of Rectors of State University System - Sue, decided to go to that high legislative body to find its assistance and strong support for the initiative that we presented them to achieve a greater increase in the budget for public universities, more beyond the provisions of the draft 2010 Budget Law Effective underway in the Congress and presented by the National Government did with the full conviction that we would have a positive response.

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Sunday, October 4, 2009

Do You Cover Lasagna When Baking

Jazz + Funk + Hip-Hop + R & B & Reggae ... And why not? Der Mann ohne Eigenschaften




Jazz + Funk + Hip-Hop + R & B & Reggae ... And why not?




WTF Jam Sessions, a pulse by direct experimentation

Monday Monday after a battle in the Jamboree room for survival of the music live jazz almost suicidal if complicit, especially if the proposal is a popular self-management, week after week, selling a meager price of entry and without administrative supervision. An unreleased B-side of many musicians in our scene where improvisation and the miscellany of styles are the leitmotiv night.

What The Fuck The Jam Sessions not live in a labeled product on a shelf of Fnac, but a lively spirit in the basements of the Plaza Real, full of howling ginsbergianos and gallop of Barcelona music scene crowded with fanfare. "The WTF Jam Sessions arise from organizing birthday parties at home, with friends around the world that provided food and music from which they came. In the time it became too popular at home I stopped them and took them to Jamboree, "said Aurelio Santos, programmer, presenter and alma mater . And there, sheltered from the bustle of the metropolis, a June 24, 2001 met with friends, just over 50 people in the kick-off of the WTF.

already consolidated in the musical agenda, the What The Fuck Jam Sessions are a real test lab, certified with the indelible quality of the elective affinities of the usual suspects, as well as a wealth of globetrotters who have trod its stage gathered to improvise from standard or hummed a tune at the moment. "Every Monday is a humble contribution to the local music scene in vivo. Everything else is what everyone wants to contribute or to represent, whether they are musicians famous and successful, or novice players, and newcomers need to recognize and work, "says Aurelio. Musicians, very different, as Donald Harrison, Christian Scott, Avishai Cohen (trumpet), Avishai Cohen (bass), Eric Harland, Neneh Cherry, Orishas, \u200b\u200bCheikh Lo, Fishbone, Perico Sambeat, Seamus Blake, Gary Willis, Armand Sabal-Lecco and many more who did not hesitate for a second before going on stage, in addition to the regulars William Callière, Raynald Colom, Guim Garcia-Balasch, Adriano Galante and so on. The latest sensation Felix Rossy, trumpet aged 14, who shared the stage, among others, the great saxophonist Chris Cheek, a sense of generational clash that would inflame the spirit of the present.

The night begins with the only certainty of a concert by guest artists and, from now on to
front, open bar for players with guts and discourse. Four and a half hours of music total well into the night, synonymous with jazz and shelter of the spurious passions and indomitable spirits, also on sax or trumpet. "The prevailing attitude is not to prejudice, let the music channel through you. Clearly, the ego must also leave parked outside. I to see the audience shaking their heads up and down and I'm happy " Marc Ayza confesses, addictive drums. He adds: "Sometimes the jams assimilate the spirit of a final hearing of course nervous musicians waiting for their time or frustrated by not having played well. What I look for in a jam session is that it is a party where they mix to create, friendship, euphoria ... and WTF are the closest thing to it. " According to the bassist Thomas Kent Warburton, the WTF has its own profile, wider than other jams, with a fusion of many styles that do not have the typical jam , slightly more closed in general. "



"It is a spectacular luxury. It's like playing with the family and many years of mutual education, "affirming Llibert Fortuny ma, l 'enfant terrible European jazz, able to reread a Saturday to Mozart in the key of jazz and experiment with a Monday pedals to create loops coded funky. Licensed inexcusable to experience, the stage becomes a laboratory where the composer freely It tests hypotheses, manipulating variables in order to compare the response of the audience and, ultimately, get feedback gathering information firsthand. imperceptible feeling for the artist contained in the study. Although, as noted Llibert, "if the musician creations is carried away by a trend may be losing something we all could be more interesting."

his back to the record and without pressure, the musicians take risks with their proposals taking them beyond any canon, evolving from contact with an amalgam of styles and also promoting itself to make a transgression transgress convention. "The attitude of the WTF scares the complex and hobbies. The and why not? "says Llibert. Also, WTF are also a sound comparable to the initiation ritual practiced by our ancestors and where only the ideas matter, when a musician begins to repeat lose your hearing from the noise of the cups and rhythmic flirtations. The WTF is also a good showcase for globetrotters, the same way as in the golden age of jazz musicians newcomers to the city were going to a jam looking for a contract. "It's a good bet to land and then take off," says Warburton, bass player from Kansas who landed 7 years ago, and now become a musician coveted "On the WTF I met many people who gave me work in their formations. Too many to count. "

"Improvisation exists only in the moment and have to live, both the artist and the public. The moment is all we have, everything we shared, and communicates jazz if you're careful, "says Warburton. And there, on stage, once the jam starts, it pays tribute to the battlefield improvisation as a musician. "The spirit of jazz musicians is improvisation and for that we prepare ourselves to understand language and concepts and develop musical ideas when, like an MC done with the lyrics or the troubadours of his time, "said Llibert. An appetite for short distances is not the result of the restructuring of the music industry, not surprised to jazz: "For many years, productions were pop / rock that lasted months. Now everything has changed: do not sell records, recordings have lower production and groups have to sound more live. The jazz musician has always been a live musician, never studied, in part because we have never had the resources necessary production and sales. "


Orchestrated by Aurelio Santos, What The Fuck Jam Session and his accomplices are accused of heresy in the mouths of critics cling to the more classic jazz tradition, but oblivious to history. "Skepticism is often synonymous with ignorance," judgment Llibert. Each piece of music in the WTF is a definitive version of something and at the same time, a work in progress, nameless and perhaps irretrievably, like many of Charlie Parker solos before the appearance of Dean Benedetti. A product without packaging that critics can not seal, but we live in a unique live and in visible anarchy. "Regarding the supposed anarchy has to have the ears and mind well open. Make a groove walk has nothing to anarchy, "says Ayza. Like jazz, impure by nature, Jamboree jam sessions absorb the best of all friction, combining jazz, funk, hip-hop, r & b, reggae, electronic ... "I served to meet musicians and style scene that were not in my way. This has allowed me to be aware of different realities and that influenced me, "says Ayza, a battery with more projection and present of the scene. In short, a veritable tower of Babel abandoned (hopefully) by the managers of the culture in which many languages \u200b\u200bare born and melodies. "I've always said it's a treat to play jazz with the energy of a rock concert," hits Ayza.

Although the WTF are the most popular, Barcelona has a great jazz tradition and the premises are different today (Continental, Heliogábal, Harlem Jazz Club, 23 or the room Robadors Monastery) which proposals scheduled jams. However, although there is a wide range of live music every day, in general it is " offer low cost, or a little money for musicians, lawlessness in precarious conditions and equipment" Aurelio says, although "Nor is there a great number of visitors to think about programming that can be mounted everywhere. Even in places like New York or London is a very large number of visitors to the club, but much more habit when going to the premises. "

Therefore, some local jam sessions scheduled lack of regular programming and festivals, despite its success at the box office, are a flash without a sound basis of age, a drive belt failed short-term for embedded programming. "Festivals should be a celebration of a burgeoning scene, but all that public festivals will often give back to the scene generally regular live music. Do not blame them, but reflects the little habit when going to see music in clubs, where good music is brewing over short distances, "said Aurelio, who believes that everything is born under the concept of which is attributed art today: "People pay 10 and 15 euros to get into a nightclub, yet think it a thousand times before paying $ 10 for coming to see a jazz concert."

If the vaunted postmodern society queen mass indifference and a sense of repetition, which only rewards the experience reflected in the headlines, live music and especially jazz, lives afflicted by the glow of the major events. Those who abuse the blindness of our institutions to place Barcelona in the cultural agenda of full hotel occupancy, building castles in the air after the highest bidder barges reveal a barren plain with four poorly irrigated shrubs. "I've always said jazz festivals operate on their own as an event. The public often does not go to the event and the concert "reflects Ayza. And the musician? "I remember once in the news announcing the start of a festival. I was shocked to see how the organizer interviewed while the musicians were playing in the background. Of the musicians who were playing not said a peep. The world upside down. "


According Llibert, the public ends up being a slave to advertising. "With money you can make 10,000 people go to a championship swim in the pool without water. The reality is that no money disappears communication and works only word of mouth. The festivals have a long tradition in this country and also many beer trucks remembering the dates of the festival and musician who sounds so good and they say it is the host. And it might be the host, but there is also another bid is the host and simply does not reach the public. Is normal in the regular program of this country and we have much work to do. "












"Thanks for loving the live music / Thank you for loving live music. Thank you for loving the live music / Thank you for loving live music. Thank you for loving the live music / Thank you for loving live music. Thank you for loving the live music / Thank you for loving live music. Thank you for loving the live music / Thank you for loving live music ...

Aurelio Santos