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 Champions: debut victorioso (FC Barcelona, 3-Sporting Clube de Portugal, 1)Después de los experimentos de Pep Guardiola el sábado ante el Racing, había curiosidad para ver qué hacía esta vez el técnico. Parecía claro que volverían algunas 'vacas sagradas' como Iniesta o Henry, pero quedaban, como mínimo, un par de dudas. ¿Quién sería el lateral izquierdo sin Abidal en la convocatoria? ¿Y el pivote defensivo?
La respuesta fue más sorprendente en el caso del lateral que en el del pivote. Y es que si sobre el papel el sustituto de Abidal podía ser Sylvinho o incluso Martín Cáceres, el técnico se decidió por poner a Puyol como lateral izquierdo - una posición no inédita pero sí muy poco común para el canterano - y a Piqué en el centro de la defensa. Y en el pivote, volvió a confiar en Keita en detrimento de Touré Yayá. Y es que cada vez parece más claro que Martín Cáceres, Sylvinho y Touré serán tres de los jugadores a los que menos veremos esta temporada. El Barça salió al campo muy enchufado. Suponemos que Guardiola leyó la cartilla a los jugadores y les dejó clara una consigna: si no se chuta, no se marca. Y sus hombres salieron con la lección aprendida. Ante un rival más desordenado y menos consistente en defensa de lo que fue el sábado el Racing, los jugadores locales chutaron mucho, aunque con poco acierto. El recital de disparos lo inició Iniesta, en el minuto 2 y le salió alto. Y a partir de aquí lo intentaron Henry (9'), también fuera; Xavi (11') fuera y Messi (17') tras una excelente jugada individual, también fuera. Pero, afortunadamente, el gol no tardó en llegar. Fue en el minuto 20 cuando Xavi lanzó un saque de esquina y Márquez, en el segundo poste, totalmente solo, remató impecablemente de cabeza y cruzó el balón lejos del alcance del portero Rui Patricio. Era el 1-0. El gol de la tranquilidad en una jugada que dio toda la sensación que el equipo había ensayado en más de una ocasión. Tras el tanto de Márquez, el Sporting abrió algo más sus líneas, pero sin dar ninguna sensación de peligro. Sólo se puede destacar una falta lanzada por el ex barcelonista Rochemback, con su habitual dureza, y que Víctor Valdés neutralizó despejando el balón con los puños. En el último cuarto de hora, el juego ofensivo del Barça tuvo un claro protagonista: Thierry Henry. Muy enchufado como el resto de sus compañeros, el francés hizo una buena jugada individual (33') pero su disparo lo paró el portero. Y en el minuto 37, en la última jugada del primer tiempo, Iniesta le dio un buen balón a Henry, que disparó bien, pero alto. Así, con el 1-0 se llegó al descanso. ETO, GOL Y CAMBIO Sin cambios en el descanso, la segunda parte empezó con un Barça algo 'frío'. Pero duró poco. Pronto el equipo se puso las pilas y empezó a cercar la portería de Rui Patricio. En el minuto 8, Messi remató alto tras una jugada individual. Y en el 14 llegó el 2-0. Abel empujó a Eto'o dentro del área cuando el camerunés intentaba rematar un centro de Xavi. Penalty muy claro y el mismo Eto'o que se encargó de transformarlo engañando muy bien al portero. Poco después, Eto'o se fue al vestuario y entró en su lugar Touré Yayá. Eso hizo que Iniesta adelantara su posición por la izquierda y Henry, por fin, pudiera ubicarse en el centro de la delantera. El partido parecía decidido, pero este Barça sigue demostrando graves carencias defensivas, en especial en las jugadas a balón parado. Moutinho (22') dio un primer aviso con un fuerte disparo desde fuera del área que paró Valdés. Y cuatro minutos después llegó el gol del Sporting. Falta lateral lanzada por Veloso y Tonel, sin que nadie se lo intentara ni impedir, que remata con total comodidad (quizá levantando demasiado la pierna) al fondo de la portería. Pues nada, como suele ocurrir con el Barça a sufrir. Pedro sustituyó a Henry dejando una delantera inédita formada por él mismo, Messi e Iniesta. Pero el problema era que el Sporting ya se creía a esas alturas que podía empatar el partido. El balón empezó a merodear los alrededores de la portería de Valdés, aunque sin acierto de los portugueses. Messi tuvo en sus botas la tranquilidad en dos ocasiones consecutivas, pero primero desde dentro del área remató al cuerpo del portero (35') y poco después (37') solo a un metro de la portería remató fuera incomprensiblemente. El Barça siguió buscando el gol de la tranquilidad. Iniesta (34') remató demasiado cruzado. Pero el que no falló fue Xavi (42') quien remató en el segundo palo un centro de Iniesta y marcó el 3-1, el gol que, ahora sí, llevaba la tranquilidad al Camp Nou. Y ahí se acabó todo. El Barça debutó en la Champions con una victoria más que merecida pero que, a pesar de todo, sigue sin despejar algunos temores. Dos de los tres goles llegaron a balón parado y en defensa se siguieron observando lagunas peligrosas. Pep Guardiola sigue teniendo mucho trabajo por hacer... y poco tiempo, porque los resultados no pueden esperar.  Josep Capdevila, Sport, 16.09.08
A conversation with Nick Cave: 'Our intention for the Bowl is simple -- to tear everyone's heads off'Australian native Nick Cave is an artist so distinctive that to hear a catch of his sonorous voice, a moment of his fragile or vehement lyrics, a sight of his inky hair swooped over his pale cheek, can alight an instant frisson in his legions of fans. At age 50, he hasn’t let his fascinations lull him into a static place. His latest album with the Bad Seeds, the boldly punctuated “Dig!!! Lazarus Dig!!!” isn’t the retracing of territories he’s already plumbed. It’s a shining new city in his mythic land, rich with dark humor, redemptive visions and no-apologies idiosyncrasies.
While the new album has reinvigorated the Bad Seeds, Cave has also found fresh blood in Grinderman, his staunch outfit with three other members of the Bad Seeds -- Warren Ellis, Martyn P. Casey and Jim Sclavunos. Last year’s debut was a controlled, blackened fit of rock and roll, most scabrously in the song “No Pussy Blues.” The band, which opened a handful of dates for the White Stripes in 2007, has performed at a few festivals in Europe this year, including the Roskilde Festival, and is at work on a new album. And then there are Cave’s explorations into film and fiction, the latter of which Cave is mostly close-lipped about for now, confirming only that he’s at work on a second novel. A contributor to the soundtracks of many of Wim Wenders’ films, including “Wings of Desire” and “Faraway, So Close!,” Cave also wrote the score with Ellis for “The Assassination of Jesse James by the Coward Robert Ford.” They are now at work on “The Road,” based on the Cormac McCarthy book and directed by another of Cave’s co-conspirators, John Hillcoat. The two most notably teamed up on “The Proposition” in 2005, a grizzly Australian Outback western written by Cave. The father of four children, Cave lives in Brighton with his wife, Susie Bick, and their twin boys, and also has an apartment in London. For the first time in more than five years, Cave & the Bad Seeds will play L.A. on Wednesday at the Hollywood Bowl and he promises not to go easy on the crowd. We chatted over the phone when Cave was on a break from recording music for “The Road” at a London studio. You have a pretty set work routine at home, where you write in a studio every day. Does that process differ from what you might have done with the Birthday Party? I always sat down at a desk and wrote, since I started doing this kind of thing. I write on tour as well. I’m kind of writing all the time these days. I write when I wake up, on the bus, when I get back from the gig. And I’m writing a novel at the moment; I work on that everywhere and anywhere. Though my sleeping has gotten really strange lately -- I just don’t do very much of it. But sleep deprivation is kind of a creative force in itself. Does inspiration factor into your work habits? their response is that they write songs when they come to them and sometimes they don’t come for three months or a year or five years or whatever, and other times they get a lot of songs. I’ve never felt that I’ve had that luxury. It’s important for me to go in each day and work and that’s how I get things done. How close do the final products of your songs come to the ideas in your head? That’s the thing about songwriting. I record them with a band and the band interprets what I write. So, sometimes the songs are a million miles from the original conception and sometimes that's frustrating and sometimes that’s really wonderful. It depends on how the songs turn out. The Bad Seeds understand the stuff that I write and they’re actually involved with the songwriting process quite often. I trust their judgment on how to interpret my songs. You’ve written about redemption, love, religion and death, to name a few of your favorite themes. Have you sensed any new preoccupations creeping in or any new ways of looking at those old ones? No, not really. I think it’s the same with most of us. Ideas are formed very early. It’s not all about ideas, but certainly things we respond to and the things that we love, the things that inspire us. For me, they’ve remained the same things that I’ve wanted to write about. I don’t feel like I have to scrabble around to find new things to write about. I don’t know what else there is, actually. There are certain places I don’t really go because I don’t feel I have the authority. I don’t particularly want to write songs that are about the current state of politics. I can’t bear it in other people, so I don’t see why I should do it myself. I can’t bear being told what to think, especially by musicians. What do you get out of Grinderman that you can’t get out of the Bad Seeds? We’ve just been doing a tour with Grinderman at the festivals and it’s been amazing. The impact that Grinderman has had in a festival situation is nothing like the Bad Seeds have ever been able to achieve, actually. The Bad Seeds are much more lyric-based and complex and possibly even a little less generous in what we give to an audience or in the way we include an audience. And Grinderman are very inclusive, so people have been going nuts, even people who don’t really know the band. It just seems to work really well. You don’t need a lot of brain cells or something. There’s a line in “Dig!!! Lazarus Dig!!!” the song, where you sing, “He thought even the pale sky stars were smart enough to stay away from L.A.” I know this is from a character’s point of view, but it made me wonder what your feelings are about L.A.? Actually, I love L.A. But when I was there -- I lived there for maybe nine months maybe 20 years ago -– I was almost murdered on a daily basis. Where were you living? I spent a lot of time around 6th and Union. Well, some would say that’s still rather rough. Oh, is it rough? Yes, even the character in that particular song realizes it’s wise to keep away from L.A. Also, I’m talking about a particular historical period in that song, the '70s in America, when, well, it was a dangerous place to be. I’m actually a huge fan of America in general but I had a lot of difficulties with it for a while. When I first went there, and this was quite a while ago now, I found it very difficult to be there. I’m not even sure why. Not to play concerts but other aspects of it. I just found it to be too foreign to the way that I wanted it to be… but the last three times I’ve been back in a while, I’ve loved it. There’s an energy that remains in America that just doesn’t exist in other countries. It certainly doesn’t exist in England anymore. What’s the energy exactly? An edge to things and a true vitality and energy amongst the people. I’m not saying it’s always a positive energy, but it’s certainly there. It’s just a fascinating place. I noticed that you quoted Wallace Stevens in “We Call Upon the Author.” What made you want to put his line in your song? I don’t know… basically, the final verse of that song is supposed to be the author descending into complete navel-gazing and it’s kind of incomprehensible. And I just threw in this rather lovely line I saw floating around somewhere. That particular song is very much about the role of the writer, the role of the writer in creating his own universe, the role of God, a kind of general listing of the horrors of the world and the things that irritate me and creep me out, from the little things to the big things, and asking for some explanation for why these things need to exist. It’s also a comment on my songwriting. It’s a lot of different things. It felt nice that the song just descends into an eternal nonsense. About that last line, “Prolix! Prolix! There's nothing a pair of scissors can’t fix.” Is that a condemnation or a celebration of the editing process? It’s certainly a comment on my own prolix style of songwriting. It’s how I write: A song that’s maybe five to six verses long, I write 20 verses and then I chop, chop, chop, chop. That’s always been the case. I can’t let something go until it’s exhausted, so I have to edit. I’m always editing. I find editing hugely exciting. Taking something away from something can do extraordinary things, whether it’s music or writing or in a film. In film, it’s extraordinary what happens. We’re working on “The Road,” and a new edit gets sent every three days or so and your way of seeing can completely change from it, from just leaving a lingering look for three seconds longer or something like that. It’s very much the same thing with lyrics and music in general. You’ve had a lot of experience with writing music for film. What’s it like to create music for a fluctuating visual medium? It’s exciting. It’s easy in the sense that it’s hugely enjoyable, but it’s complex. It’s hugely enjoyable to make your own records because you go in, you write something, it’s cool and you like it and you put it out as a record. There’s no financiers or producers who then have to listen to it and decide whether they like it or not, do you know what I mean? The whole film business, everything is done by committee, it would seem. So what you feel about what you’ve created is highly irrelevant in the process of making a film. You hand something in and the worth of it is judged by people you’ve never even seen, so it’s mentally frustrating in that way, but at times it’s hugely enjoyable because the kind of agony of original creation, of having to think of the actual idea and the theme and what you’re going to write about and all that kind of stuff, which is really very difficult, the toughest part of songwriting for me, is not there. You’re simply supplied everything by what’s on the screen. It’s about as far away from that as you can get. Are you thinking at all, now that you are writing another prose work, about the idea of the author and how that relates to the idea of the creator or God? No, I’m not thinking about anything because I’m writing my book. That’s a matter of putting your head down and writing the pages. There’s no other way of doing it. For me, the process of writing is the thinking. It’s the most exciting of all things, when you have these words in the English language, and writing is just sort of ordering these words in a pleasant way. I find that whole process extremely exciting. I don’t think about the sort of question that you mentioned. Why is that? It would tangle you up somehow? Well, I’m involved in telling a story. It’s fiction and what you need to be doing is being in there, inside the character’s head. I just love it. With writing, I can definitely get closer to the vision in my head than with any other art form that I’ve been working in. There are no surprises. I can actually have an idea and take it exactly to the place where I want to go. I feel like I have some control over the medium. I don’t actually feel like I have control over the medium of music. In fact, when I create music and I perform music, it never sounds the way I thought it would. You asked this before, but I never feel I have much control over its outcome. Not because other musicians are involved, but because I understand music less than I understand writing. Do you get tired of how your personality is identified through your music? Well, why wouldn’t they do that? That’s part of listening to music. We all do it to everybody. Good music, bad music, whatever. You can’t listen to a Britney Spears song without thinking about Britney Spears, can you? She’s an extreme example, but that’s what art is. It’s a very generous act. It’s giving a part of yourself, or opening a part of yourself up for people to investigate. That sounds slightly obscene but there it is. Well, was there ever a time when you did not enjoy the investigation? I think at some point I felt I didn’t need to dwell on the particulars of my life as I was perhaps doing, that I could write things that were more generic. Or at least a little more obscure. There were a few years there where I was pretty much writing what was happening on a daily basis in my life. And that’s kind of a dead end after awhile: You can’t write a song unless there’s some sort of tragedy going on in your life. I know you’ve been fascinated in the past with writing the classic love song. Which of your songs has gotten closest to the platonic ideal? I think “The Ship Song” is good. I’m always proud to sing that song even though it’s kind of one of those songs you could crank out. It’s simpler than I normally do. There are a lot of them, actually, that I’m very pleased with. I don’t do that sort of thing very much anymore but I spent a lot time trying to achieve a certain kind of emotional power within a classic format. I don’t know whether I achieved it or not but I did the best I could. I’ve decided to move on to other things. Why did you decide to let it go? Well, I’ve just done it. It becomes second nature, to write that kind of thing. To me, that’s the time to change direction. And what’s your direction now? I have no idea. If I work it out, I’ll have to change it again. But there’s certainly a renewed energy around our music, certainly in a live capacity. It rocks.
Margaret Wappler, The Los Angeles Times, 15.09.08 http://latimesblogs.latimes.com/soundboard/2008/09/nick-cave.html Les Libanais tentent de renouer le dialogue nationalPour des raisons de sécurité, le chef du Hezbollah, Hassan Nasrallah, ne devrait pas participer en personne à la conférence du dialogue national libanais convoquée à 11 heures ce matin au palais présidentiel de Baabda. C'est pourtant sur son parti, et surtout ses armes, que devraient se focaliser les débats, même s'il y a de fortes chances que leur sort ne soit pas réglé de sitôt étant donné les divergences profondes à ce sujet.
La reprise du dialogue national, interrompu en 2006 par la guerre estivale avec Israël, est l'une des clauses de l'accord de Doha qui a mis fin en mai dernier à une longue crise institutionnelle. C'est donc en vertu de ce texte que le président Michel Sleimane a adressé ses lettres d'invitation aux 14 signataires de l'accord, auxquels il se joindra. Un représentant du Qatar, l'émirat qui a parrainé le processus de réconciliation inter-libanais, a aussi été convié. Ce premier rendez-vous est symbolique, l'important étant de réunir sur une même photo de famille les représentants des principales forces politiques du pays, malgré leurs désaccords fondamentaux. D'autant qu'une main invisible est accusée de vouloir perpétuer l'instabilité et empêcher la réconciliation en continuant de semer le trouble : un leader druze a été assassiné la semaine dernière, six bombes artisanales ont explosé dans la nuit de dimanche à lundi dans un quartier musulman mixte de Beyrouth et deux autres engins ont été désamorcés près d'une église au nord de la capitale. Le chef de l'État doit prononcer une allocution inaugurale et les participants décider de deux points préliminaires : accepter ou non l'élargissement de leur forum à d'autres personnalités - ce que refuse le chef de la majorité parlementaire, Saad Hariri -, et fixer l'ordre du jour. Officiellement celui-ci consiste à discuter d'une «stratégie nationale de défense» pour le Liban. C'est uniquement dans ce cadre que le Hezbollah, posant ses conditions, a accepté d'évoquer la question de son armement, affirmant qu'il restait ouvert à ce sujet, tout en soulignant que, selon lui, «la résistance», telle que le parti l'a pratiquée contre l'occupant israélien, «a d'ores et déjà donné un exemple de stratégie de défense efficace, capable de protéger le Liban et de lui garantir la victoire», selon les propos du chef du bloc parlementaire du Hezbollah, Mohammad Raad, qui représentera Nasrallah à la table du dialogue. Il met donc implicitement en doute toute alternative. Les armes du Hezbollah
Face au parti de Dieu, en position de force sur le terrain puisque personne n'imagine pouvoir le désarmer contre son gré, les rangs de la coalition du 14 Mars, majoritaire au Parlement, ne sont plus aussi serrés que par le passé. Contrairement aux prises de position de plusieurs personnalités chrétiennes pour qui le monopole de la violence est un pouvoir régalien réservé à l'État, l'un des leaders de la majorité, le druze Walid Joumblatt, a notamment modéré ses ambitions concernant les armes du Hezbollah, liant leur sort à la résolution d'équations régionales qui dépassent le cadre libanais. Le chef de la majorité, Saad Hariri, affiche quant à lui son optimisme - «décider que le dialogue ne donnera aucun résultat au sujet des armes, c'est faire de la rencontre une simple occasion de prendre des photos souvenirs», a-t-il dit en début de semaine - sans pour autant proposer publiquement une solution concrète à la problématique de l'arsenal du Hezbollah.
Sibylle Rizk, Le Figaro, 16.09.08 Tres muertos y 25 heridos por dos explosiones en la ciudad mexicana de MoreliaAl menos tres personas resultaron muertas y 25 heridas a consecuencia de dos explosiones durante la celebración del Día de la Independencia en la ciudad de Morelia, en el oeste de México, informaron fuentes oficiales.
Miguel Ángel Fernández, portavoz de la Procuraduría (fiscalía) General de la República (PGR) de Michoacán, estado del que Morelia es capital, informó de que las explosiones tuvieron lugar "junto y frente a la catedral", en el momento en que el gobernador del estado, Leonel Godoy, celebraba allí la festividad, a la que asistían miles de personas.
Según Fernández, "hasta el momento no se ha adjudicado nadie" las explosiones, que de tratarse de un atentado podría ser el primero contra la población civil desde que se desatara hace tres años la reciente escalada de violencia del crimen organizado, que este año se ha cobrado más de 3.000 vidas. Las detonaciones tuvieron lugar pocos minutos después de las 23.00 horas locales (04.00 GMT), cuando en la Plaza Melchor Ocampo de Morelia se festejaba el Grito de la Independencia, como se denomina a la fiesta mexicana que conmemora los primeros actos de emancipación de la colonia española en 1810. Allí se produjo la primera explosión, que causó el pánico entre los asistentes y "dejó un cráter de cuarenta centímetros de largo por cuarenta de ancho, y ocho centímetros de profundidad", dijo a Efe Hernández. "La siguiente explosión fue a una cuadra" de allí, pocos instantes más tarde, dijo el funcionario, que sostuvo que las víctimas son todas civiles. El área de las explosiones ha sido acordonada por el Ejército y por efectivos de las policías federal y estatal. Hernández agregó que "todavía se desconoce qué clase de explosivo" fue utilizado, aunque la página web del diario El Universal, mencionó que podría tratarse de granadas. Ante los hechos, la Presidencia de México expresó "su más enérgica condena y su disposición a redoblar esfuerzos para apoyar al estado de Michoacán y a su gobierno en la investigación de los hechos para desterrar la criminalidad y la violencia que padece. "Actos tan cobardes y reprobables como los ocurridos merecen el repudio de la sociedad entera y la reacción inmediata de las fuerzas del Estado Mexicano para castigarlos conforme a Derecho", dijo en un comunicado la oficina de la Presidencia.  La Vanguardia, 16.09.08
A formaldehyde frenzy as buyers snap up Hirst worksDamien Hirst's audacious plot to take his creations straight to auction paid off last night as he set a new personal record of £10.3m for one artwork in the first part of a two-part sale. The astounding £70.5m total raised at Sotheby's in London exceeded all expectations. The previous auction record for a work by Hirst was £9.7m.
The Bristol-born artist's The Golden Calf, a sculpture of a bullock in formaldehyde, with hooves and horns cast in solid 18-carat gold, went under the hammer for a record £10.3m. Another star lot, a tiger shark in formaldehyde called The Kingdom, made £9.6m – more than £3m above its expected price. Hirst's decision to take 223 works straight to auction, bypassing the gallery owners and dealers who normally take a hefty commission, was watched closely by the art world and set a precedent for artists seeking to maximise their profits. On the opening night of the two-day sale, Hirst's creations beat their combined expected sale price of £65m. The auctions, the second of which is tonight, were forecast to rake in £98m but, after last night's performance, experts are predicting a far better overall result. The profit from most of the works sold will go straight into Hirst's pocket, because buyers' premiums are charged separately and Sotheby's has waived its auction fees. It is the first time an artist of Hirst's stature has bypassed his usual dealer and gallery and sold his works directly to the public. All of yesterday's 56 lots were sold and 167 more will go under the hammer tonight. A few days ago, Hirst confessed to having jitters about his big gamble, saying: "I imagine it going: 'Lot nine – no bids. Lot 10 – still no bids.'" He need not have worried. Less than five minutes into the sale, the first lot exceeded its estimated price by £400,000. The first real high point came soon afterwards. Lot five, a pickled tiger shark, had an estimate of £6m, but after ten minutes of frenzied activity by two determined telephone bidders, the hammer went down at £9.6m. The price was a record for a work in formaldehyde (the previous was £1.8m) that generated a ripple of applause in the auction room. Within half an hour of the sale starting, the bidders crammed into four rooms had put another £14m into Hirst's bulging bank account – for a mere eight artworks. The event was strictly all-ticket and limited to 656 clients, arguably making a mockery of Hirst's attempt to "democratise" the sale of his artwork. But this was not just history in the making, it was also theatrical spectacle. The sale room in New Bond Street was filled to capacity, with the auction relayed on video screens and auxiliary auctioneers on standby. Before the auction, 21,000 visitors turned up to see the show, called "Beautiful Inside My Head Forever", making it the most-viewed pre-sale exhibition in London auction history. Record numbers of auction catalogues were sold as memorabilia for £50 a time, rather than the usual £29. The excitement in the sale room proved that Hirst's maverick attempt to bring his wares directly to the market had captured the imagination of an audience far bigger than the usual art-collecting crowd, with rock stars, Wall Street traders and the general public keen to share in a moment of history. On Saturday, a private party to mark the sale was attended by Bono from U2, Flea from Red Hot Chili Peppers, the actor-director Kevin Spacey, and Daria Zhukova, the girlfriend of Chelsea Football Club owner Roman Abramovich. Cheyenne Westphal, chairman of contemporary art for Sotheby's in Europe, said the show was the biggest exhibition of the 43-year-old Hirst's work to date. He added: "We wanted to show it as an exhibition because although Damien has had lots of offers he has never agreed to a major retrospective. He doesn't feel old enough." Hirst was reported to have been nervous about the outcome, not least because Sotheby's saw its share price fall by 8 per cent last Thursday, although it recovered the next day. His anxiety was compounded by fears that the sale might flop because he had saturated his market. But Hirst has worked hard to establish his commercial might in the auction room. Last year, a 10ft-wide stainless steel medicine chest – filled with coloured tablets and called Lullaby Spring – was sold for £9.7m, making him the world's most expensive living artist at the time. This was followed by his (RED) charity auction, which broke records and must surely have given Hirst more confidence in the unquenched demand for his work. Oliver Barker, senior specialist in contemporary art at Sotheby's, said the auction was an "experiment that is breaking new ground", adding that many of the works in the auction were small paintings that were affordable to many. "From the outset, Damien wanted to democratise this sale so that everybody could be involved," he said yesterday.
Arifa Akbar, The Independent, 16.09.08 Joe Biden peine à sortir de l'ombreLe jour où John McCain et Sarah Palin électrisaient une foule de 15 000 personnes en Virginie, Joe Biden parlait devant 800 personnes dans le New Hampshire. Après avoir été applaudi par les militants démocrates, le choix du sénateur du Delaware comme colistier de Barack Obama pâtit de la comparaison avec le ticket républicain. Le président de la commission des affaires étrangères du Sénat devait, à 65 ans, apporter son expérience internationale, rassurer l'électorat, renforcer la crédibilité des attaques contre John McCain et ajouter une touche populaire au tandem démocrate.
Trois semaines après des débuts encourageants, il semble s'être totalement effacé : «Il n'a aucun impact discernable, estime le sondeur Doug Schoen dans le Washington Post. C'est comme si ça se jouait à deux contre un.» Tandis qu'Obama et Biden font campagne séparément pour couvrir plus de terrain, McCain et Palin rompent avec la tradition en préférant les apparitions communes qui drainent des foules plus larges. Cette stratégie a un tel impact médiatique que même Joe Biden s'interroge : «Hillary Clinton est plus qualifiée que moi pour être vice-présidente, a-t-il déclaré la semaine dernière. Franchement, elle aurait sans doute représenté un meilleur choix que moi.» Lapsus freudiens
Cet aveu est contredit par l'entourage d'Obama, qui veut croire que le fond finira par l'emporter sur la forme. Mais sa petite phrase sur Clinton trahit son penchant pour les gaffes en série. Dans le Missouri, la semaine dernière, il a invité le sénateur local Chuck Graham à «se lever pour que tout le monde (le) voie.» Il avait juste oublié que ce paraplégique se déplace en fauteuil roulant. Après qu'il eut appelé John McCain «George», parlé de la future «Administration Biden» et qualifié Palin de «gouverneur adjoint», l'équipe d'Obama s'est fait une raison : au moins ses «lapsus freudiens» ramènent-ils sur lui les projecteurs.
Philippe Gélie, Le Figaro, 16.09.08 Barça-Sporting Lisboa: Apunten, rematen y sobre todo marquenLa sequía tiene en ascuas al Barça justo cuando comienza la Copa de Europa. Un punto en dos partidos de Liga y un gol de penalti después de 50 remates, son cifras desconcertantes para un equipo que completó una interesante pretemporada con Eto'o como ariete: ocho goles en seis partidos. El punto de inflexión lo marcó precisamente la Champions. Desde que despachó al Wisla en un solo encuentro, al Barcelona le cuesta dar con la portería rival y no sabe guardar la suya.
El último partido contra el Racing ha alimentado el debate, sobre todo después de que Johan Cruyff escribiera en El Periódico: "Para mi, el Barça jugó su mejor partido en muchas temporadas". El elogio del ideólogo futbolístico del presidente Joan Laporta puede ser un regalo envenenado para Pep Guardiola, que es el entrenador del equipo que tanto le ha gustado a Cruyff. Aflora de nuevo el viejo contencioso: el resultadismo frente a una idea de juego irrenunciable por única y singular. Los azulgrana recuperaron el sábado el hilo del buen fútbol y, como ha ocurrido en ocasiones anteriores, no les sirvió para ganar, motivo de sobras en el Camp Nou para replantearse las decisiones del técnico y la política de fichajes. Guardiola se defiende sin necesidad de abogados. "El gol no se entrena", reitera. "La media de ocasiones es altísima y por tanto la falta de eficacia me preocupa relativamente poco", insistió. "El buen juego y los resultados se retroalimentan. Aunque tenemos una cierta incomodidad por no ganar, hay jugadores con gol". La lista de convocados es novedosa. Abidal y Sergio Busquets, el peor y el mejor ante el Racing, no han sido ni convocados, Hleb está lesionado y vuelven a la relación Márquez, Henry, Sylvinho y Cáceres. Y Messi, obviamente, estará en la alineación: "Quiero ganar títulos y ojalá que uno sea la Champions. La victoria contra el Sporting sería importante para calmar a la gente. Aunque nosotros no estamos preocupados por el gol, necesitamos marcar alguno". "No somos un equipo fácil", dijo Paolo Bento, técnico del Sporting y ex jugador del Oviedo. Moutinho, Rochemback, Veloso, Izmailov y Romagnoli forman una buena línea de medios mientras que los veteranos Postiga y Derley y el joven Yannick funcionan como atacantes. El Barça necesitará cerrar mejor que de costumbre y mejorar su ataque estático con movimientos sorpresa. Tanto el equipo como el club aguardan a que el tilin de la Champions despierte a la hinchada. El Camp Nou registró el sábado la peor entrada en un estreno en 24 años: 54.678 espectadores.
Ramon Besa, El Pais, 16.09.08 Crimea: Divided peninsula plays host to Russian warships and Ukrainian prideFrom his giant monument overlooking Sevastopol, Vladimir Lenin gazes dreamily out towards the Black Sea.
In the harbour, elderly ladies in floral swimming costumes bob in the warm lilac water. Shimmering in the distance is the grey Russian battleship Moskva, framed by steep chalky-coloured mountains. The port of Sevastopol on Crimea's rocky southern coast is the historic home of Russia's Black Sea fleet. After the break-up of the Soviet Union, Ukraine allowed Russia to lease Sevastopol as a military base until 2017. But after last month's war in Georgia the peninsula is at the centre of growing speculation. The fear is that - like South Ossetia and Abkhazia, the breakaway regions of Georgia recognised by Moscow as independent - it could become the target of Russian ambitions. Earlier this month Ukrainian officials accused Moscow of distributing passports to ethnic Russians in Crimea, who make up more than half of its two-million population. Kiev fears a row over the use of the base could be used to stir up separatist sentiments, with Crimea seceding from Ukraine in a referendum. On the streets of Sevastopol, the mood is defiantly pro-Russian. It is also vehemently opposed to Ukraine's President Viktor Yushchenko and his plans to join Nato. Last week, several hundred locals turned out to welcome the Moskva on its return from Georgia. They waved Russian flags and banners; one read: "We are proud of you." "The majority of the population here supports the presence of the Black Sea fleet," said Anatoly Kalenko, chairman of Sevastopol's veterans' association, and a former nuclear submarine commander. According to Kalenko, locals would resist any attempt to turf out the Russian fleet, especially if Nato ships would occupy the base instead. "We categorically don't want other vessels here. Not the Americans, not the French and not the Turks," he said. "Britain has a tradition of seafaring. We respect that; we remember Nelson. But frankly we don't want you here either.' His association did not believe in separatism, he explained, but was opposed to any attempt to remove the Soviet memorials that adorn the town's hilly streets. Pinned to his wall was a map of the USSR; above the desk a portrait of Lenin. Popular feeling against Nato was running high, he said, since it was an "aggressive" military bloc. Even before last month's war, tensions were rising. In May - on the anniversary of Russia's victory over Nazi Germany - Moscow's mayor, Yuri Luzhkov, visited Sevastopol and said it "was, and should again be, a Russian city." Ukraine's furious government accused him of undermining its territorial integrity and banned him from returning. There have been angry clashes in Sevastopol between Ukrainian nationalists and pro-Russian locals. In July, Ukraine's defence minister unveiled a plaque to commemorate Ukraine's brief declaration of independence in 1918. Someone removed it from the wharf, next to the statue of Russian war hero Admiral Nakhimov, and threw it into the sea. Many of the peninsula's politicians admit they would like Crimea to join the Russian Federation. "It's a myth that Ukraine is not part of Russia. We don't believe it," Oleg Rodilov, a pro-Russian MP in Crimea's autonomous parliament, based in the regional capital of Simferopol, said. It would be wrong to accuse him of "separatism", he said. "For you, Ukraine and Russia are a priori different states. For us they are a priori the same," he said. The links of culture, language and Orthodox religion made Ukraine and Russia an indivisible entity, he said. Also, both countries were Slavic, he said. "We don't believe there is any difference. We have been together for 350 years." Russian-speaking residents say the peninsula, a mass tourist destination in Soviet times, ended up in Ukraine by mistake. The Soviet leader Nikita Khrushchev transferred Crimea to the Ukrainian Soviet Republic in 1954. Russia affirmed the modern borders of Ukraine in a 1997 friendship treaty. Last April, however, Vladimir Putin, Russia's prime minister, contemptuously described Ukraine as "not even a real state". Nationalist Crimean MPs now liken Crimea to Kosovo - the former Serbian province largely recognised as independent by the west this year. According to Leonid Grach, a pro-Russian communist MP, Crimea will declare itself independent should Yushchenko press ahead with his plans for Ukraine to join Nato. "If Yushchenko declares that Russia is the enemy, Crimea won't accept it," Grach said. "It means that Ukraine will break up. In Crimea there will be a war - maybe even a world war." Ukraine should renounce Nato, agree a friendship and cooperation treaty with Russia, and prolong the lease for Russia's Black Sea fleet, Grach said. Nobody doubts that staging a coup in Sevastopol would be easy. The Russian flag already flies above many of the town's elegant and classical Stalin-era buildings belonging to the Black Sea fleet. Locals would merely need to tie up a few Ukrainian officials. Ukraine's government would be reluctant to reclaim the town by force, fearful of provoking an all-out military conflict with Russia. "I wouldn't be too sad if Ukraine breaks apart. Everything would be in its right place again," Raisa Teliatnikova said. Teliatnikova is head of Sevastopol's Russian Community - one of several non-governmental organisations that promote Russian culture and language, and, its critics say, the views of Moscow. Teliatnikova rejects the suggestion that her organisation is a Kremlin front. "This is our land. My father and uncle fought for this territory during the Great Patriotic War [the second world war]. Why should we leave?" she said. "Nobody asked us whether we wanted to live in Ukraine. None of us are intending to go anywhere." There is no clear evidence to suggest that Russia has, as Kiev suggests, been doling out passports to ethnic Russians living in Crimea. But Moscow has been stepping up its influence: the flag of the pro-Kremlin United Russia party sits in Raisa's office, situated above a dancing club and next to an acting school. Earlier this summer the party agreed to finance the Russian community's newspaper - a small but insidious step. Russian officials insisted yesterday that the number of Crimeans applying for Russian passports was "pretty much the same". Vladimir Lysenko, of Russia's consulate in Simferopol, said about 13,000 Russians lived and worked in the port. "Russia doesn't lay any claims on Sevastopol. We don't understand declarations from western politicians who say Ukraine 'will be next'." Optimists believe talk of Russia wresting back Crimea from Ukraine is simply overblown. Crimea's third ethnic group - the Tartars, descended from the peninsula's Turkic inhabitants - are strongly pro-Ukrainian. Mustafa Djemilev, a pro-Yushchenko MP, believes Russia would not attempt a Georgian-style invasion in Crimea. "The idea is nonsense. Ukraine is not Georgia or Chechnya - Ukraine is much more powerful," he said. Backstory Modern Crimea's ethnic problems go back a long way. The peninsula - with its vineyards, mountains and deep natural bays - has long been attractive to invaders. These have included Scythians, Greeks, Ottoman Turks, Russians, and the British and the French, who bombarded Sevastopol during the 1854-55 Crimean war. The Nazis occupied Crimea, too, before the Red Army drove them out. But it is the Russian influence that has proved most enduring. Catherine the Great annexed Crimea in 1783, after defeating the Ottoman Turks. Since then Sevastopol has been synonymous with Russian heroism. The local Black Sea fleet museum houses exhibits from the port's tumultuous past, including a guitar played by a sailor who took part in the 1905 Sevastopol uprising on the battleship Potemkin.
Luke Harding, The Guardian, 16.09.08 Rage, argent, adrénaline : le retour prometteur des rappeurs de NTMDix ans après s'être séparé, le duo le plus enragé du rap français remontre les dents. Pour célébrer les retrouvailles de NTM, Kool Shen et JoeyStarr n'ont pas de nouvel album à proposer, mais, du 18 septembre au 25 octobre, cinq Bercy et une tournée de dix dates en province, en Suisse et Belgique, à guichets presque fermés.
Après tout, c'est en brûlant les planches que le groupe mythique du 9-3 a le mieux exprimé son art de la révolte et de la polémique. "En termes d'émotion, le live est plus fort que le disque, revendique JoeyStarr, dans le local de Montrouge où se terminent les répétitions du groupe. On vient du graph, de la danse, d'une culture de l'immédiat qui a besoin d'un rapport direct au regard de l'autre." L'initiative de cette reformation revient à Sébastien Farran, manager qui continuait de s'occuper des affaires de NTM (50 000 à 70 000 exemplaires d'albums encore écoulés chaque année) et de la carrière solo de JoeyStarr. Alors que les deux chanteurs ne se parlaient plus depuis des années, "ils n'ont pas mis 10 minutes à accepter ma proposition", raconte le manager. Attirés par les 7 millions d'euros de billetterie prévus ? "Pour avoir le courage de remonter sur scène devant des dizaines de milliers de personnes, il faut autre chose que l'argent, assure Sébastien Farran. C'est la nostalgie de l'adrénaline, d'une alchimie unique qui les a motivés." Dans Mauvaise réputation (éd. Flammarion), la biographie que JoeyStarr a écrite avec le journaliste Philippe Manoeuvre, le rappeur confie : "Les premières scènes ont eu l'effet d'une drogue. Et que recherche le toxico ? A retrouver les sensations de la première fois." Leur réputation d'incandescence excite encore le public, si on en croit la rapidité avec laquelle se sont vendus les billets. L'annonce avait été soigneusement orchestrée au "Grand journal" de Canal+, il y a 6 mois. Trois Bercy se sont remplis dès le premier jour de vente. L'aura de NTM est celle d'un groupe cofondateur, avec IAM et MC Solaar, de l'histoire du hip-hop français. Elle est surtout celle d'un duo "Noir et Blanc" qui, du premier album studio, Authentik (1991), au quatrième et dernier en date, Suprême NTM (1998), a chroniqué les fractures sociales et générationnelles avec une rage visionnaire. La virulence provocatrice du groupe, son nom (NTM pour Nique ta mère), le mélange entre la diction sombre de Bruno Lopes - alias Kool Shen - et les rugissements rocailleux du bad boy Didier Morville - JoeyStarr - auront suscité autant de haine, notamment de la part des syndicats de police qui les ont fait condamner pour "propos outrageants", que de vocations. Rares sont aujourd'hui les jeunes successeurs à ne pas leur rendre hommage. Pour un Booba lâchant "NTM, Solaar, IAM, c'est de l'antiquité", combien d'admirateurs ? "Ils avaient un discours sur la société, disaient : "Prends position, ouvre ta gueule", et savaient aussi toucher plus intimement, s'enthousiasme encore la rappeuse Diam's. J'aimerais assister à tous leurs nouveaux concerts." L'actualité politique a-t-elle accéléré leur retour ? "Même si, encore plus que Chirac, Sarko représente ce qu'on déteste, on ne revient pas pour commenter le climat social, ni pour donner une leçon à la scène hip-hop", affirme Kool Shen. "On revient pour nous, tranche JoeyStarr. De toute façon, nos chansons n'ont rien changé à la situation à l'époque, pourquoi elles le feraient aujourd'hui ?" Six mois de répétition à dépoussiérer leur répertoire avec des instrumentistes anglo-jamaïcains ont coûté près de 200 000 euros. Le show, une production de près de 1,5 million d'euros, veut en jeter plein la vue avec son plancher lumineux, ses écrans vidéo, ses 25 personnes sur scène. Un DVD du spectacle sortira dans la foulée. Un CD, enregistré pendant le concert du 18 septembre, devrait même être disponible dès la fin de ce premier spectacle. Mais la réputation de NTM reste sulfureuse. Pour un concert d'échauffement, donné le 24 juin 2008, à l'Olympia, Sébastien Farran n'a pas réussi à trouver les sponsors qu'il espérait (SFR, Orange). "Si tout le monde veut profiter de l'audience de NTM, râle le manager, beaucoup craignent d'être associés à eux." Une frilosité que ne risque pas d'amoindrir les nouveaux ennuis de JoeyStarr, depuis peu sous contrôle judiciaire pour violence conjugale. Le groupe, qui doit encore un album à sa maison de disques, Sony, n'envisage pas de retourner en studio. Après la tournée, chacun préfère se concentrer sur son enregistrement solo. Parions que le triomphe annoncé de la tournée pourrait les faire changer d'avis.
Stéphane Davet, Le Monde, 16.09.08 Según el Gobierno hay 15 muertos y 106 desaparecidos en PandoEl Gobierno de Bolivia ha informado de que son 15 los muertos "identificados y confirmados" en los violentos enfrentamientos de Pando, que además han causado 37 heridos y 106 desaparecidos.
Estas cifras las ofreció hoy el ministro de Gobierno (Interior), Alfredo Rada, quien dijo que los más de cien desaparecidos "estarían heridos y con riesgo de perder la vida". "Éste es el dato más preocupante", apuntó.
La Vanguardia, 16.09.08 At Chocolate Factory Site, a New Kind of Luxury BoxPerhaps it was only a matter of time, after the sushi bars and the cappuccino bars and the wine bars and the art spaces: Lofts are coming to Moscow.
Here in the capital of the former workers’ state, the first old factory building to be converted into apartments — with soaring ceilings and gritty details that would make any New York real estate broker tremble — is an icon of Soviet industry, and of Russia’s transition to capitalism. The Krasny Oktyabr chocolate factory — named Red October in honor of the 1917 revolution — sits on an island in the Moscow River, across from the Kremlin’s turreted walls and gold-domed churches. Its crenellated red-brick building, built in the late 19th century when the company was a German-owned purveyor to the tsars, is a beloved landmark that conjures up images of Willy Wonka’s magical workshop. In winter, when the factory was working, its chimney sent white puffs of steam drifting over the frozen river, and from the opposite bank workers in white kerchiefs and aprons could be seen scurrying in and out. No more. In this oil-rich boomtown, where a square yard of downtown residential space sells routinely for $20,000 and sometimes for as much as $50,000, city planners and shareholders have decided that assembly lines next to the Kremlin no longer make sense. The factory’s fate tells a story of how one Russian business has evolved with the zigs and zags of the country’s economy since the fall of first the Romanovs and then the Soviet Union. In the 19th century, the German-owned Einem factory, as it was then known, decorated its ornate chocolate boxes with the faces of the tsars. After nationalization, new labels showed revolutionaries storming the Winter Palace. Later, one box showed a smiling child, with the logo, “Thank you, Stalin, for our happy childhood!” In the 1990s, the factory’s managers gamely embraced privatization. But at a time when businesses were getting rid of their Soviet associations, they kept the name Krasny Oktyabr; it was better known and better for business. And they kept making chocolate bars named Alyonka, for the daughter of the first female cosmonaut, and Slava, or Glory, which evoked Soviet slogans. Now, Krasny Oktyabr, still rolling with the times, has become what every Russian company seems to want to be: a real estate developer. The workers, mostly women, have been relocated to another candy factory, one of 14 in the United Confectioners holding company, which now owns the Red October brand. They make the same chocolates, but on new, modern machines far from the city center, part of a drive by the city government to move industry to the outskirts. Guta-Development, a real estate company that has acquired 75 percent of United Confectioners, is planning to make the Krasny Oktyabr lofts the centerpiece of a luxury construction project on Bolotny Island, the crescent of land that divides the river just south of the Kremlin. At first, preservationists were appalled. Over the past 15 years, developments for Moscow’s new rich have managed to be simultaneously rococo, shoddy and gargantuan. And the Moscow city government, which has ultimate control over the project, has a less than tasteful track record, as typified by the kitschy statue of Peter the Great that towers over the tip of Bolotny Island. But Guta, to the cautious relief of people like David Sarkisyan, director of the Shchusev Museum of Architecture, has decided to market the development to the thinking billionaire. The developers are betting that Russians who are now at home in New York and London — the tiny group that, in Mr. Sarkisyan’s words, is “starting to have some taste” — have learned to value architecture that fits into its historical context and physical surroundings. They believe such buyers will pay millions of dollars to live in an urban, post-industrial streetscape with shops and sidewalks open to the public. Their marketing presentations carefully explain that lofts are unusual residences without interior walls, pioneered by “the king of Pop Art, Andy Warhol.” Of course, it was largely penniless artists who reclaimed New York’s SoHo and Chelsea factory lofts as bare-bones residences before the wealthy discovered them. Moscow, trend-obsessed and still dominated by top-down urban planning, is skipping that stage. But Guta hopes to piggyback on the work of developers who have reclaimed 19th-century factory buildings as cultural sites, drawing Muscovites’ eyes to the stark beauty of old steel and brick. Gazgolder and Vinzavod, a former gas works and wine factory, holds art shows and musical performances. Krasnaya Roza, or Red Rose, is a former silk factory converted into upscale offices. “This is that rare case where aesthetic and commercial interests don’t collide, but wonderfully coincide,” said Anton Chernov, Guta-Development’s general director, in a written response to questions. Many details remain under wraps. But the company has vowed that the area will stay open to the public, that three historic buildings, including the factory and a former imperial yacht club on the tip of the island, will be preserved and that the new buildings will harmonize with them and be low enough not to block Kremlin views from other parts of downtown. Guta invited architects from Moscow and around the world, including world-class talents like Norman Foster and Jean Nouvel, to propose designs for apartments, offices, public cultural spaces and a hotel. The most avant-garde idea, a Nouvel apartment building that would have echoed the red-brick facade of the factory but had a contorted, cracked shape, like a brick hit with a hammer, was rejected: too adventurous for the Moscow government. The lofts are to be designed by Jean-Michel Wilmotte. A model apartment, in another brick building that is being preserved, has exposed brick and wooden beams, a sunken sitting area with black leather couches, a granite fireplace and a baby grand piano. The factory’s Soviet-era sign, with Krasny Oktyabr spelled out in red cursive letters, will remain on top of the building. It adorns the business cards of the developers, who have grasped that the factory’s history, Soviet and otherwise, is a wonderful marketing tool. But for now, in a place where chocolate not so long ago gushed from ancient green pipes — some machinery dated from the 1920s — the factory floors stand empty. Ceilings of up to 25 feet and tall rows of windows overlooking the river kept space bright even during a downpour one recent afternoon. Details like iron floor tiles, wrought-iron banisters and brick interiors will remain, waiting for Russians to embrace yet another trend.
Anne Barnard, The New York Times, 16.09.08 http://www.nytimes.com/2008/09/16/world/europe/16moscow.html?pagewanted=1 Vers une réponse européenne pour l'intégration des RomsQuelque 7 millions de citoyens européens ont les yeux tournés vers Bruxelles, où se tient, mardi 16 septembre, le premier sommet sur les Roms organisé par la Commission européenne. Au-delà de la prise de conscience de l'exclusion sociale et de la discrimination dont ils font l'objet partout en Europe, les Roms espèrent de cette conférence un engagement des Etats à développer des politiques nationales d'intégration. Une proposition que la France, qui préside l'Union européenne, doit soutenir mardi.
Le ministre des affaires étrangères, Bernard Kouchner, devrait proposer aux Vingt-Sept de développer des standards européens d'intégration des Roms par l'emploi, le logement, la santé et l'éducation dans le cadre de plans nationaux. Les Roms représentent la plus grande minorité ethnique transnationale de l'Union européenne. Dans la plupart des pays d'Europe de l'Ouest, ils sont quelques centaines de milliers tout au plus. Mais malgré leur petit nombre à l'échelle nationale, ils sont cantonnés dans des bidonvilles dans des situations indignes d'habitat et de santé, autour de Paris, Naples, Rome ou Marseille, etc. "Leur espérance de vie à la naissance est de dix ans inférieure à la moyenne européenne", rapportait la Commission européenne début juillet.
"STRATÉGIE GLOBALE"
Souvent empêchés de travailler légalement, comme en France où un régime dérogatoire exclut du marché du travail les Roumains et les Bulgares jusqu'en 2012, ils ont difficilement accès aux soins et rarement aux logements sociaux. La scolarisation est parfois le fruit de longues négociations entre les associations et les municipalités. En décembre 2007, le Conseil européen avait appelé les 27 Etats membres à renforcer leur politique d'intégration. Le Parlement européen a adopté en janvier une résolution pour "une stratégie globale". Mais aujourd'hui, les ONG et associations de défense des Roms veulent des actes et des mesures concrètes. Afin de s'assurer de la mise en place des politiques d'intégration et de leur évaluation, elles réclament "une directive cadre".
"CRÉER DES SYNERGIES"
Cependant, la plupart des secteurs clés de l'intégration (emploi, logement, santé, éducation) étant de la responsabilité des Etats, Bruxelles ne peut que les inviter à développer des plans nationaux et à "profiter au maximum des fonds européens", comme le soulignait le document de travail sur les politiques existantes publié le 2 juillet par la Commission. Cette dernière y préconisait également de "créer des synergies avec des processus, comme la Décennie d'intégration des Roms". Une expérience dont pourrait s'inspirer la présidence française. La Décennie d'intégration des Roms, menée dans neuf pays européens depuis 2005 avec des résultats inégaux, associe la société civile, les communautés roms et les gouvernements. Elle est née d'un partenariat entre plusieurs organisations dont la Banque mondiale et l'Open Society Institute de George Soros, que M. Kouchner doit rencontrer mardi. Ce projet européen consiste en la réalisation de plans nationaux avec des objectifs pluriannuels d'intégration (éducation, santé, emploi, logements). Financés à la fois par les Etats, les fondations et le Fonds social européen, les projets développés au niveau local permettent par exemple de renforcer les équipes éducatives pour faciliter la scolarisation des Roms. Afin de développer des plans d'action nationaux, "nous attendons que la France propose sous une forme ou une autre d'élargir la Décennie d'intégration des Roms aux 27 Etats membres", affirme Aurore Arnould, du réseau mondial Caritas. Les représentants des politiques d'intégration menées en Espagne, en Hongrie ou en Roumanie devaient mardi faire état à Bruxelles des "politiques qui marchent". La présidence française pourrait également s'en inspirer afin de concrétiser ses propositions lors du Conseil européen de décembre.
Anne Rodier, Le Monde, 16.09.08 Saramago inaugura su "espacio personal" en la "página infinita" de InternetJosé Saramago cuenta desde hoy con un "espacio personal" en "la pagina infinita de Internet", con el que pretende establecer una nueva forma de comunicación con sus lectores y que está alojado en el blog de la página de la fundación que lleva su nombre (www.josesaramago.org).
El escritor portugués, de 85 años, empleará este espacio, que lleva el nombre de "El cuaderno de Saramago", para comentar acontecimientos, expresar opiniones, reflexionar en voz alta y, "en definitiva, comportarse como uno más de los blogueros que pueblan el ciberespacio", ha anunciado su fundación. "La característica especial -destaca la fundación- es que se suma a esta nueva vía de expresión un hombre maduro, escritor y Premio Nobel de Literatura". En su primera anotación, Saramago explica esta iniciativa remontándose a "Los cuadernos de Lanzarote", obra autobiográfica que alude en su título a la isla canaria en la que reside desde 1993. Para comenzar su cuaderno en Internet, Saramago ha querido recuperar un texto sobre Lisboa que es "una carta de amor" a su ciudad. "Removiendo unos cuantos papeles que ya tenían perdida la frescura de la novedad -explica el escritor-, encontré un artículo sobre Lisboa escrito hace unos cuantos años, y, no me avergüenza confesarlo, me emocioné". "Decidí compartirla con mis lectores y amigos haciéndola pública otra vez, ahora en la página infinita de Internet y con esta carta inaugurar mi espacio personal en este blog", añade Saramago al presentar el texto, titulado "Palabras para una ciudad". José Saramago acaba de terminar su nueva novela, "El viaje del elefante", que llegará en otoño a los lectores de habla española, portuguesa y catalana, y de la que se puede leer ya un fragmento en la página web de su fundación.
El Pais, 15.09.08 Pink Floyd founder member Richard Wright dies at 65Richard Wright, the self-taught pianist and founding member of Pink Floyd whose keyboard playing and compositions were at the heart of the band's classic albums, has died from cancer.
The 65-year-old musician, originally considered the leading musical force in the band before leaving after falling out with the singer and bassist Roger Waters, was diagnosed recently with the disease and died after a short illness, according to his spokesman. His death came just days after David Gilmour, the band's lead guitarist, declared that a one-off reunion by the group at the Live 8 concert in 2005 was the last time he would play with the band. Wright wrote two songs on the 1973 concept album The Dark Side of the Moon. A spokesman for Wright, who had three children, declined to give further details about his illness. He said: "The family of Richard Wright, founder member of Pink Floyd, announce with great sadness that Richard died today after a short struggle with cancer. The family have asked that their privacy is respected at this difficult time." Wright helped found the group that eventually became Pink Floyd when he met Waters and drummer Nick Mason while studying at the Regent Street College of Architecture in the early 1960s. After several incarnations including Sigma 6, Pink Floyd started out as an R&B band but adopted an experimental approach when Syd Barrett, the singer and guitarist credited with creating their most psychedelic music, joined in 1964. The keyboard player rejoined Pink Floyd in 1987 after a six-year hiatus, and also worked on a number of solo projects and collaborations with other musicians. Pink Floyd songwriter, vocalist and guitarist David Gilmour said: "In the welter of arguments about who or what was Pink Floyd, Rick's enormous input was frequently forgotten. "He was gentle, unassuming and private but his soulful voice and playing were vital, magical components of our most recognised Pink Floyd sound. "I have never played with anyone quite like him."
Cahal Milmo, The Independent, 16.09.08 Le régime de Khartoum passe à l'attaque au Darfour tout en renouant avec le TchadL'armée soudanaise a lancé de nouvelles attaques au Darfour, ont affirmé, dimanche 14 septembre, divers groupes rebelles. "Il y a eu des morts et des blessés parmi la population civile. Beaucoup d'entre eux ont pris la fuite au début des combats. Les forces gouvernementales ont tout brûlé, y compris un petit hôpital", a assuré sans autre précision un commandant de l'Armée de libération du Soudan (SLA), Ibrahim Al-Hillo.
Commencée vendredi par un bombardement de l'aviation soudanaise, l'attaque s'est concentrée sur une zone de la province du Nord-Darfour. Confirmés par la Mission des Nations unies et de l'Union africaine (Minuad), présente sur place, les combats auraient mobilisé, selon les rebelles, une centaine de véhicules de l'armée régulière. Paradoxalement, l'offensive de Khartoum ne visait pas que les mouvements en lutte ouverte contre le régime. La SLA, le seul groupe rebelle à avoir signé la paix - en 2006 - avec le gouvernement, a été également la cible de l'attaque. Son chef, Minni Minnawi, aujourd'hui conseiller du chef de l'Etat, Omar Al-Bachir, a mis sur le compte de Khartoum une rupture éventuelle du processus de paix. "Nous voulons le respecter mais nous sommes en état de légitime défense. Il s'agit d'une attaque délibérée contre nos forces", a accusé M. Minnawi qui était rentré au Darfour il y a quatre mois, à cause du peu de progrès enregistrés dans l'application du plan de paix.
RELATIONS DIPLOMATIQUES
Les autorités soudanaises ont accusé à maintes reprises le Tchad, pays frontalier, d'aider les rebelles du Darfour. De son côté, N'Djamena dénonce régulièrement l'appui de Khartoum aux groupes armés en lutte contre le régime du président Idriss Déby. La tension a abouti, il y a quatre mois, à la rupture des relations diplomatiques entre les deux Etats. Leur rétablissement est en bonne voie. C'est le principal résultat de la réunion, vendredi à Asmara, la capitale de l'Erythrée, du groupe de contact chargé de rapprocher le Tchad et le Soudan. Sous la pression de la Libye, du Sénégal et de l'Erythrée, les deux Etats - représentés par leur ministre des affaires étrangères - ont accepté de rétablir leurs relations diplomatiques avant la prochaine réunion du groupe de contact, le 12 octobre. Si le représentant du Soudan a assuré que le retour de son ambassadeur à N'Djamena avait déjà été anticipé, c'est du bout des lèvres que le Tchad a donné son accord. Au cours des discussions, le ministre tchadien avait réitéré ses attaques verbales contre le Soudan, et exigé des "gages et des garanties" de Khartoum, accusé d'avoir armé des mercenaires pour déstabiliser le Tchad. Pour N'Djamena, le retour des ambassadeurs n'est qu'une étape sur le chemin de la réconciliation et, selon son ministre, il faudra attendre la fin de la saison des pluies pour juger de la sincérité des Soudanais.
Jean-Pierre Tuquoi, Le Monde, 16.09.08 Peter Ackroyd: "Shakespeare fue el primer escritor comercial"¿Una biografía de Shakespeare? ¿A estas alturas? Muchos se preguntaron eso al saber que Peter Ackroyd, uno de los grandes del ensayismo europeo, especializado en temas de la historia de Gran Bretaña, había emprendido la ciclópea hazaña de escribir la vida del bardo. Sin embargo, este historiador cultural se ha salido con la suya: que el lector se sienta inmerso en la atmósfera en que se manifestó el mayor 'monstruo' de la literatura universal. Su "Shakespeare. Una biografía" -publicada en inglés en el 2005 y que la editorial Edhasa sacará al mercado el próximo noviembre- es un delicioso recorrido por la historia cultural del siglo XVI, a través de breves capítulos que se extienden por más de 800 páginas. Ackroyd recibió a este diario en su despacho de trabajo en el londinense barrio de Camden.
-Sorprende que tilde usted al más universal de los escritores de "chico de pueblo"... Un desafío a centenares de competidores Ackroyd, con su fino humor británico y su aspecto de Falstaff erudito, admite que las más de cien biografías que existen sobre Shakespeare (1564-1607) pueden hacer pensar a alguien que ya estaba todo dicho. "Sin embargo, la mía aporta algo único: mi visión propia. Yo pongo énfasis sobre su entorno y el espíritu de toda una época. He querido reflejar cómo era el Londres de aquel tiempo y la profunda transformación del lenguaje que Shakespeare realizó. He pasado mi vida entera escribiendo sobre la herencia cultural inglesa, y supongo que lo que se esperaba de mí era una descripción del lugar donde habitó Shakespeare, de su contexto. Me interesa, sobre todo, el paisaje mental, el suyo y el de todo lo que le rodea. Este ha sido el libro más difícil de todos los que he escrito".
Xavi Ayén, La Vanguardia, 16.09.08 Russia shows off the spoils of war in GeorgiaThe Russian army has put on display war trophies captured during the Georgia conflict at a museum in Moscow, in an attempt to reinforce its claim that the United States and the West were responsible for encouraging Georgia to attack its breakaway region of South Ossetia. After Moscow officially recognised South Ossetia and Abkhazia as independent 10 days ago, the exhibition is another sign that, far from caving under Western criticism of its actions, Russia is keen to milk the propaganda spoils of the war.
The display, at The Central Museum of Armed Forces, displays weapons, uniforms and personal possessions belonging to Georgian soldiers killed or wounded during the fighting along with graphic photographs of the burnt and mutilated bodies of dead Georgian soldiers. A museum guide, who was showing a group of Russians around the exhibit, paused at a display showing the personal photos of a dead Georgian soldier. One of them showed him having dinner with relatives, another had him in a comradely pose with a black man. "Look, here's one of the Georgian soldiers with a black-skinned man, an African," said the guide. "We all know that there are a lot of Africans in the US Army, this was probably one of his instructors." Also on display are a set of textbooks entitled American Language Course, Level IV. The museum claims they were taken from a Georgian soldier in South Ossetia, though it might seem improbable that the soldier would take the bulky books with him to the battleground of Tskhinvali. The museum itself is mostly devoted to the Soviet army, and its labyrinthine set of halls mainly cover the Second World War. A tank from that war stands on a plinth outside, and a 10ft-high bust of Lenin greets visitors as they walk into the main hall. Most of the exhibitions offer a very skewed and unrevised Soviet version of history – the section on the building of the Soviet army in the 1920s does not once mention Leon Trotsky, who was instrumental in organising the early Red Army but later fell out of favour with Stalin and was erased from Soviet history books. The Second World War section glosses over controversial aspects of the war, and Russia's long and costly conflicts in Afghanistan and Chechnya are hardly mentioned. The same approach seems to have been taken for the Georgia exhibition. In a Soviet-style touch, there are more than a dozen photographs of President Dmitry Medvedev, and an array of his speeches and orders to the military during the conflict. A timetable of the war leaves out several important events. There is also a distinctly anti-Western tone to the exhibition, with several pieces of "Nato" equipment and army clothing on display, and a list of which Western countries had armed Georgia. The graphic nature of some of the exhibits shows the depth of ill-feeling that has developed between Russia and Georgia after last month's conflict. Both sides have paraded their war gains in public – when the Georgians shot down four Russian pilots at the height of the conflict last month they paraded two bodies on national television, and The Independent was later given access to interview the two surviving pilots. Russia is now taking its turn to display the spoils of the war which it unequivocally won. Moscow has been angry over the coverage that the conflict received in the West, and is insistent that the conflict was provoked by the Georgian President Mikheil Saakashvili, with tacit backing from the West. Last week Mr Medvedev said that Russia would "consistently and meticulously" re-equip its armed forces, which have a reputation of being poorly trained, underpaid and rife with bullying. "There is no doubt that our decision has been influenced by the events in the Caucasus," he said. "They have made this task one of the top priorities for the next few years."
Shaun Walker, The Independent, 16.09.08 Michel Bouquet, la voix solitaire du "Malade imaginaire"Michel Bouquet joue Le Malade imaginaire, de Molière, et le public accourt au Théâtre de la Porte Saint-Martin. Vendredi 12, il y avait beaucoup de parents avec de jeunes enfants qui, dans cinquante ans, pourront dire : "J'ai vu jouer Michel Bouquet." Oui, ils l'ont vu, dans un spectacle vieillot et illustratif, où tout est concentré sur le fauteuil rouge qui trône au milieu de la scène, ce fauteuil que Michel Bouquet ne quitte quasiment pas, sauf pour un instant merveilleux où, oubliant sa maladie peut-être imaginaire, il trottine en sautillant.
A ce moment-là, les enfants dans la salle rient. Ils sont à la joie du théâtre dans sa plus grande simplicité, au bonheur de la farce de la vie devant eux représentée par un acteur qui n'aime rien tant que le jeu solitaire, et le pousse dans ses derniers retranchements. Car Michel Bouquet joue seul, définitivement. A force de dénier toute pertinence au rôle du metteur en scène et d'affirmer que l'acteur est le maître unique de la représentation, il vit reclus dans son art, depuis de longues années. Dans ce Malade imaginaire, les autres acteurs ne comptent pas, ou si peu. Convenables quand ils ne sont pas mauvais, ils servent de faire-valoir. Mais ce n'est sans doute pas cela que les enfants retiendront, à leur insu. Dans longtemps, ils comprendront qu'ils ont assisté à une leçon de Michel Bouquet jouant Le Malade imaginaire, plus qu'à une représentation du Malade imaginaire. Alors leur reviendra le souvenir d'une voix sortie d'une bouche sans lèvres, métallique et inquiétante derrière le sourire d'un gamin-requin qui jouerait des tours. Et ils reverront le visage de Michel Bouquet souvent lisse comme un masque japonais, qui dans son immobilité de papier contient tout ce que l'art d'un grand acteur peut laisser imaginer.
Brigitte Salino, Le Monde, 16.09.08 Los líderes suramericanos dan su apoyo unánime al Gobierno de MoralesLos presidentes de la Unión de Naciones Suramericanas (UNASUR) han acordado de forma unánime dar su apoyo al Gobierno de Bolivia. El anuncio se ha producido tras una reunión de 6 horas, comprendida dentro de la cumbre extraordinaria que se ha celebrado en Santiago de Chile para estudiar la crisis que afecta a Bolivia.
En esta cita, nueve presidentes de Suramérica han debatido a puerta cerrada la redacción de una declaración conjunta, en la que han tenido que conciliar dos posturas enfrentadas respecto al problema en Bolivia. El acuerdo alcanzado por los integrantes de la UNASUR establece, entre otros elementos,la creación de una comisión para investigar los graves disturbios en la región de Pando. En las últimas semanas, más de 30 personas han perdido la vida en los enfrentamientos entre seguidores del presidente Evo Morales y autonomistas de las cinco regiones ricas del país que rechazan la reforma de la Constitución y exigen el control de los enormes reservas de gas que acumulan sus territorios. Rechazo a la ruptura del orden institucional "Hemos querido con esta convocatoria manifestar nuestra preocupción y solidaridad con el pueblo de Bolivia", ha declarado del encuentro la presidenta de Chile, Michelle Bachelet, y ha añadido que "no existe circunstancia alguna que justifique la violación a los derechos humanos, especialmente el derecho a la vida para conseguir un objetivo político". En los nueve puntos de los que consta la declaración conjunta, los líderes suramericanos afirman que sus respectivos Gobiernos rechazan enérgicamente y no reconocerán cualquier situación que implique un intento de golpe civil, la ruptura del orden institucional o que comprometa la integridad territorial de la República de Bolivia. El texto final de la cumbre de la UNASUR condena también el ataque a instalaciones gubernamentales y a la fuerza pública por parte de grupos que buscan la desestabilización de la democracia boliviana, y exige la pronta devolución de esas instalaciones como condición para el inicio de un proceso de diálogo. En la reunión, convocada por Bachelet en su condición de presidenta de turno de la UNASUR, han participado los presidentes de Argentina, Bolivia, Brasil, Colombia, Ecuador, Paraguay, Uruguay, y Venezuela. También asisten delegados de Surinam y Guayana, así como el ministro de Exteriores de Perú, en representación del presidente Alan García. Tras la finalización del encuentro, los asistentes a la cumbre ya han partido hacia sus respectivos países. Manifestaciones frente a La Moneda Desde el inicio del encuentro, grupos de manifestantes tanto a favor como en contra de Evo Morales se han concentrado frente al palacio presidencial de La Moneda en la capital chilena. Mientras los partidarios del mandatario boliviano, convocados por agrupaciones de izquierda, gritaban "Evo, amigo, el pueblo está contigo", los detractores, principalmente estudiantes bolivianos residentes en Santiago, portaban carteles que decían "UNASUR, escucha a toda Bolivia", "No a la intromisión de Chávez", y "Queremos paz". Hasta el momento no se han producido roces entre ambos grupos.
El Pais, 16.09.08 |
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