English for jounalist II

The Ciy of Buenos Aires celebrates “The Coffee Shop Day”

Buenos Aires, Wednesday 24 of October.- The City of Buenos Aires will celebrate next Friday “The Coffee Shop Day” with a series of activities and free musical shows, the local Government informed today.
According to the official report, this celebration takes place since 2000, based on a Legislature resolution, and in this new edition will be commemorated the 160 years of “Café Tortorni”, the oldest and most emblematic of the 92 “Bares Notables” in the country, that was inaugurated in 1858 at its store of Avenida de Mayo 825.
The activities will begin on Friday at 20.30, when Buenos Aires government officials will deliver “a diploma to those responsible for the establishment in recognition of being an icon of the City of Buenos Aires”.
This act will end with a concert by the tango musical group “Quinteto Cinco Esquinas”, formed in 2005 in Argentina.
This group had has as its goal “to achieve the highest interpretive quality, understanding the tango not only as a genre to be danced, but also to be heard”, they said from the organization.
The quintets repertoire covers a variety of styles and has given numerous shows in “milongas” of Buenos Aires and the rest of the country, as well as in theaters and auditoriums.
The group is integrated by Nicolás Chamorro in bass, David Coudenhove on violin, Andrés Rosconi on piano, Nicolás Pardo on guitar and Josué Benítez in bandoneón.
In addition, the celebrations for “The Coffee Shop Day” will continue on Saturday 27 from 18 until dawn with various music and dance shows in others “Bares Notables” of Buenos such as “Café García”, located in Sanabria 3302; “El Progreso”, in Montes de Oca 1700: “Bárbaro”, in Tres Sargentos 415; “El Viejo Buzón”, in Neuquén 1100; and “El Símbolo”, in Avenida Corrientes 3787.
In these “Cafés” will perform the tango singer Hermán “Cucuza” Castiello, “Coco Romero and El Bando Murgo” with their Carnival song, “Beltaine” with its “world music” show, “Mistura y Manda” with their repertoire of Brazilian choro, and “Los Muchachos Errantes” with their swing style.
Finally, the City clarified that although the shows are for free, the entrance to the public will depends ont the “capacity of the place”.

"Café Tortoni"

"Cinco Esquinas" quintet

"Beltaine"

"Cucuza" Castiello

"Mistura y Manda"

"Los Muchachos Errantes"

English for journalists

The press-conference

Reporter 1: Mr. Auden, you have written a long serie of essays about originality, how to be a good reader and what it really menas to be a scholar. So, I would like to konw what is you opinion about a work of art and how this is affected by de mass media.

Mr. Auden: Before the phenomenon of the Public appeared in society, there existed naïve art and sophisticated art which were different from each other but only in the way that two brothers are different. The Athenian court may smile at the mechanics’ play of Pyramus and Thisbe, but they recognize it as a play. Court poetry and Folk poetry were bound by the common tie that both were made by hand and both were intended to last; the crudest ballad was as custom-built as the most esoteric sonnet. The appearance of the Public and the mass media which cater to it have destroyed naïve popular art. The sophisticated “highbrow” artist survives and can still work as he did a thousand years ago, because his audience is too small to interest the mass media. But the audience of the popular artist is the majority and this the mass media must steal from him if they are not to go bankrupt. Consequently, aside from a few comedians, the only art today is “highbrow.” What the mass media offer is not popular art, but entertainment which is intended to be consumed like food, forgotten, and replaced by a new dish. This is bad for everyone; the majority lose all genuine taste of their own, and the minority become cultural snobs.

Reporter: And can you describe, briefly, how the work of an artist was before this phenomenom of the Public and the mass media appeared in society.

Auden: In our age, the mere making of a work of art is itself a political act. So long as artists exist, making what they please and think they ought to make, even if it is not terribly good, even if it appeals to only a handful of people, they remind the Management of something managers need to be reminded of, namely, that the managed are people with faces, not anonymous numbers, that Homo Laborans is also Homo Ludens.

Reporter: You have just linked art with politics, but politics can be a extremely wide issue. It's possible to circunscribe this topic?

Auden: There are two kinds of political issues, Party issues and Revolutionary issues. In a party issue, all parties are agreed as to the nature and justice of the social goal to be reached, but differ in their policies for reaching it. The existence of different parties is justified, firstly, because no party can offer irrefutable proof that its policy is the only one which will achieve the commonly desired goal and, secondly, because no social goal can be achieved without some sacrifice of individual or group interest and it is natural for each individual and social group to seek a policy which will keep its sacrifice to a minimum, to hope that, if sacrifices must be made, it would be more just if someone else made them. In a party issue, each party seeks to convince the members of its society, primarily by appealing to their reason; it marshals facts and arguments to convince others that its policy is more likely to achieve the desired goal than that of its opponents. On a party issue it is essential that passions be kept at a low temperature: effective oratory requires, of course, some appeal to the emotions of the audience, but in party politics orators should display the mock-passion of prosecuting and defending attorneys, not really lose their tempers. Outside the Chamber, the rival deputies should be able to dine in each other’s houses; fanatics have no place in party politics.
A revolutionary issue is one in which different groups within a society hold different views as to what is just. When this is the case, argument and compromise are out of the question; each group is bound to regard the other as wicked or mad or both. Every revolutionary issue is potentially a casus belli. On a revolutionary issue, an orator cannot convince his audience by appealing to their reason; he may convert some of them by awakening and appealing to their conscience, but his principal function, whether he represent the revolutionary or the counterrevolutionary group, is to abuse its passion to the point where it will give all its energies to achieving total victory for itself and total defeat for its opponents. When an issue is revolutionary, fanatics are essential.


Fuente: https://www.brainpickings.org/2018/01/11/auden-art-politics/