Also known by its original title, El escapulario, Servando González’s The Scapular is one of the finest examples of classic Mexican horror filmmaking. For those versed in modern horror, adjust your expectations. Atmospheric from its opening moments and making full use of its sparse environments, this movie does not depend on bloody set pieces or instant frights. Instead, The Scapular prefers gradual storytelling through flashbacks, all while it refuses to answer how any of its unlikely events might be possible. The screenplay by González, Jorge Durán Chávez, and Rafael García Travesi navigates questions of Catholic faith, political preferences during the Mexican Revolution (1910-1920), and love amid more grotesque moments one comes to expect in a horror film. Those horror elements – of spirits staying true to their word – are most prominent at the very beginning and second half of the film, and absent for almost all the first half. A major contribution from cinematographer Gabriel Figueroa – regarded by some to be the greatest Mexican cinematographer of all time – and his Hollywood-influenced lighting elevates the movie, bathing the screen in intoxicating black-and-white.
Something during or after the Mexican Revolution, Father Andrés (Enrique Aguilar) pulls into town on a late train, following an unseen individual to the residence of Doña María (Ofelia Guilmáin). While the padre and the unseen person – the camera nods “yes” in response to a few questions from the padre – amble through town, two bandits follow close behind. They have been stalking Father Andrés since he disembarked the train, hoping to pilfer his gold watch. They decide to wait until after he administers his sacraments to Doña María. Inside, Doña María – whom the padre knows almost nothing about – hands the padre a scapular (a primarily Catholic garment of piety), which she claims to have saved the lives of her two eldest sons. El escapulario, for most of its remaining runtime, flashes back to the stories of those two sons, Julián (Carlos Cardán) and Pedro (Enrique Lizalde).
Once a soldier for the Mexican government, Julián defects and joins the rebels in their fight against Porfirio Díaz’s dictatorship. For Pedro, he is working for his uncle at a saddle shop, but has his eyes on the village chief’s niece, Rosario (Alicia Bonet) – in his attraction, class tensions come to a head.
Servando González, Jorge Durán Chávez, and Rafael García Travesi’s screenplay does the best it can with an unwieldy story structure. Though El escapulario is a breezy eighty-five minutes, the flashbacks for Julián and Pedro both feel slightly too long while the audience is itching for a macabre payoff. Nevertheless, the screenplay juggles numerous themes without ever feeling forced. Discussion about the Mexican Revolution is mostly confined to Julián’s story. At times, the dialectic between Mexico’s then-contemporary military dictatorship and peasant-led revolution sounds too much like propaganda. But given that Doña María is responsible for imparting this story to the padre (and, by extension, the audience), one can expect some over-romanticizing the revolutionary cause. El escapulario firmly sympathizes with the revolutionaries – following how popular historical memory is in Mexico today. In Julián’s story, this ideological conflict takes place entirely within a military and revolutionary backdrop. Civilian perspectives are not present for this part, but there are mentions of a groundswell of support for the revolutionaries. Acknowledging these partisan emotions and political interpretations, viewers who have not seen the entirety of The Scapular should accept the bare facts of Doña María’s recounting of Julián and Pedro’s stories as truthful – even though she was not present for any of the moments she describes. To say more risks spoiling the entire film.
Pedro’s chapter of El escapulario is less explicitly political than his elder brother’s, but related tensions persist. Pedro, firmly in the working class but not poor, inspires the wrath of Don Augustín (Jorge Russek, who played Major Zamorra in 1969’s The Wild Bunch) by even looking longingly at his niece, Rosario. Don Augustín is no moustache-twirling villain, but his disregard for his fellow villagers and overinflated opinion of himself make clear his sympathies for the Porfiristas against the revolutionaries and peasantry. Director Servando González keeps the focus on the brothers in both flashbacks, rooting the film through the perceptions of those with little to benefit under the Porfirio Díaz regime. It is in Pedro’s story that the first bits of horror filmmaking appear since the film’s opening minutes. Occult, perhaps darkly religious, forces influence developments as Pedro disregards Don Augustín’s advice to avert his wandering glance from his niece. These moments hinge on the scapular, as Don Augustín enlists others to intimidate – by force, if necessary – Pedro and Rosario from even thinking about each other.
In those moments, cinematographer Gabriel Figueroa’s work truly shines. Figueroa, who, in 1935, lived in the United States for a year to formally study his craft under Gregg Toland (1940’s The Grapes of Wrath, 1941’s Citizen Kane), certainly learned much from the man he considered his teacher. Even after returning home to Mexico in 1936, Figueroa continued to analyze Toland’s work closely – from chiaroscuro techniques to deep focus cinematography. But even before leaving for America, Figueroa’s work as a still photographer exemplified someone with a keen eye for composition. And long after his time under Toland, Figueroa would shadow some of Hollywood’s best cinematographers on his trips to Southern California; Toland himself, when visiting Mexico, would make suggestions and critique his old student’s work. Figueroa also enjoyed the privilege of friendships with Mexican artists Diego Rivera (who counseled him on how to use color – a story for another time, as El escapulario is a black-and-white film) and David Alfaro Siqueiros. Siqueiros provided Figueroa advice on escorzo or, in English, foreshortening. Foreshortening is an artistic technique on perspective that allows an artist to portray something that appears to be closer or shallower than it is.
Foreshortening becomes crucial in El escapulario’s second half, as the narrative descends in into the grisly and ghostly. A nocturnal horse ride during Pedro’s chapter stumbles upon a horrific sight, aided by foreshortening, sharp but still-horizontal angles, and quick cuts as the horse begins to buck wildly – spooked by unnatural forces that animals in movies just seem to pick up on faster than any human. The lighting’s influence on this scene’s mood is impossible to replicate if this was a color film. El escapulario’s final two scenes – by chicanery, candlelight, and cobwebs – are the culmination of what Gabriel Figueroa picked up from the likes of Toland and Siqueiros. Even when traversing an empty street at the witching hour or in a desolate room, there always seems to be a presence watching and waiting. Early morning mist appears to curl around the characters, like wispy hands. I am uncertain how this effect was achieved, and it might be seen as campy in most other contexts. Here, it is as if unknown forces are toying with the characters’ souls. It is spectacular camerawork from Figueroa, in his only collaboration with Servando González in a career spanning more than two hundred movies.
Viewers could also approach The Scapular from a religious context. The lines between life and death, faith and the absence of it, are tenuous. Catholicism and Catholic metaphysics are present from the prologue, impacting the dialogue and behaviors of all of the characters from their moments of introduction. Those more familiar with Catholicism in Mexico – the 2020 Mexican census says 77.7% of Mexicans practiced Roman Catholicism – can hopefully make more educated and nuanced contributions to religiously-inflected analyses of The Scapular than I possibly could.
The Golden Age of Mexican cinema, in some ways mirroring, but distinct from, a similar Golden Age for the nation’s northern neighbors, had been concluded for a decade when Servando González’s El escapulario premiered in theaters in 1968. Though some Mexican horror movies flourished before the end of that Golden Age, the films that fueled – and continue to inspire – Mexican horror cinema followed the footsteps of Fernando Méndez’s El vampiro (The Vampire; 1957), a late Golden Age film that broke through in a filmmaking and moviegoing environment heavy on melodramas and Westerns. The writing of this chapter of Mexican film history continues, still hampered by the 1982 Cineteca Nacional fire that destroyed several thousand Mexican films, screenplays, and books and an anecdotal domestic disinterest in Mexico’s cinematic heritage.
With thanks to the Academy Museum of Motion Pictures in Los Angeles and guest programmer Abraham Castillo Flores (also Head Programmer at Morbido Fest, based in Mexico City), the reclamation of that history is underway. Yours truly was able to see a restored print of El escapulario with complete English subtitles, although some audio hitches – especially in regards to the film’s score – remain. The technical mastery is apparent across El escapulario, and Servando González’s directorial vision and Gabriel Figueroa’s visual flourishes are worth the watch even for those unaccustomed to non-contemporary horror filmmaking. El escapulario is a visual treat, a chilling entry into the canon of classic Mexican horror.
My rating: 7.5/10
^ Based on my personal imdb rating. My interpretation of that ratings system can be found in the “Ratings system” page on my blog (as of July 1, 2020, tumblr is not permitting certain posts with links to appear on tag pages, so I cannot provide the URL).
For more of my reviews tagged “My Movie Odyssey”, check out the tag of the same name on my blog.
La voz del sol (2023)
#CarolPolakoff #CarmenMachi #KarraElejalde #AliciaLobo #AntonioDuran #KandidoUranga
Mehr auf:
Jahr: 2023
Genre: Drama
Regie: Carol Polakoff
Hauptrollen: Carmen Machi, Karra Elejalde, Alicia Lobo, Antonio Durán, Kandido Uranga, Ahikar Azcona …
Filmbeschreibung: Hauptsächlich in Pamplona im Jahr 1965 angesiedelt, verfolgt die Geschichte das Leben des amerikanischen Schriftstellers Alan Jolis, während er in die lebendige, sinnliche Welt erwacht und emotional erwachsen wird…
Stop the aggressions against the Zapatistas! - Manifesto signed by Noam Chomsky, Boaventura De Sousa, Raúl Zibechi, Enzo Traverso, Gilberto López y Rivas and more.
Today those who defend the environment are slaughtered every day. At a time like the one that the planet lives in which the protection of those who defend it is required, the opposite happens. Those who have resisted this destruction by the powerful have not stopped saying NO, they have always done so, although the current administration does not want to have memory.
The murder in the community of Amilcingo, Morelos of Samir Flores, a member of the resistance against the Comprehensive Plan Morelos, its gas pipeline and thermoelectric plants that put the life and territory of Nahua communities in Puebla and Morelos at risk; the massacre of 15 Ikoot indigenous people in San Mateo del Mar, Oaxaca, one of the regions that has opposed the Trans-isthmian Corridor projects; the growing paramilitary violence in Chiapas, with 56 attacks in the municipality of Aldama alone, and the kidnapping in February of members of the National Indigenous Council (CNI) of the municipality of Chenalhó are proof that the war continues.
Now the violence is becoming more and more explicit against the Zapatista communities. The growth of the activity of paramilitary groups such as “Los Chinchulines” or the Regional Organization of Coffee Growers of Ocosingo (ORCAO), as well as the appearance of new groups, is exacerbating tension in the region. The theft and burning of warehouses and houses of the Moisés Ghandi community, of the Autonomous Rebel Zapatista Municipality “Lucio Cabañas”, (in the official municipality of Ocosingo), show the increase in the intensity of the aggressions and provocations against the Zapatista Army of National Liberation. The EZLN has respected the ceasefire for years and has focused on strengthening its autonomous organizational processes with schools, clinics, and justice systems. It is serious that one of the ethical references of resistance and construction of concrete and viable alternatives for the planet continues to be under siege, and it is even more serious that the response of those who seek to “transform Mexico” is complicity or oblivion in the face of these extermination attempts. .
It is extremely worrying that this occurs in the context of the Covid-19 pandemic, that there are those who seek to take advantage of the vulnerability in which everyone finds themselves to fuel their ambitions for money and power. It is more worrisome when those who are supposedly in charge of preventing such abuses allow and therefore favor them.
Beyond the erroneous or successful changes of the executive power, which shows this escalation of violence in indigenous areas, and the worsening of paramilitary attacks in the Zapatista territory in Chiapas, is the continuity of the racist, colonial and paternalistic vision of the governments. liberals and conservatives, left and right. Projects such as the Mayan Train show the idea of bringing "development" to indigenous peoples by turning them into cheap labor and contributing only the folkloric image of the Mexican indigenous.
The violence and dispossession of indigenous territories that megaprojects such as the Trans-isthmian Corridor or the Mayan Train imply and require are the ethical breaking point of the current Mexican government, it is where the moral stature that President López Obrador has awarded in front of its predecessors begins to collapse.
Those of us who signed this letter are watching carefully what is happening in Mexico, what is happening in the Zapatista communities that for decades have been a benchmark for other ways of living, health, education, justice, politics. We will not allow the extermination of indigenous peoples with the recurring excuse of development.
International firms
Noam Chomsky (USA)
Saskia Sassen (USA)
Raúl Zibechi (Uruguay)
Marcos Roitman (Spanish State)
Oscar Olivera (Bolivia)
Hugo Blanco Galdos (Peru)
Boaventura De Sousa Santos (Portugal)
Michael Hardt (USA)
Yvon Le Bot (France)
Philippe Corcuff (France)
Jaime Pastor (Spanish State)
Manuel Garí Ramos. Economist. Member of Anticapitalistas (Spanish State)
Juan Wahren (Argentina)
Sabrina Melenotte (France)
Daniel Mato (Argentina)
John Gibler (USA)
José Angel Quintero Weir - Wainjirawa Indigenous Organization (Venezuela)
Roberto Ojeda Escalante (Cusco, Peru)
Pepe Mejía, journalist, social activist, Correspondent for Indigenous Struggle in Europe
Carta Pública | Ciudad de México, 7 de mayo de 2019.
A la opinión pública,
A las autoridades,
A personas que viven con VIH-sida, familiares y amigos:
El gobierno de México ha tomado la decisión de implementar nuevos mecanismos administrativos en la compra de antirretrovirales de calidad, apoyándose de una propuesta presentada el pasado 26 de abril de 2019 por un grupo de expertos médicos en materia de VIH-sida de la Secretaría de Salud, acompañados de Organizaciones de la Sociedad Civil y activistas.
Por ello, quienes suscribimos esta carta también consideramos indispensable renovar las estrategias del Programa Nacional para la Prevención y el Control del VIH-sida, con el propósito de garantizar no sólo el acceso universal al tratamiento de la infección por Virus de Inmunodeficiencia Humana sino, también, la optimización de costos y la simplificación de los esquemas de tratamiento.
El fin del sida como epidemia, es un objetivo factible, pero será imposible si México pierde la oportunidad de tomar medidas necesarias, e incluso radicales, para hacer de los antirretrovirales una herramienta efectiva, terapéutica y preventiva, que permita frenar la epidemia. Pero hay que hacerlo con medidas concretas a través de la compra de los mejores antirretrovirales actualmente disponibles en México, además de simplificar los tratamientos de acuerdo a las guías nacionales e internacionales y a las evidencias científicas disponibles. México siempre ha comprado los medicamentos antirretrovirales al precio más elevado entre los países de América Latina. Tan sólo el año pasado se erogaron más de 3 mil millones de pesos y cada año se presentan nuevos casos de transmisiones de VIH en el país. Con el cambio instrumentado se podrá atender a más pacientes, a nuevos casos y con el mismo presupuesto. Por eso es momento de apoyar el cambio de rumbo propuesto y seguir exigiendo el fortalecimiento de los mejores esquemas de prevención.
El sistema de salud en México está obligado a responder a las necesidades de la población con VIH, de sus familiares y parejas, atendiendo el interés público. Definitivamente es necesario un ajuste para simplificar medidas y criterios clínicos, con el propósito de ofrecer los mejores tratamientos antirretrovirales disponibles a los casi 100 mil pacientes atendidos por la Secretaría de Salud en todo el país. Es momento de apoyar este cambio de paradigma en la atención de VIH-sida en México.
Lo anterior significa:
Reducir esquemas de tratamientos, manteniendo la eficacia y disminuyendo los efectos adversos e interacciones farmacológicas,
Depurar claves de medicamentos obsoletos,
Supervisión individual de casos específicos y,
Garantizar un mejor monitoreo y seguimiento clínico de las y los usuarios en los servicios especializados.
Para que ofrezcan resultados, las medidas necesitan aplicarse en el inicio del tratamiento antirretroviral, en la mejora de los tratamientos existentes; pero también en la revisión a detalle de los pacientes que reciben esquemas muy específicos a consecuencia del tiempo de tratamiento, de las resistencias presentadas y otros factores de riesgo para su salud.
Para concretar la propuesta de simplificación es necesario atender la opinión de los expertos clínicos de la Secretaría de Salud, fortalecer la capacidad de atención integral y con ello cumplir las metas de poner alto al sida en 2030, como propone el Programa Conjunto de las Naciones Unidas (ONUSIDA).
La salud de las personas por encima de todo. Por eso #NuevoParadigmaVIHMx
Atentamente
Dr. Gustavo Reyes Terán, Centro de Investigación en Enfermedades Infecciosas (CIENI). Instituto Nacional de Enfermedades Respiratorias (INER).
Dr. Juan G. Sierra Madero, Departamento de Infectología, Instituto Nacional de Ciencias Médicas y Nutrición (INCMN).
Dra. Andrea González Rodríguez, Clínica Especializada Condesa.
Dr. Florentino Badial Hernández, Clínica Especializada Condesa Iztapalapa.
Nos divierten con su alegría y sabor
Por: Alejandro Gutiérrez De Piñeres y Grimaldi1. SAN CARLOS (PORRO)INTERPRETA: JOHN RUIZ
2. RECUERDOS DE OCHA (MERENGUE)INTERPRETA: CIRO MEZA REALES
3. LA PAVA CONGONA (CUMBIA)INTERPRETA: YEISON LANDERO
4. LA SOLTERONA (PUYA)INTERPRETA: CÉSAR CASTRO
5. ALICIA ADORADA (SON)
INTERPRETA: ALEJANDRO DURÁN
6. LOS SABANALES (PASEAITO)
INTERPRETA: CALIXTO…
Alicia Durán: “El vidrio es una herramienta fundamental para conseguir un planeta más sostenible y más justo”
La investigadora del CSIC en el Instituto de Cerámica y Vidrio preside el Año Internacional del Vidrio que se celebra en 2022
La presidenta del IYOG2022, Alicia Durán, sostiene el libro Welcome to the Glass Age, editado por el CSIC. / Lorenzo Plana
El vidrio nació en las ciudades de Tiro y Sidón (actual Líbano) hace más de 5.000 años. Desde entonces contribuye al desarrollo de los hitos más…
EL ACUERDO DE ESCAZU SOBRE DEMOCRACIA AMBIENTAL Y SU RELACIÓN CON LA AGENDA 2030 PARA EL DESARROLLO SOSTENIBLE Alicia Bárcena, Valeria Torres, Lina Muñoz Ávila
Editoras
Este libro, copublicado por la CEPAL con la Universidad del Rosario, Colombia, presenta los ensayos resultados de las contribuciones realizadas por reconocidas expertas y expertos sobre desarrollo sostenible y democracia ambiental de América Latina y el Caribe.
Su contenido se ha organizado en cinco partes con catorce artículos que brindan distintas perspectivas del Acuerdo de Escazú en el marco de cinco esferas de importancia crítica para la humanidad y el planeta de la Agenda 2030 para el Desarrollo Sostenible conocidas como las cinco «P» por su letra inicial en inglés: personas, planeta, prosperidad, paz y alianzas.
El Acuerdo de Escazú representa una oportunidad muy valiosa y sin precedentes para la región no sólo para el fortalecimiento de la democracia, los derechos humanos y la protección ambiental sino también para el cumplimiento de la agenda global más importante de nuestro tiempo: el desarrollo sostenible.
INDICE
Prólogo/John H. Knox
Presentación/Alicia Bárcena, Valeria Torres y Lina Muñoz Ávila.
Introducción/Alicia Bárcena, Joseluis Samaniego
PRIMERA PARTE: La Prosperidad
Capítulo I. Estado de derecho, multilateralismo y prosperidad de las naciones/Alicia Bárcena, Joséluis Samaniego, Valeria Torres, Carlos De Miguel, David Barrio.
Capítulo II. El Acuerdo de Escazú y la Agenda 2030 como eje fundamental de la reactivación económica nacional en el caso peruano/Carol Mora Paniagua, Isabel Calle Valladares.
Capítulo III. Los derechos de acceso, las autoridades públicas y las entidades privadas a la luz del Acuerdo de Escazú y la Convención de Aarhus/Henry Jiménez Guanipa.
SEGUNDA PARTE: El Planeta
Capítulo IV. Justicia climática, construcción de sociedades pacíficas y rendición de cuentas/ Valentina Durán Medina, Constance Nalegach Romero.
Capítulo V. El principio in dubio pro natura y su relación con el Acuerdo de Escazú y la Agenda 2030/Sílvia Cappelli.
TERCERA PARTE: Las personas
Capítulo VI. El Acuerdo de Escazú ante la situación de riesgo de las personas defensoras del ambiente en América Latina y el Caribe/Alejandra Leyva Hernández, Andrea Cerami.
Capítulo VII. La situación de las personas defensoras del ambiente en Colombia/Lina Muñoz Ávila, Karol Tatiana Sanabria Rodríguez, Andrea Turriago Molinas, Luisa Villarraga Zschommler Capítulo VIII. Educación, democracia ambiental y desarrollo sostenible/Daniel Barragán-Terán
CUARTA PARTE: La Paz
Capítulo IX. La participación en la construcción de la paz con justicia ambiental en Colombia/ Gloria Amparo Rodríguez.
Capítulo X. Sustainable development goal 16 in the Caribbean context: the role of the Escazu agreement in addressing implementation challenges in the region/Nicole Mohammed.
Capítulo XI. El Acuerdo de Paz y el Acuerdo de Escazú para la protección de las personas defensoras del ambiente en Colombia/Camilo Quintero Giraldo, María Alejandra Lozano Amaya, Oriana Zapata, José Luis Díaz.
QUINTA PARTE: Las Alianzas
Capítulo XII. Clínicas jurídicas, democracia ambiental y desarrollo sostenible: alianzas en acción/ Sílvia Maria da Silveira Loureiro.
Capítulo XIII. La alianza de clínicas jurídicas ambientales y el Acuerdo de Escazú/ Mariano Castro Sánchez-Moreno.
Capítulo XIV. Alianzas entre Gobiernos y sociedad civil, democracia ambiental y desarrollo sostenible/Patricia Madrigal Cordero.
chapter 6--Beating Dad (this chapter was so Excite that i am going out of order)
kudos to the dude next to me on the tiny plane to cincinnati who watched me read this and have dramatic reactions to like every sentence
Chapter 6: Beating Dad
during his first political rally ever (failed mayoral race in 2003) mauricio asked for two giant screens to be installed outside the venue: one for people who weren’t able to get in, and one “100 meters away.” that seemed to be a strange request, but they followed it. and that one was specifically for Daddy Franco, who watched his oldest son’s first ever political engagement from his parked car.
mauricio did not want to see Daddy Franco while making his speech
he had the reputation of owing all his success to his rich dad
when mauricio was inaugurated and did his silly victory dance on the balcony of the casa rosada he said to his VP gabriela michetti: “look at dad, he’s finally proud of me.”
“That’s what Mauricio felt: he had to become President for his father to finally acknowledge him.”
“After Franco’s internal hemorrhaging, when he regained consciousness, the two talked for the first time in a long time. It wasn’t something they were in the habit of doing during their weekly bridge game of Franco’s house, where they sat in silence and exchanged defiant looks. Nor did they talk intimately in the impersonal emails Mauricio sent to the patriarch whenever he felt attacked by him.”
“Mauricio confessed to Gabriela Cerutti, the journalist: ‘Since I joined his company, my father got involved in all my meetings and according to him everything I did was idiotic. He upstaged me all the time.’”
“Mauricio continued: ‘I know I got a good education, that my father prepared me the best he could…The truth is that when I was 5, it was fine going to his job with him and sitting and drawing, but traveling to Europe with him at age 12 and sitting in meetings that were five, six hours long was terrible. I remember being little and thinking: What am I doing here? I would say to him, “Dad, I don’t understand anything, I want to play soccer, I want to be with my friends.”’ And his father’s answers were always the same: ‘Listen, listen, listen. You need to learn.’”
“Franco remembers: ‘When Mauricio became mayor, he invited me to visit his new office. Of course I went. He was waiting for me, doing everything according to the protocol, and he took me on a tour, showing me the meeting rooms, the “Gold Room,” the patio…And the truth is that I’d already done that tour around 5 times: every time there was a new mayor, he’d invite me to visit. But I didn’t say anything, of course. Poor Mauricio! He was so proud to show everything to his father…’”
that very same night, mauricio invited Daddy Franco to dinner and Franco asked if it had occurred to Mauricio that he should express gratitude to his father. when mauricio asked why, franco said, “If I hadn’t motivated you, if you hadn’t had to compete with me so much…Today you’d be the heir to my businesses and nothing more.” mauricio did not feel like arguing that night so he agreed
when laura di marco interviwed mauricio for her book (which I own and am also reading lmao) mauricio was talking shit about Daddy Franco and then panicked and asked if she was going to publish the interview now. when laura reassured him that no, it was for her book, mauricio said ‘Ah, okay, when the book comes out my dad will be dead.” (Whoops! Daddy Franco is still alive)
“Franco began to lose his mind after losing control of his businesses…One night in 2011, at the Italian embassy in Buenos Aires when Mauricio received an award from Silvio Berlusconi (the Order of the Star of Italian Solidarity), Franco interrupted the ceremony by bursting in through a side door uninvited. In front of everyone, he pulled a medal out of his pocket. He said loudly, ‘Mauricio, I came especially to tell you that the medal that really counts is this one.’ There was a terrible silence. His son didn’t react.”
• (continued) “The father completed his theatrical act. ‘Take it, I’m giving it to you. When they give you one like this, you can return it to me…’. And he left without saying anything amidst the murmurs of the guests. Juliana Awada and her sister Zoraida were there by Mauricio’s side. ‘He’s crazy,’ Juliana whispered.”
at one point, jaime durán barba wanted to distance mauricio from the image of his father and asked if they could put his mother in the public eye instead. But all too soon, jaime figured out that this wasn’t a good idea.
“The woman with the double-last name and family of landowners firmly defended the military dictatorship, with a special fondness for Jorge Rafael Videla and she made her disgust for poor people and homosexuals very clear. Those who knew the family thought of the Macris as ‘progressive’ when compared with her.”
“Mauricio tells this story about his martial mother: ‘She was very demanding, and a perfectionist. I remember when I took the exam to get into Newman. She had me spend a whole morning running around the track because I couldn’t say [the English word] “thirteen” right! She told me I shouldn’t put my tongue in between my teeth. And she made me run because I couldn’t do it.’”
friendly reminder that Daddy Franco married alicia when he was 28 and she was 15. it wasn’t because she was pregnant! alicia’s dad wanted someone to take care of his daughter because he was sickly.
Daddy Franco and alicia divorced in 1980. after that, for a while mauricio didn’t see his dad much.
“Some of Mauricio’s happiest memories from adolescence were of beating his dad. The two of them played chess every Sunday morning. But Franco wouldn’t give his son even the slightest chance to win. After a few games, which would last until lunchtime, Franco would come to the table triumphant. ‘This complete dumbass will never beat me.’”
(continued) “For three years, from when Mauricio was 13 to when he was 16, they continued this ritual. One morning, after Franco made a mistake, Mauricio announced: ‘Checkmate.’ Franco slowly put away the pieces and the chessboard. He didn’t say anything to the winner. This was the last time they played chess.”
in reference to the infamous bridge game for which mauricio studied in secret and beat Daddy Franco for the first time: “Franco had consumed half a bottle of whiskey during the game. Mauricio, two glasses of water.”
“Mauricio is convinced that if he was capable of overcoming the noose his father placed around his neck, the unstoppable rival who put Mauricio to the test since he was able to think for himself, then he can handle anything that comes his way.”
“‘What am I going to be afraid of if I grew up joined at the hip with my worst enemy?’”
“Mauricio knew that he’d never be able to outshine his father in the business world, where he was number one. To beat him he had to be better in a different way: he had to be president. Because ultimately, the president is the one who tells a businessman how to play the game. In Freudian terms, the son can finally ‘kill’ his father.”
Puedes participar de la Misa de la memoria de Santa Margarita María de Alacoque, siguiendo este enlace:
youtube
Ofrecida por las siguientes intenciones:
~ En Acción de Gracias a Dios, nuestro Padre, por la intercesión:
- del Espíritu Santo, por la Renovación Carismática Católica en Maracaibo.
- del Sagrado corazón de Jesús por una intención especial de la Familia Tulli Durán.
- Jesús de la Misericordia por las intenciones y salud de María Isabel Texeira, Doris Velasco y Heberto Hernandez.
- de Nuestra Señora de Coromoto, por los que laboran en el Hospital Coromoto.
- de la Virgen del Rosario.
- Virgen Desatadora de Nudos por las intenciones de Mario Andrés, Víctor Hugo, Yanet Rosa Durán.
- por el cumpleaños de Mirtha Chumaceiro.
- Por las intenciones de: la familia González Parra, la familia Parra Día.
~ Pedimos por la salud y recuperación de:
• enfermos del Covid-19 y por los que trabajan por su sanación.
• Mons. Jesús Enrique Hernández, Padre Danilo Calderón, Padre Alberto Gutierrez, Hno. Thomas Smith, Flor Navarro, Emma Cleotilde Zabala y Maria Galindo.
• María Urriola, Jorge Negrón, Rosario Rivera, Antonio Guerrero, Marcolina Quintero, Valentina Paulovich y José Alejandro Delgado Rodríguez.
~ Por los bienhechores de nuestra Parroquia, del Seminario, de la Fundación Cura de Ars y Fundación Comedor Santa Ana.
~ Por el descanso eterno de:
+ José Francisco Bermúdez.
+ Juan Pablo Verá Urdaneta (4º mes).
+ Adelina de Jesús Zambrano García.
+ por los difuntos de la familia Romero Urdaneta.
+ Ralph González.
+ Luis Guillermo Romero.
+ Alicia Romero Rafael Romero.
+ Zoraida Romero.
+ Cali Romero.
+ Lucy Urdaneta.
+ Elena Molero de Padrón (6/9).
+ Javier Hernán José Verá Urdaneta (7/9).
+ María Josefina Morrel de Morrel (7/9).
+ Maritza Josefina León de Medina (9/9).
+ Antonio José cordero Ball (27/30).
+ Huilan Nelly Maruja Ball Berci (10/15).
+ Nora Montiel de Russo.
+ Giuseppe Russo Graziano.
+ Alexis Raúl Bracho Martínez.
+ Hérmilo Paez Ávila.
+ Carlos Alberto Ortiz Ochoa.
+ Gregorio de la Rivera.
+ Alexandra del Pilar Yánez Quintero.
+ Chichi Quintero.
+ Bernardo Larreal Herrera.
+ Nelson Enrique Sthormes.
+ Luís Marín.
+ Jorge Romero Martínez.
+ Sili Hernández Belloso.
+Animas del purgatorio más necesitadas.
Para anotar intención de misa, escribe por whatsapp o SMS al +58-424-6293617. Para transferir ofrenda voluntaria a la cuenta de Max Güerere, C.I. 10.918.893, BOD # 0116-0103-1500-2623-9345.
Juancho Polo Valencia: “…en mi tierra y fuera de ella...”.
Juancho Polo Valencia: “…en mi tierra y fuera de ella…”.
-Anécdotas-
A Juancho Polo, ya sabemos, quien lo rescata del anonimato es la magistral interpretación que hizo Alejo Durán de su obra maestra Alicia Adorada en el año 1968. A pesar que la canción ya rodaba desde hacía unos 16 años atrás en un sector reducido de La Provincia, sus efectos sonoros habían pasado desapercibidos.
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GENTE DE ARENAS: Esta foto fue tomada en la fiesta de los 15 años de Yulianny María Fuentes Noriega (hija de Cruz José “Cheo” Fuentes y Solange Noriega) celebrada en el “Club la Fuente” de San Salvador el 28 de agosto de 1990. De izquierda a derecha en la parte superior están: ¥Jesús Antonio “Toñito” Ortiz Núñez (hijo de Jesús María Ortiz y Cruz Núñez); Julio Cesar Martínez Yegres (un caraqueño hijo de Arenera - Margarita Yegres - de visita en Arenas); José Manuel “Mamay” Doccttel Acuña (Pedro Rafael Doccttel – Dinora Acuña), ¥Jesús Fernando Ortiz Núñez (¥hermanos, mismos padres) Carlos Julio Suárez Durán (Raimundo Suárez - Ramona Durán); en posición intermedia Jesús Eduardo “Careto” González Figueroa (Pedro Pablo González – Rosa Figueroa), arriba y abajo respectivamente, las hermanas *María Andreina Espín Fuentes y Mary Lady Espín Fuentes (Pastor Espín - Rosa Alicia Fuentes); abajo y a la izquierda Jesús David Barrios Albertini (Jesús Barrios – Judith Albertini) y abajo y a la derecha Eduardo Martínez (otro caraqueño de visita en Arenas). Por cierto, “El Club La Fuente” era una maravilla, la edificación física era muy amplia, bonita, buen mobiliario, buenas instalaciones de servicios, gran barra, una inmensa pista de baile, tribuna para la orquesta, ubicada al lado del río Cumaná (Manzanares), estacionamiento grande, bien ornamentado con árboles dentro y fuera de la estructura; y que se haya reducido a nada es sencillamente increíble, desde la carretera al pasar frente al lugar es como si una bomba lo hubiera exterminado, luego creció la maleza y ahora es como si nunca hubiera existió “La Fuente” en ese sitio. Foto cortesía de *Andreina Espín - 28/08/1990. PD/ Manda la foto de la fiesta de tus 15 años. https://www.instagram.com/p/B4V0itOFcld/?igshid=1galz9n18c3p9
El elemento más importante del archivo son las entrevistas, mediante las cuales se ordena toda la información. En ellas se encuentra una percepción del presente que indica preocupaciones diversas. Hasta ahora los temas que han aparecido más frecuentemente son el de los desastres naturales, la política y los desastres anímicos y/o de salud. Cada entrevista ha llevado a la siguiente, pues una de las últimas preguntas pide una recomendación sobre un lugar al que se deba acudir para realizar las mismas preguntas realizadas. De este modo, ninguna respuesta ha sido premeditada, sino que cumple con un encadenamiento que si bien brinda distintas miradas con puntos de vista diversos, permiten sacar ciertas conclusiones sobre preocupaciones actuales que dibujan sentires comunes.
Para la realización del archivo, hay lecturas posibles en la sección “Archivo”, donde se sugieren combinaciones. Dese ahí puede racionalizarse un ordenamiento que arroje luz sobre ciertos temas de interés. Sin embargo, el archivo se recompone, en la medida en la que pretende su autoanulación racional. Por ello cada entrevista sugiere un nuevo orden, como si tretara de un universo creado complementariamente con las etiquetas o tags de las demás visiones.
// 1 Anónima / Entrevista cerca de el edificio de caído en Chimalpopoca / 24-X-17
// 2 Anónima (misma que la anterior) / Entrevista cerca de el edificio de caído en Chimalpopoca / 24-X-17
// 3 Griselda Sánchez / Entrevista cerca de el edificio de caído en Chimalpopoca / 24-X-17
// 4 Anónimo / Entrevista cerca de el edificio de caído en Chimalpopoca / 24-X-17