#Juan Manuel Salvat | Explore Tumblr posts and blogs

barinacraft · 4 years ago

Text

Ojen Cocktail - Mardi Gras Favorite Prevents Bad Luck

Picasso Puts The 'O' In Ojen

Aguardiente de Ojén or just Ojen (pronounced “oh-hen”) is an anise based liqueur similar to absinthe, but minus the wormwood. A fact that's reflected in the name which is actually shortened from the Spanish word ajenjo (ah-hen'ho) meaning artemisia absinthium, or grand wormwood, in the melodic language of Spain. Aguardiente, in Spanish, or Aguardente, in Portuguese is a combination of the Iberian languages' word for "water" (agua in Spanish + aiqua, água and auga in Catalan, Portuguese and Galician respectively) plus "burning / fiery" (ardiente in Spanish, ardent in Catalan and ardente in both Portuguese & Galician). Like absinthe, Ojén creates a louche when mixed with water or frapped which turns the mixture milky looking. Other anise flavored liqueurs / liquors include Arak, Greenopal, Herbsaint, Ouzo, Pastis, Pernod, Sambuca, Raki and more.

Pablo Picasso, the most famous native of Málaga, Spain, was definitely a fan as he himself dually noted [sic] in two of his paintings. Ojen's original coffin shaped bottle was captured on the artist's canvas inside an oval in his 1912 Spanish Still Life shown above.

He followed that cubist style masterpiece up a few years later with a Bottle of Anis del Mono resting on a wooden bartop alongside a wineglass and playing cards. See below.

History Of Ojen Liqueur

First Produced

1830 or so - the Pedro Morales family distillery began producing Ojen in its namesake city east of the sherry triangle in Andalusia the southernmost region of Peninsular Spain.*

1870 - Anis del Mono anisette starts production in a factory in Badalona, Spain. This sweet aniseed liqueur in particular is often mentioned as an Ojen substitute, though its not quite the same.†

1874 - Pedro Morales sets up a second location in Malaga, Spain to increase capacity.‡

1883 - Paul Gelpi and his brother Oscar own a liquor distribution company located at 43 Decatur Street in New Orleans and advertise 50 cases of OJEN of Majorca for sale which they claim is superior to ABSINTHE as an appetizer and tonic.1

Original Ojen Cocktail Created

1886 - Paul Gelpi was inaugurated as a member of the elite gentleman's club The Boston in February and it was there that the Ojen Cocktail was first mixed by adding a couple of dashes of Peychaud's bitters and soda water over cracked ice. Gelpi's role in the recipe is unclear as L. E. Jung suggests he or his company had invented the Ojen Cocktail.2,3

1910s - other Spanish brands of Ojen like Joaquin Bueno of Malaga and Manuel Fernández of Puerto de Santa Maria / Jerez (formerly called Xerés) along with New Orleans, Louisiana based manufacturer L.E. Jung & Wulff Company were gaining prominence.

1920 - the Morales distillery had to close due to a phylloxera plague that killed the vineyards around Malaga and apparently the last male heir took the secret family recipe to their grave.

1946 - Brennan's on Royal Street, a Creole restaurant in the French Quarter which started as the Vieux Carré located on Bourbon Street, opens and later features the Ojen Frappé on their brunch menu along with originals like Bananas Foster and Eggs Hussarde.

1961 - Juan Espada Fernández, who claims to be in possession of the original Ojen recipe via his father who is said to have been an employee of the Pedro Morales distillery, launches production of Aguardiente de Ojén after buying the still in 1958.

1974 - internal company conflicts cause the Juan Espada distillery in Ojén, Spain to permanently cease operation.

1990 - in the late 1980s, with sagging sales, the Fernandez family in Jerez de la Frontera was the last remaining ojen producer and decided to stop production but made one last batch of 500 cases totaling 6000 bottles for export to Martin Wine Cellar in New Orleans, Louisiana.4

Hoard Your Bottle Of Ojén - You Can't Buy Anymore

2009 - the last bottle of the Manuel Fernandez White Label Ojen was officially sold by Martin Wine Cellar.5

Fat Chance you'll be drinking Ojen on Fat Tuesday much longer.

Salvation

2013 - following an analysis of a specimen of the original brandy which showed 16 distinct herbs from the Sierra de las Nieves were used, Dominique Mertens Impex S.L. produces the first 3,000 bottles of an aniseed flavored spirit made from prickly pears on Ojén soil using traditional methods called ‘Aguardiente de Ojén La Giralda.’ 6

2015 - after sending samples of classic Ojen to the lab to reverse engineer and spending over two years of R&D time and talent developing its own distillate recipe labeled as Legendre Ojen after J. Marion Legendre, the inventor of Herbsaint, Sazerac Company was able put some of their new bottles of Ojén on the shelf between Christmas and New Year’s Eve well ahead of its goal for the February 9, 2016 Mardi Gras.7

Looks like the phrase “Una copita de Ojén” (a little glass of Ojén) followed by seven musical taps on the bar that was a ritual toast heard all over Spain for more than a hundred years can be resurrected once again now that this drink that starts with 'O' is back on the table.

{ "@context": "https://schema.org", "@type": "VideoObject", "contentURL": "https://youtu.be/bRzz8azDlM8", "description": "Mardi Gras for all Y'all - A bartender from The Sazerac House demonstrates how to make the Ojen Cocktail", "name": "All about Ojen: The century-old cocktail to sip throughout Mardi Gras", "thumbnailUrl": "https://i.ytimg.com/vi/bRzz8azDlM8/hqdefault.jpg", "uploadDate": "2021-02-15", }

youtube

Behind The Bar - How To Make Ojen's Namesake Drink Recipes At Home

Ojen Cocktail (American / New Orleans Style):

2 oz Ojen

2 - 3 dashes Peychaud's bitters

Add the Ojen to a mixing glass filled with fine ice and dash on the bitters. Stir thoroughly with a bar spoon and strain into a long stem glass.8-14

The bitters give this Ojen a delicate rose-colored tinge. Therefore it masquerades under the name of “Pink Shimmy,” or pinque chemise, if you prefer the language of the fifty million who can’t be wrong.15

~ Stanley Clisby Arthur

Perfect for parading around during Mardi Gras carnival celebrations!

Note: many also add seltzer water to the formula above similar to the next recipe below.16-21 Sort of makes them the same then. Right down to the bitter end.

Ojen or Spanish Absinthe Cocktail:

1 jigger Ojen

2 - 3 drops Angostura bitters

seltzer water

Combine Ojen with ice in a large glass. Keep pouring seltzer into glass while stirring constantly with a spoon until the outside of the glass is frosted, frozen and frapped. Then add a few dashes of Angostura bitters and strain into a cocktail glass.22-26

Like above, many recipes eliminate the soda water, but the Angostura & Ojen only formula seems to originate and/or be preferred in Cuba.27-30

Ojen Special

1 ½ oz Ojen

2 - 3 dashes Peychaud's bitters

1 tsp sugar

2 - 3 oz seltzer

Stir all the ingredients together in a mixing glass filled with ice, strain and serve.31,32

Adding sugar to the recipe didn't start appearing in bartending books until the early to mid 1940s, but this may have been what the proprietor at the Lilac Time bar served to Mistah Gordon in To Have and Have Not.33 Or, at least, that's what another writer's interpretation of 1937 Ernest Hemingway was.34 Here's the passage:

"'Allo, 'allo, Mist' Gordon. What you have?" "I don't know," said Richard Gordon. "You don't look good. Whatsa matter? You don't feel good?" "No." "I fix you something just fine. Fix you up hokay. You ever try a Spanish absinthe, ojen?" "Go ahead," said Gordon. "You drink him you feel good. Want to fight anybody in a house," said the proprietor. "Make Mistah Gordon a ojen special." Standing at the bar, Richard Gordon drank three ojen specials but he felt no better; the opaque, sweetish, cold, licorice-tasting drink did not make him feel any different "Give me something else," he said to the bartender. "Whatsa matter? You no like a ojen special?" the proprietor asked. "You no feel good?" "No." "You got be careful what you drink after him."

Words to live by!

More Anisette Cocktails

Albion - dry gin, French vermouth, Cointreau, lemon juice and Ojen bitters.

Anis Del Mono Cocktail No. I - dry gin, Anis del Mono, bar syrup and thick cream with grated nutmeg.

Anis Del Mono Cocktail No. II - Anis del Mono, Cognac, Fernet Branca, Angostura bitters and lime or lemon juice.

Battle of New Orleans - bourbon, orange bitters, anisette, Peychaud's bitters, simple syrup and absinthe.

Beaux Arts Cocktail - gin, dry vermouth, sweet vermouth, orange juice, pineapple juice and anisette.

Black Gold Shot #2 - Goldschlager and Opal Nera or Romana Black sambuca.

Borden Chase - a Rob Roy with anise liqueur Pernod and orange bitters or you can use another pastis, like Ricard, Herbsaint, Absente, or Pastis Henri Baudoin.

Broken Spur Cocktail / Broker's Flip - white port, dry gin, sweet vermouth, egg yolk and anisette.

Café de Paris Cocktail / Hankow Special - egg white, anisette, fresh cream and dry gin.

Cattlin Cocktail - 1/4 each dry gin, Picard vermouth, Cora vermouth and ojen with one egg white.

Colony Club - gin, anisette and orange bitters.

Dream Cocktail - Cognac or brandy, orange liqueur and anisette.

Dubonnet Special - Dubonnet, dry gin, absinthe and anisette.

Dulcet - vodka, apricot flavored brandy, anisette, cream, lemon juice.

Green Opal Cocktail - Greenopal, dry gin and Ojen with both orange and Peychaud bitters.

Herbsaint Frappé - Herbsaint, simple syrup and carbonated water frapped in cracked ice.

Jellyfish Cocktail - blue curacao, Irish cream and white sambuca anise liqueurs with grenadine.

Jitters Cocktail - equal parts Ojen, gin and French vermouth. Note: this recipe first appeared on the back of Fernandez White Label Ojen bottles and was then published on page 39 of Famous New Orleans Drinks and How To Mix ’Em in 1937.

Marguerite Cocktail #3 - gin, French vermouth, orange bitters and anisette.

Narragansett - rye whiskey, Italian vermouth and anisette.

Pick-Up - 1/3 jigger each of Ojen, dubonnet and rum with one egg white and a dash of grenadine will pick up your spirits.

Slippery Nipple - Sambuca (Italian anise-flavoured liqueur) and Irish cream liqueur.

Snowball - creme de violette, anisette, white creme de menthe, sweet cream and dry gin.

Suisse Cocktail - pastis, anisette and egg white.

Turf Cocktail - gin, dry vermouth, anisette and bitters.

Yellow Daisy - dry gin, French vermouth, Grand Marnier and anisette.

Yellow Parrot - apricot brandy, yellow chartreuse and anisette.

Zazarac - rum, anisette, gomme syrup, whisky and angostura bitters.

Zenith Cocktail #2 - anisette, Angostura bitters, dry gin and whiskey.

References

* - Aguardiente de Ojén. (2021, January 27).

† - New Orleans Nostalgia, "Banana Republics and Ojen Cocktails Update.", Ned Hémard, 2011.

‡ - "Ojén, the rebirth of an anise." WHISKYMag.fr 20 September, 2018.

1 - "50 Cases OJEN of Majorca for sale." The Times-Picayune from New Orleans, Louisiana. 27 May, 1883.

2 - Landry, Stuart O. History of the Boston Club (New Orleans: Pelican Publishing Company, 1938), 229. Print.

3 - The Mixologist - How To Mix The Mixings (New Orleans: L.E. Jung & Wulff Co. Inc., 1933). Print. via Picken, Conor and Dischinger, Matthew Southern Comforts: Drinking and the U.S. South (Baton Rouge: Louisiana State University Press, 2020). Print.

4 - La Fille. "Classic New Orleans: A Brief History of Ojen." La Fille De La Ville 1 April, 2009.

5 - Price, Todd A. "Last bottle of locally popular Ojen liqueur sold." The Times-Picayune from New Orleans, Louisiana 16 July, 2009.

6 - Pérez, Mónica. "Belgian business revives the production of a traditional spirit from Ojén." SURinEnlish.com 14 February, 2014.

7 - Forbes, Seánan. "Ojen Makes Its Long-Awaited Comeback." Tales of the Cocktail 09 February, 2016.

8 - J. A. Grohusko, Jack's Manual on The Vintage and Production, Care, and Handling of Wines, Liquors, etc. A Handbook of Information for Home, Club or Hotel, 3rd Edition (New York: McClunn & Co., 1910), 69. Print.

9 - Jacques Straub, Straub's Manual of Mixed Drinks (Chicago: The Hotel Monthly, John Willy, 1914), 33. Print.

10 - Hugo R. Ensslin, Recipes For Mixed Drinks (New York: Fox Printing House, 1917), 62. Print.

11 - El Arte De Hacer Un Cocktail Y Algo Más (Havana: Imprenta Fernandez Solana Y Ca. - Obsequio De La Cia Cervecera Internacional S. A., 1927), 173. Print.

12 - Herbert Jenkins LTD, A Life-time Collection of 688 Recipes for Drinks (London: Purnell and Sons, 1934), 37. Print.

13 - John Held Jr., Peychaud's New Orleans Cocktails (New Orleans: A. M. & J. Solari, LTD., 1935), 27. Print.

14 - Patrick Gavin Duffy, The Official Mixer's Manual. The Standard Guide for Professional and Amateur Bartenders Throughout the World (New York: Blue Ribbon Books, 1940), 201. Print.

15 - John Held Jr., Peychaud's New Orleans Cocktails (New Orleans: A. M. & J. Solari, LTD., 1935), 32. Print. Pink Shimmy is a copyrighted and trademarked name for The Ojen Cocktail (American / New Orleans Style) owned by Solari's New Orleans. It was sold pre-mixed and bottled using either Fernandez White Label Spanish Ojen or Solari's Ojen and Peychaud's bitters.

16 - Geo. R. Washburne and Stanley Bronner, Beverages De Luxe (Louisville: The Wine and Spirit Bulletin, 1914), 93. Print.

17 - J. A. Grohusko, Jack's Manual on The Vintage and Production, Care, and Handling of Wines, Liquors, etc. A Handbook of Information for Home, Club or Hotel (New York: McClunn & Co., 1916), 61. Print.

18 - Jere Sullivan, The Drinks of Yesteryear - A Mixology (New Haven: J. Sullivan, 1930), 24. Print.

19 - Albert Stevens Crockett, Old Waldorf Bar Days (New York: Aventine Press, 1931), 152. Print.

20 - Stanley Clisby Arthur, Famous New Orleans Drinks and How To Mix ’Em (New Orleans: Harmanson Publisher, 1937), 40. Print.

21 - Owen, D. (Writer), Lealos, C. (Director). (2015, February 9). Dead in New Orleans (Season 1, Episode 15) M. Bukhonina, E. Comerford-Rubin (Executive Producers) Booze Traveler. Travel Channel. Jack Maxwell hunts for the "almost extinct" liqueur Ojén which is the official booze of Mardi Gras and is seen as bad luck not to drink it. Fortunately he scores at Brennan's Restaurant where he is served from a secret stash of Fernandez White Label Ojen that is kept under lock and key. His first reaction is that it tastes like liquid Good & Plenty, the sweet black licorice barrels coated in bright pink and white hard candy shells.

22 - Jacques Straub, Straub's Manual of Mixed Drinks (Chicago: R. Francis Welsh, 1913), 35. Print.

23 - Thomas Bullock, The Ideal Bartender (St. Louis: Buxton & Skinner, 1917), 44. Print.

24 - El Arte De Hacer Un Cocktail Y Algo Más (Havana: Imprenta Fernandez Solana Y Ca. - Obsequio De La Cia Cervecera Internacional S. A., 1927), 51. Print.

25 - Gerardo Corrales, Club de Cantineros de la Rupublica de Cuba - Manual Oficial (Havana: José Cuervo, 1930), 54. Print.

26 - Pedro Chicote, La Ley Mojada (Madrid: Sucesores de Rivadeneyra, S. A., 1930), 203. Print.

27 - Segundo Menénez & Manuel Rodriguez, Bar La Florida Cocktails (Havana: Obispo y Monserrate, 1930), 64. Print.

28 - Bartender's of the Hotel Lincoln, Hotel "Lincoln" Cock-tail Book (Havana: Excelsior, 1937), 52. Print.

29 - Salvador Trullos Mateu Recetario Internacional de Cocktails (Havana: O'Reilly, 1937), 112. Print.

30 - Constantino "Constante" Ribalaigua, Floridita Cock-tails (Havana: El Floridita, 1939), 52. Print.

31 - Oscar Haimo of the Hotel Pierre, Cocktail Digest (Brooklyn, New York: Comet Press, 1943), 55. Print.

32 - Lucius Morris Beebe, The Stork Club Bar Book (New York: Rinehart, 1946), 89. Print.

33 - Ernest Hemingway, To Have and Have Not (New York: Charles Scribner's Sons, 1937), 191. Print.

34 - Philip Greene, To Have and Have Another: A Hemingway Cocktail Companion (New York: TarcherPerigee , 2012), 180. Print.

#ojen #cocktails #drinks #mardi gras #new orleans

0 notes

ulisesbarreiro · 4 years ago

Text

El compositor Carlos Gomes y su vida musical

Vemos a Carlos Gomes

Muchos conocen a los músicos de mayor renombre del Brasil, que se dieron desde 1960 en adelante. Pero pocos conocen los que estuvieron mucho tiempo antes, y no manejo la variable de "atrás", sino que podríamos hablar de otros planos en tiempo y espacio. Pero ese sería otro debate. Me centraré en presentarles a Carlos Gomes.

En el año 1896, fallece el compositor Carlos Gomes mientras que sus obras figuran hasta en la actualidad en muchos repertorios de teatros líricos del mundo. Gomes nació en el pueblo de Sao Carlos, actualmente es la ciudad de Campiñas, una ciudad del Estado de San Pablo en Brasil. Nació el 11 de julio de 1836. Su padre era compositor y director de la banda de música de Campiñas. Su padre se casó 4 veces, y tuvo 26 hijos, Carlos fue fruto del tercer matrimonio de su padre.

Su vida fue difícil en ese modesto prolífico hogar, de modo que ante la imposibilidad de costear estudios universitarios, Carlos fue destinado al oficio de sastre. Por suerte, el entusiasmo del padre por la música le indujo a obligar a los hijos a ingresar en la banda de música suya, campo propicio para el desarrollo de la ingénita sensibilidad musical del niño, que a los diez años se hizo cargo del triángulo y luego aprendió a tocar varios instrumentos de viento. A los 15 años ya escribía "modinhas", romanzas sentimentales brasileñas, valses y polcas; y, tres años después compuso una Misa, producto de los rudimentos de armonía que le enseñó su padre en contrapunto y fuga.

Después de una visita a San Pablo, donde fué muy aplaudido como pianista y compositor, Carlos huyó del hogar paterno, haciendo a caballo el trayecto entre Campiñas y Santos, donde tomó un barco a Vapor hacia la ciudad de Río de Janeiro hacia fines de 1859 e ingresó inmediatamente, en el Conservatorio de Música, el cual era dirigido por Francisco Manuel da Silva, un gran propulsor y organizador de la cultura musical brasileña. Da Silva es el autor del himno Nacional Basileño, de la ópera "O prestigio da Ley", ópera estrenada en la ciudad de Río de Janeiro en 1852, y de varias obras sacras, fue además director de orquesta, fue fundador del conservatorio de música y de muchas otras diversas sociedades musicales brasileñas. Sus treinta y cinco años de intensa acción musical figuran en la historia de la música de su país con el título de estudio conocido como "Francisco Manuel".

Fotografía de Carlos Gomes

Antes de hablar del ambiente musical de Rio de Janeiro en ese período, recordaré la sintéticamente la actividad musical del Brasil, en lo que a teatro cantado se refiere claro esta. Los jesuitas, como es sabido, de la música hicieron un medio de catequización de pobladores originarios y de esclavos africanos, norma impuesta por el primer misionero, el padre José de Anchieta. La gente "negra" los esclavos, que en América se transfiguró musicalmente al desarrollar y diversificar su instinto rítmico, injertar a esos ritmos melodías originarias y blancas, y crear en sus orquestas típicas un sistema armónico original, ocupó inmediatamente un sitio destacado en la vida musical del Brasil. Como aconteció en la ciudad de Buenos Aires a mediados del siglo XIX (época en que los músicos de origen africano actuaron en la primera fila como organistas, instrumentistas y maestros) en Brasil integraron gran parte de los conjuntos de las numerosas capillas de templos y de los grandes centros industriales norteños del país. Así como de casas de ópera, como se llamaban los teatros líricos; eran todas ellas instituciones que sin la participación de la gente de origen africano y de los mulatos, no se habrían multiplicado en la forma registrada con la que creció el paradigma musical, en este caso brasileño.

A mediados del siglo XVIII ocho ciudades brasileñas contaban con casas de ópera, estas eran; Rio de Janeiro, la ciudad de San Salvador (Bahía), la ciudad de San Pablo, Recife, Belém, Porto Alegre, San Salvador dos Campos dos Goiatacás y Cuyabá. En esta última ciudad, la cual era la capital del Estado de Mato Grosso, se registró un caso general, donde se se estrenó en el año 1790 la ópera "Ezio em Roma", ópera del napolitano Nicolás Antonio Pórpora. Por otra parte con la radicación en la ciudad de Rio de Janeiro en 1808 del rey don Juan VI, que huyó con motivo de la invasión napoleónica a Portugal (huyó acompañado de la corte y la capilla real, integrada por cincuenta cantantes y coristas, además de 100 profesores de orquesta) la vida musical carioca alcanzó un extraordinario desarrollo.

en este período se fundó con artistas franceses la academia de Bellas Artes, se reorganizó el antiguo conservatorio de "Santa Cruz", y se inauguró en 1813 el lujoso teatro Sao Joao, con la ópera "o juramento dos Nunes", del compositor brasileño Bernardo Da Souza Queiroz.

Después de la emancipación del Brasil, y no obstante ser compositor del emperador Don Pedro I, el autor del "Himno a la Independencia", de una ópera, una sinfonía, un "Té Deum" y otras obras, la vida musical no se mantuvo en el mismo nivel, debido a circunstancias políticas y económicas adversas según los especialistas del tema. Como ya lo estudió en su momento Gastón O. Talamon.

Con la aparición de de Francisco Manuel Da Silva, se reconstruyó nuevamente la vida musical de Brasil. Y es en ese momento del período "Francisco Manuel" cuando comienza a actuar Carlos Gomes, cuyos brillantes estudios en el conservatorio de Música le valieron las felicitaciones de ese gran protector de artistas que fue don Pedro II.

En las flamantes temporadas del teatro Sao Joao, se estrenaron, de autores brasileños; "La noche de San Juan" de Elías Alves Lobo; "La corte de Mónaco" de Domingo José Ferreira; "El vagabundo" de Enrique de Mesquita; y "La noche en el castillo" y "Juana de Flanders" de Carlos Gomes, estas fueron sus primeras obras de ópera.

La vida de la imperial academia de música y Ópera Nacional fue efímera porque se adelantó a su tiempo; pero noventa años más tarde ya estaba a toda orquesta. Las extraordinarias dotes musicales reveladas en las dos óperas antes mencionadas de Gomes, entusiasmaron al emperador, que era un admirador y amigo de Ricardo Wágner y deseaba otorgarle a Gomes una beca para perfeccionarse en Alemania, pero el joven músico prefirió ir a Milán, ciudad a la que finalmente llegó en los primeros meses del año 1864, donde estudió dos años con Lauro Rossi y obtuvo el título de maestro compositor. En seguida trabajó intensamente ya en la música de dos revistas: "Se sa minga" (1867) y "Nella Luna" (1886), las cuales lograron un éxito general por todos los teatros de Italia.

La lectura de "O Guarani" de José de Alencar, dicen que despertaron en el "Saudades" de la patria lejana. Entusiasmado, en cuanto consiguió un libreto extraído de la novela amerindia de su compatriota, escribió febrilmente su primera gran partitura, que se estrenó con éxito en el Scala de Milán, el 19 de marzo de 1870. Verdi, presente en esa representación, dijo noblemente: "Este joven se inicia con lo que yo termino". Nada más halagador que un reconocimiento de Verdi.

"O Guarani" denota influjo verdiano, pero la se afirma casi constantemente. La elocuencia dramática de las ideas melódicas, la caracterización de los personajes y el vigor de la instrumentación revelaron un gran compositor de teatro.

El estreno en Río de Janeiro de aquella ópera, el 12 de diciembre de 1870, fué un éxito clamoroso. Don Pedro otorgó al músico el título de comendador de la orden de la Rosa. El pueblo, después del espectáculo, le acompañó hasta su domicilio, entre delirantes ovaciones como las que se dan en la actualidad en los espectáculos de fútbol. No obstante según los especialistas, el ambiente amerindio, la partitura carece de sabor brasileño; lógico, ello, porque el folklorismo era poco menos que desconocido en Italia y hasta en la misma Europa occidental. Como lo señala Renato Almeida, si la música no es brasileña, agregando luego: "La protofonía de O Guaraní, es una partitura nacional a la que casi puede incorporarse, con el himno Nacional, a los símbolos de la Patria". De regreso a Italia Carlos Gomes estreno nuevas obras de ópera: "Fosca" (en el teatro Scala de Milán, el 16 de febrero de 1873), "Salvator Rosa" (en el teatro Carlo Felice de Génova, el 21 de marzo de 1874) y "María Tudor" (en el teatro Scala de Milán, el 27 de marzo de 1878). Estas obras, en las cuales la personalidad es más vigorosa, no lograron, excepto la segunda, un éxito comparado con el que alcanzó "O Guarani". Se las tildó de wagnerianas porque se apartaban de Verdi, cuando sus innovaciones particularmente en el tratamiento de la orquesta, eran frutos de la originalidad del autor.

En 1880 Gomes regresa a Rio de Janeiro. El gobierno y el pueblo le tributan entusiasmados su admiración hacia el. En su honor Don Pedro II, liberta muchos esclavos; y el hecho influye, sin duda, en la elección de "O Escravo" del Visconte de Taunay para el libro de otra ópera.

La obra "O Escravo" se estrena el 27 de septiembre de 1889, en el teatro Lírico de Rio de Janeiro, cincuenta días antes de la caída del imperio. Y claro esta, del nacimiento de la República. Carlos Gomes dedica la obra "O Escravo" a doña Isabel , la Redentora, hija de don Pedro II, que como regente, en ausencia del padre había promulgado la ley de abolición de la esclavitud en el imperio del Brasil.

Dicha obra de madurez inicia el carácter brasileño en el autor. Mario de Andrade señala "ciertas originalidades rítmicas, ciertas rudeza de melodías y ciertas concordancias con nuestra melodía popular". La Alborada, sinfonía de la naturaleza, es tropical y pujante.Debemos señalar que las dos mejores óperas de Gomes, que inician y clausuran prácticamente su carrera, evocan ambientes de América y llevan por primera vez el teatro lírico continental al originario y al inmigrante esclavo de África. Personas que por ese entonces eran despreciadas por casi toda la élite de la clase dominante. Pero estos sujetos fueron dignificados por este músico y por sus obras, con su arte, hallando en esa labor nacional sus más admirables aciertos.

La caída del imperio de Brasil, en el momento en que don Pedro II le ofreciera la dirección del Conservatorio de Música de Río de Janeiro, fué un golpe duro para el compositor. La República, al transformar el establecimiento en Instituto Nacional de Música, lo confió a Leopoldo Miguez, cuyas tendencias wagnerianas eran antagónicas con la escuela italiana de Gomes. Desmoralizado, el compositor regresa a Italia. Cuando estaba en Milán recibió de parte del presidente de Brasil, Mariscal Deodoro da Fonseca, el encargo de escribir el Himno de la República, ofrecimiento que al principio rehúsa porque considera que al aceptarlo significa una ingratitud para con su noble protector y mecenas Don Pedro II.

El 21 de febrero de 1891, el teatro Scala de Milán estrena su última ópera, "Cóndor", con éxito lisonjero. Su situación económica es precaria y resuelve regresar a su patria. La prometida pensión que le habían prometido, es rechazada por el Congreso Nacional. Mientras tanto escribe escribe el oratorio "Colombo", en conmemoración de los festejos del cuarto centenario de la llegada de Cristóbal Colón a América. Aunque su estreno en el Teatro de Rio de Janeiro no tiene éxito, a pesar de la gran belleza de su partitura, según los entendidos de la época.

Con su propio heraldo, parte hacia los E.E.U.U., con la intención de que dos de sus óperas se interpreten en Chicago, donde se realiza una exposición universal, pero únicamente consigue dirigir un concierto con fragmentos de sus dramas líricos, en el aniversario de la independencia del Brasil. Después de otro breve viaje a Italia, volvió a Brasil, donde el Gobernador del Estado de Pará lo nombra Director del Conservatorio. Más agotado por los progresos de un mal implacable, fallece en Belén el 16 de septiembre de 1896. La noticia acongojó al país y al mundo musical. Sus restos mortales son llevados a la Ciudad de Río de Janeiro, donde se realizaron solemnes funerales como narran las crónicas de la época.

El centenario del nacimiento de este compositor, fue en 1936, y se celebró como una fiesta nacional. El gobierno nacional mandó a acuñar monedas de trescientos reis con la efigie del autor del "O Guarani" y "O Escravo". Sin duda que fue y es uno de los grandes compositores de la música brasileña. Ulises Barreiro

1 note · View note

news24hrou · 5 years ago

Photo

Pilotul Juan Manuel Correa, operat timp de 17 ore. Medicii sunt optimişti că i-au salvat piciorul drept Pilotul american de origine ecuadoriană Juan Manuel Correa, implicat în accidentul de Formula 2 în care şi-a pierdut viaţa francezul Anthoine Hubert, la Spa-Francorchamps, a fost supus unei operaţii la piciorul drept care a durat 17 ore, informează lalibre.be. https://ift.tt/336w8H1

0 notes

filmmovementplus · 5 years ago

Text

FILM MOVEMENT PLUS INVITES YOU TO GO BACK TO SCHOOL WITH THE STREAMING PREMIERE OF THE SHUNJI IWAI COMING-OF-AGE CLASSIC ALL ABOUT LILY CHOU-CHOU

As summer turns to fall and kids of all ages trade their carefree lives for the rigors of the classroom, Film Movement Plus offers up a collection of A+ films that will take you “back to school,” leading off with the streaming premiere of Shunji Iwai’s lyrical coming-of-age tale ALL ABOUT LILY CHOU-CHOU.

“One of the most haunting, viciously honest coming-of-age films.” –LA Weekly

“Much of All About Lily Chou-Chou is mesmerizing: some of its plaintiveness could make you weep.” –The New York Times

“Gorgeously shot… [a] hypnotically plugged-in drama.” –Variety

For young people around the world, music is often the only salvation when pain and suffering becomes too much to bear. Yuichi is in 8th grade and worships Lily Chou-Chou, a Björk-like singer whose lush and transcendent music provides the perfect escape from his brutal surroundings. Yuichi also finds solace as the moderator of an online chat room dedicated to his pop idol, but as his real life nightmare of teenage exploitation, crime and bullying grows more untenable, will Lily be enough to save him from isolation and despair?

ALSO STREAMING ON FILM MOVEMENT PLUS:

BLUSH, a film by Michal Vinik OFFICIAL SELECTION - OUTFEST

Naama can't find an escape from her troubles at home, but everything changes when she meets a free-spirited new girl at school and the two begin a relationship that changes her life forever.

BREATHE, a film by Mélanie Laurent OFFICIAL SELECTION - CANNES CRITICS’ WEEK

A taut, nuanced story about the depths of female friendships and the dark side of teenage infatuations, based on the best-selling young adult novel by Anne-Sophie Brasme.

THE FOREST FOR THE TREES, a film by Maren Ade WINNER - SPECIAL JURY PRIZE - SUNDANCE

Melanie, a young teacher filled with idealistic zeal, starts her first job at a city high school and soon discovers that the harsh realities of her new life are too much for her to bear.

THE TEACHER, a film by Jan Hřebejk WINNER - BEST ACTRESS - KARLOVY VARY FILM FESTIVAL

A middle school teacher uses her students to manipulate their parents for personal gain in this dark comedy set in 1983 Czechoslovakia and inspired by true events.

PLUS KICK OFF THE START OF NATIONAL HISPANIC HERITAGE MONTH (SEPTEMBER 15 - OCTOBER 15) WITH THIS SELECTION OF ACCLAIMED TITLES NOW STREAMING ON FILM MOVEMENT PLUS:

ALAMAR (directed by Pedro González-Rubio) LA BOYITA (directed by Julia Solomonoff) EVA DOESN'T SLEEP (directed by Pablo Aguero) THE IGNORANCE OF BLOOD (directed by Manuel Gómez Pereira) LAKE TAHOE (directed by Fernando Eimbcke) MADEINUSA (directed by Claudia Llosa) MIDAQ ALLEY (directed by Jorge Fons) TANTA AGUA (directed by Leticia Jorge, Ana Guevara) TIME TO DIE (directed by Arturo Ripstein) THE VIOLIN (directed by Francisco Vargas) VIVA CUBA (directed by Juan Carlos Cremata Malberti) THE WIND JOURNEYS (directed by Ciro Guerra)

#film movement #film movement plus #svod #streaming #now streaming #premiere #spotlight #all about lily chou-chou #shunji iwai #blush #breathe #melanie laurent #the forest for the trees #the teacher #back to school #national hispanic heritage #national hispanic heritage month #hispanic heritage month

0 notes

buenacienciablogmedicina · 6 years ago

Text

Medicina Forence.

La medicina forense, también llamada medicina legal, es la rama de la medicina que aplica todos los conocimientos médicos y biológicos necesarios para la resolución de los problemas que plantea el Derecho. El médico forense auxilia a jueces y tribunales en la administración de justicia, determinando el origen de las lesiones sufridas por un herido o la causa de la muerte mediante el examen de un cadáver.

La medicina legal apareció por primera vez en Alemania en el siglo XVI la Ley Carolina promulgada por Carlos V en 1532 obligó a expertos en medicina (esencialmente barberos-cirujanos de la época) a intervenir sobre los cadáveres en caso de homicidio voluntario o involuntario, imponiéndose una pena proporcional a las lesiones. En 1536, Francisco I de Francia redacta para el duque de Bretaña una ordenanza organizando el inicio de la medicina legal.

Jean Jacques Bruhier realizó en 1742 los primeros trabajos sobre inhumaciones prematuras, recogiendo 189 supuestos casos de enterramientos en vida. Como consecuencia, hacia 1793 se crearon en Alemania e Italia las cámaras mortuorias de espera.

Esta rama de la medicina es importante porque ayuda a determinar el origen o causa de alguna lesión o muerte, ya se de manera voluntaria o involuntaria. También constituye, sin duda alguna, una rama de los servicios públicos que aporta una actividad inestimable al correcto funcionamiento de la Administración de Justicia.

Además de esto, colabora a la hora de elaborar leyes y reglamentos (a nivel nacional y también a nivel internacional).

Entre sus personajes más destacados se encuentran:

· Jean Jacques Bruhier realizó en 1742 los primeros trabajos sobre inhumaciones prematuras.

· Georg Christoph Lichtenberg describió las figuras de Lichtenberg, un importante hallazgo que posteriormente tendría relevancia como signo de fulguración en el estudio de cadáveres.

· Xavier Bichat que hizo interesantes descripciones sobre el proceso de la muerte y elaboró el que luego sería conocido como trípode de Bichat de las funciones vitales: la circulación, la respiración y la función nerviosa.

· Pierre Hubert Nysten enunció las leyes de la rigidez cadavérica que llevan su nombre.

· Jean-Jacques Belloces considerado el creador de la medicina legal en Francia.

Bibliografía

· Gisbert Calabuig, Juan Antonio (1991). Medicina Legal y Toxicología (4ª edición). Salvat. ISBN 84-345-2058-3/ https://es.m.wikipedia.org/wiki/Medicina_forense.

· Manuel Sancho Lobo, José Antonio García Andrade, Manuel Sancho Ruiz, Fabriciano Jiménez Cubero, María Concepción Caballero Ochoa (1981). Medicina Forense. Academia N Politécnica, Madrid. Depósito Legal M-41675-1981/https://es.m.wikipedia.org/wiki/Medicina_forense.

· García, J. (2016) importancia de la medicina legal/

http://www.scenacriminis.com/articulos-en-espanol/importancia-de-la-medicina-legal/.

Chanel Sánchez Almonte 1089999

0 notes

hombre-arg · 6 years ago

Photo

Mercedes Benz 170D Automotores Juan Manuel Fangio 1954. Vehículos inolvidables de reparto y servicio. Salvat. 1/43. #mercedesbenz #vehiculosinolvidablesderepartoyservicio #Salvat https://www.instagram.com/p/BuR5mWGH5dc/?utm_source=ig_tumblr_share&igshid=xs314t5bjcib

#mercedesbenz #vehiculosinolvidablesderepartoyservicio #salvat

0 notes

kraaks-avant-guardian · 8 years ago

Text

Manuel Göttsching

An essay on E2-E4, an opening move in chess or a highly influencial record in contemporary music.

Manuel Göttsching is pretty much a living legend. The man behind krautrock pioneers Ashra Temple (with Klaus Schulze) and Ashra, is basically one of the founders of Kosmische Musik, post-Eno ambient and electronic music. With his 1984 solo masterpiece ‘E2 - E4’ he created a 58 minute trip through icy synths, metallic percussion en spacey guitar solo’s. Göttsching geniusly combined the minimalism of composers like Terry Riley and Steve Reich with an irresistible groove. Thus the German musician - along with colleagues Kraftwerk - unknowingly inspired an avalanche of imitators on the other side of the Atlantic who would pioneer genres like house and techno.

— Niels Latomme

Let me tell you something about the millennium old game of chess. Some people find chess incredibly dull, others are addicted to it. The game fights a war between two minds, equipped with the same weapons, and the same limited amount of moves. It’s a war ruled by restrictions, and it is incredible poetic; or, depending on which side you’re on, it’s a game for nerds, boring, slow and abstract. No matter which angle you look into it, although it’s an extremely dry game, it earned its place in the history of mankind. It even provoked a complete mythology, as it was a huge shock for mankind when a chess champion got beaten a computer. Not to speak about books like The Chess Novel, by Stephan Zweig, or the records by Wu-Tang Clan.

Some people feel the same about the record E2-E4 by Manuel Göttsching, recorded in 1981, but released in 1984 — in some ways a pivotal year. I was talking to Spencer Clark and he finds the record incredibly dull, and values Ashra’s output way more than this piece. But other people think it’s one of the best records ever made. This record, not unlike the game of chess, earned its place in musical history, being considered as the first house or techno record. (A side remark: Göttsching admitted that he not really likes dance music.)

The record is loosely inspired by chess. But, it has more resemblances to chess than the cover and the title. Let’s start with the title: “E2-E4” is an opening move in chess, it’s called the King’s Pawn Game. Wikipedia says:

White opens with the most popular of the twenty possible opening moves. Although effective in winning for White (54.25%), it is not quite as successful as the four next most common openings for White: 1.d4 (55.95%), 1.Nf3 (55.8%), 1.c4 (56.3%), and 1.g3 (55.8%).[2]

Since nearly all openings beginning 1.e4 have names of their own, the term “King’s Pawn Game”, unlike Queen’s Pawn Game, is rarely used to describe the opening of the game. Advancing the king’s pawn two squares is highly useful because it occupies a center square, attacks the center square d5, and allows the development of White’s king’s bishop and queen.

Chess legend Bobby Fischer said that the King’s Pawn Game is “Best by test”, and proclaimed that “With 1.e4! I win”.[3] King’s Pawn Games are further classified by whether Black responds with 1…e5 or not. Openings beginning with 1.e4 e5 are called Double King’s Pawn Games (or Openings), Symmetrical King’s Pawn Games (or Openings), or Open Games – these terms are equivalent. Openings where Black responds to 1.e4 with a move other than 1…e5 are called Asymmetrical King’s Pawn Games or Semi-Open Games.

The title of the record might be misleading. The code is just one of the 18 possible opening moves, and is not as defining as such. Depending on the players, each game goes its own path. If you think deeper about cause-consequences, each opening has its consequences for the rest of the game, and I think you can apply this to the E2-E4 piece too.

Chess is a rigid game, a closed circuit with very defined rules. Each piece has its own movement, weaknesses and strengths. The board has only 64 places and the goal is very simple: you have to conquer the other party’s king. Paradoxally, its very rigid set of rules and limitation creates a field in which endless possibilities appear. It’s a field in that enhances imagination, psychology and poetry. You start a game, and by intuition you move pieces. You can learn about the best opening moves, and how to respond to the other’s moves, and eventually threats and attacks, but you can never rationalize the game completely. A game develops by having unconscious preference for certain pieces and their moves. Some people even claim that you can be read through the moves you make on the board.

E2-E4 is like the game of chess, meticulously composed. It’s a truly teutonic musical composition, more dehumanized than kraftwerk ever will be. If you listen closely, the piece is made out of 8 layered sources. The sources — synths, delay’s, drumcomputers — are synced together, by a very influential invention called MIDI. It allowed the composer to prepare a set of limitations and defined rules, and let every source slowly fade in and out. During each part Göttsching tweaks and triggers the sounds, so that a slowly shifting structure appears. It’s not unlike minimalist avant-garde music, in which the base structure is founded on a few basic notes or structures that are repeated with a very limited amount of variations. The context creates this extraordinary effect in which the slightest change of the parameters —could be the note, the cadense, the rhythm, or the filter and the frequencies — has a maximum of consequences in the sound; the minimum of changes even defines the nature of the piece per se. The revolutionary aspect is that he applied minimalist idea’s to new technology, and showed the way for Derrick May, Juan Atkins, Jeff Mills and likes how to let people dance themselves towards transcendental salvation.

Although the record suggests a defined start and end, and even though it has 8 defined parts (again 8; 8 x 8 = 64, the same amount of squares on the board of chess) with names that suggest a specific mood, there is more to it. On a deeper level, you can consider E2-E4 as just one possible output. Göttsching could have started with other filters or other tunings and drumrhythms. As if every game of chess is one possible outcome of the very rigid system beyond it.

The emotional and the psychological plays a very big role in equally chess and E2-E4. As I pointed about above: the game of chess thrives upon rationalized rules and limitations. The concrete output is influenced by the players consciousness and even more, as we are not the rational creatures we want to be, but driven by forces that are the result of thousands of years evolution, by our subconsciousness. Every minor change creates a maximum of consequences. This defines the way we perceive the composition. He himself meant it as a abstract, minimalist piece. But history taught us that the record influenced a stream of dancers and techno musicians. You can either listen to it, or dance to it. But the complexity of sounds, created by a minimum of sources, let’s you drift away in it’s sheer beauty and emotional warmth. The record does not contain emotions, but I’m sure it conveys a lot of emotion.

One last thing I’d like to point out as a striking parallel in between the game of chess and the record. On minute 32.00, or just 2 minutes far in the part that is called Promise, somewhere in the beginning of the B-side if you’re used to listen it on vinyl, suddenly a guitar kicks in. Göttsching is a master guitarplayer. His work with Ashra Temple, and even more the album Inventions for electric guitar exemplify this. Moment 32.00 is a flipping point in the record. It suddenly changes the complete mood of the album. Depending on your mood, it could make the timeless sounding synthesizer structures sound like a cheesy, kitch, outdated lounge track. Is it the guitar shredder Göttsching coming in, as a persona, pointing out that electronic music is minor to real instruments? Or couldn’t he just resist to show off his guitar skills?

It could be also another equivalent to a game of chess. Every game of chess has a flipping point. The point of no return to which everything before was building upto. The point that makes clear who is losing and who is winning. Mostly the gameevolves pretty quickly after that point, one of the parties will lose his or her important pieces and the game falls apart till it reaches the hunting phase. Even then the game can be equally dull or exciting, depending on how you look to it, or on your personal subconsciousness. If the Guitar Part is consciously conceived as the point of no return in the Göttsching record, I think he truly understands the game of chess, and its merits. He could have kept on building up towards the so-called ‘drop’, the point in which the beats falls away on clubfloors, to pimp up the dancers. But he didn’t…he choose to use his master guitar skills to change to mood, as one of the possible outcomes of the rigid game. To point out the endless possibilities and to prove that a rigid structure can be the portal to deepened aesthetic beauty.

#nr8.2 #manuelgottsching #nielslatomme

1 note · View note

micaramel · 5 years ago

Link

Artists: ASMA, Rebecca Adorno, Nobutaka Aozaki, Básica TV, Antoine Carbonne, Guanina Cotto, Dalton Gata, Jorge González, Alejandro Lafontant, Adriana Martinez, Natalia Martínez, Mariana Murcia, Las Nietas de Nonó, Kenny Rivero, Chemi Rosado-Seijo, Claudia Peña Salinas, Manuel Mendoza Sánchez, Curtis Talwst Santiago, Gabriella Torres-Ferrer, Jose Luis Vargas

Venue: Rachel Uffner hosting EMBAJADA, New York

Exhibition Title: Futuro Modular

Date: November 10 – February 23, 2020

Curated By: Christopher Rivera

Click here to view slideshow

Full gallery of images, press release and link available after the jump.

Images:

Video:

Básica TV, SPYDER, BTV1-V, 2017, 18:00

Images courtesy of the artists; EMBAJADA, San Juan and Rachel Uffner, New York

Press Release:

The portrayal of the future in western culture is in constant flux, an ongoing imaginary construction, assembled by memories or ideas of what that future could look like. The once technicolor optimism of the sixties and seventies which included visiting aliens, flying cars or a holiday to Mars gives way to a more cynical and imaginative vision of the future, rendered in muted tones of sepia or dark silver green. Ridley Scott’s 1982 dystopian science fiction film Blade Runner, set in what was imagined to be our present day, November 2019, featured flying cars, intelligent robots, a crumbling climate and an existential crisis. While this vision of the future still feels farfetched, we find ourselves inching closer to this imagined future. Video calls, 3D printing, and automatic cars are technologies current today that seemed impossible only fifteen years ago, meanwhile urgent climate changes threaten the earth’s survival. As Albert Einstein stated, “I never think of the future, it comes soon enough.”

Futuro Modular brings together a varied group of artists that help to create a fictional DIY experience and installation that ruminates on the idea of future. The exhibition uses the second floor of the gallery as an imaginary spaceship, a vehicle idea that inherently bears the marks of a progressive society. A spaceship’s contents, in this case the artworks, as well as the motives of its occupants, the artists, imagine an ambiguous and open-ended future, suspending absolute terms of salvation and destruction.

Text by Christopher Rivera

Link: ‘Futuro Modular’ at Rachel Uffner hosting EMBAJADA

Contemporary Art Daily is produced by Contemporary Art Group, a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider supporting us by making a donation today.

from Contemporary Art Daily http://bit.ly/37PWtfg

#micaramel

0 notes

latinheritagefoundation-blog · 5 years ago

Text

The Murder of President John F Kennedy by CIA Operation 40. By Gualdo Hidalgo, Latin Heritage Foundation's publisher

Operation 40 was presided by Richard Nixon

CIA Operation 40 killed JFK and more than one hundred witnesses

Operation 40 allegedly charged with assasinating Fidel Castro killed a bunch of other people instead,

Operation 40 was the code name for a CIA counterintelligence group composed mostly by Cuban exiles.

It was approved by President Dwight D. Eisenhower in March 1960, after the January 1959 Cuban Revolution. The group was presided over by Richard Nixon and included Admiral Arleigh Burke, Livingston Merchant of the State Department, National Security Adviser Gordon Gray, and Allen Dulles of the CIA.

CIA assembled virtually the same team that was involved in the removal of Arbenz: Tracey Barnes, Richard Bissell, David Morales, David Atlee Phillips, E. Howard Hunt, Rip Robertson and Henry Hecksher. Added to this list were several agents who had been involved in undercover operations in Germany: Ted Shackley, Tom Clines and William Harvey.

Tracy Barnes functioned as head of the Cuban Task Force. He called a meeting on January 18, 1960, in his office in Quarters Eyes, near the Lincoln Memorial in Washington, which the navy had lent while new buildings were being constructed in Langley. Those who gathered there included Howard Hunt, future head of the Watergate team and a writer of crime novels; Frank Bender, a friend of Trujillo; Jack Esterline, who had come straight from Venezuela where he directed a CIA group; psychological warfare expert David A. Phillips, and others.

Vice-President Richard Nixon was the Cuban "case officer," and had assembled an important group of businessmen headed by George Bush Sr and Jack Crichton, both Texas oilmen, as fundraisers.

It seems that Operation 40, created to remove Fidel Castro, had been redirected to kill Kennedy, as part of a freelance operation. David Atlee Phillips in the unpublished manuscript entitled The AMLASH Legacy wrote: "I was one of those officers who handled Lee Harvey Oswald... We gave him the mission of killing Fidel Castro in Cuba... I don't know why he killed Kennedy. But I do know he used precisely the plan we had devised against Castro. Thus the CIA did not anticipate the president's assassination, but it was responsible for it. I share that guilt." And Frank Sturgis stated that "this assassination group (Operation 40) would upon orders, naturally, assassinate either members of the military or the political parties of the foreign country that you were going to infiltrate, and if necessary some of your own members who were suspected of being foreign agents."

This photograph was taken in a nightclub in Mexico City on 22nd January, 1963. It has been argued by Daniel Hopsicker that the men in the photograph are all members of Operation 40. Hopsicker suggests that the man closest to the camera on the left is Felix Rodriguez, next to him is Porter Goss and Barry Seal.Hopsicker adds that Frank Sturgis is attempting to hide his face with his coat. It has been claimed that in the picture are Albertao 'Loco' Blanco (3rd right) and Jorgo Robreno (4th right).

Operation 40 Members

Cubans who became members of Operation 40 included Antonio Veciana, Luis Posada, Orlando Bosch, Roland Masferrer, Eladio del Valle, Guillermo Novo, Rafael Villaverde, Carlos Bringuier, Eugenio Martinez, Antonio Cuesta, Hermino Diaz Garcia, Barry Seal, Felix Rodriguez, Ricardo Morales Navarrete, Juan Manuel Salvat, Isidro Borjas, Virgilio Paz, Jose Dionisio Suarez, Felipe Rivero, Gaspar Jimenez Escobedo, Nazario Sargent, Pedro Luis Diaz Lanz, Jose Basulto, Rafael Chichi Quintero, Alvin Ross, and Paulino Sierra.\

Alvin Ross; Antonio Cuesta; Antonio Veciana; Barry Seal Bernard Barker Carl Elmer Jenkins; Carlos Bringuier; David A. Phillips David Sanchez Morales E. Howard Hunt, Eladio del Valle Eugenio Martinez (‘Musculito’); Felipe Rivero; Felix Rodriguez Mendigutia; Frank Bender Frank Sturgis; Gaspar ‘Gasparito’ Jimenez Escobedo; George Bush Gerry Patrick Hemming; Guillermo Novo; Henry Hecksher. Hermino Diaz Garcia; Isidro Borjas; Jack Crichton Jack Esterline, Jose Basulto; Jose Dionisio Suarez; Jose Sanjenis Perdomo, Chief of Police Cuban Pres Carlos Prio Juan Manuel Salvat; Luis Posada Carriles; Nazario Sargent; Orlando Bosch; Paulino Sierra; Pedro Luis Diaz Lanz; Porter Goss; Rafael ‘Chi Chi’ Quinterol Ricardo Morales Navarrete Richard Bissell Rolando Masferrer; Ted Shackley, CIA station-chief in Miami Thomas G. Clines; Tracy Barnes Virgilio Paz Romero; William C. Bishop; William Harvey. William Robert “Tosh” Plumlee; William “Rip” Robertson;

Jack Alston Crichton

In 1960 Richard Nixon recruited George Bush, Sr and Jack Crichton to gather funds for Operation 40.

Rivhard M Nixon appointed Jack Alston Crichton in Operation 40 the group that Warren Hinckle and William Turner described in Deadly Secrets, as the “assassins-for-hire” organization. Jack Crichton was the commanding officer of the 488th Military Intelligence Detachment. He was Chairman of the Dallas Civil Defense Intelligence Committee. In early 1961, he was behind a program called 'Know Your Enemy' - a phase of defense in the Cold War. This focused on Communists and their perceived purpose to destroy the American way of life.

488th Military Intelligence Detachment

In 1956 Jack Alston Crichton started up his own spy unit, the 488th Military Intelligence Detachment in Dallas. Crichton served as the unit's commander under Lieutenant Colonel George Whitmeyer, who was in overall command of all Army Reserve units in East Texas. In an interview Crichton claimed that there were "about a hundred men in that unit and about forty or fifty of them were from the Dallas Police Department."

In November 1963 Jack Alston Crichton was involved in the arrangements of the visit that President John F. Kennedy made to Dallas. His close friend, Deputy Police Chief George L. Lumpkin, and a fellow member of the the

488th Military Intelligence Detachment

,drove the pilot car of Kennedy's motorcade. Also in the car was Lieutenant Colonel George Whitmeyer, commander of all Army Reserve units in East Texas. The pilot car stopped briefly in front of the Texas School Book Depository, where Lumpkin spoke to a policeman controlling traffic at the corner of Houston and Elm.

As Russ Baker points out in Family of Secrets (2008) Crichton served as the "intelligence unit's only commander... until he retired from the 488th in 1967".

Operation 40 and the Dallas Police Department participated in the assassination of President John F Kennedy (the police officers who participated in the assassination, as members of the 488th Military Intelligence Detachment, led by Jack Alston Crichton, a leading member of Operation 40.

The Dallas Police preparing for the visit of President Kennedy ...

https://www.youtube.com › watch

The Dallas Police preparing for the visit of President Kennedy (English Version) 5,819 views

As Russ Baker points out in Family of Secrets (2008) Crichton served as the "intelligence unit's only commander... until he retired from the 488th in 1967".

During the Second World War he served with the Office of Strategic Services (OSS) in Europe. In 1946 Everette DeGolyer recruited Crichton.

In the 1950s Jack Crichton became involved with several oil men who began negotiating with Fulgencio Batista, the military dictator of Cuba. A key figure in this was George de Mohrenschildt, who at that time worked for a company called Cuban-Venezuelan Oil Voting Trust Company (CVOVT) that had been established by William Buckley Sr. .

On 30th November, 1956, The New York Times reported that: "The Cuban Stanolind Oil Company, an affiliate of the Standard Oil Company (Indiana), has signed an agreement with the Cuban-Venezuelan Oil Voting Trust and Trans-Cuba Oil Company for the development of an an additional 3,000,000 acres in Cuba. This is in addition to the original agreement covering 12,000,000 acres." George de Mohrenschildt later told Albert E. Jenner that CVOVT had managed to obtain leases covering nearly half of Cuba in the 1950s.

On 1st January, 1959, Fulgencio Batista fled Cuba. The following day Fidel Castro and his revolutionary army marched into Havana. The New York Times reported on 22nd November 1959, that Castro's government had approved a law that would reduce the size of claims for oil exploration and halt large-scale explorations by private companies. These claims were now limited to 20,000 acres. This was a major problem for the Cuban-Venezuelan Oil Voting Trust Company that had signed an agreement with Fulgencio Batista for 15,000,000 acres.

Jack Crichton volunteered his services to the Dallas Police Department as a translator for Russian-born Marina Oswald shortly after the assassination. Jack Crichton translated for Marina during her initial questioning by the Dallas authorities in the crucial hours immediately after her husband Lee had been arrested. While Crichton's role as interpreter on that day is mentioned in at least two Warren Commission documents, the exact details of how he became involved in assisting the Dallas police are unclear.

MARY FERRELL FOUNDATION

Preserving the legacy Confessions

CIA legend E. Howard Hunt. In his 2007 book, discussions with his son, and a tape recording, Hunt outlined his "benchwarmer" role in a CIA plot to kill JFK.

Someone would have talked, so the saying goes. But people did talk about their involvement in the JFK assassination--some did so publicly, and some only to intimate associates. So, were at least some of them telling the truth?

Confession of Howard Hunt

- CIA master spy and Watergate participant E. Howard Hunt named names to his son Saint John, and created a tape to be released after his death.

John Martino's Confessions

- John Martino, who played a post-assassination role in the attempts to pin the murder on Castro, talked to his family and his lawyer about his peripheral involvement in the crime.

David Morales - We Took Care of That SOB

- JMWAVE Chief Operations Officer David Morales, aka "El Indio," told lifelong friend Ruben Carbajal and business partner Robert Walton that "we" had taken care of Kennedy.

Santos Trafficante - It Should Have Been Bobby

- "Mob lawyer" Frank Ragano wrote in his book that Santo Trafficante told him that he and Carlos Marcello "should have killed Bobby" instead of JFK.

James Files - Grassy Knoll Shooter?

- James Files claims to have fired the fatal head shot from behind the grassy knoll fence.

Chauncey Holt - One of the Tramps?

- Chauncey Holt says that he forged Oswald's "Hidell" ID card, among other activities, and is the oldest of the "three tramps" depicted in photos of Dallas on November 22, 1963. Holt names convicted murderer Charles Harrelson as one of his companions.

The list above is certainly not a complete list of confessions. Also, many other people have alleged involvement with Lee Oswald or some aspect of the JFK assassination story, but not with the murder plot itself.

RESOURCES:

Essays

The Last Confessions of E. Howard Hunt

, by Erik Hedegaard.

JFK Murder Plot "Deathbed Confession Aired on National Radio

, by Paul Joseph Watson.

Watergate Plotter May Have a Last Tale

, by Carol Williams.

A Conversation with Gaeton Fonzi

, by Steve Bochan and Gordon Winslow.

The Kennedy Contract: A Review

, by Mike Sylwester.

Excerpts from Ultimate Sacrifice: A New Take on the Murder of JFK

, by Thom Hartmann and Lamar Waldron.

Is James Files Telling the Truth?

, by Wim Dankbaar.

Meet Chauncey Holt

, by William Kelly.

The Kennedy Assassination's Links to Here and Now

, by Edgar Tatro.

Report from Dallas: The Ask Symposium, November 14-16, 1991

, by Martin Shackelford.

Tramp, Tramp, Tramp

, by Alan Houston.

The Killing of JFK by Operation 40

(References from a variety of sources)

The testimony of Chauncey Holt, a self-confessed CIA operative and mob associate, backs this up. In a videotaped interview made shortly before he died, Holt identified Posada Carriles as one of the Cuban exiles who was in Dealey Plaza at the time of the Kennedy assassination

In “Deadly Secrets,” authors Warren Hinkle and William Turner named Rafael 'Chi Chi' Quintero, Luis Posada Carriles, Felix Rodriguez and Frank Sturgis as members of Operation 40, under the overall control of E. Howard Hunt. Hunt and Sturgis later spent time in prison for the Watergate burglary and are believed to have been in Dallas the day Kennedy was assassinated.

Historian Arthur Schlesinger referred to it in a June 1961 memo to Richard Goodwin: "The ostensible purpose of Operation 40 was to administer liberated territories in Cuba. But the CIA agent in charge, a man known as Felix, trained the members of the group in methods of third degree interrogation, torture and general terrorism." That man in charge was Felix Rodriguez, who in 1967 led the CIA squad that captured and then murdered Che Guevara in Bolivia. He took Che's Rolex watch and proudly displayed it to reporters afterwards.

General Fabian Escalante, the former head of Cuban counter-intelligence, author of "The Secret War: CIA Covert Operations Against Cuba, 1959-62," and "The Plot": "Who in 1963 had the resources to assassinate Kennedy? Who had the means and who had the motives to kill the U.S. president?” asked Escalante. "CIA agents from Operation 40 who were rabidly anti-Kennedy. And among them were Orlando Bosch, Luis Posada Carriles, Antonio Veciana and Felix Rodriguez Mendigutia."

General Escalante detailed the many CIA operations in Latin America that involved Cubans from Operation 40, originally trained by the CIA for the Bay of Pigs invasion. These included the coup against President Salvador Allende's government in Chile and the subsequent murder in Washington of former Chilean ambassador Orlando Letelier, as well as the Contra war against the Sandinistas in Nicaragua.

In 1990 The Common Cause magazine argued that: "The CIA put millionaire and agent George Bush in charge of recruiting exiled Cubans for the CIA’s invading army; Bush was working with another Texan oil magnate, Jack Crichton, who helped him in terms of the invasion." This story was linked to the release of "a memorandum in that context addressed to FBI chief J. Edward Hoover and signed November 1963, which reads: Mr. George Bush of the CIA"

In an article published in The Realist in 1990, Kangas claims: "Among other members of the CIA recruited by George Bush were Frank Sturgis, Howard Hunt, Bernard Baker and Rafael Quintero.” Rafael Quintero stated: If I was to tell what I know about Dallas and the Bay of Pigs, it would be the greatest scandal that has ever rocked the nation."

General Fabian Escalante, Chief of Security of State (G2), Cuba, claimed that during captivity, Tony Cuesta confessed that he had been involved in the assassination of Kennedy. He also named Eladio del Valle, Roland Masferrer and Hermino Diaz Garcia as being involved in this operation. All four men were members of Operation 40.

Shortly before his death in 1975 John Martino confessed to a Miami Newsday reporter, John Cummings, that he had been guilty of spreading false stories implicating Lee Harvey Oswald in the assassination of John F. Kennedy. He claimed that two of the gunmen were Cuban exiles. It is believed the two men were Hermino Diaz Garcia (Operation 40) and Virgilio Gonzalez (Operation 40). Cummings added: "He told me he'd been part of the assassination of Kennedy. He wasn't in Dallas pulling a trigger, but he was involved. He implied that his role was delivering money, facilitating things.... He asked me not to write it while he was alive."

Fred Claasen also told the House Select Committee on Assassinations what he knew about his business partner’s involvement in the case. He claimed John Martino told him: “The anti-Castro people put Oswald together. Oswald didn’t know who he was working for – he was just ignorant of who was really putting him together. Oswald was to meet his contact at the Texas Theatre. They were to meet Oswald in the theatre, and get him out of the country, then eliminate him. Oswald made a mistake… There was no way we could get to him. They had Ruby kill him.”

Florence Martino at first refused to corroborate the story. However, in 1994 she told Anthony Summers that her husband said to her on the morning of 22nd November, 1963: "Flo, they're going to kill him (Kennedy). They're going to kill him when he gets to Texas."

There is another key CIA figure in Operation 40 who has made a confession concerning the assassination of John F. Kennedy. David Morales was head of operations at JM/WAVE, the CIA Miami station, at the time of the assassination. Gaeton Fonzi carried out a full investigation of Morales while working for the House Select Committee on Assassinations (HSCA). Unfortunately, Morales could not testify before the HSCA because he died of a heart attack on 8th May, 1978.

Fonzi tracked down Ruben Carbajal, a very close friend of Morales. Carbajal saw Morales the night before he died. He also visited Morales in hospital when he received news of the heart attack. Carbajal is convinced that Morales was killed by the CIA . Morales had told Carbajal the agency would do this if you posed a threat to covert operations. Morales, a heavy drinker, had a reputation for being indiscreet when intoxicated. On 4th August 1973, Morales allowed himself to be photographed by Kevin Scofield of the Arizona Republic at the El Molino restaurant. When the photograph appeared in the newspaper the following day, it identified Morales as Director for Operations Counterinsurgency and Special Activities in Washington.

Ruben Carbajal put Gaeton Fonzi in contact with Bob Walton, a business associate of David Morales. Walton confirmed Carbajal’s account that Morales feared being killed by the CIA. On one occasion he told him: “I know too much”. Walton also told him about a discussion he had with Morales about John F. Kennedy in the spring of 1973. Walton had done some volunteer work for Kennedy’s Senatorial campaign. When hearing this news, Morales launched an attack on Kennedy, describing him as a wimp who had betrayed the anti-Castro Cubans at the Bay of Pigs. He ended up by saying: “Well, we took care of that son of a bitch, didn’t we?” Carbajal, who was also present at this meeting, confirmed Walton’s account of what Morales said.

Another important piece of evidence comes from Gene Wheaton. In 1995 Wheaton approached the Assassination Records Review Board (ARRB) with information on the death of Kennedy. Anne Buttimer, Chief Investigator of the ARRB, recorded that: "Wheaton told me that from 1984 to 1987 he spent a lot of time in the Washington DC area and that starting in 1985 he was "recruited into Ollie North's network" by the CIA officer he has information about. He got to know this man and his wife, a "'super grade high level CIA officer" and kept a bedroom in their Virginia home. His friend was a Marine Corps liaison in New Orleans and was the CIA contact with Carlos Marcello. He had been responsible for "running people into Cuba before the Bay of Pigs." His friend is now 68 or 69 years of age... Over the course of a year or a year and one-half his friend told him about his activities with training Cuban insurgency groups. Wheaton said he also got to know many of the Cubans who had been his friend's soldiers/operatives when the Cubans visited in Virginia from their homes in Miami. His friend and the Cubans confirmed to Wheaton they assassinated JFK. Wheaton's friend said he trained the Cubans who pulled the triggers. Wheaton said the street level Cubans felt JFK was a traitor after the Bay of Pigs and wanted to kill him. People "above the Cubans" wanted JFK killed for other reasons."

It was later revealed that Wheaton's friend was Carl E. Jenkins, A senior CIA officer, Jenkins had been appointed in 1960 as Chief of Base for Cuban Project. In 1963 Jenkins provided paramilitary training for Manuel Artime and Rafael ‘Chi Chi’ Quintero and other members of the Movement for the Recovery of the Revolution (MRR). In an interview with William Law and Mark Sobel in the summer of 2005, Gene Wheaton claimed that Jenkins and Quintero were both involved in the assassination of Kennedy.

It seems that members of Operation 40, originally recruited to remove Fidel Castro, had been redirected to kill Kennedy. That someone had paid this team of assassins to kill the president of the United States as part of a freelance operation. This is not such a far-fetched idea when you consider that in 1959 Richard Nixon was approaching oilmen like George Walker Bush and Jack Crichton to help fund Operation 40. We also have the claim of Frank Sturgis that "this assassination group (Operation 40) would upon orders, naturally, assassinate either members of the military or the political parties of the foreign country that you were going to infiltrate, and if necessary some of your own members who were suspected of being foreign agents.

Further support for this theory comes from an unlikely source. David Atlee Phillips died of cancer on 7th July, 1988. He left behind an unpublished manuscript entitled The AMLASH Legacy. The leading characters were explicitly based on Phillips, Winston Scott and James Angleton. The novel is about a CIA officer (Phillips) who lived in Mexico City. In the novel the character states: "I was one of those officers who handled Lee Harvey Oswald... We gave him the mission of killing Fidel Castro in Cuba... I don't know why he killed Kennedy. But I do know he used precisely the plan we had devised against Castro. Thus the CIA did not anticipate the president's assassination, but it was responsible for it. I share that guilt."

My 6 beloved German shepherds were tortured and killed as retaliation for reporting these crimes

My 6 German shepherds have been kidnapped and killed by @CIA, @DefenseIntel Deep State Nazi Generals (Invisible government) who assassinated John F Kennedy and John Lennon. In the photo, Princess held by one of these Intel psychopaths, demanding my cooperation, otherwise the dogs would be murdered. I guess all my dogs have been murdered some time ago. It is the blackmail of Intel Nazi Generals.

Tiger was brutally murdered in 2014 by the Nazi Gang that murdered John Lennon and JFK - A handful of Miami Fake Hardliners, double agentsm amd CIA DefenseIntel

psychopathic Generals.

Sasha was removed from United States illegally, and taken to Pereira, Colombia, for the terroeist guerrila skin her and abandon her on the streets of Perera to die.

Petition · Justice for my 6 German shepherd ... - Change.org https://www.change.org › the-president-of-the-united-states-justice-for-my-...

Gualdo Hidalgo started this petition to The President of the United States. My 6 German shepherds dogs have been tortured and have been murdered by ..

1 note · View note

comic-watch · 7 years ago

Text

Struggling to find their true identity, Youngblood escapes to Japan and ponders a question faced by their predecessors. Will they find salvation in heroism or survival as renegades?

REVIEW: YOUNGBLOOD #10 Story: Jim Towe Script: Chad Bowers Cover Artist: Jim Towe and Rob Liefeld Colorist: Juan Manuel Rodriquez Letterer: Rus Wooton Publisher: Image Comics

What You Need to Know:

The Bloodstream made yet another attempt to prevent the resurgence of the fledgling Youngblood team. On the run from President Diehard and taking refuge in Japan, Youngblood, still in their earliest days as a team continues to work out the kinks.

What You’ll Find Out:

Youngblood has been residing in Japan in an attempt to lay low after the incident with BryneTEC and out of reach of President Diehard. At least for the moment. Youngblood has been summoned by Task and local enforcement of a threat that menaces the safety of Tokyo. As soon as the team touches down, the onslaught begins. A mammoth purple abomination launches its first assault, destroying Youngblood’s jet.

Springing into action, Sentinel and Vogues attacks instigate nothing more than beast’s escalated anger. Man-Up steps in, literally. With his ability to increase his size to his own enormous proportions, the monstrous assailant is pinned under his foot. To the surprise of Man-Up, the attackers’ strength exceeds his own. After boring a hole through his foot, granting him escape, Doc Rocket intervenes what would have certainly been a fatal blow to Youngblood’s strongman and attempts her own assault by gaining speed which will deprive the unknown being of precious oxygen.

The story shifts momentarily to Badrock who is still confined in Diehard’s recovery cell. Badrock without his own formidable power is prevented from escape, but that doesn’t mean others with alternative methods can’t get in. The mysterious Superstitious who tells Thomas that once a former hero herself she is now nothing more than a tool for “the great rotting.” With no further explanation, she performs a spell which begins to change Badrock into what he will become.

Returning to Japan, Youngblood realizes that an all-out battle won’t end in their favor and opt for a different approach. Sentinel attempts to reason with the purple mammoth but before he is able to subdue the brute an enraged Man-Up. Always the hothead, Man-Up fully intends to end the threat on a permanent level. Vogue opts for a less homicidal conclusion and orders Sentinel to suppress Man-Up with a full force energy burst.

Standing among the wreckage Task informs the team that though the attack required intervention, Youngblood was specifically chosen for a larger purpose. Doc Rocket, well versed in Task’s machinations responds with a swift uppercut. Task implores Youngblood to listen to his plan which ushers in the prime minister of Japan who thanks the unit for their aid and offers them a choice. To leave their status as renegades behind and accept a nationally sanctioned position of Japan’s defenders. Sentinel accepts but with one condition. That condition requires that Man-Up is expelled from Youngblood.

What Just Happened?

The 10th issue of Youngblood offers probably the most continuous action we have seen in roughly 4 issues. The confrontation certainly doesn’t disappoint. The appearance of Superstitious certainly seems to be well timed with the monster loosed on Japan which leads me to think that the “monster” is, in fact, a fully manipulated and transformed Badrock. Nothing within the issue confirms this but her trademark purple energy signature and appearance play well into her visit with Thomas and his own transformation.

In the final pages that feature the homicidal elderly woman who made her first appearance in issue #9 continues her journey, seeking the unknown at this point, I still have a strong gut feeling that this is the resurgence of one of the earliest figures in Youngblood history. I mean all the way back from issue #1 of Team Youngblood from the first series. I could absolutely be wrong. I don’t want to outright announce my theory but this menace has all the hallmarks of one of the deadliest most powerful psionics. One who is famed for shifting one sex to another. That’s as far as I’ll go but damn I hope I’m right!

Again we have solid writing and artwork which has been the trademark of the series since issue #1. Towe’s art captures each action scene with sincere immediacy, supplying a genuine sense of urgency that really draws the reader into every battle.

Bower’s is truly weaving so many threads together in every issue which provides the Youngblood title with plenty of direction in which every tale can be explored and propels the comic into a position of true longevity. A feature to the dismay of many longtime YB fans that has escaped the title and each of its previous volumes. My prediction is that if this team continues to hit each issue with continued success, this most recent iteration could well surpass the success of its predecessors.

Rating: 9.1 Final Thought: The stakes continue to get bigger with every issue. For readers who are seeking alternative comics within the heroic team genre but looking for a book which is truly forging its own path without the strict control of larger publishers and editorial edicts, Youngblood may well fit that bill.

Join our Age of Social Media Network consisting of X-Men, Marvel, DC, Superhero and Action Movies, Anime, Indie Comics, and numerous fan pages. Interested in becoming a member? Join us by clicking here and pick your favorite group!

REVIEW: Struggling to find their true identity, Youngblood escapes to Japan and ponders a question faced by their predecessors. Will they find salvation in heroism or survival as renegades? Struggling to find their true identity, Youngblood escapes to Japan and ponders a question faced by their predecessors.

#badrock #Doc Rocket #Image Comics Review #Man-Up #rob liefeld #Sentinel #Task #vogue #Youngblood

0 notes