#franco rivera

[razoogm]

Rivera family ages (my HC)

Imelda: 76 (when she died)

Héctor: 21 (when he died)

Oscar and Felipe: 73 (when they died)

Julio: 85 (when he died)

Coco: 100 (when she died)

Rosita: 68 (when she died)

Victoria 51 (when she died)

Franco: 72/73

Elena: 70/71

Berto: 48/49

Carmen: 46/47

Enrique: 42/43

Gloria: 40/41

Luisa: 33/34

Abel: 19/20

Rosa: 14/15

Miguel: 12/13

Benny and Manny:4/5

Socorro: 10 months/1

[dragoneyes618]

Berto Rivera asks the young woman he's just met in the shoe shop out on a date. No, he hasn't asked her her name.

[pencopanko]

You know... Elena being super protective of Mamá Coco when it comes to The Musician (whom we all know at this point) and also looking up to Mamá Imelda and running the house like she did makes a lot of sense now..

If this is actually correct then... the reason why she is so tough on the music ban is not just because she saw her mother getting hurt because of music, but also because she knows what it feels like being left behind by a man.

I was rereading the Coco novelization and there’s an odd detail I noticed- while Elena is referred to as Miguel’s Abuela, her husband Franco isn’t referred to as his Abuelo, just Papá Franco

This detail alone is easy enough to overlook, but in the family tree that comes with the book, Elena’s children are connected to her, but not to Franco

[melissaswife]

What is your top 3 favorite Melissa characters? 😸

ohhh this is really fucking hard.

so #1 is 100% samantha carpenter. #2 is joey/ana lucia cruz. and #3 would probably be carmen. (if not tied with lynda hernandez, mia gonzález, liv rivera, or laura franco. i love all of her characters too much to rank them </3.)

[atarahderek]

Hello! May I ask if you have any headcanons about Enrique and Luisa Rivera?

I have a few for Enrique. I made a comic of one that you can read here:

And I've done some one-shot stories featuring Enrique. You can read them here:

I think those should about cover it for Enrique. Well, there is one more: Enrique had a favorite rooster on his paternal grandparents' farm, which he named Panchito, after the Disney character from the Three Caballeros. It disappeared one night, and Enrique's pretty sure coyotes got it. The rooster becomes his alebrije, and in that form, it has characteristics of a duck and a parrot as well.

As for Luisa, I have a few head canons for her. She's younger than Gloria, but closer to her in age than Enrique is to Berto. The girls' mother does not get along with Berto and Enrique's mother. At all. But their father is very popular around the hacienda and is good friends with Franco. According to a tie-in book, Luisa can't carry a tune in a bucket, and I've adopted that idea. But she still enjoys playing the maracas. While Gloria married into the Riveras in part for the shoes, Luisa fell in love with Enrique with no ulterior motives (and she 100% teases her sister about this). She really only met and started getting to know Enrique after Berto and Gloria became engaged. Giving up music was more of a sacrifice for her than it was for Gloria because Luisa associates music with her abuelo, with whom she was very close. Her abuelo was a music teacher (despite her best efforts, she was one of his worst students), and was always a kind and generous man who valued family above all other earthly things. What he never told her, however, was that his love for family was a conscious decision on his part to distinguish himself from his absent biological father, who always denied having offspring (and he had many). His father was Ernesto de la Cruz, and he kept the man's identity a secret for fear his descendants would want to emulate such a selfish, egotistical man who abused women and abandoned family at every opportunity. Miguel does later discover the connection, and Luisa fully understands his struggle with that revelation. She has to come to terms with the idea that her great-grandfather murdered her husband's great-grandfather.

[almanach-international]

20 novembre : le rendez-vous des nostalgiques du fascisme en Espagne

Commémorée par l’extrême droite espagnole, la journée du 20-N, pour 20 novembre, est l’anniversaires du décès de deux personnages controversés de l'histoire du pays, José Antonio Primo de Rivera et Francisco Franco. Le premier, fils de l’ex-dictateur Miguel Primo de Rivera, est le fondateur du parti fasciste la Phalange espagnole. Il a été fusillé le 20 novembre 1936 à Alicante après avoir été jugé par un tribunal de la deuxième république espagnole pour complot et rébellion. La guerre civile espagnole avait déjà commencé, suite au coup de force du général Franco, figure de l’extrême droite. Celui-là même qui imposera son pouvoir autoritaire à l’issue de la guerre d’Espagne, avec l’aide de la phalange et des nazis. Sa dictature ne se terminera que le 20 novembre 1975, jour de son décès. La date était déjà célébrée sous le régime franciste, comme le “Jour de la douleur”. D’ailleurs, on se demande si l’annonce du décès de Franco dont l’agonie a duré des semaines, n’a pas été repoussée de quelques heures pour coïncider avec cette date déjà mythique pour le monde fasciste.

Chaque 20 novembre, parfois la veille ou le lendemain, tout ce qui reste de nostalgiques du régime du général Franco ou de la phalange espagnole manifeste dans diverses villes du pays, en particulier à Alicante et à Madrid. Cette année, dans la capitale, c’est dimanche 21 novembre à 12h, place d’Orient que les franquistes se rassembleront. Chaque année, des militants de gauche se mobilisent pour protester contre ces manifestations hors la loi. Longtemps ces manifestations ont été tolérées par les autorités, aujourd’hui, elles tombent sous le coup des lois mémorielles qui interdisent toute promotion du fascisme et du franquisme, sa variante locale. Ce qui n’a pas dissuadé un certain nombre d’églises partout en Espagne, et même en France, d’annoncer des messes à la mémoire de ces deux héros de l’extrême droite espagnole. La Conférence des évêques espagnols est totalement muette sur le sujet, car divisée. On se souvient que l’Église catholique, avec l’armée, a été un des principaux soutiens du régime franquiste et une partie du clergé n’a toujours pas renié cet engagement en dépit d’une levée des tabous sur les crimes du franquisme et l’ouverture des fosses communes où reposent plus de 100 000 victimes. 

Chaque année, le Mouvement catholique espagnol (MCE) appelle à un pèlerinage à la Vallée des morts (la Valle de los Caídos) d’où la dépouille de Franco a été retirée en 2019 mais où repose toujours José Antonio Primo de Rivera. Chaque 20 novembre, la Phalange organise sa traditionnelle Marche bleue en l’honneur de son héros. Le bleu en référence à la division des volontaires espagnols, mieux connue sous le nom  de Division bleue, qui était la contribution de  l'Espagne de Franco  à  l' armée allemande d' Hitler  pendant la  Seconde Guerre mondiale .

La date du 20 novembre demeure une date symbole pour l’extrême droite espagnole. Est-ce un hasard si le nationaliste basque Santiago Brouard a été assassiné le 20 novembre 1984, puis cinq ans plus tard, Jusu Muguruza, à nouveau un 20 novembre. En 1992, c’est une fusillade contre un groupe d’immigrés qui cause la mort de la dominicaine Lucrecia Pérez, encore un 20 novembre… Chaque année se rejoue ce jour-là les affrontements politiques qui ont ensanglantés l’Espagne, il y a plus de 80 ans. Longtemps, les nostalgiques du fascisme sont restés discrets et très minoritaires. Depuis peu tout a changé, les tabous sont tombés aussi bien du côté des républicains qui osent évoquer les victimes et demander réparation, que du côté de l’extrême droite, aujourd’hui représenté par Vox, un parti qui en quatre années s’est imposé comme la quatrième force politique du pays.

#N20

Un article de l'Almanach international des éditions BiblioMonde, 19 novembre 2021

[hectic-hector]

TaCoco Tuesday™: July 2020 Note: “Ask a Rivera” closed a long time ago. This reblog is for entertainment purposes only. Please do not send in new questions.

Dear Riveras, who can speak English?

ASK A RIVERA

[useless-catalanfacts]

A group of weeders standing in a rice field in Amposta (Terres de l'Ebre, Catalonia). I couldn't find the date but it's most likely from the 1920s-1940s. Photo from Museu de les Terres de l'Ebre.

This photo is interesting because it shows the traditional clothes that women from the Ebro Delta wore until the 20th century. It's very different from the image most people think of when we imagine "traditional women's clothes". The truth is that many countries (including ours when it comes to the pubilla and hereu outfit) fixed their "national costume" in the early 1900s, taking the upper class formal clothes as "the traditional clothes". However, that is not representative of the country in general, particularly of the working classes, nor of the many local variations that are always found around a country.

These weeders are wearing saragüells, which are a kind of tight-fitting trousers made of a light material that can dry easily. On top of this trousers, they wore a skirt that they rolled up to their waist. The reason behind this being the usual work clothes for women in the Ebro Delta area is because it's an area where, since 1860, most people worked in the agriculture of rice. Rice is grown in water, so they worked with their feet and lower part of legs in the water. (Ah, and by the way, yes, of course most women historically worked outside of the home, too.)

Now, here's why I find this interesting: the various dictatorships of Spain who called themselves "traditionalist" (Primo de Rivera's and Franco's) and their followers for many years forbid women from wearing trousers in many ambits or raged against women in trousers for being immoral. How is it possible that "traditionalists" said that, when there are traditional/historical clothes for women that include trousers? Don't "traditionalists" stand for keeping traditions? Well, let's hear the words of one of the movement's founders:

“For the authentic revolutionary conservative, what really counts is to be faithful not to past forms and institutions, but rather to principles of which such forms and institutions have been particular expressions, adequate for a specific period of time and in a specific geographical area.” Julius Evola, Men Among the Ruins: Post-War Reflections of a Radical Traditionalist.

This was said by Julius Evola (1898-1974), one of the ideologues of traditionalism. What he's saying here is that the point of traditionalism is not to be faithful to what the past or the tradition really was like; the point of traditionalism is to have some a priori beliefs and then look back in history and cherry-pick some places where that was the case. History is long and includes millennia of different cultures, you're bound to find pretty much everything at some point, and easily those ideas that have been the status quo in the immediate previous years (which is what they defend). This is why traditionalists defend that European powers are the heirs of Imperial Rome and have claims on other countries as such, but consider things that were completely normal in Ancient Roman culture (homosexuality, multi-racial cities, racial mixing) are not part of what they defend. It was never about following a real tradition or history, that was just an excuse.

These so-called "traditionalist" governments also pick one singular culture from the whole area instead of allowing each area to continue their traditional way of life. In the case of the Spanish dictatorships, exterminating the traditional customs, languages and cultural elements of the nations whose land Spain occupies (Catalans, Basques, Galicians, Aranese...) was a priority. They banned the languages, holidays, songs, and more. At the same time, they imposed one singular language (Spanish), religion (Catholicism), and the holidays, traditions (like bull-fighting), music, etc. of the Spanish with an emphasis on folklore from Andalusia (Southern Spain).

As a historian, it saddens me when people believe that what traditionalists say is really what the past was like, and nowhere do I see more lies than in what the "tradwife" movement have been led to believe. The real past was so much more interesting.

And speaking of trousers... Did you know that France had an 18th-century law that forbid women from wearing trousers which wasn't repealed until 2013? In 1972, the French politician Michèle Alliot-Marie was banned from entering the French Parliament because she was committing the crime of wearing trousers!

[mesetacadre]

In April 15th, 1920, the National Committee of the Federation of Socialist Youths met in Madrid to, taking the initiative over the PSOE, take the decision of joining the Third International, founded by the Bolshevik party. After a convoluted process that lasted until the 14th of November of 1921, the Communist Party of Spain (Spanish Section of the Communist International) was born, pejoratively called "The party of the 100 children" by its opponents.

The Komintern's policy in its early days was one of the "only front", stating that capital could only be beat via the united effort of all communists in all spheres of life. Its motto became "Towards the Masses!". In Spain, this period was marked by Primo de Rivera's dictatorship between 1923 and 1930, during which almost every political group was banned. The social-democratic PSOE and UGT avoided this by remaining "neutral" towards the dictatorship. Some members of the PSOE even collaborated, like Largo Caballero, who became Rivera's Minister of State. The Communist Party maintained its sole struggle during this time, gaining popularity among the Spanish proletariat.

When the dictatorship ended and the Second Republic was proclaimed in April of 1932, in the midst of the effects of the 1929 capitalist crisis, the 1931 strike in Sevilla and 1932 general strike, the PCE had found itself unable to work outside the dynamics imposed by the dictatorship's repression, and only began to regain its force after the selection of José Diaz as general secretary in September of 1932. The party corrected some of the left-communist and sectarian mistakes that characterized the period of the dictatorship.

The PCE took on an even bigger role in the organization of our class after its crucial role in the October insurrection of 1934 in Asturias, during which the proletariat took power in the mining basin and most of Oviedo, via the Peasant and Worker Alliances, expressions of the aforementioned only front strategy decided by the Third International. The government of the Second Republic, carrying out the needs of a section of the Spanish bourgeoisie, brutally repressed the Asturian revolutionaries, with general Francisco Franco at the helm of the military's intervention. Among the victims was Aida Lafuente, a militant of the Communist Youth and an example of bravery.

This glimmer of worker power was contextualized in the Black Biennium (1933-1935), a period of the Republic when reactionaries accessed the government and expressed the most violent tendencies of the Spanish bourgeoisie against the more than 30,000 political prisoners they took, and against the rapidly developing workers' movement.

It was during this time in Spain and the whole world, when the Third International identified the generalized rise of fascism and reactionarism, and adopted in its 7th Congress, during the summer of 1935, the policy of the Popular Front, failing to link the anti-fascist struggle with the struggle for workers' power, instead advocating for alliances with "socialist" parties and other bourgeois-democratic parties, placing the fight for socialism-communism in the background.

Half a year after this decision, the Popular Front alliance won the elections in the 16th of February, 1936. Shortly after, and only a year after the 7th Congress, sections of the Spanish and international bourgeoisie countered this victory with a failed coup d'etat by fascist generals in the 18th of July, 1936. They had the backing of the nazi-fascist powers in Europe and the complicity of the "democratic" capitalist powers, who were anxious about the strengthening proletariat in Spain. Curiously, the plane that carried Franco from his exile in the African colonies to Tetuán in north Africa, the Dragon Rapide, originally took off from London.

The biggest supporter of the Spanish Republic was the USSR, that, through the enormous effort of the Third International and the Communist Parties in 52 countries, against the banning of volunteering by many of those 52 countries, organized the enlistment, falsification of documents, logistics, arrival and other matters for the arrival of around 35,000 workers, peasants and intellectuals from all over the world. Under the single banner of the International Brigades, and for the first time materializing the historic slogan Workers of the World, Unite!, the Volunteers of Liberty, as they also came to be known, gave their mind and their body to the cause of the Spanish people, armed with the teachings of marxism-leninism. They knew that it was no longer a fight for only the Spanish. As J. V. Stalin put it in October of 1936:

The workers of the Soviet Union are merely carrying out their duty in giving help within their power to the revolutionary masses of Spain. They are aware that the liberation of Spain from the yoke of fascist reactionaries is not a private affair of the Spanish people but the common cause of the whole of advanced and progressive mankind.

In July of 1936 there already were Brigadiers present in Spain, for the occasion of the Popular Olympics (in boycott of the Berlin Olympics) organized by the Red Sport International and the Socialist Worker Sport International in Barcelona, they were among the first to take up arms against the coup d'etat. The Executive Committee's Secretariat of the Third International formalized in the 18th and 19th of September the creation of the International Brigades, which began to arrive in Spain the 14th of October of 1936. Despite the propaganda levied by fascists and bourgeois historiography, the importance of the International Brigades is undeniable today.

After the integration of the Brigades into the Popular Militias in the 22nd of October, the Brigadiers began their training in Albacete and saw action for the first time the 8th of November in Madrid, with the 11th and 12th Brigade. Militarily, the Brigades were present and indispensable in every major battle of the war, but they also played a moral role. After every capitalist power had abandoned the Spanish people to their fate with the policy of non-intervention, the compact and disciplined columns that marched through the streets of Madrid singing songs like The Internationale, Young Guard, or The Marseillaise, made up of workers who barely knew the language but were willing to make the ultimate sacrifice, decidedly improved the morale of every militia and civilian in Madrid and in Spain.

But even greater than the support of the Brigades were the more than 300,000 strong military detachments sent by Germany and Italy, with the implicit approval of capitalist democracies, including the Popular Front in France, whose efforts of non-intervention focused exclusively on the republic. And it was the strategy of the popular front that forced the PCE to sideline the revolutionary potential of the hundreds of thousands of militants, instead preserving the legitimacy of the bourgeois republic.

By 1938, the republic was on its last legs and, wishing to evidence the foreign involvement on the fascist side, declared to the League of Nations in the 21st of September that they would disband all volunteers enlisted after the 18th of July, 1936. The 16th of October, 2 years and 2 days after the arrival of the Brigades, the League of Nations' International Committee arrived in Spain to verify the disbandment and departure of the Brigadiers. No such inspection was ever made on the fascist side.

According to the International Committee's report published on the 18th of January, 1939, there were a total of 12,673 Brigadiers in Spain, less than half of the total number of volunteers at around 35,000. They began to depart Spain on the 2nd of November, 1938, through the French border. During the process of departures, some Brigadiers were murdered in Spain, others died protecting the fleeing republicans and hundreds of thousands of refugees at the crossing in France. This was when Mexico, and especially the Communist Party of Mexico which pressured the government, took on around 1,600 brigadiers, mainly Germans, Poles, Italians, Austrians, Czechoslovaks and Yugoslavians, who could not safely return to their homes due to the advance of fascism within their countries. The debt owed by the workers of the world, especially the Spanish, to the Communist Party of Mexico is immeasurable, along with every other Communist Party that helped and the Third International.

The dissolution of the International Brigades did not achieve the result desired by the Republic. Instead, their retreat towards the end of the Battle of the Ebro only accelerated the morale defeat of the republican militias. Most of the brigadiers who survived the war but could not be repatriated in time did not have a pleasant fate. Most of those ended up in the French concentration camps of Gurs, Argèles-sur-Mer, Saint-Cyprien and Barcarès, Septfonds, Riversaltes, or Vernet d'Ariège.

Their fight was not in vein. The experience gained by the few who survived at a high cost proved essential in the development of their own parties, and soon enough, anti-fascist resistance. Everywhere that people took up arms against the fascist occupation, whether inside or outside the concentration camps, ex-Brigadiers were present, continuing the fight they started in the 18th of July, 1936, well after the war that had began that day was history.

Back in Spain, while the moribund republic thrashed for the last few times, the bourgeois republican government, headed by the social-democrat Juan Negrín, began to isolate the PCE with the support of the trotskyists and anarchists. It came to a close after the coup d'etat by the republican general Casado, during and after which the communist militancy was oppressed, and the fascist fifth column that had remained in Madrid opened its gates to the fascist military. This is how the fascist dictatorship began in Spain, with a betrayal by the Popular Front's social-democrats and by the democratic-bourgeois powers of the world. They couldn't help but mirror the collaborationism happening on the world stage; the UK was actively looking for an alliance with Germany, and every other capitalist country was making business with the looted property. All for one purpose that united them; the destruction of workers' power in the form of the marxist-leninist parties that around the world were beginning to challenge the capitalists, with the Third International at the helm.

These are the lessons that Spain and the world learnt during and after its fierce resistance against fascism. No popular front with bourgeois-democrats is sustainable, and their class character will always prevail above the superficial differences with fascism. The only viable tool is the organization of the social majority within the Communist Party, with proletarian internationalism and an altruist disposition as principles. No matter how much social-democracy may fear fascist privatization, and no matter how much they disrespect bourgeois democracy, the class interests that guide them will always prevail when faced with a capable mass of organized workers.

The progressive Popular Front in France, the "appeasing" government in the UK, and the nominally anti-violence liberal democracies, did not ever attempt to do anything else than giving carte blanche to the fascists and hindering their rivals. The betrayal of Spain, Austria, Czechoslovakia and Poland were all made with the same reasoning: the alliance with fascism to destroy communism. There are no reasons that make the opposite possible today. When reactionarism picks up traction in lockstep with the deepening capitalist crises, all of these bourgeois-democrats some "leftists" like to place their hope in will not vary substantially from the script they followed 85 years ago.

Quedad, que así lo quieren los árboles, los llanos, las mínimas partículas de la luz que reanima un solo sentimiento que el mar sacude. ¡Hermanos! Madrid con vuestro nombre se agranda e ilumina

Rafael Alberti, A las Brigadas Internacionales

[didalexiabreakupwitholgaisback]

It seems there were some fans being horrible the match today and some people think pina said something about fascism? Have there historically been issues with espanyol like there have been with Madrid for example? Or was it something specific to this match?

oh yes, so if you read the lips of claudia pina in the clip i shared earlier, it appears like she is saying "puto fascistas de mierda." why would she say that? and why were the fans of espanyol so aggressive, cursing us, and throwing bottles and other objects at us?

well, after real madrid, espanyol is the team with which barça historically has the most fierce rivalry. and whenever they play each other, it's known as the derbi barceloní. the two teams are founding members of the spanish league, la liga, since the 1920s, but both had very different political developments, especially during the spanish civil war.

the full name of espanyol is reial club deportiu espanyol de barcelona, which translates to royal spanish sporting club of barcelona in catalan. as you can guess, the fact that the team name has the words royal and spanish in it, mean that the club has historic centrist and right-wing ties, and was pro the dictatorships of primo de rivera and franco. that reputation still exists today, and why pina was quick to denounce the team, especially its cursing fans, as fascists.

now, the rivalry isn't as heavy anymore since espanyol hasn't done so well on the men and women's side. it's also complicated by the fact that espanyol had a better youth academy and set-up on the women's side before barça and many of our players like alexia and torre, played for espanyol. but certainly among the fans, there's no love lost!

[urbanxcamper]

Silvia Pinal, the legendary Mexican actress passed away today at the age of 93, bequeathing a career that can be summed up in one word: ART.

In the vast library of Latin American culture, Silvia Pinal is not just a chapter or an encyclopaedia: she is an entire bookshelf. Few figures have been so versatile, managing to cover every corner of culture: cinema, theatre, television, cabaret, painting, politics, music, dance... the list is endless.

Silvia Pinal was born on September 12, 1931, on the eve of the celebration of Mexican Independence Day, a direct descendant of father founder priest Hidalgo, her destiny was marked to become an icon of the country.

As a child she studied opera and acting at Bellas Artes. Before she was 18, she had already participated in a beauty pageant, acted in radio soap operas, dabbled in experimental theatre and played minor roles in films.

In the 1950s, she established herself as a central figure in our cinema. Her theatrical training allowed her to shine in dramatic roles, comedies and musicals. Between 1949 and 1959 she filmed 50 movies. In that period she won three Ariel awards and appeared on a hundred magazine covers. Diego Rivera immortalised her in a famous life-size portrait, a gift from the painter to the diva.

Silvia rejected Hollywood and went to Europe. In 1961 she starred in Luis Buñuel’s ‘Viridiana’. Her performance was awarded the Palme d’Or at Cannes, but in Spain, the Franco dictatorship considered it blasphemous and ordered the film to be destroyed. The film survives to this day thanks to the fact that Silvia hid a copy in the lining of her coat.

A visionary, Silvia revolutionized theatre: ‘Mame’, ‘Hello Dolly!’, ‘Gypsy’... she brought the best Broadway musicals to Mexico. In 1988 she opened her first theatre: Teatro Silvia Pinal, and went on to have three more.

She had already done it all, but cabaret was still missing. In 1981 she debuted as a showgirl at the El Patio nightclub, where stars such as Judy Garland and Edith Piaf shone. Her show, directed by Sergio Japino, Raffaella Carrà’s choreographer, was a resounding success.

Rest in peace, Silvia Pinal Hidalgo (1931-2024). You are and will remain unique.

[marcmarcmomarc]

Once Upon a Lamp - list of characters

In honor of Once Upon a Studio turning one year old

EXT. THE STEVE JOBS BUILDING - EARLY EVENING

The Adventures of André and Wally B.

André

Wally B.

Luxo Jr.

Luxo Jr.

Luxo Sr.

Red’s Dream

Lumpy

Red

Tin Toy

Tinny

Gumbo

Flip ‘n Beth

Ace

Clocky

Spot

Zoo Train

Chrome Dome

Rallye Guy

Fire Hydrant

Helicopter Sheep

Toypot

Frodo

Bouncy

Eben’s Car

Les

RenderMan

Knick Knack

Knick

Sunny Miami

Sunny Florida

Sunny Egypt

Sunny Jamaica

Sunny Palm Springs

Sunny Israel

Surf Death Valley

Sunny Atlantis

Toy Story (Toys)

Woody

Buzz Lightyear

Jessie

Mr. Potato Head

Slinky Dog

Rex

Hamm

Bo Peep

Mrs. Potato Head

Bullseye

Mr. Pricklepants

Dolly

Trixie

Buttercup

Chuckles

Stinky Pete

Barbie

Ken

Lots-o-Huggin’ Bear

Big Baby

Twitch

Stretch

Chunk

Sparks

Chatter Telephone

Bookworm

Peas-in-a-Pod

Forky

Giggle McDimples

Ducky

Bunny

Duke Caboom

Gabby Gabby

The Dummies

Billy, Goat, and Gruff

Toy Story (Human side)

Andy Davis

Mrs. Davis

Molly Davis

Sid Phillips

Hannah Phillips

Bonnie Anderson

Bonnie’s Mom

Bonnie’s Dad

Buster

Scud

Geri’s Game

Geri

A Bug’s Life

Flik

Hopper

Princess Atta

Princess Dot

The Queen

Molt

Slim

Heimlich

Francis

Manny

Gypsy

Rosie

Tuck

Roll

P.T. Flea

Dim

Mr. Soil

Dr. Flora

Thorny

Cornelius

Thumper

Aphie

For the Birds

Bluebird Flock

Gawky Bird

Buzz Lightyear of Star Command

Commander Nebula

Mira Nova

XR

Booster Sinclair Munchapper

Warp Darkmatter

Gravitina

N0S-4-A2

XL

Monsters, Inc.

James P. Sullivan

Mike Wazowski

Boo

Celia Mae

Randall Boggs

Henry J. Waternoose

Johnny Worthington

Scott “Squishy” Squibbles

Don Carlton

Terri and Terry Perry

Art

Tylor Tuskman

Val Little

Fritz

Katherine “Cutter” Sterns

Duncan P. Anderson

Roz

Yeti

Jeff Fungus

Banana Bread

Roger Rogers

Suzy “Sunny” Sunshine

Finding Nemo

Marlin

Dory

Nemo

Hank

Boundin’

Jackalope

Lamb

The Incredibles

Bob Parr

Helen Parr

Violet Parr

Dashiell Parr

Jack-Jack Parr

Lucius Best

Edna Mode (E)

Buddy Pine

Winston Deavor

Evelyn Deavor

Mirage

Rick Dicker

Voyd

One Man Band

Bass

Treble

Tippy

THX

Tex

Cars

Lightning McQueen

Tow Mater

Cruz Ramirez

Lifted

Stu

Mr. B

Ratatouille

Remy

Alfredo Linguini

Chef Skinner

Colette Tatou

Django

Emile

Anton Ego

Presto

Presto DiGiotagione

Alec Azam

WALL-E

WALL-E

EVE

Captain B. McCrea

John

Mary

M-O

GO-4

The Reject Robots

Hal the Cockroach

Partly Cloudy

Gus

Peck

Up

Carl Fredricksen

Russell

Dug

Charles Muntz

Alpha

Beta

Gamma

Kevin

Kevin’s Babies

Day & Night

Day

Night

La Luna

Bambino

Papà

Nonno

Brave

Merida

Elinor

Fergus

Hamish

Hupert

Harris

Fergus’ Dogs

Angus

The Witch

Maudie

Lord MacGuffin

Lord Macintosh

Lord Dingwall

Young MacGuffin

Young Macintosh

Wee Dingwall

The Witch’s Crow

Conan the Clan Dingwall Hunk

The Blue Umbrella

Blue

Red

Lava

Uku

Lele

Inside Out (Mindscape)

Joy

Sadness

Anger

Fear

Disgust

Anxiety

Envy

Ennui

Embarrassment

Nostalgia

Paula Persimmon

Xeni

Jean Dewberry

Janelle Johnson

Teen Riley

Rainbow Unicorn

Melatonin

Inside Out (Humans)

Riley Andersen

Jill Andersen

Bill Andersen

Grace Hsieh

Bree Young

Valentina Ortiz

Dani

Ally

Sofia

Nour

Coach Roberts

Sanjay’s Super Team

Sanjay

Sanjay’s Father

Hanuman

Durga

Vishnu

The Good Dinosaur

Arlo

Spot

Henry

Ida

Buck

Libby

Nash

Ramsey

Butch

Thunderclap

Downpour

Coldfront

Frostbite

Windgust

Bubbha

Lurleane

Pervis

Earl

Forrest Woodbush

Fury

Destructor

Dream Crusher

Debbie

Piper

Piper

Lou

Lou

J.J.

Coco (Land of the Living)

Miguel Rivera

Dante

Abuelita Elena Rivera

Enrique Rivera (Papá)

Luisa Rivera (Mamá)

Tío Berto Rivera

Tía Carmen Rivera

Tía Gloria Rivera

Abuelito Franco Rivera

Abel Rivera

Rosa Rivera

Socorro Rivera

Benny Rivera

Manny Rivera

Coco (Land of the Dead)

Papá Héctor Rivera

Ernesto de la Cruz

Mamá Imelda Rivera

Pepita

Mamá Coco Rivera

Papá Julio Rivera

Tía Rosita Rivera

Tía Victoria Rivera

Tío Óscar Rivera

Tío Felipe Rivera

Bao

Mom

Son

Dad

Cindy

Purl

Purl

Lacy

Office Bros.

Office Ladies

Kitbull

Kitbull

Dog

Smash and Grab

Smash

Grab

Float

Father

Son

Wind

Ellis

Ellis’ Grandma

Onward

Ian Lightfoot

Barley Lightfoot

Laurel Lightfoot

Corey

Colt Bronco

Blazey

Burrow

Rabbit

Badger Landlord

The Rabbit’s Neighbors

Soul (Living World)

Joe Gardener

Libba Gardener

Dez

Dorothea Williams

Curley Baker

Miho Akage

Connie

Melba

Lulu

Soul (The Great Before)

22

Moonwind

Terry

Counselor Jerry A

Counselor Jerry B

Loop

Renee

Marcus

Out

Greg

Jim

Manuel

Greg’s Parents

Gigi

Luca

Luca Paguro

Alberto Scorfano

Giulia Marcovaldo

Ercole Visconti

Massimo Marcovaldo

Daniela Paguro

Lorenzo Paguro

Grandma Libera Paguro

Ciccio

Guido

Machiavelli

Nona

Nona

Renee

Twenty-Something

Gia

Nicole

Turning Red

Meilin Lee

Ming Lee

Miriam Mendelsohn

Abby Park

Priya Mangal

Tyler Nguyen-Baker

Jin Lee

Grandma Wu Lee

Auntie Chen

Lily

Helen

Auntie Ping

Mr. Gao

4*Town

Lightyear

Izzy Hawthorne

Sox

Mo Morrison

Darby Steel

Commander Cal Burnside

Alisha Hawthorne

Kiko Hawthorne

Elemental

Ember Lumen

Wade Ripple

Bernie Lumen

Cinder Lumen

Gale Cumulus

Fern Grouchwood

Clod

Brook Ripple

Harold Ripple

Alan Ripple

Lake Ripple

Eddy Ripple

Marco Ripple

Polo Ripple

Ghibli

Self

Self

Win or Lose

Coach Dan

Softball Team

Frank

Lena

Elio

Elio Solis

Ambassador Questa

Ambassador Grigon

Olga Solis

Glordon

OOOOO

Ambassador Helix

Ambassador Tegman

Ambassador Turais

Hoppers

Mabel

King George

[dragoneyes618]

Miguel would remember only snapshots, later. Disconnected, fractured images and sounds, frozen in time.

The sound of screeching metal from three streets away.

A single shoebox lying on its side on the curb, with a logo on it that he knew as well as he knew himself.

Abuelita, screaming, "Enrique! Quique!"

The guitar, slipping through numb fingers to land with a discordant, mournful clang as it clattered lifelessly to the cobblestones.

[sundove88]

Alice (Coco Parody Casting):

Despite his family's generations-old ban on music, young Max dreams of becoming an accomplished musician like his idol Lysandre. Desperate to prove his talent, Max and his sister Jessie find themselves in the stunning and colorful Land of the Dead. After meeting a charming lion spirit trickster named Giovanni, the three new friends embark on an extraordinary journey to unlock the real story behind Max’s family history.

Max Goof as Miguel Rivera (A Goofy Movie)

Jessie as Herself/Miguel’s Sister (Brawl Stars)

Yubaba as Abuelita Elena Rivera (Spirited Away)

Pam as Mama/Luisa Rivera (Brawl Stars)

Giovanni as Hector Rivera (Spiritfarer)

Astrid as Imelda Rivera (Spiritfarer)

Rauru as Julio Rivera (The Legend of Zelda)

Goofy as Papa/Enrique Rivera (Mickey and Friends)

Lysandre as Ernesto De La Cruz (Pokemon)

Aerith as Tia Rosita (Final Fantasy VII)

Gammas 1 and 2 as Tio Felipe and Oscar (Dragon Ball Super)

Zeniba as Tia Victoria (Spirited Away)

Dr. Bones Cookie as as Juan Ortodoncia (Cookie Run)

Barioth as Pepita (Monster Hunter)

Zoura as Dante (Pokemon)

Alice as Mama Coco (Spiritfarer)

Isaac Netero as Abuelito/Franco Rivera (Hunter X Hunter)

Poco as The Plaza Mariachi (Brawl Stars)

Buck as Cicharron (Spiritfarer)

Mavuika as Tia Carmen (Genshin Impact)

Jiraiya as Tio Berto (Naruto)

Tsunade Senju as Tia Gloria (Naruto)

Mark Evans as Cousin Abel (Inazuma Eleven)

Nami as Cousin Rosa (One Piece)

Chestnut Cookie and Pancake Cookie as Cousins Benny and Manny (Cookie Run)

Susie as The Bridge Guard (Kirby)

Elle as Socorro Rivera (Hirogaru Sky Precure)

Butter Pretzel Cookie as Frida Kahlo (Cookie Run)

Here’s your hint for the next casting (It’s a video game movie):

👾💪🏎️

[garadinervi]

Festival de Tarascon – Cinquième Recontres Internationales de Poésie Contemporaine, Edited by Thérèse Aillaud, Julien Blaine, Jack Lang, Association générale des rencontres internationales en Provence de poésie d'aujourd'hui, Le Revest, 1989 [room 3o2 books, Ottawa]

Contributors: Thérèse Aillaud, Bruce Andrews, Eric Audinet, Rafael Barreto-Rivera, Franco Beltrametti, Charles Bernstein, Julien Blaine, Jaap Blonk, Marie Borel, Gérard-Philippe Broutin, Olivier Cadiot, Didier Cahen, Françoise Canal, Jean-Yves Cousseau, Françoise De Larocque, Henri Deluy, Ma Desheng, Noël Dutrait, Paul Dutton, György Galántai, John Giorno, Joseph Guglielmi, Bernard Heidsieck, Lyn Hejinian, Susan Howe, Edmond Jabès, R. József Juhász, Mang Ke, Jack Lang, Pierre Lartigue, Joëlle Leandre, "Mars", bpNichol, Tibor Papp, András Petöcz, François Poyet, Tom Raworth, Christian Rivot, Linda Charyk Rosenfeld, Jacques Roubaud, Sarenco, Gerry Shikatani, Akos Szekely, Rosemarie Waldrop, Jim Wedderburn

[atarahderek]

Deleting previous post because I got a scanner.

Father's Day doodle featuring Franco and his kids, and my fan character Heraclio with his daughters Gloria and Luisa.