#josé moreno villa

[docpiplup]

A century of the Order of thuggish and drunken knights: Lorca, Dalí and Buñuel partying in Toledo

Federico García Lorca was wrapped in a sheet stolen from the Posada de la Sangre – which disappeared in the Civil War and was the scene of Miguel de Cervantes's The Illustrious Mop –, drunk as a thief and with the desire to wander alone through the narrow streets of the old town of Toledo. Around him, some young hooligans laughed with the poet with noise and hubbub. This is how a Toledo man named Eduardo met the playwright from Granada during a Toledo night in the 1920s. At that moment, this kind man, seeing the panorama, tried to take Lorca to the relief house on Barco Street, but He flatly refused to accompany him. The poor man, of course, did not understand anything.

What this Toledoan, grandfather of the author of the space Toledo Olvidado, who is the one who told this anecdote, did not know is that Lorca was complying with one of the strict rules of the well-known Order of Toledo, a brotherhood of artists and writers related to the Generation of '27 and the Madrid Student Residence created by Luis Buñuel – calling himself Condestable – in the Venta de Aires de Toledo restaurant in March 1923.

This is how a century ago the streets of Toledo could not believe what was happening on its cobblestones. One hundred years since Buñuel, with his idea, managed to revolutionize the students of the Residence and the silent alleys of the old town of Toledo. Despite such famous components, the truth is that little or very little is known about this Order of Toledo. There is not much documentation available, beyond the stories of the protagonists themselves. Buñuel, the architect of this mischievous and intellectual action, dedicates an entire chapter to the Order in My Last Sigh, his autobiography written in his exile in Mexico.

A religious revelation and the smell of wine

«I am walking through the cloister of the cathedral, completely drunk, when, suddenly, I hear thousands of birds singing and something tells me that I must immediately enter the Carmelites, not to become a friar, but to steal the convent's treasury. The doorman opens the door for me and a friar comes. I tell him about my sudden and fervent desire to become a Carmelite. He, who has undoubtedly noticed the smell of wine, walks me to the door. The next day I made the decision to found the Order of Toledo," explains Buñuel in the aforementioned autobiography.

The rules of the Order of Toledo are strict and taken very seriously by its members. So much so that some of them even had a little problem or another in 1936, as the poet José Moreno Villa told us from Mexico, after the outbreak of the Spanish Civil War. "This order is a bit communist," thought some "men alien to letters and much more alien to irony"; although the truth is that there was only a hint of provocation in this crazy association. A normal thing among extravagant artists, somewhat dadaist, somewhat surrealist. «The starting point was to have fun, have a good time and get drunk. But it is true that, personally, I have always related what these young people did in Toledo with the historical avant-garde of the moment. I see it as the performances that the Dadaists did in Paris and Zurich, which were things that didn't make much sense, as Surrealism later adopted. In fact, it is worth noting that some members of this Order of Toledo were part of the Paris surrealist group, like Buñuel or Dalí himself,” explains Juan Carlos Pantoja, author of The Order of Toledo: imaginary avant-garde walks*.

Pantoja also details that, possibly, there were some precedents to Buñuel's Order of Toledo because "there was already a group of great intellectuals, among whom were Américo Castro, Alfonso Reyes, Antonio García Solalinde or Moreno Villa, who met in Toledo to walk at night and drink wine from 1917 onwards. He details that "they stayed in a rented house on Cárcel del Vicario street, in front of the Cathedral, and they became known as the gathering of El Ventanillo, due to the existence of a small window with views of the Valley. Buñuel says that he got to know Toledo accompanying Solalinde, so we can think that perhaps the Aragonese was at some point in these gatherings and that, from there, the idea of ​​doing something similar arose. Pepín Bello – who left no work, but was a friend to everyone, as gallery owner Guillermo de Osma once commented –, Rafael Alberti, Dalí, María Teresa León and Federico García Lorca and his brother, among others, were part of the Brotherhood created by way improvised by Buñuel that had something of a "poetic act", according to the poet from Cádiz. And the students of the Residence were lovers of Toledo, according to Bello in an interview in 2000:« We took the train from Madrid to Toledo, we traveled in third class and it took us two hours to arrive. We went up from the station and went to drink in the taverns of Zocodover, which was very close to the Posada de la Sangre, to get into the mood a little »

Order of Toledo: drink wine and do not shower

Courtyard of the Blood Inn

Among the rules of the Order of Toledo, and which Buñuel said with his Calanda crudeness, was that of not washing or showering "while the visit in this Holy City lasted." They had to go to Toledo once a year, watch over Cardinal Tavera's tomb, love Toledo above all and, of course, "wander, especially at night, through the wonderful and magical city of the Tagus," according to Alberti. "Those who preferred to go to bed early could not qualify for the rank of knight, little more than the title of squire," explains Buñuel in his autobiography. Furthermore, Pantoja details, "each of the members had to contribute ten pesetas to the common fund for accommodation and food and to go to Toledo as frequently as possible and put themselves in a position to live the most unforgettable experiences." Bello points out, recalling Toledo's adventures in an interview, that "we stayed at the Posada de la Sangre because we were students and it was difficult for us to sleep for just one peseta. Of course, it was a place of dubious cleanliness, where mainly muleteers stopped with their animals. The poet María Teresa León, in her book Memory of Melancholy, also remembered that this inn “had little rooms with just one bed. There, Rafael [Alberti], that night we didn't talk about El Greco, but we did talk about bedbugs. Toledo bedbugs! Toledoan night! I turned on the light. How well Rafael slept with his chest crossed by hundreds of little animals frantically searching for the hiding place of poetry!

Alberti precisely explains in The Lost Grove that "the brothers left the inn when the cathedral clock struck one, a time when all of Toledo seems to narrow, become even more complicated in its ghostly and silent labyrinth" and also relates in detail how He experienced firsthand his initiation into the Order of Toledo, with some fear at not knowing anything about the labyrinthine streets of Toledo.

«We went out into the street, carrying all the brothers, except me, hidden under the jacket, the sleeping sheets, taken out quietly. The poetic act was going to consist of bringing to life an entire theory of ghosts in the atrium and plaza of Santo Domingo el Real. After weaving and unweaving steps between the deep crevices of sleeping Toledo, we ended up at the convent at a moment when its defended windows lit up, filling them with veiled songs and monkish prayers. While the monotonous prayers went on, the brothers, who had left me alone at one end of the square, covered themselves with the sheets, seeming slow and distanced, white and real ghosts from another time. The suggestion and fear that I began to feel were increasing, when suddenly, the dressed visions appeared, shouting at me: 'This way, this way!', sinking into the narrow alleys, leaving me - one of the worst tests I have ever faced. the novices were subjected – abandoned, alone, lost in that frightening winding of Toledo, without knowing where I was and without the possibility of someone showing me the way to the inn, in addition to not finding a single passerby at that point in the night, in Toledo, if they don't inform someone every 30 meters, you can consider yourself lost definitively. At dawn I found the Posada de la Sangre, and I went to sleep, happy with my first adventure as an initiate into the mysteries of the Toledo order,” Alberti recalled years later. Food and comedy at Venta de Aires

Members of the Order of Toledo, at the Venta de Aires

In Toledo, the members of this order ate, explains Buñuel, "almost always in taverns, such as Venta de Aires, on the outskirts, where we always ordered tortilla on horseback - with pork -, a partridge and white wine from Yepes." . There, in this sale, the friends performed for the first time Don Juan Tenorio, by José Zorrilla, dressed in improvised costumes, where we see that Buñuel is dressed as a parish priest, an irreverence with respect to the church and the double standards of its members that We will always see them reflected in their films. «With regard to this, this relationship between artists and religion, Max Aub told the anecdote that while walking through Toledo they found a Virgin in a niche on the street, it could be the one still located on Alfileritos Street, although it is not documented, that Dalí began to pray in a devout and tender manner, but suddenly began spitting at her angrily and insulting her. He went from one thing to another in an incomprehensible way, once again showing off his surrealist thinking," explains Pantoja.

Alberti says that also on the walls of the Venta de Aires, the brothers of the Order had left the mark of their art. «Under the arbor, the patio of our banquet, the main brothers were portrayed in pencil on the whitewash of the wall. Its author, Salvador Dalí, was also among them. Someone told the innkeepers not to whitewash them, that they were worthy works by a famous painter and that they were worth a lot of money. Despite the warning, years later they no longer existed. They had been erased by new owners of the sale," explains the poet. After eating, they returned to Zocodover, always on foot, making "an obligatory stop at the tomb of Cardinal Tavera, sculpted by Berruguete. A few minutes of contemplation in front of the recumbent statue of the cardinal, dead of alabaster, with pale and sunken cheeks, captured by the sculptor one or two hours before the putrefaction began," adds the filmmaker.

Fisticuffs with the cadets of the Military Academy

Upon returning to the old town, the Order even experienced some fights with the cadets of the Toledo Military Infantry Academy, after some of them rudely complimented María Teresa León, an anecdote that she herself tells. «At I don't know what time, just when we were visiting some taverns to balance with so much church, we came face to face with a group of uniformed boys, who turned to me and said: 'Blonde, I would eat you with suit and with everything'. Buñuel rolled up the sleeves of his shirt and when he saw him advance, the boys ran out so as not to commit themselves to Aragon, a region where the insults are harsher. They caught up with them and, after several punches, the cadets were defeated. A neighbor handed us a jug: 'Drink, drink. These cadets always making a fuss!' Meanwhile, she licked her lips with pleasure because the civilians had beaten the military, those boys are always on the hunt for Toledoan girls," León said.

Rafael Alberti and María Teresa León, poets of the Generation of '27 and members of the Order of Toledo

A confrontation with the military that Buñuel also remembers, although in a somewhat less refined way than the poet. The film director explains in his memoirs. «The cadets were really scary. One day we came across two of them and grabbing María Teresa, Alberti's wife, by the arm, they told her: 'How horny you are.' She protests, offended, I go to her defense and knock down the cadets with my fists. Pierre Unik comes to my aid and kicks one of them. There were seven of us and the two of them, we did not boast. We leave and two civil guards who had seen the fight from afar approach, instead of reprimanding us, they advise us to leave Toledo as soon as possible, to avoid the revenge of the cadets. We don't pay attention to them, and for once, nothing happens».

The Order of Toledo in Tristana

This entire Order of Toledo is reflected in Tristana, the film that Buñuel would shoot here in Toledo. Pantoja defends that "he winked at his youthful adventures, with Catherine Deneuve wandering the streets and visiting Cardinal Tavera, and bringing his face closer to him, which is one of the great images of the film." «That Order of Toledo laughed at everything, nothing was taken too seriously. They laughed at art, like the futurists did, who advocated burning museums and libraries, and they did everything, in addition, in a groundbreaking way. Their lives, without a doubt, were pure avant-garde," concludes Pantoja.

* I have scans of this book, I am planning to publish them here on Tumblr on a series of posts

[waltfrasescazadordepalabras]

Un mirlo bajó al almendro: en busca de lo blanco lo negro. Todos vamos con ansia de complemento: si somos tierra, en busca de cielo; si somos aire, en busca de encierro; si somos quietud, en busca de tormento; si somos fuerza, en busca de blando misterio.

(José Moreno Villa)

[bigmacdaddio]

Generation of 27

The Generation of '27 (Spanish: Generación del 27) was an influential group of poets that arose in Spanish literary circles between 1923 and 1927, essentially out of a shared desire to experience and work with avant-garde forms of art and poetry. Their first formal meeting took place in Seville in 1927 to mark the 300th anniversary of the death of the baroque poet Luis de Góngora. Writers and intellectuals paid homage at the Ateneo de Sevilla, which retrospectively became the foundational act of the movement.

Terminology:

The Generation of '27 has also been called, with lesser success, "Generation of the Dictatorship", "Generation of the Republic", "Generation Guillén-Lorca" (Guillén being its oldest author and Lorca its youngest), "Generation of 1925" (average publishing date of the first book of each author), "Generation of Avant-Gardes", "Generation of Friendship", etc. According to Petersen, "generation group" or a "constellation" are better terms which are not so much historically restricted as "generation".

Aesthetic style:

The Generation of '27 cannot be neatly categorized stylistically because of the wide variety of genres and styles cultivated by its members. Some members, such as Jorge Guillén, wrote in a style that has been loosely called jubilant and joyous and celebrated the instant, others, such as Rafael Alberti, underwent a poetic evolution that led him from youthful poetry of a more romantic vein to later politically-engaged verses.

The group tried to bridge the gap between Spanish popular culture and folklore, classical literary tradition and European avant-gardes. It evolved from pure poetry, which emphasized music in poetry, in the vein of Baudelaire, to Futurism, Cubism, Ultraistand Creationism, to become influenced by Surrealism and finally to disperse in interior and exterior exile following the Civil Warand World War II, which are sometimes gathered by historians under the term of the "European Civil War". The Generation of '27 made a frequent use of visionary images, free verses and the so-called impure poetry, supported by Pablo Neruda.

Members:

In a restrictive sense, the Generation of '27 refers to ten authors, Jorge Guillén, Pedro Salinas, Rafael Alberti, Federico García Lorca, Dámaso Alonso, Gerardo Diego, Luis Cernuda, Vicente Aleixandre, Manuel Altolaguirre and Emilio Prados. However, many others were in their orbit, some older authors such as Fernando Villalón, José Moreno Villa or León Felipe, and other younger authors such as Miguel Hernández. Others have been forgotten by the critics, such as Juan Larrea, Pepe Alameda, Mauricio Bacarisse, Juan José Domenchina, José María Hinojosa, José Bergamín or Juan Gil-Albert. There is also the "Other generation of '27", a term coined by José López Rubio, formed by himself and humorist disciples of Ramón Gómez de la Serna, including: Enrique Jardiel Poncela, Edgar Neville, Miguel Mihura and Antonio de Lara, "Tono", writers who would integrate after the Civil War (1936–39) the editing board of La Codorniz.

Furthermore, the Generation of '27, as clearly reflected in the literary press of the period, was not exclusively restricted to poets, including artists such as Luis Buñuel, the caricaturist K-Hito, the surrealist painters Salvador Dalí and Óscar Domínguez, the painter and sculptor Maruja Mallo, as well as Benjamín Palencia, Gregorio Prieto, Manuel Ángeles Ortiz and Gabriel García Maroto, the toreros Ignacio Sánchez Mejías and Jesús Bal y Gay, musicologists and composers belonging to the  Group of Eight, including Bal y Gay, Ernesto Halffter and his brother Rodolfo Halffter, Juan José Mantecón, Julián Bautista, Fernando Remacha, Rosa García Ascot, Salvador Bacarisse and Gustavo Pittaluga. There was also the Catalan Group who presented themselves in 1931 under the name of Grupo de Artistas Catalanes Independientes, including Roberto Gerhard, Baltasar Samper, Manuel Blancafort, Ricard Lamote de Grignon, Eduardo Toldrá and Federico Mompou.

Finally, not all literary works were written in Spanish: Salvador Dalí and Óscar Domínguez also wrote in French. Foreigners such as the Chilean poets Pablo Neruda and Vicente Huidobro, the Argentine writer Jorge Luis Borges, and the Franco-Spanish painter Francis Picabia also shared much with the aesthetics of the Generation of '27.

The Generation of '27 was not exclusively located in Madrid, but rather deployed itself in a geographical constellation which maintained links together. The most important nuclei were in Sevilla, around the Mediodía review, Tenerife around the Gaceta de Arte, and Málaga around the Litoral review. Others members resided in Galicia, Catalonia and Valladolid.

The Tendencies of '27:

The name "Generation of 1927" identifies poets that emerged around 1927, the 300th anniversary of the death of the Baroque poet Luis de Góngora y Argote to whom the poets paid homage. It sparked a brief flash of neo-Gongorism by outstanding poets like Rafael Alberti, Vicente Aleixandre, Dámaso Alonso, Luis Cernuda, Gerardo Diego and Federico García Lorca.

Spanish Civil War aftermath:

The Spanish Civil War ended the movement: García Lorca was murdered, Miguel Hernandez died in jail and other writers (Rafael Alberti, Jose Bergamin, León Felipe, Luis Cernuda, Pedro Salinas, Juan Ramón Jiménez, Bacarisse) were forced into exile, although virtually all kept writing and publishing late throughout the 20th century.

Dámaso Alonso and Gerardo Diego were among those who reluctantly remained in Spain after the Francoists won and more or less reached agreements with the new authoritarian and traditionalist regime or even openly supported it, in the case of Diego. They evolved a lot, combining tradition and avant-garde, and mixing many different themes, from toreo to music to religious and existentialist disquiets, landscapes, etc. Others, such as Vicente Aleixandre and Juan Gil-Albert, simply ignored the new regime, taking the path of interior exile and guiding a new generation of poets.

However, for many Spaniards the harsh reality of Francoist Spain and its reactionary nature meant that the cerebral and aesthetic verses of the Generation of '27 did not connect with what was truly happening, a task that was handled more capably by the poets of the Generation of '50 and the social poets.

Statue:

A statue dedicated to the Generation 27 Poets is now in Seville in Spain. The inscription on the monument translates as 'Seville The poets of the Generation of 27'

List of members[edit]

Rafael Alberti (1902–1999)

Vicente Aleixandre (1898–1984)

Amado Alonso (1897–1952)

Dámaso Alonso (1898–1990)

Manuel Altolaguirre (1905–1959)

Francisco Ayala (1906–2009)

Mauricio Bacarisse (1895–1931)

José Bello (1904–2008)

Rogelio Buendía (1891–1969)

Alejandro Casona (1903–1965)

Juan Cazador (1899–1956)

Luis Cernuda (1902–1963)

Juan Chabás (1900–1954)

Ernestina de Champourcín (1905–1999)

Gerardo Diego (1896–1987)

Juan José Domenchina (1898–1959)

Antonio Espina (1894–1972)

Agustín Espinosa (1897–1939)

León Felipe (1884–1968)

Agustín de Foxá (1903–1959)

Pedro García Cabrera (1905–1981)

Federico García Lorca (1898–1936)

Pedro Garfias (1901–1967)

Juan Gil-Albert (1904–1994)

Ernesto Giménez Caballero (1899–1988)

Jorge Guillén (1893–1984)

Emeterio Gutiérrez Albelo (1905–1937)

Miguel Hernández (1910–1942)

José María Hinojosa (1904–1936)

Enrique Jardiel Poncela (1901–1952)

Rafael Laffón (1895–1978)

Antonio de Lara (1896–1978)

Juan Larrea (1895–1980)

José López Rubio (1903–1996)

José María Luelmo (1904–1991)

Francisco Madrid (1900–1952)

Paulino Masip (1899–1963)

Concha Méndez (1898–1986)

Miguel Mihura (1905–1977)

Edgar Neville (1899–1967)

Antonio Oliver (1903–1968)

Pedro Pérez-Clotet (1902–1966)

Rafael Porlán (1899–1945)

Emilio Prados (1899–1962)

Joaquín Romero Murube (1904–1969)

Pedro Salinas (1891–1951)

Guillermo de Torre (1900–1971)

José María Souvirón (1904–1973)

Miguel Valdivieso (1897–1966)

Fernando Villalón (1881–1930)

[claudiosuenaga]

O bizarro caso dos anões que queriam comer os bolos de Geni Lisboa I Clássicos Ufológicos Esquecidos

Por Cláudio Suenaga

O caso da boleira Geni Lisboa, um dos mais bizarros e exóticos da ufologia, está completando 50 anos. Na madrugada de domingo, 27 de maio de 1973, Geni preparava bolos de casamento por encomenda em sua casa em São José do Rio Preto, cidade na fronteira noroeste do estado de São Paulo, quando foi assediada por três anões morenos, parecidos com crianças asiáticas, que de bordo de um disco voador a atingiram com fachos de luz que a deixaram com muitas dores nos membros inferiores, especialmente nas articulações dos joelhos e nas regiões ilíaco-femurais.

O engenheiro José Wilson Ribeiro e o médico e ufólogo Walter Karl Bühler pesquisaram o caso in loco e apuraram que em decorrência do contato, Geni teve a sua saúde tremendamente abalada, tendo até sofrido um prolapso uterino. Um coqueiro anão e uma jabuticabeira do quintal também foram afetados. Você irá conhecer todos os detalhes deste caso clássico e esquecido da ufologia neste vídeo.

Torne-se o meu patrono no Patreon e tenha acesso a esta matéria completa bem como a dezenas de conteúdos exclusivos: https://www.patreon.com/posts/os-50-anos-do-os-82811035

🎬 Seja membro deste Canal e receba benefícios: https://www.youtube.com/ClaudioSuenaga/join

Vamos migrar em massa para o Rumble! Inscreva-se por lá no meu canal: https://rumble.com/c/ClaudioSuenaga

Registre-se aqui: https://rumble.com/register/suenaga/

Site Oficial: https://claudiosuenaga.yolasite.com

Leia e baixe aqui todos os meus trabalhos gratuitamente: https://suenagadownloads.yolasite.com/

Blog Oficial: https://www.claudiosuenaga.com.br/ ou https://lastdrinkinthedesertofthereal.tumblr.com/

Medium: https://medium.com/@helpsuenaga

Facebook (perfil): https://www.facebook.com/ctsuenaga

Facebook (página Expondo a Matrix): https://www.facebook.com/clasuenaga

Instagram: https://www.instagram.com/claudiosuenaga

Pinterest: https://br.pinterest.com/claudiosuenaga

Twitter: https://twitter.com/suenaga_claudio

GETTR: https://gettr.com/user/suenaga

E-mail: claudiosuenaga@mail.com

✅ Adquira "Encuentros cercanos de todo tipo. El caso Villas Boas y otras abducciones íntimas", meu primeiro livro traduzido em espanhol, na Amazon:

Amazon.com (envios a todo o mundo desde os EUA): https://amzn.to/3Lh93Lb Amazon.es (envios a todo o mundo desde a Espanha): https://amzn.to/3LlMtBn Amazon.co.uk (envios dentro do Reino Unido): https://www.amazon.co.uk/-/es/Cl%C3%A1udio-Tsuyoshi-Suenaga/dp/B0BW344XF1/ Amazon.de (envios dentro da Alemanha): https://www.amazon.de/-/es/Cl%C3%A1udio-Tsuyoshi-Suenaga/dp/B0BW344XF1/ Amazon.fr (envios dentro da França): https://www.amazon.fr/-/es/Cl%C3%A1udio-Tsuyoshi-Suenaga/dp/B0BW344XF1/ Amazon.it (envios dentro da Itália): https://www.amazon.it/-/es/Cl%C3%A1udio-Tsuyoshi-Suenaga/dp/B0BW344XF1/ Amazon.co.jp (envios dentro do Japão): https://www.amazon.co.jp/-/es/Cl%C3%A1udio-Tsuyoshi-Suenaga/dp/B0BW344XF1/

Adquira aqui meu livro "As Raízes Hebraicas da Terra do Sol Nascente: O Povo Japonês Seria uma das Dez Tribos Perdidas de Israel?" https://www.lojaenigmas.com.br/pre-venda-as-raizes-hebraicas-da-terra-do-sol-nascente-o-povo-japones-seria-uma-das-dez-tribos-perdidas-de-israel

[spectaculardistractions]

To José Rubia Barcia Mexico City, 12 December 1947 Dear Mr Barcia (don José Rubia), Is Evita suffering from the cold? Are her feet freezing in Sears? I remember just how cold she got at Big Bear Lake, and with the Christmas chills setting in… I remember that Hollywood era with so much nostalgia. I’m sorry, but I did have a wonderful time. It’s two years now since you and I were immersed in the search for gory details for the infamous Umbral script. I’ll say more about that later. Your letter sounded more optimistic than your previous ones. I think it was absolutely the right thing to accept the teaching position. For all of its shortcomings, it’s more desirable and far more dignified than traipsing around the studios looking for work as an artistic director. For that takes qualities which, fortunately, you lack, such as being a little shameless, very sycophantic, more than a bit pushy, something of a backstabber, and a touch illiterate and dim. Above all, your current occupation is the most favourable for you to write your own things (which you should publish). I am at your service as your Mexican agent. I will take them personally wherever you wish after reading them myself. My respectable family and I are getting along just fine and without work since April. If I’m still surviving it is only thanks to my credit with a few friends and with my mother. The sale of Nazarín, which I arranged to be paid in Spain, brought in 13,000 pesos here, of which I’m still owed 4,000. What incredible unreliability! I live a very frugal life and hardly see any friends. Moreno Villa spends a couple of afternoons a week with us. And I occasionally favour Custodio the ‘great’ critic with my conversation. Juan Larrea, lost as always in his prophetic-theological-poetical dreams, is more difficult to catch up with. He is in New York momentarily. He published a wonderful book over there, in English, called Guernica. Ugarte was fired from CLASA because of the crisis. And as for the family, Jeanne dreaming of France and Spain, Juan Luis pining for Hollywood with a genuinely obsessive passion (he’s 100 per cent gringo). And the little one, of course, has adapted to life here. Dubbing has begun, with Azcárraga in charge of one half and Dancigers in charge of the other; in other words, two each that will add up to 15 each if they pass the test. They have sent a supervisor from Metro and two directors, Ramírez and Ortigosa, for whom the union has arranged a special Dubbing Directors branch. I’ve given two talks on dubbing techniques there, but I’m in no way involved in the work itself. Custodio, whom I recommended to Oscar, is doing a stint as a jobbing writer and seems to be doing OK. Shall I tell you something? If I had to choose between stultifying dubbing work in Mexico and lecturing in Los Angeles, I would definitely choose the latter. No hesitation. Although need may tempt us to stupid things, I’ve declined to make more Gran Casinos. Although to be honest, I was only offered one option to make a series called Soledad, which has just come out. It starts out rather grey and neutral, like the aforementioned film, then turns into a real Salvador or Moraita… I still have some standards. Now, I shall briefly outline my plans and possibilities: 1) Nazarín. Pancho made me wait five months and in the end, he couldn’t raise all the money (600,000 pesos). He’s passed it on to Ramex. The managing director wants to make it with me. We’ll begin in January… if RKO doesn’t slam the door on production over here, which is not impossible. We’ll know by the end of the year. 2) Umbral. Ramex also wants to make this with me, after Nazarín, although they’ll sign contracts for both at the same time. Noriega loves the story. I think I’ll be able to get us $1,500 each. We’ll have to wait until the end of the year. 3) With Dancigers. My mother is going to send me 50,000 pesos I will then use to go into co-production with Oscar. We’re going to make a really commercial film, Los sobrinos del capitán Grant maybe, using a new technique I’m going to introduce over here that will mean I can film the whole thing in seven days. As you can see, a lot of maybes but no certainties. Not even the loan from my mother. How to get 30,000 pesetas out of Spain these days? Without being a businessman or a requin industriel it is very difficult. But we’ll give it a go. To bring this long missive to a close, I’ll tell you that, unfortunately, my attempt to sue Warner Brothers has failed. The only plagiarism we could prove was the beginning of the scene. All the rest, the use of slow motion, the climbing hand, etc., etc., I suggested to Florey after I had written the sequence. Ideas that popped up that I would share with him when we were working together. Regards to all Evita’s hospitable and lovely relatives, particularly her parents, and for her and you, very much love, Buñuel

Jo Evans & Breixo Viejo, Luis Buñuel: A Life in Letters

[bogotamusicvideofestival]

// Bogotá Music Video Festival // Selección Oficial 2024 //

Panorama Nacional

Ali AKA Mind - La Ansiedad Y Yo (David Moreno)

Alpes De Blanco A Negativo - Memorabilia (Erik Alexander Orozco Gañán)

Ami Rodríguez, Luna Hernández - Travesía (Óscar Otero)

Animal Blanco - Carcaj De Flechas Blancas (Cintia Obando)

Anny - Flores Amarillas (Brayan Rubiano)

Asylenn - En el Umbral (Juan Meza)

Beatzarro Fernández - Pan De Dios (Joan Sebastian Gallo Hincapie)

Buendía & Guarachan Brothers - Si Nos Queremos Tanto (Álvaro D. Ruiz)

Cacao Munch - Tiempo (Carlos Toro Egas)

Carrera Séptima - Septimazo (Santiago Muñoz)

COBO - Ruleta (Daniela Duque)

Cosmology X Ft. Pepa Lopera - Gnomo Psicotrópico (Johanna Parra)

Dani Medias Rotas - Josefina (Ángel Jesús Hurtado)

David Oli - El Tiempo Nos Pesa (Sebastián Prada)

Deglorian - El Placer De Lo Oculto (Andrés C. Rivera)

Espíritus Afines - Antes Del Eclipse (Juliana Andrea Acevedo Ruiz)

Fatima Push - Amigo And Tempest (Mateo Chaves & Camilo Báez)

Fausto Rodríguez - Margarita (David Lozada)

Flor De Jamaica - Quisiera (Randazzo)

Flor De Lava - El Velo Se Cayó (Rodrigo Borda)

Garajes - Transgresión (Gabriel Toro)

Irepelusa - Los Domingos La Paso Solita (Nano Carulla)

Irepelusa x Esteman - Te Amé Temprano (Nano Carulla)

John Arango - Rojo Carmesí (John Arango)

Juan Diego Triviño & Anamaría Laroc - Cohete (El Juanpa)

Karonte - Fuego Por Bemba (Thomas Mejía)

Kevin Jurado X LEEB X Hidd Sage - Superposición Cuántica (David Moncayo)

Lacerta - Una Vuelta (Álvaro José Cogollos)

LaChiki Y Su Mala Reputación - Del Timbo Al Tambo (Vladimir Goraldo & Jorge Zárate)

Las Villa - Fanática Sensual (Diego Ante)

Laura Kalop, Andrea Echeverri - Ay, Mujer (Sergio Mantilla & Manuel Velásquez)

Laura Pérez - Dementes (Mariana Sánchez)

Lilo Lara - Rola Caliente (Amarilla Ávila)

Locotina - Salgo a Buscarte (Edward Gómez Granada)

Los Hermanos De Nadie - El Murmullo De Un Muerto (Los Hermanos De Nadie & CunturFfilms)

Malva - Raso en la Jungla (Stiven Pinzón)

Maria McCausland - Todo Pasa (Hugo Rubiano)

Mario Y Sus Modales - No Sé Soltar (Sebastián Prada)

Mauricio Meyes - TLTEM (Pablo Escallón Barrios)

Mc Ari & El Arkeólogo ft. Noé Castilla - Jazmín (Jeisson Gómez)

Nicolás Díaz Lucas - A Las 6 (Kim Arévalo)

Nucleonics - Drop The Bomb (Laura Mosquera)

Palto, El Elegido - Ser Semilla (Julián Andrés Gómez Reyes)

Proyecto Humo - Te voy a matar + El caso 003478 (Iska Emilio Lozano)

Residente & Wos - Problema Cabrón (Alejandro Pedroza)

Señor Ledesma - Tú (Alexis Ledesma)

También Conocidos Como - Plataformas (Carlos Prías)

Tu Rockcito y Paula Rios Ft. Christian Camilo Peña - Pato Vallenato (William Rivera y Andrea Peralta)

Una Espeletia - Firmecito (Justin Olivares)

Unidad Ideológica - Bloqueo Mental (Ana González)

UNIO - Capucha Y Poesía (Julián Baraya)

Victoria Sur - Ojalá Nos Crucemos Otra Vez (Leo Carreño)

[torosytoreros6]

Galería: Así vio Muriel Feiner… La Corrida Concurso de Ganaderías en Las Ventas

Galería: Así vio Muriel Feiner el 54º festejo de la temporada 2024 de la Monumental Plaza de Las Ventas en lo que ha sido el 2º de la Feria de Otoño celebrado este Domingo 29 de Septiembre. Se han lidiado novillos en este orden de: José González, Excma Condessa de Sobral, Guerrero y Carpintero, Quintas, Baltasar Ibán y Ángel Luis Peña. para  Juan José Villa Villita, Jesús Moreno y Diego…

[semtituloh]

Vía Filatelia, por el gusto de coleccionar

Efemérides Filatélicas.

El Fondo de Cultura Económica fue fundado el 3 de septiembre de 1934 por el genio y la inventiva de Daniel Cosío Villegas.

La vocación inicial de esta editorial se centró en publicar exclusivamente textos de economía destinados a los estudiantes de educación superior.

El autor del emblemático logotipo del FCE es José Moreno Villa, poeta y escritor nacido en Málaga en 1887 y muerto en México en 1955.

El Fondo ha publicado más de 10,000 obras, de las cuales cerca de 5000 se mantienen en circulación, y cuenta con un catálogo electrónico de más de 2000 títulos.

Actualmente el Fondo de Cultura Económica tiene presencia en Argentina, Chile, Colombia, Ecuador, Guatemala, Perú, España y Estados Unidos.

Foto 1: México 1984.

50 Aniversario del Fondo de Cultura Económica.

Estampilla impresa por huecograbado en papel sin marca de agua.

Valor facial: $14.00

Perforación: 14¼ x 14.

Medidas: 24 x 40 mm.

Scott #1360

Foto 2: México 2004.

70 Aniversario del Fondo de Cultura Económica.

Valor facial: $8.50

"Amigos de la Filatelia", Francisco Muñoz.

Gracias por acompañarnos en esta emocionante travesía a través del tiempo, del mundo y del correo. 🌍✈️📮📬

#Filatelia #HistoriaPostal #SellosAntiguos #Coleccionismo #PostalesVintage #Sellos #SellosPostales #Correos #TesorosDelPasado #AmantesDeLaFilatelia #FilateliaPorElGustoDeColeccionar #Sellos #Postales

[ulkaralakbarova]

Island farmer Banana Joe helps the local community by trading his bananas for goods. When gangsters arrive with plans to construct a banana processing plant, Joe kicks them out, but the mob boss discovers that Joe is operating without a license. After the mob tips off the authorities and Joe’s boat is impounded, he ventures into a big city for the first time to seek help. Credits: TheMovieDb. Film Cast: Banana Joe: Bud Spencer Dorianne: Marina Langner Juan Villas: Mario Scarpetta Torquillo: Gianfranco Barra Ing. Moreno: Enzo Garinei Schneider: Gunther Philipp José Félipe María Marquíno: Giorgio Bracardi Werbeansagerin: Gisela Hahn Carlo Torcillo’s Truck Driver: Nello Pazzafini Capitan (Polizei): Carlo Reali Pedro, der Polizist: Salvatore Basile Direktor der Bar: Edy Biagetti Torcillo’s Schläger: Giovanni Cianfriglia Torcillo’s Schläger: Benito Pacifico Torcillo’s Schläger: Sergio Smacchi Torcillo’s Schläger: Marcello Verziera Sergio (uncredited): James Ordonez Hitman (uncredited): Claudio Pacifico Film Crew: Producer: Josi W. Konski Editor: Raimondo Crociani Screenplay: Steno Screenplay: Bruno Corbucci Cinematography: Luigi Kuveiller Screenplay: Mario Amendola Screenplay: Bud Spencer Original Music Composer: Guido De Angelis Original Music Composer: Maurizio De Angelis Production Design: Francesco Bronzi Special Effects Supervisor: Dino Galiano Costume Design: Luciano Sagoni Additional Writing: Gunther Philipp Assistant Director: Massimo Carocci Production Manager: Vittorio Galiano Production Manager: Maurizio Pastrovich Producer: Karl Spiehs Assistant Director Trainee: Enrico Mastracchi Manes Movie Reviews:

[denorteanorte]

Cine al Aire Libre llega a Villa Adelina

El municipio de San Isidro, junto a la Fundación Cinemateca Argentina (FCA), realizará el ciclo gratuito “Cine al aire libre”. Se llevará a cabo hoy viernes 16 y mañana sábado 17, a las 21, en el parque público de Villa Adelina (José María Moreno 1189, altura Colombres). Se proyectarán dos películas aptas para todo público y dobladas al español. Además, habrá food trucks con ofertas…

[yoestuveaquiunavezfrases21]

1087- Un mirlo bajó al almendro: en busca de lo blanco lo negro. Todos vamos con ansia de complemento: si somos tierra, en busca de cielo; si somos aire, en busca de encierro; si somos quietud, en busca de tormento; si somos fuerza, en busca de blando misterio.

(José Moreno Villa)

[docpiplup]

Photos of the Order of Toledo (1/8)

@asongofstarkandtargaryen

I'll be publishing the photos I used in the collages, there are like 75, so it will take serveral posts.

This first post contains photos of some of the members of the Order, some of them are known that were took in Toledo although there are a couple that maybe are from other places.

Lorca: *Me and the guys going to Toledo*

[charrovirtual]

Preparan apertura de Escuela de Charrería, en Villa Unión

Jesús Francisco Mariscal Osuna y Brinci Flores Villela serán los instructores RAFAEL MORENO | 09/09/2023 VILLA UNIÓN._ A mediados de este mes o principios de octubre entrante abrirá la Escuela de Charrería “José Carlos Mariscal” del profesor Jesús Francisco Mariscal Osuna, en la Secundaria Octavio Paz Lozano de Villa Unión. La invitación está abierta para todos los que deseen aprender esta…

[3gnoticias]

Se define la selección chihuahuense en ciclismo de pista

  ·        16 ciclistas lograron su pase al Macro Regional

 El fin de semana del 28 al 29 de enero en Ciudad Juárez se llevaron a cabo los Juegos Estatales CONADE 2023, recibiendo a los participantes en ciclismo en modalidad de pista.

La pista de Don Rayo fue sede para la modalidad de grupo y contrareloj, en tanto que la ciclopista Pablo Darancou albergó las pruebas de pista.

Cerca de 30 ciclistas compitieron en la categoría Juvenil A, Juvenil B y Juvenil C, Varonil y Femenil, con distancias de un kilómetro, 500 y 250 metros para la categoría A

Enseguida se desarrollaron las persecuciones de 4,000, 3,000 y 2,000 metros, además de un lanzado de 200 metros, para la clasificación de 16 deportistas.

Los ciclistas clasificados en la modalidad de pista son: Camila Salas, Yaretzi Aguirre, Iván Amezaga Rangel, Minerva Villa, Javier Isaac Velador Moreno, Gibrán Antonio Yáñez Juárez, Luis Monserrat Santiago Pérez Pérez, Emiliano Guerra y José Carlos Reza.

 De igual manera, lograron su pase al Macro Regional, Matthew Calderón Campos, Diego Carmona Álvarez Ruiz, Raúl De los Reyes, Roberto Antillón Gutiérrez, Claudia Salas Gutiérrez, Xiomara Hinojosa y Minerva Bustamante Gómez.

[ma-pi-ma]

Guarda, filmaiola Giacinta, osserva bene che cos'ha per naso l'elefante. Guarda di che abbiamo bisogno per sederci; guarda l'enorme casa di ciò che chiamiamo il re. Guarda questo dormire e poi alzarsi, ridormire e rialzarsi; guarda l'uomo e la donna che concertano di non separarsi mai; osserva le canaglie, signori del nostro globo; osserva come il tenero fiore nasce dalla dura terra, osserva come dal legno degli alberi nascono profumati commestibili. Osserva come dal cielo puro ci giungono acqua, fulmini, luce, freddo, calore, pietre, nevi. Assurdità e mistero in ogni cosa, Giacinta.

José Moreno Villa, Osservazioni con Giacinta

[spectaculardistractions]

To José Rubia Barcia Mexico City, 5 April 1949 Dear Barcia, Your letter arrived yesterday and I’ve no choice but to celebrate your wonderful news with enormous congratulations by return post! Bear hugs for Evita and her ‘legal spouse’ on the soon-to-be happy arrival of the little one I’m already sure will be a boy. And – in all modesty! – I never get this kind of prediction wrong. You’ll see. I hope everything goes wonderfully well and that you’ll let me know the result. As soon as you send your article on Valle-Inclán I’ll pass it on to Larrea. As you know, Cuadernos Americanos’s policy is to publish content related to, or that contributes in some way to promoting the concept of ‘America’, so it would probably be a good idea, even if you just smuggle in a few lines, to relate your work to that aforementioned and well-worn notion. I’m saying this, because they may have turned down your first article because it was entirely objective and literary with no passing reference even to the dismal ‘civilization of corn’. Juan Larrea, America’s prophet and a first-rate heretic, puts all his tenacious fanaticism, which is no small thing, into guiding the journal in that direction. Send me the article soon, I will read it closely and can guarantee its publication if you adapt it loosely along those guidelines. I shall now sum up the last year and a half that I have spent completely inactive. Even at this time of cinematic crisis, I was determined not to direct any more stupid films. All my major projects – more than ten of them – failed miserably. It would be painful to recount the hard times I’ve had. In the end I signed a contract in February, which is what I’m living on now, to make one of my kind of films. It’s based entirely on Juvenile Court cases and on files from the Clínica de la conducta. The parts will be played by real Mexican children from the lumpen-proletariat, and I’m aiming to shoot it on location. I’m going to make sure it’s not like any film on this theme anywhere in the world. It will be more documentary and less literary. I was supposed to start in July, but because of the difficulties associated with the subject, we’re going to wait until October and make a Simenon film in the meantime, which actually looks quite interesting. I’m working for Ultramar and Águila Films (a Menasce-Dancigers joint venture). In short, business seems finally about to march ahead… with me leading. I’m still completely isolated from the parties, cabarets, etc. of the sordid little film world down here. My parties are always at friends’ houses, or better still my own. The guests: León Felipe, Larrea, Imaz, Moreno Villa, Mantecón and the occasional meeting and evening meal with Álvaro Custodio, the great film critic. I also see Gual and the Catalans from the Banco Comercial de la Propiedad, who are all cheerful and easy-going. And that’s the extent of my social life. What are your views on the state of the world? Perhaps better not even to broach a subject we could discuss for hours on end. And when will we be able to do that? I envy your university position and congratulate you on the Assistant Professor thing. I don’t know if it’s my age or just a longing for peace, but I’m strongly attracted to the idea of a fixed job, something like yours, that does not completely rule out doing other things. Still, I shall stay here, tethered to the hard bench of my Mexican film galley. Warm regards to the Rolfes. Why don’t they come to Mexico? And to Jay Leyda. Do you ever see him? I think I heard, or read rather, in one of your letters that you do. Very fond regards, to Evita’s parents first of all, and then to the rest of the clan, and to you both, the friendliest possible wishes from, L. Buñuel [PS] Dear Evita, I’m delighted to hear you’ll soon have a baby, but I hope it will be a girl because they are sweeter and better behaved. We are all fine here, but the boys prefer Los Angeles. We eat more chillies and tortillas than the Mexicans and I’m sure my tamales and enchiladas could now compete with your mother’s. Best wishes to your family and a big hug to you both from, Jeanne

Jo Evans & Breixo Viejo, Luis Buñuel: A Life in Letters