#latinos en philadelphia

[trastornadosrevista]

CA7RIEL & Paco Amoroso confirma su primera gira por Estados Unidos.

El mundo entero está con ganas de más CA7RIEL & Paco Amoroso, y ellos no podrían estar más listos. A punto de comenzar la etapa europea a puro sold-out del tour, llega la confirmación más esperada: la gira de BAÑO MARÍA suma 24 fechas confirmadas para 2025, pasando por Argentina, México, Chile, Brasil, Colombia,  Guatemala, República Dominicana, Costa Rica y El Salvador,  así como su primer tour por Estados Unidos, con paradas en 9 ciudades y 6 estados.

Mientras CA7RIEL & Paco Amoroso atraviesan una serie de cinco shows en México y se preparan para cerrar el año en Europa en un segmento histórico para su trayectoria —con localidades totalmente agotadas incluso tras agregar nuevas fechas y cambiar a venues más grandes— no hay tiempo para frenar a dimensionar un hito que ya pasan al siguiente. La dupla del momento se lleva bien con estar en la cresta de la ola y ahora confirma nada menos que 24 fechas para 2025, incluyendo shows en Argentina, México, Chile, Brasil, Colombia,  Guatemala, República Dominicana, Costa Rica y El Salvador, así como su primera gira completa por Estados Unidos, donde su público crece al ritmo viral de la sesión que grabaron para Tiny Desk.

El hito de BAÑO MARÍA, su primer disco de estudio juntos, logró captar la esencia que CA7RIEL & Paco Amoroso venían cocinando en sus singles desde 2018, y el efecto dominó que despertó ese material que ya tiene estatus de clásico contemporáneo los encuentra protagonizando un momento de expansión sin límites.

Luego de una presentación histórica en el Estadio Movistar Arena de Buenos Aires que fue el puntapié inicial de la gira, estaba claro para todos los presentes que pasaba algo fuera de lo común, algo que el mundo tenía que ver. Con las fechas de la gira y sobre todo con su sesión en Tiny Desk –que llegó a la marca de las 5 millones de visualizaciones en 10 días–, todos los ojos se posaron sobre esta dupla que encontró un sonido mutante en lo que llaman “música degenerada” porque no acata géneros. Beben en las aguas del trap, del pop, usan beats de música electrónica, tienen guiños a ritmos latinos y arreglos grooveros que terminan de atar sus combinaciones a la perfección para darles un sello personal e irrepetible.

En 2025 seguirán acumulando kilómetros recorridos para subirse a escenarios de importantísimos festivales como Lollapalooza (fueron convocados para las ediciones de Argentina y Chile), Bahidorá, Portamérica Latitudes, Axe Ceremonia, Isle of Light, Tecate Pal Norte o Estéreo Picnic; así como para llegar a nuevos destinos y venues emblemáticos como Bowery Ballroom de Nueva York, el Museo Marte de San Salvador, o el Union Stage de Washington DC. Su paso por los Estados Unidos incluye 9 fechas confirmadas en ciudades de 6 estados: Philadelphia, Nueva York, Washington, Atlanta, Orlando, Miami, Dallas, Houston y San Antonio.

Yin y yang de un proyecto lleno de desborde que logra un equilibrio como por arte de magia, más que nunca hay que seguirles el rastro a CA7RIEL & Paco Amoroso que, a este ritmo, ya deben estar tramando próximas novedades.

Las venta de entradas para esté tour contará con 3 instancias. En primer lugar una preventa de artista (20/11) a través de una contraseña que será comunicada por la cuenta de los artistas para aquellos fanáticos que los siguen de cerca. Luego habrá una preventa local (21/11) conducida por cada promotor y, finalmente, una venta general (22/11). Todas las instancias estarán disponibles a partir de las 10:00 AM horario local en sus respectivos días..

BAÑO MARÍA - TOUR 2025

1/2/25 - Corrientes, AR @ Playón de Boca Unidos 14/2/25 - Las Estacas, MX @ Bahidorá 16/2/25 - Córdoba, AR @ Cosquin Rock 1/3/25 - Guadalajara, MX @ Portamérica Latitudes 2/3/25 - León, MX @ TBA 5/3/25 - Puebla, MX @ Auditorio Explanada 6/3/25 - Guatemala City, GT @ Alianza Francesa 8/3/25 - San Salvador, SV @ Museo Marte 9/3/25 -  San José, CR @ Mercado La California 15/3/25 - Santo Domingo, RD @ Isle Of Light 21/3/25 - Buenos Aires, AR @ Lollapalooza 22/3/25 - Santiago de Chile, CL @ Lollapalooza 29/3/25 - Bogotá, CO @ Estéreo Picnic 30/3/25 - São Paulo, BR @ TBA 4/4/25 - Monterrey, MX @ Tecate Pal Norte 6/4/25 - Mexico City, MX @ Axe Ceremonia 21/4/25 - Philadelphia, PA, USA @ The Foundry 23/4/25 - New York, NY, USA @ Bowery Ballroom 25/4/25 - Washington, DC, USA @ Union Stage 27/4/25 - Atlanta, GA, USA @ Masquerade 30/4/25 - Orlando, FL, USA @ The Social  1/5/25 - Miami, FL, USA @ North Beach Bandshell 4/5/25 - Dallas, TX, USA @ Trees  5/5/25 - Houston, TX, USA @ White Oak Music Hall  6/5/25 - San Antonio, TX, USA @ Paper Tiger

[seattleescribe]

Título: Escritura de monstruos latinos

Descripción. ¡Ven a escribir monstruos latinoamericanos! Desde pequeños nos han contados historias como las de la Llorona y el Chupacabras. En este taller vamos a poder indagar en los monstruos que nos rodean, tanto físicos como metafóricos.

bio: Ofelia Montelongo es una escritora mexicana. Estudió contabilidad y finanzas, inglés y escritura creativa. Cuenta con una maestría en negocios y otra en literatura de la Universidad de Maryland. Sus historias han sido publicadas en The Rumpus, Los Acentos Review, Rio Grande Review, Latino Book Review, entre otras. Actualmente imparte clases en la Universidad de Maryland. Es escritora residente para PEN/Faulkner en Washington, D.C., Macondista y fellow de PEN America. ofeliamontelongo.com

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Meeting ID: 971 3424 9310

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sábado 27 abr 2024 ⋅ 12pm – 2pm (Hora del Pacífico - Los Ángeles)

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[diarioelpepazo]

MLB Network dio a conocer su listado de los mejores caretas de las Grandes Ligas entre los cuales están los venezolanos Gabriel Moreno y los hermanos Willson y Wil [caption id="attachment_99666" align="aligncenter" width="1024"] Willson y William Contreras. Foto Cortesía[/caption] Humberto Mendoza Cada vez estamos más cerca para vivir la emoción de una nueva temporada en las Grandes Ligas. Los organizaciones ya comienzan a definir sus figuras previo al inicio de los entrenamientos primaverales. Previo al arranque de la campaña 2024, MLB Network está dando a conocer a los mejores jugadores en sus respectivas posiciones. El pasado martes anunciaron a los mejores lanzadores de Las Mayores y este miércoles realizaron el Top 10 de los receptores más destacados de la actualidad, donde Venezuela dice presente con una importantes camada de peloteros que figuran detrás del plato. Top 10 de los mejores receptores de Las Mayores Según la cadena televisiva estadounidense, Adley Rutschman de los Orioles de Baltimore se posiciona como el mejor cátcher, antes del inicio de la temporada 2024. Por su parte, Will Smith (Los Ángeles Dodgers) y Sean Murphy (Atlanta Braves) completan el podio del listado. En el Top 10, William y Willson Contreras destacan en la selecta de los mejores carera con el quinta y sexto casilla, respectivamente. De igual manera, Gabriel Moreno, quien llegó a la Serie Mundial con los Cascabeles de Arizona en 2023, ocupa el décimo peldaño. Además de eso, cinco receptores latinos figuran entre los 10 mejores. El mexicano Alejandro Kirk (Toronto Blue Jays) y el dominicano Yainer Díaz (Houston Astros) se encuentran en el séptimo y octavo lugar. Llama la atención que dentro de los primeros 10 receptores no está incluido Salvador Pérez, quien viene de una temporada respetable con 23 cuadrangulares, 80 producidas y apenas un error en 738.1 entradas laboradas detrás del plato con los Reales de Kansas City. Lista completa: 1. Adley Rutschman (Orioles de Baltimore) 2. Will Smith (Los Ángeles Dodgers) 3. Sean Murphy (Atlanta Braves) 4. J.T. Realmuto (Philadelphia Phillies) 5. William Contreras (Milwaukee Brewers) 6. Willson Contreras (St. Louis Cardinals) 7. Alejandro Kirk (Toronto Blue Jays) 8. Yainer Díaz (Houston Astros) 9. Cal Raleigh (Seattle Mariners) 10. Gabriel Moreno (Arizona Diamondbacks) Para recibir en tu celular esta y otras informaciones, únete a nuestras redes sociales, síguenos en Instagram, Twitter y Facebook como @DiarioElPepazo El Pepazo/Meridiano

[wingedchildtiger]

Philadelphia shooting

A 40-year-old suspect is in custody after a shooting in southwestern Philadelphia left four people dead and two others injured Monday evening, police said.

The latest: Philadelphia Police Commissioner Danielle Outlaw said at a news conference late Monday the suspect was armed with a semiautomatic rifle and that the two wounded victims were boys, ages 2 and 13.

The big picture: The shooting happened about 8:30pm in the Kingsessing neighborhood of Philadelphia. Police initially said eight people were shot.

Outlaw said police pursued the suspect on foot while he was shooting and when he surrendered in an alley he was "wearing a bulletproof vest with multiple magazines in the vest." He had a handgun in addition to the "AR-style rifle" and a police scanner, per Outlaw. Another person whom Outlaw said picked up a firearm and returned fire was also taken into custody. All of the victims were male and three of those killed were 20, 22 and 59 years old, Outlaw said. The age of the fourth person killed was not immediately confirmed but he was believed to be aged between 16 and 21, according to Outlaw. What we're watching: Police were still trying to determine a motive for the shooting.

What they're saying: "Horrified by the reports of a shooting in Southwest Philadelphia," Philadelphia Mayor Jim Kenney tweeted.

"My heart is with the loved ones and families of everyone involved, and I send my prayers to the victims," he added. "This devastating violence must stop." The big picture: At least 339 mass shootings have occurred in the U.S. so far this year, per the Gun Violence Archive. It defines a mass shooting as a situation in which at least four people are shot and either injured or killed, not including the shooter.

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PHILADELPHIA (AP) — A gunman wearing a bulletproof vest opened fire on the streets of Philadelphia on Monday night, killing four people and wounding two boys in the latest outbreak of gun violence in the United States, police said. The victims were apparently random, with no connection immediately known between them and the shooter.

The shootings took place over several city blocks in the southwestern neighborhood of Kingsessing. Responding officers chased the suspect as he continued to fire, and he was arrested in an alley after surrendering, Police Commissioner Danielle Outlaw said at a news conference.

"At this point all we know is that this person decided to leave their home and target individuals,” Outlaw said.

He had a bulletproof vest, an “AR-type rifle,” multiple magazines, a handgun and a police scanner, she said.

Officers were flagged down at about 8:30 p.m., and multiple calls of shots fired came in from Kingsessing. Police found some gunshot victims, and as they were attending to them, they heard more gunfire, Outlaw said.

The suspected shooter was identified as a 40-year-old man. A second person was also taken into custody who may have returned fire at the suspect, but police did not know whether there was a connection between the two people, Outlaw said.

The chief described the scene as covering an area of two by four blocks and said dozens of shell casings were found.

“You can see there are several scenes out here,” Outlaw said. “We’re canvassing the area to get as much as we can, to identify witnesses, to identify where cameras are located and to do everything to figure out the why,” Outlaw said.

Three of the dead ranged in age from 20 to 59, while the fourth, who had not yet been identified, was estimated to be between 16 and 21. All were male. The two hospitalized victims are boys, ages 2 and 13. They were in stable condition, Outlaw said.

The shooting occurred a day after gunfire erupted at a holiday weekend block party in Baltimore, about 100 miles (160 kilometers) to the southwest, killing two people and wounding 28 others. The wounded in that shooting ranged in age from 13 to 32, with more than half of them minors, according to officials.

The Philadelphia violence marks the country’s 29th mass killing in 2023, according to a database maintained by The Associated Press and USA Today in partnership with Northeastern University.

So far this year, the nation has witnessed the highest number on record of mass killings and deaths to this point in a single year.

There have been more than 550 mass killings since 2006, according to the database, in which at least 2,900 people have died and at least 2,000 people have been injured.

[shadypatrolartisan]

Celtics trade Kemba Walker to Thunder for Al Horford, Moses Brown: Sources

Celtics trade Kemba Walker to Thunder for Al Horford, Moses Brown: Sources The Boston Celtics have traded point guard Kemba Walker to the Oklahoma City Thunder in exchange for Al Horford and Moses Brown, sources tell The Athletic.

As part of the trade package, Oklahoma City also will receive Boston's No. 16 pick in the 2021 NBA Draft and a 2025 second-round draft pick. The Thunder will send a 2023 second-round pick to the Celtics.

During two seasons with the Celtics, Walker averaged 19.3 points, 3.8 rebounds and 5.4 assists in 99 games. The four-time All-Star struggled with a bone bruise during the Celtics' first-round playoff series against the Brooklyn Nets, missing the final two games.

Walker, 31, has two years and more than $73 million remaining on his contract.

Horford, 35, returns to Boston after previously playing for the franchise from 2016 to 2019. He has two years and $53.5 million remaining on his contract, with a partial guarantee of $14.5 million for the 2022-23 season. Horford was sent to the Thunder from the Philadelphia 76ers in a trade for Danny Green last November.

Brown, 21, averaged 8.6 points and 8.9 rebounds in his second season and signed a multi-year deal with Oklahoma City in March.

Why Boston made the move now Jay King, Celtics beat writer: Though Walker was still productive when healthy, the Celtics gave up a first-round pick to move off his big contract and acquire a player in Horford who should provide a better fit. The move, which helped Boston clear some salary, could also help the team afford to keep free agent Evan Fournier.

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https://www.guest-articles.com/sports/celtics-trade-kemba-walker-to-thunder-for-al-horford-moses-brown-sources-18-06-2021 https://www.guest-articles.com/sports/celtics-trade-kemba-walker-1st-round-pick-to-thunder-for-al-horford-moses-brown-2nd-round-pick-18-06-2021 https://www.thewyco.com/news/celtics-trade-kemba-walker-to-thunder-for-al-horford-moses-brown-sources-the-boston-18-06-2021 https://www.thewyco.com/news/celtics-trade-kemba-walker-1st-round-pick-to-thunder-for-al-horford-moses-brown-18-06-2021 https://movie793738308.wordpress.com/2021/06/18/celtics-trade-kemba-walker-1st-round-pick-to-thunder-for-al-horford-moses-brown/ https://healthymboa.org/forum-healthymboa/topic/celtics-trade-kemba-walker-1st-round-pick-to-thunder-for-al-horford-moses-brown/#postid-5910 http://www.shadowville.com/board/buyselltrade/celtics-trade-kemba-walker-1st-round-pick-to-thunder-for-al-horford-moses#p481591 https://www.getrevue.co/profile/racingmaman305/issues/weekly-newsletter-of-racingmaman305-issue-1-660677/23155031-afd9-4dfd-a716-f65c5a92fd05 https://m.mydigoo.com/forums-topicdetail-288470.html https://www.codergirls.org/forum/other/celtics-trade-kemba-walker-1st-round-pick-to-thunder-for-al-horford-moses-brown

The Celtics added a young center prospect in Brown, but old friend Horford will likely play a bigger role on next season's team. It's not great Boston needed to dump a first-round pick to move Walker, but a recent history of knee issues drove down his value and convinced the team to move on.

What do the Celtics get in Horford and Brown? King: The Celtics know Horford's game well, of course. He bounced back with a productive season in Oklahoma City after struggling with a weird fit on the 76ers.

Horford will give Boston a pick-and-pop layer it didn't have last season. He should make the game easier for Jayson Tatum and Jaylen Brown, bolster the defense and serve as a good example for young big man Robert Williams.

Brown, 21, is a young center prospect with upside and had one huge game against the Celtics this past season.

CELTICS TRADE KEMBA WALKER, 16TH PICK TO THUNDER FOR AL HORFORD, MOSES BROWN In what’s been a busy week for the NBA, the Boston Celtics have continued to make significant changes.

According to ESPN’s Adrian’s Wojnarowski, the Celtics have agreed to trade Kemba Walker, the 16th overall pick in the 2021 NBA Draft and a 2025 second-round draft pick to the Oklahoma City Thunder in exchange for Al Horford, Moses Brown and a 2023 second-round pick.

Walker, a four-time All-Star who’ll be heading into his 11th season in the NBA in 2021-22, has had a trying time in Boston.

Despite both he and the Celtics’ obvious desires to succeed together, Walker’s on the court production has been substandard when compared to the eye-opening performances he put up with the Charlotte Hornets in recent seasons.

Add on top of that an uncharacteristic stroke of misfortune in regards to injuries (Walker’s missed 56 games since joining the Celtics), and one can say that moving on from the promising partnership is best for both parties.

That said, the Thunder in rebuild mode, as they continue to stockpile picks. Interestingly enough, many of the prospects projected to go in the range of the 16th overall pick play in the backcourt.

The 31-year-old veteran may desire to explore his options—whether it be a trade, an eventual buyout, or playing out the remainder of the season before making a decision on his 2022-23 player option—with Oklahoma City, as Wojnarowski notes Chris Paul, Carmelo Anthony and Al Horford had.

While uncharacteristically streaky, Walker still averaged 18.6 points and 4.9 assists per game while playing next to a pair of volume-scoring wings in Jaylen Brown and Jayson Tatum. He could turn a season with nice numbers on an intriguing team into a longer-term deal, should he stay with the Thunder.

Meanwhile, Boston’s decision to trade Walker signals a strong inclination to bring back guard Evan Fournier, who they acquired at the trade deadline from the Orlando Magic. After reclaiming his starting role, Fournier played quite well for the Celtics, including a postseason performance that saw him averaging 15.4 points and 1.2 steals per game while shooting .433 percent form 3-point range.

Their acquisitions of Horford and Brown also have significant implications, as Tristan Thompson (who they signed in the 2020 offseason) could lose his starting role to either of the two.

Horford, who played for Boston from the 2016-17 to 2018-19 season, became a fan and organizational favorite in his time there. On the court, his versatile skillset—primarily his combination of floor-spacing and playmaking—could open up an offense that struggled with ball-movement last season.

The 7’2″ Brown could provide the second unit with a strong interior presence on the interior for the Celtics after averaging 8.6 points, 8.9 rebounds and 1.1 blocks in 21.4 points per game for the Thunder last season (with 32 starts), opening the door for a potential Thompson trade.

Walker, a four-time All-Star who’ll be heading into his 11th season in the NBA in 2021-22, has had a trying time in Boston.

Despite both he and the Celtics’ obvious desires to succeed together, Walker’s on the court production has been substandard when compared to the eye-opening performances he put up with the Charlotte Hornets in recent seasons.

Add on top of that an uncharacteristic stroke of misfortune in regards to injuries (Walker’s missed 56 games since joining the Celtics), and one can say that moving on from the promising partnership is best for both parties.

That said, the Thunder in rebuild mode, as they continue to stockpile picks. Interestingly enough, many of the prospects projected to go in the range of the 16th overall pick play in the backcourt.

The 31-year-old veteran may desire to explore his options—whether it be a trade, an eventual buyout, or playing out the remainder of the season before making a decision on his 2022-23 player option—with Oklahoma City, as Wojnarowski notes Chris Paul, Carmelo Anthony and Al Horford had.

While uncharacteristically streaky, Walker still averaged 18.6 points and 4.9 assists per game while playing next to a pair of volume-scoring wings in Jaylen Brown and Jayson Tatum. He could turn a season with nice numbers on an intriguing team into a longer-term deal, should he stay with the Thunder.

Meanwhile, Boston’s decision to trade Walker signals a strong inclination to bring back guard Evan Fournier, who they acquired at the trade deadline from the Orlando Magic. After reclaiming his starting role, Fournier played quite well for the Celtics, including a postseason performance that saw him averaging 15.4 points and 1.2 steals per game while shooting .433 percent form 3-point range.

Their acquisitions of Horford and Brown also have significant implications, as Tristan Thompson (who they signed in the 2020 offseason) could lose his starting role to either of the two.

Horford, who played for Boston from the 2016-17 to 2018-19 season, became a fan and organizational favorite in his time there. On the court, his versatile skillset—primarily his combination of floor-spacing and playmaking—could open up an offense that struggled with ball-movement last season.

The 7’2″ Brown could provide the second unit with a strong interior presence on the interior for the Celtics after averaging 8.6 points, 8.9 rebounds and 1.1 blocks in 21.4 points per game for the Thunder last season (with 32 starts), opening the door for a potential Thompson trade.

Kemba Walker's days with the Boston Celtics appear to be over after just two seasons.

Sources tell ESPN's Adrian Wojnarowski that the Celtics are trading Walker and their 2021 first-round draft pick to the Oklahoma City Thunder for a package that includes Al Horford.

The report from Wojnarowski said the Celtics are also sending a 2025 second-round pick to the Thunder in exchange for former Celtics star Al Horford, Moses Brown and a 2023 second-rounder, sources said.

Walker missed the final two games of the Celtics' first-round loss to the Brooklyn Nets with a bone bruise in his left knee.

The Celtics trade is the first big move for former head coach turned president of basketball operations Brad Stevens, who replaced Danny Ainge in the role following the end of a disappointing 2020-21 season.

The Celtics are one of seven teams still in search of a new coach after Stevens was promoted to team president.

It’s that time of year again: Amazon Prime Day 2021 kicks off on June 21 at 12 a.m. PDT, running through June 22. And considering last year’s beauty deals included up to 50% off incredible, dermatologist-backed skin care brands like CeraVe, La-Roche Posay, RoC, Aveeno and more, we’re so excited to stock up on all our favorite moisturizers, serums, sunscreens and more later this month.

Of course, to take advantage of the discounts, you have to be an Amazon Prime member (or sign up for a free 30-day trial). For $12.99 per month, you can gain access to all the Prime Day goodies (as well as sales at Whole Foods and a free library to stream must-watch movies and TV shows).

Report: Celtics trading Kemba Walker to Thunder for Al Horford, Moses Brown, 2023 pick Kemba Walker's time with the Celtics is over. According to ESPN's Adrian Wojanrowski, the Boston Celtics are trading Walker, plus the No. 16 overall pick in the 2021 draft and a 2025 second-round pick to the Oklahoma City Thunder. In return, the Celtics are getting Al Horford, Moses Brown, and a 2023 second-round pick.

The Celtics are trading Kemba Walker, the No. 16 overall pick in the 2021 draft and a 2025 second-round draft pick to Oklahoma City for Al Horford, Moses Brown and a 2023 second-round pick, sources tell ESPN.

Walker, 31, came to the Celtics in 2019 via sign-and-trade deal. Prior to that, he'd spent his entire career with the Charlotte Hornets (who were the Charlotte Bobcats when they drafted him ninth overall in 2011).

Walker experiment didn't work out for Celtics It took just two seasons for Boston's experiment with Walker to end. At the start, the Celtics were a team looking toward the NBA Finals. Walker, a four-time All-Star, was supposed to help them get there, and they got close in 2019-2020 (they lost in the Eastern Conference finals) despite Walker's injury issues.

But things changed drastically after that. The Celtics were a mess this past season, and Walker's injuries continued to be a problem. They finished 36-36 and lost in the first round of the playoffs, with Walker missing the final two games of the series due to a bone bruise in his knee.

Longtime director of basketball operations Danny Ainge retired in early June, signaling a change in direction, but Walker and the Celtics may have been ready to end their relationship before then. According to Bleacher Report, a rift developed between Walker and the Celtics when Ainge tried to trade him for Jrue Holiday. Both parties were ready to walk away despite the $73 million left on Walker's contract.

Al Horford, Moses Brown traded to the Boston Celtics for Kemba Walker Al Horford’s tenure in Oklahoma City is over. In the last few minutes, Adrian Wojnarowski of ESPN has reported that Al Horford and Moses Brown have been traded to Boston for Kemba Walker, the 16th pick in the 2021 NBA Draft and a 2025 second round draft pick.

The Thunder obviously benefit from this trade by adding another pick in what looks to be a very strong draft class. Oklahoma City already have two picks in the

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[ojolalli]

[|Tom y Jerry***] 2021 Completa en Espanol Latino ((Gratis))

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5 de marzo de 2021 / Animación, Comedia, Aventura Dirigida por Tim Story Reparto Chloë Grace Moretz, Michael Peña, Ken Jeong Nacionalidad EE.UU.

ver ahora==> http://ver.yess-movie.com/movie/tt1361336/tom-jerry.html

SINOPSIS Tom y Jerry, el gato y el ratón más populares de la historia de la animación, vuelven a reencontrarse. Pero, en esta nueva adaptación en una ubicación distinta, ya que Jerry se ha instalado en el mejor hotel de Nueva York, el cual está preparando “la boda del siglo”. La llegada del ratón está causando ciertos incovenientes que pueden arruinar este gran acontecimiento. Por ello, Kayla (Chloë Moretz), la planificadora de este evento, decide contratar a Tom para atrapar a Jerry. De esta forma, comienza una batalla sin límites entre el gato y el ratón que podría destruir la carrera de Kayla, la boda e, incluso, el hotel. Esta película, dirigida por Tim Story, mezcla de imagen real y animación está basada en los personajes de los clásicos dibujos animados, creados por William Hanna y Joseph Barbera. Esta película de animación de los creadores de Del revés (Inside Out) (2015) y Up (2009), está producida por los estudios Pixar y Disney. 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Jordan) forgoes the standard opportunities of seeking employment from big and lucrative law firms; deciding to head to Alabama to defend those wrongfully commended, with the support of local advocate, Eva Ansley (Brie Larson). One of his first, and most poignant, case is that of Walter McMillian (Jamie Foxx, who, in 62, was sentenced to die for the notorious murder of an 2-year-old girl in the community, despite a preponderance of evidence proving his innocence and one singular testimony against him by an individual that doesn’t quite seem to add up. Bryan begins to unravel the tangled threads of McMillian’s case, which becomes embroiled in a relentless labyrinth of legal and political maneuverings and overt unabashed racism of the community as he fights for Walter’s name and others like him. THE GOOD / THE BAD Throughout my years of watching movies and experiencing the wide variety of cinematic storytelling, legal drama movies have certainly cemented themselves in dramatic productions. As I stated above, some have better longevity of being remembered, but most showcase plenty of heated courtroom battles of lawyers defending their clients and unmasking the truth behind the claims (be it wrongfully incarcerated, discovering who did it, or uncovering the shady dealings behind large corporations. Perhaps my first one legal drama was 624’s The Client (I was little young to get all the legality in the movie, but was still managed to get the gist of it all). My second one, which I loved, was probably Primal Fear, with Norton delivering my favorite character role. Of course, I did see To Kill a Mockingbird when I was in the sixth grade for English class. Definitely quite a powerful film. And, of course, let’s not forget Philadelphia and want it meant / stand for. Plus, Hanks and Washington were great in the film. All in all, while not the most popular genre out there, legal drama films still provide a plethora of dramatic storytelling to capture the attention of moviegoers of truth and lies within a dubious justice. Just Mercy is the latest legal crime drama feature and the whole purpose of this movie review. To be honest, I really didn’t much “buzz” about this movie when it was first announced (circa 206) when Broad Green Productions hired the film’s director (Cretton) and actor Michael B. Jordan in the lead role. It was then eventually bought by Warner Bros (the films rights) when Broad Green Productions went Bankrupt. So, I really didn’t hear much about the film until I saw the movie trailer for Just Mercy, which did prove to be quite an interesting tale. Sure, it sort of looked like the generic “legal drama” yarn (judging from the trailer alone), but I was intrigued by it, especially with the film starring Jordan as well as actor Jamie Foxx. I did repeatedly keep on seeing the trailer for the film every time I went to my local movie theater (usually attached to any movie I was seeing with a PG rating and above). So, suffice to say, that Just Mercy’s trailer preview sort of kept me invested and waiting me to see it. Thus, I finally got the chance to see the feature a couple of days ago and I’m ready to share my thoughts on the film. And what are they? Well, good ones….to say the least. While the movie does struggle within the standard framework of similar projects, Just Mercy is a solid legal drama that has plenty of fine cinematic nuances and great performances from its leads. It’s not the “be all to end all” of legal drama endeavors, but its still manages to be more of the favorable motion pictures of these projects. Just Mercy is directed by Destin Daniel Cretton, whose previous directorial works includes such movies like Short Term 6, I Am Not a Hipster, and Glass Castle. Given his past projects (consisting of shorts, documentaries, and a few theatrical motion pictures), Cretton makes Just Mercy is most ambitious endeavor, with the director getting the chance to flex his directorial muscles on a legal drama film, which (like I said above) can manage to evoke plenty of human emotions within its undertaking. Thankfully, Cretton is up to the task and never feels overwhelmed with the movie; approaching (and shaping) the film with respect and a touch of sincerity by speaking to the humanity within its characters, especially within lead characters of Stevenson and McMillian. Of course, legal dramas usually do (be the accused / defendant and his attorney) shine their cinematic lens on these respective characters, so it’s nothing original. However, Cretton does make for a compelling drama within the feature; speaking to some great character drama within its two main lead characters; staging plenty of moments of these twos individuals that ultimately work, including some of the heated courtroom sequences. Like other recent movies (i.e. Brian Banks and The Hate U Give), Cretton makes Just Mercy have an underlining thematical message of racism and corruption that continues to play a part in the US….to this day (incredibly sad, but true). So, of course, the correlation and overall relatively between the movie’s narrative and today’s world is quite crystal-clear right from the get-go, but Cretton never gets overzealous / preachy within its context; allowing the feature to present the subject matter in a timely manner and doesn’t feel like unnecessary or intentionally a “sign of the times” motif. Additionally, the movie also highlights the frustration (almost harsh) injustice of the underprivileged face on a regular basis (most notable those looking to overturn their cases on death row due to negligence and wrongfully accused). Naturally, as somewhat expected (yet still palpable), Just Mercy is a movie about seeking the truth and uncovering corruption in the face of a broken system and ignorant prejudice, with Cretton never shying away from some of the ugly truths that Stevenson faced during the film’s story. Plus, as a side-note, it’s quite admirable for what Bryan Stevenson (the real-life individual) did for his career, with him as well as others that have supported him (and the Equal Justice Initiative) over the years and how he fought for and freed many wrongfully incarcerated individuals that our justice system has failed (again, the poignancy behind the film’s themes / message). It’s great to see humanity being shined and showcased to seek the rights of the wronged and to dispel a flawed system. Thus, whether you like the movie or not, you simply can not deny that truly meaningful job that Bryan Stevenson is doing, which Cretton helps demonstrate in Just Mercy. From the bottom of my heart…. thank you, Mr. Stevenson. In terms of presentation, Just Mercy is a solidly made feature film. Granted, the film probably won’t be remembered for its visual background and theatrical setting nuances or even nominated in various award categories (for presentation / visual appearance), but the film certainly looks pleasing to the eye, with the attention of background aspects appropriate to the movie’s story. Thus, all the usual areas that I mention in this section (i.e. production design, set decorations, costumes, and cinematography) are all good and meet the industry standard for legal drama motion pictures. That being said, the film’s score, which was done by Joel P. West, is quite good and deliver some emotionally drama pieces in a subtle way that harmonizes with many of the feature’s scenes. There are a few problems that I noticed with Just Mercy that, while not completely derailing, just seem to hold the feature back from reaching its full creative cinematic potential. Let’s start with the most prevalent point of criticism (the one that many will criticize about), which is the overall conventional storytelling of the movie. What do I mean? Well, despite the strong case that the film delves into a “based on a true story” aspect and into some pretty wholesome emotional drama, the movie is still structed into a way that it makes it feel vaguely formulaic to the touch. That’s not to say that Just Mercy is a generic tale to be told as the film’s narrative is still quite engaging (with some great acting), but the story being told follows quite a predictable path from start to finish. Granted, I never really read Stevenson’s memoir nor read anything about McMillian’s case, but then I still could easily figure out how the movie was presumably gonna end…. even if the there were narrative problems / setbacks along the way. Basically, if you’ve seeing any legal drama endeavor out there, you’ll get that same formulaic touch with this movie. I kind of wanted see something a little bit different from the film’s structure, but the movie just ends up following the standard narrative beats (and progressions) of the genre. That being said, I still think that this movie is definitely probably one of the better legal dramas out there. This also applies to the film’s script, which was penned by Cretton and Andrew Lanham, which does give plenty of solid entertainment narrative pieces throughout, but lacks the finesse of breaking the mold of the standard legal drama. There are also a couple parts of the movie’s script handling where you can tell that what was true and what fictional. Of course, this is somewhat a customary point of criticism with cinematic tales taking a certain “poetic license” when adapting a “based on a true story” narrative, so it’s not super heavily critical point with me as I expect this to happen. However, there were a few times I could certainly tell what actually happen and what was a tad bit fabricated for the movie. Plus, they were certain parts of the narrative that could’ve easily fleshed out, including what Morrison’s parents felt (and actually show them) during this whole process. Again, not a big deal-breaker, but it did take me out of the movie a few times. Lastly, the film’s script also focuses its light on a supporting character in the movie and, while this made with well-intention to flesh out the character, the camera spotlight on this character sort of goes off on a slight tangent during the feature’s second act. Basically, this storyline could’ve been removed from Just Mercy and still achieve the same palpability in the emotional department. It’s almost like the movie needed to chew up someLa Navidad mágica de los Jangletime and the writers to decided to fill up the time with this side-story. Again, it’s good, but a bit slightly unnecessary. What does help overlook (and elevate) some of these criticisms is the film’s cast, which are really good and definitely helps bring these various characters to life in a theatrical /dramatic way. Leading the charge in Just Mercy is actor Michael B. Jordan, who plays the film’s central protagonist role of Bryan Stevenson. Known for his roles in Creed, Fruitvale Station, and Black Panther, Jordan has certain prove himself to be quite a capable actor, with the actor rising to stardom over the past few years. This is most apparent in this movie, with Jordan making a strong characteristically portrayal as Bryan; showcasing plenty of underlining determination and compelling humanity in his character as he (as Bryan Stevenson) fights for the injustice of those who’s voices have been silenced or dismissed because of the circumstances. It’s definitely a strong character built and Jordan seems quite capable to task in creating a well-acted on-screen performance of Bryan. Behind Jordan is actor Jamie Foxx, who plays the other main lead in the role, Walter McMillian. Foxx, known for his roles in Baby Driver, Django Unchained, and Ray, has certainly been recognized as a talented actor, with plenty of credible roles under his belt. His participation in Just Mercy is another well-acted performance that deserve much praise as its getting (even receiving an Oscar nod for it), with Foxx portraying Walter with enough remorseful grit and humility that makes the character quite compelling to watch. Plus, seeing him and Jordan together in a scene is quite palpable and a joy to watch. The last of the three marquee main leads of the movie is the character of Eva Ansley, the director of operations for EJI (i.e. Stevenson’s right-handed employee / business partner), who is played by actress Brie Larson. Up against the characters of Stevenson and McMillian, Ansley is the weaker of the three main lead; presented as supporting player in the movie, which is perfectly fine as the characters gets the job done (sort of speak) throughout the film’s narrative. However, Larson, known for her roles in Room, 6 Jump Street, and Captain Marvel, makes less of an impact in the role. Her acting is fine and everything works in her portrayal of Eva, but nothing really stands in her performance (again, considering Jordan and Foxx’s performances) and really could’ve been played by another actress and achieved the same goal. The rest of the cast, including actor Tim Blake Nelson (The Incredible Hulk and O Brother, Where Art Thou) as incarcerated inmate Ralph Meyers, actor Rafe Spall (Jurassic World: Fallen Kingdom and The Big Short) as legal attorney Tommy Champan, actress Karan Kendrick (The Hate U Give and Family) as Minnie McMillan, Walter’s wife, actor C.J. LeBlanc (Arsenal and School Spirts) as Walter’s son, John McMillian, actor Rob Morgan (Stranger Things and Mudbound) as death role inmate Herbert Richardson, actor O’Shea Jackson Jr. (Long Shot and Straight Outta Compton) as death role inmate Anthony “Ray” Hinton, actor Michael Harding (Triple 2 and The Young and the Restless) as Sheriff Tate, and actor Hayes Mercure (The Red Road and Mercy Street) as a prison guard named Jeremy, are in the small supporting cast variety. Of course, some have bigger roles than others, but all of these players, which are all acted well, bolster the film’s story within the performances and involvement in Just Mercy’s narrative. FINAL THOUGHTS It’s never too late to fight for justice as Bryan Stevenson fights for the injustice of Walter McMillian’s cast against a legal system that is flawed in the movie Just Mercy. Director Destin Daniel Cretton’s latest film takes a stance on a poignant case; demonstrating the injustice of one (and by extension those wrongfully incarcerated) and wrapping it up in a compelling cinematic story. While the movie does struggle within its standard structure framework (a sort of usual problem with “based on a true story” narrations) as well as some formulaic beats, the movie still manages to rise above those challenges (for the most part), especially thanks to Cretton’s direction (shaping and storytelling) and some great performances all around (most notable in Jordan and Foxx). Personally, I liked this movie. Sure, it definitely had its problem, but those didn’t distract me much from thoroughly enjoying this legal drama feature. Thus, my recommendation for the film is a solid “recommended”, especially those who liked the cast and poignant narratives of legality struggles and the injustice of a failed system / racism. In the end, while the movie isn’t the quintessential legal drama motion picture and doesn’t push the envelope in cinematic innovation, Just Mercy still is able to manage to be a compelling drama that’s powerful in its story, meaningful in its journey, and strong within its statement. Just like Bryan Stevenson says in the movie….” If we could look at ourselves closely…. we can change this world for the better”. Amen to that!

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El jueves pasado, la ciudad de Filadelfia dio a conocer la nueva tarjeta de identificación municipal para   los mayores de 13 años. Esta identificación emitida por el gobierno permitirá que las personas que viven en la ciudad —incluidos inmigrantes indocumentados, residentes sin hogar, ciudadanos que regresan y miembros de otras poblaciones vulnerables o marginadas— tengan una tarjeta de identidad reglamentaria.

La identificación sirve como un pase para edificios públicos, escuelas e incluso programas financiados por la ciudad. Dado que no todos pueden pagar una identificación estatal, la ciudad de Filadelfia ha emitido las tarjetas de identificación a bajo costo: $5 para adolescentes, $10 para adultos y gratis para aquellos de 65 años o más.

Quienes quieran obtener la PHL City ID deben mostrar una prueba de identidad y de residencia en Filadelfia. En este caso, un pasaporte estadounidense o extranjero, la identificación de veterano, la licencia de conducir estadounidense o extranjera, la tarjeta consular o la identificación escolar son algunos de los documentos que se admiten. Una factura de servicios públicos, un extracto bancario, un recibo de sueldo e incluso una carta de un hospital o albergue son todas las formas posibles de demostrar la residencia.

La forma de obtener esta identificación se ha configurado para ser un proceso simple. Los interesados ​​pueden concertar una cita en el lugar asignado en el Ayuntamiento y pueden salir con su nueva tarjeta de identificación media hora después.

Aunque la tarjeta ofrece grandes beneficios, muchos residentes de Filadelfia están empezando a cuestionarse si los que están indocumentados o sin hogar realmente se beneficiarán de esto. Hay quien está preocupado por el hecho de que la identificación sentará un precedente de que todos, incluidos los que no tienen hogar y se ven obligados a mudarse con frecuencia o están en situaciones que dificultan llevar documentos de identificación en todo momento, ahora deberán demostrar su residencia y que radican aquí en Filadelfia.

Los individuos de la comunidad indocumentada también creen que las identificaciones municipales pueden facilitar que los agentes de Inmigración y Control de Aduanas (ICE) localicen a los residentes más vulnerables. Y esta es una preocupación válida. Con las agresivas políticas de inmigración de la administración Trump, muchos inmigrantes viven con el temor de ser deportados debido a la falta de un simple documento.

Es esta la razón por la que el alcalde Jim Kenney, junto con la oficina de la concejala María Quiñones-Sánchez, se acercó a varias organizaciones, entre ellas la organización de derechos de los inmigrantes Juntos y el Consulado de México en Filadelfia, con el fin de encontrar una solución para proporcionar identificaciones asegurando, al mismo tiempo, la protección de las comunidades inmigrantes en la ciudad.

Carlos Torres, cónsul de Medios y Promoción, informó a AL DÍA que, en el 2016, el Consulado entregó a la concejala Quiñones-Sánchez la Matrícula Consular de Alta Seguridad (MCAS), una identificación que se emite para los ciudadanos mexicanos en Filadelfia y que les permite estar completamente reconocidos, abrir cuentas bancarias y tener acceso a otros servicios en la ciudad.

Según Carlos, “la oficina de la concejala Quiñones-Sánchez tomó nota de las características de este documento consular, así como de los elementos que podrían considerarse para el diseño de la identificación de Filadelfia”. Y estas no pasan desapercibidas en este nuevo programa.

Aunque la Matrícula Consular es una forma de identidad fiable, la comunidad cree que puede ser un blanco fácil y una evidencia palpable en su contra. La Ciudad de Filadelfia ha prometido que el PHL City ID debe borrar cualquier temor que puedan tener los inmigrantes indocumentados, ya que cualquier registro de compromiso se eliminará del sistema tan pronto como el solicitante reciba su tarjeta.

Miguel Andrade, gerente de comunicaciones de Juntos, explica que "en realidad solo se guardan tres datos en el Ayuntamiento, y son: su nombre, el número de la tarjeta de identificación y la fecha en que se emitió". En otras palabras, la Ciudad de Filadelfia no mantendrá un registro de ninguna información personal que pueda ayudar a localizar o agredir a una persona.

¿Qué pasa con aquellos que están luchando para demostrar su situación de vida? Esta es otra pregunta que ha sido una preocupación para los residentes de Filadelfia. Y como el Consulado afirma que "el derecho a la identidad no solo es un derecho humano consagrado en convenciones internacionales, sino que en este caso en particular, le permitirá a la población que carecía de dicho documento —y, por definición, en estado vulnerable— poder acceder a los servicios básicos que tanto necesitan para continuar desarrollándose plenamente”.

Las personas sin hogar también tienen derecho a una identidad tanto como cualquier otro individuo. Por esta razón, la Ciudad de Filadelfia ha creado una lista de más de 80 documentos que son elegibles como prueba de residencia. Incluso si la persona no tiene un domicilio, hay muchas maneras en que pueden probar que están viviendo en Filadelfia. La lista se puede encontrar en el sitio web de la ciudad.

Desde el lanzamiento de la tarjeta, Juntos ha estado recibiendo llamadas continuas de personas sobre este nuevo programa. Según Andrade, hasta el momento se han tramitado alrededor de 800 tarjetas sin costo alguno, ya que las primeras 1.000 tarjetas de la ciudad serían gratuitas.

Para aquellos que aún puedan tener preguntas sobre el PHL City ID, la oficina de Juntos realizará una sesión de información el 29 de abril a las 6:00 pm en 600 Washington Ave. Los representantes hablarán sobre el programa y podrán responder a cualquier inquietud.

[ver-pelishd-pelicula-online]

!! [Descargar] Dune - Pelicula Completa En Español online 【Latino】 2020

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próximamente / Ciencia ficción, Drama Dirigida por Denis Villeneuve Reparto Timothée Chalamet, Rebecca Ferguson, Oscar Isaac Nacionalidad EE.UU.

SINOPSIS

Un futuro lejano, en el que las familias de nobles se disputan el dominio del árido planeta Arrakis, también conocido como Dune por su geografía compuesta por desiertos de dunas. Arrakis es el único lugar donde se encuentra 'la especia', la sustancia más codiciada y valiosa del universo que producen gigantescos gusanos de arena. Debido a su rareza, y a su arriesgada extracción, quien controla la producción de la especia, controla el destino no sólo del Imperio, sino de toda la humanidad. El Duque Leto Atreides (Oscar Isaac) aceptará la administración de este peligroso planeta y será enviado a Arrakis junto con Lady Jessica (Rebecca Ferguson) y su hijo Paul (Timothée Chalamet). Será entonces cuando la familia Atreides corra un gran riesgo por estar en el punto de mira de fuerzas malvadas como las de su enemigo el Barón Vladimir Harkonnen (Stellan Skarsgård).

Nueva adaptación cinematográfica del clásico de la ciencia-ficción Dune (1965) de Frank Herbert, que dirige el cineasta nominado al Oscar Denis Villeneuve.

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THE STORY After graduating from Harvard, Bryan Stevenson (Michael B. Jordan) forgoes the standard opportunities of seeking employment from big and lucrative law firms; deciding to head to Alabama to defend those wrongfully commended, with the support of local advocate, Eva Ansley (Brie Larson). One of his first, and most poignant, case is that of Walter McMillian (Jamie Foxx, who, in 62, was sentenced to die for the notorious murder of an 2-year-old girl in the community, despite a preponderance of evidence proving his innocence and one singular testimony against him by an individual that doesn’t quite seem to add up. Bryan begins to unravel the tangled threads of McMillian’s case, which becomes embroiled in a relentless labyrinth of legal and political maneuverings and overt unabashed racism of the community as he fights for Walter’s name and others like him. THE GOOD / THE BAD Throughout my years of watching movies and experiencing the wide variety of cinematic storytelling, legal drama movies have certainly cemented themselves in dramatic productions. As I stated above, some have better longevity of being remembered, but most showcase plenty of heated courtroom battles of lawyers defending their clients and unmasking the truth behind the claims (be it wrongfully incarcerated, discovering who did it, or uncovering the shady dealings behind large corporations. Perhaps my first one legal drama was 624’s The Client (I was little young to get all the legality in the movie, but was still managed to get the gist of it all). My second one, which I loved, was probably Primal Fear, with Norton delivering my favorite character role. Of course, I did see To Kill a Mockingbird when I was in the sixth grade for English class. Definitely quite a powerful film. And, of course, let’s not forget Philadelphia and want it meant / stand for. Plus, Hanks and Washington were great in the film. All in all, while not the most popular genre out there, legal drama films still provide a plethora of dramatic storytelling to capture the attention of moviegoers of truth and lies within a dubious justice. Just Mercy is the latest legal crime drama feature and the whole purpose of this movie review. To be honest, I really didn’t much “buzz” about this movie when it was first announced (circa 206) when Broad Green Productions hired the film’s director (Cretton) and actor Michael B. Jordan in the lead role. It was then eventually bought by Warner Bros (the films rights) when Broad Green Productions went Bankrupt. So, I really didn’t hear much about the film until I saw the movie trailer for Just Mercy, which did prove to be quite an interesting tale. Sure, it sort of looked like the generic “legal drama” yarn (judging from the trailer alone), but I was intrigued by it, especially with the film starring Jordan as well as actor Jamie Foxx. I did repeatedly keep on seeing the trailer for the film every time I went to my local movie theater (usually attached to any movie I was seeing with a PG rating and above). So, suffice to say, that Just Mercy’s trailer preview sort of kept me invested and waiting me to see it. Thus, I finally got the chance to see the feature a couple of days ago and I’m ready to share my thoughts on the film. And what are they? Well, good ones….to say the least. While the movie does struggle within the standard framework of similar projects, Just Mercy is a solid legal drama that has plenty of fine cinematic nuances and great performances from its leads. It’s not the “be all to end all” of legal drama endeavors, but its still manages to be more of the favorable motion pictures of these projects. Just Mercy is directed by Destin Daniel Cretton, whose previous directorial works includes such movies like Short Term 6, I Am Not a Hipster, and Glass Castle. Given his past projects (consisting of shorts, documentaries, and a few theatrical motion pictures), Cretton makes Just Mercy is most ambitious endeavor, with the director getting the chance to flex his directorial muscles on a legal drama film, which (like I said above) can manage to evoke plenty of human emotions within its undertaking. Thankfully, Cretton is up to the task and never feels overwhelmed with the movie; approaching (and shaping) the film with respect and a touch of sincerity by speaking to the humanity within its characters, especially within lead characters of Stevenson and McMillian. Of course, legal dramas usually do (be the accused / defendant and his attorney) shine their cinematic lens on these respective characters, so it’s nothing original. However, Cretton does make for a compelling drama within the feature; speaking to some great character drama within its two main lead characters; staging plenty of moments of these twos individuals that ultimately work, including some of the heated courtroom sequences. Like other recent movies (i.e. Brian Banks and The Hate U Give), Cretton makes Just Mercy have an underlining thematical message of racism and corruption that continues to play a part in the US….to this day (incredibly sad, but true). So, of course, the correlation and overall relatively between the movie’s narrative and today’s world is quite crystal-clear right from the get-go, but Cretton never gets overzealous / preachy within its context; allowing the feature to present the subject matter in a timely manner and doesn’t feel like unnecessary or intentionally a “sign of the times” motif. Additionally, the movie also highlights the frustration (almost harsh) injustice of the underprivileged face on a regular basis (most notable those looking to overturn their cases on death row due to negligence and wrongfully accused). Naturally, as somewhat expected (yet still palpable), Just Mercy is a movie about seeking the truth and uncovering corruption in the face of a broken system and ignorant prejudice, with Cretton never shying away from some of the ugly truths that Stevenson faced during the film’s story. Plus, as a side-note, it’s quite admirable for what Bryan Stevenson (the real-life individual) did for his career, with him as well as others that have supported him (and the Equal Justice Initiative) over the years and how he fought for and freed many wrongfully incarcerated individuals that our justice system has failed (again, the poignancy behind the film’s themes / message). It’s great to see humanity being shined and showcased to seek the rights of the wronged and to dispel a flawed system. Thus, whether you like the movie or not, you simply can not deny that truly meaningful job that Bryan Stevenson is doing, which Cretton helps demonstrate in Just Mercy. From the bottom of my heart…. thank you, Mr. Stevenson. In terms of presentation, Just Mercy is a solidly made feature film. Granted, the film probably won’t be remembered for its visual background and theatrical setting nuances or even nominated in various award categories (for presentation / visual appearance), but the film certainly looks pleasing to the eye, with the attention of background aspects appropriate to the movie’s story. Thus, all the usual areas that I mention in this section (i.e. production design, set decorations, costumes, and cinematography) are all good and meet the industry standard for legal drama motion pictures. That being said, the film’s score, which was done by Joel P. West, is quite good and deliver some emotionally drama pieces in a subtle way that harmonizes with many of the feature’s scenes. There are a few problems that I noticed with Just Mercy that, while not completely derailing, just seem to hold the feature back from reaching its full creative cinematic potential. Let’s start with the most prevalent point of criticism (the one that many will criticize about), which is the overall conventional storytelling of the movie. What do I mean? Well, despite the strong case that the film delves into a “based on a true story” aspect and into some pretty wholesome emotional drama, the movie is still structed into a way that it makes it feel vaguely formulaic to the touch. That’s not to say that Just Mercy is a generic tale to be told as the film’s narrative is still quite engaging (with some great acting), but the story being told follows quite a predictable path from start to finish. Granted, I never really read Stevenson’s memoir nor read anything about McMillian’s case, but then I still could easily figure out how the movie was presumably gonna end…. even if the there were narrative problems / setbacks along the way. Basically, if you’ve seeing any legal drama endeavor out there, you’ll get that same formulaic touch with this movie. I kind of wanted see something a little bit different from the film’s structure, but the movie just ends up following the standard narrative beats (and progressions) of the genre. That being said, I still think that this movie is definitely probably one of the better legal dramas out there. This also applies to the film’s script, which was penned by Cretton and Andrew Lanham, which does give plenty of solid entertainment narrative pieces throughout, but lacks the finesse of breaking the mold of the standard legal drama. There are also a couple parts of the movie’s script handling where you can tell that what was true and what fictional. Of course, this is somewhat a customary point of criticism with cinematic tales taking a certain “poetic license” when adapting a “based on a true story” narrative, so it’s not super heavily critical point with me as I expect this to happen. However, there were a few times I could certainly tell what actually happen and what was a tad bit fabricated for the movie. Plus, they were certain parts of the narrative that could’ve easily fleshed out, including what Morrison’s parents felt (and actually show them) during this whole process. Again, not a big deal-breaker, but it did take me out of the movie a few times. Lastly, the film’s script also focuses its light on a supporting character in the movie and, while this made with well-intention to flesh out the character, the camera spotlight on this character sort of goes off on a slight tangent during the feature’s second act. Basically, this storyline could’ve been removed from Just Mercy and still achieve the same palpability in the emotional department. It’s almost like the movie needed to chew up some Dunetime and the writers to decided to fill up the time with this side-story. Again, it’s good, but a bit slightly unnecessary. What does help overlook (and elevate) some of these criticisms is the film’s cast, which are really good and definitely helps bring these various characters to life in a theatrical /dramatic way. Leading the charge in Just Mercy is actor Michael B. Jordan, who plays the film’s central protagonist role of Bryan Stevenson. Known for his roles in Creed, Fruitvale Station, and Black Panther, Jordan has certain prove himself to be quite a capable actor, with the actor rising to stardom over the past few years. This is most apparent in this movie, with Jordan making a strong characteristically portrayal as Bryan; showcasing plenty of underlining determination and compelling humanity in his character as he (as Bryan Stevenson) fights for the injustice of those who’s voices have been silenced or dismissed because of the circumstances. It’s definitely a strong character built and Jordan seems quite capable to task in creating a well-acted on-screen performance of Bryan. Behind Jordan is actor Jamie Foxx, who plays the other main lead in the role, Walter McMillian. Foxx, known for his roles in Baby Driver, Django Unchained, and Ray, has certainly been recognized as a talented actor, with plenty of credible roles under his belt. His participation in Just Mercy is another well-acted performance that deserve much praise as its getting (even receiving an Oscar nod for it), with Foxx portraying Walter with enough remorseful grit and humility that makes the character quite compelling to watch. Plus, seeing him and Jordan together in a scene is quite palpable and a joy to watch. The last of the three marquee main leads of the movie is the character of Eva Ansley, the director of operations for EJI (i.e. Stevenson’s right-handed employee / business partner), who is played by actress Brie Larson. Up against the characters of Stevenson and McMillian, Ansley is the weaker of the three main lead; presented as supporting player in the movie, which is perfectly fine as the characters gets the job done (sort of speak) throughout the film’s narrative. However, Larson, known for her roles in Room, 6 Jump Street, and Captain Marvel, makes less of an impact in the role. Her acting is fine and everything works in her portrayal of Eva, but nothing really stands in her performance (again, considering Jordan and Foxx’s performances) and really could’ve been played by another actress and achieved the same goal. The rest of the cast, including actor Tim Blake Nelson (The Incredible Hulk and O Brother, Where Art Thou) as incarcerated inmate Ralph Meyers, actor Rafe Spall (Jurassic World: Fallen Kingdom and The Big Short) as legal attorney Tommy Champan, actress Karan Kendrick (The Hate U Give and Family) as Minnie McMillan, Walter’s wife, actor C.J. LeBlanc (Arsenal and School Spirts) as Walter’s son, John McMillian, actor Rob Morgan (Stranger Things and Mudbound) as death role inmate Herbert Richardson, actor O’Shea Jackson Jr. (Long Shot and Straight Outta Compton) as death role inmate Anthony “Ray” Hinton, actor Michael Harding (Triple 2 and The Young and the Restless) as Sheriff Tate, and actor Hayes Mercure (The Red Road and Mercy Street) as a prison guard named Jeremy, are in the small supporting cast variety. Of course, some have bigger roles than others, but all of these players, which are all acted well, bolster the film’s story within the performances and involvement in Just Mercy’s narrative. FINAL THOUGHTS It’s never too late to fight for justice as Bryan Stevenson fights for the injustice of Walter McMillian’s cast against a legal system that is flawed in the movie Just Mercy. Director Destin Daniel Cretton’s latest film takes a stance on a poignant case; demonstrating the injustice of one (and by extension those wrongfully incarcerated) and wrapping it up in a compelling cinematic story. While the movie does struggle within its standard structure framework (a sort of usual problem with “based on a true story” narrations) as well as some formulaic beats, the movie still manages to rise above those challenges (for the most part), especially thanks to Cretton’s direction (shaping and storytelling) and some great performances all around (most notable in Jordan and Foxx). Personally, I liked this movie. Sure, it definitely had its problem, but those didn’t distract me much from thoroughly enjoying this legal drama feature. Thus, my recommendation for the film is a solid “recommended”, especially those who liked the cast and poignant narratives of legality struggles and the injustice of a failed system / racism. In the end, while the movie isn’t the quintessential legal drama motion picture and doesn’t push the envelope in cinematic innovation, Just Mercy still is able to manage to be a compelling drama that’s powerful in its story, meaningful in its journey, and strong within its statement. Just like Bryan Stevenson says in the movie….” If we could look at ourselves closely…. we can change this world for the better”. Amen to that!

[aci25]

Emma González

[brujas2]

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 Pelicula de Las brujas (de Roald Dahl) ver online en español castellano - La película The Witches (2020) completa con Subtitulada y Audio español  latino y castellano.

DETALLES DE PELICULA

Título original: Roald Dahl’s The Witches

Lanzamiento: 2020-10-23

Duración: 106 minutos

Género: Fantasía, Familia, Aventura, Comedia, Terror

Estrellas: Anne Hathaway, Octavia Spencer, Stanley Tucci, Jahzir Bruno, Chris Rock

Director: Alan Silvestri, Robert Zemeckis, Robert Zemeckis, Don Burgess, Roald Dahl

SINOPSIS

Basada en el libro clásico de Roald Dahl ‘Las brujas’, la historia cuenta la aterradora, divertida e imaginativa historia de un niño de siete años que se encuentra con una congregación de brujas liderada por la Gran Bruja. A pesar de que su abuela se lo llevó a un centro turístico, llegan al mismo tiempo que ella y sus amigos llegan para comenzar sus rituales

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THE STORY

After graduating from Harvard, Bryan Stevenson (Michael B. Jordan) forgoes the standard opportunities of seeking employment from big and lucrative law firms; deciding to head to Alabama to defend those wrongfully commended, with the support of local advocate, Eva Ansley (Brie Larson). One of his first, and most poignant, case is that of Walter McMillian (Jamie Foxx, who, in 62, was sentenced to die for the notorious murder of an 2-year-old girl in the community, despite a preponderance of evidence proving his innocence and one singular testimony against him by an individual that doesn’t quite seem to add up. Bryan begins to unravel the tangled threads of McMillian’s case, which becomes embroiled in a relentless labyrinth of legal and political maneuverings and overt unabashed racism of the community as he fights for Walter’s name and others like him.

THE GOOD / THE BAD

Throughout my years of watching movies and experiencing the wide variety of cinematic storytelling, legal drama movies have certainly cemented themselves in dramatic productions. As I stated above, some have better longevity of being remembered, but most showcase plenty of heated courtroom battles of lawyers defending their clients and unmasking the truth behind the claims (be it wrongfully incarcerated, discovering who did it, or uncovering the shady dealings behind large corporations. Perhaps my first one legal drama was 624’s The Client (I was little young to get all the legality in the movie, but was still managed to get the gist of it all). My second one, which I loved, was probably Primal Fear, with Norton delivering my favorite character role. Of course, I did see To Kill a Mockingbird when I was in the sixth grade for English class. Definitely quite a powerful film. And, of course, let’s not forget Philadelphia and want it meant / stand for. Plus, Hanks and Washington were great in the film. All in all, while not the most popular genre out there, legal drama films still provide a plethora of dramatic storytelling to capture the attention of moviegoers of truth and lies within a dubious justice.

Just Mercy is the latest legal crime drama feature and the whole purpose of this movie review. To be honest, I really didn’t much “buzz” about this movie when it was first announced (circa 206) when Broad Green Productions hired the film’s director (Cretton) and actor Michael B. Jordan in the lead role. It was then eventually bought by Warner Bros (the films rights) when Broad Green Productions went Bankrupt. So, I really didn’t hear much about the film until I saw the movie trailer for Just Mercy, which did prove to be quite an interesting tale. Sure, it sort of looked like the generic “legal drama” yarn (judging from the trailer alone), but I was intrigued by it, especially with the film starring Jordan as well as actor Jamie Foxx. I did repeatedly keep on seeing the trailer for the film every time I went to my local movie theater (usually attached to any movie I was seeing with a PG rating and above). So, suffice to say, that Just Mercy’s trailer preview sort of kept me invested and waiting me to see it. Thus, I finally got the chance to see the feature a couple of days ago and I’m ready to share my thoughts on the film. And what are they? Well, good ones….to say the least. While the movie does struggle within the standard framework of similar projects, Just Mercy is a solid legal drama that has plenty of fine cinematic nuances and great performances from its leads. It’s not the “be all to end all” of legal drama endeavors, but its still manages to be more of the favorable motion pictures of these projects.

Just Mercy is directed by Destin Daniel Cretton, whose previous directorial works includes such movies like Short Term 6, I Am Not a Hipster, and Glass Castle. Given his past projects (consisting of shorts, documentaries, and a few theatrical motion pictures), Cretton makes Just Mercy is most ambitious endeavor, with the director getting the chance to flex his directorial muscles on a legal drama film, which (like I said above) can manage to evoke plenty of human emotions within its undertaking. Thankfully, Cretton is up to the task and never feels overwhelmed with the movie; approaching (and shaping) the film with respect and a touch of sincerity by speaking to the humanity within its characters, especially within lead characters of Stevenson and McMillian. Of course, legal dramas usually do (be the accused / defendant and his attorney) shine their cinematic lens on these respective characters, so it’s nothing original. However, Cretton does make for a compelling drama within the feature; speaking to some great character drama within its two main lead characters; staging plenty of moments of these twos individuals that ultimately work, including some of the heated courtroom sequences.

Like other recent movies (i.e. Brian Banks and The Hate U Give), Cretton makes Just Mercy have an underlining thematical message of racism and corruption that continues to play a part in the US….to this day (incredibly sad, but true). So, of course, the correlation and overall relatively between the movie’s narrative and today’s world is quite crystal-clear right from the get-go, but Cretton never gets overzealous / preachy within its context; allowing the feature to present the subject matter in a timely manner and doesn’t feel like unnecessary or intentionally a “sign of the times” motif. Additionally, the movie also highlights the frustration (almost harsh) injustice of the underprivileged face on a regular basis (most notable those looking to overturn their cases on death row due to negligence and wrongfully accused). Naturally, as somewhat expected (yet still palpable), Just Mercy is a movie about seeking the truth and uncovering corruption in the face of a broken system and ignorant prejudice, with Cretton never shying away from some of the ugly truths that Stevenson faced during the film’s story.

Plus, as a side-note, it’s quite admirable for what Bryan Stevenson (the real-life individual) did for his career, with him as well as others that have supported him (and the Equal Justice Initiative) over the years and how he fought for and freed many wrongfully incarcerated individuals that our justice system has failed (again, the poignancy behind the film’s themes / message). It’s great to see humanity being shined and showcased to seek the rights of the wronged and to dispel a flawed system. Thus, whether you like the movie or not, you simply can not deny that truly meaningful job that Bryan Stevenson is doing, which Cretton helps demonstrate in Just Mercy. From the bottom of my heart…. thank you, Mr. Stevenson.

In terms of presentation, Just Mercy is a solidly made feature film. Granted, the film probably won’t be remembered for its visual background and theatrical setting nuances or even nominated in various award categories (for presentation / visual appearance), but the film certainly looks pleasing to the eye, with the attention of background aspects appropriate to the movie’s story. Thus, all the usual areas that I mention in this section (i.e. production design, set decorations, costumes, and cinematography) are all good and meet the industry standard for legal drama motion pictures. That being said, the film’s score, which was done by Joel P. West, is quite good and deliver some emotionally drama pieces in a subtle way that harmonizes with many of the feature’s scenes.

There are a few problems that I noticed with Just Mercy that, while not completely derailing, just seem to hold the feature back from reaching its full creative cinematic potential. Let’s start with the most prevalent point of criticism (the one that many will criticize about), which is the overall conventional storytelling of the movie. What do I mean? Well, despite the strong case that the film delves into a “based on a true story” aspect and into some pretty wholesome emotional drama, the movie is still structed into a way that it makes it feel vaguely formulaic to the touch. That’s not to say that Just Mercy is a generic tale to be told as the film’s narrative is still quite engaging (with some great acting), but the story being told follows quite a predictable path from start to finish. Granted, I never really read Stevenson’s memoir nor read anything about McMillian’s case, but then I still could easily figure out how the movie was presumably gonna end…. even if the there were narrative problems / setbacks along the way. Basically, if you’ve seeing any legal drama endeavor out there, you’ll get that same formulaic touch with this movie. I kind of wanted see something a little bit different from the film’s structure, but the movie just ends up following the standard narrative beats (and progressions) of the genre. That being said, I still think that this movie is definitely probably one of the better legal dramas out there.

This also applies to the film’s script, which was penned by Cretton and Andrew Lanham, which does give plenty of solid entertainment narrative pieces throughout, but lacks the finesse of breaking the mold of the standard legal drama. There are also a couple parts of the movie’s script handling where you can tell that what was true and what fictional. Of course, this is somewhat a customary point of criticism with cinematic tales taking a certain “poetic license” when adapting a “based on a true story” narrative, so it’s not super heavily critical point with me as I expect this to happen. However, there were a few times I could certainly tell what actually happen and what was a tad bit fabricated for the movie. Plus, they were certain parts of the narrative that could’ve easily fleshed out, including what Morrison’s parents felt (and actually show them) during this whole process. Again, not a big deal-breaker, but it did take me out of the movie a few times. Lastly, the film’s script also focuses its light on a supporting character in the movie and, while this made with well-intention to flesh out the character, the camera spotlight on this character sort of goes off on a slight tangent during the feature’s second act. Basically, this storyline could’ve been removed from Just Mercy and still achieve the same palpability in the emotional department. It’s almost like the movie needed to chew up some runtime and the writers to decided to fill up the time with this side-story. Again, it’s good, but a bit slightly unnecessary.

What does help overlook (and elevate) some of these criticisms is the film’s cast, which are really good and definitely helps bring these various characters to life in a theatrical /dramatic way. Leading the charge in Just Mercy is actor Michael B. Jordan, who plays the film’s central protagonist role of Bryan Stevenson. Known for his roles in Creed, Fruitvale Station, and Black Panther, Jordan has certain prove himself to be quite a capable actor, with the actor rising to stardom over the past few years. This is most apparent in this movie, with Jordan making a strong characteristically portrayal as Bryan; showcasing plenty of underlining determination and compelling humanity in his character as he (as Bryan Stevenson) fights for the injustice of those who’s voices have been silenced or dismissed because of the circumstances. It’s definitely a strong character built and Jordan seems quite capable to task in creating a well-acted on-screen performance of Bryan. Behind Jordan is actor Jamie Foxx, who plays the other main lead in the role, Walter McMillian. Foxx, known for his roles in Baby Driver, Django Unchained, and Ray, has certainly been recognized as a talented actor, with plenty of credible roles under his belt. His participation in Just Mercy is another well-acted performance that deserve much praise as its getting (even receiving an Oscar nod for it), with Foxx portraying Walter with enough remorseful grit and humility that makes the character quite compelling to watch. Plus, seeing him and Jordan together in a scene is quite palpable and a joy to watch.

The last of the three marquee main leads of the movie is the character of Eva Ansley, the director of operations for EJI (i.e. Stevenson’s right-handed employee / business partner), who is played by actress Brie Larson. Up against the characters of Stevenson and McMillian, Ansley is the weaker of the three main lead; presented as supporting player in the movie, which is perfectly fine as the characters gets the job done (sort of speak) throughout the film’s narrative. However, Larson, known for her roles in Room, 6 Jump Street, and Captain Marvel, makes less of an impact in the role. Her acting is fine and everything works in her portrayal of Eva, but nothing really stands in her performance (again, considering Jordan and Foxx’s performances) and really could’ve been played by another actress and achieved the same goal.

The rest of the cast, including actor Tim Blake Nelson (The Incredible Hulk and O Brother, Where Art Thou) as incarcerated inmate Ralph Meyers, actor Rafe Spall (Jurassic World: Fallen Kingdom and The Big Short) as legal attorney Tommy Champan, actress Karan Kendrick (The Hate U Give and Family) as Minnie McMillan, Walter’s wife, actor C.J. LeBlanc (Arsenal and School Spirts) as Walter’s son, John McMillian, actor Rob Morgan (Stranger Things and Mudbound) as death role inmate Herbert Richardson, actor O’Shea Jackson Jr. (Long Shot and Straight Outta Compton) as death role inmate Anthony “Ray” Hinton, actor Michael Harding (Triple 2 and The Young and the Restless) as Sheriff Tate, and actor Hayes Mercure (The Red Road and Mercy Street) as a prison guard named Jeremy, are in the small supporting cast variety. Of course, some have bigger roles than others, but all of these players, which are all acted well, bolster the film’s story within the performances and involvement in Just Mercy’s narrative.

FINAL THOUGHTS

It’s never too late to fight for justice as Bryan Stevenson fights for the injustice of Walter McMillian’s cast against a legal system that is flawed in the movie Just Mercy. Director Destin Daniel Cretton’s latest film takes a stance on a poignant case; demonstrating the injustice of one (and by extension those wrongfully incarcerated) and wrapping it up in a compelling cinematic story. While the movie does struggle within its standard structure framework (a sort of usual problem with “based on a true story” narrations) as well as some formulaic beats, the movie still manages to rise above those challenges (for the most part), especially thanks to Cretton’s direction (shaping and storytelling) and some great performances all around (most notable in Jordan and Foxx). Personally, I liked this movie. Sure, it definitely had its problem, but those didn’t distract me much from thoroughly enjoying this legal drama feature. Thus, my recommendation for the film is a solid “recommended”, especially those who liked the cast and poignant narratives of legality struggles and the injustice of a failed system / racism. In the end, while the movie isn’t the quintessential legal drama motion picture and doesn’t push the envelope in cinematic innovation, Just Mercy still is able to manage to be a compelling drama that’s powerful in its story, meaningful in its journey, and strong within its statement. Just like Bryan Stevenson says in the movie….” If we could look at ourselves closely…. we can change this world for the better”. Amen to that!

[diasporaenresistencia]

For Immediate Release:

March 23, 2020

Media Contact:

Inarú Meléndez, 413-331-9530, imelendez@populardemocracy.org

80 Grassroots Organizations Demand Congress Redirect Over 9 Billion Funds for Recovery Efforts in Puerto Rico

San Juan, Puerto Rico -- In response to the current COVID-19 crisis 80 organizations from Puerto Rico came together to demand that Congress direct the Financial Oversight and Management Board (FOMB) to allow the Government of Puerto Rico to use the more than $9 billion in funds destined for debt payments to instead be used to support Puerto Rican families in this moment of crisis.

The signers urge legislators to direct the FOMB to use the 9 billion dollars in resources to provide community driven investments that would ensure free testing and healthcare services; institute a moratorium on evictions, foreclosures, and utility shutoffs; make sure everyone has access to food; provide school children with the tools necessary to continue their education from home and; increase significant investments of clean, local, sustainable energy sources to stabilize service for millions.

Organizations that have signed on to the letter include the Center for Popular Democracy Action, VAMOS4PR, Diáspora en Resistencia, SEIU, Power 4 Puerto Rico, Boricuas Unidos en la Diáspora, Make the Road New York, CASA, Taller Salud, Colectiva Feminista en Construcción and Construyamos Otro Acuerdo.

FULL LETTER HERE AND BELOW.

https://cpdaction.org/letter-requesting-congress-direct-fomb-release-9-billion-dollars-reserve-account-recovery-codiv-19

Letter requesting Congress direct the FOMB to release 9 billion dollars in reserve account for recovery CODIV-19 efforts in Puerto Rico.

Dear Member of Congress:

We write to you as organizations in Puerto Rico and stateside that are deeply concerned about the impact of COVID-19 on the island. Given Puerto Rico's crumbling healthcare infrastructure and aging population at greater risk of complications, the spread of this virus could result in an unprecedented human catastrophe. Congress should therefore direct the Financial Oversight and Management Board (FOMB) to allow the Government of Puerto Rico to use the more than $9 billion in funds destined for debt payments to instead be used to support Puerto Rican families in this moment of crisis.

Congress, through the Puerto Rico Oversight, Management, and Economic Stability Act (PROMESA), made the FOMB the trustee of the Government of Puerto Rico. Over the last three years, Puerto Rico has been hit by a series of natural disasters--hurricanes Maria and Irma, ongoing earthquakes, and now, the COVID-19 pandemic. These disasters have exacerbated an economic crisis, created by decades of budget cuts and neglect, that had left the island with $129 billion in debt and a crumbling infrastructure.

Over the last three years, the FOMB has forced brutal austerity measures that have further crippled health, educational, and other public infrastructures. These severe cuts created a budget surplus that has ballooned to a staggering $9 billion cash reserve as of February 28, 2020 -- the same size as Puerto Rico's entire operating budget in 2017 -- up from $1.8 billion in December 2018.

The federal government has failed to disburse billions of dollars allocated toward a just recovery to Puerto Rico in the aftermath of Hurricane Maria. Recent earthquakes have compounded Puerto Rico’s distress. Estimated damages reported by hardest-hit local governments on the island exceed $1.4 billion, and the power authority needs significant investment to rebuild one of its main power plants by this summer in order to stabilize service for millions.

Only two months after the earthquakes, with hundreds still living in tents in the south, the island faces yet another disaster. Today, hundreds of thousands are in their homes, struggling to put food on the table for their families and not knowing when their next paycheck will come. To make matters worse, 20.7% of Puerto Rico’s population is over the age of 65, which means that any response that does not provide the necessary support to the island could result in thousands of deaths.

In accordance with §§ 201(b)(1)(B) and 201(b)(1)(J) of PROMESA, it is the responsibility of the FOMB to account for all government services and capital expenditures that must be provided in order to adequately respond to CODIV-19. This includes providing community driven investments in: (1) ensuring free testing and healthcare services; (2) instituting a moratorium on evictions, foreclosures, and utility shutoffs; (3) making sure everyone has access to food; (4) providing school children with the tools necessary to continue their education from home and; (5) significant investments in clean, local, sustainable energy sources to stabilize service for millions.

The fiscal plan should be revised to reflect these expenditures instead of ever-increasing austerity measures. We must prioritize these critical investments in the public health and safety of Puerto Ricans over debt repayments. Continuing to prioritize austerity measures for the sake of debt repayment will undoubtedly result in preventable deaths. Upon certification of a revised fiscal plan, these funds must be made readily available through any necessary legal and budgetary actions.

For all of these reasons, we believe that Congress should direct the Fiscal Management Oversight Board to allow the Government of Puerto Rico to use more than $9 billion in funds destined for debt payments to be used to support Puertto Rican families in this moment of crisis. Not doing so could spell disaster for hundreds of thousands.

Thank you in advance for your support.

Sincerely,

32BJ SEIU

Action NC

Alianza Por Puerto Rico - Massachusetts

Alianza Americas

Alianza for Progress

Asociación Nacional de Escuelas de Trabajo Social de Puerto Rico

Asociación Puertorriqueña de Profesores Universitarios (APPU)

Ayuda Legal

Boricuas de Corazón Inc

Boricuas Unidos en la Diáspora

Borisquad

Cancel the Debt

CASA

Central American Resource Center

Centro Para Una Nueva Gobernanza

Central State Latino Caucus

Center for Popular Democracy Action

Chelsea Rising/ LEAPS

Chicago Puerto Rican Agenda

Churches United For Fair Housing

Code Pink

Construyamos Otro Acuerdo

Colectiva Feminista en Construcción

Colectivo Ilé

Colegio de Profesionales del Trabajo Social de Puerto Rico

Comuna Caribe

Concilio de Iglesias de Puerto Rico (CIPR)

Defend Puerto Rico

Democratic Socialist of America

Democratic Socialist of America Palm Beach County

Diáspora en Acción

Diaspora en Resistencia

DSA Boricua Socialist Diaspora Caucus

Hedge Clippers

Instituto para el Desarrollo de las Comunidades y SIEMPREVIVAS.

El Puente-ELAC

Espacios Abiertos

Federación de Maestros de Puerto Rico

Fideicomiso para el Desarrollo de Río Piedras

Frente Ciudadano para la Auditoría de la Deuda

JUNTE GENTE

La Clara

LatinoJustice PRLDEF

Make the Road CT

Make the Road NJ

Make the Road NV

Make the Road NY

Make the Road PA

Massachusetts Jobs with Justice

Movimiento Victoria Ciudadana

Movimiento Amplio de Mujeres

Mujeres de Islas

National Boricua Human Rights Network (NBHRN)

National Puerto Rican Agenda

New York Communities for Change

Northwest Boricua Resistance

Organize Florida & Pa'lante por Mas

Organización Puertorriqueña de la Mujer Trabajadora (OPMT)

Our Revolution Puerto Rico

Philly Boricuas

Philadelphia Chapter of the National Puerto Rican Agenda

Power 4 Puerto Rico

Proyecto Matria

Public Accountability Initiative

Puerto Ricans In Action

Puerto Rico Me Llama

QLatinx

Sembrando Sentido

SEIU

SEIU Local 1

SPT SEIU Local 1996

UGT SEIU L 1199

Strong Economy For All Coalition

Taller Salud

Taller Puertorriqueño

UAW Region 9A

UGT SEIU L 1199

UNETE

Urbe Apie

UTIER

VAMOS y VAMOS en la Diáspora

Vamos4PR

Women’s March Florida

#COVID19

#CancelTheDebt

#RevokePromesa

#JustRecovery

[phillymagicgardens]

Vidas Suspendidas/ Suspended Lives

ON VIEW: October 11 – November 18, 2019

Vidas Suspendidas/Suspended Lives highlights the brave and personal journeys of nine Latinx artists living in the United States. In partnership with Puentes de Salud, a nonprofit that promotes wellness for Philadelphia’s Latinx immigrant population through health, education, and community programs, PMG is hosting a powerful exhibition of sculptures in the outdoor labyrinth. Latinx artists from across Philadelphia created life-size, papier-mâché self-portraits to celebrate the diversity and complexity of immigrant stories.

This project was created and facilitated by Nora Hiriart Litz, Director for Art and Culture at Puentes de Salud.

Each artist narrated their experiences that accompany their artworks, QR codes will be available to listen to their stories.

............................

FECHAS DE EXPOSICIÓN: Del 11 de octubre al 18 de noviembre del 2019 Vidas Suspendidas destaca la trayectoria valiente y personal de nueve artistas latinos viviendo en los Estados Unidos. En asociación con Puentes de Salud, una organización sin fines de lucro que promueve el bienestar para la población de inmigrantes latinos a través de salud, educación y programas comunitarios, los PMG serán anfitriónes de una poderosa exposición de esculturas en el laberinto al aire libre. Artistas latinos de todo Filadelfia han creado autorretrados de papel maché de tamaño real para celebrar la diversidad y la complejidad de sus historias como inmigrantes.

Este proyecto fue creado y facilitado por Nora Hiriart Litz, Directora de Arte y Cultura en Puentes de Salud.

Cada artista ha narrado sus experiencia acompañada de su obra de arte. Escanea los códigos QR para escuchar sus historias.