Mage won the 149th Kentucky Derby at Churchill Downs in Louisville, Kentucky, on Saturday.
The 3-year-old chestnut colt, trained by Gustavo Delgado, edged out Two Phil’s, who crossed the line to finish in second place, and Angel of Empire finished third, in front of the over 150,000 fans in attendance.
Mage’s win came after heavily favored Forte was scratched from the race earlier in the day after a Kentucky Horse Racing Commission veterinarian found the horse had a bruised right front foot, Churchill Downs said.
In a thrilling stretch duel, 15-1 longshot Mage won Saturday’s Kentucky in only his fourth start.
https://billmichelmore.com/wp-content/uploads/2023/05/nudrnc.mp4
The 3-year-old colt snatched his second career win over Two Phils to win the 149th running of the mile-and-a-quarter Derby, the first race in the Triple Crown championships.
Jockey Javier Castellano scored his second career win, and…
Exposición Post-It 7Colectiva2020Galería GalianoComienza en breve Post-it 7
JORGE RIVAS | Periódico Cubarte | 09 Sep 2020
De forma virtual y a través de varias plataformas digitales debido a las condiciones impuestas por las autoridades sanitarias y el Ministerio de Cultura para evitar la propagación de la pandemia de la Covid-19, el venidero 17 de septiembre, a las 9.00 p.m., será inaugurada…
why I'm happysad that they let Numa be the narrator in Society of the Snow.
So if you, like me, have been more than a little obsessed with the story of Uruguayan Air Force Flight 571 for a very, very long time, your stomach probably dropped like mine did when the narrator introduced himself as Numa Turcatti. (My immediate thought was, "why would you do this to us?!") If you went in blind, I feel for you!
But while the film gave us a version of Numa, since it's from his perspective what it doesn't really give us is the group's perspective on him. He comes across a bit like an outsider, and although, yes, his only surviving friend was Pancho Delgado, he wasn’t an outsider for long at all. On the contrary. So, here are a few excerpts from the books that tell you more about what he was like and how much they all loved him, because I feel like that’s important.
From Alive, Piers Paul Read:
Next to Parrado, Numa Turcatti was the most generally beloved of the boys. [...] Since he had known few of the boys before leaving Montevideo, it was proof of his strength, simplicity and complete lack of malice that he became so loved and respected by them.
On celebrating Numa's birthday while trapped under the avalanche:
The boys gave him an extra cigarette and made a birthday cake out of snow. [...] Many would have liked to give him a better time on his birthday, but instead it was he who improved their spirits. "We have survived the worst," he said. "From now on, things can only get better."
From Society of the Snow, Pablo Vierci:
‘When I talk about Numa, I can’t help but cry,’ says Coche Inciarte. ‘He’s the best person I’ve ever met in my life. However tenderly I cared for those who were losing heart, Numa did it much better because he never got tired. He was constantly aware of everyone else’s distress. He radiated peace, he never gave up, and when he came near me, I felt like Jesus Christ himself was among us, with such mercy and compassion in his eyes. I don’t know where he got his strength.’
‘I could never imagine him living in everyday life, because I met him and I loved him in that torment of the Andes,’ says Coche. ‘He had a hard time eating, like I did. We ate the bare minimum in order to survive. I lost one hundred pounds, he lost more. And just like me, his leg became infected after the avalanche. We operated on our legs together with a razor blade. But he deteriorated more quickly than I did, because he had given so much more; he had been too generous.’
Moncho Sabella:
Numa taught us about the anonymous heroism of giving more of himself to others than he reserved for himself. In that balance between solidarity and selfishness, which decided whether you lived or died, he tilted the balance in favour of the others to the detriment of himself. [...] And when the avalanche came and covered the plane, the one who worked the hardest, the one who removed the most snow so that we could come back to life, was Numa. Again, he was exceeding his own limits. [...] In the end, his immune system was so devastated that he got one infection after another. We gave him antibiotics and the doctors on the mountain attended to him every day, but finally he left us. And with him, we all died a little more.
Gustavo Zerbino:
I always remember Numa up there, full of despair, when he told us that he would rather die watching the sky, walking, instead of ending life immobilised in a cave of broken metal. For that reason, after the avalanche, he kept digging and removing snow without rest until he burned himself out with exhaustion. He always thought that his time had come but he wanted to work until the final moment, doing whatever he could to help. I cared for him all those days; I saw how he was hurried to the brink of death, with no defences, getting one infection after another. I went up to him and first I gave him a kiss on the cheek to greet him and asked him how he was doing. He just stared at me with a kind of infinite peace. He never complained. But Numa was quickly deteriorating: from that physical strength and vigour he had had at the beginning, he finished as a skeletal dying boy. He held on to his characteristic qualities until the end though. He was that same stoic guy when he was strong and when he was wasting away.
‘Gustavo Zerbino didn’t tell us the whole truth [about the expedition] because he didn’t want us to be discouraged. When I asked Numa about it, he couldn’t lie and he told me: “As far as we went, all you could see were more mountains.” But even so, he always wanted to be an expeditionary. “I want to go,” he told me, even though I knew at once he could never go, he was too exhausted and too hurt.’ So Numa approached Daniel Fernández, knowing that he had influence over the others, and he tried to convince him: ‘I can do it, Daniel, please believe me. I can do it.’ Daniel recalls, ‘When I told him that his injury made it impossible, he started working even harder than ever, like a bull, shovelling snow to unbury the plane after the avalanche to show that yes, he could do it.’
Finally, from Alive, after Numa died:
On this particular afternoon, Javier Methol lay at the back of the plane. "Be careful," he said to Coche as he rose and stepped over Numa's body. "Be careful not to step on Numa."
"But Numa's dead," said Parrado.
Javier had not realised what had happened, and now that he understood his spirits dropped completely. He wept as he had wept at the death of Liliana, for he had grown to love the shy and simple Numa Turcatti as though he were his brother or son.
I'm not sure the Numa we see in the film is quite the same person that he actually was on that mountain, but I'm so, so glad that he got a voice. He fought so hard for them all.
On this day in 1972, two helicopters arrived in the Valley of Tears, where the severed fuselage and 14 survivors waited for rescue
Drawing by survivor Coche Inciarte
Nando and Roberto were shown maps and asked to point out where the rest of the survivors were. When they did, the rescuers said "That can't be it! That's all the way in Argentina! You couldn't have crossed the Andes on foot!".
But Nando and Roberto insisted they knew what they were talking about.
Nando was in one of the helicopters, otherwise the rescue team would not have been able to locate the wreckage (the white plane could not be seen from above in the snowy scenery). That took amazing bravery, given what he had just gone through. Weather conditions weren't the best, so the helicopters shook and swayed.
Not all 14 could fit in both helicopters, so Pancho Delgado, Antonio Vinzintín, Moncho Sabella, Bobby François, Gustavo Zerbino, Fito Strauch, Roy Harley and Javier Methol stayed behind with three mountaineers and a nurse. Due to the weather, they were only rescued on the 23d.
from left to right: Fito, Gustavo, Bobby, Roy, Pancho and Moncho
Actual footage of the first group being taken care of in Los Maitenes:
youtube
Footage of the first arrivals in Los Maitenes (pay attention to the survivors hugging, specially Nando and Carlitos tumbling to the ground <3):
Footage of the second group arriving at the hospital:
Photo restorations done by Esteban Lemos on Facebook (Credit)
Alt ID is too long so I'll add it here (Spanish has been translated): The Mendoza Plumerillo Airport, 12 of October 1972:
Standing, left to right: Roberto Canessa, José Luis Inciarte, Daniel Shaw, Eduardo Strauch, Alvaro Mangino, Daniel Fernández, Enrique Platero, Roy Harley, Gustavo Nicholich, Rafael Echavarren, Ramón Sabella, Carlos Páez, Diego Storm, Roberto Francois, Fernando Parrado, Daniel Maspons, Juan Carlos Menéndez, Padro Algorta, Felipe Maquirriain, Numa Turcatti, Julio Martinez Lamas.
Crouched, left to right: Arturo Nogueira, Marcelo Pérez, Jorge Hounie, Guido Magri, Gustavo Zerbino, Panchito Abal, Fernando Vásquez, Antonio Vizintin, Carlos Valeta, Gastón Costemalle, Pancho Delgado and Adolfo Strauch.
Photo taken in mid 1972 at a Loyola Club dinner.
From left to right, Alfredo "Pancho" Delgado, Alfredo Cibils and Numa Turcatti
Thank you again to Mr. Lemos for these photos, amazing work! x
Gustavo Delgado S: Happy to announce that our Kentucky Derby winner MAGE came back in good order. He will get a well deserved rest and then decide what summer races to target. #grateful
An analogy between the modern human being, living in mass cities, and the phenomenon of the circle of death - observed in nature with ants who are separated from the main foraging party and lose the pheromone track. They begin to follow one another, forming a continuously rotating circle, commonly known as a "death spiral" because the ants might eventually die of exhaustion. Shot in Mexico City, this vibrant and impressive city is a protagonist, symbolizing a life in endless high speed movement and the humans who are dedicating their lives to endless movement, self-exhaustion in a modern capitalistic based world.
Filmed in Mexico City, Mexico
Director: Phillip Kaminiak
Choreographer: Qiaoqiao Zhang
Featuring: Brenda Loustaunau Aguilar, Juan Carlos Estrada De La Cruz, Fernando Guez, Elisa Romero Ramírez, Carla Segovia, Paulina Vargas, Frank Vázquez, Diego Vertiz
Composer: Raven Bush
Editor: Sander Houtkruijer
Cinematographer: Phillip Kaminiak
Drone: Luciano Larobina Gomez
Dance Producer: Carla Segovia
Production Company: Landia Mexico
Executive Producer Landia: Thomas Amoedo
Producer Landia: David Kohan
Production Coordinator: Gustavo Ezequil Anselmi
Production Assistant: José Antonio Covarrubias Cepeda
Costume Designer: Constanza Nahmad
Styling: Constanza Nahmad, Dominga Huidobro
Colorist: Manuel Portschy
CGI Producer: A Current State
CGI Creative Producer: Robert Wunsch
Generalist: Arber Gishto
VFX Supervisor: Mark Scott
Retouching: Sujan Sureshan
1st AC: Edwin Vladimir Olivera Ramirez
Ronin Operator: Fernando De Alba León Ronin
Ronin Assistant: Arturo David Andrade Mundo
Production Design House: Alina Bashirova
Makeup Artist: Thania Erika Diaz Gomez
Location Sound: Aldonza Contreras Castro
Location Manager: Miguel Vargas
Location Coordinator: Julio Cortez
Scouter: Diego Mota
Transportation: Agustin Malavar Flores
Driver 1: Oscar Javier Delgado Sánchez
Driver 2: Joel Bravo Cabrera
Special Thanks: Patricio Perdomo, Fran Paparella, Thomas Amoedo, David Kohan, Agnes Lupion, Omar Uscanga, Aldonza Contreras Castro, Aura Collective, Bite Management, Jolanta Kniebel
PRODUCED BY:
Jacob Jonas The Company
Executive Producer/Creative Director: Jacob Jonas
Producers: Jill Wilson, Emma Rosenzweig-Bock,
Associate Producers: Joy Isabella Brown, Francisco Cruz, Steve Hackman, Emily Kikta, Rubberlegz, Anibal Sandoval, Mike Tyus, Peter Walker
Fashion Director: Christian Stroble
CO-PRESENTED BY:
BAM, The Harris, The Soraya, Stanford Live, Stanford Global Studies
Last Month, for Latinx Heritage Month, I took the Latinx Challenge and posted a book of poetry written by a Latinx author for 30 days. These are the books I shared. Some are newer than others, but each one holds a special place in my life.
Mouth - Jo Reyes-Boitel
Zarzamora - Vincent Cooper
A Saint for Lost Things - Christopher Martínez
Revelations - Ruben Quesada
Teeth - Aracelis Grimay
The Handyman’s Guide to the End Times - Juan J. Morales
¡Acaba de editarse! Revista Lafarium (Buenos Aires, octubre 2022)
*Incluye “Ruxandra”, historieta con guion de Diego Arandojo y dibujos de Andrés Casciani
No se pierdan también a Alejandra Viviana Aranda, Manuel Rivas Pintos, Emanuel Rosso, Fabian Eco Arnaldi, Gabriel Juarez, Gustavo Roberto Mateo, Marcela Nigro, Sabrina Alcatena, Jorge Fantoni, Óscar Édgar López, Lore Pini, Oscar Grillo, Pablo Iglesias, Fritz Sol, Emiliano Raspante, Juan Manuel Menéndez, Paté Crudo, Avencio Delgado Gomez (GH Records), Tinta David, Hernán Fernando Tenorio y Adam Arandojo Leanza // Entrevistas exclusivas a Valentin Pigni, Dolores Alcatena y Socotra // Portada del maestro Martin Arrizabalaga
*Para leer y descargar gratis: http://www.lafarium.com.ar/Lafarium-octubre-2022.pdf
Crédito: Gustavo Martínez Alcaraz.
ALIMENTO TRADICIONAL ANCESTRAL
A la llegada de los Españoles, observaron que el alimento principal de los Mesoamericanos eran unos círculos planos y delgados elaborados a base del maíz.
Ellos los llamaron “Tortillas” ya que el nombre en Nahuatl no lo podían pronunciar “TLaxcalli”.
Ellos conocían las Tortillas ya que la palabra viene del Latín, diminutivo de…
An analogy between the modern human being, living in mass cities, and the phenomenon of the circle of death - observed in nature with ants who are separated from the main foraging party and lose the pheromone track. They begin to follow one another, forming a continuously rotating circle, commonly known as a "death spiral" because the ants might eventually die of exhaustion. Shot in Mexico City, this vibrant and impressive city is a protagonist, symbolizing a life in endless high speed movement and the humans who are dedicating their lives to endless movement, self-exhaustion in a modern capitalistic based world.
Filmed in Mexico City, Mexico
Director: Phillip Kaminiak
Choreographer: Qiaoqiao Zhang
Featuring: Brenda Loustaunau Aguilar, Juan Carlos Estrada De La Cruz, Fernando Guez, Elisa Romero Ramírez, Carla Segovia, Paulina Vargas, Frank Vázquez, Diego Vertiz
Composer: Raven Bush
Editor: Sander Houtkruijer
Cinematographer: Phillip Kaminiak
Drone: Luciano Larobina Gomez
Dance Producer: Carla Segovia
Production Company: Landia Mexico
Executive Producer Landia: Thomas Amoedo
Producer Landia: David Kohan
Production Coordinator: Gustavo Ezequil Anselmi
Production Assistant: José Antonio Covarrubias Cepeda
Costume Designer: Constanza Nahmad
Styling: Constanza Nahmad, Dominga Huidobro
Colorist: Manuel Portschy
CGI Producer: A Current State
CGI Creative Producer: Robert Wunsch
Generalist: Arber Gishto
VFX Supervisor: Mark Scott
Retouching: Sujan Sureshan
1st AC: Edwin Vladimir Olivera Ramirez
Ronin Operator: Fernando De Alba León Ronin
Ronin Assistant: Arturo David Andrade Mundo
Production Design House: Alina Bashirova
Makeup Artist: Thania Erika Diaz Gomez
Location Sound: Aldonza Contreras Castro
Location Manager: Miguel Vargas
Location Coordinator: Julio Cortez
Scouter: Diego Mota
Transportation: Agustin Malavar Flores
Driver 1: Oscar Javier Delgado Sánchez
Driver 2: Joel Bravo Cabrera
Special Thanks: Patricio Perdomo, Fran Paparella, Thomas Amoedo, David Kohan, Agnes Lupion, Omar Uscanga, Aldonza Contreras Castro, Aura Collective, Bite Management, Jolanta Kniebel
PRODUCED BY:
Jacob Jonas The Company
Executive Producer/Creative Director: Jacob Jonas
Producers: Jill Wilson, Emma Rosenzweig-Bock,
Associate Producers: Joy Isabella Brown, Francisco Cruz, Steve Hackman, Emily Kikta, Rubberlegz, Anibal Sandoval, Mike Tyus, Peter Walker
Fashion Director: Christian Stroble
CO-PRESENTED BY:
BAM, The Harris, The Soraya, Stanford Live, Stanford Global Studies