#Juan Carlos Cantú

[keyboard-worrier]

Just found this very cute post from the son of the man who plays Nacho's dad Manuel in BCS - Juan Carlos Cantú.

It was followed up with an AMA with the actor which is also extremely good. He told stories that made me love Whoopi Goldberg and David Lynch, and gave some lovely advice for beginner actors.

[byneddiedingo]

Raging Sun, Raging Sky (Julián Hernández, 2009) Cast: Jorge Becerra, Javier Oliván, Guillermo Villegas, Giovanna Zacharías, Joaquin Rodríguez, Juan Carlos Torres, Fabian Storniolo, Harold Torres, Clarissa Rendón, Baltimore Beltran, Rubén Santiago, Rubén Ángel. Screenplay: Julián Hernández. Cinematography: Alejandro Cantú. Production design: Carolina Jiménez, Jesús Torres Torres. Film editing: Emiliano Arenales Osorio. Music: Arturo Villela. Desire is not enough. That seems to be the motivating force behind Julián Hernández's extraordinary, sometimes exhilarating, often exasperating Raging Sun, Raging Sky. In the world of the film, gay men have achieved liberation of desire, but its currents flow through the old channels: cruising, hustling, casual pickups, phone sex, and encounters in porno theaters and public restrooms. It's a world that lacks a central love myth, a story of commitment, sacrifice, and redemption analogous to the legends of Héloïse and Abelard, Antony and Cleopatra, Tristan and Isolde. And so Hernández sets out to provide one in the story of Ryo (Guillermo Villegas), Kieri (Jorge Becerra), and Tari (Javier Oliván)-- a triad rather than a duo, reflective perhaps of the more open relationships common in the gay world. But he chooses to tell their story in a tantalizing fashion, beginning his film with a woman (Giovanna Zacarías) who wanders through Mexico City, seemingly in search of something and distressed when she fails to find it. She seems to have, like the angels of Wim Wenders's Wings of Desire (1987), the ability to overhear the thoughts of people she passes on the street and in a streetcar. Once she senses something from a young man on a motorbike, but he speeds away before she can talk to him. Finally, as it grows dark, she stops and leans on the parapet of a bridge, and a young man approaches her. It begins to rain, and he lends her his coat as they run back to his apartment where they make love. While he sleeps, she whispers to him, calling him Ryo, telling him that he will find someone to love, then dresses and goes to the window where she fades from sight. We will learn that she is Tatei, perhaps el corazón del cielo, the Mayan Heart of the Sky. But we won't learn that for two hours more, until after we meet the present-day protagonists, not only Ryo but also Kieri and Tari, the former a worker in a call center, the latter a boxer, both of whom lust after Ryo. When Ryo chooses to sleep with Kieri, Tari is enraged. And then the film begins to shift into fantasy, as the sleeping men begin to be covered with dust and a menacing Tari appears, his face painted. And finally the title credits appear, two hours into the film, as the story shifts into a mythic past in which Kieri, guided by Tatei, must conquer Tari and rescue Ryo. The section opens with a striking image of a dry riverbed from which Kieri literally rises, caked in dry mud, to begin his quest. Yes, it's more than three hours long, and probably shouldn't be. And yes, Hernández's vision is often derivative -- his work has been likened to that of any number of filmmakers, from Cocteau to Antonioni to Tarkovsky. But it's a film of powerful imagination and striking beauty, with a story told mostly through images -- there is scarcely any dialogue -- and the commitment of its young actors.  Is it the love myth that gay men need? Probably not, but it's an honorable attempt at one.

[conandaily2022]

List of songs from Grupo Frontera's album 'Jugando a Que No Pasa Nada'

album: “Jugando a Que No Pasa Nada” artist: Grupo Frontera (Adelaido “Payo” Solís III, Juan Javier Cantú, Julian Peña Jr., Alberto “Beto” Acosta, Carlos Guerrero, Carlos Zamora) country: United States label: release date: May 10, 2024 “Jugando a Que No Pasa Nada“ “F*ckin Amor“ “Por Qué Será” with Maluma “Desquite” with Nicki Nicole “Me Hizo un Favor“ “Los Dos” with Morat “Ya Pedo Quién…

[daisyherrera]

Inaugura Carlos Peña pavimentación de 3.8 mdp

#ElPuntoEs Inauguró el Alcalde de Reynosa Carlos Peña Ortiz otra pavimentación, está vez con una inversión de 3.8 millones de pesos 

Inauguró el Alcalde de Reynosa Carlos Peña Ortiz otra pavimentación, está vez con una inversión de 3.8 millones de pesos   Reynosa, Tamaulipas.- Las familias de la colonia Capitán Carlos Cantú ya cuentan con otra calle pavimentada, Juan Álvarez, la cual les fue entregada por el Presidente Municipal Carlos Peña Ortiz, una obra en la que fueron invertidos 3 Millones 864 Mil 821.13 Pesos, para que…

[maquilanews]

Fortalece gobierno municipal desarrollo económico con Tercera Feria del Empleo

La feria del empleo se llevó a cabo en el Centro Cívico “Carlos Cantú Rosas” en horario de las 9:00 AM hasta las 2:00 PM.

NUEVO LAREDO, TAM.- Con la finalidad de brindar una oportunidad laboral a personas desempleadas, el Gobierno Municipal, a través de la Secretaría de Desarrollo Económico, llevó a cabo la Tercera Feria de Empleo en la que 80 empresas ofertaron más de mil vacantes. En representación de la alcaldesa Carmen Lilia Canturosas Villarreal, acudió el secretario municipal de Desarrollo Económico, Juan…

[manifiestotamaulipas]

Entregó Carlos Peña Ortiz 30 casas y dos plantas purificadoras para comunidad migrante

Inversión de 78 Mil 500 Dólares beneficia a más de 72 Mil 600 residentes temporales.

El Presidente, Carlos Peña Ortiz, entregó a los albergues Senda de Vida 1 y 2, dos plantas para purificar agua; además, 30 casas de madera en el complejo 2, que en conjunto benefician a más de 72 Mil 600 miembros de estas familias extranjeras, que tendrán mejores condiciones de vida y respeto a sus derechos humanos durante su espera para cruzar legalmente a los Estados Unidos.

"Este tipo de donaciones son muy importantes, quiero agradecer de todo corazón a la Iglesia por sacar adelante este proyecto tan importante, tan necesario para las familias migrantes que llegan a esta ciudad", expresó el Alcalde, quien fue acompañado por la Regidora Rosario Rodríguez Velázquez, Coordinadora de Asuntos Migratorios del Cabildo local y por la Directora del DIF-Reynosa, Oralia Cantú Cantú.

El Misionero Francisco Martínez Rivera, presidente de Estaca Reynosa Mx., representante de los donadores manifestó este miércoles 22 de febrero, que: "Agradecemos mucho a nuestro querido Presidente Municipal Carlos Peña Ortiz que nos da la oportunidad de servir".

"Con mucho amor se han provisto estos fondos de aproximadamente 78 Mil 500 Dólares recibidos a través de ofrendas de los miembros del servicio caritativo para nuestros hermanos migrantes", concluyó el líder de la organización IJSUD, Iglesia de Jesucristo de los Santos de los Últimos Días.

En la ceremonia de inauguración participaron, el Director de los albergues, Pastor Héctor Silva De Luna; Lilian Guzmán, Marco Antonio Varela y Juan Gabriel Cárdenas, representantes de Bienestar y Autosuficiencia México, corporación administrativa de la organización religiosa.

[oficinadecorresponsales]

Cabildo nombra a presidente de la Comisión de Box y Lucha profesional

Cabildo nombra a presidente de la Comisión de Box y Lucha profesional

Carlos Figueroa NUEVO LAREDO, Tam., 30 de abril. —  Se designó por unanimidad de Síndicos y Regidores en la vigésima  tercera sesión ordinaria de cabildo al Presidente de la Comisión de Box y Lucha profesional de Nuevo Laredo. El cargo lo ocupará Juan de la Rosa Irigoyen y en la terna inicial iban Nelson Cuevas, Juan Alanís y Roxana Cantú fueron otras propuestas para el cargo de acuerdo a los…

[onlymexico]

Mexican muralism was the promotion of mural painting starting in the 1920s, generally with social and political messages as part of efforts to reunify the country under the post Mexican Revolution government. It was headed by “the big three” painters, Diego Rivera, José Clemente Orozco and David Alfaro Siqueiros. From the 1920s to about 1970s a large number of murals with nationalistic, social and political messages were created on public buildings, starting a tradition which continues to this day in Mexico and has had impact in other parts of the Americas, including the United States where it served as inspiration for the Chicano art movement.

Mexico has had a tradition of painting murals, starting with the Olmec civilization in the pre Hispanic period and into the colonial period, with murals mostly painted to evangelize and reinforce Christian doctrine. The modern tradition has its roots in the 19th century, with this use of political and social themes. The first Mexican mural painter to use philosophical themes in his work was Juan Cordero in the mid 19th century. Although he did mostly work with religious themes such as the cupola of the Santa Teresa Church and other churches, he painted a secular mural at the request of Gabino Barreda at the Escuela Nacional Preparatoria (since disappeared).

The latter 19th century was dominated politically by the Porfirio Díaz regime. This government was the first to push for the cultural development of the country, supporting the Academy of San Carlos and sending promising artists abroad to study. However, this effort left out indigenous culture and people, with the aim of making Mexico like Europe. Gerardo Murillo, also known as Dr. Atl, is considered to be the first modern Mexican muralists with the idea that Mexican art should reflect Mexican life. Academy training and the government had only promoted imitations of European art. Atl and other early muralists pressured the Diaz government to allow them to paint on building walls to escape this formalism. Atl also organized an independent exhibition of native Mexican artists promoting many indigenous and national themes along with color schemes that would later appear in mural painting. The first modern Mexican mural, painted by Atl, was a series of female nudes using “Atlcolor” a substance Atl invented himself, very shortly before the beginning of the Mexican Revolution . Another influence on the young artists of the late Porfirian period was the graphic work of José Guadalupe Posada, who mocked European styles and created cartoons with social and political criticism.

The Mexican Revolution itself was the culmination of political and social opposition to Porfirio Díaz policies. One important oppositional group was a small intellectual community that included Antonio Curo, Alfonso Reyes and José Vasconcelos. They promoted a populist philosophy that coincided with the social and political criticism of Atl and Posada and influenced the next generation of painters such as Diego Rivera, José Clemente Orozco and David Alfaro Siqueiros.

These ideas gained power as a result of the Mexican Revolution, which overthrew the Díaz regime in less than a year. However, there was nearly a decade of fighting among the various factions vying for power. Governments changed frequently with a number of assassinations, including that of Francisco I. Madero who initiated the struggle. It ended in the early 1920s with one-party rule in the hands of the Álvaro Obregón faction, which became the Partido Revolucionario Institucional (PRI). During the Revolution, Atl supported the Carranza faction and promoted the work of Rivera, Orozco and Siqueiros, who would later be the founders of the muralism movement. Through the war and until 1921, Atl continued to paint murals among other activities including teaching the Mexico’s next generation of artists and muralists.

Mural movement

Eagle and snake image from the Colegio San Ildefonso project by Jean Charlot. In 1921, after the end of the military phase of the Revolution, José Vasconcelos was appointed to head the Secretaría de Educación Pública. At the time, most of the Mexican population was illiterate and the government needed a way to promote the ideals of the Mexican Revolution. It was Vasconcelos’s idea have a government-backed mural program for this purpose. Similar to mural use in the pre Hispanic period and during the colonial period, the purpose of these murals were not simply aesthetic, but social, to promote certain ideals.

These ideals or principles were to glorify the Mexican Revolution and the identity of Mexico as a mestizo nation, with the indigenous promoted as well as the Spanish. The government began to hire the country’s best artists to paint murals, calling some of them home from Europe including Diego Rivera. These initial muralists included Dr. Atl, Ramón Alva de la Canal, Federico Cantú and others but the main three would be David Alfaro Siqueiros, José Clemente Orozco and Diego Rivera. His time as secretary was short but it set how muralism would develop. His image was painted on a tempera mural in 1921 by Roberto Montenegro, but this was short lived. His successor at the Secretaría de Educación Pública ordered it painted out. The muralists differed in style and temperament, but all believed that art was for the education and betterment of the people. This was behind their acceptance of these commissions as well as their creation of the Syndicate of Technical Workers, Painters, and Sculptors.

The first government sponsored mural project was on the three levels of interior walls of the old Jesuit institution Colegio San Ildefonso, at that time used for the Escuela Nacional Preparatoria. However, most of the murals in the Escuela National Preparatoria were done by José Clemente Orozco with themes of a mestizo Mexico, the ideas of renovation and the tragedies of the Revolution; Fernando Leal painted ["dancers of Chalma"] "Los danzantes de Chalma", no earlier than 1922. Opposite that mural, Jean Charlot painted La conquista de Tenochtitlán (Conquest of Tenochtitlan) by Jean Charlot—invited by Leal.

After the mural project at the National Preparatory High School This project at the institution was followed by projects at the Palacio Nacional, the interior walls of the Palacio de Bellas Artes, the Escuela Nacional de Chapingo the Escuela Nacional de Medicina and the Secretaria de Educación Pública building among many others.

The movement was strongest from the 1920s to the 1950s, which corresponded to the country’s transformation from a mostly rural and mostly illiterate society to an industrialized one. While today they are part of Mexico’s identity, at the time they were controversial, especially those with socialist messages plastered on centuries-old colonial buildings. One of the basic underpinnings of the nascence of a post revolutionary Mexican art was that it should be public, available to the citizenry and above all not the province of a few wealthy collectors. The great societal upheaval made the concept possible as well as a lack of relatively wealthy middle class to support the arts. On this, the painters and the government agreed. One other point of agreement was that artists should have complete freedom of expression. This would lead to another element added to the murals over their development. In addition to the original ideas of a reconstructed Mexico and the elevation of Mexico’s indigenous and rural identity, many of the muralists, including the three main painters, also included elements of Marxism, especially the struggle of the working class against oppression.

The inception and early years of Mexico's muralist movement are often considered the most ideologically pure and untainted by contradictions between socialist ideals and government manipulation. This initial phase is referred to as the "heroic" phase while the period after 1930 is the "statist" phase with the transition to the latter phase caused by José Vasconcelos's resignation in 1924.

Scholar Mary Coffey describes those who "acknowledge a change but refrain from judgment about its consequences" as taking the soft line and those who see all murals after 1930 as "propaganda for a corrupt state" as taking a hard line.[9] Another stance is that the evolution of Mexican muralism as having an uncomplicated relationship with the government and as an accurate reflection of avant-garde and proletariat sentiments. However, hard liners see the movement as complicit in the corrupt government's power consolidation under the guise of a socialist regime.

Art historian Leonard Folgarait has a slightly different view. He marks 1940 as the end of the post-revolutionary period in Mexico as well as the renaissance era of the muralist movement. The conclusion of the Lázaro Cárdenas administration (1934 – 1940) and the beginning of the Manuel Avila Camacho (1940 – 1946) administration saw the rise of an ultraconservative Mexico. The country’s policy was aimed at maintaining and strengthening a capitalist society.[10] Mural artists like the Big Three spent the post-revolutionary period developing their work based on the promises of a better future, and with the advent of conservatism they lost their subject and their voice.

The Mexican government began to distance itself from mural projects and mural production became relatively privatized. This privatization was a result of patronage from the growing national bourgeoisie. Murals were increasingly contracted for theaters, banks, and hotels.

Artistry

Mural by Jorge González Camarena at the Palacio de Bellas Artes Mexican populist art production from the 1920s to the 1950s is often grouped under the name of “Escuela Mexicana de Pintura (y Escultura) (Mexican School of Painting and Sculpture), coined in the 1930s by art historians and critics. The term is not well-defined as it does not distinguish among some important stylistic and thematic difference, there is no firm agreement which artists belong to it nor if muralism should be considered part of it or separate. It is not a school in the classic sense of the word as it includes work by more than one generation and with different styles that sometimes clash. However, it does involve a number of important characteristics. Mexican School mural painting was a combination of public ideals and artistic aesthetics “positioned as a constituent of the official public sphere.”  Three formal components of official Mexican muralism are defined as: 1) Direct participation in official publicity and discourse 2) Reciprocal integration of the visual discourse of the mural to an array of communicative practices participant in defining official publicity (including a variety of scriptural genres, but also public speech, debate and provocative public “event”) 3) The development and public thematizing of a social-realist aesthetic (albeit multiform in character) as the visual register for the public sense of the mural work and as the doxic, or unquestioned, limits for public dispute over the representational space of the mural image Most painters in this school worked in Mexico City or other cities in Mexico, working almost uninterrupted on projects and/or as teachers, generally with support of the government. Most were concerned with the history and identity of Mexico and politically active. Most art from this school was not created for direct sale but rather for diffusion in both Mexico and abroad. Most were formally trained, often studying in Europe and/or in the Academy of San Carlos.

Mural by Alfredo Zalce at the state government palace in Morelia. A large quantity of murals were produced in most of the country from the 1920s to 1970, generally with themes related to politics and nationalism focused often on the Mexican Revolution, mestizo identity and Mesoamerican cultural history. These served as a form of cohesion among members of the movement. The political and nationalistic aspects had little directly to do with the Mexican Revolution, especially in the later decades. The goal was more to glorify it and its results as a means to legitimatize the post Revolution government. The other political orientation was that of Marxism, especially class struggle. This was strongest in the early movement with Rivera, Orozco and Siqueiros all avowed communists. The political messages became less radical but they remained firmly to the left. Much of the mural production glorified the indigenous aspect of Mexican culture, considering it an important factor in the creation of modern Mexico. This was added with the idea of reexamining the country’s history from a different perspective. One other aspect that most of the muralists shared was a rejection of the idea that art was only for the elite, but rather as a benefit for the masses.

The murals took on monumental status because of where they were situated, mostly on the walls of colonial era government buildings and the themes that were painted.  The mural painters of Mexico freely shared ideas and techniques as they were a closely knit group. However, the work of each was distinctive as the government did not set style and artists can generally be deduced without looking at signatures. Techniques included the revival of old techniques such as the fresco, painting on freshly plastered walls and encaustic or hot wax painting .

Others used mosaics and high fire ceramics, as well as metal parts, and layers of cement. The most innovative of the artists was Siqueiros who worked with pyroxlene, a commercial enamel and Duco (used to paint cars), resins, asbestos, old machinery and was one of the first to use airbrush for artistic purposes. He pored, sprayed, dripped and splattered paint for the effects they created haphazardly.

Los Tres Grandes

Mural in the main stairwell of the National Palace by Diego Rivera By far, the three most influential muralists from the 20th century are Diego Rivera, José Clemente Orozco, and David Siqueiros, called “los tres grandes” (the three great ones).  All believed that art was the highest form of human expression and a key force in social revolution. Their work defined the movement taking over from Vasconcelos. It created a mythology around the Mexican Revolution and the Mexican people which is still influential to this day, as well as promote Marxist ideals. At the time the works were painted, they also served as a form of catharsis over what the country had endured during the war. However, the three were different in their artistic expression. Rivera’s works were utopian and idealist, Orozco’s were critical and pessimistic and the most radical were those of Siqueiros, heavily focused on a scientific future. The differences among the three have much to do with how each experienced the Mexican Revolution. Rivera was in Europe the entire time and did not fight. He never depicted the horrors of the war but what he perceived to be the social benefits from it. The other two did and both did express the horrors of war in their work. There was resentment to Rivera by the other two because of it, especially from Siqueiros.

Of the three, Rivera was the most traditional in terms of painting styles, drawing heavily from European modernism. In his narrative mural images, Rivera incorporated elements of cubism  His themes were Mexican, often scenes of everyday life and images of ancient Mexico. He originally painted this in bright colors in the European style but modified it to more earthy tones to imitate indigenous murals. His greatest contribution is the promotion of Mexico’s indigenous past into how many people both inside and outside of the country view it. 

Orozco also began with a European style of expression. However his art developed into an angry denunciation of oppression especially by those he considered to be an evil and brutal rules class. His work was somber and dire, with emphasis on human suffering and fear of the technology of the future. His work shows an "expressionist use of color, slashing lines, and parodic distortions of the human figure."  Like most other muralists, Orozco condemned the Spanish as destroyers of indigenous culture, but he did have kinder depictions such as that of a Franciscan friar tending to an emaciated indigenous period. Unlike other artists, Orozco never glorified the Mexican Revolution, having fought in it, but rather depicted the horrors of this war. It caused many of his murals to be heavily criticized and even defaced.

Siqueiros was the youngest and most radical of the three. He joined the Venustiano Carranza army when he was eighteen and experienced the Revolution from the front lines. Although all three muralists were communists, Siqueiros was the most dedicated, as evidenced by his portrayals of the proletarian masses. His work is also characterized with rapid, sweeping, bold lines and the use of modern enamels, machinery and other elements related to technology. His style showed a "futurist blurring of form and technique." His fascination with technology as it relates to art was exemplified when he emphasized the mass communications visual technology of photograph and motion picture in his eventual movement toward neorealism. His radical politics made him unwelcome in Mexico and the United States, so he did much of his work in South America.[5][7] However, his masterpiece is considered to be the Polyforum Cultural Siqueiros, located in Mexico City.

The Big Three struggled to express their leftist leanings after the initial years painting murals under government supervision. These struggles with the post-revolution government lead the muralists to create a union of artists and produce a radical manifesto. José Vasconcelos, the Secretary of Public Education under President Álvaro Obregón (1920–24) contracted Rivera, Siqueiros, and Orozco to pursue painting with the moral and financial support of the new post-revolutionary government. Vasconcelos, while seeking to promote nationalism and “raza cosmica,” seemed to contradict this sentiment as he guided the muralists to create works in a classic, European style. The murals became a target of Vasconcelos’s criticism when the Big Three departed from classical proportion and figure. Siqueiros was dissatisfied with the incongruity between the murals and the revolutionary concerns of the muralists, and he advocated discussion among the artists of their future works.

In 1922 the muralists founded the Union of Revolutionary Technical Workers, Painters, and Sculptors of Mexico. The Union then released a manifesto listing education, art of public utility, and beauty for all as the social goals of their future artistic endeavors.

Influence

After nearly a century since the beginning of the movement, Mexican artists still produce murals and other forms of art with the same “mestizo” message. Murals can be found in government buildings, former churches and schools in nearly every part of the country. One recent example is a cross cultural project in 2009 to paint a mural in the municipal market of Teotitlán del Valle, a small town in the state of Oaxaca. High school and college students from Georgia, United States, collaborated with town authorities to design and paint a mural to promote nutrition, environmental protection, education and the preservation of Zapotec language and customs.

Mexican muralism brought mural painting back to the forefront of Western art in the 20th century with its influence spreading abroad, especially promoting the idea of mural painting as a form of promoting social and political ideas. It offered an alternative to non-representational abstraction after World War I with figurative works that reflect society and its immediate concerns. While most Mexican muralists had little desire to be part of the international art scene, their influence spread to other parts of the Americas. Notable muralists influenced by Mexican muralism include Carlos Mérida of Guatemala, Oswaldo Guayasamín of Ecuador and Candido Portinari of Brazil .

Rivera, Orozco, and Siqueiros all spent time in the United States. Orozco was the first to paint murals in the late 1920s at Pomona College in Claremont, California, staying until 1934 and becoming popular with academic institutions.During the Great Depression, the Works Progress Administration employed artists to paint murals, which paved the way for Mexican muralists to find commissions in the country. Rivera lived in the United States from 1930 to 1934. During this time, he put on an influential show of his easel work at the Museum of Modern Art. The success of Orozco and Rivera prompted U.S. artists to study in Mexico and opened doors for many other Mexican artists to find work in the country. Siqueiros did not fare as well. He was exiled to the US from Mexico in 1932, moving to Los Angeles. During this time, he painted three murals, but they were painted over. The only one of the three to survive, América Tropical (full name: América Tropical: Oprimida y Destrozada por los Imperialismos, or Tropical America: Oppressed and Destroyed by Imperialism), was restored by the Getty Conservation Institute and the América Tropical Interpretive Center opened to provide public access.

The concept of mural as political message was transplanted to the United States, especially in the former Mexican territory of the Southwest. It served as inspiration to the later Chicano muralism but the political messages are different. Revolutionary Nicaragua developed a tradition of muralism during the Sandinista period.

[noticiasaldiacadereyta]

EL SECRETARIO DE SEGURIDAD PÚBLICA DE CADEREYTA RENUNCIA A SU CARGO POR PROBLEMAS DE SALUD

El día de hoy a las 21:05 horas, mediante un comunicado del área de Comunicación Social, de la administración del Ing. Cosme Julián Leal Cantú, emiten la renuncia del Comandante Juan Carlos Galvan Benavides, quien se desempeñaba como Secretario de Seguridad Pública de Cadereyta Jiménez Nuevo León. Mensionando que la salida del entonces Secretario de Seguridad Pública, son por problemas de Salud…

[fueradefocomagazine]

SER feat. ZETA TÉ HACEN UN "ROAD TRIP" EN SU NUEVO VIDEO

"PARA NO LIMARTE" filmado en vivo durante la gira nacional de SER

El nuevo video de SER feat Zeta Té “Para No Limarte” es un road trip filmado en vivo durante su gira nacional entre los meses de septiembre y diciembre (2019) en Corrientes (Tereré Fest), Mar del Plata (GAP), Mar Chiquita (Fiesta Regional de la Empanada Costera), Costa Atlántica y en rutas argentinas, dirigido por Jota Sibilla (Team Jota).

“Para No Limarte” (Sony Music Argentina | Warner Chappell) pertenece a su álbum “Criaturas” nominado a 2 Premios Gardel 2019 en Argentina.

Para despedir el disco la banda decide mostrar su lado más urbano, con mucho groove. En un explosivo feat junto al rappero/trappero Zeta Té, SER cristaliza en este videoclip lo que sucede con la banda en sus conciertos: conexión, buena vibra y sacar con la música el espíritu afuera.

Esta combinación de beats y onda, contagia, suma y cambia tu energía.  Solo queda darle play y disfrutar al sol.

SER acaba de regresar de una GIRA NACIONAL por Argentina junto a la estrella mexicana Paty Cantú, que comenzó el 21 de septiembre en Villa Carlos Paz en el marco del Festival de Primavera de FM Córdoba ante más de 130.000 personas.  

El tour continuó en octubre con dos shows en Buenos Aires, en la Apertura y Cierre del Festival Ciudad Emergente que se realizó en la Usina del Arte y se transmitió a todo el país a través de Vorterix.

Luego fue el turno de Corrientes en el escenario principal "BILLBOARD" del Tereré Fest y el pasado fin de semana cerraron el año con tres mega shows en Costa Atlántica argentina: la icónica GAP Mar del Plata, Fiesta Regional de la Empanada Costera de Santa Elena (Mar Chiquita) y Templeton de Cariló.  

Escuchalo acá:

https://open.spotify.com/track/1y4GOvvC6biFemVgMu7juT?si=lD3V2dOSSs6Q218DYC5ODA

SER es: Fede Berdullas: Voz y guitarra Juan Zangrilli: Batería y Octapad Roland Spd Sx Juan Marcos Pancino: Guitarra Leandro Emanuele: Bajo y Coros

Músicos invitados estables:

Jordan Mazza: Saxo Alto y Flauta Traversa Joaquin Lopez Barrios: Teclados Claudio Rodriguez: Percusión

Instagram: @serpoprock | Facebook: @serpopargentina | Twitter: @serpop

[gustavoespadas]

Los Diablos Rojos de México hicieron “arder el infierno” en el quinto episodio y con racimo de 5 carreras tuvieron suficiente para imponerse 5x3 a los Leones de Yucatán, para quedarse con la serie, 2-1, en el Parque Kukulcán, en 3:46 horas. No ha sido un buen comienzo para los selváticos que llevan marca de 1-5, algo que no sucedía desde el 1, 2, 4, 5, 7 y 8 de abril de 1981 (1-5) ante los mismos demonios y los Petroleros de Poza Rica. El cubano Yoanner Negrín colgó 5 argollas en la yugular de los satánicos, pero en el sexto giro se derrumbó estrepitosamente al tolerar 3 anotaciones (2) limpias del letal ataque rival. Jesús Fabela saludó al antillano con sencillo, Juan Carlos Gamboa pegó línea al prado central. Adonis García enfiló otro jit y doble poductor de una carrera de Japhet Amador hizo “explotar” a Negrín. Entró Sergio Alvarado, pero solamente regaló boleto a Oswaldo Arcia para irse a las duchas. Subió Andrés Avila a la loma y David Vidal tomó base por costoso pecado de Wálter Ibarra que envió al plato la segunda carrera. Emmanuel Avila sorbió chocolate y Jorge Cantú se encargó de rematar a las fieras con sonoro doblete con la casa llena que puso 5x1 la pizarra. Los felinos con melena quisieron reaccionar en la parte baja del mismo sexto, pero únicamente pudieron timbrar en 2 ocasiones. Los relevistas infernales se encargaron de parar en seco a los melenudos. La victoria fue para el abridor Octavio Acosta en 5 actos un tercio de 6 imparables, 2 carreras limpias sin bases por bols y 4 anestesias. Perdió Negrín. La asistencia “inflada” fue de 11,983 aficionados. Emmanuel Azcorra Cantón https://www.instagram.com/p/BwKZvyPg4OC/?utm_source=ig_tumblr_share&igshid=1cqoenw3aw0et

[manifiestotamaulipas]

Bomberos sofocan incendios en viviendas

David Díaz. Reynosa, Tamaulipas.-Unidades de bomberos acudieron a varios llamados de incendios, donde afortunadamente solo daños se registraron, y el susto que les quedo a los vecinos. -Arde vivienda y queda reducida a cenizas. Uno de los incendios se registró en la calle Juan Álvarez, de la colonia Capitán Carlos Cantú, donde vecinos de ese lugar dieran el aviso a los bomberos, ya que en una…

[oficinadecorresponsales]

Arranca Bravos temporada 2021-2022 de la Liga TDP

Arranca Bravos temporada 2021-2022 de la Liga TDP

Arranca Bravos temporada 2021-2022 de la Liga TDP En representación del alcalde Arturo Sanmiguel Cantú, el regidor Juan José Zárate Quezada da la patada inaugural  Carlos Figueroa NUEVO LAREDO, Tam., 18 de septiembre.— El regidor y presidente de la Comisión del Deporte, Juan José Zárate Quezada, en representación del alcalde Arturo Sanmiguel Cantú, realizó la patada inaugural para la temporada…

[rithond]

Plays 2019

JANUARY / ENERO 5: El beso de la mujer araña de Terrence McNally. Dir. Miguel Septién (8/10) TOTAL: 1

FEBRUARY / FEBRERO 4: La exageración de David Olguín. Dir. David Olguín (9/10) 6: Infierno comprendido de Servando Anacarsis Ramos. Dir. Servando Anacarsis Ramos (1/10) 7: Las preciosas ridículas de Molière. Dir. Octavio Michel (7/10) 9: Clausura del amor de Pascal Rambert. Dir. Hugo Arrevillaga (10/10) 13: Un acto de comunión de Lautaro Vilo. Dir. Julio César Luna (10/10) 23: Hello, Dolly! de Michael Stewart. Dir. David Merrick (4/10) 26: El donador de almas de Adrián Chávez. Dir. Ro Banda (8/10) TOTAL: 7

MARCH / MARZO 9: Clausura del amor de Pascal Rambert. Dir. Hugo Arrevillaga (10/10) 14: Si me amas, ¿por qué no te matas? de Fitho Cantú. Dir. Fitho Cantú (7/10) 16: DeSazón de Víctor Hugo Rascón Banda. Dir. José Caballero y Alejandro Luna (10/10) 20: El feo de Marius von Mayenburg. Dir. Víctor Weinstock (4/10) 29: Algo en Fuenteovejuna de Fernando Bonilla. Dir. Fernando Bonilla (7/10) 30: Ejercicios fantásticos del YO de Sabina Berman. Dir. Sabina Berman (6/10) TOTAL: 6

APRIL / ABRIL 6: El ensayo de Anne Washburn. Dir. Ana Graham & Antonio Vega (10/10) 14: Príncipe y príncipe de Perla Szuchmacher. Dir. Artús Chávez (10/10) 14: Casi normales de Brian Yorkey. Dir. Diego del Río (8/10) 17: ¿Quién teme a Virginia Woolf? de Edward Albee. Dir. Laura Almela, Ana Clara Castañón, Pedro de Tavira & Daniel Giménez Cacho (9/10) TOTAL: 4

MAY / MAYO 5: Murmullos de Nohemí Espinosa. Dir. Nohemí Espinosa (7/10) 12: El padre de August Strindberg. Dir. Raúl Quintanilla (6/10) 24: Niños lindos de Fernando Azpurua. Dir. Juan Ríos Cantú (4/10) 25: Lo tenemos levantado hacia el señor de Jorge David Muñoz Luisillo. Dir. Jorge David Muñoz Luisillo (8/10) TOTAL: 4

JUNE / JUNIO 2: Iván y los perros de Hattie Naylor. Dir. Sixto Castro Santillán (9/10) 15: Clipperton de David Olguín. Dir. Mayra Vargas (7/10) TOTAL: 2

JULY / JULIO 10: El Vaquero Galáctico. La leyenda de David Colorado. Dir. David Colorado (7/10) 15: DHL de Luis Eduardo Yee. Dir. Ricardo Rodríguez (7/10) 16: Hedda Gabler de Henrik Ibsen. Dir. Angélica Rogel (8/10) 22: Memoria de pez rojo de José Alberto Gallardo. Dir. Jaime Camarena (7/10) 23: La cría de Carlos Talancón. Dir. Carlos Talancón (9/10) 27: Medea de Antonio Zúñiga. Dir. Mauricio García Lozano (8/10) TOTAL: 6

AUGUST / AGOSTO 4: La maté por un pañuelo de Andrea Salmerón y Alfonso Cárcamo. Dir. Andrea Salmerón Sanginés (8/10) 7: La prietty guoman de César Enríquez. Dir. César Enríquez (10/10) 28: Paria de Pablo Fuentes. Dir. Pablo Fuentes (7/10) 31: 1984 de Duncan Macmillan & Robert Icke. Dir. José Manuel López Velarde (7/10) TOTAL: 4

SEPTEMBER / SEPTIEMBRE 19: Avenida Q de Jeff Witty, Robert Lopez & Jeff Marx. Álvaro Cerviño (8/10) 20: Triple concierto de Mónica Hoth & Claudio Valdés Kuri. Dir. Claudio Valdés Kuri (9/10) 22: La trágica historia de Hamlet, príncipe de Dinamarca (Primera parte) de William Shakespeare. Dir. José Caballero (8/10) TOTAL: 3

OCTOBER / OCTUBRE 3: Triple concierto de Mónica Hoth & Claudio Valdés Kuri. Dir. Claudio Valdés Kuri (9/10) 30: La historia del elefante de Luis Enrique Gutiérrez Ortiz Monasterio. Dir. Antonio Vega y Pablo Abitia (8/10) 31: Titus de William Shakespeare. Dir. Angélica Rogel (6/10) TOTAL: 3

NOVEMBER / NOVIEMBRE 16: La piedra oscura de Alberto Conejero. Dir. Sebastián Sánchez Amunátegui (6/10) TOTAL: 1

DECEMBER / DICIEMBRE 10: El diccionario de Manuel Calzada Pérez. Dir. Enrique Singer (10/10) 11: Los caminantes de Verónica Musalem. Dir. Verónica Musalem (8/10) 15: Una bestia en mi jardín de Valentina Sierra Bárcena. Dir. Valentina Sierra Bárcena (10/10) 29: A puerta cerrada de Jean-Paul Sartre. Dir. Enrique Singer (8/10) TOTAL: 4

TOTAL: 45

[ohmoguer]

30 de noviembre de 2021.- El Nido Verde albergó una gran jornada emotiva en honor al contador Rafael Moreno Valle Sánchez en su primer aniversario luctuoso, el cual culminó con un partido de Softball entre ex jugadores de Pericos y un combinado de peloteros poblanos. La jornada inició en punto de las 17:00 horas con firmas de autógrafos con ex jugadores de Pericos, Puebla y Lobos, en donde la afición poblana pudo acercarse a sus ídolos de antaño. El espectáculo a nivel terreno de juego fue engalanado con la presencia del exligamayorista Jorge Cantú y la actriz Malillany Marín, quienes tiraron la primera bola del juego, todo esto encabezado por la familia del contador Rafael Moreno Valle Sánchez. El encargado de cantar el Himno Nacional Mexicano fue el tenor Rafael Moreno Valle Huitrón. Los exjugadores de los Pericos de Puebla que estuvieron presentes en el homenaje fueron César Tapia, Andrés Meza, Pedro Iturbe, Serafín Rodríguez, Eliézer Ortíz, Donny León, Guadalupe Pérez, Jorge Luis Loredo, Luis Mauricio Suárez, Guillermo Rodríguez, Julio Miguel Trapaga, Renan Martínez, Juan Carlos García y Juan Pablo Linares. En lo que se refiere a futbolistas, estuvieron presentes Carlos Poblete, Juan Alvarado, Arturo Cañas, Hugo Fernández, Ángel Sosa, Erick Marín, entre otros. El juego de softball se lo llevó el combinado de exjugadores por pizarra de 8-4, derrotando al combinado de Puebla, dirigido por César Alfaro. El dueño del equipo, José Miguel Bejos y su esposa estuvieron presentes en el juego acompañando a las personalidades invitadas y miembros de la familia Moreno Valle.  https://www.instagram.com/p/CW8tc8wLf3I/?utm_medium=tumblr

[acquaaltaproducciones]

La denuncia contra el gobierno mexicano.

La denuncia contra el gobierno mexicano.

Ciudad de México a 02 de junio de 2021. México Justo.Org A.C. denunció ante la Comisión Interamericana de Derechos Humanos (CIDH) diversas violaciones de derechos humanos cometidas por el Gobierno de los Estados Unidos Mexicanos y una quejaante la Comisión Nacional de Derechos Humanos (CNDH), en perjuicio de los habitantes del país, a raíz de las medidas adoptadas en el marco de la respuesta a…