Podcasts about Cantinflas

Elena Poniatowska, Mexico's most celebrated journalist and one of the most significant literary voices in the Spanish-speaking world, argues in this conversation that the crisis of contemporary journalism is inseparable from the collapse of critical reading—and that both are symptoms of a deeper cultural abandonment. Born in Paris in 1932 to a French-Polish father and Mexican mother, Poniatowska contends that her formation as a writer was shaped by displacement, by learning to listen to those rendered voiceless by history, and by understanding that journalism must be an act of solidarity before it is anything else. Widely credited with helping to establish the genre of testimonio in Latin American letters, she transformed the voices of the marginalised into literature that forced an entire nation to confront its own silence. She maintains that her landmark work La Noche de Tlatelolco was not a journalistic achievement but a moral obligation, and reflects on her decision to refuse the Xavier Villaurrutia Prize, asking who would award the dead. Poniatowska insists that the greatest threat to literature and journalism today is not artificial intelligence but the disappearance of patience—the willingness to sit with a text, a story, or a life long enough for meaning to emerge. At 94, she affirms her belief in the innate goodness of human beings as not a sentiment but a necessity.Elena Poniatowska, la periodista más célebre de México y una de las voces literarias más significativas del mundo hispanohablante, sostiene en esta conversación que la crisis del periodismo contemporáneo es inseparable del colapso de la lectura crítica—y que ambos son síntomas de un abandono cultural más profundo. Nacida en París en 1932 de padre franco-polaco y madre mexicana, Poniatowska afirma que su formación como escritora estuvo marcada por el desplazamiento, por aprender a escuchar a quienes la historia había silenciado, y por comprender que el periodismo debe ser ante todo un acto de solidaridad. Ampliamente reconocida por haber contribuido a establecer el género del testimonio en las letras latinoamericanas, transformó las voces de los marginados en literatura que obligó a una nación entera a confrontar su propio silencio. Sostiene que su obra emblemática La Noche de Tlatelolco no fue un logro periodístico sino una obligación moral, y reflexiona sobre su decisión de rechazar el Premio Xavier Villaurrutia, preguntando quién iba a premiar a los muertos. Poniatowska insiste en que la mayor amenaza para la literatura y el periodismo hoy no es la inteligencia artificial sino la desaparición de la paciencia—la disposición a permanecer con un texto, una historia o una vida el tiempo suficiente para que emerja el significado. A los 94 años, reafirma su creencia en la bondad innata de los seres humanos no como un sentimiento sino como una necesidad.English transcript:SAVAGE MINDS — Elena PoniatowskaJulian Vigo (00:00:15):Welcome to Savage Minds.Julian Vigo (00:00:26):I am your host, Julian Vigo.Julian Vigo (00:00:30):Today's guest is Elena Poniatowska Amor,Julian Vigo (00:00:33):daughter of a French father of Polish origin, Jean E.Julian Vigo (00:00:37):Poniatowski, and Mexican mother Paula Amor.Julian Vigo (00:00:41):She was born in Paris in 1932.Julian Vigo (00:00:46):She has practiced journalism since 1953 at the newspapers El Día, Excélsior, Novedades, and La Jornada.Julian Vigo (00:00:57):She is the first woman to receive the National Journalism Prize.Julian Vigo (00:01:02):Among her works is La Noche de Tlatelolco,Julian Vigo (00:01:05):a classic since its publication, for which she was awarded the Xavier Villaurrutia Prize,Julian Vigo (00:01:12):which she refused, asking who was going to award the dead.Julian Vigo (00:01:17):Her novels and stories include La Flor de Lis,Julian Vigo (00:01:20):De Noche Vienes and Tlapalería,Julian Vigo (00:01:24):Paseo de la Reforma,Julian Vigo (00:01:26):Hasta No Verte Jesús Mío,Julian Vigo (00:01:28):The Life of a Mexican Soldadera,Julian Vigo (00:01:31):Querido Diego Te Abraza Quiela, Tinísima, winner of the Mazatlán Prize in 1992, La Piel del Cielo,Julian Vigo (00:01:40):winner of the Alfaguara Novel Prize in 2001, and El Tren Pasa Primero,Julian Vigo (00:01:48):about the lives of Mexican railway workers,Julian Vigo (00:01:52):winner of the Rómulo Gallegos International Novel Prize in 2007. Leonora won the Premio Biblioteca Breve Seix Barral in 2011. El Universo o Nada (2013) is the biography ofJulian Vigo (00:02:07):astrophysicist Guillermo Haro. Ondas de la Niña Mala is her first poetry collection, andJulian Vigo (00:02:14):her children's books include Boda en Chimalistac, La Vendedora de Nubes,Julian Vigo (00:02:20):El Burro que Metió la Pata, Sansimonsi, illustrated by Rafael Barajas el Fisgón, and ElJulian Vigo (00:02:27):Niño Estrellero by Fernando Robles, and El Charito Cantor by Osvaldo Hernández.Julian Vigo (00:02:34):Her most recent novel, El Amante Polaco, portrays the last king of Poland, Stanisław AugustJulian Vigo (00:02:41):Poniatowski. Translated into 20 languages. Gabi Brimmer and Las Mil y Una, the story ofJulian Vigo (00:02:48):Paulina,Julian Vigo (00:02:49):address social issues.Julian Vigo (00:02:52):After receiving honorary doctorates from UNAM and UAM,Julian Vigo (00:02:57):she was awarded them from the University of Puebla,Julian Vigo (00:03:01):Sonora, Estado de México,Julian Vigo (00:03:04):Guerrero,Julian Vigo (00:03:06):Chiapas, and Puerto Rico.Julian Vigo (00:03:09):She also received honorary degrees from the New School for Social Research in New York,Julian Vigo (00:03:13):Manhattanville College, and Florida Atlantic University in the United States, and fromJulian Vigo (00:03:19):Paris 8,Julian Vigo (00:03:19):La Sorbonne, and Pau-Pyrénées, as well as the Maria Moors Cabot Prize for Journalism atJulian Vigo (00:03:27):Columbia University, New York, in 2004, and from the Universidad Complutense, Madrid, inJulian Vigo (00:03:32):2015.Julian Vigo (00:03:34):She received the French Legion of Honour at the rank of Officer, the Gabriela Mistral Prize from Chile, and inJulian Vigo (00:03:41):2006, the Courage Award from the International Women's Media Foundation.Julian Vigo (00:03:43):In 2013 she was awardedJulian Vigo (00:03:49):the Miguel de Cervantes Prize for literature in the Spanish language, and she received theJulian Vigo (00:03:55):Belisario Domínguez Medal in 2022.Julian Vigo (00:03:58):This is the highest honour granted by the Senate of the Mexican Republic, along with theJulian Vigo (00:04:05):Carlos Fuentes International Prize for Literary Creation in the Spanish Language in 2023.(00:04:12):I welcome Elena Poniatowska to Savage Minds.Julian Vigo (00:04:19):I wanted to begin with a memory I have of you.Julian Vigo (00:04:22):In 1993,Julian Vigo (00:04:25):I think,Julian Vigo (00:04:27):or 94 —Julian Vigo (00:04:28):one of those two years —Julian Vigo (00:04:29):I was in Puebla,Julian Vigo (00:04:31):Cholula,Julian Vigo (00:04:32):teaching at the Universidad de las Américas.Julian Vigo (00:04:35):Yes.Julian Vigo (00:04:36):And you came to give a talk at an observatory — I believe it was Tonantzintla.Elena Poniatowska (00:04:44):Yes, of course.Elena Poniatowska (00:04:46):Yes, I remember it, andJulian Vigo (00:04:49):you made a great impression on me that day. But I must confess that your entire life's work made a great impression on me — not only on me. I wanted to begin with your formation, your life, because you were born in France andJulian Vigo (00:05:12):how do you remember your childhood in France, and what elements of that world did you bring with you when you arrived in Mexico in 1942?Elena Poniatowska (00:05:21):Well, thank you very much for your interest.Elena Poniatowska (00:05:29):I can tell you that I was born in 1932 in Paris, France, because my mother Paula Amor marriedElena Poniatowska (00:05:42):Juan Poniatowski, who held a noble title — that of prince —Elena Poniatowska (00:05:54):because the last king of Poland was Stanisław Poniatowski, who was, I believe, one ofElena Poniatowska (00:06:07):the lovers —Elena Poniatowska (00:06:09):one of the younger lovers of the Empress of Russia, Catherine the Great.Elena Poniatowska (00:06:21):My mother was a woman born also in Paris, of Mexican origin, who leftElena Poniatowska (00:06:32):France because of the Mexican RevolutionElena Poniatowska (00:06:36):and went to live with her parents — Pablo Amor and Elena Iturbe de Amor — inElena Poniatowska (00:06:49):Biarritz, and they later moved to Paris. My mother always spoke Spanish with a French accent. She had two sisters who also lived in France for a long time,Elena Poniatowska (00:07:07):and they were rather Frenchified. She met my father Jean Poniatowski in Paris andElena Poniatowska (00:07:20):married him, and I was born in 1932 in Paris.Elena Poniatowska (00:07:25):I would like to knowJulian Vigo (00:07:31):more about this experience, because as you probably know — especially Americans and Canadians — they think everyone wants to come to their countries. But something they don't know until they travel is that in Mexico, Honduras, and all of Latin America there is a great deal of immigration, people from every country in the world. Why not?Elena Poniatowska (00:08:01):Her mother was in France; my mother was Mexican, born in France. Her family — she had a grandmother, my mother's great-grandmother, who was Russian, and in general her father was educated in England, so they wereElena Poniatowska (00:08:29):Mexicans — Amor is a Mexican surname — but they were very closely tied to Europe. For my mother, living in Europe was very natural becauseElena Poniatowska (00:08:49):she first attended a boarding school in Switzerland, in Lausanne,Elena Poniatowska (00:08:56):and then was in Paris. At a Rothschild ball she met my father JuanElena Poniatowska (00:09:07):Poniatowski and married him in 1931,Elena Poniatowska (00:09:17):or perhaps at the beginning of 1932, because I was born on the 19th of May 1932.Elena Poniatowska (00:09:29):My sister was born in 1933.Julian Vigo (00:09:34):As a child who spoke French and had to learn Spanish, in what way did language become your first tool for survival?Elena Poniatowska (00:09:47):Well, I also know English and French. Language, for me — learning Spanish in Mexico — was obviously about communicating with people in the streetElena Poniatowska (00:09:56):and with friends at school. But French remained my mother tongue, andElena Poniatowska (00:10:03):later I dedicated myself to speaking Spanish with the people at home, with the MexicansElena Poniatowska (00:10:14):I met at school.Elena Poniatowska (00:10:23):Curiously, I attended an English school called the Windsor School, but I learned SpanishJulian Vigo (00:10:38):in the street — one always learns Spanish better in the street. You learn so much from people in Mexico. I found people very warm and open. On the other hand, for Mexicans in my country, it's not the same at all.Julian Vigo (00:10:59):What was the first moment you felt that writing was the only possible way to understand the Mexico around you?Elena Poniatowska (00:11:11):Well, I would never say it was the only possible way.Elena Poniatowska (00:11:17):I think that at twenty,Elena Poniatowska (00:11:22):twenty-one years old, returning from studying at a convent of nuns, I had theElena Poniatowska (00:11:30):good fortune to be able to start writing at a newspaper called, at that time,Elena Poniatowska (00:11:42):Excelsior.Elena Poniatowska (00:11:43):They asked me to submit a daily article,Elena Poniatowska (00:11:48):an interview,Elena Poniatowska (00:11:51):a chronicle, and I did so with enormous enthusiasm and great pleasure, because it allowed meElena Poniatowska (00:12:00):to know Mexico much better, and also to meet great figures of Mexico such asElena Poniatowska (00:12:09):Diego Rivera,Elena Poniatowska (00:12:11):José Clemente Orozco, actresses like Dolores del Río and María Félix, architects likeElena Poniatowska (00:12:20):Luis Barragán, and writers — even writers of my own generation, or slightlyElena Poniatowska (00:12:31):older than me — such as Juan Rulfo,Elena Poniatowska (00:12:38):Rosario Castellanos, Carlos Fuentes, and of course Octavio Paz.Julian Vigo (00:12:46):What a rich life! María Félix — what a figure!Julian Vigo (00:12:52):How was your experience beginning in journalism in the early 1950s in a predominantly male environment?Elena Poniatowska (00:13:05):Well, I was truly very lucky, because people were very kind andElena Poniatowska (00:13:14):even affectionate towards me. No one ever refused me an interview. I was able to reach Alfonso Reyes, Octavio Paz,Elena Poniatowska (00:13:25):the great architect Luis Barragán, José Vasconcelos the philosopher, and all were veryElena Poniatowska (00:13:40):kind and cordial with me, as were important actors like Ignacio LópezElena Poniatowska (00:13:51):Tarso,Elena Poniatowska (00:13:52):and of course those I already mentioned — Dolores del Río, María Félix — and singers, and also many visitors who came from Europe, the United States, or Latin America to perform in Mexico.Elena Poniatowska (00:14:20):Did you know El Indio Fernández?Elena Poniatowska (00:14:23):Yes,Elena Poniatowska (00:14:24):of course —Elena Poniatowska (00:14:25):I interviewed him,Elena Poniatowska (00:14:26):I knew El Indio Fernández, who by ten in the morning was already offering me a tequila, whichElena Poniatowska (00:14:35):I did not drink, as I'm not accustomed to drinking. And also many otherElena Poniatowska (00:14:47):famous actors of that era, like the comedian Cantinflas, whoseJulian Vigo (00:14:56):real name was Mario Moreno. Cantinflas — I know his work. Wow. And you were in Mexico during the same period as Luis Buñuel?Elena Poniatowska (00:15:06):Yes, I ended up with Luis Buñuel — yes, we had a great friendshipElena Poniatowska (00:15:15):because out of affection he came to have lunch at my house several times, so I saw him on manyElena Poniatowska (00:15:24):occasions. We even went together to the prison of Lecumberri to visit, for example, aElena Poniatowska (00:15:33):Colombian who had committed an offence and was imprisoned — his name wasElena Poniatowska (00:15:42):Álvaro Mutis.Julian Vigo (00:15:45):And you have lived through and narrated great social transformations.Julian Vigo (00:15:51):Do you think that today's digital democratisation of public opinion helps social justice, or does it rather dilute real struggles into mere narratives of identity and likes?Elena Poniatowska (00:16:08):Well, I think the Mexican Revolution,Elena Poniatowska (00:16:15):led by a man like Emiliano Zapata, was extraordinary in redistributing the lands and haciendas of Mexico and in giving all MexicansElena Poniatowska (00:16:32):access to better education, better formation, a better life. I consider thatElena Poniatowska (00:16:46):Emiliano Zapata was one of the great heroes of Mexico, even though he personally took away the haciendas of my grandparents, the Amors and the Iturbes.Julian Vigo (00:17:06):What did you learn from the great intellectuals of your youth?Julian Vigo (00:17:08):You mentioned Juan Rulfo, Alfonso Reyes, and many others.Julian Vigo (00:17:15):What influenced your decision to dedicate your life to letters?Elena Poniatowska (00:17:20):No, they did not influence my decision to dedicate myself to letters.Elena Poniatowska (00:17:26):I met them later.Elena Poniatowska (00:17:30):I began as a journalist, a modest journalist, at the newspaper Excelsior in 1953 —Elena Poniatowska (00:17:42):I think 1952 or 1953. Very young. I had come from an education at a convent of nuns inElena Poniatowska (00:17:53):Philadelphia, and I decidedElena Poniatowska (00:17:57):to write chronicles and interviews to get to know Mexico better. I came to know those figures through my work as a journalist, and because I could question themElena Poniatowska (00:18:14):in the language I knew and had learned as a child — at ten years old — which is Spanish. My other languages until then had beenElena Poniatowska (00:18:22):English,Elena Poniatowska (00:18:27):and French, which is my mother tongue.Julian Vigo (00:18:32):You are known for the testimonio.Julian Vigo (00:18:36):At what exact point did you feel that traditional fiction was not sufficient to capture Mexican reality?Elena Poniatowska (00:18:47):As I mentioned, I began by engaging with many valuable MexicansElena Poniatowska (00:18:54):who received me in their homes, gave me their opinions. At the same time as I received what they wished to give me,Elena Poniatowska (00:19:04):I observed how their homes were, how they treated the people around them — their wives, their children, their servants — and all of that helped meElena Poniatowska (00:19:22):to know Mexico better. I also spent a great deal of time in the streets — that is, with the poorest people, whom I was able to reachElena Poniatowska (00:19:34):through my own nature and also with the help of a great Mexican illustrator, Alberto Beltrán. In the street he made sketches of everything the Mexicans did — the newspaper vendors,Elena Poniatowska (00:19:59):the taco sellers,Elena Poniatowska (00:20:03):the women making corn tortillas by hand,Elena Poniatowska (00:20:12):the bakeries, and then the hardware stores where everything was sold — from nails toElena Poniatowska (00:20:22):cleaning cloths — and all of that was a very vital andElena Poniatowska (00:20:32):generous apprenticeship in learning to see the lives of working Mexicans.Julian Vigo (00:20:40):But it is an art — to be able to listen to people, to their voices.Julian Vigo (00:20:53):How did you learn to listen to the voice of the other?Elena Poniatowska (00:20:58):Well, I think it is a natural inclination.Elena Poniatowska (00:21:03):It is not learned.Elena Poniatowska (00:21:05):It is not forced.Elena Poniatowska (00:21:06):It is a way of being.Elena Poniatowska (00:21:10):I am far more interestedElena Poniatowska (00:21:11):in speaking of what others do, how they do it, and who they are, than in speaking of myself, my sensations, my emotions. And I have done this from a very young age, so it has become a habit — it is part of my daily life.Julian Vigo (00:21:36):Do you believe that the testimonio is essentially an act of political resistance?Elena Poniatowska (00:21:44):I think so.Elena Poniatowska (00:21:45):It helps enormously to know the thinking of those who have no power, who are not in power, who do not consider themselves political, who are not leaders — although I did have the great privilege of interviewing leaders and very important figures in Mexico,Elena Poniatowska (00:22:14):such as, for example, the Spanish refugee of the Civil War, Luis Buñuel.Julian Vigo (00:22:26):And how was the process of gathering the voice of Jesusa Palancares?Julian Vigo (00:22:32):How long did it take you to absorb her story?Elena Poniatowska (00:22:38):Well, it was a privilege. I heard her — she was doing laundry in a popular building, a building where many Mexicans lived who had noElena Poniatowska (00:22:56):economic resources. Everything she said caught my attention enormously. I approached her and asked if I could visit her at her home,Elena Poniatowska (00:23:13):which was a very poor house, obviously far from the area where I lived. And so I went toElena Poniatowska (00:23:26):see her once a week. We became friends, and she began telling me her life. And that is howElena Poniatowska (00:23:36):the novel Hasta No Verte Jesús Mío came about. When it was published,Elena Poniatowska (00:23:43):she asked me to give her ten copies to give to her friends —Elena Poniatowska (00:23:52):the bricklayers or the people she had worked with.Julian Vigo (00:24:00):And why did she choose the testimonial genre for Hasta No Verte Jesús Mío?Julian Vigo (00:24:09):It is one of the testimonial novels because —Elena Poniatowska (00:24:16):She didn't really choose it — she didn't. It was I who gathered her words andElena Poniatowska (00:24:27):assembled them in the best way I could. But she did not choose it.Elena Poniatowska (00:24:34):She could not read or write. She did not know how to read or write. But she asked for the books, and I — the cover of the book, what goes on the outside, is the Santo Niño de Atocha, a small Christ child that she liked.Julian Vigo (00:25:08):And I saw it in the street, and so I put it there so she would be happy. But I was asking you about the testimonial genre — in 1969 it was not a common thing in literature.Julian Vigo (00:25:26):How was this novel received?Julian Vigo (00:25:30):I wonder if people were confused.Julian Vigo (00:25:32):Is it a true story or is it fiction?Elena Poniatowska (00:25:35):No, it was very well received. The book was greatly liked.Elena Poniatowska (00:25:41):Immediately many editions came out and it was translated into English and French.Julian Vigo (00:25:51):And I wonder if at that time — less so today — people were confused because they did not know if it was a completely real story or partly real. Because the novel Hasta No Verte Jesús Mío was categorised as a novel.Elena Poniatowska (00:26:16):Yes, that's right, that is what it was.Elena Poniatowska (00:26:19):It is a novel based on a character — a woman who was in the Mexican Revolution, the life of a soldadera. To what extent is Jesusa an invented character or a real woman? I have said it, I have written it many times: Jesusa is a real character. After that I wroteElena Poniatowska (00:26:49):other books about other women who were also real characters. I had the joy of knowing Jesusa in person, but for example Tina Modotti, the main character ofElena Poniatowska (00:27:08):the novel Tinísima, I did not know. And other novels about other women and other characters I also did not know.Julian Vigo (00:27:22):What lessons about the resilience of Mexican women did you learn from Jesusa that remain relevant today?Elena Poniatowska (00:27:31):All the women in Mexico whom I see and engage with and encounter in the streetElena Poniatowska (00:27:41):and who come to my house — they are women who have known how to struggle and continue to struggle. For example, one woman, Rosario Ibarra de Piedra, whose son was disappeared, and who searched all of Mexico — she is obviously one of the heroines who has most caught my attention.Julian Vigo (00:28:10):And especially in recent years — almost thirty years — the femicides and the disappearances of men and women. You are still fighting for your society, and I think literary words have the power to carry reality forward. I am thinking of La Noche de Tlatelolco — that was the first book of yours I read. It is incredible. I have no words. Thank you. It is one of the best books of the twentieth century, and I teach it. It is astonishing. Can you speak about why you began that work, and also for those listening now who do not know the history of what happened in Mexico?Elena Poniatowska (00:29:03):Well, in general I can tell you that I received letters from a prisoner in the jail — Jesús Sánchez García — and I began going to Lecumberri, which was called the Black Palace of Lecumberri. It was no palace — it was a prison with bars and cells. I asked permission from the prison director — I believe his name was Martín del Campo — and he gave it to me. That is how I went to gather life stories from men, and later, at the women's prison, from women who had nothing to do with my own life, who bore no resemblance to what I hadElena Poniatowska (00:30:03):lived or what I would go on to live.Elena Poniatowska (00:30:16):That was an enormous enrichment for me, and a knowledge of an unknown Mexico that also helped me understand MexicoElena Poniatowska (00:30:31):— a Mexico to which I owe a great deal.Elena Poniatowska (00:30:35):I think that everything I am I owe to the voice, and to the gift of their voice, that the poorest Mexicans gave me — those I was able to approach over years and years,Elena Poniatowska (00:30:52):going to the prison and sometimes going to their own very poor homes, called vecindades, which were located in the very neighbourhoods where the prisons were.Julian Vigo (00:31:11):How did you manage the pain and trauma of the testimonies you heard while assembling the book?Elena Poniatowska (00:31:22):Pain is not managed. To manage something is to seek something. Pain is simply assumed and lived. So the pain is in the words written in the book.Julian Vigo (00:31:46):And why did you choose the technique of a collage of voices rather than a linear, chronological narrative for this book?Elena Poniatowska (00:31:57):I have many other books that speak even of personal stories — books that contain much of biography.Julian Vigo (00:32:13):Yes, but it is very interesting how you wove those narratives together in this book. It is very beautiful, in fact.Julian Vigo (00:32:24):Was there any moment during the writing of La Noche de Tlatelolco when you felt fear or censorship?Elena Poniatowska (00:32:33):Well, there was always the dread of entering terrain unknown to me.Elena Poniatowska (00:32:40):Ultimately, I was educated —Elena Poniatowska (00:32:45):I spent time in the United States at a convent to be educated, not to become a nun — it was called the Sacred Heart Convent.Elena Poniatowska (00:33:03):When I came out I was speaking English. My mother tongue is French. And when I left there, my strongest desire was truly to know Mexico — the country I had arrived in at the age of ten, but in which I had received an educationElena Poniatowska (00:33:30):in both English and French, not in Spanish.Julian Vigo (00:33:36):More than fifty years later, what impact do you think that book has on the collective memory of young Mexicans today?Elena Poniatowska (00:33:48):Well, I think that is a question that should be put to them.Elena Poniatowska (00:33:55):What I can say is that I have receivedElena Poniatowska (00:33:59):a great deal of affection from young people — many come to find me at my home, and I give lectures and talks with some frequency. Remember that I am already 94 years old and have lost the use of my left eye, which prevents me from seeing well. So within my limitations,Elena Poniatowska (00:34:27):I remain in contact with the people who want to see me, which for me produces great enthusiasm and which I experience as great support.Julian Vigo (00:34:42):The book you wrote is something very specific — evidently about Mexico — but it is still a book with which everyone can identify. If we look around today, where there are acts of political repression in almost every country in the world in one form or another — and I know your books are translated into many languages — I wonder whether the power of La Noche de Tlatelolco came from the form of the narration itself, not only from the fact that you confronted the government, the police, and justice. You narrated a story of the people seeking justice, yes, but literature itself was also seeking truth within its pages. There are wars everywhere, there is too much sadness. After the lockdown — which was less bad in Mexico than here in Italy — we are living through a very difficult moment. Do you sometimes think of this book as a model for dialogue, for collaboration, for moving forward together, the people united?Elena Poniatowska (00:36:09):Well, what I love about this book is that it has so many voices — many voices gathered from mothers of families, from children of political prisoners. For me it was a great learning experience to go to the prison in Mexico and see a world I did not know, to be accepted in that world, to go frequently to hear and gather the voices of political prisoners and of young people whoElena Poniatowska (00:36:52):didn't even have strong political ideas but were imprisoned because they had stolen something in a market. It meant entering a world I was completely unfamiliar with,Elena Poniatowska (00:37:13):to which I did not belong. And it was an enormous lesson — a very generous lesson — in how the lives of others can be. That is what I have dedicated myself to over many years, because I remain a journalist and continue writing about disasters such asElena Poniatowska (00:37:39):not only the massacre of the 2nd of October, but what the earthquake of 1985 meant for Mexico and the loss, for many Mexicans, of their families and their homes.Julian Vigo (00:37:59):Yes. You documented the earthquake of ‘85 — a moment when the Mexican government was completely paralysed and it was civil society that took control to rescue the city.Julian Vigo (00:38:15):Do you believe that peoples are still alone in the face of tragedy, or is that organic solidarity you described an invincible force?Elena Poniatowska (00:38:29):Yes,Elena Poniatowska (00:38:29):of course.Elena Poniatowska (00:38:30):I believe — that is why I believe in the invincible force of Mexicans, who help and support each other, who run to answer a cry for help. They are the ones who save themselves by saving others. I believe in that truth. It is a truth I lived, that I witnessed,Elena Poniatowska (00:38:57):and for me it is a lesson, a way of life.Julian Vigo (00:39:03):Does it reflect the structural abandonment of the seamstresses, the inhabitants, those who live in vecindades, and the poorest?Julian Vigo (00:39:13):How did you manage, in the midst of the chaos, the dust, and the mourning of those days, to earn the trust of people so that they would share their most painful and raw testimonies?Elena Poniatowska (00:39:30):Well, I have two physical advantages.Elena Poniatowska (00:39:32):I am small in stature. I frighten no one. No one is afraid of me. I can go anywhere. I am not someone who imposes anything at all, and I know how to listen. So by listening to others' voices, I gather them, I keep them, I memorise them,Elena Poniatowska (00:40:03):and then I put them on paper.Elena Poniatowska (00:40:06):That is the most solitary and difficult moment — writing about what happens to others,Elena Poniatowska (00:40:21):their sorrows,Elena Poniatowska (00:40:22):their joys,Elena Poniatowska (00:40:24):their defeats and also their triumphs —Elena Poniatowska (00:40:28):and making books and articles from them. Because I am also a journalist sinceElena Poniatowska (00:40:38):1953. I am now 94 years old.Julian Vigo (00:40:47):You're listening to Savage Minds.Julian Vigo (00:40:49):If you're enjoying the show, take a second to subscribe at savageminds.co.Julian Vigo (00:40:54):Feel free to comment below or drop us a line to share your thoughts.Julian Vigo (00:40:59):Support independent media today.Julian Vigo (00:41:01):Now, let's get back to it.Julian Vigo (00:41:15):Many consider that the earthquake of ‘85 not only brought down buildings but also toppled the myth of the Mexican State's absolute control — marking the true birth of modern citizenship in the country.Julian Vigo (00:41:33):From your perspective as a chronicler —Elena Poniatowska (00:41:40):I think Mexicans have always had enormous character and enormous capacity to defend themselvesElena Poniatowska (00:41:49):in spite of their own poverty, or in spite of the total absence of outside help.Elena Poniatowska (00:42:02):There was in Mexico a Mexican Revolution,Elena Poniatowska (00:42:08):a country conquered by very cruel conquerors, and yet the country has continued to forge ahead and has continued to demonstrate its bravery and courage in allElena Poniatowska (00:42:28):circumstances — one of which was, for example, the earthquake, in which the neighbours themselvesElena Poniatowska (00:42:37):helped each other before the State or the so-called government did anything.Elena Poniatowska (00:42:46):So I think it is a country with many very brave men, women, and children who save themselves, who know how to look after themselves.Elena Poniatowska (00:43:03):Of course there are people who don't know how to do it, and there are people who sometimes end upElena Poniatowska (00:43:12):in prison or in hospital. But in general Mexico is a country of very solidary people, people who help each other and defend themselves.Julian Vigo (00:43:31):What I love about your books in general is that you give voice — you shed light on the lives that are forgotten.Julian Vigo (00:43:42):Do you feel that in this book, for example, or in Nadie Me Verá Llorar, the author's voice becomes more present or closer to her characters than in your earlier works?Elena Poniatowska (00:43:56):No,Elena Poniatowska (00:43:57):I think that element is present in all my works — in Hasta No Verte Jesús Mío, in the book about the 2nd of October, in the earthquake — and it is always present in everything I still do at the newspaper where I work. I am in a certain way a chronicler and aElena Poniatowska (00:44:21):participant in the lives of other Mexicans.Julian Vigo (00:44:27):And I also notice that many of your works are about women — Tinísima, the life of Tina Modotti, a woman who lived so many lives in one. Leonora. And I wanted to ask — before we get to those books — about Querido Diego Te Abraza Quiela. Why did you choose that subject? Not only Diego Rivera but his first wife.Elena Poniatowska (00:44:59):I was moved to learn that in Paris, Angelina Beloff had gone to Mexico to seeElena Poniatowska (00:45:12):Diego Rivera, whom she had supported in Paris. He had lived with her and had livedElena Poniatowska (00:45:22):off her, because she was the one with a salary. He was a very young painter withoutElena Poniatowska (00:45:33):money, without resources. She helped him. And when she went to Mexico, she had also hadElena Poniatowska (00:45:42):the only male child that Diego Rivera ever had, who died of cold in Paris. And when she decided to go to Mexico — in a sense, to get to know the country of her lover — she decided to go to the Palacio de Bellas Artes because she knew that heElena Poniatowska (00:46:11):would be there. And he walked right past her — past the seat, one of those red velvet seats in the Palacio de Bellas Artes, called butacas, in which she was sitting — he walked past and did not even recognise her.Elena Poniatowska (00:46:40):That story struck me deeply, and that is why I decided to write the small book —Elena Poniatowska (00:46:55):it is not a very long book —Elena Poniatowska (00:46:58):called Querido Diego, Te Abraza Quiela.Julian Vigo (00:47:00):In Tinísima, what was it that drew you to the life of Tina Modotti?Elena Poniatowska (00:47:08):In reality it came from a request to make a film. The cinematographerElena Poniatowska (00:47:17):Gabriel Figueroa told me that a film was going to be made about Tina Modotti, the Italian woman who had been in Mexico. So I began interviewing all the people who had knownElena Poniatowska (00:47:38):Tina Modotti. And even when I was invited to France for a conference, I had theElena Poniatowska (00:47:47):opportunity to go to Udine in Italy to meet and get to know the siblings of Tina Modotti —Elena Poniatowska (00:48:00):to see them, interview them, speak with them.Elena Poniatowska (00:48:05):Then when I was told that the film about Tina Modotti in Mexico was no longer going to be made because there was no money, I — who had gone at my own expense to that conference in France and another writers' conference inElena Poniatowska (00:48:37):Italy — decided to launch into writing the novel called Tinísima, because I hadElena Poniatowska (00:48:48):interviewed many old communists whom I had gone to visitElena Poniatowska (00:48:56):in their various homes — generally very modest, very poor homes.Elena Poniatowska (00:49:03):I did not want to let them down, and so the novel Tinísima was published.Julian Vigo (00:49:10):And to what extent does Tina Modotti represent the struggle of the woman artist in the twentieth century?Elena Poniatowska (00:49:19):To the extent that she commits herself —Elena Poniatowska (00:49:23):she takes photographs of Mexico alongside Edward Weston, and then goes alongsideElena Poniatowska (00:49:33):Commander Carlos of the Fifth Regiment to Spain — she goes to the Spanish Civil War and becomes a nurse, caring evenElena Poniatowska (00:49:52):on the ground for the bodies that had fallen on the earth before taking them to the Red Cross — giving them first aid and dedicating herself to saving lives,Elena Poniatowska (00:50:08):or helping to save lives. I believe that many soldiers did not die thanks to the care of this womanElena Poniatowska (00:50:19):who was in the trench following the doctors.Julian Vigo (00:50:25):You have said that the writer must be a bridge.Julian Vigo (00:50:29):Between what worlds do you think it is most necessary to build bridges — or should we be breaking bridges today?Elena Poniatowska (00:50:38):No, I think one should never break a bridge, for anything.Elena Poniatowska (00:50:42):I think one mustElena Poniatowska (00:50:45):communicate — that the most important thing in the life of any human being is dialogue. Peoples too must dialogue with others in order to know each other. I think Mexico must have a dialogue with the United States, and that many Mexicans who have returned fromElena Poniatowska (00:51:09):the United States because TrumpElena Poniatowska (00:51:12):did not want to receive them, has rejected them — well, they nevertheless had, with another nation or with the inhabitants of another nation, knowledge and dialogue.Elena Poniatowska (00:51:28):And that I believe is what is called,Elena Poniatowska (00:51:34):within Catholicism if you like, or within any religion by whatever name it may be called — that is human fraternity. The otherElena Poniatowska (00:51:50):is the one who exists and who awaits you and whom you must help, because perhapsElena Poniatowska (00:51:58):one day you will need him to extend a hand to you.Julian Vigo (00:52:05):Trump is certainly a character, but I see the situation as too tragic for Americans — the United States, still my country — because the reality is that a large part of the Western world has absolutely no idea of the immense cultural, intellectual, and spiritual richness of Mexico.Julian Vigo (00:52:30):For me, it's not only Trump —Julian Vigo (00:52:32):but Americans, Canadians, etc.Julian Vigo (00:52:35):know nothing about the sharpest chroniclers of this country. If you had to open the eyes of an international audience completely unaware of Mexico's depth, what would you say is the most valuable treasure of Mexican identity that the rest of the world is missing?Elena Poniatowska (00:53:01):Well, I must say that many North Americans have come and written about Mexico — anthropologists and sociologists. We have Oscar LewisElena Poniatowska (00:53:17):and many others who have written about the poorest Mexicans, starting in Tepoztlán, a city near Mexico City, following them to the vecindades in the city where they took refuge and found very modest work. So yes, there have been North AmericansElena Poniatowska (00:53:44):who have written about the richness and beauty of Mexico, and their books areElena Poniatowska (00:53:53):translated into Spanish and are admired and appreciated by Mexicans who are grateful that attention is paid to them. So one cannot say that no one who has come from outside has cared about Mexico — in archaeology, in anthropology, as well as figures like Frances Toor, who was a North American woman who created a magazineElena Poniatowska (00:54:39):called Mexico Today and wrote extensively about Mexican customs and lived in Taxco.Elena Poniatowska (00:54:41):For example, a certain William Spratling enriched himself personally but helped many Mexicans inElena Poniatowska (00:54:51):Taxco to learn how to work silver and sell silver. And still today many foreigners and tourists go to buy silver objectsElena Poniatowska (00:55:10):that come from a mine discovered by foreigners — and clearly alsoElena Poniatowska (00:55:20):plundered, one might say, by foreigners.Julian Vigo (00:55:30):Because not everything is entirely good or entirely bad. But I was referring to the fact that — as you know, having been in the United States and many other countries — Trump and far too many people insufficiently educated about Mexico think that all Mexicans want to invade the United States. But the reality is otherwise. In Mexico there was a great cinematic tradition, for example. Mexican cinema has greatly influenced Hollywood — not only today but throughout history. The Oscar statuette itself was modelled on the body of El Indio Fernández. People do not know the depth of Mexican philosophy. I am thinking of Sor Juana, who contributed so much to poetry, theatre, even science — if we think of her letter to Sor Filotea, who was actually Manuel Fernández de Puebla. That dialogue was very important. Western feminists know nothing of these exchanges between those two figures. But for me Mexico has an enormous and very important force in the history of philosophy, science, and feminism. And I am thinking of Octavio Paz's book on Sor Juana Inés de la Cruz, called Sor Juana Inés de la Cruz, or The Traps of Faith. You knew Paz closely. Did you have conversations with him about his perspective on this book — especially regarding the power dynamics of the Church and the silencing she suffered as an intellectual woman?Elena Poniatowska (00:58:09):No, but I think you are mixing very many topics into one question, and it isElena Poniatowska (00:58:18):difficult to answer you because you are speaking of very diverse things that evenElena Poniatowska (00:58:27):happened in different centuries.Elena Poniatowska (00:58:30):Sor Juana — there have always been in Mexico,Elena Poniatowska (00:58:34):before Octavio Paz, people who dedicated themselves to reading,Elena Poniatowska (00:58:40):studying, and getting to know Sor Juana Inés de la Cruz.Elena Poniatowska (00:58:45):I will not add more names to those you mentioned, but there are many studies and many Sor Juana scholars in Mexico, as well as at the University of SantaElena Poniatowska (00:59:01):Barbara, California, in Paris, in France —Elena Poniatowska (00:59:04):there are many studies on the great figures of Mexico — not only The Traps of Faith by the Mexican poet Octavio Paz. So these are studies that will continue and do continue. In California, for example, Sara Poot HerreraElena Poniatowska (00:59:32):is dedicated to studying Sor Juana Inés de la Cruz, along with many other scholars — I don't know if she is still living — whose name was Rivers. All of these are studies that have been carried out in Mexico and outside Mexico.Julian Vigo (00:59:55):No, I was asking specifically about Paz's book because you knew him and —Elena Poniatowska (01:00:03):I knew him,Elena Poniatowska (01:00:04):I admired him, and I also wrote about him. I have a book about him. I admired him,Elena Poniatowska (01:00:12):I knew him, his poetry dazzled me. And he is a man whom I have admired since getting to know him, and whom I also hold with affection.Julian Vigo (01:00:29):I asked about your relationship with him because sometimes it happens to me too — with other writers — one asks or someone asks me, “Why did you do that?” It is a dialogue. Because that book, The Traps of Faith, had something very important — not only for Mexico but it placed the image of Sor Juana before the world. Many people began to ask who this nun was because it is very important. I was asking about the presentation Paz gave of her — whether you had any dialogues with Paz from your own perspective.Elena Poniatowska (01:01:20):Well, yes, of course. But there were others who also spoke at great length about Sor Juana de la Cruz — other Mexicans before Octavio Paz, other Mexicans who, for example, also concerned themselves with indigenous peoples, such as a priest — Ángel María Garibay — who was also a Sor Juana scholar. So there are many studies on Sor Juana Inés de la Cruz and there are Sor Juana scholars in Santa Bárbara, for example, such as Doctor Sara Poot Herrera and others — a woman by the name of Rivers and many more.Julian Vigo (01:02:16):You have dedicated your life to listening and giving voice to those who have none, through the chronicle and literature.Julian Vigo (01:02:26):Today,Julian Vigo (01:02:27):with social media,Julian Vigo (01:02:28):it seems that everyone has a platform for opinions.Julian Vigo (01:02:32):But are we really listening?Julian Vigo (01:02:36):What happens to the power of the word when it becomes a constant noise, as in social media?Elena Poniatowska (01:02:45):I don't know.Elena Poniatowska (01:02:46):I suppose it loses efficacy.Elena Poniatowska (01:02:49):But that depends on the activity of each human being.Elena Poniatowska (01:02:58):There are people — elderly people, for example, people already old — for whom life,Elena Poniatowska (01:03:08):even in institutions, in care homes, means turning the television on from morning until night and being entertained — that is, entertained without making the least effort of criticism or thought in front ofElena Poniatowska (01:03:29):the television.Elena Poniatowska (01:03:31):I have seen that this has been very important in keeping the elderly calm andElena Poniatowska (01:03:41):allowing them to die little by little in institutions called health facilities, where they have thisElena Poniatowska (01:03:52):constant and rather sad entertainment. ButElena Poniatowska (01:03:59):as they say in Mexico: no hay de otra — there is no other option, or no other option has been found, or there are not enough people willing to dedicate themselves to attending to and caring for others. So I see it as an end of lifeElena Poniatowska (01:04:28):for an individual who was once a thinking individual, who knew how to act,Elena Poniatowska (01:04:37):who knew how to elevate himself,Elena Poniatowska (01:04:41):to become a better human being. And I find it sad.Julian Vigo (01:04:46):Today, and for twenty years now, I have noticed as a university professor that students are reading less and less. Today, with so-called artificial intelligence — so-called because intelligence it is not — students are not reading. How can literature or journalism restore the true value and depth of words when we are in a world full of social media, opinions, and videos of a cat doing something funny?Elena Poniatowska (01:05:31):Your question is very difficult because I don't have the answer.Elena Poniatowska (01:05:37):What I can say is that ultimately it depends on the teachers.Elena Poniatowska (01:05:44):It depends on students having a good teacher,Elena Poniatowska (01:05:49):because even I have seen in classes —Elena Poniatowska (01:05:54):in different classes —Elena Poniatowska (01:05:57):that many young people continue looking at their phones while the teacher is writing onElena Poniatowska (01:06:07):the board, or speaking, or giving a class.Elena Poniatowska (01:06:13):So we shall see whether the destiny of young people will depend on what theyElena Poniatowska (01:06:21):learn from their phone. I don't have a phone —Elena Poniatowska (01:06:27):I never bought one,Elena Poniatowska (01:06:28):never got one. Or whether they will be able to go beyond themselvesElena Poniatowska (01:06:37):and beyond above all what the phone wants to give you or teach you or not teach youElena Poniatowska (01:06:46):or distract you from — because ultimately it is a distraction. Yes.Julian Vigo (01:06:53):Writing something to share — in quotation marks — they are sharing nothing in the end. I have noticed that many people are sharing articles they have not read. Young people are embracing identity politics and cancel cultureJulian Vigo (01:07:16):in the absence of any engagement with material reality today.Julian Vigo (01:07:21):That is my fear —Julian Vigo (01:07:23):that the millennials,Julian Vigo (01:07:26):this generation of thirty-year-olds,Julian Vigo (01:07:31):are fixated on pronounsJulian Vigo (01:07:36):but do nothing to help their neighbour.Julian Vigo (01:07:41):They do nothing to fight for living wages.Elena Poniatowska (01:07:46):Well, not all of them.Elena Poniatowska (01:07:49):It's a generalisation, of course.Elena Poniatowska (01:07:54):But I think you are right.Elena Poniatowska (01:07:58):It is a generalisation, because in any case there are human beings who live for others.Julian Vigo (01:08:08):We are in two camps today, because during the lockdown I noticed that many people — even on the right — were fighting for the poor in the United States, where I published. I could not publish a single article questioning the lockdown. That is when I started Savage Minds, because I was asking: what is happening? I no longer recognise this world in which the left is pushing people not to speak. We weren't talking about the lockdown, and the right was speaking very openly. And I see that politically, left and right — there is no longer that dichotomy, so to speak.Elena Poniatowska (01:09:02):Yes,Elena Poniatowska (01:09:03):I thank you greatly for your interest and I thank you enormously for this conversation. I feel animated,Elena Poniatowska (01:09:11):I feel glad to hear what you are saying.Elena Poniatowska (01:09:19):But I do feel that,Elena Poniatowska (01:09:22):as you say,Elena Poniatowska (01:09:23):the speed,Elena Poniatowska (01:09:26):the pace of all events,Elena Poniatowska (01:09:29):the television —Elena Poniatowska (01:09:32):it sets critical thinking and reflection on events to one side,Elena Poniatowska (01:09:41):because everything must be immediate, mustn't it?Elena Poniatowska (01:09:46):That is to say, everything ends in a second. Even the deepest interests sometimes last onlyElena Poniatowska (01:09:56):a few — one might even think, as we say in Mexico,Elena Poniatowska (01:10:01):un ratito — just a little while. There is no continuity in ideas orElena Poniatowska (01:10:12):even in purposes. There is something we all know called habit, and each personElena Poniatowska (01:10:21):lives according to the habits they have established in order to keep going —Elena Poniatowska (01:10:28):to keep existing, if you will. To make it to night, fall asleep, and know that you will wake the following day. Or perhaps you won't wake, because — well, for example, IElena Poniatowska (01:10:45):am a person of 94 years old and I have no certainty that I will see the following morning. ButElena Poniatowska (01:10:55):what I do believe is thatElena Poniatowska (01:10:58):I believe in the innate goodness of every human being.Elena Poniatowska (01:11:03):I have to believe in it, because I need that hope.(01:12:02): Get full access to Savage Minds at www.savageminds.co/subscribe

Florinda Meza, Chespirito, Bella de la Vega y un actor olvidado que escondía una historia impactante. Lo que vivió Juan Antonio Edwards parece sacado de una película. Desde sobrevivir emocionalmente al abandono y los conflictos familiares hasta protagonizar tensiones detrás de “11 y 12”, esta es la historia poco conocida de uno de los rostros más constantes de la televisión mexicana. Hosted by Simplecast, an AdsWizz company. See https://pcm.adswizz.com for information about our collection and use of personal data for advertising.

¿Quién era realmente Resortes detrás del personaje? La respuesta podría sorprenderte. Supuestos hijos no reconocidos, romances polémicos, una tragedia familiar devastadora y un final rodeado de conflictos marcaron la vida del legendario actor y bailarín mexicano. Hosted by Simplecast, an AdsWizz company. See https://pcm.adswizz.com for information about our collection and use of personal data for advertising.

¿Tun Tun terminó arruinado por amor a una diva del cine mexicano? La historia jamás fue confirmada… pero durante años circuló un rumor que involucró a la bellísima Ofelia Montesco. De Perú a México, Ofelia conquistó el cine junto a Cantinflas, Santo y Buñuel, convirtiéndose en una de las actrices más admiradas de los años 60. Sin embargo, detrás de su éxito habría existido un romance secreto que terminó en tragedia. Hosted by Simplecast, an AdsWizz company. See https://pcm.adswizz.com for information about our collection and use of personal data for advertising.

(Aniversario de la Muerte de Mario Moreno «Cantinflas») Todo el Barrio Latino de Nueva York estuvo alborotado ese día. Hubo desfiles populares, marchas militares tocadas por magníficas bandas, banderas, confeti, cohetes y pancartas. Era el 4 de mayo de 1983. Ese día, por iniciativa de las Naciones Unidas, Cantinflas, el popular comediante mexicano, fue declarado «Símbolo de paz y alegría de las Américas». Entre los maestros de ceremonias que animaron la celebración estuvieron otros dos grandes actores hispanos: Ricardo Montalbán y José Ferrer. Si hubieran decidido postergar la celebración diez años, habrían tenido que referirse a Cantinflas en el pretérito, ya que falleció el 20 de abril de 1993. Menos mal que aprovecharon la vida del genio artístico para celebrarla. «No deja de tener su nota inspiradora este homenaje a Mario Moreno “Cantinflas” —comenta el Hermano Pablo algún tiempo después en Un Mensaje a la Conciencia—.... Porque es aleccionador celebrar a un hombre que sabe hacer reír y que encarna la sencillez, la bondad, la resignación del pobre, el desinterés y el altruismo. »Indica que todavía se aprecian en el mundo las virtudes de Cantinflas. Y como Mario Moreno también en la vida real es un hombre generoso, altruista, filántropo, humilde y desinteresado —señala el Hermano Pablo—, el homenaje tiene doble significado. »Ya he mencionado más de una vez a este famoso actor hispano —sigue disertando acerca de Cantinflas aquel admirador suyo, conocido también por su nombre artístico y no por su apellido—. Me gusta destacar que él siempre ha encarnado al hombre del pueblo, al hombre sufrido, resignado, paciente, no exento de alguna picardía, pero siempre de un gran corazón con un gran desinterés.» Y de ahí el Hermano Pablo pasa a definirlo de un modo escueto, totalmente opuesto al estilo que hizo famoso al actor: «En una sola palabra, Cantinflas es el hombre manso. Y la Biblia dice en uno de sus pasajes más notables: «Bienaventurados los mansos, porque ellos recibirán la tierra por heredad.»1 Palabras del Señor Jesucristo mismo en el Sermón del Monte. »No son los generales prepotentes, ni los políticos astutos, ni los financistas sin más alma que el dólar, ni los eclesiásticos altaneros, quienes encarnan la paz y la alegría, sino los mansos.... »Jesús alabó a los mansos, a los humildes, a los pacificadores, a los resignados y a los que sienten hambre y sed de justicia, y los llamó bienaventurados», concluye el Hermano Pablo. Si queremos contar con la aprobación de Dios, más vale que nos esforcemos por imitar, al igual que Cantinflas, estas virtudes de los bienaventurados.2 Carlos ReyUn Mensaje a la Concienciawww.conciencia.net 1 Mt 5:5 (RVR-1960) 2 Mt 5:3-10

Seguimos igual. Una de cal, dos de arena. Un día luz, otro día sombra. Al menos alguno podría decir, no sin razón, que al menos antes éramos consistentemente malos. Por lo menos eso ahora no es así. Falta dar el paso para ser consistentemente buenos y ahí está el detalle como diría Cantinflas. Un día somos capaces de remontar un partido que se ve imposible. Al siguiente perdemos por una carrerita y no hay forma de superar ese escollo.

Dicen que todo fue un accidente… pero nadie lo cree. Una noche, celos, poder… y un disparo que nunca debió ocurrir. Fernando Casanova, uno de los grandes galanes del cine mexicano, vivió una historia marcada por el éxito, pero también por rumores, silencios y episodios que hasta hoy siguen generando dudas. Desde enfrentamientos con figuras poderosas hasta teorías sobre muertes rodeadas de misterio. Hosted by Simplecast, an AdsWizz company. See https://pcm.adswizz.com for information about our collection and use of personal data for advertising.

En esta ocasión nos acompañaron nuestros compas de @OtroPinchiPodcast

Acusó a Jorge Negrete de intentar matarla. Y terminó expulsada y vetada para siempre. La historia de Leticia Palma es una de las más turbias de la Época de Oro. Entre asambleas explosivas, insultos públicos, acusaciones millonarias y egos heridos, su carrera se apagó cuando apenas comenzaba a brillar. ¿Fue víctima del sistema o autora de su propia caída? Hosted by Simplecast, an AdsWizz company. See https://pcm.adswizz.com for information about our collection and use of personal data for advertising.

Betting on everything is common these days, yet somehow Around The World In Eighty Days isn't on everyone's lips in 2026. And...it shouldn't be. You really feel that 3 hours. Michael Anderson's adventure comedy has posh David Niven circumnavigating the globe with his man-of-action valet, Cantinflas, and they have to do it in the title deadline...while being pursued by an man from Scotland Yard, who thinks he robbed a bank to fund this trip. Producer Mike Todd seemed to will this film into being finished...and then turned it into an award-winning blockbuster, helped immensely by a staggering amount of star cameos. Well, "famous" at the time. And there's young Shirley MacLaine too! So plop this 722nd edition of Have You Ever Seen right onto your device as I analyze Around The World In Eighty Days. Well, Actually: I said it all sorts of ways in this episode, but the editor, Gene Ruggiero's name should be pronounced "rouge-ee-air-oh". Subscribe to Have You Ever Seen in your app. Rate and review the show too. And look for my scribblings on Letterboxd: RyanHYES. Get in touch! Try email (haveyoueverseenpodcast@gmail.com), Twi-X (@moviefiend51) and Bluesky (ryan-ellis).

Fue adorada por el público, pero temida en privado. Delia Magaña escondía más secretos de los que imaginas. Actriz, cantante, comediante y figura clave del Cine de Oro mexicano. Su carrera cruzó Hollywood, el teatro frívolo y relaciones envueltas en polémica. Hoy revisamos lo que la historia oficial nunca explicó. Hosted by Simplecast, an AdsWizz company. See https://pcm.adswizz.com for information about our collection and use of personal data for advertising.

Francisco Tito Rivas, director general de la Fonoteca Nacional

¡#EduardoManzano NUNCA trabajó con #Cantinflas! ¡Recordemos la razón! #QEPD. ¿Qué te pareció este momento?See omnystudio.com/listener for privacy information.

Miroslava Stern fue una de las estrellas más admiradas del Cine de Oro. Su belleza y talento la llevaron a lo más alto, pero detrás de las cámaras vivió momentos de profunda soledad. Entre fama, romances y decisiones difíciles, su historia quedó marcada por el misterio y la nostalgia de una época que ya no volverá. Hosted by Simplecast, an AdsWizz company. See https://pcm.adswizz.com for information about our collection and use of personal data for advertising.

¡Atención, comunidad! Esta #NocheParanormal te sumergirá en sucesos que desafían la realidad. Junto con Saúl Hernández y Alex Mayers, desvelaremos escalofriantes historias desde túneles secretos en San Luis, sirenas en casa de Cantinflas, aluxes en el tren maya y actividad paranormal sin explicación. Acompáñenme a desvelar las evidencias más particulares del fenómeno no humano, estamos seguros de que cada foto y video presentados te dejarán más que impactado.

Cantante, compositora y voz al frente de las bandas mexicanas, Hello Seahorse! y MexFutura. Con una carrera de mas de 18 años en la escena de música alternativa, Denise se ha destacado por su amplio rango vocal y uso de la voz en distintos estilos musicales. De niña fue parte del coro infantil Les Chanteurs du Lycée. Más adelante estudió canto operístico con dos profesores mexicanos destacados: Teresa Magaña y Héctor Sosa. Esta experiencia le ayudó a imprimir un sello característico en su voz. Actualmente sigue estudiando canto con el maestro neoyorquino Thomas Friedman.Ha colaborado con artistas como Alondra de la Parra, Fernando de la Mora, Natalia Lafourcade, Ely Guerra, Enjambre, panteon rococó, Zoé y Los Ángeles Azules entre otros proyectos multidisciplinarios. También ha participado en películas como “Cantinflas” (2014), de Sebastián del Amo y “Sueño en otro idioma” (2017), de Ernesto Contreras. Junto a Hello Seahorse!, ha recibido importantes nominaciones al Latin Grammy en cinco ocasiones, incluyendo la mas reciente en 2024 como Mejor Álbum de Música Alternativa. Ha participado en numerosos festivales internacionales como Coachella, Vive Latino, Pal Norte, Corona Capital, Rock al Parque, Neon Desert, entre otros. Actualmente, Denise ha incursionado en el mundo de la producción musical y está por lanzar su primer EP como solista, el cual verá la luz próximamente." Con una trayectoria ya asentada en la escena musical actual, Denise Gutiérrez ha logrado posicionarse como una de las cantantes más prolíferas de su generación.Síguenos en redes:http://instagram.com/cableatierrapodhttp://facebook.com/cableatierrapodcasthttp://instagram.com/tanialicious Hosted on Acast. See acast.com/privacy for more information.

¡Sopas perico! Todos los detalles de la casita de 12 mdp del compañero Noroña: ¿qué decía antes, qué dice ahora y qué opina la Presidenta? Además qué joya nos regaló el alcalde de Jalpa, ni Cantinflas en sus mejores tiempos. ¿Y que el 'temo' no es de Tepis? Acá les contamos. ¿Nuestro querido Marco Regil quiere una rusa? ¡Tienen que escuchalo! Y qué bofetón del dio Wendy a Ninel.

En entrevista con Ana Francisca Vega para MVS noticias, Sari Benítez, en su historia Chiquita habló de Hilda Krüger, que no solo fue actriz: también fue espía nazi en México y amante de figuras como Miguel Alemán y Cantinflas. Hilda Krüger (1912-1991) llegó a México en 1941 con una doble identidad: una actriz alemana en busca de oportunidades y una espía al servicio de Hitler. Aunque su carrera en Hollywood fue efímera, su belleza y carisma le abrieron puertas en la élite mexicana.See omnystudio.com/listener for privacy information.

Actriz mexicana de cine, televisión y teatro, con notables participaciones en muchos de los títulos más destacados de la escena contemporánea. Entre sus trabajos más sobresalientes en teatro se encuentran ‘Todo Sobre mi Madre' (Dir. Francisco Franco), ‘Cock' (Dir. Toño Serrano), ‘Crímenes del Corazón' (Dir. Enrique Singer), ‘Medida por Medida' y ‘Medea' (Mauricio García Lozano), ‘Network' (Dir. Francisco Franco) con Daniel Giménez Cacho, y ‘Cabaret' (2024). Ha sido nominada al Premio Ariel en cinco ocasiones y a los Premios Platino en tres. Con ‘Las Niñas Bien' (Dir. Alejandra Márquez Abella) recibió el Premio Ariel en 2019 en la categoría de Mejor Actriz, además del premio del Festival Internacional de Cine de la Habana y el Festival Internacional de Lima. Con ‘Plaza Catedral' (Dir. Abner Benaim) recibió el reconocimiento del FICG como mejor interpretación. Ilse enlista más participaciones relevantes dentro de su filmografía, como ‘GÜEROS' ( Dir. Alonso Ruizpalacios), ‘Sabrás que Hacer Conmigo' (Dir. Katina Medina Mora), ‘Museo' (Dir. Alonso Ruizpalacios), ‘Cantinflas' (Dir. Sebastián del Amo), ‘Amores Modernos' (Dir. Matias Meyer), ‘Maquíllame Otra Vez' (Dir. Guillermo Calderón), ‘Familia' (Dir. Rodrigo García) y ‘Pedro Páramo' (Dir. Rodrigo Prieto). Para televisión, ha formado parte de proyectos como ‘Locas de Amor' (Televisa), ‘Capadocia' (HBO), ‘Sr. Ávila' (HBO), ‘Historia de un Crimen: Colosio' (Netflix), ‘100 Días para Enamorarnos' (Telemundo), ‘Señorita 89' (Fábula / Pantaya), ‘La Liberación' (Prime Video), serie de la que también es productora, y ‘Futuro Desierto' (Paramount Television), próxima a estrenarse.Síguenos en redes:http://instagram.com/cableatierrapodhttp://facebook.com/cableatierrapodcasthttp://instagram.com/tanialicious Hosted on Acast. See acast.com/privacy for more information.

Películas que sí se dejan ver. Honores a la época dorada de un cine genial ECDQEMSD podcast episodio 6069 Cantinflas y el Cine de Oro Conducen: El Pirata y El Sr. Lagartija https://canaltrans.com Noticias del Mundo: La guerra entre Irán e Israel - Movilización por CFK en Argentina - La súper arma gringa - Esperando al huracán Erick - Tortillas en el Edomex - Club de Lectura Desintegrado - Cumbres Borrascosas Historias Desintegradas: Persona mayor contemporánea - Películas todo el tiempo - Memoria a corto plazo - Y de pronto chichis - Tatuajes simbólicos - Lazos de sangre - Debate familiar - Playa del Carmen se contrae - Mi hija y los borrachos - Día del Paseo - Detectives chilenos - La bandera uruguaya - El natalicio de Artigas y más... En Caso De Que El Mundo Se Desintegre - Podcast no tiene publicidad, sponsors ni organizaciones que aporten para mantenerlo al aire. Solo el sistema cooperativo de los que aportan a través de las suscripciones hacen posible que todo esto siga siendo una realidad. Gracias Dragones Dorados!! NO AI: ECDQEMSD Podcast no utiliza ninguna inteligencia artificial de manera directa para su realización. Diseño, guionado, música, edición y voces son de  nuestra completa intervención humana.

¡MEDIO WONDERWALL!Y traemos un nuevo episodio de 1/2 hora es suficiente con las mejores recomendaciones…Les hablamos del gran Matilduo y una versión espectacular de un clásico y lo nuevo de PulpLas películas Cantinflas y A Working ManLas series Étoile y Secrets we KeepsY el estreno de la semana de @cinesunidosEste episodio llega a ustedes gracias a nuestros queridos amigos de:@cinesunidos mucho mas que películas@ivecchionacce Tu asesoría jurídica.@goyosworkshop Diseño, arte y economía.Escúchanos en la plataformas de Podcast de tu preferencia, suscribete y así no te perderás nuestras novedadeshttps://linktr.ee/mediahoraessuficienteProducción de ½ Hora es Suficiente: Isabella Vecchionacce y Jonathan Lilue.Edición: Jonathan LilueMusicalización: Félix Tapia y Poet'ai cuyo trabajo podrán conocer mas a fondo enhttps://www.instagram.com/elchako/https://www.behance.net/tapiafelixhttps://www.tiktok.com/@poetai97

Monumentos dedicados a grandes leyendas del cine y la música nacional. Tales como Pedro Infante, Cantinflas, Tin Tan y otros íconos del espectáculo, que trascendieron la pantalla grande para convertirse en parte de nuestra memoria histórica.

#GabrielMoreno, nieto de #Cantinflas, AGRADECE llevar un AÑO limpio de ADICCI0N3S y espera tener nuevas oportunidades en la vidaSee omnystudio.com/listener for privacy information.

#GabrielMoreno fue 0BLIGAD0 por #MarioMorenoIvanova a C0NSUMIR y a PERDER la VIRGINIDAD para "volverse hombre"See omnystudio.com/listener for privacy information.

#GabrielMoreno, nieto de #Cantinflas, se PR0STITUYÓ en las calles por DINER0 para poder pagar sus AD1CCI0NESSee omnystudio.com/listener for privacy information.

Descubre las impactantes revelaciones que hizo #GabrielMoreno sobre su paso por las ADICCIONES hasta algunos de los mitos de la familia de #Cantinflas ¿Por qué cayó en las DR06AS tan joven? No lo vas a creer.See omnystudio.com/listener for privacy information.

La tertulia con Fernando Guillén Cuervo, Andrés Aberasturi y José Luis Garci, comienza explorando la representación de la vida y pasión de Jesucristo en el cine, desde clásicos como Ben-Hur hasta series actuales como The Chosen. Se discute cómo estas representaciones no solo mantienen su relevancia religiosa, sino que también se han convertido en un fenómeno cultural e histórico.El segundo tema se centra en Pilar Miró, una pionera del cine y la televisión en España, quien desafió las normas de su época al convertirse en la primera mujer en ocupar altos cargos en un mundo cinematográfico dominado por hombres. Su legado y su contribución a RTVE siguen siendo un hito en la historia del audiovisual español.Por último, la tertulia reflexiona sobre Cantinflas, el "rey del humor", cuya capacidad para hacer reír mientras denunciaba injusticias sociales le convirtió en un personaje universalmente querido. Escuchar audio

Esta semana en Quizá hablemos de ti:

We got into a huge rabbit whole about sea monsters then talked about the teacher who had a love affair with her student and what is mentally cheating! Listen To Noa Jameshttps://youtu.be/feTGCrqNwhk?si=67vUMdqjvRaTaX-G Follow I.E In Friends here:https://linktr.ee/IEinFriends Take The Mic!https://forms.gle/nSf7f2YKqSgxRBur8 Subscribe to us Patreon for exclusive episodes!https://www.patreon.com/ieinfriends Get 10% OFF on TasteSalud Products with code IEFRIENDS at tastesalud.com Follow Us!  Saul V GomezInstagram - https://www.instagram.com/saulvgomez/Twitter - https://twitter.com/Saulvgomez_  Aaron CaraveoInstagram - https://www.instagram.com/airbear_ie Topics00:00:00 - intro00:07:40 - MCD00:08:35 - Cantinflas partied with mermaids00:18:45 - Monsters used to be real00:36:00 - Pilars under the pyramids00:40:15 - Teacher falls in love with 15 year old student00:52:30 - Benny Blanco Hate is hypercritical01:03:20 - Taste Salud01:05:13 - Noa James Performance01:06:34 - Take the mic

Cantinflas, el icónico comediante mexicano, no solo dejó un legado en la pantalla grande, sino también una historia envuelta en misterio. Se dice que en su lujosa mansión, ubicada en la Ciudad de México, ocurrían cosas fuera de lo común.Una de las leyendas más inquietantes sugiere que el actor tenía sirenas en jaulas submarinas, criaturas fantásticas que mantenía ocultas del mundo.¿De dónde surgió este mito? ¿Existen pruebas que respalden la historia?En este episodio de Lugares Misteriosos, exploramos la verdad detrás de la mansión de Cantinflas, las historias que la rodean y los testimonios que han alimentado este enigma por años.

La mamá de Poncho de Nigris asegura que también va a grabas con Adrian Marcelo. Escucha el chisme sobre la casa de Cantinflas en Acapulco. Grupo Frontera apoya a familias afectadas por las lluvias en Reynosa. Lupita D'Alessio quiere que le cumplan su ultima voluntad. Esto y mucho más te tenemos preparado para este episodio.See omnystudio.com/listener for privacy information.

El cine mexicano nunca ha vendido tanto como le gustaría a quienes lo hacen. ¿Quienes son los responsables de que no tenga ese repunte para llegar a los máximos históricos de la Época de Oro en donde se exporta cine y la audiencia lo veía, y no solo en repeticiones en tele abierta los fines de semana?El episodio ya está disponible para nuestros patreons y se liberará para todo mundo el Martes 18 de Marzo a las 8 PM en nuestro canal en YouTube y Spreaker.Tú también puedes apoyar la creación de este y más programas y recibir crédito (para que aumentes currículum) y otros extras exclusivos en www.patreon.com/churrosypalomitas.Puedes suscribirte en YouTube para ayudarnos a producir más contenido de calidad, así como en apoyar este proyecto donando el dinero de Jeff Bezos y a ti no te cuesta nada! Instrucciones aquí.El mito de la Época de Oro y sus cintas más representativasMéxico se convirtió en un imperio de la cinematografía hispana durante los años treinta y cuarenta en la llamada Época de Oro de cine nacional, al influir en la forma de hablar, vestir y pensar de los habitantes de la región, señaló la investigadora Maricruz Castro.Las mejores películas de la época de oro (según Muy Interesante que le preguntó a ChatGPT.Revisión de los géneros más representativos de la Época de Oro. "De esta amplia variedad de contenidos y líneas temáticas, emergieron aquellas figuras emblemáticas que constituyeron el “star system mexicano”, del que destacaron nombres como el de Pedro Infante, María Félix, Jorge Negrete, Cantinflas, Dolores Del Río, Luis Aguilar, Sara García, Pedro Armendáriz, además de una nueva generación de realizadores encabezada por Emilio Fernández, Julio Bracho, Roberto Gavaldón, Ismael Rodríguez, entre otros. "Documentación sobre esta época. En esta etapa destacaron películas que buscaban promover la cultura, la moral y el nacionalismo, este último relacionado a la independencia económica de México, ante el acontecimiento reciente de la expropiación petrolera que se había vivido en marzo de 1938.Los orígenes de Bancine se remontan al 14 de enero de 1942,[1] cuando se estableció el antiguo Banco Cinematográfico S.A., el cual comenzó sus operaciones con un capital de un millón de pesos, monto que se incrementó año con año. Las películas mexicanas más taquilleras de la historia. Revisando la taquilla reciente.Hablemos de los sospechosos:Sospechoso 1: Estados Unidos. El auge del cine mexicano vino por la Segunda Guerra Mundial. ¿Cómo se atreven a volver a producir a niveles industriales para apoderarse del discurso cultural?Sospechoso 2: El cine de ficheras. La sexicomedia y el cine popular hizo que los exquisitos se refugiaran en formatos caseros.Sospechoso 3: Malas estrategias de mercado.Sospechoso 4: Las exhibidoras. Hay una cuota mínima de pantallas con cine mexicano y las exhibidoras no la respetan. ¿Cómo se atreven a dar presencia del 21% de las pantallas cuando la ley solo exige el 10%?Sospechoso 5: Los realizadores. Hacen películas que no conectan con la audiencia.Sospechoso 6: El gobierno. Debería haber más legislación para que la producción que hay se exhiba en todos lados, aunque la gente no vaya a verla. Hablemos de los ejemplos de Francia y como está ese mito de que allá la mayor parte del cine que se exhibe es solo francés. Tengo fotos y programas, no me platican. Sospechoso 7: Netflix y las plataformas, al invertir en contenido, ofreciendo dinero que el gobierno, la inexistente industria u otros recursos no ofrecen. Aunque eso no pasa solo en México. Mientras tanto, los realizadores piden que más gente vaya a las salas. Sospechoso 8. La audiencia. Aunque les ruegues, no van a ver una cinta, y luego se quejan que no está en cartelera o se las quitaron… a pesar de que les dijiste tanto tiempo. Tú también puedes apoyar la creación de este y más programas y recibir crédito (para que aumentes currículum) y otros extras exclusivos en www.patreon.com/churrosypalomitas¿Quieren continuar la discusión? Tenemos nuestro canal de Discord de Charlas y Palomitas, con distintos temas, unos solo para productores del show y otros para toda la banda.

The guys get together to discuss topics such as Mexican comedian, actor, and filmmaker Mario Fortino Alfonso Moreno Reyes known by Cantinflas, President Donald Trump's pause on military aid to Ukraine and the passing of 3-time Olympic champion wrestler Buvaisar Saitiev and much more on this episode that you do not want to miss and make sure to tune in!

This interview includes Jeffrey Herlihy-Mera, Professor of Humanities, Universidad de Puerto Rico-Mayagüez (UPR-M); Annette Martínez-Iñesta, Instructor of Italian, UPR-M; and Baruch Vergara, Artist and Professor of Plastic Arts, UPR-M. This episode has been sponsored by the Mellon Foundation, the Department of Humanities at the UPR-M, and the Instituto Nuevos Horizontes.  This is the second podcast with Ilan Stavans about Latino USA; the first, in Spanish, is available on the New Books Network en español. About the book: In Latino USA, Latin American and Latino scholar Ilan Stavans captures the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. Combining the solemnity of so-called serious literature and history with the inherently theatrical and humorous form of comics, this cartoon history of Latinos includes Columbus, the Alamo, Desi Arnaz, West Side Story, Castro, Guevara, the Bay of Pigs, Neruda, the Mariel boatlift, Selena, Sonia Sotomayor, and much more. To embrace the sweep of Hispanic civilization and its riot of types, archetypes, and stereotypes, Stavans deploys a series of "cliché figurines" as narrators, including a toucan (displayed regularly in books by García Márquez, Allende, and others), the beloved Latino comedian Cantinflas, a masked wrestler, and Captain America. Their multiple, at times contradictory voices provide unique perspectives on Latino history, together creating a carnivalesque epic, democratic and impartial. Updated to bring the book up to the present moment, this twenty-fifth anniversary edition includes thirty new pages of Latino history, from Hamilton to George Santos. Latino USA, like the history it so entertainingly relates, is a treasure trove of irreverence, wit, subversion, anarchy, politics, humanism, and celebration. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/latino-studies

This interview includes Jeffrey Herlihy-Mera, Professor of Humanities, Universidad de Puerto Rico-Mayagüez (UPR-M); Annette Martínez-Iñesta, Instructor of Italian, UPR-M; and Baruch Vergara, Artist and Professor of Plastic Arts, UPR-M. This episode has been sponsored by the Mellon Foundation, the Department of Humanities at the UPR-M, and the Instituto Nuevos Horizontes.  This is the second podcast with Ilan Stavans about Latino USA; the first, in Spanish, is available on the New Books Network en español. About the book: In Latino USA, Latin American and Latino scholar Ilan Stavans captures the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. Combining the solemnity of so-called serious literature and history with the inherently theatrical and humorous form of comics, this cartoon history of Latinos includes Columbus, the Alamo, Desi Arnaz, West Side Story, Castro, Guevara, the Bay of Pigs, Neruda, the Mariel boatlift, Selena, Sonia Sotomayor, and much more. To embrace the sweep of Hispanic civilization and its riot of types, archetypes, and stereotypes, Stavans deploys a series of "cliché figurines" as narrators, including a toucan (displayed regularly in books by García Márquez, Allende, and others), the beloved Latino comedian Cantinflas, a masked wrestler, and Captain America. Their multiple, at times contradictory voices provide unique perspectives on Latino history, together creating a carnivalesque epic, democratic and impartial. Updated to bring the book up to the present moment, this twenty-fifth anniversary edition includes thirty new pages of Latino history, from Hamilton to George Santos. Latino USA, like the history it so entertainingly relates, is a treasure trove of irreverence, wit, subversion, anarchy, politics, humanism, and celebration. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

This interview includes Jeffrey Herlihy-Mera, Professor of Humanities, Universidad de Puerto Rico-Mayagüez (UPR-M); Annette Martínez-Iñesta, Instructor of Italian, UPR-M; and Baruch Vergara, Artist and Professor of Plastic Arts, UPR-M. This episode has been sponsored by the Mellon Foundation, the Department of Humanities at the UPR-M, and the Instituto Nuevos Horizontes.  This is the second podcast with Ilan Stavans about Latino USA; the first, in Spanish, is available on the New Books Network en español. About the book: In Latino USA, Latin American and Latino scholar Ilan Stavans captures the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. Combining the solemnity of so-called serious literature and history with the inherently theatrical and humorous form of comics, this cartoon history of Latinos includes Columbus, the Alamo, Desi Arnaz, West Side Story, Castro, Guevara, the Bay of Pigs, Neruda, the Mariel boatlift, Selena, Sonia Sotomayor, and much more. To embrace the sweep of Hispanic civilization and its riot of types, archetypes, and stereotypes, Stavans deploys a series of "cliché figurines" as narrators, including a toucan (displayed regularly in books by García Márquez, Allende, and others), the beloved Latino comedian Cantinflas, a masked wrestler, and Captain America. Their multiple, at times contradictory voices provide unique perspectives on Latino history, together creating a carnivalesque epic, democratic and impartial. Updated to bring the book up to the present moment, this twenty-fifth anniversary edition includes thirty new pages of Latino history, from Hamilton to George Santos. Latino USA, like the history it so entertainingly relates, is a treasure trove of irreverence, wit, subversion, anarchy, politics, humanism, and celebration. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

This interview includes Jeffrey Herlihy-Mera, Professor of Humanities, Universidad de Puerto Rico-Mayagüez (UPR-M); Annette Martínez-Iñesta, Instructor of Italian, UPR-M; and Baruch Vergara, Artist and Professor of Plastic Arts, UPR-M. This episode has been sponsored by the Mellon Foundation, the Department of Humanities at the UPR-M, and the Instituto Nuevos Horizontes.  This is the second podcast with Ilan Stavans about Latino USA; the first, in Spanish, is available on the New Books Network en español. About the book: In Latino USA, Latin American and Latino scholar Ilan Stavans captures the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. Combining the solemnity of so-called serious literature and history with the inherently theatrical and humorous form of comics, this cartoon history of Latinos includes Columbus, the Alamo, Desi Arnaz, West Side Story, Castro, Guevara, the Bay of Pigs, Neruda, the Mariel boatlift, Selena, Sonia Sotomayor, and much more. To embrace the sweep of Hispanic civilization and its riot of types, archetypes, and stereotypes, Stavans deploys a series of "cliché figurines" as narrators, including a toucan (displayed regularly in books by García Márquez, Allende, and others), the beloved Latino comedian Cantinflas, a masked wrestler, and Captain America. Their multiple, at times contradictory voices provide unique perspectives on Latino history, together creating a carnivalesque epic, democratic and impartial. Updated to bring the book up to the present moment, this twenty-fifth anniversary edition includes thirty new pages of Latino history, from Hamilton to George Santos. Latino USA, like the history it so entertainingly relates, is a treasure trove of irreverence, wit, subversion, anarchy, politics, humanism, and celebration. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Link para el show de Iván⁠https://linktr.ee/soyivanmendozaa⁠Link para el show de Alex Quiroz⁠https://arema.mx/e/9538⁠Link para el show de Solin⁠https://app.recurrente.com/⁠Link de la merch oficial⁠https://semesubioelmuerto.myshopify.com/⁠Link de boletos tour 2025⁠https://linktr.ee/semesubioelmuerto⁠https://www.instagram.com/soyivanmendOZA https://www.instagram.com/soyalexquiroz/ https://www.instagram.com/solinstandup/SMSEM CREW: https://www.instagram.com/flaquimediosLa flaquita: https://www.instagram.com/putzulbrizuelaFlaquito: https://www.instagram.com/albertoo_brizuelaFlaquiMich: https://www.instagram.com/mich_xhSilvia: https://www.instagram.com/_silviasiu/Joch: https://www.instagram.com/elmismojoch/

En el programa de hoy, exploraremos la fascinante vida y trayectoria de uno de los íconos más grandes del humor en el mundo: Mario Moreno, mejor conocido como Cantinflas. Desde sus humildes comienzos en el teatro popular hasta su consagración como estrella internacional de cine, descubriremos los detalles más interesantes de su vida personal y profesional, así como su legado en la cultura popular. ¡Acompáñenos en este recorrido por la vida de un verdadero genio del humor!

Un sacerdote corriendo todo tipo de riesgos, disfrazándose para predicar Ejercicios Espirituales, y llevar los Sacramentos. Un mártir impresionante, héroe verdadero de México, ejemplo para los católicos de todo el mundo. Participa en los Ejercicios Espirituales de Miles Christi ! Te esperamos esta Cuaresma! P. Gonzalo Viaña, MC Miles Christi MX

Un personaje muy querido, por gran parte del pueblo mexicano, y que el día de hoy haremos un repaso de sus inicios difíciles, hasta su aún más difícil y lamentable deceso, te contaremos todo lo que se sabe, sobre la verdad que ha llegado y conocidos no quisieron revelar en su momento. Hoy te platico esta gran historia solo aquí

Este sábado en 8 Track con Cheko Záun, hicimos un modesto homenaje a la última diva del cine mexicano: Silvia Pinal. Hablamos de su carrera en el cine con Tintan, Cantinflas y obviamente con el genio Luis Buñuel. Estrenamos la canción navideña de Cher y Belinda. Hablamos de la repentina muerte del baterista de My Chemical Romance. ¡No te lo pierdas! No te pierdas todos los sábados de 19:00 a 20:00 h. 8-TRACK; con la mejor selección de música de tus bandas favoritas y la historia que hay detrás de ellas. En MVS 102.5.See omnystudio.com/listener for privacy information.

Esta noche, queremos conterte la historia de vida de un actor multifacético, enamoradizo y que supo anteponerse a la adversidad, hoy te cuento la historia de #AngelGarasa actor Español que escapó a una mejor vida ¿La obtuvo? Hoy te cuento todo, solo aquí en el podcast de #ElFilip

¿De dónde viene el sushi? ¿Por qué Cantinflas se llama así? ¿Cómo se restauran las obras del Castillo de Chapultepec? ¿De qué trata la obra original de Frankenstein? En este capítulo hablamos de: Comida japonesa, Museos, Monstruos, Comediantes mexicanos, Tipos de Sushi,Y más en los entremeses del Banquete del Doctor Zagal.See omnystudio.com/listener for privacy information.

¡Bienvenido a este episodio interesante! El artista colombiano nos visita desde Medellín para platicarnos historias muy interesantes. El artista de música regional nos relata su difícil vida desde pequeño y como fue que se apasionó por la cultura mexicana primero con Cantinflas, Pedro Infante y artistas de la época, incluso actualmente con Peso Pluma, Grupo Firme, Lenin Ramírez, Tony Aguirre y más artistas del medio de los corridos. Lo que hace más sentimental esta conversación es el momento en el que se reviven momentos de la infancia que hicieron felices a estas dos personas y concluyendo que la infancia que tuvieron no es para nada parecido a la que se vive en la actualidad. Conoce la música regional colombiana y como fue que influyó en que Luis Alfonso creara música regional, además de como logró el éxito en su carrera tras pasos difíciles en el comienzo de su carrera. Distribuido por Genuina Media

El cine mexicano tuvo momentos de oro y desde entonces el público se enamoró de varios clásicos que nunca pasarán de moda. Escucha las películas mexicanas que jamás pasarán de moda y las que podrías repetirte varias veces. Escucha todos los días las mejores ocurrencias del show del Bueno, la Mala y el Feo en su versión podcast.

En 2023 se cumplieron los 150 años de la publicación completa de una de las obras más famosas de Julio Verne: La vuelta al mundo en 80 días. En este capítulo aprovechamos para recordar la genialidad y el universo literario de Verne, pero también para celebrar la naturaleza viajera de nuestro podcast y así mismo a todas las personas que han hecho de los viajes una historia para contar siempre. Una apuesta, 80 días y el momento en el cual el planeta empezó a hacerse «cada vez más pequeño» son nuestra invitación para darle la vuelta al mundo Notas del episodio:  Siglo y medio de una novela que cambió la forma cómo vemos los viajes Julio Verne El escritor que inventó el siglo XX Eduardo Galeano y los primeros hombres que dieron la vuelta al mundo «El más largo viaje jamás realizado» Cuándo el mexicano Cantinflas fue Passepartout «Round to the World ticket» un boleto para darle la vuelta al mundo La miniserie de televisión de 1989 en la que Pierce Brosnan fue Phileas Fogg   ¡Síguenos en nuestras Redes Sociales!  Facebook: https://www.facebook.com/DianaUribe.fm/  Instagram: https://www.instagram.com/dianauribef... Twitter: https://twitter.com/dianauribefm?lang=es Pagina web: https://www.dianauribe.fm