Podcasts about Diego Rivera

La venganza será terrible Alejandro Dolina, Patricio Barton, Gillespi Introducción • 0:01:13 Saludos, recuerdo de la función en La Plata y agradecimiento al público • 0:04:21 Presentación de funciones en Avellaneda, Canning, Rosario, Córdoba y La Trastienda Segmento Inicial • 0:08:20 Las tribulaciones del capitalino que se muda a un pueblo • 0:11:10 Saludo obligatorio y fin del anonimato en la vida pueblerina • 0:13:20 Juicio social por la apariencia y la ropa • 0:14:27 Precauciones con romances, moral local y chismes • 0:18:23 Perros callejeros, siesta sagrada y ritmo lento del pueblo • 0:27:29 Rumores, Don Soilo y conflicto con los recién llegados • 0:35:08 Invitaciones sociales, fútbol local, apodos y pertenencia al pueblo • 0:39:01 Moda de irse a vivir a pueblos como San Antonio de Areco • 0:40:53 Colecta para un bebedero y nueva disputa por la hija de Don Soilo • 0:45:30 Expulsión humorística de los porteños del pueblo • 0:46:53 Lectura de mensajes de oyentes Segmento Dispositivo • 0:55:57 Hábitos extraños de pintores famosos • 0:56:06 Manías cotidianas y alimentación de Picasso • 0:58:23 Excesos y rutinas de Francis Bacon y Toulouse-Lautrec • 1:01:40 Fobias y obsesiones de Cézanne • 1:04:53 Fascinación de Manet por los pies y fabulaciones de Diego Rivera • 1:07:15 "El pintado" ♫ Segmento Humorístico • 1:10:38 Denuncias a falsos psicólogos • 1:12:59 Paquetes de sesiones, teleconsultas y clichés del consultorio • 1:16:40 Herramientas terapéuticas, reemplazos y pseudoespecialistas • 1:20:22 Monoambientes, falta de sala de espera y exposición de intimidades • 1:23:53 Matrículas dudosas, astrología y problemas domésticos del terapeuta • 1:25:18 Lacanianos, palabra plena y sesiones arbitrarias • 1:27:51 Psicólogos agresivos, hartazgo de pacientes y cierre del sketch Sordo Gancé / Manuel Moreira • 1:35:14 Presentación musical • 1:38:29 "(Sittin' On) The Dock of the Bay" ♫ • 1:41:20 "Desafinado" ♫ • 1:44:09 "Tenderly" ♫ • 1:46:55 "El orangután" ♫ (Resumen generado automáticamente con IA, puede contener errores)

La palmera mediterránea, específicamente la variedad datilera levantina, ha sido históricamente un pilar de supervivencia en regiones como Murcia y Alicante, donde sus dátiles —ricos en azúcar, proteínas y grasas— salvaron a muchas personas de morir de hambre durante la guerra. A pesar de este legado, en las últimas décadas se ha transformado en un objeto principalmente ornamental para urbanizaciones, lo que derivó en el expolio de palmerales locales y, posteriormente, en la importación de ejemplares de Egipto que introdujeron la plaga del picudo rojo. Actualmente, el dátil autóctono, caracterizado por su alto contenido en glucosa y su textura tierna, ha perdido peso frente a las variedades de sacarosa importadas del norte de África, provocando que toneladas de fruto se pierdan cada año en palmerales históricos como los de Elche u Orihuela mientras la industria se enfoca en especies más resistentes al clima o a las plagas, como las Washingtonias americanas.

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

En las calles empedradas de la colonia Juárez, en el corazón aristocrático de la Ciudad de México, la noche del jueves 10 de enero de 1929, la fotógrafa italiana Tina Modotti caminaba junto al joven comunista cubano Julio Antonio Mella, ignorando por un instante las advertencias del pintor Diego Rivera.Entonces, un mercenario desconocido aprovechó ese descuido, se acercó con una escuadra y disparó. Dos balas perforaron el tórax del exiliado. “¡Machado es el culpable, sus esbirros son mis agresores!”, alcanzó a gritar Mella, mientras el olor a pólvora se esparcía y Tina pedía auxilio en la oscuridad.Puedes conocer más de este y otros casos en los Archivos secretos de La Prensa.*Este episodio se realizó con base en los periódicos y noticias que se publicaron en el momento de los hechos. Hosted on Acast. See acast.com/privacy for more information.

Die Oper „El Último Sueño de Frida y Diego“ der US-amerikanischen Komponistin Gabriela Lena Frank wirft einen Blick auf das Künstlerpaar Frida Kahlo und Diego Rivera – und das in ambitionierter Umkehrung des Orpheus- und Eurydike-Mythos. Noch spannender aber: Mit diesem Werk hat eine Oper auf Spanisch Premiere an der Met gefeiert – und das ausgerechnet im kulturell eher auf Abgrenzung bedachten politischen Klima unter Donald Trump. Mit dabei ist auch ein Sänger aus dem SWR-Sendegebiet: der in Ludwigsburg geborene Nils Wanderer. In SWR Kultur berichtet er über seine Erfahrungen.

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Para diseñar un jardín capaz de resistir las altas temperaturas en regiones como el sureste español, la estructura del oasis se presenta como la solución ideal, utilizando palmeras que proporcionan una sombra difusa y protegen a otras plantas de la insolación excesiva. Aunque especies como el olivo, el ciprés y la higuera han demostrado históricamente su capacidad para soportar la escasez de agua, su mantenimiento requiere una gestión cuidadosa del espacio y la poda para evitar que se vuelvan inmanejables. Además, es crucial considerar la fisiología vegetal, ya que muchas plantas detienen su fotosíntesis durante las horas de mayor radiación para evitar la deshidratación, lo que resalta la necesidad de graduar la luz de forma efectiva para garantizar su supervivencia.

Josh Ireland explains that Trotsky was expelled from the Politburo after labeling Stalin the "gravedigger of the revolution." He began a global exile, eventually finding sanctuary in Mexico at the invitation of muralist Diego Rivera. (3/16)1906

SCHEDULE THE JOHN BATCHELOR SHOW-5-25-2026.1789 NEW YORK.Guest Author Josh Ireland discusses his book The Death of Trotsky: The True Story of the Plot to Kill Stalin's Greatest Enemy. The Russian Revolution began with Bolshevik fanatics using violence to impose their will on the masses. Irelandexplains the emerging rivalry between Trotsky and Stalin amidst the brutal purge of original revolutionaries. (1/16)In The Death of Trotsky, Josh Ireland describes how the intellectual Trotsky and bureaucratic Stalin competed for power following Lenin's death. Stalin maneuvered patiently to isolate Trotsky, who missed Lenin's funeral while recovering from a mysterious and poorly timed illness. (2/16)Josh Ireland explains that Trotsky was expelled from the Politburo after labeling Stalin the "gravedigger of the revolution." He began a global exile, eventually finding sanctuary in Mexico at the invitation of muralist Diego Rivera. (3/16)Josh Ireland details how, in Mexico, Trotsky faced constant threats from Stalin's assassins. Despite the fortified walls of his compound, the NKVD relentlessly monitored his correspondence and successfully infiltrated his inner circle with undercover agents. (4/16)Josh Ireland recounts how the Mercader family, led by the radicalized Caridad, was recruited by the NKVD during the Spanish Civil War. Her son Ramon was trained as a ruthless agent capable of carrying out high-stakes assassinations. (5/16)Josh Ireland describes how Ramon Mercader seduced Sylvia Ageloff to penetrate Trotsky's inner circle under a false identity. Meanwhile, a chaotic machine-gun raid by Stalinist gunmen failed to kill Trotsky, leading to even tighter security measures. (6/16)Josh Ireland recounts how Ramon Mercader used a mountaineer's ice pick to fatally wound Trotsky inside his study. Captured by guards, Ramon maintained a web of lies to conceal his true role as a Soviet operative. (7/16)Josh Ireland explains that following Trotsky's death, Ramon served twenty years in a Mexican prison before returning to Moscow as a hero. Trotsky's wife, Natalia, lived a diminished final chapter after losing her entire family. (8/16)Guest Author Edward J. Larson discusses his book Declaring Independence: Why 1776 Matters. The unprovoked burning of Norfolk, Virginia, by the Royal Navy in January 1776 served as a catalyst for independence. This violence convinced many colonists that reconciliation with the British Crown was impossible. (9/16)In Declaring Independence, Edward J. Larson describes how Henry Knox executed a daring winter transport of heavy artillery from Fort Ticonderoga to Boston. This logistical feat allowed Washington to fortify Dorchester Heights, forcing the British to evacuate the city. (10/16)Edward J. Larson recounts how Washington attempted to defend New York against a massive British armada. The Howe brothers tried to negotiate a peace deal, but American commitment to independence remained firm despite the overwhelming force. (11/16)Edward J. Larson explains that George Mason drafted the Virginia Declaration of Rights while Washington realized he must preserve his army through retreat. The revolution shifted toward establishing independent state governments based on popular sovereignty. (12/16)Edward J. Larson details how, during a grueling retreat through New Jersey, Thomas Paine's The American Crisisrevitalized colonial spirits. British and Hessian atrocities against civilians further alienated the population and strengthened the resolve for independence. (13/16)Edward J. Larson recounts how Abigail Adams urged her husband to "remember the ladies" during the debates over independence. Revolutionary ideals of equality began to raise significant questions regarding the status of women and enslaved people. (14/16)Edward J. Larson describes how Washington led a desperate Christmas crossing of the Delaware River to surprise the Hessians at Trenton. The subsequent victory at Princeton provided the moral triumph needed to sustain the struggling Continental Army. (15/16)Edward J. Larson explains that the formal signing of the Declaration of Independence marked a permanent break with monarchy. New state constitutions prioritized popular sovereignty, establishing the rule of law as the foundation of the Republic. (16/16)

La botánica ha evolucionado significativamente desde el siglo VI, cuando San Isidoro de Sevilla acuñó el término "botanicum" en su obra Las Etimologías, sentando las bases de lo que hoy conocemos como el estudio de las plantas. Siglos más tarde, Carlos Linneo revolucionó la disciplina al simplificar la nomenclatura científica mediante el uso del latín, estableciendo el sistema de género y modificador que seguimos utilizando casi 300 años después. En España, esta tradición científica alcanzó hitos importantes con la creación de la Flora Ibérica, una obra colaborativa que documenta la vegetación de la península y que hoy es accesible de forma digital. Más allá de los nombres, la labor del botánico implica el arte de herborizar, un proceso complejo de recolección y prensado que busca preservar ejemplares en herbarios para futuras investigaciones químicas y genéticas, enfrentando retos técnicos como el secado rápido con planchas para mantener el color o los peligros físicos de la exploración en el campo.

La historia de amor entre Frida Kalo y el paisajista Diego Rivera.Un amor complejo y apasionado .

A podcast introducing the exciting new Spanish-language opera with music by Gabriela Lena Frank to a libretto by Nilo Cruz: what would happen if the myth of Orpheus and Euridice were reenacted by the famous Mexican painters Diego Rivera and Frida Kahlo? Some Seattle Opera personnel attended the Chicago performances of this magic realist opera, coming to Seattle Opera January 2027. Michaela Calzaretta, chorus master and head of music staff, discussed FRIDA & DIEGO with Alex Minami, co-director of programs and partnerships, and Alicia Moriarty, director of production.

In part 2, Frida Kahlo and Diego Rivera begin their tempestuous relationship and Frida paints some of her most iconic works. Joining us again is our special guest, Amy!Sources:Herrera, Hayden, and Frida Kahlo. Frida Kahlo. New York, N.Y., Rizzoli, 1992.‌Kahlo, Frida. The Letters of Frida Kahlo. Chronicle Books (CA), 1995.

¿Puede el arte cambiar un barrio? ¿O incluso un país?En este cuarto episodio de la temporada 4, hablo con María Peña, artista visual asturiana afincada en París que lleva años dejando pedazos de su historia (y de las historias de otros) en paredes de medio mundo. Hablamos de murales que resignifican barrios enteros, de cómo el arte puede funcionar como herramienta de transformación social, y de lo que significa construir una carrera artística desde el instinto, las becas, el crowdfunding y una mochila siempre a punto.María estudió Bellas Artes en Madrid con la advertencia de siempre ("del arte no se puede vivir") y decidió ignorarla. Pero lo suyo no fue el típico camino de estudio y exposiciones: su primer gran proyecto fue meterse en la Cañada Real de Madrid junto a la ONG Arquitectura sin Fronteras para hacer murales participativos con los vecinos. De ahí a Sao Paulo, a Haití, a Etiopía (con un mural para la Unión Europea durante el COVID, sin saber muy bien cómo lo iba a hacer), a China, a Bali, a Viena, a Nueva York... y finalmente a París, donde encontró una ciudad que cuida a sus artistas de verdad.En la conversación también hablamos de:- Por qué salió más de la experiencia en Sao Paulo que de la universidad en Londres- Cómo se pinta un edificio de 12 pisos sola (y qué son los doodles como técnica de cuadrícula)- La diferencia brutal entre cómo se valora el arte en Francia y en EspañaQué pasa en una comunidad cuando el mural que se pinta en su calle cuenta su historia- Cómo la luz del Caribe y de América Latina vive hoy en sus cuadros- Y esa anécdota en Santiago de Compostela donde un mural consiguió que arreglaran una barandilla provisional que llevaba 7 años puesta

Dans cette saison, on vous dévoile la face cachée de l'un des couples d'artistes peintres les plus iconiques du XXe siècle : Frida Kahlo et Diego Rivera. Une histoire d'amour tumultueuse où l'art cimente la passion et répare les douleurs. Jusqu'à ce que la mort nous sépare Après 10 ans d'une passion tumultueuse, le couple apprend à voguer sur des eaux plus calmes. Au moment de leurs retrouvailles, Diego fait le serment à Frida de ne plus la tromper. Est-ce que cette promesse est tenue ? Impossible à savoir. En tout cas, si le peintre a de nouvelles liaisons, elles sont parfaitement cachées. Frida ne souffre plus des infidélités de son mari et leur collaboration artistique devient plus forte que jamais. Dans cet épisode, retour sur les derniers moments de bonheur qu'ont vécu les deux artistes. Un podcast Bababam Originals Ecriture : Claire Loup Voix : François Marion, Lucrèce Sassella Learn more about your ad choices. Visit megaphone.fm/adchoices

Dans cette saison, on vous dévoile la face cachée de l'un des couples d'artistes peintres les plus iconiques du XXe siècle : Frida Kahlo et Diego Rivera. Une histoire d'amour tumultueuse où l'art cimente la passion et répare les douleurs. La double trahison Quand Diego et Natalia découvrent que leurs conjoints respectifs ont entamé une liaison ensemble, le couple de Russes change de cap ; Trotski et sa femme quittent la Casa Azul. Mais Frida n'a pas dit son dernier mot : elle entame une nouvelle liaison avec le photographe Nickolas Muray l'année suivante. Diego ne supporte pas que sa femme se comporte… comme lui. Le couple se déchire une nouvelle fois et divorce en 1939. Un podcast Bababam Originals Ecriture : Claire Loup Voix : François Marion, Lucrèce Sassella Learn more about your ad choices. Visit megaphone.fm/adchoices

Dans cette saison, on vous dévoile la face cachée de l'un des couples d'artistes peintres les plus iconiques du XXe siècle : Frida Kahlo et Diego Rivera. Une histoire d'amour tumultueuse où l'art cimente la passion et répare les douleurs. Une fausse couche et un mari qui découche  Aux Etats-Unis, Diego multiplie les commandes prestigieuses pour des académies d'art. Le peintre est fasciné par le monde industriel qu'il découvre et s'immerge complètement dans cette vie américaine. Frida, elle, subit cette période. En plus de ses deux fausses couches, la jeune femme doit affronter les infidélités de son mari, qui n'ont pas cessé une fois de l'autre côté du Rio Bravo. Un podcast Bababam Originals Ecriture : Claire Loup Voix : François Marion, Lucrèce Sassella Learn more about your ad choices. Visit megaphone.fm/adchoices

Dans cette saison, on vous dévoile la face cachée de l'un des couples d'artistes peintres les plus iconiques du XXe siècle : Frida Kahlo et Diego Rivera. Une histoire d'amour tumultueuse où l'art cimente la passion et répare les douleurs. La colombe et l'éléphant Au moment de sa rencontre avec Frida en 1928, Diego Rivera est un peintre mondialement connu pour ses fresques murales à la gloire du Mexique et du communisme. L'homme a 43 ans, une carrure d'éléphant, deux divorces derrière lui et quelques enfants disséminés aux quatre coins du globe. Entre le coureur de jupons et cette jeune artiste pionnière du féminisme, le courant va passer, très très chargé en électricité… Un podcast Bababam Originals Ecriture : Claire Loup Voix : François Marion, Lucrèce Sassella Learn more about your ad choices. Visit megaphone.fm/adchoices

In the new novel Crucible, director and author John Sayles turns his attention to Henry Ford, Detroit, and automotive labor in the 1920s through World War II. The historical novel focuses less on Ford's story and more on the cast of characters whose lives were changed by the businessman: Ford workers, labor organizers, young radicals, and many others. Here & Now's Robin Young recently spoke with Sayles at the West Newton Cinema outside Boston in front of an audience of the author and filmmaker's fans. They discussed Henry Ford's top enforcer, cameos by figures like Joe Louis and Diego Rivera in the novel, and how Sayles' upbringing in Synecdoche, New York has shaped his work.To listen to Book of the Day sponsor-free and support NPR's book coverage, sign up for Book of the Day+ at plus.npr.org/bookofthedaySee pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.NPR Privacy Policy

La colección, que incluye obras de artistas como Frida Kahlo y Diego Rivera, es gestionada desde enero por Santander y algunos temen que su traslado a España no sea temporal como indica la legislación en México.

Carlos Pellicer Cámara (1897–1977) fue un poeta, museógrafo y político mexicano, considerado una de las voces más destacadas del modernismo tardío y del vanguardismo poético en América Latina. Nació en Villahermosa, Tabasco, y desde joven mostró una profunda sensibilidad artística, marcada por el amor a la naturaleza, la espiritualidad y el arte. Estudió en la Universidad Nacional Autónoma de México y en universidades de Colombia y Francia, donde entró en contacto con las corrientes literarias de su tiempo. Fue amigo de grandes figuras como José Vasconcelos, Diego Rivera y Gabriela Mistral. Su poesía se caracteriza por la intensidad lírica, el paisajismo exaltado y la alegría vital. Pellicer veía en la naturaleza una expresión de lo divino y una fuente de belleza inagotable. Algunos de sus libros más conocidos son:Colores en el mar y otros poemas (1921)Piedra de sacrificios (1924)Hora de junio (1937)Material poético 1918–1961 (1962)Además de poeta, fue un promotor cultural y museógrafo notable: organizó museos en México, entre ellos el Museo de Frida Kahlo (Casa Azul) y el Museo de Tabasco, que hoy lleva su nombre. También se desempeñó como diputado federal y fue un ferviente defensor del patrimonio artístico y natural de México. En 1976 recibió el Premio Nacional de Literatura de México. Carlos Pellicer es recordado como el “poeta de la luz”, por su fe en la belleza, la naturaleza y el poder espiritual de la palabra.

Frida Kahlo e Diego Rivera viveram umdos relacionamentos mais intensos e contraditórios da história da arte. Doisartistas profundamente ligados a ideias revolucionárias, inseridos em umambiente que questionava padrões políticos, sociais… e também afetivos.Mas viver essa liberdade na práticaestava longe de ser simples.Neste episódio do Art Talks, você vaiacompanhar a história de um casamento marcado por relações paralelas, paixõesintensas, ciúmes e conflitos constantes. Uma dinâmica que, hoje, poderia serassociada à não-monogamia — mas que revela o quanto essas experiências tambémpodem ser atravessadas por contradições e limites difíceis de sustentar.Ao longo da narrativa, exploramosepisódios marcantes dessa relação, incluindo o envolvimento de Frida com LeonTrotsky, e o momento em que a história do casal chega a um ponto de ruptura.Mais do que um romance caótico, esteepisódio propõe uma reflexão: é possível viver relações realmente livres? Outoda forma de amar ainda esbarra nas complexidades humanas?“História da Arte sem tédio” é umasérie do Art Talks que revela bastidores, conflitos e histórias reais por trásde grandes nomes da arte. Um convite para entender a arte para além das obras —de forma acessível, envolvente e sem linguagem acadêmica.Roteiro, produção e locução: Thais deAlbuquerque @thais.de.albuquerque

12. Trotsky's exile in Mexico was defined by a fatalistic awareness that Stalin's assassins would eventually succeed. Despite the protection of his entourage and famous hosts like Diego Rivera, he realized no individual could withstand an empire's mobilized secret police. (12)1928-29

SHOW SCHEDULE JOHN BATCHELOR SHOW 3-26-261920 TROTSKY AND THE ARMORED TRAIN1. John Batchelor and Anatol Lieven discuss how the Middle East conflict impacts the global economy through energy and fertilizer shortages. They explore whether major powers like Moscow and Washington are losing focus on the war in Ukraine due to the escalating crisis in the Persian Gulf. (1)2. Rising oil prices have significantly increased Russian confidence and revenue, providing an extra $150 million daily. However, a potential U.S. ground war in Iran could force a choice between defending Ukraine or the Gulf, potentially allowing China to decisively intervene in either theater. (2)3. Economist John Cochrane warns that government subsidies for high gas prices compound oil shocks into inflation. Comparing current trends to 1979, he argues that price controls lead to shortages, while free-market incentives are necessary to encourage production and efficient consumption. (3)4. Conrad Black notes that while Canadians support regime change in Iran, they view themselves as spectators regarding oil impacts. He emphasizes that closing the Strait of Hormuz constitutes a war on the world, though Canada lacks the naval resources to assist in reopening it. (4)5. This discussion focuses on the unreliability of AI, noting its tendency to "hallucinate" and apologize for errors. Experts suggest the future belongs to those with imagination who can test AI relentlessly, warning of a class divide between AI-savvy workers and those left behind. (5)6. Scientific testing reveals that AI agents can go rogue, potentially compromising private information like bank statements. Despite these risks, participants believe humans maintain an advantage through innovation, as AI merely scrapes existing data rather than creating original, competitive thoughts. (6)7. NASA Administrator Jared Isaacman outlines a mission to establish a permanent moon base by the early 2030s. The plan utilizes commercial providers like SpaceX and Blue Origin to secure the "high ground" and prepare for future Mars exploration before China can dominate the region. (7)8. The lunar race intensifies as China plans multiple settlements to achieve solar system hegemony. NASA aims to leap ahead using nuclear electric propulsion and competitive private contracts, focusing on redundancy and safety to ensure a sustained American presence on the lunar surface. (8)9. Josh Ireland examines the violent roots of the Russian Revolution, where founders were executed for "Trotskyism". He explores the personal rivalry between Trotsky and Stalin, two outsiders whose shared passion for Marxist theory transformed into a decades-long conflict that reshaped world history. (9)10. Stalin built power through patience and bureaucratic alliances, while the charismatic Trotsky viewed him as a "gray blur". Trotsky's failure to grasp practical politics was exemplified by his decision to skip Lenin's funeral, allowing Stalin to position himself as the revolution's rightful heir. (10)11. Stalin systematically marginalized Trotsky by suppressing his speeches and removing his allies from the Kremlin. By labeling Trotsky a "gravedigger of the revolution," Stalin used him as a spectre of failure to justify total control and internal purges of his own peers. (11)12. Trotsky's exile in Mexico was defined by a fatalistic awareness that Stalin's assassins would eventually succeed. Despite the protection of his entourage and famous hosts like Diego Rivera, he realized no individual could withstand an empire's mobilized secret police. (12)13. Guest Cliff May defends the war with Iran as a necessary "war of choice" to deter decades of aggression,. He emphasizes preemptive action against gathering threats and discusses Iran's crippled regional proxies,. (13)14. Guest Mary Anastasia O'Grady examines Cuba's desperate plea for private investment amidst an energy crisis. She warns of the regime's history of exploiting investors and argues that progress requires total democratic regime change,. (14)15. Guest Veronique de Rugy analyzes the $300 billion cost of the Iran war, detailing legislative paths like reconciliation to bypass Senate filibusters,. She highlights the risks of rising inflation and massive national debt,. (15)16. Guest Max Meizlish explores Iran's use of "market asymmetry" and information warfare to manipulate global energy prices,. By denying peace progress, Iran spikes oil costs, providing a significant financial boon to Russia,. (16)

This Spring, renowned Mexican artists Frida Kahlo and Diego Rivera are being celebrated by the Museum of Modern Art in a dual exhibition. 'Frida and Diego: The Last Dream,' looks at how Kahlo and Rivera represented a shift in the development of Mexican identity, art, and culture in the early 20th century. The show is presented in conjunction with the Metropolitan Opera, which is presenting 'El Último Sueño de Frida y Diego,' an opera debuting this Spring that explores the relationship between Rivera and Kahlo through a fictional narrative. MoMA worked with the opera's set designer Jon Bausor to create unique setting for the art on view. Bausor discusses the process for designing this exhibit alongside Beverly Adams, MoMA curator of Latin American Art. 'Frida and Diego: The Last Dream' is on view through September 12. Photo by Robert Gerhardt via MoMA

Learn more at TheCityLife.org

Send a textfind out about Cross Word Books podcasthttps://bookclues.com./A single ice axe swung in a quiet Mexico City study, but the shockwave started decades earlier, on the edges of a collapsing empire. We follow the combustible rivalry between Leon Trotsky and Joseph Stalin—from exile and revolution to a propaganda war that turned one man's image into the regime's most useful enemy. Our guest, author Josh Ireland, brings meticulous research and narrative clarity to a story where ideology cuts into daily life, and private love becomes a public weapon.We dig into the fractures that shaped Soviet power: the Bolshevik belief in a tight revolutionary vanguard, the Menshevik alternative that lost momentum, and the way that early choices hardened into a state ethos of control. You'll hear how the NKVD evolved into a sprawling security apparatus that hunted at home and abroad, and why Stalin's paranoia wasn't just a psychological quirk—it was a method for governing through fear. Along the way, we trace Trotsky's exile from Turkey to Norway to Mexico, his brief orbit with Diego Rivera and Frida Kahlo, and the shrinking circle of trust that defined his final years.At the center stands Ramon Mercader, a handsome Spaniard whose path to murder ran through the Spanish Civil War, a ruthless handler, and a calculated romance with Sylvia Ageloff. Their honey trap shows how Soviet intelligence manipulated intimacy to breach fortified lives. After the killing, Mercader's airtight cover story holds for years, his mother faces the cost of loyalty in Moscow, and Sylvia fades into obscurity, carrying a wound history rarely credits. Threaded through it all is a modern echo: the institutional lineage from Cheka to NKVD to KGB to today's security state, and the cultural logic that still shapes power in Russia.If you're drawn to political history, true crime, or the human drama behind world-shaping events, this conversation delivers context, character, and consequence. Subscribe, share with a friend, and leave a review to help others find the show—what part of Trotsky's story surprised you most?find Josh Ireland  at    https://www.joshireland.co.uk/Dutton publishing https://www.penguin.com/dutton-overview

The filmmaker John Sayles (“Eight Men Out”, “The Brother From Another Planet”) returns for his 3rd visit. In addition to the 18 feature films he has written and directed, he is also a longtime author of novels. His latest, “Crucible” is now available where books are sold. From the Oscar-nominated filmmaker comes a complex and sweeping historical novel about Henry Ford — the Elon Musk of his day — and his attempt to rule not only an automotive empire but the rambunctious city of Detroit. It is an epic tale ranging from the 1920s through the second World War, featuring violent labor disputes, misbegotten jungle expeditions, a tragic race riot, and the gestapo tactics of Ford's private army . . . Already the gateway for illegal Canadian liquor during Prohibition, the Motor City becomes a crucible for American class conflict during the Great Depression, with an army of laid off Ford workers drifting into the ranks of the burgeoning union movement — Henry Ford’s worst nightmare. To keep the hundreds of thousands still employed by him in thrall, the man who was formerly ‘America’s favorite tycoon’ recruits black laborers migrating from the deep South to serve as ‘strike insurance’, and gives Harry Bennett, pugnacious as he is diminutive, free reign over the legion of barroom brawlers and ex-cons who make up the company's ‘Security Department’. https://www.youtube.com/watch?v=w_cHq5UhYRI The Model T mogul has also bought a sizable chunk of Brazil’s Amazonian rainforest, vowing to grow his own rubber for tires, but stubbornly refusing to include a botanist in his troop of would-be jungle tamers. As a series of biological plagues descend on the Fordlandia plantation, the racial melting pot he has created in Detroit begins to boil over, and not even the Sage of Dearborn can control the forces that have been unleashed. The novel’s cast — Ford workers black and white and their families, young radicals, cynical newsmen, gangsters, Brazilian rubber tappers, cameos from boxer Joe Louis and muralist Diego Rivera — create the tapestry of differing points of view that John Sayles has become famous for, the events portrayed fundamental to the country we live in today.

On Wednesday's show: We discuss the latest developments in politics in our weekly roundup.Also this hour: We learn about a new initiative from the University of Houston-Downtown, which will guarantee admission for HISD graduates with a GPA of 2.5 or higher.And we preview a concert on Friday featuring the string quartet Brooklyn Rider, performing a work that explores the complex relationship between Mexican painters Frida Kahlo and Diego Rivera. It's in conjunction with an exhibit about Kahlo on display now at the Museum of Fine Arts, Houston.Watch

On Eavesdroppin' comedy podcast, Geordie & Michelle look at love stories old and new because they love love!How did you meet the love of your life? When Ryan McLeod got hit by a car, a stranger passing by rushed to his aid and stayed by his side until paramedics arrived. She also noticed he didn't have a wedding ring on... Listen now to how this story ends! Plus Geordie dives into the gothic love story of Mary Shelley and the romance between Frida Kahlo and Diego Rivera. So grab a brown lemonade and settle in as the duo chat Heated Rivalry, support pants, telly recs and more, only on Eavesdroppin' comedy podcast. And remember, wherever you are, whatever you do, just keep Eavesdroppin'!*Disclaimer: We don't claim to have any factual info about anything ever and our opinions are just opinions not fact, sooorrrryyy! Don't sue us!Please rate, review, tell your friends and subscribe in all the usual places – it really helps us keep the mics going and the comedy flowing. Support us on Patreon: https://www.patreon.com/eavesdroppinDo write in with your stories at hello@eavesdroppinpodcast.com or send us a Voice Note!Listen: http://www.eavesdroppinpodcast.comorhttps://podfollow.com/eavesdroppinYouTube: https://www.youtube.com/channel/UCqcuzv-EXizUo4emmt9PgfwFacebook: https://www.facebook.com/eavesdroppinpodcast Hosted on Acast. See acast.com/privacy for more information.

La detención de Diego Rivera marca un posible giro en la reconquista del Estado frente al control criminal local.

En los homicidios dolosos, la presidenta y García Harfuch se fijaron un índice para contener el fenómeno de la inseguridad, les dio un nuevo mecanismo para señalar que se empieza a cambiar una realidad. Pero Sinaloa es el mejor ejemplo de cómo aun con una caída nacional, hay regiones donde la violencia se recrudece por las disputas criminales. Aun así, la presidenta debe seguir la línea de perseguir a los políticos enredados en el crimen. La detención de Rivera y otros funcionarios municipales es un gran golpe y ha asentado una advertencia. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Ernesto Núñez, Explicador político

Jonathan Lomelí Periodista en Jalisco y columnista de El informador

En entrevista para MVS Noticias con Ana Francisca Vega, Juan Pablo Colín, presidente del Partido Acción Nacional (PAN) en Jalisco, rompió el silencio sobre la situación política y jurídica que sacude al municipio de Tequila tras la detención del exalcalde Diego Rivera Navarro.See omnystudio.com/listener for privacy information.

En entrevista para MVS Noticias con Ana Francisca Vega, el periodista jalisciense Jonathan Lomelí detalló los pormenores de la Operación Enjambre, que culminó con la detención del alcalde de Tequila, Diego Rivera Navarro, por presuntos actos de corrupción.See omnystudio.com/listener for privacy information.

Feb. 2, 2026 ~ The Michigan Travel Show with Dave Lorenz explores art museums across Michigan, highlighting diverse collections and unique exhibits. The Marshall M. Fredericks Sculpture Museum in Saginaw showcases the artist's work, including his plaster molds and studio tools. The Detroit Institute of Arts, a prominent museum, offers free admission to residents of Wayne, Oakland, and Macomb counties and features significant works like the Diego Rivera murals and special Black History Month programs. The A.E. Seaman Mineral Museum in Houghton presents natural art through its extensive mineral collection, while the Muskegon Museum of Art boasts a nationally recognized collection of American art and is undergoing a major expansion to host diverse exhibitions. Hosted by Simplecast, an AdsWizz company. See https://pcm.adswizz.com for information about our collection and use of personal data for advertising.

Emma Hurtado no fue “la otra esposa” de Diego Rivera. Fue la empresaria que sostuvo el mito.En este episodio de eQultura, te invito a conocer la historia de Emma Hurtado: representante, galerista y negociadora implacable. Cuando Frida Kahlo murió y pocos quisieron hacerse cargo, Emma financió su funeral y protegió su legado.Esta es una historia sobre las mujeres que sostienen, organizan y hacen posible la historia del arte. ¡Descúbrela conmigo!Este episodio llega a ti gracias a Actinver, acompañándote a construir las mejores historias de tu vida.¡Hola, soy Elisa Queijeiro!Nací para contar historias. Soy humanista, escritora y académica, pero sobre todo, soy una mujer hambrienta de aprender. Descubrí que las verdades del pasado pueden inspirarnos hoy si las sabemos escuchar.

Modern art has always been a battleground — and the highly influential Museum of Modern Art has been partisan since its inception. Architectural historian Patricio Del Real discusses two differing political visions of modernism and modern architecture: one rooted in the left, and associated with figures such as Communist muralist Diego Rivera, and the other on the right, represented by the architect and fascist sympathizer Philip Johnson. He weighs in on the role of MoMa in promoting a view of modernism in Latin America, stripped of its radical politics and racial fusions, and radiating American power and hegemony. (Encore presentation.) Patricio del Real, Constructing Latin America: Architecture, Politics, and Race at the Museum of Modern Art Yale University Press, 2022 The post MoMa and Cultural Imperialism in Latin America appeared first on KPFA.

In 2026, everything is fake — fake content, fake influencers, fake engagement. But here's what's always been true: story is what takes "not selling" to "selling." Van Gogh died unknown with 900 paintings worth nothing. Frida Kahlo was overshadowed by Diego Rivera for decades. The Impressionists were literally mocked. Same artwork. Different story. In this episode, we look at what changed — and how you can apply the same framework to your art in the age of AI. Links Mentioned: Lulu Meservey's "Standing Out in 2026" The woman who turned Van Gogh from worthless to $10 billion

La mucha expectativa suele chocar con la frustración. Cuando algo no está a la altura de lo que habíamos imaginado o no sucede lo que imaginábamos que sucedería ECDQEMSD podcast episodio 6187 La Desilusión Conducen: El Pirata y El Sr. Lagartija https://canaltrans.com Historias Desintegradas: Abolir la esclavitud - El desastre de Bhopal - Lanzamiento de consolas - La vuelta a la monarquía - El invento de Gillette - Trosky expulsado - Diego Rivera y Frida Khalo - Competir es desilusión - En la mesa de examen - Sueño universitario - Una idea genial - Siempre ganando - Finales regionales - Los profesores del norte - Ganaron los jabonosos - Sinaloa y el mar - Huesos de pescado - Mi sobrino busca chamba - Recomendación y desilusión - Clásicos y condicionadas - Maria Callas y su talento - Comida chatarra - James Naismith inventaba el basketball 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.

In this episode of The Compendium, we dive into the wild, beautiful, and often brutal life of Frida Kahlo. Frida Kahlo is the artist who turned her pain into power. From the accident that shattered her spine to the politics, love affairs, and Diego Rivera drama that filled her world, Frida painted every heartbreak straight onto the canvas. And today I'm going to tell Adam all about it as we explore her bold self-portraits, her surrealism before it had a name, and how a woman once dismissed as “Diego's wife” became a global symbol of art, rebellion, and self-expression, from La Casa Azul to the Tate Modern. We give you just the Compendium, but if you want more, here are our resources: Frida (2002) – Directed by Julie Taymor Frida: A Biography of Frida Kahlo – by Hayden Herrera Complete Works – Frida Kahlo – Frida Kahlo Foundation Frida: The Making of an Icon – Exhibition at Tate Modern Host & Show Info Hosts: Kyle Risi & Adam Cox Topic Suggested by: Samantha Bingley Intro Music: Alice in dark Wonderland by Aleksey Chistilin Trailer Music: Stealy Move by Soundroll Community & Calls to Action  Review & follow on: Spotify & Apple Podcasts  Follow us on Instagram: @theCompendiumPodcast  Visit us at: TheCompendiumPodcast.com ️ Early access episodes: Patreon  Share this episode with a friend! If you enjoyed it, tag us on social media and let us know your favorite takeaway. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

In this April 2019 encore, we go deep into the turbulent love, life, and times of Mexican artists Frida Kahlo and Diego Rivera. Theirs was a complicated love - but also somehow quite inspiring. Check out the art we mention in the episode at our website. Want early, ad-free episodes, regular Dumpster Dives, bonus divorces, limited series, Zoom hangouts, and more? Join us at patreon.com/trashydivorces! Want a personalized message for someone in your life? Check us out on Cameo! To advertise on our podcast, please reach out to info@amplitudemediapartners.com.

In this April 2019 encore, we go deep into the turbulent love, life, and times of Mexican artists Frida Kahlo and Diego Rivera. Theirs was a complicated love - but also somehow quite inspiring. Check out the art we mention in the episode at our website.Want early, ad-free episodes, regular Dumpster Dives, bonus divorces, limited series, Zoom hangouts, and more? Join us at patreon.com/trashydivorces!Want a personalized message for someone in your life? Check us out on Cameo!To advertise on our podcast, please reach out to info@amplitudemediapartners.com.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The Revolution has come and it's interrupting a team meeting. Who are these brave men and women fighting for freedom, wherever there's trouble? Will Falk stand with them or against them? Would you believe I'm a cyborg? Listen to find out!When the Revolution Scrums, episode 142 of This Gun in My Hand, was produced by the means of Rob Northrup. This episode and all others are available on Youtube with automatically-generated closed captions of dialog. Visit http://ThisGuninMyHand.blogspot.com for credits, show notes, archives, and to buy my books, such as Sisyphus, Eat Your Heart Out, available in paperback and ebook from Amazon. How do I signal the beginning or end of the two week intervals by which we measure progress in the revolution? With This Gun in My Hand!Show Notes:1. Thanks to W. Town Andrews for pointing out the mispronunciation of “Tagalog” in episode 140.2. The Witchy Lion Closet was published in 1950, so Billy must have heard the story from Catch-2022.Credits:The opening music clip was from The Sun Sets at Dawn (1950), and the closing music was from Killer Bait (1949), both films in the public domain. Most of the music and sound effects used in the episode are modified or incomplete versions of the originals.Sound Effect Title: gavel-double.flacBy zerolagtime (Sen. John Kerry recorded from C-Span)License: Creative Commons Attribution 3.0https://freesound.org/people/zerolagtime/sounds/70069/Sound Effect Title: 38 Caliber Gun Shot 5xRecorded by Mike KoenigLicense: Creative Commons Attribution 3.0http://soundbible.com/375-38-Caliber-Gun-Shot-5x.htmlSound Effect Title: Kicking/Forcing/Breaking Wooden DoorLicense: Public Domainhttps://freesound.org/people/qubodup/sounds/160213/Sound Effect Title: Running in boots on wood floors by ayse.j.e License: Creative Commons Attribution 4.0https://freesound.org/s/785429/ Commercial Song Title: The Fairy Queen, Z. 629Composed by Henry Purcell, 1692.Performed by Carl Pini, John Tunnell, Anthony Pini and Harold Lester.License: Public Domainhttps://musopen.org/music/11140-the-fairy-queen-z629/Sound Effect Title: Wind-up Crank by RICHERlandTVLicense: Public Domainhttps://freesound.org/s/265614/ -- License: Creative Commons 0Sound Effect Title: R02-06-Medium Crowd Applause.wavLicense: Public Domainhttps://freesound.org/people/craigsmith/sounds/480682/ Sound Effect Title: Gun Fire by GoodSoundForYouLicense: Creative Commons Attribution 3.0http://soundbible.com/1998-Gun-Fire.htmlSound Effect Title: G32-08-Buzzing Sparks.wav by craigsmithLicense: Public Domainhttps://freesound.org/s/438492/ The image accompanying this episode is a modified detail from The Uprising by Diego Rivera, 1931.Image Alt text: Painting of a battle between men in beige uniforms and workers in newsboy caps and blue overalls waving red flags or banners. In the foreground, an angry woman in an orange dress carrying a baby pushes away a sabre thrust by one of the soldiers. A man next to her pulls away to avoid the thrust. There's a man on the ground behind them clutching his stomach or chest.

Diego Rivera fue un muralista genial, pero también un hombre atravesado por contradicciones, pasiones y excesos. En este episodio no lo endiosamos: lo miramos de cerca, con sus luces, sus sombras y su amor por narrar a México desde las paredes. ¿Qué nos deja realmente su obra? ¿Cómo reconciliamos su genialidad artística con su vida personal compleja? ¿Podemos separar su legado de su relación tormentsoa con Frida Kahlo o sus visiones políticas? Te invito a reflexionar sobre el legado de los grandes creadores y sobre cómo podemos honrar su arte sin idealizar completamente a la persona. Este episodio llega a ti gracias a Actinver, que te acompaña a construir las grandes historias de tu vida. ¡Hola, soy Elisa Queijeiro!Nací para contar historias. Soy humanista, escritora y académica, pero sobre todo, soy una mujer hambrienta de aprender. Descubrí que las verdades del pasado pueden inspirarnos hoy si las sabemos escuchar.

Découvrez la suite du récit consacré à Léon Trotski, intellectuel et figure des révolutions russes, raconté par l'historienne Virginie Girod.Au moment où Lénine, à la tête de l'URSS, meurt en 1924, Trotski est malade et se repose loin de Moscou. Staline profite de l'absence de son rival pour s'imposer comme successeur légitime de Lénine. Son but : évincer ses opposants politiques.En 1929, Léon Trotski est expulsé des territoires soviétiques. Il erre alors à travers l'Europe et continue à écrire et diffuser ses idées. Il plaide pour une révolution communiste mondiale, quand Staline veut se concentrer sur l'avenir de la Russie. Finalement, Trotski trouve refuge au Mexique en 1936, aidé par le peintre communiste Diego Rivera.Alors que la Seconde Guerre mondiale plane sur le monde, Staline est de moins en moins populaire auprès de ses troupes. Il craint une révolte contre lui, menée par Trotski. Mais Staline a des moyens. Le 20 août 1940, Jacques Mornard, un prétendu journaliste belge, assassine Trotski à son domicile mexicain dans le cadre de l'opération Canard : une opération secrète russe visant à tuer Trotski. (rediffusion)Au Cœur de l'Histoire est un podcast Europe 1. - Ecriture et présentation : Virginie Girod - Production : Camille Bichler (avec Florine Silvant)- Direction artistique : Adèle Humbert et Julien Tharaud - Réalisation : Clément Ibrahim - Musique originale : Julien Tharaud - Musiques additionnelles : Julien Tharaud et Sébastien Guidis - Visuel : Sidonie ManginHébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

"Love was the foundation of everything for Frida. This bisexuality, this eroticism was fundamental to her character."She's on your ex-girlfriend's tote bag, your niece's notebook, and probably a few questionable dorm-room tapestries.But behind the unibrow is a Frida Kahlo you don't know: a bisexual, communist, pain-embracing rascal who painted from her gut and fucked whomstsoever she pleased.This week, we're peeling back the kitsch to get at the real Frida, with filmmaker Carla Gutierrez, director of the fabulous new documentary, Frida (now streaming on Prime).We discuss:Little Frida the rascal—from classroom pranks and her muchacho wardrobe, to falling in love with everything that moved.The bus crash that made her body a battlefield and her art a visceral diary of painHer toxic, electric, and surprisingly horny marriage to the muralist Diego Rivera (aka "Toad Face), until he went one boink too far...Frida's bisexual chaos: her lovers of all genders, from Chavela Vargas to Leon Trotsky, plus the lady lovers she painted boldly onto the canvas for all to seeHow Frida became less “artist” and more “branded merch” — and why she still matters as a queer revolutionarySo: grab your eyeliner and fill in that unibrow you've been growing out, because it's time to get freaky with Frida.

CP-3010 is the anomalous byproduct of a nearly undetectable entity, hereby classified as SCP-3010-1. SCP-3010 is characterized as a sensation of"being watched", similar to that of being intensely stared at or observed unwillingly by another human or sentient being.Content Warnings:  Unreality, nyctophobia, scopophobia.TranscriptPatrons May 2-10Joey,, Sebastian Rose, BlazoticPG, Ellie McCartney, James Good, Juice Man, Te Puhi Nathan, Jacob Byers, Henning, Fernando Tellez, Sienna Athy, Aaron Irvin, Stacy Krugger, Pyrelight, Zachary Hutchins, Jae Jump, and Diego Rivera!Cast & Crew SCP Archives was created by Pacific S. Obadiah & Jon GrilzSCP-3010  was written by iznarothScript by Daisy McNamaraComputer - Nichole GoodnightCap - Janine BowerMTF-066-7 - Jonathan McDonaldMTF-066-1 - Dexter HowardMTF-066-3 - Rebekah McLoughlinMTF-066-5 - Kit PatersonD-17729 - Russ MoreObrendt - Stephen IndrisanoSCP-3010 - Kayla TemshivArt - Eduardo Valdés-HeviaTheme Song - Mattie Roi BergerOriginal Music -  Newton SchottelkotteDialogue Editor - Nate DuFortSound Designer - Brad ColbroockShowrunner - Daisy McNamaraCreative Director - Pacific S. ObadiahExecutive Producer - Tom Owen Presented by Bloody FMwww.Bloody-Disgusting.comwww.SCParchives.com Patreon: https://www.patreon.com/scp_podStore: https://store.dftba.com/collections/scp-archivesInstagram: https://www.instagram.com/scp_pod/Bluesky: https://bsky.app/profile/scparchives.bsky.socialDiscord: https://discord.gg/tJEeNUzeZXTikTok: https://www.tiktok.com/@scppodYouTube: https://www.youtube.com/c/scparchives