Podcasts about Emiliano Zapata

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 esta emisión sabatina, Sergio Almazán nos conduce al corazón de uno de los episodios más decisivos de la Revolución Mexicana: el asesinato de Emiliano Zapata. El 10 de abril de 1919, en la hacienda de Chinameca, Morelos, en una emboscada planeada por Jesús Guajardo bajo las órdenes del general Pablo González Garza, fue emboscado el Caudillo del Sur. No fue un hecho aislado, sino un asesinato de Estado, conocido —y permitido— por el entonces presidente Venustiano Carranza. Pero la pregunta persiste: ¿por qué matarlo? Zapata representaba mucho más que un líder rebelde. Era el símbolo vivo de una revolución agraria que exigía la restitución de tierras bajo el lema “Tierra y Libertad”. Su negativa a negociar con el poder central, su resistencia al proyecto carrancista y su influencia entre campesinos del sur lo convirtieron en un obstáculo político y militar imposible de controlar.

Vivienda digna es ahora una realidad. La Presidenta Claudia Sheinbaum anuncia la condonación total de deudas Fovissste para mayores de 80 años y beneficios para 5.1 millones de familias. Descubre cómo la 4T está terminando con los créditos impagables del periodo neoliberal para devolverle la tranquilidad a los trabajadores mexicanos. ¡Tu casa ya es tuya!

Miguel Ángel González Suárez te presenta el Informativo de Primera Hora en 'El Remate', el programa matinal de La Diez Capital Radio que arranca tu día con: Las noticias más relevantes de Canarias, España y el mundo, analizadas con rigor y claridad. Hoy hace un año: Canarias ve en la nueva estrategia para las RUP la opción de limitar la residencia y la compra de casas. El vicepresidente de Cohesión y Reformas de la CE detalla en Reunión que la estrategia sobre las RUP se basará en cinco pilares: defensa, agua, energía, competitividad y vivienda. Hoy se cumplen 1.512 días de guerra entre Rusia y Ucrania. 4 años y 45 días y 40 días de Guerra en Oriente Próximo y 2 día de Alto el fuego de las dos semanas que se han dado. Hoy es viernes 10 de abril de 2026. Día Internacional de la Homeopatía. El 10 de abril se conmemora el Día Internacional de la Homeopatía, una fecha de la cual se desconoce su origen y que ha despertado en el gremio médico una cierta suspicacia, puesto que para muchos trabajadores de la salud, la homeopatía no es una ciencia comprobada y por ende, no brinda los resultados que tanto promete. No obstante, el gremio de homeópatas ha crecido en los últimos años. Las medicinas producidas por ellos se venden en más de 80 países. Cuenta con más de 300 millones de pacientes e incluso hay médicos tradicionalistas que recetan este tipo de medicamentos. Estas cifras hacen que uno se pregunte, si realmente la medicina homeopática es tan mala como la pintan. 1808.- Napoleón Bonaparte ofrece la corona de España a su hermano José. 1912: el transatlántico Titanic sale del puerto de Southampton (Reino Unido) con destino a Nueva York (Estados Unidos). Tal día como hoy 10 de abril de 1919 Emiliano Zapata, el líder de los campesinos durante la Revolución Mexicana, es emboscado y asesinado a tiros en Morelos por las fuerzas gubernamentales. 1920.- El general polaco Józef Pisudski entra en Ucrania y se apodera de Kiev, con lo que se inicia la guerra ruso-polaca. El 10 de abril de 1925: Se publica por primera vez la novela The Great Gatsby, de F. Scott Fitzgerald en Nueva York (Estados Unidos). 1998.- Los partidos norirlandeses llegan a un acuerdo de paz para el Ulster que pone fin a 30 años de violencia. 2003.- British Airways y Air France anuncian la retirada del Concorde. 2018.- El presidente y fundador de Facebook, Mark Zuckerberg, pide perdón ante el Senado de EEUU por la filtración de datos de los usuarios. Santos Miguel de los Santos, Macario, Apolonio y Ezequiel. Netanyahu se abre a negociar con Líbano un plan de paz que incluya el desarme de Hizbulá. Las negociaciones de paz entre Irán y EE.UU. penden de un hilo tras la escalada de bombardeos en Líbano. Carmen Pano ratifica en el Supremo que llevó dinero a Ferraz de parte de Aldama: "Se hicieron dos pagos de 45.000" Exceltur prevé que la guerra en Oriente Medio traerá más turistas a España en verano pese al alza de precios. Clavijo, tras conocerse que Canarias pagará por la visita del Papa: “Madrid y Barcelona también la costearán; no seamos cínicos e incoherentes” Clavijo ha defendido la decisión de las autoridades canarias de entregar el dinero directamente a los obispados. El IGN registra un fuerte terremoto entre Tenerife y Gran Canaria este jueves El Instituto Geográfico Nacional (IGN) localiza el sismo en el Volcán de Enmedio con una magnitud de 3,5. El temblor, registrado este jueves, ha sido percibido por los vecinos de varias localidades. Clavijo exige cesar al presidente de Aena por favorecer a los accionistas antes que a Canarias. El presidente canario endurece la ofensiva del Ejecutivo regional un día antes de la reunión bilateral que se celebra en Santa Cruz de Tenerife. El Gobierno canario, que ha dejado sin usar 3.400 millones, condiciona las ayudas por la guerra a que se le permita endeudarse más. El PSOE le ha afeado que su decreto de medidas se ha quedado “pobre” y ha sido “decepcionante”, al aplicarse la rebaja del IGIC a solo cinco productos básicos y no a 45, como anunciaron el PP y CC en un principio. El 10 de abril, pero de 1970, Paul McCartney hace pública una nota de prensa en la que anuncia la separación del mítico grupo 'The Beatles', aprovechando el lanzamiento de su primer álbum en solitario. Las tensiones dentro del grupo llevaban minando su actividad desde hacía meses, y provocan que el mítico cuarteto de Liverpool, formado por John, Paul, George y Ringo, no vuelvan a tocar juntos. Así desaparece el grupo más influyente del siglo XX. Hoy en día siguen vendiendo millones de copias de sus discos en todo el mundo.

En el programa de hoy de Mochileros recorrimos América Latina desde la memoria, la cultura y la actualidad política, en un viaje que nos invitó a reflexionar sobre nuestra identidad y los desafíos del presente. Comenzamos con un repaso de efemérides que marcaron la historia de nuestra región, recordando figuras clave como Manuel Belgrano, Emiliano Zapata, Antonia Santos y Eduardo Galeano, junto a hechos que reflejan tanto las luchas por la independencia como los momentos más duros de represión y resistencia en el continente. En el primer alto del camino celebramos el Día Nacional de la Zamba, destacando la importancia de nuestras raíces culturales y la música popular como expresión viva de los pueblos. El informe “América Escondida” nos llevó a analizar cuatro ejes centrales: las elecciones en Perú en un contexto de crisis institucional y presiones internacionales; el grave derrame de petróleo en el Golfo de México que ya afecta a comunidades y ecosistemas más allá de las fronteras; el impacto global del aumento del precio del petróleo producto de conflictos geopolíticos; y en Argentina, el freno judicial a puntos clave de la reforma laboral, en medio de una fuerte disputa por los derechos de los trabajadores. También hubo espacio para la música con artistas como Spinetta y Aterciopelados, y para la sección Mochileras Latinoamericanas, donde destacamos la figura de Antonia Santos como símbolo de lucha independentista. Finalmente, en Memoria Latinoamericana recordamos a mártires y luchadores populares de distintos países, reafirmando la importancia de no olvidar. Un programa para pensar, sentir y seguir caminando juntos.

After Mexico gained independence from Spain in 1821, hopes for democracy gradually gave way to decades of instability and dictatorship.  By the early 20th century, frustration with the long rule of Porfirio Díaz finally erupted into revolution.  What followed was a decade of coups, assassinations, shifting alliances, and civil war involving figures like Pancho Villa and Emiliano Zapata.  The conflict would topple a regime, reshape Mexican society, and produce the modern Mexican state. Learn more about the Mexican Revolution and why it remains one of the most important upheavals of the 20th century on this episode of Everything Everywhere Daily. Sponsors Quince Go to quince.com/daily for 365-day returns, plus free shipping on your order! Mint Mobile Get your 3-month Unlimited wireless plan for just 15 bucks a month at mintmobile.com/eed Subscribe to the podcast!  https://everything-everywhere.com/everything-everywhere-daily-podcast/ -------------------------------- Executive Producer: Charles Daniel Associate Producers: Austin Oetken & Cameron Kieffer   Become a supporter on Patreon: https://www.patreon.com/everythingeverywhere Discord Server: https://discord.gg/Ds7Rx7jvPJ Instagram: https://www.instagram.com/everythingeverywhere/ Facebook Group: https://www.facebook.com/groups/everythingeverywheredaily Twitter: https://twitter.com/everywheretrip Website: https://everything-everywhere.com/  Disce aliquid novi cotidie Learn more about your ad choices. Visit megaphone.fm/adchoices

¿Y si Pancho Villa no fue ni héroe ni villano… sino ambas cosas? La Revolución Mexicana no se entiende sin él. Desde Hollywood hasta masacres olvidadas, esta es la historia que incomoda. Exploramos a Pancho Villa junto a Zapata, Carranza y Obregón, sus traiciones, excesos y el mito que aún divide a México. Hosted by Simplecast, an AdsWizz company. See https://pcm.adswizz.com for information about our collection and use of personal data for advertising.

REDIFF - Au menu de notre promenade en Amérique centrale : des révolutionnaires sans peur mais jamais sans reproche, des dictateurs prêts à tout pour conserver leurs haciendas et leurs chevaux, de la poussière et du sang, des trains remplis d'or derrière lesquels galopent à bride abattue des bandits au grand cœur. L'homme dont tout le monde parle alors, c'est Emiliano Zapata, le modèle du révolutionnaire version latino. Nous allons traverser des révolutions, remporter avec Zapata des succès et l'accompagner dans ses défaites. Mes amis, il est l'heure d'embarquer ensemble pour le Mexique ! Chaque samedi en exclusivité, retrouvez en podcast un épisode des saisons précédentes de « Entrez dans l'Histoire ».Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

REDIFF - Au menu de notre promenade en Amérique centrale : des révolutionnaires sans peur mais jamais sans reproche, des dictateurs prêts à tout pour conserver leurs haciendas et leurs chevaux, de la poussière et du sang, des trains remplis d'or derrière lesquels galopent à bride abattue des bandits au grand cœur. L'homme dont tout le monde parle alors, c'est Emiliano Zapata, le modèle du révolutionnaire version latino. Nous allons traverser des révolutions, remporter avec Zapata des succès et l'accompagner dans ses défaites. Mes amis, il est l'heure d'embarquer ensemble pour le Mexique ! Chaque samedi en exclusivité, retrouvez en podcast un épisode des saisons précédentes de « Entrez dans l'Histoire ».Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

De un galán franquista que luchó junto a Hitler, a una actriz que desafió los prejuicios de la televisión mexicana… De un actor que se burló del poder mediático, hasta los secretos ocultos entre Porfirio Díaz, su yerno y Emiliano Zapata. Historias reales, polémicas y sorprendentes que conectan el glamour, la censura y la doble moral de distintas épocas. Amores prohibidos, caídas inesperadas y verdades que el tiempo intentó enterrar… pero que hoy salen a la luz. Hosted by Simplecast, an AdsWizz company. See https://pcm.adswizz.com for information about our collection and use of personal data for advertising.

Un baile prohibido, un número borrado y un secreto que estremeció a México… El número 42 del Baile de los 41 desapareció por órdenes de Porfirio Díaz. ¿Quién fue y qué ocultaba? Hosted by Simplecast, an AdsWizz company. See https://pcm.adswizz.com for information about our collection and use of personal data for advertising.

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! Emiliano Zapata y Francisco Pancho Villa, son sin duda los dos nombres más conocidos de la época revolucionaria mexicana, dos personajes capaces de movilizar a miles y empujar la transformación que vivió México en las primeras décadas del Siglo XX. Odiados y perseguidos hasta su asesinato, como tantos otros, lograron también como tantos convertirse en semilla de futuros movimientos y referentes ideológicos de aquellos que imaginaron una América más justa. Aunque, sin duda, les tocó vivir tiempos violentos donde se movieron como peces en el agua. Vamos a conocer mejor a estas dos personalidades únicas en este episodio para mecenas de El Abrazo del Oso. Gracias por hacer posible El Abrazo del Oso. Si tú también quieres escuchar este episodio y muchos más que nunca retiramos puedes hacerlo aquí en iVoox en el botón azul Apoyar en nuestro perfil: https://www.ivoox.com/podcast-abrazo-del-oso-podcast_sq_f13737_1.html www.elabrazodeloso.es www.latostadora.com/elabrazodeloso Canal de Telegram para estar informado: https://t.me/+T6RxUKg_xhk0NzE0 Grupo abierto de Telegram para conversar: https://t.me/+tBHrUSWNbZswNThk Twitch: https://www.twitch.tv/elabrazodeloso Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Muchas gracias, me encantó, pero tengo que ir al funeral de Emiliano Zapata.

Conagua perfora pozo en Emiliano Zapata, MorelosSheinbaum y Carney acuerdan fortalecer relación bilateral Descubren bomba de la Segunda Guerra Mundial en el centro de BerlínMás información en nuestro Podcast

Facultad de Contaduría de la UAEMéx regresa a clases presenciales Cabildo de Emiliano Zapata reduce su salario a la mitadMás información en nuestro podcast

This is a preview of a premium episode from our Patreon feed, Paid Costly For Me! Head over to Patreon.com/PodCastyForMe to hear more for just $5 a month. We return to our very slow trip through the films of Sergio Leone with 1971's DUCK, YOU SUCKER!, also known as A FISTFUL OF DYNAMITE, also known as GIÙ LA TESTA, a story of the Mexican Revolution starring Rod Steiger and James Coburn. It's a real humdinger of an episode, as Jake's allergies flare up while he tells a long story about some unpleasant men at the barbershop, Ian explains the Mexican Revolution, and we both read passages from Frantz Fanon. Enjoy! Thanks as always to Jetski for our theme music and to Jeremy Allison for our artwork. https://www.podcastyforme.com/ Follow Pod Casty For Me: https://twitter.com/podcastyforme https://www.instagram.com/podcastyforme/ https://www.youtube.com/@podcastyforme Support us on Patreon: https://www.patreon.com/PodCastyForMe Artwork by Jeremy Allison: https://www.instagram.com/jeremyallisonart  

Tres oscuros álbumes del rock psicodélico, progresivo o blues rock latinoamericano han sido reeditados por Munster. El debut de los mexicanos La Revolución de Emiliano Zapata (1971) y las únicas entregas de los venezolanos Ladies W.C. (ST, 1968) o los peruanos El Álamo (Malos pensamientos, 1971).Playlist;LA REVOLUCIÓN DE EMILIANO ZAPATA “Ciudad perdida”LA REVOLUCIÓN DE EMILIANO ZAPATA “Melynda”LA REVOLUCIÓN DE EMILIANO ZAPATA “Nasty sex”LA REVOLUCIÓN DE EMILIANO ZAPATA “At the foot of the mountain”LADIES W.C. “Ladies W.C.”LADIES W.C. “People”LADIES W.C. “Put that in your pipe and smoke it”LADIES W.C. “I’m gonna be”EL ÁLAMO “I cry”EL ÁLAMO “Malos pensamientos”HUNGER “Workshop”Escuchar audio

Estoy seguro de que el dato para ligar de hoy será el más exitoso de todos, así que destapen una chela y dense vuelo. Y como siempre les traigo anécdotas curiosas, historias y de todo un poco. Por ejemplo, ¿sabían que hubo un tiempo en que la bicicleta era de marimachas? ¡Y que viva mi general Emiliano Zapata! El Caudillo del Sur.

En tystlåten man som inte ledde med ord, utan med sina orubbliga ideal. Men hans kompromisslöshet gränsade stundtals till grymhet och hotade till slut också hans eget liv. Nya avsnitt från P3 Historia hittar du först i Sveriges Radio Play. Redaktionen för detta avsnitt består av:Elina Perdahl – programledare och manusMårten Andersson – manus, research och producentZardasht Rad – scenuppläsarePeter Jonason – ljuddesign och slutmixMedverkar gör också Magnus Lembke, statsvetare och docent i latinamerikastudier vid Stockholms Universitet.Vill du veta mer om Emiliano Zapata? Här är några av de böcker som ligger till grund för avsnittet:Zapata and the Mexican revolution av John WomackVilla and Zapata : a biography of the Mexican revolution av Frank McLynn

Good news, dear listeners, we were able to get this episode out on time. So join us on this trip down to the land of mustaches to talk about Emiliano Zapata. This dude grew up loving his land and his country and he committed his life to fighting for it. There were some problems along the way though...So turn your headsets to Spanish, throw on some of those long pointy cowboy boots, and enjoy!

1) Ocalan chiede al PKK di deporre le armi. Dal carcere, il leader Curdo chiede lo scioglimento del gruppo, aprendo ad un cambiamento che potrebbe scuotere la regione. (Benedetta Argentieri) 2) La "gazificazione" della Cisgiordania. Gli attacchi israeliani continuano, e le violazioni dei diritti umani dei palestinesi sono all'ordine del giorno. (Ajith Sunghay - Ohchr) 3) Stati Uniti, guerra alla libertà di stampa. L'amministrazione Trump usa tutte le armi in suo potere per influenzare i media. (Roberto Festa) 4) Francia, a più di 10 anni dalla morte di Rémi Fraisse, ucciso da un poliziotto, la corte europea dei diritti dell'uomo riconosce per la prima volta la colpa dello stato. (Francesco Girgini) 5) Il più grande di sempre. L'attore premio oscar Gene Hackman trovato morto insieme alla moglie nella loro casa di Santa Fe. (Mauro Gervasini - Film TV) 6) World Music. Un etichetta indipendente spagnolo riporta in vita La Revolucion de Emiliano Zapata, album dell'omonima rock band messicana (Marcello Lorrai)

Recordemos al enorme Jorge Negrete, el Charro Cantor, quien popularizó el que, dicen, es nuestro verdadero Himno Nacional. Les traigo efemérides raras y anécdotas de la Revolución Mexicana con Pancho Villa y Emiliano Zapata. Porque jamás la historia, se atrevió a tanto.

¡Ahora tenemos muchas efemérides extrañas! Pero además recordamos a Emiliano Zapata y les platico la triste historia del general Felipe Ángeles. Porque jamás la historia, se atrevió a tanto.

(Día de la Revolución Mexicana) «Dejamos el cuartel general en Acapulco, y nos adentramos más a donde estaba la nidada de los zapatistas. Como los soldados tuvieron que combatir entre Agua del Perro y Tierra Colorada, nos mandaron adelante a las mujeres. Cuatro mujeres casadas iban conmigo. Nos vieron los zapatistas caminando y nos salieron al encuentro: »—¿Qué tanta gente viene por allí? »—Pues muy poca... »—Entonces vénganse para que no les toque a ustedes la balacera. »—Bueno, pues vámonos. »Nos fuimos con ellos y nos entregaron con el general Zapata.... Y entonces dice: »—Bueno, pues aquí van a andar con nosotros mientras llegue el destacamento de su gente de ustedes. »—Pues bueno. »Nos quedamos con él de avanzada como quince días en su campamento que estaba re bien escondido. »... Cuando el general Zapata supo que toda la corporación estaba ya en Chilpancingo, nos dijo: »—Vénganse conmigo para irlas a entregar una por una.     Se quitó la ropa de general, se puso unos calzones blancos de indio, un gabán y un sombrero, y allá vamos. Iba desarmado. »... Se paró en la esquina del cuartel, y entonces me dice: —Aquí me esperan. »Llegó hasta la puerta del cuartel, y le pegaron el: «¿Quién vive?», y él contestó: »—México. »Luego les dijo: »—Vengo a buscar al señor Felipe Palancares. »No preguntó por los maridos de las mujeres. Sólo por mi papá para que no fueran a pensar mal. Salió mi papá y le dice el general: »—... Usted tiene una hija que se llama así... »—Sí. »—Pues aquí se la vengo a entregar. A usted le remito una hija, y le remito a estas mujeres que fueron avanzadas entre Agua del Perro y Tierra Colorada. »—Y entonces le dice mi papá: »—¿Quién es usted? »—Yo soy el general Zapata. —¿Usted es Emiliano Zapata? »—Yo soy. »—... Pues se me hace raro que usted sea el general porque viene usted solo. »—Sí. Vengo solo escoltando a las mujeres que voy a entregarle. Sus mujeres fueron avanzadas, pero no se les ha tocado para nada. Se las entregamos tal y como fueron avanzadas. Usted se hace cargo de las cuatro casadas, porque me dijeron que venían cuidando a su hija. Ahora, como a usted se las entrego, usted hágase cargo de que no vayan a sufrir con sus maridos. »Entonces dice mi papá: »—Sí, está bien. »... Y entonces el general se dio la media vuelta y se fue.»1 ¡Qué interesante y revelador vistazo del general Emiliano Zapata el que aquí nos presenta Josefina Bórquez, alias Jesusa Palancares, protagonista principal de la obra Hasta no verte, Jesús mío! En esta galardonada novela histórica, la autora mexicana Elena Poniatowska, la portavoz voluntaria de aquella soldadera de la revolución, hábilmente adapta al diálogo la transcripción de su entrevista personal con ella, a fin de que no se pierda nada importante ni se le añada algo innecesario a lo que realmente sucedió.2 Lo que no debemos perder de vista en este relato es que, con relación al trato que merece la mujer, el general Zapata, sin duda consciente de la verdad que encierra el refrán que dice: «La vergüenza y la honra, la mujer que la pierde nunca la cobra», llevó a la práctica la regla de oro y nos dejó ejemplo de eso como parte de su legado. Esa regla revolucionaria, que nos legó a todos en principio nuestro Señor Jesucristo en el Sermón del Monte, dice: «Así que en todo traten ustedes a los demás tal y como quieren que ellos los traten a ustedes.»3 Carlos ReyUn Mensaje a la Concienciawww.conciencia.net 1 Elena Poniatowska, Hasta no verte, Jesús mío (Barcelona: Plaza & Janés Editores), pp. 97-100. 2 Esto lo constata Elena Poniatowska en Las soldaderas (México, D.F.: Ediciones Era, 1999), pp. 12–13. 3 Mt 7:12

Esta semana hablamos de los mil días de la guerra entre Rusia y Ucrania. ¿Chingó a su Biden? ¿Habrá tercera guerra mundial? ¿Les trajo algo Emiliano Zapata? Escuchen el episodio.

(Víspera de la Revolución Mexicana) «Los zapatistas eran muy buenos para pelear, pues ¿cómo no habían de ser buenos si se subían a los árboles, se cubrían de ramas, y todos tapados andaban como bosque andando? ... Al avanzar... estaban escondidos dentro de los árboles, envueltos en hojas, en ramazones, no se les veía la ropa, y de pronto los balazos caían de quién sabe dónde, como granizada.... [Eran] además, conocedores del rumbo, porque todos eran de por allá de Guerrero, así es de que a fuerza tenían que perder los carrancistas porque estos bandidos tenían sus mañas para pelear. Se cubrían de yerba. Nomás se dejaban los ojos para estar mirando por dónde venían los carrancistas, por dónde venían los villistas, y agarraban buenas posiciones. Como si fuera poco, ponían zanjones tapados con ramas para que se cayera la soldada. ¡Y allí iba uno con todo y caballo! Claro que tenían que acabar con la gente de nosotros. ¡Tenían que ganar! ... pues eran vivos, valientes, sí, eran valientes, aunque fueran unos indios patarrajada, sin un petate en que caerse muertos. Los zapatistas eran gente pobre de por allí, del rumbo, campesinos enlodados.... »Cuando conocí al general Zapata, [él] era delgado, de ojos negros, encarbonados, con su bigote retorcido y su sombrero charro negro, con bordados de plata. Tendría como dos metros, así lo veía yo, ojón, muy ojón, y joven. No era grueso. Era muy bueno, palabra. Por la forma en que nos trató, no era hombre malo.... Zapata no tiraba a ser presidente, como todos los demás. Él lo que quería era que fuéramos libres; pero nunca seremos libres, eso lo alego yo, porque estaremos esclavizados toda la vida. ¿Más claro lo quiere ver? Todo el que viene nos muerde, nos deja mancos, chimuelos, cojos, y con nuestros pedazos hace su casa. Y yo no voy de acuerdo con eso, sobre todo ahora que estamos más arruinados que nunca.»1 Así se expresa Jesusa Palancares, sin vueltas ni rodeos, en la novela Hasta no verte, Jesús mío, ganadora del Premio Mazatlán de Literatura, escrita por la intelectual mexicana Elena Poniatowska. Pero Jesusa, la heroína de la obra, no es simplemente una genial invención de su autora. Poniatowska llegó a conocer a fondo a este formidable personaje en una larga entrevista que tuvo con ella.2 De ahí que, en pasajes como el que acabamos de citar, Josefina Bórquez, alias Jesusa Palancares,3 tuviera la oportunidad de ofrecernos una cándida perspectiva personal del general Emiliano Zapata, de los hombres que tuvo bajo su mando, y de la Revolución Mexicana por la que ellos y ella lucharon. ¡Qué triste que Josefina Bórquez pensara que nunca sería libre, sino que seguiría esclavizada toda la vida! Sin duda se refería a la libertad física, porque la libertad espiritual está al alcance de los más pobres del mundo. «¿No ha escogido Dios a los que son pobres según el mundo para que sean ricos en la fe y hereden el reino que prometió a quienes lo aman?»,4 dice el apóstol Santiago. Porque en la revolución del alma humana que ofrece Jesucristo, el Hijo de Dios, su misión siempre ha sido anunciar buenas nuevas a los pobres y libertad a los cautivos.5 Carlos ReyUn Mensaje a la Concienciawww.conciencia.net 1 Elena Poniatowska, Hasta no verte, Jesús mío (Barcelona: Plaza & Janés Editores), pp. 101-2. 2 «Elena Poniatowska», ESCRITORAS.COM, 6 abril 2000 En línea 10 junio 2006. 3 Así se refiere a ella Elena Poniatowska en Las soldaderas (México, D.F.: Ediciones Era, 1999), p. 13. 4 Stg 2:5 5 Lc 4:18

Conversamos con Óscar Alonso Yáñez Pallares –coordinador Administrativo del Poder Judicial– y Arturo Ávila –diputado Federal y vocero de los diputados de Morena– sobre la suspensión de labores de los trabajadores de la Suprema Corte de Justicia de la Nación, como protesta contra la reforma al Poder Judicial.  Por el bloqueo se registraron enfrentamientos entre trabajadores del Poder Judicial y simpatizantes de Morena, ante el intento de acceder al recinto legislativo. Una riña ocurrió sobre la avenida Congreso de la Unión, en la esquina con la calle Emiliano Zapata.   Tras el bloqueo de la Cámara de Diputados por parte de los trabajadores del Poder Judicial, el senador Ricardo Monreal informó que la sede alterna para la discusión sobre la reforma al Poder Judicial sería en la Unidad Deportiva Magdalena Mixhuca, en la alcaldía Iztacalco, a donde comenzaron a llegar integrantes de los grupos parlamentarios durante la mañana de este martes. Programa transmitido el 03 de septiembre de 2024. Escucha Esto no es un noticiero con Nacho Lozano, en vivo de lunes a viernes de 1:00 p.m. a 2:00 p.m. por el 105.3 de FM. Esta es una producción de Radio Chilango.

Hoy te llevaré a la época mas crucial de Mexico, la revolución, y te contaré de una mujer, una sex symbol que cautivó a todo Mexico, incluidos grandes personajes de la época, con mucho poder, hoy conocerás la historia de #MariaConesa una Tiple que aunque no nació en #Mexico si forjo una exitosa carrera. Donde lamentablemente también lo perdió todo, incluso la vida, hoy te cuento esta historia.

Mia Zapata and the Gits: A True Story of Art, Rock and Revolution (Ferel House, 2024) by Steve Moriarty, shares the story of the Seattle based The Gits and their charismatic front person Mia Zapata. The Gits were on the verge of international rock stardom but on July 7, 1993, days before their third US tour, Mia Zapata, The Gits 27-year-old singer-songwriter, was brutally assaulted and murdered by a stranger. Zapata's death sent chilling ripples through progressive communities throughout the United States. She became a cause-celebre for women's rights activists outraged by the brutal killing and lack of law enforcement support.  This book reclaims Zapata's story to focus on the art she and The Gits created and not her tragic end. Much has been written and said about her murder, yet Zapata's life and work remain overshadowed by the circumstances of her death. Zapata's friend and bandmate, Steve Moriarty, tells her story--and the story of their band, The Gits--from their first meeting in 1985 to their last goodbye. Moriarity and Zapata met in 1985 as first-year students at Antioch College, where they discovered the power of punk rock and found an outlet for their progressive ideas through music. Zapata, Moriarity, and fellow students Matt Dresdner and Andy Kessler attended a show by San Francisco punk legends Dead Kennedys that inspired the friends to start a band fueled by Mia's provocative lyrics. They quickly gained critical praise and dedicated fans.  Moriarty details their struggles as newcomers to the then-pre-tech outpost of the Seattle music scene. Interspersed are the tales Zapata told of her legendary ancestor, Mexican revolutionary Emiliano Zapata, to entertain the band as they spent countless hours on the road crammed into a single un-air-conditioned van touring the US and Europe. They shared stages with Beck, Nirvana, Mudhoney, Joan Jett, Bikini Kill, L7, and more--all who expected Mia and The Gits to be the next "big thing." The Gits's story is more than a biography; it's a testament to the ability of artists and musicians to challenge the status quo and the power of friendship to change the world. Moriarty reframes the sensationalist story as he shares his personal narrative and presents, with intimacy, grit, and humor, the lived experience of The Gits and his dear friend, Mia Zapata. Included are never before seen paintings, letters, and pictures. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Mia Zapata and the Gits: A True Story of Art, Rock and Revolution (Ferel House, 2024) by Steve Moriarty, shares the story of the Seattle based The Gits and their charismatic front person Mia Zapata. The Gits were on the verge of international rock stardom but on July 7, 1993, days before their third US tour, Mia Zapata, The Gits 27-year-old singer-songwriter, was brutally assaulted and murdered by a stranger. Zapata's death sent chilling ripples through progressive communities throughout the United States. She became a cause-celebre for women's rights activists outraged by the brutal killing and lack of law enforcement support.  This book reclaims Zapata's story to focus on the art she and The Gits created and not her tragic end. Much has been written and said about her murder, yet Zapata's life and work remain overshadowed by the circumstances of her death. Zapata's friend and bandmate, Steve Moriarty, tells her story--and the story of their band, The Gits--from their first meeting in 1985 to their last goodbye. Moriarity and Zapata met in 1985 as first-year students at Antioch College, where they discovered the power of punk rock and found an outlet for their progressive ideas through music. Zapata, Moriarity, and fellow students Matt Dresdner and Andy Kessler attended a show by San Francisco punk legends Dead Kennedys that inspired the friends to start a band fueled by Mia's provocative lyrics. They quickly gained critical praise and dedicated fans.  Moriarty details their struggles as newcomers to the then-pre-tech outpost of the Seattle music scene. Interspersed are the tales Zapata told of her legendary ancestor, Mexican revolutionary Emiliano Zapata, to entertain the band as they spent countless hours on the road crammed into a single un-air-conditioned van touring the US and Europe. They shared stages with Beck, Nirvana, Mudhoney, Joan Jett, Bikini Kill, L7, and more--all who expected Mia and The Gits to be the next "big thing." The Gits's story is more than a biography; it's a testament to the ability of artists and musicians to challenge the status quo and the power of friendship to change the world. Moriarty reframes the sensationalist story as he shares his personal narrative and presents, with intimacy, grit, and humor, the lived experience of The Gits and his dear friend, Mia Zapata. Included are never before seen paintings, letters, and pictures. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

Mia Zapata and the Gits: A True Story of Art, Rock and Revolution (Ferel House, 2024) by Steve Moriarty, shares the story of the Seattle based The Gits and their charismatic front person Mia Zapata. The Gits were on the verge of international rock stardom but on July 7, 1993, days before their third US tour, Mia Zapata, The Gits 27-year-old singer-songwriter, was brutally assaulted and murdered by a stranger. Zapata's death sent chilling ripples through progressive communities throughout the United States. She became a cause-celebre for women's rights activists outraged by the brutal killing and lack of law enforcement support.  This book reclaims Zapata's story to focus on the art she and The Gits created and not her tragic end. Much has been written and said about her murder, yet Zapata's life and work remain overshadowed by the circumstances of her death. Zapata's friend and bandmate, Steve Moriarty, tells her story--and the story of their band, The Gits--from their first meeting in 1985 to their last goodbye. Moriarity and Zapata met in 1985 as first-year students at Antioch College, where they discovered the power of punk rock and found an outlet for their progressive ideas through music. Zapata, Moriarity, and fellow students Matt Dresdner and Andy Kessler attended a show by San Francisco punk legends Dead Kennedys that inspired the friends to start a band fueled by Mia's provocative lyrics. They quickly gained critical praise and dedicated fans.  Moriarty details their struggles as newcomers to the then-pre-tech outpost of the Seattle music scene. Interspersed are the tales Zapata told of her legendary ancestor, Mexican revolutionary Emiliano Zapata, to entertain the band as they spent countless hours on the road crammed into a single un-air-conditioned van touring the US and Europe. They shared stages with Beck, Nirvana, Mudhoney, Joan Jett, Bikini Kill, L7, and more--all who expected Mia and The Gits to be the next "big thing." The Gits's story is more than a biography; it's a testament to the ability of artists and musicians to challenge the status quo and the power of friendship to change the world. Moriarty reframes the sensationalist story as he shares his personal narrative and presents, with intimacy, grit, and humor, the lived experience of The Gits and his dear friend, Mia Zapata. Included are never before seen paintings, letters, and pictures. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Mia Zapata and the Gits: A True Story of Art, Rock and Revolution (Ferel House, 2024) by Steve Moriarty, shares the story of the Seattle based The Gits and their charismatic front person Mia Zapata. The Gits were on the verge of international rock stardom but on July 7, 1993, days before their third US tour, Mia Zapata, The Gits 27-year-old singer-songwriter, was brutally assaulted and murdered by a stranger. Zapata's death sent chilling ripples through progressive communities throughout the United States. She became a cause-celebre for women's rights activists outraged by the brutal killing and lack of law enforcement support.  This book reclaims Zapata's story to focus on the art she and The Gits created and not her tragic end. Much has been written and said about her murder, yet Zapata's life and work remain overshadowed by the circumstances of her death. Zapata's friend and bandmate, Steve Moriarty, tells her story--and the story of their band, The Gits--from their first meeting in 1985 to their last goodbye. Moriarity and Zapata met in 1985 as first-year students at Antioch College, where they discovered the power of punk rock and found an outlet for their progressive ideas through music. Zapata, Moriarity, and fellow students Matt Dresdner and Andy Kessler attended a show by San Francisco punk legends Dead Kennedys that inspired the friends to start a band fueled by Mia's provocative lyrics. They quickly gained critical praise and dedicated fans.  Moriarty details their struggles as newcomers to the then-pre-tech outpost of the Seattle music scene. Interspersed are the tales Zapata told of her legendary ancestor, Mexican revolutionary Emiliano Zapata, to entertain the band as they spent countless hours on the road crammed into a single un-air-conditioned van touring the US and Europe. They shared stages with Beck, Nirvana, Mudhoney, Joan Jett, Bikini Kill, L7, and more--all who expected Mia and The Gits to be the next "big thing." The Gits's story is more than a biography; it's a testament to the ability of artists and musicians to challenge the status quo and the power of friendship to change the world. Moriarty reframes the sensationalist story as he shares his personal narrative and presents, with intimacy, grit, and humor, the lived experience of The Gits and his dear friend, Mia Zapata. Included are never before seen paintings, letters, and pictures. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Mia Zapata and the Gits: A True Story of Art, Rock and Revolution (Ferel House, 2024) by Steve Moriarty, shares the story of the Seattle based The Gits and their charismatic front person Mia Zapata. The Gits were on the verge of international rock stardom but on July 7, 1993, days before their third US tour, Mia Zapata, The Gits 27-year-old singer-songwriter, was brutally assaulted and murdered by a stranger. Zapata's death sent chilling ripples through progressive communities throughout the United States. She became a cause-celebre for women's rights activists outraged by the brutal killing and lack of law enforcement support.  This book reclaims Zapata's story to focus on the art she and The Gits created and not her tragic end. Much has been written and said about her murder, yet Zapata's life and work remain overshadowed by the circumstances of her death. Zapata's friend and bandmate, Steve Moriarty, tells her story--and the story of their band, The Gits--from their first meeting in 1985 to their last goodbye. Moriarity and Zapata met in 1985 as first-year students at Antioch College, where they discovered the power of punk rock and found an outlet for their progressive ideas through music. Zapata, Moriarity, and fellow students Matt Dresdner and Andy Kessler attended a show by San Francisco punk legends Dead Kennedys that inspired the friends to start a band fueled by Mia's provocative lyrics. They quickly gained critical praise and dedicated fans.  Moriarty details their struggles as newcomers to the then-pre-tech outpost of the Seattle music scene. Interspersed are the tales Zapata told of her legendary ancestor, Mexican revolutionary Emiliano Zapata, to entertain the band as they spent countless hours on the road crammed into a single un-air-conditioned van touring the US and Europe. They shared stages with Beck, Nirvana, Mudhoney, Joan Jett, Bikini Kill, L7, and more--all who expected Mia and The Gits to be the next "big thing." The Gits's story is more than a biography; it's a testament to the ability of artists and musicians to challenge the status quo and the power of friendship to change the world. Moriarty reframes the sensationalist story as he shares his personal narrative and presents, with intimacy, grit, and humor, the lived experience of The Gits and his dear friend, Mia Zapata. Included are never before seen paintings, letters, and pictures. Learn more about your ad choices. Visit megaphone.fm/adchoices

Mia Zapata and the Gits: A True Story of Art, Rock and Revolution (Ferel House, 2024) by Steve Moriarty, shares the story of the Seattle based The Gits and their charismatic front person Mia Zapata. The Gits were on the verge of international rock stardom but on July 7, 1993, days before their third US tour, Mia Zapata, The Gits 27-year-old singer-songwriter, was brutally assaulted and murdered by a stranger. Zapata's death sent chilling ripples through progressive communities throughout the United States. She became a cause-celebre for women's rights activists outraged by the brutal killing and lack of law enforcement support.  This book reclaims Zapata's story to focus on the art she and The Gits created and not her tragic end. Much has been written and said about her murder, yet Zapata's life and work remain overshadowed by the circumstances of her death. Zapata's friend and bandmate, Steve Moriarty, tells her story--and the story of their band, The Gits--from their first meeting in 1985 to their last goodbye. Moriarity and Zapata met in 1985 as first-year students at Antioch College, where they discovered the power of punk rock and found an outlet for their progressive ideas through music. Zapata, Moriarity, and fellow students Matt Dresdner and Andy Kessler attended a show by San Francisco punk legends Dead Kennedys that inspired the friends to start a band fueled by Mia's provocative lyrics. They quickly gained critical praise and dedicated fans.  Moriarty details their struggles as newcomers to the then-pre-tech outpost of the Seattle music scene. Interspersed are the tales Zapata told of her legendary ancestor, Mexican revolutionary Emiliano Zapata, to entertain the band as they spent countless hours on the road crammed into a single un-air-conditioned van touring the US and Europe. They shared stages with Beck, Nirvana, Mudhoney, Joan Jett, Bikini Kill, L7, and more--all who expected Mia and The Gits to be the next "big thing." The Gits's story is more than a biography; it's a testament to the ability of artists and musicians to challenge the status quo and the power of friendship to change the world. Moriarty reframes the sensationalist story as he shares his personal narrative and presents, with intimacy, grit, and humor, the lived experience of The Gits and his dear friend, Mia Zapata. Included are never before seen paintings, letters, and pictures. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

Iniciamos la conversación con Luis GyG –periodista, consultor en tecnología y marca personal– nos habla sobre la aerolínea Viva Aerobús informó que sus sistemas de reservaciones, sitio web y app móvil se encuentran fuera de servicio debido a la caída informática; la situación también alteró el proceso de documentación y operación de los vuelos. Guadalupe –campesina en la colonia Loma Bonita del municipio de Emiliano Zapata– nos habla de los campesinos del valle de Apan, en el estado de Hidalgo, que denuncian un presunto huachicoleo de agua por parte de la empresa Grupo Modelo y la china Time Ceramics, un fabricante de azulejos que inició la instalación de una planta sobre la carretera Apan-Calpulalpan a inicios de 2023. Natalia Lane –periodista independiente– nos habla sobre el pleno del Congreso de la Ciudad de México aprobó la tipificación del delito de transfeminicidio, que sanciona a los agresores con una pena de entre 35 y hasta 70 años de prisión. Michelle Fridman –secretaria de Turismo en Yucatán– nos habla sobre la implementación de un Plan de Descentralización del Turismo, con lo que logró acercar las la industria a las diferentes regiones de la entidad, logrando estimular el desarrollo social y económico de los habitantes del estado. Daniel González –especialista en cine– nos habla del estreno en cartelera comercial: Problemista (EUA, 2023), de Julio Torres. Protagonizada por el mismo Torres, Tilda Swinton, RZA y Catalina Saavedra. Programa transmitido 19 julio de 2024. Escucha Esto no es un noticiero con Nacho Lozano, en vivo de lunes a viernes de 1:00 p.m. a 2:00 p.m. por el 105.3 de FM. Esta es una producción de Radio Chilango.

Nova campanha de financiamento coletivo: https://apoia.se/fronteirasnotempo   Olá, amigos e amigas do Fronteiras no Tempo! Neste novo episódio do nosso podcast de História debatemos com o professor Dr. Ernando Brito (Unicentro/PR) acerca da história da Revolução Mexicana, que teve início em 1910 e se tornou um movimento de grande relevância para entendermos a história da América Latina como um todo, além do país onde ela ocorreu. Conversamos sobre as principais interpretações historiográficas acerca das causas e desdobramentos desta revolução e seus personagens. O México vinha passando por um período ditatorial desde o final do século XIX e, mesmo com crescimento econômico e certa estabilidade política, o clima era de revolta, especialmente entre as classes populares, que se viam sacrificadas para sustentar o país. Nomes como os de Pancho Villa e Emiliano Zapata ganharam notoriedade a partir deste movimento, e são até hoje lembrados como protagonistas desta trama. O professor Ernando nos convidou também a refletir sobre o papel das produções cinematográficas na consolidação da leitura histórica sobre o processo revolucionário e no estabelecimento dos heróis e vilões, algo que teve consequências na própria difusão dos ideais políticos que emergiram naquele período. Venham conosco nessa viagem ao México do início do século XX! Arte da Capa: Danilo Pastor Financiamento Coletivo Existem duas formas de nos apoiar Pix recorrente – chave: fronteirasnotempo@gmail.com Apoia-se – https://apoia.se/fronteirasnotempo INSCREVA-SE PARA PARTICIPAR DO HISTORICIDADE   O Historicidade é o programa de entrevistas do Fronteiras no Tempo: um podcast de história. O objetivo principal é realizar divulgação científica na área de ciências humanas, sociais e de estudos interdisciplinares com qualidade. Será um prazer poder compartilhar o seu trabalho com nosso público. Preencha o formulário se tem interesse em participar. Link para inscrição: https://forms.gle/4KMQXTmVLFiTp4iC8 Selo saberes históricos   Agora o Fronteiras no Tempo tem o selo saberes históricos. O que é este selo? “O Selo Saberes Históricos é um sinal de reconhecimento atribuído a:● Práticas de divulgação de saberes ou produções de conteúdo histórico ou historiográfico● Realizadas em redes sociais ou mídias digitais, voltadas para públicos mais amplos e diversificados● Comprometidas com valores científicos e éticos.”Saiba mais: https://www.forumsabereshistoricos.com/ Redes Sociais Twitter, Facebook, Youtube, Instagram Contato fronteirasnotempo@gmail.com Como citar esse episódio Fronteiras no Tempo #82 Revolução Mexicana. Locução Cesar Agenor Fernandes da Silva, Marcelo de Souza Silva, Rodolfo Grande Neto, Ernando Brito Gonçalves e Willian Spengler. [S.l.] Portal Deviante, 26/06/2024. Podcast. Disponível em: https://www.deviante.com.br/?p=62854&preview=true Expediente Produção Geral e Hosts: C. A e Beraba. Recordar é viver: Willian Spengler. Edição e Arte do Episódio: Danilo Pastor (Nativa Multimídia). Material Complementar BARBOSA, Carlos Alberto Sampaio; LOPES, Maria Aparecida de Souza. A historiografia da Revolução Mexicana no limiar do século XXI: tendências gerais e novas perspectivas. In: História, nº 20. São Paulo, 2001. BARBOSA, Carlos Alberto Sampaio; LOPES, Maria Aparecida de Souza. A Revolução Mexicana. São Paulo: Editora UNESP, 2010 CAPELATO, Maria Helena Rolin. Populismo latino-americano em discussão. In: FERREIRA, Jorge (org). O populismo e sua história: debate e crítica. Rio de Janeiro: Civilização Brasileira, 2001, p.125-165. FERNANDES, L. E. de O. A comemoração do centenário da independência no México: o Paseo de la Reforma como palco para a pacificação do passado em 1910. História Unisinos, v. 15, n. 1, p. 50-59, jan./abr. 2011. Disponível em: http://revistas.unisinos.br/index.php/historia/article/view/960/164 GONÇALVES JÚNIOR, Ernando Brito. Luz, Câmera e Revolução: Francisco Villa no Cinema Mexicano. Revista Eletrônica da ANPHLAC, ISSN 1679-1061, Nº 35, p.175-198, jan./jun.., 2023. http://revista.anphlac.org.br MEYER, Jean. México: Revolución y reconstrucción en los años veinte. In: BETHEL, Leslie. Historia da América Latina v.9: México, América Central y el Caribe, c. 1870-1930. Barcelona: Crítica, 1992. RAMPINELLI, Waldir José. A Revolução Mexicana: seu alcance regional, precursores, a luta de classes e a relação com os povos originários. In: Revista Espaço Acadêmico, 2011. Disponível em: https://periodicos.uem.br/ojs/index.php/EspacoAcademico/article/view/14401 WASSERMAN, Claudia. História da América Latina: cinco séculos (temas e problemas). 3. ed. Porto Alegre: Editora da UFRGS. WOMACK. John. A Revolução Mexicana, 1910-1920. In: BETHELL, Leslie (org.). História da América Latina. Vol. 5 - de 1870 a 1930. São Paulo: Edusp, 2008. Pessoas que nos apoiam e que merecem nossos agradecimentos Apoios a partir de 12 de junho de 2024  Alexsandro de Souza Junior, Aline Silva Lima, André Santos, André Trapani, Andréa Gomes da Silva, Andressa Marcelino Cardoso, Augusto Carvalho, Charles Calisto Souza, Erick Manuel Macias, Marlon Fernandes da Silva, Flávio Henrique Dias Saldanha, Gislaine Colman, Klaus Henrique de Oliveira, João Ariedi, Manuel Macias, Rafael Henrique Silva, Raul Sousa Silva Junior, Renata de Souza Silva e Willian SpenglerSee omnystudio.com/listener for privacy information.

Nova campanha de financiamento coletivo: https://apoia.se/fronteirasnotempo   Olá, amigos e amigas do Fronteiras no Tempo! Neste novo episódio do nosso podcast de História debatemos com o professor Dr. Ernando Brito (Unicentro/PR) acerca da história da Revolução Mexicana, que teve início em 1910 e se tornou um movimento de grande relevância para entendermos a história da América Latina como um todo, além do país onde ela ocorreu. Conversamos sobre as principais interpretações historiográficas acerca das causas e desdobramentos desta revolução e seus personagens. O México vinha passando por um período ditatorial desde o final do século XIX e, mesmo com crescimento econômico e certa estabilidade política, o clima era de revolta, especialmente entre as classes populares, que se viam sacrificadas para sustentar o país. Nomes como os de Pancho Villa e Emiliano Zapata ganharam notoriedade a partir deste movimento, e são até hoje lembrados como protagonistas desta trama. O professor Ernando nos convidou também a refletir sobre o papel das produções cinematográficas na consolidação da leitura histórica sobre o processo revolucionário e no estabelecimento dos heróis e vilões, algo que teve consequências na própria difusão dos ideais políticos que emergiram naquele período. Venham conosco nessa viagem ao México do início do século XX! Arte da Capa: Danilo Pastor Financiamento Coletivo Existem duas formas de nos apoiar Pix recorrente – chave: fronteirasnotempo@gmail.com Apoia-se – https://apoia.se/fronteirasnotempo INSCREVA-SE PARA PARTICIPAR DO HISTORICIDADE   O Historicidade é o programa de entrevistas do Fronteiras no Tempo: um podcast de história. O objetivo principal é realizar divulgação científica na área de ciências humanas, sociais e de estudos interdisciplinares com qualidade. Será um prazer poder compartilhar o seu trabalho com nosso público. Preencha o formulário se tem interesse em participar. Link para inscrição: https://forms.gle/4KMQXTmVLFiTp4iC8 Selo saberes históricos   Agora o Fronteiras no Tempo tem o selo saberes históricos. O que é este selo? “O Selo Saberes Históricos é um sinal de reconhecimento atribuído a:● Práticas de divulgação de saberes ou produções de conteúdo histórico ou historiográfico● Realizadas em redes sociais ou mídias digitais, voltadas para públicos mais amplos e diversificados● Comprometidas com valores científicos e éticos.”Saiba mais: https://www.forumsabereshistoricos.com/ Redes Sociais Twitter, Facebook, Youtube, Instagram Contato fronteirasnotempo@gmail.com Como citar esse episódio Fronteiras no Tempo #82 Revolução Mexicana. Locução Cesar Agenor Fernandes da Silva, Marcelo de Souza Silva, Rodolfo Grande Neto, Ernando Brito Gonçalves e Willian Spengler. [S.l.] Portal Deviante, 26/06/2024. Podcast. Disponível em: https://www.deviante.com.br/?p=62854&preview=true Expediente Produção Geral e Hosts: C. A e Beraba. Recordar é viver: Willian Spengler. Edição e Arte do Episódio: Danilo Pastor (Nativa Multimídia). Material Complementar BARBOSA, Carlos Alberto Sampaio; LOPES, Maria Aparecida de Souza. A historiografia da Revolução Mexicana no limiar do século XXI: tendências gerais e novas perspectivas. In: História, nº 20. São Paulo, 2001. BARBOSA, Carlos Alberto Sampaio; LOPES, Maria Aparecida de Souza. A Revolução Mexicana. São Paulo: Editora UNESP, 2010 CAPELATO, Maria Helena Rolin. Populismo latino-americano em discussão. In: FERREIRA, Jorge (org). O populismo e sua história: debate e crítica. Rio de Janeiro: Civilização Brasileira, 2001, p.125-165. FERNANDES, L. E. de O. A comemoração do centenário da independência no México: o Paseo de la Reforma como palco para a pacificação do passado em 1910. História Unisinos, v. 15, n. 1, p. 50-59, jan./abr. 2011. Disponível em: http://revistas.unisinos.br/index.php/historia/article/view/960/164 GONÇALVES JÚNIOR, Ernando Brito. Luz, Câmera e Revolução: Francisco Villa no Cinema Mexicano. Revista Eletrônica da ANPHLAC, ISSN 1679-1061, Nº 35, p.175-198, jan./jun.., 2023. http://revista.anphlac.org.br MEYER, Jean. México: Revolución y reconstrucción en los años veinte. In: BETHEL, Leslie. Historia da América Latina v.9: México, América Central y el Caribe, c. 1870-1930. Barcelona: Crítica, 1992. RAMPINELLI, Waldir José. A Revolução Mexicana: seu alcance regional, precursores, a luta de classes e a relação com os povos originários. In: Revista Espaço Acadêmico, 2011. Disponível em: https://periodicos.uem.br/ojs/index.php/EspacoAcademico/article/view/14401 WASSERMAN, Claudia. História da América Latina: cinco séculos (temas e problemas). 3. ed. Porto Alegre: Editora da UFRGS. WOMACK. John. A Revolução Mexicana, 1910-1920. In: BETHELL, Leslie (org.). História da América Latina. Vol. 5 - de 1870 a 1930. São Paulo: Edusp, 2008. Pessoas que nos apoiam e que merecem nossos agradecimentos Apoios a partir de 12 de junho de 2024  Alexsandro de Souza Junior, Aline Silva Lima, André Santos, André Trapani, Andréa Gomes da Silva, Andressa Marcelino Cardoso, Augusto Carvalho, Charles Calisto Souza, Erick Manuel Macias, Marlon Fernandes da Silva, Flávio Henrique Dias Saldanha, Gislaine Colman, Klaus Henrique de Oliveira, João Ariedi, Manuel Macias, Rafael Henrique Silva, Raul Sousa Silva Junior, Renata de Souza Silva e Willian SpenglerSee omnystudio.com/listener for privacy information.

-Xóchitl Gálvez se reúne con obispos católicos de la CEM-Pedro Sánchez inicia gira por varios países de la Unión Europea-El 10 de abril de 1919 murió Emiliano Zapata, “El Caudillo del Sur”-Más información en nuestro podcast

In this episode, Liz talks with Victor Rodriguez and Edgar Franks about the popular Emiliano Zapata quote "the land belongs to those who work it"  both in its local applications, and in the global struggle for labor rights and Indigenous sovereignty. Music from the episode:Cumbia de la Pendejita by Cumbias PoblanasI Like It by DeBargeSupport the show

En la reunión de seguridad en Baja California Sur constatamos la tendencia a la baja en la incidencia delictiva. Aclaramos que terminó el contrato de concesión de un campo de golf en Huatulco que tenía Ricardo Salinas Pliego. Los terrenos son de la nación, no propiedad privada, y ya fueron declarados área natural protegida. Estamos cuidando lo público; no se actúa de manera arbitraria. La cápsula de este viernes estuvo dedicada al líder revolucionario, Emiliano Zapata. La historia, que es la maestra de la vida, nos ayuda a conocer el pasado, de dónde venimos. Siempre hay que contextualizar para entender mejor el presente.

Tenim subcarpeta nova! Dins de la carpeta "cient

Tenim subcarpeta nova! Dins de la carpeta "cient

Programa 4x43. Fa temps us vam explicar la hist

Programa 4x43. Fa temps us vam explicar la hist

My special guest “concerned military officer” tells her story. We also discuss jab mandates, exemptions and the possible attempt to replace God with the State. “I want to die as a slave to principles, not to men.” Emiliano Zapata (7 Oct 2021) --- Send in a voice message: https://podcasters.spotify.com/pod/show/sirthomas-snell/message

Ojai's foremost serial entrepreneur and angel investor Bill Moses drops in for a spirited discussion about a range of issues facing Ojai, including the local economy, dealing with national companies when you own a local company, the Thomas Fire, his background growing up in rural Pennsylvania, moving and shaking on Wall Street, making the move to Ojai and the future of the world. Bill is the co-founder, chairman/CEO for KeVita Probiotic Drinks, which was acquired by PepsiCo. He is also a leading strategist and innovator for companies in the food and beverage and skin-care industries. We talked about his harrowing experience with Covid-19, founding Casa Barranca winery, the first certified organic vineyard in California, building an entrepreneurs' incubator in Ojai and much, much more. We did not talk about Emiliano Zapata, salmon farming or the value of Siberian sable pelts. Check out more about Bill at FlyingEmbers.com.

Gilbert M. Joseph and Timothy J. Henderson's book The Mexico Reader: History, Culture, Politics (Duke UP, 2022) is a vivid and comprehensive guide to muchos Méxicos—the many varied histories and cultures of Mexico. Unparalleled in scope, it covers pre-Columbian times to the present, from the extraordinary power and influence of the Roman Catholic Church to Mexico's uneven postrevolutionary modernization, from chronic economic and political instability to its rich cultural heritage. Bringing together over eighty selections that include poetry, folklore, photo essays, songs, political cartoons, memoirs, journalism, and scholarly writing, this volume highlights the voices of everyday Mexicans—indigenous peoples, artists, soldiers, priests, peasants, and workers. It also includes pieces by politicians and foreign diplomats; by literary giants Octavio Paz, Gloria Anzaldúa, and Carlos Fuentes; and by and about revolutionary leaders Pancho Villa and Emiliano Zapata. This revised and updated edition features new selections that address twenty-first-century developments, including the rise of narcopolitics, the economic and personal costs of the United States' mass deportation programs, the political activism of indigenous healers and manufacturing workers, and the impact of the COVID-19 pandemic. The Mexico Reader is an essential resource for travelers, students, and experts alike. Rachel Grace Newman is a historian of modern Mexico with particular interests in migration, childhood and youth studies, and social inequality. She is Assistant Professor of History at Colgate University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Gilbert M. Joseph and Timothy J. Henderson's book The Mexico Reader: History, Culture, Politics (Duke UP, 2022) is a vivid and comprehensive guide to muchos Méxicos—the many varied histories and cultures of Mexico. Unparalleled in scope, it covers pre-Columbian times to the present, from the extraordinary power and influence of the Roman Catholic Church to Mexico's uneven postrevolutionary modernization, from chronic economic and political instability to its rich cultural heritage. Bringing together over eighty selections that include poetry, folklore, photo essays, songs, political cartoons, memoirs, journalism, and scholarly writing, this volume highlights the voices of everyday Mexicans—indigenous peoples, artists, soldiers, priests, peasants, and workers. It also includes pieces by politicians and foreign diplomats; by literary giants Octavio Paz, Gloria Anzaldúa, and Carlos Fuentes; and by and about revolutionary leaders Pancho Villa and Emiliano Zapata. This revised and updated edition features new selections that address twenty-first-century developments, including the rise of narcopolitics, the economic and personal costs of the United States' mass deportation programs, the political activism of indigenous healers and manufacturing workers, and the impact of the COVID-19 pandemic. The Mexico Reader is an essential resource for travelers, students, and experts alike. Rachel Grace Newman is a historian of modern Mexico with particular interests in migration, childhood and youth studies, and social inequality. She is Assistant Professor of History at Colgate University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/latin-american-studies

La crisis de seguridad y desapariciones forzadas en México llevó a Ramiro Vivero Ardito, un arqueólogo fanático de Emiliano Zapata y creyente del fenómeno ovni, a trabajar en la Comisión Nacional de Búsqueda de Personas. ¿Por qué un profesional que dedicaba su tiempo a proyectos arqueológicos en iglesias termina involucrado en la desafiante labor de buscar a víctimas de desaparición? ¿Qué implica tener esta misión en un país donde los criminales desaparecen a sus enemigos y dominan regiones enteras?