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[Cess007]

There is no better time to post the coolest piece of war propaganda ever made.

edit: upps it didn't show up but is the first pic on this article http://retrohelix.com/2015/02/i-honestly-didnt-know-mexico-had-world-war-ii-propaganda/

Holy shit, those are amazing. Specially the first one, it's incredible :0

 

[CosmicWabbit]

Viva México!!
It's so sad to be at home when everybody else is celebrating, I wanted to eat some carne asada or pozole

 

[cj_iwakura]

Whenever I see that band's name in written form I read it as "Pix n' dix". And they're more like the Nickelback of the country, except much less talented.

Unfortunate, love the song to death. (original video is NSFW as hell, so I used Andamiro's)

 

[johnsmith]

Oh god, I'd never heard of this Panda/PXNDX. This is like all the worst parts of 90s pop punk and 2000s era emo, but even worse. And apparently they steal their songs?

 

[Jzero]

Viva!

#FuckTrump

 

[jabuseika]

Having a family re-union in Mexico this weekend.

I'm having it all, tamales,tacos, flautas, tortas, ceviche, menudo, pozole, mole.

Wish me luck.

 

[Calvero]

Cinco de mayo passed already tho

 

[aza]

You can't celebrate without the ultimate party song

https://www.youtube.com/watch?v=x47NYUbtYb0

Also this

 

[Zekes!]

Viva!

There's an small, local authentic Mexican restaurant here in my neighbourhood, I'll have to pay them a visit either tomorrow or sometime over the weekend.

 

[Acidote]

Happy birthday from Spain.

I really want to go there on holidays at some point of my life. Mostly to visit historical places and the Pacific coast, as everyone here in Spain goes to the Caribbean. And to have real Mexican food, not what most Mexican places here offer.

 

[SalvaPot]

Love you my country < 3, I am staying home tonight but I'll go out and enjoy the long weekend.

 

[EatinOlives]

Cinco de mayo passed already tho

 

[darklin0]

Have some Mana


Had some Posole tonight and probably again in the morning lol. It is too damn good.

Se mi antojan unos tacos callejeros, nadie los ase igual de buenos como los taqueros en Mexico.

Also this

I think you meant this

 

[A Fish Aficionado]

Cinco de mayo passed already tho

Triggered.

You can't celebrate without the ultimate party song

https://www.youtube.com/watch?v=x47NYUbtYb0

Way better than being forced to Norteñas or Corridos.

 

[jossueinacoma]

Can we all agree that Victoria is the best Mexican beer ever?
Cause it is.....fight me

 

[darklin0]

Can we all agree that Victoria is the best Mexican beer ever?
Cause it is.....fight me

Your post reminded me of their new commercial

Every time this pops up on tv it has my parents fucking laughing lol.

 

[A Fish Aficionado]

Wisconsin has cheese and great brews.

So, like halfway there.

Negra Modelo. Fight me.

Negra Modelo

This dude knows.

 

[Morat]

Can we all agree that Victoria is the best Mexican beer ever?
Cause it is.....fight me

Negra Modelo

 

[donkey show]

Happy b-day Mexico! I could use some tamales and sopes in my life again. It's damn nonexistent in the UK.

 

[jossueinacoma]

Negra Modelo

Wisconsin has cheese and great brews.

So, like halfway there.

Negra Modelo. Fight me.



This dude knows.

No way. I mean it's good but not the best. Nothing beats the heat like an ice cold Viky
I'd even say the seasonal Noche Buena is up there as the best. Been drinking Victoria's in Mexico City for years so when it finally made it across the border I lost my shit. I told everyone to go buy it.

 

[Morat]

Noche Buena is nice admittedly. When I lived in the D.F. I did mainly drink Leon as standard though. Don't get me wrong, almost all Mexican beer is bloody good.

 

[Dreams-Visions]

Good shit, Mexico.

Someone take a shot for me.

 

[Fistwell]

Corona? Que asco! I'd rather drink Cholula from the bottle.

 

[sikkinixx]

Congrats Mexico. Never been there but every Mexican I've ever met has been friendly as hell and your cuisine is damn good.

 

[The Omega Man]

Damn, those pictures. Mexican food is truly OP pls nerf
Also felicidades Mexico!

 

[Dai101]

https://www.youtube.com/watch?v=07-kvAU85wM

Also, I love this image. I wish we could embrace our plurality, including the original people as well as mestizos and weros. Nobody is really better, we are just who we are and we share a deep love for our country

Indeed. Plurality and acceptance should be above all.

I LOVE that painting. Decades ago since i first saw that image in the old textbooks of my mom and dad i was in awe since then. Here's a little snippet about:

En 1959 por decreto del presidente Adolfo López Mateos, se creó la Comisión Nacional de Libros de Texto Gratuitos (Conaliteg), cuyo objetivo fue editar y distribuir libros escolares para todos los niños que cursaban la primaria.

En esa época la educación no tenía los mejores resultados: de cada mil niños que ingresaban a la primaria, 866 desertaban antes de terminarla. De los 58 que cursaban la secundaria, sólo la concluían 12. A la educación superior se registraban seis y no terminaban cinco. En ese contexto fue hacia 1960 cuando se entregaron las primeras ediciones de LTG.

Con la celebración del 150 aniversario de la Independencia de México y el 65 de la Revolución Mexicana, surge la idea de retomar estos acontecimientos y plasmarlos en las primeras portadas de los libros.

Esta propuesta fue entregada al escritor Martín Luis Guzmán, empresario del ramo editorial y nombrado director de la Conaliteg, quien convocó en 1960 a grandes muralistas como: David Alfaro Siqueiros, Roberto Montenegro, Raúl Anguiano, Alfredo Zalce, Fernando Leal, José Chávez Morado, entre otros, a quienes les propuso pintar cuadros con características específicas referente a los símbolos patrios o pasajes de la historia.

La primera obra que llegó a manos de los niños mexicanos fue la de Alfredo Zalce, la cual retrata al pueblo armado dispuesto a la lucha por un cambio, nos muestra también un campo productivo y una industria floreciente.

Dos años después se decide modificar estas portadas con una obra de Jorge González Camarena: “La Patria”, originalmente un óleo sobre tela, de 120 x 160 centímetros, realizado en 1962 que muestra una figura materna, una mujer protectora, fuerte, que tiene los brazos abiertos y al mismo tiempo es cobijada por las alas del águila mexicana, la bandera tricolor de nuestro país y en una mano sostiene un libro en donde se desprende la sabiduría para el pueblo.

El cuadro de “La Patria” deja ver el mestizaje puro de la mujer indígena en donde González Camarena tuvo de modelo a una tlaxcalteca.**

Esta imagen se mantuvo vigente durante diez años y se editaron 400 millones de ejemplares.***

“La Patria” es una alegoría que pretende sintetizar los tres tiempos de la nación mexicana: presente, pasado y futuro. La mujer, de tez morena para representar al elemento indígena, sostiene en la mano izquierda el asta de la bandera nacional y con mirada altiva nos conduce al futuro promisorio del país. A un lado, las figuras colosales del águila y la serpiente hablan del origen mítico de la nación. Con la mano derecha porta un libro abierto, que es el emblema de la educación. Detrás de la mujer se ven varios elementos que hablan de las riquezas productivas y culturales del país: frutos de las regiones agrícolas del país (plátanos, elotes, trigo, cacao, duraznos, mandarinas, etcétera); la arquitectura griega y mexica representan el legado histórico y cultural, el templo y las espadas coloniales comentan el pasado colonial. González Camarena muestra imágenes de progreso económico en la industria que emerge entre relámpagos”.

For our english only visitors:

In 1959 by presidential decree of President Adolfo Lopez Mateos, the National Commission of Free Textbooks (CONALITEG), whose objective was to publish and distribute textbooks for all children attending primary was created.

At that time education hadn't the best results: out of every thousand children entering primary, 866 deserting before finishing. Out ff the 58 who were enrolled junior high school, only concluded 12. Higher education registered six and not eneded five. In this context it was around 1960 when the first editions of free textbooks were delivered.

With the celebration of the 150th anniversary of the Independence of Mexico and 65 of the Mexican Revolution, the idea of &#8203;&#8203;resuming these events and translate them into the first covers of books.

This proposal was given to writer Martin Luis Guzman, mogul of the publishing sector and appointed director of the CONALITEG, who convened in 1960 to great muralists like David Alfaro Siqueiros, Roberto Montenegro, Raul Anguiano, Alfredo Zalce, Fernando Leal, Jose Chavez Morado, among others, who proposed them paint pictures with specific characteristics regarding national symbols or passages of history.

The first work that came at the hands of Mexican children was that of Alfredo Zalce, which portrays the armed people willing to fight for a change, also shows us a productive field and a flourishing industry.

Two years later it was decided to modify these covers with a work of Jorge González Camarena: "La Patria", originally an oil on canvas, 120 x 160 cm, made in 1962 showing a mother figure, a protective, strong woman who has open arms and at the same time it is sheltered by the wings of the Mexican eagle, the tricolor flag of our country and in one hand he holds a book where wisdom for the people is clear.

The painting "La Patria" reveals the pure mixture of indigenous women where González Camarena had a tlaxcalteca model.**

This image remained in for ten years and 400 million copies were published.***

"La Patria" is an allegory that seeks to synthesize the three times of the Mexican nation: past, present and future. The woman, swarthy to represent the indigenous element in the left hand holds the flagpole of the national flag and haughty look leads us to the bright future of the country. On one side, the colossal figures of the eagle and the snake talk about the mythical origin of the nation. With the right hand carries an open book, which is the emblem of education. Behind the woman several elements that speak of productive and cultural riches of the country are: fruits of the agricultural regions of the country (bananas, corn, wheat, cocoa, peaches, tangerines, etc.); Greek and Mexican architecture represent the historical and cultural heritage, the temple and colonial swords discussed the colonial past. González Camarena shows images of economic progress in the industry that emerges from lightning. "

** The name of the model is Victoria Dornelas and she was also the model (and, allegedly, Gonzalez Camarena had an affair with her) for other works of him.

*** La Patria came back to the covers of the textbooks since 2014 to my delight and millions of mexicans too.

Here's also another representation of La Patria, this time by renowed calendar and almanac illustrator, Jesus Helguera:

I LOVE the work of the great mexican muralists like Jorge Glez. Camarena

Presencia de America Latina (a.k.a. Integracion de America Latina)

https://en.wikipedia.org/wiki/Presencia_de_América_Latina

and Jose Clemente Orozco

Gods of the Modern World (part of the larger The Epic of American Civilization mural at Baker-Berry Library at Dartmouth College)

And you can view it here: http://www.dartmouth.edu/digitalorozco/

https://en.wikipedia.org/wiki/The_Epic_of_American_Civilization

And, (of fucking course!!) Los Frescos del Cabañas

En los muros, bóvedas y el tambor de la cúpula encontramos la obra muralista más representativa de Orozco, el artista plasma en los 57 frescos la conquista, religión, la industria humanidad bienhechora y perversa, la opresión, mecánica, creación, las raíces indígenas y la historia de nuestro México.

Holospheric View: http://hospiciocabanas.jalisco.gob.mx/hospicio-cabanas/murales

José Clemente Orozco en el Cabañas

En el marco de la entrada a la Capilla Clementina (En honor a José Clemente Orozco) está situado un pequeño mural que explica "La pintura monumental en el estado de Jalisco es patrocinada por el Gobernador Everardo Topete durante sus años de administración 1935-1939 la primera obra pictórica fue la decoración del paraninfo de universidad de Guadalajara, la segunda la de la escalera principal del Palacio de gobierno y la tercera de este edificio" aunque todo comienza a finales de 1937, bajo la invitación del gobierno del estado de Jalisco, el muralista José Clemente Orozco llegó al Hospicio Cabañas para pintar su capilla, ahora desacralizada. Dicho trabajo fue terminado en marzo de 1939.
Orozco fue consciente de la valía de su trabajo pues en una carta dirigida al gobernador Silvano Barba González le dice que su obra muralística realizada en ese recinto era "la mayor de todas las ejecutadas durante la época de la pintura mural mexicana, iniciada en 1923".

El pintor zapotlense pertenecía al grupo de artistas posrevolucionarios que pensaban que el arte gráfico debería ser para todos, razón por la cual sus obras eran hechas en lugares públicos, pero en el caso del Hospicio, más que para convertirlo en "público", era para volverlo "cultura". A lo largo de dos años, Orozco pintó 57 murales en paredes, bóvedas, lunetos, pechinas y cúpula de la capilla. Con estos frescos buscó modificar la experiencia corporal del espectador y reforzar la impresión de que la capilla no existía sino como una estructura transparente a decir del especialista Renato González Mello. Este también afirma que Orozco usó "la diferencia entre la escala del blanco y negro y la del color [...] para subrayar los elementos estructurales de la construcción: son 'grises' dos de los muros laterales, y el resto de los tableros sobre los muros se caracteriza por su sobriedad.

También tienen esa parquedad cromática todos los tableros sobre las pechinas y el tambor de la cúpula. Por el contrario, en las bóvedas y en la cúpula misma abundan los verdes, los amarillos, los azules y los rojos. Estos se organizan de acuerdo con la lógica exigida por cada composición, pero no hay un acorde cromático que unifique los tableros. En los tableros de las paredes hay paisajes, se hace artificio de la mayor solidez, verticalidad y hasta peso.

Por el contrario, en las bóvedas saltan pedazos multicolores, las figuras se confunden y se trenzan, se pierde cualquier noción de dirección".5 Una innovación de Orozco en estos frescos fue la representación de la ciudad como eje del discurso, a fin de apreciar la irrupción de lo nuevo, a decir de González Mello, pues el muralista veía con poco agrado los cambios que se iban dando en la traza urbana tapatía y que evidenció en los tableros. A su vez, las bóvedas representarían la mitología de la historia, y en todo el conjunto es posible apreciar múltiples alegorías sobre el progreso, el poder, la violencia o la tecnología, así como metáforas geométricas. En estos murales expresa varios momentos de la historia de México abordando la Conquista, la Colonia y los tiempos modernos.
En los frescos, Orozco hizo referencia a la vida prehispánica, al choque cultural durante la Conquista, a la fundación de Guadalajara y tocó escenas de la trágica realidad contemporánea.

El mural Hombre en Llamas, en el cual se aprecia una figura humana que "escapa por una bóveda o cúpula 'abierta en gloria', como en la pintura barroca", es la pieza clave del conjunto muralístico pues borra cualquier cualidad meramente decorativa y le otorga una nueva dimensión al espacio al convertirlo en uno dedicado a una nueva devoción, la de la cultura. Para Justino Fernández, este mural es "la concepción cumbre y más original del artista" y representa al ser humano "superior [que] ve, discierne y ordena"; en suma, una alegoría de la existencia humana, que "todo existir en conciencia es ardorosa consunción".
La crítica popular afirma que las cuatro caras que lo rodean equivalen a los cuatro elementos de la naturaleza; para otros podría representar la metáfora mitológica del Ave Fénix. La obra del gran muralista, sin embargo, no se reduce a los murales, sino que en el Hospicio se preservan 340 piezas entre pintura, dibujo y gráfica, entre las cuales se encuentran diez piroxilinas, más de cien dibujos para exposición, grabados, dibujos y bocetos, realizados en lápiz, tinta, gouche y temple.

El Hombre de Fuego además de representar a los cuatro elementos naturales, se le ve en si a cuatro muralistas más famosos de Jalisco y el Mundo entre ellos se encuentra los siguientes:

•El hombre con la cara azul (Símbolo del agua): El doctor Tapatio Gerardo Murillo conocido mejor como el Dr Atl.

•El hombre con el cabello en viento y color amarillo (Símbolo del Viento): El muralista David Alfaro Siqueiros

•El hombre debajo del Dr de Guadalajara (Símbolo de la tierra): Diego Rivera

•El Hombre en llamas de en medio (Símbolo del Fuego): José Clemente Orozco

ENG:

As part of the entrance to the Chapel Clementina (in honor of José Clemente Orozco) is located a small mural that explains "The monumental painting in the state of Jalisco is sponsored by the Governor Everardo Topete during his years of administration from 1935 to 1939 the first paintings was the decoration of the auditorium of university of Guadalajara, the second of the main staircase of the Palace of government and the third of this building, "but it all starts at the end of 1937, at the invitation of the state government of Jalisco, the muralist Jose Clemente Orozco arrived at the Hospicio Cabanas to paint his chapel, now deconsecrated. This work was completed in March 1939.
Orozco was aware of the value of his work since in a letter to the governor Silvano Barba Gonzalez tells him that his muralística work done in that room was "the greatest of all executed during the time of the painting mural Mexican, begun in 1923" .

The zapotlense painter belonged to the group of postrevolutionary artists who thought the graphic art should be for everyone, which is why his works were made in public places, but in the case of the Hospice, rather than to turn it into "public" was to return "culture". Throughout two years, Orozco painted 57 murals on walls, vaults, lunettes, pendentives and dome of the chapel. With these fresh sought to modify the body experience the viewer and reinforce the impression that the chapel existed only as a specialist transparent to say Renato González Mello structure. It also states that Orozco used "the difference between the scale of black and white and color [...] to highlight the structural elements of the building: they are 'gray' two of the side walls, and the rest of the boards on the walls it is characterized by its sobriety.

They also have the chromatic frugality all boards on the spandrels and the drum of the dome. By contrast, in the vaults and the dome itself abound greens, yellows, blues and reds. These are organized according to the logic required for each composition, but there is a chromatic chord that unifies the boards. On the boards of the walls are landscapes, artifice of greater strength, verticality and even weight becomes.

By contrast, in the vaults jump multicolored pieces, the figures become confused and twisted, any notion of direction is lost ".5 An innovation in these frescoes of Orozco was the representation of the city as a pillar of speech, in order to appreciate the emergence of the new, say Gonzalez Mello, as the muralist saw with little liking the changes that were taking place in the urban layout tapatía and that showed on the boards. in turn, the vaults represent the mythology of history, and the whole set is possible to see many allegories about progress, power, violence or technology, as well as geometric metaphors. in these murals expressed several times in the history of Mexico addressing the conquest, colonial and modern times.
In the frescoes, Orozco made reference to the prehispanic life, culture shock during the Conquest, to the founding of Guadalajara and played the tragic scenes of contemporary reality.

The mural Burning Man, in which a human figure that "escapes from a vault or dome 'opened in glory', as in Baroque painting" shown is the linchpin of muralístico set it erases any purely decorative quality and gives a new dimension to space by turning it into one dedicated to a new devotion, culture. To Justino Fernandez, this mural is "the summit and most original conception of the artist" and represents the human being "superior [who] sees, discerns and order"; in short, an allegory of human existence, that "all exist in consciousness is burning consumption".
The popular criticism states that the four faces surrounding correspond to the four elements of nature; for others it could represent the mythological phoenix metaphor. The work of the great muralist, however, is not confined to the wall, but in the Hospicio 340 pieces including painting, drawing and graphics, among which are ten piroxilinas, more than a hundred drawings for exhibition, prints, drawings preserved and sketches, made in pencil, ink, and tempera gouche.

The Man of Fire besides representing the four natural elements, he is seen whether four most famous muralists of Jalisco and the World among them is the following:

• The man with blue face (Water symbol): Dr. Gerardo Murillo Tapatio better known as Dr. Atl.

• The man with hair in wind and yellow (wind symbol): The muralist David Alfaro Siqueiros

• The man under Dr de Guadalajara (earth symbol): Diego Rivera

• Burning Man middle (symbol of fire): José Clemente Orozco

and the big daddy (both literally and figurativelly) Diego Rivera

Man, Controller of the Universe, originally names Man at the crossroads

The original (re-imagined from B/W pictures, it was destroyed before completion because of Lenin, no i'm serious about it https://en.wikipedia.org/wiki/Man_at_the_Crossroads#Destruction )

Detroit Industry, North Wall

Detroit Industry, South Wall

https://en.wikipedia.org/wiki/Detroit_Industry_Murals

And my personal favourite; Sueño de una Tarde Dominical en la Alameda Central

 

[~Devil Trigger~]

I heard Obama's gonna give you guys TEXAS and New Mexico back for your BD gif

awesome if true

 

[Calvero]

Triggered.

:^)

Spoiler

i'm mexican tho, so it's ok

btw if anyone ever wants to visit Mexico, you should go to Guanajuato!

 

[CarpeDeezNutz]

This reminds me: where's the forced Truml tweet of him saying he somehow loves Hispanics? At least this time he'd be "celebrating" a real Mexican holiday. He could start by actually consuming authentic Mexican food this time around.

He wouldn't be able to handle Menudo.

 

[Gentleman Jack]

What is this green junk on top of this rice? This is supposed to be a Mexican thread.

Peas in rice isn't that weird. My aunts do it. Also chickpeas. Both fine.

But olives in the refried beans is a dealbreaker for me. My cousins love it. I can't.

 

[BronzeWolf]

Nah you keep your Arizona