MAGAZINE
FUSION #43 FREE
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FUSION MAGAZINE #43 FUSION MAGAZINE IS A BILINGUAL MAGAZINE THAT ENCOURAGES CULTURAL DIVERSITY AND CREATIVITY FOR EL PASO JUAREZ LAS CRUCES & CHIHUAHUA.
Editor in Chief : Oscar Castañeda : oscar@thefusionmag.com Managing Editor : Iveth Escobedo : iveth@thefusionmag.com Art Editor : Rafael A. Revilla : rrevilla@thefusionmag.com Assistant Editor : Alex Duran : alexduran@thefusionmag.com Music Editor : Bryan Sanchez : bryan@thefusionmag.com Sales Manager : Oscar Castaneda Sr : oscarc@thefusionmag.com Contributing Writers & Colaborators : Jorge A. Hernandez: jhernandez@thefusionmag.com | Zeque Penya | Daniel Salas dbsalas@thefusionmag.com | Bjorzh Znchz: bjorzh@ thefusionmag.com | Ali Belmonte: alibelmonte@thefusionmag.com | Jessica Villa: jessica@thefusionmag.com | Jerry Karnes el Malkreado | A. Lawless | Marisol Rios | Roberto Santos | Sonia Rangel | Jenna Martin
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CONTACT
FUSION @ EL PASO : (915) 875-9991 - (915) 231.8895 : info@thefusionmag.com FUSION@ CHIHUAHUA : Tel + Fax + 614 4154941 Thanks to: Daniela Acosta ( Edicion CUU ), Sam Stratton, Aron Venegas, Puro Borde, Ernesto “Che Che” Hernandez, Antena Productions, Mattox Studios, Miguel Valdez, Manuel Calderon, En Especial a Mundo Valencia, Colectivo Rezizte, Hanub Ku, David “Mambosca” Flores, Frontera Bugalu, Ramon “Mon” Villa, Del Corazon Film Fest, Victor Ruano, Anessa Anchondo, Alma Maquitico, Jesus Coronado, Jasmine Perez, Adam Marshall, Hector Riveroll, Riveroll Photography, Clarissa Thomas, Victor Talamantes, Elizabeth DuranLopez, Carmen Duran, Arcadio Duran, Jessica Lee Fraga, George Galindo, Lui Cardenas, Lui Cardenas Photography, Gera Luz, Jaime Hernandez, Marco Correa, Tim from Marfa Book Co. Dia Pacheco, Juan Cirerol, Marco Correa, Centro Musical, Jonathan Hernandez, Ballroom Marfa, El Cosmico Marfa, Zeque Penya, Rocco Revilla, Mood Store, Hippiteka. Fusion Magazine is a monthly magazine with distribution in El Paso, TX, Cd. Juarez, Las Cruces, NM & Chihuahua. The opinions, views and comments expressed in Fusion Magazine do not necessarily reflect those of the editor and publisher. Authors and collaborators are accountable for the content of the articles. Fusion Magazine is not responsible for the information submitted in the ads by the advertisers.
Borders Must
be Broken Puro Borde!
TXT: BORDE MANIFIESTA
When physical borders are put aside and collaboration becomes essential in creating autonomous art, we begin living the collective mind of the border. The only purpose is to serve the community. Borde Manifiesta reflects the collaboration that has been happening between cultural promoters, writers, social workers, musicians, cultural institutions and muralists for the past eight years. Life on the border is reflected in our individual and collective work and thought; influenced by the political, cultural and social interactions between Ciudad Juárez and El Paso, one city counterbalancing the happenings of the other. Borde Manifiesta is a bi-national celebration of border-arts, consistently bringing together different forms of expressions, different genres that celebrate the diversity that makes us “fronterizos.” Events throughout the week include the painting of murals that will be displayed in both El Paso and Cd. Juarez simultaneously. Borde Manifiesta seeks creative ways to overcome physical boundaries, connecting artists, building common platforms and unifying different expressions and ideas with one main objective: to celebrate the vast cultural richness of our border region that is bridged by its residents. This year’s event will be dedicated to the farm workers. The serious drought in the El Paso and Southern New Mexico area, together with the increased mechanization of local agriculture has aggravated the farm workers’ critical and often exploitative economic situation.
Borde Manifiesta will be donating all the proceeds from the El Paso event to the Border Farmworker Center, which provides much needed relief to border farm workers.The Border Farmworkers Center is the result of many years of struggle by the Sin Fronteras Organizing Project, an organization that has supported and empowered border farm workers to improve their living and working conditions. Sin Fronteras Organizing Project has also provided a vital leadership development space where many generations of youth, artists and community organizers have begun their social justice journeys as well as community work. Our goal has always been to promote the arts and share our experiences through the visual records that that we are allowed to make.This extensive work has already opened many collaborative opportunities between local talents. Now, Borde Manifiesta goes international with invitations to present their work and border standpoints in Caracas Venezuela, Mexico City, and Sao Pablo, Brazil. La frontera nos une y nos define. Puro Borde.
BORDE MANIFIESTA - JUAREZ - JULY 31 PANADERIA REZIZTE BORDE MANIFIESTA - EL PASO - JULY 30 CASA GALLO & MATTOX STUDIO
Local Music Review: Bulletproof Tiger – “Healthy Fear” / “Shout in the Dark” 7” LP TXT: BRYAN SANCHEZ
Locally-based Bulletproof Tiger recently celebrated the release of their double single, “Healthy Fear” and “Shout in the Dark.” Recorded at La Fe Studios, the 7” vinyl is a limited edition release of the two lead singles from the electronic duo’s upcoming album. For “Healthy Fear” the electronic duo features an alluring melody that is maintained by sweeping energy and vibrant rhythm.There’s a fortitude of impeding doom with a bellowing opening that segues into an incredible blend of electronic keyboards and synthesizers that accompany a swirling, menacing guitar. The syncopation in the beats and synths distinguish the blooming drums with a nervy and twitchy melody that’s never quite in focus. With the notion of towering chords intertwined with a dancefloor-ready stomp, there is strong resonance in their music. The other single is romping, floor-grooving “Shout in the Dark.” The production glistens with every channel supported in flawless equilibrium with the others: the duo’s intensity is evidently matched with fitting engineering and producing. As the sounds continue to come together in creating what is a fluid, unspoiled and terrific layering of instruments, the music never loses touch of where the guitar is. Never unnerved, it acts as a catalyst to the song’s thumping drums in subtle demeanor and still, its presence is unquestionable. All of this absolutely creates a convinced amount of great expectations for the debut but for the moment, as the two lead singles to what is a promising LP, the songs are downright winners. There’s undoubtedly something to be said for the method of release – limited to 250 copies, 7” vinyl only – Bulletproof Tiger are able to brand it and present it however they want and the richness, clarity and moreso, the substantial depth, expressed with the vinyl is understatedly colossal. Above all, it’s utter proof of outstanding electronic music created and recorded in our very own Sun City and unquestionably, art worthy of tremendous enjoyment.
Wistfully strumming along – like the rustling of blades of grass swaying in the summer breeze – the music that fuels Woods is the kind most luxuriously enjoyed amongst the countless thrills of life. And channeling a profound blend of sonic soundscapes, the reverb-heavy magnetism of the guitar drives the music forward with a beguiling presence. To finely pin-point their style one can remark on the psych-folk tag that has most frequented the band but through the grind, strive and kick of their instruments, it’s safe to say the Brooklyn-based band treads into alternative rock with swift ease. And while encapsulating music is never justice, the proof lies in witnessing the band live: Thursday August 4 at The Black Market. There’s often a wall of noise with their music and Sun and Shade compliments that essence with twelve bursting rays of light. Whether it’s floating into the endless roll of Krautrock-inspired “Out of the Eye” or the lulling groove that is “Sol y Sombra,” Woods’ music will surely strike and impress. The band will be supported by San Francisco band White Fence – another band by frontman Tim Presley, leader of Darker My Love. As for locals, Batcaves has confirmed to be opening with other amazing local talent TBA. The show will be presented by Thin Wild Sound, 18 and over are welcome with a $3 surcharge at the door for fans ages 18-21. With tickets being available at All that Music, Headstand, Le Trendy Shop or online at ticketbully.com, they are moderately priced at a mere $9 in advance and $12 the day of the show. It’s fitting that their latest winner would be titled Sun and Shade in celebrating both sides of the spectrum. Woods’ music is a blissful experience that simply gets better with each album and there is not much reason to miss such a great opportunity to see tremendous, out of town music.
Check out more Bulletproof Tiger at: www.bulletprooftigermusic.com
Check out more of Woods at: www.woodsist.com
Rising Summer Music in the Shade: Woods’ Awesome Vibes TXT: BRYAN SANCHEZ
http://www.facebook.com/festivaljazzchihuahua
“THE BIGGEST INFLUENCE ON US IS USUALLY WHATEVER MUSIC WE MADE LAST. THE DESIRE TO DO SOMETHING NEW WHEN WE FINISH SOMETHING AND RECORD IT.”
Explosively Restrained with Royal Bangs TXT: BRYAN SANCHEZ
For starters, Royal Bangs has never been the kind of band to simply conform to typical norms. A band that has always challenged themselves by choosing to stray away from the fashionable pop that circles the world, the rock band from Tennessee are no strangers to experimental rock. While their music is rooted in the kind of rock that is filled with brooding harmonies and chords, the originality in their music lies with passionate efforts: every member plays an intricate, yet seamless role in the music’s progression. And much like a roaring train that piles down the railroad with tenacity and energy – never losing focus – Royal Bangs’ core of music is shaped in the likeness of that demeanor. It’s the kind of style that makes for thrilling shows and maybe for some, memorable take-aways that linger for eternity. Their guitarist Sam Stratton had time to answer some questions for Fusion regarding the band’s influences, recording styles and what El Pasoans can expect to hear: First off, thanks so much for doing an interview with us; how has the tour been so far? Any great stories to share? Touring this year has been especially satisfying on account of the push our new record is getting, all the weird people we’ve met, and the response from our TV appearances. The stand out moment was probably when we stopped at the time zone line between Central and Eastern Time. We all got out and threw coins and shoes an hour into the future! Magic! How has the reception been to your superb new album? Are you all pleased with it? The reception has been really good. We love the new record; it turned out just how we wanted and it was a blast making it. Your sound has definitely altered from your first album, three years ago; can you describe your musical progression since then? 08 | FUSION
The sound changed a lot on the second record when we became more competent implementing electronics, getting better at our instruments, and having a new bassist and guitarist. The new one is pretty much the same story (getting more inventive with the programming and how we play), but we just did it as a trio and played all the instruments ourselves. Recording a lot has also absolutely bolstered our separate talents and broadened our knowledge. There’s a driving sense of energy and intensity on the album that fuses your styles with such great ease, was this an intended idea? I don’t think so. We were exposed to the same wild, abrasive music around the time the band was started and we’ve been playing together ten years now. Your new album features some fleshed out stompers like the thunderous, flourishing “Slow Cathedral Melt,” along with an eclectic breed of styles, can you describe your writing process for the new album? Was it any dissimilar from past releases? It was a lot different writing this record. Instead of making a few new songs at home in between tours and eventually compiling them on an album, we took a summer off to make a record all at once. We also got to mix it with one of our favorite engineers, Dave Fridmann, after we recorded it. What kind of influence did releasing your first album under The Black Keys’ Patrick Carney’s independent label leave on you as a band? How about as businessmen in the music industry? It was the first big thing that happened and we jumped at it. Chris and I left college to tour and do the band. We busted our asses to get to that point where we could REALLY bust ass. It didn’t have any influence on how we handle business, but it did turbo slam our ambitions and direction.
What are some of your most recent resounding influences that have really left an impact on your music? The biggest influence on us is usually whatever music we made last. The desire to do something new when we finish something and record it. What kind of music would you best describe is going to be delivered to El Paso music lovers on July 19? El Paso music lovers will hear expertly played loud, dynamic rock music with weird sounds and rhythms they can freak out about, but they will see three sweaty mutants with beards.They’ll probably want to drink. Royal Bangs tread water under the messy bridge that’s called noise but with a calculated charisma and dynamically melodic flavor they’ve fully mastered music’s most aesthetic feel. It’s not so much that the skillful trio know how to take your rock and roll stomp, turn it inside and out and spit it back out in a looseygoosey game of garage rock but that they dictate the flow with styles that span through electronics, blues, jazz, rock and of course, psychedelia. Many will disagree on the band’s best album to date, but there is little denying the muscular fusion of Flux Outside. Stretching the boundaries and showcasing that music is all about exhilarating, Royal Bangs do not disappoint. Supporting the band will be Colourmusic as well as locals, The DA and Bird Sounds, and it will all go down at the lush and posh Lowbrow Palace. Versatile music is all about embracing the very fact that there are no bounds and fortunately, on the night of July 19, there will be enough diverse music for any true music lover to get lost in. FM
Coolin’ with
Abstract Rude TXT:
TXT: JENNA MARTIN | PHOTO: ANDRIA MILLIE
Circa early 1990’s, while gangster rap was heavily infiltrating the Los Angeles scene an underground movement all its own was taking form in the heart of South Central by way of The Good Life Café. GLC provided an open mic workshop for aspiring emcees, poets and musicians. Among those emcees that called the workshop home every Thursday night was Abstract Rude. Abstract Rude stands highly acclaimed as one of the most multifarious graduates of the underground L.A. Rap Scene. Abstract Rude is palpable. “Ab was a quiet young cat with an old soul... his style was droopy and well pronounced, I remember seeing him rap at the Good Life for the first time. I had no idea back then we’d end up making music together, but I knew I dug his style. He came up there as a member of Tribe Unique so we knew the choice of Abstract name was valid, them dudes were crazy creative dancers... but it was cool to see a voice match their moves,” founding Freestyle Fellowship member Aceyalone said. Abstract Rude however, seems to lend itself to the beautifully humble emcee a bit more ambiguously. “It’s a reggae influenced name. I liked Rude Boys like Horsemouth and Johnny Cliff ’s characters from the films Bigger They Are Harder They Fall and Rockers. It was a rebel of society’s conformity sort of thing. It was a fitting title for me, like saying he’s ‘artsy but hood” adds Abstract Rude: so comes to light the origin of Abstract Rude. From a health food center in the heart of South Central L.A, to an arts center in Leimert Park, Ab Rude and Aceyalone, together, co-founded the longest running open mic workshop in the world, Project Blowed. “This year marks our 17 year anniversary, which is a great accomplishment for the LA community. We are like the last real hip hop experience you can actually have in the streets of LA, real talk. In an era where YouTube & social media make an artist, we remain as the street outlet for young artists to develop their talents and earn a fan base through hands-on exposure. As a label, we’re still building an extensive catalog… As a crew, were still here, spread out but still unified in many ways…keeping the thread going,” said Aceyalone. Project Blowed has established a world-renowned
legacy of hip hop, art & music. The limited run original Project Blowed compilation album internationally became something of a cult classic. PB showcased the talents of many local legends, all diverse but with the same prime directive, to explore and expand all dimensions of their love of hip hop, musically, lyrically and thematically. Freestyle Fellowship LP The Promise is next to be released. Front man to Abstract Tribe Unique (ATU) alongside interpretive dancers Zulu Butterfly and Irie Lion Locks, Turntablist DJ Drez and Producer Fat Jack, A Member of Haiku D’Etat alongside Freestyle Fellowship members Myka 9 and Aceyalone, as well as The A-Team with Aceyalone, prolific emcee Abstract Rude has amorously been dubbed as hip hop’s most accessible healer. “It’s a cute saying I guess, If ‘healer’ means my music aids one through a tough time, I’m all good with it,” said Abstract Rude. Abstract Rude is a true passionate artist that is known for his distinct vocal styling, his ability to lyrically prove that clarity is just as impressive as complex and the ability to broach ever-changing subject matter in his songs. “Art imitates life right? An artist can creatively put into words the thoughts that process our human experience here on earth and other astral planes. So when someone ‘gets it’ there is joy there for the writer/performer…that fuels us. My passion comes from loving what I do and not being scared to go after it time after time, even when I fall short, keep pushing,” continues Abstract Rude. An extensive discography that spans nearly two decades with initial recordings on Beastie Boys Grand Royal Imprint to his current release Rejuvenation on Rhymesayers Entertainment only further substantiate that Abstract Rude merits the title of
true lyrical heavyweight. Meanwhile, fans patiently await the Rhymesayers sophomore release, there is an interim disc available on itunes through Alphapup called Steel Making Trax: the Export. Abstract Rude adds, “I’m making new music everyday and I’m almost ready to show them what I’ve been doing all this time. Stay tuned folks. Vitamin D, Fat Jack, Resin Dogs, Kenny Segal and others on production.” Fresh off an early spring tour in Canada and Australia, his summer tour is quickly approaching. Coolin with Abstract Rude featuring JNatural & Burnell Washburn begins July 28th in Palm Springs, California before reaching El Paso August 5th & 6th. That’s right, El Paso has access to two days of solid, genuine underground hip hop. In an almost never occurrence, El Paso will be treated with a double dose of soulful appearances by the brilliant, medicinal lyricist. Friday August 5th, Abstract Rude will headline La Parada - El Paso’s ongoing art, music and social party every first Friday of the month at the San Carlos building on 501 Texas Street. There will also be featured sets by Bless1ne, Onemanjazz and resident DJs System A and Rob Bass. Saturday August 6th, Napkin Note Anthologies in conjunction with Bazooka Soundwaves will present El Paso with a uniquely historic and special celebration of underground hip hop at its finest, featuring Abstract Rude, 2Mex from the Visionaries, Thavius Beck, JNatural, Knives & Gasoline, as well as a bevy of other special guests at The Lowbrow Palace located at 111 Robinson Avenue. For more information on Abstract Rude visit: facebook.com/ abstract rude, rhymesayers.com/abstractrude, twitter.com/abstract rude, reverbnation.com/abstract rude. FM
“I’M MAKING NEW MUSIC EVERYDAY AND I’M ALMOST READY TO SHOW THEM WHAT I’VE BEEN DOING ALL THIS TIME.”
FUSION | 09
TXT: BRYAN SANCHEZ
When considering new music there’s always the cliché saying: good music will prevail. And while it takes an immense amount of attention to even skim the surface of what music has to offer, every year introduces heaps of new music to discover. Some people will tell you that everything has already been done before; though music has been an evolving, progressing art form – perhaps the most all-encompassing of all the arts – one only needs to briefly investigate before finding a myriad of new music. There are great gifts to be found and here are some of the early ones released during the first half of 2011. Maybe it’s just the affecting style, or maybe it’s the subtle way the beats are glistened over jagged, jittery, jumbled patterns that made James Blake’s self-titled album the sound of the winter. Electronic music is definitely one of music’s chief supporters in terms of enveloping sounds: Blake’s brand of electronic style was something both starkly booming and beautifully orchestrated. In terms of dubstep – with the craft and tone that Blake’s music carries – he’s certainly someone releasing some of the best music. Early on, it was definitely about Deerhoof’s surprising new album that firmly reminded us all why they’re so deftly destructive with dynamics and Destroyer’s Kaputt fittingly placed “Bay of Pigs” on the pedestal many feel it still deserves. In terms of what the freezing snow brought, Lykke Li’s latest release, Wounded Rhymes, was like a beaming ray of sunlight, peaking through. Listening to “I Follow Rivers” and its seamless entryway into booming pop that finds Li confessing that she’ll follow her lover anywhere, wherever, however is still like the forlorn feeling of love at its initial moments. When everyone else is seemingly disconnected from the pains of real life Li looks to embrace 10 | FUSION
them and closing with “Silent My Song,” they’re embraced into real-life paintings in the mold of soaring music. Throughout all of this rustling of new music came the second album by The Antlers: Burst Apart; somewhat of an unheard gem, it’s the makings of a band neatly coming into its own and rising to the occasion. Their previous album, Hospice, was the dark cloud over the desolation and their newest release is without a doubt, exceptionally remarkable as an impassioned achievement. Few can forget the intensified energy felt at Toro Y Moi’s show at Lowbrow Palace earlier this year but it’s easy to acknowledge that most of it was fueled by the lush compositions he created on Underneath the Pine. “Divina” is still the perfect backdrop to any moonlight walk and with another terrific release, the South Carolina musician proves samples and electronic music can go hand-in-hand. Beats seems to be where a lot of music either starts, trends or ends but even Panda Bear’s latest success, Tomboy, is about creating dreams and images. Regardless of how the beats are magnified, the stellar music is a result of excellent musicians. So even with an album made on an iPad, Gorillaz still delivered one of the year’s heaviest hitters with “Revolving Doors.” If you dig back into Radiohead’s catalog, there’s a song called “Pulk/Pull Revolving Doors” that bury the fumes of blistering beats deep into Amnesiac’s pulse like a mashing of drums and drills. I’m not sure if we’ll ever get anything as challenging again (that is also now TEN years ago) from the England-bred band
but The King of Limbs is definitely not an oversight. Developed and sequenced with everything from the flow, to the ideas, to the methods encircled around Radiohead’s unparalleled, supreme musicianship. It was never meant to be In Rainbows Pt. 2 and now that the honeymoon is over maybe people can realize how amazing something like “Lotus Flower” really is. And then there’s the lifting crowning of certain bands into ‘buzz’ status where they’ve presented an album that definitely covers all the right ground. Although Fleet Foxes erstwhile album was the debut of a band matured and ready for success, it’s now with Helplessness Blues and a new collection of extraordinary music that has them geared as one of 2011’s best stories. Justly so, their album is a masterful release that is worthy of every superlative showered onto it. So while the Pacific Northwestbased band continues to rise, The Strokes’ Angles was a vastly grand improvement from their last album and with stirring, rousing songs all over: a splendid return to form. David Byrne said, “Say something once, why say it again?” And while I’m sure he was in character at the moment, it can’t go unsaid that My Morning Jacket’s Circuital is another momentous release for the alternative band. Nonetheless, the year is merely halfway finished (with nothing here mentioning any of the breathtaking June releases like, Bon Iver’s, for example) and that leaves six more months to continue finding new music, continue finding new music we missed out on before and well, continuing to find any and all good music period. FM
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El Clonazepam Blues de Juan Cirerol SOULFOOD TAQUERIA | TXT: RAFAEL A. REVILLA | FOTO: MARCO CORREA
Juan Cirerol, músico multi-instrumentalista originario de la ciudad de Mexicali, Baja California. Su estilo musical varía desde el Country pasando por Corridos Norteños, hasta el Blues y la música del gran Johnny Cash; Mezcla que lo ha llevado a grabar varios EP’s. Con motivo de la presentación de su disco “Ofrenda al Mictlán” en la ciudad de Chihuahua, entrevistamos a Cirerol teniendo como telón: un cielo rojizo, amigos, alberca y unas cervezas de acompañamiento. Como te debes haber dado cuenta, tu música es una mezcla de géneros, ¿Cómo la defines tú? Pues precisamente como eso. Si hay una influencia más que nada familiar de la música que toco, que es básicamente música country, norteña y más que nada se nota en las técnicas de tocar que uso al tocar guitarra. Es lo que diferencia el mood de la canción. ¿Noto algo de Blue Grass, Rockabilly? Pues sí, se pueden escuchar varios géneros en mi música. Yo básicamente tengo la vista sobre el country, la norteña y pues todas las variaciones del blues también. ¿De dónde eres originario? De Mexicali, Baja California. ¿Cuántos discos, sencillos o Ep’s tienes? Conozco “Ofrenda Al Mictlán” que es tu álbum y varios sencillos. Tengo varias grabaciones, alrededor de unas 30, entre las cuales están unas versiones repetidas de ciertas canciones y sencillos que pongo en internet que la gente empieza a reconocer. “Ofrenda Al Mictlán” lo grabe en el 2009 y salió en el 2010. Ahorita acabo de terminar de grabar un disco, con discos Intolerancia del D.F y con ellos acabo de terminar otro álbum, estamos planeando como será la distribución del mismo. ¿Tus influencias? Mis influencias directas son: Chalino Sánchez, Ramón Ayala y Cornelio Reyna. También me gustan algunos grupos nuevos del movimiento alterado. ¿Movimiento alterado? Es como el narcocorrido, hay ciertas canciones que pues me gustan más que nada por la actitud de la canción. Lo que pasa, es que por instinto me gustan esas canciones que tienen un aire de ser de narco pero no muy explicitas; que son ambiguas y más subjetivas. Tengo algunos covers de los “Picadientes de 12 | FUSION
Caborca”, algunos de “Gerardo Ortiz”, “Los Tigres del Norte” y así le voy variando. También tengo influencias de un músico de folk sueco llamado: “The Tallest Man of Earth” y hace como un año descubrí a “Bob Dylan” y pues siempre mi abuelo ha escuchado a a “Johnny Cash” toda su vida; tiene 89 años y es como algo que me transmitió. “Johnny Cash” es una de mis influencias fuertes, me gusta mucho. Tus letras son divertidas, pero tienen algo depresivo en el trasfondo. Tengo un amigo que se identifica mucho con tus canciones, por lo mismo, por que hablas de depresión, soledad y en veces al mismo tiempo se escuchan divertidas. No obstante, tienen un trasfondo de aislamiento, de ansiedad, abuso de sustancias, al menos eso fue lo que note, ¿de dónde sale toda la inspiración? Desde muy morro anduve en la calle, no que fuera de la calle, pero he andado en todos los ambientes: hostiles, buenos, algunos menos hostiles y en los mas malos y pues aprendí muchas mañitas. Llegué a usar sustancias, como muchos músicos y muchas personas, como para inspirarme. Ayer que tocaste en Chihuahua Capital, la gente conocía tus canciones, ya sea porque le dieron difusión o porque ya te conocían desde antes. ¿A qué crees tú, que se deba que la gente estaba coreando tus canciones? Eso ha sido desde que empecé a tocar con la guitarra. En Mexicali empecé en las taquerías como de talonero, de ahí fui saliendo a Hermosillo, ya después a otros lados. De repente me daba cuenta que empezaba una canción y la gente ya sabía cuál era, ósea el primer acorde y ya la sabían, ya la identificaban, para mí eso pues es un triunfo; es algo muy gratificante para mí y considero que mi música es buena en el sentido de que la gente sabe que está hablando con alguien que no pretende otra cosa más que lo que dice. ¿Ya habías estado aquí en Chihuahua? No, nunca. Me sorprendió mucho el llegar y ver la reacción del público, me pareció muy impresionante. Ayer desde que comenzaste a tocar te pedían la canción de “Clonazepam Blues”. ¿De qué trata la canción? Pues es una canción que trata básicamente de un vato que en la mañana pues ya tiene trasnochados varios días de parranda y
por el influjo de clonazepam y por malcriado, o algo así (risas) se roba el carro de su mamá y su hermana. Se lo lleva y se va como en un viaje que termino en la inconsciencia. Todo eso se podría ver como una historia o como un cuento pero son cosas que de morro yo hice y que muchos de mis amigos hicieron, más que nada es una anécdota de la experiencia que te da el estar bajo el influjo de estas ondas, de esas pastillas. ¿Dónde pueden escuchar tu música? Hay varios sitios: pueden escucharla y pueden bajarla de valevergasdiscos.com. Ahí se encuentra un disco para descargar gratis; de ese mismo se va a presentar un vinil el 27 de Mayo (Valevergas discos es un colectivo independiente del D.F.) de “Ofrenda Al Mictlán”. Éste es parte de un proyecto de 12 Artistas 12 Viniles. El mío ya salió y por el momento voy a estar chambeando con Discos Intolerancia, además hay mucha música puesta en youtube y en soundcloud, ahí pueden buscar los sencillos. ¿Qué es lo que sigue para ti ahorita? Empezará el ciclo de trabajar con Discos Intolerancia ya con manager y con booking. Ya estoy en esas ondas de meterme de lleno y esperar fechas. El 16 de julio voy a Cd. Victoria, Tamaulipas y Toluca, D.F. Tijuana, posiblemente. Hermosillo también y ver qué onda en Estados Unidos; voy a tramitar mi visa, porque hay personas interesadas para que toque en Nueva York, ando viendo la posibilidad de que en este año se pueda concretar. Vienes de Mexicali donde existe violencia aunque no tan fuerte como aquí, en tus letras no hablas mucho de este tema, ¿Qué piensas sobre esto? No me gusta el concepto de lleno de la música politizada o música contestataria, no es mi estilo, aunque creo que eso depende de cada persona y el lugar donde te desenvuelvas, creo que en este tema también se avecinan grandes cambios. Las cosas siempre están cambiando, hasta la manera de vender música. La gente no es pendeja, uno decide en que grupo estar, yo prefiero estar en el grupo de los perdidos. (Risas) ¡Eso es todo Juan!, gracias por tu tiempo. FM juanantoniocirerol@gmail.com www.valevergasdiscos.com *Para escuchar la entrevista completa, visita: www.thefusionmag.com
CafĂŠ con Letras. Piloncillo TXT: ALI BELMONTE
El primer museo que conocĂ fue el del “piloncilloâ€?, recuerdo que lo que mĂĄs me llamĂł la atenciĂłn fue el techo de la sala principal y el rĂo que lo rodeaba. No recuerdo que cual fue la primera exposiciĂłn que vi o cual fue el primer libro que leĂ de su biblioteca; seguramente fue algĂşn cuento infantil. AĂąos despuĂŠs me enterĂŠ que no se llamaba el “piloncilloâ€? si no el Museo del INBA (Instituto Nacional de Bellas Artes), sitio en el que he vivido una serie de maravillosas experiencias; tambiĂŠn de sensaciones con las diversas exposiciones y deleites musicales con varias exposiciones musicales. El museo del INBA aun sigue teniendo mucho que ofrecer a la comunidad juarense, pues la gente que trabaja en el museo estĂĄ totalmente comprometida con nuestra sociedad para fomentar la cultura. Actualmente tienen un programa que se llama UN DIA EN EL MUSEO temporada 2011. DĂa en el museo se realiza el tercer sĂĄbado de cada mes. Incluye un recorrido guiado y 7 talleres de fomento a la literatura y a la creatividad artĂstica. Cada ocasiĂłn tiene un tema distinto que inicia con algĂşn fragmento literario del que se desprenden las diversas actividades y talleres que toda la familia puede disfrutar, incluyendo el teatro guiĂąol. Los talleres varĂan de acuerdo con la temĂĄtica del dĂa, pero se intenta abarcar tantas artes como sea posible. DĂa en el museo iniciĂł desde el 2006 y ha crecido mucho en 2010 y 2011, por lo que actualmente tienen una auencia de alrededor de 190 personas por sesiĂłn, lo cual es sumamente satisfactorio tanto para los colaboradores de este programa como para los juarenses que tienen la oportunidad de asistir a DĂa en el museo. Las actividades inician a las 10 de la maĂąana y no tienen costo, por lo que puedes ir en familia y nadie tendrĂĄ que pagar por nada del material que utilice lo cual es sumamente alentador. A los asistentes se les recomienda llevar agua y un refrigerio sobre todo si llevan niĂąos. En la conversaciĂłn que tuve con HoglĂĄ Liset Olivas encargada de organizar DĂa en el museo, me dice que resulta muy satisfactorio poder recibir a grupos grandes, a asociaciones que no poseen muchos recursos para allegarles a sus integrantes esta clase de actividades. Solo que para el museo es conveniente contar con la reservaciĂłn de tales grupos ya que hay que solicitar el material y prever la estadĂa de todas las personas que asisten a un DĂa en el museo. Si estĂĄs interesado en acudir a UN DIA EN EL MUSEO te anexo las prĂłximas fechas asĂ como los datos del museo para que puedas organizar tu dĂa en el museo y te recrees con las actividades artĂsticas. Gracias al museo y a sus colaboradores por abrir esta clase de espacios culturales pues los juarenses estamos ĂĄvidos de espacios como este.FM
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JUST RELEASED: THE BEST NEW MUSIC REVIEWED
Pulling at your heartstrings and always tugging at your embattled spirit, there is nothing like the adoring love a new album can bestow. It’s possibly a familiarity only the rarest of music lovers experience but it’s unquestionably all the more personal when it happens. Here’s hoping one of these albums below finds its way to you somehow. TXT: BRYAN SANCHEZ
June 7: Arctic Monkeys – Suck It and See (Domino Records) [Rock, Alternative Rock] Through the sparkling guitar that accompanies Alex Turner’s longingly expressive words on opener “She’s Thunderstorms,” it’s clear and evident that the cloudy atmospheres they immersed themselves in on Humbug are few and far between. The Sheffield-based band’s impacting style is invitingly intriguing on the album’s rigorously-structured songs (like on the supremely striking “The Hellcat Spangled Shalalala”) and as Turner continues to amaze with lyrics that imagine in some of the most introspective of ways, Suck It and See accomplishes exactly what it sets out to do: impress and invigorate.
June 14: Junior Boys – It’s All True (Domino Records) [Electronic, Pop] Mystique and mystery, it’s always been about making the listener believe as if they are lost in your modern world with Junior Boys. The jittery start to “Itchy Fingers” precedes the efforts and “Banana Ripple” closes the album with what is without doubt, one of the group’s best songs to date. And although it marks some of the finest singing of vocalist Jeremy Greenspan’s career, the songs on It’s All True offer a moving line of melodies that maneuver around the electronic duo’s compositions like branches of vine.
June 14: Marissa Nadler – Marissa Nadler (Box of Cedar Records) [Folk, Dream Pop] Sensitive, subtle and sustained, suddenly only two years later and things are sounding much different for Marissa Nadler. Dismissed by her label after 2009’s successful Little Hells, Nadler returns with her eponymous effort: a stirring and stunning deliverance of folk beauty at its finest. Finely structured, each song reveals a fragile flower and Nadler’s voice is a flourishing, spectacular thing to behold. There’s a clear shift in sound and through all its elevated harmonies and reflective movements Marissa Nadler ends up being the skillful work of a sophisticated musician.
June 21: Ty Segall – Goodbye Bread (Drag City) [Garage Rock, Pop/Rock] Take one part die-hard student of rock music, one part hard-working musician and sprinkle in a mixture of a good ol’ hard-knock style of telling it and you get Ty Segall’s churning brand of rock. The rocking guitarist/singer/songwriter opts to play all of the instruments himself on Goodbye Bread’s brilliant highs: everything from amazing solos, to timely, marvelous drum fills, to the enthralling vocals. It’s been just a year since Melted and now Segall continues to provide terrific album, after terrific album, as one of music’s consistently constant risers.
June 21: Bon Iver – Bon Iver (Jagjaguwar) [Folk Rock, Indie Rock] When Justin Vernon made For Emma, Forever Ago he certainly created the music while living in a desolate cabin. The beautiful sequencing with Bon Iver is intended to flow like an elegant river: graceful and full of movement and body, the music is an extraordinary ride to endure. For some critics, like yours truly, the best achievement a band can accomplish is being able to continually re-invent themselves while still sounding staggeringly great each time out. And fortunately,Vernon made an album far removed from its predecessor that conceivably, shines just that much more because of it.
June 28: Shabazz Palaces – Black Up (Sub Pop) [Hip-Hop, Rap] Former Digable Planets leader Ishmael “Butterfly” Butler demonstrates a style of hip-hop that fuses a myriad of elements for a memorable ride. Once you get to the second song on Black Up, Shabazz Palaces has already sucked you in for a mysterious, wondrous ride. Songs that don’t end nearly the way they began, disjointed fragments that leave songs emptied in parts as Butler digs through a conversation style of rapping, a flow and sequence that commends the wonderful experimenting on hip-hop he is employing; everything is dutifully about expressing a determined idea and Black Up is a triumphant discovery.
June 28: Handsome Furs – Sound Kapital (Sub Pop) [Indie Rock, Pop/Rock] Attempting to shun the sorrow of Wolf Parade’s ‘indefinite hiatus,’ it’s opportunely awesome to hear anything by Dan Boeckner, let alone it be Handsome Furs’ best album to date with Sound Kapital. Fleshing out their songs into muscular, progressed and distinguished works, the sounds on the husband and wife duo’s third album is a marriage of hybrid synthesizers and Boeckner’s stylishly strong guitar and austerely-led vocals. There’s a definite attention to songcraft and Sound Kapital takes every advantage with a magnificent release that highlights the loveliness of enhancement.
June 28: Curren$y – Weekend at Burnie’s (Warner Bros.) [Hip-Hop, Weed Rap] After a year in 2010 that found Curren$y working largely with Ski Beatz, the hip-hop MC showcases that his ever-working efforts stalwartly continue. Warm and inviting, the tones on Weekend at Burnie’s are comforting and in all honesty, comfortably heavenly. With all but one song produced by Monsta Beatz, Curren$y renders his beats with a singular flow that is both timely and fitting. Through the smoke-chambered reputation he so fashionably wears there is no overlooking the crystal-clear fact that exists: this is an MC still riding a torrid peak.
LOST AND FOUND
SOFT MACHINE-THIRD (1970)
TXT: DANIEL SALAS
Savers is a thrift store very similar to Goodwill and is a great place to find records. With one store on the west side of El Paso and another on the far east, the trip may be far depending on where you live, but the voyage will be worth it as they constantly stock their records. There have been times where I visit the place the next day and there are new records to look through. Some of my finds include records by El Paso 60’s Chicano soul sensations the Jives, Ritchie Valens and 80s synth band Human League, to name just a few. This is where I found the jazzy psychedelic classic record by Soft Machine simply titled Third. Soft Machine were an English rock band who planted their seeds in Canterbury, then sprouted out to the London psychedelic scene of the mid 60s. They were regulars at the infamous UFO club, a scene that also included Pink Floyd, Tomorrow, Crazy World of Arthur Brown, Incredible String Band and Procol Harum. The club combined live bands with avant-garde movies, light shows and dance troupes; something you can also experience here locally at various underground events with local artist. On Soft Machine’s Third (first one was self-titled, the second was Volume 2, later albums were called Fourth, Fifth and Six) the music had a new formula than the first two. The first two Soft Machine albums were more of a psychedelic rock affair, similar
to the pre-Dark Side of the Moon Pink Floyd era (go listen to Piper at the Gates of Dawn kids!) The band took a different direction with their music as the times were changing and bands were transitioning into new sounds.The 60s were done now we enter into the 70s and psych rock was out. Now some bands were molding new sounds that were influentially drawn by artists like Miles Davis’ Bitches Brew, which came out months prior to Third. The 70s bands took a different direction towards a more free jazz/fusion progressive approach (or prog rock). The Soft Machine’s Third is a double album, meaning you get two records in one package, but only comes with Four songs! All the songs are at least eighteen minutes long but never tire with one song on each side of the two records. The first song “Facelift” brings out the band jamming at their heaviest with freak-out sax parts a la John Coltrane, as the rest of the band is trying to keep up with the fast pace the sound is moving on. In between this nineteen minute song they slow it down to just a flute and then build it back up, then ends with a backwards tracking to twist your brain up with the cluster of abstract sounds.
and brings you back down to Earth with ease. This track is the easiest to listen to with its pleasant sound and no vocals. Most of the album is instrumental. The sax solo throughout the song gives it a special spotlight. On “Moon In June” you finally hear vocals within the first ten minutes giving it a more standard song structure, but then it turns into a prog-jam session for the second part of this nineteen minute song. This track goes in and out of control with mind-bending sounds that make you almost go crazy but ends up being a masterpiece. The last track “Out Bloody Rageous” closes the album out real smooth with a more jazz than prog feel. The whole album is a trip that starts out fast, then mellow, gets a little crazy and confusing, before ending very pleasantly. No radio pop hits found here, just four long, interesting jam pieces that seep into your mind and create landscapes of sound. Sometimes pleasant and sometimes rambunctious, but altogether a classic album for a band that was once considered a friendly rival to Pink Floyd. Soft Machine never really took off commercially, but are very relevant in music. FM
On “Slightly All the Time,” you get a slow-burning mellow, jazzy track that lifts you up and takes you away on a warm cloud
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Musica XXL: Razones de Peso y Fats Domino tambiĂŠn contribuyeron a llenar (literalmente) el escenario en aquellas ĂŠpocas posicionĂĄndose como pioneros del country y el soul. Las fĂŠminas no se quedaron atrĂĄs y nos mostraron a las regordetas Kate Smith, Rita Mcneil e incluso a la mismĂsima Aretha Franklin en las etapas mas fructĂferas de sus carreras. AĂąos mĂĄs tarde, Cass Elliot vocal de The Mamas & The Papas inspiraba comentarios mordaces a raĂz de su excesivo sobrepeso. Un mito urbano (publicado incluso en la revista Billboard) seĂąala que muriĂł de asďŹ xia al atragantarse con un sĂĄndwich, pero en realidad una semana despuĂŠs se conďŹ rmĂł que tuvo un infarto. La artillerĂa pesada del Soul meloso: Barry White, se posicionaba como el favorito para convertir cualquier encuentro en algo romĂĄntico. La Era Disco al mismo tiempo explotaba en el mundo entero en las voces de personajes con cuerpos envidiables y movimientos cadenciosos que contrastaban con las ďŹ guras de Gloria Gaynor y The Weather Girls que ponĂan de su parte en esta nueva ola de propuestas musicales. Para cuando los canales de videos musicales saturaban nuestra atenciĂłn con videos de artistas escuĂĄlidos y actitudes de Don Juan, hubo un personaje que robĂł terreno a todos aquellos grupos que se creĂan reyes de la televisiĂłn y que sĂłlo acompaĂąado de su voz y su extensa humanidad acaparĂł la atenciĂłn de crĂticos y seguidores: Meat Loaf, Marvin su verdadero nombre, expuso un hard rock histriĂłnico que inspirĂł a muchos y a muchas pronunciarse como gordos y artistas que tenĂan mucho por expresar.
L
as condenas sociales a las que somos expuestos la mayorĂa de los humanos nos pueden acarrear muchas inseguridades y miedos. Pero hay una que al parecer, en el ĂĄmbito de la mĂşsica busca revelarse de la culpa. Se posiciona como una caracterĂstica de orgullo: La Gordura. ÂżQuiĂŠn no recuerda la crĂtica que recibieron Elvis Presley, Jim Morrison e incluso Britney Spears al haber aumentado sus tallas y aparecer con un vientre abultado y la cara hinchada ante los reectores? Parece ser que en la actualidad ya no hace falta ser aco y estĂŠtico para ser cool en el mundo de la mĂşsica. La estafeta inicial se dio con los mĂşsicos de Jazz y Soul en la dĂŠcada de los cincuenta. Por un lado Bill Haley subiĂł por primera vez al escenario con su gran humanidad a cantar Rock n roll incluso mucho antes del fenĂłmeno del Rey Elvis; Solomon Burke
La gordura como sĂmbolo de decadencia pasĂł a ser sinĂłnimo de glamour y falta de prejuicios en los escenarios. La gordura encontrĂł en el rock un aliado, ya que compartĂan caracterĂsticas como el no respetar las reglas. Protocolos y convencionalismos sociales tambiĂŠn tiene marcado una imagen de desfachatez. Poco a poco empezamos a ver entre las ďŹ guras del Glam y el Hair Metal a rechonchos mĂşsicos y cantantes que se nombraban como lĂderes y talentosos ejemplos de gente “grandeâ€?. EnďŹ lĂĄndose para la dĂŠcada que despedĂa el milenio con tendencias hacia una extremada delgadez. Gente como Frank Black de The Pixies y Daniel Johnston hacĂan de las suyas en el inconforme genero Grunge, y es que estar en un escenario con verdadero talento, te permite ser feo, tener sobrepeso, mal aliento, ser alto, aco, gordo y todo lo que no entra en los cĂĄnones de belleza. Un gĂŠnero que siempre respaldĂł a la gente gorda fue el Rap y el Hip Hop, mostrando a raperos con ropa holgada y dimensiones
TXT: BJĂ–RZH ZNCHZ
que sobrepasaban el comĂşn en la gente. Tal vez debido a que sus cĂłdigos de valoraciĂłn y credibilidad van mas allĂĄ de mostrar un cuerpo estilizado y si, de entrelazar rimas que reejen una realidad en comĂşn. A diferencia del movimiento electrĂłnico donde son contados los personajes con sobrepeso a cargo de tornamesas, Dj DellamĂłnica invita a otros gorditos a mezclar y formar un frente mucho mĂĄs extenso de gente robusta en los clubs. Actualmente parece ser que hay un nuevo boom por la talentosa gordura, siendo realmente una sĂĄtira de lo que es un Rock Star: Jack Black, ha extendido el rol tĂpico de gordo simpĂĄtico, por el de protagonista cool de sus propias aventuras e incluso musicales al incursionar oďŹ cialmente con su proyecto Tenacious D en las listas de popularidad. Gente de la talla de Beth Ditto lĂder del grupo The Gossip explota con su voz, su imagen y actitud irreverente en los escenarios mĂĄs importantes del mundo. Grupos como Yo La Tengo y The Magics Numbers muestran a jĂłvenes subidos de peso que dan gala de sus habilidades como mĂşsicos. Los primeros lugares en las listas de popularidad son alcanzadas por nuevos Ădolos como Sean Kingston y Reuben Stoddard que se posicionan de los ranking mundiales. El aĂąo pasado, la inglesa Adele, sorprendiĂł a todo Reino Unido con su voz y sentimiento alejada de las ďŹ guras actuales del pop britĂĄnico; ha vendido mĂĄs de 10 millones de discos alrededor del mundo con apenas dos ĂĄlbumes en su carrera. Existen casos como el de Jennifer Hudson que se dio a conocer por sus notas altas en el musical Dream Girls, que despuĂŠs de un rĂŠgimen alimenticio abandonĂł la ďŹ la de chica regordeta por una escultural ďŹ gura y parece ser que no le afectĂł mucho a su carrera. No hace falta ser un Luciano Pavarotti o un Demis Roussos para ser reconocido en las grandes ligas, incluso en MĂŠxico nunca le hemos puesto pero a los gorditos del guitarrĂłn y la trompeta en el mariachi. Si bien, la obesidad es una enfermedad, tampoco hay que imponerse a la necesidad de adelgazar por una cuestiĂłn meramente estĂŠtica o para no ser discriminado. Es mĂĄs, el gordo que se acepta como tal, tiene mĂĄs posibilidades de tomar conciencia de que la obesidad es una enfermedad y bajar de peso. La mĂşsica al ďŹ nal de cuentas, es el vinculo por el cual el ser humano se expresa, y en esencia lo que importa es que disfrutes con y haciendo mĂşsica. El talento no se pesa, ni se mide en bĂĄsculas, se proyecta y se entrega a un pĂşblico. Si bien, este artĂculo puede ser un pretexto mĂĄs para dejar la dieta y el ejercicio, tomar un micrĂłfono y dejar el alma junto a unas cuantas calorĂas arriba de un escenario. FM
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TXT: ROBERTO SANTOS
MORE THAN ENDANGERED PAINTINGS After an underground art exhibition in Tehran, the paintings of Iranian activist Moona Tehany were deemed criminal by Iranian officials. They were confiscated, slashed, and torched, but her paintings weren’t the only thing at risk. Offended by the truth of the suffering female faces in her images, authorities also went as far as to throw Tehany in jail. Though she was able to make bail, the weight of an impending trial loomed over her future. “(We see) a lot about executions, stoning, rape and etc. in Iran, everybody knows, and it doesn’t need to be talk(ed) about and explain(ed), you see it every time in the news,” said Tehany. Under pressure, and afraid for her life, she took the first opportunity she had, and fled to Norway where she spent over a year living in a refugee camp. During this time, she filed for political asylum and attempted to learn the Norwegian language. Tehany
left her life in Tehran for a chance to live without persecution and fear. “I’m always looking for pieces of my life that I lost it forever, including my culture, language, family, job and everything that I belong to them and they belong to me,” said Tehany. During her time in the camp, she met others like herself that had lived in camps for more than ten years without word from the Norwegian Directorate of Immigration (UDI). But Fortunately for Tehany, she wouldn’t have to stay in the camps for ten years or even two. The work that nearly cost her life was also responsible for its salvation. On her way out of Iran, Tehany managed to smuggle a thumb drive loaded with pictures of her paintings, and from these images, was able to bring her haunting work back to life. These recreations are what would later lead to her first Norwegian exhibition. “I got my first exhibition easily ‘cause I’m always following my dreams and suddenly I met the right person in my life,” said Tehany. In fact, her story and work with its emphasis on the rights of
Muslim woman have gained so much recognition that Tehany’s exhibits have been opened by activists such as, Amnesty International’s Asia Pacific Deputy Director Catherine Baber, as well as Nobel Peace Prize winner and fellow Iranian, Shirin Ebadi. Perhaps these high profile endorsements, coupled with Tehany’s dedication to human rights, are what finally convinced Norway to give her the citizenship she desired. It has now been over a month since Tehany was granted asylum, but she’s still coming to terms with her new life and her new found freedom. “I always have a paradox in my life, if one day I (go) back to my country, I will have something that I never had in Norway, and (in Norway) I have something that I never had in my homeland... I lost a lot of things just ‘cause I wanted to have my freedom and respect as (a) human being. I hope for peace and love in the whole world,” said Tehany. For more information about Tehany, and to see her online gallery, visit moonatehany.org, and/or join the Moona Tehany Fan Page on facebook. – RAS (BWOMS Host) FM
FUSION MAGAZINE AND THE BARBED WIRE PRESENT THE FORBIDDEN PAINTINGS OF MOONA TEHANY:
The next Barbed Wire Open Mic Series: July 30 @ the Percolator 217 N. Stanton Street, El Paso, TX Featuring: Poet Salaam Shaheed, Broken Halo, DJ Gambol, and the Open Mic Community. (All types of creative expression are welcome.) Emcee Freestyle Cypher @ 5:00pm. Open Mic @ 7:00pm. The last Saturday of each month. It’s Free! For event updates, like us @ Facebook.com/bwoms BWOMS is a BorderSenses Event th
Lo Más In...
PUBLICIDAD
HOLIDAY INN EXPRESS
TXT: JESSICA VILLA
La más reciente adición a la cadena Holiday Inn en El Paso es el Holiday Inn Express & Suites El Paso Airport Area localizado en el 6666 Gateway Blvd East. Bajo la gerencia de Ivan A. Romero este nuevo hotel está dirigido al viajero de placer y negocios que busca un servicio cómodo y práctico con excelentes instalaciones por un precio accesible y que además no requiere de servicios complementarios durante su estancia. El Holiday Inn Express cuenta con 102 habitaciones y 32 suites equipadas con horno de microondas y frigobar. Todas las habitaciones tambien cuentan con cafetera, teléfono, televisor de pantalla plana con cable, aire acondicionado, secador de cabello, plancha y tabla para planchar. La decoración es elegante y contemporánea, de lineas simples y modernistas, cuenta con
desayunador, gimnasio, sala de juntas, y la única piscina/jacuzzi de agua salada en El Paso. Entre los servicios se podrá disfrutar de acceso a internet Wi-Fi gratuito, lavandería y tintorería, y de un súper completo buffet de desayuno incluido. Esta hotel recientemente abrió sus puertas en noviembre del 2010 por lo cual sus instalaciones son prácticamente nuevas y de extremada limpieza. Actualmente, su gerente Ivan Romero busca expander su clientela en Chihuahua, Cd. Juárez y sus alrededores, por lo cual el Holiday Inn Express El Paso ofrece a sus clientes un 25% de descuento en su estadía en dicha ciudad. El hotel se encuentra localizado en una primordial área del Paso, ya que tanto el aeropuerto como los centros comerciales,
restaurantes y puentes internacionales están a pocos minutos de distancia. Otra de las comodidades es el servicio de los shuttles el cual aparte del tradicional aeropuerto-hotel-aeropuerto, los traslada a los centros comerciales y en un cercano futuro se planea el transporte al área de Cincinatti y otras zonas nocturnas. Todo lo necesario para ofrecer un fin de semana seguro y de diversión. Adicionalmente cuentan con el programa Priority Club, dentro del cual por cada dolár que usted consuma, se le otorgan 1,000 puntos los cuales son acumulables y pueden ser utilizados en estancias en cualquier hotel de la cadena Holiday Inn en el mundo, asi como también son canjeables por millas de vuelo. Y por si esto fuera poco, dentro del programa “Stay anywhere” si
usted desea hospedarse en una ciudad donde no exista un Holiday Inn, puede canjear sus puntos por una tarjéta de débito y hospedarse donde usted guste.Asi que sin excusas y sin nada que perder pero mucho que ganar, los invitamos a que vengan a visitar el nuevo Holiday Inn Express en El Paso. Olvide los problemas e inseguridad y regalese, un delicioso fin de semana lo espera, ya que aquí la felicidad está a su alcance. Holiday Inn Express El Paso Airport Area 6666 Gateway Blvd. East El Paso, Texas 79915 Salida 25 (Airway Blvd.) Teléfono: 915-771-6200 Fax: 915-771-8101
$69 FIN DE SEMANA TARIFA ESPECIAL DE
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PRESENTA ESTE CUPON PARA RECIBIR LA TARIFA ESPECIAL DE FIN DE SEMANA A SOLO $69 dlls + tax
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Fusion Gallery
TXT:
Dia Pacheco Duarte Dia Pacheco Duarte (Dia Blo Pacheca Bizarra) es una artista Chihuahuense de 22 años. Graduada recientemente de la carrera de Artes Visuales. Sus dibujos mezclan la belleza de las mujeres con algo de picardía y erotismo juvenil. Sus bellos personajes surgen de lo más recóndito de su imaginación en donde ella es un personaje más. Como ella lo dice estas son algunas “cosillas” que le gustan: “amo ilustrar y documentar el proceso (vídeos), me encantan los murales y soy fanática de temas relacionados con la locura y lo bizarro”. Me gustan los cuentos para niños (entre mis favoritos esta Alicia en el País de las Maravillas). Entre mis influencias artísticas están Jamie Hewlett (Gorillaz/Tank Girl), McBees, Lois van Baarle’s, Mark Ryden, Humberto Ramos, Barbara-Canepa, Gabriel Moreno y mi morrito el Ruz. diaology@gmail.com facebook.com/Dia.Pacheco
To publish your art IN FUSION GALLERY please contact RAFAEL A. REVILLA AT: rrevilla@thefusionmag.com
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