El Investigador N°4 dieselpunk edition "Pachucos"

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It was during the 30’s when, in Harlem, arise the drapers, while in France, during the Nazi occupation, a lot of Young men express their inconformity through swing, jazz and bebop, arising the Zazous.

In North America due to the use of raw material considered luxury and extravagant, lots of young people were considered “unpatriotic”, this way everyone who were dressing the Zoot Suit style represented a proclamation of freedom, self-determination and even rebellion.

The Pachuco, is the Mexican-American who is associated to the zoot suit movement, even if there is a controversy about the true meaning of the word, exist a theory that relates the pachuco with the same meaning of the word “punk”.

September is the Mexican patriotic month and from here, with all that’s happening around our reality, we decided to dedicate our Dieselpunk edition to the zoot suiters; not only because of identification and familiarity that exist as Mexicans with the movement also followed by Afro-Americans, Italian-Americans and even Philippine-American; but because Retro-futurisms are more than just recreationist movements, more than just romantic longing for a past that no one of us lived in. They are a combination of two eras seasoned with the individualism of each person who integrates this retro-futuristic community in general.

So then, we wanted to release an issue that has inspiring and informative articles about fashion, film, music, radio, the history of Mexican involvement in the Second World War and a lot of Pachuquismo.

And, as Pachucos says: Pásesela suave, ese!!!

N. Inmunsapá General Director

EDITORIAL COUNCIL THIS PUBLICATION IS PRODUCED BY

GENERAL DIRECTOR N. Inmunsapá

EDIOR-IN-CHIEF

Pachuco Style Zoot Suit Expedientes H Grim Fandango From Hell El Gramófono Hodson Hawk Greaser’s Palace Tin-Tan “Chango” Cabral Zoot Suit in Pop Culture En El Archivo Dieselpunk Directory

Araceli Rodríguez (Von Marmalade)

LAYOUT

Mr. Xpk

CONTRIBUTORS

Prof. Lecumberri, Hodson, G´Mork, Detective Robber LeBlancs, Djinn, Rouge Girl, Josué Ramos, Denisse Contreras, Irrsinn... GT: AEGIS2I6.

TRANSLATIONS

Miguel Ángel Manzo Martínez, Carolina Hase, Araceli Rodríguez.

This publications respects the authors’ rights, which means that every illustration published has been obtained trough legal ways in several commercial stocks.

Every illustration is property of its author.

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04 08 10 12 14 18 22 28 32 35 38 43 45

PA C H U C O STYLE

By: Denisse Contreras “Kadeco” Translation by: “Ecce Mono”

twentieth century, would be subject to fashion art deco style).

In the United States

Origins of Zoot Suit clothing with the imposition In the late 18th century and until the late 19th century, French and English society, marked fashion guidelines to other societies, but there is a small group of the bourgeoisie, which marked a social stereotype of clothing, which denoted the morals and manners in the concept of elegance, good taste, and sought notoriety by dressing. This movement became known as “dandyism” and did not last long, but helped to create modern men’s fashion, who used pants which was introduced by the working class, wearing knotted neck scarves, tie, that is still used today, using other accessories such as hats, canes, gloves, coat and the long coat.

With the advent of the twentieth century, fashion in Europe began to vary due to the needs that came with work in factories, and World War I and World War II would result in the rationing of resources, this would affect the manufacture of clothes by reducing the amount of fabric that was used in the suits, implementing a new, simpler and more austere design in the clothing, which was made with less fabric, revealing in women knee-length skirts and in men uniform shirts and pants (for the era of the early

of “Prohibition”, bars and cabarets closed, for which private saloons were created.

There were more difficult events that happened in the country, such as the racial conflict between different social communities, and each racial group would seek to have their own clubs. The clothing would become an item that would look show off in the nightlife with music and dancing.

African Americans with jazz or swing music would adopt a design in male attire to use it for dance, inspired by European fashion of the late nineteenth century, in contrast to the limitation of the clothing that was imposed during the period wars.

These suits had a larger amount of different types of fabrics such

as brightly colored and sometimes stamped satin. Adopting a graceful and quirky suit with long coats, pants cut above the waist, wide, and narrow at the ankles, wearing an Italian style hat.

Also other racial communities as Italian Americans, Mexican Americans and Philippine Americans, adopted this style and design varied according to the region where they lived.

This style became known as “Zoot Suit” (the meaning of “zoot” is the same word redundancy for suit) from the Jazz of Harlem in New York, which expanded to several states, with more influx in California, Texas and San Diego.

Especially in Los Angeles, California, the MexicanAmerican zoot suiters highlighted.

They were indigenous Mexicans who migrated to the United States, whom came from Tijuana and Ciudad Juarez forced by the movement of the Mexican Revolution.

Mexicans born there, didn’t have a defined i dent i t y, b ecause they did not belong to Mexico nor the United States recognized them as citizens. So they began adopting stereotypes from Americans blended with the own ones, as the language, mixing Spanish with English (this was due to bad language acquisition)

resulting on Spanglish and with this they began being called “Pochos” (which comes from the word “mocho” which means short, the expression meaning “short of language”, for there wasn’t a complete Spanish nor English) or “Chicanos” (which comes from the word “mexicano” pronounced in Nahuatl “mexica” [me-shi-ka], which was shortened to shi-ka to finally be pronounced “chicano”).

With the movement of Jazz, Swing, Boogie, mambo and Zoot Suiters in the saloons where the Latino community gathered.

Hispanics with this trend would form gangs and pochos would change the word “Zoot Suiters” to “Pachuco” (this word is not related to the city of Pachuca, but comes from the Nahuatl “pachocan” which means: governed place).

The “Pachuco” would give the clothing a more defined stereotype, the suit would be quirky with bright colors, baggy in his pants with suspenders, belted at the waist and ankles, the long coat with wide lapels, broad shoulders,

padded Italian hat adorned with a huge feather, long chains hanging from the side of the pants and bicolor French-style shoes.

And purely Pachucho-styled they would completely wore their outfits at the ball, with steps of Swing and Latin “caliente” music,

in which, the pachuco “piropea”, (ie “piropo”, which means flatter a woman using rhymes) denoting the “pocho” language. One of the most representative Mexican Pachucos was Germán Valdés “Tin Tan”, who appeared in many films of gold Mexican cinema, with his allegory of “pachuques” singing and dancing swing, mambo and danzón i n Mexi co. Anot her important character is Luis Valdez, with Zoot Suit film (in an interview conducted to Luis Valdez a n d f o u n d o n Yo u t u b e , h e explains how the pachuco identity emerges from the salon orchestra music and the conflict of racial discrimination).

Meanwhi l e, Ameri can and mexican society, would see this trend as an offense against the laws of limitation imposed by crises from the world wars. At this point I want to quote the research: “CARACTERÍSTICAS CÓMICAS DEL POCHO Y DEL PACHUCO, El Investigador es una publicacion con tematica retrofuturista de distribucion gratuita.LITERARIOS SUS ANTECEDENTES

a “grotesque dandyism”. So, trading the fabric for these suits was illegal, but these racial communities smuggled fabric and tailors to make the Zoot Suit.

In every racial community which used Zoot Suit fashion, strong discrimination conflicts were brought between the American militia, which became a scandal in the American country, because anyone who dressed this fashion even though they did not belong to a gang, was violated, and so the first deaths of these racial conflicts for how the American migrants dressed, emerged.

This trend which arises from the 20’s would reach its peak during the 40’s and the postwar period, also spreading to Europe this American fashion with the “Zazous”. The Zazou was a subculture in France during World War II, which were young people that expressed by using the big and flashy clothes they wore in frenzied dances like Jazz, Swing and Bebop. Men wore plaid or striped jackets; women wore short skirts and heavy shoes and accessories such as umbrellas.

Y POPULARES” ( P o c h o a n d Pachuco’s Comical Characteristics, th ei r l i t er a r y a n d p o p ula r backgrounds) by Guillermo E. Hernández, University of California, Los Ángeles, which quotes the book “El Laberinto de la soledad” (The Labyrinth of Solitude) by Octavio Paz, where he writes a chapter about Pachucos, which refers to the pachuco clothing like

Fashion Zoot Suit between pachucos, began to decline in the early 70’s, as the pachuco culture began to evolve giving way to “Cholos” (from Nahuatl “Xolo” which means “slave”, “servant” or “waiter”, halfblooded population with native American features).

Denoting other clothing like baggy khaki shorts, white knee socks, white or flannel shirts, a bandana on his forehead, shaved head, tattoos, which in those times used to run with gangs and the music they would often listen, which is the gangsta-rap.

To conclude, we can say that the fashion of the Pachuco from ball’s saloon era of the last century still has its flame lit in various corners of the United States and in Mexico.

For example, it can be seen in places like dance halls of Mexico City and in the planters that are outside the Expiatorio in Guadalajara, Pachuco philosophy is still alive in older gentlemen,that show off in their costumes elegantly quirky with their partners, when they dance to the rhythm of Danzon.

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By: Buro Welle Zoot suite, can escape the phonetic play elsewhere, languages, cultures and generations. But that is the only thing we cannot escape since the story is so close to the one that sees it that we will have more of an awkward moment for realizing the painful memories it invokes.

The place chosen by Luis Valdes is the one that awakened the almost messianic interest by his people: the east and south east of the metropolis of Our Lady of Los Angeles (LA). The valley which for generations has been the Mexican community eager for work and never allows the cultural mix ends up thrashing, together but not mixed is the golden rule of this great nation.

Irish, Afros, Italian, Chinese, Mexican placed in their positions that shape the power and don’t handle misplaced aspirations, the hard rock belongs to the foundation as the curve red tile does to the roof.

The Ulises now embodies in Henry Reyna, guide of his generation and people in his own right, obtained with clean fist in the streets and respecting the canons of the Mexican family. Only lacks recognition by the landowner of the place they live in, represented by the U.S. government and now asks fulfill the last task of blood in the ranks fulfilling the enrollment of armed fronts in World War II. His path is full of riddles that punish every bad decision, we can even say that it is unfair for a being of flesh and blood that should not fail on one occasion, the path of the demigods can only be so and not because of who can

walk the path free of taint, but because each mistake resolved is proof of the honor that will be received in the end.

To be found in the wrong place at the wrong time becomes the first point against Henry, his father’s blessing and even the almost cliché prediction his mother made “something very bad can happen” do not prevent his departure from streets and friends end up in an accusation of a crime he did not commit.

The Pachuco, symbol of opposition to merge with the American people that in the end was never demanded is the alter ego of Henry throughout his journey: Mistrust and self-sufficient, vowing never give up inspires respect despite that internal struggle unleashed when you decide to look good in front of others or in front of your convictions, but society is looking for crushing you in order to using you as an example and your blood to draw the line of “no trespassing” for all those who come after you. With the repressive kicks that crush your bones while the executioner tells you that it’s nothing personal, that justice has no place here since all that matters is the preservation of the status quo.

After the indictment clearly unfair, you realize that the damage is done, your train derailed despite it was placed back on course and won’t arrive on time and you must realize that things are still fine, that the heaviest sentence hanging over you is keep taking decisions and forge your way every day.

Luis Valdés creates this drama first as a theatrical piece easy to assemble to carry to agricultural communities full of Mexican laborers needing an

identity lost by working in a place that feeds them but will never be their land.

Mexican Americans live a complex situation because they already have characteristics that avoid confusing them with either national identity. So in the end it is not about seeking affinity or empathy to the new nation, but as required by the pachuco, needs respect and recognition.

Finally the music and celluloid bind (respecting the dramatic structure) to give its place in world film culture and without attempting to it, to the trial workshop for the next work generated by the creative and cultural group: “La Bamba”.

Zoot Suit takes place in the rich imagery Latino culture of the 40s of the last century.

Title: Zoot Suit Original Title: Zoot Suit Direction: Luis Valdés Country: USA Year: 1981 Debut: 02/10/1981 Time: 103 min.

Genre: Drama, Musical Cast: Daniel Valdez, Edward James Olmos, Charles Aidman, Tyne Daly, John Anderson, Abel Franco, Mike Gomez, Alma Martínez, Francis X. McCarthy, Lupe Ontiveros Company: Universal Pictures Producer: Universal Pictures

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It’s September already, the usual patriotic month in Mexico and my friends the Mercenarios the Dios talk about Pachucos and Zoot Suits as emblem of popular culture of this country, and I am prepared to investigate their stories in the history of big city and its unmistakable signs as a counterpoint to establishment and status quo of a time called Golden era in a country emerging from a revolution and not knowing the ravages of two world wars and a global economic crisis.

I read, I investigate, study and find little information, there’s an interview with Fritz Glockner, called “Tin Tan, the rebel comedian” published in La Insignia in November 2005, who is also a writer, historian, publisher, bookseller and collaborator in various news media and of course found to the Master Octavio Paz who writes: “I began to understand what it meant to be Mexican because I felt solidarity to mistreated Mexicans, the “pachucos”, now called the Chicanos. I felt as if I was a Chicano and I thought that the Chicano was one of the ends of the Mexican.”

The Pachucos shone in the 40’s and 50’s, like to dance music as the boogie, swing and mambo and created Spanglish or pachuquismo which is a slang Chicano, the slang only merged words and phrases creatively applying the formal, vulgar and coarse terminology of Spanish language with American English, the slang defined the stereotype of a young American with Mexican-Chicano origins in the 20’s; his visual characteristics are the flashy clothes and suits with pants very baggy, belted at the waist and ankles, with straps, contrasting colored shirts, preferably silk, long coat with wide lapels and wide shoulders, padded, called “Zoot Suit”, Italian style hat sometimes with a feather, pants are adorned with long fobs aside and indispensable basics: French style shoes black and white bicolor.

I’d like to go to “El Patio”, the best nightclub in Mexico City, located in Atenas # 9, a magical and wonderful place, founded in the 30s by the employer and telecommunications magnate

Emilio Azcarraga Vidaurreta, originally a local gourmet restaurant which presented live shows, then in 1938 it was sold to entrepreneurs Vicente Miranda and Concepción Vélez and so re-inaugurated on October 12th, Succeeding with the show of Tin Tan and Marcelo, Charles Aznavour, Charles Trenet, Edith Piaf, Sammy Davis Jr and Los Platters, among others. Was transmitted by radio every night at 10 pm in the XEW and XEQ and it was televised live via remote in some presentations. Appears in several films of the golden age of Mexican cinema and in “El Hijo Desobiedente” with the great show of Germán Valdés “Tin Tan” and his carnal (buddy) Marcelo dressed as Pachucos which were introduced to me as unique characters of Mexican popular culture.

The pachucos, Tin Tan and the marginalized, who in one way or another, had been relegated from the official discourses, emerge as icons of rebellion, using comedy and literature, Tin Tan was telling the ugly truth of the real life, and of course that goes beyond a simple pachuco clothing, a hat with a feather, goes beyond the mischievous face he reflects.

Octavio Paz writes in the Labyrinth of Solitude:... “The pachuco refuses to return to his Mexican origins, either -at least outwardly- like melt to American life. Everything about him is that he refuses to himself, knot of contradictions, an enigma. And the first puzzle is its very name: pachuco, a word of uncertain parentage, that says nothing and says all ... Like it or not, these beings are Mexican, one end that Mexican can reach to.”...; Tin Tan was one of the most important comedians in the Mexican history. He made the character of the Pachuco a popular figure, developing himself as a humorous popular figure transcending to the border’s stereotype. His way of dressing, his Spanglish, his ways of speaking and gesturing, his jokes, his improvisations, dancing and his singing made him a unique figure in the national cinema.

At that time there were many social and political contradictions in Mexico, one of them was that the President Lazaro Cárdenas did not stop radio broadcasts in 1938 to give notice of the nationalization of oil because there was not even a national network, there was no government control in the media, another was the friendliness of Mexicans toward Nazi Germany and its moral obligation to join the world war, another was how the character of the pachucowasseenbyculturaland film criticisms, very strong critics were received, like Jose Vasconcelos, and defenses such as José Revueltas and Salvador Novo, would not have generated such controversy among the intellectuals of this country if his language had not bothered much in the historic environment, like Spanglish annoys Vasconcelos, or that two intellectuEl Investigador es una als as different as José Revueltas

the ultraleftist and Salvador Novo join in his defense. What do have in common Novo and Revueltas even when they were friends at a particular time? in general terms Nothing!, but both join efforts to defend him.

“El Pachuco de Oro” and “El rey del barrio” made of Tin Tan a popular character, critical, rebellious, mischievous without staying or without considering the need to complain about it and without conflict or atavisms, as happens with other Mexican actors, specifically Cantinflas, who boasts of being mischievous, and even looks like self-conscious or disowned, kind of saying: “I am poor and damn! That’s too bad”. What led him to conflict with Tin Tan, to the extent that Cantinflas in his film “Si yo fuera diputado” where he is a barber and in his barbershop puts a sign that prohibits entry to pachucos... Cantinflas, imitating authoritarian government discourse and moral doublespeak, by that time his films have metaphors, regrets and morals, guilt complex for not being as liberal, honest and pachuco, we are talking about the mid-forties, when you had to be rebellious and Cantinflas becomes a master of Mexican power.

In the Black Palace of Lecumberri, I mean, in the General Archive of the Nation, you get to find the Cantinflas nomination as advisor of the president Gustavo Díaz Ordaz, one of the most insulted president in the national history.

cause, which was never forgave for the Mexican political power and the power of the Motion Picture Academy.

In the film “El ceniciento” Tin Tan, in his role of Chamula, is giving the first scream of “here we are”, long before the Sub Marcos in 1994, everyone knows that Tin Tan smoked weed, drank alcohol in excess, was an eternal bohemian who wore his freedom at the end to, according to the good manners, the irresponsibility, one day, suddenly, he came out of the recording set and leaved to London because he wanted to, he had the illusion of being a witness of how the equestrian Mexican Olympic team had the chance to get the gold medal, and left without telling anyone, however he was always responsible toward his wife, his family and his brothers, he knew how to respect his co-workers and his directors.

These are subjects of morality in a country where we always bring the double speech, and the pachucos such as Tin Tan brought a single speech, it was the pleasure of living, and that’s what they were not allowed to do freely.

And many are still unable to.

Robber LeBlancS H Files Detective

Tin Tan was characterized as poor, he boasts of being poor and finds happiness in what have on hand: the neighborhood, the love not corresponded, but he does not goes into crisis or so; let’s say it’s publicacion tematica retrofuturista a cynical con rascal, is a rebel with a de distribucion gratuita.

By: Irrsinn...GT: AEGIS216

Have you ever wondered what happens after death?

Manuel Calavera or Manny, for friends, could answer that question. As a private travel agent within the Department of Death, he is dedicated to helping those recently deceased to walk a calmly journey that we all must do at some point, towards the world of the Dead.

You will accompany Manny to a place that seemed to be another trip, with another client over to the world of the dead where we will discover that even the underworld is not free from the jaws of corruption.

In this long journey of four years, which are represented in each of the four chapters of this adventure game, you can observe the evolution not only of Manny, but Rubalcaba city, which is full of very peculiar characters, and at the same time expresses as present daily habits and behaviors, taking us by the hand to a social criticism that ends revealing how strangely our daily life can be if you pay enough attention.

In the soul of the story, cultural elements are melted, the so characteristic DĂ­a de Muertos in Mexico and the unmistakable films noir from the late forties. This leads us to contemplate a thriller, death and crime mitigated, colored and flavored by our bloody Mexican humor and satire.

In buildings we can see merged together the Art Deco

If you like the Mexican culture of Día de Muertos, the forties and film noir. This adventure game will give you good times as much suspense and humor.

and Azteca architecture. The soundtrack swing, jazz and folk music with a touch of Mexican mariachi. Certainly a very interesting combination that gives us a unique perspective that no one else has ventured to tell the world of video games.

LucasArts has done an outstanding job, for many, a masterpiece in the genre and we must add that the game points out a narrative cinematic, giving the story a plus which very few works have, even today.

Technical Data: Title: Grim Fandango.

Genre: Grafic Adventure Editor: LucasArts Developer: LucasArts Players: 1 Plataform: PC Date: December 15th 1998 ESBR: Teen Official web: www.grim-fandango.com

This game has been considered as one of the great develops in graphic adventure.

Though being such a high quality adventure, didn’t have the sales expected so that marked to the next develops in the genre.

However, this game has been considered as one of the greates in the history even by critics.

The title of the game comes from a verse part of a gloomy poem read by one of the characters, Olivia Ofrenda.

With bony hands I hold my partner, on soulless feet we cross the floor.

The music stops as if to answer, an empty knocking at the door.

It seems his skin was sweet as mango, when last I held him to my breast.

But now we dance this grim fandango, and will four years before we rest.

We could say tha exists a cameo of this videogame in another from the same company, a marketing method used more than just once by LucasArts. It’s in The curse of Monkey Island, 3rd part of the Monkey Island saga, in Blondebeard’s Chicken Shoppe there’s Manny with a jagged knife stuck on his back. He carries a button saying “Ask me about Grim Fandango”.

Grim Fandango was designed by Tim Schafer, already famous for graphic adventures such as Day of the Tentacle and Full Throttle, and his graphic setting GrimE came to sustitute to the clasic SCUMM. Later this engine will be used for Escape From Monkey Island.

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“A patient was ready to be operated, and it was surrounded by thirty jars filled with tumors that Fidencio had recently removed.

He could observe a big one as big as a pound weight, that people assured he had extirpated from a lung of a patient. That the operation had been a success and the patient was recovering quickly ... I knew it was him, I recognized him, a miracle worker, and he recognized me, I liked that”.

THE NIÑO FIDENCIO HEALER FROM ESPINAZO By: Profesor Lecumberri

After the Cristero War, a precarious era, without enough doctors and medicine to treat a torn apart Mexican community for removing and pursuing their faith, the only thing that can bring hope to the people.

An era where widows and children starving and of nothing to believe in; Fidencio brought the miracles that were needed.

The famous Mexican healer, José de Jesús Fidencio Constantino Síntora, better known as El Niño Fidencio, brought the humblest classes the hope of curing their ills by touching a little of the ephemeral reality of mystical powers. He was born on November 13th 1898 in the Valle de las Cuevas, Guanajuato, son of Socorro Constantino married to Maria Tránsito Síntora and was baptized catholic in the vicarage of Irámuco.

It was those early Century years, difficult times which for many the opportunity to eat and learn was subject to serve the church or serve the army. Because of this we can say th a t Fi d e n c io wa s lu c k y

because despite their extreme poverty, was able to attend to a primary school until third year.

Which corresponds to his survival, presumably to serve the church, he had the opportunity of good nutrition, training and education.

In 1904 he met a classmate, which later would become his protector, and which he hold a friendship that would last a lifetime. Don Enrique López de la Fuente was his friend, and lived there with his uncle Segura, who was the town’s

priest. During that time, Fidencio began to show some aspects of his personality and began to manifest metaphysical gifts that set him apart from others. On one hand, he doesn’t developed in the aspect of sexuality, he always was hairless, with soprano voice and he never had sex.

At school, Fidencio, was surrounded by classmates who asked him for predictions, the answers were not always pleasant for slackers and Fidencio received hits and kicks often from the troop of kids who haven’t had a good prediction.

Fidencio was a very quiet boy, who did not participate in games with his classmates and liked to attend religious services. There he attended the third grade.

Enrique enlisted to the Mexican Revolution, he fought under the command of Francisco Villa, and obtained the rank of Colonel. In 1913, Fidencio being 15 years, Enrique López, takes cares of Fidencio and enrolls him into the school of Mina, Nuevo Leon, near Espinazo town. He participated in major battles, including the Torreón’s taking in 1914. One day went over Espinazo where he befriended with the owner of a h a c i e n d a , D o n Te o d o r o V o n Wernich. And Enrique decided to stay and work with him.

When Enrique’s son was born, he need to find a person who take care of him, and turned to his old

friend who was called to continue in his service. Because of that Fidencio came to Espinazo, in the year 1921. From then on Fidencio began to call “Dad” to Enrique during all his life.

Already in Espinazo, Nuevo León, Fidencio helped as a chef, also he helped in other normal duties, cured hurt or sick laborers, assisted in difficult births; these brought him gratitude for his service and generosity. Becoming a doctor blessed by their gifts.

One of his most famous healing was near Espinazo where there is a community which at that time received the name of “Estación Luna” (Moon Station). In this place lived a family of very good property, composed by Mr. Manuel Ríos and María Zapata, who was pregnant, getting the date of giving birth, she couldn’t, so the child died in her womb. On the third day at risking of death for being impossible to transfer to the city for care, someone mentioned that there was a person in Espinazo that was performing healings with locals. Don Manuel quickly sent two workers to the railroad to come and bring Fidencio to attend to his wife.

Arriving, Fidencio was taken to the room immediately, he prepared her and asked to give him a glass bottle, and proceeded to break it, Fidencio theretrofuturista best piece, El Investigador es una publicacion conchoose tematica

which would serve to cut like a knife. Then practiced what we now know as a cesarean, taking out the child who was black in color, because he already had three days of death.

Mr. Rios grateful and excited asked to Fidencio how to pay his services. He only said, “If possible, and if you want, to take me back, in the same way they brought me, that’s enough for me.” Indeed, and Fidencio was taken back to Espinazo.

After acts of miraculous cures, a population of sick and miserable gathered around him, forming de distribucion gratuita.

what would be called “El Campo del Dolor” (The Field of Pain) a camp full of all the lame, blind, tubercular, syphilitic, cancerous, lepers and mental ill patients were turning to touch the saint Niño Fidencio, kissing their hands or feet to receive the long-awaited healing of the pain and ill that plagued them.

But the most mysterious and fascinating secret, was the visit of President Plutarco Elias Calles.

On February 8, 1928 -by my rec om m en d a t io n - P r e s id e n t

Plutarco Elias Calles visited Espinazo, especially to attend a healing session with the ‘Niño Fidencio’.

Because, as a few knew the condition of Calles: leprosy, a disease that took nine years in the president’s body and tried to hide from the public. President Calles visited the best doctors: American, French and Mexican but no one could heal him.

In Espinazo, Fidencio secretly put his art at the service of the President, boiling honey and various herbs.

In the glare of cooking, in emersion vapors released white foam and with a brush he rubbed the mixture on the president’s body, cleaning it from the ravages of the years of leprosy. Also he prepared a concoction of roses and other stuff. While he lived, Calles ordered a subordinate to go monthly to Espinazo, to provide with medicines.

His methods were famous for performing operations without anesthesia and that didn’t cause pain in their patients, to the more severe he only touched them and prayed with them. He operated tumors and all kinds of physical

abnormalities.

For that he used a broken bottle glass. He never used a scalpel and used to relate his cures to specific places of the town, as a pepper tree he used to threw objects around to the crowd being cured if they received a hit, by the time a tradition was created: when someone pass the tree have to give three laps around to bring luck and to have bless by ‘Niño Fidencio’. Also a muddy puddle on the outskirts of the town, where his followers suffering leprosy or contagious diseases plunged with surprising results.

‘Niño Fidencio’ died at age 40 on October 19, 1938 in Espinazo, Nuevo León by natural death.

Although some argue that his death was the result of long hours of work he did to cure his patients, which constitute up to 48 hours, sometimes without food.

“I’m leaving, but I’ll return, and no one will know in whom”, said Fidencio at the time of his death.

He felt the soul of the world, the flow in the mountains, the wisdom of all the green, the power of the waters, just a touch of his hands, just the will of the Lord of the spirits.

I recognized him and he to me, we always liked each other.”

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By: Djinn and the arrangements from our present, easy, without many hassles.

By now most readers who The band formed in California, to follow this publication know very well the group that we will be more precise in Ventura, by talk about this time, because the the leader, vocalist and guitarist band BBVD is internationally Scotty Morris. Morris and Kurt recognized and has earned its Sodergren, the only original place in the taste of the entire members of the band, previously played in bands of punk and dieselpunk community. alternative rock. In 1989 their However therefore it deserves influences lead them to another a special place and definitely musical way so they form Big worth having a separate article and there would not be time to do better than this issue.

And so, the BBVD is one of those few bands that leave no one indifferent, the strength and energy of their music make you want to leave the chair immediately and start moving your body. While it is not the band that started the wave neo-swing is certainly the better known. If you have followed our magazine there’s no need to say what neo-swing is, but if haven’t, don’t worry, neo-swing sounds to the yesteryear’s with a fresh

Bad Voodoo Daddy; the name, says Morris, comes from an autograph that Albert Colins gave to him, a renowned blues guitarist, after a concert, Collins called Morris like that, thus Scotty liked the nickname, and when they formed the band there was simply no better name.

Focusing on the swing sound of the 40s and 50s they begin to play in small clubs in the area.

When they became known, recorded their first album with their own name, independently, under their own label (Big Bad Records), in this record you can notice already the characteristic style of the band, even if the sound is not yet as energetic as it’ll become after, they start to

By then they had happened to have a day set in the Derby Hall in Los Angeles replacing to the legendary Royal Crown Revue as the Wednesday’s band. Jon Favreau, who would be the director of the film The Swingers (which we mentioned in previous issues of El Investigador), was a frequent customer of the place and had befriended the band, Favreau liked much the song

You & Me & The Bottle Makes Three Tonight, which became a success and would become part of the soundtrack of The Swingers.

Again, Big Bad Voddo Daddy / American Deluxe contains original songs alongside classic golden age of swing, which has been an important part of the band’s albums.

In 1999 they edit the song This Beautiful Life, which continues in

sound as a Big Band with a twist of present. Also in this album there are some songs that will became into the hits the band will include in their coming albums such as Jumpin’ Jack y King of Swing. Special mention to 13 Women, one of the best tracks only included in this first album.

Three years later, still under their independent label they edit What’chu want for Christmas an album with Christmas songs, which are both liked by fans and our neighbors in the north, which was relatively successful.

By 1998 they signed with Capitol Records and released their first album with a great producer, this would be called Big Bad Voodoo Daddy, although it is also known as American Deluxe, this is the album that would take them to fame, perhaps the strongest of the band.

Although the purists of the genre did not received it the best way, because the humor and the mixture of various genres is something that has always characterized the group, the album was very successful.es una publicacion con tematica retrofuturista de distribucion gratuita.

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the same line of their previous recordings; humor is a constant of the band’s songs full of energy such as I’m Not Sleepin’, this album also includes the song I wanna be like you, which was originally written for the movie The Jungle Book by Disney, with the exception of these two issues this is perhaps the quietest album of the band if you can give that adjective to BBVD. For 2003 launch My Soul an album with several twists in the sound, more mambo influences in their percussion and light touches of dixieland jazz, this album most songs are originals. The next year they release Everything You Want for Christmas, an album without any innovation but quite fun, even though the Christmas songs are not your thing. That same year, in 2004, goes on sale a CD / DVD called simply Big Bad Voodoo Daddy Live, in which although they play some already known themes is the best edited by the band as it is here where you can appreciate its true essence, live performances, energy, humor, improvisation, everything is there, a record that you cannot stop dancing and moving, a must for those who have never had a chance to see them live.

The band is definitely a big favorite in the United States, participated in events important enough such as the Super Bowl; had showcased in several music festivals and on several television programs, have played alongside great classical orchestras and making a list of series and films where their music has appeared In 2010 comes out How Big Can would be a daunting question.

You Get? The Music of Cab Callway BBVD is one of the few bands that a quite expected album, which was released to commemorate survived the wave of neo-swing the hundredth anniversary of of the 90s and something that his birth, the album was filled never lacks, is energy and after with Callway’s themes with the two years without new material, comes what fans had hoped BBVD hallmark.

for, announced that they are already preparing a brand new album entitled Rattle them Bones, which about the release date of this issue, you will be able to download for free the track She’s always right (I’m never wrong) theme with a lot of swing and humor and that already, seems very well. The BBVD is definitely a classic band musically talking and that anyone within the retrofuturistic movement may enjoy.

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The history of Mexico in the biggest confrontation between nations in history has its origins on March 7, 1938. That day was the last of the meetings between the team of the President of the Republic, General Lázaro Cárdenas and representatives of the oil companies, mainly from British and American origin, who were operating in the country.

The continuing strikes by Mexican oil workers, who were working in foreign companies, led to the creation and recognition of the Union of Petroleum Workers of the Mexican Republic, which allowed the employees of these companies demand an improvement in their rights and payments. After winning a lawsuit against the Board of Conciliation and Arbitration, the Court granted the petitions of the employees and the payment of compensations for 26 million of pesos, but the companies ignored

and refused to pay. The deadline was set to March 7th 1938, having, before this day, two meetings on days 3rd and 6th of that month.

Having been unsuccessful negotiations, the day set as the deadline the meeting took place as the previous and in the end, according to the witnesses, the representative of the companies, to the proposal of President Cardenas to deliver 26 million as guarantee to raise the strike, d ef iantly as k ed , “And w ho guarantees that?”, to which the president replied, “The President of the Republic”, which again was replied with a “You and who else?”.

Given the apparent lack of confidence of foreign representatives and the lack of seriousness that was given to the country as such, President Lázaro Cárdenas declared at 10 pm on March 18th 1938, the expropriation of all oil resources

and derivatives of the natural resource wealth from the Mexican national territory and decree as exclusive heritage of the nation.

With this act, unheard and unseen by any country in the world, a vital natural resource for the industry and technology of the imperialist countries were denied by a nation who performed the operation of this supply. Immediately both the United States and Great Britain and the Netherlands, declared an economic boycott over Mexico, hindering the sale of Mexican crude on the outward. The largest oil companies in the world, as were Exxon, Mobil, Shell, Texaco, Chevron, Pennzoil, ARCO, Sinclair, Gulf and its regional subsidiaries, affected its productions and the resources they had in the count ry were t aken b y t he government as compensation for the costs and the inconveniences.

Under the same spirit of protest, all foreign specialists with unique knowledge to form compounds that allow the refining of crude oil, were withdrawn from the country, which left Mexico in a situation in which gasoline has made limited a couple of years, meanwhile experts from the National Autonomous University of Mexico (UNAM by its Spanish acronym) and the National Polytechnic

Institute (IPN by its Spanish acronym) managed to decipher the process.

In view of the refusal by the Allies for the consumption of Mexican oil, Germany, Italy and Japan decided to ignore the call of their political rivals and started buying the complete production of oil that Mexico was willing to sell. So in 1938, the government of Hitler and the Nazi Germany were interested in Mexico as a strategic point during the war that was coming.

The Abwehr, the military intelligence service, headed by Admiral Wilhelm Franz Canaris, recognized the needing to know the political, economic, industrial and military potential of the United States as an enemy to be imminent ally of Great Britain, a country that Nazis knew they could face due to the recent annexation of Austria to Germany on March 15 of that year and the intention to annex the entire territory of Bohemia, which included a large part of Czechoslovakia, in what was called by the German government as an expansion of the “German Vital Space.”

For the Nazis, the southern border of the United States was the frailest and the history of conflicts and disagreements between Mexico and the U.S., coupled with the low sympathy Mexicans professed to the British and Americans, appeared to be promising in terms of an attempted of boycott and a possible war front if necessary.

Thus Mexico became the launching

platform for fascism throughout North America. The anti-imperialist feeling shared throughout Latin America seemed to be very promising for the German war propaganda, and the many natural resources of the continent had already proven to be vital to the aspirations of the Nazi government of victory over the Allies. The Axis war machines was moving with European, African and Latin American oil, this last one very coveted by the Nazis, who saw an important supply, like many inputs that were made from raw materials of these regions.

Was Implemented the preparation of the strategy of German intelligence for the strategic raid in Mexico and by 1939, at the headquarters of the Oberkommando der Wehrmacht, the Economic Division of the Intelligence Service was appointed to the election of the staff who would travel to Mexico to perform spying and infiltration operations. As the responsible official was appointed the expert of the Latin America area, Georg Nicolaus and as second in command the Baron Karl Friederich von Schelebrugge. The mission was critical for the Army and the Nazi government, it would allow learn the industrial potential and secrets

of the Americas and especially the United States, as well as monitoring the movements of war ships and cargo ships of that country by the Gulf of Mexico and to the Panama Canal. So also should inquire about the type of raw materials could be used by the German war machine and likewise infiltrate the government and the political, industrial and military of the country, and find pathways for German spies into the United States.

The impending 1940 presidential election and the intense training that underwent the agents targeting Mexican infiltration, did slow the work process of the spies, however, despite the obstacles of time, the Nazis were able to contact groups of called “sinarquistas” operating in the northern border and sympathetic to the ideology of the Reich, as were industrial groups, especially in Monterrey, that through them supported the candidacy of Juan Andreu Almazan to the presidency of the republic, as the main contender of the General Manuel Ávila Camacho and as a candidate of the National Action Party, which to date has identified more with industry. As groups of entrepreneurs from the media worked closely with German intelligence agencies and cooperated with Nazi spies. The owner of the W Radio Network, Emilio Azcárraga Vidaurreta, favored the Nazi regime, by providing the Transmissions of the radio station, at that time the main media of communication in the country, to transmit encrypted messages between transmissions of commercial of his business. So also

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newspapers like “Novedades”, “El Universal” and “Excelsior” published notes related to the German government, with the intention of keeping public opinion in favor of that country.

At the time the initial assessment of Nazi spies had intended to find people who sympathized with the government of Hitler that were cooperative in case they have to enter in direct conflagration with the United States, so they could destabilize the country to delay or even stop their war effort.

The special situation of the country prevent the Nazi activists place their candidate to the presidency of Mexico, and with strong accusations of electoral fraud, Manuel Ávila Camacho came to power and facing this new reality, the German spies focused efforts to infiltrate ruling political class, which was not difficult given the usual corruption they were accustomed the politicians of high and low profile.

Among the many spies and agents who came to Mexico stood Hans Werner and Axel Wenner-Gren, two of the world’s richest men, Edgar S. Weisblat, considered one of the best intelligence agents of the Gestapo and Hilda Krueger, an attractive German actress sent

by Joseph Goebbels, German propaganda minister, who was the most successful in infiltrating the Mexican government apparatus.

Is Hilda Krüger who makes intimate contact with Maximiliano Avila Camacho, the president’s brother, and half of the cabinet of the government, including Miguel Aleman, the Secretary of Government who later became the president of

Mexico in the next government period. With the infiltration of the spies in the Mexican government, they managed to send the bulk smuggling of oil to Europe via ships leaving clandestinely from ports of Tampico and Coatzacoalcos.

Given the state of the European war and pressure from the United States in terms of a unit of the

Americas against any attack or war act, the position of neutrality of the country would be jeopardized if trading continued openly, so that Mexico and Germany was appropriate to maintain unofficial channels.

In March 1941, a quick operation from German field agents allowed the placement of an explosive device on the boat Forresbank, anchored in Tampi co, whi ch was successful and opened the way to start the Operation Pastorius, intended to start the sabotage to the United States and the indictment of Mexico’s domestic policy towards the Nazi cause. Given this the pressure was consistent from both sides to lean the country towards one side or another. The United States sought to enforce the New Deal system in America, and pressed for an agreement of cooperation with the countries of Latin America and so secures the region against the influence of the Axis, which were beginning to know the movement of the Nazis in Mexico. The American nation had been targeted German intelligence apparatus and had realized how harmful and terrible had become the Operation Pastorius, and if that succeed, the United States would difficult on enter in a war in favor of Allies. On the other hand, the Nazis sought the support of Mexico in the war, which would

keep the United States engaged in its own territory, and could be an important springboard for a possible American war theater. The need for oil was also a motivation, given the rich oil fields of Mexico and Texas, a control of the area was almost necessary for the Germans.

Another plan to destabilize the United States was the creation of an underground group, headed

by General Javier Gonzalez Aguilar and funded by Nazism, facilitate sedition of American youth by the use of drugs and flood with the same the military bases of San Diego, San Francisco, Austin and Houston, as they had done before the seven Allied Nations in China during the Opium Wars that was declared to that country in the nineteenth century. This operation led to the weakening of the Chinese nation, facilitating the invasion of that country. Under this idea, it was created the Cartel of Mexico, the first drug cartel in this country, which in the end turned out to be a lucrative business for those involved.

The political situation was difficult for Ávila Camacho. Being between American and German pressure, time was running out. At that time, the president decided to wait a little longer, due to an important fact. Between July and October 1940 the Operation Sea lion enter in development, intended to take over British airspace for a future large-scale amphibious assault on the British Isles, and with the intention of making the British Empire to capitulate war, which would end the European War Theater. Unable to consolidate the operation, the Luftwaffe, the German Air Force, began an attack

that lasted until May 1941, known as the Blitz, which consisted of the systematic bombing of English territory with the idea of making to surrender for massive damage to industry and warfare capability.

This was not achieved, allowing the operation of the government of Great Britain in all his possessions, including his alliance with Canada and the territories of Belize and Guyana, as well as the troops and resources provided in Central, South America and the Caribbean. Likewise the Japanese attack on Pearl Harbor brought the United States into the war, which increased diplomatic pressure for the country to choose a side in the war. Given this scenario, it was impossible to reach a political agreement that would allow Mexico to go to war with the United States, which joined the growing and stronger rapprochement between Avila Camacho and Franklin D. Roosevelt, Oberkommando der Wehrmacht urge to start the attack to the oil tankers seized by Germans and Italians for Mexico, due to pressure from the United States to deliver the captured Nazi spies and the Axis possessions in Mexico. After the sinkers of the tankers “Potrero del Llano” and “Faja de Oro”, who wanted to supply oil to the U.S. after the lifting of the economic seizure on this country, in May 22nd 1942 President Ávila Camacho asks permission to Congress of the Union to issue a declaration of war on the Axis Countries, which is granted, initiating Mexico’s participation in the World War Two. Although Mexico is a strong producer of resources and raw mater ials , es p ecially oil and

precursors of explosive devices, has a limited military force, preventing it from acting directly in the war effort. In this situation Mexico and the United States took the opportunity to strengthen relations and signed cooperation pacts. One of the key agreements was the regularization of the transit of Mexican workers to the United States in order to strengthen the workforce that was left in the hands of women and veterans, which needed the support of skilled and unskilled workers from Mexico.

So also to ensure food supply in urban areas, the field was reinforced with experienced workers in rural work. These agreements also pacts rearrangement of the troops involved in the participation in war directly. It decides that the assignment of Mexican military as part of the U.S. troops who fought in the European front, as well as others who will be trained to be paratroopers in the U.S. Air Force.

The operation of the Mexican troops, under the command of U.S. troops resulted in the participation of more than two thousand more soldiers among whom were generals, officers and private soldiers on the field, which in return were awarded and recognized as the Sergeant José Mendoza López, who was a decorated war hero in his participation in the “Battle of the Bulge”, who stopped a German attempt to take back their weapons ammunition.

So also at the end of that year, the Mexican army was reorganized and created the Mexican Expeditionary Force, which would update the outdated Mexican Air Force, which consist of a full squadron of battle who fight under Mexican flag and

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would be considered as the Mexican Army Wing who come into direct conflagration with the Axis. On July 22nd, 1944, the Mexican Expeditionary Force basic training ends at the airbase of Guadalajara, to move to Buenavista and then to Texas, where complete full training and provision of equipment and 40 aircraft along with 36 pilots and 264 troops who formed the Mexican Expeditionary Air Force to integrate to the now be known as the Squadron 201, which would join the Pacific Command under the command of General Douglas Macarthur. The squadron adopted “Pancho Pistolas” as a mascot and logo, an anthropomorphic appearance rooster wearing a “charro” hat and two pistols at his sides. At the same time adopted the codename of “Aguilas Aztecas” and piloted Republic P-47D aircraft.

The squadron’s first foray was against Japanese forces in control of the Philippines, where the Pacific Command moved its base of operations installed before in Australia at the end of February, after the allied forces formed by the United States, Holland, Australia, England, France and Mexico took Manila, the Philippine capital. The 201 squadron was based at Porac, Luzon and embraced the fifth air

squadron of the U.S. Air Force, with who entered together into confrontation and bombing sorties.

Later saw action in the Battle of Taiwan and Okinawa bombing.

Only the use of nuclear weapons avoid the participation of 201 Squadron in the invasion of Japan, however their participation in the Pacific Front was very good, were involved in 795 combat skirmishes, flew over 2000 hours of air combat and only lost seven pilots throughout their participation.

For their action in combat were awarded with the Presidential Insignia for the Philippine Campaign by the United States and the Medal of Service in the Far West by the government of Mexico, to become the only Mexican military unit to fight on foreign soil. Likewise Mexico was represented by the military men Antonio Cardenas Rodríguez, during the surrender ceremony on the USS Missouri in Tokyo Bay lead by General Douglas MacArthur, Supreme Commander of the Allied Forces.

At the end of Mexico’s participation i n t h e W o r l d Wa r Tw o wa s fortuitously beneficial. The export of oil, to both sides made at different times, allowed the growth and development of the Mexican oil industry, as well as allowing to

cut the external debt by 20%, the domestic product growth by 7% sustained, it made to forget the incident of the Petroleum Expropriation and deleted imperialist influence of world biggest powers, narrow and normalized relations between Mexico and the United States, led to a number of beneficial trade agreements and payment of remuneration of war by Axis countries.

So also helped the unification and national reconciliation after the Mexican Revolution, consolidated the import substitution model and opened the door to migration that happened in the years ahead, which would ultimately strengthen Mexico’s cultural influence in their lost territories in the nineteenth century. Being among the winning nations in conflict allowed it an important place in the founding of the United Nations and won international reputation as a producer of raw materials and oil exporter. So it also established itself as his major ally, covering the rear of the United States in the conflicts being the southern border of that country the weaker gateway to it.

Mexico’s participation in the mother of all wars was, despite future consequences, in a realistic analysis, more than positive. It was a victory in every way.

Illustration by: Rodolforever

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The first one is about Seaweedhead Greaser, owner of a saloon called “Greaser’s Pa l a c e ” , w h o h a s t w o b i g problems: constipation and a son who repeatedly comes back after being killed.

The second one is about a woman without name, survivor of the brutal murder of his husband and son, who struggles in the middle of the desert in order to succeed.

as a singer and dancer, and will go through different situations until his own crucifixion.

As a parody of the genre Greaser’s Palace uses the stereotypes distorting them to hilarious levels where murders can live in peace with the Saint S p i r i t w h o f o r g i ve s a b o u t the importance of his role, a beautiful young lady who walks around in topless and the dwarf from the Fantasy Island lives with his couple who’s a bearded travesty.

And the third one is the story of Jesse, a figure who come from the skies, dressing as a real Greaser’s Palace was filmed in Sombreros, guns, desert, sun, pachuco makes some miracles 1972 by the cult director Robert m a r i a c h i s , a p a c h u c o … a and decides he wants to success Downey. pachuco? Yes, a pachuco who represents to Jesus, the incarnated son of God. Using a parachute to come down from the sky and making miracles with his gloved hand, is part of the way Jesse (nickname for Jesus) has to walk trough in this movie.

Surrealistic parody, biblical/ western genre, develops in three main stories.

Considered as a parable based on Christ’s life, fulfill with references about the destruction of the world takes the film to lists as a dystopian movie.

Downey adds nonsense after nonsense with a freedom that just a few filmmakers were allowed to in the history of American cinema. This is a hilarious film, sacrilegious, politically incorrect and full of blood, but at the same time has a rigorous style that provides a curious sobriety to the final result that enhances its unpredictable sense of humor.

Robert Downey Senior is an actor, writer, film director and father of actor Robert Downey Jr, well known as an underground filmmaker, author of cult classics such as Putney Swope, Madison Avenue, Johnny Be Good, Pound and more.

As a curiosity we can say that his films are characterized by including a part of his family in the cast; his first wife appeared in four of his films and co-wrote one, his daughter and son (when they were 7 and 5 respectively) were recurring actors.

So, if you like the irreverent black humor, pachucos, acid western, Jodorowsky or just to have a laughing time, you have to get this movie!

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a very good Singer. He made famous to the character of the Pachuco. Tin-Tan was born in Mexico City in September 19th 1915, being the second son of Rafael Gómez Valdés, a forwarding agent, and Guadalupe Castillo, both had eight more children.

Because of his job, Don Rafael took his family to Ciudad Juárez in 1927, where Germán Valdés coursed high school and learned how to talk English properly, which help him to create his character of the Pachuco, imitating to young man who lived around the border line and talked kind of “spanishinglish” which Germán uses its humorous and satirical potential.

Germán Genaro Cipriano Gómez Valdés Castillo (was born in September 19th, 1915 – died june 29th 1973) also known as Tin-Tan, was a successful and famous mexican singer and comedian, also voice actor for Disney movies such as: “TheAristocats” His father talks to his friend where his voices O’Malley’s; in “The Jungle Book” he is Pedro Meneses and gets a job for his son, in the XEJ broadcaster in Baloo, the bear.

1934; it was a job from the bottom, His grace and versatility sweeper and the one who makes characterized him, also was the errands.

Later, the legend, which can’t be missed in this kind of stories about celebrities, so, the legend says that once, when Mr. Pedro Meneses asked Germán to fix a broken microphone, when he already finished and thinking was plugged off, started to sing, imitating to different singers such as Agustín Lara, being listened by the owner of the company who got fun with his skills, and who decided to promote him to broadcaster.

In 1938 tried luck as a comedian in Paco Miller’s company with the nickname of “Topillo Tapas”, but the tour just didn’t work, so his friend Jorge Maulmer suggests he might change his nickname, and did, taking Tin-Tan as his ultimate nickname.

Being in that same company met Marcelo Chávez who later will become his comedian partner and will kwon as his Carnal (buddy) Marcelo.

In November 22nd 1943 had a show in Mexico City at “Iris”, after goes to Follies Beregere in December where becomes a big success which open the doors of the night club “El Patio”, there Don René Cardona, filmmaker, applauded his show and invites them to act into his movie “Hotel de Verano” (Summer hotel), receiving the wonderful sum of $350.00 old mexican pesos.

The “Diario Fílmico Mexicano” (Films’ Mexican Daily) talked about his appearance this way: “Then appeared an individual with a bizarre look, dressing just the way from Losa. I mean, from Los Angeles, and talking a language he called “tatacha”.

Was dressing a suit, if we can call all that he was dressing in such way, blu with very baggy pants and the jacket which reaches his knees. The watch chaincame a little lower: almost to the height of his toe… Gave his name: I’m Tin-Tan, or Gemán Valdéz, carnal.

I’m rolling around looking for a chante, see? Over here can I to trepar the ear ése?”

His filmography includes 92 titles; several considered between the best comedy films from our cinema, thanks to his great ability to improvisation, extravagance and especially to the way he handled every absurd situation, he became the best COMEDIAN from our cinema, very above of the limited This little appearance gave him verbalism of the overestimated the chance of being called for Mario Moreno “Cantinflas”.

Humberto Gómez Landero to act his very first starring in “El hijo The overflowing imaginary desobediente” (The disobedient of the sensational Pachuco son) and his last appearance was in was unattainable in movies “El Capitán Mantarraya” (Captain such as: Manta ray).

“Hay Muertos que no Hacen Ruido”; “Calabacitas Tiernas”; “No me Defiendas Compadre”; “La Marca del Zorrillo”; “Simbad el Mareado”; “El Revoltoso”; “Las Locuras de Tin-Tan”; “Dios los Cría…”; “El Vizconde de Montecristi”; “Lo Que Le Pasó a Sansón”; “Riffifí Entre las Mujeres”; “Rebelde Sin Casa”; “Vivir del Cuento”; “Los Tres Mosqueteros y Medio”; “El Pandillero”; “El Violetero”; but especially “El Rey del Barrio” (the King of the neighborhood), considered without doubt as his best film.

His best moment was during the fifties, even when his old Tzekub, the loyal partner of “Chanoc” was very funny, although the decline he dragged with him all long sixties when little by little got lost in poor movies without

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even having the starring.

Strictly speaking, Tin-Tan wasn’t replaced from our cinema by another comedian; he just abdicated little by little until his throne was vacant. At first he used ballon pants, shirts with floral designs and vivid colored jackets, which gave him that touch of distinction to his extravagant personality Fortunately he incorporated new facets to his character of the Pachuco coming from the other side of the borderline, all this enriched the character, even diluting to the point that became a character from shantytown, dwelling a neighborhood of D.F. identified with people from Mexico City, winning the possibility of become easily recognizable for most public, although people always consider him the Pachuco from the Mexcian Cinema Obviously is hard to find to the Pachuco into his imitations and parodies of universal literature such as “Los Tres Mosqueteros y Medio” (The Three Musketeers and a Half; “El Gato Sin Botas” (The Cat Without Boots); “El Vizconde de Montecristi” (The Viscount

of Montecristi); “El Ceniciento” (Cinderella guy); “El Bello Durmiente” (SleeplessBeautyguy);“ElVioletero” (The Seller of Violets); “El Mariachi Desconocido” (The Unknown Mariachi) ; “Simbad el Mareado” (Simbad the Seasick); “La Marca del Zorrillo” (The Mark of Skunk) y “Chucho el Remendado” (Chucho the patched); among others where is easy to find to the genius comedian, who as no other was able to handle absurd and crazy situations, to the point that people baptized his way of doing things as “Tintanadas”.

Tin Tan married three times, in 1937 with Magdalena Martínez, in 1946 with Ms Micaela Vargas and got divorced in 1955. Next year married with Rosalía Julián,

mother of Rosalía Valdéz, who acts in “El Vuelo de la Cigüeña”.

In “El hijo desobediente” (The Disobedient Son) Tin-Tan announces himself as someone with vocation of Pachuco outside, charlatan inside and joker everywhere.

You just take a look to his movies, there’s no doubt that is the most joyous to enjoy the great abilities of such a big comedian who was Germán Valdés “Tin Tan”.

Ernesto “El Chango” (Monkey) García Cabral (1890-1968), was born in Huatusco, Veracruz. Cartoonist, illustrator, muralista, recreator of Mexican Art Deco and Art Nouveau.

Even when was not considered as a politician, made important cartoons of Francisco I. Madero when candidate and President; “shot” Emiliano Zapata, De La Barra, Vázquez Gómez, Enrique C. Creel, Pancho Villa, Reyes, María Conesa, Gaona and many more…

The turn to break the disinformative fence created by Porfirio Díaz about what happened in Portería de Santa Clara at Serdán Family’s home in November 18th 1910 was for Ernesto accompanied by the Journalist Herrerías since “El Chango” was there during the armed movement.

Part of the recognition Tin-Tan received was because of the image on the posters made by the great artist Ernesto García Cabral.

Experimented with several techniques. Pencil, charcoal, aquatint, gouache, watercolor, encaustic and oil. Made movie posters and comics; also series of doctors, nurses and patients that illustrated covers and interiors of Gacetilla Bayer.

Advertising boards for Cognac Martell’s campaign and National Lottery among others.

Was discovered by Mr. Fortunato Herrerías in 1909, who he worked with at Magazines La Tarántula and Frivolidades. Later Mario Vitoria, a Spanish with Mexican soul, invites him to contribute in Multicolor, a criticism humorous magazine; Later to the magazines Hoy, Jueves de Excélsior, Revista de Revistas, Ferronales, Fufurufo, Ícaro, Sócrates…

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10 pieces about the historic moment belong today to the Museo de la Revolución (Revolution Museum) there at Portería de Santa Clara in Puebla, Pue. “El Chango” “executes” to every single President a n d t h e i r r e spe c t i ve c a b i n e t s during the sixty years he worked fo r t h e b e s t n e w s p a p e r s a n d national magazines. de distribucion gratuita.

In 1907, Governor of Veracruz, Don Teodoro A. Dehesa, gives him a scholarship to Academia de San Carlos in Capital City. In February 1912, President Francisco I. Madero sends him to Paris with another scholarship.

There he hang out with other Mexican artists, such as Diego Rivera, Amado Nervo, Doctor Atl, the “Viejito” Urbina and achieve several first prizes at open academies in Paris. Prestigious magazines as Le Rire, La Ballonett and La Vie Parisién publishes some of his works.

Mexican movies and TV pioneer, h i s o ve r w h e l m i n g t a l e n t a n d plastic skills were released in the show “Duelo de Dibujantes” (Duel of illustrators) where shares the stage with Slaberto Isaac, Guasp, Abel Quesada, Freyre and the journalist Agustín Barrios Gómez, d ur ing t he awakening of the Mexican TV.

Paints two murals, a fresco in New York City and an encaustic with date 1942, this is at the old Pavilion of Tourism in Toluca, the place that today is the library-museum.

This monkey receive in life the following prizes: the Mergenthaler from Prensa Interamericana, the Premio Nacional de Artes Plásticas (National Prize of Plastic Arts), Hijo Predilecto de Huatusco (Favorite son from Huatusco) twice, Hijo Preclaro de Xalapa (Illustrious son from Xalapa) both at Veracruz.

His life as an illustrator.

When he was four used to draw on the ground; a German family recognized his talent and gives him a blackboard and chalk also bringing happiness to the soul of the little artist.

After Madero’s murder, Don Isidro Fabela, plenipotentiary minister of the government of Carranza, protects him, “El Chango” gives him a pen and ink illustration titled “El Sátiro Viejo” (The old satyr), which is exhibitedat Museo del Risco in San Ángel, D.F. With the protection of ambassador Fabela, Cabral invades Argentina as cultural attaché from Mexican Embassy.

At Buenos Aires, he publishes his Works in Caras y Caretas, PBT, La Nación, La Prensa and many magazines and journals. In 1918 comes back to Mexico where contribute with the main newspapers and magazines of the country.

In memoriam and honor some school from his birthplace and one in Distrito Federal were named like him, also a street in Xalapa too.

But the most important is the creation of the Taller Ernesto García Cabral A.C., a nonprofit workshop constituted by his widow, sons, cousins and friends in order to perpetuate his life and work and bring the significant art expression to the people for whom always draw for.

His work has about thirty thousand pieces.

El Investigador es una publicacion con tematica retrofuturista de distribucion gratuita.

Zoot suit was a style of clothing popularized by hispanics, african americans and italian americans during the 30’s and 40’s the creation of this, some say, is because of Harold C. Fox, tailor and trumpeter (Big Band) from Chicago, although the invention was claimed by other tailor, Letter Louis, this one from the Beale Street; and also a retailer from Detroit called Nathan (Toddy) Elkus did too.

The characteristics of such suits are mainly to have a tall waist on pants, wide on the legs and clenched fist style in the wrefts, accompanied by a long coat (called Carlango) with wide called “Cola de pato” (duck tail) Los Angeles where they called flaps and broad padded shoulders. with some pompadour. themselves “Pachucos” Often zoot suiters used to Oxford’s dictionary says that wear a fedora with a long feather probably the word “zoot” is a (called tapa or tanda), French derivation of “suit”, used by style shoes (called calcos).

Mexican-American Pachucos as a part of their slang, the evolution The Zoot suit was usually the word with a Mexican Spanish accompanied by a keychain pronunciation changing the “s” hanging from the belt, long to with a “z” instead. However, the knee or even more and go zoot suit became very popular back to a side pocket, this outfit around Mexican-American was completed with a hair cut young people, especially in

The zoot suit become a movement so big that had had reflections in popular culture around the world; let’s take a look to some appearances of zoot suit in popular culture: During 30s, Cab Calloway, musician and leader of one of the most famous Big Bands used a zoo suit in several short films.

that each character is based on the racist image existing in the USA to the African-American wearing zoot suit fashion.

In March 1943 Disney Studio launchs “The Spirit 1943”, a

In 1943 Al Capp satirized Zoot suits on his comic Li’l Abner, w h e n A b n e r Yo k u m ( m a i n character) appears as “Zoot Suit Yokum”, a credulous man but almost indestructible, chosen for a clothier to serve as a role model for young white man because of his heroic adventures, on this same comic is another

character wearing zoot suit (Evil Eye Fleegle).

Also in 1943 we can find the short film by Merrie Melodies called Coal Black and de Sebben Dwarfs, directed by Bob Clampett

is a parody of the famous tale by Grimm Brothers, Snow White which was popularized by Disney’s movie Snow White And The Seven Dwarfs; the particularity of this short film os El Investigador es una publicacion con tematica retrofuturista

cartoon where we can see Donal Duck trying to decide of saving money for “Taxes… to Defeat the Axis” (helped by a kind of proto-Scrooge McDuck) and to waste his money in frivolous fun. In this cartoon saving money is good and wasting is the evil.

In a Tom & Jerry’s cartoon in 1944 “The Cat Zoot”, Tom tries

to win a female who rejects him because he’s “cheesy”, so sitting on the porch listens to the radio saying that in order to be a hep cat must wear a zoot suit, so immediately Tom makes his de distribucion gratuita.

own suit with a hammock’s

with a song called “Zoot Suit”, this song was written by their leader Peter Meaden, including phrases as “I wear zoot suit jacket with side vents five inches long!. In Mod Fashion, zoot suit meant a black pinstripe, 3-button jacket with matching trousers.

fabric, then tries again with the female, however when Jerry appears, the suit gets wet and shrink so much that the only one who can wear it is the mouse.

As with other fashions and contemporary issues, zoot suits were portrayed often in Warner Bros’ cartoons, for example, Big Snooze (1946) where a group of “wolves” howl Elmer Fudd when he disguises as a woman in order to hunt Bug Bunny.

Zoot clothes and Zoot Suits riots are also referred in novella Gravity’s Rainbow by Thomas Pynchon. The prologue of the novella The Black Dahlia by James Ellroy focuses in Zoot Suit riots too.

Zoot Suit is also the name of a musical for theater by Luis Valdés and Lalo Guerrero, the “father of chicano music”, when debuted in 1979, Zoot Suit was the first chicano staging in Broadway, also was adapted to a film directed by Luis Valdés in 1981.

Zoot Suit is the name of the power armor in novellas Starfire

by David Weber and Steve White.

In “Trick or Treatment” an episode of M*A*S*H (1982), Maxwell Klinger wears a soot suit as a Halloween costume, and Hawkeye Pierce, in an improvised Superman disguise asks: “Klinger, do you realize how many zoots had to be killed to make that suit?”

Another example is Daffy Duck, who wears a zoot suit in Book Revue (1946)

Before finding success in the UK in 1965as the look and voice In The Ghost Busters TV of youth mod from London, the British rock band The Who had series (middle 1970s), Larry tried to break into musica market Storch wears a zoot suit in every in 1964 as The High Numbers, single episode.

Marty McFly (Michael J. Fox) uses the words zoot suit in the movie Back To The Future. Jim Carrey wears a bright yellow zoot suit in the main character of The Mask (1994).

In Buffy, the Vampire Slayer’s episode “Once More, with Feeling”, Sweet wears a zoot suit (with the particularity that color can change at will).

In “Who Framed Roger Rabbit” the weasels of Judge Doom wear zoot suits.

The opening scenes of the Spikes Lee’s Malcolm X show the famous African-American activist in his youth, calling himself Detroit Red, and both he and his best friend Shorty appear dressed as zoot suiters.

In Cannabis culture in UK, the word “zoot” has come to mean a pot (marijuana cigarette), due to the narrow and wide shoulders that resemble the form of a pot.

In novella The Invisible Man by Ralph Ellison, the main character In Blue Falcon’s comics and is mistake for a prominent zoot animated cartoons the Brutes suiter, adding to the confusion Zoot Suits were recurrent villains. the racial riot in the building.

El Investigador es una publicacion con tematica retrofuturista de distribucion gratuita.

By: Araceli Rodríguez This month In The File, was digging into the year 1930 and I found that on September 18 of this year (2012) the “La voz de la América Latina desde México” (voice of Latin America from Mexico) meets 82 wonderful years of broadcasting.

by the Police Typical Orchestra, from the top floor of the Olympia Cinema at September 16th Street, with the number 9, a building that was also owned by the Azcarraga family and now has become a shopping plaza despite the complaints of citizens in favor of the preservation of history.

Leopoldo de Samaniego is considered the first announcer of XEW with the famous phrase: Friends, this is the XEW, The voice of Latin America from Mexico”, even though the one who started the broadcasts on that day was Nicolá De la Rosa.

That day marked the end and the beginning of a new era for Mexico since before XEW broadcasters were seen as experimental tools and at most promoters of education and culture.

The also known as W Radio was, since the idea, designed for business, positioning itself as the first national radio with programming that meets all audiences.

Began its broadcast with Beethoven’s 9th Symphony, also known as “The Ode to Joy” played by the composer Miguel Lerdo de Tejada accompanied Mexico has just recovered from the Revolution when hertzian waves began their rise in the world and soon was about being at the forefront with small stations which only had private aims and it was more like an open source for those who had the money and time to experiment and improve.

Over time these developers, which they could communicate with each other, established the National Radio League, shortly after, the former

Throughout history XEW was platform of some of the most famous voices of Mexico, such as Pedro Infante, Jorge Negrete, Los Panchos, Mario Moreno “Cantinflas”, Germán Valdés “Tin Tan”, Agustín Lara, Francisco Gabilondo Soler “Cri-Cri” , Juan “El Gallo” Calderon, Paco Stanley, Ricardo Rocha and many more.

President, Álvaro Obregón spread a statement for those interested in putting a radio station in which claimed to give a series of guarantees and facilities for development of broadcasting in Mexico.

The pioneer of commercial radio in the country is Constantino de Tárnaba, who is also credited with the first radio broadcast in the country, but it may also be more by ideology than real desire because his family had some status and also did business with the Azcarraga family -If the name sounds familiar to you, yes, they

are just the same holding almost all telecommunications in Mexico nowadays-.

In 1930 sounds the first transmission of the first radio station in the country designed as a business tool, with advertising strategies and the knowledge that by turning the radio on a need for people, would become a reference and therefore were more likely to sell. This was the secret that they sold to their sponsors: what is announced on the radio is consumed by the public.

El Investigador es una publicacion con tematica retrofuturista de distribucion gratuita.

El Investigador es una publicacion con tematica retrofuturista de distribucion gratuita.