Represión Los Ruices 06/03/2014

En horas de la mañana se reportaba la muerte de un motorizado y de un GNB. Ya desde tempranas horas por las redes sociales se ssabía, que un motorizado dispara al GNB. Como siempre los grupos armados que apoyan la gestión del actual presidente irrumpe dentro de edificios cercanos indicando que supuestos francotiradores matarían al motorizado y al GNB.

Los radicales violentos empiezan subir imágenes como la siguiente:

Este es el francotirador asesino del GNB en Los Cortijos!

— Carlos (@Espartaco777)

March 7, 2014

Sin emabrgo las imágenes de reporteros gráficos indican otra versión, se incluyen fotos de: AFP - Reuters - AP - EFE - News Flash JC a continuación.

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Happy Birthday, Ismael Rivera!

Ismael Rivera a.k.a. "Maelo" (October 5, 1931 – May 13, 1987), was a Puerto Rican composer and singer of Puerto Rican musicCuban music, and boogaloo.

Rivera was born in Santurce, Puerto Rico, a sector of San Juan, Puerto Rico. He was the first of five children born to Luis and Margarita Rivera. His father, Luis, was a carpenter and his mother a housewife. As a child, Rivera was always singing and banging on cans with sticks. He received his primary education at the Pedro G. Goyco Elementary School and then went on to learn carpentry at a vocational school. He also shined shoes to help his family financially and when he was 16 years old, he worked as a carpenter.[1] During his free time he would hang around the corner with his best friend Rafael Cortijo and sing songs. La Fundacion Ismael Rivera In 1948, Rivera and Cortijo joined El Conjunto Monterrey, where Rivera played the conga and Cortijo the bongos. Rivera was unable to work full-time as a musician because of his work as a carpenter.

In 1952, Rivera joined the U.S. Army but was quickly discharged, because he didn’t speak English. When he returned to Puerto Rico, he went to work as a lead singer with Orquesta Panamericana, thanks to the recommendation of his friend Cortijo. With Orquesta Panamericana, Rivera recorded and scored his first hits with the songs “El charlatán”, “Ya yo sé”, “La vieja en camisa” and “La sazón de Abuela”. However, an incident between Rivera and another band member, over a girl, led to his departure from the popular band. In 1954, he joined Cortijo’s Combo and recorded the  songs, which soon became hits in the American Latin community.[2] 

Cortijo’s Combo continued to gain fame and so did Rivera’s reputation as a lead singer. Rivera was named sonero mayor by Cuban producer Ángel Maceda, owner of club Bronx Casino in New York; this is based in an interview done to Ismael.

The band went to New York City and played in the famed Palladium Ballroom, where the orchestras of Tito RodríguezTito Puente and Charlie Palmieri also played.[3]

Rivera married Virginia Fuente on 1951. He also had relationships with other women like Gladis Serrano, who was the wife of Daniel Santos. Rivera had five children: Ismael, Jr., Carlos, Margarita, Caridad, and Orquídea. In 1959, Rivera, together with Cortijo and his Combo, participated in the European produced movie titledCalipso, starring Harry Belafonte. He traveled with Cortijo’s Combo, which also included Rafael Ithier and Roberto Roena, to Europe, Central and South America.

Rivera was arrested for drug possession after a trip to Panama with the Cortijo combo. According to later reports, various band members regularly concealed illegal drug shipments, but this time the Customs inspectors were waiting for them. Rivera took the fall, sparing other members. But this event led to the break-up of Cortijo’s Combo. Shortly after, Rafael Ithier regrouped some of the former members and formed El Gran Combo de Puerto Rico.[2]

Upon his release from jail, Rivera formed his own band called Ismael Rivera and his Cachimbos. This successful band lasted for eight years. Rivera reunited with Cortijo and recorded “Juntos otra vez”. Later, Rivera went solo and did well with the recordings of “El Sonero Mayor” and “Volare”. He scored his greatest hit with “Las caras lindas (de mi gente negra)” written by Tite Curet Alonso. On May 14, 1974, Rivera participated in a concert at the Carnegie Hall which was recorded live. Rivera sang a song from Bobby Capó called “Dormir contigo”. One of his last public performances was in Paris, as an opener for Bob Marley in 1978.

Rivera was a faithful pilgrim of the Black Christ procession in PortobeloPanama, from 1975 to 1985, and even wrote a song about the Black Christ, known affectionately as “El Nazareno”.[4] Rivera was baptized as the “Brujo de Borinquen” in Panama.

The death of his childhood friend, Rafael Cortijo in 1982, affected him emotionally to the point that he couldn’t sing in the tribute to Cortijo celebrated at the Roberto Clemente Coliseum. Rivera was actively involved in the creation of a historical museum which depicts the contributions made to the cultural life of Puerto Rico by the black Puerto Ricans.

Ismael Rivera died on May 13, 1987 in the arms of his mother Margarita, from a heart attack. He was buried at the Villa Palmeras cemetery in Santurce, Puerto Rico.

On October 5, 2008, Puerto Rico’s governor Aníbal Acevedo Vilá signed a proclaim stating that every anniversary of Rivera’s birth will be celebrated as “Día Conmemorativo del Natalicio de Ismael Rivera”.[5]

On September 27, 2001, the Puerto Rican Senate approved the law #134 declaring October 5 as “Ismael Rivera Day”. In Villa Palmeras, Santurce, Puerto Rico, there is a plaza named “Plaza de los Salseros” which has a statue and plaque dedicated to Ismael.[6] Celia Cruz recorded a tribute to Ismael Rivera and so did Dario y su ComboRican.[7]


Almería, agosto 2014.

Claroscuros y cornucopias revisten paredes blancas en medio de cactus y chumberas, de palmeras en dunas. Hijas de un suelo sediento. No es Belén. Es Mojacar. Un cortijo de labranza que haría las delicias de los adeptos a las antigüedades y a cualquier aficionado al éxtasis estético. Hay altares, absurdos, pero estéticamente válidos. Huele a cal, pero no refresca, y te ahogas en el calor de agosto. Pero yo adoro agosto, con su calor. Y respiro Almería, que dónde está infravalorada y desierta, me gusta más. Que yo me basto y me sobro con ella, y me quedo con la playa de los Muertos, o en Macenas, tumbada a orillas del Sombrerico, subida a su Pirulico. En estos rincones abandonados en forma de playas y Mediterráneo, todos los sonidos y las cosas tienen aún su propio silencio. Si busco que la arena se deslice entre mis dedos, la encuentro. Y si busco que el chinorro se clave en mis pies, también. Gata en el cabo y yo perdida entre acantilados que me dan lágrimas saladas, mientras pienso: “Ojalá vivir cerca del mar, y respirar así”.

from: New York Public Library

In order to foster a community conversation about HIV and AIDS in dialogue with the Library’s major archives on the history of the AIDS crisis, The New York Public Library is hosting a project to create site-specific installations in four library branches—across the Bronx, Manhattan, and Staten Island—that explore the ways that HIV and AIDS are currently affecting these local New York City communities.


Fifteen artists, writers, and advocates answered the call to participate in a series of Flash Collective workshops with Avram Finkelstein. Over the course of two months they met to discuss the current challenges faced by people living with HIV, as well as the challenges in HIV prevention. 


Artists, writers, and activists that worked on the collective included:


Avram Finkelstein

Alex Fialho

Alina Oswald

Brendan Mahoney

Conrad Ventur

Filip Condeescu

Gerald Mocarsky


Jano Cortijo

Jorge Sanchez

Kenneth Pietrobono

Lanai Daniels

Mark Blane

Nick Kleist

Pablo Herrera

Spear Minteh


A major theme that emerged in their conversations was the ways that current advances in HIV treatment and prevention may relate to stigmatization, economics, and treatment agendas. Based on these conversations, they designed a poster installation for four library branches, an outreach post card, and a blog to continue their conversation under the name of the Undetectable Collective.



Their work will be on view this October through December at the Hunt’s PointJefferson MarketSt. George, and Washington Heights branches.  See each branch’s homepage for location and hours. Please come see the exhibition and take a postcard.


Vino Veritas Oslo by Masquespacio

Spanish design studio Masquespacio have recently completed the branding and interior design for Vino Veritas, a restaurant located in Oslo, Norway.

From the designers

Spanish creative consultancy Masquespacio just finished their last international project in the Norwegian capital Oslo. The project consists in the branding and the interior design from Vino Veritas, an ecologic restaurant specialized in organic wines and tapas of Spanish origin.

The restaurant of Vino Veritas as a part of the well known ecologic winery, Cortijo El Cura, has its origins in the Andalusian region La Alpujarra and introduces the ecologic Spanish gastronomy into the most important cosmopolitan city of Norway. Starting from the really representative interior architecture for the Scandinavian countries with its natural wood walls and ceilings, here painted in white and adding a solid oak floor, in first case Masquespacio wanted to maintain the essence of the Norwegian interiors.

Nevertheless when entering the space we can see how the Norwegian architecture blends on a natural and comfortable way with the Spanish culture and in particular with the Andalusian one. That way the typical Andalusian old balcony railings attract us, besides decorative elements like the baskets and blinds of esparto or the Spanish clay tiles. The most traditional craftsmanship is always present through the elements mentioned before, but also by means of the handmade lamps of raffia, esparto and cord. On the other hand plants and fabrics of the chairs provide a touch of green color to the restaurant. Last the solid oak wood used for the furniture offers the elegancy required in this kind of restaurants, while the cushions designed by Masquespacio highlight the deco feeling of the space.

Ana Milena Hernández Palacios: “It was important for us to highlight characteristics like the ecology and craftsmanship of Andalusia that were marked significantly by the business model of Vino Veritas. Although we wanted to take in count the beauty of the Norwegian architecture and always thinking in designing an elegant and warm, but at the same time inviting space, for a wider public looking for the Spanish culture and gastronomy.”

With this project Masquespacio adds a new international client to their portfolio, showing its ability to offer creative solutions for any business model, adapted to its target audience.

Design: Masquespacio

Photography by David Rodríguez and Carlos Huecas