guillermo morales

Vista de la estancia al aire libre de una habitación de invitados, Hotel Pozo del Rey, av. Gran Via Tropical esq Pozo del Rey, Las Playas, Acapulco, Estado de Guerrero, México 1954 (parcialmente destruido y remodelado)

Arqs. Mario Pani y Enrique del Moral

Foto. Guillermo Zamora

View of the open air living room of a guest quarters, Hotel Pozo del Rey, av. Gran Via Tropical at Pozo del Rey, Las Playas, Acapulco, State of Guerrero, Mexico 1954 (partially destroyed and remodeled)

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On the Puerto Rican Day Parade & Festivities in NYC

Puerto Rican flags everywhere. But no independence. Puerto Ricans are culturally and spiritually alive, but politically and economically dying. To this day, Puerto Rico, excuse me Boriken, is still a colony.

Don’t let “commonwealth” fool you. The only thing common between the U.S. and P.R. are the millions of oppressed and colonized Puerto Ricans living on both lands still floating in political limbo. Puerto Ricans need just as much freedom and justice as the rest of us.

¡Viva Pedro Albizu Campos! ¡Viva Guillermo Morales! ¡Viva Ramon Betances! ¡Viva Lolita Lebron! Viva los Young Lords! Free Oscar Lopez Rivera! ¡Y Que Viva Puerto Rico Libre!

When tyranny is law, revolution is order!

Vista desde el Paseo de la Reforma, Secretaría de Recursos Hidráulicos, Glorieta de Cristóbal Colón, Paseo de la Reforma 69, Tabacalera, Cuauhtémoc, México, DF, 1950

Arqs. Mario Pani y Enrique del Moral

Foto: Guillermo Zamora

View from the Paseo de la Reforma, Secretariat of Hydraulic Resources, Glorieta de Colon, Paseo de la Reforma 69, Tabacalera, Cuauhtemoc, Mexico City, 1950

Vista de la fachada principal de la terraza de la biblioteca, Casa en Polanco, Alejandro Dumas 337, Polanco, Miguel Hidalgo, México DF 1950

Arqs. Mario Pani y Enrique del Moral

Foto. Guillermo Zamora

View the main facade from the terrace of the library of a house in Polanco, Alejandro Dumas 337, Polanco, Mexico City 1950

nytimes.com
Protests as City College Closes a Student Center

It was just a small room, one of hundreds in City College’s North Academic Center, but over the years the Guillermo Morales/Assata Shakur Student and Community Center had taken on a significance beyond its square footage. To student organizers who used it as their meeting space, it was a place for lesbian and gay activists, women’s rights groups, community organizations and others to make common cause.

To outside critics it was a symbol of campus politics gone berserk, its unofficial name a glorification of City College alumni who had joined revolutionary organizations and gone on the lam.

But officials at City College, part of the City University of New York, insisted that charged history was not a factor when they decided that the room would be better used as an annex for the school’s career services office, two floors below. Without notice, security officers entered the room this past weekend, boxed up and removed its contents — and just to be on the safe side, locked down the entire building, including the library.

I think that the CUNY administration is really scared of a lot of the organizing and community-building coming out of the building,” said Alyssia Osorio, director of the Morales/Shakur Center. “We provide so many services for the community — know-your-rights training, a farm share that provides healthy food, we’ve run a soup kitchen, we have provided baby-sitting services for people in the community.”

The City College students whom the center’s name honors have never visited. Guillermo Morales, a leader of the F.A.L.N., a Puerto Rican independence group that claimed responsibility for a deadly bombing in New York, fled to Cuba. So did Ms. Shakur, who as a member of the Black Liberation Army was convicted in the 1973 killing of a New Jersey State trooper. In 2006, a student objected to the name of the center. In the ensuing controversy, CUNY’s chancellor ordered that it be changed. But it stuck.

Taf Sourov, 19, a member of the Revolutionary Student Coordinating Committee, a group that regularly met there, said he believed the closing was retaliation for student protests against David H. Petraeus, the former C.I.A. director and military commander, who is teaching a course at the Macaulay Honors College.

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From Best Movie magazine, October 2015 

I’m the mysterious stranger: Tom Hiddleston is the outsider in Crimson Peak, an enigmatic and charming man who lives in a giant, creepy mansion. In real life, actually, he is a British man, lean and confident, who tells us the secrets of Guillermo del Toro’s new movie, based on forbidden desires and death’s fear.

A waltz so natural that the light in the dancer’s hand doesn’t turn off. A butterflies’ cloud. A ball thrown to a dog rolling in the wrong direction. For Guillermo del Toro, tension is a matter of details and elegance, with the horror slowly released. Technically a gothic-romance, Crimson Peak promises chills telling the story of Edith, a young writer - played by Mia Wasikowska - attracted by a mysterious man, Sir Thomas Sharpe. A charming stranger, who takes her from a childhood friend and led to a house able to breathe, bleed, remember. “But beware - warns Tom Hiddleston, who plays Sharpe - this is not a movie about a haunted house. It goes much further.” 

In person, the actor born in London in 1981, paradoxically became a star with the role of an American cinecomic villain (Loki, who else?), is tall, slender and elegant in a very blatantly British way, as if the class is a habit and a point of honor. He is also much blonder than we are used to imagine after the various MarveI Movies. Being part of a group of journalists scruffy and sweaty, in a hangar at Universal Studios on a hot summer day in Los Angeles, creates a particularly alienating contrast in front of him.

This is your first horror movie, right?

Yes it is. It’s very exciting and I’m realizing that there is a great enthusiasm for ghost stories because - strange to say - they make you feel alive. 

In fact, we’re always “more alive” than a ghost …

It’s not just that. There is a sense of mystery and danger in this kind of story, and my experience, looking horror stories at the cinema, is that the fear - the jump on the chairs of all the audience at the same time, the scream and then the liberating laughter - connect you with others, makes it a collective experience.

It seems a good way to describe cinema.

I think cinema is just like this: it seems an individual experience, but it really is not.

You said Crimson Peak is not a movie about a haunted house, and even Del Toro has recommended “don’t write that’s a movie about a haunted house”. But then what is it?

Del Toro was inspired by the novels of Ann Radcliffe, Daphne du Maurier, Charlotte Bronte, writers who he loves and admires. The gothic romance with sentimental shades is his favorite genre. There is always a very strong, independent female character, a hero with an open mind and a fervent curiosity, and in this case she’s Edith, played with great sincerity by Mia Wasikowska.

And who are you?

I’m the outsider. A stranger who lives in a big house. Gothic romance structure is very pure and it allows to explore different thematic: love, passion, darkness. There’s a particular sensuality in this movie and in the beginning is so light that is difficult to notice, but then it’s revealed. A very charming sense of forbidden. I mean, there’s more than you think behind that door at the end of the corridor….

In few words, pleasure and death.

This kind of literature focuses on men primary instincts: sex, source of life, and fear for the end of life itself. Powerful, inevitable forces, contradictory and present everywhere. The tension between these two elements is very high in Crimson Peak. A young woman is pushed towards a mysterious future by her heart and her sexuality, but also by her independence and self-consciousness. 

There a spectacular dance scene in the movie. Do you know well classical dances?

I’ve learned, and you know what? Waltz should be back in fashion. Everyone should be able to dance it: it’s beautiful, so fluid. We did that scene in two, three days and it was a pleasure, because, when you play in a movie so dark, you need some lightness. When you dance waltz, you move on your tiptoes all the time, you never rest your feet completely, and this makes you feel almost ethereal, is a good feeling.

Is it true that del Toro wrote your character’s biography?

Yes, he send me a ten pages bio, a sort of summary, a story apart. There’s all what happened to Thomas before the beginning of our story, and what happened to his parents too. There are a lot of very useful details. After reading it and wearing his clothes, I became him. I knew who he was, why he behaved like that, when he wanted that life. Then I looked Mia in her eyes and she did the rest. 

You’ve already worked with Mia in “Only Lovers Left Alive”: it was easier the second time?

It’s much easier when you know a person. Mia is one of the most natural and pure actresses I’ve ever worked with, and this is a movie of disarming sincerity.

What do you mean?

There is no authoritarian comment, no morals. Guillermo tells this story with truth. It’s an uncommon attitude, very stimulating on the set. We were there all together, working to create something seriously honest. It does not happen often with the movies.

Let’s step back: today you are a big star, you owe it mostly to Marvel movies.

Loki has changed my life. I am still amazed by all this attention…. and think that I’ve never been a fan of comics. I used to read Tolkien and Mary Poppins as a child. 

Michael Douglas has recently expressed a theory about why British actors in Hollywood have so much success. He says they are doing better than the American counterparts because they are more “manly”. What do you think?

I don’t know if I’m qualified to answer this question (he laughs). I don’t know, for real. I believe that the success of the British, rather than depend on being “manly”, depends on the cultural background. In this we Brits are very lucky, we have a tradition of preparation to the scenes that others haven’t. The English theater is a great starting point: being on stage for a text by Shakespeare, Chekhov and Miller is a gym that the makes the difference. I don’t know, I’d love to have a chat with Michael Douglas… you know, a thing like that said by someone like him! Yes, it would be intriguing to exchange a few words with him.

Avengers & X-Men: AXIS #9 - "Grinding Halt" (2014)
pencil by Jim Cheung, Terry Dodson, Leinil Francis Yu, & Adam Kubert / ink by Mark Morales, Dave Meikis, Guillermo Ortega, Mark Roslan, Rachel Dodson, Jim Cheung, Leinil Francis Yu, & Adam Kubert / color by Paul Mounts