Encuentros con Gregorio Luke - Wednesday, June 10, 2026

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1. of this giant. He weighed more than 300 pounds. He was over six feet tall.
2. And yet what was most interesting about him were his eyes that seemed to protrude like those
3. of a frog. So here, you know, you see several cartoons that make light on Diego Rivera.
4. Here is his own cartoon.
5. Patigo Rivera was a deeply intelligent and cultured man.
6. He was also a great conversationalist and a man that could mix in his conversation myth and reality.
7. you never really knew where the reality ended and the myth began
8. he became one of the most famous artists in the world in his day and uh he would
9. completely define mexican art
10. from an art in the 19th century that was subservient to what was being done in Europe.
11. Diego Rivera, that had mastered many forms of European art,
12. came to this continent to start something new,
13. connected, of course, with European art tradition,
14. but something fully original.
15. the muralist movement that Diego Rivera pioneers had a deep influence not only in Mexico but also
16. in the United States uh in the United States as part of the new deal there was a program the WPAS
17. that I wish we could bring back you know that created all this public opportunity for artists
18. and for people everywhere to do and to paint libraries and gave employment to the artists.
19. And a lot of this program was inspired by the work of Diego Rivera.
20. So who is this man, this complex man, this artist that could paint 16 hours nonstop,
21. whose work is so vast that if you were to put all of his murals and paintings in a single surface,
22. they would occupy a space of over a square mile of art.
23. Can you imagine?
24. But here you actually hear Diego Rivera speaking.
25. In reality, art, since it is an essential activity for human life, cannot be or is a privilege of some.
26. Well there you have a little higher pitch that I was expecting Tigo Rivera was born in the city of Guanajuato the 8th of December of 1886
27. Guanajuato is a mining town in central Mexico and it is because of the mines and the structure of
28. the city some of the streets are so narrow that they have a famous alley that they call it the
29. alley of the kiss because the street is so narrow that people can kiss on one side of the street
30. and in another and an aspect that has not been much studied about Diego Rivera
31. is that he was a twin and he lost his twin
32. and
33. there is nothing worse
34. for a twin than to
35. lose his brother or sister
36. the twin is organically
37. connected with each other
38. and so
39. Deo de Vera always
40. had this kind of bonding
41. issue
42. he was very
43. loving and but there was always a certain distance with him
44. it's interesting it's something that deserves more study for example Diego Rivera once they
45. described an incident in which he was in a cafe and they shot a person right in front of them
46. and Diego's reaction was not to run ask help no no he pulled out his notebook and started making
47. drawing. It's interesting. So when he loses the twin and the mother enters into a nervous breakdown,
48. Diego is raised basically by his Indian nanny. And in his own tales, Diego Rivera would
49. embellish this story and say that he had lived with his nanny in an Indian town and that he had
50. learned to talk with the animals and so on. Now, interestingly, Diego Rivera created his first
51. scandal when he was four or five years old. And this is true because it is told by the out.
52. and this lady took the egito to mess and uh she told him you know now you have to kneel
53. and ask the good virgin to protect your mommy and your daddy and all these things
54. and the boy said no i will not do that what do you mean you won't do that well
55. she cannot hear me
56. I've been observing it
57. and it has no holes in the ears
58. the ant tells her well
59. this is an
60. image of the virgin high above
61. so whatever you ask
62. the image
63. the good virgin will give you
64. and the ant says well that's stupid
65. that is like if I asked
66. my allowance to the photograph of my father.
67. And they took him hurriedly out of the church.
68. And what I find interesting about this story is a couple of things First his capacity for observation even at this young age
69. And secondly, his possibility of thinking logically.
70. I mean, how many of you have noticed that the virgins in the churches have no holes in the ears?
71. I certainly haven't
72. so he always had a
73. kind of a difficult relationship
74. with the mother
75. and
76. from the very beginning
77. it was clear that
78. he was going to be an artist
79. he does this drawing
80. of his mother when he's 10
81. and
82. by the time he's
83. 12 or 13, he's admitted into the Academy of San Carlos, Mexico's great art academy.
84. In San Carlos, he has three important teachers. One is José María Velasco, the great landscape
85. artist, who teaches Diego to look at the light, to love the landscape and the earth.
86. the other, Felix Parra, teaches him to love pre-Hispanic art.
87. And the third, Santiago Rebul, would tell Diego something he would always remember.
88. And he said, look, these things we call paintings are attempts to capture on a flat surface
89. the essential movement of life.
90. if it doesn't move
91. it's a bad painting
92. I have found that one of the best definitions
93. to evaluate any art
94. being
95. abstract or realistic
96. if it's not alive
97. if it's not vibrant, if it's not moving
98. it's not good
99. so
100. in
101. his time in school
102. according to some Diego Rivera was a very disciplined student but according to his own
103. accounts he was leading strikes and movements and was expelled of the school that is what Diego says
104. and for the next few years he goes around the country doing landscapes like his teacher Velasco
105. had taught him.
106. And
107. it is in this moment when his
108. father intervenes with
109. the governor of Veracruz
110. and he gets him
111. a scholarship.
112. Gerardo Murillo, Dr. Adel, another
113. famous painter, helps him
114. organizing an exhibit
115. of his work, sells the paintings
116. and with the money he's able to
117. buy a
118. ship trip
119. to Spain.
120. He would arrive in Spain at 21 in 1907.
121. And in Spain, he would join the workshop of Eduardo Chicharro.
122. And he would continue to work, you know, walking, going to the countryside, drawing.
123. But in Spain, there is an element that is new.
124. And that is the existence of great museums.
125. So Diego can now go to El Prado and he can see the works of Velasco of Goya of so many others And he would later try to recreate in his studio what he had seen in the museum
126. So in a way, his teachers are not just the people that teach him,
127. but all the artists that he is nourished from.
128. And as you can see, his maturity and the quality of his work is remarkable.
129. In a few years, he's already a master painter.
130. He would have a brief exhibit in Mexico in 1910, and then he would return to Europe.
131. and there's different anecdotes of how he left uh spain uh one anecdote that i like is that the
132. famous painter sorolla went to the studio and uh looked at one of his paintings and said
133. who did this work he goes to spread out the response he said let me see your hands you know
134. what you have here? In this finger, you have a checkbook of pounds. Here you have a checkbook
135. of francs. Here you have a checkbook of dollars. You're going to be the most famous artist of your
136. time. And what Diego Rivera tells us is that he gambles that night and he wins. And with the money,
137. he's able to travel to the rest of Europe. And in these travels, he goes to England,
138. he goes to Belgium, he would meet a Russian painter called Angelina Belov that would become
139. his common law wife. Here you see a painting that he does of Angelina. Of course, his work always
140. improves what he sees. This is another place where they knew the house over the river.
141. once more the art that Diego creates adds so much layers of understanding to the work
142. and it is in Paris where Diego Rivera begins to experiment with many forms of art
143. he would even joke that there were more Diego Rivera's in European museums that you thought
144. meaning that he had falsified works that had later been acquired to museums here for example
145. you see the use of pointillism, this type of representation that Seurat and Signat did,
146. in which they paint with little points. Or, you know, the Impressionist palette,
147. or the Dutch styles. But as he evolves, Viego is attracted by modernism. First by the futurists,
148. And this idea of simplifying the form and of trying to recreate movement.
149. But at the same time that he's being inspired by modern artists, he also has the influence of Greco.
150. You know, this elongated figures that Greco used to do.
151. So you look at a work like this one that Octavio Paz considers Diego's first masterpiece.
152. And you see the simultaneous influence of modern and classical art at the same time.
153. He decides to establish himself in Paris in Montparnasse, and he becomes a very good friend of Pablo Picasso. And like Picasso,
154. he paints in the Cubist style.
155. Cubism allows Diego to understand space,
156. to paint what he sees,
157. but not only what he sees,
158. but also what he knows.
159. If we were to paint a realistic painting of this building,
160. it would have just one front.
161. but in the cubist version he can paint the same plaza close up from the distance from above from
162. the sides or he can paint the figure and he can try to find the essence of that face what are those
163. basic traits that make a face recognizable
164. you can also paint somebody
165. from the frontal perspective and from the profile at the same time
166. and you can create images that paint emotions like this portrait that he does of this writer
167. and he presents him like a demon and you see what he's thinking and his eyes are different
168. he would even i would fully embrace the paris scene he would become
169. a member of this group and in some of his works he would even be in the avant-garde
170. he would in this painting the Zapatista landscape he would pioneer what he calls
171. the neutral spaces that is to leave certain spaces you can see that like the wood untouched
172. and there is the Riveristas claim that Picasso actually borrowed this technique
173. well Picasso himself would say that uh that he didn't borrow that he stole right and artists
174. were nervous every time that Picasso was around in your studio because he would see what you were
175. doing and then he would come out there and do it better than you but it was your idea that he was
176. taking or recreating so he has some difficulty with with Picasso and then he has a fight with
177. a critic, Pierre Reverdy, who accuses him of being a beast. Apparently, Diego fought him physically
178. for a comment that he made. So, you know, his connection with some of the avant-garde sours.
179. right when he's at his cubist best Angelina is pregnant with their baby and Diego would do these
180. beautiful cubist portraits of her before the pregnancy during the pregnancy and after the
181. pregnancy and it is interesting to note how the treatment and the relationship of the mother and
182. the child is communicated using only form and color. Sadly, you know, their baby that
183. they baptized as Michelangelo would die The couple was extremely poor after the World War I They were not selling anything Diego scholarship had ended And they could not even afford ways of heating their small apartment
184. So after his death of his son and his own concerns and problems, Diego Rivera enters into a deep depression.
185. And one day, he would start painting very much influenced by Cezanne.
186. And he would abandon the Cubist representation and start going back to naturalism.
187. in a very intelligent and critical way.
188. To some extent, his naturalism now
189. was enriched by the Cubist experience.
190. As we can see in these paintings.
191. This painting of a mathematician.
192. You look at it, it seems naturalistic,
193. but if you see the study,
194. it is carefully
195. the geometry
196. within the image is carefully
197. thought through
198. he would meet this man
199. who was a doctor
200. who had been in the trenches
201. in World War I
202. and who had a very different vision
203. of art than
204. the critics in Paris
205. this is a man that had been
206. in the trenches
207. And he tells him things that Diego Rivera would always remember.
208. And I always say them fast and I wrote them down.
209. So if any of you wants to remember them, he says,
210. do not be afraid of your intellect.
211. That which kills is not learning.
212. It is the failure to feel what one learns.
213. And then this leads to sterile rationalism that finds no room for
214. passion and instinct.
215. And then he says something very interesting. It's through art.
216. You can define yourself, know yourself, leave an indelible mark of your spirit on matter.
217. Art is the positive outcome of each generation of life on earth and alone gives each age a chance at relative immortality.
218. And he tells him, all these are advices that any artist can use.
219. You should be able to feel the pain of others.
220. All rivers must flow in your veins, even those that carry putrefaction.
221. You should be able to perceive the light of all constellations, even those that no longer shine.
222. And he says, become the voice of life.
223. and Diego doesn't know what to do with this advice
224. now he says become the voice of life
225. pay for the people
226. and Diego doesn't know how to do that
227. and his old teacher provides him not only the advice
228. but also the concrete to do
229. he tells him go to Italy
230. and look at the murals of the Renaissance.
231. So the Oribeira for the next 18 months travels through Europe with a notebook He would make thousands of sketches of all these great frescoes
232. He would learn how to paint in the fresco technique.
233. Nobody had used the fresco technique in 400 years.
234. The murals were considered a thing of the past.
235. And he would see all the mural cycles,
236. the work of da Vinci and Michelangelo and Rafael.
237. And it is like he was touched by the past.
238. The idea of doing murals again is just so inspiring.
239. It would completely change the art in Mexico.
240. so he would return to Mexico
241. the country had changed
242. it was not the same as he had left it
243. after
244. you know Porfirio Diaz had been
245. overthrown there had been a
246. revolution
247. and there was
248. an awareness of the importance
249. of art as a way
250. to change life
251. so
252. Jose Vasconcelos would commission
253. young artists to do murals everywhere
254. and Diego Rivera receives his first commission
255. to paint in a high school
256. but this first mural is still very much
257. a reflection of what he had seen in Europe
258. it's still reminiscent of
259. Italian frescoes
260. once in Mexico he would meet another woman
261. Lupe Marin.
262. And with Lupe, he had, Lupe was this powerful woman with very light green eyes.
263. And with Lupe, he would have two daughters.
264. and still inspired by this experience of fertility,
265. he would create one of his most beautiful murals,
266. the mural of Chapingo.
267. And let me open the doors of this wonder for you.
268. So this is Chapingo.
269. it's about an hour from Mexico City
270. if you're ever there
271. I strongly recommend you see it
272. and the mural is about
273. the liberation of the earth
274. and the liberation of those who work the earth
275. so it has these panels
276. first you see the leader that is organizing the workers
277. in front of it
278. you see the fresco of germination, these figures that are about to be born.
279. Then you have the sacrifice of the worker.
280. And in the opposite side you have the flower
281. And then you have the victory of the revolution.
282. And in front, you have fructification, the fruit of the earth.
283. But it's a mural so well painted that the images appear to be three-dimensional.
284. You look at it and it seems that those people are actually standing on top of you.
285. Others just kind of glide.
286. It's just so beautiful.
287. Octavio Paz would say that we feel in touch with the essence of humanity,
288. the virginal gardens of the beginning, man, nature, and technology in an organic whole.
289. and he would paint in the central part his wife Lupe pregnant like the pregnant earth
290. and then in the other side he would represent the mystery hope and fragility of life
291. in this female figure that seems to breathe in front of us you see the the virginal earth
292. in a mural that was posed by Tina Modotti.
293. But Diego Rivera's real return to Mexico
294. does not happen immediately.
295. He first establishes himself, still is working.
296. But then Vasconcelos asks him to come with him.
297. And they go to the Oaxaca and they see the countryside
298. and he goes out and he sees the people.
299. And for him, it's just a revelation
300. because Mexico is completely different than Europe.
301. In Mexico, the light is much brighter than in Europe.
302. And then you have the contrast.
303. In Europe, you have darker light and whiter faces.
304. In Mexico, you have darker faces
305. and much bright skies around them.
306. De Coribera would write about his homecoming.
307. And you see how images that he had seen in Europe,
308. like this beautiful fresco of Giotto,
309. he obviously inspired by it, but transforms
310. and makes it Mexican.
311. He would write,
312. my homecoming produced an aesthetic exhilaration
313. impossible to describe.
314. It was as if I were being born anew, born into a new world.
315. Gone was the doubt and inner conflict that had tormented me in Europe.
316. I painted as naturally as I breathed, spoke, or perspired.
317. and these are the frescoes that he would do
318. in this whole, in two buildings
319. of this Ministry of Education
320. where he would paint all the people of Mexico
321. the workers, the feasts
322. these two large patios
323. all these images somehow connect one with the other
324. it's almost like cinematographic
325. or others, you see a song that connects one image with the other
326. The Orville continued, my style was born in a moment, except that this bird
327. had come after a torturous pregnancy of 35 years.
328. In everything, I saw a potential masterpiece.
329. The crowds, the markets, the festivals,
330. the marching battalions, the working men in the shops and fields.
331. in every glowing face
332. in every luminous child
333. all was revealed to me
334. I had the conviction
335. that if I lived 100 lives
336. I could not exhaust even a fraction
337. of this buoyant beauty
338. © BF-WATCH TV 2021
339. Entire history of a country on a wall.
340. It begins with the pre-Hispanic part, where you see Quetzalcoatl, that was this white god, that beard.
341. and that is the reason the Aztecs don't fight the Spanish
342. because they think that it's Quetzalcoatl that is returning.
343. You see the conquest, the fight against the French intervention,
344. the revolution, and then the Mexico of today and tomorrow.
345. Diego Enzida would also have a very active political life.
346. And in Cuernavaca, Diego would do a mural where he would paint Zapata.
347. But interestingly, in most of his paintings in a similar way that Hitchcock, he always found a cameo role for himself.
348. For example, if you look at Morelos, he put his face on Morelos.
349. And you always can find Diego here.
350. You see him a little bit to the center left with a hat on.
351. or here you see him also there looking at the workers, or here in the middle of the Day of the Dead celebration,
352. or he's portrayed as an architect in the Ministry of Education.
353. So in Cuernavaca, they meet the U.S. ambassador that commissions a mural,
354. and he gets an invitation to travel to San Francisco with Frida.
355. he would meet a tennis player and when he was asked to do a fresco in the stock exchange
356. of California he would use this young woman as a model for California and the inventiveness
357. of California At that time was found how could he do that But the mural is just beautifully done And he also would do a mural in the San Francisco Art Institute
358. And in this mural, he would paint the making of a fresco and the making of a building.
359. And all the people that are painting are his collaborators and himself.
360. However, some thought that he was being offensive
361. because he was giving his big behind to the American public.
362. Then Frida and Diego would travel to, first to New York,
363. where he had an individual exhibit at the Museum of Modern Art,
364. and then to Detroit.
365. Detroit at the time was the capital of industry in the U.S.
366. And you go fascinated by technology.
367. So he would create perhaps the greatest artistic celebration of technology anywhere in the world.
368. His murals in Detroit still stand.
369. And whereas others see the machines as dehumanizing, for Diego Rivera, they mean the hope of the future.
370. And here I have prepared for you a series of images that were shot by Mr. Henry Ford that wanted to supervise Diego's work.
371. And they're set to the score of Huapango.
372. This is what he achieved.
373. extraordinary space
374. marvelous
375. and Diego Rivera would say
376. that the greatest compliment
377. in his career was when all the workers
378. came in there and they saw
379. what he had done and didn't find any mistakes
380. somehow
381. we created the central
382. machine
383. a version of the
384. Aztec goddess
385. Coatlicue
386. but notice
387. For example, this is like, how do you assemble a car?
388. You can do an engineering class with this press code.
389. And then if you notice, Diego Rivera does the opposite, that marketing.
390. In the marketing, you see the image of the car, but you know nothing of those who made the car.
391. Here if you notice you see the workers in the front and way in the back you see the finished product the automobile Now while Dio was doing all these murals Frida was pregnant
392. and was doing her own work.
393. But because of the way she had broken her pelvis,
394. she could never carry a child to turn.
395. So she begins to bleed, and it's a miscarriage.
396. And Diego would echo Frida's pain. Frida did this work.
397. And in this huge fresco, Diego would also paint a baby that was never born.
398. Now, after Detroit, Diego and Frida go to New York, and they are hired by Rockefeller
399. to do a mural in the new RCA building, at the time the largest in the world.
400. And so the commission was men at the crossroads.
401. And there is many versions.
402. Some say that Diego Rivera did not speak with Rockefeller clearly.
403. Others even suggest that Nelson Rockefeller's mother suggested he painted
404. Lennon.
405. Diego also has said that he had painted Lennon in the sketch,
406. but that he was wearing a cap.
407. We always thought that that was like a joke of Diego.
408. But if you look at this sketch, you really do see Lenin.
409. And the fact is that Diego painted in Rockefeller's mural the portrait of Lenin.
410. so Nelson Rockefeller asked him to take the painting to remove Lenin which Diego Rivera refused
411. and there's an enormous scandal workers came out defending the mural
412. and it is a a pity that the mural was destroyed because regardless of the portrait of Lenin
413. the concept of the mural is wonderful it presents this worker in the middle and then you have these
414. two ellipses uh in one of the ellipses well one in one corner you see the the wealthy
415. and in the other the poor.
416. And then one of the ellipses is everything that you can see
417. through the microscope.
418. And the other is everything you can see through the telescope.
419. Eventually, Rockefeller had the National Guard escort,
420. Diego Rivera, paid him, and then they proceeded.
421. you
422. ¶¶
423. © BF-WATCH TV 2021
424. This is a recreation of the destruction of the mural in the movie Cradle Will Rock.
425. So the mural was destroyed.
426. Diego Rivera would recreate the mural in Mexico.
427. But this is the place where the mural would be.
428. I dream of someday being able to go there and project the mural of Diego on that same wall.
429. If any of you knows anyone there in that Rockefeller.
430. Deva returns to Mexico
431. and through his intervention
432. Leon Trotsky
433. the great rival of Stalin
434. is given asylum in Mexico
435. eventually
436. Trotsky is murdered
437. and Diego Rivera returns for the last time to
438. California, San Francisco again
439. and he would do this mural on Pan-American unity
440. this is a mural that was recently moved
441. and it is a celebration of
442. the North and the South
443. in ancient times
444. it recreates the heroes of Latin America
445. and the US
446. and contemporary figures like Chaplin
447. he would come back to Mexico
448. and in Mexico he would do murals
449. that would criticize the Mexican politicians
450. he presents the president
451. as a thief and then you see a general
452. with the head of a pig stealing the fruit of Miss Mexico.
453. So after he does this mural, his mural commissions dry up.
454. And Diego would spend more time doing easel work.
455. ¶¶
456. Some of the best work of Diego Rivera is his easel works, portraits like of his second wife, Lupe Marin,
457. or this beauty of his daughter Ruth Rivera, both with mirrors.
458. He would also continue to use many styles.
459. This is Ana Merida, a great modern dancer,
460. and this is the portrait that Diego Rivera does of her,
461. trying to capture her emotion.
462. he would be friends with
463. people, artists
464. like the celebrated beauty
465. Maria Felix that he would paint
466. and
467. another
468. magnificent portrait of Diego Rivera
469. is of the other great beauty
470. of Mexican cinema
471. Dolores del Rio
472. and we have
473. the moment where he actually is painted.
474. His collection of pre-Columbian artifacts is so vast
475. and so beautiful.
476. And yet some criticized him
477. and said that some of his pieces were false,
478. meaning that they had been created
479. by recent people,
480. not 500-year-old indigenous people.
481. And Jibera would respond,
482. why false?
483. It's the same clay and the same hands,
484. only a couple of years in between.
485. So if he saw a piece that he thought
486. It's so beautiful. He bought it. He also had the Aztec dogs.
487. And his connection to the Indian aesthetic is deep.
488. He would illustrate, for example, the Popol Vuh, the sacred book of the Mayas.
489. And in his murals, he would recreate the great Aztec civilization.
490. He would create the great markets, what the great city of Tenochtitlan must have looked like.
491. Diego has also a significant mural production concerning medicine.
492. he would do a mural in the Hospital de la Raza
493. in which he would represent the medicine
494. of today to your left
495. and the indigenous ancient Mexican medicine
496. to your right
497. and everything that he draws is carefully
498. documented on the
499. pre-Hispanic side
500. and then he puts all the medicines and he paints the plants where they were extracted from And then he paints us modern medicine
501. He would also do a mural in the Institute of Cardiology.
502. And he would not only do the portraits of famous cardiologists, but also their struggles.
503. He would do a cameo in this mural as well.
504. if you see him in the middle lifting his finger
505. and he would put the victims of the Inquisition
506. in his final years
507. it is almost as if Diego Rivera defied
508. the elements
509. he tries to paint underwater
510. in La Cuenca del Río Lerma
511. and he does this beautiful mural
512. that captures the microscopic world
513. the world of
514. like the races, the different races
515. and then you see all these little animals
516. and everything is
517. thought and calculated
518. to be seen
519. with water
520. on top.
521. Here we get an idea
522. of what Dio had in mind.
523. Look how beautiful this is.
524. You know, the hands and the water
525. that is spilling and then it's reflecting.
526. But sadly,
527. the paintings did not
528. survive
529. the contact with water.
530. They were eventually erased and had to be
531. repainted.
532. He also did several
533. swimming pools.
534. And
535. right outside
536. that mural,
537. he does
538. a tribute to the god
539. of rain, Tlaloc.
540. And this time,
541. Diego Rivera is defying
542. the sun, paintings that are
543. directly in
544. exposed to sunlight.
545. This time he would not work
546. with painting as he had
547. in the Cuenca del Río Lerma mural.
548. He would use mosaics.
549. And he would do several
550. murals using this technique.
551. One of my favorites,
552. he was going to do
553. a celebration of all the sports in the stadium of the university.
554. And he had planned to include all around the stadium,
555. but he could only finish one of the panels.
556. Another mural that he does using mosaic is in the theater of Insurgentes,
557. where he would combine this masked figure and then he would blend dancers and actors like Cantinflas.
558. Frida's health would deteriorate and after being amputated,
559. She would die in July of 1954 Diego Rivera becomes an old man overnight
560. He said that he clenched his fist so hard that he bled.
561. And two years later, he himself was diagnosed with cancer.
562. his final work seemed to echo his own end he does these paintings of
563. harvests and especially sunsets beautiful series of sunsets that are now in the
564. dolores almedo museum however i think his final thoughts were for freedom
565. because like Frida, this is the last painting Frida does
566. of Waterman and this is the last painting Diego Rivera does
567. Diego would die
568. in 1957
569. and the last mural I would like to share
570. of him is his beautiful
571. dream
572. in a Sunday afternoon at the Alameda Park,
573. which was what he saw as a child.
574. So it is, the Alameda is Mexico's central park.
575. And it is so beautiful
576. because it is the characters and their dreams.
577. Everybody's there.
578. You see the little pickpocket, the beautiful Jew, Marcela Violante, that was tortured by the Inquisition.
579. You see the lady that has a blonde son that she had with a soldier during the U.S. intervention.
580. or you see the old Chinaco that is dreaming of Maximilian and Carlota
581. or the old liberal that is dreaming of Benito Juarez and his colleagues.
582. This is a mural that was very controversial
583. because in the sign that is being held by Guillermo Prieto,
584. he first wrote his quote,
585. God does not exist. Eventually he removed the phrase. But you see the heroes and the guy selling
586. balloons and newspapers and fruits, the vendors, and all the memories come together. The first trip
587. in balloon. And then Diego's own childhood eating tortas. And his grandkids and his family.
588. You see the architecture, the history, as if there were no separation between the life of an
589. individual and that of his country. And then at the center, you see Diego Rivera dressed as a child
590. of 11 when he first saw the park. And he's holding hands with La Catrina, the festive death painted
591. by Posada and Frida Kahlo that is holding the symbol of equilibrium the yin and the yang You have a car that no longer walks and only que est teniendo el s del equilibrio el ying y el yang
592. 573-5286
593. 573-5286
594. Y apoya tu estación favorita.
595. Nosotros nos encargaremos de todo.
596. Estás escuchando tu estación favorita.
597. KPFK
598. Radio Pacífica
599. 90.7 FM
600. Los Ángeles
601. Y a través del mundo por
602. kpfk.org
603. Hola.
604. Muy buenas noches, yo soy Rubén Tapia.
605. Reciba la más cordial de las bienvenidas a este segmento pregrabado de media hora de noticias
606. que produce la cadena Radio Bilingüe para KPFK.
607. Para la edición de hoy miércoles 10 de junio,
608. escuchará un análisis sobre las falsas acusaciones de fraude electoral
609. que Trump y los republicanos han lanzado contra California
610. por el lento reconteo de votos por correo.
611. Pero antes...
612. Esta es la edición semanaria de Noticiero Latino.
613. Les saluda Chelis López con los temas de la semana.
614. Defensores de inmigrantes exigen cambios en centro de detención de New Jersey.
615. En Florida inicia la temporada de huracanes y hay preocupación ante los recortes de FEMA.
616. ¿Por qué hay mujeres que practican la cuarentena en el postparto?
617. En medio del intenso debate en el Congreso sobre el financiamiento para ICE,
618. el Centro Privado de Detención de Inmigrantes de Lanny Hall de New Jersey
619. se volvió epicentro de la política migratoria.
620. Una huelga de hambre de los detenidos se desbordó en enfrentamientos frente al reclusorio.
621. Abogados y activistas afirman que el trato digno y el respeto a los derechos humanos de los detenidos
622. son una exigencia nacional. José López Zamorano nos reporta sobre esta situación desde la
623. ciudad de Washington.
624. Aunque las protestas habían bajado de tono, agentes de la ICE y manifestantes se enfrentaron
625. otra vez, fuera de Delaney Hall, después que varios activistas hicieron una cadena
626. humana de brazos y luego de que la policía redujera su presencia en el controvertido
627. centro de detención de migrantes. Los forcejeos forman parte de acciones de solidaridad, luego
628. de reportes del inicio de una huelga de hambre y de trabajo por las condiciones de reclusión,
629. incluida comida en mal estado, atención médica inadecuada y falta de acceso. Sin embargo,
630. esas versiones fueron disputadas en una intensa comparecencia ante el Congreso por el secretario
631. de Seguridad Nacional, Mark Wayne Mullen. Lo que continuamos viendo es teatro político,
632. porque es lo que demanda la base de la izquierda radical. No tiene nada que ver con las condiciones
633. carcelarias. En respuesta, la representante afroamericana de Nueva Jersey, la Mónica
634. McIver, acusó al titular del DHS de usar la migración como un arma contra las minorías.
635. Usted ha hablado mucho de racismo. ¿Sabe lo que es racismo? Que todos los detenidos en
636. Delaney Hall sean personas de color. Defensores de migrantes coinciden que los problemas en los
637. centros de detención migratoria no son nuevos ni exclusivos de Delaney Hall. El abogado
638. Daniel Park ha escuchado todo tipo de quejas de sus clientes recluidos en centros de detención.
639. de los centros migratorios diversos.
640. He tenido individuos...