Culture

13 Ways Mexicans Prevented Home Burglaries

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So you don’t want to get robbed, but you’re too cheap to buy a security system. Well, here are some creative ways to make sure you keep those ratas out.

Plant nopales inside your walls.

Credit: @czamora2816 / Instagram

They might get over the wall, but they’ll regret it instantly.

Buy resorteras for all your kids.

Credit: @eddygalicia45 / Instagram

You’re probably gonna need new windows though.

Hire a velador to watch over your stuff.

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Credit: iStock

You can trust Don Gaspar… to fall asleep every night.

Get a “Beware of Dog” sign.

Credit: @caseyfia / Instagram

Maybe it’ll boost her confidence. Maybe.

Make sure you have the biggest chismosa as your neighbor.

chismosa
CREDIT: TARINGA.NET

She’ll stop any burglar in his tracks… and tell him all your secrets.

Hang saints and crucifixes all over your house.

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Credit: iStock

It might not stop them from robbing you, but at least they’ll feel really guilty about it.

If you don’t have barbwire, make your own.

Broken Glass
Credit: mitú

It works because they’ll immediately know how broke you are.

Put up a Donald Trump sign.

trump
CREDIT: NEWSON6.COM

Cause nobody fucks with the crazies.

Put a cut-out of Vicente Fernández on your front porch.

Chente
Credit: @recordstorefairy57 / Instagram

It’ll bring all the burglars to their knees outside your house.

Blast “La Macarena” on repeat.

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Día de #FlashBack y lo hacemos con la memorable canción "La Macarena", tema compuesto por Los del Río, incluido en el album "A mí me gusta" de 1994 y supuso un éxito internacional en 1995, 1996 y 1997, y continúa teniendo un seguimiento de culto. Es considerada como una de las canciones más emblemáticas de la música de baile de 1990. La canción se ubica en el puesto número 7 en el Billboard Top 100, en el puesto número 1 Latin Songs de Billboard y además es la canción dance de Billboard y una de las seis canciones en idiomas extranjeros que ocupa la posición Nro. 1 desde que comenzó la Era Moderna del Rock de 1955. #Entretenimiento #history #music #song #LaMacarena #LosDelRio #Recuerdos #VitaminaG

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Trust me, it’s torture. I mean sure, it’s fun… for like a minute… when you’re 12… in the 90s.

Hire a Curandera to get rid of evil spirits.

Curandera
CREDIT: Larry Lamsa / FLICKR

She’ll get rid of all the malas vibras… and your place will smell like sage.

Get a Chupacabra.

Evil cartoon chupacabra. Vector clip art illustration with simple gradients. All in a single layer.
CREDIT: LULULOLLI.COM

Oh wait, never mind, this thing only scares goats… and isn’t real.

Add more frijoles to your diet.

Frijoles
CREDIT: LIGHTERSIDEOFREALESTATE.COM

The nuclear option. This will keep EVERYONE out. Nice knowing’ ya!

READ: Moments You Know are Too Real If You Were Raised By Abuelita

Well, there you go, you’re all taken care of. What else would you do to keep your place safe? Let us know in the comments below!

Meet Frederico Vigil, The Creator Of The Largest Concave Fresco in North America – Mundos De Mestizaje

Culture

Meet Frederico Vigil, The Creator Of The Largest Concave Fresco in North America – Mundos De Mestizaje

Courtesy of Ximena N. Larkin

When visiting the National Hispanic Cultural Center campus in Albuquerque, New Mexico, it’s easy to write-off the upside-down, bucket shape form rising from the ground. It stands alone with no distinguishing marks. There are no large crowds to hint at the remarkable secret hidden inside. Visitors will know they are in the right place when the gray asphalt and concrete beneath their feet morph into red—matching the building’s exterior.

Two, towering wood doors mark the entry into the nondescript building.

Credit: Courtesy of Ximena N. Larkin

When the doors swing open, it’s impossible to avoid looking up because the vibrant colors of the ceiling act as a magnet, drawing eyes upwards. Step into the 45-foot dome-shaped structure to get a better look, and there, in the small Southwest town of less than 1 million, the largest fresco painting in North America wraps around the ceiling.

El Torreón is the name of the structure which houses Mundos de Mestizaje.

Credit: Courtesy of Ximena N. Larkin

The larger-than-the-Sistine-Chapel fresco made by Frederico Vigil. It took the Santa Fe native almost three years to have it approved and 10 years to complete it. The aerial artwork depicts thousands of years of Hispanic and pre-Hispanic history. Depending on your cultural background, some iconography is easy to spot and place in history. If you’re Mexican, La Virgen de Guadalupe, a portrait of the beloved civil rights leader Benito Juárez and the eagle, serpent, and nopal from Mexico’s coat of arms will stand out. But walk around the room, or sit in one of the lounging chairs that allow visitors to tip back and view the work at 180 degrees, and soon you’ll realize there are hidden figures among the more popular markers of Mexican and Indigenous identity.

“I’m a mixed man with many different bloodlines,” Vigil says on a phone call. “I’m mestizo. I wanted to show the history of what that means.”

For the project, Vigil consulted with seven scholars on Mesoamerican and Spanish historical culture in order to create an accurate depiction of the past.

Credit: Courtesy of Ximena N. Larkin

He says that just by looking at the Iberian Peninsula, there’s a mix of Romans, Celts, Muslims, and Phoenicians which is all tied into Spanish identity. Then, with the Americas, there’s Maya, Aztec and Toltec. The history of these lines iS not linear. They overlap, intertwine and blend together in a dizzying ride that Vigil worked to bring to life in Mundos de Mestizaje. 

The purpose is to show the viewer how interconnected and far-reaching culture is. Islamic philosopher Ibn Rushd is depicted sitting next to Rabbi Moshe ben Maimon, a Medieval Torah scholar, and physician. Chacmool, the pre-Columbian sculpture found throughout Mesoamerica shares space with George Washington and an African slave. 

“There are no purebloods, we are all mixed—or perhaps the only people who can say they are of pure blood are the Amazons or indigenous tribes that have lived in isolation,” Vigil says. “When people begin to study the past, they realize we, as a society, are not genetically one thing.”

Vigil learned the art of fresco painting from Lucienne Bloch and Stephen Pope Dimitroff. The couple might not be household names outside of the art community, but their bosses were. Bloch and Dimitroff were assistants to the world-renowned Mexican artists Diego Rivera and Frida Kahlo. 

Vigil connected with the couple thanks to the Santa Fe Council for The Arts.

Credit: Courtesy of Ximena N. Larkin

The organization reached out to Vigil to gauge his interest in a scholarship learning from the pair. Now in their 70s, the two aging artists were making strides to ensure their knowledge was passed down to a new generation of creators. Art lessons were accompanied by tales of the past that included Kahlo, Rivera, and friends such as Leon Trotsky. There, he learned the complicated and time-consuming process of fresco painting.

A surface is rough plastered with a mix of lime, sand, and cement. On average, a layer takes 10-12 hours to dry. A painter can go to work an hour into the drying process and usually has between seven to nine hours of time to complete their design. The art then needs 7-10 days between coats. If the painter messes up, they have to scrape off the layers and begin again.

“I’m a procrastinator but when the wall is wet, you have to paint,” says Vigil. “Each painting is a new experience. It doesn’t get old.”

Vigil is currently working on a new 2,500-plus square foot monumental fresco at the Albuquerque Convention Center.

Credit: Courtesy of Ximena N. Larkin

His new work tells the tale of New Mexico’s history as the oldest state in the U.S. to produce wine. He says the piece could take four to six years to complete. He’s currently in his second year.

The hours for the Torreón (where the fresco is housed) are Saturdays and Sundays from 12-5 p.m., plus it is open by appointment, which can be scheduled with Juanita Ramírez at Juanita.ramirez@state.nm.us or 505-383-4774. The NHCC presents concerts in the Torreón in partnership with the Pimentel & Sons Guitar Makers. The Torreón is available for rentals under certain circumstances and with some restrictions. 

READ: 20 Bizarre Nail Art Ideas That I Just Will Never Understand

Remembering Carmelita Torres, The Teenage Mexicana Who Started A Riot At The Texas Border

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Remembering Carmelita Torres, The Teenage Mexicana Who Started A Riot At The Texas Border

In 1917, newspapers called Carmelita Torres the leader of an anti-American riot. Today, the Mexican heroine is remembered as “the Latina Rosa Parks.” At 17 years old, the maid from Juárez refused to be stripped and doused in toxic gases, as was required for people crossing the southern border into El Paso, Texas, inciting hundreds of other women migrants to follow suit and thousands more to rise up in protest against the violently racist practice that inspired the gas chambers of Nazi Germany.

Described as an “auburn-haired amazon,” Torres, just a teenage girl at the time, initiated a little-known revolt called the bath riot.

The unplanned rebellion occurred during the early morning of January 28, 1917. Like most days, Torres was on a trolley filled with mostly women crossing the Santa Fe International Bridge into El Paso to clean the homes of US families. But when she arrived to her destination this time, she refused to participate in the standard delousing process — a humiliating, dangerous and also legal exercise required of Mexicans entering the US at its border. 

The quarantine-like procedure, developed by El Paso Mayor Tom Lea who believed Mexicans were spreading lice that led to a disease called typhus, aimed at disinfecting the migrants, who he called “dirty, lousy and destitute.” The plan, which had the support of the surgeon general in Washington, DC, came into practice in 1916. The process was hazardous and dehumanizing. In a facility at the El Paso border, travelers had to strip naked. Their clothes were taken to a large steam dryer and then fumigated with toxic pesticides in an area called “the gas room.” Meanwhile, an inspector would check each person’s body, including their genitals, for lice. If they found the parasitic insects, migrants would have to shave their head and body hair and then bathe in a mix of kerosene and vinegar. After this process, they received a ticket as proof they were disinfected, though they were mandated to undergo the same procedure every eight days in order to re-enter the US.

“So many people didn’t speak about it,” historian and author David Dorado Romo told Vox in an episode about the bath riot for its new docu-series Missing Chapters. “They didn’t talk about this humiliating process. They kind of internalized it. it’s that psychology of shame”

The process was particularly terrifying for women, who also experienced sexual humiliation, according to Chicana historian and writer Yolanda Leyva.

“There were rumors that, you know, when they entered the plant and they were told to strip, officers were taking their photos and then posting them in bars,” an associate professor and chair of the department of history at the University of Texas El Paso told the news site. “So I can’t even imagine that kind of feeling, like the feelings of violation and the feelings of, you know, outrage.”

Understanding those emotions firsthand, Torres refused to participate in the baths and convinced most, if not all, of the 30 women in the electric trolley to join her in defiance. An hour later, nearly 200 more women joined their protest. By noon that day, “several thousand” were demonstrating. According to reporters, “the scene reminded one of bees swarming.” Crowds threw bottles and rocks at police officers while yelling insults at them. Protesters blocked traffic into El Paso. Some even laid down on the tracks in front of the trolley cars to create a blockade. One news article said, “the hands of the feminine mob would claw at the tops of the passing cars.” Together, the group shut down the border for two days.

Unfortunately, despite migrants’ public expression of outrage and dissent of their brutal mistreatment, the uprising was quelled.

Torres, among many of her fellow demonstrators, were ultimately arrested and imprisoned. Some men were even publicly executed. Historians do not know what happened to the bold young female insurgent after she was incarcerated. As Romo says, “we’ve lost every trace.”

“She was called an instigator, a ringleader. But she was just a young woman that was just sick of the injustice, the humiliation that other women had gone through,” he added.

As for the toxic baths, the procedure not only continued but also became more dangerous. By 1917, more than 100,000 Mexicans were deloused at the border. That same year, a new immigration law required that migrants also needed a passport, had to take a literacy test and were required to pay an $8 head tax. The following year, US Public Health Service instructed border agents to turn away “imbeciles, idiots, feeble-minded persons, physical defectives, persons afflicted with loathsome or dangerous contagious diseases.”

The fumigations even inspired the gas chambers of the Holocaust. In 1929, Zyklon B, a poisonous acid gas, was added to the baths.

Almost a decade later, in 1937, a scientist suggested in a German pest science journal that Zyklon B be added in Nazi disinfection chambers. Citing its use in El Paso, even including two photos of the US border city’s delousing facilities as an example of how effective the dangerous acid gas is at killing unwanted pests, he pushed for its use in concentration camps. Eventually, the dosing process murdered millions of people.

“The fumigation of Mexican immigrants wasn’t just reminiscent of Nazi Germany — it was directly linked to it,” Romo said. “It’s not so much that the United States was copying Nazi Germany; it’s the opposite. Nazi Germany was copying the United States. “

Back in Texas, agents added more harmful products to the fumigation process, including spraying DDT, a now-banned toxic pesticide, in migrants’ faces and private areas.

 It wasn’t until the 1960s, less than five decades ago, that health authorities stated the delousing process was hazardous and put an end to the practice.

While the gas chambers at the southern border have since shut down, they have now been replaced with shoddy detention centers that house hundreds of thousands of migrants who similarly await to hear if they are suited for entry into the country. Like those who came before them, these migrants are unjustly mistreated, some, including children, even dying, and are deemed by mainstream media and the federal government as being defective and a hazardous threat to the US. 

Read: Another Migrant Tragically Died In US Custody Leaving Behind An 11-Year-Old Daughter

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