 | |
| Categories | News and political magazine |
|---|---|
| Frequency | Weekly |
| Founder | José Pagés Llergo |
| Founded | 1953 |
| Country | Mexico |
| Language | Spanish |
| Website | www |
| ISSN | 0583-2039 |
Siempre! is a news and political magazine published in Mexico. [1] The magazine is published on a weekly basis. [2] By the end of the 1960s the magazine became a significant part of Mexican politics and an important publication for democratization of the country. [3]
Siempre! was established in 1953. [3] [4] Its founding editor was José Pagés Llergo. [3] [5] The magazine is affiliated with the Popular Socialist Party and has a socialist stance. [4] The political stance of the magazine has been subject to changes over the years. [4] For instance, it first supported Cuban president Fidel Castro, but then it began to criticize him. [4]
Siempre! was known for using photographs in the news, [5] and the best Latin American cartoonists and illustrators of the era often participated in it. Famed Mexican caricaturist Antonio Arias Bernal was its founding art director and a frequent cover contributor in the 1950s. In the 1960s, Jorge Carreño published satirical illustrations in Siempre! [3] and Leonardo Vadillo Paulsen contributed cartoons. [6]
In 1969 the claimed circulation of Siempre! was 120,000 copies. [7]
As of 2013, Beatriz Pagés Rebollar, daughter of the founder, was the magazine's current director. [8]
Anarchism is a political philosophy and movement that is skeptical of all justifications for authority and seeks to abolish the institutions it claims maintain unnecessary coercion and hierarchy, typically including nation-states, and capitalism. Anarchism advocates for the replacement of the state with stateless societies and voluntary free associations. As a historically left-wing movement, this reading of anarchism is placed on the farthest left of the political spectrum, usually described as the libertarian wing of the socialist movement.
The Zapatista Army of National Liberation, often referred to as the Zapatistas, is a far-left political and militant group that controls a substantial amount of territory in Chiapas, the southernmost state of Mexico.
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Siempre Selena is the second posthumously released album by American singer Selena, released by EMI Latin on October 29, 1996. The album contained mostly unreleased recordings and remixes of previously released content. Songs on the album range from a 14-year-old Selena on "Soy Amiga" (1986) to the shelved Don Juan DeMarco (1995) soundtrack song "Siempre Hace Frio". Siempre Selena was a result of the impact of Selena's death in March 1995, where the singer's father and manager Abraham Quintanilla Jr. began receiving requests from fans of her music. Abraham rediscovered forgotten tapes of songs Selena recorded for various projects. Following her death, Abraham expressed how he wanted to keep the singer's legacy alive and that public knowledge of Selena was very important to him. Critical reception of Siempre Selena was mixed, with varying reviews suggesting that the album was more for Selena's fan base and found no particular track on the album to be of any interest, while others favored its diversity and remastered songs.
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Tomás Garrido Canabal was a Mexican politician, revolutionary and atheist activist. Garrido Canabal served governor of the state of Tabasco from 1920 to 1924 and from 1931 to 1934. He was noted for his anti-Catholicism, during his term he led persecutions against the Church in his state, killing many priests and laymen and driving the remainder underground.
The Latin American Boom was a literary movement of the 1960s and 1970s when the work of a group of relatively young Latin American novelists became widely circulated in Europe and throughout the world. The Boom is most closely associated with Julio Cortázar of Argentina, Carlos Fuentes of Mexico, Mario Vargas Llosa of Peru, and Gabriel García Márquez of Colombia. Influenced by European and North American Modernism, but also by the Latin American Vanguardia movement, these writers challenged the established conventions of Latin American literature. Their work is experimental and, owing to the political climate of the Latin America of the 1960s, also very political. "It is no exaggeration", critic Gerald Martin writes, "to state that if the Southern continent was known for two things above all others in the 1960s, these were, first and foremost, the Cuban Revolution and its impact both on Latin America and the Third World generally, and secondly, the Boom in Latin American fiction, whose rise and fall coincided with the rise and fall of liberal perceptions of Cuba between 1959 and 1971."
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