Saturday, August 08, 2009

Friday, August 21, 2009 @ DG WILLS! Be there! Tomas Riley, Bill Nericcio, and Manuel Paul Lopez!!!!


Click to enlarge! For more info, hit this earlier posting!!!

Sometime in the next 24 hours the 200,000th visitor to the Tex[t]-Mex Galleryblog Will Arrive!

Sometime in the next 24 hours the 200,000th visitor to the Tex[t]-Mex Galleryblog will arrive here at this site! If you are that person and you know how to do a screengrab of the event, send that to me at memo@sdsu.edu and I will send you a cool literary surprise. If you are that person and you arrived here looking for hot latina mamas or blacks beach some other sort of search (quite common for my traffic), no worries! You can get a gift as well!

Wednesday, August 05, 2009

Facebook and Tex[t]-Mex


Truth be told, I have met so many cool readers/critics/lovers/haters of Tex[t]-Mex through Facebook (simulated fans opposite). So I have decided to open up my social networking site to readers of this blog. So, if you are a regular peruser of Facebook, don't be shy about sending a shoutout!

Tuesday, August 04, 2009

Lucha Va Voom Coming to San Diego

Thanks to LA correspondent Anabel Weekley for bringing this to my attention! Click the monja for the tale of the tape!

Monday, August 03, 2009

Ask A Mexican: The Houston Edition

Tireless arbiter of all things "Mexican," Gustavo Arellano is not taking the recent, controversial exile of his satire-laden deathless prose from the pages of The Houston Press easily--this week's edition of his column is a an all-Houston edition! Click the Q&A below for more!

Orson Welles Odds and Ends at UbuWeb

I just fell across a great site with various and sundry bits of Orson Welles tidbits; Welles's Touch of Evil (1958) is the focus of the centerpiece chapter of Tex[t]-Mex: Seductive Hallucinations of the "Mexican" in America.

Orson Welles - The One Man Band (1995)
original source UBUWEB
ORSON WELLES: THE ONE-MAN BAND is a fascinating glimpse at this extraordinary man's final years - made with the cooperation of Oja Kodar, Welles' longtime companion, to whom he bequeathed a wealth of unedited films and fragments when he died in 1985. Granted exclusive access to Welles' heretofore unseen archives - and drawing from almost two tons of film cans containing fragments, shorts, project ideas, and sketches - the filmmakers are led by Kodar through the rich but unfulfilled Welles legacy. Far from being the gloomy megalomaniac that Hollywood has sometimes branded him, Welles emerges here a protean creator, at times vulnerable and lonely, but always unshakeably optimistic and unfailingly innovative.


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