PETA’s animalists offer 250,000 euros and ‘boloencierros’ if they eradicate Sanfermines forever

They also offer Pamplona, ​​in a letter to the mayor, ‘inflatable’ bulls while 12,000 fighting bulls from the Cabaa Brava will inevitably go to the slaughterhouse

The organizationPETA international animalist(People for the Ethical Treatment of Animals) sent this Thursday a letter to the mayor of Pamplona, ​​Enrique Maya, in which he offers 250,000 euros to the city if he agrees to eradicate Sanfermines and their subsequent bullfights forever, according to reports Servimedia. Faced with the 142 million economic impact generated by the San Fermn festivities, PETA’s supply remains slightly scarce. They also complete their offer with inflatable bulls while 12,000 fighting bulls go to the slaughterhouse. Fuente Ymbro, one of the ranchers announced at the suspended Bull Fair, has already announced that it will reduce by 50% and send 700 heads of wild cattle to the death rooms, as if they were tame.

PETA has carried out this measure after the town hall of Pamplonica announced last Tuesday that this year’s Sanfermines were suspended due to the Covid-19 pandemic,disease caused by the new coronavirus.

“With the bullfighting industry in serious financial trouble and the growing opposition to the exploitation of animals for entertainment, I hope you agree that it is high time thatPamplona put an end to this cruel and archaic show“said Ingrid Newkirk, founder of PETA.

In his letter to the mayor, to which Servimedia had access, Newkirk indicates that the running of the bulls and bullfights are “a holdover from a much less enlightened age, in which people do not understand that animals feel pain and it did not matter to put the safety of their fellow humans at risk. “

“Society has evolved. Today, most people around the world are opposed to what happens in bull running and they hate bullfighting. More than 125 Spanish provinces and cities have recognized that tormenting and sacrificing bulls for Entertainment has no place in the 21st century and they have rejected such barbarism, “he adds.

Later, Newkirk highlights: “With the bullfighting industry in serious financial problems andThe growing opposition to the exploitation of animals for entertainment, I hope you agree that it is time to add Pamplona to that list. “

The founder of PETA stresses that the Sanfermines also generate “protests by women’s rights groups due to the large number of incidents of sexual assault, rape and other forms of violence reported during this pathetic annual exhibition of machismo.”

“This is your time to do the right thing and be globally praised for putting Pamplona in the foreground and for good reason. There are countless fun, non-violent activities that revelers could enjoy to celebrate the San Fermn festival. In addition to the festivities and parades in honor of the patron saint, some cities are adopting a new tradition, the ‘boloencierro’. “

Newkirk alludes to giant 200-kilogram balls falling down the hills as festival goers rush to run past them or get out of their way. “People have described it as an ‘Indiana Jones-style adventure.’ There are no protests, just cheers!”

Note that other cities use ‘inflatable bulls’who “gobble” the runners with their inflatable horns while the crowd dies with laughter “, as well as people inside” inflatable balls that chase the thrill seekers “or” roller-derby “teams with plastic bats on the streets.

We hope you acceptour offer. Together, we can start planning a San Fermn festival for 2021 in which everyone, including animals and their protectors, will applaud, “the letter concludes.

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Raquel Sanz, widow of Vctor Barrio: “The judge has had no courage, bullfighting is a persecuted group”

Raquel’s voice is an echo of a thousand defeats. Indignation doesn’t even touch her anymore. A fatigue invades the mood. That shows before speaking. A bull killed Vctor Barrio in Teruel on July 9, 2016 and a scoundrel vomited his rot on social media: “Today is a joyous day for humanity, we will dance on your grave.” Raquel Sanz is the widow of Vctor Barrio; the scoundrel, Vicente Belenguer. And now the Provincial Court of Segovia has dismissed theappeal for a hate crime. The argument

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Victoriano de la Serna, the revolution of ‘intransitive bullfighting’

His bullfighting had no transfer or teaching possible. To fight like La Serna you had to be La Serna, said Alameda. Its release was a cataclysm like that of Juan Belmonte.

A unique character in the history of bullfighting. A brilliant artist. A self-taught man who felt the call of bullfighting while studying Medicine. His creative concerns had led him to take an interest in the bull and that is why he participated in a festival that supported the initiative of King Alfonso XIII to build the University City in 1928.Victoriano de la Serna(Seplveda, 1908) he found himself when he threw all the cape in front to fight the vernica to that young bull that changed his life. A way of understanding layering bullfighting that revolutionized its time and that still impacts today. All the flight of the cape and the whole chest of the bullfighter facing, the figure erect and bulky. Low hands in the deep cast. The maximum purity of the Silver Age of Bullfighting.

He left his studies in Medicine in his fourth career, although he practiced during the Civil War as a military doctor in Pamplona, ​​to focus on the bull. On August 27, 1931 he appeared at Las Ventas. It was a shock. His personal capotero style and his unique muletera personality showed him as a complete artist in that Madrid hatching. With 13 novilladas and empowered by the Black Pope, he took the alternative in October of the same year in Madrid from the hands ofFlix Rodrguezand in the presence of Pepe Bienvenida.

The late vocation of Victoriano de la Serna was not the fruit of necessity as he explained: I did not get to bullfight for money or hunger or even desire for glory. Bullfighting has been for me a mystique, the expression of my personality. With that philosophy I interpreted an improvised bullfighting.Martial LalandaHe said that Victoriano fought like the rest of us used to bullfight.

Her veronica was unlike any other.Robert RyanI wrote in your bookThe bullfighting of capa: There are milestones in bullfighting for vernicas, sets that last withforce of mythLiterally counted: the four that in Madrid, in the spring of 1932, consecrated Victoriano de la Serna; four that, as far as the astonishment that they caused, have as paragon the five without amendment of Belmonte in 1913.

“She wears silver, which accentuated the verticality of her figure almost facing the bull with her light (…) Victoriano had the extraordinary virtue of eliminating all superfluous movement from vernica,” wrote Pepe Ortiz.

Pepe Ortiz, the great Mexican creator, goldsmith of capoteras luck, remembered them five years later: Vesta de plata, which accentuated with the light the verticality of his figure almost faced with the bull (…) Victoriano had the extraordinary virtue of eliminating the vernica all superfluous movement. He performed the cast far ahead, moving only his arms and then neither they; in the last time of the cast only with the waist. That miracle atmosphere on the sand was the revolution. Or whatPepe Alamedabaptized as intransitive bullfighting. Because it has no transfer or teaching possible, since in order to carry it out, knowledge of a mechanism is worthless, you need personal genius, the prodigious, non-transferable measure that allows you to stay there, without modifying the terrain. To fight like La Serna you had to be La Serna, Alameda said in his essential workThe heterodox of bullfighting.

His career was marked by his strong character. In 1936, in full conflict with the Spanish-Mexican agreement, he decided to confront the Madrid public who reproached the Spaniards for not fighting with Mexicans. To defend the honor of ours, Victoriano de la Serna confronted the fans, nailed to his knees in front of the bull of Clairac and summoned to let himself be caught by the cry ofLong live Spain!. Domingo Ortega and Manolo Bienvenida stupefiedly attended the scene.

In Villagarca de Arosa he lived one of the most exciting episodes of his life. Surrounded by his gang after the bullfight, Victoriano de la Serna smoked quietly in the hotel hall. As if attracted by a magnetic force, he was magnetized by a look reflected in a large mirror and said: Gentlemen, I just saw the woman in my life for the first time. A young woman of Turkish origin and daughter of a diplomat who was spending the summer with her family in Galicia:Virginia Ernst. And married her. Some time later Victoriano managed to buy that mirror in which love was forged. Garca Mrquez was inspired by this true story to talk about Fermina Daza’s mirror inLove in times of the clergy. The mirror was indeed Virginia’s.

Ruano Llopis was inspired by the task that she gave her on July 25, 1934 in Valencia. In her was born the painting and the passing of flowers. Or vice versa. Llopis immortalized the muletazo from behind with some flowers falling from the line. And the bouquet gave name to the creation of La Serna. In thatSan Jaime FairI tore four of the five runs that make up the serial.

Like so many figures, the Civil War broke his career. He retired in 1944. AVicente Zabala, his son-in-law, confessed to him in the book The Old Colossi of Bullfighting Speak: I did not need to teach the braces to be able to deal with the bulls. That unbridled bull from the 1930s. Marcial also recognized that he pruned more than he said when he was wrong, in the low peaks of his volcanic irregularity.

On May 22, 1981 he ended his existence by his own hand.I followed the path of Belmonte. His precepts in the ring and his farewell in life.

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Paco Camino seen by Paco Camino: “My father was a god in Mexico”

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Paco Camino, in his tribute in Mexico in 2013
MONUMENTALMEXICO.COM

Pap was a fraud in Mexico. What we call spoiled. He arrived in Mexico in 1962 very young, about to turn 22 years old. Debut in the old Bullfight of Cuatro Caminos, today unfortunately converted into a shopping center. He shared a poster that day with the bullfighting poet, El Calesero, and also with Antonio del Olivar. The run was from Pastej, but there was not much luck. It would take time to sink in, as well as by 63. He confirmed at the Monumental de México on December 16, 1962. His godfather

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Holocaust of the brave field in the slaughterhouse: 12,000 bulls without exit

“We are in technical bankruptcy,” says the president of the Lidia Bull Breeders Union. To the losses of 77 million euros are added the 12 calculated by the Livestock Association before the suspension of the bullfighting season and popular festivities

The brave bull is already in his Ice Palace. It is not a phrase, it is a sentence.The Covid-19 has drawn the distopa soada by the anti-bullfighting: a world without bullfights. Nor popular celebrations, eye. The medium-term consequence of the suspension of the bullfighting season is going to be a holocaust in the slaughterhouses: the waiting list is around 12,000 copies.The happy arcadia of the eternal bulls grazing in the pasture does not exist, idiots. A spring of rain and pasture shovel for the moment

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Mitsuya, the first Nisei bullfighter, dies at 82: the sword was his Achilles heel


The Black Pope teaches Mitsuya the luck to kill
EFE

A very particular character from the world of bulls has died:Ricardo Higa Mitsuya at 82 years old. It was a Peruvian-Japanese bullfighter, coming from a family from the island of Okinawa who migrated to Lima. He studied journalism at the same time that he was preparing to be a bullfighter, he went through the towns of Per until in 1961 he appeared in the Plaza de Acho with steers by Fernando Graa.Cosso stands out for his performancein the first thirds although he says that the sword was his Achilles heel.

The following year I managed to open the large door of the Peruvian capital andtraveled to Spain with the help of ManuelMejas Rapela ‘The Black Pope’ who welcomed him in his house in Genera Mola 3. The family remembers him for his exquisite education, for his discretion, for his enormous liking and for his great discretion. In the summer of 1964, he debuted at Vistalegre and managed to get around the arena. In autumn, his attorney and teacher died. Every year, when Angel Luis Bienvenida visited the cemetery where his father’s mortal remains rested, he found a consumed butt and said:“Mitsuya has already been here”. His way of paying homage to the Black Pope was to leave a lit cigarette of his master’s favorite tobacco, he was silently accompanied by the time it was consumed.

A few years later, he wrote a letter to Antonio Bienvenida at the house he had in Mojcar (Almera) to thank him with some lines written in his own blood for the lessons learned in General Mola before appearing at Las Ventas.

Tom the alternative fromPalomo Linares on August 28, 1970 in Ondara (Alicante),with Julin Garca as witness and bulls of Manuel Zaballos. He came to publicly assure, showing his wild hobby: “The date of my alternative will always be more important than my birthday.” He continued his career in Peru, achieving fame in the Latin American country.He was seriously injured in November of that year in Limaacting alongside Paquirri and Jos Luis Paradas.

He resumed his career as a journalist directing at various times the newspaper Per Shimpo, dedicated to the Japanese colony residing in his city and the magazine El Nisei. It was also thegeneral secretary of the Union of Bullfighters and Steers of Peru.

He lived on horses between Madrid and Lima, when he passed by the Casa de Campo and saw kids bullfighting in the living room by themselves approached to give them some advice. Some thought it wasa curious tourist until, with the subtlety that characterized him, he remembered some explanation from the Black Pope.

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The Cordobs, the wolf smile and the left without stops of a universal ‘crack’

The ‘Hurricane’ Bentez fulminated records and borders in the 60s of Al and the Beatles as a mass fraud: “I touched some God with the wand, he took me in my arms. I was the Pope of bullfighting,” he confessed in an interview. to THE WORLD

I grew up in anticordobesism fiercer than the press of that time remembers. Tremendous campaigns of the scarce independent criticism that fought with a machete and a stake for regeneration and guarismo, against the envelope, the saw and the utrero. I would not have been surprised to find at home any day a target with the portrait of Manuel Bentez ‘El Cordobs’ nailed to the point of darts. As time went by, long, long, Bentez explained his vision to me: “Was I the only one who killed that bull? The bullrings were waiting for me. But I arrived in Madrid and cut eight ears in two afternoons, and in Seville, a tail. I regret the death of your father without having had the opportunity to drink even a coffee. We would have understood now retired. ” I don’t know, but whenever I write surrendered to the Bentez myth, opposite feelings spring up in me:that of a relative betrayal and that of a just ‘vendetta’. I do not betray the noble cause of fumigating what was around Cordoba, but I will probably execute revenge against the biased teaching of a chapter in the History of Bullfighting.

I lost too many years between the sterile debate of orthodoxy and heterodoxy, between the barren discussion of the greyhounds and the hounds, until I became aware of the universal dimension of the ‘crack’ that was hidden from me: Manuel Bentez ‘El Cordobs’. The decade of the 60s, explained through icons such as Al or the Beatles, should never forget the ‘Hurricane’ Bentez that traveled the world. Three covers of the period of the magazineLifethey certify it.Volatilized the reductionist and inbred walls of bullfighting and simplistic explanations.

Here you get the round trip ticket from the present to the past. The maxim that time places everyone in his place has been fulfilled with splendor and memory with El Cordobs. Tributes come with the delayed fuze. In April 2014, exactly six years ago, as if Saint Toms needed to put his fingers on the sore, the almost octogenarian V Caliph swept the anti-cancer festival on his land. The last time I stepped on a ring. Again ‘Hurricane’ Bentez on the street and in the square. Againthe masses cheering for fraudLike those of old Spain in black and white, who already carried the bullfighter with a rebellious fringe on his shoulders from the hotel full of unscrupulous mothers with their daughters in heat in search of the devil’s seed. The echo of his topless left echoed in the Cordoba of the 21st century, the inalienable personality, the unruffled stillness, the wolf’s smile, the popular magnet of that starved shirtless man who in 57 fled spontaneously in Madrid with the suit that it had been rented with the money of the son of his master of works.

The personality ofa man out of every catalog. In his tribute to that same 14, he again overflowed Las Ventas tiles in the tribute commemorating his confirmation of alternative, May 20, 1964:the country stopped completely in the middle of developmentin front of the silly box of bars in the absence of gadgets at home. TVE finally broadcast the event on a flooded arena of water and blood.

The following year, in 1965, he broke all records with 111 runs in one season; 121 in 1970. “A locomotive, I used to pull the whole Fiesta train, all the wagons. With me there was for everyone[empresarios incluidos]”, he said in the interview he gave me in 2012. In it he declared himself Pope of bullfighting:“If some God touched the wand, he took me in his arms”. To fulfill the huge number of contracts signed, Bentez used his own twin-engine plane. He sleeps every day in the same bed, at the Alameda de Barajas hotel, the operations center from where he plotted the flight plan with his pilot. Or he made himself with the controls. I learned in America from the need to cover the great distances from Mexico, out of sheer genius, intuition and survival: “And if the pilot falls asleep, what do I do?” The plane will use the teacher Ral del Pozo to make literary pirouettes in the bookA velvet coffin, that Bentez still curses.

Mass phenomenon, social earthquake of international impact that Gerald Ford wanted to know, Bob Kennedy, embrace and Gina Lollobrigida, other things. I discovered it at the dawn of the 60s Rafael Snchez El Pipo,the Don King of bullfighting, the negotiator of the first large monies collected in small bills to make them bulge more on the hotel bed: “Who is all this for, Don Rafael?” “For you, Manolo” “Take half of it!” “Keep everything, that the day will come when you reproach me to the commission.” And Bentez grabbed the wool and ran to buy his sister’s house in the vast work of Dominique Lapierre and Larry Collins:… or mourn for me.

The Pipo had been removed from the sleeve in the 61 the festivalPro Housing of the Needyin El Pardo with General Franco and Doa Carmen Polo in the presidency of the small square and El Cordobs going up and down 15 or 20 times like a joke among the calf pythons. The festival that was worth some to politically deform the robin-robin here, imprisoned so many times by the law of bums and thugs, stiff as the wet, as a toy of the Franco regime. The inexperience of the already famous bullfighter fascinates, the courage, the rage and the outburst to return to the brawl and the dust. The NO-DO and then the movieLearning to diethey catapulted him by the hand of Tico Medina’s script. Tico caught it before Lapierre and Collins.

The life of El Cordobs does not give truce. His long heart from fleeing through the fields favors him in the American heights: where others drown, Bentez makes the leap of the frog, jumps and runs with trophy esportones in his hands.God becomes Mexicobut it is little named when it comes to reviewing the myths of the Aztec fans.He mounted the guerrilla with Palomo in ’69, and surrenders to the business community in Villalobillos on a pillow: one ‘kilo’ per afternoon. Antonio Ordez always refused to fight with him, and Antonio Bienvenida gave him the alternative. The self-taught man in the rings never found a mirror. Or anyone who looked like him. His elastic left-hander left the batrach behind, the banderillas broken,the cape of the rebans. And now that he works as a dowser, the seasons are dwindling and the places are emptying, he is remembered. Not because he was touched by the wand or because he was a bullfighter’s aroma, but because God took him in his arms. And this is signed by the son of the most devastating and tough anticordobesista, who dignified the profession of writing bullfighting.

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Múgica: socialist, wise, bullfighting and ojedista

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Enrique Múgica, in a Las Ventas burladero with Víctor Márquez Reviriego
THE WORLD

“Basque, socialist, bullfighting, good man, privileged head”, is the first thing that has come to the top of thefingers on Enrique MúgicaOn twitter. And with an idea of ​​Spain without mugas. His profile as a Roman senator showed his honesty of thought. That PSOE that emerged from Suresnes.
Múgica never bragged about her multiple prison experiences in her anti-Franco struggle. Those medals that give Democratic pedigree.I review his kindness with José Luis Lozano, confined to his farm of bravo,

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Curro Romero, the eternity of the Faran capotillo

SERIES: THE WITCHES OF LA VERNICA

To say Romero was to say Seville very slowly. Legend of time, essence of bullfighting. Until the age of 66 he continued to draw sets at a procession pace. As I fought on Easter Sunday. It’s time to remember this series


Media vernica by Curro Romero in “his” plaza de la Maestranza in Seville
ARJONA

Owner of all passions. And of time. Author of unforgettable peaks and potholes that are not forgotten either. Long-lived camero artist. An indelible mark on each drawn vernica. The light cape caught with the fingertips, very close to the cape so that it passes close. The front leg, the chest illuminates everything. The next step for the next, the temper in the fine line. A media button in the media of La Maestranza the brilliant welcome ofCurro Romeroto his partner. The bull. The one who breaks everything down when there is no understanding.

Seville is not that I remember it, it is that I still love it. Since before theEaster Sundayas the date will be. That I was born by him and for him. Romero signed sixteen veronica in one afternoon at his first April Fair. And they are still counted.

Curro Romero (Camas, 1933) was captivated when contemplating the photographs ofCurro Puya. From that admiration he learned to take the short cape, with that delicacy, as the triana did. That boy who played with the cape became the longest-lived man who endured in the face of the bull. More than 40 years of experience, measured seasons, and an eternal legend behind. The Seville square of La Paoleta saw him debut in lights in 1954 and it was in La Algaba where, with 66 blocks, he decided to put an end to it. It was already the year 2000, the century was changing and Seville would no longer be the same. Those April afternoons of five evenings, those fairs of glory and those others of nothing. Curro was always expected.

The legend of the Faran de Camas had a history, a hanger: seven shoulder exits through the Puerta Grande de Las Ventas and five through the Puerta del Prncipe. Those who know him speak of a limitless personal sensitivity that he transmits to his cape and crutch: Curro was able tosublimate bullfightingto the Olympus of the elect like no one else. Therefore, those who saw him fight, can not contain the smile when remembering one of his vernica stockings.

Curro Romero has always liked silence. A shyness that has soughtrefuge in solitude, in retirement, in the peace of the work already created. The curristas made a religion. For his faith, for his devotion. Admirers of a bullfighter personality so special that there was no other. Nor will there be.

Flamenco was one of his great passions. A special friendship was forged in San Fernando:Shrimp and RosemaryThey shared afternoons, nights and sunrises talking about bulls and cante. The genius of the Island dwells with the art of the genius of Beds in the arena. He even got to sing to him during a run. Years later, when the master broke up his house in Madrid, he said to his eternal boy of swords: Gonzalito, keep all these memories with me. The only thing I take with me to Seville are these Camarn shoes. A friend who went to another dimension as his admired Manolo Caracol did.

In 2014 he confessed to Zabala de la Serna in this newspaper: In winter, he often went out to dinner and ended up in atablaoflamenco, one of my weaknesses, flamenco, I say, because I feel it and I understand it. I’ve taken nights and nights.

That feeling also surfaced in the plaza. Its first references were gypsies: Curro Puya,CaganchoSalomon Vargas … From time to time, in the intimacy of friendship, he starts singing some fandango. With the sentiment and tempera of always. Legend has it that Rafael Vega de los Reyes (Gitanillo de Triana), Antoete and Romero were called by a Sevillian record company to record a Christmas carol for theMontepo de Toreroswith guitarist Paco Cepero. Every time they were left they needed to clarify the voice with a few small glasses and, clarifying, clarifying, they stayed for a month … And Christmas almost passed without recording or disc.Every session was a party.

La Maestranza was her place. The Sevillian fans were so identified with Curro’s way of being that no one had hitherto conquered the heart of the city.exquisite Seville fan. Great works remain on the retina and also, but in another way, the unlucky afternoons.

Canorea explained to his surroundings that the only bullfighter who left his office to hire him was Curro Romero, because he was essential to configure the Seville season. Such was the passion aroused that there were fans who could not contain the ole when they saw him throw his cape to the wind once the pasello had dissolved. Others were just going to see the63 and a half stepsof the pasello. Only the pasello.

He was also a well-liked bullfighter in Madrid. That he lived his artistic emergence and also the greatest scandals of his career. Inhibitions up to three warnings. Exits of the square surrounded by riot escorts for the anger of the public counteracted in the following performance with tremendous works of art: in1967The day after he left a bull alive and spent the night at the Directorate General of Security, he turned upside down in Madrid and came out on his shoulders.

The painter Juan Lara explained to Faran: Curro, they don’t break you,They laugh at you for what they stop seeing. But Curro’s audience was fond of tennis. For their silences.

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