CANALCATORCE — broadcast
20260920 200000 UTC
518 transcript segments
Google Cloud Speech-to-Text API (Chirp) + Gemini 2.5 Flash Non-Thinking
Data courtesy of The GDELT Project (https://www.gdeltproject.org/), from the Internet Archive TV News Archive.
Machine transcription. Treat it as a searchable index of what was broadcast, not a verbatim quotation record.

[00:00:08] in Paris in Rivera's
[00:00:11] apartment on Rue de C. So,
[00:00:14] there comes Siqueiros, the young revolutionary who had been a
[00:00:18] soldier, and he meets this artist who was Diego Rivera
[00:00:22] back then, not an artist who had gone through
[00:00:25] Cubism, who had painted in the style of Red
[00:00:29] Noardes. They say he knew modernism forwards
[00:00:33] and backwards, inside out, but had not
[00:00:36] been in the revolution, had not been a
[00:00:40] vigor, the energy, everything that soldier, and with Diego, he also
[00:00:43] connects with the Spanish anarchists. It's curious, because
[00:00:47] later he fought in the Spanish Civil War, he was one of the
[00:00:51] opponents of the
[00:00:53] anarchists. Gachita
[00:00:57] decided that the name Pepe Alfaro
[00:01:00] didn't fit that great orator with curly
[00:01:03] hair who deliberately
[00:01:06] messed it up when he spoke at
[00:01:09] a rally, and he decided that this
[00:01:12] curly hair, similar to Michelangelo's David,
[00:01:15] warranted the name David. From
[00:01:20] Siqueiros and Angélica hide in that moment on, he stopped being Pepe
[00:01:22] Alfaro.
[00:01:30] of San Romano by Uccello, it's a work from 1480 that
[00:01:33] evidently had a great, great, great
[00:01:37] influence, not only on Siqueiros but also on Rivera.
[00:01:40] Yes, the composition of muralism is
[00:01:43] inconceivable without the
[00:01:47] plastic structure that Uccello presents in 1480.
[00:01:51] conflicts even with the It speaks of the possibility of illusionistic painting, of
[00:01:54] the figure seeming to come out of the
[00:01:57] painting. Diego, for example, never
[00:02:00] sympathized with the
[00:02:02] to take painting out anarchists. And the first group Siqueiros joined in Spain
[00:02:06] was the anarchists. So much so that when he published the
[00:02:10] only issue of the magazine Vida Americana,
[00:02:14] sea, the basis of what he published certain ideologies that Diego did not
[00:02:17] share, and he only signed one article. He did not want to be
[00:02:21] responsible for co-directing the
[00:02:24] magazine.
[00:02:27] One of his first manifestos is the three
[00:02:30] calls to young Latin American
[00:02:33] artists, and in that manifesto, he
[00:02:37] tells them: let's recover the great constructive
[00:02:42] painters, supporters of structure of our
[00:02:43] The director of pre-Columbian world, of the ancient world, of the world
[00:02:46] before the Spanish, but let's not imitate their
[00:02:50] forms.
[00:02:58] With Vasconcelos's invitation,
[00:03:01] So, he already deeply involved in the need to
[00:03:03] give Mexico a national
[00:03:06] identity through the muralism project,
[00:03:10] he opens the doors of the old
[00:03:13] San Ildefonso school, of the old Jesuit school. Well, that's where
[00:03:17] the first mural experiences take place.
[00:03:20] It's curious, the first thing I really
[00:03:24] started to paint in my
[00:03:26] adult artist life was a
[00:03:30] mural, which was the mural of the National Preparatory School.
[00:03:33] It's there that our great movement begins,
[00:03:37] when José Clemente Orozco, Diego
[00:03:40] Rivera, Fernando Leal,
[00:03:42] Revueltas, Charlotte, and the others painted simultaneously.
[00:03:46] Siqueiros finally discovers the value of photographic
[00:03:50] testimony and culminates his work at the
[00:03:53] preparatory school, which remains unfinished with the burial of the
[00:03:57] worker, which is a
[00:04:00] work with very synthetic forms, where
[00:04:04] for the first time he begins to compose
[00:04:07] space with the pathetic figures
[00:04:10] of this terrible political
[00:04:14] situation.
[00:04:19] The machete serves to cut sugarcane, to open paths
[00:04:22] in shady forests, to decapitate snakes,
[00:04:25] to cut all weeds and to humble the pride of the impious
[00:04:29] rich.
[00:04:33] The only existing copy of the original machete, I
[00:04:36] was the one who brought it to Tres Picos to
[00:04:40] be able to copy the parts from Siqueiros and from Cachita
[00:04:44] Amador. In Mexico, there is only one
[00:04:46] copy.
[00:04:49] The machete, the leadership team of it,
[00:04:53] In a private house, he performs the that is, Rivera, Javier Guerrero, and Siqueiros
[00:04:56] go straight to the central committee of the communist party.
[00:05:00] This Mexican, Siqueiros was more interested in
[00:05:03] politics and he goes to Jalisco to lead the
[00:05:07] dark figure behind miners, simple and plain. Since he
[00:05:10] doesn't see a favorable field in Mexico, after
[00:05:14] painting The Burial of the Worker, he
[00:05:18] goes to Jalisco and in Jalisco
[00:05:21] he helps his friend paint what is today the
[00:05:24] Octavio Paz library in Guadalajara. They paint
[00:05:28] four- handed.
[00:05:31] Siqueiros says, if painting is not going to be
[00:05:34] valued in the Calles government, yes,
[00:05:38] I will retire from painting. The Soviet Union, he travels in
[00:05:42] 1928 at a meeting of political
[00:05:46] and trade union delegates, not as an artist.
[00:05:59] In 1929, as general secretary of the Unitary
[00:06:03] Trade Union Confederation, Siqueiros travels to Montevideo, Uruguay, the
[00:06:06] homeland of his friend Joaquín Torres García, to participate in the
[00:06:10] Latin American Trade Union Congress.
[00:06:14] If there's one thing that is conclusive, definitive in Siqueiros's
[00:06:18] life, young Siqueiros, it's his relationship with Blanca
[00:06:21] Luz Brum. He was absolutely
[00:06:24] smitten. It was love on both sides. He forgot to
[00:06:28] tell her he was married. She forgot to tell him she had a
[00:06:32] child, that her husband had already died, and that she had lived in three countries.
[00:06:36] These are small oversights that occur. Love is worth
[00:06:39] everything.
[00:06:42] It transformed him in many ways, it didn't make him lose his
[00:06:46] militancy, it didn't make him lose his
[00:06:49] capacity as a creator, as a
[00:06:52] universal-scale creator, but it
[00:06:55] did put many things in crisis and
[00:06:58] those were tremendously intense years that generated
[00:07:03] Mexican Communist Party, and he
[00:07:06] preferred her over the
[00:07:09] party.
[00:07:19] Siqueiros arrives on the Yucatán Peninsula accompanied by Blanca Luz and her son
[00:07:23] Eduardito.
[00:07:27] They take the opportunity to visit in a nearby town near Mérida, the Nicaraguan
[00:07:30] Augusto César Sandino, the general of Free
[00:07:33] Men.
[00:07:41] On March 27, the day they arrive in Mexico City, Siqueiros's
[00:07:44] political career suffers a significant setback when he is expelled
[00:07:48] from the Mexican Communist Party for indiscipline. On
[00:07:51] April 30, he is arrested and imprisoned for 6 months in
[00:07:55] Lecumberri, accused by the government of conspiring against President Pascual
[00:07:59] Ortiz
[00:07:59] Rubio.
[00:08:04] She is the one who assists him in his
[00:08:07] prison in 1929-30.
[00:08:13] spends six months in prison, and Blanca Luz Brum goes to
[00:08:17] a sculptor's house because she had no money even
[00:08:20] for the humblest pension, and
[00:08:24] that's seen in the series of letters that were published by
[00:08:28] a French publisher, "Penitentiary Niño Perdido" which was
[00:08:32] the name of the bus she took to visit
[00:08:34] Siqueiros in Lecumberri.
[00:08:38] Prisoner." Siqueiros is obsessed with
[00:08:41] how painting can
[00:08:44] expand the space of confinement. So
[00:08:48] that's where Siqueiros begins to
[00:08:51] use this way of expanding, of
[00:08:54] challenging the space of architecture in tiny
[00:08:57] paintings.
[00:09:05] Art is the new trench, engrave, paint,
[00:09:08] photograph, relate to cinema. All this inspires Siqueiros
[00:09:12] during his 15 months of judicial confinement in the city of Tasco with Blanca
[00:09:16] Luz.
[00:09:19] And in Tasco he makes some truly extraordinary
[00:09:23] nudes of Blanca Luz Brum
[00:09:26] because they are not
[00:09:29] frivolous or easy
[00:09:33] nudes, but almost with
[00:09:36] that hieratic quality of pre-Hispanic art, without resembling pre-Hispanic
[00:09:40] art. But he also makes
[00:09:43] important compositions like
[00:09:47] peasant mother, worker mother,
[00:09:51] with very rudimentary materials, he manages to
[00:09:54] apply that importance he gives to photographic testimony
[00:09:58] with an extraordinary painting, which is "The Accident in the Mine." He
[00:10:01] paints on sacking with pigments and
[00:10:05] very common paint, and these are truly
[00:10:08] sensational paintings, that stage in Tasco.
[00:10:13] It is a very important stage for his painting, and he
[00:10:16] forgets that he has
[00:10:20] the obligation not to enter Mexico City, because
[00:10:24] he cared little and came to give a conference about
[00:10:28] all his experiences in Tasco, which were very
[00:10:31] rich. He talks about the composition of new
[00:10:35] materials.
[00:10:38] Siqueiros deepened his relationship with cinema,
[00:10:42] which he had already started in Mexico
[00:10:45] when Eisenstein was
[00:10:48] filming ¡Que viva
[00:10:50] México!
[00:10:55] Eisenstein captures the psychology of the
[00:10:58] character. He writes text taking into
[00:11:01] account, so to speak, the
[00:11:05] Siqueiros was, that kind of
[00:11:08] dynamite, as they call him in
[00:11:10] Mexico.
[00:11:14] The exhibition of Trasco's work at the Spanish Casino
[00:11:17] is doubly spectacular, because
[00:11:21] it broke the restriction in the city of Tasco, but... more
[00:11:25] for the enormous quality of the work he
[00:11:27] presents.
[00:11:30] The exhibition at the Spanish Casino in Mexico City displays 60
[00:11:34] oil paintings, woodcuts, lithographs, and
[00:11:37] drawings. He closed it with a conference
[00:11:40] titled "Reflections on Plastic Arts in
[00:11:43] Mexico." With this violation of the ban and other
[00:11:47] political participations by Siqueiros, the government exiles him to the United
[00:11:51] States.
[00:11:55] The world of great museums, of
[00:11:58] important art schools, of
[00:12:01] research centers, that was what attracted him.
[00:12:05] So, with Blanca Luz Brum, they go to Los
[00:12:08] Angeles and end up in the
[00:12:12] boarding house of Mrs. Electa
[00:12:15] Arenal Bastard, who was Angélica's
[00:12:18] mother.
[00:12:20] In
[00:12:25] 1932, when David Alfaro Siqueiros arrived in Los
[00:12:28] Angeles, his first project was to paint a
[00:12:31] mural on a wall of the
[00:12:35] Shenard school, an art school,
[00:12:38] and he organized a group
[00:12:41] of mural artists of that time
[00:12:45] called the Fresco Block Painters. The mural was
[00:12:49] called "Workers'
[00:12:50] Meeting."
[00:12:55] He paints a worker
[00:12:58] preaching to the poor
[00:13:01] people so they would have a
[00:13:05] revolutionary attitude.
[00:13:08] Shiinart, who was a reactionary, quickly
[00:13:11] ordered it to be covered up.
[00:13:15] In Los Angeles, he experimented with making street murals not
[00:13:19] with lime and sand but with cement, which was the first
[00:13:22] time in history that was done. That is, it wasn't just about arriving and
[00:13:26] painting, but the guy,
[00:13:28] adversity always made him
[00:13:31] find revolutionary ways to solve problems,
[00:13:35] and that was the basis of his
[00:13:37] creation.
[00:13:40] A crucified Indian, above the Indian
[00:13:43] was the eagle from the American coin,
[00:13:47] and next to it were the guerrillas shooting at the
[00:13:51] eagle. So it was a
[00:13:54] protest, an anti-imperialist declaration
[00:13:57] that David Alfaro Siqueiros had painted in this
[00:14:00] mural.
[00:14:08] We continue.
[00:14:23] While you watch this commercial,
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[00:15:25] his grandfather in the army, what do you mean, daughter, he was in charge of the
[00:15:29] civil protection area, the
[00:15:32] the student massacre on October 2,
[00:15:35] 1968. Flight was part of the dirty
[00:15:39] war, the wounded years, Sunday
[00:15:42] 16:25
[00:15:45] hours.
[00:15:49] We'll be back.
[00:15:56] Siqueiros, so grateful to Dodley Murphy for giving him this
[00:15:59] exhibition, tells him: "I'm going to give you a mural."
[00:16:03] So, on the garden terrace in Pacific
[00:16:06] Palisades, he makes him that mural,
[00:16:10] and it's a political mural, very clear,
[00:16:13] where he talks about the betrayed
[00:16:14] revolution.
[00:16:17] The third mural that master Siqueiros painted in Southern
[00:16:21] California was "The Present Portrait of
[00:16:23] Mexico." This is the mural that is best preserved and
[00:16:27] shows the sociopolitical conditions of Mexico in the 1930s.
[00:16:31] 1930.
[00:16:37] considered a danger to the American establishment for his
[00:16:40] critical art reflected in the three California murals,
[00:16:44] Siqueiros is expelled from the country and travels to Montevideo, Uruguay,
[00:16:48] at the suggestion of his wife Blanca Luz.
[00:17:03] When he arrives back in Montevideo, it's
[00:17:06] clear that the separation with Blanca Luz is
[00:17:10] imminent. He understands that this
[00:17:13] is a manipulation by Blanca Luz to
[00:17:16] return. He realizes that everything that was
[00:17:20] supposed to be prepared to receive him as the great
[00:17:23] world artist did not exist, it was not
[00:17:27] like that. He writes a
[00:17:30] very incendiary call to the painters
[00:17:33] of Montevideo where he says
[00:17:36] that yes, we have
[00:17:40] of the aristocratic sacristies,
[00:17:43] no, and take it to the
[00:17:45] street. He already came from Los
[00:17:49] Angeles with his idea
[00:17:52] of changing materials for
[00:17:55] muralism. He had already changed them there.
[00:17:58] Here in Montevideo, well,
[00:18:01] he goes to a car paint shop,
[00:18:04] obviously, and gets Duco and Piroxiline.
[00:18:07] That's how he paints "Proletarian
[00:18:10] Victim."
[00:18:14] In March 1933, from
[00:18:17] Montevideo, David travels alone to Buenos Aires, invited by Victoria
[00:18:20] Ocampo, to give a series of lectures at the Association of
[00:18:24] Friends of Art.
[00:18:27] Victoria Ocampo, they called her the foreman of
[00:18:30] culture, she was a friend of Eisenstein,
[00:18:34] she was a friend of Waldo Frank, she was a friend of
[00:18:38] intellectuals of the left and
[00:18:39] right.
[00:18:42] In the first conference, Siqueiros urges artists to create,
[00:18:46] perhaps throughout South America, the bases of a monumental
[00:18:50] and multi-exemplar plastic movement for the great popular
[00:18:54] masses. I believe that Siqueiros's
[00:18:57] call initiates a new
[00:19:00] period in Latin
[00:19:03] American art. Uh, we have to consider the historical
[00:19:07] context, as Benjamin would say, to talk a little about that,
[00:19:11] and to place ourselves
[00:19:14] at the beginning of a revolutionary century.
[00:19:31] He's going to give a lecture in Rosario, and when
[00:19:35] he returns from Rosario,
[00:19:37] they're going to put him in jail. They had
[00:19:40] denounced him for his exaggerated
[00:19:44] statements. It's then that he pulls
[00:19:47] strings and Botana
[00:19:51] hides him. Botana is the
[00:19:55] character who, in Buenos Aires, will
[00:19:58] allow Siqueiros to be Siqueiros, and
[00:20:02] he has all the unimaginable means
[00:20:05] at that moment.
[00:20:16] plastic exercise, it's not accidental that
[00:20:19] Spilimbergo, Castañino
[00:20:22] and Berny
[00:20:24] are the first to accept the
[00:20:27] call, along with the
[00:20:31] stage designer Lázaro from Uruguay.
[00:20:33] Here
[00:20:35] we pour out a frustrated
[00:20:39] passion, which was his relationship
[00:20:41] with Blanca Luz.
[00:20:44] In this way, he achieves the
[00:20:47] multi-perspective within the
[00:20:51] mural, so that these women seem to
[00:20:54] swim, move, forming a
[00:20:58] whirlwind so that whoever films
[00:21:01] it can put it into operation, as if it were a
[00:21:04] machine that has to be started.
[00:21:07] Blanca Luz, who liked
[00:21:10] to go to parties of very
[00:21:13] rich people, and, well, it seems
[00:21:17] that Siqueiros became the jealous Mexican
[00:21:20] macho, and well, it meant the break and the move to
[00:21:24] New York, and when Siqueiros
[00:21:27] left, there was an atrocious
[00:21:30] silence.
[00:21:36] After having an experimental workshop in New York,
[00:21:39] the Experimental Workshop where
[00:21:42] many important artists arrived, none more important than
[00:21:46] Jackson Pollock, who never liked him,
[00:21:50] that arrogant, seemingly overbearing
[00:21:54] Siqueiros, even though Siqueiros taught him what
[00:21:58] fast-drying paints were. But
[00:22:01] Siqueiros was more generous. I think
[00:22:05] it's petty on Pollock's part
[00:22:07] or a limitation on Pollock's part to say, "No, he's not my teacher,"
[00:22:11] when he's even using his
[00:22:14] technique, even his gestures, to
[00:22:18] achieve the dripping and all these
[00:22:20] things.
[00:22:29] Between Blanca Luz Brum and Angélica Arenal, he
[00:22:32] was with María Zunzulo and writes some wonderful
[00:22:35] letters, where he explains that what he is
[00:22:38] achieving with this mixture of paints from the cans
[00:22:42] are magical, wonderful
[00:22:44] explosions.
[00:22:47] He experiments with resins.
[00:22:50] He discovers, if you want, what he calls controlled accident.
[00:22:54] He describes a painting he makes about the
[00:22:57] birth of fascism, in which there's a
[00:23:00] raft on a stormy
[00:23:04] with oil would be glazes, and here
[00:23:07] they turn out to be something else because they result in
[00:23:10] textures and unusual transparencies
[00:23:14] that greatly excite
[00:23:16] Siqueiros.
[00:23:20] Siqueiros leaves for Spain, then embroiled in a civil war after
[00:23:24] the coup of dictator Francisco Franco, with the purpose of organizing a
[00:23:28] collective of anti-fascist Spanish and Latin American
[00:23:32] the Republic. There he reunites with his friend Angélica
[00:23:36] Arenal.
[00:23:39] The only thing that matters to him is being a militiaman, and honestly,
[00:23:42] the only thing he can think of in artistic
[00:23:46] terms is how one could paint the city.
[00:23:50] That is, he remains obsessed with continuing to make street
[00:23:53] murals.
[00:23:58] Siqueiros crosses the enemy lines, and well,
[00:24:02] he will end up earning the rank of lieutenant colonel, in a
[00:24:05] legion of Mexicans who were not
[00:24:08] few. Siqueiros also stood out
[00:24:12] for his intellectual side, for the relationships he made with
[00:24:15] figures like Hemingway, like José Renau, this
[00:24:20] wonderful Spanish
[00:24:22] artist,
[00:24:25] he dedicates himself body and soul to the struggle, and
[00:24:28] Angélica abandons her husband and pursues him to
[00:24:32] Spain, and for there to be some legality,
[00:24:36] the only Spanish general of the Republican army in the Civil
[00:24:39] War marries them. And a
[00:24:43] group of Mexicans accused Trotsky and
[00:24:47] the Trotskyists in Spain of having been
[00:24:50] columnists and returned to Mexico with that
[00:24:53] vision that there had been, on the part of the
[00:24:56] Trotskyists, a responsibility for the defeat of the
[00:24:58] Republic.
[00:25:05] In 1939, Siqueiros returns to Mexico and is hired to
[00:25:08] paint a mural in the Mexican Electricians'
[00:25:11] Union.
[00:25:15] Alfonso chooses the stairwell cube to use a polyangular
[00:25:18] perspective.
[00:25:22] Around that time, the Spanish exile José Renau arrives in Mexico, and
[00:25:25] Siqueiros incorporates him into his work team, which also includes the Spanish
[00:25:29] painters Antonio Rodríguez Luna and Miguel Prieto, as well as the
[00:25:33] Mexicans Antonio Pullol, Luis Arenal, Fanny Rabel, and
[00:25:36] Roberto
[00:25:37] Verdecio.
[00:25:43] Leon Trotsky arrives in his Mexican exile and leads the left-wing opposition to
[00:25:46] Joseph Stalin's communism.
[00:25:50] Since Siqueiros was so
[00:25:54] staunchly Stalinist, and Diego had already
[00:25:57] changed, first to the left opposition,
[00:26:01] he went to talk to... to get Trotsky
[00:26:04] into the country. The Americans say,
[00:26:08] "We weren't the ones who handled the paperwork," but
[00:26:12] in truth, it was through Diego's direct
[00:26:14] connection with Cárdenas that Trotsky was
[00:26:18] able to enter
[00:26:19] Mexico.
[00:26:22] On the night of May 24, Siqueiros participates in the assault on
[00:26:26] Leon Trotsky's house in Coyoacán, where the former head of the
[00:26:29] Red Army and his family remain unharmed.
[00:26:36] that it didn't go well for him and because
[00:26:39] he shouldn't have done it. It's
[00:26:42] terrible that he did it, well, it's the attack against
[00:26:46] Trotsky, having left the
[00:26:49] popular graphics workshop, no, there
[00:26:52] Siqueiros messed up, well, more than
[00:26:56] messed up...
[00:26:59] For some, it's unbelievable how a
[00:27:02] seasoned soldier could fail that way.
[00:27:05] Siqueiros's thesis that it was about denouncing that all
[00:27:09] of Trotsky's security guard was
[00:27:12] American
[00:27:14] is not so far-fetched.
[00:27:23] the mining area of Jalisco. In late
[00:27:26] September, Siqueiros is arrested in a large military and
[00:27:29] police operation in a cave near Osto Tipaquilla. And in
[00:27:33] October he is imprisoned in the Black Palace of Lecumberri and put on
[00:27:37] trial.
[00:27:40] From prison, Siqueiros requests an interview with presidential
[00:27:44] candidate Manuel Ávila Camacho, and is brought before
[00:27:47] him. Both recognize each other as soldiers in the
[00:27:49] Revolution. The head of the prison was a
[00:27:53] Rulfo, so they would go out partying at night, until midnight,
[00:27:56] sometimes arriving at dawn.
[00:27:59] Rulfo, Siqueiros, and Neruda.
[00:28:03] who was a consul, he wasn't just anyone, he was the consul of
[00:28:06] Chile in Mexico, but he made all
[00:28:09] the arrangements for Siqueiros to get out of
[00:28:13] prison and leave
[00:28:14] Mexico.
[00:28:18] In April 1941, he is
[00:28:20] deported to Chile. The authorities of that country
[00:28:24] confine him in the southern city of Chiyana. Once
[00:28:27] there, the Mexican government commissions him to paint a mural in the library of the
[00:28:31] Escuela México in that
[00:28:32] city.
[00:28:38] He used a material that no one would have
[00:28:41] thought of using: Celotex. It is
[00:28:44] a light and porous material, but
[00:28:48] it has a virtue: it is a static material. So
[00:28:52] it allows Siqueiros to make round
[00:28:55] corners, to make a complete
[00:28:58] arch.
[00:29:02] With his mutilated arms, the insurgent Galvarino lets out a cry of
[00:29:06] rebellion and freedom that echoes throughout our entire
[00:29:09] America.
[00:29:11] Well, with Siqueiros, I believe that for those of us who were there, the Chileans who were there,
[00:29:15] restoring was something we
[00:29:18] will not forget, without a doubt he painted it at a
[00:29:21] critical moment for
[00:29:24] Chile, but also at this moment there
[00:29:28] are things that are related to
[00:29:30] current events as well. We are always in a
[00:29:34] war with the
[00:29:35] invader,
[00:29:38] one part is pre-Hispanic with a
[00:29:42] Demok in a
[00:29:44] wonderful foreshortening and
[00:29:48] he paints Cárdenas for the only
[00:29:50] time,
[00:29:53] the piqueiros who always managed to
[00:29:57] get out of difficult
[00:29:58] situations.
[00:30:02] the American government
[00:30:05] and the Mexican government so that half and half
[00:30:09] pay for his trip through several Latin American
[00:30:12] countries to preach in the war, art of war
[00:30:16] and in Cuba he wants to jump to the United States and
[00:30:19] Nevermore, they never gave him a visa
[00:30:23] until
[00:30:24] Premortem, he
[00:30:28] is citing the filmmakers, the writers,
[00:30:32] the graphic artists,
[00:30:36] eh, the musicians, eh, to make a great
[00:30:40] movement of combat against Nazism and
[00:30:43] against the imperialist war, no, that is
[00:30:46] the fundamental meaning of the manifesto in the war, art of
[00:30:50] war.
[00:30:55] moral allegory of the equality, brotherhood of the
[00:30:58] white and black races.