CANALCATORCE — broadcast
20261012 003000 UTC
244 transcript segments
Google Cloud Speech-to-Text API (Chirp) + Gemini 2.5 Flash Non-Thinking
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Machine transcription. Treat it as a searchable index of what was broadcast, not a verbatim quotation record.

[00:00:00] with loyal war were the lawyers of the enrichmentists, when he
[00:00:03] was filing the amparos
[00:00:06] in a car, he parked in front of the federal security
[00:00:09] directorate and they kidnapped him,
[00:00:12] beat him, shot him, believing him to be dead, they
[00:00:16] years, the promoters of the cryptocurrency threw him in front of the cross, the prison was not
[00:00:20] dead, public prosecutor and give his
[00:00:23] declaration of who had been the ones who had
[00:00:27] tried to kill him, who is Villegas
[00:00:30] who was then director of the Federal Security, and
[00:00:34] after that he dies. The enrichmentists who were
[00:00:37] detained, they are released, after
[00:00:41] that, in February of 54, the
[00:00:44] leaders of the group of the 400 will also be
[00:00:47] kidnapped, they kill the
[00:00:50] leaders and finally Domingo Ortega is the only one
[00:00:54] who crawls and gets to tell the story and thanks
[00:00:58] to him we know where the bodies of his other three
[00:01:02] companions ended up, the attack on the Madera barracks
[00:01:05] is the event that marks the beginning of the revolutionary
[00:01:08] armed struggle in Mexico, this happened in Ciudad
[00:01:12] Madera, those of us who participated in the front lines were
[00:01:16] 11, in the round house
[00:01:19] were Oscar Sandobal,
[00:01:22] Professor Martínez Valdivia and
[00:01:25] I.
[00:01:33] at one point the shooting started and I heard the
[00:01:37] voice of requierada which was the word
[00:01:41] advila and at that moment they hit Óscar
[00:01:44] Sandoval from the barracks a
[00:01:47] group of soldiers detached and came straight to where we
[00:01:51] were, then well yes there was some repression, they
[00:01:55] informed the governor an ex-military man also
[00:01:59] very stubborn and he said: they wanted
[00:02:02] land, well give them land until they're sick of it,
[00:02:05] he said and ordered the bodies to a common grave
[00:02:09] there are the companions in a common grave
[00:02:12] , two bundles fall from that helicopter, one
[00:02:15] red and one green and the
[00:02:19] shots begin, the Olympia battalion
[00:02:22] eh was inside the building,
[00:02:25] was with the students and
[00:02:29] the military. they were around, so a
[00:02:32] crossfire begins, one of the people who had the
[00:02:36] microphone says: don't run, it's a provocation,
[00:02:39] surely they are blank
[00:02:41] bullets,
[00:02:45] suddenly they realize that they are
[00:02:48] real bullets and that students are
[00:02:51] falling in the
[00:02:53] square,
[00:02:57] some manage to escape by going towards the archaeological
[00:03:00] zone, others ask for support from the church
[00:03:04] to allow them to take refuge, but they do
[00:03:06] not receive it,
[00:03:08] in 1975
[00:03:12] contributed to the visual memory of different leaders of the league agreed to have a clandestine meeting in university
[00:03:14] city and there is a canine event and there are
[00:03:18] 1 attendees to that
[00:03:20] event,
[00:03:23] the federal security directorate does not care about university
[00:03:26] autonomy, enters, locates the.
[00:03:49] present and there they executed them in front of them, in broad daylight, and they don't stop there, they give them the coup
[00:03:51] de grace. My life is not the
[00:03:55] same since I embarked on this odyssey against the shadows that cling to the
[00:03:59] present. but those shadows no longer hide you,
[00:04:02] grandmother, you are alive in history,
[00:04:07] 1990, a time when you were part of it and I am here fighting so that your
[00:04:09] name, Amelia Leal Méndez, may be
[00:04:12] recognized, so that it is known that you were a
[00:04:15] guerrilla, a woman who was not on the side of apathy
[00:04:19] or fear, that they silenced
[00:04:21] your voice, but not its echo, today I
[00:04:25] shout your name, Amelia Leal
[00:04:29] Méndez.
[00:04:57] This is very moving, Ana Laura.
[00:14:25] were the reality in Mexico in the period from
[00:14:28] 1951 to
[00:14:32] students, peasants, teachers,
[00:14:35] workers, political activists and social
[00:14:38] fighters suffered normalized repression,
[00:14:41] arbitrary detentions, torture and forced
[00:14:45] disappearance, serious human rights violations that for years
[00:14:49] they tried to cover up as if they were tabloid news and
[00:14:52] bury for posterity under the cloak of
[00:14:55] oblivion. For decades, the Mexican
[00:14:58] state deployed a systematic apparatus of political
[00:15:02] violence, aimed at silencing dissent, times when
[00:15:06] demonstrations were punished, when
[00:15:09] it was forbidden to disseminate ideas other than those of the
[00:15:12] government, when those who thought differently
[00:15:15] were persecuted and anyone who, by doing so,
[00:15:19] was labeled as a danger, disappeared. Facts
[00:15:22] fully investigated and documented
[00:15:25] general recommendation 46/2022
[00:15:29] and recommendation
[00:15:30] 9823.
[00:15:34] This violence canceled democracy. it cured
[00:15:37] families and mutilated social movements, some of the
[00:15:41] people who remained disappeared in clandestine
[00:15:44] prisons or in military camp number one managed to be
[00:15:48] located and return to tell their story, many
[00:15:52] others were never heard from again, to date they remain
[00:15:55] disappeared, the claim of their relatives remains
[00:15:58] valid, they were taken alive, we want them
[00:16:02] alive, which to this day fuels their struggle,
[00:16:06] that is why their love for truth and justice is alive and
[00:16:09] that is why the CNDH vindicated those two
[00:16:12] recommendations and now in this effort to bring current
[00:16:16] generations closer to the knowledge of that reality
[00:16:19] also collected in Frix Klogner's book which names
[00:16:23] the series. The wounded years, historical
[00:16:26] memory and a call to conscience that honors those who never
[00:16:30] gave up, to start from their example, to continue
[00:16:32] building the Mexico they wanted and that all
[00:16:36] of us.
[00:16:55] The practice of repression of every opposition effort to the Mexican
[00:16:59] political system throws a generation into
[00:17:02] clandestinity.
[00:17:07] of a different political option leads
[00:17:11] to subversion, which is just an alternative to
[00:17:14] the project of horror practiced daily
[00:17:17] by the governments of the institutional revolutionary
[00:17:20] party,
[00:17:27] it could be thought that those young people,
[00:17:30] teachers, workers,
[00:17:33] students, peasants
[00:17:37] did the right thing, undoubtedly the
[00:17:41] necessary thing in the face of
[00:17:42] oppression,
[00:17:47] therefore the low intensity
[00:17:50] war strategy allowed to hide not only the practices
[00:17:53] of torture, forced disappearance and
[00:17:57] murder, but also information
[00:18:00] control.
[00:18:04] It was a failed attempt to hide the...
[00:18:07] Truth.
[00:18:11] With the beginning of new political
[00:18:13] opportunities, only in the second decade of the 21st
[00:18:16] century, the sad memory of those wounded
[00:18:20] years emerges. Now we bet on recovering the historical
[00:18:24] memory that allows us to balance the
[00:18:27] past. Mexican society tries to avoid
[00:18:31] a future with the repetition of the old practices of
[00:18:35] horror.
[00:21:51] but for the
[00:21:51] international in Sungua,
[00:22:13] our stars my
[00:22:17] Lord my God.
[00:22:21] and the people
[00:22:23] are made for
[00:22:25] international,
[00:22:29] miso like
[00:22:32] family, a
[00:22:34] pure,
[00:22:40] saarios,
[00:22:44] sir, and no more
[00:22:48] saibares sure.
[00:24:20] to the good collador for the
[00:24:24] international,
[00:24:28] the day we will
[00:24:30] fail,
[00:24:32] neither slaves nor
[00:24:35] saber
[00:24:38] the hatred that enters the world,
[00:24:42] it will be
[00:24:43] demanded.
[00:25:06] We open a window for you, a space for you to stay informed about
[00:25:09] international events, every Sunday we share a
[00:25:13] space, we share a window to the
[00:25:15] world.
[00:25:29] Sunday, 8
[00:25:30] p.m.
[00:25:34] I'm Ana Luisa Guerrero and I want to invite you to our next appointment for direct
[00:25:38] consultation, where we will talk about muscle
[00:25:41] disorders.
[00:25:50] Send us all your questions to our social networks at @
[00:25:53] canal14mx to our direct WhatsApp line
[00:25:56] 5513 56 6025, I'll wait for you next
[00:26:00] Monday at 11:30 a.m.
[00:26:05] The technology market is not so different from industries like
[00:26:08] tobacco, gambling, fast food, it's not you who
[00:26:12] decides to spend hours watching videos, it's the algorithm that
[00:26:15] won't let you go. In its early
[00:26:18] and blockchain technology
[00:26:22] promised to revolutionize finance. The recent history of
[00:26:25] scams, frauds and false digital utopias is a
[00:26:29] warning. The age of deception. Monday, 8:
[00:26:32] 30 p.m.
[00:26:35] The work of artist and activist Riney Templeton left
[00:26:38] visual testimony of social struggles in Mexico,
[00:26:41] Central America, the Caribbean and the United States. Her
[00:26:45] iconic black and white drawings were reproduced in
[00:26:48] flyers, brochures, books, posters and magazines of
[00:26:52] urban popular,
[00:26:54] student, union and peasant movements of the 1970s
[00:26:57] and
[00:26:59] 1980s.
[00:27:02] the city of Buffalo, New York in
[00:27:05] 1935. She studied art in the United States and
[00:27:08] England in the mid-1950s, she studied engraving in Mexico
[00:27:12] City. In the 1970s, she came to Mexico to
[00:27:16] join the Popular Graphics Workshop.
[00:27:20] Rinnie began her artistic life as a sculptor,
[00:27:23] but very soon her political activism would lead her to make
[00:27:26] Indian ink drawings on paper, with the idea that
[00:27:29] they could be easily reproduced in different formats
[00:27:33] and, therefore, be at the service of any social
[00:27:36] cause or popular expression. Her
[00:27:39] trajectory was marked by constant displacements between
[00:27:43] Mexico and the United States, as well as by trips to different
[00:27:47] Latin American countries, linked both to her artistic
[00:27:50] activity and to her participation in social
[00:27:53] movements. Rinnie lived in Mexico intermittently
[00:27:56] between 1974 and
[00:27:59] 1986. During that period, she
[00:28:03] participated and documented meetings, demonstrations,
[00:28:06] strikes and other actions in favor of social
[00:28:10] justice throughout the country, which were captured in more
[00:28:13] than 70 sketchbooks. In her work she also portrayed
[00:28:17] girls, boys, women and men in scenes
[00:28:20] of daily life, with special emphasis on community
[00:28:23] ties and affections, because, as she used
[00:28:26] to say, where there is life, there
[00:28:29] is struggle. Rinnie worked for 9 years
[00:28:32] in the design of Punto Crítico magazine, founded by leaders
[00:28:36] of the 1968 Student
[00:28:38] Movement. She also participated in the creation of the Mexican Front of Cultural
[00:28:42] Workers. She collaborated with numerous
[00:28:45] social organizations such as the National Front against Repression,
[00:28:49] led by Rosario Ibarra de Piedra and the Independent
[00:28:52] Union of Workers of the Autonomous Metropolitan University.
[00:28:56] After the 1985 earthquake, she
[00:28:59] joined the mobilizations that demanded from the government the...
[00:29:11] died in June 1986 in Mexico City, after a life of graphic activism that
[00:29:15] social struggles in
[00:29:53] versions,
[00:30:00] classification A.
[00:30:41] Friends, good evening, we are on public
[00:30:45] versions. What do we talk about when we talk
[00:30:49] about a cognitive war.
[00:30:52] It is a type of conflict that does not seek a
[00:30:55] material war, but a war in the
[00:30:59] minds and.