This grass roots publication is the life source for a community that is not easily afforded viable access to diverse and accessible media. San Antonio and the surrounding counties have become accustomed to relevant news brought to them in both English and Spanish since 1913.
Yvette Tello Publisher
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By Yvette Tello
Let’s Talk About It What’s Your “Normal”?
Everyone’s “normal” is different. My normal? Pushing past limits others stop at. Working when most are resting. Skipping vacations to chase goals. Going all-in, every time—because halfway has never been my style. This isn’t burnout. This is passion.
Today, I received an email that stopped me in my tracks:
“You work hard… you take care of everyone… and you put yourself last constantly. And somehow… you’ve still convinced yourself that wanting a vacation makes you selfish? Or that dreaming about a weekend away makes you greedy? Come on. When did we start feeling guilty for wanting what everyone else has or does? Look, you’re a human being who’s been running on empty for too long… and wanting to refill your tank doesn’t make you bad. It makes you normal.”
It made me think—what even is “normal” anymore? Some people’s normal is 9 to 5 with weekends off. Others’ normal is building something so big they barely notice the clock. Some live for rest; others thrive on the hustle. The truth is, normal has no universal definition. It’s whatever fuels you. It’s whatever keeps your fire burning—without apology. So, what’s your normal? And more importantly—does it still serve you?
Let’s talk about it…
Joe: “My normal is working until I can’t work anymore “
Ramon Chapa Jr.: “My normal is getting up everyday to see how I can serve others! God Blesses me exceedingly, abundantly above and beyond! Along the way, I am everywhere with everybody! My life is not boring! I put God first, my family second and try to enjoy life to the fullest! That is my normal!”
Yvonne Pena: “You keep doing what fills your heart with love. Some of us function better that way. I do because it is who I am. I have no timeclock. My time is approved by a higher power.”
Jeff Hull: “My normal is very frustrating. Especially because it was set off accidentally and it literally changed my entire world. I worked very hard to turn my life and myself around. I went from being an addict and destroying my life to becoming a well known Artist locally and creating some amazing Art Show Fundraisers and serving my community. I'm a founding Artist for.what was Una Noche en La Gloria, Crossroads of Hope Art Show Fundraiser for the American Diabetes Association to the Autism Treatment Center Fundraiser and many, many others. I've curated and created many Art Shows and gallery exhibits. I was the first featured Artist in San Antonio Monthly Magazine and am even featured in a documentary through the University of Texas Arts in Context: Art of Dia de Los Muertos. Recovery from Addiction has given me some amazing blessings and things to be very proud of. . .Unfortunately, on February 12, 2012 I had a horrible fall that changed everything. The fall ended up costing me everything. From losing my marriage, home, Art gallery and eventually everything I owned. I could barely walk for almost 2yrs. Once my exwife walked out. I ended up homeless for almost 7yrs. I was denied my disability from 2012 to 2019 at least eleven times. During that time I desperately needed back surgery. As I had crushed several vertebrae into my spinal cord damaging my spinal cord. I tore both shoulders, muscles and tendons in my back, left cartilage in my knee and tendons and muscles in my ankle. I struggled to walk a single block. I lived outside through the heat of summer and cold of winter. There were short periods where I could stay with a friend here and there. I broke into abandoned houses. Just to have a place to stay. I finally learned about Carelink with University Hospital and was able to have the needed back surgery. The day I was released from the hospital. I had to get on a bus and go to Haven for Hope. Where I was made to sleep on a matt on a concrete floor. Which was a very difficult time. . .There's so much more to all of it but too much to get into here.My new normal is so far removed from what my life once was. I've gone from being able to paint 250 paintings or so a year. To only work on one this year. I spend 95% of my time by myself. No one visits or calls me to go out or hang out. I don't date or try to
date because it's embarrassing being on SSI and living off $964 a month and SNAP benefits. I don't drive anymore because of injuries. When I've gone on dating sites. I see women setting the bar really high with expectations and expectations can get expensive. So I don't bother anymore. It leaves me feeling unworthy even though I know I'm a good man. Unfortunately, I just have some injuries that dictate my life in ways that my life is much slower now. Not so much a party anymore. I woke up this morning feeling content. I have a roof over my head, food in the fridge and all my bills are paid. I don't have to do anything if I don't want to. I don't even have to get out of bed if I choose not to. I am very blessed to have struggled and remained clean and did not give into my addiction during an extremely difficult time in my life. I chose Hope over giving up. My life feels very empty today. I miss the attention my Art career once gave me but I am grateful I'm alive. Today I'm working on a major piece of Art. I'm not hungry and my cat is fed. . .I miss being in a relationship. Life gets very lonely but maybe one day someone will see my worth. I've learned to live a decent life on very little money. By the grace of God I'm in Housing and have a very nice apartment. I miss the life I once had tremendously. I miss being married. However, life changes and there are no guarantees. So you just have to keep going and doing the best you can for yourself and others one day at a time.I don't know if this is what you expected of your post but it's been my experience and life. It sounds depressing and believe you me. It was hell! However, this year I will celebrate 22yrs clean from addiction. I have given back to my community and I've rescued a cat. Which is the most important thing in my life. I am content but like most I hope for more, especially love. God willing one day that'll come along.”
Robert Espinosa: “You do what makes Yvette happy. Remember this life is your life. Don't ever let anyone try to tell you otherwise. You do You bob-boo”
Henrietta Hernandez: “That is what you doll”
Margaret Garcia (b. September 20, 1951, East Los Angeles) is a highly influential Chicana painter, muralist, educator, and arts advocate based in Los Angeles. Renowned for her vibrant, expressive oil paintings and murals, Garcia’s work celebrates and documents Mexican, Indigenous, and Chicana/o heritage, community life, and urban landscapes. Her bold palette and flat compositional space are rooted in the tradition of Mexican folk art, while her artistic practice is deeply shaped by the cultural dynamism of her upbringing in Boyle Heights and East LA.
Garcia’s formal art education includes studies at Los Angeles City College, California State University Northridge, and a Master of Fine Arts from the University of Southern California (USC). Her career as an artist began in the 1970s and flourished during the Chicano Art Movement,
About the Cover Artist: Margaret Garcia
where she became a defining presence, especially through her work as a muralist and public art creator. She participated in the 1984 Los Angeles Olympics murals and was the lead artist for the “Two Blue Whales” mural near Venice Beach in the mid1970s. Her public art, such as the historic tile mural at Universal City Metro Station, reflects
her commitment to giving honest, dignified interpretations of Chicano and California history.
Garcia’s paintings and murals are housed in major collections, including the Los Angeles County Museum of Art, The Cheech Center for Chicano Art, the Blanton Museum at UT Austin, and the University of Texas at San Antonio.
She has exhibited widely in the U.S. and abroad, with retrospectives such as “Arte para la Gente: The Collected Works of Margaret Garcia.”
As an elder and mentor in the Chicana/o Art Movement, Garcia continues to champion representation of women, marginalized communities, and the evolving landscapes of LA. Her role as a teacher and advocate has made a lasting impact on the next generation of Latino artists.
Garcia’s artistic language—rooted in cultural symbolism, expressive color, and community storytelling—has helped imprint Chicano/Latino identity into the visual legacy of Los Angeles and American art as a whole.
Irene Martin
Wilkinson was born on February 1, 1954, to Thurman and Virgie Martin in San Antonio, Texas. On August 6, 2025, she passed away peacefully, surrounded by her family and so much love, after a courageous fight with cancer.
Irene was the heart of her family, an amazing wife, mother, sister, aunt, and Nana. She loved big and unconditionally, and that gift continues to surround us, holding us together even in our grief. She filled our lives with traditions, laughter, and the kind of love that made everyone feel welcomed and cherished. Irene was also a wonderful baker and had a deep love for music, often
Irene M. Wilkinson
filling her home with the songs that brought her joy. She was fierce, funny and kind. Her spirit lives on in her grandchildren, whom she adored.
Irene was preceded in death by her parents, Thurman Joe Martin and Virgie Faulks Martin; and her brothers, Fred Martin
and T.J. Martin (Martha).
She is survived by her beloved husband, Herman Wilkinson; her daughters, Tammy Polk Herrera, Michelle Loukphom (Patrick), and Brittany Kelly (Sean); her sons, Jason Polk (Jackie) and Herman Wilkinson Jr. (Amy);
her sister, Shirley Hartsfield (Scooter); her brothers, Donald Martin (Ruthie) and Alton Martin (Debbie); her sister-in-law, Martha Martin; her grandchildren, Brandon Polk, Jordan Herrera, Devin Loukphom, Jayden Loukphom, Mazlyn
Herrera, Gavin Loukphom, Nathan Polk, Braddock Kelly, Natalie Wilkinson, Ava Wilkinson, Gracie Wilkinson, and Kendra Wilkinson; and many beloved nieces and nephews. Services for Irene Wilkinson will be held at Mission Park Funeral Chapels South. Visitation will take place on Thursday, August 14, 2025, from 5:00 PM to 8:00 PM. The funeral service will be held Friday, August 15, 2025 at 11:00 AM, with burial immediately after at Mission Burial Park South. A reception will be held in the Mission Park Heritage House following the burial.
Comisión de Calidad Ambiental de Texas
ENMENDADO AVISO DE RECIBIMIENTO DE LA SOLICITUD E INTENCIÓN DE OBTENER RENOVACIÓN DEL PERMISO DE AIRE (NORI) NÚMERO DE PERMISO 70492
SOLICITUD. City Public Service Board, ha solicitado a la Comisión de Calidad Ambiental de Texas (TCEQ, por su siglas en inglés) la renovación del permiso de calidad del aire número 70492, que autorizaría la continuación del funcionamiento de Spruce Unidad 2 planta de g eneración de energía eléctrica situado en 12940 South US Highway 181, San Antonio, Condado de Bexar, Texas 78223. Este enlace a un mapa electrónico de la ubicación general del sitio o de la instalación se ofrece como cortesía pública y no forma parte de la solicitud o del anuncio. Pa ra conocer la ubicación exacta, consulte la solicitud. https://gisweb.tceq.texas.gov/LocationMapper/?marker=-98.319444,29.308888&level=13.
La instalación existente está autorizada a emitir los siguientes contaminantes atmosféricos: amoníaco, monóxido de carbono, flu oruros, contaminantes atmosféricos peligrosos, plomo, óxidos de nitrógeno, compuestos orgánicos, material particulado incluyendo material particulado con diámetros de 10 micrones o menos y con diámetros de 2.5 micrones o menos, ácido sulfúrico, y dióxido de azufre.
Esta solicitud se presentó a la TCEQ el July 17, 2025. La solicitud estará disponible para su visualización y copia en la oficina central de la TCEQ, la TCEQ oficina regional de San Antonio, y en McCreless Biblioteca Publica, 1023 Ada Street, San Antonio, Condado de Bexar, Texas a partir del primer día de la publicación de este aviso. El expediente de cumplimiento de la instalación, si existe, está a disposición del público en la oficina regional de San Antonio de TCEQ.
El director ejecutivo ha determinado que la solicitud está administrativamente completa y llevará a cabo una revisión técnica d e la misma. La información contenida en la solicitud indica que esta renovación del permiso no supondrá un aumento de las emisiones permitidas n i dará lugar a la emisión de un contaminante atmosférico no emitido anteriormente. La TCEQ puede actuar sobre esta solicitud sin buscar más comentarios del público o dar la oportunidad de una audiencia de caso impugnado si se cumplen ciertos criterios.
COMENTARIOS DEL PÚBLICO. Puede presentar comentarios públicos a la Oficina del Secretario Oficial en la dirección indicada a continuación. La TCEQ considerará todos los comentarios del público al elaborar una decisión final sobre la solicitud y el director ejecutivo preparará una respuesta a esos comentarios. Cuestiones como el valor de la propiedad, el ruido, la seguridad del tráfico y la zonificación están fuera de la jurisdicción de la TCEQ para ser tratadas en el proceso de permiso.
OPORTUNIDAD DE UNA AUDIENCIA DE CASO IMPUGNADO. Puede solicitar una audiencia de caso impugnado si usted es una persona que puede verse afectada por las emisiones de contaminantes atmosféricos de la instalación tiene derecho a solicitar una audiencia. Si solicita una audiencia de caso impugnado, deberá presentar lo siguiente (1) su nombre (o, en el caso de un grupo o asociación, un representante oficial), dirección postal y número de teléfono durante el día; (2) el nombre del solicitante y el número de permiso; (3) la declaración "[Yo/nosotros] solicito/solicitamos una audiencia de caso impugnado"; (4) una descripción específica de cómo se vería/n afectado/s por la solicitud y las emisiones atmosféricas de la instalación de una manera no común al público en general; (5) la ubicación y la distancia de su propiedad en relación con la instalación; (6) una descripción del uso que usted hace de la propiedad que puede verse afectada por la instalación; y (7) una lista de todas las cuestiones de hecho controvertidas que presente durante el periodo de comentarios. Si la solicitud la realiza un grupo o asociación, deberá identificarse con nombre y dirección física a uno o varios miembros que estén legitimados para solicitar una audiencia. También deben identificarse los intereses que el grupo o asociación pretende proteger. También puede presentar sus propuestas de ajustes a la solicitud/permiso que satisfagan sus preocupaciones.
El plazo para presentar una solicitud de audiencia de caso impugnado es de 15 días a partir de la publicación del anuncio en el periódico. Si la solicitud se presenta a tiempo, el plazo para solicitar una audiencia de caso impugnado se ampliará a 30 días después del envío de la respuesta a los comentarios.
Si se presenta a tiempo cualquier solicitud de audiencia de caso impugnado, el Director Ejecutivo remitirá la solicitud y cualquier solicitud de audiencia de caso impugnado a los Comisionados para su consideración en una reunión programada de la Comisión. A menos que la solicitud se remita directamente a una audiencia de caso impugnado, el director ejecutivo enviará por correo la respuesta a los comentarios junto con la notificación de la reunión de la Comisión a todas las personas que hayan presentado comentarios o estén en la lista de correo de esta solicitud. La Comisión sólo podrá conceder una solicitud de audiencia de caso impugnado sobre cuestiones que el solicitante haya presentado en sus comentarios a tiempo y que no hayan sido retirados posteriormente. Si se concede una audiencia, el objeto de la misma se limitará a las cuestiones de hecho controvertidas o a las cuestiones mixtas de hecho y de derecho relativas a los problemas de calidad del aire pertinentes y materiales presentados durante el periodo de comentarios. Cuestiones como el valor de la propiedad, el ruido, la seguridad del tráfico y la zonificación quedan fuera de la jurisdicción de la Comisión para ser tratadas en este procedimiento.
LISTA DE CORREO. Además de presentar comentarios públicos, puede solicitar que se le incluya en una lista de correo para recibir futuros avisos públicos sobre esta solicitud específica enviando una solicitud por escrito a la Oficina del Secretario Oficial en la dirección que figura a continuación.
CONTACTOS E INFORMACIÓN DE LA AGENCIA. Los comentarios y solicitudes del público deben presentarse vía electrónicamente en www14.tceq.texas.gov/ epic/eComment/, o por escrito a la Texas Commission on Environmental Quality, Office of the Chief Clerk, MC-105, P.O. Box 13087, Austin, Texas 78711-3087. Tenga en cuenta que cualquier información de contacto que proporcione, incluyendo su nombre, número de teléfono, dirección de correo electrónico y dirección física, formará parte del registro público de la agencia. Para obtener más información sobre esta solicitud de permiso o sobre el proceso de autorización, llame al Programa de Educación Pública al número gratuito 1-800-687-4040. Si desea información en español, puede llamar al 1-800-687-4040. También se puede obtener más información de City Public Service Board, 500 McCullough Ave, San Antonio, Texas 78215-2104 o llamando a Steven Fleming, Analista Ambiental al 210-353-3622.
Enmendado Fecha de emisión del aviso: 29 de julio de 2025
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By J. Gilberto Quezeda
The phrase "Con Safo," often abbreviated as "C/S," carries profound significance within the Mexican American communities of San Antonio and South Texas. Growing up in the cherished Barrio El Azteca in Laredo during the 1950s through the 1970s, the phrase was an emblem of pride, resilience, and cultural identity. Its presence was woven into the fabric of everyday life, serving as both a protective marker and a declaration of defiance against discrimination and marginalization. Painted on walls, etched into notebooks, or shared through conversations, "Con Safo" embodied a powerful sentiment of solidarity among the people of my barrio. It was not just a phrase— it was a symbol of the rich cultural and social heritage that defined our community and shaped the way we navigated the world.
Con Safo
The Spanish phrase "Con Safo," or "C/S," traces its roots to Chicano culture, particularly during the mid-20th century in the United States. Its origin lies in the dynamics of resistance, empowerment, and identity among Mexican-Americans. It stems from the term "safo" in Spanish, meaning "safe" or "protected." In graffiti culture, "Con Safo" was often written alongside messages to shield the creator from reprisal. It represented a symbolic declaration that the artwork or statement was sacred and should not be tampered with, functioning like an unspoken social contract. The widespread appearance of "Con Safo" on walls during the 1950s through the 1970s reflects the turbulent era of the Chicano Movement, when many fought to assert their cultural identity and combat discrimination.
aspirations without fear of censorship. It served as a signature or badge of honor, reflecting one's connection to the broader Chicano community. The sentiment behind "Con Safo" echoed the idea that the message was untouchable, shielded by its cultural significance. It also emphasized mutual respect within the community, as those who encountered the phrase were expected to honor its purpose.
helping them carve out a distinct cultural identity during a pivotal era in history.
The phrase carried a deeper meaning beyond its literal translation. It became a powerful tool for expressing solidarity and safeguarding cultural pride. Through "Con Safo," artists and activists conveyed their values, frustrations, and
In practice, "Con Safo" evolved into a versatile expression, weaving its way into art, protest, and even everyday conversations. As a form of visual language, it adorned murals and graffiti, often accompanying profound statements about identity and injustice. The phrase also extended to dialogues where it marked the end of discussions or reinforced camaraderie among Chicanos. Its widespread use on walls and beyond captured the resilience and creative spirit of the Chicano community,
The phrase "Picudos cortan," referring to pointed boots, has a different cultural connotation and origin. Emerging in the context of Mexican fashion and music culture, "picudos" describes boots with exaggeratedly long, pointed tips, famously worn in northern Mexico and Texas. The phrase translates to "pointed ones cut," implying sharpness or boldness, and became a playful idiom associated with this distinctive footwear. "Picudos cortan" symbolizes the attitude and style embraced by young men who wear these boots, often paired with tight jeans and cowboy hats. The trend grew popular in the 1990s and 2000s, linked to Mexican music genres like norteño and banda.
The pointed boots carry symbolic meaning tied to individuality, confidence, and swagger. "Picudos cortan" expresses the idea that these bold fashion choices can metaphorically "cut through" norms or leave a lasting impression. The exaggerated tips of the boots are seen as both eye-catching and assertive, representing a unique sense of pride and daring. Much like "Con Safo," the phrase reveals the interplay between language and identity, as it communicates the wearer's connection to a vibrant cultural heritage and personal expression.
In practical use, "Picudos cortan" is often heard in conversations about fashion, music, or youth culture. It captures the essence of the pointed boots as a hallmark of Mexican style, particularly in rural and regional settings. The phrase is also celebrated in music lyrics and performances, amplifying its cultural resonance. Much like the boots themselves, "Picudos cortan" embodies the creativity, charm, and individuality that define Mexican fashion trends and the people who proudly embrace them.
Latina Portrait Artist and Muralist Margaret Garcia: Visual Narrator of Los Angeles History
By Dr Ricardo Romo
I returned to Margaret Garcia’s fabulous art studio in late July of 2025, joined by famed Chicano film producer Jesús Salvador Treviño and my Substack editor, Dr. Harriett Romo, for an exclusive interview with the prominent and talented Chicana artist. Her studio is located on North Figueroa Street near her birthplace in East Los Angeles. It was there that we saw her new visions of Echo Park, particularly the lake at sunset. “These new visions,” she noted, “are explorations of luminosity, particularly in the sunset hour - bright, deep reflections, shimmers.”
Art has many dimensions and also serves several important purposes, enabling us to see the world in profoundly different and innovative ways.
Margaret Garcia, whose four decades of painting have been recognized in many exhibits in Southern California, explained that her art is generally created to communicate with the viewer. We learn from the vast body of her work that she expects and hopes viewers will consider reexamining misrepresentations about history and culture.
Garcia began painting at age five while in kindergarten. She brought home a crayon drawing which so pleased her father that he declared,” You are an artist.” She recalled that moment with pride and remembered feeling “elevated.” The thought of
being an artist made her feel special. By age eight or nine, as her skills evolved, she painted her first portrait.
Garcia always loved to draw and paint. Upon graduation from Roosevelt High School in Boyle Heights, she began her journey to significantly advance the study of art.
She attended San Fernando Valley State College and Los Angeles City College in the period 1969 to 1972. She later completed coursework in the Master of Fine Arts program at the University of Southern California.
Early in her career, Garcia was best known as a muralist. She was the lead artist in the mid-1970s for a famous California mural near Venice Beach, “Two Blue Whales,” which depicts two large blue whales frolicking in the ocean. The Greater Los Angeles Council of the Deaf commissioned Garcia to paint a mural to honor the 1984 Deaf Olympic Games held in Los Angeles.
One of the most challenging and important murals undertaken by Garcia was a commission to paint a historical mural at the Los Angeles La Cahuenga Metro Station. The Los Angeles Metro selected a Southern California artistic team to create a series of panels dealing with the surrender of Mexican California to American forces at La Cahuenga in 1846. The mural project became quite controversial.
Until the late 20th century, California historians traditionally neglected stories of people of color; thus, Golden State history constantly needed refreshing. Californians born and educated elsewhere never learned the state's history in their schooling. Nearly 10 million people live in Los Angeles, and almost half, 45 percent, were born outside of the state of California. California residents arrive from other U.S. states as
well as from nearly every country in the world. It is not surprising that many newcomers are unfamiliar with the state’s distinctive racial and ethnic history. Not everyone is aware, for example, that the Golden State at the time of European exploration represented one of the most diverse Indigenous populations in the Americas.
The original inhabitants of California arrived in the region more than ten thousand years ago. The Spaniards settled there only three hundred years ago. Few Spanish women were
allowed to emigrate, and the vast distance between Spain and the Mexican provinces that are now California contributed to a blending of populations that Mexican philosopher Jose Vasconcellos called “La Raza Cosmica.”
The 18th-century founders of Los Angeles hailed largely from the Mexican province of Sinaloa, where intermarriage of the Spanish colonists with Indigenous people as well as with African slaves was more common than in other regions of colonial Mexico. When Garcia accepted the commission to design
Margaret Garcia, “Echo Park Series.”
Photo by Ricardo Romo.
Margaret Garcia, “Echo Park Series.”
Photo by Ricardo Romo.
Margaret Garcia, California Fires Series. Photo by Ricardo Romo.
and create the historical tiles of the La Cahuenga Metro Station, she knew the task would be exacting. She had to capture, in a relatively small number of tile panels, the historic meeting between the leaders of the Mexican Californio forces and American forces tasked with signing a peace treaty. Under the guise of Manifest Destiny, American forces easily defeated the
poorly armed Mexicans in California. Garcia, determined to give honest interpretations of the events, painted the participants on both sides of the short war with dignity and respect.
The Garcia tile murals included portraits of General Andres Pico, the brother of Mexican Governor Pio de Jesus Pico, one of the wealthiest men of the California provinces. When
General John C. Fremont led the American invasion of Southern California in 1846, the majority of the Spanish-speaking settlers identified as Mestizos, having intermarried with the Indian population. The Californios, who were all Mestizos by the mid1800s, co-existed with the Indigenous population of the region. Garcia’s historical representation of Mexican influence in California history demonstrated that history needs artists who do not fall prey to stereotypes and can provide objective and truthful historical visual narratives and interpretations. Garcia resides in the Los Angeles neighborhood of Echo Park, and her recent landscapes of the Echo Park Lake capture the community’s expressively radiant colors. I knew of Echo Park when we lived in Los Angeles in the late 1960s and early 1970s. Chicano artist Carlos Almaraz’s canvas paintings first introduced me to Echo Park, which he painted with brazen colors unfamiliar at the time to most Chicano art lovers. Margaret Garcia gives the park life with her lush green landscapes and an extraordinary rendering of bright yellow sun rays reminiscent of work by Impressionist painters. Garcia “chooses an angle that avoids downtown, the political powerhouse of L.A., snuffing it out entirely,” commented art critic Jimmy Centeno, who was especially impressed with Garcia’s painting of Echo Park that “spans across the skyline with comforting blues and yellow hues. It is tender and kind. Her strokes are soft, curvy, long, playful, and jazzy.”
Garcia excels in her application of color. Viewers notice the influence of the Mexican masters–Diego Rivera, José C. Orozco, David A. Siqueiros, and Frida Kahlo–in her work, but also the color experimentation of the Impressionist painters, in particular Paul Gauguin.
In many Chicano art circles, Garcia is known as one of the best portrait painters of her generation. Many of these portraits are of close friends or family members. Some of her portrait paintings are of people in her community–the vendors at the park are of special interest. Her American Dream painting is an example of her effort to capture the life and experiences of her community. Garcia sees exciting days ahead. Actor Cheech Marin is the largest collector of Garcia’s work, and her colorful canvases were exhibited at the extraordinarily successful opening of The Cheech Museum in Riverside, California in the summer of 2022. Garcia recently announced the completion of a new series of landscapes and portraits for the upcoming Solo Show at the Muckenthaler in Fullerton, CA opening on August 14, 2025 at 6:30 pm.
La Cahuenga Metro station, Los Angeles, California.
Photo by Martha Benedict and courtesy of the artist.
Margaret Garcia, “Echo Park Series.” Photo by Ricardo Romo.
Margaret Garcia in front of a historical section of her tile mural at La Cahuenga Metro Station. Photo by Martha Benedict and courtesy of the artist.
Walking to a Better Future: Back to School Shoe Distribution Brings Smiles to Students
On August 8, the Miller’s Pond Community Center was filled with excitement and gratitude as Zapatos Inc. and its partners hosted their annual Back to School Shoe Distribution. The event, streamed live on Facebook by Henrietta with La Prensa Texas, was led by spokesperson Margie De La Torre and inspired by founder Gloria Martinez’s vision that every child should have shoes. Last school year, Zapatos Inc. provided approximately 10,000 pairs of shoes to students in need. This year’s event continued the mission, with over 100 children receiving a brand-new pair of shoes and socks — a vital step toward starting the school year with confidence and comfort. Themed “Walking to a Better Future,” the event was made possible through the dedication of nonprofits and volunteers from AAOR (Against All Odds Rise), Moonstruck Foundation, SAPD South Substation, Walmart, The Arbutus Place, Rotary Club,
Pct 1 JP’s Office, and AHIA (Affordable Health Insurance Agency). Children also received school supplies, enjoyed a hot pizza lunch, and took home snacks. The smiles said it all as kids proudly showed off their new shoes — a small gesture that can make a big difference. To support the mission, donations can be made at zapatosinc.org. A gift of $15 provides a child with new shoes and socks. "Show me your shoes!"
A TODAS LAS PERSONAS Y PARTES INTERESADAS:
City Public Service Board, ha solicitado a la Comisión de Calidad Ambiental de Texas (TCEQ, por sus siglas en inglés)
lo siguiente: Renovación del Permiso 70492. Esta solicitud autorizaría la operación continua de Spruce Unidad 2 planta de generación de energía eléctrica ubicado en 12940 South US Highway 181, San Antonio, Condado de Bexar, Texas 78223. Información adicional sobre esta solicitud se encuentra en la sección de aviso público de este periódico.
Happy Birthday Albert Uresti
Los Missions Apoyan A Los Damnificados Del Hill Country
Por Sendero Deportivo
En el estadio municipal Nelson W. Wolf. Todo un éxito deportivo y comunitario resultó la subasta de casacas vestidas por beisbolistas del club Missions de San Antonio,
quienes representaron y vistieron las jerseys de cuatro equipos de High School en la región Hill Country ( Anthlers, Ingram. Center Point y Comfort), todo con él apoyo de la directiva y el ex guardia
argentino Manu Ginobili, quien en calidad de socio de dicha franquicia afiliada a la Texas Baseball League como sucursal de los Padres de San Diego, vistió la casaca de Ingram con su número 20 el cual defendió por los cuatro campeonatos que ganó con el pentacampeón Los Spurs de San Antonio.
Entre la legión de fans de Missions se contó con la asistencia de seguidores del número veinte, a quien le patentaron sus respetos y agradecieron su participación en este evento en el cual Missions enfrentó al visitante Springfield Cardinals.
En la ceremonia de apertura Manu Ginobili fue invitado para lanzar la primera bola, lo cual realizó con perfecto strike cachado por el receptor Pace Davis, del equipo Center Point, quien posó con Manu, ante gran cobertura de los medios locales y de Ligas Menores.
“Esto para mí fue gran sorpresa, nunca había
tenido en mis manos una pelota de béisbol. Pero con una poca de práctica se logró cumplir en este evento de gran relevancia de una noble causa recaudar fondos para damnificados del Hill Country.”, dijo el carismático guardia argentino.
En la ceremonia del Himno Nacional participó la cantante Aly Guerrero, quien se llevó emotiva ovación y a la vez disfrutó del espectacular partido. Durante el partido Missions en su pantalla gigante estuvieron presentando el slogan
“SA Missions Hill Country Strong”, lo cual emocionalmente fue ovacionado.
Cabe anotar que la gerencia de Missions estará presentando gran promoción el viernes 22 de agosto en el partido contra Amarillo, en el cual los primeros dos mil aficionados obtendrán la jersey de béisbol con el número 20 de Manu Ginobili. Otra gran promoción que los aficionados no deben perderse. Para boletos de admisión y reservación pueden llamar al (210) 6757275. (Fotos de Franco).
Cardenales Tomó La Delantera Rieleros Empató A Reds Segundo Lugar
Por Sendero Deportivo Cardenales jugando como local, con pizarra de 11-5 carreras tomó la delantera ante Maceteros en su primer partido en serie final del playoff en categoría Abierta dominical Potranco Baseball League, que preside Simón Sánchez.
Eloy Rocha, propietario del complejo deportivo y social Potranco, le dio la bienvenida a ambos equipos y su legión de seguidores, quienes disfrutaron de las espectaculares acciones en el campo 1 del estadio Potranco.
La victoria en el montículo se la agenció Orlando Barroso, quien
tuvo de rivales al abridor Juan Pablo Rosa y los relevistas José Panacual y Víctor Ortiz.
Nacho García y Efraín Cruz Franco, superaron en la estrategia de juego al novel timonel Edwin Ortiz Jr. por lo cual este domingo 17 de agosto a las 11am, en el segundo partido se pronostica grandes acciones entre ambos equipos que ya tienen en sus respectivas vitrinas un trofeo de campeón en este potente circuito del mejor béisbol independiente en el centro de Texas.
La pizarra del presidente Sánchez, registró las siguientes anotaciones: 0-0, 0-0, Maceteros de visitante 1-0. 0-3, 0-1. 0-5, 2-0. 1-2, y en la apertura del noveno episodio Maceteros 1, para un total de 5-11 a favor de Cardenales.
En categoría Masters 50+, temporada dedicada al Rielero Mayor Juan
Sánchez, en el campo 2, José Sánchez compilador y comentarista reporto los siguientes resultados: Astros de Pedro Espinoza salió de su mala racha, ante Rangers del Venado Benito Martínez y Ruperto Ortega, con blanqueada de 12-0 carreras con victoria para el lanzador derecho Ubaldo Montelongo y salvamento de Alfredo Obregón, con derrota para Liga Mexicana, quien tuvo relevos de Ervey Vela y Jorge Morales.
Rieleros de Juan Sánchez, Servando Hernández y Ramiro Morales, con pitcheo del estelar fronterizo José Cardona “El Che”, derrotó con pizarra de 7-2 carreras a Los Rojos de Jimmy Martínez y los coaches Alacrán Galindo y Luis Rios, con lo que se ubicaron empatados 7-4 en el standing fecha número 14.
Carlos Cerda “La Chiva”, cargó con la derrota y
su compañero Oscar Márquez tuvo espectacular relevo en el cierre del séptimo episodio. El Che, con su victoria número siete, puede coronarse campeón de pitcheo del rol regular, solo basta que este
domingo su rival Rangers lo permita.
Rol de juegos: 11am Reds vs Yankees. 2pm Rieleros Vs Rangers. Astros descansan.
En las fotos
Provided by
The Rey Feo Scholarship Foundation
SAC Receives Gift from Rey Feo Foundation to Fund First Responder Scholarships
Foundation, including Chairman Johnny Gabriel, visited the First Responders Academy.
The Rey Feo Scholarship Foundation has awarded $50,000 to fund scholarships for students enrolling in first responder programs at San Antonio College.
The announcement was made during a news conference held on Wednesday, Aug. 13, at SAC.
The gift will be split into two equal donations to pay for scholarships to be given in Fall 2025 and Spring 2026. SAC students enrolling in law enforcement, firefighting, or in the Emergency Medical Technician/Paramedic programs will be able to apply for the scholarships.
The scholarship gift was extended to SAC after members of the Rey Feo Scholarship
“We were inspired,” Gabriel said. “We saw students training in ways that directly impact the safety and well-being of our community. We met future firefighters, and police officers – young men and women who have chosen careers of service and sacrifice.”
“Our mission has always been to put students first by providing the education, training, and support they need to succeed,” said SAC President Dr. Francisco Solis. “The First Responders Academy embodies this mission. Every day, we prepare the next generation of firefighters, emergency medical technicians, and law enforcement officers who will protect our community, often in its most critical moments.”
Currently, Texas is facing a shortage of first responders. SAC is addressing this need by holding classes at its new First Responders Academy, which opened its doors in December 2023.
The First Responders Academy serves a trio of programs at SAC: The Law Enforcement Academy and the Regional Fire Academy share space and resources in the new building. The EMT/ Paramedic program offers some courses at the academy but continues to be based on SAC's main campus.
Recently, the law enforcement program began offering fulltime classes. Students can now enroll in a program and receive a Level I certificate in six months.
SAC has graduated two cohorts of cadets who enrolled in the full-time program.
After graduation, SAC cadets have an above 90% success rate in successfully passing their state licensing on their first try. Several classes have had a 100% pass rate.
During the news conference, Fabian Castillo, who serves as Rey Feo LXXVI, spoke about the organization’s mission to invest in the community’s future through education.
“Every dollar we give is an investment in someone’s potential – someone who will go on to serve, lead, and give back,” said Castillo.
Established in 1984, the Rey Feo Scholarship Foundation continues to support education through community leadership and fundraising efforts. Its mission is to provide financial assistance to students pursuing higher education while upholding the traditions
of the Rey Feo, La Reina de la Feria de las Flores, and La Reina Linda programs. San Antonio College (SAC), part of the Alamo Colleges District, is among the largest, single-campus community colleges in Texas and the nation.
In 2021, SAC received the Aspen Prize for Community College Excellence the nation’s signature recognition of high achievement and performance among America’s community colleges.
SAC is an official Hispanic Serving Institution and also serves the largest student veteran population in Texas, earning a partnership with the Department of Veterans Affairs.
Founded in 1925, SAC offers courses in the Arts and Sciences and Professional/Technical Fields.
