VOL. 9 • NUM 29
www.LaPrensaTexas.com
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La Prensa Texas SAN ANTONIO
Let’s Talk About It:
Founded 1913 - Fundada en 1913
WHO IS HELD ACCOUNTABLE FOR LORENZO’S DEATH?
Publisher / Editora: Yvette Tello y.tello@laprensatexas.com Community Liaison / Enlace Comunitario: Ramon Chapa Jr. r.chapa@laprensatexas.com Advertising & Production Coordinator / Coordinadora de Publicidad y Producción: Jessica Medrano Contributors / Colaboradores: Dr. Ricardo Romo, Priscilla Sanchez - Hurt info@laprensatexas.com Editor Español: José I. Franco Sales Representative / Representante de Ventas: Maria Cisneros La Prensa Texas is a grassroots, bilingual publication that serves as a vital voice for the community especially for those who are too often left out of mainstream media conversations. Since its founding, La Prensa Texas has been dedicated to providing relevant, accessible, and culturally rooted news that reflects the lives, struggles, and triumphs of the people of San Antonio and surrounding counties. Our mission is simple yet powerful: to inform, inspire, and empower our readers through storytelling that uplifts the diverse voices of our community. This publication continues to be the lifeline of local news, bridging the gap between the people and the stories that matter most.
Send Press Releases and Advertising Inquiries to: Info@LaPrensaTexas.com 210-628-9611
19 de Julio de 2026
By Yvette Tello
Lorenzo Salgado Araujo should still be alive. On July 7, 2026, the Houston father of three was driving a work crew when an ICE officer shot and killed him. Federal officials later acknowledged that Lorenzo was not the person agents were looking for. ICE claims he used his vehicle as a weapon, but the agents involved were not wearing body cameras, and witnesses have reportedly challenged the government’s version of what happened. So, who is held accountable? As a society, shouldn’t all of us be concerned when government agents can approach the wrong person, use deadly force and leave a family without a husband, father and provider? I have read comments saying that because Lorenzo was “illegal,” rather than undocumented, “that’s what he gets.” But now that the government has admitted Lorenzo was not even its intended target, what is the justification? Does being undocumented mean a person deserves to die? Does immigration status erase the right to due process? Does it make someone’s children less deserving of their father? Lorenzo’s immigration status did not authorize anyone to serve
as judge, jury and executioner. Immigration laws can be enforced without abandoning restraint, accountability and basic human decency. A Texas Rangers investigation has now been announced, but an investigation must be more than a public-relations response. The public deserves transparency. Lorenzo’s family deserves the evidence. The agent’s identity, the available video, witness statements and investigative findings should not be hidden from the people. We have seen where dehumanizing language can lead. During the 1950s, the federal government carried out the operation known by the offensive name “Operation Wetback.” Mexican communities were subjected to mass roundups, hurried removals and degrading treatment. Some legal residents and American citizens were also swept into that climate of fear and suspicion. History warns us what happens when the public remains silent while an entire group of people is treated as disposable. Public pressure matters. Speaking out matters. Demanding independent investigations, body cameras, de-escalation and consequences for wrongdoing matters. Silence allows injustice to become normal. I’m not advocating open borders. I am advocating for laws to be enforced lawfully. I am advocating for accountability. I am advocating for a country that does not treat human beings with less compassion and protection than we are expected to show animals. We do not have to agree on immigration policy to agree that human life has value. The time to unite is now. This has gone on long enough. Nothing good comes from cruelty, fear and the belief that certain people are undeserving of dignity because of where
they were born or what documents they possess. Lorenzo was not “the wrong guy.” He was a human being whose life mattered. Who will be held accountable? What must change to prevent another family from suffering this loss? And how many more people must die before we say enough? What do you think? Let’s talk about it. #letstalkaboutit
actions so disturbing—they hide behind their authority and carry out the president’s agenda rather than having the courage to stand up for what is right.”
Rob Gonzales: “Our biggest issue with law enforcement shootings is that we have been conditioned to take the side of LE at all times. It feels like we have given them the privilege of being judge, jury, and exe‑ cutioner. I also think it’s important to have all facts, but the media races to see who can get the story out first. Without all the facts. This creates a wedge of who’s side are you on, those who will always support LE no matter what OR those that despise them. Very few people will wait for the facts before taking a stand on the situation.I’ve been guilty of doing that on both sides of these situations. Frank Bur‑ ton: “I’m so pissed this keeps happening. The hate towards them for being killed is beyond disgusting. There’s no excuse for it. We are all human beings before anything else. We need to remember that the melting pot this country was is what made us great. Now we’re just a bunch of angry people blam‑ ing their misery on others.”
Pat Alexander: “I hear the Texas Rangers are investigat‑ ing so there will be answers. I know it’s hard but be patient.
Stephanie Cervantes: “Of course he didn’t. They take their direction from a reckless and disgraceful president. If they are so eager to use force, they should use it to protect people where real danger ex‑ ists instead of harming inno‑ cent individuals and families. That is what makes these ICE
Rose Subia: “they have the right to ask for who killed their father because it was murder and they have the right to take him to court for that murder
Martha Lefner: “If you give shelter knowingly to someone that has broken the law, are you not also breaking the law and subject to arrest?” Holly Bardzel: “If an ICE agent is innocent and has noth‑ ing to hide his identity should be known. He should need to stand before the family and ex‑ plain why he fired a gun and killed their family member.. unless ICE will forever re‑ main Cowards hiding behind their mask.” Erin Sawyer Snider: “ICE agents should be investigated and prosecuted followed by Stephen Miller, the author of their brutality. “ Ana Mora-MichelI: “ I agree, it is only fair to hear ALL sides! This whole situation is madness and badly handled. Something has to change. We can’t have people dying over this! It is inhuman how every‑ one is acting. People still need dignity and to be treated in a way fear and chaos doesn’t escalate.” Rosaria Yahaue: “The Mexican president also wants justice.”
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About the Artist
MARY CARMEN SESSIONS-RUIZ Mary Carmen was born and raised in Puebla, México, where she earned a degree in Graphic Design from Universidad Iberoamericana. Driven by curiosity and a desire to explore new horizons, she spent a year studying at The University of Texas at Austin, followed by a year as an exchange student at l’École Supérieure de Commerce in Saint-Étienne, France. After completing her studies, she made San Antonio her home, where she developed and implemented public communications and fundraising strategies at the Mexican Cultural Institute of San Antonio. She later worked as an Art Director at one of the most recognized advertising agencies in the Hispanic market. In 2008, Mary Carmen founded Le Rêve Design, a creative studio providing design and translation
services for large scale projects, offering thoughtful solutions through a multicultural and bilingual lens. In recent years, she has shifted her focus fully toward her art practice. A passionate and intuitive creator, Mary Carmen approaches her work as an art alchemist, continually experimenting with materials, techniques, and symbolism to push beyond traditional boundaries. Her Mexican heritage serves as a wellspring of inspiration, infusing her work with cultural richness, storytelling, and deeply personalmeaning. She is married and the mother of two daughters, and remains committed to creating art that fosters connection, reflection, and meaningful community impact. My work is rooted in my Mexican heritage, which inspires the symbolism, storytelling, and emotional depth present in each piece. I approach art as both a personal expression and a communal language, a way to connect people through shared experiences and cultural narratives. As an art alchemist, I experiment
with techniques, materials, and processes to push beyond traditional boundaries. My style is versatile, moving between vivid, expressive color palettes and restrained monochromatic compositions, using color intentionally to create mood, meaning, and visual impact. Community engagement is central to my practice. Recent experiences, including my participation as a featured artist in Cow Parade and my collaboration with CHRISTUS Children’s Hospital, have reinforced my belief in the healing an unifying power of art. Teaching and working directly with the public allows me to share my culture while creating meaningful connections. My goal is to make art accessible and approachable, encouraging people to see it not just as decoration, but as an essential part of life. Through my work, I strive to create opportunities for connection, reflection, and community impact. mcsessions@lereve-design.com
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Honored with Triple LULAC Woman of the Year Awards Yvonne Peña By Yvette Tello
In a remarkable recognition of her commitment to advocacy and community service, Yvonne Peña has been awarded not one, but three prestigious honors by the League of United Latin American Citizens (LULAC) for 2026. She has been named LULAC National Woman of the Year, LULAC Texas State Woman of the Year, and LULAC District XV Woman of the Year. These accolades highlight her unwavering dedication to LGBTQIA+ advocacy, cultural preservation, and community empowerment across Texas and beyond. Peña, who holds multiple leadership roles including Deputy Director of LGBTQIA+ for LULAC District XV and LULAC Council 2 LGBTQIA+
Liaison, has been a driving force in enhancing LGBTQIA+ visibility within LULAC. Notably, her leadership led to the inaugural LGBTQIA+ Awards Reception, which was a resounding success, featuring keynote speaker Judge Rosie Speedlin Gonzalez. This event marked a watershed moment for representation and recognition within the organization. Yvonne Peña’s impact extends far beyond her roles within LULAC. As the founder of Westside Stories Magazine, Cafecito, and the Westside Stories Podcast, she has created platforms that amplify the voices and stories of her community. Her work in organizing cherished cultural events such as the Día de los Muertos Lantern Release, Westside Stories Community Children’s Christmas, and the first-ever Westside Stories Community Christmas Tree Lighting has fostered unity and pride among residents. Peña’s commitment to her community is not only admirable but transformative. Through her initiatives, she has strengthened community bonds and celebrated heritage, ensuring that families across generations feel connected and uplifted. Peña’s recent accolades are part of a long list of honors that reflect her impactful contributions. She was inducted into the Edgewood ISD Hall of Fame in 2025, received the Edge of the Woods Community Member Award, and has been recognized multiple times by LULAC. Notably, she was awarded the Outstanding Woman Role Model Award in 2019 and received the Yellow Rose of Texas Commis-
sion recognition that same year. In her acceptance of these honors, Yvonne Peña expressed heartfelt gratitude: “I am deeply honored and humbled by these recognitions. They reflect not just my work, but the collective strength of our community, our culture, and our commitment to ensuring every person feels seen, valued, and celebrated. This is a shared victory for all of us.” We, the women of La Prensa Texas, proudly congratulate Yvonne Peña on her extraordinary achievement of receiving three prestigious LULAC Woman of the Year awards. In 2026, the Year of the Mujeres, her recognition stands as a testament to the vital role women play in media and advocacy. Yvonne’s work not only champions the LGBTQIA+ community but also amplifies the voices of those often overlooked. Her dedication to cultural preservation and community empowerment highlights the powerful impact women can have in shaping society. We celebrate her accomplishments and look forward to witnessing her continued influence in creating a more inclusive and vibrant community. Abrazos, Yvonne! Founded in 1929, the League of United Latin American Citizens is the nation’s oldest and largest Latino civil rights organization. LULAC promotes the economic condition, educational attainment, political influence, housing, health, and civil rights of Hispanic Americans through community-based programs and national advocacy.
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La Prensa Texas SAN ANTONIO
19 de Julio de 2026
CITY OF SANDY OAKS NOTICE OF PUBLIC HEARING ON PROPOSED 2027 FISCAL YEAR BUDGET (OCTOBER 1, 2026 - SEPTEMBER 30, 2027) The City Council of the City of Sandy Oaks will hold a public hearing on the proposed budget for the 2027 Fiscal Year, beginning October 1, 2026 and ending on September 30, 2027. The public hearing will be held at 6:30 p.m. on July 28, 2026 at City Hall, 22870 Priest Road, Sandy Oaks, Texas 78112. At the termination of the public hearing, the City Council may adopt the budget for the 2027 Fiscal Year or may adopt the budget at a subsequent meeting. The proposed budget is available for inspection at the City Secretary’s office at City Hall, 22870 Priest Road, Sandy Oaks, Texas 78112 during the normal business hours of 8:00 a.m. to 12:00 p.m. and 1:00 p.m. to 5:00 p.m., Monday through Friday, excluding holidays. It is also available on the homepage of the City’s website at the City’s website, www.cityofsandyoaks.com.
This budget will raise more total property taxes than last year’s budget by $772,251.63 which is a 53% increase from last year’s budget, and of that amount $0 is tax revenue to be raised from new property added to the tax roll this year. Taxpayer Impact Statement This notice informs taxpayers of the potential impact of the proposed budget and tax rate for Fiscal Year 2027, beginning October 1, 2026 and ending September 30, 2027, comparing what would be paid under the no-new-revenue tax rate versus the proposed tax rate.
19 de Julio de 2026
La Prensa Texas SAN ANTONIO
No les importa el tamaño de su troca.
No arriesgue su vida manejando por caminos inundados. Recibe alertas. Mantente a salvo.
FLOODSDONTCARE.COM
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Tenemos Wemby Por Años Por Franco
El pentacampeón Los Spurs de San Antonio, desde la época del legendario entrenador en jefe Gregg Popovich, nunca se han equivocado en los fichajes de valores universitarios y libres. Ahora en esta década bajo el respaldo de su empresa Spurs Sports and Entertainment
(SS&E), con la visión de su máximo líder Peter J. Holt y RC Buford, CEO, con su concejal principal Popovich (quien dirigio a Wemby en su debut en la NBA), logrando estructurar un roster de jóvenes basquetbolistas bajo la conducción del entrenador en jefe Mitch Johnson. Tras ese proceso y fabuloso trabajo,
los Spurs florecieron en la conferencia del oeste, ganando el trofeo del playoff dejando fuera al ex campeón Thunder de OKC. Posteriormente bajo su capitán el delantero francés Víctor Wembanyama (Wemby), en la NBA Final Series 2026, disputaron el trofeo Larry O’Brien ante Knicks de New York City. Bajo todo ese contexto inesperado los fans de San Antonio, recientemente aplaudieron la renovación de contrato del espigado francés quien al parecer seguirá con el pentacampeón por cinco años más. “Ganar el trofeo Larry O’Brien para Spurs es mi propósito”, afirmó Wemby durante rueda de prensa concedida en el estadio Frost Bank Center, sede de los Spurs de San Antonio donde en el Plaza Level se exhiben los trofeos Larry O’Brien y los framantes anillos de las temporadas: 1999, 2003, 2005, 2007 y 2014. Con lo cual se ha convertido en una franquicia de respeto entre clubes de gran solvencia económica. En
boletín de prensa se dijo que durante la tercera temporada de Wemby con Spurs, el se destacó guiando a San Antonio a la gran final contra Knicks de NYC. Y con anticipación al final de recibió el nombramiento al NBA Defensive Player of the Year, recibiendo su elección al All-NBA First Team and All-NBA Defensive First Team. Wemby en la pasada temporada regular en 64 partidos encesto 25.0 puntos. 11.5 rebotes, 3.1 asistencias promedio de liderazgo en la liga y añadió 3.08 bloqueos con 1.03 en robos durante 29.2 minutos de juego por partido. Entre
otras marcas Wemby, en series de potencia que fue su primera vez dejó promedio de 23.8 puntos encestados, así como de 10.9 rebotes y 2.7 asistencias. Desde su fichaje con Spurs en el 2023 NBA Draft, Wemby ha jugado con Spurs 181 partidos de temporada regular, con 172 como estelar, acumulando 23.4 puntos, 11.0 rebotes. 3.5 asistencias y 1.14 robos por minutos jugados. Wemby nativo de Le Chesnay. Francia, es activo miembro del seleccionado nacional francés. (fotos de Franco)
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Jo Emma’s Other Talent--Her Books By J. Gilberto Quezada Last month I had the joy of sharing Jo Emma’s beautiful oil paintings with you, works that so clearly reveal her inna‑ te artistic gift and the quiet, soulful way she sees the world. Today, I want you to know that her creativity doesn’t end with a paintbrush. Jo Emma carries another re‑ markable talent within her: she is a writer, a composer, and a publisher of her own books. Her artistic spirit finds its way onto the page just as gracefully as it does onto the canvas, and it is a privilege to witness her gifts continue to unfold. Jo Emma be‑ gan her cottage‑industry publishing ven‑ ture a few years before my retirement in 2002, pouring her heart, discipline, and remarkable curiosity into every page she produced. My role; one I cherished, was simply to stand beside her, offering wha‑ tever help she needed as she assembled twenty books on Zapata County, one on the historic abandoned Mexican town of Old Guerrero (Guerrero Viejo), another commemorating the 50th anniversary of the dedication of Falcon Dam sponsored by IBC Bank, and yet another on the town of Roma, Texas, with its rich borderlands history and architectural treasures. Each book, whether perfect‑bound or spiral‑ ‑bound, carried within it a wealth of ge‑ nealogy and the unmistakable imprint of her dedication. Jo Emma and I made six trips to Guerrero Viejo (Tamaulipas) in the 1980s and 1990s. We made three by boat, which took only about twenty minu‑ tes, and we hired a guide to take us, wait for us, and then bring us back to Zapata. The other three were by car, going from Zapata to Falcon Heights, cross Falcon Dam to Guerrero Nuevo and then travel on la carretera 2 to a marked spot where
we turned left to Guerrero Viejo. This trip by land took 2 1/2 hours one way! Our purpose was for Jo Emma to take pho‑ tographs, and for her book that she was compiling. She took two or three photo‑ graphs of each building and every nook and cranny. Needless to say, Jo Emma has an extensive photographic collection in her book that is noted below. Her pho‑ tographs are priceless because who dares to go there now with all the drug cartel problems. Over the years, Jo Emma ac‑ complished something extraordinary: twenty‑three books, a literary achieve‑ ment unmatched by any single indivi‑ dual in any county in the United States. I have always been deeply proud of her. Her volumes brim with maps, photogra‑ phs, genealogical charts, and histories of Lopeño, Uribeño, Falcon, Ramireño, the inundated ranchos (two volumes), the old town of Zapata (three volumes), San Yg‑ nacio, and the ranching communities of Las Comitas, Bustamante, Escobas, and Randado. She compiled Zapata County Marriage Records in two volumes, co‑ vering 1863 through 2007, and created the Falcon Reservoir Burials Relocation and Zapata County Cemeteries List. She even completed the U.S. Census trans‑ criptions for Zapata County from 1860 through 1930. At the end of each project, we would offer our doxologies and Te Deums, grateful for the strength to finish and ready, almost immediately—to begin climbing the next mountain together. Of all her works, none are available today. These books stand as a testament to her meticulous research and her unwavering devotion to preserving the stories of the people and places she loved. Our dear Belinda Bravo and our good friend, the late George Farias, owner of Borderlands
Books, were highly successful in selling Jo Emma’s books. After decades of work, Jo Emma has retired from publishing. Yet the legacy she created—page by page, chart by chart, photograph by pho‑ tograph—continues to shine. I watched her build this body of work with a quiet strength that inspired me daily. She never sought recognition; she simply followed her calling. And in doing so, she preser‑ ved the history of families, communities, and landscapes that might otherwise have faded into silence. I remain in awe of her talent, her perseverance, and her generous heart. Now that Jo Emma is fully retired from publishing and her books are out of print and no longer available for sale, it brings me great comfort to know that her life’s work has found a permanent home. The Olga Villarreal Zapata County Pu‑ blic Library and the Joe A. Guerra La‑ redo Public Library each obtained com‑ plete sets of her books, preserving them in their reserved collections where they remain accessible for reference, though not for checkout. Her legacy lives on in those quiet shelves, in the history she sa‑ feguarded, and in the countless families whose stories she helped illuminate. And as I look at her—my partner in every en‑ deavor, my companion in every climb—I am grateful for every year, every project, every adventure, and most of all, for her. As we look toward celebrating our 55th wedding anniversary this coming August, I find myself reflecting not only on her accomplishments, but on the life we have built together—one defined by shared purpose, mutual respect, and a love that has carried us through every challenge and triumph.
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An Austin Latino Art Exhibit Celebrates the Collection of Gilberto Cardenas and Dolores Carillo Garcia By Ricardo Romo, PH.D
At the Emma S. Barrientos Mexican American Cultural Center in Austin, Texas, friends of Gilberto Cardenas and Dolores Carillo Garcia gathered on July 11, 2026, for a special viewing of the exhibit, Mitote, selections from the Cardenas-Garcia extensive and iconic Chicano art collection. Dr. Cardenas and his wife Dolores Carillo Garcia have created an extraordinary collection featuring Latino artists from the Southwest, Midwest, and beyond. They have donated thousands of artworks to many museums, including the UT Austin Blanton Museum of Art. Scherezade
García, untitled from her 500 Yolas series, 1992. Courtesy of the Emma S. Barrientos Mexican American Cultural Center. Photo by Ricardo Romo.
The Mexican American Cultural Center curators titled the exhibit ‘Mitote,’ which comes from the Nahuatl word ‘ mitotiqui,’ meaning to “dance, gather, celebrate together, and make joyful noise.” Cardenas and his wife, Dolores Carillo Garcia, have lent iconic paintings, sculptures, photographs, works on paper, and mixed-media works by well-known Chicano artists for the exhibit. Each piece carries its own story while contributing to a larger conversation about cultural heritage and the relationships that shape our communities. The exhibit honors the impact this couple has had in making Chicano art an important contribution
to American art. Sylvia Orozco, the Director of Austin’s Mexic-Arte cultural arts center and museum, was one of three speakers at the special art event featuring the Cardenas-Garcia art collection. Orozco, who also had an art piece in the show, met Cardenas at UT Austin in the mid-1970s, and they shared a profound passion for Chicano art. At the time of their meeting, Cardenas taught in the UT Austin Sociology Department, and Orozco was an undergraduate at UT Austin. They belonged to similar Chicano organizations linked with civil rights and social justice. The founding of Mexic-Arte came about in 1984 through the efforts of Sylvia Orozco, artist and printer Sam Coronado, and artist Pio Pulido. Orozco recruited Dr. Cardenas to join her new nonprofit board at Mexic-Arte. One of Mexic-Arte’s early exhibits included “José Guadalupe Posada: Master Printer.” Recognition for Mexic-Arte has come in many forms over the past four decades. The art organization recently received $20 million of City of Austin bond funds to expand and renovate the museum space on the corner of Congress and 5th Street. Orozco has been honored by the Austin Arts Hall of Fame and was appointed by President Barack Obama to the National Museum and Library Services Board in 2017.
Director of UT Austin Blanton Museum of Art Simone Wicha speaking next to the south wall exhibit space of Emma S. Barrientos Mexican American Cultural Center. Photo by Ricardo Romo.
Also attending and sharing his work in the Mitote exhibit was California artist Malaquías Montoya. Montoya is recognized as a foundational figure in the development of the Chicano Art Movement. Beginning in the mid-1960s, Montoya created bold silkscreen posters, murals, and prints. He has consistently used art as a vehicle for social justice, political consciousness, and collective empowerment. Malaquias Montoya was born in Albuquerque, New Mexico, in 1938, and raised in the San Joaquin Valley of California. He is one of seven children brought up by farm working parents who could not read or write. His early life was shaped by economic necessity, hardship, and resilience. According to the Sacramento News & Review, Montoya“ enlisted in the U.S. Marine Corps when recruiters said he’d be able to send home $100 monthly. That was more than his mother and Malaquias“ could make picking cotton or working cannery jobs.” After his military service, Montoya attended the University of California, Berkeley. As a UC Berkeley undergraduate, Montoya emerged as a key contributor to the Chicano poster movement. His work, including the influential 1971 Yo Soy Chicano poster created in collaboration with filmmaker Jesús Treviño, gained national recognition. Montoya’s posters became a powerful tool for education and mobilization. Art posters were his most influential medium because they could reach broad audiences affordably and directly, making them especially effective during the Civil Rights and Chicano movement eras. As Montoya explained in a Sacramento News & Review interview, “My interest has always been to get my art out to the people who don’t go to museums,” a philosophy reflected in his lifelong commitment to accessibility and public engagement. Montoya’s work remains grounded in activism. His art work educated, informed, and mobilized communities,
19 de Julio de 2026 reinforcing the essential role of art in movements for change. Malaquias Montoya’s long tenure at the University of California, Davis further amplified his impact. His department commended Montoya’s goals: “A man of great political and artistic principles, he believes that art should be directed to the broadest possible audiences, including those who do not frequent commercial galleries. Montoya has elected to make the world his art gallery.”
La Prensa Texas SAN ANTONIO paintings and installations; she is also an influential teacher at UT Austin and an interpreter of Caribbean history and culture.
11 survival, and resistance are central to her work. My own academic training in U.S. and Latin American history did not fully prepare me for the depth of insight I gained through conversations with García about colonialism and the Afro-Latino diaspora. Harriett and I visited with her at the New York City gallery that showed her work and at her Brooklyn studio. Her reflections on migration, mestizaje, baroque aesthetics, and the reimagining of religious and social concepts of paradise reveal a deeply engaged intellectual and artistic practice rooted in the human experience of her homeland. García’s themes of Atlantic migration and diaspora have gained increasing recognition in Texas and California. In 2024, the Los Angeles County Museum of Art acquired her painting “Harvest of the Sea.” In her “Liquid Highway” series, García presents the Atlantic Ocean as both a site of trauma and a pathway to freedom.
Jaime “Germs” Zacarias, untitled. Courtesy of the Emma S. Barrientos Mexican American Cultural Center. Photo by Ricardo Romo.
Malaquias Montoya, “Presente”. Courtesy of Gilbert Cardenas and Dolores Garcia. Photo by Ricardo Romo.
Exhibitions such as ‘Mitote’ have underscored both Montoya’s enduring legacy and his profound influence on subsequent generations of activist artists. Today, he continues to live in a small Northern California farming community with his wife Lezlie Salkowitz, and he remains active in the arts, mentoring emerging artists and sustaining his lifelong commitment to social justice through visual expression. Latina artist Scherezade García, who spends summers in New York City, was unable to make the exhibit reunion in Austin, but her bold and vibrant artwork stood out as one of the most prominent pieces in the show. Her contribution to Latino art extends beyond her accomplished
Born in the Dominican Republic, García draws from a historical context shaped by early European colonization. Santo Domingo, founded in 1496 by Bartholomew Columbus, stands as the oldest permanent European settlement in the Americas. This legacy informs her sustained interest in colonialism and its cultural consequences. García earned an MFA in Sculpture from the City College of New York (CUNY) in 2011. A co-founder of the Dominican York Proyecto GRÁFICA, she taught at Parsons from 2010 to 2021 and joined the University of Texas at Austin faculty in 2021. Her artistic practice spans painting, printmaking, and installation, all informed by research into Spanish colonial history and Afro-Atlantic legacies. García’s work reflects her mixed African and European heritage, engaging with the history of Hispaniola, where the introduction of sugar plantations led to the exploitation of Taíno labor and, subsequently, the forced migration of enslaved Africans. Histories of displacement,
Details of the exhibit space of the Emma S. Barrientos Mexican American Cultural Center. Photo by Ricardo Romo.
Scherezade García remains committed to fostering cultural awareness among younger generations in the study of the Caribbean islands. Her work is held in prominent collections, including the Smithsonian American Art Museum and El Museo del Barrio, affirming her significant place in contemporary Latino and Caribbean art.
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32ND ANNUAL SAFILM SAN ANTONIO FILM FESTIVAL TO HONOR AWARD-WINNING SELENA DIRECTOR GREGORY NAVA WITH LIFETIME ACHIEVEMENT; “BRAT PACK” ACTOR ANDREW MCCARTHY WITH MAVERICK AWARD; ACCLAIMED TEXAS ARTIST ROBERT TATUM NAMED 2026 PATRON OF CINEMA ARTS
Provided By SA Film
Thirty years ago, the beloved feature film, SELENA, was in production right here in San Antonio. That legacy comes full circle as the 32nd annual San Antonio Film Festival (SAFILM) honors acclaimed writer, director, and producer Gregory Nava with its Lifetime Achievement Award, presented by Suzette Quintanilla, Selena’s sister, during the festival’s annual celebration of cinema, taking place July 21–26, 2026. Widely regarded as one of the most influential Latino filmmakers in American cinema, Nava is an Oscar, Golden Globe, and Emmy Award-nominated writer, director, and producer whose groundbreaking body of work has profoundly shaped the portrayal of the Latino experience on screen. His landmark films — El Norte, My Family (Mi Familia), and Selena — have each been selected by the Library of Congress for preservation in the National Film Registry, recognizing them as culturally, historically, and artistically significant American films. Beyond directing the beloved cultural phenomenon Selena, Nava created American Family, the first dramatic Latino family television series in the history of U.S. broadcast television. A pioneer of the independent film movement, he also co-founded Film Independent and continues to develop film and television projects through El Norte Productions. He is currently co-writing, alongside Barbara Martinez Jitner, a new dramatic feature film chronicling the life and legacy of iconic civil rights and labor leader Dolores Huerta, which he will also direct. Suzette Quintanilla is a multi-hyphenate female leader in the music industry whose journey from musician to businesswoman has always been rooted in heart, legacy and growth. From her early days as the drummer of the iconic Selena y Los Dinos to now the CEO/ President of
Q-Productions, LLC. and the Executor of the Selena Estate, she continues to carry forward one of the most influential legacies in music history. Today, Suzette is a powerful example of female leadership, overseeing major creative projects, shaping culture and guiding a global brand grounded in Family. Through her work and her role with The Selena Foundation, she continues to honor her Family’s legacy while giving back and creating opportunities for future generations. SAFILM will bestow the 2026 Maverick Award to iconic actor, director, and award-winning travel writer Andrew McCarthy. McCarthy rose to international fame as one of the defining stars of the 1980s, with unforgettable leading roles in beloved classics including St. Elmo’s Fire, Pretty in Pink, Mannequin, and Weekend at Bernie’s. As an original member of Hollywood’s legendary “Brat Pack,” he helped shape a generation of coming-of-age cinema alongside fellow rising stars Rob Lowe, Demi Moore, and Molly Ringwald. Throughout his acclaimed career, McCarthy has continued to demonstrate remarkable versatility, appearing in films such as The Joy Luck Club and The Spiderwick Chronicles, while also earning praise for his work on Broadway and in television series including Lipstick Jungle, Kingdom Hospital, and Law & Order. In addition to his celebrated acting career, McCarthy has established himself as an accomplished director and award-winning travel writer, making him a true creative trailblazer whose work continues to inspire audiences around the world. McCarthy will also be supporting the 2026 official SAFILM short film selection, FAT, written and directed by his wife, Dolores Rice. PLOT: When Maeve realizes sexual violence from her childhood has ruptured her sense of self, she is pushed to the brink. The weight of her flesh, literally and figuratively, becomes too much
to bear. The pain of Maeve’s past has become the tyrant of her present. She can succumb to this tyrant, or, battle it into submission. FAT tells the story of one woman’s capacity to hold the burden of such a crime for years until she chooses to fight, transforming her narrative from one of defeat to heroic justice. FAT explores with razor-sharp acuity, how trauma lives in, breathes through, and in many cases, derails the body. But also how this body holds the key to the heroic repossession of self. Recognizing his decades-long artistic contributions to both the festival and the San Antonio creative community. SAFILM will present the Patron of Cinema Arts Award to celebrated Texas artist Robert Tatum. Tatum designed SAFILM’s official festival posters during the first four years and has continued contributing artwork throughout the festival’s 32-year history. Since making San Antonio his home, he has become one of the city’s most respected artists and cultural ambassadors. His distinctive work
SAFILM HONOREE Gregory Nava
19 de Julio de 2026 has appeared on logos, murals, interiors, posters, merchandise, and branding for many of San Antonio’s most beloved institutions and events, including Jazz’SAlive, Poteet Stra‑ wberry Festival, King William Fair, Con‑ temporary Art Month, and Guayabera Fest, among many others. Reflecting on his jour‑ ney, Tatum shares: “I didn’t come to chan‑ ge Texas — Texas changed me.” The 32nd annual SAFILM-San Antonio Film Festival will honor this year’s distinguished honorees and tributes at the show’s grande finale: Red Carpet Awards Ceremony on Sunday, July 26, at 5:00 p.m. at the Tobin Center for the Performing Arts, culminating the festival’s six-day celebration of independent cinema. Over 180+ official film selections will be in competition across feature-length, documen‑ tary, and short film categories, showcasing the work of emerging and established local, regional, national, and international filmma‑ kers. Films will screen July 21–26 at five ve‑ nues throughout San Antonio. But watching films is only part of the SAFILM experience. “We kinda just hang out, and let people be,” admits SAFILM’s founder and fearless lea‑ der of 32 years, Adam Rocha. “We schmoo‑ ze. We network. We red carpet. We Q&A. We after party. We do all the things you’d ex‑ pect at a film festival, but with the flavor of San Antonio. Our goal nowadays is to have these Hollywood filmmakers see the rich‑ ness our city offers and shoot their next pro‑ jects here.” Rocha first hosted “SAFILM” back in 1994, to showcase his own movies and other flicks made by his friends. Billed then as the “Underground Film Festival,” the first FEST boasted one outdoor screen, pay‑ -what-you-can admission at the door with unlimited access to the keg (until it ran out) – three decades later, that grassroots gathe‑ ring has evolved into the largest film festival in South Texas while maintaining the same welcoming, filmmaker-first spirit and ho‑ metown hospitality. In addition to the robust film lineup, SAFILM will present a series of FREE Industry Panels & Workshops open to the public, featuring acclaimed industry professionals and special celebrity guests. Highlights include: Close-Up with Gregory Nava: Public Conversation hosted by KAB‑ B-TV / FOX San Antonio’s Yami Virgin, on
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the landmark films of Mexican-American writer/director Gregory Nava, Flashback to the “BRAT PACK” Era in Film with Actor Andrew McCarthy HOW TO GET YOUR FILM MADE: Financing Strategies for To‑ day’s Industry Featuring Max Geschwind (CAA Media Finance), Brady Gordon (Dark Gordon Productions), Aaron Lee Lopez (Mutt Productions), and Mark Maxey (Rol‑ ling Pictures). For the complete festival schedule, tickets, workshops, and event information: www.safilm.com and follow SAFILM on Instagram @safilm. © 2026 The SAFILM-San Antonio Film Festival is a nonprofit 501(c)3 supported by Alamo Colleges District, ARGO Group, Cinema Soundoff, City of San Antonio Department of Arts & Culture, DEKO 37, Dorćol Distilling & Brewing Company, Film San Antonio, Guerrero CPA, Guerrero Law PLLC, H-E-B, HUMO, Mutt Productions, P3 Imaging Solutions, Pixel Power Graphics, San Antonio City of Gastronomy, the San Antonio Area Foundation, Texas Commission on the Arts, Texas Premier Realty, The Radius Center, The Rock at La Cantera, Total Media Solutions Event Production & Exhibition Services, The Gunter Hotel San Antonio Riverwalk, City Base Cinemas, Window World TX, and UIW.
Actress Jennifer Lopez with SAFILM Honoree Director / Writer Gregory Nava on the set of SELENA in 1996
Civil Rights Advocate and Icon Dolores Huerta with SAFILM HONOREE Gregory Nava
Suzette Quintanilla
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Shelly Lares: A Tejana Voice for Faith, Legacy, and Women Rising By Yvette Tello
Interview by Celinda De La Fuente
Shelly Lares has spent most of her life using music to move people. Her voice has carried through dance halls, family celebrations, radio stations, concert stages, classrooms, studios, and now hospice rooms where songs become comfort, memory, and prayer. But when Lares speaks about her legacy, she does not begin with fame. She begins with faith. She begins with family. She begins with integrity. Born and raised in San Antonio near Culebra and 36th Street, behind St. Mary’s University, Lares carries the West Side with her everywhere she goes. That neighborhood shaped her understanding of culture, community, and service. She grew up in a musical household, surrounded by family members who could sing or play instruments, and by parents who taught her to work hard, stay grounded, and do everything with purpose. “I became a recording artist at 10 years old,” Lares shared. “I’ve been doing everything I love my entire life.” That love became a calling. For decades, Lares helped shape Tejano
music as one of the genre’s most recognized female voices. She entered an industry where women were often compared to one another, criticized more harshly than men, and placed in competition for limited recognition. Rather than accept that culture, Lares stood in her own authenticity. She knew every woman brought something different to the table. She knew Tejano music had room for all of them. That spirit is exactly why Lares aligns so naturally with La Prensa Texas’ We the Women movement. We the Women is not about competition. It is about alignment. It is about women supporting one another loudly, honoring one another publicly, and refusing to carry forward the old wounds of gatekeeping, jealousy, and division. It is about recognizing that when one woman rises with integrity, she creates room for another woman to rise too. Shelly Lares has lived that message. As a Tejana, artist, producer, mentor, teacher, and woman of faith, Lares represents the kind of leadership We the Women was created to celebrate. She does not simply open doors for herself. She opens doors for others. She does not hoard knowledge. She teaches it. She does not build her legacy by standing above others. She builds it by pouring into the next generation. At ShellShock Records 3, her studio and label, Lares has created a space rooted in “God, family, integrity.” Artists who walk through her doors are not treated like products. They are treated like people with purpose. Before the music begins, she often asks them one of the most important questions an artist can answer: Why do you want to do this? For Lares, the answer matters. Music is not something to chase only for attention, money, or viral moments. It is a gift. It is a responsibility. It is something that can become part of someone’s life forever. That is why she challenges artists to know who they are, understand their purpose,
and approach their craft with honesty. In many ways, her studio has become more than a studio. It has become a place of mentorship, prayer, reflection, laughter, and sometimes tears. Artists of all ages come to her not only for production, but for guidance. Lares understands that many people did not grow up with the kind of support and foundation she received from her parents. So when she can be that support for someone else, she does. “Mentorship is very important to me,” she said. “I mentor all ages, from children to adults.” That is We the Women in action. It is mentorship over gatekeeping. It is wisdom passed down instead of withheld. It is the belief that a woman’s lived experience is not something to hide, but something that can become a bridge for someone else. Lares also carries that same mission into education. Today, she is helping answer an important question for a new generation: What is Tejano music? As the first Artist in Residence at UTSA, she has worked to bring more awareness to Tejano music on campus. After years of speaking in music, audio technology, Selena, and music industry classes, she helped build a true Tejano ensemble where students learn not only how to perform the music, but how to understand where it comes from. In her classroom, students study the different styles of Tejano music, from conjunto to orquesta to progressive sounds. They learn history. They learn instrumentation. They hear from veteran artists who helped shape the genre. Most importantly, they learn that the music did not begin as a product. It began as culture. It began as an expression. It began as love. “We’re not just Mexican music, and we’re not just American music,” Lares explained. “We’re Mexican American music.” That statement carries the heart of her work. Lares understands that preserving Tejano music is also preserving the story
19 de Julio de 2026 of a people. It is preserving the sound of families who lived between cultures, languages, borders, and generations. It is pre serving the beauty of a community that has always created something powerful out of its ownexperience. Lares wants students to understand that being an artist is more than singing notes or playing the right chords. It is about knowing why you are doing it. It is about respecting the gift. It is about honoring the people who came before you while making room for those who are still finding their voice. Her service does not stop with students and artists. After stepping away from the road, Lares felt called toward hospice care. At one point, she planned to pursue nursing, believing that was where God was leading her. But then Harmony Hospice Care, owned by her cousin Sylvia, invited her to provide music support for patients. That invitation changed everything. Lares realized that the gift she had carried on stages for decades still had sacred work to do, only now at the bedside of people nearing the end of life. Through music, she has seen patients with dementia remember lyrics when they could not remember names. She has watched bedbound patients move their feet, clap their hands, and reach for her hand to dance from where they lay. She has witnessed anxiety soften, sadness lift, and families receive comfort in some of their most difficult moments. One story still stays with her. Lares visited a woman who loved mariachi music, but the patient’s daughter warned that her mother was not having a good day. Lares gently introduced herself and mentioned mariachi music. The woman’s eyes opened. When Lares began singing a bolero, the patient sat up and sang with her. The room changed. Her daughter cried. A moment that began in heaviness became a moment of connection. On another visit, Lares met a man with severe dementia who had once played saxophone in a big band. At first, he did not remember the instrument was his. But when Lares placed it in his hands, something awakened. His body remembered. His hands found their place. He began to play. His
La Prensa Texas SAN ANTONIO daughter ran into the room, stunned, saying he had not played in more than 20 years. For Lares, moments like that prove what she has always known: music heals. It reaches places words cannot. It moves through memory, spirit, grief, joy, and love. It comforts not only the patient, but the family gathered nearby. It reminds people that even in transition, there is beauty. There is presence. There is dignity. Through every chapter of her life, Lares returns to faith. She speaks openly about prayer, alignment, self-growth, and learning to trust God’s direction even when the path does not look the way she imagined. She once thought retirement from the road meant stepping away from music. Instead, it opened a new season where music became classroom, ministry, mentorship, healing, and legacy. The connection between Shelly’s identity, representation, and We the Women. Lares also understands the power of representation. As a San Antonio woman, a Tejana, a faith-filled leader, a mentor, and a member of the LGBTQ+ community, she knows someone is always watching. A child. An artist. A woman wondering if it is too late. A person wondering if they can still be fully themselves and fully loved by God. Her message is simple: be real, be kind, be rooted, and be yourself. “God is love,” Lares said. “That’s my definition of love.” This is why La Prensa Texas is proud to honor Shelly Lares at the 2026 La Prensa Texas Gala during Hispanic Heritage Month as part of the celebration of culture, legacy, and the We the Women movement. Her recognition is not only for what she has accomplished on stage, but for what she continues to give back off stage. She represents the Cultura y Música spirit of San Antonio: rooted, faithful, creative, generous, and unapologetically authentic. This is why La Prensa Texas is proud to honor Shelly Lares at the 2026 La Prensa Texas Gala during Hispanic Heritage Month as part of the celebration of culture, legacy, and the We the Women movement. Her recognition is not only for what she has accomplished on stage, but for what she continues to give back off
15 stage. She represents the Cultura y Música spirit of San Antonio: rooted, faithful, creative, generous, and unapologetically authentic. Shelly Lares reminds us that women do not have to become hardened by the industries that tried to limit them. They can become wiser. They can become mentors. They can become builders. They can become healers. They can become the example someone else needed to see. Her story speaks directly to the heart of We the Women: we are not here to compete for crumbs. We are here to build together. We are here to honor the women who came before us, support the women beside us, and prepare the way for the women coming after us. Lares has done that through music. Through faith. Through mentorship. Through service. Through love. And as La Prensa Texas prepares to honor her in 2026, we are also honoring what she represents: a woman who has never forgotten where she came from, never stopped growing, and never stopped using her gift to serve others. Shelly Lares is more than a Tejano icon. She is a cultural keeper, a mentor, a healer, and a living example of what it means to be aligned with purpose. She is We the Women.
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LEGAL NOTICE Application has been made with the Texas Alcoholic Beverage Commission for a Wine and Malt Beverage Retailer’s Permit by PacMan’s Hideout, LLC., to be located at 1034 Bandera, San Antonio, Bexar County, Texas. Officers of said corporation are Destinee Garcia, Manager.
Fiesta Big. Shop Small.
19 de Julio de 2026
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Piratas Vs. Tuzos, Por Trofeo Del Playoff Por Sendero Deportivo El campeón Piratas dirigido por Iván Vaquera enfrentará al duro rival Tuzos del timonel Roberto Villarreal “La Yerba”, en lo que será gran serie final por el trofeo del playoff pactada a ganar 2 de 3 partidos ha jugarse
en el estadio Potranco comenzando este domingo 19 de julio, en el horario de las 11am. En el segundo partido de postemporada el actual campeón Piratas doblegó a Diablos del cafetero Mike Tabhan con pizarra de 7-3 carreras con victoria en la lomita para José López “El
Látigo”, destacándose en el bateo el prospecto Maxi Vega, quien dio de 5-3 con dos carreras producidas, dedicando su efectivo bateó en memoria del buen amigo Ramiro Morales. El presidente Simón Sánchez, pidió a jugadores y directivos de Piratas y Diablos y aficionados rendir un Minuto de Silencio en memoria del beisbolista Ramiro Morales, ha quien se le reconoció su apoyo al béisbol amateur de su natal Nueva Rosita, Coahuila y en la región de San Antonio, descanse
en paz. Resultados categorí a Masters 50+ Temporada en honor del beisbolista Servando Hernández del club Rieleros. Yankees 15 Los Rojos 3, con victoria para Pat Hernández y salvamento de Jaime Guerrero. Jorge Morales cargó con la derrota siendo relevado por el ex campeón Alfredo Obregón. Astros de Pedro Espinoza doblegó a Rangers de Benito Martínez y Ruperto Ortega con pizarra de 9-5 carreras y victoria para el bicampeón Ubaldo Montelongo. Papo
Garza de Rangers, con su bateó impulsó cuatro carreras. Rol de juegos cierre de la final de temporada regular en el Campo 2 Potranco Baseball Complex: 11am Rangers vs Despos. 2pm Astros vs Yankees. Los Rojos de Jimmy Martinez y Catarino Obregón, descansan para estar listo en el playoff. En las fotos aparecen Ramiro Morales (QDEP). Max Vega y su hijo Maxi, de Piratas. (Fotos de Franco)
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At 80, Lourdes Galván’s Life Remains Rooted in Service to San Antonio’s WestSide By Louis R. Escareño
There are some public officials whose commitment to their communities ends when their term in office does. They leave City Hall, step away from public view and move on to another chapter of their lives. Lourdes Galván was never one of them. For Galván, public service has never depended on a title, an election or an office. It has been a lifelong obligation—one rooted in family, neighborhood and a deep affection for the West Side of San Antonio. That lifetime of service was celebrated recently when approximately 150 family members and friends gathered to mark Galván’s 80th birthday. The Las Vegas-themed celebration featured old-school glamour, mariachis, a DJ, a photo booth, dancing and a casino-inspired birthday cake. It was a fitting tribute to a woman whom her daughter, Queta Rodriguez, describes with a mixture of admiration and amusement. “She’s 80 years old, and you would never know it, because you cannot keep that woman down,” Rodriguez said. “She is just everywhere.” Indeed, at 80, Galván remains an active elected director of the San Antonio River Authority, where she represents Bexar County District 2 and continues advocating for the restoration of the West Side creeks she knew as a child. Her public career has included 21 years of employment at Kelly Air Force Base, service as the District 5 representative on the San Antonio City Council, a term as mayor pro tem, national leadership in the League of United Latin American Citizens and more than a decade on the River Authority board. Yet the common thread running through every chapter is not political ambition. It is service. Galván grew up on San Antonio’s West Side, near the Alazán and Apache creeks. She has spoken vividly about crossing
slippery rocks and balancing on pieces of plywood laid across the creeks while walking to school. She also remembers the flooding that once threatened nearby streets and homes. Those memories stayed with her. After attending Sidney Lanier High School and San Antonio College, where she earned an associate degree in sociology, Galván began a long career at Kelly Air Force Base. She worked there from 1978 until 1999, during an era when Kelly was one of San Antonio’s most important economic institutions and a source of stable employment for generations of West Side families. Her daughter remembers growing up in a household in which community activism was not an occasional activity. It was a way of life. “My parents had me block walking and phone banking starting at eight years old, ” Rodriguez recalled. Rodriguez would later enlist in the United States Marine Corps, serve for 20 years—including deployments to Somalia, Southwest Asia and Afghanistan—and retire as a captain. She would go on to advocate for veterans, housing accountability and equitable public investment, as well as run for Bexar County commissioner. The roots of that service, she says, began at home. “I remember my mother being completely devoted to her community, of course to her family, but to her community as well, just like family, ” Rodriguez said. Galván brought that commitment to City Hall in 2007, when she won the District 5 City Council seat. She represented a district that includes some of San Antonio’s oldest and most historically underserved neighborhoods. Within months, she was sworn in as mayor pro tem. Her time on the council was relatively brief, ending in 2009, but her public life did not end with an election result. She simply found new places to serve. Galván later became LULAC National Vice President for Wom-
en. In that role, she helped elevate women’s leadership within one of the nation’s oldest Latino civil rights organizations. She supported priorities involving education, employment, political participation and more accurate representation of Latinas in public life and the media. Her service with LULAC reflected a belief she had long practiced: Communities become stronger when women are encouraged not merely to participate, but to lead. In 2013, Galván was elected to the San Antonio River Authority
19 de Julio de 2026 board. She was reelected without opposition in 2019, and her current term continues through 2029. She serves on the authority’s Executive Committee and as its Communications Committee chair. Her signature passion has been the Westside Creeks Ecosystem Restoration Project, a major partnership involving the River Authority, Bexar County and the U.S. Army Corps of Engineers. The approximately $200 million project is intended to restore 11 miles of the Alazán, Apache, Martinez and San Pedro creeks, rehabilitate hundreds of acres of aquatic habitat, and add miles of trails and recreational amenities. The project is designed to improve water quality, enhance flood protection and reconnect neighborhoods divided by concrete drainage channels. For Galván, however, the creeks are more than public infrastructure. They are part of the West Side’s collective memory. “I view the Westside Creeks as generational gems, ” she has said, describing their restoration
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as long overdue. She remembers when the creeks were natural gathering places, before they were transformed into concrete channels during the 1970s. While channelization helped reduce flooding risks, Galván has observed that the community also lost something important: places where children played, families gathered and neighborhoods connected. Her advocacy is therefore about restoration in the fullest sense—not only restoring water and habitat, but restoring dignity, beauty and opportunity to neighborhoods that have waited far too long for equitable public investment. Rodriguez says the greatest lesson her mother taught her was that service should not depend on receiving an invitation. “You step up when you can, you’re there for people, you help out,” she said. “And you don’t wait to be asked. You just do it.” That may be the best description of Lourdes Galván’s life. At 80, she continues to step up. She continues to show up. And she continues to
remind San Antonio that public service is not a season of life—it is a promise made to one’s community and renewed, day after day, through action. For eight decades, Lourdes Galván has kept that promise. And the West Side of San Antonio is better because she did.
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