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Let’s
Talk About It:
A PERSON IS NOT “ILLEGAL”
By Yvette Tello
Too often, undocumented immigrants are called “illegal,” as though a person’s entire identity can be reduced to an immigration status. But lacking lawful immigration status is not automatically a crime. Someone may become undocumented after overstaying a legally issued visa, which is generally handled as a civil immigration violation. Improper entry may be prosecuted criminally, but being present without legal status often leads to civil removal proceedings. That distinction matters. Undocumented people are parents, workers, students, caregivers, neighbors and longtime members of our communities. Calling a human being “illegal” turns a legal classification into a judgment about their very existence. We can debate immigration laws, border security and public policy without dehumanizing people. Did you know that undocumented status is generally a civil matter, not a criminal offense? Does that change how you view the word “illegal”? Let’s talk about it....
Mary Svetlik Watkins: “Under federal law (such as in the U.S.), unlawful presence in the
country—such as overstaying a visa—is generally treated as a civil violation subject to deportation rather than a criminal offense. However, the act of crossing the border without inspection by immigration authorities is considered illegal entry, which is a prosecutable criminal misdemeanor.”
Kenneth Smith: “Making EVERYONE in that situation ILLEGAL immigrants or alien *Ex-democrat”
Robert Christina: “An “illegal person” (legally referred to as an “unauthorized” or “undocumented” immigrant) is any foreign national who lives in the United States without federal government authorization. This classification applies to individuals who entered the country without inspection, or those who entered legally but violated the terms of their admission, such as by overstaying a visa. Federal law defines any person who is not a U.S. citizen or national as an alien. The term “illegal alien” is used in the text of the Immigration and Nationality Act to describe those who reside unlawfully, though advocacy groups and government entities increasingly prefer the terms “undocumented immigrant” or “unauthorized immigrant” Nothing personal, zero narrative, it’s the law. Now to the word illegal and I know a lot of individuals who think the dictionary is incorrect. Illegal describes actions, items, or processes that are forbidden by law or contrary to official rules. It signifies a violation of legal statutes, common-law principles, or recognized regulatory guidelines Meaning, if jumped that fence across the border, it is illegal. If you came on a boat, plane from any other country illegally, yes that too is
illegal. The definition applies to all ethnicities.”
Richard Cortez: “A person is Illegal if they came here Illegally. “But why didn’t they ever fix their paper’s so to speak if they truly wanted to become an American citizen something doesn’t fit right in in that respect just cheat their way in naw I’m not buying it, and yes we are all God’s children but he gave the 10 Commandments which are Laws to live by and each country on earth has their Laws which should be obeyed in every instance or there will be lawlessness and that’s what’s happened since bozo Biden and the cackling hyena Harris did by letting the United States of America become invaded by people all over the world”
Dave Castaneda: “If they are in a country that has laws they can be illegal”
Enrique Martin: “A pig doesn’t stop being a pig because you put a dress on it! Illegal Alien means à foreign person not here legally! It’s just that simple!”.
Charles Edward Rodriguez: “America’s North and South makes them Americans”
Gustavo Mendoza: “Yvette Tello , thanks for the powerful sharing. I’m appalled by the negative, racist and hostile comments here, they don’t understand that being a human being is as important as following the law. However, enforcing laws and humiliating and killing people because their “immigration status” is totally unacceptable. I’m against criminals being in the country, they need to be deported but in the process many innocent people, including
American citizens and legal foreigners are being dragged out of their cars, beaten, jailed and even killed and the reason is because people like the ones attacking your post believe that they are better than the immigrants that came to this country and are a huge part of the economy and the communities. The lack of tolerance inspired by a fascist government is dividing our country”
Joe Morales: ““Assuming you’ve never visited a foreign country, how would you accomplish what you do here? Conversely, if you have, then why purport that there’s no wrongdoing in knowingly, and willfully allowing your permissions to lapse without consequences? If you’re being vocal about “injustices” of humanity, then be fair and call for that internationally. Or are you just about one race?”
Jeff Mahl: “When a person exceeds the speed limit they have violated a law that makes them “illegal.”
Jose Martinez: “Well go tell Mexico that they hate illegal immigration overthere also.... go argue about it overthere also”
Jay Viveiros: “it is illegal to stay in the US after your visa expires. Yes, remaining in the U.S. after your authorized period of stay is a violation of immigration law, commonly known as a “visa overstay”.
Jesse Victor Gomez: “Unauthorized entry into the country is ILLEGAL.”
Tony Brzozowski: “Congratulations on showing everyone the incredible amount of stupidity you possess!”
Scott Wilson was born on March Air force Base in Riverside, CA in 1982. He moved to West Texas in May of 2000 to work in the Texas oilfields with his Father’s family. In June of 2002, he was crushed due to faulty equipment, resulting in the amputation of his dominant left arm, and severe injury to his right leg. During his eight month hospital stay, he went through intensive physical rehabilitation including learning how to write again. In August of 2003, he moved to San Antonio, TX to attend UTSA Business School. Scott excelled in college graduating magna cum laude with a bachelors in
About the Artist Scott Wilson
Management Science. Shortly after graduating college, his four year old daughter was diagnosed with brain cancer. His family had to move to Memphis Tennessee for treatments at St Jude Children’s Research Hospital. While caring for his daughter at the hospital, he began to paint for the first time. After a year of chemo and radiation treatments, his daughter went into remission, and they returned to San Antonio. Back in San Antonio Scott continued to paint, taking art classes at a local school. In May of In 2015, he joined an art collective, Death from a Brush. It was there he learned to live paint at shows doing fine art, body painting and murals. In September of 2015, he became an artist for Alamo City Comic Con, and painted for multiple other art shows and local galleries. In 2016, he climbed Mt Kilimanjaro in Tanzania Africa, which led to a series of African wildlife paintings. Throughout the years, he has been featured in the San Antonio Current, Express News, KSAT 12, Kens5, and a
documentary on climbing Kilimanjaro. In 2020, as live art shows and art galleries began to shut down due to the pandemic, Scott had a state of the art studio built on his property in San Antonio. He began to focus on commission work,honing his skills on portraits, landscapes, and still life. As establishments began to open and social distancing regulations were dropped, he began to work and paint for local wineries, distilleries, and breweries. Currently Scott is working with the Jim Hellman Gallery in San Diego, CA, Kikis Kottage Gallery in Wickenburg AZ, Alamo City Comic Con in San Antonio, and Helotes Gallery in Texas, along with multiple Wineries, Distilleries, and breweries in Central Texas. As a certified scuba diver and underwater photographer, his body of work is currently focused on marine life paintings, and alcohol related pieces for the beverage industry, along with multiple other subject matters including western art, celebrity portraiture, and landscape art.
Tommy Calvert Back to School Extravaganza
By Ramon Chapa
Everyone sees the smiles on distribution day but these photos tell the story of what it takes to make it happen. For four straight days, our incredible volunteers worked tirelessly loading a U-Haul with 700 backpacks and thousands of school supplies for the Commissioner Tommy Calvert Back-to-School Extravaganza at East Central ISD. The A-Team, Clyde Foster and Ramon Chapa Jr.along with dedicated volunteers Cool Raul Lagunas and intern Christopher, spent long hours lifting, sorting, stacking, organizing, and loading every backpack and supply. It’s hard work that most people never see, but it’s essential to making sure every child receives what they need on event day. Then came the big day— 700 backpacks were distributed to grateful students and families, giving children the tools they need to start the school year with confidence. A special thank you to Commissioner Tommy Calvert, his outstanding staff, and the amazing ladies of **Women Unlimited San Antonio**, who once again donated their time to fill every backpack with school supplies. These photos aren’t just about volunteers loading a truck. They’re about dedication, teamwork, and a community coming together to invest in the future of our children. Every backpack loaded represented a student who would walk into school prepared to succeed.
Comisión de Calidad Ambiental del Estado de Texas
MODIFICADO AVISO DE RECIBO DE LA SOLICITUD Y EL INTENTO DE OBTENER PERMISO PARA LA CALIDAD DEL AGUA PERMISO
PERMISO PROPUESTO NO. WQ0005533000
SOLICITUD. Alamo Community College District, 2222 North Alamo Street, San Antonio, Texas 78215, que es propietaio de una institució pública de educación superior y colegio comunitario, ha solicitado a la Comisión de Calidad Ambiental de Texas (TCEQ) para el propuesto Permiso No. WQ0005533000 (EPA I.D. No. TX 0149381) del Sistema de Eliminación de Descargas de Contaminantes de Texas (TPDES) para autorizar la descarga de aguas residuales tratadas [y aguas pluviales] de manera intermitente y con un volumen de flujo variable. La planta estará ubicada en 1201 Kitty Hawk camino, cerca de la ciudad de Universal City, en el Condado de Bexar, Texas 78148. La ruta de descarga irá desde el emplazamiento de la planta hasta un afluente sin nombre; de ahí al arroyo Salitrillo; de ahí al arroyo Martinez; y de ahí al tramo inferior del arroyo Cibolo. La TCEQ recibió esta solicitud el día 27 de mayo de 2026. La solicitud de permiso estará disponible para su consulta y copia en el North east Lakeview College-Comal Learning Resource Center, en el mostrador de la biblioteca, ubicado en 1201 Kitty Hawk Road, Universal City, condado de Bexar, Texas antes de la fecha de publicación de este aviso en el periódico. La solicitud y los avisos asociados están disponibles electrónicamente en la siguiente página
web: https://www.tceq.texas.gov/permitting/wastewater/pending-permits/tpdes-applications. Este enlace a un mapa electrónico de la ubicación general del sitio o de la instalación es proporcionado como una cortesía y no es parte de la solicitud o del aviso. Para la ubicación exacta, consulte la solicitud. https://gisweb.tceq.texas.gov/LocationMapper/?marker=-98.32388,29.542777&level=18
AVISO DE IDIOMA ALTERNATIVO. El aviso de idioma alternativo en español está disponible en https://www.tceq.texas.gov/permitting/wastewater/pending-permits/tpdes-applications.
AVISO ADICIONAL. El Director Ejecutivo de la TCEQ ha determinado que la solicitud es administrativamente completa y conducirá una revisión técnica de la solicitud. Después de completar la revisión técnica, el Director Ejecutivo puede preparar un borrador del permiso y emitirá una Decisión Preliminar sobre la solicitud. El aviso de la solicitud y la decisión preliminar serán publicados y enviado a los que están en la lista de correo de las personas a lo largo del condado que desean recibir los avisos y los que están en la lista de correo que desean recibir avisos de esta solicitud. El aviso dará la fecha límite para someter comentarios públicos.
COMENTARIO PUBLICO / REUNION PUBLICA. Usted puede presentar comentarios públicos o pedir una reunión pública sobre esta solicitud. El propósito de una reunión pública es dar la oportunidad de presentar comentarios o hacer preguntas acerca de la solicitud. La TCEQ realiza una reunión pública si el Director Ejecutivo determina que hay un grado de interés público suficiente en la solicitud o si un legislador local lo pide. Una reunión pública no es una audiencia administrativa de lo contencioso.
OPORTUNIDAD DE UNA AUDIENCIA ADMINISTRATIVA DE LO CONTENCIOSO. Después del plazo para presentar comentarios públicos, el Director Ejecutivo considerará todos los comentarios apropiados y preparará una respuesta a todo los comentarios públicos esenciales, pertinentes, o significativos. A menos que la solicitud haya sido referida directamente a una audiencia administrativa de lo contencioso, la respuesta a los comentarios y la decisión del Director Ejecutivo sobre la solicitud serán enviados por correo a todos los que presentaron un comentario público y a las personas que están en la lista para recibir avisos sobre esta solicitud. Si se reciben comentarios, el aviso también proveerá instrucciones para pedir una reconsideración de la decisión del Director Ejecutivo y para pedir una audiencia administrativa de lo contencioso. Una audiencia administrativa de lo contencioso es un procedimiento legal similar a un procedimiento legal civil en un tribunal de distrito del estado.
PARA SOLICITAR UNA AUDIENCIA DE
CASO
IMPUGNADO, USTED DEBE INCLUIR EN SU SOLICITUD LOS
SIGUIENTES DATOS: su nombre, dirección, y número de teléfono; el nombre del solicitante y número del permiso; la ubicación y distancia de su propiedad/actividad con respecto a la instalación; una descripción específica de la forma cómo usted sería afectado adversamente por el sitio de una manera no común al público en general; una lista de todas las cuestiones de hecho en disputa que usted presente durante el período de comentarios; y la declaración “[Yo/nosotros] solicito/solicitamos una audiencia de caso impugnado”. Si presenta la petición para una audiencia de caso impugnado de parte de un grupo o asociación, debe identificar una persona que representa al grupo para recibir correspondencia en el futuro; identificar el nombre y la dirección de un miembro del grupo que sería afectado adversamente por la planta o la actividad propuesta; proveer la información indicada anteriormente con respecto a la ubicación del miembro afectado y su distancia de la planta o actividad propuesta; explicar cómo y porqué el miembro sería afectado; y explicar cómo los intereses que el grupo desea proteger son pertinentes al propósito del grupo.
Después del cierre de todos los períodos de comentarios y de petición que aplican, el Director Ejecutivo enviará la solicitud y cualquier petición para reconsideración o para una audiencia de caso impugnado a los Comisionados de la TCEQ para su consideración durante una reunión programada de la Comisión. La Comisión sólo puede conceder una solicitud de una audiencia de caso impugnado sobre los temas que el solicitante haya presentado en sus comentarios oportunos que no fueron retirados posteriormente. Si se concede una audiencia, el tema de la audiencia estará limitado a cuestiones de hecho en disputa o cuestiones mixtas de hecho y de derecho relacionadas a intereses pertinentes y materiales de calidad del agua que se hayan presentado durante el período de comentarios.
LISTA DE CORREO. Si somete comentarios públicos, un pedido para una audiencia administrativa de lo contencioso o una reconsideración de la decisión del Director Ejecutivo, la Oficina del Secretario Principal enviará por correo los avisos públicos en relación con la solicitud. Además, puede pedir que la TCEQ ponga su nombre en una o más de las listas correos siguientes (1) la lista de correo permanente para recibir los avisos del solicitante indicado por nombre y número del permiso específico y/o (2) la lista de correo de todas las solicitudes en un condado especifico. Si desea que se agrega su nombre en una de las listas designe cual lista(s) y envía por correo su pedido a la Oficina del Secretario Principal de la TCEQ.
INFORMACIÓN DISPONIBLE EN LÍNEA. Para detalles sobre el estado de la solicitud, favor de visitar la Base de Datos Integrada de los Comisionados en www.tceq.texas.gov/goto/cid. Para buscar en la base de datos, utilizar el número de permiso para esta solicitud que aparece en la parte superior de este aviso.
CONTACTOS E INFORMACIÓN
A LA AGENCIA. Todos los comentarios públicos y solicitudes deben ser presentadas electrónicamente vía http://www14.tceq.texas.gov/epic/eComment/ o por escrito dirigidos a la Comisión de Texas de Calidad Ambiental, Oficial de la Secretaría (Office of Chief Clerk), MC-105, P.O. Box 13087, Austin, Texas 78711-3087.
Tenga en cuenta que cualquier información personal que usted proporcione, incluyendo su nombre, número de teléfono, dirección de correo electrónico y dirección física pasarán a formar parte del registro público de la Agencia. Para obtener más información acerca de esta solicitud de permiso o el proceso de permisos, llame al programa de educación pública de la TCEQ, gratis, al 1-800-687-4040. Si desea información en español, puede llamar al 1-800-687-4040.
También se puede obtener información adicional del Alamo Community College District a la dirección indicada arriba o llamando a Sr. Russell Rincon, Bain Medina Bain, Inc., Ingeniero Profesional (P.E.), Ingeniero de Proyectos Senior, al 210-494-7223.
Fecha de emisión: 16 de julio de 2026
Spurs Renuevan Contrato Con Harrison Barnes
Por Franco
Los Spurs de San Antonio siguen firmes en el mercado libre, apoyando a sus jugadores quienes han estado respondiendo al llamado en los últimos dos años. Entre ellos se encuentran veteranos y prospectos quienes se han distinguido por ser valores dentro y fuera de la duela. Tal es el caso del veterano delantero Harrison Barnes, quien fue fichado en el año 2012 como séptimo en el escaño sobretodo durante el NBA Draft por los Golden State Warriors,
cuando jugaba para el Team colegial de North Carolina, siendo posteriormente incluido en el 2012-13 AllRookie First Team. En boletín oficial informativo de la empresa Spurs Sports and Entertainment (SS&E), se dijo haber renovado co trato con Harrison Barnes. Indicando que Barnes, con de estatura de 6-8 y peso de 225, durante la pasada temporada jugó 77 partidos con promedio de 9.9 puntos, 2.8 rebotes y 1.9 asistencias durante 25.8 minutos de juego, así como de de tiros al aro con prome-
dio de 45.6% y 38.8% en la área de tres puntos, con lo cual logró ayudar a la franquicia Silver and Black, ha clasificarse ha la postemporada por primera vez desde el 2019. Harrison, en sus dos temporadas con Spurs, tiene marca de 159 partidos jugados, con 134 como estelar, en los que obtuvo promedio de 11.2 puntos. 3.3 rebotes y 1.8 asistencias en 26.5 minutos de juego, añadiendo promedios de 48.4% en disparos al aro de dos puntos y 41.1% en la marca de tres puntos. Barnes, un veterano
delantero gran calidad dentro de la duela por 14 años en los que ha jugado 1,070 partidos (984 como estelar), se ha destacado por su gentileza en labores comunitarias apoyando proyectos en renovación de canchas de baloncesto tanto en las comunidades del sur de Texas y el vecino estado de Coahuila.
Contando con el apoyo de su esposa Brittany
Harrison y su distinguida Fundación en ambos nombres. Organización que ha dado apoyo económico de más de medio millón de dólares a instituciones sin fines de lucro. Foto de Harrison es de Franco y gráfica The Coyote en clínica de Saltillo es de cortesía. (fotos de Franco)
By J. Gilberto Quezada
A Special Kind Of Radiance
Summer arrived this year with a special kind of radiance, as if the world itself were rejoicing. Sunday, June 21, 2026, Father’s Day, felt touched by grace, a day when the sunlight seemed to sing and the breeze carried a quiet message of hope. Joy to the world, the Lord is here, and His presence could be felt in every warm ray of sunshine and the rains that we received. For me, the first day of summer always opens a door to the past, inviting me to walk once more through the beloved streets of my childhood in Barrio El Azteca in Laredo, Texas, and up to the present of my memorable and wonderful memories living in San Antonio. In those early years, summer meant freedom, laughter, and the comforting embrace of a neighborhood that shaped my soul. I remember the dusty roads, the friendly voices, and the way the trees stood tall like guardians of our little world. Flowers bloomed in every
corner, painting the barrio with colors that felt like God’s own brushstrokes. Even now, decades later, the memory of those blossoms reminds me of His creation, majestic, tender, and full of charm. Summer was never just a season; it was a celebration of life itself. As I slowly approach being an octogenarian and enjoying life in San Antonio, I find myself savoring these moments with deeper gratitude. The world feels gentler in summertime. I hear the birds singing with a joy that fills the air, their melodies rising like prayers of thanksgiving. I see nests tucked carefully in the trees, reminders of the care and continuity woven into nature. The flowers are once again in full bloom, and the trees stretch their branches heavenward, offering shade and beauty just as they did in my youth. Every detail feels like a gift. This year’s first day of summer brought with it a renewed sense of wonder. Standing outside our home in San Antonio and in our cottage
in Zapata, feeling the warmth on my face, I realized how blessed I am to witness yet another season unfold. The good old summertime still has the power to lift my spirit, to remind me of who I am and where I come from. It connects my past to my present, my childhood to my elder years, my earthly journey to God’s eternal love. And in that connection, I find peace. So, I rejoice—truly rejoice—that summer is here and with all the rain. Its arrival on Father’s Day feels like a divine reminder of heritage, family, and the enduring beauty of life. The trees, the flowers, the birds, the memories of my beloved Barrio El Azteca, and the gentle whisper of God’s presence all come together to form a tapestry of gratitude. Yes, joy to the world, the Lord is here. And as long as summer returns, I will continue to celebrate its warmth, its wonder, and the precious memories it brings to life.
Margaret Garcia’s Art Is a Formable Creative Force at the Cheech Museum
By Ricardo Romo, PH.D
Margaret Garcia’s new artwork at the Cheech Museum in Riverside, California, is vibrant in color and bold in concept. The Cheech opened the new show, We the People: Chicano Art in the U.S.A., on May 30, 2026. Curated by artist Benito Huerta with Cheech Marin’s conceptual contributions, the exhibit includes 60 artists and 125 beautiful works of art.
artist.
Margaret Garcia stands as one of the most important voices to emerge from the Chicano Art Movement. An East Los Angeles–based Chicana artist, her work explores and defines the people, landscapes, history, and culture of her city. Garcia’s career reflects both artistic determination and cultural commitment, bridging muralism, portraiture, and community-based practice. She belongs to a generation shaped by the political and cultural tensions of the late 1960s, yet she distinguished herself early on as one of the few women able to sustain a prominent career in what was largely a male-dominated movement. Raised in Los Angeles’s Latino community of Boyle Heights, Garcia graduated from Roosevelt High School and continued her studies at Los Angeles City College and San Fernando Valley State College between 1969 and 1972. She la er pursued graduate work at the University of Southern
California in the M.F.A. program. Her academic career paralleled her development as an artist deeply engaged with the cultural fabric of Los Angeles, particularly its Mexican American and immigrant communities. Garcia first gained recognition as a muralist in the 1970s, a period when public art served as a vital platform for Chicano expression and political visibility. Among her early achievements was her role as lead artist for the mural “Two Blue Whales” near Venice Beach, a largescale work depicting two whales in motion, embodying both environmental awareness and visual dynamism. Garcia also received a significant commission from the Greater Los Angeles Council of the Deaf to create a mural honoring the 1984 Deaf Olympic Games held in Los Angeles. These projects situated her within a broader tradition of socially engaged muralism while establishing her as a formidable creative force.
Margaret Garcia, “Burning Yucca,” in the Cheech Museum exhibit, “We The People.” Courtesy of the artist.
Over time, Garcia transitioned toward a studio-based practice, focusing on paintings and pastels. Her art is grounded in everyday life in Los Angeles, particularly within Black and Brown communities.Portraiture, in Garcia’s hands, becomes both an intimate and collec-
tive act. Garcia explained, “In my discipline of painting, I create art. Being an artist is not simply about creating art but creating community. I honor individuals through my portraits.” She prefers to paint with her subjects in her studio so that she gets to know them individually. This statement encapsulates her belief that representation is inseparable from social connection and cultural affirmation. This philosophy finds sustained expression in Garcia’s long-running series Un Nuevo Mestizaje (Indigenous and European Mixture), a body of work comprising more than one hundred 24 × 24 inch oil portraits. These paintings challenge reductive stereotypes by presenting individuals in their full humanity and diversity.
Garcia has described her Mestizo project as “unmasking the cliché and exposing the human.” The portraits often depict neighbors, street vendors, family members, and women— figures who might otherwise remain unseen or misrepresented in mainstream visual culture. Garcia’s visual language is immediately recognizable. Her paintings are characterized by saturated, expressive color, richly textured surfaces, and a flattened compositional space that draws from Mexican folk art traditions. At the same time, her public works reflect the
Cheech Marin with Margaret Garcia. Courtesy of the
Margaret Garcia in her East Los Angeles studio. Photo by Ricardo Romo.
influence of major Mexican muralists—Diego Rivera, José Clemente Orozco, and David Alfaro Siqueiros—while her portraits reflect Frida Kahlo’s introspective sensibility. Garcia has also produced a significant body of landscape paintings. Her past work, especially the Views from the Pueblo series, captures neighborhoods such as Boyle Heights, East Los Angeles, Highland Park, Arroyo Seco, the Plaza, Chinatown, and Echo Park. Her works at the Cheech Museum depict raging urban fires illuminated by radiant skies and reflective surfaces that transform familiar spaces. Garcia’s paintings of Echo Park Lake stand out for their vivid greens and striking yellow sun rays, evoking both Impressionist light and the emotional intensity of Chicano expression. In these landscapes, Garcia not only documents place but also conveys the atmosphere and cultural memory embedded within it. Garcia’s work has been described as quietly political. Karen Crews of LA Plaza de Cultura y Artes observed, “She doesn’t paint political art, per se,” but her activism is evident in her paintings of Black and Brown communities. This insight underscores how Garcia’s commitment to representation functions as a form of endorsement. Rather than overt political messaging, her paintings assert presence, dignity, and complexity—qualities often denied to marginalized communities. Garcia’s life experiences have also shaped her artistic vision. She has spoken candidly about the challenges she has faced, stating, “I’ve been homeless, I’m a single mother, I had a divorce. A messy and nasty divorce.” Yet her work does not dwell on trauma. Instead, it emphasizes resilience. “Art is a very healing mechanism because you make the effort to be authentic,” she explained. This perspective informs both her creative practice and her role as a mentor. Since 2006, Garcia has led weekly oil painting workshops, fostering a close-knit community of artists. Through these sessions, she teaches technique but also cultivates a shared sense of purpose and mutual support. Her philosophy of mentorship is succinctly captured in her statement: “Opening the door for another person opens the door for you.” This ethos reflects a
broader commitment to collective uplift, particularly for women navigating the art world. Garcia has articulated a clear and direct understanding of cultural identity in art, noting that she defines “Chicana art” through the act of making it. This statement resists rigid definitions and emphasizes lived experience and creative agency as the basis for cultural production.
Garcia has described her Mestizo project as “unmasking the cliché and exposing the human.” The portraits often depict neighbors, Garcia’s work is widely exhibited and collected, with pieces held in major institutions including the Los Angeles County Museum of Art, the Laguna Art Museum, the Blanton Museum of Art at the University of Texas at Austin, the Cheech Marin Center for Chicano Art & Culture, the University of Texas at San Antonio, and several University of California campuses. Actor Cheech Marin, a major collector of her work, has played an important role in bringing her art to broader audiences. Garcia’s work invites viewers to reconsider broader historical narratives. In a Los Angeles metro station, she created a beautiful commissioned
mosaic mural portraying California’s complex racial and ethnic history shaped by migration from across the United States and around the world. California’s layered history of mestizaje resonates with Garcia’s artistic vision, particularly in her exploration of identity and community. Garcia’s significance lies not only in her artistic achievements but also in the model she offers for an integrated practice—one that unites aesthetic innovation, cultural continuity, and community engagement. Her paintings communicate directly with viewers, encouraging them to reconsider assumptions and “reexamine misrepresentations about history and culture.” Through portraits that honor individuals and landscapes that map lived experience, Garcia has created a body of work that insists on visibility, dignity, and belonging. Margaret Garcia’s career reflects a profound understanding that art has multiple dimensions and purposes. It is a creative expression, a means of communication, a vehicle for healing, and a tool for building community. In honoring the people and places of Los Angeles, Margaret Garcia has documented a city and transformed the many ways it and its residents can be seen.
of Aztlan Journal of Chicano Studies cover. Vol. 1, Number One, Spring 2026 [Collection of Ricardo Romo]
Margaret Garcia at the Metro Station commissioned mural. Photo by Ricardo Romo.
Photo
COMPARTIENDO DIÁLOGOS CONMIGO MISMO
EL REINO DE LOS CIELOS; ES EL SEÑORÍO DE DIOS
EL DESAFÍO DE DAR OÍDOS Y DE ABRIGAR LO GLORIOSO:
Venga a nosotros el resplandor del Padre, hágase tu voluntad en la tierra como en el cielo, pues fuera de ti no hay otro Dios que alienta y alimenta tanto, impidiendo que la maldad eche raíces. Donde no está Él, nada puede ser caritativo. Su disposición se debe asumir como el criterio-guía de nuestra existencia. Cultivado así, el terreno de la vida, florecerá el amor y decaerá el desamor.
I.- EL VERSO DIVINO; FRENTE A LO PERVERSO
El verbo debe versar y rehacerse; con la entereza todo se rehabilita, por grandes que sean los deslices, pues nada permanece en el dolor, y todo requiere un instante curativo.
El Señor no aniquila la discordia, deja tiempo al tiempo balsámico; tiene aguante con todos nosotros, no enjuiciar a nadie por una caí-
da, ni nos rehúsa cuando le fallamos.
Lo capital es volver a revolverse contra el vicio, irse de este vacío, llenarse de bondad y ser de Jesús, que es el que nos libera las penas y nos purga, llevándonos consigo.
II.- TRIGO Y CIZAÑA;
MORAN EN NUESTRO LATIR
Es fácil ver el encono en los otros, pero la realidad es que nos habita, crece dentro de nosotros también, y en todos los ciclos coexistimos, con deseos decentes e indecentes.
La santidad no consiste en vencer, sino en unirse a Cristo de espíritu, en vivir sus misterios sin alejarse, y en remover la corriente ascética, para que se ahoguen los conflictos.
El Señor nos incentiva a deliberar, a ser justos nazarenos en itinerario, con el buen deseo de la vigila cia, pues Dios gratificará a los
buenos, y sólo Él condenará a los mald tos.
III.- ANIDAR EN UN ORBE; QUE NI CREE NI ES CREÍDO
El terreno es el mundo mundano, donde se percibe el bien y el mal, pues cohabitan y habitan a diario, por eso Jesús vino a restaurarnos, yendo a la busca de los afligidos.
El Redentor nos redime cada día, nos induce a no ser jueces firmes, a ser indulgentes y a perdonarnos, unos a otros como retoños santos, viviendo y conviviendo en amor.
Nuestra misión no es destructiva, sino testimonial, tierna y piadosa, como esencia misma concurrente, de alumbrar como faro de verdad, en medio de la malévola falsedad.
Víctor CORCOBA HERRERO corcoba@telefonica.net 18 de julio de 2026.
Carlos “Birdie” Ochoa Turns West Side Pain Into Poetry, Preserving a Family Legacy Written in Blood, Loss and Survival
By Yvette Tello
Some stories are passed down through family photographs, holiday tables and memories shared with laughter. Others are passed down through silence, unanswered questions and wounds that never fully close. For San Antonio poet, songwriter and storyteller Carlos “Birdie” Ochoa, his story began with loss before he was old enough to understand it. He was only 31 days old when his father, Ernest Ybarra, known to many as “The Godfather,” was murdered. The absence of that father would follow him through childhood, shaping his identity, his pain and eventually his purpose. Now, Ochoa is giving that pain a voice through his debut poetry collection, Godfather of the Westside: Three Generations Deep / Poems of Blood Ties, Betrayal & Survival. Written through over 100 poems, the book is not just a collection of words. It is a testimony. It is a family altar. It is a son reaching back through his-
tory to honor the people whose stories were almost buried with them.“This project means so much because I get to tell my mother and father’s stories; stories that were never told,” Ochoa said. “I get to bring their stories to life.” At the center of the book is Ernest “The Godfather” Ybarra, a West Side boxer, tattoo artist and community figure whose life was cut short in a case connected to West Side violence and family accounts tied to the Texas Mexican Mafia. His legacy, like many real human legacies, was complicated. He was remembered by many as a man of loyalty, strength and generosity — someone who fed neighborhoods, protected those around him and earned respect in the community. But to Ochoa, Ernest was also the father he never got to meet. He was the empty chair, the missing voice, the name spoken in fragments. Growing up, Ochoa had to gather pieces of his father through other people’s memories, trying to understand the man whose death became one of the first defining chapters of his own life. The book’s second section turns to his mother, Josie Martinez, whose life was marked by heartbreak, addiction, struggle and survival. A mother of seven, Josie carried pain that often went unseen. Through his poetry, Ochoa gives dignity to her suffering and humanity to her journey. He writes not to judge her, but to understand her — and to make sure the world knows she existed beyond her hardships. “She always felt like nobody knew her story,” Ochoa said. “And I wanted people to know it.” For many families on the West Side and in communities across the country, stories like Josie’s are familiar. They are the stories of mothers who survived more than they ever spoke about. Women who carried children, grief, addiction, poverty and trauma at the same time. Women whose pain
was often misunderstood, but whose strength helped their families keep going. The final section of the book belongs to Ochoa himself. In it, he reflects on childhood trauma, foster care, bullying, grief and the long road toward finding purpose. Raised on San Antonio’s West Side during the 1990s, Ochoa saw firsthand how violence, poverty and loss can shape a child’s world. But he also learned that survival can become a form of resistance — and that storytelling can become a way to heal. For years, people told him he needed to write his story. At first, he imagined it as a crime novel inspired by his family’s history, a project he still plans to complete. But poetry became the place where his truth could breathe. It allowed him to write not only what happened, but what it felt like to live with the aftermath. “Poetry gave me a way to tell the truth emotionally,” Ochoa said. “Every poem is a piece of a bigger story.” Ochoa’s work is deeply personal, but it also speaks to a larger community truth. In neighborhoods where trauma is often inherited and survival is often expected, many stories go untold. Families carry secrets. Children carry questions. Mothers carry shame that was never theirs to begin with. Fathers become legends, warnings or memories, depending on who is telling the story. Through the Godfather of the Westside, Ochoa refuses to let silence have the final word. His creative journey does not end with poetry. Ochoa is also a songwriter with more than 50 songs available on major streaming platforms, including Spotify. While working as a local security guard and facing his own financial struggles, he continues to invest in his music and writing. His mission is not rooted in fame, but in purpose. “I don’t want people to think I’m doing this for fortune or fame,” Ochoa said. “I want to make the world
a better place. Everyone has a story to tell. Everyone matters.” That belief is at the heart of his vision. Ochoa hopes that one day his work will allow him to give back to the same community that shaped him by creating opportunities for children through sports programs, mentorship and safe spaces. He wants young people to know that their circumstances do not have to be the end of their story. His voice has already been recognized by Tony Diaz, El Librotraficante, who endorsed Ochoa’s work by saying, “You have a powerful voice and vision. You convey the heart and spirit of our community with skill and passion.” Godfather of the Westside: Three Generations Deep /Poems of Blood Ties, Betrayal & Survival is more than a book about violence. It is a book about memory. It is about a son honoring a father he never knew, a mother the world never fully understood and the child who survived long enough to tell the truth. It is a reminder that behind every headline, every neighborhood rumor and every family tragedy, there are human beings. There are mothers. There are sons. There are ghosts. There are survivors. And this time, survival became poetry. Godfather of the Westside: Three Generations Deep — Poems of Blood Ties, Betrayal & Survival is available now on Amazon. Ochoa hopes to hold a local book reading at a San Antonio bookstore this fall.
Carlos “Birdie” Ochoa can be followed on Instagram at @godfather_ of_the_westside and on TikTok at @ godfatherofthewest
COMISIÓN DE CALIDAD AMBIENTAL DE TEXAS
AVISO DE SOLICITUD Y DECISIÓN PRELIMINAR PARA UN PERMISO DE CALIDAD DEL AIRE
NÚMERO DE PERMISO PROPUESTO: 182371
SOLICITUD Y DECISIÓN PRELIMINAR. Kamps, Inc, 5889 Farm-to-Market Road 1346, San Antonio, TX 78220-1909, ha solicitado a la Comisión de Calidad Ambiental de Texas (TCEQ, por sus siglas en inglés) la emisión del Número de Permiso de Calidad del Aire Propuesto 182371, que autorizaría la construcción de un incinerador con cortina de aire dentro de Kamps Pallets San Antonio ubicada en 5889 Farm-to-Market 1346, San Antonio, Condado de Bexar, Texas 78220. Esta solicitud se presentó a la TCEQ el 4 de diciembre de 2025. La instalación emitirá los siguientes contaminantes: monóxido de carbono, contaminantes atmosféricos peligrosos, óxidos de nitrógeno, compuestos orgánicos, material particulado incluyendo material en partículas con diámetros de 10 micras o menos y 2.5 micras o menos y dióxido de azufre.
El director ejecutivo ha completado la revisión técnica de la solicitud y ha preparado un proyecto de permiso que, de ser aprobado, establecería las condiciones en las que la instalación debe operar. El director ejecutivo ha tomado una decisión preliminar de emitir el permiso porque cumple con todas las reglas y regulaciones. La solicitud de permiso, la decisión preliminar del director ejecutivo y el bosquejo de permiso estarán disponibles para su visualización y copia en la oficina central de la TCEQ, la oficina regional de TCEQ en San Antonio y en la Biblioteca Schaefer Branch, 6322 U.S. Highway 87 East, San Antonio, Condado de Bexar, Texas a partir del primer día de publicación de este aviso. El archivo de cumplimiento de la instalación, si existe alguno, está disponible para su revisión pública en la oficina regional de San Antonio de la TCEQ, 14250 Judson Road, San Antonio, Texas. La solicitud (cualquier actualización inclusive) está disponible electrónicamente en la siguiente página web: https://www.tceq.texas.gov/permitting/air/airpermit-applications-notices.
COMENTARIO PÚBLICO/REUNIÓN PÚBLICA. Puede enviar comentarios públicos o solicitar una reunión pública sobre esta solicitud. El propósito de una reunión pública es para brindar la oportunidad de enviar comentarios o hacer preguntas sobre la solicitud. La TCEQ convocará una reunión pública si el director ejecutivo determina que existe un grado significativo de interés público en la solicitud o si lo solicita un legislador local. Una reunión pública no es una audiencia de caso impugnado. Puede enviar comentarios públicos adicionales por escrito dentro de los 30 días posteriores a la fecha de publicación de este aviso en el periódico de la manera establecida en el párrafo CONTACTOS E INFORMACIÓN DE LA AGENCIA a continuación.
RESPUESTA A LOS COMENTARIOS Y ACCIÓN DEL DIRECTOR EJECUTIVO. Después de la fecha límite para los comentarios públicos, el director ejecutivo considerará los comentarios y preparará una respuesta a todos los comentarios públicos relevantes y materiales o significativos. Debido a que no se han recibido solicitudes de audiencia oportunas, después de preparar la respuesta a los comentarios, el director ejecutivo puede emitir la aprobación final de la solicitud. La respuesta a los comentarios, junto con la decisión del director ejecutivo sobre la solicitud, se enviará por correo a todos los que hayan presentado comentarios públicos o estén en una lista de correo para esta solicitud, y se publicará electrónicamente en la Base de Datos Integrada de los Comisionados (CID, por sus siglas en inglés).
INFORMACIÓN DISPONIBLE EN LÍNEA. Cuando estén disponibles, la respuesta del director ejecutivo a los comentarios y la decisión final sobre esta solicitud podrán consultarse a través del sitio Web de la Comisión en www.tceq.texas.gov/goto/cid. Una vez que tenga acceso al CID utilizando el enlace anterior, ingrese el número de permiso para esta solicitud que se proporciona en la parte superior de este aviso. Este enlace a un mapa electrónico de la ubicación general del sitio o instalación se proporciona como cortesía pública y no como parte de la solicitud o aviso. Para conocer la ubicación exacta, consulte la solicitud. https://gisweb.tceq.texas.gov/LocationMapper/?marker=-98.3738,29.4275&level=13.
LISTA DE CORREO. Puede solicitar ser colocado en una lista de correo para obtener información adicional sobre esta solicitud enviando una solicitud a la Oficina del Secretario Oficial a la dirección a continuación.
CONTACTOS E INFORMACIÓN DE LA AGENCIA. Los comentarios y solicitudes públicas deben enviarse electrónicamente a www14.tceq.texas.gov/epic/eComment/, o por escrito Texas Commission on Environmental Quality, Office of Chief Clerk, MC-105, P.O. Box 13087, Austin, Texas 78711-3087. Tenga en cuenta que cualquier información de contacto que proporcione, incluido su nombre, número de teléfono, dirección de correo electrónico y dirección física, se convertirá en parte del registro público de la agencia. Para más información sobre el proceso de tramitación de permisos, favor de llamar al Programa de Educación Pública de la TCEQ sin costo al 1-800-687-4040, o bien visitar su sitio web, www.tceq.texas.gov/goto/pep. Para información en español, favor de llamar al 1-800-687-4040. También es posible consultar oportunidades de participación pública en nuestro sitio web, www.tceq.texas.gov/goto/participation.
También se puede obtener más información de Kamps, Inc en la dirección indicada anteriormente o llamando al Sr. Marco Montoya, Gerente de Planta al (470) 297-9667.
Fecha de emisión del aviso: Por Determinar, Julio 15, 2026
M/WBE SUPPLIER OPPORTUNITY
WT Cox Information Services is bidding on Project Number 26-04-46 Instructional Curriculum Materials, Supplies and Digital Resources for the Houston ISD. We are looking for possible M/WBE suppliers to provide the following: magazines, periodicals and/or newspapers. If you are interested in this opportunity, please
Çontact Debra Knox at 910-294-8309 or via email at dknox@wtcox.com PLEASE RESPOND BY August 30, 2026.
A TODAS LAS PERSONAS Y PARTES INTERESADAS:
Kamps, Inc, ha solicitado a la Comisión de Calidad
Ambiental de Texas (TCEQ, por sus siglas en inglés) la emisión del Número de Permiso de Calidad del Aire Propuesto 182371, que autorizaría la construcción de un incinerador con cortina de aire dentro de Kamps Pallets San Antonio ubicada en 5889 Farm-to-Market 1346, San Antonio, Condado de Bexar, Texas 78220. Puede encontrar información adicional pertinente a esta aplicación en la sección de aviso público de este periódico.
Por Sendero Deportivo
El campeón Piratas derrotó 4-1 carreras al líder de temporada Tuzos, con victoria en la serpentina para José López “El Látigo” y derrota para Orlando Barroso, quien admitió jonrones de Ulises Núñez solitario en la primera entrada y Daniel Rojo con dos corredores abordo en el octavo episodio
Piratas 4 Tuzos 1 Playoffs Astros Doblegaron A Yankees
que selló la primera victoria de la serie del Playoff categoría Abierta. Emiliano Chávez relevó a Barroso con buena defensiva. Esté domingo 26 de julio en el estadio Potranco, se jugará el segundo partido de la serie pactada a ganar 2 de 3 partidos en el horario de las 11am de acuerdo al presidente
Simón Sánchez, Piratas del manager Iván
Vaquera, será local mientras que Tuzos de La Yerba Roberto Villarreal será local. En categoría Máster 50+ Liga Potranco con sede en el campo 2 (Potranco Sports Complex), propiedad del artista Eloy Rocha, Astros de Pedro Espinoza, decidió jugar partido pendiente ante Yankees de Luis Velázquez en el horario de las 11am. Resultados Másters de acuerdo a información aportada por José Sánchez, comentarista y compilador oficial. Después del manager y jugador Elias Contreras, despidió la temporada regular blanqueando 8-0 a Rangers de Benito Martínez y Ruperto Ortega. Carlos Cerda “La Chiva” se quedó con la victoria con relevo espectacular de Luis Ríos, quien conservó la “blanqueada”, tirando la sexta y séptima entradas. Por Rangers perdió Luis Sánchez
quien tuvo el relevo del coach Ortega. Astros por segunda vez derrotó al equipo ex invicto Yankees de Luis Velázquez, con pizarra de 10-4 carreras y victoria para el bicampeón lanzador derecho Ubaldo Montelongo. De antemano La Prensa Texas patenta nuestro sentido pésame a familiares del manager y jugador Luis Velázquez del
seis veces campeón Yankees, por el fallecimiento de su señor padre Don José Velázquez, quien fue consistente seguidor y patrocinador de dicha franquicia. En Paz descanse Mr. José Velázquez. En las fotos aparecen los lanzadores José López “El Látigo” de Piratas y Luis Rios de Los Despos. (Fotos de Franco).
Permítanos ayudarle a encontrar programas accesibles de pagos y asistencia que se adapten a sus necesidades.
Visite cpsenergy.com/asistencia o llame al 210-353-2222.
