Word: azteca
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...Tijuana Entrepreneur Alfonso Bustamante Jr., the son of a local bottled-gas millionaire-is the second major luxury hotel to break the Tijuana mold. The initial gamble was made by Hotelier Mauro Chavez Cobos and a partner, Miguel Barbachano, who in 1970 opened the modern 92-room Palacio Azteca, which has rooms ranging up to a $94-a-day Imperial Suite. The hotel drew so many sound-citizen tourists that Chavez plans to add 250 more units and a 1,200-seat convention hall next year...
...such entrepreneurial witch, Madame Azteca, lives just across the border in the Mexican town of Reynosa. In one room of her shack, she works her magic sitting before two enormous, bubbling cauldrons, with mysterious colored powders arrayed on shelves behind. On the floor is a brilliant $500 red carpet-a payment from the Yturria family, whose only son Tony faced the gringo's draft two years ago. The witch tried her spells and powders on Tony's behalf, but he was inducted anyway. "The spirits just wouldn't cooperate," said Madame Azteca...
...parents held their faith nonetheless. Madame Azteca told them that if they would buy her an electric guitar, she would intercede with the spirits for Tony's safe return from Viet Nam. Now home, safe and sound, Tony is content. "I got back, didn't I?" he says...
Whips & Sticks. Pedro Martinez, a fictitious name chosen to preserve anthropological anonymity, is a more fully developed character than any single Sanchez child, more intricately related to his country's disheveled past and closer to its soil. Pedro's setting is "Azteca" (another pseudonym), an ancient farming village in the stony highlands about 60 miles south of Mexico City. Like most Mexican peasant children, he had a haphazard upbringing. His father died when he was three months old, after which his mother, "being just a girl, she got herself a boy" and went off with him. Pedro...
...Macario (Azteca). The Day of the Dead. All over Mexico, children are laughing and eating candy skulls. All over Mexico, Death is grinning and eating children. Through the village streets the peons carry La Muerte in sugar sculpture, larger than life. Through the land La Muerte strides, the hollow specter of starvation. It pauses at the hut of Macario the woodcutter (Ignacio Lopez Tarso). Six mouths to feed, and only a fistful of frijoles left. Bitterly, Macario cries aloud: "All my life I have been hungry-never once have I had enough to eat! Now I swear I will...