“The spirit of iconoclasm, heresy and blasphemy is now a reactionary force rather than a progressive one. It is the stereotype that portrays liberals and leftists as nagging puritans, concerned with good speech, good thought and acceptable action, while the wise old conservative is the monster of the political moment, the true heir voluntary carnivalesque. upset the balance, overturn the hierarchy and challenge the status quo. Now, instead of selling computers and coffee, the carnival is used to promote ethnonationalism, misogyny and transphobia. It’s fantastic marketing.” Ed Simon, Who Needs Carnivalesque Anymore?

Repositioned in culture and in the arts with a previous recomposition of what was the decomposition with El Rey-Memo by El Químico and José Ángel, El Tostado, who perfumed and tanned for 120 million pesos, and with the question by Ed Simon, WHO STILL NEEDS CARNIVALESQUE? Rey-Memo of El Químico with the Secretary of State for Tourism.

Recomposed with the staging of Don Giovanni, of Mozart, of the unique and world historical thing that El Químico still claims, Mazatlán too, with the opera, is transformed into the world capital of opera by the provincial-cosmopolitan cast international in the work, just because a Marismo-Mazatleco remakes the character of Don Juan, for his house, that like El Químico, which is more of a leather mestizo, one presumes, once again, that Mazatlán is not only a tourist world, but also in the artistic-cultural, not knowing which ego swells the most, if Marismo or Mazatlan.

Assuming that the Carnival generates profits, even if the profitable losses are not attributable, the culture and the arts financed in the administrative bureaucratic inertia, the municipal socio-cultural animation of the institute, once the former holder replaced by the current incumbent, is still Carnival’s priority as a business as it is sold and bought instantly to the local, state and national consumer, as “the international” is also at home with gringos and Canadians who live in old Mazatlán or in the historic center, which is captivated by its attractiveness: following the carnival, this socio-artistic and cultural animation passes through cultural and artistic inertia, because a port without nocturnal party is a city during the day with the lights turned off, the garbage piled up and the waters sprinkled black.

A carnivalesque culture for a carnivalesque art is the mark of the company for the spectacular company with the advertising that projects in the organizational and participative year, a concentration-dispersion in which the socio-artistic and cultural animation is a program of substitution of cultural tourism from the center to Olas Altas, Avenida del Mar, Zona Dorada and to the maximum the allegorical parade of the carnival, since the Marismeño-Mazatleco carnival is the deja vu that once there was carnival and is now revived in the consumption of emotions and feelings rediscovered between the frustration of being and the realization of having Marismeño-Mazatleco.