Pancho villa puerto rico: Pancho Villa Mexican Grill in Puerto Rico

Pancho Villa Cocktail Recipe

Difford’s Guide

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Serve in

Coupe glass


Pineapple wedge

How to make:

SHAKE all ingredients with ice and fine strain into chilled glass.

1 shot

Bacardi Carta Blanca light rum

1 shot

Rutte Dry Gin

12 shot

De Kuyper Apricot Brandy liqueur

12 shot

Pineapple juice (fresh pressed)

14 shot

Cherry Heering cherry brandy liqueur

23 shot

Chilled water (reduce if wet ice)

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Read about cocktail measures and measuring.

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Bacardi Carta Blanca light rum, 70cl

£ 17.75

£ 0.77 per cocktail, makes 23

Rutte Dry Gin, 70cl

£ 33.95

£ 1.48 per cocktail, makes 23

Cherry Heering cherry brandy liqueur, 70cl

£ 22.45

£ 0.24 per cocktail, makes 93

£ -.—

Makes a minimum of cocktails
Just £ -. per cocktail*

* This list may not include all required ingredients.
Price per cocktail is an estimate based on the cost of making one cocktail with the available ingredients shown above and does not include any postage charges.

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More cocktails with similar booziness and sweet/dry/sourness


Dilution is key to this cocktail so either shake with crushed ice (as per the original recipe) or do as I do and add chilled water. Even then, to quote Victor Bergeron, «This’ll tuck you away neatly — and pick you up and throw you right to the floor«.


Adapted from a recipe in Victor Bergeron’s 1972 Trader Vic’s Bartender’s Guide.

1 ounce light Puerto Rican rum
1 ounce apricot brandy
1 ounce gin
1 teaspoon pineapple juice
1 teaspoon cherry brandy
Shake with ½ scoop shaved ice. Strain into a large saucer champagne glass.

Victor Bergeron, 1972


195 calories

Alcohol content:

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Difford’s Guide remains free-to-use thanks to the support of the brands in green above. Values stated for alcohol and calorie content, and number of drinks an ingredient makes should be considered approximate.

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Buy direct from

Bacardi Carta Blanca light rum, 70cl

£ 17.75

£ 0.77 per cocktail, makes 23

Rutte Dry Gin, 70cl

£ 33. 95

£ 1.48 per cocktail, makes 23

Cherry Heering cherry brandy liqueur, 70cl

£ 22.45

£ 0.24 per cocktail, makes 93

£ -.—

Makes a minimum of cocktails
Just £ -.— per cocktail*

* This list may not include all required ingredients.
Price per cocktail is an estimate based on the cost of making one cocktail with the available ingredients shown above and does not include any postage charges.

Previous Cocktail

Orange Mojito

Next Cocktail

Peach Daiquiri

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Uncovering the Truth Behind the Myth of Pancho Villa, Movie Star | History

Pancho Villa, seen here in a still taken from Mutual’s exclusive 1914 film footage. But did the Mexican rebel really sign a contract agreeing to fight his battles according to the ideas of a Hollywood director?

The first casualty of war is truth, they say, and nowhere was that  more true than in Mexico during the revolutionary period between 1910 and 1920. In all the blood and chaos that followed the overthrow of Porfirio Diaz, who had been dictator of Mexico since 1876, what was left of the central government in Mexico City found itself fighting several contending rebel forces—most notably the Liberation Army of the South, commanded by Emiliano Zapata, and the Chihuahua-based División del Norte, led by the even more celebrated bandit-rebel Pancho Villa–and the three-cornered civil war that followed was notable for its unrelenting savagery, its unending confusion and (north of the Rio Grande, at least) its unusual film deals. Specifically, it is remembered for the contract Villa was supposed to have signed with a leading American newsreel company in January 1914. Under the terms of this agreement, it is said, the rebels undertook to fight their revolution for the benefit of the movie cameras in exchange for a large advance, payable in gold.

Even at this early date, there was nothing especially surprising about Pancho Villa (or anyone else) inking a deal that allowed cameras access to the areas that they controlled. Newsreels were a coming force. Cinema was growing rapidly in popularity; attendance at nickelodeons had doubled since 1908, and an estimated 49 million tickets were sold each week in the U.S. by 1914. Those customers expected to see some news alongside the melodramas and comedy shorts that were the staples of early cinema. And there were obvious advantages in controlling the way in which the newsreel men chose to portray the Revolution, particularly for Villa, whose main bases were close to the U.S. border.

What made Villa’s contract so odd, though, was its terms, or at least the terms it was said to have contained. Here’s how the agreement he reached with the Mutual Film Company is usually described:

In 1914, a Hollywood motion picture company signed a contract with Mexican revolutionary leader Pancho Villa in which he agreed to fight his revolution according to the studio’s scenario in return for $25,000. The Hollywood crew went down to Mexico and joined Villa’s guerrilla force. The director told Pancho Villa where and how to fight his battles. The cameraman, since he could only shoot in daylight, made Pancho Villa start fighting every day at 9:00 a.m. and stop at 4:00 p.m.—sometimes forcing Villa to cease his real warring until the cameras could be moved to a new angle.

It sounds outlandish—not to say impractical. But the story quickly became common currency, and indeed, the tale of Pancho Villa’s brief Hollywood career has been turned into a movie of its own. Accounts sometimes include elaborations; it is said that Villa agreed that no other film company would be permitted to send representatives to the battlefield, and that, if the cameraman did not secure the shots he needed, the División del Norte would re-enact its battles later. And while the idea that there was a strict ban on fighting outside daylight hours is always mentioned in these secondary accounts, that prohibition is sometimes extended; in another, semi-fictional, re-imagining, recounted by Leslie Bethel, Villa tells Raoul Walsh, the early Hollywood director: “Don’t worry, Don Raúl. If you say the light at four in the morning is not right for your little machine, well, no problem. The executions will take place at six. But no later. Afterward we march and fight. Understand?”

Whatever the variations in accounts of Pancho’s film deal, though, it ends the same way. There’s always this sting in the tale:

When the completed film was brought back to Hollywood, it was found too unbelievable to be released—and most of it had to be reshot on the studio lot.

There was plenty of bias: A contemporary cartoon from the New York Times. Click to view in higher resolution.

Today’s post is an attempt to uncover the truth about this little-known incident–and, as it turns out, it’s a story that is well worth telling, not least because, researching it, I found that tale of Villa and his movie contract informs the broader question how just how accurate other early newsreels were. So this is also a post about the borderlands where truth meets fiction, and the problematic lure of the entertaining story. Finally, it deals in passing with the odd way that fictions can become real, if they are rooted in the truth and enough people believe them.

We should begin by noting that the Mexican Revolution was an early example of a 20th-century “media war”: a conflict in which opposing generals duked it out not only on the battlefield, but also in the newspapers and in cinema “scenarios.” At stake were the hearts and minds of the government and people of the United States—who could, if they wished, intervene decisively on one side or another. Because of this, the Revolution saw propaganda evolve from the crude publication of rival “official” claims into more subtle attempts to control the views of the journalists and cameramen who flooded into Mexico. Most of them were inexperienced, monoglot Americans, and almost all were as interested in making a name for themselves as they were in untangling the half-baked policies and shifting allegiances that distinguished the Federales from the Villistas from the Zapatistas. The result was a rich stew of truth, falsity and reconstruction.

There was plenty of bias, most of it in the form of prejudice against Mexican “greasers.” There were conflicts of interest as well. Several American media owners had extensive commercial interests in Mexico; William Randolph Hearst, who controlled vast tracts in northern Mexico, wasted no time in pressing for U.S. intervention when Villa plundered his estates, appropriating 60,000 head of cattle. And there was eagerness to file ticket-selling, circulation-boosting sensation, too; Villa himself was frequently portrayed as “a monster of brutality and cruelty,” particularly later in the war, when he crossed the border and raided the town of Columbus, New Mexico.

Much was exaggerated. The Literary Digest noted, with a jaundiced eye:

“Battles” innumerable have been fought, scores of armies have been annihilated, wiped out, blown up, massacred and wholly destroyed according to the glowing reports of commanders on either side, but the supply of cannon fodder does not appear to have diminished appreciably…. Never was there a war in which more gunpowder went off with less harm to the opposing forces.

Pancho Villa (seated, in the presidential chair) and Emiliano Zapata (seated, right, behind sombrero) in the national palace in Mexico City, November 1914.

What is certain is that fierce competition for “news” produced a situation ripe for exploitation. All three of the principal leaders of the period—Villa, Zapata and the Federal generalissimo Victoriano Huerta—sold access and eventually themselves to U.S. newsmen, trading inconvenience for the chance to position themselves as worthy recipients of foreign aid.

Huerta got things off and running, compelling the cameramen who filmed his campaigns to screen their footage for him so he could censor it. But Villa was the one who maximized his opportunities. The upshot, four years into the war, was the rebel general’s acceptance of the Mutual Film contract.

The New York Times broke the news on January 7, 1914:

Pancho Villa, General in Command of the Constitutionalist Army in Northern Mexico, will in future carry on his warfare against President Huerta as a full partner in a moving-picture venture with Harry E. Aitken…. The business of Gen. Villa will be to provide moving picture thrillers in any way that is consistent with his plans to depose and drive Huerta out of Mexico, and the business of Mr. Aitken, the other partner, will be to distribute the resulting films throughout the peaceable sections of Mexico and to the United States and Canada.

Pancho Villa wearing the special general’s uniform provided for him by Mutual Films.

Nothing in this first report suggests that the contract was anything more than a broad agreement guaranteeing privileged access for Mutual’s cameramen. A few weeks later, though, came word of the Battle of Ojinaga, a northern town defended by a force of 5,000 Federales, and for the first time there were hints that the contract included special clauses. Several newspapers reported that Villa had captured Ojinaga only after a short delay while Mutual’s cameramen moved into position.

The rebel was certainly willing to accommodate Mutual in unusual ways. The New York Times reported that, at the film company’s request, he had replaced  his casual battle dress with a custom-made comic opera general’s uniform to make him look more imposing. (The uniform remained the property of Mutual, and Villa was forbidden to wear it in front of any other cameramen.) There is also decent evidence that elements of the División del Norte were pressed into service to stage re-enactments for the cameras. Raoul Walsh recalled Villa gamely doing take after take of a scene “of him coming towards the camera. We’d set up at the head of the street, and he’d hit that horse with a whip and his spurs and go by at ninety miles an hour. I don’t know how many times we said ‘Despacio, despacio,‘—Slow, señor, please!’

But the contract between the rebel leader and Mutual Films proves to have been a good deal less proscriptive than popularly supposed. The only surviving copy, unearthed in a Mexico City archive by Villa’s biographer Friedrich Katz, lacks all the eye-opening clauses that have made it famous: “There was absolutely no mention of reenactment of battle scenes or of Villa providing good lighting,” Katz explained. “What the contract did specify was that the Mutual Film Company was granted exclusive rights to film Villa’s troops in battle, and that Villa would receive 20% of all revenues that the films produced.”

A contemporary newspaper speculates on the likely consequences of the appearance of newsreel cameras at the front. New York Times, January 11, 1914. Click to view in higher resolution.

The notion of a contract that called for war to be fought Hollywood-style, in short, is myth–though the did not stop the New York Times from hazarding, on January 8, 1914, that “if Villa wants to be a good business partner… he will have to make a great effort so that the cameramen can carry out their work successfully. He will have to make sure that the interesting attacks take place when the light is good and the killings are in good focus. This might interfere with military operations that, in theory, have other objectives.”

No such compromises seem to have occurred in practice, and the Mutual contract seems to have outlived its usefulness for both parties within weeks. But what followed suggests other ways in which the facts on the ground were subsumed by the demands of the cinema: As early as the end of February, Mutual switched its attentions from shooting documentary footage to creating a fictional movie about Villa that would incorporate stock shots obtained by the newsreel men. The production of this movie, The Life of General Villa, probably explains how those rumors that Mutual’s newsreel footage “had to be reshot in the studio lot” got started. It premiered in New York in May 1914 and turned out to be a typical melodrama of the period. Villa was given an “acceptable” background for a hero—in real life he and his family had been sharecroppers, but in the Life they were middle-class farmers—and the drama revolved around his quest for revenge on a pair of Federales who had raped his sister, which bore at least some semblance to real events in Villa’s life. The point was that it also came closer to conforming to what its target audience demanded from a movie: close ups, action and a story.

Contemporary sources make it easy to understand why Mutual had this sudden change of heart. Villa had kept his side of the bargain; the company’s cameramen had secured the promised exclusive footage of the Battle of Ojinaga. But when the results of these initial efforts reached New York on January 22, they proved disappointing. The footage was no more dramatic than that filmed earlier in the war without the benefit of any contract. As Moving Picture World reported on January 24:

The pictures do not portray a battle; they show among other things the conditions in and around Ojinaga after the battle which was fought in and about the town…. There was a good view of the police station of Ojinaga and the little Plaza of the stricken town…. Other things shown on the Mexican side of the Rio Grande were the train of captured guns and ammunition wagons, the review of the ‘army’ before General Villa, the captured Federal prisoners, the wretched refugees on their way to the American side.

American filmmaker L.M. Burrud poses for a publicity shot allegedly showing him “filming in action.”

The Mutual contract, in short, had merely served to highlight the limitations of the early filmmakers. Previously, newsreel cameramen had fallen explained their inability to secure sensational action footage by citing specific local difficulties, not least the problem of gaining access to the battlefield. At Ojinaga, granted the best possible conditions to shoot and the active support of one of the commanders, they had failed again, and the reason is obvious. For all Mutual’s boasts, contemporary movie cameras were heavy, clumsy things that could be operated only by setting them up on a tripod and hand cranking the film. Using them anywhere near a real battle would be suicidal. A publicity still purporting to show rival filmmaker L.M. Burrud “filming in action,” protected by two Indian bodyguards armed with rifles and stripped to their loincloths, was as fraudulent as much of the moving footage brought out of Mexico. The only “action” that could safely be obtained consisted of long shots of artillery bombardments and the mass maneuvering of men on distant horizons.

Newsreel men and their bosses in the United States responded to this problem in various ways. Pressure to deliver “hot” footage remained as high as ever, which meant there were really only two possible solutions. Tracy Matthewson, representing Hearst-Vitagraph with an American “punitive expedition” sent to punish Villa’s border raids two years later, returned home to find that publicists had concocted a thrilling tale describing how he had found himself in the middle of a battle, and bravely

turned the handle and began the greatest picture ever filmed.

One of my tripod bearers smiled at my shouting, and as he smiled, he clutched his hands to his abdomen and fell forward, kicking…. “Action,” I cried. “This is what I’ve wanted. Give ‘em hell boys. Wipe out the blinkety blank dashed greasers!

…Then somewhere out of that tangle of guns a bullet cuts its way. “Za-zing!” I heard it whistle. The splinters cut my face as it hit the camera. It ripped the side open and smashed the little wooden magazine. I sprang crazily to stop it with my hands. But out of the box coiled the precious film. Stretching and glistening in the sun, it fell and died.

This “dog ate my homework” excuse could be used only once, however, so for the most part newsmen supplied an altogether neater solution of their own; for most a trip to Mexico meant contenting themselves with creating their own dramatic footage to meet the insatiable demand of audiences at home. Which is to say they carefully “reconstructed” action scenes that they or someone else had witnessed—if they were moderately scrupulous—or simply made scenarios up from scratch, if they were not.

While the practice of faking footage was widespread throughout the Mexican war, and many of the pioneer filmmakers were remarkably open about it in their memoirs, little mention was made of it at the time. Indeed, those who flocked to the cinema to see newsreels of the Mexican war (which the evidence suggests were among the most popular films of the period) were encouraged to believe they were seeing the real thing—the film companies competed vigorously to advertise their latest reels as unprecedentedly realistic. To take only one example, Frank Jones’s early War with Huerta was billed in Moving Picture World as “positively the greatest MEXICAN WAR PICTURE ever made…. Do you realize that it is not a Posed Picture, but taken on the FIELD OF ACTION?”

The reality of the situation was exposed a few months later by Jones’s rival Fritz Arno Wagner, who traveled to Mexico for Pathé and later enjoyed a distinguished film career in Europe:

I have seen four big battles. On each occasion I was threatened with arrest from the Federal general if I took any pictures. He also threatened on one occasion when he saw me turning the crank to smash the camera. He would have done so, too, but for the fact that the rebels came pretty close just then and he had to take it on the run to save his hide.

A tiny handful of cameramen were luckier, and, given precisely the right circumstances, could obtain useful action footage. Another newsreel man who filmed the early stages of the revolution told the film historian Robert Wagner that

street fighting is the easiest to film, for if you can get to a good location on a side street, you have the protection of all the intervening buildings from artillery and rifle fire, while you occasionally get the chance to shoot a few feet of swell film. I got some great stuff in Mexico City, a few days before Madero was killed. One fellow, not twenty feet from my camera, had his head shot off.

Even then, however, the resultant footage—although suitably dramatic—never made it to the screen. “The darn censors would never let us show the picture in the United States,” the newsreel man said. “What do you suppose they sent us to war for?”

The best solution, as more than one film unit discovered, was to wait for the fighting to die down and then enlist any nearby soldiers to produce a lively but sanitized “reconstruction. ” There were sometimes hidden dangers in this, too—one cameraman, who persuaded a group of soldiers to “fight” some invading Americans, only narrowly escaped with his life when the Mexicans realized they were being portrayed as cowards being soundly thrashed by the upstanding Yankees. Feeling “that the honor of their nation was being besmirched,” the historian Margarita De Orellana says, “ decided to change the story and defend themselves, firing off a volley of bullets. A real fight then ensued.”

A still from Victor Milner’s wildly successful reconstruction of the U.S. Marines’ assault on the post office at Vera Cruz, April 1914.

Thankfully, there were safer ways of completing an assignment. Victor Milner, a cameraman attached to the U.S. Marine force sent to occupy the Mexican port of Vera Cruz early in the war for reasons too complicated to recount in detail here, made it ashore to discover that the troops had already secured their objectives. Soon afterward, however, he had the luck to run into a friend who, in civilian life, had been “in the public relations business and was anxious to get some good publicity for the Navy and Marines.

He got together with the local commanders and they staged the greatest replay of the storming of the Post Office that you can imagine. I am sure it was far better than the real thing… The pictures were a newsreel sensation and were shown as a scoop in all the theaters before any of us got back to the States. To this day, I don’t think anyone in the States was aware that they were a replay, and the shots were staged.


Leslie Bethell (ed.). The Cambridge History of Latin America, vol. 10. Cambridge: Cambridge University Press, 1995; Kevin Brownlow. The Parade’s Gone By… Berkeley: University of California Press, 1968; Kevin Brownlow. The War, the West and the Wilderness. London: Secker & Warburg, 1979; James Chapman. War and Film. London: Reaktion Books, 2008; Aurelio De Los Reyes. With Villa in Mexico on Location. Washington DC: Library of Congress, 1986; Margarita De Orellana. Filming Pancho: How Hollywood Shaped the Mexican Revolution. London: Verso, 2009; Friedrich Katz. The Life and Times of Pancho Villa. Stanford: Stanford University Press, 1998; Zuzana Pick. Constructing the Image of the Mexican Revolution. Austin: University of Texas Press, 2010; Gregorio Rocha. “And starring Pancho Villa as himself.” The Moving Image: The Journal of the Association of Moving Image Archivists 6:1 (Spring 2006).

Recommended Videos

16 years old Pancho: volk — LiveJournal

I have repeatedly talked about the Pancho Villa restaurant (examples 1, 2, 3 and 4). This time again there is a reason (see title).

The history of this project is the history of the time of change. Imagine, outside the windows — a revolution, rallies and the poverty of the masses. And here is Ruben Gennadievich, Andreus, the Azteca restaurant. Another theme is the times of the Maya and the Aztecs. 90,003 Maya developed their calendar before 2012. But their time was over much earlier.

New history — «Pancho Villa» on the old Arbat, 44, where the «Hard Rock Cafe» is now. nine0004

Four months after the opening, the founders of Pancho Villa realized that they hit the mark, or, as the revolutionaries say, they were on the right track. It turned out to be even more successful than they could have expected.

Pancho Villa’s ideology: simplicity and freedom, knowledge of the subject, sense of proportion, family atmosphere. She remains so to this day.

Pancho Villa was originally a restaurant. But gradually it turned into a club disco. The quality of food was getting worse and the rights of regular visitors were infringed. They closed the old Pancho Villa just in time — they did not let it deteriorate. nine0004

Old Arbat — tourist street. And, of course, there are fewer foreigners in Pancho now than there were then.

Interestingly, in France, a beloved aunt slipped Andreus the book Diego and Frida unnoticed. As a result, the Pancho Villa room and his grandmother’s room were made in the style of Diego’s estate.

Melting pot on Yakimanka

People from more than ten nationalities work in Pancho: Laurent from France, Tuki from Madagascar, Darwin from Ecuador, Cuban waiters, musicians from Peru, Ecuador and Cuba, a DJ from Puerto Rico. They all have their own character, but this is one gang. nine0004


I usually sit in the Prison room (la cárcel) at the Pancho Villa restaurant. This is the most comfortable place for me in the establishment, but initially I did not choose it myself, it was offered to me either by the director or the brand chef of the restaurant. As they knew.

If I have to sit here for a year or two, I will even translate for you the inscriptions that are scrawled on the walls here. And why I got here, I just told one of the decent versions. But in our troubled times, there is nothing surprising in the fact that good guys are in prison, and real underground workers and Mexican villains are in the Pancho Villa restaurant. nine0004

However, they serve quite a tolerable prison dinner — this time quesadillas with guacamole and salsa sauces.

It’s great that from this place I can clearly see everything that happens in the neighborhood. I even read the lips of the guy who greets guests, his constant “chica bonita” and “how are you?”.


In the P.V. tequila, like death, guards everywhere. Tequila! What a burning word! Pancho Villa also has a real cult of tequila, although the general himself did not seem to drink much. Without it, it is impossible to imagine local life. If the level of tequila in the blood of any of the visitors has become alarmingly low for these places, it is stopped in the Street or in the Square or in the Tavern, and sometimes even in the Church, by two colorful girls with stacks of bandoliers on their belts. They offer to knock over a stack or two. Each holds a bottle of El Himador tequila. By the way, they can drink themselves if the man wants to get drunk not alone. Therefore, in the evening, the girls walk as if dancing guajira …
However, for some reason they are reluctant to take pictures. One of them erased a couple of her photographs on my camera, and I didn’t point the lens at their bandoliers again.

The culture of drinking tequila and “lick, knock, bite” was instilled in Moscow by Pancho Villa brand chef Andreus. Even when I started at Azteca, I think.

But all these “lick salt and bite lemon” are nothing more than tricks for pampered gringos who can’t even suck whiskey properly without diluting it with soda water. A real Mexican knocks over a stack without any snack and does not even wince. nine0004

But even machos, after tasting tequila, want to understand…
The waiters offer a red chamber pot on a stand to those visitors of the prison who ask to say, where is the bucket?
Meanwhile, a large prison toilet is the only place in Pancho Villa where the native sounds of the village are heard — cows moo, donkeys vomit, even sometimes someone strums a guitar . ..

Tamarind relatively new hall «Tamarind». This is the hall of old Mexico, as it was before the revolution. nine0003 Yes, in the «Church» no one forbids drinking tequila, and in the «Prison» — to celebrate a birthday. However, the old halls of «Pancho» are designed more for the male team, and «Tamarind» is also suitable for dates. There are pillows, sofas, a separate bar — where they sit not in saddles, as in the old part of Pancho Villa. The location is isolated, because there is another peaceful life, which you will not find everywhere in Mexico.

Decorated in some typical Mexican colors. Porcelain plates on the walls — very artistic — from Mexico, from somewhere around Puerto Vallarto. In general, the Tamarind Hall took a long time to finish, but on the other hand, they managed to make panels in the style of Diego and Frida’s wall frescoes with their own hands. The restaurant already had rooms in the style of the Diego estate — the Pancho Villa room and the room of his grandmother. Now here’s Tamarind. nine0004

And that’s great, because the corner of old Mexico used to be in Pancho, mostly under glass. Right next to the Prison is a souvenir shop. There is even a statuette of a skinny figure — a symbolic image of a skeleton. They take it out and put it on the home altar just in late autumn during the celebration of the Day of the Dead or Halloween …

Previously, gringos sailed to Mexico, took out costume jewelry and other trinkets and exchanged them from the Indians for all sorts of valuables. Now foreigners get freely convertible valuables and exchange them with the locals for Aztec figurines, traditional earrings and other trinkets. I swear the modern world is a parody of the colonial era! nine0004

The tamarind fruit itself, which gave the name to the new hall, is more often used in soup in Asian cuisine, while in Mexico it is more often used as a marinade or seasoning for meat. Or as a compote drink.

The Tamarind Hall features a larger selection of tequila. The dishes are the same, but the presentation (including dishes) is different, there is an extra charge. There is also a cigar room and a screen that has never shown a film about the life and military adventures of Pancho Villa.

But I only sat here three times, including my own birthday. nine0004

16 anjos

How do restaurant birthdays usually go?
For example, the competition of the evening — for the most passionate macho. Choose a couple. And they take a balloon from the ceiling — anyway, they are always already inflated for their birthday. Further, this ball is clamped by the bodies of a macho and his women for this evening. They are irresistibly attracted to each other. Whoever bursts the ball faster without the help of hands wins. This does not happen immediately, but after about a minute.
Who won? nine0003 The winner was a couple of young people who were already a couple before entering the restaurant. No matter what the notorious scoundrels and eaters of hearts say there, permanent partners are drawn to each other more reliably.

Usually a Latin band of live music, a magician Harry Copperfieldio and Moscow Brazilians perform at the birthday party.
The Brazilians who fell in love at beach parties once again masterfully vibrated their asses to the rhythm of samba. One of the newcomers asked those around him: “Are they here every evening?” No one told him the bitter truth. Alas, not every evening. And not even every month. But there is hope to see them again. I have seen them five times in the last nine years. nine0004

The tough macho dictionary

Without knowing these words, there is nothing to do in Mexico.

Kyero una muchacha — I want a girl
Tetas — boobs
Kulo — ass
Ola, beyes — hello, beauty
Tranquilo ombre! — relax!
Ke bamos a tomar? — What are we going to drink?
Oh ah ke emborracharse — today you need to get drunk
And bailar — everyone to dance!
Bete al carajo — go to hell!
But me hodas — don’t p…di
Chao — bye
Me gusta tomar — I like to drink
Como estas — how are you?
Bamos — let’s go
Grande — big
Bengan manyana — come tomorrow!

General Headquarters of the Pancho Villa Detachment

The headquarters is not the gang of maniac lovers that you can see every evening in a restaurant. These are the people on whom everything rests.

Laurent — hall manager, hot-tempered alarmist
Darwin — hall manager, robber professor
Sergey — director, strict person
Andreus — brand chef, restaurant genius
Tuki is the chef, another strict person.

The motto of our revolution

Lovers of fun and dancing have gathered here. And all this was arranged by «Pancho Villa»!

@ Pancho Villa Bar & Grill — 🇵🇷

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