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Lucha libre, meaning "free wrestling", is a term used in Mexico, and other Spanish-speaking countries, for a form of professional wrestling that has developed within those countries. Although the term nowadays refers exclusively to professional wrestling, it was originally used in the same style as the English term "freestyle wrestling", referring to an amateur wrestling style without the restrictions of Greco-Roman wrestling. Mexican wrestling is characterized by colorful masks, rapid sequences of holds and maneuvers, as well as "high-flying" maneuvers, some of which have been adopted in the United States. Tag team wrestling is especially prevalent in lucha libre, particularly matches with three-member teams, called trios. Lucha libre wrestlers are known as luchadores (singular luchador). They usually come from extended wrestling families who form their own stables. The history of Mexican wrestling dating back to 1863, during the French Intervention in Mexico, Enrique Ugartechea, the first Mexican wrestler, developed and invented the Mexican lucha libre from the Greco-Roman wrestling. In 1942, lucha libre would be forever changed when a silver-masked wrestler, known simply as El Santo (The Saint), first stepped into the ring. He made his debut in Mexico City by winning an 8-man battle royal. The public became enamored by the mystique and secrecy of Santo’s personality, and he quickly became the most popular luchador in Mexico. His wrestling career spanned nearly five decades, during which he became a folk hero and a symbol of justice for the common man through his appearances in comic books and movies, while the sport received an unparalleled degree of mainstream attention. The wearing of masks has developed special significance, and matches are sometimes contested in which the loser must permanently remove his mask, which is a wager to which great emotional weight is attached.

The Day of the Dead (Spanish: Día de Muertos) is a Mexican holiday observed throughout Mexico and around the world in other cultures. The holiday focuses on gatherings of family and friends to pray for and remember friends and family members who have died. In 2008 the tradition was inscribed in the Representative List of the Intangible Cultural Heritage of Humanity by UNESCO. It is particularly celebrated in Mexico where the day is a public holiday. Prior to Spanish colonization in the 16th century, the celebration took place at the beginning of summer. It was moved to October 31, November 1 and November 2 to coincide with the Roman Catholic triduum festival of Allhallowtide: All Hallows’ Eve, Hallowmas, and All Souls’ Day. Traditions connected with the holiday include building private altars called ofrendas, honoring the deceased using sugar skulls, marigolds, and the favorite foods and beverages of the departed, and visiting graves with these as gifts. Visitors also leave possessions of the deceased at the graves. Scholars trace the origins of the modern Mexican holiday to indigenous observances dating back hundreds of years and to an Aztec festival dedicated to the goddess Mictecacihuatl. The holiday has spread throughout the world, being absorbed within other deep traditions for honoring the dead. It happens to be a holiday that has become a national symbol and as such is taught (for educational purposes) in the nation’s schools, but there are many families who are more inclined to celebrate a traditional "All Saints Day" associated with the Catholic Church. Originally, the Day of the Dead as such was not celebrated in northern Mexico, where it was even unknown until the 20th century; before that the people and the church rejected it in northeastern Mexico because they perceived the day was a result of syncretizing pagan elements with Catholicism. They held the traditional ‘All Saints Day’ in the same way as other Catholics in the world. This is due to the limited or nonexistent Mesoamerican influence in this region, and the relatively few indigenous inhabitants, compared to other regions of Mexico. In the early 21st century in northern Mexico, Día de Muertos is observed because the Mexican government made it a national holiday by its educational policies from the 1960s and has tried to use it as a unifying national tradition in the north of the country. Writer Marguerite Yourcenar has observed that: "autumnal rites are among the oldest celebrated on earth. It appears that in every country the Day of the Dead occurs at the year’s end, after the last harvests, when the barren earth is though to give passage to the souls lying beneath it."

You Say Tomato is a grocery store that specializes in uniquely British products: chocolate, biscuits, sweets, crisps and snacks, tea and the like.

Pulaski is a small village (population 2200) located in the eastern portion of Oswego County, three miles east of Lake Ontario. It was settled in 1804. The early settlers were attracted to the area by the bounti-ful forests and the abundant water power for mills. In addition, the Salmon River was a source of fresh water salmon which became an important commodity in trading. When Pulaski was finally incorporated as a village in 1832 there were numerous saw mills, shingle mills, and wood-working establishments. The dense forests, however, hindered travel and there were no convenient trails from Oswego to Pulaski. Therefore, when the county was created in 1816 it became one of the few half-shire counties in the state. Pulaski became the seat for government in the east while Oswego governed the western half of the county. A great fire in 1881 destroyed nearly all of the central portion of the town. Within a year, however, the merchants rebuilt their businesses in varied designs but predominantly in the Italianate style. The entire two-block commercial area is characterized by two and three story brick buildings decorated with heavy bracketed cornices, wide friezes, corbelling, elaborate lintels and arched windows. A majority of the buildings in the district have cornices and lintels formed by corbelled brick, but some possess iron cornices, lintels and sills manufactured at the Ontario Iron Works in Pulaski. In places the regularity of the streetscape is interrupted by highly decorative round-arched friezes and cornices topped with finials. Many of the commercial buildings on Jefferson Street retain their original storefronts. Two of the structures in the district which were built after the fire were designed by the prominent regional architect, Archimedes Russell. Russell practiced in the central New York area from 1862 until 1915. The Kallet movie theater is compatible in scale with the historic district and was designed by Milo Folley of the Syracuse architectural firm of Sargent, Webster, Crenshaw, and Folley. The polychromatic facade of pastel-colored Carrara glass placed in a geometric pattern is characteristic of the Art Deco style. Although the auditorium has been divided in two, the original storefronts on the building remain intact. The Pulaski Village Historic District is architecturally and historically significant as one of the most intact collections of nine-teenth and early twentieth century residential and commercial buildings in northern New York. Today, Pulaski continues to serve as the commercial hub for the surrounding farm area. The salmon industry is reviving and the village is seeking to attract tourists to the community. There is a high degree of pride among the people of Pulaski and an awareness of the architectural heritage which survives in their historic district.

Pulaski is a small village (population 2200) located in the eastern portion of Oswego County, three miles east of Lake Ontario. It was settled in 1804. The early settlers were attracted to the area by the bounti-ful forests and the abundant water power for mills. In addition, the Salmon River was a source of fresh water salmon which became an important commodity in trading. When Pulaski was finally incorporated as a village in 1832 there were numerous saw mills, shingle mills, and wood-working establishments. The dense forests, however, hindered travel and there were no convenient trails from Oswego to Pulaski. Therefore, when the county was created in 1816 it became one of the few half-shire counties in the state. Pulaski became the seat for government in the east while Oswego governed the western half of the county. A great fire in 1881 destroyed nearly all of the central portion of the town. Within a year, however, the merchants rebuilt their businesses in varied designs but predominantly in the Italianate style. The entire two-block commercial area is characterized by two and three story brick buildings decorated with heavy bracketed cornices, wide friezes, corbelling, elaborate lintels and arched windows. A majority of the buildings in the district have cornices and lintels formed by corbelled brick, but some possess iron cornices, lintels and sills manufactured at the Ontario Iron Works in Pulaski. In places the regularity of the streetscape is interrupted by highly decorative round-arched friezes and cornices topped with finials. Many of the commercial buildings on Jefferson Street retain their original storefronts. Two of the structures in the district which were built after the fire were designed by the prominent regional architect, Archimedes Russell. Russell practiced in the central New York area from 1862 until 1915. The Kallet movie theater is compatible in scale with the historic district and was designed by Milo Folley of the Syracuse architectural firm of Sargent, Webster, Crenshaw, and Folley. The polychromatic facade of pastel-colored Carrara glass placed in a geometric pattern is characteristic of the Art Deco style. Although the auditorium has been divided in two, the original storefronts on the building remain intact. The Pulaski Village Historic District is architecturally and historically significant as one of the most intact collections of nine-teenth and early twentieth century residential and commercial buildings in northern New York. Today, Pulaski continues to serve as the commercial hub for the surrounding farm area. The salmon industry is reviving and the village is seeking to attract tourists to the community. There is a high degree of pride among the people of Pulaski and an awareness of the architectural heritage which survives in their historic district.

Pulaski is a small village (population 2200) located in the eastern portion of Oswego County, three miles east of Lake Ontario. It was settled in 1804. The early settlers were attracted to the area by the bounti-ful forests and the abundant water power for mills. In addition, the Salmon River was a source of fresh water salmon which became an important commodity in trading. When Pulaski was finally incorporated as a village in 1832 there were numerous saw mills, shingle mills, and wood-working establishments. The dense forests, however, hindered travel and there were no convenient trails from Oswego to Pulaski. Therefore, when the county was created in 1816 it became one of the few half-shire counties in the state. Pulaski became the seat for government in the east while Oswego governed the western half of the county. The great fire of 1881 destroyed nearly all of the central portion of the town. Within a year, however, the merchants rebuilt their businesses in varied designs but predominantly in the Italianate style. The entire two-block commercial area is characterized by two and three story brick buildings decorated with heavy bracketed cornices, wide friezes, corbelling, elaborate lintels and arched windows. A majority of the buildings in the district have cornices and lintels formed by corbelled brick, but some possess iron cornices, lintels and sills manufactured at the Ontario Iron Works in Pulaski. In places the regularity of the streetscape is interrupted by highly decorative round-arched friezes and cornices topped with finials. Many of the commercial buildings on Jefferson Street retain their original storefronts. Two of the structures in the district which were built after the fire were designed by the prominent regional architect, Archimedes Russell. Russell practiced in the central New York area from 1862 until 1915. The Kallet movie theater is compatible in scale with the historic district and was designed by Milo Folley of the Syracuse architectural firm of Sargent, Webster, Crenshaw, and Folley. The polychromatic facade of pastel-colored Carrara glass placed in a geometric pattern is characteristic of the Art Deco style. Although the auditorium has been divided in two, the original storefronts on the building remain intact. The Pulaski Village Historic District is architecturally and historically significant as one of the most intact collections of nine-teenth and early twentieth century residential and commercial buildings in northern New York. Today, Pulaski continues to serve as the commercial hub for the surrounding farm area. The salmon industry is reviving and the village is seeking to attract tourists to the community. There is a high degree of pride among the people of Pulaski and an awareness of the architectural heritage which survives in their historic district.

Pulaski is a small village (population 2200) located in the eastern portion of Oswego County, three miles east of Lake Ontario. It was settled in 1804. The early settlers were attracted to the area by the bounti-ful forests and the abundant water power for mills. In addition, the Salmon River was a source of fresh water salmon which became an important commodity in trading. When Pulaski was finally incorporated as a village in 1832 there were numerous saw mills, shingle mills, and wood-working establishments. The dense forests, however, hindered travel and there were no convenient trails from Oswego to Pulaski. Therefore, when the county was created in 1816 it became one of the few half-shire counties in the state. Pulaski became the seat for government in the east while Oswego governed the western half of the county. The great fire of 1881 destroyed nearly all of the central portion of the district. Within a year, however, the merchants rebuilt their businesses in varied designs but predominantly in the Italianate style. The entire two-block commercial area is characterized by two and three story brick buildings decorated with heavy bracketed cornices, wide friezes, corbelling, elaborate lintels and arched windows. A majority of the buildings in the district have cornices and lintels formed by corbelled brick, but some possess iron cornices, lintels and sills manufactured at the Ontario Iron Works in Pulaski. In places the regularity of the streetscape is interrupted by highly decorative round-arched friezes and cornices topped with finials. Many of the commercial buildings on Jefferson Street retain their original storefronts. Two of the structures in the district which were built after the fire were designed by the prominent regional architect, Archimedes Russell. Russell practiced in the central New York area from 1862 until 1915. The Kallet movie theater is compatible in scale with the historic district and was designed by Milo Folley of the Syracuse architectural firm of Sargent, Webster, Crenshaw, and Folley. The polychromatic facade of pastel-colored Carrara glass placed in a geometric pattern is characteristic of the Art Deco style. Although the auditorium has been divided in two, the original storefronts on the building remain intact. The Pulaski Village Historic District is architecturally and historically significant as one of the most intact collections of nine-teenth and early twentieth century residential and commercial buildings in northern New York. Today, Pulaski continues to serve as the commercial hub for the surrounding farm area. The salmon industry is reviving and the village is seeking to attract tourists to the community. There is a high degree of pride among the people of Pulaski and an awareness of the architectural heritage which survives in their historic district.

Pulaski is a small village (population 2200) located in the eastern portion of Oswego County, three miles east of Lake Ontario. It was settled in 1804. The early settlers were attracted to the area by the bounti-ful forests and the abundant water power for mills. In addition, the Salmon River was a source of fresh water salmon which became an important commodity in trading. When Pulaski was finally incorporated as a village in 1832 there were numerous saw mills, shingle mills, and wood-working establishments. The dense forests, however, hindered travel and there were no convenient trails from Oswego to Pulaski. Therefore, when the county was created in 1816 it became one of the few half-shire counties in the state. Pulaski became the seat for government in the east while Oswego governed the western half of the county. The great fire of 1881 destroyed nearly all of the central portion of the town. Within a year, however, the merchants rebuilt their businesses in varied designs but predominantly in the Italianate style. The entire two-block commercial area is characterized by two and three story brick buildings decorated with heavy bracketed cornices, wide friezes, corbelling, elaborate lintels and arched windows. A majority of the buildings in the district have cornices and lintels formed by corbelled brick, but some possess iron cornices, lintels and sills manufactured at the Ontario Iron Works in Pulaski. In places the regularity of the streetscape is interrupted by highly decorative round-arched friezes and cornices topped with finials. Many of the commercial buildings on Jefferson Street retain their original storefronts. Two of the structures in the district which were built after the fire were designed by the prominent regional architect, Archimedes Russell. Russell practiced in the central New York area from 1862 until 1915. The Kallet movie theater is compatible in scale with the historic district and was designed by Milo Folley of the Syracuse architectural firm of Sargent, Webster, Crenshaw, and Folley. The polychromatic facade of pastel-colored Carrara glass placed in a geometric pattern is characteristic of the Art Deco style. Although the auditorium has been divided in two, the original storefronts on the building remain intact. The Pulaski Village Historic District is architecturally and historically significant as one of the most intact collections of nine-teenth and early twentieth century residential and commercial buildings in northern New York. Today, Pulaski continues to serve as the commercial hub for the surrounding farm area. The salmon industry is reviving and the village is seeking to attract tourists to the community. There is a high degree of pride among the people of Pulaski and an awareness of the architectural heritage which survives in their historic district.

Pulaski is a small village (population 2200) located in the eastern portion of Oswego County, three miles east of Lake Ontario. It was settled in 1804. The early settlers were attracted to the area by the bounti-ful forests and the abundant water power for mills. In addition, the Salmon River was a source of fresh water salmon which became an important commodity in trading. When Pulaski was finally incorporated as a village in 1832 there were numerous saw mills, shingle mills, and wood-working establishments. The dense forests, however, hindered travel and there were no convenient trails from Oswego to Pulaski. Therefore, when the county was created in 1816 it became one of the few half-shire counties in the state. Pulaski became the seat for government in the east while Oswego governed the western half of the county. The great fire of 1881 destroyed nearly all of the central portion of the town. Within a year, however, the merchants rebuilt their businesses in varied designs but predominantly in the Italianate style. The entire two-block commercial area is characterized by two and three story brick buildings decorated with heavy bracketed cornices, wide friezes, corbelling, elaborate lintels and arched windows. A majority of the buildings in the district have cornices and lintels formed by corbelled brick, but some possess iron cornices, lintels and sills manufactured at the Ontario Iron Works in Pulaski. In places the regularity of the streetscape is interrupted by highly decorative round-arched friezes and cornices topped with finials. Many of the commercial buildings on Jefferson Street retain their original storefronts. Two of the structures in the district which were built after the fire were designed by the prominent regional architect, Archimedes Russell. Russell practiced in the central New York area from 1862 until 1915. The Kallet movie theater is compatible in scale with the historic district and was designed by Milo Folley of the Syracuse architectural firm of Sargent, Webster, Crenshaw, and Folley. The polychromatic facade of pastel-colored Carrara glass placed in a geometric pattern is characteristic of the Art Deco style. Although the auditorium has been divided in two, the original storefronts on the building remain intact. The Pulaski Village Historic District is architecturally and historically significant as one of the most intact collections of nine-teenth and early twentieth century residential and commercial buildings in northern New York. Today, Pulaski continues to serve as the commercial hub for the surrounding farm area. The salmon industry is reviving and the village is seeking to attract tourists to the community. There is a high degree of pride among the people of Pulaski and an awareness of the architectural heritage which survives in their historic district.

Santeria is a religion of the West African diaspora. It is based on native African traditions that were brought to the Americas by African slaves. Native American beliefs, Catholicism and the experiences of slavery merged with these African religions to form what they are today. Santeria developed in Cuba, although it can be found in many countries today, primarily spread through emigration from Cuba. The orishas are the gods of Santeria. In Yoruba mythology, Yemaya is the mother goddess, patroness of women, especially pregnant women. According to many stories, she was present at the beginning of the world and all life comes from her, including the Orishas. She is the owner of the waters and the sea. Her colours are blue and white like the waters. In particular, she is the mother of Chango, one of the most popular Orishas of the Yoruba pantheon. He is the Orisha of thunder, lightning, justice, manly strength and passion, and the fire dance. The owner of thr Bata drums, he represents dance and music, and symbolizes the joy of life, the intensity of life, male beauty, passion, intelligence and wealth. His colours are red and white.

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