This Masked Man Makes an Extra $200/Week as a Mexican Wrestler, or Luchador

Every superhero needs a secret identity.

Just ask Motros Jungle.

At 6 years old, he was captivated by his heroes, the masked Mexican wrestlers known as luchadores.

Now grown, the San Diego man has been living out his childhood dream for the past five years by transforming into his alter ego as a side hustle.  

You go from being just a regular average Joe to becoming a superhero as soon as you put the mask on,” he says.

Motros Jungle’s real name remains a secret in the tradition of luchadores who went before him.

“The mask is sacred because I try to follow in the footsteps of all my heroes… all those guys, you never saw them without their mask,” Motros Jungle says. “And to me, if I want to be just like them, I will perform just like them, and I will keep my identity secret.”

Although his fans may imagine he spends his days practicing high-flying moves, Motros Jungle works a full-time job “as a grease monkey.”

On the weekends, he steps into the ring to participate in up to three matches, earning around $ 200 total.

That income doesn’t include the proceeds from merchandise such as shirts, stickers, buttons and, of course, masks.

“Masks go for $ 20, and they sell pretty well,” Motros Jungle says. “You can make anywhere from like $ 200 to $ 500.”

But the luchador tradition means much more than dollar signs for Motros Jungle.

“At the end of the day, you don’t really count how much you make because it all gets invested right back into wrestling,” he says. “I don’t do this for the money. I do it because it fulfills me as a person.”

Ever wonder how you could pursue your childhood dream? Read on to find out how Motros Jungle did it.

What Is a Luchador?

A lucha libre wrestler poses for a portrait on a makeshift ring set up in a barn on a farm in San Diego.

Although Hollywood has its own interpretation of the art — think the 2006 Jack Black movie “Nacho Libre” — lucha libre traces its roots back Mexican wrestling that started as early as the 1840s.

Known for its colorful costumes and acrobatic moves, lucha libre most closely resembles the WWE’s professional wrestling in the United States.

Although his matches are mostly north of the border, Motros Jungle started by training in Mexico for about 1 ½ years. “Even now, I still go every now and then just to get some authentic lucha libre training,” he says.

Rules of the Ring

As in most wrestling competitions, you win in lucha libre by pinning your opponents, knocking them out of the ring or forcing them to submit.

But like its U.S. counterpart, much of the wrestling is choreographed to promote a continuing storyline of the participants, who playact much of their fighting. So even though Motros Jungle trains constantly to maintain the athleticism required, he’s working just as much on communication and safety techniques.

You can look like you’ve been carved out of stone, and you can step in the ring and you can flop,” he says. “You got to talk and communicate with the person that you’re working with.

“If you do not have the safety of it down, if you do not have the proper technique of it down, then there’s just no way you’re going to be successful at this.”

A man laces up his boots as he gets dressed in a costume.

Even with all the precautions in place, Motros Jungle says he still sustains at least minor injuries in every match.

“There’s no way you walk out of a match without feeling a little sore, having a couple of bruises and scratches here and there,” he says. “Luckily I’ve only been severely injured twice in my wrestling career. I’ve broken my ribs, I’ve broken my left arm.”

The most important thing you can have as you pursue your dream job is courage, according to Motros Jungle.

“You got to not be afraid of taking those risks,” he says. “You got to make the jump.”

For Motros Jungle, the fulfillment of a childhood fantasy — and the fans who follow his career — make his side gig worth more than any amount of money.

“I’m living my dream every time I set foot into this ring,” he says. “I do it for the roar of the crowd.”

Tiffany Wendeln Connors is a staff writer and Teyonna Edwards is a video producer at The Penny Hoarder.

This was originally published on The Penny Hoarder, which helps millions of readers worldwide earn and save money by sharing unique job opportunities, personal stories, freebies and more. The Inc. 5000 ranked The Penny Hoarder as the fastest-growing private media company in the U.S. in 2017.

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Get Ready for Bravo’s Mexican Dynasties: New Reality Series Will Chronicle Mexico City Mainstays

Mexican DynastiesBravo is going south of the border for its newest reality series–get ready for Mexican Dynasties.
In the new series, which E! News has an exclusive sneak peek of below, viewers will meet…

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Jennifer Lawrence and Dior are being accused of ripping off Mexican culture

Jennifer Lawrence and Dior are being accused of ripping off Mexican culture

Jennifer Lawrence and Dior are being accused of ripping off Mexican culture

Jennifer Lawrence and Dior are in the news for all the wrong reasons. Scratch that, for one reason: cultural appropriation. The actress is the new face of the fashion house’s latest collection. So why is that problematic? Dior’s collection is entirely inspired by Mexican culture. To be more specific, the pieces in the line are heavily influenced by escaramuza charra.

To give you some backstory, escaramuza is a Mexican sport, almost like a rodeo, which features a group of women (usually 10 to 16) on horseback. They choreograph dance routines with their horses, which makes for a one-of-a-kind experience. Most consider escaramuza attire a form of art, similar to ballet folklorico, so it’s not surprising that Dior would be enamored by it.

The problem with Lawrence being the face of this specific collection is obvious: She’s not Mexican (or Latina for that matter). This collection directly takes silhouettes, patterns, and designs that are so ingrained in Mexican culture that Lawrence’s casting has struck a chord in the Mexican community. If anything, it’s sad that Dior didn’t cast a Mexican artist (whether an actress, singer, or model) as the face of their new collection.

It’s not like the fashion house hasn’t thought to highlight Mexican women before. Back in May, Dior’s creative director Maria Grazia Chiuri (who is Italian) presented the collection in a respectful way: Remezcla reports that the fashion house flew in an eight-woman team from Mexico who each wore the latest pieces from the collection. As models walked down the runway, they rode in unison. It’s sad that the brand would make an effort to highlight these women during their show but forget about them during the ad campaigns.

In a behind-the-scenes video posted to Instagram, Dior shared Lawrence’s experience shooting the campaign. The actress said:

“One of the main inspirations of this collection is the traditional women riders of Mexico. I’m really excited that this collection is looking at and celebrating these women’s heritage through such a modern lens.”

Many people on social media quickly pointed out the cultural appropriation, and the thoughtlessness of Lawrence’s comments.

Even 2 Dope Queens actress Phoebe Robinson took to Instagram to share her thoughts on the brand’s blatant cultural appropriation:

“#Dior & #JenniferLawrence wanna celebrate traditional Mexican women riders thru a ‘modern lens’…by having a rich white woman named Jennifer be the face of this campaign? And like they couldn’t think of a better landscape to shoot than in California?! “Hmm, I dunno, maybe…like…shoot…in…Mexico…with…a…Mexican…actress like Salma Hayek, Karla Souza, Jessica Alba, Selena Gomez, Eva Longoria, or many others. But I guess they were all unavailable, so you had to go with Jennifer Lawrence.”

It’s true—there are many people Dior could have made the face of the collection. Aside from the actresses Robinson listed, there is also Kate del Castillo (who is pretty much Mexican royalty), Eiza González, and Netflix’s Made in Mexico star and model, Columba Díaz. That’s just scratching the surface. It’s disappointing that despite the inclusive options available, Dior chose someone who is “marketable” rather than to respect the culture they lifted ideas from.

The post Jennifer Lawrence and Dior are being accused of ripping off Mexican culture appeared first on HelloGiggles.



New season of ‘Narcos’ shifts to ‘80s-era Mexican drug cartels

TV producers and writers love their drug cartels, as the Emmy-strewn legacy of “Breaking Bad” and its pale imitators testify. There’s lots of sweaty, roll-around-in-prop-vomit acting, lots more violence than network television will allow and the satisfaction of doing something visceral and relevant after years of churning out procedurals such as “NCIS.” But no one…
Entertainment | New York Post


Diego Luna on Narcos, Mexican Cinema and the Conflict at the Border

The actor and humanitarian takes on a violent chapter of his home country’s history as a notorious drug lord in Narcos: Mexico

Why is now the right time to tell the story of how Mexico’s drug war started?

There’s an urgency to stop this violence in my country. It’s impossible to understand how things got this bad if we don’t look back. This particular time [in the mid-1980s] defines a lot of the relationship between Mexico and the U.S. and is important to understanding what has been done on both sides of the border to get to this mess.

The story centers on the 1985 murder of DEA agent Enrique “Kiki” Camarena, which took place when you were 5 years old. Do you have any memory of seeing it in the news?

It’s been interesting to do this project because I’ve had to go back and remember this time from the perspective of an adult. I learned more about it in the mid-’90s when I was in school and I cared about politics. I was finally waking up.

The show suggests that people wanted to pretend the drug war wasn’t happening, despite rampant killings. Is that still true?

No. Today, the problem is that things have become much more complicated. These characters built a perfect structure that involved every level of power in this country and on the other side of the border. When that structure fell apart, violence got out of control. Now the military is in the streets doing internal security, and that’s very dangerous. It’s clearly a crisis. We’ve been living in a war zone in Mexico.

President Donald Trump’s response to the migrant caravan is dominating headlines. How is the Mexican government handling the situation?

Really poorly. But this is not new–Mexico deports more Central Americans than the States. There are so many humanitarian efforts to help migrants, but as a country, we’re far from taking care of them. We’re the most dangerous part of their travel to the border. And yet we are urging the States to take care of them. Mexico pretends to be a country that cares about the poor. But it’s just show.

You’ve been an outspoken critic of outgoing President Enrique Peña Nieto. Do you have any hopes for President-elect Andrés Manuel López Obrador, a leftist?

A long time ago, I lost hope for the people who work from inside the government. My only hope is in citizens of this country being loud and speaking out. That is something I do celebrate from the past election. I’m not necessarily saying I celebrate the next President, but it’s an impressive turnout and a big majority saying, “We need to change.”

You’ve been courted to run for office but declined. Why?

I love what I do. I love telling stories. I believe it’s a really powerful tool. Cinema has changed my perspective on things that I believe make me a better and richer person, and I still have a lot to explore and to say.

Mexican directors have won four of the past five Best Director Oscars. Is this a new golden age of Mexican cinema?

Of Mexican voices. We’ve got to be careful saying it’s a golden age of Mexican cinema. I go to cinemas in Mexico, and it’s tough to find Mexican films there. The problem with our industry is that it’s a reflection of the country we’re living in. What has happened is that the voices are very sharp and eager to talk. That’s why you see so many Mexican directors doing great films around the world.

You’re in Barry Jenkins’ new film, If Beale Street Could Talk, adapted from James Baldwin’s 1974 novel about a wrongly convicted black man. Why did this story resonate with you?

The story is so relevant today. The day before I saw it in New York, I saw a documentary in Mexico about someone who was in jail because of the wrong reasons, and it felt so connected. If Beale Street Could Talk was based on a book written decades ago. But we don’t seem to understand. We still don’t seem to get it.

This appears in the November 19, 2018 issue of TIME.
Entertainment – TIME


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