Muerto Story

Part 1: Dia de Los Muertos

A long time ago in prehispanic America, in the area that is now southern Mexico, over a thousand years ago, the native tribes celebrated an annual ritual to a goddess named Mictecacihuatl also known as the Lady of the Dead. The largest and most famous of these tribes were the Olmecs and Mayans and later Aztecs, but there were also many other tribes that would pay tribute to Mictecacihuatl.

It was believed that she was born as a human and sacrificed as a child. After her death she became the goddess of the underworld and of the dead. She became the protector of the dead and an important guardian for the souls of deceased children.

There is a cave in Mexico that was the center point for the month long summer celebration to honor Mictecacihuatl. People would travel from near and far to pay tribute to the Goddess of the Dead and to give offerings at her cave. People would honor and remember those whose bones were placed in the cave to be watched over by the Lady of the Dead. These offerings or ofrendas were given to the goddess and to their loved ones who have passed over to the other side. People would stay near the cave for weeks and celebrate the mysteries of life and death and celebrate the lives of those who have gone to the next level of existence.

As time went on the celebration became very popular with people of various tribes and spread throughout the land. Cities, towns, villages, and households all adapted unique and personalized ways of celebrating this ritual. Offerings were made at home or in cemeteries and usually included the orange marigold flower or cempasuchil, which is believed to attract the attention of the dead. Sweat bread baked for the special occasion called pan de los muertos or bread of the dead was eaten and offered to the dead. Processions and festivals were organized. Elaborate costumes, masks, artwork, and decorated sugar skulls or calaveras were made and exchanged.

Upon the invasion of the American continents by the Roman Catholic Empire the ritual was unsuccessfully banned by the Catholic Church. In a later attempt to catholicize the celebration and to find common ground between the native holiday and Christianity, the church moved it from the summer to the fall to coincide with the official catholic holidays of All Saints’ Day (Día de Todos Santos) and All Souls’ Day (Día de Todas las Almas). *

The modern Día de los Muertos is a two day celebration. November 1 is Día de los Angelitos in which those who have died while still children are remembered. November 2 is the Día de los Muertos proper in which we remember all of those dead friends and relatives that we miss.

* The catholic All Saints Day is a celebration of the early Christian martyrs and other saints and takes place on November 1. All Souls’ Day is a day to help the faithful Christians who have died but who have not yet become purified enough to enter heaven and takes place on November 2. In this catholic holiday prayers and offerings are given on behalf of these souls to assist in their reaching heaven.

Part 2: Artwork de los Muertos

The first popular artist to bring to the world the Mexican style of artwork influenced by the culture of Día de los Muertos was José Guadalupe Posada. He was born in the city of Aguascalientes, where he learned the art of lithography. His long career began in 1871 with a job as the political cartoonist for a local newspaper in Aguascalientes. Largely forgotten by the end of his life, Posada's engravings were brought to a wider audience in the 1920s by the French artist Jean Charlot, who encountered them while visiting Diego Rivera. While Posada died in poverty, his images have become well known and his work is often associated with the Mexican holiday Día de los Muertos. The muralist José Clemente Orozco knew Posada when he was young, and credited Posada's work as an influence on his own.

Enrique Lazaro, born in Guadalajara Mexico and raised in Arizona, co-founder and artist for Muerto Skateboards has also been influenced by the Día de los Muertos art of Mexico. He has been influenced by many styles of art including the work of Posada, traditional skateboard artwork, and many styles of tattoo art. Enrique has developed an inspired and unique style of his own that is easily recognizable. Check out the Gallery and News sections of the Muerto website to see more of Enrique’s artwork.

Part 3: Muerto Skateboards nació

The Muerto Skateboards Story

It was a hot and dusty afternoon when long time friends Enrique Lazaro and Wayne Acciacca were skating the infamous Toilet Bowl ditch in the Sonora Desert outside of Tucson, Arizona. While enjoying the magic of “ensalada de hongos” and the gnarled graffiti-punk covered concrete of the Toilet Bowl an old Jacqui Indian dusty, sad, and wise sneaked up behind them.

“Hey!”, he called.

“Who are you?” They asked in a startled way like that.

The man replied in a strong, deep voice, “I'm John the Baptist... my name is Chief.”

Our friends found Chief to be wise and he made them laugh many times. They spent some time discussing all topics, and they were amazed at Chief’s ability to read their minds and to assist each in sorting out some of their most difficult troubles.

Suddenly Chief began to chant and he repeated these words twenty-three times, “Dead trees soar like birds into the Sun.”

“Are you ready to go?” He asked our friends.

“Go where?” They replied.

“Go into the desert and die!” Chief ordered with a wild-eyed grin and the flash of a gold tooth. With these words Chief had transformed into a Golden Eagle and flew off toward the Sun.

Our friends headed for the desert as Chief had commanded and the vision of Muerto Skateboards found them that day.

The artwork of Enrique Lazaro, the Dia de Los Muertos celebration, the visionary culture of Mexico and the American Southwest, and the heart & soul of skateboarding provide the continuing inspiration for Muerto Skateboards.

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