Chicano History Culture Timeline
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Isekai No Seikishi Monogatari
Tenchi Muyo! War on Geminar ------------------------------------------------------------------------------------------------------------------- Intro: The Tenchi Muyo series is huge, and the canonicity may not be particularly clear to the uninitiated. This part of the series and Jump take place after the start of the main timeline and GXP. The story takes place in the world of Germinar, and you no longer need to worry about multiversal goddesses, planet-busting trees, and other such things for your stay. Following Masaki Tenchi's half-brother Masaki Kenshi, this story would normally start with the attack on the Swan (a flying landship), but it now starts with the arrival of Kenshi at the Summoning Ruins still not long before. This world is bathed in high levels of a relatively nondescript energy. This prevents nearly all technology from working above a certain altitude in addition to making others extremely sick, eventually to the point of death, should they stay in these areas. Even the pilots of this world's holy mecha cannot enter these areas or they both will shutdown. This has lead to the higher lands being covered in mostly normal flora and the occasional super flora. The people of this world have coped with this by building their cities lower than the effected areas and carving out valleys for travel. Take your pick of the purchases available below with the 1,000CP (choice points) provided, and be sure to read the notes. ------------------------------------------------------------------------------------------------------------------- Origins: How you start in this world. Your age is 15 and your gender stays the same. Both can be changed for 100CP. ------------------------------------------------------------------------------------------------------------------- Drop-In (Free) – You just show up in the Holy Land one day. -
Second Generation
HISTORY The New Mexican-Americans in Wartime America: riots reflect the state of the Mexican American pop How the "Z-Oot Suit Riots" and the "Second Generation" events shape the future of the Mexican American c Transformed Mexican-American Ethnic Politics Brady Dvorak In this paper, l will show how the unique state oft especially the first US-born generation of Mexican Abstract second generation) - coupled with the anxiety of\ This paper looks at the unique demographic, economic, and cultural state of ethnic Mexicans living of racial tensions in Los Angeles. And, I will sho\\ in the United States during World War II and how the "Zoot Suit Riots" both refl ected the wartime riots" created by the sensationalistic press affected ethnic relations between Latinos and Anglos and influenced the future of Mexican American civil campaign in two ways: (1) Popular interpretation< rights movements. In particular, the riots will be examined within the context of the emergence of a American youth, bridging a correlation between et pachuco youth culture within the second generation of US-born ethnic Mexicans. Newspaper there being any racial discrimination during the ric articles of the time and complimentary research will also show how popular public perception of perception of there being no racial element of disc the events affected the way in which Mexican American community leaders would negotiate the communities. With Mexican American activists or ethnic politics of civil rights until the 1960s. anti-Mexican sentiment, they preached uncompror while ignoring the more complex problems of disc Introduction disparity between Latinos and Anglos in the Unite ne of the most notorious episodes in the history of US ethnic relations, and certainly in Mexican Americans, Pachucos, and World 0 Mexican American history, was the so called "zoot suit riots" that took place in wartime Los Angeles. -
Copyright by Cary Cordova 2005
Copyright by Cary Cordova 2005 The Dissertation Committee for Cary Cordova Certifies that this is the approved version of the following dissertation: THE HEART OF THE MISSION: LATINO ART AND IDENTITY IN SAN FRANCISCO Committee: Steven D. Hoelscher, Co-Supervisor Shelley Fisher Fishkin, Co-Supervisor Janet Davis David Montejano Deborah Paredez Shirley Thompson THE HEART OF THE MISSION: LATINO ART AND IDENTITY IN SAN FRANCISCO by Cary Cordova, B.A., M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin December, 2005 Dedication To my parents, Jennifer Feeley and Solomon Cordova, and to our beloved San Francisco family of “beatnik” and “avant-garde” friends, Nancy Eichler, Ed and Anna Everett, Ellen Kernigan, and José Ramón Lerma. Acknowledgements For as long as I can remember, my most meaningful encounters with history emerged from first-hand accounts – autobiographies, diaries, articles, oral histories, scratchy recordings, and scraps of paper. This dissertation is a product of my encounters with many people, who made history a constant presence in my life. I am grateful to an expansive community of people who have assisted me with this project. This dissertation would not have been possible without the many people who sat down with me for countless hours to record their oral histories: Cesar Ascarrunz, Francisco Camplis, Luis Cervantes, Susan Cervantes, Maruja Cid, Carlos Cordova, Daniel del Solar, Martha Estrella, Juan Fuentes, Rupert Garcia, Yolanda Garfias Woo, Amelia “Mia” Galaviz de Gonzalez, Juan Gonzales, José Ramón Lerma, Andres Lopez, Yolanda Lopez, Carlos Loarca, Alejandro Murguía, Michael Nolan, Patricia Rodriguez, Peter Rodriguez, Nina Serrano, and René Yañez. -
La Frontera- the US Border Reflected in the Cinematic Lens David R
1 La Frontera- The U.S. Border Reflected in the Cinematic Lens David R. Maciel1 Introduction The U.S.-Mexico border/la frontera has the distinction of being the only place in the world where a highly developed country and a developing one meet and interact.2 This is an area of historical conflict, convergence, conflict, dependency, and interdependency, all types of transboundary links, as well as a society of astounding complexity and an evolving and extraordinarily rich culture. Distinct border styles of music, literature, art, media, and certainly visual practices have flourished in the region. Several of the most important cultural and artistic-oriented institutions, such as universities, research institutes, community centers, and museums are found in the border states of both countries. Beginning in the late 19th century and all the way to the present certain journalists, writers and visual artists have presented a distorted vision of the U.S. - Mexican border. The borderlands have been portrayed mostly as a lawless, rugged, and perilous area populated by settlers who sought a new life in the last frontier, but also criminals and crime fighters whose deeds became legendary. As Gordon W. Allport stated: 1 Emeritus Professor, University of New Mexico. Currently is Adjunct Professor at the Centro de Investigación y Docencia Económicas (CIDE) in Mexico City. 2 Paul Ganster and Alan Sweedler. The United States-Mexico Border Region: Implications for U.S. Security. Claremont CA: The Keck Center for International Strategic Studies, 1988. 2 [Stereotypes] aid people in simplifying their categories; they justify hostility; sometimes they serve as projection screens for our personal conflict. -
Borderlands of the Rio Grande Valley: Where Two Worlds
BORDERLANDS OF THE RIO GRANDE VALLEY: WHERE TWO WORLDS BECOME ONE by Nora Lisa Cavazos, M.A. A thesis submitted to the Graduate Council of Texas State University in partial fulfillment of the requirements for the degree of Master of Arts with a Major in International Studies August 2014 Committee Members: Paul Hart, Chair John McKiernan-Gonzalez Robert Gorman COPYRIGHT by Nora Lisa Cavazos 2014 FAIR USE AND AUTHOR’S PERMISSION STATEMENT Fair Use This work is protected by the Copyright Laws of the United States (Public law94-553, section 107). Consistent with fair use as defined in the Copyright Laws, brief quotations from this material are allowed with proper acknowledgment. Use of this material for financial gain without the author’s express written permission is not allowed. Duplication Permission As copyright holder of this work I, Nora Lisa Cavazos authorize duplication of this work, in whole or in part, for educational or scholarly purposes only. ACKNOWLEDGEMENTS I would sincerely like to thank my family for inspiring me to write about the reality of such a complicatedly beautiful place. Without the love and support from my Mom, Dad, Linda, Melissa, David, Noah, and Jaeden, none of this would have been possible. For all the times they extended their home, their food, and their stress relieving techniques, I am undoubtedly thankful. A big thank you to Dr. Paul Hart, Dr. John McKiernan-Gonzalez, and Dr. Robert Gorman for encouraging my study of the Rio Grande Valley, the place I love the most, and for pushing me beyond what I knew I was capable of. -
Los Veteranos—Latinos in WWII
Los Veteranos—Latinos in WWII Over 500,000 Latinos (including 350,000 Mexican Americans and 53,000 Puerto Ricans) served in WWII. Exact numbers are difficult because, with the exception of the 65th Infantry Regiment from Puerto Rico, Latinos were not segregated into separate units, as African Americans were. When war was declared on December 8, 1941, thousands of Latinos were among those that rushed to enlist. Latinos served with distinction throughout Europe, in the Pacific Theater, North Africa, the Aleutians and the Mediterranean. Among other honors earned, thirteen Medals of Honor were awarded to Latinos for service during WWII. In the Pacific Theater, the 158th Regimental Combat Team, of which a large percentage was Latino and Native American, fought in New Guinea and the Philippines. They so impressed General MacArthur that he called them “the greatest fighting combat team ever deployed in battle.” Latino soldiers were of particular aid in the defense of the Philippines. Their fluency in Spanish was invaluable when serving with Spanish speaking Filipinos. These same soldiers were part of the infamous “Bataan Death March.” On Saipan, Marine PFC Guy Gabaldon, a Mexican-American from East Los Angeles who had learned Japanese in his ethnically diverse neighborhood, captured 1,500 Japanese soldiers, earning him the nickname, the “Pied Piper of Saipan.” In the European Theater, Latino soldiers from the 36th Infantry Division from Texas were among the first soldiers to land on Italian soil and suffered heavy casualties crossing the Rapido River at Cassino. The 88th Infantry Division (with draftees from Southwestern states) was ranked in the top 10 for combat effectiveness. -
Brown Youth, Black Fashion and a White Riot by Margarita Aragon
Brown Youth, Black Fashion and a White Riot By Margarita Aragon Table of Contents Preface: The Zoot Suit Riots………………………………………………………...2 I. Introduction: Made in America…………………………………………………..3 II. Sources……………….……………………………………………………………4 III. Background………………………………………………………………………7 IV. “Terrific as the Pacific, Frantic as the Atlantic”: From hipsters to pachucos, the zoot-suit from coast to coast…………………………………….....12 V. Zoot Suits and Service Stripes…………………………………………………21 VI. The Riots…………………………………………………………….…………27 VIII. Conclusion: Dismantling the Machine………………………….………….34 References………………………………………………………………...………..37 Brown Youth, Black Fashion, and a White Riot Preface: The Zoot Suit Riots In the 1940’s a large generation of Mexican American1 youth were coming of age in Los Angeles. Born and raised in the segregated, working class outskirts of urban America, they were captivated by black jazz culture and a number of them, who became known as pachucos, adopted the extravagant zoot-suit style. Importantly, unlike their parents, this generation was not content to adhere to the city’s strict racial barriers. To dominant white Los Angeles, unaccustomed to seeing Mexicans –much less Mexicans deliberately dressed to stand-out - in downtown shopping and entertainment districts, pachuco came to mean a Mexican delinquent. The pair of words rapidly became correlated to redundancy. In a self-generating spiral of escalation, the repressive policing of Mexican Americans provided the media fodder for stories about zoot suit crime, which they printed in an exaggerated and salacious manner. The crime wave stories ironically convinced that the public that the police were not in control, thus generating pressure for even heavier handed policing tactics. The hysteria peaked when a young Mexican national was found dead in August at a reservoir the press labelled the Sleepy Lagoon. -
Style Sheet for Aztlán: a Journal of Chicano Studies
Style Sheet for Aztlán: A Journal of Chicano Studies Articles submitted to Aztlán are accepted with the understanding that the author will agree to all style changes made by the copyeditor unless the changes drastically alter the author’s meaning. This style sheet is intended for use with articles written in English. Much of it also applies to those written in Spanish, but authors planning to submit Spanish-language texts should check with the editors for special instructions. 1. Reference Books Aztlán bases its style on the Chicago Manual of Style, 15th edition, with some modifications. Spelling follows Merriam-Webster’s Collegiate Dictionary, 11th edition. This sheet provides a guide to a number of style questions that come up frequently in Aztlán. 2. Titles and Subheads 2a. Article titles No endnotes are allowed on titles. Acknowledgments, information about the title or epigraph, or other general information about an article should go in an unnumbered note at the beginning of the endnotes (see section 12). 2b. Subheads Topical subheads should be used to break up the text at logical points. In general, Aztlán does not use more than two levels of subheads. Most articles have only one level. Authors should make the hierarchy of subheads clear by using large, bold, and/or italic type to differentiate levels of subheads. For example, level-1 and level-2 subheads might look like this: Ethnocentrism and Imperialism in the Imperial Valley Social and Spatial Marginalization of Latinos Do not set subheads in all caps. Do not number subheads. No endnotes are allowed on subheads. -
Views That Barnes Has Given, Wherein
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2018 Darker Matters: Racial Theorizing through Alternate History, Transhistorical Black Bodies, and Towards a Literature of Black Mecha in the Science Fiction Novels of Steven Barnes Alexander Dumas J. Brickler IV Follow this and additional works at the DigiNole: FSU's Digital Repository. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES DARKER MATTERS: RACIAL THEORIZING THROUGH ALTERNATE HISTORY, TRANSHISTORICAL BLACK BODIES, AND TOWARDS A LITERATURE OF BLACK MECHA IN THE SCIENCE FICTION NOVELS OF STEVEN BARNES By ALEXANDER DUMAS J. BRICKLER IV A Dissertation Submitted to the Department of English in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2018 Alexander Dumas J. Brickler IV defended this dissertation on April 16, 2018. The members of the supervisory committee were: Jerrilyn McGregory Professor Directing Dissertation Delia Poey University Representative Maxine Montgomery Committee Member Candace Ward Committee Member Dennis Moore Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the dissertation has been approved in accordance with university requirements. ii ACKNOWLEDGMENTS Foremost, I have to give thanks to the Most High. My odyssey through graduate school was indeed a long night of the soul, and without mustard-seed/mountain-moving faith, this journey would have been stymied a long time before now. Profound thanks to my utterly phenomenal dissertation committee as well, and my chair, Dr. Jerrilyn McGregory, especially. From the moment I first perused the syllabus of her class on folkloric and speculative traditions of Black authors, I knew I was going to have a fantastic experience working with her. -
The Chicano Movement in Houston and Texas: a Personal Memory
The Chicano Movement in Houston and Texas: A Personal Memory by Carlos Calbillo c/s 116th Annual Meeting The four major themes of “Chicanismo” are generally considered to be: (1) the power of the March 1–3, 2012 creative earth and labor upon it; (2) political transformation through collective efforts; Become a TSHA (3) strong familial ties extending back into Mesoamerican pre-history; and (4) spiritually- Member and Omni Houston Hotel influenced creative artistic imagination as reflected in the visual ARTS. Receive FREE Keynote Address: Civil Rights in Texas ell, what a long and strange trip it was, or should I say, and white ministers, priests, a rabbi or two in attendance, I Whas been. Carlos Guerra is gone, Lupe Youngblood became curious to see if I could find any Latinos in the large Registration* by Darlene Clark Hine, Ph.D., Northwestern University is gone, Poncho Ruiz, El Tigre, Ernie Valdés. And Mateo crowd. To my surprise, I found only one, other than me. Vega, if not gone, is certainly missing in action or something I walked up to him after the march and introduced like that. These names are some of the brothers; there were myself to Leonel J. Castillo. He would eventually become also sisters that I worked with in the movement beginning the first Latino in Houston elected to city-wide office as city in, for me, April 1968. controller. Subsequently, he became the first Latino com- Sessions Speakers Exhibitors The Chicano movement of the 1960s and 1970s was es- missioner of the Immigration and Naturalization Service, sentially a grassroots community insurrection and rebellion appointed by President Jimmy Carter. -
George I. Sanchez and the Civil Rights Movement: 1940-1960
George I. Sanchez and the Civil Rights Movement: 1940-1960 Ricardo Romo* This article is a tribute to Dr. George I. Sanchez and examines the important contributions he made in establishing the American Council of Spanish-Speaking People (ACSSP) in 1951. The ACSSP funded dozens of civil rights cases in the Southwest during the early 1950's and repre- sented the first large-scale effort by Mexican Americans to establish a national civil rights organization. As such, ACSSP was a precursor of the Mexican American Legal Defense and Educational Fund (MALDEF) and other organizations concerned with protecting the legal rights of Mexican Americans in the Southwest. The period covered here extends from 1940 to 1960, two crucial decades when Mexican Ameri- cans made a concerted effort to challenge segregation in public schools, discrimination in housing and employment, and the denial of equal ac- cess to public places such as theaters, restaurants, and barber shops. Although Mexican Americans are still confronted today by de facto seg- regation and job discrimination, it is of historical and legal interest that Mexican American legal victories, in areas such as school desegregation, predated by many years the 1954 Supreme Court decision in Brown v. Board of Education and the civil rights movement of the 1960's. Sanchez' pioneering leadership and the activities of ACSSP merit exami- nation if we are to fully comprehend the historical struggle of the Mexi- can American civil rights movement. In a recent article, Karen O'Conner and Lee Epstein traced the ori- gins of MALDEF to the 1960's civil rights era.' The authors argued that "Chicanos early on recongized their inability to seek rights through traditional political avenues and thus sporadically resorted to litigation .. -
ABJECT Performances AESTHETIC STRATEGIES in LATINO CULTURAL PRODUCTION
ABJECT performances AESTHETIC STRATEGIES IN LATINO CULTURAL PRODUCTION Leticia Alvarado ABJECT performances Dissident Acts A series edited by Macarena Gomez- Barris and Diana Taylor ABJECT performances AESTHETIC STRATEGIES IN LATINO CULTURAL PRODUCTION LETICIA ALVARADO Duke University Press / Durham and London / 2018 © 2018 Duke University Press All rights reserved Printed in the United States of America on acid- free paper ∞ Designed by Heather Hensley Typeset in Scala Pro by Copperline Book Services, Inc. Library of Congress Cataloging- in- Publication Data Names: Alvarado, Leticia, [date] author. Title: Abject performances : aesthetic strategies in Latino cultural production / Leticia Alvarado. Description: Durham : Duke University Press, 2018. | Series: Dissident acts | Includes bibliographical references and index. Identifiers: lccn 2017045246 (print) | lccn 2017051045 (ebook) isbn 9780822371939 (ebook) isbn 9780822370635 (hardcover : alk. paper) isbn 9780822370789 (pbk. : alk. paper) Subjects: lcsh: Hispanic American mass media—Social aspects. | Hispanic American arts—Social aspects. | Hispanic Americans and mass media. | Mass media and culture. Classification: lcc p94.5.h58 (ebook) | lcc p94.5.h58 A48 2018 (print) | ddc 302.2308968/073—dc23 lc record available at https://lccn.loc.gov/2017045246 Cover art: Xandra Ibarra with Sophia Wang, Untitled (skins), 2015–2016. Performance documentation. Photograph by Robbie Sweeny. For the only people I ever want to see on purpose: Sydney, Lu, and Mika. And also for JEM. Love, a Hologram. Contents ix Acknowledgments 1 Introduction Sublime Abjection 25 Chapter 1 Other Desires: Ana Mendieta’s Abject Imaginings 57 Chapter 2 Phantom Assholes: Asco’s Affective Vortex 89 Chapter 3 Of Betties Decorous and Abject: Ugly Betty’s America la fea and Nao Bustamante’s America la bella 131 Chapter 4 Arriving at Apostasy: Performative Testimonies of Ambivalent Belonging 161 Conclusion Abject Embodiment 167 Notes 193 Bibliography 209 Index Acknowledgments i am humbled by the amount of support that brought this book to fruition.