Ponto Chicano

Total Page:16

File Type:pdf, Size:1020Kb

Ponto Chicano ~ · "O<!lober23, 1991 MECHISME page 3 Latin Alliance puts Latino rappers on map Ponto Chicano (Reprinted from Lowrider, Oct. 91) Latins to bring everyone together." Frost By Enrique Jesus Cardiel jr. In the truest sense, Latin Alliance explains, "not just keeping it for Mexicans CNNReponer lives up to the name. A coalition of Latin or Puerto Ricans or Dominicans." the Latin Chicanos can no longer allow Rappers from varying backgrounds, Latin Alliance became official in October, 1990. themselves to be intimidated as if they are Alliance's members have joined forces on Latin Alliance's group chemistry infringing on Anglos' rights. the self-titled debut album on Virgin transcends mutual respect. "This thing has Chicanos' rights have been Records. Their message of pride and unity to be a tight unit,• Frost says emphatically. infringed upon since 1836 when Anglos urges fellow Latins to rely on cooperation "It has to be more of a family thing than just were illegal aliens in the northern-most instead of confrontation, and they deliver a bunch of kids just trying to come up or get territory of Mexico. their message at the tip of a high-velocity over. We have a cause. Our main theme is Another issue Chicanos must face i rap sound. to bust stereotypes--stereotypes that say 'rap the myth of being "Hispanic.• Chicanos, as The Latin Alliance emphasizes a should be this' or 'rap should be that.' We a group, are 70 to 80 percent indigenous, broad, multi-cultural and multi-racial theme feel that the whole art of rap is an urban according to John Chaviz, author of The of unity. "I don't even talk about black, sound, coming from the street, and the street Lost Land. brown, or white--I'm just pro-minority,• are in East L.A. the same as they are in the That statistic must be presented as admits member Raysk.i. "I'm Pro-positive, Bronx, the same as they are in South a fact to Chicano people especially Chicano as well as being pro-Latin. I think the Central. The whole concept for the Latin youth who may suffer from cultural world would be a better place if everybody Alliance is that we're trying to spread a schizophrenia. tried to be a little more positive. We're just message of unity." Chicanos come from various tribes, trying to put Latin rappers on the map as More than 150 students expected such as Azteca, Zapoteca, Mixtec, being real.• for high school Motivation Day Tarahumara, Yaqui, Cahuilla, Dine Lots of live tracks (as well as a few On Nov. 14 more than 150 (Navajo), Pueblo, Apache, Sioux, and many carefully chosen samples and synths) power Chicano/Latino high school students will be others. Latin Alliance's street level sound. "Low coming to visit for Motivation Day. This Chicano students are realizing this Rider,• the debut single by Latin Alliance day will include workshops and tours. once they get to the university. and War, sets the tone. Featuring Virgin MEChA recruitment coordinator Lupe Silva The message now needs to be taken Records' Kid Frost and fellow Latin rap is hoping for a big participation. "Please into the junior high and high schools where star, Cuban-born Mellow Man Ace, "Low show your support,• she says. "I am going the next generation of Chicano students are Rider" offers an urban-beat update of the to need all of your help." Anyone who is finding their identities. War classic. The groove stretches bumper­ interested in participating can pick up a to-bumper--close your eyes and you can feel schedule at the next MEChA meeting or the asphalt beneath your feet, and hear contact Lupe at 247-0522. engines revving in the humid twilight. "Valla En Paz (Go In Peace" defines the Latin Alliance philosophy. Its chief writer, Stevie, paints the picture: "Being Spanish and living in Los Angeles .. .I see people in my environment destroying themselves, and I wanted to say--specifically to Latin people­ -'don't do that to yourselves'." Other key tracks include Rayski's pounding "Know What I'm Sayin'?" the steamy "What You Soul Is What You Get,• ~-,. and "Latinos Unidos, • Latin Ali°iance's :;., manifesto. Frost urged all members to ' combine their own view of Latin heritage for "Latinos Unidos," saying "let 'em know ,;;;: '. -. where you're from, who you are, your ' . heritage, your pride.• The collaboration effort is a mosaic of images and experiences of urban Latin life. Kid Frost first gathered group members together to work on a Cinco de Mayo lowrider show in Los Angeles in ----,~--. - 1989. "The next thing you know, we came Rdel Beltran-Fresno.Co\ up with the idea to form an alliance of .
Recommended publications
  • El Paso and the Twelve Travelers
    Monumental Discourses: Sculpting Juan de Oñate from the Collected Memories of the American Southwest Inaugural-Dissertation zur Erlangung der Doktorwürde der Philosophischen Fakultät IV – Sprach- und Literaturwissenschaften – der Universität Regensburg wieder vorgelegt von Juliane Schwarz-Bierschenk aus Freudenstadt Freiburg, Juni 2014 Erstgutachter: Prof. Dr. Udo Hebel Zweitgutachter: Prof. Dr. Volker Depkat CONTENTS PROLOGUE I PROSPECT 2 II CONCEPTS FOR READING THE SOUTHWEST: MEMORY, SPATIALITY, SIGNIFICATION 7 II.1 CULTURE: TIME (MEMORY) 8 II.1.1 MEMORY IN AMERICAN STUDIES 9 II.2 CULTURE: SPATIALITY (LANDSCAPE) 13 II.2.1 SPATIALITY IN AMERICAN STUDIES 14 II.3 CULTURE: SIGNIFICATION (LANDSCAPE AS TEXT) 16 II.4 CONCEPTUAL CONVERGENCE: THE SPATIAL TURN 18 III.1 UNITS OF INVESTIGATION: PLACE – SPACE – LANDSCAPE III.1.1 PLACE 21 III.1.2 SPACE 22 III.1.3 LANDSCAPE 23 III.2 EMPLACEMENT AND EMPLOTMENT 25 III.3 UNITS OF INVESTIGATION: SITE – MONUMENT – LANDSCAPE III.3.1 SITES OF MEMORY 27 III.3.2 MONUMENTS 30 III.3.3 LANDSCAPES OF MEMORY 32 IV SPATIALIZING AMERICAN MEMORIES: FRONTIERS, BORDERS, BORDERLANDS 34 IV.1 LANDSCAPES OF MEMORY I: THE LAND OF ENCHANTMENT 39 IV.1.1 THE TRI-ETHNIC MYTH 41 IV.2 LANDSCAPES OF MEMORY II: HOMELANDS 43 IV.2.1 HISPANO HOMELAND 44 IV.2.2 CHICANO AZTLÁN 46 IV.3 LANDSCAPES OF MEMORY III: BORDER-LANDS 48 V FROM THE SOUTHWEST TO THE BORDERLANDS: LANDSCAPES OF AMERICAN MEMORIES 52 MONOLOGUE: EL PASO AND THE TWELVE TRAVELERS 57 I COMING TO TERMS WITH EL PASO 60 I.1 PLANNING ‘THE CITY OF THE NEW OLD WEST’ 61 I.2 FOUNDATIONAL
    [Show full text]
  • ENG 350 Summer12
    ENG 350: THE HISTORY OF HIP-HOP With your host, Dr. Russell A. Potter, a.k.a. Professa RAp Monday - Thursday, 6:30-8:30, Craig-Lee 252 http://350hiphop.blogspot.com/ In its rise to the top of the American popular music scene, Hip-hop has taken on all comers, and issued beatdown after beatdown. Yet how many of its fans today know the origins of the music? Sure, people might have heard something of Afrika Bambaataa or Grandmaster Flash, but how about the Last Poets or Grandmaster CAZ? For this class, we’ve booked a ride on the wayback machine which will take us all the way back to Hip-hop’s precursors, including the Blues, Calypso, Ska, and West African griots. From there, we’ll trace its roots and routes through the ‘parties in the park’ in the late 1970’s, the emergence of political Hip-hop with Public Enemy and KRS-One, the turn towards “gangsta” style in the 1990’s, and on into the current pantheon of rappers. Along the way, we’ll take a closer look at the essential elements of Hip-hop culture, including Breaking (breakdancing), Writing (graffiti), and Rapping, with a special look at the past and future of turntablism and digital sampling. Our two required textbook are Bradley and DuBois’s Anthology of Rap (Yale University Press) and Neal and Forman’s That's the Joint: The Hip-Hop Studies Reader are both available at the RIC campus store. Films shown in part or in whole will include Bamboozled, Style Wars, The Freshest Kids: A History of the B-Boy, Wild Style, and Zebrahead; there will is also a course blog with a discussion board and a wide array of links to audio and text resources at http://350hiphop.blogspot.com/ WRITTEN WORK: An informal response to our readings and listenings is due each week on the blog.
    [Show full text]
  • 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.
    [Show full text]
  • Portable Housing for Mexican Migrant Workers
    Copyright Warning & Restrictions The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or other reproduction. One of these specified conditions is that the photocopy or reproduction is not to be “used for any purpose other than private study, scholarship, or research.” If a, user makes a request for, or later uses, a photocopy or reproduction for purposes in excess of “fair use” that user may be liable for copyright infringement, This institution reserves the right to refuse to accept a copying order if, in its judgment, fulfillment of the order would involve violation of copyright law. Please Note: The author retains the copyright while the New Jersey Institute of Technology reserves the right to distribute this thesis or dissertation Printing note: If you do not wish to print this page, then select “Pages from: first page # to: last page #” on the print dialog screen The Van Houten library has removed some of the personal information and all signatures from the approval page and biographical sketches of theses and dissertations in order to protect the identity of NJIT graduates and faculty. ABSTRACT PORTABLE HOUSING FOR MEXICAN MIGRANT WORKERS by Janet Corzo A capable migrant labor force is critical in sustaining the United States' agriculture industry. Yet, migrant farm workers are among the most economically disadvantaged people in the United States (NCFH). The housing available to migrant workers in the United States is typically substandard and subject to other factors, such as local availability, social stigmas and legal status.
    [Show full text]
  • La Onda Bajita: Lowriding in the Borderlands
    La Onda Bajita: Lowriding in the Borderlands Michael C. Stone The term "lowriders" refers to automobiles magazine, together with the music of bands like that have been lowered to within a few inches of War, and the Luis Valdez film, Zoot Suit, evoked the road in the expressive style of la onda bajita, images of social and material realities of barrio "the low wave," or "the low trend." It also refers life in shaping and broadcasting the bajito identi­ to the people who craft them and to those who ty and style. As a public forum on Mexican-Amer­ own, drive or ride in them. On both sides of the ican identity, Low Rider magazine recast pejora­ U.S.-Mexico border and throughout the greater tive stereotypes - the culturally ambiguous Southwest, lowriders and their elaborately craft­ pocho-pachuco (Paredes 1978; Valdez 1978; Vil­ ed carritos, carruchas, or ranjlas- other names lareal 1959), the dapper zoot-suiter (Mazon for their vehicles- contribute their particular 1984), the street-wise cholo homeboy, the pinto or style to the rich discourse of regional Mexican­ prison veterano, and the wild vato loco Qohansen American identities. Paradoxically expressed in 1978) -as affirmative cultural archetypes automotive design, lowriders' sense of regional emerging from the long shadow of Anglo domi­ cultural continuity contributes a distinctive social nation. sensibility to the emergent multicultural mosaic The style apparently arose in northern Cali­ of late 20th-century North America (Gradante fornia in the late 1930s, but evolved in Los Ange­ 1982, 1985; Plascencia 1983; Stone 1990). les, where its innovators responded to Holly­ A synthesis of creative imagination and tech­ wood's aesthetic and commercial demands.
    [Show full text]
  • 1998 Acquisitions
    1998 Acquisitions PAINTINGS PRINTS Carl Rice Embrey, Shells, 1972. Acrylic on panel, 47 7/8 x 71 7/8 in. Albert Belleroche, Rêverie, 1903. Lithograph, image 13 3/4 x Museum purchase with funds from Charline and Red McCombs, 17 1/4 in. Museum purchase, 1998.5. 1998.3. Henry Caro-Delvaille, Maternité, ca.1905. Lithograph, Ernest Lawson, Harbor in Winter, ca. 1908. Oil on canvas, image 22 x 17 1/4 in. Museum purchase, 1998.6. 24 1/4 x 29 1/2 in. Bequest of Gloria and Dan Oppenheimer, Honoré Daumier, Ne vous y frottez pas (Don’t Meddle With It), 1834. 1998.10. Lithograph, image 13 1/4 x 17 3/4 in. Museum purchase in memory Bill Reily, Variations on a Xuande Bowl, 1959. Oil on canvas, of Alexander J. Oppenheimer, 1998.23. 70 1/2 x 54 in. Gift of Maryanne MacGuarin Leeper in memory of Marsden Hartley, Apples in a Basket, 1923. Lithograph, image Blanche and John Palmer Leeper, 1998.21. 13 1/2 x 18 1/2 in. Museum purchase in memory of Alexander J. Kent Rush, Untitled, 1978. Collage with acrylic, charcoal, and Oppenheimer, 1998.24. graphite on panel, 67 x 48 in. Gift of Jane and Arthur Stieren, Maximilian Kurzweil, Der Polster (The Pillow), ca.1903. 1998.9. Woodcut, image 11 1/4 x 10 1/4 in. Gift of Mr. and Mrs. Frederic J. SCULPTURE Oppenheimer in memory of Alexander J. Oppenheimer, 1998.4. Pierre-Jean David d’Angers, Philopoemen, 1837. Gilded bronze, Louis LeGrand, The End, ca.1887. Two etching and aquatints, 19 in.
    [Show full text]
  • Four Star Films, Box Office Hits, Indies and Imports, Movies A
    Four Star Films, Box Office Hits, Indies and Imports, Movies A - Z FOUR STAR FILMS Top rated movies and made-for-TV films airing the week of the week of April 25 - May 1, 2021 Alien (1979) Freeform Mon. 5:10 p.m. Aliens (1986) Freeform Mon. 7:50 p.m. Forrest Gump (1994) VH1 Fri. 9 p.m. VH1 Sat. 5 p.m. The Godfather, Part II (1974) TMC Sun. 2 p.m. Showtime Tues. 2:50 p.m. The Godfather (1972) TMC Sun. 11 a.m. Halloween (1978) AMC Fri. 7 p.m. AMC Sat. 4 p.m. The Little Mermaid (1989) Freeform Tues. 8 p.m. Mary Poppins (1964) Freeform Sun. 7 a.m. Freeform Sun. 5 p.m. Mrs. Miniver (1942) TCM Sun. 3:45 a.m. Platoon (1986) AXS Mon. 6 p.m. AXS Mon. 8:45 p.m. AXS Tues. 6 a.m. EPIX Tues. 6 p.m. Pulp Fiction (1994) IFC Sun. 5:30 p.m. IFC Sun. 9 p.m. AMC Thur. 9 a.m. The Shawshank Redemption (1994) FX Sun. 5 p.m. The Shining (1980) AMC Sat. 8:30 a.m. The Silence of the Lambs (1991) Showtime Sat. 2 p.m. Singin' in the Rain (1952) TCM Sun. 3 p.m. Sounder (1972) TCM Sun. 9 p.m. The Spirit of St. Louis (1957) TCM Mon. 2:30 a.m. Stagecoach (1939) TCM Mon. 11:15 a.m. A Star Is Born (1937) TCM Mon. 3 p.m. A Star Is Born (1954) TCM Mon. 5 p.m. Strangers on a Train (1951) TCM Tues.
    [Show full text]
  • World Cities and World Beat: Low-Wage Labor and Transnational Culture Author(S): George Lipsitz Source: Pacific Historical Review, Vol
    World Cities and World Beat: Low-Wage Labor and Transnational Culture Author(s): George Lipsitz Source: Pacific Historical Review, Vol. 68, No. 2, Orange Empires (May, 1999), pp. 213-231 Published by: University of California Press Stable URL: https://www.jstor.org/stable/3641985 Accessed: 06-01-2020 15:39 UTC REFERENCES Linked references are available on JSTOR for this article: https://www.jstor.org/stable/3641985?seq=1&cid=pdf-reference#references_tab_contents You may need to log in to JSTOR to access the linked references. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms University of California Press is collaborating with JSTOR to digitize, preserve and extend access to Pacific Historical Review This content downloaded from 129.67.246.57 on Mon, 06 Jan 2020 15:39:32 UTC All use subject to https://about.jstor.org/terms World Cities and World Beat: Low-Wage Labor and Transnational Culture GEORGE LIPSITZ The author is a member of the ethnic studies department at the University of California, San Diego. Los Angeles and Miami have experienced parallel peri- ods of growth as centers of metropolitan, regional, and na- tional economic activity. Both cities have exploited their oceanfront locations and mild climates to attract tourists, mi- grants, and federal spending for infrastructure development and improvement.
    [Show full text]
  • The BG News October 25, 1991
    Bowling Green State University ScholarWorks@BGSU BG News (Student Newspaper) University Publications 10-25-1991 The BG News October 25, 1991 Bowling Green State University Follow this and additional works at: https://scholarworks.bgsu.edu/bg-news Recommended Citation Bowling Green State University, "The BG News October 25, 1991" (1991). BG News (Student Newspaper). 5278. https://scholarworks.bgsu.edu/bg-news/5278 This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. This Article is brought to you for free and open access by the University Publications at ScholarWorks@BGSU. It has been accepted for inclusion in BG News (Student Newspaper) by an authorized administrator of ScholarWorks@BGSU. fi The BG News VOLUME 74, ISSUE 43 FRIDAY, OCTOBER 25, 1991 BOWLING GREEN, OHIO Briefly President blasts the Inside Congress in speech by Rita Beamish The Associated Press the Senate already was moving toward a vote on a broader spe- It's a powwow: cial counsel investigation — Native Americans from WASHINGTON — President passed 86-12 Thursday afternoon. across the Midwest and Bush on Thursday blasted Con- Bush also said Congress should Canada will gather in gress as a "privileged class of set a six-week time limit on con- Toledo this weekend for a rulers," above the laws it passes firming his nominees to govern- powwow. for others, and pressed law- ment posts. See page three. makers to revoke their special "The administration's troops exemptions. led a seek-and-destroy mission Seizing on the anti-Congress against Anita Hill." which in- mood that followed the recent cluded "smears and innuendoes" Campus Clarence Thomas confirmation to discredit her accusations, Sen.
    [Show full text]
  • Norma Corral Papers, 1970-2010 CSRC.0135
    http://oac.cdlib.org/findaid/ark:/13030/c8dj5n49 No online items Finding Aid for the Norma Corral Papers, 1970-2010 CSRC.0135 Processed by Irene Truong. Chicano Studies Research Center Library 2016 144 Haines Hall Box 951544 Los Angeles, California 90095-1544 [email protected] URL: http://chicano.ucla.edu Finding Aid for the Norma Corral CSRC.0135 1 Papers, 1970-2010 CSRC.0135 Language of Material: English Contributing Institution: Chicano Studies Research Center Library Title: Norma Corral Papers Creator: Corral, Norma Identifier/Call Number: CSRC.0135 Physical Description: 2.4 linear feet(1 box; 1 record storage carton; 1 oversize box) Date (inclusive): 1970-2010 Abstract: Norma Corral was a UCLA librarian who served on the Faculty Advisory Committee for the Chicano Studies Research Center. The collection includes material related to librarianship in the Latina/o community. Language of Material: Material is in English, Spanish, and Japanese. COLLECTION STORED OFF-SITE AT SRLF: Advance notice required for access. Contact the UCLA Chicano Studies Research Center Library and Archive for paging information. Access Open for research. Arrangement The material is in the order determined by the initial archivist. Biographical / Historical Norma Corral was a UCLA librarian who served on the Faculty Advisory Committee for the Chicano Studies Research Center. In 2001 she was named LAUC-LA Librarian of the Year by her colleagues. Preferred Citation [Identification of item], Norma Corral Papers, 135, UCLA Chicano Studies Research Center, University of California, Los Angeles. Processing Information The collection was processed by Irene Truong. Machine readable finding aid prepared and edited by Doug Johnson, July 2018.
    [Show full text]
  • UNIVERSITY of CALIFORNIA RIVERSIDE The
    UNIVERSITY OF CALIFORNIA RIVERSIDE The Performance of Chicano Masculinity in Lowrider Car Culture: The Erotic Triangle, Visual Sovereignty, and Rasquachismo A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Sociology by Michael Juan Chavez March 2013 Dissertation Committee: Dr. Alfredo Mirandé, Chairperson Dr. Ellen Reese Dr. Scott Brooks The Dissertation of Michael Juan Chavez is approved: ____________________________________________________________ Committee Chairperson University of California, Riverside ABSTRACT OF THE DISSERTATION The Performance of Chicano Masculinity in Lowrider Car Culture: The Erotic Triangle, Visual Sovereignty, and Rasquachismo by Michael Juan Chavez Doctor of Philosophy, Graduate Program in Sociology University of California, Riverside, March 2013 Dr. Alfredo Mirandé, Chairperson This project is a qualitative exploration of masculinity, race, sexuality, and identity found within the lowrider style of automobile customization. By employing the frameworks of homosociality, visual sovereignty, and rasquachismo, I map the terrain of Chicano masculinity as it is intertwined with car culture. Using an insider perspective, I find that the production of identity in this arena is far more complex and nuanced than it appears on the surface. The men discussed in this study produce their social location using mechanisms that often contradict commonly held assumptions about lowriding. They have intricate strategies to appropriate and manipulate power while at
    [Show full text]
  • Latino Rap – Part 2
    Latino Rap – Part 2 Intro/History As we discussed last time, many Chicano/Latino rappers do have a gang background (see my prior article on "Chicano Music: An Influence on Gang Violence and Culture”. At one time was on the NAGIA http://www.nagia.org/latino_rap.htm) Sgt. Ron Stallworth of the Utah Dept. of Public Safety has written four books on the subject of gangster rap and even testified at a capital homicide trial in Texas in which rap lyrics were the subject of the case in point. Law Enforcement around the country has become more and more concerned each year with the rap industry’s growing influence on gangs and crime. Det. Wayne Caffey of LAPD has also documented gang ties to many of these gangster rap groups. Rap is part of the Hip-Hop culture that started on the East Coast in the mid-seventies with such groups as the Sugar Hill Gang, Curtis Blow, and Grandmaster Flash. It is a diverse music style and one sub-group could be classified as "Gangster Rappers". Chicano/Latino MC’s may rap in English, Spanish, or Nahualt, or whatever. Increasingly, non-Latino artists are mixing Spanish lyrics in their music in an effort to reach out to the growing Latino market. Latinos have always been a part of the Hip-Hop scene. Early on, in New York, hip-hop break dancers like the Rock Steady Crew and "graffiti artist piecers" like Fidel Rodriquez were involved in the scene. But Latino MC’s did not enjoy that much success at first.
    [Show full text]