DOCSLIB.ORG

Sonic Negations: Sound, Affect, and Unbelonging Between Mexico and the United States

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Sonic Negations: Sound, Affect, and Unbelonging Between Mexico and the United States Sonic Negations: Sound, Affect, and Unbelonging Between Mexico and the United States By Iván Alejandro Ramos A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy In Performance Studies And the Designated Emphasis In Women, Gender, and Sexuality In the Graduate Division Of the University of California, Berkeley Committee in Charge: Professor Brandi Wilkins Catanese, Co-Chair Professor Juana María Rodríguez, Co-Chair Professor Abigail De Kosnik Professor Melinda Y. Chen Spring 2015 1 Abstract Sonic Negations: Sound, Affect, and Unbelonging Between Mexico and the United States By Iván Alejandro Ramos Doctor of Philosophy in Performance Studies And the Designated Emphasis in Women, Gender, and Sexuality University of California, Berkeley Professor Brandi Wilkins Catanese, Co-Chair Professor Juana María Rodríguez, Co-Chair This dissertation uses the concept of auditory cultures to trace how Mexican and U.S. Latina/o subjects use sound and music to articulate political dissent. “Sonic Negations: Sound, Affect, and Unbelonging Between Mexico and the United States” brings together the fields of performance and sound studies to show how the sonic presents a contested political arena through which transnational Latina/o artists, musicians and listening publics construct alternative sensory realms detached from national forms of belonging. I contend that non-culturally dependent forms of sound—noise, metal, punk, and 80s British music—allow individuals to approach negative affects, such as melancholia, despair, and idleness. Drawing from recent work in performance studies and queer theory on the political potentialities of negative affects, the study argues for the importance of attending to the political critiques inherent in auditory cultures and practices within both Latina/o and Latin American contexts. The first chapter analyzes Mexico City-based artist Iván Abreu’s series M(R.P.M), in which he creates playable ice-records of nationalist Mexican songs. I investigate how the pieces invite listeners into the complex history of ice in the Latin American imaginary to question contemporary calls for Mexican nationalism. The second chapter contemplates the early performances of Mexican artist collective SEMEFO and the work of underground Tijuana-based musician María y José. I argue for the ways these artists use aggressive sound to confront the unending violence that has plagued Mexico over the last few decades. My third section concentrates on performance artist Nao Bustamante and her “mariachi-punk” band Las Cucas to consider the lesbian punk scream as an ethical rejection of normative Latina and queer identity. The final chapter contemplates the phenomenon of the Latina/o fan culture around British rock star Morrissey. I show how Latina/o listening publics turn to melancholia and depression as affects that force us to reconsider relationality by questioning the nation as the site of inclusion. i Table of Contents INTRODUCTION 1 CHAPTER 1 MELTING MODERNITIES, SOUND, ICE, AND MEXICAN OBJECTHOOD 19 CHAPTER 2 PETULANT FUTURITY: VIOLENCE AND MEXICAN MUSICAL UNDERGROUNDS 35 CHAPTER 3 DYKE CHORDS: LATINA SCREAMS AND ETHICAL BECOMING IN THE PUNK BOLEROS OF LAS CUCAS 60 CHAPTER 4 YEARS OF REFUSAL: LATINA/OS, MORRISSEY, AND THE JOYS OF MELANCHOLIA 77 CONCLUSION HEAVEN KNOWS I’M MISERABLE NOW 92 BIBLIOGRAPHY 94 ii Acknowledgments A dissertation on sound could only be written in concert with all of those people who over the years not only listened to but also, most significantly, with me. I am forever grateful to the generosity and seemingly endless patience of my committee. Juana María Rodríguez has been a tireless mentor and friend. She pushes me to always go further, lay the tears on the page. She has shared Latinidad with me in ways that continue to shape me as a scholar and a person. I don’t know what I would do or who I would be without her. On my very first day of class at Berkeley, Brandi Wilkins Catanese gave words of advice that I carried throughout my entire time in graduate school. Her endless support helped me through the most difficult times. Our conversations in office hours, across hallways, even over the phone gave me courage when I though I had none left. I hope I can one day move through academia and the world with as much kindness and brilliance as she does. Abigail De Kosnik from the very beginning believed in my ideas and convinced me that I had the ability to see this through to the end. She taught me how to be a better writer, a bolder thinker, and an exacting reader. Mel Y. Chen is a model of what scholarly generosity should look like. Her always calm and steady hand showed me how to approach thinking with the greatest of care. At the Department of Theater, Dance, and Performance Studies at Berkeley I found a community that supported me and encouraged me from the beginning. I am most grateful to Catherine Cole, Shannon Jackson, SanSan Kwan, and Shannon Steen for always lending their advice and helping me start my journey as a scholar. I was also fortunate to come in with a cohort who inspired me endlessly. Omar Ricks modeled an ethical approach to scholarship and life that has influenced me beyond words. Karin Shankar showed me how to approach work with kindness and warmth. Heather Rastovac laughed with me, listened to me, and was always present in any moment of need. I am also grateful to the many graduate student colleagues in the department who made my time at Berkeley so enjoyable. I owe a great debt to Caitlin Marshall, Ashley Ferro-Murray, Sima Belmar, Scott Wallin, Takeo Rivera, Sean McKeithan, Michelle Baron, Nilgun Bayraktar, Naomi Bragin, and Khai Nguyen for all their friendship over the years. Megan Hoetger and Paige Johnson have been the greatest co-conspirators one could ask for. I am most grateful to Marc Boucai and April Sizemore-Barber for making Berkeley into a home when I first arrived and in the years beyond. Robin Davidson saved me from certain doom many more times than I can even count. I am thankful for her ability to keep so many of us sane during times of complete strife. I don’t know what I would ever do without Hentyle Yapp. Our discussions, seminars, lunches, and phone calls have been filled with laughter, critical generosity, and in the toughest times, endless care. I am beyond lucky to have him in my life. Beyond departmental walls, I found a community at Berkeley that helped me become a thinker and writer. Darieck Scott and Lyn Hejinian especially never fail to treat me as anything less than their student. Their constant belief in me helped me believe I could do it. I was fortunate to find graduate student colleagues who never failed to sustain me in seminars, meetings on campus, and beyond. I am especially grateful to Robert Alford, Giancarlo Cornejo Salinas, Manuel Cuellar, Katrina Dodson, Mark Fleming, Ianna Hawkins Owens, Katie Horowitz, and J. Finley for their constant inspiration. iii In the Bay Area I was fortunate to have a network of support that stretched beyond the academy. For an only child like me, David Francisco Vidaurre has shown me the kind of care and friendship worthy of a sibling. It is his joy in listening that animates much of this project. Geraldine Ah-Sue and Emi Kojima continuously redefine the meaning of family for me. They have selflessly supported me in ways that go beyond words. Sepi Aghdaee, Cary Cody, Harris Kornstein, and Scott Reed have individually and collectively brought endless joy into my life. They don’t know how many times they rescued me from the precipice and I look forward to our many years ahead. I am lucky to have found Raquél Gutierrez, who I look up to as a writer and friend. Adán Falcon, Xandra Ibarra, Evan Knopf have lent me their ear when it has been most needed. I have been most lucky to find a community of colleagues and scholars that have taken me in as one of their own. Joshua Javier Guzmán and Christina León are the friends one dreams of. My work is endlessly indebted to their continual engagement. Vivian Huang and Summer Kim Lee have treated me with kindness, humor. They are wonderful readers and friends. A community of scholars took me in as their own without ever asking for anything in return. Deborah R. Vargas continues to be an inspiring mentor. I hope one day I can repay the selfless generosity she has showered me with. Licia Fiol- Matta has kindly commented on this dissertation at several crucial moments and each time made the project better. Laura Gutiérrez, Marcia Ochoa, José Quiroga, and Alexandra T. Vazquez have given me endless support and words of encouragement. David Serlin and Patrick Anderson, my undergraduate mentors, continue to be in my corner in deeply enriching ways. I am thankful to all the scholars who generously read and commented on this project throughout the years. They include Julia Bryan Wilson, Joshua Chambers-Letson, Heather Love, Michael Lucey, Tavia Nyong’o, Karen Shimakawa, Karen Tongson, and Shane Vogel. José Esteban Muñoz was gracious enough to give me feedback over conversations just as this project was getting started. It is the legacy of his work and thought that propels much of this dissertation forward. This dissertation was written after a major loss. During graduate school my father, Daniel Ramos Martinez, passed away. He would have been proud to see me finish. It is to him and my mother, Joséfina Morales whom I dedicate this dissertation to. Even when they had no idea what I was doing so far away from home they were unwavering in their support.
Load more

Recommended publications
  • Cantad Entre Las Gentes Su Gloria
    1 Celebremos ÁCelebremos! Celebremos la gloria de Dios porque Žl es el Creador. Unamos nuestra voz a la de las huestes celestiales que cantaron a Dios en el comienzo de la creaci—n: Alababan todas las estrellas del alba, y se regocijaban todos los hijos de Dios. Job 38:7 (RVR) El salmista hace eco a esa alabanza al contemplar la grandeza de Dios: Alabad a Dios en su santuario; alabadle en la magnifi- cencia de su firmamento. Salmo 150:1 (RVR) Continuaci—n # 1b Celebremos la gracia de Dios porque el nos ha enviado un Salvador. Unamos nuestra voz a la de los ‡ngeles que aquella maravillosa noche en BelŽn cantaron: ÁGloria a Dios en las alturas! Lucas 2:14a (RVR) Celebremos la Palabra de Dios, que es la espada del Esp’ritu, porque ella es nuestro alimento y al cantarla nos trae mutua edificaci—n: La palabra de Cristo more en abundancia en vosotros, ense–‡ndoos y exhort‡ndoos unos a otros en toda sabidur’a, cantando con gracia en vuestros corazones al Se–or con salmos e himnos y c‡nticos espirituales. Colosenses 3:16 (RVR) Continuaci—n # 1c Un d’a estaremos en la presencia de Dios, junto con toda su Iglesia. Entonces, con instrumentos musicales y c‡nti- co nuevo, proclamaremos: Digno eres...porque tœ fuiste inmolado, y con tu san- gre nos has redimido para Dios, de todo linaje y lengua y pueblo y naci—n. Apocalipsis 5:9 (RVR) ÁCelebremos! ÁÁCelebremos su gloria!! 2. Celebremos su gloria Cantad entre las gentes su gloria.
    [Show full text]
  • Under New Management Judge Takes Running of Troubled Senior Residence from Owner
    Yo u r Neighborhood — Yo u r News® BrooklynPaper.com • (718) 260–2500 • Brooklyn, NY • ©2015 Serving Brownstone Brooklyn, Williamsburg & Greenpoint AWP/16 pages • Vol. 38, No. 19 • May 8–14, 2015 • FREE ‘THEY FAILED ALL OF US’ Traffi c deaths deserve more attention from cops and prosecutors, says husband of victim By Noah Hurowitz The Brooklyn Paper Police need to do a better job investigating drivers who mow down pedestrians, says the hus- band of a woman who was killed by an unlicensed — and possi- bly drunk — driver on a Clinton Hill street in 2011. The widower lashed out at the cops who bun- gled the examination of his wife’s death so badly her alleged killer was never brought to trial. Jake Stevens damned police on Sunday during a memorial ser- vice for Clara Heyworth at the site of her death at the age of 28, calling them out for not ensuring the driver who killed ever saw a Stephan Keegan day behind bars. (Left) Jake Stevens, husband of the late Clara Heyworth, “F--- the police,” Stevens said watches as road safety activists paint a memorial near while standing at the corner of where a car fatally struck her at Dekalb and Vanderbilt av- Dekalb and Vanderbilt avenues, enues in 2011. where Heyworth was run down as he watched helplessly. “There has creased regulations to hold killer criticized as a lack of investiga- not been, and there will never be, drivers accountable for their ac- tion of such deaths. An orga- ever, any justice for Clara.” tions. Activists painted a pair of nizer said they have shifted to The widower called on cops rose-studded angel wings on the making memorials less confron- to do a better job investigating pavement.
    [Show full text]
  • The Sexual Politics of Meat by Carol J. Adams
    THE SEXUAL POLITICS OF MEAT A FEMINISTVEGETARIAN CRITICAL THEORY Praise for The Sexual Politics of Meat and Carol J. Adams “A clearheaded scholar joins the ideas of two movements—vegetari- anism and feminism—and turns them into a single coherent and moral theory. Her argument is rational and persuasive. New ground—whole acres of it—is broken by Adams.” —Colman McCarthy, Washington Post Book World “Th e Sexual Politics of Meat examines the historical, gender, race, and class implications of meat culture, and makes the links between the prac tice of butchering/eating animals and the maintenance of male domi nance. Read this powerful new book and you may well become a vegetarian.” —Ms. “Adams’s work will almost surely become a ‘bible’ for feminist and pro gressive animal rights activists. Depiction of animal exploita- tion as one manifestation of a brutal patriarchal culture has been explored in two [of her] books, Th e Sexual Politics of Meat and Neither Man nor Beast: Feminism and the Defense of Animals. Adams argues that factory farming is part of a whole culture of oppression and insti- tutionalized violence. Th e treatment of animals as objects is parallel to and associated with patriarchal society’s objectifi cation of women, blacks, and other minorities in order to routinely exploit them. Adams excels in constructing unexpected juxtapositions by using the language of one kind of relationship to illuminate another. Employing poetic rather than rhetorical techniques, Adams makes powerful connec- tions that encourage readers to draw their own conclusions.” —Choice “A dynamic contribution toward creating a feminist/animal rights theory.” —Animals’ Agenda “A cohesive, passionate case linking meat-eating to the oppression of animals and women .
    [Show full text]
  • Centro Luz De Esperanza Para Madres Viudas Y Solteras Como Estrategia Misional En La Ciudad De Compton, California
    Please HONOR the copyright of these documents by not retransmitting or making any additional copies in any form (Except for private personal use). We appreciate your respectful cooperation. ___________________________ Theological Research Exchange Network (TREN) P.O. Box 30183 Portland, Oregon 97294 USA Website: www.tren.com E-mail: [email protected] Phone# 1-800-334-8736 ___________________________ ATTENTION CATALOGING LIBRARIANS TREN ID# Online Computer Library Center (OCLC) MARC Record # Digital Object Identification DOI # Ministry Focus Paper Approval Sheet This ministry focus paper entitled CENTRO LUZ DE ESPERANZA PARA MADRES VIUDAS Y SOLTERAS COMO ESTRATEGIA MISIONAL EN LA CIUDAD DE COMPTON, CALIFORNIA Written by MARIO E. SALAMANCA and submitted in partial fulfillment of the requirements for the degree of Doctor of Ministry has been accepted by the Faculty of Fuller Theological Seminary upon the recommendation of the undersigned readers: _____________________________________ Juan F. Martínez _____________________________________ Kurt Fredrickson Date Received: April 7, 2016 CENTRO LUZ DE ESPERANZA PARA MADRES VIUDAS Y SOLTERAS COMO ESTRATEGIA MISIONAL EN LA CIUDAD DE COMPTON, CALIFORNIA PROYECTO MINISTERIAL SOMETIDO A LA FACULTAD DE LA ESCUELA DE TEOLOGÍA SEMINARIO TEOLÓGICO FULLER EN CUMPLIMIENTO PARCIAL DE LOS REQUERIMIENTOS PARA EL TÍTULO DOCTORADO EN MINISTERIO ESCRITO POR MARIO E. SALAMANCA ABRIL 2016 RESUMEN Centro Luz de Esperanza para Madres Viudas y Solteras como estrategia misional en la ciudad de Compton, California Mario E. Salamanca Doctorado en Ministerio Escuela de Teología, Seminario Teológico Fuller 2016 Este proyecto, Centro Luz de Esperanza para Madres Viudas y Solteras, auspicia la movilización misional de la Iglesia Rey de Reyes y Señor de Señores en Compton, California, mediante la implementación de una estrategia para responder a las necesidades de las madres viudas y solteras.
    [Show full text]
  • My Bloody Valentine's Loveless David R
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2006 My Bloody Valentine's Loveless David R. Fisher Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC MY BLOODY VALENTINE’S LOVELESS By David R. Fisher A thesis submitted to the College of Music In partial fulfillment of the requirements for the degree of Master of Music Degree Awarded: Spring Semester, 2006 The members of the Committee approve the thesis of David Fisher on March 29, 2006. ______________________________ Charles E. Brewer Professor Directing Thesis ______________________________ Frank Gunderson Committee Member ______________________________ Evan Jones Outside Committee M ember The Office of Graduate Studies has verified and approved the above named committee members. ii TABLE OF CONTENTS List of Tables......................................................................................................................iv Abstract................................................................................................................................v 1. THE ORIGINS OF THE SHOEGAZER.........................................................................1 2. A BIOGRAPHICAL ACCOUNT OF MY BLOODY VALENTINE.………..………17 3. AN ANALYSIS OF MY BLOODY VALENTINE’S LOVELESS...............................28 4. LOVELESS AND ITS LEGACY...................................................................................50 BIBLIOGRAPHY..............................................................................................................63
    [Show full text]
  • CAPITANÍA NÚMERO ARICA Y PARINACOTA ABEL 956794 ARICA 995 Mar-21 ANTONIO ENRIQUE CORTEZ MESA ARICA Y PARINACOTA ABRAHAM 967665 LOTA 130 Mar-21 SERGIO GUARACHE G
    NÓMINA DE HABILITACIÓN SANITARIA EMBARCACIONES ARTESANALES 22 DE ENERO 2021 MATRÍCULA REGIÓN NOMBRE EMBARCACIÓN RPA VIGENCIA ARMADOR CAPITANÍA NÚMERO ARICA Y PARINACOTA ABEL 956794 ARICA 995 mar-21 ANTONIO ENRIQUE CORTEZ MESA ARICA Y PARINACOTA ABRAHAM 967665 LOTA 130 mar-21 SERGIO GUARACHE G. ARICA Y PARINACOTA ANADEUS 961261 ARICA 1062 mar-21 ÍTALO PROFUMO ARAYA ARICA Y PARINACOTA AMADEUS II 962880 CORONEL 3104 mar-21 ÍTALO PROFUMO ARAYA ARICA Y PARINACOTA ANTONELA PAZ 969313 ARICA 3357 nov-21 DANIEL ROJAS CHACANA ARICA Y PARINACOTA ARIES I 969068 CORONEL 3363 ago-21 YORCE CEBALLOS LAY ARICA Y PARINACOTA ARKHOS I 913587 ARICA 764 mar-21 ANDRÉS DE LA VEGA P. ARICA Y PARINACOTA ARKHOS II 913564 ARICA 724 mar-21 JOSÉ DE LA VEGA B. ARICA Y PARINACOTA ARKHOS III 967834 ARICA 746 mar-21 ERNESTO ROJAS CHACANA ARICA Y PARINACOTA ARKHOS IV 965747 CORONEL 3201 mar-21 ANDRÉS DE LA VEGA B. ARICA Y PARINACOTA CESAR MIGUEL 968293 CORONEL 3263 mar-21 JOSÉ LUIS ROJAS CHACANA ARICA Y PARINACOTA CHANGO I 961059 TALC 2086 mar-21 VÍCTOR AGUIRRE ALFARO ARICA Y PARINACOTA CHENCO 966432 SAN ANTONIO 3211 mar-21 FRANCISCO FERNANDO HERNÁNDEZ PALACIOS ARICA Y PARINACOTA COYI I 963544 CORONEL 3123 mar-21 ARTURO MOLINA ARICA Y PARINACOTA COYI II 963409 CORONEL 3124 mar-21 ARTURO MOLINA ARICA Y PARINACOTA DANIEL 968111 CORONEL 1798 sep-21 SERGIO GUARACHE F. ARICA Y PARINACOTA DON JOSE I 964506 CORONEL 2904 mar-21 DAVID ALEJANDRO HIDALGO PIZARRO ARICA Y PARINACOTA DON LUCHO 964906 mar-21 ARICA Y PARINACOTA DOÑA PILAR II 966010 mar-21 ARICA Y PARINACOTA GIANPIERO I 968466 LOTA 1998 mar-21 JOSÉ MARTÍNEZ V.
    [Show full text]
  • La Fuerza De La Biblia En El Cine
    LA FUERZA DE LA BIBLIA EN EL CINE JUAN ORELLANA La Biblia es el mejor guión de la historia. Guión de guiones, hay en ella drama, tragedia, romance, guerras, gestas heróicas, e incluso thrillers, venganzas, adulterios, pasiones... La presencia de Dios en medio de los hombres nunca ha prescindido del abanico de posibili- dades que brinda la libertad humana. No es casual que al primer tra- tamiento guionizado de una serie televisiva larga se le llama en el ar- got «la biblia» de esa serie. Muchos cineastas se han acercado a las Escrituras buscando su esqueleto religioso, otros lo han hecho como quien se acerca a una gran historia épica, y por fin hay quienes han visto en ella un mito, al estilo de las grandes cosmogonías griegas u orientales. En realidad, desde un punto de vista dramático o dramatúrgico, no hay nada comparable a la historia de la relación entre Dios y el hombre. La libertad de la creación cara a cara con la libertad del Crea- dor. Hermoso testimonio de este dramático encuentro de libertades es Fuera del mundo (Fuori dal mondo), de Giuseppe Piccioni (2002). Los innumerables factores humanos despliegan toda su potencialidad y todas las contradicciones que se derivan del pecado original. No hay deseo, pasión, nobleza, entrega, alegría, sacrificio... que no tenga su magnífica ilustración en las Sagradas Escrituras. Por ello se podría decir, en cierta forma, que cualquier argumento cinematográfico, bien sea de héroes o de villanos, narra algo que ya narró la Biblia, al menos en su esencialidad. Después de más de cien años de cine, las Escrituras siguen pro- yectando su sombra sobre el séptimo arte de formas muy diversas, e incluso opuestas.
    [Show full text]
  • Jerry Garcia Song Book – Ver
    JERRY GARCIA SONG BOOK – VER. 9 1. After Midnight 46. Chimes of Freedom 92. Freight Train 137. It Must Have Been The 2. Aiko-Aiko 47. blank page 93. Friend of the Devil Roses 3. Alabama Getaway 48. China Cat Sunflower 94. Georgia on My Mind 138. It Takes a lot to Laugh, It 4. All Along the 49. I Know You Rider 95. Get Back Takes a Train to Cry Watchtower 50. China Doll 96. Get Out of My Life 139. It's a Long, Long Way to 5. Alligator 51. Cold Rain and Snow 97. Gimme Some Lovin' the Top of the World 6. Althea 52. Comes A Time 98. Gloria 140. It's All Over Now 7. Amazing Grace 53. Corina 99. Goin' Down the Road 141. It's All Over Now Baby 8. And It Stoned Me 54. Cosmic Charlie Feelin' Bad Blue 9. Arkansas Traveler 55. Crazy Fingers 100. Golden Road 142. It's No Use 10. Around and Around 56. Crazy Love 101. Gomorrah 143. It's Too Late 11. Attics of My Life 57. Cumberland Blues 102. Gone Home 144. I've Been All Around This 12. Baba O’Riley --> 58. Dancing in the Streets 103. Good Lovin' World Tomorrow Never Knows 59. Dark Hollow 104. Good Morning Little 145. Jack-A-Roe 13. Ballad of a Thin Man 60. Dark Star Schoolgirl 146. Jack Straw 14. Beat it on Down The Line 61. Dawg’s Waltz 105. Good Time Blues 147. Jenny Jenkins 15. Believe It Or Not 62. Day Job 106.
    [Show full text]
  • Reconstructing the Farm: Life Stories of Dutch Female Farmers
    Student Anthropologist, Volume. 3, Number 1 Reconstructing the Farm: Life Stories of Dutch Female Farmers Marisa Turesky Brandeis University Abstract My research asks: what are the lived experiences of female farmers in a Dutch agricultural community like the Netherlands? Although popular culture portrays most female farmers as uneducated individuals of lower socioeconomic status, the six women who I interviewed in the Netherlands over the course of a short ethnographic research study present life stories that complicate this stereotype. In my conversations with female farm owners in the Netherlands, it emerged that a patriarchal paradigm appears to persist in industrial, conventional agriculture, seeming to encourage larger numbers of women to own more small-scale farms. While there is substantial existing research on rural women’s historical roles in farming, I add additional layers to this work, through my analysis of the personal experiences of a small sample of women farmers in the contemporary Netherlands. These women, who consider farming their lifestyle, discuss their inspiration, challenges, successes, and passion for their chosen occupation. In attempting to balance traditional roles of labor versus domesticity, these women actively challenge the gender binary through experiences in motherhood and business ownership. Keywords: Agriculture, Gender, Eco-feminism Introduction ! The role of Dutch women working on farms has shifted through the generations. Historically, Dutch women were key business partners in their husbands’ farming enterprises, but their roles and efforts were largely undervalued and under-recognized. Currently, women engaged in farming have responsibilities ranging from balancing work in the field with domestic duties inside of the home as part of a farming partnership, to complete ownership of the farm.
    [Show full text]
  • December 9Th 1987
    California State University, San Bernardino CSUSB ScholarWorks Coyote Chronicle (1984-) Arthur E. Nelson University Archives 12-9-1987 December 9th 1987 CSUSB Follow this and additional works at: https://scholarworks.lib.csusb.edu/coyote-chronicle Recommended Citation CSUSB, "December 9th 1987" (1987). Coyote Chronicle (1984-). 246. https://scholarworks.lib.csusb.edu/coyote-chronicle/246 This Newspaper is brought to you for free and open access by the Arthur E. Nelson University Archives at CSUSB ScholarWorks. It has been accepted for inclusion in Coyote Chronicle (1984-) by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. CAUFCRiViA STATE U^iiVERSlTY The '.ardino DEC 9 - 198/ Chronicle LsSRARY Volume 22, Number 10 Col State University, Son Bernordino December 9, 1987 Parking Lot Dilemma: Faculty vs. Handicapped by Patrice Bolding Mitchell. Wklkihg," Which she resource. We try to split it as close does with a cane, or pushing as possible." herself in her wheelchair to her On Thursday afternoon, nine of Tarking here is a crunch for classes in the Biology, and Physical the ten handicapped spaces were everybody," says Susan Mitchell, Science building and library are occupied. Of the over 200 faculty backing out of her parking space. exhausting maneuvers from the parking spaces, 86 were open. For everyone except the Commons parking lot. Which is The following morning at 10:30 handicapped, it appeared. why she has always parked in the a.m., the situation was the same. Surrounding us were eight empty faculty/handicapped parking lot But the situation is being spaces out of the ten allotted behind the Biology building-until remedied, assures Butler.
    [Show full text]
  • CORRIDO NORTEÑO Y METAL PUNK. ¿Patrimonio Musical Urbano? Su Permanencia En Tijuana Y Sus Transformaciones Durante La Guerra Contra Las Drogas: 2006-2016
    CORRIDO NORTEÑO Y METAL PUNK. ¿Patrimonio musical urbano? Su permanencia en Tijuana y sus transformaciones durante la guerra contra las drogas: 2006-2016. Tesis presentada por Pedro Gilberto Pacheco López. Para obtener el grado de MAESTRO EN ESTUDIOS CULTURALES Tijuana, B. C., México 2016 CONSTANCIA DE APROBACIÓN Director de Tesis: Dr. Miguel Olmos Aguilera. Aprobada por el Jurado Examinador: 1. 2. 3. Obviamente a Gilberto y a Roselia: Mi agradecimiento eterno y mayor cariño. A Tania: Porque tú sacrificio lo llevo en mi corazón. Agradecimientos: Al apoyo económico recibido por CONACYT y a El Colef por la preparación recibida. A Adán y Janet por su amistad y por al apoyo desde el inicio y hasta este último momento que cortaron la luz de mi casa. Los vamos a extrañar. A los músicos que me regalaron su tiempo, que me abrieron sus hogares, y confiaron sus recuerdos: Fernando, Rosy, Ángel, Ramón, Beto, Gerardo, Alejandro, Jorge, Alejandro, Taco y Eduardo. Eta tesis no existiría sin ustedes, los recordaré con gran afecto. Resumen. La presente tesis de investigación se inserta dentro de los debates contemporáneos sobre cultura urbana en la frontera norte de México y se resume en tres grandes premisas: la primera es que el corrido y el metal forman parte de dos estructuras musicales de larga duración y cambio lento cuya permanencia es una forma de patrimonio cultural. Para desarrollar esta premisa se elabora una reconstrucción historiográfica desde la irrupción de los géneros musicales en el siglo XIX, pasando a la apropiación por compositores tijuanenses a mediados del siglo XX, hasta llegar al testimonio de primera mano de los músicos contemporáneos.
    [Show full text]
  • Perspectives on New Wave Cumbia | Norient.Com 7 Oct 2021 06:12:57
    Perspectives on New Wave Cumbia | norient.com 7 Oct 2021 06:12:57 Perspectives on New Wave Cumbia by Moses Iten Since the beginning of the 21st century «new wave cumbia» has been growing as an independent club culture simultaneously in several parts of the world. Innovative producers have reinvented the dance music-style cumbia and thus produced countless new subgenres. The common ground: they mix traditional Latin American cumbia-rhythms with rough electronic sounds. An insider perspective on a rapid evolution. From the Norient book Out of the Absurdity of Life (see and order here). https://norient.com/stories/new-wave-cumbia Page 1 of 15 Perspectives on New Wave Cumbia | norient.com 7 Oct 2021 06:12:58 Dreams are made of being at the right place at the right time and in early June 2007 I happened to arrive in Tijuana, Mexico. Tijuana had been proclaimed a new cultural Mecca by the US magazine Newsweek, largely due to the output of a group of artists called Nortec Collective and inadvertently spawned a new scene – a movement – called nor-tec (Mexican norteno folk music and techno). In 2001, the release of the compilation album Nortec Collective: The Tijuana Sessions Vol.1 (Palm Pictures) catapulted Tijuana from its reputation of being a sleazy, drug-crime infested Mexico/US border town to the frontline of hipness. Instantly it was hailed as a laboratory for artists exploring the clash of worlds: haves and have-nots, consumption and its leftovers, South meeting North, developed vs. underdeveloped nations, technology vs. folklore. After having hosted some of the first parties in Australia featuring members of the Nortec Collective back in 2005 and 2006, the connection was made.
    [Show full text]