DOCSLIB.ORG

The Sweetheart D Al

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Sweetheart D Al WORLD PR MIERE! ® THE SWEETHEART WRITTEN & DAL DIRECTED BY DIANE RODRIGUEZ PRESENTED IN ASSOCIATION WITH 514 S SPRING STREET, LOS ANGELES, CA 90013 THELATC.ORG · 866.811.4111 7 6 PRESENTS THE SWEETHEART DEAL WRITTEN & DIRECTED BY DIANE RODRIGUEZ** PRESENTED IN ASSOCIATION WITH EL TEATRO CAMPESINO CAST OF CHARACTERS (IN ALPHABETICAL ORDER) Mac...............................................................................................................DAVID DESANTOS* Mari........................................................................................................................RUTH LIVIER* Lettie.....................................................................................................................LINDA LOPEZ* Will.......................................................................................................................GEOFF RIVAS* Chon......................................................................................................VALENTE RODRIGUEZ* Charlie.................................................................................................................PETER WYLIE* *Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers. Scenic Design Costume Design Lighting Design Sound Design Efren Delgadillo Lupe Valdez Pablo Santiago Cricket S. Myers Projection Design Composer Associate Director Stage Manager Yee Eun Nam Sage Lewis Alex Meda John Freeland Jr.* Properties Assistant Set Asst. Stage Production Designer Manager Manager Antonieta Castillo Natalie Morales Emily Lehrer Gabe Figueroa Casting: Dan Guerrero, Rosalinada Morales, Pauline O'Con, CSA Setting: California Time: 1970 THE SWEETHEART DEAL IS PERFORMED WITHOUT AN INTERMISSION The video and/or audio recording of this performance by any means whatsoever are strictly prohibited. The Los Angeles Theatre Center is a facility of the City of Los Angeles, Department of Cultural Affairs and is operated by The Latino Theater Company. A NOTE FROM ARTISTIC DIRECTOR Welcome to our 2017 season of world premieres by Los Angeles playwrights and creative exchange within the Latinx/Latin American theater community. This year we celebrate the talent that makes our beautiful and diverse city the creative hub that continues to draw, inspire and mentor the brightest art makers around the world. When borders, walls and deportation are at the forefront of national rhetoric, we instead welcome artists from across the U.S. and Américas to bridge and collaborate subversive counterpoints. Identity amidst sexual/ social/racial pressures, the folly of blind allegiance and nurturing the fighting spirit that allows us to rise above those who would keep us down, are prevalent themes this season. You are an integral part to our alt-narrative; a narrative of empathy and heart and compassion. We create as a means to communicate through the senses with the hope that our work spills past the threshold of the stage and meets you as we engage in a metaphysical language of humanity. Thank you for joining us on our mission to hold space that allows for necessary discovery and dialogue with one another. We hope that your gift of time with us at The LATC leaves you with a sense of optimism, joy and a continued burning desire to advocate for justice and love. Abrazos, José Luis Valenzuela, Artistic Director, The Latino Theater Company and The Los Angeles Theatre Center A NOTE FROM PLAYWRIGHT-DIRECTOR THE SWEETHEART DEAL is about a social movement and the volunteers who make any movement happen. It’s about a woman, a couple, a brother and a sister. It’s about the public and the private. It’s personal but it’s not autobiographical. Back in the day when I was making sixty dollars a week performing with El Teatro Campesino, the world seemed mostly macro. We lived on the road. We performed at United Farm Worker rallies in front of thousands of people, toured constantly, performing in huge venues including German state theatres and Greco/Roman amphitheaters as well as on the dirt in the Rio Grande Valley and towns like San Juan and Mission. Sleeping in people’s homes or on huge tobacco leaves in Mexico, there was always a multitude of people around us and we would find our solace backstage as we prepared to perform. Within that reality we found the micro. Company members got married, started families, learned skills and values that stayed with us a lifetime. That time inspired this play. Before I ever thought about joining the Teatro, my Aunt Liz and Uncle Frank took off with my four cousins in tow to work and volunteer for the United Farm Workers Union. I was a student when I first saw El Teatro Campesino on tour with my cousins. I wasn’t the first in my family to join the movement. I followed. My family inspired this play. That being said, as stated in my play’s forward: The characters and story in this play are fictional. What is not fictional is that Cesar Chavez, Dolores Huerta and Larry Itliong founded the United Farm Workers union and changed the course of history. I wanted to write a story about those who followed and supported during this era of struggle and victory. To follow, to volunteer in a social movement is to sacrifice. Our leaders in the United States don’t talk about sacrifice. To make a country great, there is sacrifice that needs to take place. Are we willing to do that? In this current time of strife, that question resonates deeply with me. How much am I willing to sacrifice for justice and the common good? How much are you willing to sacrifice? Diane Rodriguez This world premiere of The Sweetheart Deal by Diane Rodriguez is a part of the Latinx Theatre Commons (LTC) El Fuego Committed Theatres Initiative, generous supported by the Doris Duke Charitable Foundation. For more information, visit www.latinaotheatrecommons.com ARTIST PROFILES DAVID DESANTOS (Mac) This is a daughter is to be infinitely inspired.” David’s first production with LATC. He was last seen in the LA Drama GEOFFREY RIVAS (Will) A Critics winning production of CLOUD native Californian, graduated 9 (Antaeus), and MACBETH (A from UCLA in 1985 with a Noise Within). A VIEW FROM THE Master of Fine Arts Degree BRIDGE, HAMLET, PARADISE with a concentration on acting. LOST, OTHELLO, MERCHANT OF He received a 1999 Ovation VENICE and more during numerous seasons (Oregon nomination for his role of Martin Shakespeare Festival). Other theaters include Denver in Sam Shepard’s FOOL FOR Center, Berkeley Rep, Arena Stage, South Coast Rep, LOVE at the Madrid Theatre in Canoga Park. He has Kansas City Rep and others. TV/Film credits include performed at the LATC in all of LTC’s productions, CASTLE, RED ROAD, CSI, FAMOUS IN LOVE, I DON'T HAVE TO SHOW YOU NO STINKING WHEN THE GAME STANDS TALL, ALVIN & THE BADGES (Luis Valdez), at South Coast Rep in ANNA CHIPMUNKS: ROAD CHIP. He wrote, co-produced & IN THE TROPICS (Nilo Cruz), at New Mexico Rep in starred in the short film CLOSURE now playing in the ONCE REMOVED (Eduardo Machado). Film credits festival circuit. include UNDER THE TUSCAN SUN, DRAGONFLY, LUMINARIAS, LA BAMBA, BORN IN EAST L.A., RUTH LIVIER (Mari) Last performed POW WOW HIGHWAY, BOUND BY HONOR, ABOVE at LATC in THREE SISTERS SUSPICION, NOTES FROM THE UNDERGROUND, (L.A. Diversified); Regional credits EYE FOR AN EYE, THE RIGHT TO REMAIN SILENT include: DESTINY OF DESIRE AND FOTO NOVELAS for PBS, for which he won an (South Coast Repertory and The ALMA award in 1998. Numerous television credits. A Goodman Theatre), LOVERS AND EXECUTIONERS, LA member of The Latino Theater Company created by POSADA MÁGICA, and NEVA Jose Luis Valenzuela at LATC. He thanks his wife & (South Coast Repertory Theatre, the Kirk Douglas family for their continued support. Theatre, and La Jolla Playhouse), JUST LIKE US (Denver Theatre Center), A PERFECT WEDDING (Kirk VALENTE RODRIGUEZ (Chon) Douglas Theatre), LOST ANGELES (Elephant Theatre was born in south Texas in 1964. Company), THE INDIAN QUEEN (Long Beach Opera), He is the youngest of eight. His SEXO, PUDOR Y LAGRIMAS (The Met Theatre), A first acting job was a feature film MIDSUMMER NIGHT’S DREAM and HEDDA GABLER called SALSA THE MOTION (East L.A. Classic Theatre), LATINOLOGUES (Wiltern PICTURE in January of 1988. Theatre and on tour), and ‘DENTITY CRISIS and THE Since then, Valente has appeared THREEPENNY OPERA (Friends and Artists Theatre in numerous Film, TV and Ensemble). She played Lolita in the Grammy Award- Theatre productions. Film: BLOOD IN...BLOOD OUT, nominated THE MARK OF ZORRO and starred in MI FAMILIA, ROOSTERS, ERIN BROKOVICH, DEEP Showtime’s RESURRECTION BLVD. Animation credits BLUE SEA, VOLCANO, THE UGLY TRUTH, IT’S include ELENA OF AVALOR, KING OF THE HILL, and COMPLICATED, MCFARLAND USA. TV: GOLDEN HANDY MANNY. LivierProductions.com/@LivierProds GIRLS, MAD ABOUT YOU, X-FILES, ER and a regular (120 episodes) on THE GEORGE LOPEZ SHOW and Fran Drescher’s HAPPILY DIVORCED. LINDA LOPEZ (Lettie) is a veteran He has performed on numerous stages in LA and of the theatre for over 25 years. throughout The United States. He produced three Favorite performances include: films in the Rio Grande Valley, directed one of them LA VIRGEN DEL TEPEYAC (La in 2010, and in 2015 graduated with a Masters in Virgen) with El Teatro Campesino, Theatre from UTRGV. A CHORUS LINE (Morales), WEST SIDE STORY (Anita), BANDIDO at the Mark Taper and CORRIDOS! PETER WYLIE (Charlie) is so at The Old Globe. Recent credits include the upcoming grateful to be making his LATC feature film THE LAST BROWN BERET, and the Casa debut with THE SWEETHEART
Load more

Recommended publications
  • Selected Films of Interest for Chicana/O and Latino Studies in the SDSU Library Media Center
    Selected Films of Interest for Chicana/o and Latino Studies In the SDSU Library Media Center Check the library catalog (the PAC) for complete information and availability of individual films. Adelante, Mujeres! National Women's History Project, 1992. "Focuses on the history of Mexican-American/Chicana women. The major themes, organizations and personalities are introduced chronologically in a tribute to the strengths and resilience of women at the center of their families, as activists in their communities and as contributors to American history." VTC-245 The American Experience : Zoot Suit Riots. Boston, Mass. : WGBH Educational Foundation : PBS Home Video, 2002. VTC-1904 Barrio Logan : Youth Voices, Community Stories. Media Arts Center San Diego, 2006 "… a storytelling project that helps sustain, support, celebrate and maintain community identity and pride in an area that is widely regarded as a center for Latino civic engagement. This project is a partnership between the City of San Diego Public Library and Media Arts Center San Diego.” DVD-2667 Bettina Gray Speaks with Luis Valdez. Films for the Humanities & Sciences, 1993. VTC-686 Beyond the Border = más allá de la frontera. Dos Vatos Production, 2001. “… with tenderness and beauty, follows the immigrant experience with Marcelo Ayala, who leaves his family on a risky journey to the United States. Beyond the Border rounds out the immigration's effect on family in Marcelo's home town of Michoacan, Mexico.” VTC-2085 Bilingualism : A True Advantage. Films for the Humanities & Sciences, 1994 “The first segment focuses on the bilingual education program at San Antonio's De Zavala Elementary school.
    [Show full text]
  • CRN 18036 / Chicano Cinema 3302
    Fall 2017 (August 28, 2017 – October 20, 2017) CHICANO CINEMA 100% Online Course (CHIC 3302 - 008 CRN 18036) Syllabus 3 credits The University of Texas At El Paso Chicano Studies Program 500 W. University Ave. Graham Hall #104 El Paso, Texas 79968 Course Instructor: Elvira Carrizal-Dukes Office Hours: Contact via Blackboard Mailbox: Chicano Studies Office, GRAH 104 CS Phone: 915-747-5462 Fax: 915-747-6501 E-mail: Contact me only through Blackboard Course Messages If you prefer to speak with me by telephone, contact me through Blackboard Course Messages to set up a telephone appointment. Content Introduction Chicano Cinema is designed to provide students with an overview of Chicano cinema history and the skills necessary to analyze and critique cinema. Students will learn about Chicano cinema theory, aesthetics, genres, and basic cinema criticism. Students will analyze cinema through an examination of story, directing, acting, scenes, and producing to allow students to view cinema critically, to develop a systematic and convincing interpretation of the films they watch, and to acquire the ability to analyze cinema in well-constructed and persuasive essays. Course Objective Chicano Cinema is designed to assist you in learning the aesthetic and technical fundamentals of Chicano cinema arts through lectures, readings, screenings, discussions and assignments. This class provides opportunities for you to develop your skills in writing about and discussing films through semiotics. Course Description Chicano Cinema is an examination of the American film industry with respect to the Chicano’s role, historically and culturally, in the genre. A series of films, including Hollywood commercial and Chicano made films, will be screened, as part of an analysis of Chicano images and their impact on American popular culture.
    [Show full text]
  • Zócalo Public Square :: Movies' Most Memorable Mexican-American Moments
    Zócalo Public Square :: Movies’ Most Memorable Mexican-American ... http://www.zocalopublicsquare.org/2015/05/26/movies-most-memorabl... From Stand and Deliver to Giant, These Are Hollywood's Strongest Cinematic Depictions of America’s Third Largest Ethnic Group For better or for worse, when many The fight in Sarge’s Diner in Giant Americans think about Italian- Americans, they think of The Godfather. When it comes to Irish-Americans, it’s A Crossing the border, whether real Tree Grows in Brooklyn. And for or imagined Chinese-Americans, it’s The Joy Luck Club. The way people talk. The clothes The Cisco Kid and maids are only they wear. The houses they live in. What part of the story makes them cry. Film has a way of making abstract identities vivid and The dark past and diverse present tangible. of Zoot Suit So what has the silver screen been communicating to Americans about the Mexican-American experience? Mexican-Americans make up one of the largest ethnic groups in the U.S. but only a handful of mainstream films focusing on Mexican-Americans have become household names—La Bamba, Selena, and Stand and Deliver, for instance, all of which came out in a 10-year span. But Mexican-Americans were present on-screen long before that moment and played a role in the off-screen American story for even longer. In advance of the event “How Do You Film the (Mexican) American Story?”, featuring La Bamba writer and director Luis Valdez and Selena producer Moctesuma Esparza, we asked film and art scholars: What are the most prominent and memorable on-screen moments in Hollywood history that tell us something about the experience of Mexicans and Mexican- Americans in the U.S.? MAY 26, 2015 SHARE 2 of 6 5/27/2015 1:27 PM Zócalo Public Square :: Movies’ Most Memorable Mexican-American ..
    [Show full text]
  • CLS Movie List
    CLS Movie List # 1492 Revisited This documentary provides an alternative "indigenous" perspective on the quincentenary of Columbus's arrival. It features provocative artwork from the touring national exhibition Counter Colon-Ialismo as well as challenging commentary by artists and scholars. The film also raises important questions about the nature and construction of history. Paul Espinoza, 1992 Color: 28 min. A Adelante Mujeres (2 copies) This video spans over five centuries and focuses on the history of Mexican American women and Chicanas dating from the Spanish invasion to the present. Hundreds of previously unpublished photographs, art works, and contemporary footage pay tribute to the strength and resilience of women as the center of their families, activists in their communities, and contributors to American history. National Women's History Project, 1992 Color: 30 min. After the Earthquake Before the revolution and after the earthquake, a woman from Managua unexpectedly encounters her Nicaraguan fiancé in San Francisco. The film questions the pursuit of self-serving interests in the face of larger issues, in this case the Somoza regime, and integrates political concerns with a love story. National Women's History Project, 1992 Color: 30 min. Agitating for Change: The Alliance Schools Initiative Eight years ago, many schools in Texas, like this one, were plagued by gangs, truancy, and poor academic results. Teachers were ready to try something new. Enter Ernie Cortes—a community organizer who is also disturbed by seeing kids turned off at school. Cortes formed an Alliance Schools Initiative to shake up public schools in working-class districts. The Cortes strategy was to work with churches and community activists to break down old hierarchies, to excite and empower teachers, and to reconnect schools to their communities.
    [Show full text]
  • David Sanchez Papers
    http://oac.cdlib.org/findaid/ark:/13030/c8z3231p No online items Finding Aid for the David Sanchez Papers 1971-2012 Processed by Angel Diaz. UCLA Chicano Studies Research Center UCLA Chicano Studies Research Center 144 Haines Hall Box 951544 Los Angeles, CA 90095-1544 Phone: (310) 206-6052 Fax: (310) 206-1784 URL: http://www.chicano.ucla.edu/ ©2015 The Regents of the University of California. All rights reserved. Finding Aid for the David Sanchez 3 1 Papers 1971-2012 Descriptive Summary Title: David Sanchez Papers, Date (inclusive): 1971-2012 Collection number: 3 Creator: Sanchez, David Extent: .25 linear feet Repository: University of California, Los Angeles. Library. UCLA Chicano Studies Research Center Los Angeles, California 90095-1490 Abstract: David John Sanchez was born and raised in East Los Angeles. As a founding member of the Brown Berets, Sanchez was heavily involved with the Chicano civil and political movements of the late 1960s and 1970s. The collection consists of David Sanchez's resume, 2012 flyer for his run for the 40th District of Congress, a 1972 issue of La Causa, and a photographic print of the Brown Berets' "La Marcha de la Reconquista." The collection also includes two books by Sanchez, "Expedition Through Aztlan" and "Social Communication for Everyone." Both are located in CSRC library stacks. Researchers who would like to indicate errors of fact or omissions in this finding aid can contact the research center at www.chicano.ucla.edu This collection has been delisted from the OAC. Physical location: COLLECTION STORED OFF-SITE AT SRLF: Open for research. Advance notice required for access.
    [Show full text]
  • The Aztlán Film Institute's Top 100 List
    The Aztlán Film Institutes Top 100 List Chon A. Noriega In June 1998, on nationwide television, the American Film Institute (AFI) unveiled its list of the 100 greatest American movies. The star-studded hoopla commemorated the first 100 years of American filmmaking, with the studios teaming up, for the first time ever, to promote home video rentals and sales under the guise of historical and artistic appreciation. The AFI, which has recently lost almost all of its federal funding, has learned a valuable lesson or two from Hollywood deals, allow- ing it to continue fighting the good fight for the preservation of American film. Happy ending. But what is American film? In fact, what is film? And why should we care? For the AFI, American means Hollywood and film means popular feature-length narratives. That is why the list contains no independent films, no documentary films, no avant-garde films, no short narrative films, and precious few silent films. It also explains why the list contains no films directed by women or racial minorities. None! Quite simply, Hollywood is not an equal opportunity employer, and each year the employment numbers get a little worse. Such exclusions are of a different order than the galling absence of Erich von Stronheims Greed (192325), F. W. Murnaus Sunrise: A Song of Two Humans (1927), or any films by Joseph von Sternberg, Buster Keaton, Ernst Lubitsch, Preston Sturges, or Busby Berkeley, let alone films starring Fred Astaire and Ginger Rogers or even Jerry Lewis. These exclusions speak to the present-day market sensibilities and the middlebrow amensia that guide the AFI endeavor; but, even Aztlán 23:2 Fall 1998 1 Noriega if they were rectified, the exclusion of women and racial mi- norities would remain unchanged.1 But why should we care? Because the list is being done in our name: Americans.
    [Show full text]
  • Testimony of Moctesuma Esparza CEO, Maya Cinemas October 3
    Testimony of Moctesuma Esparza CEO, Maya Cinemas October 3, 2006 Members of the FCC, Commissioners, I want to thank you for the opportunity to address you. By background I'm a movie producer having produced movies like "The Milagro Beanfield War," "Selena," "Gettysburg," "Gods and Generals" introducing Dorothy Dandridge. And most recently "Walkout" for HBO. I'm also the former owner of Cable TV Systems here in Southern California having gotten franchises from the city of LA, the county of LA, San Bernardino and now am an entrepreneur in the media field. One of the things that the actions of the FCC have promoted and created over the last ten years are an atmosphere where people of color, Latinos in particular, will probably never be able to create media companies that reflect their point of view about the world and where we will be able to practice the same nepotism that the rest of Hollywood practices. I would like to practice nepotism. The lack of tax certificates, the lack of lotteries, the continuing focus on concentration of ownership which creates a feeding presence for private equity firms that are continually looking for returns that are not productive, that are not creating new values but that are merely aggregating assets and then squeezing them so a new private equity firm can then turn around and buy them; this is the pattern of what has been created. It is what is going on right now with Univision. It is what's going on with all the various companies. Concentration of ownership means that the largest population here in Southern California for Latinos over two- thirds of which are native born, who live in English, don't get to see themselves on English language television in entertainment programming or in news.
    [Show full text]
  • La Calavera Pocha
    “vocero ultratumba de mictlán hacia aztlán hasta el anahuac... y que?” LA CALAVERA POCHA Saturday, November 2, el mero día de los muertos del año 2013 Edicion panteonera traducido al espanglesis SELF HELP GRAPHICS & ART 40th anniversary día de los muertos celebration 2012 by Daniel González © Top Right: Calavera by Sergio Santamaría Left: Día de los Dead Bottom: Conversation with Mictlantecuhtli Right: Calavera by Sánchez Top RAÍZ y RAMA: AT THE CROSSROADS TO MICTLÁN a curatorial statement by Daniel González In 1973, a group of artists from Self Help Graphics and Art, artist, as a sincere “dialogue with one’s heart, one who meets y una manera de llorar públicamente y procesar la dura experi- Inc., celebrated their first Día de los Muertos. By bringing this things with their mind” is present in all these artworks, literary encia de la pérdida y la muerte a través de la celebración de la spiritual practice to Los Angeles, Chicanos and Mexicanos pieces, and scholarly works, placing before us a visual ofrenda vida de una persona. Día de los Muertos en Self Help Graphics took a centuries-old tradition, and re-contextualized it. Day of their visions of Day of the Dead. and Art, a través de talleres artesanales con la participación de of the Dead was not only a way to commemorate the dead la comunidad y de varios artistas, crearon un sentido de familia and commune with ancestors. It became a way of establishing y un colorido espectáculo que estaba en marcado contraste con la identity, a vehicle for protest, and a way to publicly mourn and mirada del forastero que ve la comunidad sólo como un barrio process the harsh experience of loss at a time when veterans arruinada que ha sido históricamente marginado y plagado por la were returning from Vietnam.
    [Show full text]
  • 1O1 Most Influential Latinos
    Contributors: Kristian Jaime Kimberly Olguin 1O1 MOST INFLUENTIAL LATINOS As usual, these are not all of the leaders, but those in the list are all leaders. Fantastic leaders with a diverse activity, all of them advancing Latinos all over the country and all across industries and professions. All of the leaders included have proven an actual influence on the national scene, not only for the Hispanic community but for the entire country. From lawyers to cabinet members, from media personalities to powerful business figures, this list is a snap shot of the power and influence of Latinos in the US today. Newcomers, like Lin-Manuel Miranda, who has a powerful voice in the entertainment industry, or Agustin Arteaga, the only Latino with the title of Director at one of the most important museums of art in the country, or Andre Arbelaez, who may be the most respected voice for Latinos in the hi-tech industry, make this list a very special one. 1O1 We hope you enjoy reading who they are, where they live, what has been their professional path and even contact them, for these are the leaders forging the future of America. 001 R • Mexican-American 2017 Ruben Salazar Award Alcaraz is best known for his comic La Cucaracha, the first nation- • 1964 in San Diego, CA for Communication at National ally syndicated, politically themed Latino daily comic strip. Launched • Bachelor’s degree in Art and Council of La Raza Annual in 2002, La Cucaracha has become one of the most controversial in Industrial Design from San Conference the history of American comic strips.
    [Show full text]
  • Subject to Your Confirmation, I Have Reappointed Mr
    ix April 16, 2015 Honorable Members of the City Council c/o City Clerk City Hall, Room 395 Honorable Members: Subject to your confirmation, I have reappointed Mr. Moctesuma Esparza to the Industrial Development Authority for the term ending June 30, 2018. Mr. Esparza’s current term expires on June 30, 2015. I certify that in my opinion Mr. Esparza is qualified for the work that will devolve upon him, and that I make the appointment solely in the interest of the City. Sincerely, v_-T ERIC GARCETTI Mayor EG;dlg Attachment 200 N SPRING STREET. ROOM 303 LOS ANGELES. CA 900 i 2 ■ 2 ! 3 i 978-0600 >.• AYLA-: ! Ac,! ■ Y iiXG COMMISSION APPOINTMENT FORM Name: Moctesuma Esparza Commission: Industrial Development Authority End of Term: 6/30/2018 Appointee Information 1. Race/ethnicity: Latino 2. Gender: Male 3. Council district and neighborhood of residence: 14 - East Los Angeles 4. Are you a registered voter? Yes 5. Prior commission experience: 6. Highest level of education completed: UCLA School of Theater, Film and Television 7. Occupation/profession: Award-winning Producer, Entertainment Executive, Entrepreneur and Community Activist 8. Experience(s) that qualifies person for appointment: See attached resume 9. Purpose of this appointment: Reappointment 10. Current composition of the commission (Mayoral appointees): Name APC CD Ethnicity Gender Appt date End date Esparza, Moctesuma East LA 14 Latino M 13-Jun-14 30-Jun-15 Healey, Laurette South Valiev 4 Caucasian F 13-Jun-14 30~Jun-17 Montes, Joseph F. West 5 Latino M 23~Oct-G7 30-Jun-16 Pilavjian, Peklar South Valiev 5 Other M 13-Jun-14 30-Jun-16 MOCTESUMA ESPARZA CEO, Maya Entertainment An award-winning producer, entertainment executive, entrepreneur and community activist, Moctesuma Esparza is well known for his contributions to the movie industry and commitment to creating opportunities for Latinos everywhere.
    [Show full text]
  • UC San Diego UC San Diego Electronic Theses and Dissertations
    UC San Diego UC San Diego Electronic Theses and Dissertations Title Schooling La Raza : a Chicana/o cultural history of education, 1968-2008 Permalink https://escholarship.org/uc/item/8t69s3wd Author Hidalgo, Melissa Martha Publication Date 2011 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA, SAN DIEGO Schooling La Raza: A Chicana/o Cultural History of Education, 1968-2008 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Literature by Melissa Martha Hidalgo Committee in charge: Professor Shelley Streeby, Chair Professor Rosemary George Professor Lisa Lowe Professor Olga Vásquez Professor Meg Wesling 2011 This Dissertation of Melissa Martha Hidalgo is approved, and is acceptable in quality and form for publication on microfilm and electronically. Chair University of California, San Diego 2011 iii EPIGRAPH To tell a story is to construct a history, to assert a vision of reality. A history links the living with ancestors and divinities across spatial and temporal dimensions, moving back to retrieve lineage lessons and forward to cast a vision of what might be. Joni L. Jones iv TABLE OF CONTENTS Signature Page……………………………………………………………. iii Epigraph………………………………………………………………….. iv Table of Contents………………………………………………………… v List of Illustrations……………………………………………………….. vi Acknowledgements………………………………………………………. vii Vita……………………………………………………………………….. xi Abstract…………………………………………………………………… xii Introduction……………………………………………………………….. 1 Chapter 1. “Demand, Protest, Organize:” Remembering the 1968 East Los Angeles High School Blowouts………………………………. 28 Chapter 2. Soft Hands: A Genealogy of the Educational Formation of Queer Chicano Identities from Villarreal’s Pocho (1959) to Bracho’s Sissy (2008) ……………………………………………... 81 Chapter 3. Profesora Power: Feminist Pedagogy in Terri de la Peña’s Margins (1992) and Adelina Anthony’s Mastering Sex and Tortillas (2002)……………………………………………....
    [Show full text]
  • Chicano Students in Los Angeles [OHP 226]
    CHICANO STUDENT ACTIVISTS IN LOS ANGELES Center for Oral and Public History California State University, Fullerton 1 Administrative Information Acquisition All items in this collection were donated to the Center for Oral and Public History by the interviewer and interviewees. Access The collection is open for research. Preferred Citation Citations must identify the oral history number, interviewee, interviewer, date, project, and the Center for Oral and Public History. Literary Rights and Quotations The oral histories are made available for research purposes only. No part of the audio tape or the manuscript may be quoted for publication without the written permission of the Center for Oral and Public History, California State University, Fullerton. Requests for permission to quote from these materials should be addressed to: Center for Oral and Public History California State University, Fullerton P.O. Box 6846 Fullerton, CA 92834 or [email protected] The request should include identification of the specific passages and identification of the user. 2 Descriptive Summary Title Chicano Students in Los Angeles [OHP 226] Date Interviews are in two parts. Part I interviews are not dated, but most likely take place in the later part of the 1960s, most likely following the 1968 Chicano Student Walkouts (or “Blowouts.”) Part II interviews take place in 1978 or 1979. Creator Gerald Rosen Extent Fifty-eight (58) oral histories. Twenty-nine (29) narrators. Collateral: Gerald Rosen’s manuscript, Political Ideology and the Chicano Movement: A Study of the Political Ideology of Activists in the Chicano Movement (1975) [Located in project file] Repository Center for Oral and Public History California State University, Fullerton Project Abstract This project is a compilation of oral histories from mostly male Chicano students, mainly from East Los Angeles.
    [Show full text]