Exploring representations of Latinx people from Scarface to Narcos, this book examines how pop culture has framed Latin America as the villain in America’s long and ineffectual War on Drugs.
If there is an enemy in the War on Drugs, it is people of color. That is the lesson of forty years of cultural production in the United States. Popular culture, from Scarface and Miami Vice to Narcos and Better Call Saul, has continually positioned Latinos as an alien people who threaten the US body politic with drugs. Jason Ruiz explores the creation and endurance of this trope, its effects on Latin Americans and Latinx people, and its role in the cultural politics of the War on Drugs.
Even as the focus of drug anxiety has shifted over the years from cocaine to crack and from methamphetamines to opioids, and even as significant strides have been made in representational politics in many areas of pop culture, Latinx people remain an unshakeable fixture in stories narrating the production, distribution, and sale of narcotics. Narcomedia argues that such representations of Latinx people, regardless of the intentions of their creators, are best understood as a cultural front in the War on Drugs. Latinos and Latin Americans are not actually America’s drug problem, yet many Americans think otherwise—and that is in no small part because popular culture has largely refused to imagine the drug trade any other way.
2013 — NACCS Book Award – National Association for Chicana and Chicano Studies
During the nineteenth and early twentieth centuries, a majority of the Mexican immigrant population in the United States resided in Texas, making the state a flashpoint in debates over whether to deny naturalization rights. As Texas federal courts grappled with the issue, policies pertaining to Mexican immigrants came to reflect evolving political ideologies on both sides of the border.
Drawing on unprecedented historical analysis of state archives, U.S. Congressional records, and other sources of overlooked data, Naturalizing Mexican Immigrants provides a rich understanding of the realities and rhetoric that have led to present-day immigration controversies. Martha Menchaca's groundbreaking research examines such facets as U.S.-Mexico relations following the U.S. Civil War and the schisms created by Mexican abolitionists; the anti-immigration stance that marked many suffragist appeals; the effects of the Spanish American War; distinctions made for mestizo, Afromexicano, and Native American populations; the erosion of means for U.S. citizens to legalize their relatives; and the ways in which U.S. corporations have caused the political conditions that stimulated emigration from Mexico.
The first historical study of its kind, Naturalizing Mexican Immigrants delivers a clear-eyed view of provocative issues.
Describing how la familia came to be adopted as an organizing strategy for communitarian politics, Rodríguez looks at foundational texts including Rodolfo Gonzales’s well-known poem “I Am Joaquín,” the Chicano Liberation Youth Conference’s manifesto El Plan Espiritual de Aztlán, and José Armas’s La Familia de La Raza. Rodríguez analyzes representations of the family in the films I Am Joaquín, Yo Soy Chicano, and Chicana; the Los Angeles public affairs television series ¡Ahora!; the experimental videos of the artist-activist Harry Gamboa Jr.; and the work of hip-hop artists such as Kid Frost and Chicano Brotherhood. He reflects on homophobia in Chicano nationalist thought, and examines how Chicano gay men have responded to it in works including Al Lujan’s video S&M in the Hood, the paintings of Eugene Rodríguez, and a poem by the late activist Rodrigo Reyes. Next of Kin is both a wide-ranging assessment of la familia’s symbolic power and a hopeful call for a more inclusive cultural politics.
Founded by Mexican American men in 1929, the League of United Latin-American Citizens (LULAC) has usually been judged according to Chicano nationalist standards of the late 1960s and 1970s. Drawing on extensive archival research, including the personal papers of Alonso S. Perales and Adela Sloss-Vento, No Mexicans, Women, or Dogs Allowed presents the history of LULAC in a new light, restoring its early twentieth-century context.
Cynthia Orozco also provides evidence that perceptions of LULAC as a petite bourgeoisie, assimilationist, conservative, anti-Mexican, anti-working class organization belie the realities of the group's early activism. Supplemented by oral history, this sweeping study probes LULAC's predecessors, such as the Order Sons of America, blending historiography and cultural studies. Against a backdrop of the Mexican Revolution, World War I, gender discrimination, and racial segregation, No Mexicans, Women, or Dogs Allowed recasts LULAC at the forefront of civil rights movements in America.
"No Safe Spaces opens up a conversation beyond narrow polemics . . . Although cross-racial casting has been the topic of heated discussion, little sustained scholarship addresses both the historical precedents and theoretical dimensions. Pao illustrates the tensions and contradictions inherent not only in stage representations, but also in the performance of race in everyday life. A wonderful book whose potential readership goes well beyond theater and performance scholars."
---Josephine Lee, University of Minnesota
"Non-traditional casting, increasingly practiced in American theater, is both deeply connected to our country's racial self-image(s) and woefully under-theorized. Pao takes on the practice in its entirety to disentangle the various strands of this vitally important issue."
---Karen Shimakawa, New York University
No Safe Spaces looks at one of the most radical and enduring changes introduced during the Civil Rights era---multiracial and cross-racial casting practices in American theater. The move to cast Latino/a, African American, and Asian American actors in classic stage works by and about white Europeans and Americans is viewed as both social and political gesture and artistic innovation. Nontraditionally cast productions are shown to have participated in the national dialogue about race relations and ethnic identity and served as a source of renewed creativity for the staging of the canonical repertory.
Multiracial casting is explored first through its history, then through its artistic, political, and pragmatic dimensions. Next, the book focuses on case studies from the dominant genres of contemporary American theater: classical tragedy and comedy, modern domestic drama, antirealist drama, and the Broadway musical, using a broad array of archival source materials to enhance and illuminate its arguments.
Angela C. Pao is Associate Professor of Comparative Literature at Indiana University.
A volume in the series Theater: Theory/Text/Performance
Much knowledge and understanding can be generated from the experiences of everyday life. In this engaging study, Alvin O. Korte examines how this concept applies to Spanish-speaking peoples adapted to a particular locale, specifically the Hispanos and Hispanas of northern New Mexico. Drawing on social philosopher Alfred Schutz’s theory of typification, Korte looks at how meaning and identity are crafted by quotidian activities. Incorporating phenomenological and ethnomethodological strategies, the author investigates several aspects of local Hispano culture, including the oral tradition, leave-taking, death and remembrances of the dead, spirituality, and the circle of life. Although avoiding a social-problems approach, the book devotes necessary attention to mortificación (the death of the self), desmadre (chaos and disorder), and mancornando (cuckoldry). Nosotros is a vivid and insightful exploration with applications in numerous fields.
Raised in the squalor of a New York tenement until he was 10 years old, Nelson Díaz saw his life change when his family moved to a brand-new high-rise project in West Harlem in the 1950s. That experience, along with lessons learned as the only Latino law student at Temple University, would drive him throughout his life as a lawyer and activist, fighting for the expansion of rights for all Americans.
“No soy de aquí ni de allá” is a mantra for Puerto Ricans who feel like foreigners wherever they are and who seek a place for themselves. In his inspiring autobiography, Not from Here, Not from There, Díaz tells the story of his struggles and triumphs as his perspective widened from the New York streets and law school classrooms to the halls of power in Philadelphia and Washington, DC. Whether as a leader in economic development, a pioneer in court reform, or a champion of fair housing, Díaz has never stopped advocating for others. Díaz was happy to be the first Latino to “do something,” but he never wanted to be the last. This story of an outsider who worked his way to the inside offers powerful lessons on finding a place in the world by creating spaces where everyone is welcome.
September 19, 1985: A powerful earthquake hits Mexico City in the early morning hours. As the city collapses, the government fails to respond. Long a voice of social conscience, prominent Mexican journalist Elena Poniatowska chronicles the disintegration of the city's physical and social structure, the widespread grassroots organizing against government corruption and incompetence, and the reliency of the human spirit. As a transformative moment in the life of mexican society, the earthquake is as much a component of the country's current crisis as the 1982 debt crisis, the problematic economic of the last ten years, and the recent elections.
In masterfully weaving together a multiplicity of voices, Poniatowska has reasserted the inherent value and latent power of people working together. Punctuated by Poniatowska's own experiences and observations, these post disaster testimonies speak of the disruption of families and neighborhoods, of the destruction of homes and hospitals, of mutilation and death—the collective loss of a city. Drawing the reader dramatically into the scene of national horror through dozens of personal stories, Poniatowska demonstrates the importance of courage and self-reliance in redeeming life from chaos.
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