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In 1980, the celebrated new wave band Blondie headed to Los Angeles
to record a new album, and along with it, the cover "The Tide Is
High" originally written by Jamaican legend John Holt. With
percussion by Peruvian drummer and veteran L.A. session musician
"Alex" Acuna and horns and violins that were pure L.A. mariachi by
way of Mexico, "The Tide Is High" demonstrates just one example of
the ways in which the music of Los Angeles and Latin America have
been intertwined since the birth of the city in the 18th century.
The Tide Was Always High gathers together essays, interviews, and
analysis from leading academics, artists, journalists, and iconic
Latin American musicians to explore the vibrant connections between
Los Angeles and Latin America. Published in conjunction with the
Getty's Pacific Standard Time LA/LA, the book shows how Latin
American musicians and music have helped shape the city's culture,
from Hollywood film sets to recording studios, from vaudeville
theaters to Sunset Strip nightclubs, and from Carmen Miranda to
Perez Prado and Juan Garcia Esquivel.
Facundo Bernal's A Stab in the Dark (Palos de ciego) is a poetic
chronicle of the struggles and joys of the Spanish-speaking
community in Los Angeles and in the burgeoning border town of
Mexicali during the early 1920s. Sharply satirical yet deeply
empathetic, Bernal's poems are both a landmark of Chicano
literature and a captivating read. Anthony Seidman's energetic
translation - the first into English - preserves the prickly feel
of Bernal's classic, down to the last stab. This edition also
features the original Spanish text, an introduction by the
prominent Mexicali writer Gabriel Trujillo Munoz, an additional
introduction by critic Josh Kun, and a foreword by writer and
lawyer Yxta Maya Murray.
A pioneer of Chicano rock, Ruben Funkahuatl Guevara performed with
Frank Zappa, Johnny Otis, Bo Diddley, Tina Turner, and Celia Cruz,
though he is best known as the front man of the 1970s experimental
rock band Ruben And The Jets. Here he recounts how his youthful
experiences in the barrio La Veinte of Santa Monica in the 1940s
prepared him for early success in music and how his triumphs and
seductive brushes with stardom were met with tragedy and crushing
disappointments. Brutally honest and open, Confessions of a Radical
Chicano Doo-Wop Singer is an often hilarious and self-critical look
inside the struggle of becoming an artist and a man. Recognizing
racial identity as composite, contested, and complex, Guevara-an
American artist of Mexican descent-embraces a Chicano identity of
his own design, calling himself a Chicano "culture sculptor" who
has worked to transform the aspirations, alienations, and
indignities of the Mexican American people into an aesthetic
experience that could point the way to liberation.
A pioneer of Chicano rock, Ruben Funkahuatl Guevara performed with
Frank Zappa, Johnny Otis, Bo Diddley, Tina Turner, and Celia Cruz,
though he is best known as the front man of the 1970s experimental
rock band Ruben And The Jets. Here he recounts how his youthful
experiences in the barrio La Veinte of Santa Monica in the 1940s
prepared him for early success in music and how his triumphs and
seductive brushes with stardom were met with tragedy and crushing
disappointments. Brutally honest and open, Confessions of a Radical
Chicano Doo-Wop Singer is an often hilarious and self-critical look
inside the struggle of becoming an artist and a man. Recognizing
racial identity as composite, contested, and complex, Guevara-an
American artist of Mexican descent-embraces a Chicano identity of
his own design, calling himself a Chicano "culture sculptor" who
has worked to transform the aspirations, alienations, and
indignities of the Mexican American people into an aesthetic
experience that could point the way to liberation.
"Black and Brown in Los Angeles" is a timely and wide-ranging,
interdisciplinary foray into the complicated world of multiethnic
Los Angeles. The first book to focus exclusively on the range of
relationships and interactions between Latinas/os and African
Americans in one of the most diverse cities in the United States,
the book delivers supporting evidence that Los Angeles is a key
place to study racial politics while also providing the basis for
broader discussions of multiethnic America.
Students, faculty, and interested readers will gain an
understanding of the different forms of cultural borrowing and
exchange that have shaped a terrain through which African Americans
and Latinas/os cross paths, intersect, move in parallel tracks, and
engage with a whole range of aspects of urban living. Tensions and
shared intimacies are recurrent themes that emerge as the
contributors seek to integrate artistic and cultural constructs
with politics and economics in their goal of extending simple
paradigms of conflict, cooperation, or coalition.
The book features essays by historians, economists, and cultural
and ethnic studies scholars, alongside contributions by
photographers and journalists working in Los Angeles.
Ranging from Los Angeles to Havana to the Bronx to the U.S.-Mexico
border and from klezmer to hip hop to Latin rock, this
groundbreaking book injects popular music into contemporary debates
over American identity. Josh Kun insists that America is not a
single chorus of many voices folded into one, but rather various
republics of sound that represent multiple stories of racial and
ethnic difference. To this end, he covers a range of music and
listeners to evoke the ways that popular sounds have expanded our
idea of American culture and American identity. Artists as diverse
as The Weavers, Cafe Tacuba, Mickey Katz, Rahsaan Roland Kirk,
Bessie Smith, and Ozomatli reveal that the song of America is
endlessly hybrid, heterogeneous, and enriching - a source of
comfort and strength for populations who have been taught that
their lives do not matter. Kun melds studies of individual
musicians with studies of painters such as Jean-Michel Basquiat and
of writers such as Walt Whitman, James Baldwin, and Langston
Hughes. There is no history of race in the Americas that is not a
history of popular music, Kun claims. Inviting readers to listen
closely and critically, "Audiotopia" forges a new understanding of
sound that will stoke debates about music, race, identity, and
culture for many years to come.
Black and Brown in Los Angeles is a timely and wide-ranging,
interdisciplinary foray into the complicated world of multi ethnic
Los Angeles. The first book to focus exclusively on the range of
relationships and interactions between Latinas/os and African
Americans in one of the most diverse cities in the United States,
the book delivers supporting evidence that Los Angeles is a key
place to study racial politics while also providing the basis for
broader discussions of multi ethnic America. Students, faculty, and
interested readers will gain an understanding of the different
forms of cultural borrowing and exchange that have shaped a terrain
through which African Americans and Latinas/os cross paths,
intersect, move in parallel tracks, and engage with a whole range
of aspects of urban living. Tensions and shared intimacies are
recurrent themes that emerge as the contributors seek to integrate
artistic and cultural constructs with politics and economics in
their goal of extending simple paradigms of conflict, cooperation,
or coalition. The book features essays by historians, economists,
and cultural and ethnic studies scholars, alongside contributions
by photographers and journalists working in Los Angeles.
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