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Too frequently, the media and politicians cast Mexican immigrants as a threat to American society. Given America's increasing ethnic diversity and the large size of the Mexican-origin population, an investigation of how Mexican immigrants and their descendants achieve upward mobility and enter the middle class is long overdue. Barrios to Burbs offers a new understanding of the Mexican American experience. Vallejo explores the challenges that accompany rapid social mobility and examines a new indicator of incorporation, a familial obligation to "give back" in social and financial support. She investigates the salience of middle-class Mexican Americans' ethnic identification and details how relationships with poorer coethnics and affluent whites evolve as immigrants and their descendants move into traditionally white middle-class occupations. Disputing the argument that Mexican communities lack high quality resources and social capital that can help Mexican Americans incorporate into the middle class, Vallejo also examines civic participation in ethnic professional associations embedded in ethnic communities.

It is an incontrovertible fact: LP Cowbells are the world leaders in round tone and strong projection, and we're speaking about every bell in our many lines, from the precise and delicate LP Tapon Bell to the robust sound of the LP Salsa Timbale Bell. The new LP Barrio Hand Held Cowbell is a proud addition in a range that is the undisputed favorite among percussionists. It is a medium pitched bell that speaks with LP signature clarity. All along the length of the body, "sweet spots" emerge, whi

Liven things up with Latin Percussion Salsa CowbellsLP Salsa Cowbells are hand crafted in the LP tradition and are specifically designed to produc...

LP Matador Barrio Timbales have extra-deep steel shells that produce rich low-end tone and remarkable projection.

ES-15 Salsa Barrio Handheld Bongo Cowbell The hand held LP Salsa Barrio Bell has a medium pitch with terrific contrast between the mouth and the b...

The hand held LP Salsa Barrio Bell has a medium pitch with terrific contrast between the mouth and the back of the bell. It s essential for all sty...

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The author recalls his childhood journey from revolution-torn Mexico to the California coast

In 1988 photographer Paul D’Amato was driving around Chicago with his camera when he decided to follow Halsted Street into Pilsen, the city’s largest Mexican neighborhood. Intrigued by the barrio and neighboring Little Village, he began to take photographs and would continue to do so off and on for the next fourteen years. D’Amato started with the public life of the neighborhood: women and children in the streets, open fire hydrants, and graffiti. But later—after he got to know the area’s Mexican residents better—he was allowed to take more intimate photos of people at work, families at weddings and parties, and even gang members.Barrio collects ninety of these striking color images along with D’Amato’s fascinating account of his time photographing Mexican Chicago and his acceptance—often grudging, after threatened violence—into the heart of the city’s Mexican community. Some of the photos here are beautifully composed and startling—visual narratives that are surreal and dreamlike, haunting and mythic. Others, like those D’Amato took while shadowing graffiti artists in the subway, are far more immediate and improvisational. With a foreword by author Stuart Dybek that places D’Amato’s work in the context of the Pilsen and Little Village that Dybek has elsewhere captured so memorably, this book offers a penetrating, evocative, and overall streetwise portrait of two iconic and enduring Hispanic neighborhoods.

This collection explores Chicano, Mexican, and Cuban musical forms and styles and their transformation in the United States. Employing musical, historical, and sociocultural analyses, Loza addresses issues such as marginality, identity, intercultural conflict and aesthetics, reinterpretation, postnationalism, and mestizaje―the mixing of race and culture―in the production and reception of Chicano/Latino music. Barrio Harmonics opens with a comprehensive overview that begins with music in the US Southwest in the seventeenth century and ends with the Grammy Awards for Latin American music in the first decade of the twenty-first century. In the following chapters, Loza discusses artists whose music ranges from sones, rancheros, and corridos to Latin jazz, R & B, and rock and roll. Among those he considers in depth are Pancho Sánchez, Lalo Guerrero, Tito Puente, and Los Lobos. He also surveys the contributions of scores of other individuals and groups who have shaped the current contour of Chicano/Latino music. Other topics include the music industry and the impact of globalization, the African diaspora, and Latin American music in Japan. In addition, Loza offers a candid assessment of intellectual capitalism and the void of nonwestern voices in contemporary scholarship.

Sociologist José A. Moreno was doing fieldwork in Santo Domingo when the revolution broke out in April 1965. For four months he lived in the rebel zone of the city, where he helped with the organization of medical clinics and food distribution centers. His activities brought him into daily contact with top leaders of the rebel forces, members of political organizations, commando groups of young men from the barrios of Santo Domingo, and ordinary citizens in the neighborhood. His eye-witness account is augmented by his professional analysis of the rebels-their backgrounds, personalities, ideologies, and expectations. He also focuses on the social processes that brought cohesiveness to the divergent rebel groups as their faced a common enemy.

Arlene Dávila brilliantly considers the cultural politics of urban space in this lively exploration of Puerto Rican and Latino experience in New York, the global center of culture and consumption, where Latinos are now the biggest minority group. Analyzing the simultaneous gentrification and Latinization of what is known as El Barrio or Spanish Harlem, Barrio Dreams makes a compelling case that―despite neoliberalism's race-and ethnicity-free tenets―dreams of economic empowerment are never devoid of distinct racial and ethnic considerations. Dávila scrutinizes dramatic shifts in housing, the growth of charter schools, and the enactment of Empowerment Zone legislation that promises upward mobility and empowerment while shutting out many longtime residents. Foregrounding privatization and consumption, she offers an innovative look at the marketing of Latino space. She emphasizes class among Latinos while touching on black-Latino and Mexican-Puerto Rican relations. Providing a unique multifaceted view of the place of Latinos in the changing urban landscape, Barrio Dreams is one of the most nuanced and original examinations of the complex social and economic forces shaping our cities today.

Excerpt from Barrio Life and Barrio EducationI deem it the duty of barrio school education to enrich and vitalize barrio life. If the present work, a pioneer in this field, helps bring this desirable result, its appearance will have been justified.About the PublisherForgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.comThis book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

Struggles over space and resistance to geographic displacement gave birth to much of Chicano history and culture. In this pathfinding book, Raúl Villa explores how California Chicano/a activists, journalists, writers, artists, and musicians have used expressive culture to oppose the community-destroying forces of urban renewal programs and massive freeway development and to create and defend a sense of Chicano place-identity.Villa opens with a historical overview that shows how Chicano communities and culture have grown in response to conflicts over space ever since the United States' annexation of Mexican territory in the 1840s. Then, turning to the work of contemporary members of the Chicano intelligentsia such as Helena Maria Viramontes, Ron Arias, and Lorna Dee Cervantes, Villa demonstrates how their expressive practices re-imagine and re-create the dominant urban space as a community enabling place. In doing so, he illuminates the endless interplay in which cultural texts and practices are shaped by and act upon their social and political contexts.

Too frequently, the media and politicians cast Mexican immigrants as a threat to American society. Given America's increasing ethnic diversity and the large size of the Mexican-origin population, an investigation of how Mexican immigrants and their descendants achieve upward mobility and enter the middle class is long overdue. Barrios to Burbs offers a new understanding of the Mexican American experience. Vallejo explores the challenges that accompany rapid social mobility and examines a new indicator of incorporation, a familial obligation to "give back" in social and financial support. She investigates the salience of middle-class Mexican Americans' ethnic identification and details how relationships with poorer coethnics and affluent whites evolve as immigrants and their descendants move into traditionally white middle-class occupations. Disputing the argument that Mexican communities lack high quality resources and social capital that can help Mexican Americans incorporate into the middle class, Vallejo also examines civic participation in ethnic professional associations embedded in ethnic communities.

Beginning in the late 1950s political leaders in Venezuela built what they celebrated as Latin America’s most stable democracy. But outside the staid halls of power, in the gritty barrios of a rapidly urbanizing country, another politics was rising―unruly, contentious, and clamoring for inclusion. Based on years of archival and ethnographic research in Venezuela’s largest public housing community, Barrio Rising delivers the first in-depth history of urban popular politics before the Bolivarian Revolution, providing crucial context for understanding the democracy that emerged during the presidency of Hugo Chávez. In the mid-1950s, a military government bent on modernizing Venezuela razed dozens of slums in the heart of the capital Caracas, replacing them with massive buildings to house the city’s working poor. The project remained unfinished when the dictatorship fell on January 23, 1958, and in a matter of days city residents illegally occupied thousands of apartments, squatted on green spaces, and renamed the neighborhood to honor the emerging democracy: the 23 de Enero (January 23). During the next thirty years, through eviction efforts, guerrilla conflict, state violence, internal strife, and official neglect, inhabitants of el veintitrés learned to use their strategic location and symbolic tie to the promise of democracy in order to demand a better life. Granting legitimacy to the state through the vote but protesting its failings with violent street actions when necessary, they laid the foundation for an expansive understanding of democracy―both radical and electoral―whose features still resonate today. Blending rich narrative accounts with incisive analyses of urban space, politics, and everyday life, Barrio Rising offers a sweeping reinterpretation of modern Venezuelan history as seen not by its leaders but by residents of one of the country’s most distinctive popular neighborhoods.

Ricardo Sanchis Nacher ~1940 Augustin Barrios classical guitar - a rare find it was built by Ricardo Sanchis Nacher (1881-1960) and is historic...

Sánchez's subject is the power of imperial myths - and the subversive power unleashed when resistance movements take over those myths for their own purposes. Moving from John of Patmos's inversion of Roman imperial mythology in Revelation 12 to the indigenous appropriation of Spanish symbolism and mythology, drawn from Revelation 12, in 17th-century Mexico, Sánchez then explores the continuing power of the Virgin of Guadalupe (La Guadalupeña) to inspire movements for a better society in our own day. From Patmos to the Barrio reveals new insights into the biblical Apocalypse of John, and the enduring power of its legacy down to the present day, as well as translations of two important 17th-century documents concerning La Guadalupeña: Luis Laso de la Vego's Huei tlamahuiçoltica and Miguel Sánchez's Imagen de la Virgen Maria. Also included are images of La Guadalupeña in the murals of East Los Angeles.

In Chicana/o popular culture, nothing signifies the working class, highly-layered, textured, and metaphoric sensibility known as "rasquache aesthetic" more than black velvet art. The essays in this volume examine that aesthetic by looking at icons, heroes, cultural myths, popular rituals, and border issues as they are expressed in a variety of ways. The contributors dialectically engage methods of popular cultural studies with discourses of gender, sexuality, identity politics, representation, and cultural production. In addition to a hagiography of "locas santas," the book includes studies of the sexual politics of early Chicana activists in the Chicano youth movement, the representation of Latina bodies in popular magazines, the stereotypical renderings of recipe books and calendar art, the ritual performance of Mexican femaleness in the quinceañera, and mediums through which Chicano masculinity is measured.

Writing with wisdom, empathy, and humor, a young Chicago priest tells the story of his poor Hispanic parish, of the violence and gang warfare that holds the neighborhood in its grip, and of his everyday efforts to discover the face of God.