Friday, January 15, 2021

Celebrating its One Year Anniversary Out in the Wild! Talking #BrownTV by Frederick Luis Aldama and William "Memo" Nericcio | From the Ohio State University Press

Friday, January 01, 2021

The Tijuana Story == Classic #textmex Cinema from 1957


 

Thanks to Marisela Norte, our Chicana Virgil of LA mass transit whose Facebook page tipped my eyes to the magic of THE TIJUANA STORY -- a true story dramatized and mextified via Hollywood. Watch it here: https://trailers.to/fa/movie/557116/the-tijuana-story-1957#watch-now

The lobby card photos are outstanding--here are some I found on the internets!









Monday, December 28, 2020

Saturday, December 12, 2020

99¢ Shipping on the Follow-up Book to #Textmex! Talking #BrownTV, Co-Authored by Frederick Luis Aldama and William Nericcio

Wednesday, December 09, 2020

Ho Ho Ho! Put a Little #BrownTV Under the Tree this Christmas 2020!

 

Saturday, November 28, 2020

Chicanos at War: An Echoing Cacophony of Damaging Barrages in Rolando Hinojosa’s The Useless Servants | Book Review

Reviewed Work(s): The Useless Servants by Rolando Hinojosa; Review by: William Anthony Nericcio; Source: World Literature Today, Vol. 69, No. 1, Postmodernism/Postcolonialism (Winter, 1995), pp. 139-140; Published by: Board of Regents of the University of Oklahoma; Stable URL: https://www.jstor.org/stable/40150959

Wednesday, October 21, 2020

What is Mextasy!? An Introduction to the Pop-Up "Circus of Desmadres" -- A Traveling Exhibition Coming Soon to a UC Riverside, and Perhaps, a Gallery, Museum, or University Near You!

Updated October 21, 2020 | Last updated September 22, 2020


Mextasy: Seductive Hallucinations of Latina/o Mannequins Prowling the American Unconscious is a traveling pop-up or gallery-based art show/exhibit based on the work of William "Memo" Nericcio and Guillermo Nericcio García. The traveling exhibition was originally curated by Leticia Gómez Franco for Casa Familiar, San Ysidro, California, and Rachel Freyman Brown, South Texas College, McAllen, Texas. Upcoming shows are UC Riverside (virtual via Zoom, thx Covid!) and the University of Detroit, Mercy (eventually). Recent exhibitions include shows at Iowa State University and the Nepantla Cultural Arts Center, Seattle, Washington--other noteworthy gigs include performances at Northwestern University, Wabash College, California State University, San Bernardino, and Franklin & Marshall College.

Mextasy both reflects on and expands upon Nericcio's 2007 American Library Association award-winning book with UT Press, Tex[t]-Mex: Seductive Hallucinations of the Mexican in America. In addition to racist artifacts from American mass culture (the bread and butter of Uncle Sam's unconscious and the backstory for the resurgence in anti-Mexican, anti-Latina/o peoples presently), the show also features works that is "xicanosmotic," that is, works by Mexican-American artists where the delicious fusion of the Mexican/US borderlands/frontera is writ large as in the deliriously delicious artistic tracings of Raul Gonzalez IIIPerry Vasquez, Rafaella Suarez, and Izel Vargas.

Visitors to this page interested in having MEXTASY invade their local gallery/university of choice should contact us here.

Sunday, October 18, 2020

Frederick Luis Aldama and William Nericcio LIVE via ZOOM : Talking #BrownTV: Latinas and Latinos on the Screen, Monday October 19, 2020 @ 12noon, Pacific Time

 

Saturday, October 03, 2020

Tuesday, September 22, 2020

Whiter Whites!? No! BROWNER BROWNS with Talking #BrownTV!

 



Why get your whites absolutely white when the future of our (possibly) beautiful world is brown, Brown, BROWN!?  

What am I talking...? I'm TALKING #BrownTV!!!  Add it to your fine lineup of Spring 2021 classes now and Fede and Memo might even do a drop in live Zoom-bomb of your class (for reals!) ...   TALKING #BrownTV, co-authored by Latinx phenom Frederick Luis Aldama and yours fave rabble rouser, William Nericcio.  

Sample the first pages of the book free here via NOOK: nook.barnesandnoble.com/products/9780814277447/sample?sourceEan=9780814255599  


or, via The Ohio State University Press: ohiostatepress.org/books/titles/9780814255599.html  

or via Bezos's evil (but convenient) amz: amzn.to/3ecVCJp or, a digital version of the same, via Kindle: amzn.to/2JUhzz1

Friday, September 18, 2020

Director's Cut! Selena Quintanilla/Chrissy Hynde (Pretenders) Piece for WOWEE ZOWEE @ HiLobrow.com | Back on the Chain Gang Becomes Amor Prohibido via Xicanosmosis

originally posted: 3/2/18 6:46 PM; repost 9/18/20 6:40am

Click to enlarge.
WOWEE ZOWEE
Selena, Amor Prohibido
William Nericcio

The silvery electronic synthesizers that open Selena's Amor Prohibido (1994) usher listeners into a lush (sweet, but not treacly) aural landscape every bit as unpredictable and split (between English and Spanish) as the South Texas coastal shores that gave birth to this singing goddess of conjunto and, after Cesar Chavez (or, maybe ahead of him) the most famous Mexican American superstar the United States has ever known.



Amor Prohibido (Forbidden Love) segues into No me queda mas (I have nothing left or nothing is left to me), a dreamy/sad meditation on loving and losing. The rest of the album is the stuff of memory, released just a few months before her callous assassination by Yolanda Saldívar, Selena's fan club president and agent for her fashion line in Mexico.

Selena's album's pièce de résistance, for me, however, is her cover / revision / rendition of the Pretenders' Back on the Chain Gang, here subjected to Tex-Mex metamorphosis by Selena and her band as Fotos y Recuerdos--the edge of Chrissy Hynde's cut is softened somewhat by the potentially cheezy synthesizer beat applied by Selena, but what emerges is actually a kind of conversation between the White American Rock and South Texas Tejano music, between the edgy pre-cursor to alternative rock and South Texas Chicano rhythms--you had no choice but to dance to the evocative catchy cadences of this next world beat, this mestizo magic.

 

Selena's title transformation also foregrounds what the Pretenders's version perhaps kept more obscure, the song a paean to nostalgia and memory (facilitated by a photograph, that most weirdly fetishistic and ubiquitous of objects).

When Selena's version was released I had recently moved to the West Coast from the chilly, barren enigma (to me) of Eastern Connecticut--I remember hearing Selena's Fotos y Recuerdos on the radio, as I bopped between Chula Vista and San Diego, San Ysidro and LA in my old 1980s-era VW Rabbit diesel. Here was a song that embodied what I came to call Xicanosmosis, (Chicana/o + Osmosis) where the jangling guitars and dangerous new wave crooning of Hynde and her band was force-fused with a decidedly "Mexican" consciousness--"Mexican" not Mexican, as it came from WITHIN the United States, from a South Texas borderlands with a mind (and wit, and language) of its own.

Selena's untimely death led to her short-term apotheosis onto the top of the music charts, but it also erased the possibility that her South Texas born/borne sound would dominate the ear-space (and the Zeitgeist) of the United States.
When JLo was chosen to play her in the requisite biopic (as if there was no difference between a Tejana and a New York Boriqua--you can imagine them in central casting "They both have big nalgas and speak Spanish"), something died, or better put, Selena died a second death--the unique charm and spark of a South Texas superstar silenced and elided a second time on the silver screen.

An edited, more pithy version of the piece above appears here, improved by the magic, pruning shears of Joshua Glenn, head agent at Hilobrow.com!