Friday, June 20, 2008

Birth of a Book


I just found, revived, spruced-up, and re-engineered the website for the 1998 SDSU English graduate seminar that gave birth to the whole notion of Xicanosmosis--a key "ghost" haunting the final, hopeful movements of Tex[t]-Mex: Seductive Hallucination of the "Mexican" in America.

Also, from 1998, a vintage year, now a decade past? The Beastie Boys and "Intergalactic."

Thursday, June 19, 2008

Hasta Los Gatos Kicks Ass!

More "Fun" With Ethnic Representation: Calling Lieutenant Uhura!

Without Breasts there is No Paradise

East Coast Boston reader Daphne Strassmann writes in to ask if I had ever heard about a show called Sin Senos No Hay Paraíso now playing on Telemundo--sadly, No! I had to respond....

How could such a treasure trove of hypersexualized Latino/a reality slipped under my radar. The show is an adaptation of the Sin tetas no hay paraíso, a hit in Colombia--here's part of the wikipedia skinny:
"Telemundo originally billed the show as "Sin Tetas No Hay Paraíso." The network was expected to soften the title, because many consider the word tetas a vulgar equivalent of the English word 'tits.' In the end, the word senos was used to avoid conflict with FCC regulators over indecent languange. Creator Bolivar said the change was a pity; he also said he toned down some scenes for the US telenovela format."
Here's the promo:



The opening credits with their metonymic transposition of female sexual spaces with Latin American geographic contours:



and a promo for the original series in Colombia:



Meditations on how all of this factors into issues of the contemporary Latina/o body politic is forthcoming.

All Black Italian Vogue Hits the Newstands! Next Up? An All Chicana Glamour! An All Mexican Details?


I have written about Steven Meisel's singular work here before and if the New York Times has got it right, and I trust that they do, he's done it again!

Wednesday, June 18, 2008

Comic Art Indigène!

A tip of the sombrero to Cal State Fullerton brainiac Chicano profe Alexandro Gradilla (frameable picture) for pointing my eyes and cursor to a new exhibit/website entitled Comic Art Indigène at New Mexico's Museum of Indian Art and Culture. From the catalogue: 

"As an art form, comics are poorly understood, underanalyzed, and under-utilized. Created to be disposable yet widely read, comics are often dismissed as primitive and juvenile. Nevertheless, a generation of Native artists has embraced comics as an expressive medium. It is only natural that this marginal art appeals to oftmarginalized indigenous people, for both have been regarded as a primitive and malignant presence on the American landscape. ¶Like American Indian cultures, comic art is amazingly complex and adaptive. As the first widely-accessible mass media, comics were consumed by Indian people as a recognizable form of storytelling; expressing cultural stories through pictures."

Ramond Gutierrez from UCRiverside is in the House

I just finished my visiting professor gig at UCR in Media and Cultural Studies this past Spring quarter--one of my ace students there, Ramond Gutierrez, did a fierce reaction piece to Alejandro González Iñárritu's Babel that I want to include here on the Tex[t]-Mex Galleryblog.

Part of the backstory: In class, I had argued that had González Iñárritu REALLY wanted to make a memorable film, he would have set the Gael García Bernal Tecate/Baja/San Diego sequences in Tokyo with a clash between Korean, working class, and Japanese, ruling class fresas, and have set the Japanese tower, high-rise, rico, suicidal, deaf, naked Japanese girl sequence in Mexico City--in a Mexican tower, etc. My rant had to do with expectations and the goals of a director in national cinema, my point being that I had seen drunk, Mexican criminality before, and I did not need to see it again, despite my odd affections for Gael!

In any event, here is the question from the exam and Ramón's magic response--in my view, it is as brave and honest as a post-movimiento Chicano can get:

The question asked to take two films that I haven't dealt with extensively in the previous two questions. Whether this was for the sake of keeping this assignment well rounded and all encompassing or simply out of some perverse desire to create a more challenging assignment I do not know. [the latter! WN]

Nevertheless I am going to focus on one film, which I have dealt with extensively-- Gonzalez Innaritu's Babel. I am not doing this to be some kind of maverick, or because my knowledge of the other films is lacking--I am doing this because I have very strong feelings regarding the way this film depicts life in Mexico in contrast to my own prejudicial and ignorant views of life in the country as an American born citizen of Mexican descent.

I first saw Babel months ago shortly after its initial DVD release. As a film student and a loyal Netflix subscriber I make it a priority to see as much film as possible. I hadn't seen much of Innaritu's work before. I tried to watch 21 Grams but I felt he went overboard with the editing and I wasn't able to gain any appreciation for the characters in the film so I fell asleep and never made a second attempt. Babel felt very familiar--not as jumpy as 21 Grams but keeping the same kind of "everything is everything" vibe that Syriana, and Crash delivered not too long before. As the story unfolded I immediately recognized the relationship between the rich white people and the Mexican housekeeper that I had come to know and love growing up as a poor brown child in Los Angeles.

(Tangent! I have now moved out of my parents house in Highland Park--an area dominated by liquor stores, taco trucks and serenaded by sirens and gunshots. I now live in the nice middle class white city of La Crescenta with two roommates, who are also the spawn of brown folk. We all work in the service industry and go to Universities. We dress nice, pay our bills, go out drinking, and study. We also have a maid who comes to clean our apartment twice a month. She works with her husband, all day long--cleaning the houses of those who are too lazy to clean on their own. She was recently released from the hospital and is now working more than ever to pay off the massive bills related to surgery. She has no health insurance--and I cannot for the life of me remember her name right now. Truthfully I am torn between a sense of pride that I have achieved such financial security that I am able to have a housekeeper whose name I cannot remember. How fabulously white of me! I am torn between that pride and a nagging shame/embarrassment that in a sense I have become what I grew up despising--a pinche gringo. It's a very strange feeling--one that I am probably too young to fully deal with. I forgot to mention that my housekeeper is Mexican--but that was probably considered to be a given.)

It was not until Amelia and Santiago whisked the Angelic little white children off to Mexico that I noticed how prejudicial I am when it comes to the way I think of the homeland of my ancestors. People actually live in Mexico. They go about their daily lives the same way people do in the United States. It was a major revelation for me. Innaritu does something fantastic as he shoots the border crossing--something that is both confoundingly simple and absolutely brilliant--he shoots what he sees. The camera does not lie. Steven Soderburgh is not painting the canvas of Mexico with a piss-yellow paint brush. It hit me like a punch to the stomach.

I realized that I--the son of a woman who crossed the border covered under blankets in the backseat of a station wagon--whose father provided for her by washing dishes until he wound up traveling the world as the owner of his own international business--that I, the son of a man who grew up as a second generation Mexican American in Bakersfield--identified more with the scared little white kids sitting in the backseat of the car than the brown Mexicanos driving it.

[here's the kids talking about their experience filming in Mexico]



I was scared for the kids. I've only been to Tijuana a handful of times and briefly but I can remember that each time I was uncomfortable and frightened. I felt like I did not belong there. "Mexico is dirty and dangerous--take me back to San Diego." So when I saw this scene for the first time it hit my ignorant pocho ass just how ignorant and just how pocho I am.

Growing up in the United States and being subjected to the elitist philosophy--that the rest of the world is comprised of a third world wasteland, has made more of an impact on me than I previously thought.

Going back to the conversation in class the other day about how you thought that it would've been braver for Innaritu to present the Mexican part of Babel with wealthy successful Mexican's rather than bow to the stereotype of Mexico being poor and dirty--I disagree.

As a Mexican it was much braver of Innaritu to show the dirt roads, and the chickens running around with their heads cut off. He wasn't trying to build up Mexican culture for the sake of shock value in the eyes of United States cinema-goers. He pointed the camera and he shot--as if to say "Yeah, people live like this in Mexico, and they on well enough--and fuck you if you don't like it." There was no bias, no hidden agenda--just the truth as seen through the lens.

So now do I understand what its like to live in Mexico?

Hell no. I still haven't the slightest clue of what it is like to be a Mexican in Mexico. My last name is Gutierrez and I have failed every Spanish class I've taken. Every Sunday night after I go out and get drunk with my half-Mexican, one-quarter-black, one-eighth Cherokee Indian, and one-eighth-white roommate (who is 5'7, with white skin, green eyes and long brown hair); we head over to the nearest taco truck. I let her order because her Spanish is better than mine. I am a server at a high end restaurant that just opened up in Glendale called Frida. It specializes in indigenous Mexican cuisine. We serve fifteen dollar tacos. At the end of the night as I'm walking out with two hundred dollars in my pocket, I toss fifty to my busser who has been cleaning my tables throughout the shift. He's about forty something, I don't know. I haven't bothered to learn his name, because the next night it'll be another faceless brown guy that I do a tremendous favor too by tossing him an extra five dollars over the three percent I am required to give him. I am such a great guy. Holding it down for La Raza. Maybe one day Innaritu will make a movie about people like me. Just point the camera and shoot. Now that would be scary.

Ramond Gutierrez, rguti007@student.ucr.edu

Memory Lane: The Hot Tamale Kid


When I was not scarfing down Milky Ways, reading comics, and pasting Wacky Packages to the good furniture in our house, I was probably at the candy aisle at Barrera's Stop & Shop in Laredo, Texas on Corpus Christi Street, buying more processed sugar and looking for more tasty morsels of inked gold! (more comics!). Occasionally, I would buy these "Mexican" laced goodies, "Hot Tamales" immortalized on Jason Liebig's flickr site. Little did I know that decades later I would be adding another chapter to my growing list of collectable "Mexicans." "Maria" meet "The Hot Tamale Kid"--a marriage made in heaven (at least a sort of Francis Galton meets Westworld heaven).

Speaking of Wacky Packages, here's one that had me rolling on the floor back in the day...


... and one that makes me cringe now...

Tuesday, June 17, 2008

Plastic Man in Mexico

Another vintage priceless commodity in the history of "Mexican" figuration in the Americas. Here, oddly, gringo comic side-kick to Plastic Man, Woozy Winks, seems to be collaborating with the gnarly and cruel "Mesican," Tricky Toledo!

94 Years Ago in the Funnies...

Wow!

Channel Your Inner Eugenicist

Michael Wyatt Harper is back in the house with a link to a site that basically allows you to design your own human. I don't know if this posting belongs here or on the Obscene Machine, so I am going to post it at both blogs.

tex[t]-mex signage


Quite a cool site!

Monday, June 16, 2008

While this Study Deals Exclusively with Erotic Stimulation...


While this study deals exclusively with erotic stimulation, no doubt some similar mechanism is afoot when it comes to stereotypes--an instance where the diverse and sundry concerns of Tex[t]-Mex and Eyegiene overlap (and communicate, no doubt, via osmosis).

Somewhat related and utterly believable!

Lupe Vélez and Rita Hayworth Glossies



Heritage Auctions is the best place to peruse the world of celebrity collectables--they have two new auctions this week with a couple of beautiful Rita Hayworth and Lupe Vélez artifacts; you can see samples here by clicking the images right or left. Better yet, peruse the Heritage site.

The Tex[t]-Mex Galleryblog on FACEBOOK!