MAS 265 Exam 3 study guide (unfinished)
MAS 265 Study Guide 13B: Historical Revisionism
La Calle's Chapter 7: “The Politics of Memory,” pages 153-¬176.
Pioneer Identity
John C. Fremont
Fremont House
Olga Otero Litel
Historic Zone Ordinance 3815
National Register of Historic Places
MAS 265 Study Guide 14A: United Farm Workers
These identification terms are taken from Part 2, Chicano documentary, “The Struggle in the Fields.” Cesar Chávez
- 11:00
- Distinguished looking, but soft spoken
- As the strike continued cesar chavez became more than a strike leader 20:00
- Decided to fast as an act of non-violence, angering many
Life of migrant farm workers before 1970
- Made little money
- No education
- Children worked in fields
- Long hours in hot fields, living in poor conditions
- Decided to make a 300 mile pilgrimage to Sacramento
Dolores Huerta
- 50:24
- She called misogony out, known as the dragon lady
Religious imagery and the United Farm Workers
- 26:00
- Used virgin of guadalupe to unite everyone into one raze, went to church before the march
- Angered growers, bc they saw themselves as good church going people
Art in the Chicano Movement
- 28:00
- It gave a voice to the sturggles
- Posters, murals, paintings, banners, plays
As you watch Part 2, Chicano, “The Struggle in the Fields,” pay particular attention to the following as we will revisit these questions in this module’s discussion.
- How did the mainstream press influence perceptions of the Chican@ Movement?
- What do we learn about the imagery, and/or art that Chican@s created to represent themselves and/or self-determination during the movement?
- What role did non-violence play the United Farm Worker’s organization efforts?
- Did Cesar Chavez build a union or civil rights movement?
MAS 265 Module 14B: Do “the Flowers Always Win”?
BOOK: Conclusion. Pages 177-188.
Sosa-Carrillo-Fremont House
- The heritage foundation's success in preserving the house confirms that Tucson's economic elite had the power to define institutionalized meanings to spaces
- Wanted to rename it to take fremont out bc he never actually stayed there,but a lawyer insisted he leased it out 181
- Changed it in 1992 to it's current name
Return on TCC investment
- La placita bombed, the hotel bombed, the community center went pretty unused
- The planners did not expect profit
Mexican Americans speak up now
- The events of the 60s have caused mexican americans to learn to speak up and fight back, taught them how the systme works
- Radical chicano movement surfaced in tucson
- They keep a close eye on development projects
The Flowers Always Win
Barrio Stories
MAS 265 Study Guide 15A: Latinx Urbanism
Read James Rojas's article, "Latino Urbanism in Los Angeles: A Model for Urban Improvisation and Reinvention."
Latinx Urbanism
- Latinos transforming inner-city neighborhoods into vibrant, reinvigorated places by retrofitting auto-oriented form to make it pedestrian friendly
Street Entrepreneurship
- Champurado street vendors 2
- Mom and pop shops
- Supermarket with free shuttles
- Vans
- Mango, elote vendors
- Selling of labor or goods
Retrofitting and reinvigorating places
- Cesar E Chavez memorial plaza bus stop 4
- Transforming vacant lots, intersections into mercados
- Outdated gas stations converted int taco restaurants
Latinx Front Porches
- Sofa in front porch
Boundaries bring people together
- Fences page 7 a new plaza
MAS 265 Study Guide 15B: Urban Agriculture
The following identification terms are from “The Garden” a documentary released in 2008. South Central Gardens (1992)
South Central Garden (2004)
Ethnic Tension in South Central
Environmental Justice
Positive aspects of Community Gardens
You might consider the following questions that form the core of our discussions for this module:
Rapid demographic changes has occurred in South Central LA after 1980. The area changed from being populated by mostly African Americans to a majority of Mexican and Mexican Americans. What evidence do you see of these changes in the documentary?
At the start of the semester, in Module 1B, a discussion post dealt with the issue urban gardening in Tenochtitlan. 500 years later, can you see any similarities with the South Central Farm as it pertains to quality of life issues?
MAS 265 Study Guide 16A: Latinoization of America
"Transnational Placemaking in Small-Town America"
The first two terms are from the PowerPoint.
Northward migration in Mexico
- In this class we have seen how oftentimes Mexicans have been invited to the U.S. to serve as labor.
- Policies such as NAFTA have influenced immigration.
- We cannot overlook economic factors where people look for a better jobs, lives and educational opportunities.
- Also, remember in one of earlier Modules where the railroads in Mexico during the later 19th and early 20th centuries were designed and constructed to move goods and people northward. People have been moving north in Mexico since the arrival of the Spanish.
NAFTA
- North American Free Trade Agreement (NAFTA), signed in 1994 by Mexico, the United States and Canada was a trilateral trade agreement reached between countries with unequal economies.
- •What did developed countries expect from signing an agreement w/ a relatively underdeveloped country?
- •The NAFTA agreement drew thousands to the border to work in maquiladora plants owned by U.S. companies that were able to tap into the cheap labor to build mostly electronic items that were then shipped to the U.S. and sold for a large profit.
Latino Immigration in Iowa
Transnational Spaces
- Transnationalism argues that immigrants maintain connections of finance and communication, cultural relationships, and some political relationships back and fourth between their home and host countries
- Mainly connected to socioeconomic opportunities
Remittances as transnational flows
- Page 1: summary
- Page 2: conflicts in efforts at placemaking emerging in small midwest towns, in nine midwestern states immigration has accounted for more than half the population increase since 2000, immigrants drawn by jobs resulting in drastically changed ethnic comps, some statistics, planning for latino communities in Iowa is planning at globalization influenced at federal level and local level
- Page 3: Transformation of labor from migratory to permanent and stable, meatpacking is hard and dangerous, latinos only ones willing to do it, meatpackers aggresively recruited latinos after restructuring of industry, beef packers began the shift of the workforce toward low paid, non-unionized workforce
- Page 4: Tyson plant stats
- Page 5: Three of the largest immigration raids in history took place in Iowa, Marshalltown is a town with a sophisticated Latino entrepreneurial sector
- Page 6: Raid in Potsville, a much smaller town, due to steady out-migration of younger population, many small towns in Iowa are experiencing commercial economic divestment, leading planners to view latino immigrant investment as a new resource, contributions
- Page 7: Importance of Marshalltown latino immigrant entrepreneurial sector, Potsville at time of raids were creating niche guatemalen markets, transnationalism and small-town America
- Page 8: Transnationalism in small towns
- Page 9: diversity committees, contentious planning issues, faith based institutions serve as important mediating organizations, many immigrants took refuge in a church during the raid, local colleges and universities
- Page 10: similarities in needs/wants of latino and non-latino students, how latinos are changing the cultural landscape by bringing new economic and social development opportunities
- Page 15: summary, Perry depiction of immigration heritage
- Page 13-14: different towns
Put in terms of the article, transnational communities involve connections of finance and communication, cultural relationships, and some political relationships back and forth between their home and host countries. Remittance by Latinos requires financial communication, and when this connection is broken, spaces revitalized by Latino entrepreneurship, tax revenues, and leadership in U.S. cities as well as spaces in Latin America benefiting from the remittances are suddenly unable to evolve and grow.
A Nation of (Im)migrants (2000)
- •11.1 percent of U.S. population was foreign born
- •This percentage still below the percentages of foreign-born people in the U.S. anytime between 1820-1920, a time known to have immigration.
- •Around the globe other nations also have large populations of immigrants. 10.1% of people in Netherlands, 11.3% in Sweden, 18.8% in Canada, 23% in Austria are foreign born. Almost all Alien(342)
- •Most migrants, internal and international, reap gains in the form of higher incomes, better access to education and health, and improved prospects for their children.
- •Every year, across the globe, more than 5 million people cross international borders to go and live in a developed country. http://hdr.undp.org/en/media/HDR_2009_EN_Complete.pdf
- •Most movement in the world does not take place between developing and developed countries. Indeed, it does not even take place between countries. The overwhelming majority of people who move do so within the borders of their own country.
Demographic changes in the U.S.
Border Population
- • Mexicans all across the interior follow the North Star, chasing the jobs. There are now four or five cities the size of Cleveland sitting right next door to the US, and 25 years from now as much as 40% of the entire Mexican population may be living on the border. (2001 Time Magazine)
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Maize
- •Before NAFTA, about 68% of the Mexican agricultural workforce and about the same percentage of cultivated land engaged in growing corn.
- •NAFTA, however, opened the doors to the import of corn from the U.S. to Mexico. In the U.S., farmers who grow corn receive multi-million dollar subsidies and other government supports. On a crop-by-crop basis, corn is the largest recipient of U.S. government subsidies. (agribusiness) NAFTA Revisited
- •After NAFTA went into effect, U.S. growers were able to undermine the price of maize in Mexico and it fell 70% between 1994 and 2001. The number of farm jobs dropped as well, and many of those who found themselves without work were small-scale maize growers. http://www.envio.org.ni/articulo/2676 These displaced workers looked for work elsewhere, they moved to the north and many eventually found their way into the U.S.
- In 2000, Canada concerned about US corn exports added extra duties on U.S. corn. They also banned U.S. exports that contained traces of Starlink corn, a biotech variety that, according to their research proved unsafe for human or animal consumption. http://www.organicconsumers.org/ge/starlinkstopped.cfm
- •Historically, the agricultural sector served as the repository for excess labor in Mexico. In essence, NAFTA has reduced the share of Mexicans workers engaged in agriculture, drastically reduced income and living standards of many southern Mexican farmers who cannot compete with the subsidized, artificially fertilized, mechanically harvested and genetically modified imports from the United States.
MAS 265 Study Guide 17A: A Chicano from Tucson
VIDEO: “LALO GUERRERO: The Original Chicano”
Chicano
Pachuco
Lalo Guerrero
Zoot Suit
As you watch the video consider this module’s discussion forum topics or questions.
Why is Lalo Guerrero's parody "There's no Tortillas" funny? Do you need to be a Mexican American to get the humor?
What information do we learn about Mexican Americans in the Media?
How does Lalo Guerrero's music expand our knowledge of Pachuco culture?
Why is Guerrero's song "Barrio Viejo" relevant to this course?
A new documentary airing on PBS stations nationwide explores the life of the man known as the father of Chicano music. Lalo Guerrero: The Original Chicano has been co-produced by the late musician's son. It's one of 13 films to be broadcast as part of a series of documentaries called Voices, which focus on the Latino history in the United States.
Reporter James Garcia of member station KJZZ in Phoenix reports.
JAMES GARCIA: Dan Guerrero says his father knew early in his career that his songs wouldn't be limited to traditional genres, such as Mexican corridos and doncheras(ph). Lalo Guerrero was born in 1916 and raised in Tucson, Arizona's Barrio Viejo, a world that was neither totally Mexican or American, but a blend of the two cultures that later came to be called Chicano.
Mr. DAN GUERRERO (Co-Producer, Lalo Guerrero: The Original Chicano): He is Chicano history, because he was of that kind of first generation. Whether you were in neighborhood in El Paso, or in Sacramento, at home it was Mexico. So it was that first generation that had to straddle that line - that we all straddle even today - hanging on to our Mexican culture and Mexican roots, and at the same time, we are Americans. We live here in the United States.
(Soundbite of music)
GARCIA: Guerrero managed to straddle Mexican and American culture during a career that reached across seven decades of performances and recordings. He wrote his first major hit in the late 1930s, Cancion Mexicana. It's regarded by some as Mexico's unofficial anthem.
(Soundbite of song "Cancion Mexicana")
GARCIA: In the 1950s, his love ballad, Nunca Jamas, or Never Again, was a hit for Mexican star Lola Bertrand. It was later covered by Jose Feliciano. In the 1980s and '90s, Guerrero would collaborate with the likes of Linda Ronstadt, Ry Cooder, and East Los Angeles band Los Lobos.
Mr. GUERRERO: Oh, my God. It is unbelievable. The older people will say, oh, Nunca Jamas, that beautiful ballad. I love that. And then little kids would go, oh, Papa's Dream, the CD he did with Los Lobos. The diversity of the music is unbelievable: ranchera, salsa, bolero, Tijuano, mariachi, comic, everything.
GARCIA: Guerrero's work also included pop music parodies, such as the English language crossover hit, Poncho Lopez, recorded in 1955. It spoofed the Ballad of Davy Crockett. And fans remember fondly a heartfelt tune he wrote after waking up hungry one morning.
(Soundbite of song)
Mr. LALO GUERRERO (Musician/Songwriter): (Singing) I love tortillas and I love them dearly. You'll never know just how sincerely.
GARCIA: At the height of his career, Guerrero performed in classic Westerns such as Gene Autry's Boots and Saddles in 1935, and in the 1945 film Arizona, starring William Holden. He appeared on television as comedian Paul Rodriguez's sidekick on a short-lived talk show in the early 1990s. And it was about that time when Guerrero offered up these biting comments.
(Soundbite of applause)
Mr. L. GUERRERO: (Singing) I think that I shall never see any Chicanos on TV.
(Soundbite of laughter)
Mr. L. GUERRERO: (Singing) It seems as though we don't exist. And we're not ever even missed.
(Soundbite of laughter)
GARCIA: Ethnomusicologist Peter Garcia, a professor at Arizona State University, says that while Guerrero was rarely overtly political, his music reflected an activist spirit.
Professor PETER GARCIA (Arizona State University): I don't really see him, you know, as being Chicano in the militant sense. But I would say that he was Chicano certainly in his sense of resistance in the terms of struggles, in terms of trying to assimilate into society.
GARCIA: In the 1960s, Guerrero took note of the California farm workers' struggle against big agriculture. In honor of the movement led by civil rights activist Cesar Chavez, Guerrero wrote the folk ballad El Corrido De Delano.
(Soundbite of song "El Corrido De Delano")
GARCIA: The musician's career hit a lull in the mid '60s, but Guerrero's work was rediscovered almost a decade later by playwright Luis Valdez, who featured Guerrero's World War II-era compositions in the Broadway play Zoot Suit. The jazz-laced boogie-woogie tunes were inspired by the culture of the pachucos, flashy dressing barrio delinquents.
Mr. LUIS VALDEZ (Playwright): The music of Lalo Guerrero is the music of the zoot suit era. It is the voice of the pachucos set to music, set to song, to rhyme. If it hadn't been for Lalo, we wouldn't know the sound of the pachuco dialect, the patois, because he saw it as an artist, as a musician back in the 1940s and recorded it.
(Soundbite of song)
GARCIA: Among Guerrero's many accolades, the Smithsonian named him a national folk treasure in 1980. And President Clinton presented him with a Medal of Arts Award in the 1997 White House ceremony that included Stephen Sondheim and jazz icon Lionel Hampton. Guerrero died March 18, 2005 at the age of 88.
Los Angeles filmmaker Nancy De Los Santos, who co-produced the Guerrero documentary, says that while many in the United States may not have heard of the Chicano composer, his work deserves a place in the annals of American music history.
Ms. NANCY DE LOS SANTOS (Co-Producer, Lalo Guerrero: The Original Chicano): There's this wonderful Aztec saying that said, we die three times - the first when our body dies, the second when our soul leaves our body, and the third, which is the worst way in the Aztec belief to die, is when people forget you. And I just didn't want anybody to forget Lalo Guerrero.
(Soundbite of a song)
GARCIA: The documentary, Lalo Guerrero: The Original Chicano, is being broadcast on select public television stations nationwide through mid-November.
For National Public Radio, I'm James Garcia in Phoenix.
Guerrero was born in Tucson, Arizona, one of 21 siblings (although only nine survived). His father worked for the Southern Pacific Railroad. Guerrero left his hometown to pursue his dream in music. He says that he gives his mother all the credit for his musical talent, and Guerrero said she taught him to "embrace the spirit of being Chicano".[3] Guerrero, in time exceeded even his wildest dreams as a musician, writer and performer for more than six decades, gaining worldwide recognition as the father of "Chicano Music". His first group, Los Carlistas (the quartet included Greg "Goyo" Escalante, Chole Salaz and Joe Salaz), represented Arizona at the 1939 New York World's Fair, and performed on the Major Bowes Amateur Hour on radio.
He moved to Los Angeles in the 1940s, and had a few uncredited roles in movies, including Boots and Saddles and His Kind of Woman. He recorded for Imperial Records and fronted the Trio Imperial. He also formed his own orchestra and toured throughout the Southwest. He performed at the La Bamba club in Hollywood, a place frequented by the biggest stars in the movie business. In the 1960s, he bought a night club in Los Angeles and renamed it "Lalo's". In the 1940s he became a friend of the Ronstadt family of Arizona, in particular Gilbert Ronstadt, father of popular vocalist Linda Ronstadt. Linda recalls childhood memories of Guerrero serenading her. At his funeral, Linda sang a traditional Mexican song in tribute.
Guerrero is known as the father of Chicano music.[4] He recorded and wrote many songs in all sorts of genres. He recorded over 700 songs since his first record in 1939 with Los Carlistas on Vocalion Records. As a songwriter Guerrero wrote songs for El Trio los Panchos, Lola Beltran and many other famous artists.
His first American hit was "Pancho López", a parody of the popular 1950s hit "The Ballad Of Davy Crockett". Guerrero used the Davy Crockett melody and wrote his own lyrics, telling the story of a legendary Mexicancharacter. The song was popular in both Spanish and English[citation needed]. However, due to criticism Guerrero received over this song, he never performed it publicly, not wanting to contribute to an inappropriate stereotype. Guerrero went on to record several more parody songs, including "Pancho Claus," "Elvis Perez," "Tacos For Two" (to the tune of "Cocktails For Two"), and "There's No Tortillas" (to the tune of "O Sole Mio"). Guerrero's earliest Pachuco compositions of the 1940s and 1950s were the basis of the Luis Valdez stage musical, Zoot Suit.
He also wrote songs about Cesar Chavez, other farm workers and braceros. Chavez said at tribute to Guerrero in 1992 in Palm Desert, California: "Lalo has chronicled the events of the Hispanic in this country a lot better than anyone."[5] He worked closely with Chavez for farm workers' rights and lent voice to the movement with the song, "No Chicanos On TV."
He also wrote children's songs presented via his "Las Ardillitas," or "Three Little Squirrels", a Latin-American version of Ross Bagdasarian's "Alvin and the Chipmunks". In 1995 he recorded a children's album Papa's Dream with Los Lobos.[6]
In 2005, Guerrero was one of several Chicano musicians who collaborated with Ry Cooder on Cooder's Chavez Ravine album, for which he provided vocals on three songs ("Corrido de Boxeo", "Los Chucos Suaves", and "Barrio Viejo") which helped bring him, at the twilight of his life, to the attention of a wider Anglo audience. Guerrero recorded his last full CD on Break Records, a Los Angeles-based record label, this at age 83. This would become his last music CD. The recording is a collection of Guerrero's best "Zoot Suit" compositions of Latin swing "Pachuco" music. The music CD was produced by music producer Benjamin Esparza, one of Guerrero's trusted friends during his last years. The Musical CD contained new recordings of his 1940's "Pachuco" swing music which was used in the Broadway play and Universal Pictures movie "Zoot Suit". The play was written and directed by Luis Valdez. The CD "Vamos A Bailar-Otra Vez"[7]was produced by Esparza and Justo Almario of Break Records.
Guerrero was officially declared a national folk treasure by the Smithsonian Institution in 1980[citation needed] and was presented with the National Medal of Arts in 1996 by then United States President Bill Clinton. In 1991 Guerrero received a National Heritage Fellowship from the National Endowment for the Arts, which is the United States government's highest honor in the folk and traditional arts.[8] In late 2005 Guerrero was posthumously inducted into the Arizona Music and Entertainment Hall of Fame. Along with that he was also inducted into the Tejano Hall of Fame and the Mariachi Hall of Fame.[9]
Guerrero's contributions have resulted in Las Glorias, a restaurant in central Phoenix, Arizona displaying a poster of him with his signature on it on the wall for everyone to see in loving memory of him. He also has a blown-up,candid photograph of him as a young man on the wall of a major underpass in Tucson. In Cathedral City, California, the main street in front of the Civic Center is named for him: Avenida Lalo Guerrero. All official city documentation contains Lalo's name in the address.
Guerrero was married for over 34 years to his wife Lidia Guerrero. They both lived in Cathedral City, California for over 28 years. Guerrero died on March 17, 2005, in Rancho Mirage, California. He was 88 years old.
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