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Viewing: Blog Posts Tagged with: goth, Most Recent at Top [Help]
Results 1 - 8 of 8
1. Why Halloween Doesn't Matter Anymore

Happy Halloween! 


It used to be my favorite holiday. Seriously, over Christmas. Who needs gifts when you can dress up into your wildest fantasy? That's what I used to think. 

The question I ask myself this morning, on Halloween, is:

The image on the left was painted in 1996. I was in 8th grade, obsessed with the movie "The Crow", listening to heavy metal,  and addicted to Gen 13 and Witchblade comic books. I believe it was around that time I dressed like the Catwoman from Batman Returns for Halloween. Whip and all. Yep, I thought I was quite the bad girl. I hid behind a made up character I named "Raven", who I drew all the time, made stories for, and just simmered there. Angry and lost.



She followed me all through high school and into my freshman year of college.

1997
1998
1999

In college she began to morph, just a little. And although I invented other stories to hide myself behind, she was always there. I tried so hard to hold on and not forget who I thought I was.

2003 - Heavily into Manga and still learning watercolor

2004 - Style used for my senior project in college.

When I left college the real soul searching started. I continued to practice witchcraft, but grew in my watercolor and figure drawing skills. I entered into some really difficult relationships, did my years of exploring the night life, and hit rock bottom.

Enter the church. Now wait, don't jump the gun yet. There was LIGHT. I lived in the shadows so long, it was refreshing and very unexpected. I was skeptical but continued to find faith in it. I always had faith I would find LOVE. Find TRUTH. Find WHO I WAS. Who I AM. 

I can't paint the darkness like what's above anymore. I try, and this is what happens:



This image (just below), after many years of searching, is the truth of who I am. I hide behind masks to protect my heart, but it's golden because I am a child of light, the daughter of He who is LIGHT. I wander through the night, not because I am lost, because I'm hunting evil and snuffing it out to make the night safe and beautiful. I have wings so that I can fly, because I am free. These are the truths I have learned through the years, and it is because of these truths I can not go back. I am glad that Raven is now a face who smiles, who comforts, who flies in to bring LIGHT. Not death, pain, or sadness. 


So Halloween you say? Sure, I'll dress up, I'll laugh and find the joy in it, but the holiday used to have such meaning to me - freedom to hide. I think today as we celebrate dressing up and scaring away ghosts and goblins, I see myself as a warrior who doesn't need to hide anymore behind costumes, it doesn't matter anymore. So, I'll happily eat some zombie finger pretzels and begin to look forward to Christmas, when family, love, light, and joy are all dancing about. 


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2. Special Edition - RAVEN'S EVE

Raven's Eve - 2005
RAVEN'S EVE was painted in 2005. It is one of the last pieces in my 'dark' period, where I painted many vampires, gothic heroes, and my palette consisted of many reds, blacks, blues, and more blacks.

Grab this Special Edition print on my Etsy shop: https://www.etsy.com/listing/204576124/halloween-wolf-art-print-full-moon

She will be available until my birthday on November 19, 2014.

RAVEN is a character I designed in high school, who followed me all the way out of college. She was created after viewing the movie "The Crow", and was my way to express the depression and loneliness I was feeling at the time. Most teens do. Since her beginning she has come a long way.

Raven lost everything very young, including her soul. She spent years searching for purpose, looking for a way to fill the void within her heart, but finds no relief. She is immortal, but not fully vampire. She was human, but now there isn't a word for what she is. Raven has been a hired assassin...as her void and depression allow her to null out the emotions, and she has fought for justice as well. She is neither good or evil. 

This character is no longer needed in my life. I found the missing piece I was searching for, and it was and is Jesus. Love. When I painted this piece I was starting to transition from a practicing witch to a practicing follower of Christ. Surprisingly, it wasn't that big of a leap for me, as my story led perfectly into His.

The piece RAVEN'S EVE symbolizes her strength and confidence in who she is at the time she was painted. The wolves symbolizing gentleness, wisdom, and maybe some purity. The daggers...well....we all sin every day and they represent that. But also death, death to the old self...the self that has already been dead for so long.


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3. Three "Goth Waldorf" Roses and One Bat Gnome

It's Crafty Thursday! I have four dolls to share with you today.I imagine the "Goth Waldorf Roses" as a group of creatively-inclined high school girls. Black Rose loves to make music, Blue Rose loves to write plays, and Purple Rose loves to paint pictures and tie-dye clothes. (They are nothing like that book series by what's-her-name. If you don't know what I'm talking about, you've made me happy

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4. goth girl

oh, valencia!

On Tuesday, I saw this girl on the train.

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5. Interview with Juan Felipe Herrera



Gente: La Bloga is fortunate enough to have an interview with Juan Felipe Herrera, whose life's work has been the poetry of sinew and bone, of La Raza, of people's movements and people's poetry, and whose new book was profiled in La Bloga.

But before you drink in our conversation, take a look at some info about his latest work -- a remix/compilation of truly razor-sharp and brutally beautiful writing.

And if you haven't read my review, take a look here.


From City Lights Publishers:
187 Reasons Mexicanos Can’t Cross the Border:
Undocuments 1971-2007
by Juan Felipe Herrera
February 15, 2008
ISBN: 978-0-87286-462-7 $16.95


1. This newest book, 187 Reasons Why Mexicans Can't Cross the Border is a collection of a life's work in many ways. Some reviewers have described you as a moviemento elder statesman. What's your thoughts on that description?

Elder statesman...ha! Well, if the movimiento was still alive...Things have changed, the Chicano Movimiento probably started when Cesar Chavez went on strike in McFarland, Ca., with the rose workers in 1964 and it ended about ten years later when Luis Valdez's Teatro Campesino gave its last debut in Mexico City at the TENAZ International Teatro Festival, the same year Gary Soto inaugurated his first book, The Elements of San Joaquín, which signaled a new trajectory in our poetics.Rather than a movimiento, since '74, we have streams, fugues, variations, implosions, counter-currents all at the same time.

The upside/downside?
There's no up or downside to it.

Given that, what's the importance for you in mentoring younger voices?

Mentoring is most important aspect for me. teaching and learning at the same time, expanding our thinking, and our action, our sense of community and self.


2. What do you think is the poet's responsibility to make social commentary, particularly in the current anti-immigrant (read Mexican) climate?

As a Chicano and person of color, it is part of my poetics to respond to and transform and transcend the negative, narrow and easy explanations, summations and projections of who we are. Oddly, we are perhaps the most misunderstood ethnic group in the U.S. To begin with, we are not immigrants. To end with, a Mexican is always connected to the indigenous history of the Americas.

And given your perspective, do you have a particular spin on what constitutes 'Mejicano/Chicano (a) themes?

There are no themes...they are all in flux... perhaps a most pertinent theme today is that of going beyond ethnicity and history without foregoing an activist perspective. Something is askew if only the military, corporate trade systems and the internet are global and the rest of us, in particular ethnic enclaves operate in closed communities and political segments.


3. There's been a critique swirling around concerning spoken word for a while -- that many times it ends up limiting and ghettoizing poets, particularly younger poets, who do not develop a critical grasp on other genres. Can you comment?

Spoken word has its own cultural systems, canons, genres, institutions, actors and audiences which generate its values. Academic poetry, although related, is another cultural arena and another class sector. The less borders between these is best.

Another way to put is that Spoken Word by its very nature is public, oral, interactive, spontaneous, experimental and subversive. Because of these transgressive and explosive qualities, Spoken Word thrives at the margins. Otherwise, it would be more like its fair-haired cousin, text-centered academic poetry, which lives closer to the center of the literary capitalist paradigm, more or less. The problem arises when poets begin to quote themselves and cease to speak and also, as you say, loose touch with the larger world of conversations and silences.


4. What are your ongoing sources of inspiration?

I don’t rely on specific inspiration sources. All is inspiration – twigs, people, clouds, shapes, names, words, sounds, colors and forms. Nature and culture are just two of thousands of possible channels of and for inspiration. Deep inspiration probably comes from the unnamable. That is why we want to write it, even though it is impossible.

Something like love.


5. How does your relationship to family feed your creative and personal life?

My familia provides contrast, balance and a natural and organic play of feedback to my life as a whole. This is more significant and meaningful than providing thinking-talk-feedback to my writing. Deep and sincere relationships are at the core of creative life. Without these, we are just fooling ourselves and others.


6. Where would you like to see your work evolve over the next ten years?

I just finished a writing a musical for young audiences, Salsalandia, for the La Jolla Playhouse.It is touring – with a beautiful cast and production crew – throughout the schools and communities of my hometown, San Diego. I am thrilled by this.

The play is about a White & Mexicano “blended” family and it is about loss and painful border realities. Yet, it is funny, serious -- there are songs and dances and deep journeys all in the mix. Cristian Amigo composed the music – we had worked together in Upside Down Boy, the first Latino musical for children in New York. I want to write more theatre, and also, for dance and possibly opera. Pavarotti is one of my heroes. So is Lanza – whom my mother loved. Imagine, my campesina mamá? And all the great Italian composers.

Musicals, children’s animation and opera – here I come!


7. Who are some of your favorite poets and why does their work resonate for you?

The Post War Poets of Poland and Middle Eastern Europe move me – Rózevicz, Szymborska, Herbert, Celan, Rodnoti, to name a few. Because they speak of brutality with clear boldness, wet hearts, and razor-sharp precision. We are in such a time. Our words must not get over-excited or too under-stated. We must navigate between archipelagoes of world kaos, natural beauty, suffering lives and global military order. To do this, we must be daring, tender, unyielding and precise as rain.


8. Tell us something not in the official bio.

I have always been a clown. I love solitude. The most simple things in the world move me to tears -- like clouds, mountains, an elder woman crossing the street, the voice of sincerity.

I have been a cartoonist since 8th grade. Water is my favorite drink with fresh-squeezed lime juice. I have five Sharpei dogs – Rocko, Tai, Pei-Pei, Lotus and Duddy Li.

Lisa Alvarado

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6. Palabra Pura News -- New Latino Poetry on Tour

Palabra Pura, Chicago's home for cutting edge, innovative Latino poetry is evolving in exciting ways, with its 2008 calendar of stellar talent solidly in place. While still basing itself at the California Clipper, Palabra Pura will begin to also hold events at Latino venues throughout the city. This month, join nationally know poet and performer, Tim Z. Hernandez and Chicago actor, poet and activist, Stephanie Gentry-Fernandez.


Wednesday,
February 20th. 8 pm
Decima Musa Restaurant
1901 S. Loomis, St.
Chicago, IL

About the poets:
Tim Z. Hernandez is a writer and performer originally from central California. His writing and performance texts have appeared in numerous anthologies and publications, and his performances featured at prestigious venues across the nation, including: LA’s Getty Center Museum, The Loft Literary Center in Minneapolis, Stanford University, and the Jack Kerouac School of Disembodied Poetics. In the past, he has been commissioned by major groups such as the United Way of Greater Los Angeles to write and perform his original plays on issues of homelessness and poverty. Currently, he’s working in tandem with Poets & Writers Inc, and California Center for the Book, offering bilingual poetry workshops across the United States.

He is the recipient of several notable awards including: 2006 American Book Award for his debut collection of poetry Skin Tax, San Francisco Foundation’s James Duval Phelan Award, a Best Solo Production Award for his one man show, Diaries of a Macho, and the Zora Neal Hurston Award for writers of color dedicated to their communities.
In the interest of artistic development, Hernandez’s focus is on excavating stories that bring to light the limitless potential of the human capacity, stories of physical and metaphysical journeys, with special attention to marginalized populations. When he’s not busy teaching creative writing and performance, he’s touring the country, collaborating with his word-music-theater collective, Brown Lotus, and offering workshops to Universities, arts groups, cultural centers, foundations, and libraries. Tim holds a B.A. in Writing & Literature from Naropa University, the first accredited Buddhist School in the west.

Currently, he resides in Boulder, Colorado with his wife and two daughters.

What People Are Saying About Tim Z. Hernandez

"Tim Hernandez is one of the finest and most exciting new talents to emerge from the new generation of Latino writers!”- Bloomsbury Review, Ray Gonzalez

“It’s too reductionistic to call Tim Hernandez a performance poet…though his voice and rhythms surely benefit from the energy behind a microphone, the complexity of his ideas merit the slower pace study made possible through the written pages of Skin Tax.” - El Paso Times Book Review Rigoberto Gonzalez

“Tim Hernandez is a dynamic force as a writer and performer!” - Gary Soto Author of, Nickel & Dime

“Hernandez is a poet of obvious and quickly realized skills…his images are brilliant, sharp, and concise, his language spare yet rich. Poetry of the here and now, Brown Lotus is the kind of task that should have been undertaken long ago!” -Amiri Baraka, Author of, Transbluesency

“I like Tim’s boldness, his willingness to be raw and trust the content of the poem to make it real and legitimate, his words sizzle and spark with excitement, targeting with a relentless passion his desire to express what he is trying to convey.” - Jimmy Santiago Baca, Author of, A Place To Stand

“[Tim Hernandez] …represents a whole new direction in the Latino literary world!” - Juan Felipe Herrera, Author of, Notebooks of a Chile Verde Smuggler, and 185 Reasons Mexicans Can't Cross the Border

“[Skin Tax] is poetry not for delicate sensibilities, unafraid, it dares to stand out and speak of subjects commonly eschewed by other poets.” - Midwest Book Review

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Stephanie Gentry-Fernandez is a poet and performer from the South Side whose male side you may recognize from Teatro Luna's recent production of "Machos." She has a deep personal commitment to anti-oppression work and currently works at the Broadway Youth Center.

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Letras Latinas, The Wind Shifts and a National Tour!


Letras Latinas, The Guild Complex, and the University of Arizona Press
are proud to present

The Wind Shifts: New Latino Poetry ON TOUR

“In the hour of extremes, long live these brave wordsmiths of American letters.”
— Sandra Cisneros

February 23, 2008, Palm Beach, FL
@The Society of the Four Arts

Eduardo C. Corral

Kevin A. Gonz
ález

Sheryl Luna


May 31, 2008, Minneapolis, MN
@The Loft Literary Center

Urayoán Noel

Carl Marcum

Adela Najarro

Emmy Pérez


September 25, 2008, Seattle, WA
@Richard Hugo House

Richard Blanco

María Meléndez

Steven Cordova

Deborah Parédez

The Wind Shifts: New Latino Poetry ON TOUR” is supported in part by the Ford Foundation, JP Morgan Chase, the Andy Warhol Foundation for the Visual Arts and Southwest Airlines through a grant from the NALAC Fund for the Arts.

Letras Latinas is the literary program of the Institute for Latino Studies at the University of Notre Dame. The Guild Complex is a community-based literary organization in Chicago.

The Wind Shifts gathers, for the first time, works by emerging Latino and Latina poets in the twenty-first century. Here readers will discover 25 new and vital voices including Naomi Ayala, Richard <!--- inline quote --->

Blanco, David Dominguez, Gina Franco, Sheryl Luna, and Urayoán Noel.

The writers included in this volume have published poetry in well-regarded literary magazines. Some have published chapbooks or first collections, but none had published more than one book at the time of selection. This results in a freshness that energizes the enterprise. Certainly there is poetry here that is political, but this is not a polemical book; it is a poetry book. While conscious of their roots, the artists are equally conscious of living in the contemporary world—fully engaged with the possibilities of subject and language.
The variety is tantalizing.

There are sonnets and a sestina; poems about traveling and living overseas; poems rooted in the natural world and poems embedded in suburbia; poems nourished by life on the U.S.–Mexico border and poems electrified by living in Chicago or Los Angeles or San Francisco or New York City. Some of the poetry is traditional; some is avant-garde; some is informed by traditional poetry in Spanish; some follows English forms that are hundreds of years old. There are love poems, spells that defy logic, flashes of hope, and moments of loss. In short, this is the rich and varied poetry of young, talented North American Latinos and Latinas.

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ABOUT THE ANTHOLOGY

“In the hour of extremes, long live these brave wordsmiths of American letters. Hallowed be the poets when the news is diffused in the name of susto. Viva the citizens of truth. Hallelujah the devotees of language, the languished souls enamored of the syllable.” —Sandra Cisneros, author of The House on Mango Street

“The poets in this anthology seem as though they just want to write poems, not specifically Latino poems. They are much too cross-pollinated for that—we all are, if truth be told—which is what makes that synthesis possible, the marvelous marbling at the core." —Aleida Rodríguez, author of Garden of Exile

“Here it is again, the shock of the new, eager as always to unsettle the present, to reconfigure the past while redefining the future. Ah, the impetus of the young!” —Ilan Stavans

“At last, a 21st century anthology that confirms the breadth and depth and diversity of contemporary Latino/a writing. The poems in this collection defy any stereotypes about ‘Latino poetry’ and testify to the rich variousness of the American Latino/a experience. Readers—rejoice!" —Valerie Martínez, author of Absence, Luminescent and World to World

“With jagged beauty, this collection expands our consciousness—documents and honors lives often absent from American poetry. In these pages, we join souls in struggle, almas luchando." —Pat Mora

"The title of the ravishing collection of poems by 25 Latino and Latina writers can be read as an allusion to change and to the fact that poetry is a force, like wind, that knows know borders. Whether inspired by family, love, despair, poems by Rilke, or a painting by Jose Clemente Orozco, the poets gathered here are involved in the infinite possibilities of language."
Booklist

"This is a compelling and exhilarating addition to Latino letters."� El Paso Times

Lisa Alvarado

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7. RAULSALINAS DIES

From Our Friends at The Border Book Festival

Dear BBF Friends,

Raul Salinas, known as raulsalinas, that great human being, transformed by
life and fire, has died. Raul was a featured poet at the Border Book
Festival in 2000. It was a memorable performance as Raul danced, sang and
gyrated through the power of his words his English, Spanish and Xicanindio.

His life was hard, yes, as he was incarcerated for many years in U.S.
prisons, but those who knew and loved him saw his transformation into a
light indescribable--beatific, really. We celebrate his great beauty and
his gifts of spirit and words.

We will display his portrait taken by Daniel Zolinsky starting this
Saturday, February 16 at 7:00 p.m. at a reception at the Cultural Center de
Mesilla for The Love of Arts Month. The evening will feature the portraits
of 14 BBF Artists taken by Zolinsky.

In addition, we will offer a program of poetry by Multilingual poets of the
Ages with readings in English, French, Spanish, Urdu and Bengali by featured
readers: Dr. Richard Rundell, Dr. Jan Hampton, Jorge Robles, Denise Chavez,
Sudeshna Sengupta and Ayesha Farfaraz. Musicians Bugs Salcido on guitar and
Debarshi Roy on sitar will also join us.

Please join us as Raul has made his way to the Ancestors.

This message comes to us from our friends in San Antonio:

"Words, sounds, speech, men, memory, thought, fears and emotions, - time -
all related...all made from one..all made in one" - John Coltrane

Elder statesmen, Xicanindio leader, poet of the people, giver of hope to the
oppressed and incarcerated, Raul Salinas passed away last night in Austin,
Tejaztlan.

Raul will be greatly missed. His work, poetry, and philosophy will live on
in the good works of poets, artists, musicians and cultural centros
throughout America. His spirit we lead us all and help us to survive and
thrive in difficult times.

His words/poems should serve as maps for us all in our quest to keep
culture, heritage and tradition alive in our barrios, cul de sacs, suburbs,
ranchos...wherever you/we live.

Thank you, Raul. You have blessed us all.

Manuel Diosdado Castillo, Jr.
San Anto Cultural Arts

A BIO OF RAUL SALINAS

Raúl Roy “Tapon” Salinas was born in San Antonio, Texas on March 17,
1934. He was raised in Austin, Texas from 1936 to 1956, when he moved to Los
Angeles. In 1957 he was sentenced to prison in Soleded State Prison in
California. Over the span of the next 15 years, Salinas spent 11 years
behind the walls of state and federal penitentiaries. It was during his
incarceration in some of the nation’s most brutal prison systems, that
Salinas’ social and political consciousness were intensified, and so it is
with keen insight into the subhuman conditions of prisons and an inhuman
world that the pinto aesthetics that inform his poetry were formulated.

His prison years were prolific ones, including creative, political, and
legal writings, as well as an abundance of correspondence. In 1963, while in
Huntsville, he began writing a jazz column entitled “The Quarter Note”
which ran consistently for 1-1/2 years. In Leavenworth he played a key role
in founding and producing two important prison journals, Aztlán de
Leavenworth and New Era Prison Magazine, through which his poetry first
circulated and gained recognition within and outside of the walls. As a
spokesperson, ideologue, educator, and jailhouse lawyer of the Prisoner
Rights Movement, Salinas also became an internationalist who saw the
necessity of making alliances with others. This vision continues to inform
his political and poetic practice. Initially published in the inaugural
issue of Aztlán de Leavernworth, “Trip through a Mind Jail” (1970)
became the title piece for a book of poetry published by Editorial Pocho-Che
in 1980.

With the assistance of several professors and students at the University of
Washington - Seattle, Salinas gained early release from Marion Federal
Penitentiary in 1972. As a student at the University of Washington, Salinas
was involved with community empowerment projects and began making alliances
with Native American groups in the Northwest, a relationship that was to
intensify over the next 15 years. Although Salinas writes of his experiences
as a participant in the Native American Movement, it is a dimension of his
life that has received scant attention. In the 22 years since his release
from Marion, Salinas’ involvement with various political movements has
earned him an international reputation as an eloquent spokesperson for
justice. Along the way he has continued to refine and produce his unique
blend of poetry and politics.

Salinas’ literary reputation in Austin earned him recognition as the poet
laureate of the East Side and the title of “maestro” from emerging poets
who seek his advice and a mentor. While his literary work is probably most
widely known for his street aesthetics and sensibility, which document the
interactions, hardships, and intra- and intercultural strife of barrio life
and prison in vernacular, bilingual language, few people have examined the
influence of Jazz in his obra that make him part of the Beat Generation of
poets, musicians, and songwriters. His poetry collections included
dedications, references, and responses to Alan Ginsberg, Jack Kerouac,
Charles Bukowski, Charlie Parker, Herschel Evans, Dizzy Gillespie and Miles
Davis, for example. Academics have primarily classified Salinas as an
important formative poet of the Chicano Movement; yet, while he may have
received initial wide-scale recognition during the era, it would be unfair
to limit a reading of his style, content, and literary influence to the
Movement.

There were many dimensions to Salinas’ literary and political life.
Though, at times, some are perplexed at the multiple foci of Salinas’
life, the different strands of his life perhaps best exemplify what it means
to be mestizo, in a society whose official national culture suppresses
difference: his life’s work is testimony to the uneasy, sometimes violent,
sometimes blessed synthesis of Indigenous, Mexican, African, and
Euro-American cultures. Salinas currently resides in Austin, Texas, were he
is the proprietor of Resistencia Bookstore and Red Salmon Press, located in
South Austin. Arte Público Press reissued Salinas’ classic poetry
collection, Un Trip through the Mind Jail y otras Excursiones (1999), as
part of its Pioneers of Modern U.S. Hispanic Literature Series. He is also
the author of another collection of poetry, East of the Freeway: Reflections
de Mi Pueblo (1994).

Salinas resided in Austin, Texas, were he was the proprietor of Resistencia
Bookstore and Red Salmon Press, located in South Austin. Arte Público Press
reissued Salinas’ classic poetry collection, Un Trip through the Mind Jail
y otras Excursiones (1999), as part of its Pioneers of Modern U.S. Hispanic
Literature Series. He is also the author of another collection of poetry,
East of the Freeway: Reflections de Mi Pueblo (1994).


En paz descanse. May he rest in peace.

Lisa Alvarado

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8. Spoken Word, Borders and Juan Felipe Herrera


187 Reasons Mexicanos Can’t Cross the Border:
Undocuments 1971-2007
by Juan Felipe Herrera
November 15, 2007

ISBN:
978-0-87286-462-7 $16.95













Congress debates immigration legislation, Americans grow more polarized in their opinions, and Juan Felipe Herrera provides a fresh and accessible perspective on this crucial human rights issue through this collection of his poetry, prose, and performance.

Catch the 187 Express!
Addressing immigration issues with dynamic innovation, the 187 Express tour launched on Nov. 15, 2007 at City Lights Books in San Francisco.

Herrera, frequently accompanied by guest artists, will present a mix of spoken word performances, music, and poetry throughout the Border States and up and down California.

Herrera has spent the last three and half decades assembling the collection found in 187 Reasons – at rallies, walkouts, under fire and on the run, in cafés, under helicopters and in the midst of thousands of marchers for civil rights and new immigration policies.

Raised in the fields of California in a family of migrant workers, Herrera has blended art and activism for over 30 years as a pioneer of the Chicano spoken word movement. Juan Felipe Herrera is Professor of Creative Writing at the University of California, Riverside. Author of 23 books, he is a community arts leader and a dynamic performer and actor.


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Before you read the first piece in this collection, let me say a few words. This is badder and bolder than any of the Beats. (Yes, I even mean Howl by Ginsburg, Fast Speaking Woman by Waldman.....)

Herrera's work is part grito, part incantation. As a matter of fact, it is closer to the writing of María Sabina, la curandera. A legendary healer, she was the wellspring for a generation of Beat poets, who used her chants as inspiration and struggled to imitate their power.

It's lean, sinewy writing, without a wasted syllable. It lays bare the wounds of race and culture clash, sutures them back into wholeness with resolve, with defiance. It's an unblinking eye cast on where we triumph, where we stumble and fall. And make no mistake, those who make decisions, make policy, and sit in judgment have been served.

We're coming, we're here, and we won't be silent.


187 Reasons Mexicanos Can’t Cross The Border (Remix)

--Abutebaris modo subjunctivo denuo

Because Lou Dobbs has been misusing the subjunctive again

Because our suitcases are made with biodegradable maguey fibers

Because we still resemble La Malinche

Because multiplication is our favorite sport

Because we’ll dig a tunnel to Seattle

Because Mexico needs us to keep the peso from sinking

Because the Berlin Wall is on the way through Veracruz

Because we just learned we are Huichol

Because someone made our ID’s out of corn

Because our border thirst is insatiable

Because we’re on peyote & Coca-Cola & Banamex

Because it’s Indian land stolen from our mothers

Because we’re too emotional when it comes to our mothers

Because we’ve been doing it for over five hundred years already

Because it’s too easy to say “I am from here”

Because Latin American petrochemical juice flows first

Because what would we do in El Norte

Because Nahuatl, Mayan & Chicano will spread to Canada

Because Zedillo & Salinas & Fox are still on vacation

Because the World Bank needs our abuelita’s account

Because the CIA trains better with brown targets

Because our accent is unable to hide U.S. colonialism

Because what will the Hispanik MBAs do

Because our voice resembles La Llorona’s

Because we are still voting

Because the North is really South

Because we can read about it in an ethnic prison

Because Frida beat us to it

Because US & European Corporations would rather visit us first

Because environmental US industrial pollution suits our color

Because of a new form of Overnight Mayan Anarchy

Because there are enough farmworkers in California already

Because we’re meant to usher a post-modern gloom into Mexico

Because Nabisco, Exxon, & Union Carbide gave us Mal de Ojo

Because every nacho chip can morph into a Mexican Wrestler

Because it’s better to be rootless, unconscious, & rapeable

Because we’re destined to have the “Go Back to Mexico” Blues

Because of Pancho Villa’s hidden treasure in Chihuahua

Because of Bogart’s hidden treasure in the Sierra Madre

Because we need more murals honoring our Indian Past

Because we are really dark French Creoles in a Cantínflas costume

Because of this Aztec reflex to sacrifice ourselves

Because we couldn’t clean up hurricane Katrina

Because of this Spanish penchant to be polite and aggressive

Because we had a vision of Sor Juana in drag

Because we smell of Tamales soaked in Tequila

Because we got hooked listening to Indian Jazz in Chiapas

Because we’re still waiting to be cosmic

Because our passport says we’re out of date

Because our organ donor got lost in a Bingo game

Because we got to learn English first & get in line & pay a little fee

Because we’re understanding & appreciative of our Capitalist neighbors

Because our 500 year penance was not severe enough

Because we’re still running from La Migra

Because we’re still kissing the Pope’s hand

Because we’re still practicing to be Franciscan priests

Because they told us to sit & meditate & chant Nosotros Los Pobres

Because of the word “Revolución” & the words “Viva Zapata”

Because we rely more on brujas than lawyers

Because we never finished our Ph.D. in Total United Service

Because our identity got mixed up with passion

Because we have visions instead of televisions

Because our huaraches are made with Goodyear & Uniroyal

Because the pesticides on our skin are still glowing

Because it’s too easy to say “American Citizen” in cholo

Because you can’t shrink-wrap enchiladas

Because a Spy in Spanish sounds too much like “Es Pie” in English

Because our comadres are an International Political Party

Because we believe in The Big Chingazo Theory of the Universe

Because we’re still holding our breath in the Presidential Palace in Mexico City

Because every Mexican is a Living Theatre of Rebellion

Because Hollywood needs its subject matter in proper folkloric costume

Because the Grammys, Emmies, MTV & I-Tunes are finally out in Spanish

Because the Right is writing an epic poem of apology for our proper edification

Because the Alamo really is pronounced “Alamadre”

Because the Mayan concept of zero means “U.S. Out of Mexico”

Because the oldest Ceiba in Yucatán is prophetic

Because England is making plans

Because we can have Nicaragua, Honduras, & Panama anyway

Because 125 million Mexicans can be wrong

Because we’ll smuggle an earthquake into New York

Because we’ll organize like the Vietnamese in San José

Because we’ll organize like the Mixtecos in Fresno

Because East L.A. is sinking

Because the Christian Coalition doesn’t cater at César Chávez Parque

Because you can’t make mace out of beans

Because the computers can’t pronounce our names

Because the National Border Police are addicted to us

Because Africa will follow

Because we’re still dressed in black rebozos

Because we might sing a corrido at any moment

Because our land grants are still up for grabs

Because our tattoos are indecipherable

Because people are hanging milagros on the 2000 miles of border wire

Because we’re locked into Magical Realism

Because Mexican dependence is a form of higher learning

Because making chilaquiles leads to plastic explosives

Because a simple Spanish Fly can mutate into a raging Bird Flu

Because we eat too many carbohydrates

Because we gave enough blood at the Smithfield, Inc., slaughterhouse in Tar Heel, NC

Because a quinceañera will ruin the concept of American virginity

Because huevos rancheros are now being served at Taco Bell as Wavoritos

Because every Mexican grito undermines English intonation

Because the President has a Mexican maid

Because the Vice President has a Mexican maid

Because it’s Rosa López’s fault O.J. Simpson was guilty

Because Banda music will take over the White House

Because Aztec sexual aberrations are still in practice

Because our starvation & squalor isn’t as glamorous as Somalia’s

Because agribusiness will whack us anyway

Because the information superhighway is not for Chevy’s & Impalas

Because white men are paranoid of Frida’s mustache

Because the term “mariachi” comes from the word “cucarachi”

Because picking grapes is not a British tradition

Because they are still showing Zoot Suit in prisons

Because Richie Valens is alive in West Liberty, Iowa

Because ?[is this supposed to be a ?, or are we waiting for a name? I think I know, but thought I ought to ask, in case…] & the Mysterians cried 97 tears not 96

Because Hoosgow, Riata, Rodeo are Juzgado, Riata and Rodeo

Because Jackson Hole, Wyoming will blow as soon as we hit Oceanside

Because U.S. narco-business needs us in Nogales

Because the term “Mexican” comes from “Mexicanto”

Because Mexican queers [do you want to use this word? How about queers, a little more politically correct, though still problematic.] crossed already

Because Mexican lesbians wear Ben Davis pants & sombreros de palma to work

Because VFW halls aren’t built to serve cabeza con tripas

Because the National Guard are going international

Because we still bury our feria in the backyard

Because we don’t have international broncas for profit

Because we are in love with our sister Rigoberta Menchú

Because California is on the verge of becoming California

Because the PRI is a family affair

Because we may start a television series called No Chingues Conmigo

Because we are too sweet & obedient & confused & (still) [what about the brackets here? Should it be parenthesis?] full of rage

Because the CIA needs us in a Third World State of mind

Because brown is the color of the future

Because we turned Welfare into El Huero Felix

Because we know what the Jews have been through

Because we know what the Blacks have been through

Because the Irish became the San Patricio Corps at the Battle of Churubusco

Because of our taste for Yiddish gospel raps & tardeadas & salsa limericks

Because El Sistema Nos La Pela

Because you can take the boy outta Mexico but not outta the Boycott

Because the Truckers, Arkies and Okies enjoy our telenovelas

Because we’d rather shop at the flea market than Macy’s

Because pan dulce feels sexual, especially conchas & the elotes

Because we’ll Xerox tamales in order to survive

Because we’ll export salsa to Russia & call it “Pikushki”

Because cilantro aromas follow us wherever we go

Because we’ll unionize & sing De Colores

Because A Day Without a Mexican is a day away

Because we’re in touch with our Boriqua camaradas

Because we are the continental majority

Because we’ll build a sweat lodge in front of Bank of America

Because we should wait for further instructions from Televisa

Because 125 million Mexicanos are potential Chicanos

Because we’ll take over the Organic Foods Whole Foods’ business with a molcajete

Because 2000 miles of maquiladoras want to promote us

Because the next Olympics will commemorate the Mexico City massacre of 1968

Because there is an Aztec temple beneath our Nopales

Because we know how to pronounce all the Japanese corporations

Because the Comadre network is more accurate than CNN

Because the Death Squads are having a hard time with Caló

Because the mayor of San Diego likes salsa medium-picante

Because the Navy, Army, Marines like us topless in Tijuana

Because when we see red, white & blue we just see red

Because when we see the numbers 187 we still see red

Because we need to pay a little extra fee to the Border

Because Mexican Human Rights sounds too Mexican

Because Chrysler is putting out a lowrider

Because they found a lost Chicano tribe in Utah

Because harina white flour bag suits don’t cut it at graduation

Because we’ll switch from AT&T & MCI to Y-que, y-que

Because our hand signs aren’t registered

Because Freddy Fender wasn’t Baldomar Huerta’s real name

Because “lotto” is another Chicano word for “pronto”

Because we won’t nationalize a State of Immigrant Paranoia

Because the depression of the 30s was our fault

Because “xenophobia” is a politically correct term

Because we shoulda learned from the Chinese Exclusion Act of 1882

Because we shoulda listened to the Federal Immigration Laws of 1917, ’21, ’24 & ‘30

Because we lack a Nordic/ Teutonic approach

Because Executive Order 9066 of 1942 shudda had us too

Because Operation Wetback took care of us in the 50’s

Because Operation Clean Sweep picked up the loose ends in the 70s

Because one more operation will finish us off anyway

Because you can’t deport 12 million migrantes in a Greyhound bus

Because we got this thing about walking out of everything

Because we have a heart that sings rancheras and feet that polka


Gente: go to his website where there's more info and audio clips! And don't forget to BUY THE BOOK!

http://187express.com


Lisa Alvarado

5 Comments on Spoken Word, Borders and Juan Felipe Herrera, last added: 12/1/2007
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