scholarly journals Loza, Steven. Barrio Rhythm: Mexican American Music in Los Angeles. (Music in American Life Series). Urbana and Chicago: University of Illinois Press, 1993. Pp. xx, 320. Black and white illustrations, 13 musical transcriptions, bibliography, discography, index. $42.50 (US) (cloth), $16.95 (US) (paper) Tracy, Steven C. Going to Cincinnati: A History of Blues in the Queen City. (Greater Cincinnati Bicentennial History Series). Urbana and Chicago: University of Illinois Press, 1993. Pp. xxxii, 262. Black and white illustrations, bibliography, interviews, discography, general index, song index. $29.95 (cloth) (US)

1995 ◽  
Vol 23 (2) ◽  
pp. 65
Author(s):  
Warren Gill
Keyword(s):  
Los Angeles ◽  
Mexican American ◽  
American Music ◽  
University Of Illinois ◽  
American Life ◽  
Black And White ◽  
General Index ◽  
History Of

Review: Urban Latino Cultures: La Vida Latina en LA by Gustavo Leclerc, Raúl Villa, and Michael J. Dear (eds.)

1999 ◽  
Vol 22 (1) ◽  
pp. 126-128
Author(s):  
Catherine S. Ramirez
Keyword(s):  
Twentieth Century ◽  
Los Angeles ◽  
Mexican American ◽  
History Of ◽  
Crime Wave ◽  
Eighteenth And Nineteenth Centuries ◽  
The City ◽  
History Of Los Angeles

Throughout the twentieth century (and now the twenty-first), the specter of a Latina/o past, present, and future has haunted the myth of Los Angeles as a sunny, bucolic paradise. At the same time it has loomed behind narratives of the city as a dystopic, urban nightmare. In the 1940s Carey McWilliams pointed to the fabrication of a “Spanish fantasy heritage” that made Los Angeles the bygone home of fair señoritas, genteel caballeros and benevolent mission padres. Meanwhile, the dominant Angeleno press invented a “zoot” (read Mexican-American) crime wave. Unlike the aristocratic, European Californias/os of lore, the Mexican/American “gangsters” of the 1940s were described as racial mongrels. What's more, the newspapers explicitly identified them as the sons and daughters of immigrants-thus eliding any link they may have had to the Californias/os of the eighteenth and nineteenth centuries or to the history of Los Angeles in general.

Migrant Media

2017 ◽  
Author(s):  
Robert Jackson
Keyword(s):  
Los Angeles ◽  
American Culture ◽  
Southern History ◽  
Black And White ◽  
History Of ◽  
Studio System ◽  
Southern Migrants ◽  
Ubiquitous Presence ◽  
Hollywood Studio System

Chapter 2 provides a history of southern migration and its impact on American culture at large. Most pointedly, black and white southern migrants to Los Angeles contributed in fundamental ways to the development of the Hollywood studio system, and the “southernization” of many of its institutions. Southern filmmakers included D. W. Griffith and many of his acolytes and younger peers. Other southerners occupied positions throughout the industry, and the enormous output of films registered southern history and culture in many ways: in the appearances of southern actors, in the presence of jazz, in films of every genre, and perhaps more than anything else in the ubiquitous presence of segregation, which the system as a whole had adopted for its own purposes.

Caged Birds

2017 ◽  
Author(s):  
Kelly Lytle Hernández
Keyword(s):  
United States ◽  
Los Angeles ◽  
Mexican American ◽  
The United States ◽  
Border Crossings ◽  
Ground Zero ◽  
Mexican Community ◽  
History Of ◽  
Immigrant Detention ◽  
The U.S

The fifth chapter continues to chart the rise of Mexican and Mexican American incarceration in the United States. Like Magon’s rebellion, it is a tale that unfolded in Los Angeles and across the U.S.-Mexico borderlands. Like the history of immigrant detention, it is a story about the collision of deportation and incarceration. But in particular, Chapter 5 examines how, during the 1920s and 1930s, the politics of controlling Mexican immigration to the United States directly prompted the criminalization of unauthorized border crossings and, in turn, triggered a steady rise in the number of Mexicans imprisoned within the United States. Home to the largest Mexican community within the United States, Los Angeles was ground zero for the politics and practices of Mexican incarceration in these years.

Organizing Capital and Controlling Race and Labor

2019 ◽  
pp. 48-76
Author(s):  
Jessica M. Kim
Keyword(s):  
Los Angeles ◽  
Mexican American ◽  
Southern California ◽  
American Empire ◽  
Los Angeles Times ◽  
Porfirio Diaz ◽  
Informal Empire ◽  
History Of ◽  
Anglo American ◽  
Labor System

This chapter explores how, as Los Angeles capitalists embarked on investment ventures and urban-imperial expansion across Mexico, they extended concepts of race and labor forged in Los Angeles to build networks for investment and to control their Mexican workforce. They channelled a history of working with California’s Mexican American elite into productive partnerships with president Porfirio Díaz and other Mexican elites. Los Angeles investors also applied ideas about race and labor developed in Southern California to their investments in Mexico. These ideas were also linked to their perspective on race and American empire-building around the globe. Anglo-American investors in Los Angeles believed that a hierarchy of race justified their labor system in Southern California as well as imperial exploits around the globe. These investors included William Rosecrans; Harrison Gray Otis, owner of the Los Angeles Times; Senator Thomas Bard; and oil baron Edward Doheny. They believed that Mexican land, resources, and labor could be drawn into Los Angeles’s commercial orbit in the form of a racialized labor system and “informal” empire.

Punk and the White Atlantic

Damaged ◽  
2020 ◽  
pp. 139-170
Author(s):  
Evan Rapport
Keyword(s):  
New York ◽  
Los Angeles ◽  
The United States ◽  
American Music ◽  
Rock And Roll ◽  
The United Kingdom ◽  
Starting Point ◽  
Sex Pistols ◽  
History Of ◽  
Musical Resources

Punk emerged as a fully formed and recognizable style in the mid-1970s in the United Kingdom, primarily in London, and in the United States, primarily in New York and Los Angeles. British punk musicians such as the Damned, the Clash, and the Sex Pistols during this period put together elements from American punk and its precedents, including elements that were previously heard in distinction from each other, such as the riff-based blues of the Stooges and back-to-basics rock and roll songs of the Ramones. Although this period is marked by a preoccupation with whether punk was “invented” in the US or UK, in fact, punk is a product of exchanges between musicians across the Atlantic, with much of the music continuing a long history of white people using a vocabulary of Black musical resources, including blues and reggae, to explore identity, class distinctions, and the nature of whiteness itself. These exchanges in punk are comparable to the so-called “British Invasion” of the prior decade. The discourse of making the mid-1970s UK a starting point for punk also appears to be an idea that American musicians were primarily invested in, and an idea that further dissociated punk from its basis in Black American music.

Los Angeles Geopolitics and the Zoot Suit Riot, 1943

2000 ◽  
Vol 24 (1) ◽  
pp. 223-256 ◽  
Author(s):  
Eduardo Obregón Pagán
Keyword(s):  
Los Angeles ◽  
Military Personnel ◽  
Mexican American ◽  
Police Department ◽  
The Sun ◽  
Training School ◽  
Black And White ◽  
Early Evening ◽  
The Difference ◽  
Zoot Suit

In the early evening of 3 June 1943, just as the sun set over a city darkened by a blackout, about 50 sailors stationed at the Naval Reserve Training School in Los Angeles stormed through the mostly Mexican American neighborhoods that lay between the school andd owntown L.A. Their actions that night, which consistedm ostly of stripping zoot suits off young civilian men, set off more than a week of rioting as thousands of military personnel poured into Los Angeles from the surrounding bases and attacked anyone wearing zoot suits. The Los Angeles Police Department did nothing to stop the rioting servicemen, claiming that they lacked jurisdictional authority, and instead jailed hundreds of young men (mostly Mexican American but also black and white) “for their own protection.” It was not until the Army and Navy commanders in southern California took seriously the difference between “revelry” and riot and canceled military leave that the rioting stopped.

Barrio Rhythm: Mexican American Music in Los Angeles

1994 ◽  
Vol 25 (4) ◽  
pp. 517
Author(s):  
Burton W. Peretti ◽  
Steven Loza
Keyword(s):  
Los Angeles ◽  
Mexican American ◽  
American Music

Bring a Real World Example of Emotional Behavior into the Classroom

1976 ◽  
Vol 3 (1) ◽  
pp. 43-44 ◽  
Author(s):  
James P. Ware
Keyword(s):  
Real World ◽  
Case History ◽  
Emotional Behavior ◽  
Visual Aids ◽  
University Of Illinois ◽  
Black And White ◽  
History Of

Case History of a Rumor. CBS Reports. 16 mm, 52 minutes, black and white, rental only, $11.05. University of Illinois Visual Aids Service.

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