Loca Motion: The Travels of Chicana and Latina Popular Culture

2006 Honorable Mention for MLA Prize in US Latina and Latino and Chicana and Chicano Literary and Cultural Studies In the summer of 1995, El Vez, the "Mexican Elvis, "along with his backup singers and band, The Lovely Elvettes and the Memphis Mariachis, served as master of ceremony for a ground-breaking show, "Diva L.A.: A Salute to L.A.'s Latinas in the Tanda Style." The performances were remarkable not only for the talent displayed, but for their blend of linguistic, musical, and cultural traditions. In Loca Motion, Michelle Habell-Pallán argues that performances like Diva L.A. play a vital role in shaping and understanding contemporary transnational social dynamics. Chicano/a and Latino/a popular culture, including spoken word, performance art, comedy, theater, and punk music aesthetics, is central to developing cultural forms and identities that reach across and beyond the Americas, from Mexico City to Vancouver to Berlin. Drawing on the lives and work of a diverse group of artists, Habell-Pallán explores new perspectives that defy both traditional forms of Latino cultural nationalism and the expectations of U.S. culture. The result is a sophisticated rethinking of identity politics and an invaluable lens from which to view the complex dynamics of race, class, gender, and sexuality "2006 Honorable Mention for MLA Prize in US Latina and Latino and Chicana and Chicano Literary and Cultural Studies. In the summer of 1995, El Vez, the 'Mexican Elvis', along with his backup singers and band, The Lovely Elvettes and the Memphis Mariachis, served as master of ceremony for a ground-breaking show, 'Diva L.A.: A Salute to L.A.'s Latinas in the Tanda Style.' The performances were remarkable not only for the talent displayed, but for their blend of linguistic, musical, and cultural traditions. In Loca Motion, Michelle Habell-Pallán argues that performances like Diva L.A. play a vital role in shaping and understanding contemporary transnational social dynamics. Chicano/a and Latino/a popular culture, including spoken word, performance art, comedy, theater, and punk music aesthetics, is central to developing cultural forms and identities that reach across and beyond the Americas, from Mexico City to Vancouver to Berlin. Drawing on the lives and work of a diverse group of artists, Habell-Pallán explores new perspectives that defy both traditional forms of Latino cultural nationalism and the expectations of U.S. culture. The result is a sophisticated rethinking of identity politics and an invaluable lens from which to view the complex dynamics of race, class, gender, and sexuality"--Provided by publisher Contents......Page 6 Acknowledgments......Page 8 Introduction......Page 12 1 From the Shadows of the Spanish Fantasy Heritage to a Transnational Imaginary......Page 26 2 “ No Cultural Icon”: Marisela Norte and Spoken Word— East L.A. Noir and the U.S./Mexico Border......Page 54 3 The Politics of Representation: Queerness and the Transnational Family in Luis Alfaro’s Performance......Page 92 4 Translated/Translating Woman: Comedienne/Solo Performer Marga Gomez, “Sending All Those Puerto Ricans Back to Mexico,” and the Politics of a Sexualized Location......Page 123 5 Comedienne/Solo Performer Marga Gomez, “Sending All Those Puerto Ricans Back to Mexico,” and the Politics of a Sexualized Location......Page 158 6 Bridge over Troubled Borders: The Transnational Appeal of Chicano Popular Music......Page 192 Epilogue: “Call Us Americans, ’Cause We Are All from the Américas”: Latinos at Home in Canada......Page 216 Notes......Page 232 Bibliography......Page 274 Index......Page 298 About the Author......Page 321 From The Shadows Of The Spanish Fantasy Heritage To A Transnational Imaginary -- No Cultural Icon: Marisela Norte And Spoken Word: East L.a. Noir And The U.s./mexico Border -- The Politics Of Representation: Queerness And The Transnational Family In Luis Alfaro's Performance -- Translated/translating Woman: Comedienne/solo Performer Marga Gomez Sending All Those Puerto Ricans Back To Mexico And The Politics Of A Sexualized Location -- Soy Punkera, Y Que?: Sexuality, Translocality, And Punk In Los Angeles And Beyond -- Bridge Over Troubled Borders: The Transnational Appeal Of Chicano Popular Music -- Epilogue: Call Us Americans, 'cause We Are All From The Américas: Latinos At Home In Canada. Michelle Habell-pallʹan. Includes Bibliographical References (p. 263-286) And Index. Drawing on the lives and work of a diverse group of artists, Michelle Habell-Pallan explores perspectives that defy both traditional forms of Latino cultural nationalism and the expectations of US culture. The result is a rethinking of identity politics and a lens from which to view the dynamics of race, class, gender, and sexuality. In the summer of 1995, El Vez, the "Mexican Elvis," along with his backup singers and band, The Lovely El Vettes and the Memphis Mariachis, served as the master of ceremony for the first show ever of its kind to take place at the Mark Taper Forum: Diva L.A.: A Salute to L.A.'s Latinas in the Tanda Style.