Latino markets tackled by Celine
By Peggy Curran, Vancouver Sun
Celine Dion is learning to roll her Rs and soften her Ss for a Latin American audience.
She conquered the Plains of Abraham in French and cashed in big at Caesars Palace in English.
But before pop-music diva Celine Dion salsas across Latin America, she could use a tutorial in rolling her Rs and softening her Ss in Español.
"For someone who doesn't know Spanish, her pronunciation is actually pretty good," says Enrique Pato, a Hispanic studies professor at the Université de Montreal. But he says there's still room for refinement if Dion wants to try livin' la vida loca and boosting her fan base south of south of the border.
After more than 20 years in the business, Dion isn't exactly suffering. Reigning queen of the five-octave ballad, she performs before sellout crowds from Calgary to Cape Town. She has sold more than 200 million albums worldwide, recorded in seven languages (English, French, Spanish, Italian, German, Japanese and Latin) and has online fans gushing in Polish, Thai and Dutch.
But Pato can't help thinking about the even larger audience she could have just by brushing up on her language skills. So, in the latest experiment blending mainstream culture with academic scrutiny, he asked 14 master's and PhD students to spend part of the winter semester examining Dion's four Spanish-language recordings: Amar haciendo el amor, Aun existe amor, Mejor decir adius and Sola otra vez (the Spanish version of All by Myself).
Students in Pato's research group on Spanish in America, a mix of Quebecers and students from Spain and Central and South America, studied Dion's diction, suggesting she practise pronouncing Zs more like Ss and take time to roll her Rs.
But they also analysed the way songs had been translated and considered other songs and poems that would add mileage to her Spanish repertoire. Says Pato: "She could record an entire Spanish record and garner great popularity among Latinos who remain an unconquered market."
For Pato, a Madrid native who came to Montreal after post-doctoral studies at the University of Western Ontario, the exercise provided a welcome opportunity for students to make the link between their academic pursuits and real life.
He said the research group is sending its findings to Sony Records in hopes it will forward the suggestions to Dion and her manager-husband, Rene Angelil.
Even if that doesn't happen, Pato believes the project was a good learning tool, allowing students to think and talk about pronunciation, translation and literature in an inventive and invigorating way.
Thursday, April 30, 2009
Latino tradition gets downsized
Economy has Latinos downsizing quinceañeras
By Leslie Berestein, SignOn San Diego, April 26, 2009
The current recession was years away when Nayely Casas' parents began saving for their oldest daughter's 15th birthday. Like many Latino parents in the United States, shortly after their daughter was born, they began dreaming and making plans for the ultimate party – her quinceañera.
Over the past few decades in this country, the Latin American coming-of-age tradition that was once a homespun celebration marked by a church service has evolved into a gala, generating business that rivals the wedding industry with specialized dress shops, photographers and emcees.
But as the economy has tightened, so have parents' budgets. And much as the wedding industry has slowed, so has spending on the cascading pastel dresses, Humvee stretch limos and elaborate ballroom banquets that have become trappings of the modern American quinceañera.
“My quinceañera was celebrated at home,” said Maria Casas, Nayely's mother, who grew up in Tijuana and now lives in Chula Vista. “It's totally different now, and you want to give them the best you can, within your budget. But we've had to think about cutting here, cutting somewhere else. We think, 'If there is more money, we can get more photos. Or maybe we'll have one video camera instead of two.' ”
Job losses, the threat of layoffs and other aspects of the recession have prompted some families to put their daughters' parties on hold, said Marco Salcedo, publisher of the San Diego edition of Quinceañeras magazine, a four-year-old Las Vegas-based magazine dedicated to quinceañeras and vendors. (One recent cover line: “A Limo: 6 Reasons Why Every Princess Deserves It.”)
The magazine, distributed in a dozen cities nationwide, is among a handful of quinceañera-related publications online and in print launched in the past few years.
“This year, the economy has really affected parents,” said Salcedo, whose magazine regularly sponsors quinceañera expos, much like bridal expos. “Many people have had to move their dates back. For girls who were going to be quinceañeras, the perfect excuse now is to wait until next year, when they're sweet 16.”
Derived from quince, the Spanish word for 15, quinceañera refers both to the girl being celebrated and the celebration. It is a tradition observed throughout Latin America and in the United States where Latino immigrants live.
At its heart is a religious ceremony, typically a Roman Catholic Mass, held to mark a girl's transition into womanhood. Decades ago, the service was followed by a simple celebration at home. While this still often holds true in rural Latin America, the after-church reception is now the far-bigger event for those who can afford it, here and abroad. As Latino immigrants in the United States have prospered, the receptions have become ever splashier.
Adding up the expenses of ballroom rental, food, decorations, dresses and tuxedos for the quinceañera and her court, entertainment, flowers, party favors and other expenses, the average event can cost at least $8,000 to $10,000, Salcedo said, on par with many wedding budgets.
Banquet managers at facilities that do quinceañera business – some offer packages, cake and flowers included – say that as with weddings, guest lists this year are shorter. Less expensive meals, such as chicken, are in demand. Some facilities have lowered prices to compete.
“People are looking for more value and bang for the buck,” said Margo Della, director of catering and sales for the Marriott hotel in Mission Valley, which does about 30 quinceañeras a year and twice as many weddings. “They'll come back to you and say, 'You know, about that ice sculpture . . . ' or, 'Can I have someone else do the cake for less?' ”
Quinceañeras have become a smaller piece of the hotel's banquet market this year than in 2007 and early 2008, said Della, whose packages start at about $30 per guest, a reduction of about 25 percent from last year.
At the California Fiestas rental hall in Chula Vista, quinceañeras continue to comprise 60 percent to 70 percent of business, banquet director Jose Luis Flores said. But while families are still booking banquet packages that run $4,000 and up, many now wait until the last minute to commit financially, he said. Flores noticed a slowdown around November, continuing into the first few months of this year.
“It was mostly because of the panic they were hearing in the news,” he said.
To be competitive, the facility began promoting Friday and Sunday bookings as an alternative to costlier Saturdays.
Rafael Aguayo, the Las Vegas-based publisher of the Quinceañeras chain, estimated that the industry nationwide has shrunk by about 15 percent since last year.
In San Diego, where the cost of living is high and numerous industries employing Latinos have slowed, quinceañera business is down by about 30 percent, Salcedo said.
“Many Hispanics have jobs tied to the construction industry, and construction has stopped,” Salcedo said. “It's logical.”
The Casas family, which derives its income from construction, has so far been spared, but not without sacrifice. Nayely's father, a project manager, spends Monday through Friday working in Las Vegas, then flies home on weekends.
It's inconvenient, but “there is more work there than there is here,” Maria Casas, 42, said. “Here, it's a little slow.”
The couple have done all right saving for Nayely's quinceañera in June. They have been putting money away for both Nayely's party and college since shortly after she was born, Casas said, and though the price tag for their daughter's 200-guest event will likely be twice the $8,000 their wedding cost 16 years ago, the party will go on.
“Her dream is going to come true,” Casas said. “She's going to have it. Even if the economy is bad, it's worth the sacrifice.”
Relatives and friends have also pitched in, Casas said. It's not uncommon for quinceañeras to enlist sponsors, referred to as madrinas and padrinos – or godparents – to help with a particular expense as a gift, such as a dress or photographs.
Cynthia Ponce of Spring Valley, whose daughter Jusel's quinceañera was this month, had help from a cadre of relatives, including a baker aunt who donated the cake.
There was a madrina for the dress, a madrina and padrino for photos and video, even sponsors for small items like the Bible she carried with her in church, said Jusel Ponce, 15. These sponsors are often thanked in the invitations.
In this case, though, “we only put in the madrina for the dress, because it would be a huge list if we put all of them there,” Jusel said. “But I plan on giving them thank-you cards.”
Sponsors are common for photos, one of the higher-ticket items, said Hugo Benson, a San Diego photographer who specializes in quinceañeras. While families cut back on other details, photos tend to be one item they keep in the budget.
“Many invest in photos or video but save on something else, like flowers or favors,” he said.
Finding sponsors is one way families ensure the festivities happen, said Charlie Bradley, a San Diego emcee and disc jockey who specializes in quinceañeras and weddings.
“And these daughters, let's face it, they expect it,” Bradley said. “I meet 9-year-old girls who look forward to their quinceañera. The economy might change drastically between now and 2015, but when the day comes, they are ready to go. They have been planning all along.”
For families with several daughters, they can't save enough. Before long, Nayely will be in college, Maria Casas said. Then by the time she's graduating, it will be about time to start preparing for their second daughter's quinceañera.
“She's 5,” Casas said. “We have 10 more years.” Leslie Berestein: (619) 542-4579; leslie.berestein@uniontrib.com
By Leslie Berestein, SignOn San Diego, April 26, 2009
The current recession was years away when Nayely Casas' parents began saving for their oldest daughter's 15th birthday. Like many Latino parents in the United States, shortly after their daughter was born, they began dreaming and making plans for the ultimate party – her quinceañera.
Over the past few decades in this country, the Latin American coming-of-age tradition that was once a homespun celebration marked by a church service has evolved into a gala, generating business that rivals the wedding industry with specialized dress shops, photographers and emcees.
But as the economy has tightened, so have parents' budgets. And much as the wedding industry has slowed, so has spending on the cascading pastel dresses, Humvee stretch limos and elaborate ballroom banquets that have become trappings of the modern American quinceañera.
“My quinceañera was celebrated at home,” said Maria Casas, Nayely's mother, who grew up in Tijuana and now lives in Chula Vista. “It's totally different now, and you want to give them the best you can, within your budget. But we've had to think about cutting here, cutting somewhere else. We think, 'If there is more money, we can get more photos. Or maybe we'll have one video camera instead of two.' ”
Job losses, the threat of layoffs and other aspects of the recession have prompted some families to put their daughters' parties on hold, said Marco Salcedo, publisher of the San Diego edition of Quinceañeras magazine, a four-year-old Las Vegas-based magazine dedicated to quinceañeras and vendors. (One recent cover line: “A Limo: 6 Reasons Why Every Princess Deserves It.”)
The magazine, distributed in a dozen cities nationwide, is among a handful of quinceañera-related publications online and in print launched in the past few years.
“This year, the economy has really affected parents,” said Salcedo, whose magazine regularly sponsors quinceañera expos, much like bridal expos. “Many people have had to move their dates back. For girls who were going to be quinceañeras, the perfect excuse now is to wait until next year, when they're sweet 16.”
Derived from quince, the Spanish word for 15, quinceañera refers both to the girl being celebrated and the celebration. It is a tradition observed throughout Latin America and in the United States where Latino immigrants live.
At its heart is a religious ceremony, typically a Roman Catholic Mass, held to mark a girl's transition into womanhood. Decades ago, the service was followed by a simple celebration at home. While this still often holds true in rural Latin America, the after-church reception is now the far-bigger event for those who can afford it, here and abroad. As Latino immigrants in the United States have prospered, the receptions have become ever splashier.
Adding up the expenses of ballroom rental, food, decorations, dresses and tuxedos for the quinceañera and her court, entertainment, flowers, party favors and other expenses, the average event can cost at least $8,000 to $10,000, Salcedo said, on par with many wedding budgets.
Banquet managers at facilities that do quinceañera business – some offer packages, cake and flowers included – say that as with weddings, guest lists this year are shorter. Less expensive meals, such as chicken, are in demand. Some facilities have lowered prices to compete.
“People are looking for more value and bang for the buck,” said Margo Della, director of catering and sales for the Marriott hotel in Mission Valley, which does about 30 quinceañeras a year and twice as many weddings. “They'll come back to you and say, 'You know, about that ice sculpture . . . ' or, 'Can I have someone else do the cake for less?' ”
Quinceañeras have become a smaller piece of the hotel's banquet market this year than in 2007 and early 2008, said Della, whose packages start at about $30 per guest, a reduction of about 25 percent from last year.
At the California Fiestas rental hall in Chula Vista, quinceañeras continue to comprise 60 percent to 70 percent of business, banquet director Jose Luis Flores said. But while families are still booking banquet packages that run $4,000 and up, many now wait until the last minute to commit financially, he said. Flores noticed a slowdown around November, continuing into the first few months of this year.
“It was mostly because of the panic they were hearing in the news,” he said.
To be competitive, the facility began promoting Friday and Sunday bookings as an alternative to costlier Saturdays.
Rafael Aguayo, the Las Vegas-based publisher of the Quinceañeras chain, estimated that the industry nationwide has shrunk by about 15 percent since last year.
In San Diego, where the cost of living is high and numerous industries employing Latinos have slowed, quinceañera business is down by about 30 percent, Salcedo said.
“Many Hispanics have jobs tied to the construction industry, and construction has stopped,” Salcedo said. “It's logical.”
The Casas family, which derives its income from construction, has so far been spared, but not without sacrifice. Nayely's father, a project manager, spends Monday through Friday working in Las Vegas, then flies home on weekends.
It's inconvenient, but “there is more work there than there is here,” Maria Casas, 42, said. “Here, it's a little slow.”
The couple have done all right saving for Nayely's quinceañera in June. They have been putting money away for both Nayely's party and college since shortly after she was born, Casas said, and though the price tag for their daughter's 200-guest event will likely be twice the $8,000 their wedding cost 16 years ago, the party will go on.
“Her dream is going to come true,” Casas said. “She's going to have it. Even if the economy is bad, it's worth the sacrifice.”
Relatives and friends have also pitched in, Casas said. It's not uncommon for quinceañeras to enlist sponsors, referred to as madrinas and padrinos – or godparents – to help with a particular expense as a gift, such as a dress or photographs.
Cynthia Ponce of Spring Valley, whose daughter Jusel's quinceañera was this month, had help from a cadre of relatives, including a baker aunt who donated the cake.
There was a madrina for the dress, a madrina and padrino for photos and video, even sponsors for small items like the Bible she carried with her in church, said Jusel Ponce, 15. These sponsors are often thanked in the invitations.
In this case, though, “we only put in the madrina for the dress, because it would be a huge list if we put all of them there,” Jusel said. “But I plan on giving them thank-you cards.”
Sponsors are common for photos, one of the higher-ticket items, said Hugo Benson, a San Diego photographer who specializes in quinceañeras. While families cut back on other details, photos tend to be one item they keep in the budget.
“Many invest in photos or video but save on something else, like flowers or favors,” he said.
Finding sponsors is one way families ensure the festivities happen, said Charlie Bradley, a San Diego emcee and disc jockey who specializes in quinceañeras and weddings.
“And these daughters, let's face it, they expect it,” Bradley said. “I meet 9-year-old girls who look forward to their quinceañera. The economy might change drastically between now and 2015, but when the day comes, they are ready to go. They have been planning all along.”
For families with several daughters, they can't save enough. Before long, Nayely will be in college, Maria Casas said. Then by the time she's graduating, it will be about time to start preparing for their second daughter's quinceañera.
“She's 5,” Casas said. “We have 10 more years.” Leslie Berestein: (619) 542-4579; leslie.berestein@uniontrib.com
Wednesday, April 29, 2009
Latino to lead Schueller's Hispanic ministry
Argentinian to head Crystal Cathedral's Hispanic ministry
Dante Gebel, media personality, wants to reach estimated 850,000 Latinos living in 10-mile radius of Garden Grove.
By DEEPA BHARATH, The Orange County Register
GARDEN GROVE – Crystal Cathedral administrators are expecting great things from Dante Gebel, an Argentinian televangelist and movie personality who has arrived from Buenos Aires to take over the megachurch's Hispanic ministry, a Cathedral spokesman said Wednesday.
"This is a huge personality and we're fortunate to have him," said Michael Nason. "This is a person who is known as the 'pastor of Latin America.' We're excited he's here to lead our Hispanic ministry."
Late last year, Crystal Cathedral dealt with the controversial departure of the Rev. Robert A. Schuller, son of founder Rev. Robert H. Schuller. The younger Schuller left last year in the midst of a family feud with his father and other family members. His wife, Donna Schuller, wrote in her blog that her husband is working on starting his own television and Internet ministry.
Church administrators hope Gebel's appeal to a younger audience will draw more members of the Orange County Hispanic community to the Crystal Cathedral, Nason said. In fact, word got out in the community even before an announcement went out and more than 1,000 people came to listen to Gebel during Sunday afternoon's Spanish service, he said.
"Only 300 people had come to our Spanish service the week before," he said.
Gebel was not available Wednesday, but said in a Cathedral-issued statement that he is looking forward to his new role.
"I'm sure that it will be a church with many young people where the families will receive a message of salvation, hope and faith," he said. "In addition we hope that many new people will come to know the Lord and that the church experiences a remarkable growth."
The Cathedral's Hispanic ministry began in 1990. Gebel succeeds Pastor Luis Lemos, who was among several Cathedral employees who were laid off late last year.
The Cathedral's Senior Pastor Juan Carlos Ortiz, also a native of Argentina, said Gebel will bring "his unique ministry skills to our ministry, having been reared in the new media era."
Gebel may also become a regular at the church's "Hour of Power" broadcast viewed by millions across the globe. The program has seen a nearly 30 percent drop in income since January.
Contact the writer: 949-553-2903 or dbharath@ocregister.com
Dante Gebel, media personality, wants to reach estimated 850,000 Latinos living in 10-mile radius of Garden Grove.
By DEEPA BHARATH, The Orange County Register
GARDEN GROVE – Crystal Cathedral administrators are expecting great things from Dante Gebel, an Argentinian televangelist and movie personality who has arrived from Buenos Aires to take over the megachurch's Hispanic ministry, a Cathedral spokesman said Wednesday.
"This is a huge personality and we're fortunate to have him," said Michael Nason. "This is a person who is known as the 'pastor of Latin America.' We're excited he's here to lead our Hispanic ministry."
Late last year, Crystal Cathedral dealt with the controversial departure of the Rev. Robert A. Schuller, son of founder Rev. Robert H. Schuller. The younger Schuller left last year in the midst of a family feud with his father and other family members. His wife, Donna Schuller, wrote in her blog that her husband is working on starting his own television and Internet ministry.
Church administrators hope Gebel's appeal to a younger audience will draw more members of the Orange County Hispanic community to the Crystal Cathedral, Nason said. In fact, word got out in the community even before an announcement went out and more than 1,000 people came to listen to Gebel during Sunday afternoon's Spanish service, he said.
"Only 300 people had come to our Spanish service the week before," he said.
Gebel was not available Wednesday, but said in a Cathedral-issued statement that he is looking forward to his new role.
"I'm sure that it will be a church with many young people where the families will receive a message of salvation, hope and faith," he said. "In addition we hope that many new people will come to know the Lord and that the church experiences a remarkable growth."
The Cathedral's Hispanic ministry began in 1990. Gebel succeeds Pastor Luis Lemos, who was among several Cathedral employees who were laid off late last year.
The Cathedral's Senior Pastor Juan Carlos Ortiz, also a native of Argentina, said Gebel will bring "his unique ministry skills to our ministry, having been reared in the new media era."
Gebel may also become a regular at the church's "Hour of Power" broadcast viewed by millions across the globe. The program has seen a nearly 30 percent drop in income since January.
Contact the writer: 949-553-2903 or dbharath@ocregister.com
Latino Independent Producers Conference
Latino producers meet, pitch projects and lament
At the National Assn. of Latino Independent Producers' conference, participants say more Latino faces are needed in film and TV.
By Alicia Lozano, LA Times, April 24, 2009
On a breezy afternoon in Newport Beach, hundreds of Latino filmmakers descended upon the swanky Island Hotel to celebrate "A Decade of Influence" at the National Assn. of Latino Independent Producers' 10th annual conference.
For three days last weekend, the screenwriters, producers and directors attended panel discussions, pitched projects and mingled with like-minded professionals. Conversations varied, but participants agreed on one thing: Despite a noticeable improvement in Latino films and roles, there is much work left to do.
"There are a lot of victories, a lot of solid successes," said Kathryn Galan, executive director of the association. She pointed to television shows such as "Ugly Betty," "The George Lopez Show" and "Resurrection Blvd." as triumphs in the industry but lamented that many other segments of the film and television industry don't represent the 15% of the population that calls itself Latino.
"The inside thinks 'Three Amigos' is a diversity effort," Galan said. "Nothing reflects the voice of U.S.-born, English-speaking American Latinos."
Munching on sliced prosciutto and pieces of cheese at the opening reception, screenwriter Anita Palacios Collins expressed frustration at the attitudes of some non-Latino members of the industry.
"They don't understand our work a lot of the times," Collins said.
Collins trekked from Calabasas to participate in a writing lab. As a writer, Collins is especially frustrated that her actress daughter has been turned down in auditions because "she doesn't look the part."
"If you go in looking like a Latina, you don't fill that stereotypical girl-next-door role," she explained. "With the growing population in the United States, eventually the girl next door is going to be Latina."
Television, theater and film should reflect that shift, according to playwright Luis Valdez, a keynote speaker at the conference and founder of Teatro Campesino, a Mexican heritage theater in San Juan Bautista.
"It seems to me that the characterization of Latinos is not only very sparse, it's also very limited," he said in an interview. "In order to appreciate the demographic, you have to deal with people on a broader level. The stories that are being told are very cliché."
Valdez considers himself one of the lucky few who have struck gold with both mainstream and niche audiences -- he wrote and directed 1987's "La Bamba" and took his 1981 musical "Zoot Suit" all the way to Broadway.
Known as the godfather of Chicano theater, Valdez urged the new generation of Latino filmmakers to go beyond what's expected and chart new territory.
"We're still operating under very limited perceptions of history and people," he said. "We need comedy. We need to deal with the daily life of Latinos.
"There's business to be done, profits to be made."
Producer and conference co-Chairman David Ortiz seems to have mastered this concept.
The 32-year-old New York native has worked as a development executive for Universal Pictures, overseeing big-budget hits such as "Fast & Furious," " Wanted," "Hellboy II: The Golden Army" and " Role Models."
The key to breaking into the mainstream, he said in an interview, is not pandering to a demographic but, rather, learning to accept it as a small part of a greater whole. He cited the new "Fast & Furious" as an example.
"You might not see Vin Diesel as Latino, but the young kids can relate to him," he said.
"Fast & Furious" did particularly well among Latinos, according to Universal.
Spanish-language accents and dialogue and south-of-the-border locales helped attract the large audience, but Ortiz suspects that Diesel's character, hero Dominic Toretto, was largely responsible for the pull.
"The whole vibe made it feel authentic and relevant," he said, referring to the music and car culture that drive the movie. "He's a rebel, a family man, outside the law."
Although the hot-rod franchise found success in Hollywood, some of those at the conference complained that opportunities remain limited for Latino actors and filmmakers -- a point borne out by membership figures in the major guilds as evidence.
Only 2% of the Writers Guild of America is Latino, according to diversity director Kim Myers. The Screen Actors Guild declined to provide an exact figure, but Rebecca Yee, the union's national director of affirmative action and diversity, says it has a similar problem.
"There aren't a lot of roles that are specifically written for Latino actors, and if there are, they tend to be stereotypical," she said. "And for nondescript roles, a lot of directors default to white actors. More diverse writers and producers are needed -- hiring executives also."
Waiting for this trickle-down effect might not be the only recourse, however.
Actor Hector Herrera specializes in Spanish-language voice-overs for big names such as Honda and NASCAR. A native of Mexico City who lives in L.A., Herrera studied theater on both sides of the border but had difficulties landing English-language roles because of his accent. That didn't deter him. Instead, Herrera played to his strengths and performs only in his native tongue.
"There's this perception that there are less opportunities because we're Hispanic or because we're Latino," he said. "I don't want to say or fall into this negativity that it's because we're a minority. We're not a minority anymore."
alicia.lozano@latimes.com
At the National Assn. of Latino Independent Producers' conference, participants say more Latino faces are needed in film and TV.
By Alicia Lozano, LA Times, April 24, 2009
On a breezy afternoon in Newport Beach, hundreds of Latino filmmakers descended upon the swanky Island Hotel to celebrate "A Decade of Influence" at the National Assn. of Latino Independent Producers' 10th annual conference.
For three days last weekend, the screenwriters, producers and directors attended panel discussions, pitched projects and mingled with like-minded professionals. Conversations varied, but participants agreed on one thing: Despite a noticeable improvement in Latino films and roles, there is much work left to do.
"There are a lot of victories, a lot of solid successes," said Kathryn Galan, executive director of the association. She pointed to television shows such as "Ugly Betty," "The George Lopez Show" and "Resurrection Blvd." as triumphs in the industry but lamented that many other segments of the film and television industry don't represent the 15% of the population that calls itself Latino.
"The inside thinks 'Three Amigos' is a diversity effort," Galan said. "Nothing reflects the voice of U.S.-born, English-speaking American Latinos."
Munching on sliced prosciutto and pieces of cheese at the opening reception, screenwriter Anita Palacios Collins expressed frustration at the attitudes of some non-Latino members of the industry.
"They don't understand our work a lot of the times," Collins said.
Collins trekked from Calabasas to participate in a writing lab. As a writer, Collins is especially frustrated that her actress daughter has been turned down in auditions because "she doesn't look the part."
"If you go in looking like a Latina, you don't fill that stereotypical girl-next-door role," she explained. "With the growing population in the United States, eventually the girl next door is going to be Latina."
Television, theater and film should reflect that shift, according to playwright Luis Valdez, a keynote speaker at the conference and founder of Teatro Campesino, a Mexican heritage theater in San Juan Bautista.
"It seems to me that the characterization of Latinos is not only very sparse, it's also very limited," he said in an interview. "In order to appreciate the demographic, you have to deal with people on a broader level. The stories that are being told are very cliché."
Valdez considers himself one of the lucky few who have struck gold with both mainstream and niche audiences -- he wrote and directed 1987's "La Bamba" and took his 1981 musical "Zoot Suit" all the way to Broadway.
Known as the godfather of Chicano theater, Valdez urged the new generation of Latino filmmakers to go beyond what's expected and chart new territory.
"We're still operating under very limited perceptions of history and people," he said. "We need comedy. We need to deal with the daily life of Latinos.
"There's business to be done, profits to be made."
Producer and conference co-Chairman David Ortiz seems to have mastered this concept.
The 32-year-old New York native has worked as a development executive for Universal Pictures, overseeing big-budget hits such as "Fast & Furious," " Wanted," "Hellboy II: The Golden Army" and " Role Models."
The key to breaking into the mainstream, he said in an interview, is not pandering to a demographic but, rather, learning to accept it as a small part of a greater whole. He cited the new "Fast & Furious" as an example.
"You might not see Vin Diesel as Latino, but the young kids can relate to him," he said.
"Fast & Furious" did particularly well among Latinos, according to Universal.
Spanish-language accents and dialogue and south-of-the-border locales helped attract the large audience, but Ortiz suspects that Diesel's character, hero Dominic Toretto, was largely responsible for the pull.
"The whole vibe made it feel authentic and relevant," he said, referring to the music and car culture that drive the movie. "He's a rebel, a family man, outside the law."
Although the hot-rod franchise found success in Hollywood, some of those at the conference complained that opportunities remain limited for Latino actors and filmmakers -- a point borne out by membership figures in the major guilds as evidence.
Only 2% of the Writers Guild of America is Latino, according to diversity director Kim Myers. The Screen Actors Guild declined to provide an exact figure, but Rebecca Yee, the union's national director of affirmative action and diversity, says it has a similar problem.
"There aren't a lot of roles that are specifically written for Latino actors, and if there are, they tend to be stereotypical," she said. "And for nondescript roles, a lot of directors default to white actors. More diverse writers and producers are needed -- hiring executives also."
Waiting for this trickle-down effect might not be the only recourse, however.
Actor Hector Herrera specializes in Spanish-language voice-overs for big names such as Honda and NASCAR. A native of Mexico City who lives in L.A., Herrera studied theater on both sides of the border but had difficulties landing English-language roles because of his accent. That didn't deter him. Instead, Herrera played to his strengths and performs only in his native tongue.
"There's this perception that there are less opportunities because we're Hispanic or because we're Latino," he said. "I don't want to say or fall into this negativity that it's because we're a minority. We're not a minority anymore."
alicia.lozano@latimes.com
Latino Independent Producers Conference
More Latino faces needed in film and TV?
LA Times
On a breezy afternoon in Newport Beach, hundreds of Latino filmmakers descended upon the swanky Island Hotel to celebrate "A Decade of Influence" at the National Assn. of Latino Independent Producers' 10th annual conference.
Conversations varied, but participants agreed on one thing: Despite a noticeable improvement in Latino films and roles, there is much work left to do, reports the L.A. Times' Alicia Lozano.
"There are a lot of victories, a lot of solid successes," said Kathryn Galan, executive director of the association. She pointed to television shows such as "Ugly Betty," "The George Lopez Show" and "Resurrection Blvd." as triumphs in the industry, but lamented that many other segments of the film and television industry don't represent the 15% of the population that calls itself Latino.
"The inside thinks 'Three Amigos' is a diversity effort," Galan said. "Nothing reflects the voice of U.S.-born, English-speaking American Latinos."
LA Times
On a breezy afternoon in Newport Beach, hundreds of Latino filmmakers descended upon the swanky Island Hotel to celebrate "A Decade of Influence" at the National Assn. of Latino Independent Producers' 10th annual conference.
Conversations varied, but participants agreed on one thing: Despite a noticeable improvement in Latino films and roles, there is much work left to do, reports the L.A. Times' Alicia Lozano.
"There are a lot of victories, a lot of solid successes," said Kathryn Galan, executive director of the association. She pointed to television shows such as "Ugly Betty," "The George Lopez Show" and "Resurrection Blvd." as triumphs in the industry, but lamented that many other segments of the film and television industry don't represent the 15% of the population that calls itself Latino.
"The inside thinks 'Three Amigos' is a diversity effort," Galan said. "Nothing reflects the voice of U.S.-born, English-speaking American Latinos."
Monday, April 27, 2009
Latino quarterback goes to the Jets
Jets give Mark Sanchez quite a ride Mark Sanchez and mom
By Gary Klein, LA Times, April 26, 2009
About an hour before the start of Saturday's NFL draft, a jet-lagged Mark Sanchez skipped down a flight of stairs at his agent's offices in Irvine.
"Big day!" he exclaimed.
After spending the previous 72 hours sightseeing and fulfilling endorsement obligations in New York, the former USC quarterback had just returned to Southern California to watch the draft with his family.
It turned out to be a bigger day than even Sanchez imagined.
The New York Jets traded up and selected Sanchez with the fifth pick, sending the 22-year-old to the NFL's largest and most intense media market.
"Los Angeles to New York? That's sick!" Sanchez said. "I would have been happy anywhere, but this is a dream come true."
Sanchez's selection ended a three-month whirlwind of draft preparation and even more intense pre-draft speculation.
It began with Sanchez's January news conference announcing his intent to turn pro and Coach Pete Carroll's now-legendary conniption. It continued with the NFL scouting combine, USC's pro day and individual team workouts and interviews.
It culminated with Sanchez's watching NFL Commissioner Roger Goodell announce his selection by the Jets.
"I'm overjoyed because I know he's achieved something he really wanted," said Sanchez's father, Nick. "In a couple of weeks, we'll be just as excited about him attending commencement exercises and graduating from USC.
"Those two things, in tandem for our family, couldn't be more exciting."
For Sanchez, Saturday began with a 6 a.m. flight from New York, where he had been introduced as a cover subject for a video game and, among other activities, visited Central Park and hung out with Matthew Stafford, the No. 1 overall pick by the Detroit Lions.
The morning was full of media reports that the St. Louis Rams, picking second, or the Seattle Seahawks, picking fourth, might take a quarterback who started only 16 games at USC.
With his grandmother and other family members gathered around him in a TV viewing room, Sanchez text-messaged Stafford after the former Georgia quarterback was introduced as the No. 1 pick. He then watched as the Rams selected Baylor offensive tackle Jason Smith and the Seahawks chose Wake Forest linebacker Aaron Curry two picks later.
"I was thinking, 'OK, who knows what's going to happen?' " Sanchez said. "We might have to wait till [pick No.] 8 or 10."
Sanchez left the room and huddled with his father and older brothers in agent David Dunn's office. As they chatted about his trip to New York, the quarterback's phone rang.
Sanchez glanced down and saw area code 973.
"I didn't know the number but I knew it was a New York area code," he said.
Mike Tannenbaum, the Jets' general manager, was on the line.
"I was like, 'Oh my God. He's either going to say, 'Hey, we're not going to be able to make a play, or this is it,' " Sanchez said.
Tannenbaum told Sanchez the team had made a trade with the Cleveland Browns and asked if he was ready to be a Jet.
"I was like, 'Yes!' " said Sanchez, who then returned to his family with the phone still at his ear and his right fist pumping toward the ceiling.
Sanchez propped a Jets cap upon his head moments before Goodell announced his selection, the room -- and Jets fans at Radio City Music Hall -- erupting in cheers.
Cheers for Sanchez also were heard at the Coliseum, where USC was completing spring practice with its annual Trojan Huddle scrimmage.
After Sanchez was selected, Carroll stopped play as the announcement was replayed on the video board.
"It's turned out beautifully for him," Carroll said. "He surged so much here in the last month or so with his workouts and everybody saw him. It worked out great and I couldn't be more happy for him."
Sanchez reiterated that he holds no hard feelings toward Carroll, who had criticized the quarterback's decision not to complete his eligibility.
"It shocked him, I think it really did," Sanchez said. "But he's been really supportive. . . . He told [NFL] teams everything you could ask your coach to tell them."
The Jets apparently became enamored of Sanchez after a private workout in Mission Viejo in March.
Coach Rex Ryan said the team was impressed by Sanchez's footwork and confidence and that offensive coordinator Brian Schottenheimer "put him through every workout known to man and he passed every one of them with flying colors. We knew, I think, right then that this was the guy we really wanted."
Sanchez looked tired late Saturday afternoon but he was on his way to an extended family celebration and another gathering at a restaurant near Disneyland. Later, he was scheduled to board a red-eye flight back to New York.
Last year's fifth pick, defensive tackle Glenn Dorsey, signed a five-year, $51-million contract with the Kansas City Chiefs, more than $22 million of it guaranteed.
But Sanchez was not immediately concerned with how his contract might work out.
He will attend a minicamp this week with hopes of battling Kellen Clemens for the starting job come training camp.
"It's up to the coaches and about me giving them a reason to keep me on the field," he said. "I just need to learn the playbook as fast as I can."
Times staff writer David Wharton contributed to this story.
gary.klein@latimes.com
By Gary Klein, LA Times, April 26, 2009
About an hour before the start of Saturday's NFL draft, a jet-lagged Mark Sanchez skipped down a flight of stairs at his agent's offices in Irvine.
"Big day!" he exclaimed.
After spending the previous 72 hours sightseeing and fulfilling endorsement obligations in New York, the former USC quarterback had just returned to Southern California to watch the draft with his family.
It turned out to be a bigger day than even Sanchez imagined.
The New York Jets traded up and selected Sanchez with the fifth pick, sending the 22-year-old to the NFL's largest and most intense media market.
"Los Angeles to New York? That's sick!" Sanchez said. "I would have been happy anywhere, but this is a dream come true."
Sanchez's selection ended a three-month whirlwind of draft preparation and even more intense pre-draft speculation.
It began with Sanchez's January news conference announcing his intent to turn pro and Coach Pete Carroll's now-legendary conniption. It continued with the NFL scouting combine, USC's pro day and individual team workouts and interviews.
It culminated with Sanchez's watching NFL Commissioner Roger Goodell announce his selection by the Jets.
"I'm overjoyed because I know he's achieved something he really wanted," said Sanchez's father, Nick. "In a couple of weeks, we'll be just as excited about him attending commencement exercises and graduating from USC.
"Those two things, in tandem for our family, couldn't be more exciting."
For Sanchez, Saturday began with a 6 a.m. flight from New York, where he had been introduced as a cover subject for a video game and, among other activities, visited Central Park and hung out with Matthew Stafford, the No. 1 overall pick by the Detroit Lions.
The morning was full of media reports that the St. Louis Rams, picking second, or the Seattle Seahawks, picking fourth, might take a quarterback who started only 16 games at USC.
With his grandmother and other family members gathered around him in a TV viewing room, Sanchez text-messaged Stafford after the former Georgia quarterback was introduced as the No. 1 pick. He then watched as the Rams selected Baylor offensive tackle Jason Smith and the Seahawks chose Wake Forest linebacker Aaron Curry two picks later.
"I was thinking, 'OK, who knows what's going to happen?' " Sanchez said. "We might have to wait till [pick No.] 8 or 10."
Sanchez left the room and huddled with his father and older brothers in agent David Dunn's office. As they chatted about his trip to New York, the quarterback's phone rang.
Sanchez glanced down and saw area code 973.
"I didn't know the number but I knew it was a New York area code," he said.
Mike Tannenbaum, the Jets' general manager, was on the line.
"I was like, 'Oh my God. He's either going to say, 'Hey, we're not going to be able to make a play, or this is it,' " Sanchez said.
Tannenbaum told Sanchez the team had made a trade with the Cleveland Browns and asked if he was ready to be a Jet.
"I was like, 'Yes!' " said Sanchez, who then returned to his family with the phone still at his ear and his right fist pumping toward the ceiling.
Sanchez propped a Jets cap upon his head moments before Goodell announced his selection, the room -- and Jets fans at Radio City Music Hall -- erupting in cheers.
Cheers for Sanchez also were heard at the Coliseum, where USC was completing spring practice with its annual Trojan Huddle scrimmage.
After Sanchez was selected, Carroll stopped play as the announcement was replayed on the video board.
"It's turned out beautifully for him," Carroll said. "He surged so much here in the last month or so with his workouts and everybody saw him. It worked out great and I couldn't be more happy for him."
Sanchez reiterated that he holds no hard feelings toward Carroll, who had criticized the quarterback's decision not to complete his eligibility.
"It shocked him, I think it really did," Sanchez said. "But he's been really supportive. . . . He told [NFL] teams everything you could ask your coach to tell them."
The Jets apparently became enamored of Sanchez after a private workout in Mission Viejo in March.
Coach Rex Ryan said the team was impressed by Sanchez's footwork and confidence and that offensive coordinator Brian Schottenheimer "put him through every workout known to man and he passed every one of them with flying colors. We knew, I think, right then that this was the guy we really wanted."
Sanchez looked tired late Saturday afternoon but he was on his way to an extended family celebration and another gathering at a restaurant near Disneyland. Later, he was scheduled to board a red-eye flight back to New York.
Last year's fifth pick, defensive tackle Glenn Dorsey, signed a five-year, $51-million contract with the Kansas City Chiefs, more than $22 million of it guaranteed.
But Sanchez was not immediately concerned with how his contract might work out.
He will attend a minicamp this week with hopes of battling Kellen Clemens for the starting job come training camp.
"It's up to the coaches and about me giving them a reason to keep me on the field," he said. "I just need to learn the playbook as fast as I can."
Times staff writer David Wharton contributed to this story.
gary.klein@latimes.com
Latinos turn to Pentecostal church
Pentecostal church draws Latinos
By Jennifer Garza, jgarza@sacbee.com, Apr. 25, 2009
In a plain building behind the Taco Bell off Watt Avenue, well-dressed worshippers sing and sway and shout to the Holy Spirit. They praise God in two languages.
On this Sunday afternoon, the Rev. Samuel Rodriguez preaches in English. His wife, Eva, echoes his words in Spanish. Together, they work the crowd at Christian Worship Center into a bilingual fervor.
"It is not about being at the right place!" Rodriguez shouts into the microphone. "It's about being at the right place at the right time!"
Rodriguez knows something about timing. The Sacramento minister, who leads the congregation of about 200 with his wife, is at the forefront of a growing movement that is drawing Latinos – many raised Catholic – into the Pentecostal church, the fastest-growing denomination in Christianity.
The Assemblies of God pastor is also president of the National Hispanic Christian Leadership Conference, an advocacy group that serves 18 million evangelical Latinos.
At 38, Rodriguez, who has been preaching since he was a teenager, is an influential religious leader who was courted by both Republican and Democratic candidates during the presidential election.
"He is considered to be rising star – not just among Latinos but among evangelicals in general," said Luis Lugo, director of the Pew Forum on Religion and Public Life in Washington, D.C. "A lot of people are definitely keeping their eyes on him. He represents a very important constituency."
Rodriguez described his group as having the conservative theology of Billy Graham with Martin Luther King Jr.'s commitment to social justice issues.
"Put those two into a blender and that's us," he said. "With a little bit of salsa."
Many members new to faith
While her husband frequently travels, Eva Rodriguez oversees the day-to-day duties of the church the couple started a few years ago. She is senior pastor. The two, who have been together since they met as teenagers in Pennsylvania, have been married 20 years. They live in Elk Grove with their three children.
Both pastors are of Puerto Rican descent and were raised in the Assemblies of God Church.
Many members of their Latino congregation, however, are new to the faith. Most have been Pentecostals for less than two years, according to Eva Rodriguez. From the music to the language, the Latino culture is a big part of the church's appeal.
"I love the music, the emotional sermons and the emphasis on the Holy Spirit," said Desiree Martinez, who has been attending Rodriguez's church for two years.
Martinez is often so moved during the worship service that she cries. "I didn't get those feelings in the Catholic Church," she said.
Pentecostalism, which emphasizes a personal relationship with God and a strong presence of the Holy Spirit, has more followers than any denomination except Catholicism, according to a 2008 Pew Study, "Changing Faiths: Latinos and the Transformation of American Religion."
An estimated 1.3 million Latino Catholics have joined Pentecostal congregations since immigrating to the United States. The report says that the longer Latino Catholics stay in this country, the more likely they are to leave the church.
Catholic Church leaders have noticed the shift and say the Catholic Church can learn from Protestants.
"By and large, they have been better preachers and that's something we can learn from them," said the Rev. James Murphy of the Cathedral of the Blessed Sacrament, who adds that there are also many Catholics with similar religious practices, known as charismatic Catholics.
Murphy said the Catholic Church also can do a better job in teaching people how to pray. He praised Pentecostals' spontaneous prayer but added caution. "Public prayer can become a show if there isn't a strong private prayer life at home as well," Murphy said.
Women have role in church
Many of these Pentecostal congregations are simple storefront or warehouse churches like Christian Worship Center. There is no ornate artwork or incense or pews. Worshippers sit on folding chairs.
When Rodriguez preaches, he moves from one side of the church to the other, working up a sweat. Halfway through, he looked away from his notes and stopped. "Are you getting this?" he asked.
The audience stood up and cheered.
Rodriguez loves to preach but admits that most of his time is spent running the advocacy group. As president of the National Hispanic Christian Leadership Conference, Rodriguez speaks out on topics important to Latinos, such as immigration.
His group is against illegal immigration but believes the issue should be dealt with more compassionately and that churches should play a bigger role. "Every single successful civil rights issue in this country has been led by the church," said Rodriguez.
A motivational speaker, the pastor recently published his second book, "Path of Miracles," which says following Christian principles will lead to more fulfilling life. Now there is a book tour.
"My wife, she's the one who really runs things," said Rodriguez. "She's incredible."
Eva Rodriguez said women play a big role in their church. Many of the band members are women and a female minister helps with the bilingual sermons when her husband is traveling.
"Of course there are always going to be the machismo men who believe women shouldn't play such big roles in the church," said Rodriguez. "But that's not my husband. We're a team."
Near the end of the sermon, Samuel Rodriguez tells worshippers that Christian Worship Center has outgrown its current building. Church leaders hope to be in a new facility by summer, one that will accommodate more growth.
"If you believe this," Rodriguez said,"say amen."
Without missing a beat, churchgoers answer:
"Amen."
By Jennifer Garza, jgarza@sacbee.com, Apr. 25, 2009
In a plain building behind the Taco Bell off Watt Avenue, well-dressed worshippers sing and sway and shout to the Holy Spirit. They praise God in two languages.
On this Sunday afternoon, the Rev. Samuel Rodriguez preaches in English. His wife, Eva, echoes his words in Spanish. Together, they work the crowd at Christian Worship Center into a bilingual fervor.
"It is not about being at the right place!" Rodriguez shouts into the microphone. "It's about being at the right place at the right time!"
Rodriguez knows something about timing. The Sacramento minister, who leads the congregation of about 200 with his wife, is at the forefront of a growing movement that is drawing Latinos – many raised Catholic – into the Pentecostal church, the fastest-growing denomination in Christianity.
The Assemblies of God pastor is also president of the National Hispanic Christian Leadership Conference, an advocacy group that serves 18 million evangelical Latinos.
At 38, Rodriguez, who has been preaching since he was a teenager, is an influential religious leader who was courted by both Republican and Democratic candidates during the presidential election.
"He is considered to be rising star – not just among Latinos but among evangelicals in general," said Luis Lugo, director of the Pew Forum on Religion and Public Life in Washington, D.C. "A lot of people are definitely keeping their eyes on him. He represents a very important constituency."
Rodriguez described his group as having the conservative theology of Billy Graham with Martin Luther King Jr.'s commitment to social justice issues.
"Put those two into a blender and that's us," he said. "With a little bit of salsa."
Many members new to faith
While her husband frequently travels, Eva Rodriguez oversees the day-to-day duties of the church the couple started a few years ago. She is senior pastor. The two, who have been together since they met as teenagers in Pennsylvania, have been married 20 years. They live in Elk Grove with their three children.
Both pastors are of Puerto Rican descent and were raised in the Assemblies of God Church.
Many members of their Latino congregation, however, are new to the faith. Most have been Pentecostals for less than two years, according to Eva Rodriguez. From the music to the language, the Latino culture is a big part of the church's appeal.
"I love the music, the emotional sermons and the emphasis on the Holy Spirit," said Desiree Martinez, who has been attending Rodriguez's church for two years.
Martinez is often so moved during the worship service that she cries. "I didn't get those feelings in the Catholic Church," she said.
Pentecostalism, which emphasizes a personal relationship with God and a strong presence of the Holy Spirit, has more followers than any denomination except Catholicism, according to a 2008 Pew Study, "Changing Faiths: Latinos and the Transformation of American Religion."
An estimated 1.3 million Latino Catholics have joined Pentecostal congregations since immigrating to the United States. The report says that the longer Latino Catholics stay in this country, the more likely they are to leave the church.
Catholic Church leaders have noticed the shift and say the Catholic Church can learn from Protestants.
"By and large, they have been better preachers and that's something we can learn from them," said the Rev. James Murphy of the Cathedral of the Blessed Sacrament, who adds that there are also many Catholics with similar religious practices, known as charismatic Catholics.
Murphy said the Catholic Church also can do a better job in teaching people how to pray. He praised Pentecostals' spontaneous prayer but added caution. "Public prayer can become a show if there isn't a strong private prayer life at home as well," Murphy said.
Women have role in church
Many of these Pentecostal congregations are simple storefront or warehouse churches like Christian Worship Center. There is no ornate artwork or incense or pews. Worshippers sit on folding chairs.
When Rodriguez preaches, he moves from one side of the church to the other, working up a sweat. Halfway through, he looked away from his notes and stopped. "Are you getting this?" he asked.
The audience stood up and cheered.
Rodriguez loves to preach but admits that most of his time is spent running the advocacy group. As president of the National Hispanic Christian Leadership Conference, Rodriguez speaks out on topics important to Latinos, such as immigration.
His group is against illegal immigration but believes the issue should be dealt with more compassionately and that churches should play a bigger role. "Every single successful civil rights issue in this country has been led by the church," said Rodriguez.
A motivational speaker, the pastor recently published his second book, "Path of Miracles," which says following Christian principles will lead to more fulfilling life. Now there is a book tour.
"My wife, she's the one who really runs things," said Rodriguez. "She's incredible."
Eva Rodriguez said women play a big role in their church. Many of the band members are women and a female minister helps with the bilingual sermons when her husband is traveling.
"Of course there are always going to be the machismo men who believe women shouldn't play such big roles in the church," said Rodriguez. "But that's not my husband. We're a team."
Near the end of the sermon, Samuel Rodriguez tells worshippers that Christian Worship Center has outgrown its current building. Church leaders hope to be in a new facility by summer, one that will accommodate more growth.
"If you believe this," Rodriguez said,"say amen."
Without missing a beat, churchgoers answer:
"Amen."
Latinos part of Laker life
Why the Lakers Own Los Angeles
How Magic Johnson, Courtside Seats, Studio Lots, Free Tacos and 'The White Shadow' Built a Sports Empire
By HANNAH KARP, Online.wsj.com
Say what you will about the Dodgers or the USC football team, but when it comes to sports, Los Angeles is a one-team town. And that team is undeniably the Lakers.
Tickets for the team, which cost an average of $93.25, are the most expensive in the NBA, and the season-ticket renewal rate hovers close to 98%. This season, according to the Nielsen Co., some 267,000 Los Angeles households tuned in to the average Lakers game, 67% more than the Dodgers on KCAL in 2008 and nearly three times the local audience for college football.
As the playoffs heat up, celebrities ranging from Denzel Washington to Leonardo DiCaprio will fill the courtside seats at the Staples Center, and Lakers merchandise will continue to outsell that of any other NBA team. According to one Los Angeles insurance company, at least 350 pets in the city have been named after Lakers star Kobe Bryant.
The unquestioned primacy of the Lakers in Los Angeles seems rooted in a chain of events that began in 1979, when Earvin "Magic" Johnson arrived and Jerry Buss bought the team. The team's popularity was spurred by a deliberate and highly successful attempt to woo celebrities to games, the departure of the city's last NFL team in 1995 and sustained attempts to reach out to fans who can't afford to buy tickets.
Fans, basketball executives and even sociologists say there are other, less-visible factors at work. These include the proliferation of outdoor basketball courts at private homes and on Hollywood's studio lots, the unusual concentration of high school, college and pro teams here, and the little-known fact that many Mexican immigrants in Los Angeles come from Oaxaca, the most basketball-crazy region in all of Mexico. Jeanie Buss, the daughter of the Lakers owner, says the sport owes some of its cultural resonance to the basketball-themed TV show "The White Shadow," which ran on CBS from 1978 to 1981, and revolved around a retired NBA player coaching basketball at a high school in South Central Los Angeles. "It was the bomb," she says.
The team's domination of the Southern California sports market began in earnest when the charismatic Mr. Johnson arrived in 1979 and soon led the Lakers to their second championship since the team moved from Minneapolis in 1960. That same year, Dr. Buss, who bought the team with money he earned investing in apartment buildings as a graduate student, made himself a fixture at the hottest nightclubs, building his own star power and giving away tickets to actors, actresses and other beautiful people he knew would draw crowds, regardless of the team's performance. In the 1980s under head coach Pat Riley, the Lakers appeared in the NBA Finals eight times and won five titles.
After the team's attendance slumped in the early 90s, Hollywood provided a rebound. Hoping to increase revenue, the NBA sent two executives to Los Angeles to coordinate product placement, ink movie deals and build relationships with studios. Shane Duffy, then the NBA's director of entertainment marketing, began inviting directors, producers, writers and actors like Will Ferrell and Adam Sandler to join a private, invitation-only league officiated by NBA referees now known as the "E league," where they could play with each other and sometimes NBA greats. They were also given prime seats at nationally televised Lakers games.
Meanwhile, pickup games became standard on studio lots. When producer Peter Guber took over as chief executive of Sony Pictures Entertainment in 1989, he sold his four floor seats to the company and spent about $2,000 installing a double basketball court on the Culver City lot so he could play with his employees at lunchtime. "It's a good team sport that built camaraderie," he says. Basketball courts have also become status symbols for wealthy homeowners. Nearly 500 courts are installed in private homes in the Los Angeles area every year, according to court maker Rhino Sports Dream Courts, at about $15,000 each.
The city's Latino community has always supported the team -- especially the portion that hails from Oaxaca in Mexico, where the rugged terrain makes soccer harder to play. The team also sponsors "Noche Latina" nights, free taco promotions and giant parties like "Fiesta Lakers" at the LA Convention Center that draw 50,000 fans to see performances by the Laker Girls, several Latino musical acts and cameos by Kobe Bryant and Pau Gasol.
Scott Brooks, a sociology professor at University of California Riverside says the city's basketball affinity is fed by the fact that local kids can, at least in theory, grow and play continuously from high school through college and the pros. The city has two NBA teams and seven Division I colleges, including UCLA (a school that has won a record 11 NCAA championships).
Lakers point guard Jordan Farmar says he owes his spot on the team largely to his Los Angeles upbringing. As a child he went to five Lakers games a year. He developed a "little following" as a player in high school, he says, then solidified it as a starting point guard at UCLA. At a recent game, Mr. Farmar says Jack Nicholson agreed to attend his first charity golf tournament this summer. "It's cool to see people I'm fans of now be fans of mine," says Mr. Farmar. "Being a Laker definitely helps."
The Lakers' exalted place in Tinseltown isn't assured. The Dodgers haven't won the World Series since 1988, and there's always a chance an NFL team will return to town to siphon off fans.
Get a daily roundup of the top sports headlines and analysis, plus features and video. To sign up for the email newsletter, click the link below.
But the team creates a fervor that's rare in sports -- and especially rare in a town that seems blasé about nearly everything besides movie scripts and five-calorie frozen yogurt.
Brian Iannessa, a 39-year-old Lakers fan in Brea, Calif., isn't unusual. He owns a Lakers cellphone, wears Pau Gasol's jersey when he watches games and dry cleans his Lakers T-shirts. He has a Lakers DVD of the team's last championship that he watches when the team isn't playing. "I feel as if I'm actually a stakeholder in the organization," he says.
How Magic Johnson, Courtside Seats, Studio Lots, Free Tacos and 'The White Shadow' Built a Sports Empire
By HANNAH KARP, Online.wsj.com
Say what you will about the Dodgers or the USC football team, but when it comes to sports, Los Angeles is a one-team town. And that team is undeniably the Lakers.
Tickets for the team, which cost an average of $93.25, are the most expensive in the NBA, and the season-ticket renewal rate hovers close to 98%. This season, according to the Nielsen Co., some 267,000 Los Angeles households tuned in to the average Lakers game, 67% more than the Dodgers on KCAL in 2008 and nearly three times the local audience for college football.
As the playoffs heat up, celebrities ranging from Denzel Washington to Leonardo DiCaprio will fill the courtside seats at the Staples Center, and Lakers merchandise will continue to outsell that of any other NBA team. According to one Los Angeles insurance company, at least 350 pets in the city have been named after Lakers star Kobe Bryant.
The unquestioned primacy of the Lakers in Los Angeles seems rooted in a chain of events that began in 1979, when Earvin "Magic" Johnson arrived and Jerry Buss bought the team. The team's popularity was spurred by a deliberate and highly successful attempt to woo celebrities to games, the departure of the city's last NFL team in 1995 and sustained attempts to reach out to fans who can't afford to buy tickets.
Fans, basketball executives and even sociologists say there are other, less-visible factors at work. These include the proliferation of outdoor basketball courts at private homes and on Hollywood's studio lots, the unusual concentration of high school, college and pro teams here, and the little-known fact that many Mexican immigrants in Los Angeles come from Oaxaca, the most basketball-crazy region in all of Mexico. Jeanie Buss, the daughter of the Lakers owner, says the sport owes some of its cultural resonance to the basketball-themed TV show "The White Shadow," which ran on CBS from 1978 to 1981, and revolved around a retired NBA player coaching basketball at a high school in South Central Los Angeles. "It was the bomb," she says.
The team's domination of the Southern California sports market began in earnest when the charismatic Mr. Johnson arrived in 1979 and soon led the Lakers to their second championship since the team moved from Minneapolis in 1960. That same year, Dr. Buss, who bought the team with money he earned investing in apartment buildings as a graduate student, made himself a fixture at the hottest nightclubs, building his own star power and giving away tickets to actors, actresses and other beautiful people he knew would draw crowds, regardless of the team's performance. In the 1980s under head coach Pat Riley, the Lakers appeared in the NBA Finals eight times and won five titles.
After the team's attendance slumped in the early 90s, Hollywood provided a rebound. Hoping to increase revenue, the NBA sent two executives to Los Angeles to coordinate product placement, ink movie deals and build relationships with studios. Shane Duffy, then the NBA's director of entertainment marketing, began inviting directors, producers, writers and actors like Will Ferrell and Adam Sandler to join a private, invitation-only league officiated by NBA referees now known as the "E league," where they could play with each other and sometimes NBA greats. They were also given prime seats at nationally televised Lakers games.
Meanwhile, pickup games became standard on studio lots. When producer Peter Guber took over as chief executive of Sony Pictures Entertainment in 1989, he sold his four floor seats to the company and spent about $2,000 installing a double basketball court on the Culver City lot so he could play with his employees at lunchtime. "It's a good team sport that built camaraderie," he says. Basketball courts have also become status symbols for wealthy homeowners. Nearly 500 courts are installed in private homes in the Los Angeles area every year, according to court maker Rhino Sports Dream Courts, at about $15,000 each.
The city's Latino community has always supported the team -- especially the portion that hails from Oaxaca in Mexico, where the rugged terrain makes soccer harder to play. The team also sponsors "Noche Latina" nights, free taco promotions and giant parties like "Fiesta Lakers" at the LA Convention Center that draw 50,000 fans to see performances by the Laker Girls, several Latino musical acts and cameos by Kobe Bryant and Pau Gasol.
Scott Brooks, a sociology professor at University of California Riverside says the city's basketball affinity is fed by the fact that local kids can, at least in theory, grow and play continuously from high school through college and the pros. The city has two NBA teams and seven Division I colleges, including UCLA (a school that has won a record 11 NCAA championships).
Lakers point guard Jordan Farmar says he owes his spot on the team largely to his Los Angeles upbringing. As a child he went to five Lakers games a year. He developed a "little following" as a player in high school, he says, then solidified it as a starting point guard at UCLA. At a recent game, Mr. Farmar says Jack Nicholson agreed to attend his first charity golf tournament this summer. "It's cool to see people I'm fans of now be fans of mine," says Mr. Farmar. "Being a Laker definitely helps."
The Lakers' exalted place in Tinseltown isn't assured. The Dodgers haven't won the World Series since 1988, and there's always a chance an NFL team will return to town to siphon off fans.
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But the team creates a fervor that's rare in sports -- and especially rare in a town that seems blasé about nearly everything besides movie scripts and five-calorie frozen yogurt.
Brian Iannessa, a 39-year-old Lakers fan in Brea, Calif., isn't unusual. He owns a Lakers cellphone, wears Pau Gasol's jersey when he watches games and dry cleans his Lakers T-shirts. He has a Lakers DVD of the team's last championship that he watches when the team isn't playing. "I feel as if I'm actually a stakeholder in the organization," he says.
Concert helps Latinos going to college
Concert benefits college-bound Latinos
By: DAVID HENKE, Northfield News, April 21, 2009
NORTHFIELD — A first-generation college student and a senior at the Northfield High School, Mauricio Lozada knows first-hand how hard it can be to finance college.
Which is why Lozada, who will attend the University of Wisconsin-River Falls next year, decided to create the Latino Scholarship Fund for fellow college-bound Latino students at the high school.
Last year, the fund provided $7,000 to eight Latino students at the high school — most of which was raised through a letter-writing campaign organized by Lozada and several other students. This spring, Lozada hopes to collect another $6,000 for Latino students with financial need at the high school — by hosting a benefit concert on April 25.
The concert will be emceed by Will Healy and will showcase four local musical groups, including “Church and State,” “Scaredy Cat Blackie,” “Feels like Friday” and “Scattered Skies.” All proceeds from the show, held in the Northfield High School Auditorium, will be donated to the Latino Scholarship Fund.
Lozada, a member of youth empowerment group Latinos Working for Change, created the fund last year. Earlier this spring, he and fellow LWC-members Brenda Kell and Maria Martinez approached high school Principal Joel Leer with the hopes of organizing a second, similar fundraiser. With Leer’s help, they decided to host a benefit concert.
Once they hit their fundraising goal, the money will be divided into six $1,000 scholarships, which will be available to college-bound Latino students who fill out an application and turn in a letter of reference.
“I know that I had to pay for college next year, and I was going through the process for filling out scholarship applications,” Lozada said. “I personally knew there was a need for a specific Latino scholarship. When I think of a thousand dollars, that’s a big help.”
Lozada and Leer hope that that concert will also strengthen the bonds between Northfield and its Latino community.
“It’s six kids getting a scholarship, but there are a hundred people that will be able to say ‘Hey, I’m community building,” Leer said.
It’s a sentiment that Healy, a pastor at Emmaus Baptist Church, shares.
“I always feel like music is a common denominator, so whenever we can be creative and do things artistically together, that is a bridge in itself,” Healy said. “I always love getting to meet some new people, and I hope that this is a celebration of some gifts, both artistic and financial.”
By: DAVID HENKE, Northfield News, April 21, 2009
NORTHFIELD — A first-generation college student and a senior at the Northfield High School, Mauricio Lozada knows first-hand how hard it can be to finance college.
Which is why Lozada, who will attend the University of Wisconsin-River Falls next year, decided to create the Latino Scholarship Fund for fellow college-bound Latino students at the high school.
Last year, the fund provided $7,000 to eight Latino students at the high school — most of which was raised through a letter-writing campaign organized by Lozada and several other students. This spring, Lozada hopes to collect another $6,000 for Latino students with financial need at the high school — by hosting a benefit concert on April 25.
The concert will be emceed by Will Healy and will showcase four local musical groups, including “Church and State,” “Scaredy Cat Blackie,” “Feels like Friday” and “Scattered Skies.” All proceeds from the show, held in the Northfield High School Auditorium, will be donated to the Latino Scholarship Fund.
Lozada, a member of youth empowerment group Latinos Working for Change, created the fund last year. Earlier this spring, he and fellow LWC-members Brenda Kell and Maria Martinez approached high school Principal Joel Leer with the hopes of organizing a second, similar fundraiser. With Leer’s help, they decided to host a benefit concert.
Once they hit their fundraising goal, the money will be divided into six $1,000 scholarships, which will be available to college-bound Latino students who fill out an application and turn in a letter of reference.
“I know that I had to pay for college next year, and I was going through the process for filling out scholarship applications,” Lozada said. “I personally knew there was a need for a specific Latino scholarship. When I think of a thousand dollars, that’s a big help.”
Lozada and Leer hope that that concert will also strengthen the bonds between Northfield and its Latino community.
“It’s six kids getting a scholarship, but there are a hundred people that will be able to say ‘Hey, I’m community building,” Leer said.
It’s a sentiment that Healy, a pastor at Emmaus Baptist Church, shares.
“I always feel like music is a common denominator, so whenever we can be creative and do things artistically together, that is a bridge in itself,” Healy said. “I always love getting to meet some new people, and I hope that this is a celebration of some gifts, both artistic and financial.”
Latino books grow in popularity
Fine collection should engross any lover of mystery (not just Latinos)
Daniel A. Olivas / El Paso Times, 04/19/2009
"Hit List:The Best of Latino Mystery" (Arte Público Press, $19.95 paperback).
With the newly released "Hit List: The Best of Latino Mystery" (Arte Público Press, $19.95 paperback), editors Sarah Cortez and Liz Martínez have succeeded in bringing together some of the best mystery fiction being written today.
This anthology features the work of Mario Acevedo, Lucha Corpi, Sarah Cortez, Carolina García-Aguilera, Alicia Gaspar de Alba, Carlos Hernandez, Rolando Hinojosa-Smith, Bertha Jacobson, John Lantigua, Arthur Muñoz, R. Narvarez, L.M. Quinn, Manuel Ramos, S. Ramos O'Briant, A.E. Roman, Steven Torres and Sergio Troncoso.
In the foreword to "Hit List," Ralph E. Rodriguez, an associate professor in the Department of American Civilization at Brown University, observes that the reader "will find no boring Latino caricatures or stereotypes in this volume." There is no doubt about that.
The anthology begins with a tightly wound, two-page bit of tough-talking noir by best-selling novelist Mario Acevedo titled "Oh, Yeah." In it, the narrator attempts to teach a seemingly dimwitted accomplice named Canela how to play a supporting role in an armed robbery. Of course, things go awry, but with a twist only an accomplished writer such as Acevedo could pull off.
There's some great humor here, too, such as S. Ramos O'Briant's sardonic "Death, Taxes ... and Worms," where we're introduced to a very proper Nellie Gallegos, who knows a trifle more about the death of her neighbor than she initially admits.
Several of the stories veer into wonderfully strange territory. "The Skull of Pancho Villa" by mystery novelist Manuel Ramos is based on various rumors as to the whereabouts of the Mexican revolutionary's head. The narrator, Gus Corral, informs us that the skull ended up in his family and recounts how it gets stolen from his sister's house. If you don't laugh out loud while reading this story, you have no sense of humor.
In "Nice Climate, Miami," award-winning author Rolando Hinojosa-Smith, a professor of English at the University of Texas at Austin, brings us an icy killer named O'Hara who is hired to kill a man who has failed to pay a debt. The fact that O'Hara does not appear to have any connection to Chicano or Latino culture is proof that the editors saw no reason to pigeonhole or unduly restrict Latino mystery. Hinojosa-Smith's piece is crisp and smart and fits perfectly in this anthology.
But ethnic identity is certainly part of the collection. Sergio Troncoso's "A New York Chicano" involves one Ricky Quintana, an El Paso native who has made it in New York working for Merrill Lynch and who has developed a deep hatred for a bloviating, anti-immigrant host of a television show titled "America's Watch." What Quintana does to appease this hatred proves that he hasn't lost his identity at all.
No mystery collection would be complete without a lost soul or two. Alicia Gaspar de Alba's "Short Cut to the Moon" gives us exactly that in a troubled young woman who goes deep into alcoholic homelessness when she believes that her cousin has been murdered. Her search for the truth eventually converges with an understanding of her desperate need for help.
Space constraints do not allow for a description of each story in this landmark anthology. Suffice it to say that the stories in "Hit List" will engross, entertain and fully satisfy any lover of mystery fiction.
Daniel A. Olivas is the author of four books and editor of "Latinos in Lotusland: An Anthology of Contemporary Southern California Literature" (Bilingual Press). His newest book, "Anywhere but L.A.: Stories" (Bilingual Press), will be published this fall. He shares blogging duties on La Bloga (http://labloga.blogspot.com). His Web site is www.danielolivas.com and he may be reached at olivasdan@aol.com .
Daniel A. Olivas / El Paso Times, 04/19/2009
"Hit List:The Best of Latino Mystery" (Arte Público Press, $19.95 paperback).
With the newly released "Hit List: The Best of Latino Mystery" (Arte Público Press, $19.95 paperback), editors Sarah Cortez and Liz Martínez have succeeded in bringing together some of the best mystery fiction being written today.
This anthology features the work of Mario Acevedo, Lucha Corpi, Sarah Cortez, Carolina García-Aguilera, Alicia Gaspar de Alba, Carlos Hernandez, Rolando Hinojosa-Smith, Bertha Jacobson, John Lantigua, Arthur Muñoz, R. Narvarez, L.M. Quinn, Manuel Ramos, S. Ramos O'Briant, A.E. Roman, Steven Torres and Sergio Troncoso.
In the foreword to "Hit List," Ralph E. Rodriguez, an associate professor in the Department of American Civilization at Brown University, observes that the reader "will find no boring Latino caricatures or stereotypes in this volume." There is no doubt about that.
The anthology begins with a tightly wound, two-page bit of tough-talking noir by best-selling novelist Mario Acevedo titled "Oh, Yeah." In it, the narrator attempts to teach a seemingly dimwitted accomplice named Canela how to play a supporting role in an armed robbery. Of course, things go awry, but with a twist only an accomplished writer such as Acevedo could pull off.
There's some great humor here, too, such as S. Ramos O'Briant's sardonic "Death, Taxes ... and Worms," where we're introduced to a very proper Nellie Gallegos, who knows a trifle more about the death of her neighbor than she initially admits.
Several of the stories veer into wonderfully strange territory. "The Skull of Pancho Villa" by mystery novelist Manuel Ramos is based on various rumors as to the whereabouts of the Mexican revolutionary's head. The narrator, Gus Corral, informs us that the skull ended up in his family and recounts how it gets stolen from his sister's house. If you don't laugh out loud while reading this story, you have no sense of humor.
In "Nice Climate, Miami," award-winning author Rolando Hinojosa-Smith, a professor of English at the University of Texas at Austin, brings us an icy killer named O'Hara who is hired to kill a man who has failed to pay a debt. The fact that O'Hara does not appear to have any connection to Chicano or Latino culture is proof that the editors saw no reason to pigeonhole or unduly restrict Latino mystery. Hinojosa-Smith's piece is crisp and smart and fits perfectly in this anthology.
But ethnic identity is certainly part of the collection. Sergio Troncoso's "A New York Chicano" involves one Ricky Quintana, an El Paso native who has made it in New York working for Merrill Lynch and who has developed a deep hatred for a bloviating, anti-immigrant host of a television show titled "America's Watch." What Quintana does to appease this hatred proves that he hasn't lost his identity at all.
No mystery collection would be complete without a lost soul or two. Alicia Gaspar de Alba's "Short Cut to the Moon" gives us exactly that in a troubled young woman who goes deep into alcoholic homelessness when she believes that her cousin has been murdered. Her search for the truth eventually converges with an understanding of her desperate need for help.
Space constraints do not allow for a description of each story in this landmark anthology. Suffice it to say that the stories in "Hit List" will engross, entertain and fully satisfy any lover of mystery fiction.
Daniel A. Olivas is the author of four books and editor of "Latinos in Lotusland: An Anthology of Contemporary Southern California Literature" (Bilingual Press). His newest book, "Anywhere but L.A.: Stories" (Bilingual Press), will be published this fall. He shares blogging duties on La Bloga (http://labloga.blogspot.com). His Web site is www.danielolivas.com and he may be reached at olivasdan@aol.com .
Wednesday, April 22, 2009
Latinos urged to read to children
Latino community urged to read to kids at early age
By ROEL GARCIA, The Holland Sentinel, Apr 19, 2009
Tony Castillo knows and believes in the importance of education at an early age.
He impresses upon his daughter to read to his 2-year-old grandson.
“I tell her, ‘Are you reading to him?’” said Castillo, owner of several Holland-area McDonald’s restaurants.
When he visited his daughter, Castillo saw his grandson sitting on her lap, listening and repeating words as he was being read to.
Castillo is assisting the cause to help Latino families get an early start in reading by using his restaurants as drop-off locations for books to give away to parents during Fiesta on May 1 and 2.
BOOK DROP-OFF LOCATIONS:
• McDonald’s restaurant, 657 E. Eighth St.
• McDonald’s restaurant, 213 N. River. Ave.
• McDonald’s restaurant, 12645 Riley St.
• Western Theological Seminary, 101 E. 13th St.
Latin Americans United for Progress’ theme for the event is Educate Now for a Better Tomorrow. Several groups will work at the event at the Holland Civic Center to inform Latino families of the importance of starting to read to children at an early age.
“It’s a very deliberate effort on our part to engage with the Latino and migrant communities,” said Jan Shangle, Great Start coordinator for Ottawa County.
Shangle’s group and others like Ready for School and InterCare will have a reading nook set up at the north building of the Civic Center where they will pass out books and also have someone reading books to children.
To help make this happen bins have been set up at the McDonald’s on Riley Street, North River Avenue and Eighth Street and at the Western Theological Seminary. New and gently used books in English, bilingual or Spanish will be accepted.
The groups will share information with parents and talk to them about the importance of reading to a child from birth.
Castillo agrees with this philosophy. The former educator attended a workshop where it was pointed out that education is from birth to death.
“We are to be lifelong learners. That struck me. We should always be learning,” Castillo said.
For information about dropping off books or questions about books, e-mail Shangle at jshangle@oaisd.
By ROEL GARCIA, The Holland Sentinel, Apr 19, 2009
Tony Castillo knows and believes in the importance of education at an early age.
He impresses upon his daughter to read to his 2-year-old grandson.
“I tell her, ‘Are you reading to him?’” said Castillo, owner of several Holland-area McDonald’s restaurants.
When he visited his daughter, Castillo saw his grandson sitting on her lap, listening and repeating words as he was being read to.
Castillo is assisting the cause to help Latino families get an early start in reading by using his restaurants as drop-off locations for books to give away to parents during Fiesta on May 1 and 2.
BOOK DROP-OFF LOCATIONS:
• McDonald’s restaurant, 657 E. Eighth St.
• McDonald’s restaurant, 213 N. River. Ave.
• McDonald’s restaurant, 12645 Riley St.
• Western Theological Seminary, 101 E. 13th St.
Latin Americans United for Progress’ theme for the event is Educate Now for a Better Tomorrow. Several groups will work at the event at the Holland Civic Center to inform Latino families of the importance of starting to read to children at an early age.
“It’s a very deliberate effort on our part to engage with the Latino and migrant communities,” said Jan Shangle, Great Start coordinator for Ottawa County.
Shangle’s group and others like Ready for School and InterCare will have a reading nook set up at the north building of the Civic Center where they will pass out books and also have someone reading books to children.
To help make this happen bins have been set up at the McDonald’s on Riley Street, North River Avenue and Eighth Street and at the Western Theological Seminary. New and gently used books in English, bilingual or Spanish will be accepted.
The groups will share information with parents and talk to them about the importance of reading to a child from birth.
Castillo agrees with this philosophy. The former educator attended a workshop where it was pointed out that education is from birth to death.
“We are to be lifelong learners. That struck me. We should always be learning,” Castillo said.
For information about dropping off books or questions about books, e-mail Shangle at jshangle@oaisd.
Latino football star will be top pick in draft
Mark Sanchez could go places
But where the former USC quarterback lands in the NFL draft Saturday is anybody's guess.
By Sam Farmer, LA Times, April 21, 2009
Even though USC quarterback Mark Sanchez probably won't be the first player selected Saturday in the NFL draft, he could have the biggest influence on the opening round.
With so many teams in the market for a quarterback -- Jacksonville, San Francisco, Denver, Washington, the New York Jets and Tampa Bay among them -- Sanchez could inspire one of them to trade into the top five to pick him.
It looks as if the Detroit Lions will select Georgia quarterback Matthew Stafford with the No. 1 pick, and they might even announce it's a done deal before the draft, the way Houston did with top pick Mario Williams a few years ago.
Then, the real jockeying could start. Would Denver package picks to move up into position, or wait at No. 12 in hopes of getting Kansas State quarterback Josh Freeman? (The quarterback talent drops off sharply after the top three.) The exorbitant price of a top-five selection might be uncomfortably steep for Denver's Pat Bowlen, who isn't as cash-rich as some other owners. If Stafford and Sanchez go quickly, however, Freeman might not make it out of the top 10.
Does Washington trade up from 13? How about the Jets from 17, or Tampa Bay from 19?
"I'm hearing everything," Sanchez said Monday. "I try to stay out of it, but eventually you'll hear every scenario. . . . People think I have some inside scoop, but I don't. It's going to be a wild day."
Even though he's accustomed to being in the spotlight, having played college ball in the nation's No. 2 media market, the scrutiny and attention now border on the absurd. After Sanchez had a dinner meeting in Washington over the weekend with the Redskins, the restaurant issued a news release listing what he ate -- 16-ounce veal chop and a pasta trio -- and noted he "definitely cleaned his plate."
The question now is, which teams are studying Sanchez on the menu?
Keep in mind, with the incredible money spent at the top of the draft, it's extremely uncommon for teams to trade up into that rarefied air, especially in a superstar-free year like this, when the 15th pick could be just as good, or better, than the fifth.
The Lions would love to trade down, for instance, but they know that the last No. 1 team to do so before the draft was San Diego in 2001, when the Atlanta Falcons just had to have Michael Vick.
Rest assured, every team in the top five has been working the phones to move down at the right price and collect more picks in a more economical part of the first round. So far, the deals just aren't there.
Back to Sanchez. Say the Lions select Stafford and St. Louis picks an offensive tackle second -- Baylor's Jason Smith or Virginia's Eugene Monroe -- then the widespread assumption is Seattle at No. 4 would be the next team possibly on the lookout for a quarterback. The Seahawks, who were out in force studying Sanchez at USC's pro day, have considered his learning at the elbow of Matt Hasselbeck for the next year or two.
But what about the Kansas City Chiefs at No. 3?
Yes, it's a longshot for a team that just traded for Matt Cassel, but it's not outside the realm of possibility that Kansas City would draft Sanchez with the thought of trading him or Cassel to move down at the right price.
That would take Denver out of the mix -- it's highly unlikely the Chiefs would make a quarterback trade within the division -- but pre-arranging a first-round pick swap with, say, San Francisco, Washington or Tampa Bay, a deal that also might involve a veteran player, isn't the craziest notion.
After all, Chiefs General Manager Scott Pioli -- the guy who landed Cassel and Pro Bowl linebacker Mike Vrabel for a second-round pick -- is one of the shrewdest personnel minds in football, something clearly demonstrated when he helped assemble those championship New England teams.
For now, all of that is fun speculation -- Sanchez said he hasn't talked to the Chiefs since the scouting combine -- but it underscores just how unpredictable this draft will be. Sanchez doesn't have a clue of where this ride will stop, and neither do the many teams eyeing him.
Sanchez has made trips to Detroit, St. Louis, San Francisco and Washington. Members of the Denver coaching staff are reportedly coming to Los Angeles today to work him out. Cleveland, Seattle, Jacksonville and the Jets also made trips to Southern California to see him.
"Every time you're studying somebody's playbook you're like, 'Man, I hope I'm not studying this for no reason. I hope I actually get to use it.' "
At the NFL Network on Monday, during a break from a dizzying day of interviews and speculation, his older brother and advisor, Nick, sank into a chair and exhaled deeply.
Is he having fun?
"Fun?" his brother said with a weary smile. "Maybe someday I'll look back on this that way. Now, I just want to know."
sam.farmer@latimes.com
But where the former USC quarterback lands in the NFL draft Saturday is anybody's guess.
By Sam Farmer, LA Times, April 21, 2009
Even though USC quarterback Mark Sanchez probably won't be the first player selected Saturday in the NFL draft, he could have the biggest influence on the opening round.
With so many teams in the market for a quarterback -- Jacksonville, San Francisco, Denver, Washington, the New York Jets and Tampa Bay among them -- Sanchez could inspire one of them to trade into the top five to pick him.
It looks as if the Detroit Lions will select Georgia quarterback Matthew Stafford with the No. 1 pick, and they might even announce it's a done deal before the draft, the way Houston did with top pick Mario Williams a few years ago.
Then, the real jockeying could start. Would Denver package picks to move up into position, or wait at No. 12 in hopes of getting Kansas State quarterback Josh Freeman? (The quarterback talent drops off sharply after the top three.) The exorbitant price of a top-five selection might be uncomfortably steep for Denver's Pat Bowlen, who isn't as cash-rich as some other owners. If Stafford and Sanchez go quickly, however, Freeman might not make it out of the top 10.
Does Washington trade up from 13? How about the Jets from 17, or Tampa Bay from 19?
"I'm hearing everything," Sanchez said Monday. "I try to stay out of it, but eventually you'll hear every scenario. . . . People think I have some inside scoop, but I don't. It's going to be a wild day."
Even though he's accustomed to being in the spotlight, having played college ball in the nation's No. 2 media market, the scrutiny and attention now border on the absurd. After Sanchez had a dinner meeting in Washington over the weekend with the Redskins, the restaurant issued a news release listing what he ate -- 16-ounce veal chop and a pasta trio -- and noted he "definitely cleaned his plate."
The question now is, which teams are studying Sanchez on the menu?
Keep in mind, with the incredible money spent at the top of the draft, it's extremely uncommon for teams to trade up into that rarefied air, especially in a superstar-free year like this, when the 15th pick could be just as good, or better, than the fifth.
The Lions would love to trade down, for instance, but they know that the last No. 1 team to do so before the draft was San Diego in 2001, when the Atlanta Falcons just had to have Michael Vick.
Rest assured, every team in the top five has been working the phones to move down at the right price and collect more picks in a more economical part of the first round. So far, the deals just aren't there.
Back to Sanchez. Say the Lions select Stafford and St. Louis picks an offensive tackle second -- Baylor's Jason Smith or Virginia's Eugene Monroe -- then the widespread assumption is Seattle at No. 4 would be the next team possibly on the lookout for a quarterback. The Seahawks, who were out in force studying Sanchez at USC's pro day, have considered his learning at the elbow of Matt Hasselbeck for the next year or two.
But what about the Kansas City Chiefs at No. 3?
Yes, it's a longshot for a team that just traded for Matt Cassel, but it's not outside the realm of possibility that Kansas City would draft Sanchez with the thought of trading him or Cassel to move down at the right price.
That would take Denver out of the mix -- it's highly unlikely the Chiefs would make a quarterback trade within the division -- but pre-arranging a first-round pick swap with, say, San Francisco, Washington or Tampa Bay, a deal that also might involve a veteran player, isn't the craziest notion.
After all, Chiefs General Manager Scott Pioli -- the guy who landed Cassel and Pro Bowl linebacker Mike Vrabel for a second-round pick -- is one of the shrewdest personnel minds in football, something clearly demonstrated when he helped assemble those championship New England teams.
For now, all of that is fun speculation -- Sanchez said he hasn't talked to the Chiefs since the scouting combine -- but it underscores just how unpredictable this draft will be. Sanchez doesn't have a clue of where this ride will stop, and neither do the many teams eyeing him.
Sanchez has made trips to Detroit, St. Louis, San Francisco and Washington. Members of the Denver coaching staff are reportedly coming to Los Angeles today to work him out. Cleveland, Seattle, Jacksonville and the Jets also made trips to Southern California to see him.
"Every time you're studying somebody's playbook you're like, 'Man, I hope I'm not studying this for no reason. I hope I actually get to use it.' "
At the NFL Network on Monday, during a break from a dizzying day of interviews and speculation, his older brother and advisor, Nick, sank into a chair and exhaled deeply.
Is he having fun?
"Fun?" his brother said with a weary smile. "Maybe someday I'll look back on this that way. Now, I just want to know."
sam.farmer@latimes.com
Hispanics found in MLB
MLB Scores An "A" For Racial Diversity
League's Racial, Gender Diversity Get High Marks, Report Says
CBS News, April 15, 2009
On the 62nd anniversary of Jackie Robinson breaking baseball's color barrier, the Major Leagues scored an "A" for its racial hiring practices, according to The Institute for Diversity and Ethics in Sport.
Major League Baseball enters the 2009 season with 10 minority managers, matching a 2002 record, and an all-time high five general managers. The league's grade for gender is slightly worse, but still represents an improvement from last year - up from a score of 76 to 81, which is good for a "B+."
The 2009 Racial and Gender Report Card: Major League Baseball
The report also showed that the number of African-American players, in decline for the last 15 years, actually rose to 10.2 percent from a record low of 8.2 percent last season.
According to the report:
- 39.6 percent of Major League players are people of color - 27 percent Latino, 10.2 percent African-American and 2.4 percent Asian.
- The percentage of Latino and Asian players declined by 2.1 and 0.4 percentage points, respectively.
- As of Opening Day, 28 percent of Major League players are foreign born, representing 15 countries and territories.
- The racial breakdown of MLB's minority managers is: five African-American, four Latino and one Asian-American.
- In 2008, minorities held 33.4 percent of coaching positions in the league, a increase of 2.4 percentage points from 2007.
- The Boston Red Sox led the league with with seven women in vice president positions. The San Francisco Giants were second with six. Half of all MLB teams have at least one woman in a vice president position.
League's Racial, Gender Diversity Get High Marks, Report Says
CBS News, April 15, 2009
On the 62nd anniversary of Jackie Robinson breaking baseball's color barrier, the Major Leagues scored an "A" for its racial hiring practices, according to The Institute for Diversity and Ethics in Sport.
Major League Baseball enters the 2009 season with 10 minority managers, matching a 2002 record, and an all-time high five general managers. The league's grade for gender is slightly worse, but still represents an improvement from last year - up from a score of 76 to 81, which is good for a "B+."
The 2009 Racial and Gender Report Card: Major League Baseball
The report also showed that the number of African-American players, in decline for the last 15 years, actually rose to 10.2 percent from a record low of 8.2 percent last season.
According to the report:
- 39.6 percent of Major League players are people of color - 27 percent Latino, 10.2 percent African-American and 2.4 percent Asian.
- The percentage of Latino and Asian players declined by 2.1 and 0.4 percentage points, respectively.
- As of Opening Day, 28 percent of Major League players are foreign born, representing 15 countries and territories.
- The racial breakdown of MLB's minority managers is: five African-American, four Latino and one Asian-American.
- In 2008, minorities held 33.4 percent of coaching positions in the league, a increase of 2.4 percentage points from 2007.
- The Boston Red Sox led the league with with seven women in vice president positions. The San Francisco Giants were second with six. Half of all MLB teams have at least one woman in a vice president position.
Latino star welcomed at Samba Fest
Third Annual Trinity Samba Fest Welcomes Salsa Star
Ray Gonzalez will Headline Free Connecticut Music Festival
PRESS RELEASE
HARTFORD, Conn. -- New England’s reigning salsa big band, Ray Gonzalez y Su Orquesta, is the main stage headliner at the third annual Trinity College Samba Fest hosted by Trinity College and taking place Saturday, May 2, from 12:00 to 4:00 p.m. The schedule for the free festival includes performances by regional musicians and interactive entertainment for children.
Other feature acts are De 4 Ahwee & Co., a locally based West Indian steel band with a reputation rapidly on the rise, and the Trinity Samba Ensemble, a drumming and singing group that performs several genres of Afro-Brazilian music and is directed by Professor Eric Galm. Guest artist Gleide Cambria, a dancer from Bahia, Brazil, will perform with the Samba Ensemble. [Note: Artist biographies follow.]
Samba Fest provides interactive entertainment for children, with games, sports, and crafts organized by the Trinity Fun Fair (co-chairs Margot Gianis ’10 and Juliana Sheldon ’09) and by Trinity Athletics.
An open-air event, Samba Fest is held on the Trinity College campus, between Broad and Summit Streets, near New Britain Avenue (specifically, the Mather Quadrangle in front of Austin Arts Center). In case of rain, Samba Fest will be moved to the Vernon Social Center, 114 Vernon Street, which is also on the Trinity College campus. Nearby CT Transit bus routes are the 37, 39, and 61. (For bus schedule, call CT Transit at 860-525-9181.) Free parking is available at Trinity.
Samba Fest is underwritten by Trinity College’s Departments of Music, International Studies, History, and Athletics; Annual Community Events Staff (ACES); The Offices of Multicultural Affairs, Community Services, and Campus Life; The Austin Arts Center Guest Artist Series; Latin American and Caribbean Studies Major; PRESHCO—Programa de Estudios Hispánicos en Córdoba; Center for Urban and Global Studies; Campus Climate Committee; Community Learning Initiative; Women and Gender Resource Action Center; Chartwells; and WRTC 89.3 FM Radio.
Telemundo is the media sponsor of Samba Fest.
Samba Fest will be simulcast on WRTC 89.3 FM.
Admission to Samba Fest is free, with an optional contribution of a non-perishable food item for a local food pantry suggested. For more information, please phone 860-297-2199 or visit www.trincoll.edu/artsattrinity.
Ray Gonzalez will Headline Free Connecticut Music Festival
PRESS RELEASE
HARTFORD, Conn. -- New England’s reigning salsa big band, Ray Gonzalez y Su Orquesta, is the main stage headliner at the third annual Trinity College Samba Fest hosted by Trinity College and taking place Saturday, May 2, from 12:00 to 4:00 p.m. The schedule for the free festival includes performances by regional musicians and interactive entertainment for children.
Other feature acts are De 4 Ahwee & Co., a locally based West Indian steel band with a reputation rapidly on the rise, and the Trinity Samba Ensemble, a drumming and singing group that performs several genres of Afro-Brazilian music and is directed by Professor Eric Galm. Guest artist Gleide Cambria, a dancer from Bahia, Brazil, will perform with the Samba Ensemble. [Note: Artist biographies follow.]
Samba Fest provides interactive entertainment for children, with games, sports, and crafts organized by the Trinity Fun Fair (co-chairs Margot Gianis ’10 and Juliana Sheldon ’09) and by Trinity Athletics.
An open-air event, Samba Fest is held on the Trinity College campus, between Broad and Summit Streets, near New Britain Avenue (specifically, the Mather Quadrangle in front of Austin Arts Center). In case of rain, Samba Fest will be moved to the Vernon Social Center, 114 Vernon Street, which is also on the Trinity College campus. Nearby CT Transit bus routes are the 37, 39, and 61. (For bus schedule, call CT Transit at 860-525-9181.) Free parking is available at Trinity.
Samba Fest is underwritten by Trinity College’s Departments of Music, International Studies, History, and Athletics; Annual Community Events Staff (ACES); The Offices of Multicultural Affairs, Community Services, and Campus Life; The Austin Arts Center Guest Artist Series; Latin American and Caribbean Studies Major; PRESHCO—Programa de Estudios Hispánicos en Córdoba; Center for Urban and Global Studies; Campus Climate Committee; Community Learning Initiative; Women and Gender Resource Action Center; Chartwells; and WRTC 89.3 FM Radio.
Telemundo is the media sponsor of Samba Fest.
Samba Fest will be simulcast on WRTC 89.3 FM.
Admission to Samba Fest is free, with an optional contribution of a non-perishable food item for a local food pantry suggested. For more information, please phone 860-297-2199 or visit www.trincoll.edu/artsattrinity.
Monday, April 20, 2009
Latino Cultural Center presents 'dichos'
Exhibit at Latino Cultural Center: Dichos: Words to Live, Love and Laugh By in Latin America
By BEATRIZ TERRAZAS / The Dallas Morning News April 16, 2009
When Fernando Salazár, 35, recently walked into the Latino Cultural Center, his eye was immediately drawn to one of the Spanish sayings in the new Dichos exhibit: Fe en Dios, y adelante. Loosely translated, the saying means "Faith in God, and onward."
For Fernando Salazár, sayings such as those displayed at the Latino Cultural Center were life lessons taught by family. These two signs translate to 'God willing, I'll return' and 'Blessed Panama.'
"That kind of really talked to me as a dicho," says SMU's coordinator of Hispanic Student Services. Particularly since the Spanish sayings have long played a role in his personal life.
The exhibit, "Dichos: Words to Live, Love and Laugh By in Latin America," runs through April 25 and features photos of an art that has all but disappeared – the whimsical custom of painting scenes with popular sayings on the sides of large trucks and buses.
Alejandrina Drew, children's book author and general manager of the center, recalls such buses while growing up in Mexico City. However, she says, as large urban centers throughout Latin America modernize transportation, people are no longer using buses as canvases to display these kernels of humor and wisdom.
But dichos themselves continue to serve as an anchor for Latinos, grounding them in culture and connecting them through a common language, says Drew.
"Language takes you to your roots, and every language has its own traditions," she says. "It's good for Latinos to go back to their roots and see what's common in our Latino world."
That seems counterintuitive in a high-tech world where people increasingly connect through social networks such as Facebook and Twitter. Yet, she appears to be right. Many local Latinos continue to find profound meaning in the dichos they grew up with.
For Salazár, who was born in Oak Cliff but still has family in Mexico, the sayings were life lessons taught by his grandmother and mother. For instance, when concerned about his friendships, they were apt to repeat, "Dime con quién andas y te diré quién eres," which means that you're known by the company you keep.
But the saying that has become a way of life for him is "Mejor solo que mal acompañado," which advises that it's better to be alone than in a negative relationship.
"I use that on so many different levels, in professional relationships – relationships period," he says. "I'd rather be alone than in with bad people, or be surrounded by bad people in general."
It's a model for healthy living, says Salazár, who uses it to counsel students regularly. "You put yourself in a situation; is it a good situation or a bad situation?"
For Nadia María Martínez Cepeda, 25, an engineering doctoral candidate at the University of Texas at Arlington, dichos connect her directly to family and cultural experiences. She was born in Mexico City, and grew up in Saltillo, Coahuila.
"How do you remember all these words, all these phrases?" she says. "I remember everything because of some other experience ... with my family or friends."
She can't hear "Más vale una vez colorado que mil descolorido" without thinking of her grandmother's advice when Nadia was having problems with a boyfriend. Although it doesn't translate literally to English, it's about getting issues out in the open and dealing with them at once rather than letting them fester, she says.
She keeps a book of 500 popular Spanish sayings and whenever she hears a new one that has meaning for her, she writes it down.
"I enjoy saying dichos in Spanish because they make more sense to me," she says. "In English they don't sound the same."
Isaac Faz, 33, a native Dallasite with Mexican roots, is in his final year at Texas Southern University's Thurgood Marshall School of Law in Houston. He points out that dichos often communicate messages that extend far beyond their literal meaning.
For instance, Faz, who helped found the Dallas network Vida Social, recalls a television ad from South Texan Tony Sanchez's gubernatorial run in 2002 that sparked a lively discussion in his own family. In the ad, Sanchez said, "Aquí nomás mis chicharrones truenan." Again, the saying doesn't translate directly, but means "Around here, only my word matters," or "Here, I'm the only boss."
Although the saying made his family laugh, it also drew them together.
"We even discussed it, aunts and uncles," he says. While many Latinos, particularly immigrants to this country, often feel disenfranchised when it comes to politics, Sanchez's use of this saying "was like letting us into that group. That message was, now we're part of this race, he's communicating directly to us."
And it's this kind of human connection that Drew fears will be lost, one word at a time, as customs such as adorning buses with dichos fade away.
The sayings are about a common language and culture, she says. "It's our hope that this representation of culture is preserved.
Beatriz Terrazas is a Southlake freelance writer.
Some dichos and their meanings
Hoy por mí, mañana por ti.
You scratch my back, and I'll scratch yours.
Lo que el agua trae, el agua lleva.
Easy come, easy go.
Los burros se buscan para rascarse unos con otros.
Birds of a feather flock together.
A donde fueres, haz lo que vieres.
When in Rome, do as Romans do.
Como quitarle un pelo al gato.
It's just a drop in the bucket.
Con dinero baila el perro.
Money talks.
The free exhibit runs through April 25. Latino Cultural Center, 2600 Live Oak at Good Latimer. 214-671-0045. www.dallasculture.org/
latinoculturalcenter.cfm
By BEATRIZ TERRAZAS / The Dallas Morning News April 16, 2009
When Fernando Salazár, 35, recently walked into the Latino Cultural Center, his eye was immediately drawn to one of the Spanish sayings in the new Dichos exhibit: Fe en Dios, y adelante. Loosely translated, the saying means "Faith in God, and onward."
For Fernando Salazár, sayings such as those displayed at the Latino Cultural Center were life lessons taught by family. These two signs translate to 'God willing, I'll return' and 'Blessed Panama.'
"That kind of really talked to me as a dicho," says SMU's coordinator of Hispanic Student Services. Particularly since the Spanish sayings have long played a role in his personal life.
The exhibit, "Dichos: Words to Live, Love and Laugh By in Latin America," runs through April 25 and features photos of an art that has all but disappeared – the whimsical custom of painting scenes with popular sayings on the sides of large trucks and buses.
Alejandrina Drew, children's book author and general manager of the center, recalls such buses while growing up in Mexico City. However, she says, as large urban centers throughout Latin America modernize transportation, people are no longer using buses as canvases to display these kernels of humor and wisdom.
But dichos themselves continue to serve as an anchor for Latinos, grounding them in culture and connecting them through a common language, says Drew.
"Language takes you to your roots, and every language has its own traditions," she says. "It's good for Latinos to go back to their roots and see what's common in our Latino world."
That seems counterintuitive in a high-tech world where people increasingly connect through social networks such as Facebook and Twitter. Yet, she appears to be right. Many local Latinos continue to find profound meaning in the dichos they grew up with.
For Salazár, who was born in Oak Cliff but still has family in Mexico, the sayings were life lessons taught by his grandmother and mother. For instance, when concerned about his friendships, they were apt to repeat, "Dime con quién andas y te diré quién eres," which means that you're known by the company you keep.
But the saying that has become a way of life for him is "Mejor solo que mal acompañado," which advises that it's better to be alone than in a negative relationship.
"I use that on so many different levels, in professional relationships – relationships period," he says. "I'd rather be alone than in with bad people, or be surrounded by bad people in general."
It's a model for healthy living, says Salazár, who uses it to counsel students regularly. "You put yourself in a situation; is it a good situation or a bad situation?"
For Nadia María Martínez Cepeda, 25, an engineering doctoral candidate at the University of Texas at Arlington, dichos connect her directly to family and cultural experiences. She was born in Mexico City, and grew up in Saltillo, Coahuila.
"How do you remember all these words, all these phrases?" she says. "I remember everything because of some other experience ... with my family or friends."
She can't hear "Más vale una vez colorado que mil descolorido" without thinking of her grandmother's advice when Nadia was having problems with a boyfriend. Although it doesn't translate literally to English, it's about getting issues out in the open and dealing with them at once rather than letting them fester, she says.
She keeps a book of 500 popular Spanish sayings and whenever she hears a new one that has meaning for her, she writes it down.
"I enjoy saying dichos in Spanish because they make more sense to me," she says. "In English they don't sound the same."
Isaac Faz, 33, a native Dallasite with Mexican roots, is in his final year at Texas Southern University's Thurgood Marshall School of Law in Houston. He points out that dichos often communicate messages that extend far beyond their literal meaning.
For instance, Faz, who helped found the Dallas network Vida Social, recalls a television ad from South Texan Tony Sanchez's gubernatorial run in 2002 that sparked a lively discussion in his own family. In the ad, Sanchez said, "Aquí nomás mis chicharrones truenan." Again, the saying doesn't translate directly, but means "Around here, only my word matters," or "Here, I'm the only boss."
Although the saying made his family laugh, it also drew them together.
"We even discussed it, aunts and uncles," he says. While many Latinos, particularly immigrants to this country, often feel disenfranchised when it comes to politics, Sanchez's use of this saying "was like letting us into that group. That message was, now we're part of this race, he's communicating directly to us."
And it's this kind of human connection that Drew fears will be lost, one word at a time, as customs such as adorning buses with dichos fade away.
The sayings are about a common language and culture, she says. "It's our hope that this representation of culture is preserved.
Beatriz Terrazas is a Southlake freelance writer.
Some dichos and their meanings
Hoy por mí, mañana por ti.
You scratch my back, and I'll scratch yours.
Lo que el agua trae, el agua lleva.
Easy come, easy go.
Los burros se buscan para rascarse unos con otros.
Birds of a feather flock together.
A donde fueres, haz lo que vieres.
When in Rome, do as Romans do.
Como quitarle un pelo al gato.
It's just a drop in the bucket.
Con dinero baila el perro.
Money talks.
The free exhibit runs through April 25. Latino Cultural Center, 2600 Live Oak at Good Latimer. 214-671-0045. www.dallasculture.org/
latinoculturalcenter.cfm
Latino garage rockers make the scene
LIVE: Latino garage-rockers still groove, move
BY JOHN PETRIC, The Other Paper, April 16, 2009
Mexicans from Michigan: Who knew Tex-Mex bounce would meet up with ’60s garage rock just north of Detroit and we’d still be doing the Latino cave stomp 43 years later?
Thus it was Friday night at a packed Rumba Café as ? and the Mysterians laid an hour-plus of the sexiest punk-soul dance beats local hips and loins could ask for.
Cheesy vox organ, a drummer perfectly on the post-Motown “Goin’ to A-Go-Go” groove, the happiest bass player you’ve ever seen, a guitarist punching out power chords and the charismatically weird but fascinating ? himself. It all made for a rock ’n’ roll enchilada that ate us for a midnight snack.
Born Rudy Martinez but legally renamed Question Mark, ? was in his ’60s glory: red leopard-skin blouse tied at the midriff with billowing sleeves; prerequisite black sunglasses; black Mexican cowboy hat with the “?” patch on the front brim; and dancing a frenzy of dance steps the whores in Tijuana abandoned long ago.
You didn’t want to watch anybody else onstage. That’s because there was a fascinating weirdness about ?, a self-professed lover of science fiction who once maintained he was from Mars and grew up with dinosaurs. He looks like an Apache shaman you’d meet on a mescaline weekend in the high desert out West.
I liked the guy immediately.
He danced like a toreador version of Charo crossed with Mick Jagger, loose-limbed and hyper—and the dude’s, like, 68 or something. Ageless, really, yet lithe.
Unfortunately, too many in the crowd stood like gaping statues while the band that inspired the term punk rock (see Dave Marsh, 1971, Creem magazine) poured a withering soul-fire of hot dance music like a lava machine.
Most of the songs were derivatives of the Mysterians’ 1966 hit, “96 Tears,” but not slavishly so. Nearly every other song, the guitar and organ would drop out, and it would be just the bounding bass and drums carrying the groove. It was a beautiful device and worked magnificently. You simply could not flirt with the riff and then not embrace it.
As for ?, he would take advantage of the bass-and-drums break to step back from the mike and sensually move like you haven’t seen a grown man move maybe ever.
Raw sex was given a breather, and tenderness a chance, with a cover of an Otis Redding ballad. Awesome. ? had the crowd in the palm of his Latin hand by that point, and then it was back to the fierce Mexican soul-ified version of ’60s garage rock with “Girl, You Captivate Me,” the lyrics panting out a heat worthy of any crazed 16-year-old.
They repeated this pattern of four or five high energy tunes punctuated by a soul-ballad classic several times, giving their set depth and character. They encored with a primitive fuzz-drenched cover of the Stones’ “Satisfaction” after their set-crowning jewel, “96 Tears.”
On a bummer note, the opening band, Vegas 66, which has no idea rockabilly has a subtle swing but instead played as if the Ramones invented the genre. Hence, clunk-a-billy. Sad, really.
BY JOHN PETRIC, The Other Paper, April 16, 2009
Mexicans from Michigan: Who knew Tex-Mex bounce would meet up with ’60s garage rock just north of Detroit and we’d still be doing the Latino cave stomp 43 years later?
Thus it was Friday night at a packed Rumba Café as ? and the Mysterians laid an hour-plus of the sexiest punk-soul dance beats local hips and loins could ask for.
Cheesy vox organ, a drummer perfectly on the post-Motown “Goin’ to A-Go-Go” groove, the happiest bass player you’ve ever seen, a guitarist punching out power chords and the charismatically weird but fascinating ? himself. It all made for a rock ’n’ roll enchilada that ate us for a midnight snack.
Born Rudy Martinez but legally renamed Question Mark, ? was in his ’60s glory: red leopard-skin blouse tied at the midriff with billowing sleeves; prerequisite black sunglasses; black Mexican cowboy hat with the “?” patch on the front brim; and dancing a frenzy of dance steps the whores in Tijuana abandoned long ago.
You didn’t want to watch anybody else onstage. That’s because there was a fascinating weirdness about ?, a self-professed lover of science fiction who once maintained he was from Mars and grew up with dinosaurs. He looks like an Apache shaman you’d meet on a mescaline weekend in the high desert out West.
I liked the guy immediately.
He danced like a toreador version of Charo crossed with Mick Jagger, loose-limbed and hyper—and the dude’s, like, 68 or something. Ageless, really, yet lithe.
Unfortunately, too many in the crowd stood like gaping statues while the band that inspired the term punk rock (see Dave Marsh, 1971, Creem magazine) poured a withering soul-fire of hot dance music like a lava machine.
Most of the songs were derivatives of the Mysterians’ 1966 hit, “96 Tears,” but not slavishly so. Nearly every other song, the guitar and organ would drop out, and it would be just the bounding bass and drums carrying the groove. It was a beautiful device and worked magnificently. You simply could not flirt with the riff and then not embrace it.
As for ?, he would take advantage of the bass-and-drums break to step back from the mike and sensually move like you haven’t seen a grown man move maybe ever.
Raw sex was given a breather, and tenderness a chance, with a cover of an Otis Redding ballad. Awesome. ? had the crowd in the palm of his Latin hand by that point, and then it was back to the fierce Mexican soul-ified version of ’60s garage rock with “Girl, You Captivate Me,” the lyrics panting out a heat worthy of any crazed 16-year-old.
They repeated this pattern of four or five high energy tunes punctuated by a soul-ballad classic several times, giving their set depth and character. They encored with a primitive fuzz-drenched cover of the Stones’ “Satisfaction” after their set-crowning jewel, “96 Tears.”
On a bummer note, the opening band, Vegas 66, which has no idea rockabilly has a subtle swing but instead played as if the Ramones invented the genre. Hence, clunk-a-billy. Sad, really.
Latino film festival planned for Phoenix College
Phoenix College hosts 10th annual Latino film festival
Rebecca Thomas, rebecca.thomas@abc15.com, 4/16
Movies from several Latin American countries will light up the silver screen during the upcoming 2009 Phoenix College Latino Film Festival.
The free event, now in its 10th year, will offer screenings April 20, 23, 24, 27 at Phoenix College and on the 28th at the Phoenix Art Museum.
This year's festival will showcase five Spanish language films, with English subtitles, from countries including Uruguay, Peru, United States and Mexico.
"The Phoenix College Latino Film Festival is a way to promote the interest in national and international affairs among our students and community members," said Trino Sandoval, Spanish faculty and Raul Castro Institute acting director. "It is important for all of us to see the connection between Latin America and the United States; and how events in these two regions have consequences, both positive and negative, at different levels."
Here's the line-up for each movie screening beginning at 7 p.m.
April 20 - "El Baño del Papa" (The Pope's Toilet) by Cesar Charlone and Enrique Fernandez, Uruguay, 2007.
April 23 - "Soy Andina" (I'm Andean) by Mitchell Teplitsky, Peru and USA 2007.
April 24 - "El Acuarelista" (The Watercolorist) by Daniel Ro, Peru 2008.
April 27 - "Lake Tahoe" by Fernando Eimbcke, Mexico 2008.
April 28 - "Enamorada" (Woman in Love) by Emilio "El Indio" Fernandez, Mexico 1946.
Discussions will follow each film screening and will cover topics including film content, the creative process of developing and producing films in Latin America and an analysis of the socio-economic and cultural background of the Latin American country the films represent.
Special guests and discussion leaders include representatives from the Consulate General of Peru and Mexico in Phoenix, Arizona State University and the City of Phoenix.
For more information on the 2009 Latino Film Festival at Phoenix College, contact Dr. Trino Sandoval at (602) 285-7416.
Rebecca Thomas, rebecca.thomas@abc15.com, 4/16
Movies from several Latin American countries will light up the silver screen during the upcoming 2009 Phoenix College Latino Film Festival.
The free event, now in its 10th year, will offer screenings April 20, 23, 24, 27 at Phoenix College and on the 28th at the Phoenix Art Museum.
This year's festival will showcase five Spanish language films, with English subtitles, from countries including Uruguay, Peru, United States and Mexico.
"The Phoenix College Latino Film Festival is a way to promote the interest in national and international affairs among our students and community members," said Trino Sandoval, Spanish faculty and Raul Castro Institute acting director. "It is important for all of us to see the connection between Latin America and the United States; and how events in these two regions have consequences, both positive and negative, at different levels."
Here's the line-up for each movie screening beginning at 7 p.m.
April 20 - "El Baño del Papa" (The Pope's Toilet) by Cesar Charlone and Enrique Fernandez, Uruguay, 2007.
April 23 - "Soy Andina" (I'm Andean) by Mitchell Teplitsky, Peru and USA 2007.
April 24 - "El Acuarelista" (The Watercolorist) by Daniel Ro, Peru 2008.
April 27 - "Lake Tahoe" by Fernando Eimbcke, Mexico 2008.
April 28 - "Enamorada" (Woman in Love) by Emilio "El Indio" Fernandez, Mexico 1946.
Discussions will follow each film screening and will cover topics including film content, the creative process of developing and producing films in Latin America and an analysis of the socio-economic and cultural background of the Latin American country the films represent.
Special guests and discussion leaders include representatives from the Consulate General of Peru and Mexico in Phoenix, Arizona State University and the City of Phoenix.
For more information on the 2009 Latino Film Festival at Phoenix College, contact Dr. Trino Sandoval at (602) 285-7416.
Latino arts season begins
Miracle Theater Group Announces Five Plays Of 09-10 Latino Arts Season
Broadway World April 16, 2009
Miracle Theatre Group, the Northwest's premier Latino arts and culture organization, today announces its 2009-2010 season featuring an extraordinary line-up of five plays with a literary bent, including a number of original and bilingual productions.
Preceding the start of the nonprofit organization's 26th season will be Festival de la luna nueva (Festival of the New Moon), a variety of staged readings of new work along with concerts and poetry nights in September to recognize and celebrate Hispanic Heritage Month (details to be announced later this summer). The Miracle then officially begins its season in October with the theatre's signature show, El Día de los Muertos Festival, its annual Day of the Dead celebration. January brings the world premiere of American Sueño, a play that will tour nationally throughout 2010, while in February the company's Spanish-speaking Teatro Español ensemble appears in the very modern Mexican comedy Entre Villa y una mujer desnuda (Between Villa and a Naked Woman).The season continues in the spring with a staged version of Julia Alvarez's best-selling novel How the Garcia Girls Lost Their Accents, followed by a boisterous family-friendly bilingual adaptation of Cervantes' classic Don Quijote.
Also on the calendar are a number of special events, including the annual community Christmas celebration, Posada Milagro; a staged reading in Spanish for the 2010 International Women's Day; and Summer at Milagro educational activities that this year include a Spanish-immersion theatre camp for kids, a Cuban folkloric dance class for teens, and an acting workshop for adults.
Miracle Theatre Group's 2009-2010 season includes:
El Día de los Muertos Festival
A Miracle MainStage original bilingual production
October 30, 2009-November 15, 2009
Every fall, the dead are commemorated in a lively show of dance, music and theatre in Portland's longest-running Day of the Dead celebration. This year, los muertos return singing traditional tunes that harken back to another era when times were tough and tradition was one of the few things folks could call their own. Even as we shed one way of life for another, the spirit endures and we remember that the only thing to fear - in life or death - is fear itself.
American Sueño
Created by Dañel Malán and Rebecca Martínez
Directed by Rebecca Martínez
January 15-23, 2010
A Teatro Milagro original bilingual production
Hitchhiking down the interstate, heart on my sleeve.
Two years in a six by nine, waiting for a call from the outside.
Escaping from my past, living under a bridge.
Hiding behind my desk job, waiting for the call to run.
We are the outsiders - the homeless, the outcast, the gay, the immigrant - but we still dream "The American Dream" ... everybody's hope for a better job, a better life, a better tomorrow. Weaving together our real-life stories, American Sueño is our hopeful journey toward a new era of acceptance.
Entre Villa y una mujer desnuda
Written by Sabina Berman
February 12-March 6, 2010
A Miracle MainStage production presented in Spanish with subtitles in English at every performance
In this modern, romantic comedy, Gina wants more out of her casual relationship with Adrian, a liberal intellectual who's in it only for some good sex. Adrian shies away from any form of commitment - that is, until Gina takes up with a younger, sensitive lover. That's when the spirit of Mexico's most famous revolutionary rides again, appearing as Adrian's macho conscience ready to do anything to win this battle of the sexes.
How the Garcia Girls Lost Their Accents
A play by Karen Zacarías based on the best-selling novel by Julia Alvarez
March 26-April 17, 2010
A Miracle MainStage production in English
Uprooted from their home in the Dominican Republic, the four Garcia sisters arrive in New York City in 1960 to find a life far different from the genteel existence of maids, manicures and extended family they had to leave. As they plunge headfirst into the freewheeling American mainstream with its dizzying choices and challenges, they remain forever caught between the old world and the new. What they have lost - and gained - is revealed in this vivacious story bursting with passion.
El Quijote
A Miracle MainStage bilingual adaptation of a play written by Santiago García, based on the novel by Miguel de Cervantes
May 7-29, 2010
To see the world through the eyes of Don Quijote is to embrace life as the fullest adventure. From windmills to wenches, this knight-errant, in the company of his humble squire Sancho Panza, continues to roam the world and spark our imagination as he has for some four hundred years. This lusty adaptation of Cervantes' classic - filled with a muscular theatricality - proves the power of imagination to overcome the vagaries of life.
Broadway World April 16, 2009
Miracle Theatre Group, the Northwest's premier Latino arts and culture organization, today announces its 2009-2010 season featuring an extraordinary line-up of five plays with a literary bent, including a number of original and bilingual productions.
Preceding the start of the nonprofit organization's 26th season will be Festival de la luna nueva (Festival of the New Moon), a variety of staged readings of new work along with concerts and poetry nights in September to recognize and celebrate Hispanic Heritage Month (details to be announced later this summer). The Miracle then officially begins its season in October with the theatre's signature show, El Día de los Muertos Festival, its annual Day of the Dead celebration. January brings the world premiere of American Sueño, a play that will tour nationally throughout 2010, while in February the company's Spanish-speaking Teatro Español ensemble appears in the very modern Mexican comedy Entre Villa y una mujer desnuda (Between Villa and a Naked Woman).The season continues in the spring with a staged version of Julia Alvarez's best-selling novel How the Garcia Girls Lost Their Accents, followed by a boisterous family-friendly bilingual adaptation of Cervantes' classic Don Quijote.
Also on the calendar are a number of special events, including the annual community Christmas celebration, Posada Milagro; a staged reading in Spanish for the 2010 International Women's Day; and Summer at Milagro educational activities that this year include a Spanish-immersion theatre camp for kids, a Cuban folkloric dance class for teens, and an acting workshop for adults.
Miracle Theatre Group's 2009-2010 season includes:
El Día de los Muertos Festival
A Miracle MainStage original bilingual production
October 30, 2009-November 15, 2009
Every fall, the dead are commemorated in a lively show of dance, music and theatre in Portland's longest-running Day of the Dead celebration. This year, los muertos return singing traditional tunes that harken back to another era when times were tough and tradition was one of the few things folks could call their own. Even as we shed one way of life for another, the spirit endures and we remember that the only thing to fear - in life or death - is fear itself.
American Sueño
Created by Dañel Malán and Rebecca Martínez
Directed by Rebecca Martínez
January 15-23, 2010
A Teatro Milagro original bilingual production
Hitchhiking down the interstate, heart on my sleeve.
Two years in a six by nine, waiting for a call from the outside.
Escaping from my past, living under a bridge.
Hiding behind my desk job, waiting for the call to run.
We are the outsiders - the homeless, the outcast, the gay, the immigrant - but we still dream "The American Dream" ... everybody's hope for a better job, a better life, a better tomorrow. Weaving together our real-life stories, American Sueño is our hopeful journey toward a new era of acceptance.
Entre Villa y una mujer desnuda
Written by Sabina Berman
February 12-March 6, 2010
A Miracle MainStage production presented in Spanish with subtitles in English at every performance
In this modern, romantic comedy, Gina wants more out of her casual relationship with Adrian, a liberal intellectual who's in it only for some good sex. Adrian shies away from any form of commitment - that is, until Gina takes up with a younger, sensitive lover. That's when the spirit of Mexico's most famous revolutionary rides again, appearing as Adrian's macho conscience ready to do anything to win this battle of the sexes.
How the Garcia Girls Lost Their Accents
A play by Karen Zacarías based on the best-selling novel by Julia Alvarez
March 26-April 17, 2010
A Miracle MainStage production in English
Uprooted from their home in the Dominican Republic, the four Garcia sisters arrive in New York City in 1960 to find a life far different from the genteel existence of maids, manicures and extended family they had to leave. As they plunge headfirst into the freewheeling American mainstream with its dizzying choices and challenges, they remain forever caught between the old world and the new. What they have lost - and gained - is revealed in this vivacious story bursting with passion.
El Quijote
A Miracle MainStage bilingual adaptation of a play written by Santiago García, based on the novel by Miguel de Cervantes
May 7-29, 2010
To see the world through the eyes of Don Quijote is to embrace life as the fullest adventure. From windmills to wenches, this knight-errant, in the company of his humble squire Sancho Panza, continues to roam the world and spark our imagination as he has for some four hundred years. This lusty adaptation of Cervantes' classic - filled with a muscular theatricality - proves the power of imagination to overcome the vagaries of life.
Friday, April 17, 2009
Latino pop-rock offers more than entertainment
Latino pop-rock is the best of many worlds
The music melds Mexican and South American traits with ongoing European trends.
By Reed Johnson and Deborah Bonello, April 15, 2009
Reporting from Los Angeles and Mexico City -- Growing up in a middle-class home in Mexico City's genteel Coyoacán neighborhood, Camilo Lara watched MTV and listened to the Happy Mondays and the Charlatans, "in my room, very loud." But whenever he drifted into his family's communal living spaces or the kitchen, he'd get a shot of José José, classical music, cumbia (which the family's cook favored) or "some crappy Mexican pop."
"I respect cumbia and salsa as much as the Smiths or the Stone Roses," said Lara, who will perform Sunday at the Coachella Valley Music and Arts Festival under his creative moniker, Mexican Institute of Sound, a grandiose name that reflects both Lara's sprawling ambitions as well as his sly, pretension-puncturing sense of humor (he's currently writing a novel about a guy who's writing a novel).
Lara's brand of electronica-rock, on display in his new, critically praised album "Soy Sauce," draws liberally on his country's musical culture, sampling mariachi horns and incorporating solos by Café Tacuba lead guitarist Joselo Rangel. But he doesn't feel obliged to wrap himself in the national banner, as previous generations of Mexican musicians often felt compelled to do.
"Whenever music is led by nostalgia, it's terrible," Lara said. "I can take, borrow some of my culture, but I don't necessarily adore my culture, you know? What happens to me in some population in the U.S., like L.A. or New York or Chicago, is that they have this fascination for Mexican culture per se, putting everything in a bucket. So it doesn't matter if you're Mayan or Aztec, or you eat tortillas or you eat worms. It's just the idea of being Mexican. And for me, it's totally the opposite."
Lara's self-consciously trans-border approach to music making echoes that of most of the other nominally "Latino" acts performing at Coachella this year, which include the Argentine-Uruguayan collective Bajofondo and two veteran Mexican rock outfits, Molotov and El Gran Silencio. The eclecticism and growing international standing of these bands indicate how globalized Latin rock has become in the roughly two decades since the beginning of the so-called rock en español movement.
Twenty years ago, punk-rock, ska and hip-hop were the main genres that shaped the sound of emerging Latin American bands. Today, electronica is filling that role. And, as was the case with punk and ska, the more risk-taking Latin bands are tweaking and customizing electronica to suit their cultural and aesthetic objectives, rather than merely imitating existing U.S. and European electronica outfits.
The results of those experiments can be heard in the work of groups such as Mexican Institute of Sound and Zizek Club, an Argentine collective that also will perform at Coachella, as well as through the ongoing efforts of more established ensembles such as Tijuana-based Nortec Collective.
Last year Nortec's brain trust, the artists known as Bostich and Fussible (Ramon Amezcua and Pepe Mogt), released what might be the group's most accomplished disc to date, "Nortec Collective Presents: Bostich + Fussible/Tijuana Sound Machine." While the record keeps faith with Nortec's trademark mix of computer-generated electronica and traditional Mexican norteño, it also incorporates more live musicians playing clarinet, accordion and the bajo sexto traditional 12-string guitar.
Gustavo Santaolalla, 57, the Argentine musician, composer and producer who is the best-known member of Bajofondo, suggests that when electronica arrived in Latin America it initially had a faddish quality.
"But now the thing has evolved," he said during an interview at his Echo Park home (he has lived in L.A. for 30 years). "Now everybody plays with sequences and stuff. The whole moment with the raves, that's kind of fading. But the influence has been absorbed, and it's now part of everybody's musical language."
Formerly known as Bajofondo Tango Club, the eight-man group has moved beyond its early foundations of tango, milonga and candombe, assimilating fusion jazz, hip-hop and other elements. Bajofondo recently released its third album, "Mar Dulce" (Sweet Sea), a reference to the estuary-fed Rio de la Plata that flows between Argentina and Uruguay as it empties into the Atlantic.
The new disc includes collaborations with guest artists as diverse as Elvis Costello, Nelly Furtado, Gustavo Cerati, Julieta Venegas and Lágrima Ríos, resulting in a suave paradox: rhythmically and emotionally complex music that is propulsive yet tinged with melancholy.
That combination has been exporting well. Bajofondo's current North American tour will cover 13 shows, with stopovers in New York; Austin, Texas; Toronto; Montreal; Tucson and Detroit, among other places, and the band is planning future engagements in Korea and Japan.
Santaolalla said that Bajofondo is coalescing more than before in the studio, a consequence of having played together for the past several years. "When you see it live, it's like a rock band. It has a much more raw sound."
When Bajofondo started, he said, the majority of its music was programmed, and the rest was played. Now, it's the opposite. "I think it was a natural evolution," Santaolalla said. "We wanted to play more, and the more we played the more we were taking out [what] was programmed. So all the album kind of reflects the progression of the band."
Techno-driven sonic experimentation, the stock in trade of electronica, is not without ample precedent in modern Latin American music, from the ear-tickling, space-age bachelor-pad pop of the eccentric Mexican composer and arranger Juan García Esquivel to the whimsical, industrial-strength cacophonies of Brazil's Tom Zé. In the past, such friskiness often caused non-Latin American audiences to scratch their heads in bewilderment.
To a degree, that bemusement still persists. Lara said that when he performs in the United States he attracts a mixture of the curious, Mexican-immigrant nostalgists and world music aficionados, and he wouldn't be surprised to find himself sharing a billing with a group of Burundi drummers. In Mexico, he's likely to get shoved into a hip-hop event.
But if artists like Lara are getting comfortable with the temporary state of confusion, audiences might be as well.
"I guess with my music I feel a little bit like a misfit wherever I go," Lara said. "It's funny. At the end, I feel like the Mexican sound is kind of like a dog from the street, that has one eye of one color and the other one of other, and it doesn't fit anywhere. So probably the best thing to market is a unique, ugly but pretty thing."
reed.johnson@latimes.comdeborah.bonello@latimes.com
The music melds Mexican and South American traits with ongoing European trends.
By Reed Johnson and Deborah Bonello, April 15, 2009
Reporting from Los Angeles and Mexico City -- Growing up in a middle-class home in Mexico City's genteel Coyoacán neighborhood, Camilo Lara watched MTV and listened to the Happy Mondays and the Charlatans, "in my room, very loud." But whenever he drifted into his family's communal living spaces or the kitchen, he'd get a shot of José José, classical music, cumbia (which the family's cook favored) or "some crappy Mexican pop."
"I respect cumbia and salsa as much as the Smiths or the Stone Roses," said Lara, who will perform Sunday at the Coachella Valley Music and Arts Festival under his creative moniker, Mexican Institute of Sound, a grandiose name that reflects both Lara's sprawling ambitions as well as his sly, pretension-puncturing sense of humor (he's currently writing a novel about a guy who's writing a novel).
Lara's brand of electronica-rock, on display in his new, critically praised album "Soy Sauce," draws liberally on his country's musical culture, sampling mariachi horns and incorporating solos by Café Tacuba lead guitarist Joselo Rangel. But he doesn't feel obliged to wrap himself in the national banner, as previous generations of Mexican musicians often felt compelled to do.
"Whenever music is led by nostalgia, it's terrible," Lara said. "I can take, borrow some of my culture, but I don't necessarily adore my culture, you know? What happens to me in some population in the U.S., like L.A. or New York or Chicago, is that they have this fascination for Mexican culture per se, putting everything in a bucket. So it doesn't matter if you're Mayan or Aztec, or you eat tortillas or you eat worms. It's just the idea of being Mexican. And for me, it's totally the opposite."
Lara's self-consciously trans-border approach to music making echoes that of most of the other nominally "Latino" acts performing at Coachella this year, which include the Argentine-Uruguayan collective Bajofondo and two veteran Mexican rock outfits, Molotov and El Gran Silencio. The eclecticism and growing international standing of these bands indicate how globalized Latin rock has become in the roughly two decades since the beginning of the so-called rock en español movement.
Twenty years ago, punk-rock, ska and hip-hop were the main genres that shaped the sound of emerging Latin American bands. Today, electronica is filling that role. And, as was the case with punk and ska, the more risk-taking Latin bands are tweaking and customizing electronica to suit their cultural and aesthetic objectives, rather than merely imitating existing U.S. and European electronica outfits.
The results of those experiments can be heard in the work of groups such as Mexican Institute of Sound and Zizek Club, an Argentine collective that also will perform at Coachella, as well as through the ongoing efforts of more established ensembles such as Tijuana-based Nortec Collective.
Last year Nortec's brain trust, the artists known as Bostich and Fussible (Ramon Amezcua and Pepe Mogt), released what might be the group's most accomplished disc to date, "Nortec Collective Presents: Bostich + Fussible/Tijuana Sound Machine." While the record keeps faith with Nortec's trademark mix of computer-generated electronica and traditional Mexican norteño, it also incorporates more live musicians playing clarinet, accordion and the bajo sexto traditional 12-string guitar.
Gustavo Santaolalla, 57, the Argentine musician, composer and producer who is the best-known member of Bajofondo, suggests that when electronica arrived in Latin America it initially had a faddish quality.
"But now the thing has evolved," he said during an interview at his Echo Park home (he has lived in L.A. for 30 years). "Now everybody plays with sequences and stuff. The whole moment with the raves, that's kind of fading. But the influence has been absorbed, and it's now part of everybody's musical language."
Formerly known as Bajofondo Tango Club, the eight-man group has moved beyond its early foundations of tango, milonga and candombe, assimilating fusion jazz, hip-hop and other elements. Bajofondo recently released its third album, "Mar Dulce" (Sweet Sea), a reference to the estuary-fed Rio de la Plata that flows between Argentina and Uruguay as it empties into the Atlantic.
The new disc includes collaborations with guest artists as diverse as Elvis Costello, Nelly Furtado, Gustavo Cerati, Julieta Venegas and Lágrima Ríos, resulting in a suave paradox: rhythmically and emotionally complex music that is propulsive yet tinged with melancholy.
That combination has been exporting well. Bajofondo's current North American tour will cover 13 shows, with stopovers in New York; Austin, Texas; Toronto; Montreal; Tucson and Detroit, among other places, and the band is planning future engagements in Korea and Japan.
Santaolalla said that Bajofondo is coalescing more than before in the studio, a consequence of having played together for the past several years. "When you see it live, it's like a rock band. It has a much more raw sound."
When Bajofondo started, he said, the majority of its music was programmed, and the rest was played. Now, it's the opposite. "I think it was a natural evolution," Santaolalla said. "We wanted to play more, and the more we played the more we were taking out [what] was programmed. So all the album kind of reflects the progression of the band."
Techno-driven sonic experimentation, the stock in trade of electronica, is not without ample precedent in modern Latin American music, from the ear-tickling, space-age bachelor-pad pop of the eccentric Mexican composer and arranger Juan García Esquivel to the whimsical, industrial-strength cacophonies of Brazil's Tom Zé. In the past, such friskiness often caused non-Latin American audiences to scratch their heads in bewilderment.
To a degree, that bemusement still persists. Lara said that when he performs in the United States he attracts a mixture of the curious, Mexican-immigrant nostalgists and world music aficionados, and he wouldn't be surprised to find himself sharing a billing with a group of Burundi drummers. In Mexico, he's likely to get shoved into a hip-hop event.
But if artists like Lara are getting comfortable with the temporary state of confusion, audiences might be as well.
"I guess with my music I feel a little bit like a misfit wherever I go," Lara said. "It's funny. At the end, I feel like the Mexican sound is kind of like a dog from the street, that has one eye of one color and the other one of other, and it doesn't fit anywhere. So probably the best thing to market is a unique, ugly but pretty thing."
reed.johnson@latimes.comdeborah.bonello@latimes.com
Latino boxer retires
Oscar Del La Hoya carried boxing
Bill Dwyre, LA Times, April 15, 2009
Oscar De La Hoya spent the first day of the rest of his life making a speech from a lectern that faced across a street at a 20-foot statue of himself.
The Golden Boy, already bronzed, announced his retirement as a boxer Tuesday. This was not so much news as it was inevitability.
He is 36, has had 45 fights, won 10 titles in six weight classes, been on a record 19 pay-per-view fights and a record 32 HBO telecasts, has generated just shy of $700 million in pay-per-view revenue, also a record, and has carried his sport, through thick and mostly thin, for much of his 17 years as a pro fighter.
More important, he has a wife and kids and knows he is reaching the stage where more fights, more blows to the head, can lead more quickly to slurring than to success.
"I want to watch my kids grow up," De La Hoya said.
Tim Leiweke, a business partner of De La Hoya's in Golden Boy Promotions, seconded that in his turn at the lectern.
"His wife, Millie, will be glad to get him back," Leiweke said, "and completely intact."
Millie Corretjer, Puerto Rican actress and recording star, and Mrs. De La Hoya for the last eight years, said, "I can't wait for our next eight, and our next eight."
She said she disliked boxing when she first met De La Hoya.
"But I learned to love it," she said, "because he loved it so much."
There was too much pomp and circumstance in the plaza outside Nokia Theatre for this to turn out like so many of those other boxer retirements, which are merely rest periods, awaiting the next big paycheck.
Asked afterward if there had been one big fight that he saw out there that had given him pause in this decision, De La Hoya said, "There are a lot of slow guys left that I could have fought, but the answer is no. If you do that, there will always be a last fight."
His pro career began Nov. 23, 1992, just months after he won the only United States gold medal in boxing at the Barcelona Olympics. That pro debut, De La Hoya fighting Lamar Williams at 133 pounds, was described by boxing writer Earl Gustkey of The Times:
"Oscar De La Hoya launched his professional boxing career at 9:22 p.m. Monday night at the Forum. By 9:24, he was 1-0 and looking happily to a future more golden than his recent past."
He won his first title March 5, 1994, against Jimmi Bredahl at the Forum, at 130 pounds. And he didn't lose until Sept. 18, 1999, or 31 fights into his career, when he took a big lead and then tired and coasted at the end against Felix Trinidad, who was awarded a controversial decision.
He eventually lost twice to Shane Mosley and once to Bernard Hopkins, both of whom are now among his business partners at Golden Boy. He fought Floyd Mayweather Jr. in his only match of 2005, a close decision that, while De La Hoya lost, attracted the largest pay-per-view audience ever at 2.4-million buys and left plenty of interest for the huge Dec. 6 promotion last year that matched De La Hoya and Manny Pacquiao at 147 pounds.
That fight ended with a battered De La Hoya walking across the ring before the ninth round to shake Pacquiao's hand and tell his friend and Pacquiao's trainer, Freddie Roach, that he didn't have it anymore.
On Tuesday, after his retirement speech, De La Hoya said, "I can thank Manny Pacquiao for what he did to me. He showed me it was over."
Even though it took him four months to make that official, those who watched closely on that final December night, when friend and business partner Richard Schaefer and wife Millie begged his trainer a round earlier to stop the fight, knew De La Hoya would not fight again.
"I understand why athletes have such a hard time retiring," De La Hoya said in his speech. "You always think you can do it one more time."
So did Muhammad Ali, the late Jerry and Mike Quarry, even Freddie Roach himself, all affected neurologically, at least in part, by too many punches to the head.
"I promised myself, my family, everybody, that this is it," De La Hoya said.
The legendary George Foreman said the same thing 16 years ago, only about De La Hoya. HBO executive Mark Taffet told the story of being on a train during a whistle-stop promotion for the Foreman-Tommy Morrison fight. He said Foreman pointed to the front of the train, at a young De La Hoya, along to fight on the undercard.
"See that kid up there," Foreman said. "That's the future of boxing."
For boxing, that was a passage.
Tuesday, in a big plaza in the entertainment center of a big city, with more than 40 cameras on tripods snapping away from risers, with microphones and pads and pencils everywhere, and a giant TV screen looming overhead, there was another.
bill.dwyre@latimes.com.
Bill Dwyre, LA Times, April 15, 2009
Oscar De La Hoya spent the first day of the rest of his life making a speech from a lectern that faced across a street at a 20-foot statue of himself.
The Golden Boy, already bronzed, announced his retirement as a boxer Tuesday. This was not so much news as it was inevitability.
He is 36, has had 45 fights, won 10 titles in six weight classes, been on a record 19 pay-per-view fights and a record 32 HBO telecasts, has generated just shy of $700 million in pay-per-view revenue, also a record, and has carried his sport, through thick and mostly thin, for much of his 17 years as a pro fighter.
More important, he has a wife and kids and knows he is reaching the stage where more fights, more blows to the head, can lead more quickly to slurring than to success.
"I want to watch my kids grow up," De La Hoya said.
Tim Leiweke, a business partner of De La Hoya's in Golden Boy Promotions, seconded that in his turn at the lectern.
"His wife, Millie, will be glad to get him back," Leiweke said, "and completely intact."
Millie Corretjer, Puerto Rican actress and recording star, and Mrs. De La Hoya for the last eight years, said, "I can't wait for our next eight, and our next eight."
She said she disliked boxing when she first met De La Hoya.
"But I learned to love it," she said, "because he loved it so much."
There was too much pomp and circumstance in the plaza outside Nokia Theatre for this to turn out like so many of those other boxer retirements, which are merely rest periods, awaiting the next big paycheck.
Asked afterward if there had been one big fight that he saw out there that had given him pause in this decision, De La Hoya said, "There are a lot of slow guys left that I could have fought, but the answer is no. If you do that, there will always be a last fight."
His pro career began Nov. 23, 1992, just months after he won the only United States gold medal in boxing at the Barcelona Olympics. That pro debut, De La Hoya fighting Lamar Williams at 133 pounds, was described by boxing writer Earl Gustkey of The Times:
"Oscar De La Hoya launched his professional boxing career at 9:22 p.m. Monday night at the Forum. By 9:24, he was 1-0 and looking happily to a future more golden than his recent past."
He won his first title March 5, 1994, against Jimmi Bredahl at the Forum, at 130 pounds. And he didn't lose until Sept. 18, 1999, or 31 fights into his career, when he took a big lead and then tired and coasted at the end against Felix Trinidad, who was awarded a controversial decision.
He eventually lost twice to Shane Mosley and once to Bernard Hopkins, both of whom are now among his business partners at Golden Boy. He fought Floyd Mayweather Jr. in his only match of 2005, a close decision that, while De La Hoya lost, attracted the largest pay-per-view audience ever at 2.4-million buys and left plenty of interest for the huge Dec. 6 promotion last year that matched De La Hoya and Manny Pacquiao at 147 pounds.
That fight ended with a battered De La Hoya walking across the ring before the ninth round to shake Pacquiao's hand and tell his friend and Pacquiao's trainer, Freddie Roach, that he didn't have it anymore.
On Tuesday, after his retirement speech, De La Hoya said, "I can thank Manny Pacquiao for what he did to me. He showed me it was over."
Even though it took him four months to make that official, those who watched closely on that final December night, when friend and business partner Richard Schaefer and wife Millie begged his trainer a round earlier to stop the fight, knew De La Hoya would not fight again.
"I understand why athletes have such a hard time retiring," De La Hoya said in his speech. "You always think you can do it one more time."
So did Muhammad Ali, the late Jerry and Mike Quarry, even Freddie Roach himself, all affected neurologically, at least in part, by too many punches to the head.
"I promised myself, my family, everybody, that this is it," De La Hoya said.
The legendary George Foreman said the same thing 16 years ago, only about De La Hoya. HBO executive Mark Taffet told the story of being on a train during a whistle-stop promotion for the Foreman-Tommy Morrison fight. He said Foreman pointed to the front of the train, at a young De La Hoya, along to fight on the undercard.
"See that kid up there," Foreman said. "That's the future of boxing."
For boxing, that was a passage.
Tuesday, in a big plaza in the entertainment center of a big city, with more than 40 cameras on tripods snapping away from risers, with microphones and pads and pencils everywhere, and a giant TV screen looming overhead, there was another.
bill.dwyre@latimes.com.
Tuesday, April 14, 2009
Tall Latinos in the club
International Trail Blazers Welcomed by Hispanic Chamber
NBA.com
Spanish Trail Blazers Sergio Rodriguez and Rudy Fernandez spent the evening of March 24th mingling with members of the Hispanic Metropolitan Chamber of Portland at a reception hosted in the Courtside Club Lounge of the Rose Garden Arena. Executive Director of the Chamber, Gale Castillo, introduced Rodriguez and Fernandez to the Latino community at a celebration to formally welcome both basketball players to the city of Portland.
Meanwhile, children of Chamber members and youth from Big Brothers Big Sisters and Latino Educational and Recreational Network (L.E.a.R.N) were invited out to the court for a basketball clinic and a tour of the Rose Garden arena, complete with an exclusive “backstage” look at the Trail Blazers locker room. Following the reception, Chamber members rejoined the children on the Rose Garden Arena Court for a rare opportunity to shoot around with the NBA stars.
NBA.com
Spanish Trail Blazers Sergio Rodriguez and Rudy Fernandez spent the evening of March 24th mingling with members of the Hispanic Metropolitan Chamber of Portland at a reception hosted in the Courtside Club Lounge of the Rose Garden Arena. Executive Director of the Chamber, Gale Castillo, introduced Rodriguez and Fernandez to the Latino community at a celebration to formally welcome both basketball players to the city of Portland.
Meanwhile, children of Chamber members and youth from Big Brothers Big Sisters and Latino Educational and Recreational Network (L.E.a.R.N) were invited out to the court for a basketball clinic and a tour of the Rose Garden arena, complete with an exclusive “backstage” look at the Trail Blazers locker room. Following the reception, Chamber members rejoined the children on the Rose Garden Arena Court for a rare opportunity to shoot around with the NBA stars.
Hispanic QB wants to be with family for draft
USC's Sanchez passes on N.Y. invite for draft
By Sam Farmer, April 13, 2009
Nine pro prospects will be heading to New York for the NFL draft, but USC quarterback Mark Sanchez will not be among them.
Sanchez was invited to attend, his brother said today, but decided against it because he wants to be with family and friends for the April 25-26 draft. He is expected to be among the first 10 players selected; The Times' latest mock draft has him going eighth to Jacksonville.
"Mark's been traveling so much to meet with different teams lately, he didn't feel it was necessary to make the trip to New York," said Nick Sanchez, the quarterback's brother, adding that making the trip would be especially difficult for their 92-year-old grandmother.
He said ESPN cameras might be on hand on draft day to cover Sanchez, who grew up in Orange County and graduated from Mission Viejo High School.
Linebacker Brian Cushing is the only USC player scheduled to be in attendance for the draft at Radio City Music Hall. Also attending are Georgia quarterback Matthew Stafford, Kansas State quarterback Josh Freeman, Virginia tackle Eugene Monroe, Mississippi tackle Michael Oher, Baylor tackle Jason Smith, Texas Tech receiver Michael Crabtree, Wake Forest linebacker Aaron Curry and Texas defensive end Brian Orakpo. Nine marks the biggest contingent of draftees since 1996.
Not all of the invitees are newcomers to the draft experience, however. Monroe was in attendance last year, a guest of Virginia teammate Chris Long, who was selected second by St. Louis.
sam.farmer@latimes.com
By Sam Farmer, April 13, 2009
Nine pro prospects will be heading to New York for the NFL draft, but USC quarterback Mark Sanchez will not be among them.
Sanchez was invited to attend, his brother said today, but decided against it because he wants to be with family and friends for the April 25-26 draft. He is expected to be among the first 10 players selected; The Times' latest mock draft has him going eighth to Jacksonville.
"Mark's been traveling so much to meet with different teams lately, he didn't feel it was necessary to make the trip to New York," said Nick Sanchez, the quarterback's brother, adding that making the trip would be especially difficult for their 92-year-old grandmother.
He said ESPN cameras might be on hand on draft day to cover Sanchez, who grew up in Orange County and graduated from Mission Viejo High School.
Linebacker Brian Cushing is the only USC player scheduled to be in attendance for the draft at Radio City Music Hall. Also attending are Georgia quarterback Matthew Stafford, Kansas State quarterback Josh Freeman, Virginia tackle Eugene Monroe, Mississippi tackle Michael Oher, Baylor tackle Jason Smith, Texas Tech receiver Michael Crabtree, Wake Forest linebacker Aaron Curry and Texas defensive end Brian Orakpo. Nine marks the biggest contingent of draftees since 1996.
Not all of the invitees are newcomers to the draft experience, however. Monroe was in attendance last year, a guest of Virginia teammate Chris Long, who was selected second by St. Louis.
sam.farmer@latimes.com
Rivera to be honored
Conference Will Honor the Legacy of Tomás Rivera
The April 24 event will celebrate the contributions of the late UC Riverside chancellor and award-winning writer.
PRESS RELEASE
RIVERSIDE, Calif. – Tomás Rivera was an award-winning author whose stories celebrated the lives of migrant workers, an educator who pressed for instruction informed by language and culture, and an administrator who provided opportunities to those who had historically been excluded from college classrooms and employment.
“It’s been 25 years since his death and we’re still celebrating him,” said Carlos Cortés, professor of history emeritus at the University of California, Riverside.
The annual Tomás Rivera Conference on Friday, April 24, will honor the legacy of Rivera, who was UCR’s chancellor from 1979 to 1984. The event will commemorate the 30th anniversary of his appointment as chancellor and the 25th anniversary of his death. The conference theme is “From the Fields to the Stars.”
Screenwriter Ligiah Villalobos, who wrote the hit film “Under the Same Moon” (“Bajo la Misma Luna”), will introduce her film in the evening program and will conduct screenwriting workshops in the afternoon. Other conference highlights are an art installation of a life-size car made of burlap, “My ’61 Ford,” by Adán Avalos, an exhibition of previously unreleased photos of Rivera and other Hispanic writers by Michael Sedano, and the screening of Villalobos’ “Under the Same Moon.”
All events will be held on the UCR campus and are free and open to the public.
Registration is requested as seating is limited. For program information and registration go to http://creativewriting.ucr.edu/TomasRiveraConference/index.html.
The April 24 event will celebrate the contributions of the late UC Riverside chancellor and award-winning writer.
PRESS RELEASE
RIVERSIDE, Calif. – Tomás Rivera was an award-winning author whose stories celebrated the lives of migrant workers, an educator who pressed for instruction informed by language and culture, and an administrator who provided opportunities to those who had historically been excluded from college classrooms and employment.
“It’s been 25 years since his death and we’re still celebrating him,” said Carlos Cortés, professor of history emeritus at the University of California, Riverside.
The annual Tomás Rivera Conference on Friday, April 24, will honor the legacy of Rivera, who was UCR’s chancellor from 1979 to 1984. The event will commemorate the 30th anniversary of his appointment as chancellor and the 25th anniversary of his death. The conference theme is “From the Fields to the Stars.”
Screenwriter Ligiah Villalobos, who wrote the hit film “Under the Same Moon” (“Bajo la Misma Luna”), will introduce her film in the evening program and will conduct screenwriting workshops in the afternoon. Other conference highlights are an art installation of a life-size car made of burlap, “My ’61 Ford,” by Adán Avalos, an exhibition of previously unreleased photos of Rivera and other Hispanic writers by Michael Sedano, and the screening of Villalobos’ “Under the Same Moon.”
All events will be held on the UCR campus and are free and open to the public.
Registration is requested as seating is limited. For program information and registration go to http://creativewriting.ucr.edu/TomasRiveraConference/index.html.
Hispanic theatre presents Coke play
'History of Coca-Cola' Hits the Comic Spot
By Celia Wren, The Washington Post, April 9, 2009
You'd feel cheated if a play about a carbonated beverage lacked fizz. Good thing, then, that "The True History of Coca-Cola in Mexico," the latest offering from GALA Hispanic Theatre, teems with comic ebullience.
Director José Carrasquillo and two role-juggling actors pack antic energy into this ingenious English-language romp by dramatists Aldo Velasco and Patrick Scott. (The production is performed with Spanish surtitles.) But the show is more than theatrical froth: Commenting archly on globalization and big business -- and even more archly on the fear of globalization and big business -- "True History" goes down like a tonic at a time of international financial mayhem.
The play focuses on two intellectual but clueless heroes: Pat (Daniel Eichner) and Aldo (Jaime Robert Carrillo), overeducated 20-somethings who travel to Mexico to film a documentary about American economic imperialism. Since Pat, a former thespian, is still recovering from an ill-fated performance piece titled "Coke Adds Life?" -- "with a question mark!" he emphasizes -- he and Aldo place the iconic soft drink company at the hub of their exposé. "The new conquistadors don't come in Spanish galleons -- but in the grocery market shelves . . . in the airwaves beamed directly from Madison Avenue," the duo solemnly intone to their documentary camera.
Along the way, Pat and Aldo pursue their mission, pestering a weary impoverished farmer, a traditional healer, a delivery boy for a Cancún Domino's Pizza franchise, an 8-year-old vendor of Mayan artifacts and other unfortunates. As the tale gallivants toward its surprise-twist ending, it manages to poke fun at consumerism, telenovelas, pretentious grad-school lingo, avant-garde theatre, boorish tourists, cliched documentary tropes, liberal guilt and, of course, the Coca-Cola Co.
The exuberant Eichner and Carrillo play all the roles, popping offstage periodically for speedy costume changes. In one particularly hilarious sequence -- ostensibly a section of Pat and Aldo's documentary -- they conduct a lickety-split charadelike reenactment of Mexican history, complete with warfare and assassinations. (Playwright Velasco was born in Guadalajara, Mexico.)
Director Carrasquillo keeps the pace invigoratingly brisk, and his canny designers have fit medium to message, giving the production the busy, colorful, almost over-produced aesthetic of a postmodern documentary or reality TV show.
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The True History of Coca-Cola in Mexico, by Aldo Velasco and Patrick Scott. Directed by José Carrasquillo; lighting design, Cory Ryan Frank; properties design, Maria Schneggenburger. In English with Spanish surtitles. About two hours. Through April 26 at GALA Theatre, 3333 14th St. NW. Call 800-494-8497 or 202-234-7174 or visit http://www.galatheatre.org.
By Celia Wren, The Washington Post, April 9, 2009
You'd feel cheated if a play about a carbonated beverage lacked fizz. Good thing, then, that "The True History of Coca-Cola in Mexico," the latest offering from GALA Hispanic Theatre, teems with comic ebullience.
Director José Carrasquillo and two role-juggling actors pack antic energy into this ingenious English-language romp by dramatists Aldo Velasco and Patrick Scott. (The production is performed with Spanish surtitles.) But the show is more than theatrical froth: Commenting archly on globalization and big business -- and even more archly on the fear of globalization and big business -- "True History" goes down like a tonic at a time of international financial mayhem.
The play focuses on two intellectual but clueless heroes: Pat (Daniel Eichner) and Aldo (Jaime Robert Carrillo), overeducated 20-somethings who travel to Mexico to film a documentary about American economic imperialism. Since Pat, a former thespian, is still recovering from an ill-fated performance piece titled "Coke Adds Life?" -- "with a question mark!" he emphasizes -- he and Aldo place the iconic soft drink company at the hub of their exposé. "The new conquistadors don't come in Spanish galleons -- but in the grocery market shelves . . . in the airwaves beamed directly from Madison Avenue," the duo solemnly intone to their documentary camera.
Along the way, Pat and Aldo pursue their mission, pestering a weary impoverished farmer, a traditional healer, a delivery boy for a Cancún Domino's Pizza franchise, an 8-year-old vendor of Mayan artifacts and other unfortunates. As the tale gallivants toward its surprise-twist ending, it manages to poke fun at consumerism, telenovelas, pretentious grad-school lingo, avant-garde theatre, boorish tourists, cliched documentary tropes, liberal guilt and, of course, the Coca-Cola Co.
The exuberant Eichner and Carrillo play all the roles, popping offstage periodically for speedy costume changes. In one particularly hilarious sequence -- ostensibly a section of Pat and Aldo's documentary -- they conduct a lickety-split charadelike reenactment of Mexican history, complete with warfare and assassinations. (Playwright Velasco was born in Guadalajara, Mexico.)
Director Carrasquillo keeps the pace invigoratingly brisk, and his canny designers have fit medium to message, giving the production the busy, colorful, almost over-produced aesthetic of a postmodern documentary or reality TV show.
ad_icon
The True History of Coca-Cola in Mexico, by Aldo Velasco and Patrick Scott. Directed by José Carrasquillo; lighting design, Cory Ryan Frank; properties design, Maria Schneggenburger. In English with Spanish surtitles. About two hours. Through April 26 at GALA Theatre, 3333 14th St. NW. Call 800-494-8497 or 202-234-7174 or visit http://www.galatheatre.org.
Latino event brings out flavors
Sabor Latino offers a taste of restaurants' fare Saturday in Plainfield
By MARK SPIVEY • Staff Writer • April 8, 2009
PLAINFIELD — Some of the city's many Hispanic restaurants will feature their fare at "Sabor Latino: A Taste of Latin Plainfield," an event scheduled for this weekend that was organized to benefit two city nonprofit organizations and memorialize a beloved activist.
The city's downtown is home to dozens of Hispanic eateries ranging from small bakeries and cafes to sit-down restaurants, and at least eight such establishments will be featured, serving up native dishes of Honduras, El Salvador, Mexico, Puerto Rico, the Dominican Republic and Colombia, according to event coordinator Alma Cruz. Cruz also is the director of Latinas En Accion, a downtown Hispanic advocacy organization that will benefit from event proceeds along with Venture and Venture, a skills management organization serving young disadvantaged people. The two nonprofit groups, which will split the proceeds evenly, share the same East Front Street office building.
The four-hour food exhibit, which will include live entertainment, music and vendors, is expected to be the pilot for an annual series and is being held in memory of Pepsi Charles, a beloved city activist who died in 2002 at the age of 53. Charles headed the Plainfield Coalition, a network of 26 city health, human service and education agencies, and founded the "Plainfield Cooks!" fundraiser that annually showcased the top recipes of local chefs.
Cruz said that aside from featuring some of the city's tastiest recipes, the afternoon will center on celebrating Hispanic and African culture and heritage, a cause Charles championed tirelessly.
"It's not only eating and dancing, but it's also teaching kids about their cultures," Cruz said.
"It's really a very interesting thing," agreed John Downs, Sr., president of Venture and Venture, "because our kids can understand all about multiethnic backgrounds."
Tickets for the event will be available in advance or at the door.
Mark Spivey: 908-243-6607; mspivey@MyCentralJersey.com.
By MARK SPIVEY • Staff Writer • April 8, 2009
PLAINFIELD — Some of the city's many Hispanic restaurants will feature their fare at "Sabor Latino: A Taste of Latin Plainfield," an event scheduled for this weekend that was organized to benefit two city nonprofit organizations and memorialize a beloved activist.
The city's downtown is home to dozens of Hispanic eateries ranging from small bakeries and cafes to sit-down restaurants, and at least eight such establishments will be featured, serving up native dishes of Honduras, El Salvador, Mexico, Puerto Rico, the Dominican Republic and Colombia, according to event coordinator Alma Cruz. Cruz also is the director of Latinas En Accion, a downtown Hispanic advocacy organization that will benefit from event proceeds along with Venture and Venture, a skills management organization serving young disadvantaged people. The two nonprofit groups, which will split the proceeds evenly, share the same East Front Street office building.
The four-hour food exhibit, which will include live entertainment, music and vendors, is expected to be the pilot for an annual series and is being held in memory of Pepsi Charles, a beloved city activist who died in 2002 at the age of 53. Charles headed the Plainfield Coalition, a network of 26 city health, human service and education agencies, and founded the "Plainfield Cooks!" fundraiser that annually showcased the top recipes of local chefs.
Cruz said that aside from featuring some of the city's tastiest recipes, the afternoon will center on celebrating Hispanic and African culture and heritage, a cause Charles championed tirelessly.
"It's not only eating and dancing, but it's also teaching kids about their cultures," Cruz said.
"It's really a very interesting thing," agreed John Downs, Sr., president of Venture and Venture, "because our kids can understand all about multiethnic backgrounds."
Tickets for the event will be available in advance or at the door.
Mark Spivey: 908-243-6607; mspivey@MyCentralJersey.com.
Hispanic bikers to share their stories
Harley-Davidson Celebrates Hispanic Riders and Encourages Harlistas to Share Their Stories
PRESS RELEASE
MILWAUKEE, April 8 /PRNewswire-HISPANIC PR WIRE/ -- Harley-Davidson Motor Company is celebrating the dedication and pride of Hispanic riders and enthusiasts by launching a new section on its Web site. As authentic as the Motor Company, the Harlista interactive experience will feature true Hispanic Harley riders. A Harlista is a Harley rider of Latino heritage.
The new interactive section highlights the appreciation of Latino Harley riders and enthusiasts. Harlistas can share and submit personal stories, photos and videos of their life on the open road by visiting www.harley-davidson.com/harlistas. Some of the stories will be selected for an opportunity to be featured in an upcoming documentary produced by Harley-Davidson.
"There is a longstanding history between Hispanics and Harley-Davidson and we want to celebrate it," said Karina Jaramillo-Saa, manager of market outreach, Harley-Davidson Motor Company. "We are very excited about our Harlista site and can't wait to share in the spirit of our riders and see their wonderful experiences."
Harley-Davidson has been a previous supporter of the Latin Billboard Music Awards, Lowrider Tours, Los Angeles' Fiesta Broadway and one of the largest Latino motorcycle clubs in the U.S., the Latin American Motorcycle Association (LAMA).
Merging the Latino and Harley experience is the foundation of this effort that captures the warmth, companerismo (camaraderie) and trust one would sense in the presence of a true Harlista. The interactive experience will further encourage the camaraderie among Harlistas and also serve as a community to inspire those who want to ride.
"Harlistas share in the pride and passion of Harley-Davidson," said Mario Nieves, president of LAMA whose story is featured at the site. "Riders come from all walks of life. From Central to South America, the Caribbean and North America, Harlistas share a rich and proud history. This centralized online community gives us a space to share in that passion."
Mario is joined by Mike Ramos and Victor Camarillo, fellow Harlistas who share their stories and are also featured in additional material available at local dealerships.
Harlistas are encouraged to share their personal stories at www.harley-davidson.com/harlistas and have an opportunity to be part of the Harlista documentary if selected.
For more information, visit www.harley-davidson.com/harlistas.
Harley-Davidson Motor Company, the only major U.S.-based motorcycle manufacturer, produces heavyweight motorcycles and a complete line of motorcycle parts, accessories and general merchandise. For more information, visit Harley-Davidson's Web site at www.harley-davidson.com.
SOURCE Harley-Davidson Motor Company
PRESS RELEASE
MILWAUKEE, April 8 /PRNewswire-HISPANIC PR WIRE/ -- Harley-Davidson Motor Company is celebrating the dedication and pride of Hispanic riders and enthusiasts by launching a new section on its Web site. As authentic as the Motor Company, the Harlista interactive experience will feature true Hispanic Harley riders. A Harlista is a Harley rider of Latino heritage.
The new interactive section highlights the appreciation of Latino Harley riders and enthusiasts. Harlistas can share and submit personal stories, photos and videos of their life on the open road by visiting www.harley-davidson.com/harlistas. Some of the stories will be selected for an opportunity to be featured in an upcoming documentary produced by Harley-Davidson.
"There is a longstanding history between Hispanics and Harley-Davidson and we want to celebrate it," said Karina Jaramillo-Saa, manager of market outreach, Harley-Davidson Motor Company. "We are very excited about our Harlista site and can't wait to share in the spirit of our riders and see their wonderful experiences."
Harley-Davidson has been a previous supporter of the Latin Billboard Music Awards, Lowrider Tours, Los Angeles' Fiesta Broadway and one of the largest Latino motorcycle clubs in the U.S., the Latin American Motorcycle Association (LAMA).
Merging the Latino and Harley experience is the foundation of this effort that captures the warmth, companerismo (camaraderie) and trust one would sense in the presence of a true Harlista. The interactive experience will further encourage the camaraderie among Harlistas and also serve as a community to inspire those who want to ride.
"Harlistas share in the pride and passion of Harley-Davidson," said Mario Nieves, president of LAMA whose story is featured at the site. "Riders come from all walks of life. From Central to South America, the Caribbean and North America, Harlistas share a rich and proud history. This centralized online community gives us a space to share in that passion."
Mario is joined by Mike Ramos and Victor Camarillo, fellow Harlistas who share their stories and are also featured in additional material available at local dealerships.
Harlistas are encouraged to share their personal stories at www.harley-davidson.com/harlistas and have an opportunity to be part of the Harlista documentary if selected.
For more information, visit www.harley-davidson.com/harlistas.
Harley-Davidson Motor Company, the only major U.S.-based motorcycle manufacturer, produces heavyweight motorcycles and a complete line of motorcycle parts, accessories and general merchandise. For more information, visit Harley-Davidson's Web site at www.harley-davidson.com.
SOURCE Harley-Davidson Motor Company
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