Ramon and Cornelio are best friends, driven by boredom as teenagers to start a band. Not just any band. A norteäno band, playing God's favorite music. God even pitches in to write the songs. Success, disaster and good music follow.
Hey, what's up, come a little closer, I have something to tell you," God said to Cornelio. The deal was simple: God would be the silent partner in the norteño band that Cornelio had started with his best friend Ramon. Cornelio would sing and play the bajo sexto, Ramon the accordion, and God would write the songs. Cornelio agreed; he would sell his soul to God. Success and disaster followed. The band went from playing bars in Tijuana to playing the biggest stadiums in Mexico. Women started fan clubs dedicated to their heroes Ramon and Cornelio. It seemed to Cornelio and Ramon that they had everything, but fame was a cruel mistress. Ramon and Cornelio’s story has some loose parallels to a real Mexican band, but it’s also the apocryphal story of the Beatles and the kids tuning up in the garage down the street. Luis Humberto Crosthwaite is an award-winning writer, editor, and journalist who teaches at the University of Iowa. His fiction has garnered critical attention for his ability to express the complexities of living on the US/Mexico border. Among his best known books are Estrella de la Calle Sexta, Aparta de mí este Cáliz, Idos de la Mente, Instrucciones para Cruzar la Frontera, and Tijuana: Crimen y Olvido. His translated novels are The Moon Will Forever be a Distant Love and Out of Their Minds. He is also co-editor of Puro Border: Dispatches, Snapshots, & Graffiti from the US/Mexico Border.
2023 Honorable Mention Best History Book, International Latino Book Awards Broad and encompassing examination of Chicanx popular culture since World War II and the utopian visions it articulated Amid the rise of neoliberalism, globalization, and movements for civil rights and global justice in the post–World War II era, Chicanxs in film, music, television, and art weaponized culture to combat often oppressive economic and political conditions. They envisioned utopias that, even if never fully realized, reimagined the world and linked seemingly disparate people and places. In the latter half of the twentieth century, Chicanx popular culture forged a politics of the possible and gave rise to utopian dreams that sprang from everyday experiences. In Chicanx Utopias, Luis Alvarez offers a broad study of these utopian visions from the 1950s to the 2000s. Probing the film Salt of the Earth, brown-eyed soul music, sitcoms, poster art, and borderlands reggae music, he examines how Chicanx pop culture, capable of both liberation and exploitation, fostered interracial and transnational identities, engaged social movements, and produced varied utopian visions with divergent possibilities and limits. Grounded in the theoretical frameworks of Walter Benjamin, Stuart Hall, and the Zapatista movement, this book reveals how Chicanxs articulated pop cultural utopias to make sense of, challenge, and improve the worlds they inhabited.
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