Andrea Valderrama Mrs. May English IV 10 December 2017 Selena Quintanilla Selena Quintanilla was a role model to many Latinos and became an icon even after death. Selena Quintanilla’s greatest contribution were improving the Latin music industry by creating unique Tejano beats and bringing joy to the Latino community with her songs. Selena Quintanilla first started her career at a young age in her father's band “Los Dinos”. Los Dinos performed in a variety of events like weddings and parties. Los Dinos became known around the city , Selena Quintanilla's father dropped Selena out of school to continue to perform with the band.
The final difference between the two shows is the influence each chef had on viewers, and culture at the time. Julia influence American culture by bringing restaurant quality cooking that was suitable cooking for home. Julia was also the first women chef to have her own cooking show on American television. With French recipes, Child put an emphasize on fresh and unusual ingredients. To explain Chuck Williams the owner of Williams –Sonoma (Machlin, 2011) knew what Julia had cooked on her show as customers use to come in and demand for a certain product.
Gina Torres is an outspoken Afro-Latina actress whose career offers a multifaceted window into depictions of women in television and film. Born in New York, to Cuban immigrant parents, Spanish was her first language. (NBCUniverso) Because of her height, beauty, and commanding screen presence the majority of her roles are strong women, from warriors to lawyers. Her hybrid identity as an Afro-Latina woman in Hollywood opens discussion of the historical treatment and lack of representation of Afro-Latina actresses on film.
A man by the name of Ernesto Miranda was taken to custody in 1963 for kidnapping and rape. Then was sentenced 20-30 years in jail. He was interrogated for two hours by two police men, every individual should have their own rights to ask and answer questions unless told to Mirandize by a police man or the judge. Ernesto was being asked questions during the interrogation and the thing you’re supposed to do when they ask you questions is answer the questions, so Ernesto should have the right to talk during the interrogation. Ernesto didn’t know he should have a lawyer present during court when they discussed about his case of kidnapping and rape.
The exotification of Dolores del Rio is evident in an article published by a Photoplay issue in 1934, as she is described as possessing “golden skin, smooth as mellowed ivory and her dark, flashing eyes bespoke the lue of those maidenly ‘senoritas’ who peep at life from behind cloistered shutters… When the young man comes to call on a senorita in Mexico… he brings his guitar” (38). Through the exotification of Dolores del Rio, Hollywood found great success in the United States and in Latin America, one of the most profitable film markets in the cinematic industry. As a white-passing Latinx woman, del Rio was “more easily able to move in and out of ethnic roles” (33). Because Dolores del Rio was a Latinx woman that held “upper-class roles” and a Eurocentric standard of beauty while nonetheless, identifying with her Mexican heritage, she not only appealed to the white American public, but to Latin American audiences as well (Hershfield
From our previous film showing, High Noon, we got a taste of how the Western genre portrayed Chicano/a characters. The late 1970’s saw a decline of the western, and “with the decline of the filmic western came the rise of the urban violence film” (Cortés 134). The 1980’s and 90’s saw film after film released portraying gang violence, and the Latino gang film was a “natural crossroads for sex, violence, and ethnicity” (Cortés 135). Some see these Latino gang members “as updated, modern variants of the Mexican bandit type” (Treviño). 1993 brought us the film Mi Vida Loca, which shows us the life of teenage Chicano/a gang members living in Echo Park, focused on the character known as Sad Girl.
Carmen Miranda was a Portugeses-Brazilian beauty who rose to fame in the 1930s and 1950s as a South American cultural icon. Her distinctive fruit headpiece and flamboyant costumes captivated audiences, and her life had both accomplishments and disappointments, making her a diverse and distinctive character in entertainment history. My intent with this essay is to prove that Carmen Miranda had a major impact on Latin America, introducing the world to samba and other Latin American rhythms. She also challenged preconceptions about Latina women on cinema by playing strong and independent characters. She was also a forerunner in the entertainment world for women, being one of Hollywood's highest-paid actors in the 1940s and campaigning for improved treatment and opportunities for women in the business.
Ritchie Valens identified as a Mexican American, and he was one of the first notable Latino musicians to achieve mainstream recognition. Valens’ Hispanic heritage is evident in his songwriting. His songs often dealt with themes of love and relationships, as well as the struggles and experiences of being a young Mexican American. His most famous song, “La Bamba,” is a traditional Mexican folk song that he changed into a rock and roll hit. It showcased his ability to blend both of his cultures into his music (Morrison).
Even though salsa is both a style of dance and music Cruz only sang Salsa music. Celia Cruz spent the majority of her career working in the United States and partially in Latin American countries. Her music was mostly popular in the Hispanic and Latino Culture. She made Latin music more popular and had electrifying performances filled with excitement. Cruz even tried something new and performed with a Cuban Orchestra group.
However, Selena stuck to her roots and implemented her culture into her music, making her indeed a success. A big part of her culture, dancing, helped her even become more famous. She was the first to introduce “charisma and choreography into Texas-Mexican music”(Joseph 329). While most Latin artists just sung on stage, Selena made Tejano performances entertaining by dancing, twisting, and creating steps to dance to (López 15). A role that made her exceptionally influential was how she introduced “pop, rock, rap, dance and mariachi concepts into Tejano music”(Joseph 330).
According to the Mansfield News, Rio was considered “a real Spanish beauty” that possessed “the sexual attraction, the beauty of face, the attractiveness of figure, [and] the racial characteristics” necessary to master her role in “Carmen” (11). The word “Spanish” utilized to describe del Rio was foreign enough to appeal to U.S. audiences--who favored American whiteness--but not “too ethnic” to be associated with blackness and the working class. Del Rio’s “racial characteristics” allowed directors to view her as an “acceptable” Latina (11). Because Eurocentric beauty standards were foregrounded and idealized worldwide, Hollywood allowed del Rio to become one of the most successful Latina actresses of the decade. Dolores del Rio possessed light-skin, was white-passing, educated, and associated herself with the elite, as she had “parents of Spanish nobility” (11).
That borderline then was created between both parts of herself and merged to create the beautiful sounds of Tejano music that she was able to share with several people. It is hard for Rosita to be appreciated to the fullness that she deserves since she is barely mentioned within Chicano history of music. In the book, “Divas in Chicana Music”, the author, Deborah Vargas, says, “Following the sounds of her career requires us to open our ears to less stable sonic imaginaries of the borderlands and of Tejano representations and subjectivities.” This captures the uniqueness that is Rosita Fernández and how even if she has to deal with
Blacks in slavery all over the world were not allowed to read or write. Even though some did like Frederick Douglass, that restriction on language hindered their development in language. This made them stick out in a crowd full of white people, who were always allowed to read in gains that growth in English or any other think which. Now with some blacks being the descendants of many of those slaves, the "slave" language has followed them through generations. But they are still criticized in judged on their speech pattern and slang, being categorized into a box labeled "ghetto" or “inferior”.
Mexico, being one of the hot-spots for Latin American music, has its own influence on Costa Rican music. Genres like Ranchera, Corrido, and Norteno can be heard throughout Costa Rica. One of the most famous Ranchera singers, while not accepted for being homosexual, came from Costa Rica. Chavela Vargas broke many gender stereotypes as she sang a style of music predominantly performed by males in pants and a poncho (Linden,
Introduction Brazil's independence takes place in a relatively short period of time. Which can be officially placed between February 18, 1822 and March 8, 1824, which, compared to other wars of independence in different parts of the world, we can say that it is smaller, and also comparing the way it is carried out After this independence, we can say that, although the conflict was not totally peaceful, it was a less bloody war, in comparison with the majority of the wars of the other Spanish-American countries. The most important issues about Brazilian independence, which takes place as a result of the Napoleonic wars, will be discussed. To begin to give a context to this event, I will begin by saying that the most important trigger for
