Tag Archives: Mexican-Americans

The Racialicious Links Roundup 6.6.13

Advocates for the legalization of marijuana have criticized the Obama administration for having vocally opposed state legalization efforts and for taking a more aggressive approach than the Bush administration in closing medical marijuana dispensaries and prosecuting their owners in some states, especially Montana and California.

The new data, however, offers a more nuanced picture of marijuana enforcement on the state level. Drawn from police records from all 50 states and the District of Columbia, the report is the most comprehensive review of marijuana arrests by race and by county and is part of areport being released this week by the American Civil Liberties Union. Much of the data was also independently reviewed for The New York Times by researchers at Stanford University.

“We found that in virtually every county in the country, police have wasted taxpayer money enforcing marijuana laws in a racially biased manner,” said Ezekiel Edwards, the director of the A.C.L.U.’s Criminal Law Reform Project and the lead author of the report.

While “colorblindness” in adoption has been widely challenged, however, not everyone is convinced – like the adoptive mother who recently told me, “I don’t see my son’s color. Race is just not an issue for us.”

Some people maintain that any cultural loss is unimportant compared to what children gain through adoption. But in both mainstream media and personal conversations about adoption, cultural and racial identity need not be pitted against a child’s right to love, safety, and security.

This unfortunate “either-or” framing of the issue finds frequent expression in discussions of transracial adoption. Michael Gerson—whose wife is a Korean adoptee—wrote in the Washington Post: “Ethnicity is an abstraction…. Every culture or race is outweighed when the life of a child is placed on the other side of the balance.” In a National Review article criticizing Kathryn Joyce’s book The Child Catchers: Rescue, Trafficking, and the New Gospel of Adoption, adoptive father David French dismissed “the ‘culture’” (note the mocking quotation marks) of internationally adopted children as “the culture of starvation, of rags, of disease, and of abandonment.”

In his veto message, Scott noted that Congress never approved the policy enacted by President Obama last year to allow children brought to this country illegally to seek reprieves from deportation. “Although the Legislature may have been well-intentioned in seeking to expedite the process to obtain a temporary driver’s license, it should not have been done by relying on a federal government policy adopted without legal basis,” the governor said.

The last-minute block and tackle suggests Scott’s sensitivity toward conservative activists, who were aghast when the onetime crusader against Obama’s health care law embraced in February the administration’s proposed expansion of Medicaid. The proposal to accept millions in federal dollars to insure poor people was beaten back by state lawmakers but not without leaving a mark on Scott, who is expected to face a tough reelection campaign in 2014 against former governor and newly minted Democrat Charlie Crist.

Scott’s veto also highlights the Republican Party’s struggle to boost its appeal within the fast-growing Hispanic community. The bill’s sponsors said the governor’s veto flies in the face of the millions of dollars the Republican Party is allocating to minority outreach and candidate recruitment.

“Make no mistake about it: This will be an anti-Hispanic bomb if he vetoes this bill,’’ said Democratic state Sen. Darren Soto, one of the legislation’s sponsors. “The vast majority of my peers understand we need to encourage immigrants to become working members of our society. It makes no sense that the Scott administration would veto something it’s already doing.”

Cantankerous oldsters are, of course, a staple of comedy. But the trick is to evoke the anger, prejudice, exasperation, fear or simple confusion with which one generation often regards the next without losing the character’s essential humanity.

Although she has a Madea-like quality in that she is played by a much younger woman, there is virtually no humanity in Hattie. As we watch her berate and deride daughter Linda (Kendra C. Johnson) — whom we learn Hattie first threw out of the house when Linda was but 17 (hahaha)— and grandson Danny (Andre Hall), a college graduate having difficulty finding a job in a tough market (hahaha), one is left to wonder how much Perry hates his own grandmother.

Only her brother-in-law and business partner Floyd (played with admirable comedic grace by Palmer Williams Jr.) seems immune to Hattie’s hatefulness. Linda certainly is not; at the end of episode one, she discovers that her husband is cheating on her. Again.

Hattie predictably explodes with a chattering rage when Linda asks to move back home. By episode two, she is considering a reconciliation because she feels she is unfit for anything other than an unhappy marriage.

Wow, wonder why? Surely, there was an episode of Oprah based on just this sort of unhealthy relationship.

Boiling down zoot culture to one set of beliefs, variables, or ethnicity and race, rather than looking at its pluralistic totality, has been at issue when discussing it. Participants did not move in lock-step and carried differing, if often overlapping, views of the zoot suit’s meaning. While most zoots would agree that their fashion operated as a claim of public dignity denied them by white society, how each zoot defined such “dignity” varied: “dignity for a black male zoot suiter in New York … was often not the same as dignity for a Mexican American female zoot suiter in Los Angeles,” Alvarez points out. Moreover, some zoots, as previously noted, opposed the war and others actually joined the military to fight.

The focus on male zoots often obscures the numerous women active in the scene. For all its poignancy in capturing the fate of Montoya Santana, as noted by Carmen Huaco-Nuzum, in “American Me,” its female characters operated as foil for the movie’s larger discourse on Chicano masculinity. Though the film attempts to break free from gendered assumptions regarding Chicanas, with the exception of one female character, the movie remains bound to an image of Mexican American women as “subservient” and passive, dutifully enduring their oppressed fate. Borrowing from intellectual Octavio Paz, the film, Huaco-Nuzum argues, perpetuates the “legacy of being ‘la chingada,’ or the violated woman — the passive, long suffering female in servitude to the macho.”

Earlier popular productions broadcast similar themes. Luis Valdez penned “Zoot Suit” in the late 1970s, originally as a play focusing on the injustice of the Sleepy Lagoon Trial. In 1981, it became a movie starring Edward James Olmos. Utilizing court records and reports from the Los Angeles Times, Valdez constructed a narrative sympathetic to the defendants but one that virtually ignored the trial’s female participants. According to Catherine Ramirez, Valdez flattened subtleties present in news accounts and court records, depicting female zoots within a Madonna/whore binary of Mexican American women, thereby consolidating the domestic concepts his sources encouraged and constructing a popular model that others would draw from perpetuating the errors of his initial sourcing decisions.

Meanwhile, On TumblR: The Quvenzhané Wallis Edition

By Andrea Plaid

Quvenzhané Wallis. Photo: Koury Angelo for milkmade.com.

Quvenzhané Wallis. Photo: Koury Angelo for milkmade.com.

After Hollywood and the press unapologetically–and The Onion apologetically–showed their asses to actor Quvenzhané Wallis on her big night at the Oscars, even more people showed their love and support for the young one. PostBourgie’s Brokey McPoverty says this about Hollywood’s refusal to even pronounce Wallis’ name:

Refusing to learn how to pronounce Quvenzhané’s name says, pointedly, you are not worth the effort. The problem is not that she has an unpronounceable name, because she doesn’t. The problem is that white Hollywood, from Ryan Seacrest and his homies to the AP reporter who decided to call her “Annie” rather than her real name, doesn’t deem her as important as, say, Renee Zellwegger, or Zach Galifinakis, or Arnold Schwarzenegger, all of whom have names that are difficult to pronounce–but they manage. The message sent is this: you, young, black, female child, are not worth the time and energy it will take me to learn to spell and pronounce your name. You will be who and what I want you to be; you be be who and what makes me more comfortable. I will allow you to exist and acknowledge that existence, but only on my terms.

 

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