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Chicano Rap: Gender and Violence in the Postindustrial by Pancho McFarland

By Pancho McFarland

Powered by way of a using beat, smart lyrics, and assertive attitudes, rap song and hip hop tradition have engrossed American formative years because the mid-1980s. even supposing the 1st rappers have been African american citizens, rap and hip hop tradition speedy unfold to different ethnic teams who've additional their very own cultural parts to the tune. "Chicano Rap" deals the 1st in-depth examine how Chicano/a formative years have followed and tailored rap tune and hip hop tradition to precise their perspectives on gender and violence, in addition to on how Chicano/a adolescence healthy right into a globalizing world.Pancho McFarland examines over songs and seventy rap artists from the entire significant Chicano rap areas - San Diego, San Francisco and northern California, Texas, and Chicago and the Midwest. He discusses the cultural, political, ancient, and fiscal contexts during which Chicano rap has emerged and the way those have formed the violence and misogyny frequently expressed in Chicano rap and hip hop. particularly, he argues that the misogyny and violence of Chicano rap are direct results of the 'patriarchal dominance paradigm' that governs human family members within the usa. McFarland additionally explains how globalization, monetary restructuring, and the conservative shift in nationwide politics have affected Chicano/a formative years and Chicano rap. He concludes with a glance at how Xicana feminists, a few Chicano rappers, and different cultural employees are striving to arrive Chicano/a early life with a democratic, peaceable, empowering, and releasing message.

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One interviewee remembered the El Monte dancehall as “a melting pot” where interracial dating was not uncommon (164). Over the decades, Chicanas/os and Blacks continued to interact in Los Angeles and other cities of the Southwest. With the continued popularity of African diasporic-based music including R&B, soul, and funk, Chicanas/os became even more familiar with Black musical and cultural sensibilities, and many produced “Black” music of their own. Certainly, relations between the two groups have not always been ideal.

Anglo-European culture, political and legal systems, and capitalist transformation eroded Mexican and later Chicana/o culture. In this context the corrido glorified and celebrated Mexican rebellion. 11 The capitalist transformation of the West in the late nineteenth and early twentieth centuries caused intense cultural conflict between Mexicans and Anglos. 13 Mexicans and Chicanas/os resisted the violence, domination, and cultural erosion. The folklore often only documented the male response. ” The honorable Mexican/Chicano defended his family and his community.

Hill Collins argues further that these stereotypes or archetypes become normal and natural to many non-Blacks. ’ These controlling images are designed to make racism, sexism, and poverty appear to be natural, normal, and an inevitable part of everyday life” (68). Stereotypes become reified markers of identity that hide social relations of racial and gender domination/subordination. 57 Gary Keller found that in the first few decades of the Hollywood film industry, “there [were] few other avenues of behavior [for Mexican females] other than the sexually charged ones .

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