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| cholo writing latino gang graffiti in los angeles: Cholo Writing François Chastanet, Howard Gribble, 2015-10-01 Cholo writing originally constitues the handstyle created by the Latino gangs in Los Angeles. It is probably the oldest form of the graffiti of names in the 20th century, with its own aesthetic, evident long before the East Coast appearance and the explosion in the early 1970s in Philadelphia and New York. The term cholo means lowlife , appropriated by Chicano youth to describe the style and people associated with local gangs; cholo became a popular expression to define the Mexican American culture. Latino gangs are a parallel reality of the local urban life, with their own traditions and codes from oral language, way of dressing, tattoos and hand signs to letterforms. These wall-writings, sometimes called the newspaper of the streets , are territorial signs which main function is to define clearly and constantly the limits of a gang s influence area and encouraging gang strength, a graffiti made by the neighborhood for the neighborhood. Cholo inscriptions has a speficic written aesthetic based on a strong sense of the place and on a monolinear adaptation of historic blackletters for street bombing. Howard Gribble, an amateur photographer from the city of Torrance in the South of Los Angeles County, documented Latino gang graffiti from 1970 to 1975. These photographs of various Cholo handletterings, constituted an unique opportunity to try to push forward the calligraphic analysis of Cholo writing, its origins and formal evolution. A second series of photographs made by Francois Chastanet in 2008 from East LA to South Central, are an attempt to produce a visual comparison of letterforms by finding the same barrios (neighborhoods) and gangs group names more than thirty five years after Gribble s work. Without ignoring the violence and self-destruction inherent to la vida loca (or the crazy life , referring to the barrio gang experience), this present book documents the visual strategies of a given sub-culture to survive as a visible entity in an environement made of a never ending sprawl of warehouses, freeways, wood framed houses, fences and back alleys: welcome to LA suburbia, where block after block, one can observe more of the same. The two exceptionnal photographical series and essays are a tentative for the recognization of Cholo writing as a major influence on the whole Californian underground cultures. Foreword by Chaz Bojorquez. |
| cholo writing latino gang graffiti in los angeles: Cholo Writing Francois Chastanet, Howard Gribble, 2024-04-15 Cholo Writing is the 20th century's oldest form of graffiti, a Mexican-American phenomenon evident in Los Angeles long before the appearance of tags and pieces in the late 1960s New York. It has had a major influence on the visual expressions of Californian popular culture, including the lowrider, surf, skate and hip-hop movements. Placas are territorial inscriptions created to define a gang's turf, a genuine, constantly evolving urban calligraphy with strict codes used by Latino gangs for street writing since the late 1930s. Here, the aesthetic evolution of Cholo Writing is documented and the influence of blackletter typefaces and calligraphic models such as Old English is traced through two collections of photographs. One by Californian Howard Gribble, who photographed Chicano gang graffiti over a wide geographic area in the early 1970s, and one by French graphic designer and writer Francois Chastanet, who traveled to the same Los Angeles neighborhoods in 2008 to document early 21st century inscriptions. After being out of print and in high demand for years, Cholo Writing: Latino Gang Graffiti in Los Angeles is finally available in a beautiful hardcover edition. The main essay of this second edition has been updated according to the latest historical research on lettering sources. After being out of print and in high demand for years, Cholo Writing is finally available in a beautiful hardcover edition. With foreword by OG Chaz Bojorquez, East Los Angeles graffiti pioneer and Godfather of West Coast Cholo Writing for over 50 years. |
| cholo writing latino gang graffiti in los angeles: Thirteen Ways of Looking at Latino Art Ilan Stavans, Jorge J. E. Gracia, 2014-02-07 The essayist and cultural commentator Ilan Stavans and the analytic philosopher Jorge J. E. Gracia share long-standing interests in the intersection of art and ideas. Here they take thirteen pieces of Latino art, each reproduced in color, as occasions for thematic discussions. Whether the work at the center of a particular conversation is a triptych created by the brothers Einar and Jamex de la Torre, Andres Serrano's controversial Piss Christ, a mural by the graffiti artist BEAR_TCK, or Above All Things, a photograph by María Magdalena Campos-Pons, Stavans and Gracia's exchanges inevitably open out to literature, history, ethics, politics, religion, and visual culture more broadly. Autobiographical details pepper Stavans and Gracia's conversations, as one or the other tells what he finds meaningful in a given work. Sparkling with insight, their exchanges allow the reader to eavesdrop on two celebrated intellectuals—worldly, erudite, and unafraid to disagree—as they reflect on the pleasures of seeing. |
| cholo writing latino gang graffiti in los angeles: Graffiti L.A. Steve Grody, 2006 This comprehensive and visual history of graffiti in Los Angeles examines the myriad styles and techniques used by writers today.A.Us most prolific and infamous writers provide insight into the lives of these fugitive artists. |
| cholo writing latino gang graffiti in los angeles: Art in the Streets Jeffrey Deitch, Roger Gastman, Aaron Rose, 2011 A catalog of an exhibition that surveys the history of international graffiti and street art. |
| cholo writing latino gang graffiti in los angeles: Always Running Luis J. Rodríguez, 2012-06-12 The award-winning memoir of life in an LA street gang from the acclaimed Chicano author and former Los Angeles Poet Laureate: “Fierce, and fearless” (The New York Times). Luis J. Rodríguez joined his first gang at age eleven. As a teenager, he witnessed the rise of some of the most notorious cliques in Southern California. He grew up knowing only a life of violence—one that revolved around drugs, gang wars, and police brutality. But unlike most of those around him, Rodríguez found a way out when art, writing, and political activism gave him a new path—and an escape from self-destruction. Always Running spares no detail in its vivid, brutally honest portrayal of street life and violence, and it stands as a powerful and unforgettable testimonial of gang life by one of the most acclaimed Chicano writers of his generation. This ebook features an illustrated biography of Luis J. Rodríguez including rare images from the author’s personal collection. |
| cholo writing latino gang graffiti in los angeles: Graffiti a New York Andrea Nelli, 2012 In 1973, graffiti ran rampant in NYC, reaching its peak that summer. The work of black writers from the Bronx like SUPER COOL 223, RIFF 70 (WORM/CASH), and PHASE 2 defined the art which the kids called Top-to- Bottom or T-to-B, as it vertically covered a full subway car. Some T-to-B pieces were so elaborate and complex that the NYT hypothesized that they were a collaboration between professional artists and the graffiti writers. Here are photos from that heady era. |
| cholo writing latino gang graffiti in los angeles: Graffiti Burners Björn Almqvist, 2020-09-28 The most eye-popping graffiti of today! In cities worldwide, graffiti art is constantly being taken to higher levels. The will to burn all resistance, to outdo all the others, brings about unexpected and amazing results. Graffiti Burners shows us how techniques have been refined and letter construction distorted, how colour combinations have blossomed and concepts developed. The competition for mastery is burning hot! In addition to amazing pictorial material, several of the writers talk about their pieces and what burners mean to them. Moreover, they offer tips and guidance to those who want to do a burner of their own. Graffiti Burners offers a unique opportunity to acquaint oneself with the progress of the last few years; to be inspired and impressed. In Graffiti Burners the world’s foremost writers show us their favourite works. In short, the best of the best! Askew (NZ), Aroe (UK), Bates (DK), Bio (USA), Ces, Dems, Ether (USA), Kacao77 (D), Kaos (S), Kem (USA), Mad C (D), Nomad (D), Os Gemeos, Pose (USA), Revok (USA), Rime (USA), Rubin (USA), Scan (CA), Skore (UK), Smash 137, Soten (DK), Suiko (JP), Swet (DK) T-Kid, Wane and Yes 2 (USA) are just a few of the contributors to the book. A burner needs to suck the life out of every other piece near it and stand alone, as the focus, the centre of attention.-- AROE MSK / HA / 7TH LETTER The meaning of a burner is when another writer looks at that piece and says that shit is fire. Even the average person will look at it and say it’s hot! -- BIO Tats Cru |
| cholo writing latino gang graffiti in los angeles: Graffiti Palace A. G. Lombardo, 2018-06-07 It's August 1965 and Los Angeles is scorching - and when white police officers arrest an ordinary black Angeleno named Marquette Frye, they light the touchpaper on six days of rioting. Graffiti Palace follows young African-American graffiti expert Americo Monk as he tries to get home through the chaos, telling the secret history of the riots - and the unfolding story of Los Angeles and black America - along the way. As Monk travels through the streets of South Central LA, he orients himself by gang tags and more intricate and mysterious graffiti symbols towards home. But the cops and the gangs are after the notebook where Monk records the city's graffiti, and which might just be the key to the secret tides of power ebbing below the surface of the city... Bursting at the seams with memorable characters - including Nation of Islam leader Elijah Muhammad, sewer-dwelling crack dealers and a legendary Mexican graffiti artist no-one's even sure exists - Graffiti Palace conjures into being a fantastical, living, breathing portrait of Los Angeles in 1965. |
| cholo writing latino gang graffiti in los angeles: All Involved Ryan Gattis, 2015-04-07 A propulsive and ambitious novel as electrifying as The Wire, from a writer hailed as the West Coast's Richard Price—a mesmerizing epic of crime and opportunity, race, revenge, and loyalty, set in the chaotic streets of South Central L.A. in the wake of one of the most notorious and incendiary trials of the 1990s At 3:15 p.m. on April 29, 1992, a jury acquitted three white Los Angeles Police Department officers charged with using excessive force to subdue a black man named Rodney King, and failed to reach a verdict on the same charges involving a fourth officer. Less than two hours later, the city exploded in violence that lasted six days. In nearly 121 hours, fifty-three lives were lost. But there were even more deaths unaccounted for: violence that occurred outside of active rioting sites by those who used the chaos to viciously settle old scores. A gritty and cinematic work of fiction, All Involved vividly re-creates this turbulent and terrifying time, set in a sliver of Los Angeles largely ignored by the media during the riots. Ryan Gattis tells seventeen interconnected first-person narratives that paint a portrait of modern America itself—laying bare our history, our prejudices, and our complexities. With characters that capture the voices of gang members, firefighters, graffiti kids, and nurses caught up in these extraordinary circumstances, All Involved is a literary tour de force that catapults this edgy writer into the ranks of such legendary talents as Dennis Lehane and George V. Higgins. |
| cholo writing latino gang graffiti in los angeles: The People of Paper Salvador Plascencia, 2006 Part memoir, part lies, this imaginative tale is a story about loving a woman made of paper, about the wounds made by first love and sharp objects. |
| cholo writing latino gang graffiti in los angeles: City of Electric Moons India Mandelkern, 2020-10-13 City of Electric Moons: A Social History of Street Lighting in Los Angeles is an illustrated history of streetlights and their impact on the urban environment. Los Angeles is known for many things: the traffic jams, the taco trucks, the palm trees, the sunshine. City of Electric Moons: A Social History of Street Lighting in Los Angeles explores one of its most overlooked architectural legacies--its streetlights. Today, we may not give streetlights much thought; after all, they're virtually everywhere. But Los Angeles was once known for its breadth of innovative designs: products of an active civic imagination and a well-timed real estate scramble. Much more than devices to illuminate the roads, streetlights helped instill a sense of pride and place within a rapidly expanding metropolis, bringing the heavens down to human scale. Timeless and modern, venerated and mundane, streetlights harnessed everyday interests to universal beliefs. They were public art before there was a name for it. In City of Electric Moons, India Mandelkern examines the art and politics of street lighting in Los Angeles from the 1880s to the present day. Flitting between social history, cultural anthropology, urban studies, and the history of design, she illustrates how street lighting helped frame larger debates about civics and surveillance, infrastructure and traffic, the definition of public space and who should have access to it. Interweaving her narrative with the politicians, planners, preservationists, artists, and dreamers who have given them meaning, Mandelkern argues for the streetlight's vitality to urban life: a totem for the modern era. |
| cholo writing latino gang graffiti in los angeles: Chaz Bojorquez Peter Frank, 2016 In this stunning monograph, Chaz Bojorquez's artistic progression is revealed one decade at a time, beginning in the 1970s. His early interest in the Los Angeles native 'Cholo' style graffiti writing was later tempered by his work in Asian Calligraphy and his studies at Chouinard Art Institute. As the book unfolds through the decades , the diversity and range of Bojorquez's work becomes evident: street graffiti, paintings, logos, type intensive graphic design work and forays into cinema and fashion are all executed to the highest level and are all explored here. |
| cholo writing latino gang graffiti in los angeles: Mortal Doubt Anthony W. Fontes, 2018-11-06 The fear of violent crime dominates Guatemala City. In the midst of unprecedented levels of postwar violence, Guatemalans struggle to fathom the myriad forces that have made life in this city so deeply insecure. Born out of histories of state terror, migration, and US deportation, maras (transnational gangs) have become the face of this new era of violence. They are brutal organizations engaged in extortion, contract killings, and the drug trade, and yet they have also become essential to the emergence of a certain kind of social order. Drawing on years of fieldwork inside prisons, police precincts, and gang-dominated neighborhoods, Anthony W. Fontes demonstrates how gang violence has become indissoluble from contemporary social imaginaries and how these gangs provide cover for a host of other criminal actors. Ethnographically rich and unflinchingly critical, Mortal Doubt illuminates the maras’ role in making and mooring collective terror in Guatemala City while tracing the ties that bind this violence to those residing in far safer environs. |
| cholo writing latino gang graffiti in los angeles: Part One Ket, 2009 In 1974, just after the foundation for piecing had been laid down, Part One entered the subway graffiti movement. He began doing the bubble and mechanical styles of the era, and, by 1976, had truly come into his own. From 1977 to 1980, few writers could compete with Part One and his TDS partners. Today, Part One continues to burn and is considered a style master. This is the first book to deal exclusively with his impact on writing culture, with stories from the early days to the present. |
| cholo writing latino gang graffiti in los angeles: Songs in the Key of Los Angeles Josh Kun, 2013 Includes numerous reproductions of sheet music covers and music scores of selected songs. |
| cholo writing latino gang graffiti in los angeles: Time Passages George Lipsitz, 1997 |
| cholo writing latino gang graffiti in los angeles: Methods That Matter M. Cameron Hay, 2016-05-05 To do research that really makes a difference -- the authors of this book argue -- social scientists need a diverse set of questions and methods, both qualitative and quantitative, in order to reflect the complexity of the world. Bringing together a consortium of voices across a variety of fields, Methods That Matter offers compelling and successful examples of mixed methods research that does just that. Discussing their own endeavors to combine quantitative and qualitative methodologies, the authors invite readers into a conversation about the best designs and practices of mixed methods to stimulate creative ideas and find new pathways of insight. The result is an engaging exploration of a promising approach to the social sciences. -- |
| cholo writing latino gang graffiti in los angeles: L.A. Xicano Chon A. Noriega, Terecita Romo, Pilar Tompkins Rivas, Pillar Tompkins, Autry National Center, Los Angeles County Museum of Art, 2011 Catalog of exhibitions held at the Autry National Center, Los Angeles, Calif., Oct. 14-2011-Jan. 8, 2012, the Fowler Museum at UCLA, Los Angeles, Calif., Sept. 25, 2011-Feb. 26, 2012 and Oct. 16, 2011-Feb. 26, 2012, and LACMA, Los Angeles, Calif., Oct. 16, 2011-Jan. 22, 2012. |
| cholo writing latino gang graffiti in los angeles: 1853 Los Angeles Gangs Steven W. Knight, 2002-07-01 Historical Fiction: Novelized history of lawless L.A. gangs of 1853 and the Rangers who battled them. L.A. beckoned Horace Bell with love and police work and he could study for the Bar. Violence brought his rapid retribution. For Paulette Bovierre, with a lost love in France, Horace Bell had a promising future. She was pure strength in adversity. L.A. offered Don Tomas Sanchez political power as he fought to keep the status quo. The Americans had already grabbed too many Mexican ranches. For Dona Jacinto Talamantes, her love at first sight starts a triangle between Horace and Paulette. Love lived forever. In Roy Bean's heart, L.A. was a place to have fun whorin' and to be a ranger. Yes, sin permeated everywhere. Humor existed for their survival. Juan Flores' must first kill the Chinese, then all the Americans. His gang would revolt against the new order. Now all must face the largest struggle ever seen in Los Angeles. Character counted when one ranger challenged 100 miscreants. |
| cholo writing latino gang graffiti in los angeles: Chato And The Party Animals Gary Soto, 2004-02-01 Chato decides to throw a pachanga for his friend Novio Boy, who has never had a birthday party, but when it is time to party, Novio Boy cannot be found. |
| cholo writing latino gang graffiti in los angeles: The World Atlas of Street Art and Graffiti Rafael Schacter, 2013-09-03 DIVAn authoritative guide to the most significant artists, schools, and styles of street art and graffiti around the world/div |
| cholo writing latino gang graffiti in los angeles: Routledge International Handbook of Critical Gang Studies David C. Brotherton, Rafael Jose Gude, 2021-07-28 Routledge International Handbook of Critical Gang Studies is rooted in the instability, inequality and liquidity of the post-industrial era. It understands the gang as a complex and contradictory phenomenon; a socio-historical agent that reflects, responds to and creates a certain structured environment in spaces which are always in flux. International in scope and drawing on a range of sociological, criminological and anthropological traditions, it looks beyond pathological, ahistorical and non-transformative approaches, and considers other important factors that produce the phenomenon, whether the historically entrenched racialized power structure and segregation in Chicago; the unconstrained state-abandoned development of favelas in Brazil; or the colonization, displacement and dependency of people in Central America. This handbook reflects and defines the new theoretical and empirical traditions of critical gang studies. It offers a variety of perspectives, including: A view of gangs that takes into consideration the global context and appearance of the gang in its various forms and stages of development; An appreciation of the gang as a socio-cultural formation; A race-ethnic and class analysis of the gang that problematizes domain assumptions such as the underclass; Gender variations of the gang phenomenon with a particular emphasis on their intersectional properties; Relations between gangs and the political economy that address the dominant mode of production and exchange; Treatments that demonstrate the historically contingent nature of gangs and their changes across time; The contradictory impact of gang repressive policies, institutions and practices as part of a broader discussion on the nature of the state in specific societies; and Critical methodologies on gangs that involve discussions of visual and textual representations and the problematics of data collection and analysis. Authoritative, multi-disciplinary and international, this book will be of interest to criminologists, sociologists and anthropologists alike, particularly those engaged with critical criminology/sociology, youth crime, delinquency and global social inequality. The Handbook will also be of interest to policy makers and those in the peacebuilding field. |
| cholo writing latino gang graffiti in los angeles: Berlin Jürgen Grosse, 2008 A documentation of the constantly changing urban art that has been created in Berlin in recent years. |
| cholo writing latino gang graffiti in los angeles: Transient Workspaces Clapperton Chakanetsa Mavhunga, 2014-09-19 An account of technology in Africa from an African perspective, examining hunting in Zimbabwe as an example of an innovative mobile workspace. In this book, Clapperton Mavhunga views technology in Africa from an African perspective. Technology in his account is not something always brought in from outside, but is also something that ordinary people understand, make, and practice through their everyday innovations or creativities—including things that few would even consider technological. Technology does not always originate in the laboratory in a Western-style building but also in the society in the forest, in the crop field, and in other places where knowledge is made and turned into practical outcomes. African creativities are found in African mobilities. Mavhunga shows the movement of people as not merely conveyances across space but transient workspaces. Taking indigenous hunting in Zimbabwe as one example, he explores African philosophies of mobilities as spiritually guided and of the forest as a sacred space. Viewing the hunt as guided mobility, Mavhunga considers interesting questions of what constitutes technology under regimes of spirituality. He describes how African hunters extended their knowledge traditions to domesticate the gun, how European colonizers, with no remedy of their own, turned to indigenous hunters for help in combating the deadly tsetse fly, and examines how wildlife conservation regimes have criminalized African hunting rather than enlisting hunters (and their knowledge) as allies in wildlife sustainability. The hunt, Mavhunga writes, is one of many criminalized knowledges and practices to which African people turn in times of economic or political crisis. He argues that these practices need to be decriminalized and examined as technologies of everyday innovation with a view toward constructive engagement, innovating with Africans rather than for them. |
| cholo writing latino gang graffiti in los angeles: Tex[t]-Mex William Anthony Nericcio, 2007 “Marvels! Rompecabezas! And cartoons that bite into the mind appear throughout this long-awaited book that promises to reshape and refocus how we see Mexicans in the Americas and how we are taught and seduced to mis/understand our human potentials for solidarity. This is the closest Latin@ studies has come to a revolutionary vision of how American culture works through its image machines, a vision that cuts through to the roots of the U.S. propaganda archive on Mexican, Tex-Mex, Latino, Chicano/a humanity. Nericcio exposes, deciphers, historicizes, and 'cuts-up' the postcards, movies, captions, poems, and adverts that plaster dehumanization (he calls them 'miscegenated semantic oddities') through our brains. For him, understanding the sweet and sour hallucinations is not enough. He wants the flashing waters of our critical education to become instruments of restoration. In this book, Walter Benjamin meets Italo Calvino and they morph into Nericcio. Orale! -Davíd Carrasco, Harvard University A rogues' gallery of Mexican bandits, bombshells, lotharios, and thieves saturates American popular culture. Remember Speedy Gonzalez? “Mexican Spitfire” Lupe Vélez? The Frito Bandito? Familiar and reassuring-at least to Anglos-these Mexican stereotypes are not a people but a text, a carefully woven, articulated, and consumer-ready commodity. In this original, provocative, and highly entertaining book, William Anthony Nericcio deconstructs Tex[t]-Mexicans in films, television, advertising, comic books, toys, literature, and even critical theory, revealing them to be less flesh-and-blood than “seductive hallucinations,” less reality than consumer products, a kind of “digital crack.” Nericcio engages in close readings of rogue/icons Rita Hayworth, Speedy Gonzalez, Lupe Vélez, and Frida Kahlo, as well as Orson Welles' film Touch of Evil and the comic artistry of Gilbert Hernandez. He playfully yet devastatingly discloses how American cultural creators have invented and used these and other Tex[t]-Mexicans since the Mexican Revolution of 1910, thereby exposing the stereotypes, agendas, phobias, and intellectual deceits that drive American popular culture. This sophisticated, innovative history of celebrity Latina/o mannequins in the American marketplace takes a quantum leap toward a constructive and deconstructive next-generation figuration/adoration of Latinos in America. |
| cholo writing latino gang graffiti in los angeles: Multilingual Youth Practices in Computer Mediated Communication Cecelia Cutler, Unn Røyneland, 2021-03-11 With an eye to the playful, reflexive, self-conscious ways in which global youth engage with each other online, this volume analyzes user-generated data from these interactions to show how communication technologies and multilingual resources are deployed to project local as well as trans-local orientations. With examples from a range of multilingual settings, each author explores how youth exploit the creative, heteroglossic potential of their linguistic repertoires, from rudimentary attempts to engage with others in a second language to hybrid multilingual practices. Often, their linguistic, orthographic, and stylistic choices challenge linguistic purity and prescriptive correctness, yet, in other cases, their utterances constitute language policing, linking 'standardness' or 'correctness' to piety, trans-local affiliation, or national belonging. Written for advanced undergraduates, postgraduates and researchers in linguistics, applied linguistics, education and media and communication studies, this volume is a timely and readymade resource for researching online multilingualism with a range of methodologies and perspectives. |
| cholo writing latino gang graffiti in los angeles: Encyclopedia of Latino Culture [3 volumes] Charles M. Tatum, 2013-11-26 This three-volume encyclopedia describes and explains the variety and commonalities in Latina/o culture, providing comprehensive coverage of a variety of Latina/o cultural forms—popular culture, folk culture, rites of passages, and many other forms of shared expression. In the last decade, the Latina/o population has established itself as the fastest growing ethnic group within the United States, and constitutes one of the largest minority groups in the nation. While the different Latina/o groups do have cultural commonalities, there are also many differences among them. This important work examines the historical, regional, and ethnic/racial diversity within specific traditions in rich detail, providing an accurate and comprehensive treatment of what constitutes the Latino experience in America. The entries in this three-volume set provide accessible, in-depth information on a wide range of topics, covering cultural traditions including food; art, film, music, and literature; secular and religious celebrations; and religious beliefs and practices. Readers will gain an appreciation for the historical, regional, and ethnic/racial diversity within specific Latina/o traditions. Accompanying sidebars and spotlight biographies serve to highlight specific cultural differences and key individuals. |
| cholo writing latino gang graffiti in los angeles: Compliments of Chicagohoodz JAMES JINX. O'CONNOR, Damen Vincenzo Corrado, 2019-04-30 Based on original research, Compliments of Chicagohoodz analyzes the unique visual language and graphics of Chicago's gangs, drawing upon decades of inter- views, documentation, and collecting of memorabilia, and featuring commentary from gang members and Chicago artists.The practice of creating and distributing gang business (compliment) cards was popular in Chicago for over fifty years. These displayed the organization and branch, its active and fallen members, and rivalries. This book tells the stories behind the names, bringing the reader closer to the individuals who created, owned, and added their personal touches to the card as it passed from hand to hand.James Jinx O'Connor's photographic documentation of gang graffiti and members captures a lost era of large-scale color promotional murals and an extraordinary style distinct within street art. The book also explores other forms of representation including varsity-style sweaters, patches, and drawings.Through these images, Chicagohoodz traces the development and consolidation of the neighborhood street organization from doo-wop to hip-hop, from greasers to gangster rap, from dances, bands, and softball teams to racketeering, narcotics trafficking, and domestic terror. |
| cholo writing latino gang graffiti in los angeles: Routledge Handbook of Graffiti and Street Art Jeffrey Ian Ross, 2016-03-02 The Routledge Handbook of Graffiti and Street Art integrates and reviews current scholarship in the field of graffiti and street art. Thirty-seven original contributions are organized around four sections: History, Types, and Writers/Artists of Graffiti and Street Art; Theoretical Explanations of Graffiti and Street Art/Causes of Graffiti and Street Art; Regional/Municipal Variations/Differences of Graffiti and Street Art; and, Effects of Graffiti and Street Art. Chapters are written by experts from different countries throughout the world and their expertise spans the fields of American Studies, Art Theory, Criminology, Criminal justice, Ethnography, Photography, Political Science, Psychology, Sociology, and Visual Communication. The Handbook will be of interest to researchers, instructors, advanced students, libraries, and art gallery and museum curators. This book is also accessible to practitioners and policy makers in the fields of criminal justice, law enforcement, art history, museum studies, tourism studies, and urban studies as well as members of the news media. The Handbook includes 70 images, a glossary, a chronology, and the electronic edition will be widely hyperlinked. |
| cholo writing latino gang graffiti in los angeles: Going Down To The Barrio Joan Moore, 2010-06-09 An examination of the changes and continuities among three generations of barrio gangs. |
| cholo writing latino gang graffiti in los angeles: The Cambridge Handbook of Copyright in Street Art and Graffiti Enrico Bonadio, 2019-11-07 In recent years, the number of conflicts related to the misuse of street art and graffiti has been on the rise around the world. Some cases involve claims of misappropriation related to corporate advertising campaigns, while others entail the destruction or 'surgical' removal of street art from the walls on which they were created. In this work, Enrico Bonadio brings together a group of experts to provide the first comprehensive analysis of issues related to copyright in street art and graffiti. Chapter authors shed light not only on the legal tools available in thirteen key jurisdictions for street and graffiti artists to object to unauthorized exploitations and unwanted treatments of their works, but also offer policy and sociological insights designed to spur further debate on whether and to what extent the street art and graffiti subcultures can benefit from copyright and moral rights protection. |
| cholo writing latino gang graffiti in los angeles: The Art and Life of Chaz Bojórquez Chaz Bojórquez, Marco Klefisch, Alberto Scabbia, 2009 Text by Francois Chastanet, Greg Escalante, Usugrow. Compiled by Marco Klefisch, Alberto Scabbia. |
| cholo writing latino gang graffiti in los angeles: That's the Joint! Murray Forman, Mark Anthony Neal, 2004 Spanning 25 years of serious writing on hip-hop by noted scholars and mainstream journalists, this comprehensive anthology includes observations and critiques on groundbreaking hip-hop recordings. |
| cholo writing latino gang graffiti in los angeles: Tortilla Flat John Steinbeck, 1997-06-01 Steinbeck is an artists; and he tells the stories of these lovable thieves and adulterers with a gentle and poetic purity of heart and of prose. —New York Herald Tribune A Penguin Classic Adopting the structure and themes of the Arthurian legend, John Steinbeck created a “Camelot” on a shabby hillside above the town of Monterey, California, and peopled it with a colorful band of knights. At the center of the tale is Danny, whose house, like Arthur’s castle, becomes a gathering place for men looking for adventure, camaraderie, and a sense of belonging—men who fiercely resist the corrupting tide of honest toil and civil rectitude. As Nobel Prize winner Steinbeck chronicles their deeds—their multiple lovers, their wonderful brawls, their Rabelaisian wine-drinking—he spins a tale as compelling and ultimately as touched by sorrow as the famous legends of the Round Table, which inspired him. This edition features an introduction by Thomas Fensch. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators. |
| cholo writing latino gang graffiti in los angeles: The Popular History of Graffiti Fiona McDonald, 2013-06-13 What is graffiti? And why have we, as a culture, had the urge to do it since 30,000 BCE? Artist Fiona McDonald explores the ways in which graffiti works to forever compel and simultaneously repel us as a society. When did graffiti turn into graffiti art, and why do we now pay thousands of dollars for a Banksy print when just twenty years ago, seminal graffiti artists from the Bronx were thrown into jail for having the same idea? Graffiti has not always been imbued with a sense of aesthetic, but when and why did we suddenly “decide” that it is worthy of consideration and criticism, just within the past few years? Throughout history, graffiti has served as an innately individualistic expression (such as Viking graffiti on the walls of eighth-century churches), but it has also evolved into a visual and narrative expression of a collective group. Graffiti brings to mind not only hip-hop culture and urban landscapes, but petroglyphs, tree trunks strewn with carved hearts symbolizing love, and million-dollar works of art. Learn about more graffiti artists and rebels such as: the band Black Flag, Lee Quinones and Fab 5 Freddy, Dandi, Zephyr, Blek le Rat, Nunca, Keith Haring, and more! Illustrated with stunning full-color photos of graffiti throughout time, The Popular History of Graffiti promises to be an important and dynamic addition to graffiti literature. |
| cholo writing latino gang graffiti in los angeles: Responding to gangs : evaluation and research Scott H. Decker, 2002 This collection of papers presents a representative selection of the National Institute of Justice's portfolio of gang-related research. The 10 papers are: (1) A Decade of Gang Research: Findings of the National Institute of Justice Gang Portfolio (Scott H. Decker); (2) The Evolution of Street Gangs: An Examination of Form and Variation (Deborah Lamm Weisel); (3) Young Women in Street Gangs: Risk Factors, Delinquency, and Victimization Risk (Jody Miller); (4) Youth Gang Homicides in the United States in the 1990s (Cheryl L. Maxson, G. David Curry, and James C. Howell); (5) National Evaluation of the Gang Resistance Education and Training [G.R.E.A.T.] Program (Finn-Aage Esbensen, Adrienne Freng, Terrance J. Taylor, Dana Peterson, and D. Wayne Osgood); (6) Evaluating Nevada's Antigang Legislation and Gang Prosecution Units (Terance D. Miethe and Richard C. McCorkle); (7) Evaluation of a Task Force Approach to Gangs (Susan Pennell and Roni Melton); (8) Gang Prevention Programs for Female Adolescents: An Evaluation (Katherine Williams, G. David Curry, and Marcia I Cohen); (9) Reducing Gang Violence in Boston (Anthony A. Braga and David M. Kennedy); and (10) Developing a GIS-Based Regional Gang Incident Tracking System (James W. Meeker, Katie J.B. Parsons, and Bryan J. Vila). (Papers contain references.) (SM). |
| cholo writing latino gang graffiti in los angeles: Mapping the Terrain Suzanne Lacy, 1995 In this wonderfully bold and speculative anthology of writings, artists and critics offer a highly persuasive set of argument and pleas for imaginative, socially responsible, and socially responsive public art.... --Amazon. |
| cholo writing latino gang graffiti in los angeles: Copyright in the Street Enrico Bonadio, 2023-04-27 This book explores how copyright laws are perceived within street art and graffiti subcultures to examine how artists and writers view certain creative aspects of their own practice. Drawing on ethnographic research and fieldwork, the book gives voice to the main actors of these communities and highlights their feelings and opinions toward issues that are increasingly impacting their everyday life and work. It also touches on related and complementary issues, such as the 'gallerisation' or economic exploitation of these forms of art and the curious similarities between the graffiti and advertising worlds. Unique and comprehensive, Copyright on the Street brings the 'voice from the street' into the debate over the legal and non-legal protection of street art and graffiti. |
| cholo writing latino gang graffiti in los angeles: Encyclopedia of Gangs Louis Kontos, David C. Brotherton, 2008 Examines gangs throughout the United States in over eighty entries covering topics such as history, the wide range of communities where gangs form, and their increasingly complex lifestyle. |
Cholo - Wikipedia
Cholo (Spanish pronunciation: [ˈtʃolo]) was a racial category used in 18th-century Spanish America to refer to people who were three-quarters Amerindian by descent and one-quarter …
The Meaning and Cultural Significance of "Vato" and "Cholo"
"Vato" and "cholo" are slang terms deeply rooted in Mexican-American and Chicano culture, carrying specific meanings and cultural significance. While "vato" refers to a male friend or …
Cholo | Mexican American Gangs, History & Culture | Britannica
cholo, a young person who participates in or identifies with Mexican American gang subculture. The term, sometimes used disparagingly, is derived from early Spanish and Mexican usage …
Ask a Mexican: What Does the Word ‘Cholo’ Mean?
Jul 27, 2016 · Dear Mexican: The word “cholo” means “mixed race” or “mestizo.” So isn’t using “cholo” to refer to gangbangers or other delinquents racist? I’m Cuban, but
Vice-mayor asks where are the ‘cholos’ as feds conduct ... - KTLA
4 days ago · Cudahy Vice Mayor Cynthia Gonzalez is taking heat for comments she made in a video posted to social media in which she reportedly called on street gangs to organize amid …
Racism 101 Asked And Answered: "What's The Deal With The Word 'Cholo …
Nov 19, 2020 · "What's the deal with the term 'cholo?' How did it evolve, and who is allowed to say it?" We dive deep into the origins and meaning of the term as well as the rich culture …
Cholo: 23 Facts About the History of the Word - HipLatina
Jan 17, 2020 · Cholo not only described Mexicans under the Spanish casta system but was, and is used, to describe the Indigenous peoples of Peru, Bolivia, and Ecuador.
A Peek into the Subculture of Cholos
“cholo” is not a racial category, but rather refers to a specific subculture that has its origins in Mexican American communities. The term has evolved over time and is associated with a …
¿Qué Significa Ser un Cholo en México y Cuál es la Diferencia con …
Sep 23, 2023 · Según el Diccionario del español de México, un cholo es una persona de origen mexicano a la que se discrimina por su apariencia en Estados Unidos y en los estados …
CHOLO Definition & Meaning - Merriam-Webster
The meaning of CHOLO is a man or boy of Mexican descent.
Cholo - Wikipedia
Cholo (Spanish pronunciation: [ˈtʃolo]) was a racial category used in 18th-century Spanish America to refer to people who were three-quarters Amerindian by descent and one-quarter …
The Meaning and Cultural Significance of "Vato" and "Cholo"
"Vato" and "cholo" are slang terms deeply rooted in Mexican-American and Chicano culture, carrying specific meanings and cultural significance. While "vato" refers to a male friend or …
Cholo | Mexican American Gangs, History & Culture | Britannica
cholo, a young person who participates in or identifies with Mexican American gang subculture. The term, sometimes used disparagingly, is derived from early Spanish and Mexican usage …
Ask a Mexican: What Does the Word ‘Cholo’ Mean?
Jul 27, 2016 · Dear Mexican: The word “cholo” means “mixed race” or “mestizo.” So isn’t using “cholo” to refer to gangbangers or other delinquents racist? I’m Cuban, but
Vice-mayor asks where are the ‘cholos’ as feds conduct ... - KTLA
4 days ago · Cudahy Vice Mayor Cynthia Gonzalez is taking heat for comments she made in a video posted to social media in which she reportedly called on street gangs to organize amid …
Racism 101 Asked And Answered: "What's The Deal With The Word 'Cholo …
Nov 19, 2020 · "What's the deal with the term 'cholo?' How did it evolve, and who is allowed to say it?" We dive deep into the origins and meaning of the term as well as the rich culture …
Cholo: 23 Facts About the History of the Word - HipLatina
Jan 17, 2020 · Cholo not only described Mexicans under the Spanish casta system but was, and is used, to describe the Indigenous peoples of Peru, Bolivia, and Ecuador.
A Peek into the Subculture of Cholos
“cholo” is not a racial category, but rather refers to a specific subculture that has its origins in Mexican American communities. The term has evolved over time and is associated with a …
¿Qué Significa Ser un Cholo en México y Cuál es la Diferencia con …
Sep 23, 2023 · Según el Diccionario del español de México, un cholo es una persona de origen mexicano a la que se discrimina por su apariencia en Estados Unidos y en los estados …
CHOLO Definition & Meaning - Merriam-Webster
The meaning of CHOLO is a man or boy of Mexican descent.
