Monday, August 03, 2009

My Map To Eve or The Human Genographic Project

by Annette Leal Mattern

The National Genographic Project is a DNA mapping program run by National Geographic genetic scientists aimed at discovering how humans populated the world. It is based on findings that all of our genetic roots descend from a woman who lived in Africa about 150,000 years ago. By studying genetic mutations, scientists are able to track an incredible migration of some 60,000 years ago, extending to every corner of the earth where man has walked. The project charts that journey for different human groups based on changes in their DNA, mapping generation after generation through scientific footprints across countless civilizations and global changes.
As a woman, my mitochondrial DNA would trace my lineage back in time through my mother’s and her mother’s and her mother’s DNA, an unbroken chain of mothers back to “Mitochondrial Eve.” Always fascinated with my anthropological beginnings, I swabbed my cheeks and joined this incredible project. Through the miracle of science and technology, my saliva containing a string of genetic mysteries could now be unlocked, revealing a trail of human determination that started with the mother of us all.

With great anticipation, I awaited the results. I was not disappointed.

Evidently, my ancient ancestors left East Africa and began exploring west around 50,000 years ago during the African Ice Age, when melting ice from Europe made the Sahara a desirable place to live. But that did not last. Future generations encountered relentless droughts, causing them to follow big game and better weather to a new home in Eastern Asia, along the Mediterranean. They were the first Eurasians.
Over the next 5,000 years, my ancestral mothers walked onto the Eurasian and Iranian steppes, a huge grassland rich with antelope and bison. Different languages and customs evolved among the various tribes, forming the earliest of cultures.
Some remained along the Caspian Sea and became the ancient tribes of Persia, while others - pulled by the promise and adventure - traveled deep and wide into the unknown territories.
About 40,000 years ago, the strongest of the hunters (my branch), followed mammoth herds across the Central Asian steppes and found themselves in Siberia. Here they developed more efficient hunting tools and more reliable survival skills. In winters that dropped -40 degrees Fahrenheit, mothers buried their children and then they themselves perished, and many branches became extinct on this trunk of our family tree.

Finally, 25,000 to 30,000 years ago, likely following migrating reindeer herds across a frozen “land bridge” that connected Asia to North America, we came to America. Harvesting the abundance of nature along the coastal waterways or hunting bountiful forests, we came. Building tents on the lush plains or adobe dwellings in the high desert, we came. Domesticating horses and dogs, organizing communities and creating art, we came. And from mother to daughter, the historic teachings of the family were passed on. Each of my ancient mothers giving her milk and her dreams to make each generation a little bit better.

I remember, as a teenager, wondering about my mother and my grandmother. I suppose looking at photos of them since I was a child, I was always fascinated with the notion that they had once been my age thinking the same thoughts I was thinking, curious about my curiosities. Were they ever silly and rambunctious? Did they get the giggles in church? Kiss the boys at the movies? What were their lives like, their fears, their dreams? What caused them to decide one way or another? And, what did they sacrifice for their choices?
By the time I went to college, my grandmother seemed quite ancient. My fascination in knowing who she was as a woman grew into a fixation. I was only now beginning to truly understand that here was a woman who had loved and lost, had laughed and worked and wanted, who had walked a long journey but, aside from some old photographs and family stories, I would never truly know.

When I began writing, I asked my mother to tell me the stories of her childhood. Trying to capture the spirit of her life from as far back as she could remember, I started writing her words in journals so that generations who have not yet been born would know, not just the events, but the people.

I hoped to paint the gist of her so that her great grand children, now toddlers, would know a woman who had grit and stamina and held her family together under circumstances they will never fully understand. It is less about honoring my mother; more about rendering the essence of the woman who caused us to be.

Now, having a glimpse of the journey of all the mothers in my line of women, I hunger to know them, to know their stories. What fears did they have to overcome to leave their homes and venture into the unknown? What strength did they have to muster in order to walk hundreds of miles across scorching heat or bitter cold, with no protective clothing or shelter, gathering when there was nothing to hunt, crying when there was nothing to gather? What dreams did they have of a better life as they nursed their children from empty breasts while building fires and scraping bits of roots for food? What joy did they know? What desire? What love?

What I do know is this: I come from a long line of resourceful, intelligent, creative women who tried again and tried again in the face of incomprehensible hardship until they were able to succeed, for only the successful survived. They were women of conviction who raised families under extreme circumstances, women who buried too many babies and yet somehow continued their journey, women who kept their family together to face the next hurdle and the next and the next, always seeking something better.

So, although I will never know those women, I know them. I saw them in my grandmother’s eyes as I recalled her journey, relocating our family from Mexico to the United States just before the Great Depression. I saw them in my mother’s eyes, working full time while she finished her education, the backbone and breadwinner of our family. And I look for them in my own, hoping that even a little bit of the indomitable spirit of these women – of my mother’s mother’s mother – will carry forth in me.







Note: Male DNA follows the Y-chromosome trail. DNA kits are available from the National Geographic at www.genographic.nationalgeographic.com/genographic/lan/en/atlas.html

Sunday, August 02, 2009

Guest Columnist: Olga Garcia. for colored boys who speak softly


For colored boys who speak softly
I would sacrifice my tongue
Make an offering to the Gods


I first saw Yosimar Reyes perform his work at Highways in Santa Monica as part of the show 4X4: New Works by 4 Latino Artists. My two goddaughters were with me--Gladys in her early 20’s and Leonor, a teenager. Despite the fact that each of us represents a distinct generation, all three of us were enthralled with Reyes. As he casually entered the stage, he drew us in with his youthfulness, his spiked edgy hair, his openness, and the command with which he began to expel palabra and energía.

A native of Guerrero, Mexico and currently a student at Evergreen Valley Community College in San Jose, Yosimar Reyes transcends borders. He isn’t even old enough to legally buy a beer, yet he holds the title for the 2005 and 2006 South Bay Teen Grand SLAM Championship. He is also the author of the chapbook for colored boys who speak softly.

Photo: Erin Beach

Reyes’ title is a spin on Ntozake Shange’s For Colored Girls Who Have Considered Suicide When the Rainbow is Enuf. In the 1970’s, Shange’s unique collection brought forth a much-needed feminist black perspective. Her choreopoems also validated the experiences of poor black women generally ignored in literature. Similarly, Reyes’ collection is bringing to the stage an essential colored and queer voice.

Caged birds that sing, missing fathers, the count down of a hate crime, and queer love as an act of resistance—these are some of the motifs in Reyes’ for colored boys who speak softly. Full of raw, youthful, spoken-word vigor and vulnerability, Reyes’ poetry testifies and free-flows:

Yo soy el fuego y tierra
de mares que liberan
de muertes silenciosas

Yo soy la muerte que me deseas


I am of destruction and reparations
of freedom in cages
yo soy the bird that still sings praises
y con todas mis fuerzas
te digo que tu odio me libera
porque más que Joto enjaulado

¡Soy el poder de la Conciencia!

Reyes’ conciencia is personal and political, cultural and sexual. In his poem “Queer Aztlán” he deconstructs and reconstructs the mythical land of origins, reminding us that his village has long denied him, labeling him a “rare breed of sin.” It is the hard-shelled hypocrisy of tradition that Reyes wants to crack open and expose with his words. Interestingly, however, while he breaks with oppressive heterosexual traditions, he also adopts old motifs that have been part of that discourse, such as Aztlán. The poet has one foot in new territory and another in the old world, and he’s dancing to redefine those worlds and himself.

There is conviction and anger spewing throughout Reyes’ pages, and clearly his spoken word background has shaped his poetic style. At times, the politics of class, race, gender, and sexuality become somewhat didactic. And yes, Reyes has got a bit of a rant in him, but when least expected, this poet peels back the skin of el Joto Enjaulado and intimately reveals. He is strongest in these places where he sheds all that has been imposed, whether they are mainstream or queer-stream paradigms. In “Sometimes,” for example, he confesses his inner fears and struggles, stating that he does not know what freedom looks like:

Because just like everyone else I am a coward;
Afraid to speak,
Because I know I wouldn’t be reading this
If my mother was in front of me…

Sometimes I wish I were nothing,
Invisible like breath, like wind
Just spirit, no body, no head
Sometimes I wish I were nothing…
Nothing…

But
VOICE.


The fuel in Reyes’ work is Love with a capital “L.” Love of self. Love for the Black bisexual who wants to join the army to kill “the BAD people.” Love for Lawrence King, the 15-year-old gay boy who was tragically shot in Oxnard by a fellow student. In “Hate Crime,” a tribute to King, Reyes shows even his love for the perpetrators of violence and hate.

…I wonder about this boy in front of me. The one holding the gun to my head calling me names. I wonder how the world will treat him. If they will understand that it is not his fault, this is bigger than his desire to see me dead…beyond the name-calling and his shattered spirit, he is a product of…his parents.

The entire collection is a love letter to colored queer men and the extended community. This love is Reyes’ rebellion encarnado, lodged in the body, made of flesh and bone.

This is resistance

Your hand pressed upon my chest
the way your lips feel on mine
…
I open the doors of my body to you
No longer afraid
Of the ghosts that haunt me
…
This is resistance
Because brown boys are not supposed to love like this

Yet they do love like this, and Reyes wants the world to hear and know this truth. At 20, Yosimar Reyes is a raw poetic gem stone. I can’t wait to see this author evolve, for as other queer colored writers of our time (Cherríe Moraga, Audre Lorde, Gloria Anzaldúa, John Rechy, Gil Cuadros, Luis Alfaro, and Essex Hemphill to name a few), Reyes is rupturing old literary canons, forging nuevos caminos, and shift-shaping like a two-spirited shaman inside the queer continuum. This is one young man not to be missed. Here he is sharing a little bit more about himself in his own words.

YOSIMAR REYES










When did you begin to write?

I began documenting my thoughts in middle school because at the time I was too shy to share them with anyone. Going through old journals I get all embarrassed because I was such a tragic little kid.

What role did books play in your literary and personal development?

As I entered High School I became more aware that I was different, something that can be very dangerous in an atmosphere where individuality is not celebrated. I found comfort in books. It was around this time that I became familiar with James Baldwin. As I read Go Tell it On the Mountain somehow I felt that Baldwin had written that book for me. So I became interested in reading all the queer people of color books I could find. It was because of writers like Baldwin, Cherríe Moraga, La Gloria Anzaldúa, Nikki Giovanni and Manuel Muñoz that I began to see myself in a different light.

You’re a two-time champion of the South Bay Teen Grand SLAM (2005 & 2006). What drew you into slam poetry?

I began slamming in high school. Initially this was because my teachers thought it would be a good way for me to step out of my shell. Slam was my first introduction to the world of performance poetry. I competed in venues throughout the bay area and slowly people began connecting with my work. Pretty soon I was being featured at local poetry readings and open mics. That’s how I slowly drifted away from the world of competitive poetry to where I am now.

Your queerness is expressed in different ways in your writing. Can you comment on your queer identity in relation to your writing?

I choose to write from a queer pen because this has been the identity many have tried to make me feel ashamed of. When I write about growing up as a queer boy, I do so to spread understanding that my queerness is not a simple act of the flesh but of my spirit. My queerness is in my skin, my voice, in my touch; it is the duality of my spirit.

When someone reads or hears your work, what are you hoping they get out of it?

More than anything I want people to get a real sense of who I am and the factors that have made me such a complex being. In my writing I expose a world that has become detached from the core. My poems are attempts to find humanity within myself. That is the message I want to spread to people; we need to find the humanity within each and every one of us in order to recognize that no one is expendable.

What are you currently working on and do you have any upcoming events?

Recently, I became one of three members of LA MARICOLECTIVA: a group of Mexicano/Chicano Queer Immigrant Poets. We will be presenting our official launching in September of this year. I am really excited about this. I am also conceptualizing a poetry CD which, god willing, will come soon. For the L.A. folks, I will be performing at Tia Chucha’s in Sylmar on August 22, 2009.

To learn more about Yosimar Reyes and his work visit http://yosimarreyes.com or http://myspace.com/yosimarreyes. For a copy of his book email him directly at Yosimar@gmail.com.

Saturday, August 01, 2009

going to the mt., looking for . . .

random thoughts about a quasi-vision quest

My dog Manchas and I are going to spend a few days alone, w/o a tent or campfire, sitting on a mt., away from as many people as possible.

In Huxley's Island, old people would annually drop a hit of something, maybe it was mescaline. Given my 61 years, consider this something similar.

Due to aging and ravaged liver, stomach, kidneys, heart, etc., we will need to take minimal water and two packages of unsalted crackers. Manchas will also be on reduced intake. I can't do the real vision question (sweat lodge, total abstinence) because I'm not a real indio, nor a true believer in the Great Spirit. Just a partial believer.

Call it an attempt to reconnect with the little bit of indigenous in me. Call it a cleansing of the civilized, urban garbage I carry.

Just finished reading Nightfall by Clarke & Silverberg, about a planet where a planet's population goes mad when they see the stars only every 2,000 years. Manchas and I have seen the stars before (last night), but never for whole nights.

I didn't win the "What Was I Thinking" contest on Mario Acevedo's website, The Biting Edge, with my last entry for the dumbassest thing I ever did, but maybe I'll win his next one for my episode on the mt.

I don't doubt I'll lose some weight, which I can afford to. But will I shed some mind-heart clutter that I need to lose? Things that will help clarify, that will awaken my brain, that will loosen the soul.


We don't have a guide like in Teachings of Don Juan, ala Carlos Castaneda, to lead us, so we're going to have to play it by ear. Hope the mt. spirits accept the unguided.

The subtitle to the book was A Yaqui way of knowledge. Our family supposedly has Yaqui in it. Maybe I'll reconnect with some of that, though whether knowledge or something less or something stranger results, well, we'll just see.

I've got cold feet, and I'm not talking due to Denver's unseasonably cool temps. (It was 50 last night.) Being by oneself is not a normal comfort zone. Not for this long. With no manmade lights, colas or cervezas, human comforts, no TV, phone, computer. I'm taking six cigs. And maybe one fat one. But I won't dare light it in the dark.

Also taking my stick and a knife, hopefully only necessary for the cougars. Bears don't like dogs, so I don't worry there. Cougars do like dogs, very rare and unsalted. Manchas will need to be somewhat tethered to avoid becoming lunch.

I'm taking along a small spiral, for no more than an hour's worth of notes every morning. Hard to say whether I'll share that here or whether there'll be much worth sharing.

We'll come down from the mt., hopefully much better for having gone up.
Vamos a ver,
RudyG

Click here for next installment.

Friday, July 31, 2009

Chicano Music Festival, Bilingual Review, Awards, Event



CHICANO MUSIC FESTIVAL

All events take place at Su Teatro's new space:
215 S. Santa Fe Drive, Denver

THURSDAY, AUG 6, 7pm - 9pm: Opening Night ($8) Su Teatro presents a special screening of the film Chicano Rock: The Sounds of East L.A. Hosted by XicanIndie FilmFest Director Daniel Salazar, and featuring guest commentators Pocho Joe (La Raza Rocks), Johnny "Ritmo" Rodriguez, and Joaquin Liebert (The Risk). Also, get a sneak preview of our annual auction!

FRIDAY, AUG 7, 7pm - 10pm: Noche Tradicional ($10) Musica de Colorado Hall of Fame inductions: folk musician Dr. Lorenzo Trujillo, radio pioneers David Gallegos and Paul Chavez, and KUVO's longstanding Sunday radio program Cancion Mexicana. Featuring performances by The Southwest Musicians and others. Also live and silent auctions.

SATURDAY, AUG 8, 6pm - 11pm: Pachanga! ($18) Pachanga madness returns with the best Chicano Rock and Roll in the state: Sangre Chicana, Next in Line, Johnny "Ritmo Rodriguez" y los Diamantes, and more! Exciting live auctions feature original artwork, resort getaways, spa packages, sports tickets, wine tastings, y mucho mucho mas!

SUNDAY, AUG 9, 5pm - 9pm: Mariachi Tardeada ($12) Enjoy a lovely summer afternoon with great mariachi music, food hot off the grill, and ice cold beer and margaritas. Maricachi Vasquez, Tony Silva and Trio Xochitl with Mariachi de las Artes.

Get a complete festival pass for only $35, or buy a Season VIP and get next year's festival pass plus 2 tickets/2 drinks for this year's festival, all for just $135. Call: 303.296.0219


BOOKS

A half-dozen titles (and blurbs) from the Bilingual Review Press Fall, 2009, catalog:

Anywhere But L.A.
Daniel Olivas
September

The stories in this collection range from contemporary narratives to more traditional cuentas de fantasma, giving readers a vivid and honest portrait of modern Latinos in search of their place in the world. Funny yet poignant, Olivas's characters frequently amuse, sometimes disturb, and often remind us of our own vulnerability. People who on the surface appear to be ordinary and uncomplicated reveal their deepest secrets and anxieties related to a variety of issues, such as race, gender, sexual orientation, and the human condition in general. We are given a glimpse into the complex emotions and attitudes of characters who are trying to cope with the mysteries of life. These stories ring with humor, insight, and power, and, like the city they describe, they shift and slide and refuse to be pinned down as they drive the reader to the very core of human existence through the colorful mural of a thriving Latino community.

Born in the Cavity of Sunsets
Michael Luis Medrano
July

Poet Michael Luis Medrano shows us life in Fresno, California, a city where one can never see the actual moment when the sun slips beyond the horizon because too many buildings block the view. The picture he paints is not always pretty. In edgy, sometimes angry verse, Medrano reveals a world of shadows and sacrifice. Never shying away from grim detail, he describes frustration, struggle, violence, and frief. But he also shows us light, hope and humor with a wry and refreshing voice. Through it all he remains sincere and versatile, letting the reader absorb intense emotion, from writhing agony to tender joy. Born in the Cavity of Sunsets is poetry for the people, from the initiated and well versed to the beginner who is just discovering the magic of a well-turned phrase.

Second Communion
Nash Candelaria
September

This memoir by renowned Chicano writer Nash Candelaria focuses on how and why he chose to become a writer. As he investigates his family's more than 300-year history in New Mexico, the author undertakes a more intimate journey that leads him to understand truths about himself: why he chose to become a writer and why he chose the topics he did. Part family history and part self-examination, Second Communion is a must-read for aspiring writers, those interested in Southwest history, and students and teachers of Chicano literature.

Simpáticos: San Miguel Stories
Elva Treviño Hart
September

Elva Trevino Hart introduces us to the people of San Miguel de Allende. Nestled in the eastern part of Guanajuato in Mexico's mountainous bajio region, the town has a mild climate and an accommodating culture that attract wealthy Americans and Canadians seeking relaxation and escape. In this picturesque setting, we meet a variety of well-to-do Anglo retirees: some are haunted by ghosts, others by their own pasts, some fine renewed meaning and purpose, and still others explore their sexuality. Witnessing it all are the maids of San Miguel, the women charged with making visitors' stays carefree and luxurious.The maids work magic to heal or redeem their employers, but sometimes the sorcery of others trumps their own. Simpáticos movingly describes two extreme socioeconomic conditions and reveals the universal journey we all ultimately share.

Not Myself Without You
Lourdes Vázquez
October

A working-class Puerto Rican family of the 1950s lives surrounded by spirits, ghosts, and witches, a result of incantations performed in their living room. Chronicling nearly two decades of the family's history -- including their occult activities -- the story involves characters who are centered in Puerto Rico but who move through the Caribbean, Central America, Spain, and New York as they are pulled by the economic, political, and social conditions of the times as well as by their own intense desires. Based on oral history and research, Not Myself Without You is the author's own memoir with a strong fictional twist.

The Scoundrel and the Optimist
Maceo Montoya
October

Nothing is easy when you are thirteen, and it's especially challenging when everyone thinks you're eight because you are tiny; your father is an abusive, tyrannical lout; your siblings are determined to strike out on their own to escape constant drunken rages; and your mother is deeply depressed. In The Scoundrel adn the Optimist we meet Edmund, a hapless but irrepressible redheaded teen whose magnificent strength of spirit makes him a giant among men. Despite roadblocks and bad advice, Edmund is determined to win the heart of Ingrid Genera and to become a great guitar player. But his most notable accomplishment is teaching his father, Filastro, the value of integrity and optimism.



AWARDS

Guillermo Saccomanno of Argentina and David Torres of Spain share the 2008 Premio Hammett Prize for the best crime novel in Spanish. Saccomanno's novel is entitled 77. The author dedicated the prize to his granddaughter and recalled that one of her great-uncles was one of the tens of thousands forcibly disappeared in Argentina's 1976-83 military dictatorship. David Torres won for Niños de Tiza. The award ceremony took place during this year's Semana Negra in Gijón, Spain. Also at this year's Semana Negra, Cuban writer Rodolfo Pérez Valero won First Prize for his short story Dioses y orishas (Gods and Orishas) The short story is about immigration, forced prostitution and mafias in Spain. This was the 5th First Prize for Perez in 19 years. A complete list of the Semana Negra winners can be found at this site.



EVENT

Dance of the Flower Medicine - Danza Xochitl Pahtli
Featured will be curanderos from Cuernavaca, Mexico. On August 4th, the events will start with a Welcoming Ceremony at Cuernavaca Park hosted by the Sister City Council. This two hour event will include traditional dancers, singers, and drummers. Mayor Hickenlooper will present the opening. The following days will include speaking engagements throughout Denver and Lakewood. These events will also include events where the curanderos will offer healings and demonstrations. The events will end at Metro State College. The weekly events are free and open to the public. More information including a schedule of all events at this link.

Event Information Contact: Sofia Chavez-Federick 303-726-7119 Media Contact: Mavis Salazar, (720) 297-3522; e-mail: mavissalazar@comcast.net


Later.




Thursday, July 30, 2009

Spanish Biographical Dictionary to be fully available online in 2010

From: ARS News

Spain’s Real Academia de la Historia (Royal Academy of History) will publish before the end of the year six volumes of the Spanish Biographical Dictionary, and within two years the remaining 44 volumes of the monumental work will be placed online so that the entire collection will be on the Internet probably in 2010.

“As soon as we have several volumes published, we will immediately ‘post’ the entire book on the Web. In this way, it will acquire a worldwide dimension,” said Academy director Gonzalo Anes, who added that the institution is publishing the Dictionary thanks to the sponsorship of the Marcelino Botín Foundation.

Anes also emphasized the Academy’s project to translate the Dictionary into English so that it can also be accessed online in that language. “Then, worldwide distribution will certainly be assured,” he said.

The Dictionary was a project that the Academy nurtured from its founding in 1735, but its complexity and the difficulty of communications delayed it for centuries.

The 50 volumes of the Dictionary, each of which consists of about 800 pages, and the more than 40,000 biographies it contains of personalities from all epochs of Spanish history “place Spain at the level of the most important countries of the world,” the director said.

The more than 40,000 biographies were made possible thanks to “the important collaboration” of 5,500 experts, among them a good number of Hispanic American historians and “Hispanicists from all over the world,” Anes added.

For the past six months, the Academy has posted on its Web page (www.rah.es) a preview of what the online Biographical Dictionary will be like.

Wednesday, July 29, 2009

Sopa de frijoles/Bean Soup

By Jorge Argueta
Illustrated by Rafael Yockteng

Publisher: Groundwood Books
Pub. Date: April 2009
ISBN-13: 9780888998811
Age Range: 4 to 7
32pp

Synopsis

For people who have left their homeland for a new country, comfort foods from home take on a huge emotional importance. This delightful poem teaches readers young and old how to make a heartwarming, tummy-filling black bean soup, from gathering the beans, onions, and garlic to taking little pebbles out of the beans to letting them simmer till the luscious smell indicates it’s time for supper. Jorge Argueta’s vivid poetic voice and Rafael Yockteng’s vibrant illustrations make preparing this healthy and delicious Latino favorite an exciting, almost magical experience.

LatinoEducators.com
A note from José Luís Orozco



Amigos,

I am writing to give you an exclusive sneak preview of www.LatinoEducators.com, an on-line community where Spanish-language/bilingual educators and parents can connect and exchange ideas concerning the educational needs of Latino youth. We've been working on the website for a while now and I am excited to announce that we will be publicly launch it before Back to School. Our goal is to create the world's best on-line resource for Latino educators and families.

You can use LatinoEducators.com to:

* Create a profile and meet other people who are passionate about bilingual and dual-language education
* Share videos, photos, lesson plans and experiences
* Keep up to date on conferences and events
* Interact with prominent Spanish-language authors, musicians, academics and thought leaders


Por favor, visit us at www.LatinoEducators.com and join the conversation around bilingual education!!

El poder de la palabra
Libera a la gente
Aqui la vamos a usar
Aqui decimos PRESENTE.

Jose Luis Orozco

Tuesday, July 28, 2009

Fourth Sunday of the Month Poetry Reading. Grrr....

Michael Sedano

Luis Rodriguez & Friends Read at La Palabra

Fourth Sunday of a month, Avenue 50 Studio and Gallery Director Kathy Mas-Gallegos opens its doors and ears to poetry. The recent event featured memoirist poet Luis Rodriguez and a lively Open Mic session in a worthwhile afternoon.

People arrive early to chat with friends, others to find parking on near-by streets. Hint: Free parking. Take the drive between the light rail line and the Avenue 50 Studio building to find ample parking.

Here artist Joe Bravo chats with open mic performer Henry Chavez.













Don Newton and Laura Longoria co-host the event, sharing various announcements to launch the day's performances, and introducing each writer as she or he steps to the lectern area to share one or two pieces.

Here, Longoria makes sure all open mic'ers are on the list. Photographers will note the hard backlighting coming through white curtains. Since flash can be a distraction to readers and audience, I open the lens two stops to challenge the setting. Mostly the images work well.













Luis Rodriguez reminds gente that his work and other writers comes from his Tia Chucha Press. In addition, Homeboy Industries publishes an arts magazine. Today's reading will take two parts. Before Open Mic time, Luis reads from work published in Homeboy Review.

























Open Mic Readers Wow the House

Akira Yamamoto gives a rousing performance featuring a rhythmic, hard beat chanting style that I find arresting and delightful. Back some years, this would have been called "rap" or "rapping". Maybe young poets still use that term. It feels too inadequate, three letters only to encompass such power and attention-holding verse.













The lineup follows with quiet, serious, passionate readings. Some highly personal, others movimiento tinged but definitely contemporary. La Palabra is an exclusively aural delight, the artists do not sell or provide printed copies for gente like me who enjoy reading and listening. Maybe next month, a ver.

Maria Ruiz












Ron Baca.












Rafael Alvarado.












Antonio Sorcini.












Henry Chavez elects an interesting--and I think ill-advised--medium, a blackberry. The public performer wants to hold eye contact to produce a sense of immediacy and personalize the presentation. Henry struggles to read the tiny screen giving little attention to listeners struggling to give his work an unencumbered hearing.


















Henry Lozano.












Don Newton.












Two highlights of the Open Mic session, for me, included "rapper" Yolanda Androzzo, whose Emmett Till "rap" included a call and response section, a technique guaranteed to please audiences because it frees them from merely listening and allows them to become personally involved in the performance.










Another highlight came from, Mary Francis Spencer, who said something in her narrative that gave three listeners, Heriberto Luna, Rafael Alvarado, and Enrique Serrato, something to focus on. I caught the movement in my peripheral vision and swiveled to snap them so fully engaged in Mary Francis' speech.









When Open Mic concluded, Luis took the floor again, for a reading of "old stuff."















Rodriguez kept his audience engaged, such as Angela Penaredondo and Suzanne Lummis. Most Open Mic performers rewarded their audience with strong presentations, though some struggled to achieve a satisfying interaction. A clear difference between Rodriguez and some of the Open Mic readers is Rodriguez' planning, comfort with his own stuff, and experience doing readings.












The wrap-up to the reading were announcements and input from the house. Here David Diaz adds to the discussion.












Kathy Mas-Gallegos, acknowledges her guests, many of whom are regular attenders of La Palabra.












Don Newton and Laura Longoria conduct a wonderful afternoon of poetry and performance. A scattering of empty seats indicate there's space for you the fourth Sunday in August. Here Longoria finally relaxes as the audience adjourns to the refreshment table featuring cold water, fruit, cheese, crackers.














Since there is no charge to attend La Palabra, nor a fee for participating in Open Mic, the luscious spread proves the old adage wrong, there is such a thing as a free lunch. Yours for the gnoshing, snacking, scarfing, devouring, tragando. Check Avenue 50's website for details of La Palabra and the outstanding art exhibits Gallegos sponsors. As Rodriguez noted in his opening remarks, Avenue 50 Studio is a hidden gem that the LA Times ignores with regularity. Tell your friends, make the visit to all the shows.

Thank you Kathy and Don for your help identifying these poets. It's totally comforting to be in a public place where your hosts know your name. Clearly, it's not business but Love that makes La Palabra and Avenue 50 Studio special.


Grrrr....
Shame, shame, shame, Obama.
U.S. military veterans have proved we can take a lot of crap and that's a good thing because career politicians, especially non-veteran tipos, dish out crap to veterans in heaping trucksful.

To the public, of course, these tipos pay elegant lip service, Henry Waxman and Barack Obama to name a pair. But they act either with empty gesture, or inimically to the nation's veterans.

Obama, for one, earns high dudgeon because he promised to bring transparency and respect for the nation's military veterans. Instead, he's dashed hopes of veterans who believed his campaign promises but witness instead steadfast support of the Bush status quo

Waxman has been boldly rapacious and dismissive. With Waxman's assistance, the Bush Veterans Administration gave away a prime parcel of veteran land to Waxman's wealthy Brentwood supporters. Waxman was asked by a Marine, a Chicano Vietnam veteran, why the congressman refuses to entertain petitions to rescind this land grab of property deeded "in perpetuity" to veterans. Waxman shrugged with a nonsensical riposte, "where do you draw the line?" He might as well have echoed Tolstoy's story, "All the Land a Man Needs." How much land does an injured veteran need? A hole six feet deep.

Obviously, I am a deranged veteran that I grow this outraged thinking about these two turkeys Obama and Waxman out-Bushing Bush and Cheney in their contempt for veterans. So I'll stop. You may wish to hear what other veterans say on this. Here's an outstanding blog and video on the land grab: http://veteranslandgrab.blogspot.com/


That's the final Tuesday of July, the month of the nation's independence, the Sotomayor hearing, the health care debate, the morass of Iraq and now Afghanistan--bring them home now! Dang, gente, if the VA and elected officials are going to take away land intended to care for the men and women who gave a leg, an arm, or a mind to war, and give that precious land for free to fat cats, then it's time to throw in the towel and stop creating injured veterans. OK, I won't get started again.

Thank you for visiting La Bloga on this Tuesday, a Tuesday like any other Tuesday, except you are here. Walter Cronkite used to say that.

mvs

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