Abstract
As I explained in the last chapter, the rise of rap’s ghettocentricity as a commercial trend in the latter half of the 1990s played a key role in the relegitimation in the public eye of Latinos as core participants of hip hop. This renewed legitimation manifested itself in various ways: the greater media visibility of Latino hip hop artists; the increased use of readily identifiable “Latin music” as well as Spanish words and phrases in rap songs by the most popular rap artists, both African American and Latino; and the frequent references to and images of Latinos in rhymes, videos and articles.
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Notes
Rigo “Riggs” Morales , “Renaissance Revisited,” Urban Latino Magazine 3, no. 2 (1998): 33.
KRS-ONE, The Science of Rap (New York: privately printed, 1995).
For more on the movie Scarface as a seminal (pun intended) source of reference for contemporary youth culture, see Ed Morales, “The Scarface Myth and the Urban Agenda,” Urban Latino Magazine 2, no. 3 (1997): 34–35.
See Juan Flores, “Pan-Latino/Trans-Latino: Puerto Ricans in the ‘New Nueva York,’” Centro 8, nos. 1 and 2 (1996): 171–186. On the “Puerto Ricanization” of Dominicans in New York,
see Ramón Grosfoguel and Chloé Georas, “The Racialization of Caribbean Latino Immigrants in the New York Metropolitan Area,” Centro 8, nos. 1 and 2 (1996): 190–201.
Antonette K. Irving, “Pussy Power: The Onerous Road to Sexual Liberation in Hip-Hop,” The Source, no. 101 (February 1998): 34. See also Joan Morgan, “Fly-Girls, Bitches and Hoes: Notes of a Hip Hop Feminist,” Elementary 1 (Summer 1996): 16–20;
Tricia Rose, Black Noise: Rap Music and Black Culture in Contemporary America (Hanover, NH: Wesleyan University Press, 1994).
See Clara Rodriguez, Latin Looks: Images of Latinas and Latinos in the U.S. Media (Boulder, CO: Westview Press, 1997).
See Leith Mullings, “Images, Ideology and Women of Color,” in Women of Color in US. Society, ed. Maxine Bacca Zinn and Bonnie Thornton Dill (Philadelphia: Temple University Press, 1994);
Ella Shohat, “Gender and Culture of Empire: Toward a Feminist Ethnography of Cinema,” in Orentalism in Film, ed. Mathew Bernstein and Gaylyn Studlar (New Brunswick, NJ: Rutgers University Press, 1997).
See Frances R. Aparicio and Susana Chávez-Silverman, “Introduction,” in Tropicalizations: Transcultural Representations of Latinidad, ed. Frances Aparicio and Susana Chávez-Silverman (Hanover, NH: Dartmouth College, University Press of New England, 1997), pp. 1–17.
See Frances Aparicio, Listening to Salsa: Gender, Latin Popular Music, and Puerto Rican Cultures (Hanover, NH: Wesleyan University Press, 1998); Aparicio and Chávez-Silverman, “Introduction,” in Tropicalizations;
Geoffrey Fox, Hispanic Nation: Culture, Politics, and the Constructing of Identity (Tucson: University of Arizona Press, 1996);
Javier Santiago, Nueva Ola Puertoricensis: La revolución musical que vivid Puerto Rico en la década del 60 (San Juan: Publicaciones del Patio, 1994).
As Roberto Rodríguez-Morazzani has noted, ethno-racial identities, perceptions and interactions vary from one generation to the next. Therefore, Thomas’s experiences as a black Puerto Rican growing up in the 1950s differ from those of Arturo Alfonso Schomburg and Jestús Colón during the earlier part of the twentieth century, and from those of Pablo “Yoruba” Guzmán and other Young Lords in the late 1960s. The civil rights movement and the Black Power struggles, among many other factors, contributed to cementing the notion, particularly among the younger generations of the time, that Black and Puerto Rican identities and circumstances shared many things in common. See Roberto Rodríguez-Morazzani, “Puerto Rican Political Generations in New York: Pioneros, Young Turks and Radicals,” Centro 4, no. 1 (1991–92): 96–116.
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© 2003 Raquel Z. Rivera
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Rivera, R.Z. (2003). Latin@s Get Hot and Ghetto-Tropical. In: New York Ricans from the Hip Hop Zone. New Directions in Latino American Cultures. Palgrave Macmillan, New York. https://doi.org/10.1057/9781403981677_6
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DOI: https://doi.org/10.1057/9781403981677_6
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