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This is quite possibly the most useful manual on Hispanic ancestry ever published. Building on the previously published Tracing Your Hispanic Heritage (1984), it provides detailed information on the records, sources, and reference works used in research in all major Hispanic countries.
The definitive tie-in to the CNN documentary series Latino in America, from former top CNN anchor and special correspondent Soledad O’Brien. Following the smash-hit CNN documentary Black in America, Latino in America travels to small towns and big cities to illustrate how distinctly Latino cultures are becoming intricately woven into the broader American identity. As she reports the evolution of Latino America, Soledad O’Brien explores how tens of millions of Americans with roots in 21 different countries form a community called “Latino” and recalls her own upbringing and what she’s learned about being a Latino in America.
The century-old presence of Mexican Americans in Redondo Beach and Hermosa Beach is an important, colorful part of the history of Los Angeles County's South Bay region. This evocative pictorial history documents the ways in which this group left significant marks on the economic, agricultural, academic, religious, professional, and governmental fabric of both communities. World War II heroes, star athletes, lawyers, professors, teachers, city councilmen, a judge, an astrophysicist, and many other professionals have come from this heritage. The first known Mexican American in Redondo Beach was Mauro Gonzales, who arrived in 1900 to unload ships at the city's old wooden pier. He was followed in 1910 by Domingo Moreno, who fostered 12 children, and Mauricio Colin, who had 13, after they escaped the Mexican Revolution. They initiated a large and vibrant Mexican American community, one that has virtually been ignored by conventional histories.
In this groundbreaking study based on archival research about Chicana and Chicano prisoners—known as Pintas and Pintos—as well as fresh interpretations of works by renowned Pinta and Pinto authors and activists, B. V. Olguín provides crucial insights into the central roles that incarceration and the incarcerated have played in the evolution of Chicana/o history, cultural paradigms, and oppositional political praxis. This is the first text on prisoners in general, and Chicana/o and Latina/o prisoners in particular, that provides a range of case studies from the nineteenth century to the present. Olguín places multiple approaches in dialogue through the pairing of representational figures in the history of Chicana/o incarceration with specific themes and topics. Case studies on the first nineteenth-century Chicana prisoner in San Quentin State Prison, Modesta Avila; renowned late-twentieth-century Chicano poets Raúl Salinas, Ricardo Sánchez, and Jimmy Santiago Baca; lesser-known Chicana pinta and author Judy Lucero; and infamous Chicano drug baron and social bandit Fred Gómez Carrasco are aligned with themes from popular culture such as prisoner tattoo art and handkerchief art, Hollywood Chicana/o gangxploitation and the prisoner film American Me, and prisoner education projects. Olguín provides a refreshing critical interrogation of Chicana/o subaltern agency, which too often is celebrated as unambiguously resistant and oppositional. As such, this study challenges long-held presumptions about Chicana/o cultures of resistance and proposes important explorations of the complex and contradictory relationship between Chicana/o agency and ideology.
Olayo Morales, son of Austacio Morales and Juana Salas, was born in 1875 in Aguascalientes, Mexico. He married Juana Luevano (1885-1951), daughter of Tiburcio Luevano and Manuela Martinez, in 1903. They immigrated to the United States in 1912. Ancestors, descendants and relatives lived mainly in Mexico, Texas and Kansas. Includes Delgado and related families.
All Ana Ruiz wanted was to have a traditional quinceañera for her daughter, Carmen. She wanted a nice way to mark this milestone year in her daughter's life. But Carmen was not interested in celebrating. Hurt and bitter over her father Esteban's departure, she blamed Ana for destroying their happy family, as did everyone else. A good man is hard to find, especially at your age Ana was told. Why not forgive his one indiscretion? Despite everything, Ana didn't want to tarnish Carmen's childlike devotion to her beloved father. But Ana knows that growing up sometimes means facing hard truths. In the end, Ana discovers that if she's going to teach Carmen anything about what it means to be a woman, it will take more than simply a fancy party to do it... "Belinda Acosta's Damas, Dramas, and Ana Ruiz delivers all its title promises and more: it's a book about damas of all ages, from teenage girls to the struggling mothers of those teenage girls; it's packed with drama so you don't want to stop reading; it's a novel that deeply and honestly tells the story of Ana Ruiz, her own coming of age as a woman and as a mother. Belinda Acosta is up to all of the challenges of such a rich panorama of characters and events. She's sassy, she's smart, she makes it look easy! But it takes a lot of hard work and a pile of talent to write such an engaging, touching book. A wonderful quinceaera of a novel!" -- Julia Alvarez, author of Once Upon a Quinceaera: Coming of Age in the USA and Return to Sender "Lively and perceptive... Acosta empathically captures the innermost feelings of her characters." -- Booklist