“Initially, when I decided I wanted to write a feature-length script I kept coming back to a series of complex, same-sex friendships I had while growing up. When looking back, long before I identified as queer, I realized my first love was one of my best friends. It was the type of friendship that was really tender and sweet but also sexually charged. Despite the fact that we had the makings of a beautiful teen romance we never crossed that line. The beginnings of Mosquita y Mari was reflecting back on that time and asking myself the questions, why didn’t we cross that line and what kept us in “our place”? I didn’t grow up in a household where my parents forewarned me that if I turned out to be gay they would disown me. They didn’t wave the Bible in my face saying it was wrong. Instead the message was subtle. It was hidden in the silences around sex and desire; it was implied in society’s expectations, you know, like you only experience those feelings of love and desire with the opposite sex.
This process of self exploration that I embarked on while writing this script led me to position this budding love story within the immigrant world. The core conflict in the story of Mosquita y Mari isn’t a homophobic parent getting in the way of their experience but rather the pressures that come with surviving as an immigrant or coming from a legacy of self-sacrifice for the sake of family and status in society.”
Aurora Guerrero on her film Mosquita y Mari
I’m so grateful I was able to meet her and her film.
The average life span of a transgendered person is twenty-three years. The statistic is shocking, until it begins to make sense. Gender non-conformists face routine exclusion and violence. Transgendered people are disproportionately poor, homeless, and incarcerated. Many of the systems and facilities intended to help low-income people are sex-segregated and thereby alienate those who don’t comply with state-imposed categories. A trans woman may not be able to secure a bed in a homeless shelter, for example. Spade writes that just as the feminist movement tended to “focus on gender-universalized white women’s experience as ‘women’s experience,’” the lesbian- and gay-rights movement has focused primarily on a white, middle-class politic, centered on marriage and mainstream social mores.
Dean Spade is the first openly trans law professor. Meaghan Winter interviews him for Granta.
^^^ a very basic intro to some of the reasons why i in no way support the human rights campaign or other mainstream “gay rights” organizing
The average lifespan of a trans* person is 23. Twenty-three years old. That is heartbreaking.
And considering that most of the trans people who died in the past year were trans women of color, I’d keep that in mind for that average lifespan business. White transpeople— especially white trans men— are definitely less likely to get all this crap than trans people of color are, trans women, trans woc, etc. Does it mean we don’t get that crap? No. But we are less likely to, as we are in more of a place of privilege.
The theme for the upcoming issue #5 (Spring, 13’) of my fanzine Muchacha is “Brown Queen: Latina Voices of the 21st Century”. I am calling out to Latina/Chicana/Hispanic identified women worldwide to contribute their voices though an array of mediums including poetry, essays, art, comics, etc. I want this issue to serve as a time capsule for future generations of Brown women. Let our voices be heard and let us pick up the pieces and continue the lessons of our foremothers. As Gloria Anzaldúa brilliantly said: “I will no longer be made to feel ashamed of existing. I will have my voice: Indian, Spanish, white. I will have my serpent’s tongue - my woman’s voice, my sexual voice, my poet’s voice. I will overcome the tradition of silence.”
Join me in overcoming the traditions of silence. To submit your contributions contact me at Riotgrrrl56@yahoo.com with “Brown Queen” as the subject. Deadline for submissions is March 1st, 2013.
La tema de mi próxima edición #5 (Primavera, 13’) di me revistilla Muchacha es “Brown Queen: Latina Voices of the 21st Century” (Reina Morena: Voces Latinas Del Siglo 21). Estoy llamando a las mujeres identificadas como Latina/Chicana/Hispana por todo el mundo para contribuir sus voces a través de una variedad de medios incluyendo poesía, ensayos, arte, cómicos, etc. Quiero que esta edición sirva como una cápsula del tiempo para las futuras generaciones de mujeres Latinas. Deje que nuestras voces se escuchen, y deje que nosotros recogemos los pedazos y seguir las lecciones de nuestras antepasadas. Como Gloria Anzaldúa brillantemente dijo: “Ya no mi hará sentir vergüenza por existir. Tendré mi voz: India, Español, blanca. Tendré mi lengua de serpiente - la voz de mi mujer, mi voz sexual, la voz de mi poeta. Voy a superar la tradición del silencio.”
Acompáñeme en el vencimiento de las tradiciones de silencio. Para enviar sus contribuciones póngase en contacto conmigo Riotgrrrl56@yahoo.com con “Reina Morena” en el título. Fecha límite para submisions es Marzo 1st, 2013.
Let’s see some trans*, bi, lesbian, and queer Latina voices in there!
And LatiNegras!! Please do not forget the Latinas with voices that are African, as well
Ravaged Ideals is a comp tape from the Chicago label Sacred Vessel. It’s the first release they did and it rules.
Sale of this comp go to benefit Mujeres Latinas en Accion
Foul Crux, Rayosx, Rape Revenge, Vile Intent, Haka, Throwing up, Sex Bunker, Sandwitches, Cloud Rat, Worn Out, Consent
Two of my bands (Foul Crux & Sand Witches) are on this tape and I made the collage insert for it! These will soon be available through my distro.
Can we Reclaim and Redefine Riot Grrrl already?
I mean, I’m sick of all the white cisgender bullshit. What’s the fucking point of reviving a movement if your gunna revive its flaws while you’re at it?
And don’t start with arguing for positive insular-ism, because that will NOT fly. So fucking WHAT if you’re doing good for SOME women, you need to be doing good for ALL women. And in this day and age, and on THIS platform with so much education at your fingertips, you have no excuse. That’s the reason I kind of stopped posting riot grrrl stuff, it’s beyond problematic.
If we continue to propagate all the problematic, offensive crap that the 90s did, then there’s no point. Kathleen Hanna is openly cissexist and transmisogynist and the original riot grrrl movement was ridiculously white and middle class, but there is NO reason for us to be that way now. We have the benefit of internet education and communication; we don’t need to rely on these figureheads, we can take it in to our own hands and create something beautiful and important.
Don’t get me wrong, I’m not saying that EVERYONE who is reviving Riot Grrl is doing this, or that Riot Grrrl as a concept is inherently like this. I’m saying the opposite. A lot of its fundamental principles are fantastic; I think a lot of the media would flourish tenfold now we have advanced technologically, and without losing any of its DIY aspects. I mean, just look at all the great zines that have been circulating here on tumblr. The art and self-expression of the movement is something that should be cherished and explored. I think it would really appeal to a new generation of potential feminists.
I want to start an INTERSECTIONAL RIOT GRRRL movement. Be it in zine, tumblr, whatever form. Because the revivals I’m seeing at the moment are guilty of all the same faults that the original movement was.
If anyone would be interested in starting such a thing with me, starting afresh, taking the good parts - the DIY, the loud anger, the separation of academia and focus on lived experience, the focus on creativity and outreach, etc - and abandoning the whiteness, the cissexism and the classism in the trashcan of history where they belong, then send me a message and let’s do it.
We need to stand up against those who are reviving these oppressive aspects of Riot Grrrl.
Because if your feminism can only succeed by subjugating or ignoring others, then it is bullshit.
ETA: Like, even the NAME “riot grrl” in itself is problematic and offensive. I just have been thinking a lot about how the DIY and all that stuff is relevant and helpful, and we should be able to cherry pick the good elements of something and leave the rotten bits behind, adapting it into positive change.
Born Dolores Clara Fernandez on April 10, 1930, in Dawson, New Mexico, Dolores Huerta would grow up to become one of the most influential labor activists of the 20th century. Her father Juan Fernandez was a farm worker and miner, later becoming a state legislator. Her parents divorced when Dolores was just three and her mother Alicia moved the children to Stockton, California. Dolores’s grandfather raised her and her two brothers while her mother took on many jobs to support her family. Alicia worked two jobs to afford her children the opportunity to partake in cultural activities such as Girl Scouts and violin and dancing lessons.
Dolores encountered much racism growing up. In school she remembers a teacher accusing her of stealing another student’s work because of her ethnicity and giving her an unfair grade. On the way to a party celebrating the end of World War II she found her brother badly beaten because of the zoot-suit he was wearing, which was a popular fashion for Latinos at the time.
A bright student, Fernandez received an associate teaching degree from the University of the Pacific’s Delta Community College. She married during college and had two children, later divorcing her first husband. Dolores would later remarry and have five children with Ventura Huerta, whom she would also divorce. She began teaching grammar school but resigned soon after. She was distraught at the sight of children coming to school hungry or without proper clothing. Of her resignation she said: “I quit because I couldn’t stand seeing kids come to class hungry and needing shoes. I thought I could to more by organizing farm workers than by trying to teach their hungry children.”
In 1955 Huerta officially began her career as an activist by helping Frank Ross to start the Stockton Chapter of the Community Service Organization, which fought for economic improvements for Hispanics. “The CSO battled segregation and police brutality, led voter registration drives, pushed for improved public services and fought to enact new legislation.” In 1960 she helped found the Agricultural Worker’s Association (AWA). It was through her work at these organizations that Dolores met fellow activist and labor leader Cesar Chavez.
In 1962 Huerta and Chavez founded the National Farm Workers Association (NFWA). This was the predecessor to the United Farm Workers Union (UWF), formed in 1965. Dolores Huerta served as Vice President of the UWF until 1999. The 1965 Delano Grape Strike was a major catalyst for the group’s efforts. Huerta helped to organize the strike of over 5,000 grape workers and the following boycott of the wine company. This work led to a three-year contract about bargaining agreements between California and the UWF. In 1967 the NFWA combined with the AWA to create the United Farm Workers Organizing Committee. Huerta negotiated contracts for workers and managed an entire hiring system to increase the number of available jobs. She also fought against the use of harmful pesticides and for unemployment and healthcare benefits for agricultural workers.
Once again in 1973, Huerta led a consumer boycott that had lasting effects. It resulted in the California Agricultural Labor Relations Act of 1975, which allowed farm workers to form unions and bargain for better wages and working conditions. Throughout the 1970s and ‘80s, she worked diligently as a lobbyist to improve workers’ legislative representation.
Too bad she sold out on her own community.
Mothers of East LA didn’t sign with her to get oil pipelines so she went to my community to get pipelines there and she manipulated community members to sign her petition with food and now we have the pipelines running through our community. My community full of people of color with low income and immigrants suffer from the environmental injustices in the area and she didn’t care that people were already dying of cancer and babies having asthma.
Thank you Dolores for helping farm workers but fuck you for forgetting about the struggles mi gente continue to face, Environmental racism is real and you knew but turned the other way because you put money over people.
Yup. We’re only ONE MONTH AWAY! That mean’s it’s time to RSVP to our Facebook event and invite all of your friends!
Check out some of the rad workshops and discussions we’ve got scheduled for the day!:
+ A multimedia reading and discussion featuring POC Zine Project’s Mimi Thi Nguyen, Cristy C. Road, Osa Atoe, Mariam Bastani, Suzy X, and Daniela Capristrano—their first reunion since their 14-city Race Riot Tour 2012! Get a first-hand, informed primer on people of color in zines from the 90s up to now from some experiences zinesters.
+Zineworks Collective’s speed-dating-style zinemaker meet-up! In this interactive workshop, get to know possible future collaborators, swap stories and tips, plus leave with a free zine from Zineworks!
+ Mend My Dress Press’ workshop offering up some strategies to help you begin the process of anthologizing your zine, touching on everything from choosing content to suggestions for publishing. Get advice from the Press’ founders and authors in the flesh!
+ a panel discussion with Allison Wolfe (of Bratmobile/Cool Moms), Alice Bag (punk musician and author of Violence Girl), Drew Denny (musician/filmmaker), and Charlyne Yi (musician/actress), moderated by K. Bradford.
All of that, plus over 100 exhibitors from around the WORLD (yup, we will totally have at least one Canadian in the house!) showing off their zines, comics and other DIY publications. You can check out the full list of exhibitors here.
Remember, RSVP to our Facebook event, share this post and invite all of your friends! See you on February 17th!
Josefina Fierro de Bright was born in Mexico in 1920. She grew up in farm labor camps as the daughter of a bordera who served meals to migrant workers in Maderna, California. Josefina gave up her studies at UCLA to become an organizer. As executive secretary of El Congreso (the first national Latino civil rights org) from 1939 to the mid-1940s, she organized protests against racism in the LA schools, against the exclusion of Mexican-American youths from public swimming pools, and against police brutality. In 1942, she was a key figure in organizing the Sleepy Lagoon Defense Committee, to support the seventeen Chicano youths held without bail on little evidence for the alleged killing of one youth. With Moreno, she helped to coordinate El Congreso’s support for Spanish-speaking workers in the furniture, shoe manufacturing, electrical, garment, and longshoremen’s unions.
—from Dolores Hayden, “Reinterpreting Latina History at the Embassy Auditorium,” The Power of Place: Urban Landscapes as Public History