By Frances Negrón-Muntaner
Boricua Pop is the 1st e-book completely dedicated to Puerto Rican visibility, cultural impression, and id formation within the U.S. and at domestic. Frances Negrón-Muntaner explores every thing from the cherished American musical West part Story to the phenomenon of singer/actress/ designer Jennifer Lopez, from the pretend old chronicle Seva to the production of Puerto Rican Barbie, from novelist Rosario Ferré to performer Holly Woodlawn, and from painter provocateur Andy Warhol to the doubtless in a single day good fortune tale of Ricky Martin. Negrón-Muntaner strains many of the many attainable itineraries of trade among American and Puerto Rican cultures, together with the commodification of Puerto Rican cultural practices akin to voguing, graffiti, and the Latinization of dad track. Drawing from literature, movie, portray, and pop culture, and together with either the normative and the unusual, the canonized authors and the misfits, the island and its diaspora, Boricua Pop is an interesting mixture of low lifestyles and excessive tradition: a hugely unique, tough, and lucid new paintings by means of one among our so much gifted cultural critics.
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Additional resources for Boricua Pop: Puerto Ricans and the Latinization of American Culture (Sexual Cultures)
36 Allegedly a direct descendent of the Spaniards, the jíbaro was the nationalist symbol of choice for several reasons. Although a transculturated 15 WEIGHING IN THEORY subject, a product of hundreds of years of cultural and “racial” mixture, the jíbaro is made up as “white,” countering American claims of Puerto Rican racial inferiority. Isolated in the mountains, the jíbaro speaks only Spanish, a sign that he is not compromised by American culture. The jíbaro hence symbolically preserved for the elites a separate and unique cultural identity from that of the United States, theoretically free from the shame of complicity.
60 The extent to which Puerto Ricans were constituted by shame and calling attention to boricuas was in itself shameful can be gleaned from Oscar Lewis’s preface to La Vida, “I am aware that an intensive study of poverty . . ”61 The extreme forms of discrimination suffered by Puerto Ricans in most cities in the United States were not the product of cultural deﬁciencies or congenital inferiority, but strategies of exclusion and global economic restructuring. ”62 The labor market was racially classiﬁed within a strict hierarchy of value, and opportunities were available accordingly.
Re= gardless of the stars’ willingness or ability to reﬂect on their contradictory lo- 28 WEIGHING IN THEORY cation, boricua stars in American pop culture now stand as the most visible paradigm of Puerto Rican value. Stars lend themselves to discussions of social worth because in being both commodiﬁed and being able to sell other commodities, they have a “market value” explicitly gauged by box ofﬁce receipts and record, art, magazine, poster, and book sales. Stars are also assets to themselves and employers, pro= ducers, managers, and advertisers.