By Daniel Enrique Pérez (auth.)
Through a gender, ethnicity, and sexuality lens, Pérez demonstrates that queer Chicana/o and Latina/o identities are even more commonplace in cultural construction than most folks imagine. by way of claiming a number of characters and texts as queer, he expands the breadth of queer illustration in cultural production.
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Via a gender, ethnicity, and sexuality lens, Pérez demonstrates that queer Chicana/o and Latina/o identities are even more familiar in cultural creation than most folk imagine. through claiming a number of characters and texts as queer, he expands the breadth of queer illustration in cultural construction.
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Additional resources for Rethinking Chicana/o and Latina/o Popular Culture
Had he lived, the youngest surviving male member of the affluent family, a legacy of compulsory heterosexuality and hegemonic masculinity would have come to an end. The fact that he was gay and had not produced any offspring would have meant not only the transfer of power from a homophobic patriarchal corporate institution to a gay man, but also the end of a lineage of homophobic patriarchs. It is up to Rios to avenge Paris’s death by going after the corporation and the men responsible for his murder.
These men can be seen in hip-hop and reggaetón30 videos with or without undershirts, displaying bulging, oiled muscles. Certainly, the homeboy aesthetic itself can be considered queer in the way the male body is eroticized around a cult of hypermasculinity and the bad boy image, both variants of normative modes of maleness in the dominant culture. Homeboys are portrayed as being tough, violent, and all the other characteristics one might associate with gang culture. Nevertheless, their bodies become sites of multiple erotic mappings 32 R e t h i n k i ng C h ic a n a /o Pop u l a r C u lt u r e that facilitate a discourse on homeboy homoeroticism.
In fact, his exhibitions have been canceled many times and there have been repeated attempts by some to censor or destroy art pieces deemed offensive. His use of venerated masculine icons has added fire to the controversy. His piece My Cathedral (1997) is an image of Che Guevara and César Chávez hugging and kissing intimately. A. 2 WAR: Sad Boy and Captain Brewer, Alex Donis, 2001, oil and enamel on canvas, 5 × 5 feet the portrayal is an attempt to feminize otherwise masculine figures to destabilize gender norms.