Latest news with #MexicanAmerican
Los Angeles Times
5 hours ago
- Entertainment
- Los Angeles Times
Music Meets Fashion supports American Diabetes Assn. in Santa Ana
When R&B recording artist Annyett Royale was diagnosed with Type 1 diabetes at the age of 4, she became one of the more than 38 million Americans who live with the chronic disease. According to the American Diabetes Assn., more than 2 million of those living with diabetes are dealing with Type 1, a condition in which the body does not produce the insulin necessary for regulating blood sugar. Although the condition is not uncommon, Royale noted in a statement that there isn't much awareness about what life is like for diabetics. 'No one talks about how you live with diabetes, they only talk about the severe complications from having it,' Royale said. Advertisement In 2017, the singer/songwriter created Music Meets Fashion with her late co-producer, Jamal Parker. The event brings fashion designers, models and recording artist together for a good cause: raising awareness of diabetes while also inspiring others who are living with it. It is also a way for Royale to continue to honor Parker, who died of complications from the disease. 'Music has been my outlet and my therapy,' Royale said. 'It's also been my stage to create awareness and uplift others. I want people to know they can keep dreaming, no matter the obstacles.' Presented by Royale's independent label, Royale Records, on Aug. 9 from 3 to 7 p.m. at the Plug in Santa Ana, the event will include the live debut of Royale's new single, 'Destiny,' produced in collaboration with Lorie V. Moore. Hosted by comedian Nicky Simone and RJ 'Poloman' Johnson, performances from recording artists J.T. Beatz, Dex Elliot Berkley the Artist and Kijafa are also planned. Attendees can look forward to Moore's DJ debut too. For the fashion portion of Music Meets Fashion, the work of visionaries like Mexican American couture designer Will Franco and body positive swimwear pioneer Andrea 'Cherri' Dorsey will be featured in a runway show. Other participating designers include the Jesse J Collection, Black Rose, Sheek Boutique, One World Peace, Keosha Piper, Cristina Tenille and Michelle Stevenson's Mood Art Collection. Doors will open at 2 p.m. for VIP ticket holders, who will enjoy hors d'oeuvres, an open bar and swag bags ahead of general admission entry at 3 p.m. A portion of the proceeds will go to the American Diabetes Assn., which supports research, education and advocacy in the fight against diabetes. Anita M. Dominguez, executive director of the Southern California American Diabetes Assn., said the organization is honored to be benefit of the Music Meets Fashion event. 'Annyett's journey and voice bring much-needed visibility and inspiration to the millions impacted by this disease,' Dominguez said. The association is comprised of a large network of nearly 565,000 volunteers, caregivers, health care professionals and about 350 staff members. The creative celebration merges Royale's passions, while allowing her to use her musical talents with inspiring intention. 'Music Meets Fashion is where art and advocacy walk the same runway,' said Royale. 'It's glamorous, it's powerful and it's deeply personal. It's bigger than the music.' 'Music Meets Fashion' will take place on Aug. 9 at the Plug,1950 E. 17th Street in Santa Ana from 3 to 7 p.m. for general admission ticket holders, while VIP ticket holders can enjoy early entry at 2 p.m. Tickets start at $49.87 and are available on Eventbrite.
LeMonde
a day ago
- Business
- LeMonde
How immigration raids are reshaping Los Angeles
Los Angeles has long nurtured a myth of prosperity built on Hollywood and tourism. But in reality, the city's stability depends on a quieter economy, largely sustained by undocumented immigrant workers. According to the Bay Area Economic Institute, this population segment generates nearly 5% of California's gross domestic product and pays more than $23 billion a year in local, state and federal taxes. In Los Angeles, the sudden disappearance of part of this undocumented workforce after the deployment of Immigration and Customs Enforcement (ICE) in early June has undermined the entire local economic fabric. By extension, the situation has raised fears of rising social and racial tensions. In this atmosphere of distrust and instability, Mexican American photographer Julie Leopo set out across the immigrant-dependent neighborhoods of Los Angeles for Le Monde. In these now nearly empty places, she met those who, with no other options, continue to work under the constant threat of deportation, in order to support themselves and their families. Santee Alley market You have 83.37% of this article left to read. The rest is for subscribers only.
Los Angeles Times
3 days ago
- Entertainment
- Los Angeles Times
New mural at Dodger Stadium honors Fernando Valenzuela
Nine months after his death, Fernando Valenzuela stands immortalized in a new mural on the loge‑level wall at Dodger Stadium—a vibrant fusion of art and legacy unveiled Saturday. Painted by Mexican American artist Robert Vargas, the mural shows Valenzuela tipping his cap to the sky in a Dodgers Mexican‑heritage jersey — featuring a green sleeve, red sleeve, white center — alongside two striking images of Valenzuela in his pitching stance. Vargas said the mural is meant to symbolize unity within the Latino community. 'I felt it very important to show that the Latino community has a place within these walls and has had a place within these walls,' Vargas said. He wanted to reflect Valenzuela's spirit that still lives in the hearts of many fans and feature the man behind the player. 'What he did in the community, is what resonates so much more for me than just the player — but the man, the person that he was,' Vargas said. Valenzuela played for the Dodgers from 1980-90. He grew up in Etchohuaquila, a small town in Mexico, and took Major League Baseball by storm in 1981, earning rookie of the year and Cy Young honors. Latino fans who previously felt little connection to the Dodgers were thrilled to see one of their own winning, sparking Fernandomania. Valenzuela wore the No. 34 and it remains a popular jersey worn by fans at Dodger Stadium. Claudio Campo choked up as he gazed at the tribute. Traveling from Phoenix with his son to celebrate the boy's 11th birthday, Campo shared memories of a player whose greatness felt deeply personal. Valenzuela's nickname, 'El Toro,' are inked on Campo's left arm. 'He was a staple for the people that didn't have anything and then where he came from showed that anything is possible if you go ahead and revive what you are,' Claudio said. Fans holding Valenzuela bobbleheads given away by the Dodgers took their pictures in front of the new mural Saturday night. Longtime fan Dulce Gonzalez held back emotion as she showed off her shirt with the name 'Valenzuela' written across it, describing the reason she started watching baseball. 'He was the first Latino player I could truly connect with and be proud of,' she said. For Gonzalez, Valenzuela's story resonated because he came from the same roots, offering representation she had longed for. 'We are a melting pot of races here, people love baseball from all races, but because I am Latina, I feel a little bit more connected,' she said. Her son, Nicolas, dressed in a red and green Dodgers Mexican heritage jersey, said Valenzuela helped heal some wounds after Mexican American families were displaced from their homes in Chavez Ravine shortly before Dodger Stadium was built on the same land. 'He really opened the city up to the Dodgers after a long difficult entry and he really represented triumph over adversity,' Nicolas said.
Politico
3 days ago
- Politics
- Politico
‘It's like a game of Whac-A-Mole': How Trump's ICE raids knocked Los Angeles to its knees
Tricia McLaughlin, a spokesperson for the Department of Homeland Security, contested reports that most people detained did not have a criminal record. She said the government's operations have arrested 'drug traffickers, MS-13 gang members, convicted rapists, convicted murderers — people you would not want to be your neighbors. And yet, Karen Bass, instead of thanking law enforcement, continues to demonize them and attack them.' The fear permeating Latino life has added resonance for Bass; her late ex-husband was Mexican American and many family members, including her late daughter, her step-children and grandchildren, have Latino heritage. 'So yes, it impacts me personally, because I know that all Latinos are suspect now, anybody that looks Latino,' Bass said, pointing to border czar Tom Homan's comments that 'physical appearance' was sufficient for federal authorities to detain someone. He later said appearance could not be the sole reason for suspicion. But the federal judge who blocked the roving immigration raids in Los Angeles said officials were relying on improper factors, such as race, occupation and speaking with an accent, during their operations. McLaughlin said it was a 'convenient and disgusting smear to say that law enforcement targets based on skin color. It is about it is about legal status, that everything and criminality. That's what we're focused on.' Beyond the family bonds, Bass said, leaning into immigrant rights is 'fundamentally who I am' — a culmination of years of community activism, of anti-apartheid advocacy, of collaborations between Black and Latino communities in the 1980s and 1990s. 'It's not because it's politically in. It's not because of some calculation of what happened in the first part of the year,' she said. 'This is an issue that has been fundamental to me for my entire adult life.' Loathe as Bass is to make comparisons to her handling of the fires, the contrast is notable, even to her closest allies. The mayor was hamstrung from the start of the blazes, when she was out of the country, and she failed to regain control of the narrative upon her return. This time, Bass has ramped up her media presence; during her brief stop at El Chapulín, she squeezed in two Zoom interviews with Spanish-language media, and she has been a regular staple on national cable. 'She is really trying to paint a different picture of what is going on here — not letting Breitbart and Fox tell the story,' said Courtni Pugh, a senior adviser for Bass' political operation. 'We really tried very hard to put a human face on the toll.' Onlookers watch as federal agents with US Customs and Border Patrol (CBP) ride on an armored vehicle driving slowly down Wilshire Boulevard near MacArthur Park in Los Angeles, California, on July 7, 2025. | Patrick T. Fallon/AFP via Getty Images When militarized federal agents, including officials on horseback, descended onto MacArthur Park in the heart of downtown in an intimidating though largely theatrical display, Bass rerouted from a ceremony marking the six-month anniversary of the fires to the scene, demanding to speak to whoever was in charge.
Los Angeles Times
5 days ago
- Entertainment
- Los Angeles Times
New music exhibit ‘A Great Day in East L.A.' explores the Eastside's cultural impact
Piero F. Giunti had been describing his striking black-and-white portraits of some of East L.A.'s most prominent musicians — such as Alice Bag, Aztlan Underground and Los Lobos — when suddenly, he stepped away to receive an update about heavily armed Immigration and Customs Enforcement agents descending on MacArthur Park. Upon reading the news, the San Fernando Valley native and photographer-filmmaker shook his head and redirected his focus. In that moment, surrounded by historic photographs of political agitators and artists he had taken over the years, he was reminded of just how critical their voices remain today. 'This is exactly what this project is: Aquí estamos, y no nos vamos,' Giunti said, evoking the a phrase that is commonly used by Chicano activists to assert their place in the U.S. The entirety of LA Plaza de Cultura y Artes' newest exhibition, 'A Great Day in East L.A.,' where Giunti's portraits are on display, lives at the intersection of art, Latinx identity and political revolution. Walking through the heart of the exhibit, visitors can see photos of Linda Ronstadt, the Black Eyed Peas, Little Willie G, Trini Lopez, Maya Jupiter, Danilo Lozano, Yolanda Ferrer of Fatima Recordz and many more. The exhibit debuted on June 28 at the Downtown L.A. museum and cultural center, where it will remain until Aug. 23, 2026. The venue's Main Street location places it across the street from La Placita Olvera and indelibly ties it toward the shared project of uplifting stories from the Latinx community in the city. 'A Great Day in East L.A.' is co-curated by Giunti, as well as musician and historian Mark Guerrero, UC Riverside professor Jorge N. Leal and the LA Plaza curatorial team, which is headed by the organization's director of exhibitions Karen Crews Hendon. 'Giunti and Guerrero have been working together on this project, which is to find East L.A. musicians, photograph them and record their stories,' Hendon told The Times as she stood in front of the entrance to the exhibit, which features a collage of all 170 of Giunti's portraits. 'Aside from just photography, it's an oral history project.' The duo worked on the project for over 10 years, with Guerrero leveraging his access to East L.A. music icons made available through his music career. It's also worth noting the legacy of his father, Lalo Guerrero, the pioneering Mexican American singer who is locally recognized as the father of Chicano music. 'Guerrero's website is where he has all of those oral histories. You can literally just go to and pick your poison,' Hendon said. 'He interviews all these musicians. No one does that. So that's why we were super attracted to this project.' The idea for the exhibit came to Giunti after he dreamed about Art Kane's renowned photograph in a 1958 issue of Esquire, titled 'A Great Day in Harlem.' The photo shows 57 jazz musicians — including Thelonious Monk, Dizzy Gillespie and Mary Lou Williams — posing on the steps of a Harlem brownstone while dressed in their finest attire. 'For two weeks straight I saw [the photo] everywhere,' Giunti said — and that's when he cold called Guerrero to gauge his interest in hosting an exhibit. Guerrero agreed. But 'A Great Day in East L.A.' is more than photographs and stories; it's an homage to the artists' staunchly DIY spirit. Elaborate onstage outfits, hand-drawn fliers, homemade recording machines, used instruments, local zines and eccentric band merchandise are also on display. 'It was a lot of community calls, broadcasting out to the community,' Hendon explained. 'We wanted to show what people have and to get to know those stories. Piero, Jorge and Mark made a million phone calls, went to people's houses, went to people's garages. I joined them and we were digging out of people's garages, asking, for example: 'What do you think tells the story of your late husband's band?' And so it took about two years to get [all that.]' Leal was consulted on the project due to his work specializing in Southern California culture in the 20th century — particularly his knowledge of Chicano rock and the East L.A. sound. His expertise lead him to create the Rock Archivo LA, an online public history treasure trove that collects, examines and shares youth culture memorabilia and other assorted curios. 'One of the things for me as a historian is to highlight and honor people that are no longer alive and that for some reason in their time were not as written about, as celebrated, but that were instrumental for the East L.A. sound,' Leal said. 'Being able to share this subject in conversation with Piero's photos in such a dignified way that honors and highlights for visitors that, if this is the first time they come across this music and this history, that they learn more from this — it's something we think we accomplished well.' One of Leal's favorite aspects of the exhibit is that does away with the notion that history is strictly linear and stuffy. The 'kinetic' nature of the showcase presents history through six themed galleries that together weave a holistic portrait of East L.A. The first emulates a show venue, with ornate blue velvet curtains draping the walls and framing the personality-laden stage outfits and instruments of East L.A. musicians including Brenton Wood's zoot suit, Lupita Infante's traje de charro, a bass guitar and drum from the punk-folk collective Ollin and Chicano rock band Quetzal's lead singer Martha Gonzalez's Grammy dress — to name a few. The second gallery is modeled after a rockero store and is filled with posters, records, merchandise and other assorted ephemera. A key aspect of the installation is its interactive component. Patrons are invited to play songs from a jukebox that has a bank of 40 records to chose from and projects each disc's album art. Visitors can also watch archived videos of East L.A. bands' live performances in the rockero section. The interactivity and tactility of the exhibit reaches its zenith in the garage-themed section of the museum that attempts to recreate the aura of many people's first rehearsal place. Residing in the center of the gallery are an acoustic guitar, an acoustic bass, a ukelele, a mandolin, a cajón and a keyboard — all of which guests are encouraged to pick up and play. 'We are aware that music is cut in schools. People don't have access to instruments,' Hendon noted. 'We really want people to jam out.' The subsequent gallery explores the political activism of East L.A., an aspect Giunti fervently connects to. His personal Rage Against the Machine shirt, graced with signatures from all the band's members, is framed in this section alongside benefit concert posters, May Day March fliers and photos of artists who embraced and displayed their Indigenous heritage. As he grew more political throughout the years, Giunti found inspiration from the political movements in East L.A., such as the Chicano Moratorium and the East L.A. walkouts. 'I was always a rebel. Then when I found RATM, I was a rebel with a cause. And I found Ozomatli, and I found all these bands one night after another, and those floodgates of questions opened,' Giunti explained. 'Having that political mindset behind everything, I said, 'East L.A. is an act of rebellion, just for it existing.'' The transition from the bright and colorful radically political section of the exhibit to the centerpiece gallery filled with Giunti's portraits is perhaps the most visually shocking jump in the showcase, but there remains a thematic throughline. 'I wanted to make sure that everybody was represented as best as we could,' Giunti said. 'With gentrification and all these things happening, we're losing everything. ... We've seen this in the past, that we lost everything because of destruction and conquering. If we're seeing gentrification as being conquered again, we have to tell our stories and make sure that these people are remembered.' Giunti is especially proud of the women and LGBTQ+ representation that his work was able to capture — a unique and necessary component of fully capturing the essence of East L.A. 'We didn't do it because it was the cool thing to do at the time. We did it because it was the right thing to do,' Giunti said. 'So not only are we rewriting history, we're correcting it as well. So I made it a point that I wanted to find the women and LGBTQ+ people of East L.A.' The last portion of the showcase is a room dedicated to East L.A. legends Los Lobos, one of the first acts to agree to be a part of and approve of Giunti's vision for the exhibit. Included in the space is one of the group's Grammys, an MTV Video Music Award, handwritten lyrics, a script for the 1987 film 'La Bamba,' concert ticket stubs and some of the band members' outfits and instruments. Giunti got so in the weeds with collecting Los Lobos ephemera and the band's history that he has a documentary about the group scheduled to come out in 2026. Looking at the entirety of the showcase, Giunti smiled as special guests of the museum, including members of Ozomatli, got a tour of his work and marveled at it. Seeing Black and brown people feel represented and entertained by their history is exactly what Giunti wanted. 'The project is called 'A Great Day in East L.A.' because also when Black and brown people weren't allowed to play the Sunset Strip or the clubs in L.A., East L.A. had its open doors,' he said. 'East L.A. not only embraced the artists of all generations and genres — it also embraces people like me.'
