By Frances Negrón-Muntaner
Boricua Pop is the 1st publication exclusively dedicated to Puerto Rican visibility, cultural influence, and identification formation within the U.S. and at domestic. Frances Negrón-Muntaner explores every thing from the loved American musical West aspect Story to the phenomenon of singer/actress/ dressmaker Jennifer Lopez, from the fake historic chronicle Seva to the construction of Puerto Rican Barbie, from novelist Rosario Ferré to performer Holly Woodlawn, and from painter provocateur Andy Warhol to the possible in a single day luck tale of Ricky Martin. Negrón-Muntaner lines many of the many attainable itineraries of trade among American and Puerto Rican cultures, together with the commodification of Puerto Rican cultural practices equivalent to voguing, graffiti, and the Latinization of father song. 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 engaging mix of low lifestyles and excessive tradition: a hugely unique, difficult, and lucid new paintings through certainly one of our such a lot gifted cultural critics.
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Additional info for Boricua Pop: Puerto Ricans and the Latinization of American Culture (Sexual Cultures)
Luis Muñoz Rivera, who had been the secretary of state under the Carta Autonómica, told the New York Tribune in 1898, “It is my opinion that my country can govern and administer itself, and that is what all criollos aspire to. ”27 In spite of these displays of affection and assurances of docility (or more accurately, in part because of what they exposed), the United States Congress denied Puerto Ri= cans self-government by ﬁrst imposing a military administration and later a civilian government under direct American control through the Foraker Act of 1900.
As the members of Silén’s generation found work as ac= ademics, technocrats, advertisers, and public servants, they spun feel-good stories that would saturate public culture and set the stage for boricua iden= tity in ways that elite attempts to attenuate shame never could. Although na= tionalism has not been successful in canceling the shame of boricua identity, one of the most important effects of this strategy has been that Puerto Rican “nationality”—in certain terms—became a compulsory social artifact with which both elite culture and popular culture have since had to contend.
A case in point is Jennifer López (chapter 9), whose insistence on addressing “low” subjects such as her racialized butt has come to embody a way to acknowl= edge the shame of boricua racialized identiﬁcation in the United States through a belly-down epistemology that upsets “white” notions of beauty and good taste. 108 Which is why Puerto Ricanness here does not only (or always) imply an identity or a sign, but a technology to “see” for the eccentric “self” in others and ﬁnd not necessarily what one is looking for but something that could simultaneously be more thrilling, reassuring, or terrifying: a piece of yourself everywhere.
Boricua Pop: Puerto Ricans and the Latinization of American Culture (Sexual Cultures) by Frances Negrón-Muntaner