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The necessity of the Brown body to hope and resistance / by Victoria Ruiz

My grandpa once told my grandma that if they were ever not physically together, to remember that “cuando la paloma canta mi alma está.” Or, “when the morning doves sing, my spirit is with you.” Recently M.I.A. made an important statement about the question of political music: “Leaving politics out of music is a new concept,” she said. It's not an old concept. Slaves sang when they fvcking crossed the river. It's a new thing for us to remove that in order to make monetization easy.”

Selena died in 1995 and in 2015 we celebrate the 20th anniversary of the passing of her body, and the movement to keep her fight for total culture alive. But before we even begin to crack at the political importance of the Selena movement, I need to contextualize the conversation with my grandma, grandpa, and M.I.A. Together, they begin to show the interconnectedness of music and the brown body through history, memory, and communication.

In an age where institutionalized racism through police is breaking the voice boxes of young black bodies and we are literally politicizing the words, “I cannot breathe,” there is a particular relevance of the cries, wails, screams, and statements of the colonized body. Those sounds are at the center of why we join mass movements against white supremacy, and we can relate that relevancy to land and therefore to capital. Music has been what many people have used throughout history to survive, communicate, and touch time and space in a collective way.

It is with great urgency and desperation that we recognize that the Selena issue of “The Media” is coming out on both International Workers Day, May Day, and during a powerful and tactful moment in the United States, especially Baltimore.

Originally, this introduction on Selena Quintanilla Perez was to focus on her effect on intersectionality of race, culture, Mexican Americanism, and the Brown body. She defies aspects of Western beauty and normative music culture both for Tejano music lovers and U.S. Pop music fans alike. Her music became a timeless vessel that lives on long after her body crossed back . . .


by Precolumbian
Para Siempre.

Selena and radical intersectionality
A current reading list of the ideas that Selena acted on.

Selena's last concert.

An interview with Selina Herrera

Selina Herrera lives in the Rio Grande Valley and is a community activist around immigration issues and reproductive justice. I met Selina at a music festival that Downtown Boys played in McAllen, Texas. She immediately spotted my Selena shirt and said, “anything for Selenas!” We spent the night confronting bros in the pit and bringing more people that needed to be in the front to the front. Selena told me how the Rio Grande Valley, often referred to at the RGV . . .

Selena and the pop-cultural border crossover of identity / by Patrick Garcia

It is commonly accepted, or at least known, that musicians on the upstart often embrace and put into practice DIY or punk ideals. However, when the glowing arc of opportunity creeps from the horizon, such as a record deal or landing a strong booking agent, many of these artists tend to sacrifice, if not totally trash, elements of these ideologies for a deeper or stronger . . .

An interview with Chaska Sofia

"Entangled: two objects sent in two different directions, if the state of one object is altered instantaneously, no matter how far apart in space the two objects are."
-- Black Quantum Futurism Zine

Chaska Sofia a/k/a Precolumbian is the organizer of the "Anything for . . .

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