Abstract
An advertisement for the 1998 album The Rude Awakening by the Cocoa Brovas, a rap duo of African American MCs, features a cardboard cup—the kind with the blue-and-white “Greek” motifs, common in New York delis and bodegas—full of steaming cocoa.1 Six chocolatedrenched young women are partially immersed in the liquid. On the right-hand side of the cup appear the erroneously accented words “Chocolaté Calienté.”
This is a preview of subscription content, log in via an institution to check access.
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
Preview
Unable to display preview. Download preview PDF.
Notes
On the aesthetic and representational marginalization of black Puerto Ricans, see Javier Cardona, “Un testimonio para la muestra: revolviendo un oscuro asunto en la escena teatral puertorriqueña,” Diálogo (April 1998): 11; Angela Jorge, “The Black Puerto Rican Woman in Contemporary Society,” in The Puerto Rican Woman: Perspectives on Culture, History and Society, ed. Edna Acosta-Belén (New York: Praeger, 1986), pp. 180–187;
Deborah Gregory, “Lauren Velez,” Vibe 3, no. 10 (December/January 1995–96): 129;
Celia Marina Romano, “Yo no soy negra,” Piso 13 1, no. 4 (August 1992): 3;
Piri Thomas, Down These Mean Streets (New York: Vintage Books, 1967). On perceived phenotypic distinctions between African Americans and Puerto Ricans, see “Satchmo” Jenkins and “ Belafonte” Wilson, “ Shades of Mandingo: Watermelon Men of Different Hues Exchange Views,” Ego Trip 4, no. 1 (1998): 24–26.
See also Samara , “Samara,” in Sex Work Writings by Women in the Sex Industry, ed. Frédérique Delacoste and Priscilla Alexander (Pittsburgh: Cleis Press, 1987).
bell hooks, Outlaw Culture: Resisting Representations (Boston: South End Press, 1994).
Frances Negrón-Muntaner, “Jennifer’s Butt,” Aztlán: A Journal of Chicano Studies 22, no. 2 (Fall 1997): 185.
Negrón-Muntaner, “Jennifer’s Butt.” See also Erin Aubry, “The Butt: It’s Politics, It’s Profanity, It’s Power,” in Adiós Barbie: Young Women Write About Body Image and Identity, ed. Ophira Edut (Seattle: Seale Press, 1999), pp. 22–31;
Theo Perry, “I, Latina,” Vibe 5, no. 6 (September 1997): 58; Wiltz, “Bottoms Up.”
dream hampton, “Boomin’ System: Bombshell Supreme Jennifer Lopez Is the Biggest Explosion Outta the Bronx Since the Birth of Hip Hop,” Vibe 7, no. 6 (August 1999): 98–104.
Goldie , “Ass Rules Everything Around Us: Some Late Night Thoughts on Jennifer Lopez,” XXL 2, no. 3, issue 5 (1998): 80.
Cristina Verán, “Backyard Boogie: An Honest Assessment of Jennifer Lopez’s Mo’ Cheeks,” Ego Trip 4, no. 1 (1998): 133.
See Paulette Caldwell, “A Hair Piece: Perspectives on the Intersection of Race and Gender,” in Critical Race Theory: The Cutting Edge, ed. Richard Delgado (Philadelphia: Temple University Press, 1995), pp. 267–277;
Lisa Jones, Bulletproof Diva: Tales of Race, Sex and Hair (New York: Doubleday, 1994); Jorge, “The Black Puerto Rican Woman in Contemporary Society”;
Mayra Santos, “Hebra Rota,” in Pez de Vidrio (Coral Gables, FL: North-South Center, University of Miami, Iberian Studies Institute, 1995).
See Arcadio Díaz Quinones, “Tomás Blanco: Racismo, historia y esclavitud,” in El prejuicio racial en Puerto Rico, Tomás Blanco (Rio Piedras: Ediciones Huracán, 1985), pp. 15–91;
Juan Giusti Cordero, ‘AfroPuerto Rican Cultural Studies: Beyond cultura negroide and antillanismo,” Centro 8, nos. 1 and 2 (1996): 57–77.
Ramón Grosfoguel and Frances Negrán-Muntaner, Puerto Rican Jam: Essays on Culture and Politics (Minneapolis: University of Minnesota Press, 1997), p. 14. Emphasis added.
See Carl N. Degler, Neither Black Nor White: Slavery and Race Relations in Brazil and the United States (Madison: University of Wisconsin Press, 1971).
See Ana M. López, “Of Rhythms and Borders,” in Everynight Life, ed. Celeste Fraser Delgado and José Esteban Munoz (Durham, NC: Duke University Press, 1997), pp. 310–344;
Ella Shohat, “Gender and Culture of Empire: Toward a Feminist Ethnography of the Cinema,” in Visions of the East: Orientalism in Film, ed. Matthew Bernstein and Gaylyn Studlar (New Brunswick, NJ: Rutgers University Press, 1997), pp. 19–66.
Danny Hoch, Jails, Hospitals & Hip Hop and Some People (New York: Villard Books, 1998), p. 73.
Danyel Smyth, “Ain’t a Damned Thing Changed: Why Women Rappers Don’t Sell,” in Rap on Rap: Straight-up Talk on Hip Hop Culture, ed. Adam Sexton (New York: Delta Books, 1995), p. 126.
Rob Marriott, R(Un)ning Things, XXL 1, no. 2, issue 2 (1997): 56–58.
Lana Sands, “Whipping Girl,” XXL 2, no. 3, issue 5 (1998): 31.
Anne McClintock, “Sex Workers and Sex Work,” Social Text 37 (Winter 1993): 1–10;
Gail Pheterson, “The Whore Stigma: Female Dishonor and Male Unworthiness,” Social Text 37 (Winter 1993): 39–64.
Copyright information
© 2003 Raquel Z. Rivera
About this chapter
Cite this chapter
Rivera, R.Z. (2003). Butta Pecan Mamis. In: New York Ricans from the Hip Hop Zone. New Directions in Latino American Cultures. Palgrave Macmillan, New York. https://doi.org/10.1057/9781403981677_7
Download citation
DOI: https://doi.org/10.1057/9781403981677_7
Publisher Name: Palgrave Macmillan, New York
Print ISBN: 978-1-4039-6044-3
Online ISBN: 978-1-4039-8167-7
eBook Packages: Palgrave Social & Cultural Studies CollectionSocial Sciences (R0)