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A cholo or chola is a member of a Chicano and Latino subculture or lifestyle associated with a particular set of dress, behavior, and worldview which originated in Los Angeles. [1] A veterano or veterana is an older member of the same subculture. [2] [3] [4] Other terms referring to male members of the subculture may include vato and vato loco.
A very common stereotype of Hispanic/Latino males is that of the criminal, gang member or "cholo". It is connected to the idea of Hispanic/Latinos being lower class and living in dangerous neighborhoods that breed the attitude of "cholo". Cholo and chola are terms often used in the United States to denote members of the Chicano gang subculture.
Cholo can signify anything from its original sense as a person with one indigenous parent and one mestizo parent, "gangster" in Mexico, an insult in some South American countries (similar to chulo in Spain), or a "person who dresses in the manner of a certain subculture" in the United States as part of the cholo subculture. [1] [2]
This history has made some people reluctant to use Hispanic as an identifier. It is a reminder of the colonization of Latin American countries. “I don’t have a huge pull to any one [word].
Charles "Chaz" Bojórquez is a Mexican-American Chicano graffiti artist and painter from Los Angeles who is known for his work in Cholo-style calligraphy. [1] He is credited with bringing the Chicano and Cholo graffiti style into the established art scene.
Chicano (masculine form) or Chicana (feminine form) is an ethnic identity for Mexican Americans that emerged from the Chicano Movement. [1] [2] [3] Chicano was originally a classist and racist slur used toward low-income Mexicans that was reclaimed in the 1940s among youth who belonged to the Pachuco and Pachuca subculture. [4] [5]
Chicano pioneer Beto de la Rocha, who was part of the landmark 1974 exhibition at LACMA by Los Four, struggles to remember parts of his life, but at 85 he continues to paint.
The book is divided into chapters, organized chronologically, each dealing with a different aspect of the Mexican-American experience. [3] Sánchez draws on a wide range of sources, including oral histories, government documents, and newspapers, to provide a detailed picture of the lives of Mexican Americans during this period.