“Lucha libre is something very dear and personal to all Mexicans,” continues Arau. “All of my work, be it music, animation, film or art, is about popular Mexican culture and lucha libre is one of the most visible things there is. Compare that with the culture here, the gringo culture, where a mask is usually something associated with terrorism, with sadomasochism. There’s no tradition behind it whereas in all of Mexico, the Indigenous communities use masks, all of the fiestas in every state utilize masks, there are museums dedicated to masks made of different materials. For us, masks are something very natural.”
The space features a store that sells custom lucha libre merchandise including apparel such as shirts, hats and leggings printed in-house at the Republic of Lucha Print Shop. There are small baskets filled with plastic-mold action figures of masked wrestlers. Two large, glass cases contain mannequin heads adorned with various wrestling masks worn in official matches by wrestlers such as Fenix, Penta, Psycho Clown, Tinieblas Jr., and others, all for sale. They also host the Lucha Movie Club most Saturdays each month when the rooftop is converted into an outdoor movie theater to screen classic lucha libre films, such as the ones featuring El Santo and Blue Demon, and more.
My latest for KCET is my interview with a half-dozen artists who are part of a new wave of souldies artists. Souldies, a.k.a. Chicano Soul, has a distinct flair and sound that’s also connected to a specific cultural context, which I write briefly about in the story.
The familial connection to the music and the culture is one shared by nearly all the artists involved in this resurgence of oldies music. Samano recalls his parents putting artists such as The Delfonics and Brenton Wood on heavy rotation during his childhood. Lane grew up on gospel and studied “the pillars of northern soul” while studying music in college. Garcia’s father had a record collection that included Smokey Robinson, Mary Wells and Brenton Wood plus dozens of doo-wop artists.
The same goes for Vicky Tafoya, founder and singer of Vicky Tafoya and the Big Beat, who grew up surrounded by the sounds of doo-wop, big band and Motown. As the youngest of 12 children, she inherited the vinyl records that each one of her siblings left behind as they moved out. She became completely enamored with the music and had a life-changing experience in 1989 when she joined The Doo-Wop Society of Southern California. It was there that she would spend years watching and even performing acapella doo-wop on the same stage as the artists she listened to obsessively at home: Vernon Green and The Medallions, The Teenagers, The Six Teens, The Chantelles and many other legendary artists.
My latest piece for KCET Artbound is my interview with artist/activist Julio Salgado. His work took off nearly a decade ago when he created his series of portraits of queer, undocumented activists titled “Undocuqueer.”
The purpose behind the series is to remind people that the bulk of the work in pushing the national conversation on immigrants’ rights, in planning and executing protests and all the other unglamorous, behind-the-scenes work was done by UndocuQueers. It’s also to expand the conversation behind the perceptions of who these immigrants affected by these laws and policies are.
On multiple occasions, Salgado has had to educate numerous people about the diversity of people who identify/are labeled as undocumented. In one such instance, he and others traveled by bus from California to Washington D.C. for a massive march on the capitol.
“A lot of them were faith-based groups,” recalls Salgado. “There were some immigrants who were very homophobic that would say homophobic things and, like, how do you navigate those spaces? You have to educate people, which I don’t have a problem with that. Working in kitchens with a lot of immigrant men and their machismo, you learn how to use humor.”
“That’s why I started making those pieces,” he continues. “It was for our communities to understand that if we’re talking about accepting people or creating policy that doesn’t criminalize us, we can think about other folks who are also part of our communities.”
Clouds Hill Notes announced today the acquisition of the catalogs and masters of musician Omar Rodriguez-López’ vast musical library. The acquisition includes the catalog of works published under Rodriguez-López Productions, including dozens of solo albums. Clouds Hill Notes, in partnership with Wise Music Group, will also handle the catalog publishing of The Mars Volta.
It’s about the right time to announce the acquisition of the RLP catalog and The Mars Volta publishing now. After being Omar Rodríguez-López’s friend and business partner for such a long time, I am honoured and proud that he decided to also entrust me with this catalogue. Our HQ in Hamburg is now responsible to push this unique catalogue back into everyone’s minds.
Johann Scheerer, Music Producer, CEO/Founder of Clouds Hill Group
The acquisition comes months after Clouds Hill released a trio of albums ORL recorded with the label: The Clouds Hill Tapes I – III.
I hope this means that many of the albums/projects ORL worked on from 2004 – 2013 under various names (The Omar Rodriguez-Lopez Quintet, The Omar Rodriguez-Lopez Group, The Omar Rodriguez-Lopez Quartet, El Trio de Omar Rodriguez-Lopez, El Grupo Nuevo de Omar Rodriguez-Lopez, etc.) will see the light of day once again via official streams and reprints of physical media. This man wants a copy of Mantra Hiroshima!!
Other groups that were part of the RLP imprint include De Facto (another project I hope gets republished asap!), the dub group before TMV, and Antemasque, the band that reunited ORL with long-time friend & collaborator Cedric Bixler Zavala following the dissolution of TMV. I also hope Zechs Marquise, the defunct group from El Paso that featured ORL’s siblings, is included in the catalog as well.
Clouds Hill Notes is the publishing arm of the Clouds Hill Group, a company that includes a record label, a recording studio, a film production company, and a boutique pedal company.
The first order of business following this announcement will be the release of TMV’s Tremulant EP on streaming platforms this Friday, Feb. 26th!
Next is my conversation with Adriana Astorga-Gainey and Jesenia Gardea of the Pacifico Dance Company. The Los Angeles-based non-profit company takes a serious approach to folklorico dance that centers on training professional dancers.