Six years ago, when I began the epic experiment that would become Brooklyn & Boyle, it was, essentially to nurse a broken heart and a nearly broken spirit back to life with a return to work as a writer, work I had begun in earnest while still a child. Had a grand total of $80 and a laptop borrowed from the DJ sound booth at Eastside Luv wine bar y QueSo to get started. I had no idea it would last as long as it has. I was told by Mark Kraus at Josefina Lopez' Casa0101 Theater today that the paper appears to be very well established. Admittedly, it has been the toughest struggle I've ever faced. We still fly by the seat of pants on a shoe-string, but along the way I've been blessed with the opportunity to meet, share and work with countless creators and makers of culture, art & artesanía. In the spirit of gratitude we offer this Saturday's survey of cover art from Armando Duron and his family's collection at Rock Rose Gallery in Highland Park. He has all 42 editions. We started with a Dia de Los Muertos issue in Nov. of 2008. And here we are again. This issue has to be out by next week. I simply wanted to thank everyone all the patience, kindness, love, friendship and willingness to forgive, even when I didn't deserve it.

This will be our sixth Dia de Los Muertos edition, so we especially want to thank the advertising sponsors who come to our aid over the years. I'm especially excited with new additions to our volunteer staff and with the growing number of young writers and artists who get it. Obviously, there is still some last minute room to get your Day of the Dead event, special, party or exhibit included. Or rates are economical and when you buy and ad you support the arts in a very direct way.

best regards always,
Abel Salas
Brooklyn & Boyle

Abel Salas
Brooklyn & Boyle

by Citlalli Chávez

  On a recent warm LA Friday night, in the heart of Boyle Heights, loyal fans and supporters of Viento Callejero packed into the MBar to celebrate this up-and-coming band’s much-anticipated CD release party.
   The celebration was a culmination of a recent crowdfunding effort organized through a Kickstarter campaign in which community contributors, organized primarily through social media platforms, raised over $8,000. The money allowed this trio to showcase their diverse musical backgrounds and talents with the release of an eponymous CD.
   Composed of three permanent musicians, Gloria Estrada (formerly of La Santa Cecilia) on guitar, Federico Zuniga, Jr. (Grammy-nominated Sistema Bomb) on the bass, and Gabriel Villa (Chicano Batman) on the drums, the trio manages to cover classic Colombian Big Band Cumbias infused with electric psychedelic sounds that give the band it’s unique and novel sound. Viento Callejero, as the name implies, intends to uplift and “scoop up” as a wind current might, an itinerant camaraderie among musicians within LA’s impressive Independent Latin music scene.
   “We scoop up the talents of the ‘callejeros’ and we have honorary ‘callejeros’ all of the time and the name suits how we are. We’re about the party. We’re about hanging out, but it also represents how we are as a band. We wanted to make collaboration more dominant and to be that band that glues talents together,” elaborated Estrada.
   In accordance with the “street” or “callejero” tradition, Viento Callejero has long featured a rotating cast of singers that sit in during live performances, a tradition which is also reflected in the new CD. The record, as a result, includes guest turns by a number of vocalists and musicians from among the local independent Latino music milieu, among them Martha González from Quetzal, Leah Gallegos from Las Cafeteras, and Edgar Modesto from Buyepongo. Zuniga commented on the unique experience that is created within the band and the novelty of each show, saying “when we play, we have to change the key, we have to change our approach, the song can be more aggressive with one singer while having a completely different feel with another singer.”
   The variations in singers, musical instrumentation and talents highlighted through the “honorary callejeros” tradition also allows the audience to explore and appreciate featured artists in a new, uninhibited musical setting which lends itself to innovative improvisation on stage.
   The Viento Callejero sound offers audiences throughout California to witness a band where each musician assumes numerous roles within the trio. “When musicians listen to our sound, they can really appreciate what we are doing as a trio because they can see how hard we are working,” explained Estrada. “To have a drummer play the role of a percussionist and background singer, Federico [to] not only to hold down the bass but also do melodic lines and singing and myself not doing montunos on the guitar, I am following more of an accordion line while also singing, I think they notice we are doing a lot.”
   The essence of the novel sounds they imbue classic Colombian big-band tracks with can be found in the song “Cariñito,” available on the new album. “You hear different elements of not just Afro-Colombian cumbias, you hear a little bit of reggae, a little bit of hip hop, rock, funk, the psychedelic… those aspects, where we just thought outside of the box,” Zuniga recounted.
   Another track on the album, “Tolu,” a 1950s Lucho Bermúdez hallmark song with elements of cumbia, porro, and gaita, opens with the classic big-band version of the famous track and then quickly morphs into Viento’s signature style, riddled with their electric, psychedelic, flare. These musical innovations combined with the voices, creative expression and instruments that have become staples in the LA’s indie Latin scene can be appreciated throughout the composition.
   From before it inception, Viento Callejero has been adding a slew of new footnotes to this long-vibrant musical community. Estrada grew up in Boyle Heights and found her passion for music at Roosevelt High School. She eventually pursued a music degree at the University of Southern California (USC). Zuñiga Jr., from San Jose, developed his passion through the influences of his musical family and his musical exposure in East San Jose; and Villa, from Colombia, brings his affinity to Afro-Colombian Cumbia and rock.
   Founded upon their varied musical exposures, Viento Callejero is serious about finding the common elements between numerous musical genres, ranging from classic Veracruz sounds to New Orleans line and brass bands and to traditions birthed in Colombia and Jamaica. They are intent on re-imagining these diverse schools of music through a modern lens.
  The album cover, featuring the artwork of San Jose-based artist Rodrigo Oliva, uplifts this broad reach in similar way, capturing the wild spirit of invention with vivid, psychedelia-inspired artwork.   The piece depicts an Urban Calavera formed from tree branches seated at a curb playing an electric guitar, wearing a sombrero vueltiao, typical of Colombia’s coastal region. Above, the downtown LA skyline is accompanied by two palm trees, numerous other objects commonly found on urban sidewalks and a spray-painted album title.
   The pictorial iconography found on the cover juxtaposes the organic and coastal next to the electric and urban, representative of the music contained within its sleeves. The cover captures precisely what Viento’s band members intended.
   “Album covers back in the day presented what the music sounded like. Nowadays, you have music that sits in a magic box in the sky and you can’t touch it or appreciate the artwork as an aspect of the album. We wanted to present that element to the people,” continued Zuñiga, Jr.
   You can support our local community artists and musicians by picking up Viento Callejero’s fisrt CD at Espacio 1839,  located at 1839 E. 1st Street, Los Angeles, CA or by  finding available digital downloads on cdbaby or iTunes.

Brooklyn & Boyle is very pleased to feature pioneer artist Roberto Chavez, a historic figure in the development of Chicano Art in our upcoming Latino Heritage Month edition. Chavez, the Chicano art instructor at East LA College will be the subject of a one-man retrospective at ELAC's prestigious Vincent Price Art Museum, a marvelous new addition to the campus where Chavez taught scores of younger artists who are now household names, among them Gilbert "Magu" Luján.

We are literally only two weeks away from publishing what promises to be a riveting issue that will also include an article on muralismo in Highland Park and a history of the International Institute of Los Angeles, an organization that has provided services, assistance and advocacy to immigrants for one hundred years, among other stories that cover the vital communities that comprise the Greater East Side.

As a friend, reader or simple supporter, you can help us celebration Latinio Heritage month with advertisement that features your message to the large community of Latinos who look to Brooklyn & Boyle for great writing, art and community cultural coverage, as well as poignant pieces on the issues and concerns many of our community stakeholders need addressed for broader dialogue and understanding.

Thank you, once again, for helping us as we move forward into our fourth year.

Abel Salas
Brooklyn & Boyle
Brooklyn & Boyle, nearing its fourth year of publication, is extremely pleased and proud to bring back a tradition we began in 2009, our annual Ruben Salazar memorial tribute issue. It is a tradition born in the marriage between creative cultural expression and the legacy of journalism bequeathed to us by an outspoken leader who, sadly, we lost during the upheavals of the Chicano Moratorium season, a season of hope and struggle that lasted, say some, from 1969 - 1971.

For us, freedom of expression, the right to a free and independent press and the proud spotlight we focus monthly on the artistic accomplishments in our community have all gone hand-in-hand. We are proud of our recent July issue and have received numerous compliments, both on the caliber and quality of the writing as well as on the presentation and design.

We could never even dream of looking so good if it weren't for the many brilliant visual artists whose work as graced our front page over the few years we've existed. Our very first Ruben Salazar tribute issue cover featured a portrait of Salazar by our very own Barrio Dandy, John Carlos de Luna, whose work we have long admired. In fact, John Carlos is the only artist on the entire East Side, a born-and-bred son of Boyle Heights, who has contributed more than one cover.

Our second Ruben Salazar cover was created by J. Michael Walker, an honorary Chicano/Mexicano if there ever was one. His portrait of Salazar with a falcon on his arm rendered in prismacolor spoke to our collective regard for the popular LA Times journalist who galvanized so many with his powerful articles, columns, essays and television reportage. For this, our third Salazar tribute issue, we are blessed to present a portrait by Ernesto Yerena Montejano produced by his Hecho Con Ganas initiative in conjunction with Richard Duardo and the Duardo-led Modern Multiples print studio.

We invite you to become part of celebrating a free speech champion and a heroic figure in the Chicano movement, which now finds a new generation of dreamers donning the mantle of change makers, young people and students who are discovering in the history of individuals such a Salazar, their own voices. Reach us on FB, Twitter, or by email at to hear how you can support truly independent arts, culture and community journalism on LA's Greater East Side. We look forward to sharing more with all of you, both in and outside of the Los Angeles metropolitan area, as we reach more and more readers across the state and, yes, even the southwest.  
Abel Salas
Brooklyn & Boyle
Playwright Patricia Zamorano, author of Locked Up.

By Abel Salas

As a playwright, Patricia Zamorano doesn’t come with college credentials or the stuffy attitude that many in the realm of theatre assume in order to feel that their jobs as waiters and bartenders are just way stations on their journey to fame and glory as “artistes.”

Patricia Zamorano was raised in the projects and spent her early adolescence in and out of LA’s infamous juvenile detention centers. She did not go to art school. Nor was she trained in the Stanislavsky Method or in a Playwrighting  101 undergraduate course. She is a heavy machinery operator. She drives fork lifts and tractors and bulldozers as a regular part of her day job.

“Growing up, I ended up in juvenile hall many times, always vowing to never get locked up again. But every time I did go back, I was like a sheep with a set routine, day in and day out.  There were no resources or public discussions on how to prevent from becoming incarcerated,” says the author of a new play opening up this month at Casa 0101 Theater.
The play, Locked Up, is based on her experiences, and she hopes it will move people to action.
“The message I wanted to share generously with the youth, is hope, that there are better things to come, that even though the struggle is hard there, is a light at the end of the tunnel, that the future is and can be positive even in the darkest of times,” she confides.
Her personal experiences led her to pen her first play, You Don’t Know Me, which was ultimately produced at Casa 0101 in 2008. With Locked Up, Zamorano cements her work as a street-bred playwright who writes with compassion and a maturity that many of those art school-trained wannabes will never attain.

“What I wanted to share is that we, as human beings in a ‘modern society,’ can do better than just to keep incarcerating the youth,” she writes in her playwright’s letter. “This is a sad state of affairs when incarceration has become big business.”

“Never before in the history of modern times in, 'the free world,' has there been such an alarming rate of people being locked up by the by the thousands and right into the millions,” she explains. Her vision, as a writer, a role she is still slightly uncomfortable owning up to, is informed by the havoc she witnessed on the streets of Boyle Heights and the East Side of LA.

The play, she says, it about redemption and the possibility of personal transformation. “It’s about three female juvenile delinquents trying to survive on a day-to-day  basis, while facing their inner demons, struggles and issues.”

The play, she says, “tells the story of  Santa Chavarria, a street-wise Latina born and raised in the Aliso Village Housing Projects in Boyle Heights, who faces the demons of an abusive past and the lures of the street while trying to avoid getting jumped into a gang and coming out of the closet.”
The play, she explains, is about redemption, forgiveness and, above all, love.

Locked Up opened on July 18th as a World Premier. Co-directed by Emmanuel Deleage and Patricia Zamorano, it stars Vianessa Castanos, Cosima Cabrera, Liliana Carrillo, Angel Lizarraga, Aurelio Medina, Katie Ventura and Tony Penaran.

“I just want people to see it for themselves, and I hope they are drawn into the lives of the characters, because they are real people. They are you and me and so many of the people we knew and grew up with,” says Zamorano, smiling and still optimistic because, for her, hope and love are real.

Indie Pop band Kotolán will host a record release party to launch their first boutique 45, a special limited edition vinyl record, with a performance on Saturday, July 26th at the unique Arts District Flea Market, 453 Colyton St. Los Angeles, CA 90013 in the heart of the LA’s Downtown Arts District, The record launch—an all ages, free event—will run from 8pm-11pm. Specialty mixology cocktails will be provided by Tito’s Vodka and Agetha Tequila. A Pop Up fine art station will feature collectible works from Modern Multiples, the legendary Los Angeles fine art print studio. The Modern Multiples Pop Up will be highlighted by pieces from artist Richard Duardo, the Andy Warhol of the West Coast, as well as images from and Royal Photography’s Michael Hope. A live performance by Kotolán begins at 9:30pm.

A live performance by Kotolán begins at 9:30pm.
Kotolán, an LA fusion ensemble with roots on the East Side and the Far East continues to deliver an eclectic sound rooted in 60s mod/soul and world rhythms with a heavy retro throwback feel. The special limited edition 45 offer a Side A sould track titled “Fate.” Side B, not to be outdone, is pressed with a song titled “Space Machine,” and afro-disco world beat original that is punctuated by stirring vocals from Japanese-born Kotolán lead vocalist Junko Seki. The 45 will be released at the show, and will be available for sale online at Bandcamp and iTunes.

Led by singer Junko Seki and trombonist/songwriter Otto Granillo, two seasoned performers who are both highly accomplished veterans of LA’s diverse music scene, Kotolán has mesmerized audiences since their inception over a decade ago. Their first album La Tienda De Groove, released in 2011, showcases the band’s creativity and a gobal,multi-lingual vision that incorporates a vast arsenal of rhythms and traditions. As a result, the band has been invited to perform at an array of venues locally, including LACMA, the Autry Museum, Levitt Pavilion, UCLA and more.

Come and discover what the Arts District has to offer. The Arts District Flea Market is a creative community business space that brings innovative artisans in clothing, jewelry, art, furniture and handmade goods to the consumers and by design seeks to inspire and invigorate downtown Los Angeles.  Vendor spaces are still available, to reserve a space, go to:

The event is sponsored by Kevin Chen, owner of Art District Flea Market, Modern Multiples, Jarritos, Agetha Tequila as well as Brooklyn & Boyle. Visit Facebook page for continuously updated artist profiles and event surprises. , , ,, and

Review by Abel Salas

Give It To Me
Ana Castillo
Feminist Press, 2014
Paperback, 256 pp.

Palma Piedra, the stormy, conflicted, promiscuous heroine of Ana Castillo’s newest novel, is the kind of character you don’t want to admit you’ve fallen in love with. Give It to Me, the infinitely loaded title of the book is perhaps an over-simplication, because Palma is not simply oversexed. She merely enjoys being physical with others, and her appetites are expressed incessantly as a need for love and comfort for the most part but also as the very real ramifications of both an emotional and a physical hunger, a raw lust that can only be satiated with passion and lovemaking. The latter two are acted upon amply and in every manner of possible configurations, where traditional categories and orientations and preferences are gleefully thrown out the window.

Bluntly, Give It to Me, is a guilty pleasure, easily a one-sitting read because Castillo’s language, her dialogue, her caustic, always subtly sarcastic observational commentary as manifested in the mind of her lead character’s nearly omniscient sensibility are by no means muscular or truly literary in the traditional ways. It is, at its root, pure, rootless, and full of rooting fun, a fun-house ride through the life a woman already aware that she has attained a not so enviable cougar status but who retains a certain innocence and optimistic hope in spite of all the evidence to the contrary.

Palma, named for the California palm trees her mother might have seen in California, grows up in Chicago under the assumption that she has been abandoned by said mother and raised by a strict, almost sadistic grandmother. Enter a boy child who is presumed to be her cousin, a handsome, charming troublemaker who she herself abandons early on and with whom she later initiates a long distance affair upon his release from prison for unspecified crimes.

Castillo is far from a Margaret Atwood and much less a Sidonie-Gabrielle Colette, but it does seem as if the latter has had more than passing influence on the making of Castillo’s new novel. Palma Piedra expresses her femininity with a brazen, running, non-stop take-down of everything and everyone. From the “spider monkey” Mayan tree trimmer to the spoiled rich Jewish-Central American daughter of Brentwood or Beverly Hills privilege, not a single community, ethnicity, socio-economic class, artistic discipline or sexually-oriented identification is spared. Of course, the gamut is laden with stereotypical depictions of each, so there is never any danger of any real emotional or lasting connection with any single one of Castillo’s characters, including her itinerant protagonist.

Castillo is imbued with enough of an encyclopedic familiarity vis-a-vis cultural currents (both Chicano/Latino and otherwise), fusions, technological developments, social media and psycho-sexual babble from the last 30 years to make the roller coaster romp that is Palma Piedra’s life more than just the author’s masturbatory exercise. In the end, one finds that rooting, in the porrista, cheerleader-esque manner of speaking, for Palma is a worthy pursuit, even if it flies in the face of our most basic moral tenets. This is also one of the reasons Castillo’s is an important new work for an artist who has long been an outlier in the realm of letters and particularly among those whose work focuses on Chicano or Chicana literature.

If for that reason alone, beyond the sheer reading pleasure, Give It to Me can lay (pun intended) claim to a few hours of one’s albeit diminishing spare time, it would not be wasted effort. More than just an examination of issues around sex as subversive power which can be used to empower the colonized and disempower the those entitled by hegemonic systems historically at play on both socio-economic levels and in gender or sexual paradigms, Give It to Me—as perhaps an extension of Castillo’s own private personal experiences—is fascinating enough to be, if not imperative, at least not easily dismissed. The insider coding, Spanish-language word choice and the refusal to offer indirect translations, like so many others often do ala a Sandra Cisneros “I only speak Spanish in italics” mode, are for me, admirable and particularly enjoyable. Long live “la Rocky” Palma Piedra and may she get it as much or as long as she likes. A reader should revel in that wanton abandon no matter how guilty doing so might make him or her feel.

Brooklyn & Boyle
, LA's premiere Latino arts, culture & community monthly is once again pleased to share its unique perspective on the creative communities across the Greater East Side and beyond. In an effort to improve the publication and appear monthly at the beginning of each month from now on, an effort you, as readers and sponsors, have made possible as we move into our fourth year of publication, we will begin publishing at the beginning of each month.

With our July issue, due in two weeks, we once again bring you more of the great stories, interesting features as well as book, film, theater, columns and opinions you have come to love and expect, only now, it gets even better with special cover story on a major museum in LA County that was willing to share an exclusive scoop with our editorial staff, a move that means good news for both Angelenos across the Southland and art aficionados the world over. That's really all we can say, because we can't give the story away, at least not just yet.

Beyond that, we're excited to have Harry Liflan Ortiz AKA "El Art Pocho" back with a story on the Cinemateca tribute to legendary filmmaker Luís Buñuel. Senior Associate Editor Thomas Varela profiles new ACLU San Diego office director Norma Chavez-Peterson, the first Latina woman to assume  such a nationally prominent post. On the art front, Brooklyn & Boyle takes a look at the provocative and fanciful work of Cuban artist Roberto Fabelo (image above) who opens his first one-man exhibition in the U.S. at the Museum of Latin American Art (MOLAA) in Long Beach this month entitled "Fabelo's Anatomy."

Belinda "Deedee" García Blase, a controversial co-founder of the National Tequila Party, a non-partisan independent Latina-led movement that has supported passage of the DREAM Act and opposed Arizona politicians with outdated views and positions with regard to immigration, offers an interesting editorial this month called. "Joaquin Joaquin, Joaquin." She has been a strong advocate for immigrant rights and a regular contributor to the Huffington Post.

Again, we intend to provide you with our very best and invite you to drop us a line at anytime. Of course, business owners and community leaders are warmly invited to help support our fine publication with advertising.  We look forward to helping you communicate with almost 10,000 readers a month. We thank you for your patronage and support as we move forward with a new and improved version of our news monthly. Our deadline for ad copy and artwork is January 1st. Rate cards are available upon request, and we are happy to discuss frequency discounts.

Advertising inquiries can be addressed to:
Natily Gonzalez

Inquiries can also be addressed to:
Abel Salas

Brooklyn & Boyle

By Armando Durón

Boulevard Night, 1970, Gelatin silver print with hand-applied pigment
I might as well begin with a full disclaimer: I have been a fan of Ricardo Valverde since I first met him in the late 1980s.  I have collected his works, and I was honored to speak at his funeral in 1998.  So this missive doesn’t come from some alleged objective space where pseudo art critics roam. 

A retrospective of Ricardo’s work, which opened at the Vincent Price Gallery at East Los Angeles College on May 17th (and runs through July 26th), under the title Ricardo Valverde: Experimental Sights, 1971-1996, is the first solo exhibition since 1994.  But this is his first retrospective and it is well-worth seeing.  Featuring a twenty-five year career, with over one hundred works, guest curator Cecilia Fajardo-Hill presents an artist on a mission to distinguish himself even as he might have struggled to seem to stay within the bounds of Chicano artspeak of the times.

This exhibition is a long time in coming, and comes on the heals of the UCLA Chicano Studies Resource Center’s A Ver publication, Ricardo Valverde by Ramón García last year and his inclusion in an exhibition now in Marseille, France entitled, ASCO & Friends: Exiled Portraits.  Freed from interpretations and misinterpretations, the viewer will find his or her own way through these galleries and wonder why Valverde isn’t better known, why has he been so ignored.
Part of the answer may be found in the penchant Chicanos and non-Chicanos have for pigeon-holing Chicano artists.  It is a state of affairs that is increasingly insupportable as evidence mounts that Chicano art has never been of only one type: colorful, figurative, iconic and political.  Valverde’s work as presented here is proof of why that tired paradigm doesn’t work and why every attempt to impose it only results in Chicano art being relegated to a second-tier existence.  That mistake isn’t made here.

The exhibition opens with his Master’s Thesis work, “”la juventud y la vejez,” a group of snapshots of young people and elders.  Yet even here, where he is at his most documentary, Valverde seizes on images that work to accentuate the aesthetic over the documentary. Notice the old woman and the piñata in one of the frames.  The image is arresting as the woman is juxtaposed with the very symbol of youth in Mexican culture; beginning the conversation in a direction that veers away from simple documentation.

And so it goes as the exhibition moves thematically to “Self Portraits,” “The Family” and “Espie,” “Experimentality,” “Mexico/Los Angeles” and “Low Riders in Los Angeles (Urban Scenes).” Images created in 1974 are reworked—almost repurposed—years later.  The exhibition points this out time and again almost as if to make something abundantly clear that had not been clear in the monograph of Valverde’s work.  That something, I submit, is that Valverde was a unique artist who shunned the confining premise of Chicano documentary photography.

In Untitled (Half Nude), 1979, the bottom half a woman’s body is presented, while in the 1993 version, La Espera II, the same image has been scratched and painted.  Meanwhile in Integrated School, Valverde has signed the very same photograph once in 1974 and again in 1994 after reworking the image.  What is questioned here is the very definition of Chicano art.  Is it a documentation of a community, is it an artist’s reworking of that community, or can it be both without one side accusing the other of being a fallen angel.

The best works are on the other side of a wall that breaks up the space.  Look for El Ladrón del Pan Santificado (The Thief of the Holy Bread) 1992, a gelatin silver print with acrylic and gouache, and El Fin de Mundo (The End of the World), 1992, a solarized gelatin silver print with acrylic and gouache.  These works represent the apex of Valverde’s career.  These aren’t experimental doodles, studies or sketches.  These are mature works that synthesize a career of reworking the obvious to suit a sensitive man’s aesthetic.

Experience Boulevard Night (1979), an iconic image, included in the CARA exhibition in 1990.  That work is not so much about the Whittier Boulevard cruising scene as it is about the vibe one was left with.  It allows the viewer to experience the luminosity of those hot East L.A. nights, the allure of the street, the super charge of the ladies.  The piece is more about the reasons for cruising that about the event itself.

Perhaps, Valverde inadvertently added to the notion that his work is documentary: “I think my work is evidence that we Latinos, as all other people of color, are in a struggle to be seen, to be recognized as a vital element of force [sic] in our society”, he was quoted as saying in one catalog. But a closer reading may reveal that he didn’t mean that he wanted to do it via the documentation of the community as much as to be recognized as a legitimate artist by society at large. 

Valverde taught me the importance of photography, the why and how of it.  “It’s art,” he said “just like painting and drawing. You just have to get over the idea that art is only painting and drawing.”  That seems simple now, but in the late eighties it was new to me.  Perhaps that is the reason why so many are still having trouble with looking at Chicano art through a wider lens.  This exhibition will help the casual viewer and the scholar alike to contemplate the possibility that perhaps another point of departure existed all along.

[Other events associated with the exhibition include, a conversation with the Cecilia Fajardo-Hill, Ramón García, Chon Noriega and Rubén Ortiz Torres on June 14th from 2:00 to 4:00 p.m., and a Walk through with the curator Cecilia Fajardo-Hill on June 21st at 2:00 p.m.]

Brooklyn & Boyle is proud to once again offer an original work of art on the cover. Our next issue, due out next week (May 21st), features a painting by Ricardo Garcia entitled Sunset. An acrylic on canvas, the piece was selected because it evokes the hard working moms who have raised us while holding it down both in and outside the home. If it wasn't for them, we wouldn't be here,and  we would definitely have an appreciation for beauty and art.

Our next issue will also once again include a question-and-answer piece by El Art Pocho, who spoke to photographer Oscar Castillo, an artist who is considered one of the preeminent Chicano lensmen in the nation. Senior Contributing Editor Thomas Varela, offers an intimate look at funnyman Rudy Moreno, who packs them into the Pasadena Ice House every week.

Founding editor Abel Salas reviews Give It To Me, a new novel by Ana Castillo, a writer of extraordinary prowess and world-wide acclaim. In addition, readers will once again have the opportunity to "Ask a Wise Latina" questions about life, love and the pursuit of inner peace and happiness. And these are just a few of the things you'll find in the newest edition of Brooklyn & Boyle.

A limited amount of advertising space is still available on a first-come, first-serve basis. Team member Natily Gonzalez, a hard-working mother herself, is standing by to work with your staff to help boost your business with a strategic advertising and marketing plan. Your partnership means a great deal since it allows us to continue supporting cultural arts and education on the East Side through positive profiles, art reviews, interviews with educators, musicians, writers, playwrights, dancers, painters and sculptors as a way to showcase the talent and beauty within our communities on the Greater East Side.

Don't forget to come out and join us at the annual Sacred Heart Fiesta in Lincoln Heights this weekend for free music, food, fun and games for the entire family.

Brooklyn & Boyle
For advertising inquiries, contact:
Natily Gonzalez