Showing results by narrator "Andre Bellido" in All Categories

On July 3, 1972, twenty-four hippies from Clearwater, Florida, set up tents and settled in for the night at Briar Bottom, a public US Forest Service campground in western North Carolina. The impromptu campout was a pit stop for the group on their way to a Rolling Stones concert in Charlotte. Early that evening, they drank beer, smoked marijuana, and listened to rock music as they anticipated the good times that lay ahead. Near midnight, the county sheriff showed up with six deputies, allegedly responding to a noise complaint. They were armed with pistols and five sawed-off 12-gauge shotguns.

If there is an enemy in the War on Drugs, it is people of color. That is the lesson of forty years of cultural production in the United States. Popular culture, from Scarface and Miami Vice to Narcos and Better Call Saul, has continually positioned Latinos as an alien people who threaten the US body politic with drugs. Jason Ruiz explores the creation and endurance of this trope, its effects on Latin Americans and Latinx people, and its role in the cultural politics of the War on Drugs.

Not Even the Dead is the story of a persecution that transcends territories and centuries; a path pointing northward, always northward, that is to say, always toward the future, on a hallucinated journey from the sixteenth century New Spain to today's Trump wall.

Sebastián lived a childhood of privilege in Mexico City. Now in his twenties, he has a degree from Yale, an American girlfriend, and a slot in the University of Iowa's MFA program. But Sebastián's life is shaken by the Trump administration's restrictions on immigrants, his mother's terminal cancer, the cracks in his relationship, and his father's forced resignation at the hands of Mexico's new president. As he struggles through the Trump and Lopez Obrador years, Sebastián must confront his father's role in the Mexican drug war and navigate his whiteness in Mexican contexts.