Mexican Grandma

[Story courtesy of Ben Cadena, San Jose, Califas]

During a trial in a small town in South Texas , the prosecuting attorney called his first witness, an elderly Mexican abuelita to the stand. He approached her and asked, "Senora Sanchez, do you know me?"

She responded, "si, I know you Mr. Williams. I know you since you were a mocoso chorriado, and frankly you've been a big disappointment to me, to your family and to your community. You lie, you cheat on your wife, and you manipulate people, and you think you're a big shot when you are nada, pura basura. Yes, I know you baboso."

The lawyer was stunned, not knowing what else to do, he pointed across the room and asked, Mrs. Sanchez, "do you know the defense attorney?" again she replied, "claro que si. I've known Mr. Rodriguez since he was a mocoso travieso too. He's a lazy bueno pa nada, and he has a drinking problem. He can't keep a normal relationship with nobody, and he is the most pendejo lawyer in the state. And not to mention he cheated on his wife with three different viejas corrientes. One of them was your wife! You member? I know Mr. Rodriguez; his mama is not proud of him tambien."

The defense attorney almost died. The judge then asked both counselors to approach the bench, and in a very quiet voice said, "if either of you cabrones ask her if she knows me, i'll send you to the electric chair."

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The Quiet Tale of the Campus Mural

Bruna Nessif
Pasadena City College Courier

Photo by Chi Hong Wong

As students scurry up and down the stairs on the south side of C Building (Pasadena City College), they rarely take the time to acknowledge their surroundings.

But had they taken a glance up, right before turning toward the stairs in the break of the second and third floor, they would have seen a work of art from 1973 by former student Guillermo Martinez, whose appreciation was lost along with its meaning.

When the mural catches one's eye, it has a strong attraction. It almost demands attention. It depicts a lot of emotion, whether its of accomplishment or struggle, one cannot be fully certain. Its interpretation is not limited. The piece offers clues as to what it could mean, but ultimately the viewer makes his or her own conclusion.

Students, who take the time to examine the artwork, came up with their own ideas about what the artist was trying to convey.

"It seems like the man in the middle is a combination of different races and everyone branching off is a part of him, like we're not just one kind, we're a mix of many. It represents Mexican culture and diversity," said 20-year-old liberal arts major Kate Krag.

Many images in the mural symbolize and illustrate Mexican culture, exemplifying Chicano pride. When observing the work in detail, you can find somewhat hidden messages, like the phrase "Viva La Raza," which can be closely translated as "long live the people" (or race) in Spanish, illustrated on the bottom of the mural. This motto can make one believe that the historic event of the Chicano resistance is the concept of the painting.

The colors are vivid and loud, yet they complement each other well. It's a very detailed work, which once caught by the eye requires a good amount of time to fully observe and admire. The meticulous aspect of the art makes it a bit busy. There's so much going on that you're not sure what to look at first or how to connect each image. But it's so enticing you want to try anyway. Other students noted on the physical characteristics of the work, despite not knowing its purpose.

"It looks like the artist has a lot to say. It's an interesting concept. It has a nice medium, very fluid, but no idea what it means," said 18-year-old theater major Giselle Gilbert.

"It reminds me of L.A. art, something I would see while I'm on the 101," said 28-year-old liberal arts major Armando Lacayo.

The mural's location is random. It's in the rear of C Building, in between two floors. Some may feel it's out of place, but it is right where it should be. The piece is Chicano work that is displayed in the building where numerous students pass by multiple times a day, and some, learning Chicano Studies.

"The location's obscure, but the C Building is mostly for literature so its good," said 45-year-old music major Pablo Baza.

Some feel that the random location of the artwork gives the campus a sense of spontaneity.

"It's at an unexpected place, but that makes you feel like you never know where you'll run into something at PCC," Lacayo said.

The sad part is that few people know about the mural. They vaguely recall seeing it, but when asked, cannot identify it. Students running up and down those stairs are too busy to notice the art that surrounds their daily life or the work someone put in to convey a message.

The record of the painting on campus is not available. The only information found by Visual Arts and Media Studies Dean Alex Kritselis and the department was that Martinez was awarded a scholarship to UCLA, but refused to go because the Mexican movement spoke against giving in to the system. Martinez took his life to the streets and dedicated himself to doing street art. No one has heard from him since.

With the loss of it's meaning, the public might never know its message. At one point, an artist devoted himself to a canvas, indulging in his art utensils to portray an important time in the history of his culture, and yet it goes unnoticed and undocumented.

The meaning will always be ambiguous. It's lost art, whose history is gone. It will remain a mystery instead of a tool of remembrance and depend on the viewer to carry its significance.

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Judge Sonia Sotomayor

So what do you think about Judge Sonia Sotomayor's nomination to the Supreme Court?