"Cruise on a trip through my memories of drawing lowriders and tees, of creating Homies for the last thirty-five years. A pictorial narrative of one artist following his dreams..." Created by David Gonzales, the Homies first appeared as an underground comic strip that debuted in Lowrider Magazine in 1978, a reflection of his friends and lifestyle. At first a group of tightly knit Chicano buddies from East Los Angeles, the Homies expanded their crew to over 300 characters from all different cultures, genres, and even species. In an inner-city world plagued by poverty and oppression, they formed a strong, binding cultural support system that enabled them to overcome negativity and turn to laughter and good times as an antidote for reality. Homies erupted as a mainstream sensation in 1994 when trend-savvy retailer Hot Topic offered Homies shirts for sale, rapidly becoming popular with the youth market. Following on the heels of a successful T-shirt run, Homies was licensed for figurines in the vending machine toy industry, where all sales records were broken, with over 150 million figurines sold worldwide. The licensing program soon spread to products such as action figures, remote-control and die-cast cars, notebooks, posters, plush, Halloween masks, video games, music, and more, carried by specialty and mass retailers everywhere. History of the Homies is a triumphant celebration of the turbulent times, remarkable artistry, and youthful street culture of a pop culture phenomenon, including hundreds of pictures and a complete guide to Homies figurines.

The story of the American West is that of a journey. It is the story of a movement, of a geographical and human transition, of the delineation of a route that would soon become a rooted myth. The story of the American West has similarly journeyed across boundaries, in a two-way movement, sometimes feeding the idea of that myth, sometimes challenging it. This collection of essays relates to the notion of the traveling essence of the myth of the American West from different geographical and disciplinary standpoints. The volume originates in Europe, in Spain, where the myth traveled, was received, assimilated, and re-presented. It intends to travel back to the West, in a two-way cross-cultural journey, which will hopefully contribute to the delineation of the New—always self-renewing—American West. It includes the work of authors of both sides of the Atlantic ocean who propose a cross-cultural, transdisciplinary dialogue upon the idea, the geography and the representation of the American West.

Nephtalí De León is a USA born and raised Chicano former migrant worker that became a Poet/Painter/Author/and Playwright. He has been published in several countries with his poetry translated into twelve languages. Growing up in the cauldron of borderland conflicts between USA and Mexico, by the edge of the river that divides both countries, the Rio Grande, he is no stranger to the myths, legends, and stories that form the world view of his multicultural native people. Present day native American migrants have been labeled and treated as strangers in their ancient homelands. Those who appropriated their lands now call them illegals, undocumented invaders. They administer their presence with such legal definitions in the courts of their own invention. It is in this arena that the author presents a timeless legend of a tortured and maligned spirit that refuses to die. The legend of La Llorona begins 500 years ago when invaders first came to the American continent. Reality went beyond surreal, and the Victim became the Culprit, was punished and condemned to wander unto eternity in hopeless pain for her crime, the worst any one can be accused of – the drowning of her own children! This centuries old legend is very much alive. Everybody knows her name – La Llorona.

Evie Gomez finally has it all: a sweet boyfriend, two mejor amigas, and an upcoming sixteeñera that's the talk of the school. Qué cool, no? Too bad reality has a way of ruining things. When her grades start to slip, Evie's parents threaten to cancel her party. The good news? All she has to do is volunteer in the community to raise her grades. The bad news? Since it's the middle of the semester, the best remaining option is working at the Southern California Horse Reserve. Then again...ranchero life? Charros? Maybe things will work out after all. Or maybe not. Things with boyfriend Alex start to fizzle, party-girl pal Raquel slides down a spiral of boys and booze, Dee Dee -- who only recently re-entered Evie's life -- considers moving back to Mexico City, and to top it all off, Evie's flirting with someone she never expected to like -- ranch hand Arturo (even with his que fugly cowboy boots). Things can't get más complicated...can they?

This homage to lowriding in New Mexico is graced with more than one hundred photographs of the most distinctive lowriders shot against the dramatic New Mexico landscapes. The accompanying essay and poems explore the lowriding phenomenon as a symbol of Hispanic pride and individuality.

Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called "serious literature" and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, GarcíMáuez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These "clichéigurines" include a toucan (displayed regularly in books by GarcíMáuez, Allende, and others), the beloved Latino comedian Cantinflas (known as "the Hispanic Charlie Chaplin"), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, "History, of course, is a kaleidoscope where nothing is absolute." Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.

Millicent Rogers assembled a stellar collection of Navajo, Zuni, Hopi, and Pueblo jewelry during the late 1940s and early 1950s, creating the basis of Taos's Millicent Rogers Museum.

(Applause Acting Series). This foray into the deeply serious and deeply funny (sometimes at the same time) world of life after 40 focuses primarily on scenes that depict the struggles of contemporary characters to come to terms with disappointment and obsolescence or to redeem their lives from the mistakes or miscalculations of their youth. It draws heavily on American classics like Long Day's Journey into Night , Death of a Salesman , The Price , Glengarry Glen Ross , Fences , and Who's Afraid of Virginia Woolf? , as well as more recent classics-in-the-making like August: Osage County , Good People , and God of Carnage . There is also ample representation from British playwrights like Harold Pinter, Tom Stoppard, Simon Gray, and Peter Nichols, whose work also explores this territory of growing older in a society obsessed by youth and novelty.