you know, chicano is also a state of mind.y it's to identify mexican-americans because we're all latinos, hispanics. puerto rican, cuban, or, you know, we're all hispanic. >> do you think there's less or fewer of us using that word or labelling ourselves? >> i think back in the 1970s, remember, that's when the identity crisis and, you know, the civil rights and i did a lot of marching behind that because the schools, you know, all the things that happened with schools, and, unfortunately, a lot of people think that's a derogatory -- >> my mom didn't want us to use the word chicano until i got to college that i realized, hey, i am chicano. >> what's wrong with knowing who we are, you know? >> right. >> you didn't call yourself whatever you want, but it's better if you know who you are, and be it. i think a lot of people just really don't understand the word chicano. we should be proud. we all should be proud of who we are and where we come from and what we do, you know? i just have to be chicano and people who know that, that's

and a lot more work needs to be done about the chicano movement and so on and so forth. i think it is important to remember that, yes, cities need to change and grow and become more advanced and so on and so forth, but we do have a particular heritage here that is as unique and certain responsibility comes with that to treat it properly. so i am sure everyone in the room understands this and that i think it needs to be spoken from time to time. so with that i understand that the director has made a clarification in terms of the process and whatever, but what hasn't been stated to you is precisely my rationale for the particular opinions about the particular amendments that the supervisor has been proposing. and so i hope in the next go round not only are the recommendations forward but the reasons for the recommendations to try to articulate those as clearly as possible. and it bears remembering that it has been the h.p.c.'s interpretation to come up with a draft with major changes. after we dropped that, we decided to come up with substantive changes that everyone could

christopher his first stop is chicano guard here he wants to meet a soldier who served as a prison guard in guantanamo from my months. chris honor and was only nineteen years old when he witnessed how prisoners were tortured with music he finally left the army and started to criticize their methods publicly now age twenty three years on employed and homeless. well chris i've been really interested in coming to talk to you because some of my music even might have been used and there is this you ever see music thing you sick wind tunnel oh yeah yeah there's it was in the gold building. i mean music would just blast out of that room like i mean it's like they had a whole concert it was like a i mean it was it was like a dance clubs style. music system that they had set up just brocken in this room for with all this kind of like american you know rock music you know you leave somebody in there for a couple hours like that in a stress positions i've seen interrogations go on. for you know ten twelve hours i came i had i worked twelve hour shifts and several times i came in right at the beginn

staff at one of our ethnic theme houses at stanford, and we had four -- we had african-american, chicano, native american theme houses, and the rules were to invite people to talk about issues of race and class. i just wanted to do all these heavy hitting hard discussions on the killing of vincent chen. a chinese-american man who was murdered at his bachelor party because two laid-off autoworkers thought that he was japanese and this was in the early 1980's. they were taking out their anger on him and they actually beat him to death before his wedding. or talking about the l.a. riots. and number of different issues. i remember my mentor at the time who was the fellow at the house -- she really help us back the first quarter. she said we would not do any of that. and she was a hard-core activists. she was a guerrilla activists from the philippines. was on an execution list, had done crazy things in her life. she said we're just going to do community building, which was the first time i had ever heard the concept here is to set will just going to be fun stuff. i thought that was not what i

1967, the troops split off from the union to focus on making other kinds of theater, setting off a chicano theater movement that included many groups that formed throughout the southwest. in 1978, louise baldez wrote and directed his world war ii era play, which was coproduced by the center theatre group of los angeles. it played to sold-out houses for 11 months breaking all previous records for that theater. in march 1979, it became the first latino play to open on broadway and in 1981 it became a motion picture, also directed by valderez. in 1981 when they opened a new playhouse in san juan batista, which made it possible to experiment with the relationship between music, dance and theater baldez created -- based on folk ballad form. the work was awarded critics awards including best musical. in 1987, baldez wrote and directed low bomba, the richie balance story for columbia pictures. a shepherd's tale premiered in 1991 on pbs great performances and has become a christmas holiday staple on telemundo network. continuing to write and direct plays, films and television dramas felt as mentor