University of Southern California Dissertations and Theses

Cultural collisions and identity across artistic mediums

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Cultural collisions and identity across artistic mediums

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Content Cultural Collisions and Identity Across Artistic Mediums
by
Victoria Alejandro
A Thesis Presented to the
FACULTY OF THE USC ANNENBERG
SCHOOL FOR COMMUNICATION AND
JOURNALISM
In Partial Fulfillment of the
Requirements for the Degree
MASTER OF ARTS
(SPECIALIZED JOURNALISM: THE ARTS)
December 2020
Copyright 2020 Victoria Alejandro
ii
EPIGRAPH
I am cltred becase I am participating in the creation of et another cltreI am an act of
kneading, of uniting and joining. Gloria Analda, Toards a Ne Consciosness

iii
ABSTRACT
This thesis is abot cltral collision, a theor Gloria Analda posits in her book
Borderlands/La Frontera. I will be examining this concept through both personal essays and
transcriptions of radio pieces I produced that focus on pop culture. Through this combination of
essays and radio transcriptions, I am exploring several facets of culture: from musical genres and
race to gender and sexuality. I will first be breaking down the theory of cultural collision in my
introductory essay. The next text in this thesis is a personal essay about my own cultural identity,
with a focus on the language and politics of Puerto Rico. The first radio piece in my thesis
transcribed here is another personal story that then expands outward to become a larger
exploration of first-generation Latinx music and cultural trends. This piece focuses specifically
on the works of The Beatles and Celia Cruz, placing two iconic music groups alongside
contemporary Latinx artists. The second and final radio piece transcribed in my thesis draws
upon the recent trend of the resurgence of cowboys in popular media. I look at what the figure of
the American cowboy has come to represent, and the cultural collisions present in the modern
version of that icon by examining the works of musicians Mitski, Orville Peck, and Lil Nas X.
These final to pieces are adio pieces, as tet alone coldnt captre the nances and emotion
that music and voice do.

iv
ACKNOWLEDGEMENTS
A heartfelt thank you to my thesis committee Sasha Anawalt, Willa Seidenberg, and Sandy
Tolan for their comments, edits, and consistent support and for helping push me as a writer,
radio producer, and journalist. And a massive thank you to everyone I worked with at
Annenberg, in and out of the classroom, particularly Edward Lifson. Im eternall gratefl for
m SJA cohort; I coldnt hae ished for more camaraderie or spport.

Thanks to Frances Negrón-Muntaner and Ed Morales, who changed my life when I took their
classes in my undergraduate studies.

And, to my family, a thank you so large I cannot put it into words. I am eternally grateful for
their sacrifices, care, support, and love.

v
TABLE OF CONTENTS

Epigraph...........................................................................................................................................ii

Abstract ..........................................................................................................................................iii

Acknowledgements.........................................................................................................................iv

Introduction......................................................................................................................................1
Sorry, No Hablo Español.................................................................................................................4
Car Washes and Celia Cruz.............................................................................................................7
Were All the Cobo, If We Want to Be.....................................................................................14
Bibliography..................................................................................................................................18

1
Introduction

Chicana lesbian writer Gloria Analdas book Borderlands/La Frontera lights me on
fire. Its a shame I came to that text in my twenties, after years of grappling with my identity as a
queer Puerto Rican born and raised in the continental United States. It feels like every part of me
exists in these unidentified, unmoored grey spaces that Anzaldúa so beautifully puts into words.
She addresses everyone who sits outside the binaries of sexuality, gender, race, ethnicity.
In her essay How to Tame a Wild Tongue, she says, When watching Mexican movies,
I felt a sense of homecoming as well as alienation. She describes the rhythms of Tex -Mex
music as having their roots in German music and Czech polkas. She talks about the various
forms of Spanglish she speaks, the ways different languages get blended when youre (literally)
on the border of two cultures. She describes this in a later essay as a cultural collision.
I first read her when I was an upperclassman in college at Columbia University, an
academic institution that I attended partly because of my love of learning, partly because I knew
that name on my diploma would grant me credibility in circles that would otherwise dismiss a
queer brown person. And those concepts Anzaldúa explores the conflict between homecoming
and alienation, the blending of cultural signifiers to create something new are something Ive
been interested in diving into ever since. So I jumped at the chance to craft a thesis digging into
various forms of cultural collision and at the same time, putting that disquietude and instability
of my own identity to rest, if only for a while.
I begin this thesis with my own written story and investigation of my identity, inspired by
Analdas introspective personal essays. And then I move into whats quickly become my
medium of choice audio storytelling. Included here are the transcripts of two radio pieces I
2
produced. The first is another personal story, this time looking at my connection to my family
and music, examining my own cultural collisions and how theyve shaped me (and other Latinxs
in the United States). The second is not a personal piece, though it did spring forth from my own
love of cowboys. The figure of the cowboy in America is also rife with cultural collisions:
machismo and queerness, whiteness and Blackness, the individual hero and the hero of the
people.
Its important to note that in her writings, Analda refers to this cultural blending and
collision as mestizaje. The subtitle of Borderlands/La Frontera is The New Mestia. I havent
used that word in reference to myself, nor have I used it in the pieces in my thesis. The concept
of mestizaje is most closely associated with Mexican philosopher José Vasconcelos, and his 1925
essay La ra cosmica. Vasconcelos posits the creation of a fifth race of mestizos a racially
blended people consisting of white, Black, Asian, and Indigenous peoples. This is a racist,
eugenicist concept. Linnete Manriques essay Dreaming of a cosmic race: Jos Vasconcelos and
the politics of race in Mexico, 1920s-1930s, is an excellent breakdown of the m ajor issues
surrounding the concept of mestizaje. She makes it clear that Vasconceloss dream is to elevate
the inferior races through mixing. This is still a prevalent line of thinking today, most recently
observed when looking at the white women who carry signs at Black Lives Matter marches,
boasting of their love of sex with Black men and desire for mixed race children, but disregarding
the humanity of those men. Anzaldúa does address the anti-Black streak that runs through the
heart of mestizaje, and I do find that her writing has more to do with creating a new form of
identity for the self, as opposed to creating a new superior blended race, but its time to leave
the term mestizaje behind.
3
Simply blending cultures and races doesnt solve raci sm, or issues of identity. But
identifying those moments of cultural collision within yourself and examining the cultural
origins of the things you love can expand your sense of community and connection to your
cultures, and lead to acceptance of the multitudes you contain. I made this thesis for myself to
heal my own rift between homecoming and alienation. To consider the culture Ive created for
myself, to look at whats made me who I am and to consider todo lo que algún día seré
everything I might one day be.

4
Sorry, No Hablo Español

Sí, yo quiero comer más pan.
Yes, I want to eat more bread, I type into the Duolingo text box.
I am doing Duolingo because I want to get better at Spanish because I am in mourning
for who I might have been. Thats a heavy -handed description, but its accurate I think about
who I might have been if I hadnt run from my language and my culture, and I feel a great loss.
Apparently, Spanish was my first language but once I hit elementary school, I wouldnt
speak it. My parents would speak to my sister and me in Spanish, I would respond in English.
They would play salsa in the house, I would roll my eyes. I still cringe when they speak to new
people and their accents ring heavy in my ears. My sister was born on the island and is still
fluent. I was born in California and am decidedly less so.
When I was 15, we took a family trip to Puerto Rico. Its th e only time Ive ever been.
My mom is one of 11 children and about half of her siblings still live on the island. I had only
seen them in old family photos, but they embraced me with open arms and fully stocked
kitchens. (I have never eaten so well in my life. Find aunts and uncles who cook with flavor and
love and who pass it all down the table to you.)
But, despite the love and embrace, the refrain of the trip was mija, ¿por qué no me
hablas en español?
Its because I had to type this sentence into Goo gle to see where the accent marks were
supposed to go. I can understand and read Spanish well, but when it comes to writing and
speaking, I flounder. I get embarrassed in front of native speakers I am afraid they will see
through me and see that I am clearly a phony with no real claim to my culture.
5
We left Puerto Rico after three weeks. I was tired I get cranky and frustrated when Im
away from home for too long. My sister wept as we drove away from my aunts house to the
airport. I didnt get why. Sh e was two years older than I am now and I think I finally understand
because now I wish I had felt as deeply as she felt. I wish I wept with her.
Language and art are the two strongest connectors to culture. When colonizers invade
countries, those are two of the first things they destroy literally destroying or stealing cultural
art, placing children in boarding schools where they are only allowed to speak English. The
evidence is all over history.
The thing is, when you do find the art thats been hidde n and shoved aside in favor of the
classics on school syllabi, you find yourself. Art and literature can provide the vocabulary
thats been missing. A sense of representation, unity, the vocabulary to begin parsing the
fragmented, messy relationship between yourself and your culture. The things you desire, the
things you grapple with other people like you have accomplished those things, struggled with
those concepts. You are not alone, you are not doomed, you are not the only person to have ever
desired the way you desire. I was (I am!) absolutely desperate for connection.
Some of my professors in undergrad gave me the things I had rejected for years. Latin
Music and Identity gave me the history of the music I had rolled my eyes at. Im glad that,
however reluctantly I was pulled into it, my parents taught me how to salsa in the kitchen.
Caribbean Diaspora Literature and Latinx Lit gave me poetry and novels and essays by other
Latinxs who felt out of place and were navigating their identities in the U.S. Those were the
classes that made me believe I could actually write. Undergrad was rough. I was struggling with
my mental health and terrified of disappointing those around me. I had placed impossible
expectations of perfection upon myself and I felt I had to prove I belonged in academia a place
6
I was increasingly feeling like I did not belong. I think I only graduated because I found classes
where the syllabi included Julia de Burgos, Héctor Lavoe, Esmeralda Santiago, Lucecita Benitez,
Calle 13, the list goes on. Seeing yourself on a syllabus is powerful. Having professors that
spoke openly about the inherent institutional racism present in higher education was powerful.
Regrets arent useful. Everyone makes the choices theyre equipped to make at the time
they make them, and you do what you think is best based on the information you have. I cant be
mad at myself for leaving Spanish behind as I moved through an educational system that was
designed to assimilate anyone from a culture perceived as o ther.
I was scrolling through Twitter during the recent #RickyRenuncia protests in Puerto
Rico. I cheered while watching Ricky Martin stand on a bus and wave a flag that was half
rainbow, half Puerto Rican. When the governor finally renunció, I was still awake, scrolling and
smiling and weeping in bed. I went home that Sunday and my parents and I yelled with joy but
felt the tension we wanted to be there, to celebrate and cry in the streets and be with our
people, but the island isnt home to us anymore. My mother has often said she wouldnt move
back, though she floats the idea every time she thinks about retiring.
Well move back there, get some land and a small house, youll come stay with us for a
year or two and write a book or something.
Part of me desperately hopes it happens.
It probably wont.
If it does, I hope Im fluent in Spanish.

7
Car Washes and Celia Cruz

HOST INTRO: First generation kids in the U.S. can feel torn between two worlds being tugged
between their cultures of origin and the pressures to be American. Victoria Alejandro explores
how music can bridge cultures and identities.

0:00 AMBIENT SOUND: General car wash sounds water dripping, a hose turning on and off
as Alberto Alejandro speaks off mic. Sound continues under the following.

0:03 HOST: Victoria Alejandro
Washing the car with my dad was one of my favorite things to do as a kid.

0:08 AMBIENT: Off mic, Alberto Alejandro tells a story about a salsa singer in a mailroom as
water drips and a hose turns on and off. We start to hear Celia Cru singing Ob -La-Di Ob-La-
Da quietly from inside the car that is being washed.

0:11 HOST: Victoria Alejandro
Our soundtrack was this album called Tropical Tribute to the Beatles. Its a collection of
Caribbean music stars singing Beatles songs that came out in the mid 90s. Celia Crus version
of Ob -La-Di Ob-La-Da was so dynamic, so salsa that I didnt realie it was a Beatles song for
years.

0:28 - AMBIENT: Ob -La-Di Ob-La-Da plays from inside the car. Celia Cru sings:
8
Pedro en la tarima suena su trombón
Celia con la orquesta va a cantar
Pedro dice a Celia eres un bombón
Y Celia sonriente empiea a tararear

We hear the hose again, and a quick interaction between Victoria Alejandro and Alberto
Alejandro.

0:42 HOST: Victoria Alejandro
I was born and raised in California, but my family came here from Puerto Rico in the 80s. My
dad has always been a huge Beatles fan, but he says -

0:50 INTERVIEW: Alberto Alejandro
With the Latin Rhythm and music, everything is much better because you can dance. (Laughter)

0:57 HOST: Victoria Alejandro
And he would always play oldies rock stations in the car.

1:01 - INTERVIEW: Alberto Alejandro
But I want to expose you and your sister to different music because they represent different
culture.

1:09 HOST: Victoria Alejandro
9
So I grew up with the two worlds my dad gave me bands like The Beatles, and salsa music.

1:15 MUSIC: Un Verano en Nueva York, by El Gran Combo de Puerto Rico
(instrumental salsa music)

1:21 HOST: Victoria Alejandro
This is a pretty common story among first generation Latinos growing up in the U.S. We blend
the cultures of our parents with the American experience. Finding culture becomes an act of
creation.

1:34 INTERVIEW: Josh Kun
You listen to Celias version of Ob-La-Di Ob-La-Da.

1:38 HOST: Victoria Alejandro
Thats Josh Kun, whose research focuses on the intersection of music, culture, and politics. He is
currently the director of USC Annenbergs school for communication and journ alism.

1:47 INTERVIEW: Josh Kun
Shes not doing - It's not a cover. She's transforming it. She's naming herself in the song. She's
making little jokes. It's totally transforming the song.

1:55 - MUSIC: Ob-La-Di Ob-La-Da, by Celia Cru
10
Celia con la orquesta va a cantar
Pedro dice a Celia eres un bombón
Y Celia sonriente empieza a tararear
Ob-la-di, ob-la-da, vamos pa ll

2:11 INTERVIEW: Josh Kun
The Beatles are kind of, uh, kind of an interesting like gateway, a gateway drug for like first and
second generation Latino kids in the U.S. because it's like, like with your dad throughout Latin
America, there's a whole generation of, of Latin American bands who were doing Beatles covers.

2:31 HOST: Victoria Alejandro
Bands like Los Tijuana Five and their cover of Baby, You Can Drive My Car

2:34 - MUSIC: Mi Auto Puedes Manejar, by Los Tijuana Five
Mi auto puedes manejar
Se que yo voy a triunfar
Mi auto puedes manejar

2:44 HOST: Victoria Alejandro
For a lot of Latinos growing up in the U.S, theres a pressure to assimilate. Theres this desire to
fit in, but theres also a genuine love for the new music youre discovering that is noth ing like
what your parents play at home. And you dont have to choose between the two.

11
3:00 INTERVIEW: Josh Kun
Some of those kids who become musicians find ways of bridging the music that they listened to
at home, um, with the music that they want to listen to in the contemporary scene, and bring
those two together stuff that might be inspired by that, but totally transforms it. It helps us
create a music of our own and musical identities for our own.

3:18 HOST: Victoria Alejandro
So, contemporary musicians like The Marias

3:21 MUSIC: Dejate Llevar, by The Marias
Si tú quieres puedes decir que no quieres más de mí
Pero si algo pasa en ti que no puedes destruir

3:28 HOST: Victoria Alejandro
Kaina

3:29 MUSIC: Next to the Sun, b y Kaina
Tell me what you think about me
Dancing in my duality
Think about it all the time
If I'll make peace with mine

3:35 HOST: Victoria Alejandro
12
And Chicano Batman

3:36 MUSIC: This Land is Your Land, by Chicano Batman
No existe nadie que pueda pararme
Por el camino de libertad
No existe nadie que pueda hacerme volver
Esta tierra es para ti, para mí
This land is your land,

3:49 HOST: Victoria Alejandro
Theyre forging their musical identities by blending those musical influences. T his is a practice
thats happened for centuries, across history when people are displaced, sometimes forcibly or
violently removed from their cultures. And its a practice that can use music to create a sense of
identity for those who no longer fully belong to one place or another.

4:09 AMBIENT: Car washing sounds back in the hose turns on and off, water in a bucket,
Victoria Alejandro and Alberto Alejandro talk off mic about what to open on the car and wash
next, Celia Cruz is in the background. This continues under the following.

4:19 HOST: Victoria Alejandro
And its such a relief to realie, as a first generation kid, that you dont have to choose between
those two worlds. That you have the tools to define your culture yourself.

13
4:30 AMBIENT: Victoria Alejandro and Alberto Alejandro talk about salsa and washing the car
off mic, water sounds, Celia Cruz in the background as we fade out.

14
Were All the Cowboy, If We Want to Be

HOST INTRO:
Artists today are taking familiar images, symbols, and characters such as the great cowboy of
the American West And reworking them, transforming them, making the icon include
marginalized groups of people. Victoria Alejandro has more.

0:00 HOST: Victoria Alejandro
Do you think cowboys sound like this?

0:01 ARCHIVAL AUDIO: True Grit (1969)
I mean to kill you in one minute, Ned. Or see you hanged in Fort Smith, at Judge Parkers
convenience

0:09 HOST: Victoria Alejandro
Like John Wayne in True Grit?
Well, they also sound like this

0:14 MUSIC: Lonesome Love, by Mitski
So I can win, and this can finally end (continues under the following)

0:20 HOST: Victoria Alejandro
Thats musician Mitski on her 2018 album Be the Cowboy.
15
She was on The Daily Show with Trevor Noah in 2018 to talk about that album, and she told
him that, as an Asian-American woman, she often walks into a room and feels that she has to
apologize for existing. And so, for this album, she grabbed an American myth. She channels the
arrogance, embodies the bravado and finds the freedom in being a cowboy.

0:47 MUSIC: Lonesome Love, by Mitski crossfade with Dead of Night, by Orville Peck
Cause nobody butters me up like you, but
Nobody.
Stark hollow town, Carson City lights
Baby lets get high (continues under the following)

1:06 HOST: Victoria Alejandro
At this country music concert, the performer on stage wears denim and boots, a cowboy hat and
a lone ranger mask. But this musician, Orville Peck, has made the mask his own. Bright red
fringe hangs from the bottom of mask, changing it from the more rugged, gun-slinging manly
man symbol it has been for years, and making it a tool of emotional vulnerability. Peck i s an
openly gay man who smoothly sings songs of love on the trail.

1:36 MUSIC: Dead of Night, by Orville Peck
See, see the boys as they walk on by

1:42 HOST: Victoria Alejandro
16
USC English Professor Bill Handley says there will always be strong reactions when you play
with the image of the macho cowboy.

1:49 INTERVIEW: Bill Handley
It shows you how deeply embedded these myths are, even when they're not fully consciously
understood, that the wider public can have such a mass reaction when the formula is played with,
so when Brokeback Mountain came out, I mean there were jokes on late night talk shows for
about four months, cause the idea of gay cowboys.

2:10 ARCHIVAL AUDIO: Late Show with David Letterman (2006)
Were you aware of this ? Heavy rains and flooding in California in San Francisco, guys were
clinging to their inflatable cowboys.

2:19 HOST: Victoria Alejandro
But whose track broke records with 19 weeks at number 1 on the BillBoard Hot 100 charts?

2:26 MUSIC: Old Town Road (Remix), by Lil Nas X feat. Billy Ray Cyrus
Cant nobody tell me nothin (continues under the following)

2:29 HOST: Victoria Alejandro
Lil Nas X - a gay black cowboy musician, who some in the country music world didnt even
want to admit made a country song. Bill Handley says hes just the kind of cowboy we need
today.
17

2:44 INTERVIEW: Bill Handley
I think that because we live in a culture right now where there's so many lurking bad forces out
there and we want some kind of hero we don't believe in them anymore so if we have to
remake the cowboy into a new kind of hero, I think Lil Nas X represents the cowboys as kind of
a community builder.

3:02 MUSIC: Old Town Road (Remix), by Lil Nas X feat. Billy Ray Cyrus
I got the horses in the back
Horse tack is attached
Hat is matte black
Got the boots thats black to match (continues under the following)

3:09 HOST: Victoria Alejandro
Hearing Lil Nas X or Mitski, or seeing Peck croon through his fringed mask it makes me feel
like I can be a cowboy too.

18
Bibliography

Allyn, Bobby. Thousands In Puerto Rico Seek To Oust Rossell In Massive 'Ricky Renuncia'
March. NPR. NPR, July 22, 2019.
https://www.npr.org/2019/07/22/744093831/thousands-in-puerto-rico-seek-to-oust-
rossell-in-massive-ricky-renuncia-march.
Analda, Gloria, and Gloria Analda. How to Tame a Wild Tongue. Essay. In
Borderlands/La Frontera: The New Mestiza, 4th ed., 75 86. San Francisco, CA: Aunt
Lute, 2007.
Anzaldúa, Gloria. Borderlands/La Frontera: The New Mestiza. 4th ed. Aunt Lute Books, 2007.
Celia Cruz. Ob-La-Di Ob-La-Da. CD. RMM Records: Oscar Gomez, n.d.
Chicano Batman. This Land Is Your Land. MP3, n.d.
Craven, Julia. Please Stop Making Protest Signs That Reference Black Dick. Slate Magaine.
Slate, June 8, 2020. https://slate.com/news-and-politics/2020/06/please-stop-making-
protest-signs-that-reference-black-dick.html.
The Daily Show With Trevor Noah. Mitski - Embracing a Uniquely American Mythos with Be
the Cowboy The Daily Show. YouTube, September 17, 2018.
https://www.youtube.com/watch?v=hgmPpZZTtiI.
El Gran Combo de Puerto Rico. Un Verano En Nueva York. CD, n.d.
Episode. Late Show with David Letterman. New York, New York: CBS, January 2, 2006.
Hill, Montero Lamar. Old Town Road (Remix). MP3. CinCoYo , Georgia: YoungKio, Trent
Reznor, Atticus Ross, n.d.
Interview with Alejandro, Alberto on November 5, 2019
Interview with Handley, William on September 17, 2019
19
Interview with Kun, Josh on November 26th, 2019
KAINA. Next to the Sun. MP3. AudioTree Studios , Illinois: Kaina Castillo & Sen Morimoto ,
n.d.
Los Tijuana Five. Mi Auto Puedes Manejar. CD, n.d.
Manrique, Linnete. D reaming of a Cosmic Race: José Vasconcelos and the Politics of Race in
Mexico, 1920s-1930s. Cogent Arts & Humanities 3, no. 1 (2016).
https://doi.org/10.1080/23311983.2016.1218316.
The Marías. Dejaté Llevar. CD, n.d.
Mitski. Lonesome Love. MP3. Retro City, Gladwell House, Red Bull, PA, NJ, CA: Patrick
Hyland, n.d.
Orville Peck. Dead of Night. MP3. The Noise Floor , British Columbia: Orville Peck, n.d.
Potash, Joshua. This Is Ricky Martin with the Protesters in Puerto Rico Right Now. Twitter,
July 22, 2019. https://twitter.com/JoshuaPotash/status/1153418457020604417.
Shukla, Nikesh. Racism Will Not Be Solved by There Being More Mixed -Race Children |
Nikesh Shukla. The Guardian. Guardian News and Media, July 15, 2018.
https://www.theguardian.com/lifeandstyle/2018/jul/15/racism-will-not-be-solved-by-
there-being-more-mixed-race-children.
True Grit. DVD. United States: Paramount Pictures, 1969.
Vasconcelos, José. La raza cósmica : mision de la raza Iberoamericana, Argentina y Brasil 4a
ed. México: Espasa-Calpe, 1976.
Towards a New Consciousness. Essay. In Borderlands/La Frontera: The New Mestiza, 4th
ed., 99 113. San Francisco, CA: Aunt Lute Books, 2007.

Abstract (if available)

Abstract This thesis is about “cultural collision,” a theory Gloria Anzaldúa posits in her book Borderlands/La Frontera. I will be examining this concept through both personal essays and transcriptions of radio pieces I produced that focus on pop culture. Through this combination of essays and radio transcriptions, I am exploring several facets of culture: from musical genres and race to gender and sexuality. I will first be breaking down the theory of cultural collision in my introductory essay. The next text in this thesis is a personal essay about my own cultural identity, with a focus on the language and politics of Puerto Rico. The first radio piece in my thesis transcribed here is another personal story that then expands outward to become a larger exploration of first-generation Latinx music and cultural trends. This piece focuses specifically on the works of The Beatles and Celia Cruz, placing two iconic music groups alongside contemporary Latinx artists. The second and final radio piece transcribed in my thesis draws upon the recent trend of the resurgence of cowboys in popular media. I look at what the figure of the American cowboy has come to represent, and the cultural collisions present in the modern version of that icon by examining the works of musicians Mitski, Orville Peck, and Lil Nas X. These final two pieces are audio pieces, as text alone couldn’t capture the nuances and emotion that music and voice do.

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Asset Metadata

Creator Alejandro, Victoria (author)

Core Title Cultural collisions and identity across artistic mediums

School Annenberg School for Communication

Degree Master of Arts

Degree Program Specialized Journalism (The Arts)

Publication Date 10/05/2020

Defense Date 10/02/2020

Publisher University of Southern California (original), University of Southern California. Libraries (digital)

Tag Cowboy,culture,identity,Music,OAI-PMH Harvest,queer,Race

Language English

Contributor Electronically uploaded by the author (provenance)

Advisor Anawalt, Sasha (committee chair), Seidenberg, Willa (committee member), Tolan, Sandy (committee member)

Creator Email va40058@usc.edu,vicky.alejandro@gmail.com

Permanent Link (DOI) https://doi.org/10.25549/usctheses-c89-379402

Unique identifier UC11666175

Identifier etd-AlejandroV-9029.pdf (filename),usctheses-c89-379402 (legacy record id)

Legacy Identifier etd-AlejandroV-9029.pdf

Dmrecord 379402

Document Type Thesis

Rights Alejandro, Victoria

Type texts

Source University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

Access Conditions The author retains rights to his/her dissertation, thesis or other graduate work according to U.S. copyright law. Electronic access is being provided by the USC Libraries in agreement with the a...

Repository Name University of Southern California Digital Library

Repository Location USC Digital Library, University of Southern California, University Park Campus MC 2810, 3434 South Grand Avenue, 2nd Floor, Los Angeles, California 90089-2810, USA