May 28, 1987 |
The competition for Latino readers and advertising dollars in the Southland has heated up with the debut this week of the area's third Spanish-language daily newspaper--El Diario de Los Angeles, which aims to distinguish itself with heavy doses of local news, splashy color photos and a touch of sensationalism. "It's not going to be easy," said El Diario's publisher, Jose Luis Becerra, 55, who also runs a Mexican news agency and who founded a chain of newspapers in Mexico City at age 22.
February 2, 2009 |
Colombian rebels released four hostages to the international Red Cross on Sunday and have promised to hand over two more kidnapping victims this week. The release of three policemen and one soldier -- who had each been held at least 20 months -- in southeastern Caqueta state was almost scuttled by Colombian military flights nearby, according to a journalist who was present.
January 16, 2004 |
The two largest Spanish-language newspapers in the United States said Thursday that they had joined forces to create a publishing empire that would compete with major media companies for Latino readers. Executives said the merger of the parent companies of La Opinion, the dominant Spanish-language daily in Los Angeles, and El Diario/La Prensa, its New York counterpart, was the first step toward building a network of newspapers serving the nation's fastest-growing minority group.
September 20, 1985 |
The Spanish-language news media in Los Angeles published special editions and expanded news broadcasts Thursday as thousands of concerned Southern Californians sought information about the disastrous earthquake in Mexico and the fate of relatives. Many people also wanted to know how they could help victims of the earthquake, and by late Thursday, some assistance efforts were being organized by the American Red Cross, the Mexican Chamber of Commerce of Los Angeles and others.
March 25, 1995 |
Laguna Art Museum curator Bolton Colburn sensed something uniquely vital the moment he entered Self-Help Graphics. The community-based art center in East Los Angeles, born of the tumultuous Chicano rights movement of the 1960s, was founded to nurture the careers of young Latino artists via workshops, exhibitions and free access to professional silk-screen printing facilities.
May 21, 1991 |
The citizens commission investigating the Los Angeles Police Department, whose public hearings have drawn sizable audiences from the black community, heard angry testimony and demands for reform Monday night from a large, predominantly Latino crowd. About 300 people packed the auditorium of Woodrow Wilson High School in El Sereno.
September 2, 1987 |
Walk into any young artist's studio and you may very well spot one strong piece of work. The challenge is to find more than one. Getting beyond that single "breakthrough" work is tough, especially when an artist can't seem to differentiate between routine output and that elusive flash of something special. Juried shows tend to put emerging artists in a false light, beaming attention on a single effort that may not be a good indicator of all-round ability.
September 11, 1985 |
Four years ago, things seemed to be looking up for a group of Latino artists in Orange County. They had acquired their own gallery in Santa Ana, and their opening exhibition, "The Last Chicano Art Show," was the largest all-Latino effort of its kind ever held in the county. But all that changed rapidly. The Galeria in Santa Ana was closed the following year when public funds ran out and major private support never materialized.
November 29, 1992 |
. . . And place the real disgrace of poverty not in owning to the fact but in declining to struggle against it. --Thucydides (471?-400? BC) "Opportunity, better education, higher wages, better jobs. . . . " These are but few of the things minorities claim others have and not they. Allow me to define opportunity : It is a temporary intangible that knocks on every door. It is likely to knock a number of times, until it gets tired of being ignored, and then moves on.
September 20, 1994 |
When we watch a movie--unless it's by Robert Altman or one of the few other directors who go in for overlapping dialogue--we expect to hear clearly what everyone has to say and to see (or at least glimpse) all the action. Unlike real life, sounds generally are audible in a film only when they reinforce something happening on screen. Visual artists making installations don't feel constrained by these conventions.