Going as far back as the 1960s and through the present, the late New York Puerto Rican
and Venezuelan transgender activist Sylvia Rivera (1951-2002) has been variously excluded, punished, hailed, and commemorated for her involvement in New York City's queer culture during the 1960s and 1970s, her first-hand account of the Stonewall riots of 1969, and her radical lifelong insistence on the inclusion and protection of transgender rights within the mainstream gay liberation movement.
She starred as Grandma Carmen in the original play, a portrait of three generations of a New York Puerto Rican
family and the grandmother whose humor, eccentricities, and mental illness inhabits the center of their world.
What had been Cuban music became transnational as well as increasingly stamped by a New York Puerto Rican
Torres (Puerto Rican studies, Hunter College, New York City) remembers his childhood in New York City, describing both the internal dynamics of the family--he and his two deaf parents--and interactions with the deaf community, the New York Puerto Rican
community, and US society as a whole.
The basic story--a bisexual New York Puerto Rican
junkie with talent, writes his way out of prison with a successful play (Short Eyes), yet remains too prickly and menacing to rise in polite society out of a life of drugs and slums--is sufficient for a gritty film, but this film wants to capture Pinero's vision of his world.
In the lived reality of daily existence of the emerging artist, however, space had to be negotiated in several areas: the familial context, gender roles and realities within the family and the New York Puerto Rican
community, Puerto Rican identity in the schools, and linguistic identity.
They insisted that their depiction of New York Puerto Rican
life would be recognizable to people who actually inhabit New York Puerto Rican
Slipping and Sliding: The Many Meanings of Race in Life Histories of New York Puerto Rican
Return Migrants in San Juan.
The New York Puerto Rican
history that Guillermo referenced has been more complex than "marches and protests and unions and this and that," but nonetheless this history has emerged from what Raymond Rocco (2006, 320) describes as the sharing of "a common, linked fate," which marks the boundaries of political community.
Andreu also edited the popular memoirs of New York Puerto Rican
labor organizer and social activist, Bernardo Vega.