Here is the first extensive, full-length biography and career record on the life and work of Mexican whirlwind Lupe Velez (1908-1944). Over the years many crude myths have surfaced about Velez, the most notorious that she "died with her head in the toilet." This biography not only studies Lupe's personal life and career--including her tempestuous marriage to Johnny Weissmuller--but also examines her death in detail. It has been almost seven decades since her untimely end; at long last, the ugly rumors and myths are debunked--for good. Included are never-before-told family stories and photographs from Lupe's second cousin, and an analysis of the actress's lasting influence on popular culture. The foreword by Oscar-winning film historian Kevin Brownlow focuses on the fact and fancy behind Lupe Velez's colorful public image.

Traces the life of the Hollywood actress who was known as the Mexican spitfire, and describes her lovers.

Here is the first extensive, full-length biography and career record on the life and work of Mexican whirlwind Lupe Velez (1908-1944). Over the years many crude myths have surfaced about Velez, the most notorious that she "died with her head in the toilet." This biography not only studies Lupe's personal life and career--including her tempestuous marriage to Johnny Weissmuller--but also examines her death in detail. It has been almost seven decades since her untimely end; at long last, the ugly rumors and myths are debunked--for good. Included are never-before-told family stories and photographs from Lupe's second cousin, and an analysis of the actress's lasting influence on popular culture. The foreword by Oscar-winning film historian Kevin Brownlow focuses on the fact and fancy behind Lupe Velez's colorful public image.

From the exuberant excesses of Carmen Miranda in the "tutti frutti hat" to the curvaceous posterior of Jennifer Lopez, the Latina body has long been a signifier of Latina/o identity in U.S. popular culture. But how does this stereotype of the exotic, erotic Latina "bombshell" relate, if at all, to real Latina women who represent a wide spectrum of ethnicities, national origins, cultures, and physical appearances? How are ideas about "Latinidad" imagined, challenged, and inscribed on Latina bodies? What racial, class, and other markers of identity do representations of the Latina body signal or reject? In this broadly interdisciplinary book, experts from the fields of Latina/o studies, media studies, communication, comparative literature, women's studies, and sociology come together to offer the first wide-ranging look at the construction and representation of Latina identity in U.S. popular culture. The authors consider such popular figures as actresses Lupe Vélez, Salma Hayek, and Jennifer Lopez; singers Shakira and Celia Cruz; and even the Hispanic Barbie doll in her many guises. They investigate the media discourses surrounding controversial Latinas such as Lorena Bobbitt and Marisleysis González. And they discuss Latina representations in Lupe Solano's series of mystery books and in the popular TV shows El Show de Cristina and Laura en América. This extensive treatment of Latina representation in popular culture not only sheds new light on how meaning is produced through images of the Latina body, but also on how these representations of Latinas are received, revised, and challenged.

The bandido, the harlot, the male buffoon, the female clown, the Latin lover, and the dark lady—these have been the defining, and demeaning, images of Latinos in U.S. cinema for more than a century. In this book, Charles Ramírez Berg develops an innovative theory of stereotyping that accounts for the persistence of such images in U.S. popular culture. He also explores how Latino actors and filmmakers have actively subverted and resisted such stereotyping. In the first part of the book, Berg sets forth his theory of stereotyping, defines the classic stereotypes, and investigates how actors such as Raúl Julia, Rosie Pérez, José Ferrer, Lupe Vélez, and Gilbert Roland have subverted stereotypical roles. In the second part, he analyzes Hollywood's portrayal of Latinos in three genres: social problem films, John Ford westerns, and science fiction films. In the concluding section, Berg looks at Latino self-representation and anti-stereotyping in Mexican American border documentaries and in the feature films of Robert Rodríguez. He also presents an exclusive interview in which Rodríguez talks about his entire career, from Bedhead to Spy Kids, and comments on the role of a Latino filmmaker in Hollywood and how he tries to subvert the system.

The very name Beverly Hills conjures images of glamour, wealth and success; in reality, the place has more than its share of malice, mayhem and even murder. In the breathtaking and sometimes macabre pages of Beverly Hills Confidential, the underbelly of the tummy-tucked gets exposed. Investigative reporter Barbara Schroeder and BHPD CSI inspector Clark Fogg re-examine the sensational stories of the past century, such as the Charlie Chaplin paternity trial and the mystery surrounding the death of Jean Harlow's MGM mogul husband.

“Marvels! Rompecabezas! And cartoons that bite into the mind appear throughout this long-awaited book that promises to reshape and refocus how we see Mexicans in the Americas and how we are taught and seduced to mis/understand our human potentials for solidarity. This is the closest Latin@ studies has come to a revolutionary vision of how American culture works through its image machines, a vision that cuts through to the roots of the U.S. propaganda archive on Mexican, Tex-Mex, Latino, Chicano/a humanity. Nericcio exposes, deciphers, historicizes, and 'cuts-up' the postcards, movies, captions, poems, and adverts that plaster dehumanization (he calls them 'miscegenated semantic oddities') through our brains. For him, understanding the sweet and sour hallucinations is not enough. He wants the flashing waters of our critical education to become instruments of restoration. In this book, Walter Benjamin meets Italo Calvino and they morph into Nericcio. Orale! -Davíd Carrasco, Harvard University A rogues' gallery of Mexican bandits, bombshells, lotharios, and thieves saturates American popular culture. Remember Speedy Gonzalez? “Mexican Spitfire” Lupe Vélez? The Frito Bandito? Familiar and reassuring-at least to Anglos-these Mexican stereotypes are not a people but a text, a carefully woven, articulated, and consumer-ready commodity. In this original, provocative, and highly entertaining book, William Anthony Nericcio deconstructs Tex[t]-Mexicans in films, television, advertising, comic books, toys, literature, and even critical theory, revealing them to be less flesh-and-blood than “seductive hallucinations,” less reality than consumer products, a kind of “digital crack.” Nericcio engages in close readings of rogue/icons Rita Hayworth, Speedy Gonzalez, Lupe Vélez, and Frida Kahlo, as well as Orson Welles' film Touch of Evil and the comic artistry of Gilbert Hernandez. He playfully yet devastatingly discloses how American cultural creators have invented and used these and other Tex[t]-Mexicans since the Mexican Revolution of 1910, thereby exposing the stereotypes, agendas, phobias, and intellectual deceits that drive American popular culture. This sophisticated, innovative history of celebrity Latina/o mannequins in the American marketplace takes a quantum leap toward a constructive and deconstructive next-generation figuration/adoration of Latinos in America.