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Girls From da Hood 8

by Weber Natalie Hernandez Treasure

Urban Books' popular Girls From da Hood series is back, bringing readers more dramatic tales about the lives of some tough, resourceful women who can hold their own when things get rough on the streets. Gabby Davenport spent the first fifteen years of her life in the suburbs, living a privileged and sheltered existence. When her mother dies unexpectedly, she is forced to move from her middle class neighborhood into Cumberland Projects in Brooklyn. Gabby's life will never be the same. Mika, the queen bee of the projects, doesn't appreciate the arrival of this private-school good girl. Mika and her posse are on a mission to make Gabby's life miserable, and things only get worse when Mika's "friend with benefits" B-Waite decides he wants to make Gabby his girl. Mika is ready to go to war to win back her man, and she doesn't care who she has to take down in the process. Keisha, Shawna, and LaRhonda are best friends forever, as the saying goes. Nothing will tear apart this tight trio--or so they think. When Keisha steps out of her box to become more of her own person, tension builds among the girls. In the eyes of her trusted friends, her lifestyle has become questionable. What happens when her secrets and desires are revealed?Shawna's life is just starting to look up. She's been hired at a major record label, and she's making enough money to move out of the projects for good. When her good news is met by fake smiles, Shawna gets a new perspective on how her girls really feel. LaRhonda sees each of her friends moving up while she's still struggling in the confines of the ghetto. After she gives birth to her second child by the age of eighteen, she feels like her dreams are out of reach. Her growing jealousy isn't easy to hide. What will happen when her misery wants company?

Oye Como Va!: Hybridity and Identity in Latino Popular Music

by Hernandez Deborah Pacini

Listen Up! When the New York-born Tito Puente composed "Oye Como Va!" in the 1960s, his popular song was called "Latin" even though it was a fusion of Afro-Cuban and New York Latino musical influences. A decade later, Carlos Santana, a Mexican immigrant, blended Puente's tune with rock and roll, which brought it to the attention of national audiences. Like Puente and Santana, Latino/a musicians have always blended musics from their homelands with other sounds in our multicultural society, challenging ideas of what "Latin" music is or ought to be. Waves of immigrants further complicate the picture as they continue to bring their distinctive musical styles to the U. S. -from merengue and bachata to cumbia and reggaeton. In Oye Como Va!, Deborah Pacini Hernandez traces the trajectories of various U. S. Latino musical forms in a globalizing world, examining how the blending of Latin music reflects Latino/a American lives connecting across nations. Exploring the simultaneously powerful, vexing, and stimulating relationship between hybridity, music, and identity, Oye Como Va! asserts that this potent combination is a signature of the U. S. Latino/a experience.

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