Comrade Chad

One drop of the torrential rain of shame from the Amerikkkan hegemonical heavens is the systematic oppression of the innocent and culturally colorful American (Shacha Runa in Quechua). Like a Bush bomb slamming into an orphanage, I collided with this reality during spring break in Acapulco. The sight of waiters and waitresses obsequiously serving my roommates, one of whom supports the rape of Latin America by voting...Republican…(there, I said it; his dad sprang for the rental- what could I do?) while the other one hardly attends any rallies or teach-ins, sickened me. Only I could accept the margaritas and little tacos (made with maize which the mighty called “corn” to prevent people from learning that they stole the crop from the aboriginal population) with a free conscious because I made a point of raising theirs: instead of blood-stained sheets known as Amerikkkan dollars, I gave them copies of my Latin-American thesis: Amerikkka: how Neo-Colonialism and Everything Else We’ve Done Has Made Latin America Poorer Than Us. You should have seen their faces! I’m planting the seeds, brother.

Follow up:

Anyways, as I was exploring youtube for the latest slam poetry and performance art, I stumbled upon two videos which really got my “truth to power” juices flowing. In these videos, I see a Latin-America climbing from under the fascist boot of Amerikkkan colonialism- a people crying for justice.

Through the brilliant use of metaphor, the first one, Que lindo es tu Cucu, strikes a mighty blow against the empire. The narrator, representing Prescott Bush, wants to tocar (“grab”) Colombia’s cucu ("pristine wilderness"), or, Nazi Bush desires to exploit the people of Colombia (the proper spelling; ignorant Amerikkkan traders substituted the ‘o’ with a ‘u’) and rape Colombia's natural resources. The trusting and happy indiginous womyn (This is key; the artist chooses womyn representatives as a way to both give voice to the voiceless in the male-dominated, post-colombian patriarchy and to evoke the pre-Colombian female-dominated and earth-respecting matriarchy) naively invite the Americans to come and frolic in their paradise through hand gestures, but, upon gazing at the true face of their would-be masters, Colombia, crying out through the same womyn, decides to resist the figurative rape, “No te metes con mi cucu” (“Stay out of my cucu") She realizes that imperial powers hungrily look upon Columbia, Nunca falta los mirones ("There’s never a shortage of viewers.") Yo se que tienes to mujer ("I know you have your woman") is a reference to Larry Craig, Ted Haggard, and all of the other Republican puritan hypocrites

The cultural imperialism of the northern Satan appears musically in the form of the brief swing (stolen from the people of Africa)-like bridge (to extinction?), but is quickly replaced by happy native music much like legitimate culture will eventually triumph over phony commercialism.

This theme is carried visually as well. Echoing the capitalist-usurping concept of the Janet Jacksonian Rhythm Nation, the womyn of color dance amid the smoke of Yanqui-orchestrated wars and glittering balls of consumerism. They sway on the world stage where imperialists will be judged and persecuted as the age of the New Man dawns. The womyn show their love for the few trees left in their rain forest, giving the whole presentation urgency i.e., before McDonald's cuts down irreplaceable ecosystem to feed fat Amerikkkan bellies.

Truth-monger Howard Zinn inspires the next video. In one of his wonderful articles, Zinn states that it's only appropriate for Costa Ricans and other people inhabiting areas of oppression to be patriotic and urges undeserving America to “put away the flags.” The good nationalism expressed here by the beautiful brown people is revolution-stirring; they righteously cry for unity against their common oppressor, Haliburton and corporate Amerikkka.

The singer is called “Noriega,” an allusion to Papa Satan’s illegal invasion of Panama. They party together in anticipation of their victory over hegemony. My professor said that to Puerto Ricans, Reggaeton, their native music, is a symbol of social justice. I don’t know what culo means, but it must be universal health care.

It closes with an ominous warning that people of color everywhere should heed: If they don’t stay strong, the man will force them into a life a crime.

Both videos inspired me so much that I asked permission from the dean to create a Reggaeton major. I think he'll say "yes" unless he's some sort of racist in which case I'll fight for my brown brothers. Si se puede!