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Chicanos and Mexican Americans
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History Early-American Period Josefa Segovia Las Gorras Blancas Mexican–American War Mutualista San Elizario Salt War Sonoratown Treaty of Guadalupe Hidalgo Pre-Chicano Movement 1917 Bath riots Bisbee Deportation Bloody Christmas Bracero program California agricultural strikes Cantaloupe strike of 1928 Citrus Strike of 1936 La Matanza Mexican Repatriation Operation Wetback Plan de San Diego Porvenir Massacre Sleepy Lagoon trial Zoot Suit Riots Chicano Movement Aztlán Black-brown unity Brown Berets Católicos por La Raza Tulare labor camps rent strike Delano grape strike Centro Cultural Chicanismo Chicano Moratorium Colegio César Chávez CFMN Conferencia de Mujeres CRP East L.A. walkouts Hijas de Cuauhtémoc Huelga schools Land grant struggle Las Adelitas de Aztlán Los Siete de la Raza Los Seis de Boulder MANA MAYO MEChA Occupation of Catalina Island PCUN Plan Espiritual de Aztlán Plan de Santa Bárbara Quinto Sol Raza Unida Party United Farm Workers Post-Chicano Period 1985–1987 cannery strike 1992 Drywall Strike 2019 El Paso shooting Abolish ICE Arizona SB 1070 Castro 2020 Chicano Art Exhibit DACA Great American Boycott IRCA Farah strike Justice for Janitors Murder of Selena Proposition 187 South Central Farm
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Literature Literature Chicana literature Chicano literature Chicano poetry Autobiographical Always Running Living Up the Street Who Would Have Thought It? Novels Bless Me, Ultima Caballero Desert Blood From This Wicked Patch of Dust Mexican WhiteBoy The Dirty Girls Social Club The House on Mango Street The Rain God The Revolt of the Cockroach People So Far from God Under the Feet of Jesus ...y no se lo tragó la tierra Poetry and Short Stories Emplumada I Am Joaquin Moment of Silence Pensamiento Serpentino The Moths
Chicano studies Fields Chicana feminism Chicanafuturism Organizations MAS Programs, Tucson NACCS UCLA Chicano Studies Research Center Texts Borderlands/La Frontera: The New Mestiza Brown, Not White The Church in the Barrio This Bridge Called My Back Theory Barrioization Coyolxauhqui imperative Gringo justice Nahui Ollin Nepantla New tribalism Rasquachismo Spiritual activism Vergüenza Youth control complex
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Law Supreme Court cases Botiller v. Dominguez Hernandez v. Texas San Antonio I.S.D. v. Rodriguez Espinoza v. Farah Manufacturing Co. U.S. v. Brignoni-Ponce Plyler v. Doe Medellín v. Texas Flores-Figueroa v. U.S. Leal Garcia v. Texas Mendez v. Westminster Bernal v. Fainter Perez v. Brownell DHS v. Regents of the Univ. of Cal. Federal Court cases Madrigal v. Quilligan
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United States portal Category Index

Brown-eyed soul, also referred to as Chicano soul, Hispanic soul, or Latino soul, is soul music & rhythm & blues (R&B) performed in the United States mainly by Hispanic Latinos and Chicanos in Southern California, East Los Angeles, and San Antonio (Texas) during the 1960s, continuing through to the early 1980s.^[1] The trend of Latinos started with Latino rock and roll and rock musicians.^[2][1] "Brown-eyed soul" contrasts with blue-eyed soul, soul music performed by non-Hispanic white artists.^[3]

Critic Ruben Molina said roots of chicano soul music was from the 1950s jazz, blues, doo wop, jump blues, latin jazz, rock, ranchera, norteno, and conjunto music in the West Coast, Texas Latino communities.^[4] Latino artists drew inspiration from African American R&B hits, and as a result, Latino soul came out of African American soul music; Latino soul and R & B was further influenced by Afro-Latin American music, including but not limited to Afro-Spanish-Caribbean origin. Early artists owed little to traditional Latino and rarely performed in Spanish.^[5]

Hispanic rock singer Ritchie Valens, also became one of the first artists to bring traditional music and rock and roll. Valens recorded "Donna", " La Bamba", "Come On, Let's Go", and "Donna" reached #2 on Billboard pop chart in 1959.^[6]

1960s and 1970s bands such as Cannibal & the Headhunters ("Land of a Thousand Dances") and Thee Midniters played R&B music with a rebellious rock and roll edge. Sunny and the Sunliners were popular in the 1960s.^[7]

However, the large Latino population on the West Coast began gradually moving away from energetic R&B to romantic soul, and the results were "some of the sweetest soul music heard during the late '60s and '70s."^[1] Latino groups on the West Coast and Texas also drew from the doo wop-influenced Philadelphia soul ("Philly" soul). The West Coast Latin rock scene continued to influence other Latino soul musicians as well. Tierra gained the top 40 hit "Together".^[8]