Hector Xavier Monsegur is "Sabu," the unemployed, 28-year-old father of two who allegedly commanded the loosely organized international hacker team LulzSec. Sources close to the LulzSec leader and law enforcement officials have revealed Sabu has been helping the FBI take down LulzSec and was involved in the arrests of remaining LulzSec leaders this morning.
Excerpt:
Flipping Monsegur wasn't easy. But with a charge of aggravated identity theft and a two-year prison sentence to hang over his head, the FBI forced Monsegur to weigh the political beliefs that drove him and his allegiance to cohorts around the world against his desire to be with his kids—he is the guardian of two children—and his extended family.
"He didn't go easy," a law enforcement official involved in flipping Sabu told FoxNews.com. "It was because of his kids. He didn't want to go away to prison and leave them. That's how we got him."
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03/06/12
The 1960s are an important decade in Latino LGBTQ history. For example, although the relationship between Spain and many colonized areas is complex, Spain and Mexico have one significant thing in common: groundbreaking queer literature happening in 1964.
Los soldados lloran de noche (The soldiers cry at night, 1964) is one of the first two novels in Spanish (from Spain) literature to incorporate lesbian characters during the 1960s. The author, Ana María Matute, included a same-sex encounter in her story that is mentioned as influential in the life of a young female character.
Matute is known as one of the strongest voices from the posguerra (period immediately following the Spanish Civil War).
Meanwhile, also in 1964, Miguel Barbachano Ponce released what has earned recognition as the first novel in Mexico to openly cover homosexuality: El Diario de José Toledo (José Toledo's Diary, 1964).
Ponce was a Mexican film producer, director, screenwriter, novelist and Mayan art collector. The Manuel Barbachano Collection is the biggest private collection of Mayan art.
Ponce's novel may have been a "first" but it's received mixed criticism over the years. In Danger Zones: Homosexuality, National Identity, and Mexican Culture, author Claudia Schaefer flagged El Diario de José Toledo as a cultural danger zone along the path to harmonious national discourse (chapter 1 is called "El diario de José Toledo: The Fantasies of a Middle-Class Bureaucrat").
It wouldn't be until 1989 that the first Mexican lesbian novel, Amora, would arrive.
Written by Rosamaria Roffiel, an openly lesbian self-taught journalist and writer, Amora is credited in as being the first lesbian novel published in Mexico that openly discussed lesbianism and placed it in the foreground.
Additional recommended reading: Tortilleras: Hispanic and U.S. Latina Lesbian Expression
03/03/12
lati-negros:
fdelacruz: "I don't know what it means to be a Black woman in the Spanish-speaking Caribbean. I know how it feels. It feels as if you exist in virtual reality, as a symbol of 'our shared African heritage', as if you passed out of an episode of 'Roots' and started roaming around the island without any connection whatsoever to the transformations that you see unravelling in front of your eyes. You are the past. In our island nations, the future is not Black. Nor is the present. Each of the contemporary manifestations of race in the Dominican Republic, Puerto Rico and Cuba is criminalised or brushed away as fashion, assimilation, or plain craziness. Rap, for instance, international hip-hop culture, Afro-Antillean religion. All of these manifestations of race become domesticated through the rhetoric of the nation. Merengue and Bachata become Dominican, and since Dominicans are not Black, according to the nation's rhetoric, then the genre miraculously becomes White. The same goes for the rumba and salsa. But something weird happens when the genres are needed to attract tourism. In such cases, the nation folklorises the musical expressions, dresses Black musicians and dancers in funny costumes, and Voila! The origins become theatricalised and blackness becomes a performance from the distant past." Mayra Santos-Febres, Puerto Rican writer and academic
02/28/12
