![]() ![]() At times we had to correct people on shit like that. There are kids who come up and think we don’t want to interact with other cultures, but we weren’t into separatism. I didn’t want people to think we were all about Latino power, because we weren’t only about that. MS: With the flyers, I wanted to show the diversity of the shows we played. Pitchfork: Assembling material for the new compilation, were you trying to emphasize anything about the band in particular? We could’ve ourselves but we wanted to do it with Maximum and help them out a bit, which basically continues in the tradition of giving a lot of our shit away. The agreement between members of Los Crudos was that if we were going to bring the band back together it had to be done in Crudos style. MS: If it wasn’t a benefit, and it was a local show, the majority of the money was given to touring bands. The shows you’ve done since getting back together have mostly been benefits, too. Pitchfork: Most of the flyers reproduced in the liner notes are benefits, for anarchist community centers, women’s shelters, indigenous peoples’ organizations, and lots of other causes. The Latino punk scene in the 1990s is when people started identifying with it. Dogma Mundista… If you put all of those pieces together, you can create a narrative or a lineage. ![]() It’s in English, but it’s talking about immigration… The Plugz did "La Bamba" with altered lyrics in the 1970s. The Brat did a great song called "The Wolf". Chicano and Latino punks have been there since the beginning in Los Angeles, but the lyrical content wasn’t always focused on those communities’ experiences. MS: Latino punk existed in Latin America almost as soon as punk was a thing. Your documentary work shows its deeper roots. Pitchfork: Golnar makes the point in her liner notes that Los Crudos starting Latino punk is a myth. …We didn’t have the luxury to pick and choose our politics. I’m not going to speak for every Latino person, but a lot of our audience came from communities like ours in California, Texas, New Mexico, Arizona, wherever. They don’t give a fuck if you’re an individual. MS: That has to do again with these bigger issues, which don’t have to do with punk necessarily, like immigration and deportation. Pitchfork: Crudos lyrics emphasize families and especially the perspectives of mothers, which strikes me because punk tends to be very individualistic. So, basically I can give a shit if some punk or hardcore kid was annoyed. If you remember, that was the Pete Wilson era, with proposition 187, which was completely anti-immigrant. …We talked about immigration, something that was very real to us. It was the first time for a lot of these communities-like feminists in punk, queers in punk, Latinos in punk-where there was finally space and time for these issues. ![]() I would never have come out of the closet at that time. All of the old-school people left, and what they left behind were the dregs: the most violent factions, the height of American skinhead culture. People can look back at it twenty years later and say that, but coming out of the mid to late-'80s punk scene-it was a fucking disaster. Martin Sorrondeguy: You have to look at the context.
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