 I'm reading today from a book by Carlos M. Jimenez called The Mexican American Heritage. This book was challenged in the Santa Barbara California School District in 1996 because the book promotes Mexican nationalism. The book is actually a great piece of history. I encourage you to read it if you're interested in Mexican American history and issues. And I'm going to read a section that begins Phase 2, Chicano Intellectuals and Artists. The militant confrontational phase of the Chicano movement seemed to fade after the tragedy of the Chicano moratorium. There was much anger over police brutality, poverty, the gang problem, and other societal ills. But as one Chicano college student at UCLA remarked, I think we learned from the 60s that we can't march and protest our way into full economic prosperity. Indeed, the strong emotions that had erupted during the 60s had raised people's consciousness but had not brought about the goals of the movement. This ultimately led the Chicano playwright Luis Valdez to comment in 1969. What La Raza needs is the arts to tell itself where it is. We have lacked the poets, novelists, and essayists. Valdez may have been right. Little did Valdez and the Chicano community expect, however, that one of the great voices of the Chicanos would be silenced during the Chicano moratorium. Ruben Salazar was a native of Mexico who had worked as a journalist in both Texas and California for many years, and who later became an important reporter and columnist for the Los Angeles Times. At the time of his death, he had taken a position as news director of a Spanish-language television station in Los Angeles while still writing a weekly column for the LA Times opinion section. His commentaries are a must-reading, for they defined the great issues which confronted the people of Mexican descent, not only in Los Angeles but in the Southwest as a whole. He wrote of young zootsuitors or gaining members, of police brutality, of inadequate schools, of racist judges, and or government officials, but he also wrote of the colorful and positive elements of Mexican and Chicano culture. One of the most memorable columns appeared on February 6, 1970. It is titled, Who is a Chicano? And what is it that Chicanos want? In this column, Salazar provided the now classic definition for the word Chicano. A Chicano, he wrote, was a Mexican-American with a non-anglo image of himself. Salazar went on to point out that Chicanos' resent being told that Columbus discovered America because their own ancestors, the Mayans and the Aztecs, developed highly sophisticated civilizations long before the Italian explorer became lost in the eastern shores of the New World. Chicanos also, Salazar, went to point out, resent being called culturally deprived or told that because they often speak Spanish, they have a problem. And Salazar then succinctly described what Chicanos want. Mexican-Americans, though indigenous to the southwest, are the lowest on the wrong, scholastically, economically, politically, and socially. Chicanos feel cheated. They want to affect change now. Meanwhile, other Chicano voices were asserting themselves in the same vein as the philosophy of Rubén Salazar. In Berkeley, California, Octavio I. Romano, a Chicano professor at the University of California announced that as an anthropologist, he was extremely dissatisfied with the treatment of Mexican-Americans by the academic social sciences because they totally ignore the intellectual, artistic, and creative aspects of Chicano culture in an historical context. Mexican-Americans are not mindless blobs without a significant history, as the social scientists would have us believe Romano insisted. The truth is that Chicanos have never lacked intellectuals, creators, and inventors, and their true history has never been told. The only thing lacking Romano believed was an adequate forum for expression of these aspects of Chicano culture. It was with this in mind that Professor Romano and a small group of students, almost all of them Chicano undergraduates, came together and founded a non-university publishing enterprise called Quinto Sol, The Fifth Sun Publications. Their first publication was a journal of contemporary Mexican-American thought called El Grito, which they translated as The Battle Cry. Soon, Romano's belief was proven to be true, for El Grito began to publish an almost endless stream of Chicano fiction, poetry, scholarly articles, art, essays, and photography. Romano and his associates demonstrated that the academic social sciences had attempted to box in the Mexican-American population into the untrue image of having no goals, no intellectuals, no art, no philosophy, no technical ability, no opinions about the world outside of the Chicano community. Romano's only efforts to think were restricted to the continuous repetition of unimaginative folklore. Thank you very much.