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Transcription: [00:41:27]
{SPEAKER name="Speaker 1"}
In, uh, in Span- could you translate for {?}

{SILENCE}

[00:41:31]
{SPEAKER name="Speaker 2"}
Okay

{SILENCE}

[00:41:40]
{SPEAKER name="Speaker 3"}
{?} De lo respecta los murales, de lo, del Cholo de la raza, pues trata de dar entender a este lo, la realidad de lo que se mira, de lo que se vive, de lo que se ve

[00:41:53]
{SPEAKER name="Speaker 2"}
Okay

[00:41:53]
{SPEAKER name="Speaker 3"}
Este también, este hace murales de como, con temas de reflexion para evitar este la violencia, también entre los barrios. No estarse matando unos con otros.


[00:42:06]
{SILENCE}

[00:42:16]
{SPEAKER name="Speaker 4"}
I'm just gonna respond to, just to kind of clarification. You mention that murals tend to portray more of a social, political statement. But you have to also , and you know that's prolly cus roots of the conemporary mural, you know, came from back in the sixties, when there was a lot of turmoils going on in out time. But at the same time, it's not just that, it's also a form of expression for celebration and traditions and a form of identity, and a form of saying 'here, look at me, I have all this richness of culture.' So it extends more than just political commentary

[00:43:01]
{SPEAKER name="Speaker 5"}
Todos los, todos los, tanto los lowriders, como los muralistas, los muralistas del barrio, tienen las dos dimensiones. Una dimensión social, y una dimensión individualizada. En el caso del mural, nosotros lo encontramos en los símbolos fundamentales de identidad.

[00:43:21]
{SPEAKER name="Speaker 2"}
Okay, there are two dimensions, you know, fairly obviously the kind of the social political dimension and the individual dimension. But I think what Dr. {?} was getting at, is that you can't really separate the two.

[00:43:36]
{SPEAKER name="Speaker 5"}
En el caso de los murales, se encuentran principalmente los símbolos religiosos de identidad, pero también símbolos políticos.

[00:43:43]
{SPEAKER name="Speaker 2"}
Yeah, you see both religious and religious icons, religious symbolism and more overtly social and political images.

[00:43:54]
{SPEAKER name="Speaker 5"}

Y los símbolos individuales que usted va ha encontrar en el placazo, o en el nombre de los, del muchacho o del barrio.

[00:44:01]
{SPEAKER name="Speaker 2"}
The individual gains his expression in the plaques, the grafitti, this signature of the individual that's maybe doing graffiti or a mural...

[00:44:13]
{SPEAKER name="Speaker 5"}

Es lo mismo que encuentra en la placa del lowrider.

[00:44:16]
{SPEAKER name="Speaker 2"}
In the case of an automobile, um, but those are part of a larger, let's say, vocabulary of images, symbols and icons that crop up again and again and more overtly social and political, you know, grand expression, that you would expect to see in a mural.

[00:44:38]
{SPEAKER name="Speaker 5"}
Igual encuentra murales de carros, porque en los carros también ponen murales, que también reflejan los símbolos religiosos de identidad, y también con discursos politicos en algunos que yo he visto.

[00:44:49]
{SPEAKER name="Speaker 2"}
And just in the same way if you look at a lowrider car, and you can kinda see one example of what Romi is doing over here, you know the same, same symbols and images crop up upon the individual cars, and they're not strictly individual expression, they draw from that larger vocabulary that, um, is, you know, shared between...

[00:45:10]
{SPEAKER name="Speaker 5"}
De hecho el origen mismo del lowrider era bajar el carro, eran unos carros bajitos, y justo era un símbolo de diferenciación étnica.

[00:45:19]
{SPEAKER name="Speaker 2"}
For example, the whole, the basic imagery of the lowrider car itself is to lower it close to the ground, and that is kind of an oppositional expression because you know, you probably remember, um, sort of the hot rod image, is typically a raked, kind of, kind of a situation where you particularly raise the rear end of the car and you'd go racing down the street at a high speed making a lot of noise. So what do you have in lowrider? You have a car that's low to the ground, low and slow, instead of paying a lot of attention to the engine and the high, expensive technology, you deal with the look, and you go slow so that you can be seen, and so you can see other people.

Transcription Notes:
can't tell what they are saying in background