In the 1940s, the pachuco subculture emerged among the urban youth of Mexicans and Mexican Americans. These pachucos were deterritorialized from Mexico and the United States. While the United States did not fully assimilate the pachuco subculture, Mexico tried to distance itself from it. This cross-border subculture formation helped create the pachuco as a manner and character. The pachuco was also known to many on both sides of the border thanks to Mexican comedian and film actor Germán Valdéz who created the character Pachuco Tin Tan in the films. I will analyze Javier Durán's "Nation and Translation: The "Pachuco" in Popular Mexican Culture: Germán Valdéz's Tin Tan", published by the Journal of the Midwest Modern Language Association in 2002. The article focuses on the growth of pachuco as a subculture. Durán examines how the pachucos created an identity and a place in society, here he first talks about the future of the pachuco: “The survival strategies of the pachuco – appropriation, transgression, reassembly, rupture and restructuring of the laws of language with caló and pochismos - are reflected in the codified language of the body (hairstyle, tattoo, dress, gestures and dance) and in the equally codified language of space (marking of territories with graffiti in the city, the neighborhood and the street ...all are exaggerated to such an extent that they become an exercise in mimicry… In the case of the pachuco, camouflage and mimicry make it visible, give it a place in (and out of) culture” (Durán 42-43). I understood from this section of Durán's article that for the pachuco to survive, there are specific obstacles that must be overcome. According to... middle of paper ......founder of the pachuco subculture (Tin Tan de Germán Valdéz), spread beyond borders. Although it was never particularly accepted in Mexico or the United States, the pachuco created an identity and a place in society. I argue that this cross-border subculture, which was not particularly accepted, would not be a unique phenomenon if it were accepted. There had to be something diverse and contrary to the norm so that “camouflage and mimicry make [it] visible, give it a place in (and outside) the culture” (Durán 43). Pachuco was known but never completely understood by others, but it is how cultures are introduced until they are assimilated or not. Works Cited Durán, Javier. “Nation and translation: the “Pachuco” in Mexican popular culture: Tin Tan by Germán Valdéz.” The Journal of the Midwest Modern Language Association 35.2 (2002): 41-49. JSTOR. Internet. March 25 2014.