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"title": "How Vicente Fernández Earned Appreciation for Rancheros Like My Dad",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">I first remember seeing Vicente Fernández perform on the Mexican television show \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Siempre en Domingo\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, when I was a kid growing up in Eastern Washington. Fernández, who died on Dec. 12 at 81 years old, would amble across the stage in his charro outfit, backed by an expansive ensemble of mariachi musicians also decked out in charro gear. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Like many Mexican Americans, I often heard Fernández’s music on the radio, in the car and at seemingly every party. He provided a soundtrack for our lives. But \u003c/span>\u003ca href=\"https://youtu.be/txVWA-FXZsE\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">seeing\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\"> him on screen was different. He wasn’t just a singer—he was the consummate Mexican ranchero. He was proud. He was dashingly galante in his traje de charro. In movies, he depicted valiant outlaws and cowboys. His dense mustache and stern facial expressions spoke volumes. And he seemed just as comfortable crooning to sold out-arenas as he was tending to stables on his ranch. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">What I loved about Fernández was his true-life “rancho to riches” story, in which he never left el rancho even as he rose to become one of the world’s most famous and successful musicians. He embraced his upbringing on a farm and even glamorized it when he \u003ca href=\"https://turismo.guadalajaravisit.com/guadalajara/recorrido-chapala-rancho-vicente-fernandez/\" target=\"_blank\" rel=\"noopener noreferrer\">turned his rancho near Guadalajara into a tourist attraction\u003c/a> complete with a performance venue and restaurant. He was beloved across the globe in not just Spanish-speaking countries, but also places like Romania, where mariachi music has a cult following.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That’s pretty remarkable for a ranchero, a class label similar to “hillbilly” that was widely seen as backward, low class and pitiable. Looking down on rancheros wasn’t just tolerated, it was expected. When I was growing up in the ’80s and ’90s, asking someone if they were born on a ranch was a common way to denigrate someone for being shy, rude or socially awkward. Even in my household, my parents remarked about how their love transcended social barriers. My father came from el Rancho Colorado, a small settlement outside of Huejuquilla el Alto, Jalisco, the town where my mother grew up. People still ask my mom how she, an educated teacher, ended up marrying a ranchero like my dad and moving to the United States for him. Crossing class lines, especially during my parents’ generation, was considered taboo. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13907392\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13907392\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/Image-from-iOS-5-800x609.jpg\" alt=\"\" width=\"800\" height=\"609\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Image-from-iOS-5-800x609.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Image-from-iOS-5-1020x777.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Image-from-iOS-5-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Image-from-iOS-5-768x585.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Image-from-iOS-5-1536x1170.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Image-from-iOS-5-2048x1560.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Image-from-iOS-5-1920x1462.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The author (front left) and her family pose for a portrait circa 1986. \u003ccite>(Blanca Torres)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">My parents were of similar age to Fernández—my father a decade older, and my mom born the same year as him, 1940. Like my dad, Fernández grew up poor on a ranch and eventually left to find better economic opportunities. My parents eloped in 1974 while my mother was on vacation in California visiting one of my aunts. I knew from an early age that my parents were not like other kids’. First of all, my parents married later in life. My father was 50 and my mom was 40 when I was born. My dad had gray hair for the whole time I knew him—he died when I was 15.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">My father ended up living most of his life in the United States, but his style remained very much rooted in the ranchero aesthetic: polyester slacks, shiny belt buckle, Western-style button-down shirts with embroidery and snap buttons, leather cowboy boots and, of course, a cowboy hat. He sported casual ones for doing yard work; a Stetson with its own special box in the closet was reserved for special occasions. As far as footwear, my father basically wore either huaraches, work boots or cowboy boots. He wasn’t the type to wear a sneaker. I never saw my dad wear a sports coat or a tie. That just wasn’t his look. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13907393\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13907393\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/Image-from-iOS-4-800x807.jpg\" alt=\"\" width=\"800\" height=\"807\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Image-from-iOS-4-800x807.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Image-from-iOS-4-1020x1029.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Image-from-iOS-4-160x161.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Image-from-iOS-4-768x775.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Image-from-iOS-4-1522x1536.jpg 1522w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Image-from-iOS-4-2030x2048.jpg 2030w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Image-from-iOS-4-1920x1937.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A typical outfit for the author’s father, Jesús Torres, in the 1970s. \u003ccite>(Blanca Torres)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">There were times in my childhood when I longed for my parents to be, you know, more cool—which I realize is a common sentiment. But looking back, I also realize that I understood my dad’s style as his way of maintaining some sense of authenticity. He, like millions of other Mexicans, moved to the United States where they encountered a mainstream that wanted their labor, but not their culture or style. For him to continue wearing ranchero clothes was a way to say, “I’m in a new country, but I won’t lose who I am.” For me, seeing superstars like Vicente Fernández, norteño singer Ramón Ayala and ranchero royalty Antonio Aguilar don similar styles helped me understand my father’s influences—the rancho and love for one’s homeland even if you feel compelled to leave it. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The coverage of Fernández’s death last Sunday has zoomed in on his ranchero persona. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Washington Post\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> hailed him as the “cowboy king” of Mexico, which some people of Mexican descent found demeaning, offensive and callous. \u003cem>(The Post \u003c/em>later \u003ca href=\"https://miblogestublog.com/2021/12/12/vicente-fernandez-wapo-obituary/\" target=\"_blank\" rel=\"noopener noreferrer\">changed the headline\u003c/a>.) When I brought this up to my husband, he replied, “Why is that offensive? He was a cowboy.” He did represent more than a just a cowboy to millions of people, but I do find it remarkable that someone who identified so deeply as a cowboy ended up becoming a global superstar with more than 70 million records sold. [aside postid='arts_13900272']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Classism is still alive and well in Mexico, but Fernández’s success validated rancheros’ importance in Mexican culture. Younger generations have taken his aesthetics and musical influence and used it to challenge the machismo associated with Fernández by rejecting elements such as sexism and toxic masculinity. Fernández paved the way for the generations of artists that followed, including Christian Nodal, Nora González (the self-proclaimed Charra Millennial), female mariachi group Flor de Toloache and \u003ca href=\"https://www.kqed.org/arts/13900272/de-san-francisco-para-el-mundo-la-donas-star-rises\" target=\"_blank\" rel=\"noopener noreferrer\">La Doña\u003c/a>, who are now redefining traditions. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13907394\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13907394\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/GettyImages-1196587910-800x565.jpg\" alt=\"\" width=\"800\" height=\"565\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/GettyImages-1196587910-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/GettyImages-1196587910-1020x720.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/GettyImages-1196587910-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/GettyImages-1196587910-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/GettyImages-1196587910.jpg 1024w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Band Flor de Toloache arrives for the 62nd Annual Grammy Awards on January 26, 2020, in Los Angeles. \u003ccite>(Valerie Macon/ AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">My father’s go-to dress up outfit was a tan-colored charro suit similar to the suits Vicente Fernández always wore, minus all the shiny buttons on the sides of the legs and arms. My father’s version, tailor made for him during one of our vacations to Mexico, had the same slim pants and waist length jacket with western style toggle buttons on the chest pockets and sharp angled collar. \u003c/span>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When it came time to pick out my father’s burial clothes, the choice was simple: the tan charro suit. I remember how difficult it was to bring the suit to the funeral home on a hanger and hand it over to the mortician as if I was letting go of an important piece of my father. \u003c/span>\u003cspan style=\"font-weight: 400\">But it was also perfect to know he would forever don clothes that were regal, classy and unapologetically ranchero—just like Vicente. \u003c/span>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">I first remember seeing Vicente Fernández perform on the Mexican television show \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Siempre en Domingo\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, when I was a kid growing up in Eastern Washington. Fernández, who died on Dec. 12 at 81 years old, would amble across the stage in his charro outfit, backed by an expansive ensemble of mariachi musicians also decked out in charro gear. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Like many Mexican Americans, I often heard Fernández’s music on the radio, in the car and at seemingly every party. He provided a soundtrack for our lives. But \u003c/span>\u003ca href=\"https://youtu.be/txVWA-FXZsE\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">seeing\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\"> him on screen was different. He wasn’t just a singer—he was the consummate Mexican ranchero. He was proud. He was dashingly galante in his traje de charro. In movies, he depicted valiant outlaws and cowboys. His dense mustache and stern facial expressions spoke volumes. And he seemed just as comfortable crooning to sold out-arenas as he was tending to stables on his ranch. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">What I loved about Fernández was his true-life “rancho to riches” story, in which he never left el rancho even as he rose to become one of the world’s most famous and successful musicians. He embraced his upbringing on a farm and even glamorized it when he \u003ca href=\"https://turismo.guadalajaravisit.com/guadalajara/recorrido-chapala-rancho-vicente-fernandez/\" target=\"_blank\" rel=\"noopener noreferrer\">turned his rancho near Guadalajara into a tourist attraction\u003c/a> complete with a performance venue and restaurant. He was beloved across the globe in not just Spanish-speaking countries, but also places like Romania, where mariachi music has a cult following.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That’s pretty remarkable for a ranchero, a class label similar to “hillbilly” that was widely seen as backward, low class and pitiable. Looking down on rancheros wasn’t just tolerated, it was expected. When I was growing up in the ’80s and ’90s, asking someone if they were born on a ranch was a common way to denigrate someone for being shy, rude or socially awkward. Even in my household, my parents remarked about how their love transcended social barriers. My father came from el Rancho Colorado, a small settlement outside of Huejuquilla el Alto, Jalisco, the town where my mother grew up. People still ask my mom how she, an educated teacher, ended up marrying a ranchero like my dad and moving to the United States for him. Crossing class lines, especially during my parents’ generation, was considered taboo. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13907392\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13907392\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/Image-from-iOS-5-800x609.jpg\" alt=\"\" width=\"800\" height=\"609\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Image-from-iOS-5-800x609.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Image-from-iOS-5-1020x777.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Image-from-iOS-5-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Image-from-iOS-5-768x585.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Image-from-iOS-5-1536x1170.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Image-from-iOS-5-2048x1560.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Image-from-iOS-5-1920x1462.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The author (front left) and her family pose for a portrait circa 1986. \u003ccite>(Blanca Torres)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">My parents were of similar age to Fernández—my father a decade older, and my mom born the same year as him, 1940. Like my dad, Fernández grew up poor on a ranch and eventually left to find better economic opportunities. My parents eloped in 1974 while my mother was on vacation in California visiting one of my aunts. I knew from an early age that my parents were not like other kids’. First of all, my parents married later in life. My father was 50 and my mom was 40 when I was born. My dad had gray hair for the whole time I knew him—he died when I was 15.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">My father ended up living most of his life in the United States, but his style remained very much rooted in the ranchero aesthetic: polyester slacks, shiny belt buckle, Western-style button-down shirts with embroidery and snap buttons, leather cowboy boots and, of course, a cowboy hat. He sported casual ones for doing yard work; a Stetson with its own special box in the closet was reserved for special occasions. As far as footwear, my father basically wore either huaraches, work boots or cowboy boots. He wasn’t the type to wear a sneaker. I never saw my dad wear a sports coat or a tie. That just wasn’t his look. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13907393\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13907393\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/Image-from-iOS-4-800x807.jpg\" alt=\"\" width=\"800\" height=\"807\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Image-from-iOS-4-800x807.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Image-from-iOS-4-1020x1029.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Image-from-iOS-4-160x161.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Image-from-iOS-4-768x775.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Image-from-iOS-4-1522x1536.jpg 1522w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Image-from-iOS-4-2030x2048.jpg 2030w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Image-from-iOS-4-1920x1937.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A typical outfit for the author’s father, Jesús Torres, in the 1970s. \u003ccite>(Blanca Torres)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">There were times in my childhood when I longed for my parents to be, you know, more cool—which I realize is a common sentiment. But looking back, I also realize that I understood my dad’s style as his way of maintaining some sense of authenticity. He, like millions of other Mexicans, moved to the United States where they encountered a mainstream that wanted their labor, but not their culture or style. For him to continue wearing ranchero clothes was a way to say, “I’m in a new country, but I won’t lose who I am.” For me, seeing superstars like Vicente Fernández, norteño singer Ramón Ayala and ranchero royalty Antonio Aguilar don similar styles helped me understand my father’s influences—the rancho and love for one’s homeland even if you feel compelled to leave it. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The coverage of Fernández’s death last Sunday has zoomed in on his ranchero persona. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Washington Post\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> hailed him as the “cowboy king” of Mexico, which some people of Mexican descent found demeaning, offensive and callous. \u003cem>(The Post \u003c/em>later \u003ca href=\"https://miblogestublog.com/2021/12/12/vicente-fernandez-wapo-obituary/\" target=\"_blank\" rel=\"noopener noreferrer\">changed the headline\u003c/a>.) When I brought this up to my husband, he replied, “Why is that offensive? He was a cowboy.” He did represent more than a just a cowboy to millions of people, but I do find it remarkable that someone who identified so deeply as a cowboy ended up becoming a global superstar with more than 70 million records sold. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Classism is still alive and well in Mexico, but Fernández’s success validated rancheros’ importance in Mexican culture. Younger generations have taken his aesthetics and musical influence and used it to challenge the machismo associated with Fernández by rejecting elements such as sexism and toxic masculinity. Fernández paved the way for the generations of artists that followed, including Christian Nodal, Nora González (the self-proclaimed Charra Millennial), female mariachi group Flor de Toloache and \u003ca href=\"https://www.kqed.org/arts/13900272/de-san-francisco-para-el-mundo-la-donas-star-rises\" target=\"_blank\" rel=\"noopener noreferrer\">La Doña\u003c/a>, who are now redefining traditions. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13907394\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13907394\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/GettyImages-1196587910-800x565.jpg\" alt=\"\" width=\"800\" height=\"565\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/GettyImages-1196587910-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/GettyImages-1196587910-1020x720.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/GettyImages-1196587910-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/GettyImages-1196587910-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/GettyImages-1196587910.jpg 1024w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Band Flor de Toloache arrives for the 62nd Annual Grammy Awards on January 26, 2020, in Los Angeles. \u003ccite>(Valerie Macon/ AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">My father’s go-to dress up outfit was a tan-colored charro suit similar to the suits Vicente Fernández always wore, minus all the shiny buttons on the sides of the legs and arms. My father’s version, tailor made for him during one of our vacations to Mexico, had the same slim pants and waist length jacket with western style toggle buttons on the chest pockets and sharp angled collar. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When it came time to pick out my father’s burial clothes, the choice was simple: the tan charro suit. I remember how difficult it was to bring the suit to the funeral home on a hanger and hand it over to the mortician as if I was letting go of an important piece of my father. \u003c/span>\u003cspan style=\"font-weight: 400\">But it was also perfect to know he would forever don clothes that were regal, classy and unapologetically ranchero—just like Vicente. \u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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},
"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"onourwatch": {
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"on-the-media": {
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"order": 5
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5Nzk2MzI2MTEx",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
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"link": "/radio/program/possible",
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