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"content": "\n\u003cp>Even the most suspenseful \u003ca href=\"https://knowyourmeme.com/memes/preparing-for-my-netflix-documentary\">Netflix docuseries\u003c/a> would be hard-pressed to match the tumultuous, up-and-down career of chef Eric Rivera. In the 2010s, Rivera co-founded Borinquen Soul, one of Oakland’s first and most beloved \u003ca href=\"https://www.kqed.org/arts/tag/puerto-rico\">Puerto Rican\u003c/a> food businesses — and then, at the peak of his success, wound up spending seven years in jail and state prison \u003ca href=\"https://www.kqed.org/arts/13977950/puerto-rican-restaurant-oakland-borinquen-soul-eric-rivera-comeback-santa-rita-jail\">for a crime he says he didn’t commit\u003c/a>. \u003c/p>\n\n\n\n\n\n\u003cp>Now, a year after the chef’s triumphant return with a new restaurant, \u003ca href=\"https://www.instagram.com/puertoricanstreetcuisine/\">Puerto Rican Street Cuisine\u003c/a>, disaster has struck again. A few weeks ago, a \u003ca href=\"https://www.instagram.com/p/Dc4uUK3Ghpp/\">huge fire\u003c/a> broke out behind the East Oakland restaurant, destroying its back wall, its newly remodeled backyard (designed to look like a traditional Puerto Rican house, or “\u003ca href=\"https://www.nytimes.com/2025/09/10/realestate/bad-bunny-puerto-rico-residency-casita.html\">casita\u003c/a>”), its walk-in fridge and Rivera’s personal office. All told, it’ll be a minimum of six to eight months of repairs before Rivera can even think about reopening what is, for the time being, the only full-fledged Puerto Rican restaurant in Oakland. \u003c/p>\n\n\n\n\u003cp>For fans of Puerto Rican Street Cuisine’s fragrant arroz con gandules and garlicky, slow-roasted pernil, there is a sliver of good news. It didn’t take Rivera long to find a new, temporary location for the restaurant — and there’s a bit of poetic symmetry to it as well. On Oct. 3, Puerto Rican Street Cuisine will reopen inside the \u003ca href=\"https://www.instagram.com/2starmarket_oakland/\">Two Star Market\u003c/a> in Oakland’s Dimond District. That’s the exact same corner store where Rivera opened his first restaurant, \u003ca href=\"https://eastbayexpress.com/borinquen-soul-dishes-out-puerto-rican-grandma-food-inside-an-oakland-convenience-store-2-1/\">Borinquen Soul\u003c/a>, more than a decade ago. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-gallery has-nested-images columns-default is-cropped wp-block-gallery-3 is-layout-flex wp-block-gallery-is-layout-flex\">\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1500\" height=\"2000\" data-id=\"13994222\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/puerto-rican-street-cuisine-fire-1.jpg\" alt=\"The charred remains of a burned building.\" class=\"wp-image-13994222\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/puerto-rican-street-cuisine-fire-1.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/puerto-rican-street-cuisine-fire-1-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/puerto-rican-street-cuisine-fire-1-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/puerto-rican-street-cuisine-fire-1-1152x1536.jpg 1152w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\" />\u003cfigcaption class=\"wp-element-caption\">The charred remains of part of the restaurant. (Courtesy of Eric Rivera)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1500\" height=\"2000\" data-id=\"13994221\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/puerto-rican-street-cuisine-fire-2.jpg\" alt=\"Remains of a restaurant's back patio after a fire, with a banner and a Puerto Rican flag fallen to the ground.\" class=\"wp-image-13994221\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/puerto-rican-street-cuisine-fire-2.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/puerto-rican-street-cuisine-fire-2-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/puerto-rican-street-cuisine-fire-2-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/puerto-rican-street-cuisine-fire-2-1152x1536.jpg 1152w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\" />\u003cfigcaption class=\"wp-element-caption\">A view of the damage to the restaurant’s backyard after the fire. (Courtesy of Eric Rivera)\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\n\n\n\u003cp>As it turns out, the owner of Two Star Market had recently started looking for a new tenant for the small kitchen inside the convenience store. When he heard about the fire, he reached out to Rivera right away. \u003c/p>\n\n\n\n\u003cp>“He was like, ‘Bro, this is your kitchen. This is where you started your first takeout. Come back,’” Rivera recalls.\u003c/p>\n\n\n\n\u003cp>So, the new restaurant will be a homecoming of sorts. As Rivera puts it, “I know this neighborhood loves me.” And though he’ll be constrained by the limited kitchen setup, he still plans on offering more or less the full Puerto Rican Street Cuisine menu. He’ll offer all of his combo plates, including the fan favorite pollo encebollado (grilled chicken with caramelized onions), served on a bed of white rice or yellow rice flecked with pigeon peas. He’ll have alpacurrias (stuffed plantain fritters) and Puerto Rican–style empanadas, and pasteles for the holidays. He’ll sell pernil, Puerto Rico’s iconic crispy-skinned roast pork dish, every day the restaurant is open.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Puerto-Rican-Street-Cuisine_EG_15_qed.jpg\" alt=\"Chef in a red jacket ladles chicken stew into a large aluminum catering tray.\" class=\"wp-image-13977967\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Puerto-Rican-Street-Cuisine_EG_15_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Puerto-Rican-Street-Cuisine_EG_15_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Puerto-Rican-Street-Cuisine_EG_15_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Puerto-Rican-Street-Cuisine_EG_15_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Rivera prepares a tray of pollo guisado, a stewed chicken dish for a catering order. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Importantly, securing a new kitchen so quickly means Rivera won’t have to cancel the dozens of catering gigs he’s already booked for the coming months. And because the convenience store is open late, he plans to keep his kitchen open for the \u003ca href=\"https://www.kqed.org/arts/tag/the-midnight-diners\">night owls\u003c/a> as well, selling food from noon to midnight six days a week. \u003c/p>\n\n\n\n\u003cp>As for his flagship East Oakland location on 23rd Avenue, Rivera says he’s just thankful that no one was hurt: “Anything that was lost can be replaced.” The fire happened on a Friday afternoon, when the restaurant was open for lunch service. According to Rivera, the fire department’s preliminary assessment was that it started outside, behind the restaurant, due to a power cord that overheated and erupted in flames.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/two-star-market.jpg\" alt=\"Exterior of a convenience store lit up at night.\" class=\"wp-image-13994223\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/two-star-market.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/two-star-market-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/two-star-market-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/two-star-market-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Two Star Market in March 2025, when a different restaurant operated the kitchen inside. (Luke Tsai/KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Perhaps the biggest setback, Rivera says, is that he’d only just opened up the restaurant’s backyard to customers on weekends. He’d put a cigar lounge back there and set the whole thing up to look like diners had been transported to Puerto Rico, including the facade of a little yellow house, which he’d dubbed “La Casita.” (Miraculously, he says, the casita is the only structure in the backyard that didn’t burn down.)\u003c/p>\n\n\n\n\u003cp>“We converted the space to look beautiful,” Rivera says. “On weekends, customers would come all the way from Watsonville and Redding. I had weddings booked.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1500\" height=\"2000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/la-casita.jpg\" alt=\"Facade of a yellow traditional Puerto Rican style house, with two plastic patio chairs in front.\" class=\"wp-image-13994224\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/la-casita.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/la-casita-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/la-casita-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/la-casita-1152x1536.jpg 1152w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\" />\u003cfigcaption class=\"wp-element-caption\">“La Casita,” in its pre-fire glory. (Courtesy of Eric Rivera)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>So, while Rivera has signed a lease to stay in the Two Star Market for at least a year, his long-term goal is to reopen the East Oakland restaurant as a gathering place for the community. And he’s hopeful that he’ll be able to make it happen. After all, in the course of Rivera’s rise-and-fall-and-rise-again career, he says he’s always tried to look for the silver lining.\u003c/p>\n\n\n\n\u003cp>“You could be positive or you could be negative,” he says. “I choose to get up every day and keep going, man.” \u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n\n\n\n\u003cp>\u003ca href=\"https://www.instagram.com/puertoricanstreetcuisine/\">\u003cem>Puerto Rican Street Cuisine\u003c/em>\u003c/a>\u003cem> at Two Star Market will open on Saturday, Oct. 3, with a grand opening promotion of a free empanadilla with the purchase of a combo plate. The corner store location will be open from roughly noon to midnight six days a week — it will be closed on either Sundays or Mondays, exact hours TBD.\u003c/em>\u003c/p>\n",
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"innerHTML": "\n\u003cp>Now, a year after the chef’s triumphant return with a new restaurant, \u003ca href=\"https://www.instagram.com/puertoricanstreetcuisine/\">Puerto Rican Street Cuisine\u003c/a>, disaster has struck again. A few weeks ago, a \u003ca href=\"https://www.instagram.com/p/Dc4uUK3Ghpp/\">huge fire\u003c/a> broke out behind the East Oakland restaurant, destroying its back wall, its newly remodeled backyard (designed to look like a traditional Puerto Rican house, or “\u003ca href=\"https://www.nytimes.com/2025/09/10/realestate/bad-bunny-puerto-rico-residency-casita.html\">casita\u003c/a>”), its walk-in fridge and Rivera’s personal office. All told, it’ll be a minimum of six to eight months of repairs before Rivera can even think about reopening what is, for the time being, the only full-fledged Puerto Rican restaurant in Oakland. \u003c/p>\n",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/puerto-rican-street-cuisine-fire-2.jpg\" alt=\"Remains of a restaurant's back patio after a fire, with a banner and a Puerto Rican flag fallen to the ground.\" class=\"wp-image-13994221\"/>\u003cfigcaption class=\"wp-element-caption\">A view of the damage to the restaurant’s backyard after the fire.\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/puerto-rican-street-cuisine-fire-2.jpg\" alt=\"Remains of a restaurant's back patio after a fire, with a banner and a Puerto Rican flag fallen to the ground.\" class=\"wp-image-13994221\"/>\u003cfigcaption class=\"wp-element-caption\">A view of the damage to the restaurant’s backyard after the fire.\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>As it turns out, the owner of Two Star Market had recently started looking for a new tenant for the small kitchen inside the convenience store. When he heard about the fire, he reached out to Rivera right away. \u003c/p>\n",
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"\n\u003cp>As it turns out, the owner of Two Star Market had recently started looking for a new tenant for the small kitchen inside the convenience store. When he heard about the fire, he reached out to Rivera right away. \u003c/p>\n"
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"innerHTML": "\n\u003cp>“He was like, ‘Bro, this is your kitchen. This is where you started your first takeout. Come back,’” Rivera recalls.\u003c/p>\n",
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"\n\u003cp>“He was like, ‘Bro, this is your kitchen. This is where you started your first takeout. Come back,’” Rivera recalls.\u003c/p>\n"
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"innerHTML": "\n\u003cp>So, the new restaurant will be a homecoming of sorts. As Rivera puts it, “I know this neighborhood loves me.” And though he’ll be constrained by the limited kitchen setup, he still plans on offering more or less the full Puerto Rican Street Cuisine menu. He’ll offer all of his combo plates, including the fan favorite pollo encebollado (grilled chicken with caramelized onions), served on a bed of white rice or yellow rice flecked with pigeon peas. He’ll have alpacurrias (stuffed plantain fritters) and Puerto Rican–style empanadas, and pasteles for the holidays. He’ll sell pernil, Puerto Rico’s iconic crispy-skinned roast pork dish, every day the restaurant is open.\u003c/p>\n",
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"\n\u003cp>So, the new restaurant will be a homecoming of sorts. As Rivera puts it, “I know this neighborhood loves me.” And though he’ll be constrained by the limited kitchen setup, he still plans on offering more or less the full Puerto Rican Street Cuisine menu. He’ll offer all of his combo plates, including the fan favorite pollo encebollado (grilled chicken with caramelized onions), served on a bed of white rice or yellow rice flecked with pigeon peas. He’ll have alpacurrias (stuffed plantain fritters) and Puerto Rican–style empanadas, and pasteles for the holidays. He’ll sell pernil, Puerto Rico’s iconic crispy-skinned roast pork dish, every day the restaurant is open.\u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Puerto-Rican-Street-Cuisine_EG_15_qed.jpg\" alt=\"Chef in a red jacket ladles chicken stew into a large aluminum catering tray.\" class=\"wp-image-13977967\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Puerto-Rican-Street-Cuisine_EG_15_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Puerto-Rican-Street-Cuisine_EG_15_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Puerto-Rican-Street-Cuisine_EG_15_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Puerto-Rican-Street-Cuisine_EG_15_qed-1536x1024.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Rivera prepares a tray of pollo guisado, a stewed chicken dish for a catering order.\u003ccite class=\"wp-inline-image-credit\"> (Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
"innerContent": [
"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Puerto-Rican-Street-Cuisine_EG_15_qed.jpg\" alt=\"Chef in a red jacket ladles chicken stew into a large aluminum catering tray.\" class=\"wp-image-13977967\"/>\u003cfigcaption class=\"wp-element-caption\">Rivera prepares a tray of pollo guisado, a stewed chicken dish for a catering order.\u003ccite class=\"wp-inline-image-credit\"> (Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>Importantly, securing a new kitchen so quickly means Rivera won’t have to cancel the dozens of catering gigs he’s already booked for the coming months. And because the convenience store is open late, he plans to keep his kitchen open for the \u003ca href=\"https://www.kqed.org/arts/tag/the-midnight-diners\">night owls\u003c/a> as well, selling food from noon to midnight six days a week. \u003c/p>\n",
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"\n\u003cp>Importantly, securing a new kitchen so quickly means Rivera won’t have to cancel the dozens of catering gigs he’s already booked for the coming months. And because the convenience store is open late, he plans to keep his kitchen open for the \u003ca href=\"https://www.kqed.org/arts/tag/the-midnight-diners\">night owls\u003c/a> as well, selling food from noon to midnight six days a week. \u003c/p>\n"
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"innerHTML": "\n\u003cp>As for his flagship East Oakland location on 23rd Avenue, Rivera says he’s just thankful that no one was hurt: “Anything that was lost can be replaced.” The fire happened on a Friday afternoon, when the restaurant was open for lunch service. According to Rivera, the fire department’s preliminary assessment was that it started outside, behind the restaurant, due to a power cord that overheated and erupted in flames.\u003c/p>\n",
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"\n\u003cp>As for his flagship East Oakland location on 23rd Avenue, Rivera says he’s just thankful that no one was hurt: “Anything that was lost can be replaced.” The fire happened on a Friday afternoon, when the restaurant was open for lunch service. According to Rivera, the fire department’s preliminary assessment was that it started outside, behind the restaurant, due to a power cord that overheated and erupted in flames.\u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/two-star-market.jpg\" alt=\"Exterior of a convenience store lit up at night.\" class=\"wp-image-13994223\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/two-star-market.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/two-star-market-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/two-star-market-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/two-star-market-1536x1024.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Two Star Market in March 2025, when a different restaurant operated the kitchen inside.\u003ccite class=\"wp-inline-image-credit\"> (Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/two-star-market.jpg\" alt=\"Exterior of a convenience store lit up at night.\" class=\"wp-image-13994223\"/>\u003cfigcaption class=\"wp-element-caption\">Two Star Market in March 2025, when a different restaurant operated the kitchen inside.\u003ccite class=\"wp-inline-image-credit\"> (Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>Perhaps the biggest setback, Rivera says, is that he’d only just opened up the restaurant’s backyard to customers on weekends. He’d put a cigar lounge back there and set the whole thing up to look like diners had been transported to Puerto Rico, including the facade of a little yellow house, which he’d dubbed “La Casita.” (Miraculously, he says, the casita is the only structure in the backyard that didn’t burn down.)\u003c/p>\n",
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"\n\u003cp>Perhaps the biggest setback, Rivera says, is that he’d only just opened up the restaurant’s backyard to customers on weekends. He’d put a cigar lounge back there and set the whole thing up to look like diners had been transported to Puerto Rico, including the facade of a little yellow house, which he’d dubbed “La Casita.” (Miraculously, he says, the casita is the only structure in the backyard that didn’t burn down.)\u003c/p>\n"
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"innerHTML": "\n\u003cp>“We converted the space to look beautiful,” Rivera says. “On weekends, customers would come all the way from Watsonville and Redding. I had weddings booked.”\u003c/p>\n",
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"\n\u003cp>“We converted the space to look beautiful,” Rivera says. “On weekends, customers would come all the way from Watsonville and Redding. I had weddings booked.”\u003c/p>\n"
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"srcset": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/la-casita.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/la-casita-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/la-casita-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/la-casita-1152x1536.jpg 1152w",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/la-casita.jpg\" alt=\"Facade of a yellow traditional Puerto Rican style house, with two plastic patio chairs in front.\" class=\"wp-image-13994224\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/la-casita.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/la-casita-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/la-casita-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/la-casita-1152x1536.jpg 1152w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">“La Casita,” in its pre-fire glory.\u003ccite class=\"wp-inline-image-credit\"> (Courtesy of Eric Rivera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/la-casita.jpg\" alt=\"Facade of a yellow traditional Puerto Rican style house, with two plastic patio chairs in front.\" class=\"wp-image-13994224\"/>\u003cfigcaption class=\"wp-element-caption\">“La Casita,” in its pre-fire glory.\u003ccite class=\"wp-inline-image-credit\"> (Courtesy of Eric Rivera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>So, while Rivera has signed a lease to stay in the Two Star Market for at least a year, his long-term goal is to reopen the East Oakland restaurant as a gathering place for the community. And he’s hopeful that he’ll be able to make it happen. After all, in the course of Rivera’s rise-and-fall-and-rise-again career, he says he’s always tried to look for the silver lining.\u003c/p>\n",
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"\n\u003cp>So, while Rivera has signed a lease to stay in the Two Star Market for at least a year, his long-term goal is to reopen the East Oakland restaurant as a gathering place for the community. And he’s hopeful that he’ll be able to make it happen. After all, in the course of Rivera’s rise-and-fall-and-rise-again career, he says he’s always tried to look for the silver lining.\u003c/p>\n"
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"innerHTML": "\n\u003cp>“You could be positive or you could be negative,” he says. “I choose to get up every day and keep going, man.” \u003c/p>\n",
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"\n\u003cp>“You could be positive or you could be negative,” he says. “I choose to get up every day and keep going, man.” \u003c/p>\n"
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"innerHTML": "\n\u003cp>\u003ca href=\"https://www.instagram.com/puertoricanstreetcuisine/\">\u003cem>Puerto Rican Street Cuisine\u003c/em>\u003c/a>\u003cem> at Two Star Market will open on Saturday, Oct. 3, with a grand opening promotion of a free empanadilla with the purchase of a combo plate. The corner store location will be open from roughly noon to midnight six days a week — it will be closed on either Sundays or Mondays, exact hours TBD.\u003c/em>\u003c/p>\n",
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"\n\u003cp>\u003ca href=\"https://www.instagram.com/puertoricanstreetcuisine/\">\u003cem>Puerto Rican Street Cuisine\u003c/em>\u003c/a>\u003cem> at Two Star Market will open on Saturday, Oct. 3, with a grand opening promotion of a free empanadilla with the purchase of a combo plate. The corner store location will be open from roughly noon to midnight six days a week — it will be closed on either Sundays or Mondays, exact hours TBD.\u003c/em>\u003c/p>\n"
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"excerpt": "Puerto Rican Street Cuisine will reopen at its original corner store location in the Dimond District.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Even the most suspenseful \u003ca href=\"https://knowyourmeme.com/memes/preparing-for-my-netflix-documentary\">Netflix docuseries\u003c/a> would be hard-pressed to match the tumultuous, up-and-down career of chef Eric Rivera. In the 2010s, Rivera co-founded Borinquen Soul, one of Oakland’s first and most beloved \u003ca href=\"https://www.kqed.org/arts/tag/puerto-rico\">Puerto Rican\u003c/a> food businesses — and then, at the peak of his success, wound up spending seven years in jail and state prison \u003ca href=\"https://www.kqed.org/arts/13977950/puerto-rican-restaurant-oakland-borinquen-soul-eric-rivera-comeback-santa-rita-jail\">for a crime he says he didn’t commit\u003c/a>. \u003c/p>\n\n\n\n\n\n\u003cp>Now, a year after the chef’s triumphant return with a new restaurant, \u003ca href=\"https://www.instagram.com/puertoricanstreetcuisine/\">Puerto Rican Street Cuisine\u003c/a>, disaster has struck again. A few weeks ago, a \u003ca href=\"https://www.instagram.com/p/Dc4uUK3Ghpp/\">huge fire\u003c/a> broke out behind the East Oakland restaurant, destroying its back wall, its newly remodeled backyard (designed to look like a traditional Puerto Rican house, or “\u003ca href=\"https://www.nytimes.com/2025/09/10/realestate/bad-bunny-puerto-rico-residency-casita.html\">casita\u003c/a>”), its walk-in fridge and Rivera’s personal office. All told, it’ll be a minimum of six to eight months of repairs before Rivera can even think about reopening what is, for the time being, the only full-fledged Puerto Rican restaurant in Oakland. \u003c/p>\n\n\n\n\u003cp>For fans of Puerto Rican Street Cuisine’s fragrant arroz con gandules and garlicky, slow-roasted pernil, there is a sliver of good news. It didn’t take Rivera long to find a new, temporary location for the restaurant — and there’s a bit of poetic symmetry to it as well. On Oct. 3, Puerto Rican Street Cuisine will reopen inside the \u003ca href=\"https://www.instagram.com/2starmarket_oakland/\">Two Star Market\u003c/a> in Oakland’s Dimond District. That’s the exact same corner store where Rivera opened his first restaurant, \u003ca href=\"https://eastbayexpress.com/borinquen-soul-dishes-out-puerto-rican-grandma-food-inside-an-oakland-convenience-store-2-1/\">Borinquen Soul\u003c/a>, more than a decade ago. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-gallery has-nested-images columns-default is-cropped wp-block-gallery-3 is-layout-flex wp-block-gallery-is-layout-flex\">\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1500\" height=\"2000\" data-id=\"13994222\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/puerto-rican-street-cuisine-fire-1.jpg\" alt=\"The charred remains of a burned building.\" class=\"wp-image-13994222\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/puerto-rican-street-cuisine-fire-1.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/puerto-rican-street-cuisine-fire-1-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/puerto-rican-street-cuisine-fire-1-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/puerto-rican-street-cuisine-fire-1-1152x1536.jpg 1152w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\" />\u003cfigcaption class=\"wp-element-caption\">The charred remains of part of the restaurant. (Courtesy of Eric Rivera)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1500\" height=\"2000\" data-id=\"13994221\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/puerto-rican-street-cuisine-fire-2.jpg\" alt=\"Remains of a restaurant's back patio after a fire, with a banner and a Puerto Rican flag fallen to the ground.\" class=\"wp-image-13994221\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/puerto-rican-street-cuisine-fire-2.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/puerto-rican-street-cuisine-fire-2-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/puerto-rican-street-cuisine-fire-2-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/puerto-rican-street-cuisine-fire-2-1152x1536.jpg 1152w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\" />\u003cfigcaption class=\"wp-element-caption\">A view of the damage to the restaurant’s backyard after the fire. (Courtesy of Eric Rivera)\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\n\n\n\u003cp>As it turns out, the owner of Two Star Market had recently started looking for a new tenant for the small kitchen inside the convenience store. When he heard about the fire, he reached out to Rivera right away. \u003c/p>\n\n\n\n\u003cp>“He was like, ‘Bro, this is your kitchen. This is where you started your first takeout. Come back,’” Rivera recalls.\u003c/p>\n\n\n\n\u003cp>So, the new restaurant will be a homecoming of sorts. As Rivera puts it, “I know this neighborhood loves me.” And though he’ll be constrained by the limited kitchen setup, he still plans on offering more or less the full Puerto Rican Street Cuisine menu. He’ll offer all of his combo plates, including the fan favorite pollo encebollado (grilled chicken with caramelized onions), served on a bed of white rice or yellow rice flecked with pigeon peas. He’ll have alpacurrias (stuffed plantain fritters) and Puerto Rican–style empanadas, and pasteles for the holidays. He’ll sell pernil, Puerto Rico’s iconic crispy-skinned roast pork dish, every day the restaurant is open.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Puerto-Rican-Street-Cuisine_EG_15_qed.jpg\" alt=\"Chef in a red jacket ladles chicken stew into a large aluminum catering tray.\" class=\"wp-image-13977967\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Puerto-Rican-Street-Cuisine_EG_15_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Puerto-Rican-Street-Cuisine_EG_15_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Puerto-Rican-Street-Cuisine_EG_15_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Puerto-Rican-Street-Cuisine_EG_15_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Rivera prepares a tray of pollo guisado, a stewed chicken dish for a catering order. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Importantly, securing a new kitchen so quickly means Rivera won’t have to cancel the dozens of catering gigs he’s already booked for the coming months. And because the convenience store is open late, he plans to keep his kitchen open for the \u003ca href=\"https://www.kqed.org/arts/tag/the-midnight-diners\">night owls\u003c/a> as well, selling food from noon to midnight six days a week. \u003c/p>\n\n\n\n\u003cp>As for his flagship East Oakland location on 23rd Avenue, Rivera says he’s just thankful that no one was hurt: “Anything that was lost can be replaced.” The fire happened on a Friday afternoon, when the restaurant was open for lunch service. According to Rivera, the fire department’s preliminary assessment was that it started outside, behind the restaurant, due to a power cord that overheated and erupted in flames.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/two-star-market.jpg\" alt=\"Exterior of a convenience store lit up at night.\" class=\"wp-image-13994223\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/two-star-market.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/two-star-market-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/two-star-market-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/two-star-market-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Two Star Market in March 2025, when a different restaurant operated the kitchen inside. (Luke Tsai/KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Perhaps the biggest setback, Rivera says, is that he’d only just opened up the restaurant’s backyard to customers on weekends. He’d put a cigar lounge back there and set the whole thing up to look like diners had been transported to Puerto Rico, including the facade of a little yellow house, which he’d dubbed “La Casita.” (Miraculously, he says, the casita is the only structure in the backyard that didn’t burn down.)\u003c/p>\n\n\n\n\u003cp>“We converted the space to look beautiful,” Rivera says. “On weekends, customers would come all the way from Watsonville and Redding. I had weddings booked.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1500\" height=\"2000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/la-casita.jpg\" alt=\"Facade of a yellow traditional Puerto Rican style house, with two plastic patio chairs in front.\" class=\"wp-image-13994224\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/la-casita.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/la-casita-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/la-casita-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/la-casita-1152x1536.jpg 1152w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\" />\u003cfigcaption class=\"wp-element-caption\">“La Casita,” in its pre-fire glory. (Courtesy of Eric Rivera)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>So, while Rivera has signed a lease to stay in the Two Star Market for at least a year, his long-term goal is to reopen the East Oakland restaurant as a gathering place for the community. And he’s hopeful that he’ll be able to make it happen. After all, in the course of Rivera’s rise-and-fall-and-rise-again career, he says he’s always tried to look for the silver lining.\u003c/p>\n\n\n\n\u003cp>“You could be positive or you could be negative,” he says. “I choose to get up every day and keep going, man.” \u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n\n\n\n\u003cp>\u003ca href=\"https://www.instagram.com/puertoricanstreetcuisine/\">\u003cem>Puerto Rican Street Cuisine\u003c/em>\u003c/a>\u003cem> at Two Star Market will open on Saturday, Oct. 3, with a grand opening promotion of a free empanadilla with the purchase of a combo plate. The corner store location will be open from roughly noon to midnight six days a week — it will be closed on either Sundays or Mondays, exact hours TBD.\u003c/em>\u003c/p>\n\u003c/div>\u003c/p>",
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"slug": "puerto-rican-restaurant-oakland-borinquen-soul-eric-rivera-comeback-santa-rita-jail",
"title": "A Legendary Puerto Rican Chef Reemerges in Oakland — After 5 Years Behind Bars",
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"headTitle": "A Legendary Puerto Rican Chef Reemerges in Oakland — After 5 Years Behind Bars | KQED",
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"content": "\u003cp>[dropcap]F[/dropcap]lash back to 2015, when the hottest restaurant in \u003ca href=\"https://www.kqed.org/arts/tag/oakland\">Oakland’s\u003c/a> Dimond District wasn’t a trendy Asian fusion spot, or a Michelin-endorsed palace of fine dining, or a temple to California cuisine. It wasn’t even a proper restaurant, really. Instead, crowds of hungry people would line up inside the Two Star Market liquor store on MacArthur for a taste of slow-roasted pernil, grilled chicken thighs with garlic and caramelized onions, and fragrant, annatto-stained arroz con gandules.\u003c/p>\n\u003cp>The liquor store takeout spot was called \u003ca href=\"https://eastbayexpress.com/borinquen-soul-dishes-out-puerto-rican-grandma-food-inside-an-oakland-convenience-store-2-1/\">Borinquen Soul\u003c/a>, and it specialized in what founders Eric “E” Rivera and Chris Caraballo liked to call “food for the homesick boricua.” At the time, it was the only Puerto Rican restaurant in the East Bay, and even though the place didn’t really have any seating to speak of, it routinely drew customers from as far away as Stockton and San Jose.\u003c/p>\n\u003cp>Then it just kind of disappeared. When Borinquen Soul closed in 2017, the two owners went their separate ways, and Rivera opened a new restaurant, W.E.P.A.!, that lasted less than a year. After that, nothing. Seven years passed without any word from the business. No explanation was ever given for why it had closed.\u003c/p>\n\u003cp>Until a couple of months ago, that is. That was when Rivera, aka Chef E, suddenly reemerged at a little \u003ca href=\"https://www.instagram.com/p/DHb5KNvypBd/\">pop-up takeout window in Vallejo\u003c/a>, where for a short time he was selling the same food I remembered from all those years ago — the same yellow rice flecked with pigeon peas and pimento olives, the ultra-crisp tostones and tangy mayuketchu. And if all goes according to plan, next month Rivera will complete his comeback. He’s opening a new restaurant in East Oakland’s San Antonio neighborhood called \u003ca href=\"https://www.instagram.com/puertoricanstreetcuisine/\">Puerto Rican Street Cuisine\u003c/a> that’ll serve all of the old favorites from Borinquen Soul. It will once again be the only full-fledged Puerto Rican restaurant in Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13977966\" class=\"wp-caption alignnone\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13977966\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Puerto-Rican-Street-Cuisine_EG_27_qed.jpg\" alt='Two men stand on the roof of a restaurant holding a large Puerto Rican flag. The sign on the restaurant reads, \"Puerto Rican Street Cuisine.\"' width=\"1999\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Puerto-Rican-Street-Cuisine_EG_27_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Puerto-Rican-Street-Cuisine_EG_27_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Puerto-Rican-Street-Cuisine_EG_27_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Puerto-Rican-Street-Cuisine_EG_27_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">Chefs Eric Rivera (center) and Chris Lopez and stand on the roof of the 23rd Avenue restaurant in East Oakland. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This place is going to be an incredible spot in these next few months, where you can just get the best of the best food,” he says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And as it turns out, there was a good reason why Rivera put his business on pause for seven years: He spent most of that time in jail, awaiting trial for a crime he says he didn’t commit.\u003c/p>\n\u003ch2>A Life-Changing Turn of Events\u003c/h2>\n\u003cp>Born and bred in the Bronx, Rivera moved to the Bay Area to live with his aunt when he was a teenager, graduating from Independence High School in San Jose in the early ’90s. Back then, he was an up-and-coming rapper, performing under the name Mookie D. He was a member of the San Jose rap crew \u003ca href=\"https://www.youtube.com/watch?v=N7SMjhzvxQ4\">Red Black & Green\u003c/a>, which put out an EP produced by KutMasta Kurt. He was good friends with \u003ca href=\"https://www.kqed.org/arts/13868241/sway-calloways-free-block-party-celebrates-oaklands-cultural-well\">Sway Calloway\u003c/a>, too, in those early years before Sway became one of the hip-hop world’s most prominent interviewers and tastemakers — Rivera even wound up rapping on one of the first episodes of Sway’s \u003ci>Wake Up Show\u003c/i> on KMEL.\u003c/p>\n\u003cp>After high school, Rivera moved back to New York before returning to the Bay for good in 2008, dabbling in different jobs before he got serious about cooking. He was an amateur MMA fighter for a time and then worked as a strength and conditioning coach for the Oakland Raiders. In 2012, he and fellow Bronx transplant Chris Caraballo officially launched \u003ca href=\"https://www.facebook.com/borinquensoulwepa/\">Borinquen Soul\u003c/a>, initially as a food truck — the very first Puerto Rican food truck in the Bay Area.\u003c/p>\n\u003cp>Back then, Rivera recalls, it was just about impossible to find proper Puerto Rican food in the Bay: “When we came from New York, we got homesick right away. The food here wasn’t hitting home.” He and Caraballo started pulling up to Bay Area nightclubs, blasting loud salsa music from the truck when the clubs were letting out for the night.\u003c/p>\n\u003cfigure id=\"attachment_13977875\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13977875\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/PUERTO-RICAN-STREET-CUISINE_EG_16-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/PUERTO-RICAN-STREET-CUISINE_EG_16-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/PUERTO-RICAN-STREET-CUISINE_EG_16-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/PUERTO-RICAN-STREET-CUISINE_EG_16-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/PUERTO-RICAN-STREET-CUISINE_EG_16-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rivera prepares a plate of food for workers at the businesses surrounding his restaurant. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It just became an overnight hit,” Rivera says. “People were hitting us up like, ‘Bro, I don’t know how to pronounce your name, but man, that was the best food I ever had!’ It was just the best feeling in the world.”\u003c/p>\n\u003cp>The truck quickly built up a large fan base, which stayed loyal through the business’ remarkable three-year run inside the Two Star Market liquor store, from 2015 to 2017.\u003c/p>\n\u003cp>In many ways, then, the summer of 2018 was the high point of Rivera’s cooking career. Even though he’d closed Borinquen Soul after parting ways with Caraballo, his new restaurant, W.E.P.A.! (Where Everybody Parties At), was already \u003ca href=\"https://eastbayexpress.com/wepa-at-brix-581-rises-from-the-ashes-of-borinquen-soul-2-1/\">making a name for itself\u003c/a> with its menu of homey Puerto Rican dishes served inside a Jack London nightclub. Then came the ultimate validation: In June of that year, W.E.P.A.! got the \u003ca href=\"https://www.youtube.com/watch?v=w1oCNZuaF4I&t=247s\">\u003ci>Diners, Drive-Ins & Dives \u003c/i>treatment\u003c/a>, as the Bleached One himself gave Rivera’s loaded plantains and chicken chicharron mofongo the Flavortown stamp of approval. For a small, relatively unknown restaurant like Rivera’s, that kind of national TV exposure had the potential to be \u003ca href=\"https://www.eater.com/2018/12/20/18150707/guy-fieri-diners-drive-ins-and-dives-good-for-restaurant-business\">life-changing\u003c/a>. “It was like a dream come true, man,” Rivera recalls.\u003c/p>\n\u003cfigure id=\"attachment_13977878\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13977878\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/PUERTO-RICAN-STREET-CUISINE_EG_23-KQED.jpg\" alt=\"A tray of fried plantains under a heat lamp.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/PUERTO-RICAN-STREET-CUISINE_EG_23-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/PUERTO-RICAN-STREET-CUISINE_EG_23-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/PUERTO-RICAN-STREET-CUISINE_EG_23-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/PUERTO-RICAN-STREET-CUISINE_EG_23-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A tray of tostones and fried sweet plantains kept warm under a heat lamp. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Just a month later, that dream turned into a nightmare. Rivera says he was getting ready to open the restaurant on a Thursday afternoon when police officers showed up — without a warrant, he says — and grabbed him in the doorway. Rivera was arrested on a robbery charge and wound up serving five and a half years behind bars for a crime he insists he didn’t commit. He says there was even video evidence that proved he was at his restaurant the night the robbery took place.\u003c/p>\n\u003cp>Rivera eventually signed a plea deal, though, after he’d already been held in Dublin’s \u003ca href=\"https://www.kqed.org/news/11945438/community-and-civil-rights-groups-hold-vigil-and-rally-over-recent-deaths-at-santa-rita-jail\">notoriously dangerous\u003c/a> Santa Rita Jail for four years without a trial. He says Alameda County prosecutors kept finding reasons to postpone the trial — a sign, he believes, that they knew they didn’t have a case. Still, the long years and \u003ca href=\"https://www.kqed.org/news/11918230/grand-jury-major-health-and-safety-violations-at-santa-rita-jail-require-urgent-attention\">awful conditions\u003c/a> in jail had worn him down. Rivera’s mother passed away while he was at Santa Rita. And like many of the inmates there, he spent most of his time in “\u003ca href=\"https://www.aclu.org/news/prisoners-rights/i-spent-16-months-solitary-confinement-and-now-im\">23 and 1\u003c/a>” solitary confinement, trapped inside his own thoughts, allowed outside his cell for only one hour a day. Rivera says prosecutors led him to believe that if he signed the plea agreement, he would be set free right away on time served. Instead, he wound up spending another year and a half in prison.\u003c/p>\n\u003cp>The whole ordeal turned Rivera into something of an activist. Toward the end of his time at Santa Rita, he \u003ca href=\"https://www.ktvu.com/news/protest-at-santa-rita-jail-over-inedible-food-and-sheriffs-profit-on-rising-commissary-prices\">participated in a hunger strike\u003c/a> to protest the inedible, often rat-feces-infested food there (now the subject of a \u003ca href=\"https://clearinghouse.net/case/17341/\">class action lawsuit\u003c/a> that he’s joined). He’s also preparing to file civil lawsuits against both OPD and the California Parole Board.\u003c/p>\n\u003cp>At the same time, Rivera believes his time in prison ultimately helped him to become a better, stronger person. He’d once turned a bit of common Puerto Rican slang — “\u003ca href=\"https://www.newsweek.com/what-wepa-puerto-rico-aid-bill-named-slang-means-cool-704857\">wepa\u003c/a>,” meaning “cool” or “all right!” — into a restaurant concept. One day, while he was in solitary lockdown, a new acronym appeared to him in a vision. Instead of lamenting, “why me,” Rivera spun those letters into a more positive mindset: “Whatever Happens, You Must Embrace.”\u003c/p>\n\u003cp>“I focused on how do I make myself better,” he says. “That’s essentially what happened.”\u003c/p>\n\u003cfigure id=\"attachment_13977872\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13977872\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/PUERTO-RICAN-STREET-CUISINE_EG_09-KQED.jpg\" alt=\"Pink beans strained in a colander held over a large pot.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/PUERTO-RICAN-STREET-CUISINE_EG_09-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/PUERTO-RICAN-STREET-CUISINE_EG_09-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/PUERTO-RICAN-STREET-CUISINE_EG_09-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/PUERTO-RICAN-STREET-CUISINE_EG_09-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Habichuelas guisa — pink beans stewed in a sofrito base. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And, as it turns out, he was able to start cooking again. Rivera says he was put in jail so soon after his feature on \u003ci>Diners, Drive-ins & Dives\u003c/i> that the episode was still airing regularly. When he was transferred to the state prison in Jamestown, a prison officer who had seen the show recognized him and said, “Man, I know you! What are you doing here?” The prison officer wound up recruiting Rivera to cook in the Jamestown prison kitchen, which he agreed to do — feeding 3,000 inmates at a time — as long as they let him make Puerto Rican food. Eventually, he was transferred over to become the head chef at the \u003ca href=\"https://www.cdcr.ca.gov/facility-locator/conservation-camps/ben-lomond/\">Ben Lomond fire camp\u003c/a>, in the Santa Cruz mountains, where he was tasked with cooking for the \u003ca href=\"https://www.kqed.org/news/12021720/californias-reliance-on-incarcerated-firefighters-sparks-debate-over-low-pay-and-dangerous-work\">incarcerated firefighters\u003c/a> assigned to battle the region’s ongoing wildfires.\u003c/p>\n\u003cp>“I was cooking yellow rice. I was cooking carne guisa. We were doing habichuelas guisa,” Rivera says, laughing. “We were giving them the best food they ever had.”\u003c/p>\n\u003ch2>An Improbable Comeback\u003c/h2>\n\u003cp>Since getting out of prison in December of 2023, Rivera says he’s been slowly working his way back into the Bay Area food scene, doing a handful of pop-ups and festivals and picking up catering jobs here and there. The whole time he’s been struck by just how many customers he’s run into who still have fond memories of Borinquen Soul — of snagging a piece of crispy pork skin from the Two Star Market location’s weekend pernil or, even earlier, buying chicken-and-rice plates off the food truck.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">[aside postID='arts_13972834,arts_13960344,arts_13920581']\u003c/span>\u003c/span>For a tiny liquor store food operation that was only open for three years, Borinquen Soul had an outsized impact on the local food ecosystem. In fact, almost every notable Puerto Rican restaurant or food truck that’s opened in the Bay Area in the past decade has ties to that tiny convenience store kitchen. Anthony Lamboy of Boriqua Kitchen, the Bay Area’s \u003ca href=\"https://www.kqed.org/arts/13960344/puerto-rican-food-truck-boriqua-kitchen-bay-area-richmond\">only active Puerto Rican food truck\u003c/a>, did a stint at Borinquen Soul before branching out to open his own business. Cheo Ortiz, the chef-owner of La Perla, also started out as a cook there before taking over the Two Star Market’s kitchen once Borinquen Soul closed. He eventually expanded La Perla into a full-fledged Puerto Rican restaurant — \u003ca href=\"https://sf.eater.com/2021/2/1/22256408/la-perla-puerto-rican-restaurant-oakland-opening\">Oakland’s only one\u003c/a> until it relocated to Castro Valley \u003ca href=\"https://www.instagram.com/p/DGFfaNdxfJr/?hl=en\">earlier this year\u003c/a>. And Lourdes Marquez-Nau, aka Chef Lulu, of vegan Puerto Rican spot \u003ca href=\"https://www.instagram.com/casaborinquena/\">Casa Borinqueña\u003c/a>, used to work the festival circuit with Rivera during that earlier food truck iteration of Borinquen Soul.\u003c/p>\n\u003cp>Call it the \u003ca href=\"https://www.nba.com/news/gregg-popovich-hall-of-fame-profile-2023\">Greg Popovich coaching tree\u003c/a> of Puerto Rican chefs in the Bay. As Rivera puts it, “Borinquen Soul was a big springboard for a lot of people to do really, really well.”\u003c/p>\n\u003cfigure id=\"attachment_13977873\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13977873\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/PUERTO-RICAN-STREET-CUISINE_EG_11-KQED.jpg\" alt=\"Two chefs add sliced onions to a big pot of stew.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/PUERTO-RICAN-STREET-CUISINE_EG_11-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/PUERTO-RICAN-STREET-CUISINE_EG_11-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/PUERTO-RICAN-STREET-CUISINE_EG_11-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/PUERTO-RICAN-STREET-CUISINE_EG_11-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rivera (center) and Lopez work on a big batch of pollo guisado. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rivera says he’s still close with all of those chefs. Just last week, Lamboy came over to the new spot to help him raise a Puerto Rican flag up on the roof. Meanwhile, Marquez-Nau, who just opened a second location of her restaurant \u003ca href=\"https://billypenn.com/2025/06/10/casa-borinquena-philly-vegan-puerto-rican-food-east-kensington/\">in Philadelphia\u003c/a>, recalls that she first got to know Rivera mostly as a customer — she, too, was a homesick New York boriqua who was craving real Puerto Rican food. She wound up helping out with the food truck, and when she decided to open her own business, Rivera came and showed her staff how to make the dough for alpacurrias (stuffed plantain fritters).\u003c/p>\n\u003cp>“He’s like a brother,” Marquez-Nau says. “I will support Eric any way I can.”\u003c/p>\n\u003cp>Rivera’s hope, of course, is that Puerto Rican Street Cuisine will be a similarly impactful restaurant — both for the local East Oakland community as well as the Bay Area’s wider Puerto Rican diaspora. To start, the restaurant will function just as a simple takeout window. He’ll sell all of the big Puerto Rican staples he used to serve at Borinquen Soul: pernil, chicken encebollado, carne guisa, arroz con gandules, empanadas, pasteles, alpacurrias, and both sweet and savory plantains. He’ll serve his signature dishes that \u003ci>Diners, Drive-ins & Dives \u003c/i>made famous, too — the canoa (loaded plantains) and the fried-chicken mofongo.\u003c/p>\n\u003cfigure id=\"attachment_13977879\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13977879\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/PUERTO-RICAN-STREET-CUISINE_EG_24-KQED.jpg\" alt=\"The back of a red chef's jacket. The text above the palm tree logo reads, "Puerto Rican Street Cuisine."\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/PUERTO-RICAN-STREET-CUISINE_EG_24-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/PUERTO-RICAN-STREET-CUISINE_EG_24-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/PUERTO-RICAN-STREET-CUISINE_EG_24-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/PUERTO-RICAN-STREET-CUISINE_EG_24-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rivera’s custom chef’s jacket. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a couple of months, he hopes to open for dine-in customers as well. There’s also a whole outdoor area in the back that he says is like a “hidden oasis,” where he eventually hopes to host private events, putting to use his custom slow cooker that can roast four pigs at once. And who knows? Eventually he’d like to expand to other locations as well, using his East Oakland flagship as a central hub to train his staff, just as he once taught other inmates to cook when he was the head chef in prison.\u003c/p>\n\u003cp>In some ways, Rivera’s journey to opening this new restaurant seems incredibly improbable after all these years. But he has lived and persevered through so many different lives already — a son of the Bronx, a rapper, a fighter, a coach, a chef, an entrepreneur, a prison activist, and now a chef once again. Who’s to say he’s done reinventing himself?\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/puertoricanstreetcuisine/\">\u003ci>Puerto Rican Street Cuisine\u003c/i>\u003c/a>\u003ci> will likely have its soft opening around the second week of July at 1430 23rd Ave. in Oakland. To start out, the restaurant will be open for takeout only.\u003c/i>\u003c/p>\n\n",
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"excerpt": "Borinquen Soul’s Eric Rivera is bringing the arroz con gandules back. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">F\u003c/span>\u003c/p>\u003cp>lash back to 2015, when the hottest restaurant in \u003ca href=\"https://www.kqed.org/arts/tag/oakland\">Oakland’s\u003c/a> Dimond District wasn’t a trendy Asian fusion spot, or a Michelin-endorsed palace of fine dining, or a temple to California cuisine. It wasn’t even a proper restaurant, really. Instead, crowds of hungry people would line up inside the Two Star Market liquor store on MacArthur for a taste of slow-roasted pernil, grilled chicken thighs with garlic and caramelized onions, and fragrant, annatto-stained arroz con gandules.\u003c/p>\n\u003cp>The liquor store takeout spot was called \u003ca href=\"https://eastbayexpress.com/borinquen-soul-dishes-out-puerto-rican-grandma-food-inside-an-oakland-convenience-store-2-1/\">Borinquen Soul\u003c/a>, and it specialized in what founders Eric “E” Rivera and Chris Caraballo liked to call “food for the homesick boricua.” At the time, it was the only Puerto Rican restaurant in the East Bay, and even though the place didn’t really have any seating to speak of, it routinely drew customers from as far away as Stockton and San Jose.\u003c/p>\n\u003cp>Then it just kind of disappeared. When Borinquen Soul closed in 2017, the two owners went their separate ways, and Rivera opened a new restaurant, W.E.P.A.!, that lasted less than a year. After that, nothing. Seven years passed without any word from the business. No explanation was ever given for why it had closed.\u003c/p>\n\u003cp>Until a couple of months ago, that is. That was when Rivera, aka Chef E, suddenly reemerged at a little \u003ca href=\"https://www.instagram.com/p/DHb5KNvypBd/\">pop-up takeout window in Vallejo\u003c/a>, where for a short time he was selling the same food I remembered from all those years ago — the same yellow rice flecked with pigeon peas and pimento olives, the ultra-crisp tostones and tangy mayuketchu. And if all goes according to plan, next month Rivera will complete his comeback. He’s opening a new restaurant in East Oakland’s San Antonio neighborhood called \u003ca href=\"https://www.instagram.com/puertoricanstreetcuisine/\">Puerto Rican Street Cuisine\u003c/a> that’ll serve all of the old favorites from Borinquen Soul. It will once again be the only full-fledged Puerto Rican restaurant in Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13977966\" class=\"wp-caption alignnone\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13977966\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Puerto-Rican-Street-Cuisine_EG_27_qed.jpg\" alt='Two men stand on the roof of a restaurant holding a large Puerto Rican flag. The sign on the restaurant reads, \"Puerto Rican Street Cuisine.\"' width=\"1999\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Puerto-Rican-Street-Cuisine_EG_27_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Puerto-Rican-Street-Cuisine_EG_27_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Puerto-Rican-Street-Cuisine_EG_27_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Puerto-Rican-Street-Cuisine_EG_27_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">Chefs Eric Rivera (center) and Chris Lopez and stand on the roof of the 23rd Avenue restaurant in East Oakland. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This place is going to be an incredible spot in these next few months, where you can just get the best of the best food,” he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And as it turns out, there was a good reason why Rivera put his business on pause for seven years: He spent most of that time in jail, awaiting trial for a crime he says he didn’t commit.\u003c/p>\n\u003ch2>A Life-Changing Turn of Events\u003c/h2>\n\u003cp>Born and bred in the Bronx, Rivera moved to the Bay Area to live with his aunt when he was a teenager, graduating from Independence High School in San Jose in the early ’90s. Back then, he was an up-and-coming rapper, performing under the name Mookie D. He was a member of the San Jose rap crew \u003ca href=\"https://www.youtube.com/watch?v=N7SMjhzvxQ4\">Red Black & Green\u003c/a>, which put out an EP produced by KutMasta Kurt. He was good friends with \u003ca href=\"https://www.kqed.org/arts/13868241/sway-calloways-free-block-party-celebrates-oaklands-cultural-well\">Sway Calloway\u003c/a>, too, in those early years before Sway became one of the hip-hop world’s most prominent interviewers and tastemakers — Rivera even wound up rapping on one of the first episodes of Sway’s \u003ci>Wake Up Show\u003c/i> on KMEL.\u003c/p>\n\u003cp>After high school, Rivera moved back to New York before returning to the Bay for good in 2008, dabbling in different jobs before he got serious about cooking. He was an amateur MMA fighter for a time and then worked as a strength and conditioning coach for the Oakland Raiders. In 2012, he and fellow Bronx transplant Chris Caraballo officially launched \u003ca href=\"https://www.facebook.com/borinquensoulwepa/\">Borinquen Soul\u003c/a>, initially as a food truck — the very first Puerto Rican food truck in the Bay Area.\u003c/p>\n\u003cp>Back then, Rivera recalls, it was just about impossible to find proper Puerto Rican food in the Bay: “When we came from New York, we got homesick right away. The food here wasn’t hitting home.” He and Caraballo started pulling up to Bay Area nightclubs, blasting loud salsa music from the truck when the clubs were letting out for the night.\u003c/p>\n\u003cfigure id=\"attachment_13977875\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13977875\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/PUERTO-RICAN-STREET-CUISINE_EG_16-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/PUERTO-RICAN-STREET-CUISINE_EG_16-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/PUERTO-RICAN-STREET-CUISINE_EG_16-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/PUERTO-RICAN-STREET-CUISINE_EG_16-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/PUERTO-RICAN-STREET-CUISINE_EG_16-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rivera prepares a plate of food for workers at the businesses surrounding his restaurant. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It just became an overnight hit,” Rivera says. “People were hitting us up like, ‘Bro, I don’t know how to pronounce your name, but man, that was the best food I ever had!’ It was just the best feeling in the world.”\u003c/p>\n\u003cp>The truck quickly built up a large fan base, which stayed loyal through the business’ remarkable three-year run inside the Two Star Market liquor store, from 2015 to 2017.\u003c/p>\n\u003cp>In many ways, then, the summer of 2018 was the high point of Rivera’s cooking career. Even though he’d closed Borinquen Soul after parting ways with Caraballo, his new restaurant, W.E.P.A.! (Where Everybody Parties At), was already \u003ca href=\"https://eastbayexpress.com/wepa-at-brix-581-rises-from-the-ashes-of-borinquen-soul-2-1/\">making a name for itself\u003c/a> with its menu of homey Puerto Rican dishes served inside a Jack London nightclub. Then came the ultimate validation: In June of that year, W.E.P.A.! got the \u003ca href=\"https://www.youtube.com/watch?v=w1oCNZuaF4I&t=247s\">\u003ci>Diners, Drive-Ins & Dives \u003c/i>treatment\u003c/a>, as the Bleached One himself gave Rivera’s loaded plantains and chicken chicharron mofongo the Flavortown stamp of approval. For a small, relatively unknown restaurant like Rivera’s, that kind of national TV exposure had the potential to be \u003ca href=\"https://www.eater.com/2018/12/20/18150707/guy-fieri-diners-drive-ins-and-dives-good-for-restaurant-business\">life-changing\u003c/a>. “It was like a dream come true, man,” Rivera recalls.\u003c/p>\n\u003cfigure id=\"attachment_13977878\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13977878\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/PUERTO-RICAN-STREET-CUISINE_EG_23-KQED.jpg\" alt=\"A tray of fried plantains under a heat lamp.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/PUERTO-RICAN-STREET-CUISINE_EG_23-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/PUERTO-RICAN-STREET-CUISINE_EG_23-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/PUERTO-RICAN-STREET-CUISINE_EG_23-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/PUERTO-RICAN-STREET-CUISINE_EG_23-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A tray of tostones and fried sweet plantains kept warm under a heat lamp. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Just a month later, that dream turned into a nightmare. Rivera says he was getting ready to open the restaurant on a Thursday afternoon when police officers showed up — without a warrant, he says — and grabbed him in the doorway. Rivera was arrested on a robbery charge and wound up serving five and a half years behind bars for a crime he insists he didn’t commit. He says there was even video evidence that proved he was at his restaurant the night the robbery took place.\u003c/p>\n\u003cp>Rivera eventually signed a plea deal, though, after he’d already been held in Dublin’s \u003ca href=\"https://www.kqed.org/news/11945438/community-and-civil-rights-groups-hold-vigil-and-rally-over-recent-deaths-at-santa-rita-jail\">notoriously dangerous\u003c/a> Santa Rita Jail for four years without a trial. He says Alameda County prosecutors kept finding reasons to postpone the trial — a sign, he believes, that they knew they didn’t have a case. Still, the long years and \u003ca href=\"https://www.kqed.org/news/11918230/grand-jury-major-health-and-safety-violations-at-santa-rita-jail-require-urgent-attention\">awful conditions\u003c/a> in jail had worn him down. Rivera’s mother passed away while he was at Santa Rita. And like many of the inmates there, he spent most of his time in “\u003ca href=\"https://www.aclu.org/news/prisoners-rights/i-spent-16-months-solitary-confinement-and-now-im\">23 and 1\u003c/a>” solitary confinement, trapped inside his own thoughts, allowed outside his cell for only one hour a day. Rivera says prosecutors led him to believe that if he signed the plea agreement, he would be set free right away on time served. Instead, he wound up spending another year and a half in prison.\u003c/p>\n\u003cp>The whole ordeal turned Rivera into something of an activist. Toward the end of his time at Santa Rita, he \u003ca href=\"https://www.ktvu.com/news/protest-at-santa-rita-jail-over-inedible-food-and-sheriffs-profit-on-rising-commissary-prices\">participated in a hunger strike\u003c/a> to protest the inedible, often rat-feces-infested food there (now the subject of a \u003ca href=\"https://clearinghouse.net/case/17341/\">class action lawsuit\u003c/a> that he’s joined). He’s also preparing to file civil lawsuits against both OPD and the California Parole Board.\u003c/p>\n\u003cp>At the same time, Rivera believes his time in prison ultimately helped him to become a better, stronger person. He’d once turned a bit of common Puerto Rican slang — “\u003ca href=\"https://www.newsweek.com/what-wepa-puerto-rico-aid-bill-named-slang-means-cool-704857\">wepa\u003c/a>,” meaning “cool” or “all right!” — into a restaurant concept. One day, while he was in solitary lockdown, a new acronym appeared to him in a vision. Instead of lamenting, “why me,” Rivera spun those letters into a more positive mindset: “Whatever Happens, You Must Embrace.”\u003c/p>\n\u003cp>“I focused on how do I make myself better,” he says. “That’s essentially what happened.”\u003c/p>\n\u003cfigure id=\"attachment_13977872\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13977872\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/PUERTO-RICAN-STREET-CUISINE_EG_09-KQED.jpg\" alt=\"Pink beans strained in a colander held over a large pot.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/PUERTO-RICAN-STREET-CUISINE_EG_09-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/PUERTO-RICAN-STREET-CUISINE_EG_09-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/PUERTO-RICAN-STREET-CUISINE_EG_09-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/PUERTO-RICAN-STREET-CUISINE_EG_09-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Habichuelas guisa — pink beans stewed in a sofrito base. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And, as it turns out, he was able to start cooking again. Rivera says he was put in jail so soon after his feature on \u003ci>Diners, Drive-ins & Dives\u003c/i> that the episode was still airing regularly. When he was transferred to the state prison in Jamestown, a prison officer who had seen the show recognized him and said, “Man, I know you! What are you doing here?” The prison officer wound up recruiting Rivera to cook in the Jamestown prison kitchen, which he agreed to do — feeding 3,000 inmates at a time — as long as they let him make Puerto Rican food. Eventually, he was transferred over to become the head chef at the \u003ca href=\"https://www.cdcr.ca.gov/facility-locator/conservation-camps/ben-lomond/\">Ben Lomond fire camp\u003c/a>, in the Santa Cruz mountains, where he was tasked with cooking for the \u003ca href=\"https://www.kqed.org/news/12021720/californias-reliance-on-incarcerated-firefighters-sparks-debate-over-low-pay-and-dangerous-work\">incarcerated firefighters\u003c/a> assigned to battle the region’s ongoing wildfires.\u003c/p>\n\u003cp>“I was cooking yellow rice. I was cooking carne guisa. We were doing habichuelas guisa,” Rivera says, laughing. “We were giving them the best food they ever had.”\u003c/p>\n\u003ch2>An Improbable Comeback\u003c/h2>\n\u003cp>Since getting out of prison in December of 2023, Rivera says he’s been slowly working his way back into the Bay Area food scene, doing a handful of pop-ups and festivals and picking up catering jobs here and there. The whole time he’s been struck by just how many customers he’s run into who still have fond memories of Borinquen Soul — of snagging a piece of crispy pork skin from the Two Star Market location’s weekend pernil or, even earlier, buying chicken-and-rice plates off the food truck.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/span>For a tiny liquor store food operation that was only open for three years, Borinquen Soul had an outsized impact on the local food ecosystem. In fact, almost every notable Puerto Rican restaurant or food truck that’s opened in the Bay Area in the past decade has ties to that tiny convenience store kitchen. Anthony Lamboy of Boriqua Kitchen, the Bay Area’s \u003ca href=\"https://www.kqed.org/arts/13960344/puerto-rican-food-truck-boriqua-kitchen-bay-area-richmond\">only active Puerto Rican food truck\u003c/a>, did a stint at Borinquen Soul before branching out to open his own business. Cheo Ortiz, the chef-owner of La Perla, also started out as a cook there before taking over the Two Star Market’s kitchen once Borinquen Soul closed. He eventually expanded La Perla into a full-fledged Puerto Rican restaurant — \u003ca href=\"https://sf.eater.com/2021/2/1/22256408/la-perla-puerto-rican-restaurant-oakland-opening\">Oakland’s only one\u003c/a> until it relocated to Castro Valley \u003ca href=\"https://www.instagram.com/p/DGFfaNdxfJr/?hl=en\">earlier this year\u003c/a>. And Lourdes Marquez-Nau, aka Chef Lulu, of vegan Puerto Rican spot \u003ca href=\"https://www.instagram.com/casaborinquena/\">Casa Borinqueña\u003c/a>, used to work the festival circuit with Rivera during that earlier food truck iteration of Borinquen Soul.\u003c/p>\n\u003cp>Call it the \u003ca href=\"https://www.nba.com/news/gregg-popovich-hall-of-fame-profile-2023\">Greg Popovich coaching tree\u003c/a> of Puerto Rican chefs in the Bay. As Rivera puts it, “Borinquen Soul was a big springboard for a lot of people to do really, really well.”\u003c/p>\n\u003cfigure id=\"attachment_13977873\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13977873\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/PUERTO-RICAN-STREET-CUISINE_EG_11-KQED.jpg\" alt=\"Two chefs add sliced onions to a big pot of stew.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/PUERTO-RICAN-STREET-CUISINE_EG_11-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/PUERTO-RICAN-STREET-CUISINE_EG_11-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/PUERTO-RICAN-STREET-CUISINE_EG_11-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/PUERTO-RICAN-STREET-CUISINE_EG_11-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rivera (center) and Lopez work on a big batch of pollo guisado. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rivera says he’s still close with all of those chefs. Just last week, Lamboy came over to the new spot to help him raise a Puerto Rican flag up on the roof. Meanwhile, Marquez-Nau, who just opened a second location of her restaurant \u003ca href=\"https://billypenn.com/2025/06/10/casa-borinquena-philly-vegan-puerto-rican-food-east-kensington/\">in Philadelphia\u003c/a>, recalls that she first got to know Rivera mostly as a customer — she, too, was a homesick New York boriqua who was craving real Puerto Rican food. She wound up helping out with the food truck, and when she decided to open her own business, Rivera came and showed her staff how to make the dough for alpacurrias (stuffed plantain fritters).\u003c/p>\n\u003cp>“He’s like a brother,” Marquez-Nau says. “I will support Eric any way I can.”\u003c/p>\n\u003cp>Rivera’s hope, of course, is that Puerto Rican Street Cuisine will be a similarly impactful restaurant — both for the local East Oakland community as well as the Bay Area’s wider Puerto Rican diaspora. To start, the restaurant will function just as a simple takeout window. He’ll sell all of the big Puerto Rican staples he used to serve at Borinquen Soul: pernil, chicken encebollado, carne guisa, arroz con gandules, empanadas, pasteles, alpacurrias, and both sweet and savory plantains. He’ll serve his signature dishes that \u003ci>Diners, Drive-ins & Dives \u003c/i>made famous, too — the canoa (loaded plantains) and the fried-chicken mofongo.\u003c/p>\n\u003cfigure id=\"attachment_13977879\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13977879\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/PUERTO-RICAN-STREET-CUISINE_EG_24-KQED.jpg\" alt=\"The back of a red chef's jacket. The text above the palm tree logo reads, "Puerto Rican Street Cuisine."\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/PUERTO-RICAN-STREET-CUISINE_EG_24-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/PUERTO-RICAN-STREET-CUISINE_EG_24-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/PUERTO-RICAN-STREET-CUISINE_EG_24-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/PUERTO-RICAN-STREET-CUISINE_EG_24-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rivera’s custom chef’s jacket. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a couple of months, he hopes to open for dine-in customers as well. There’s also a whole outdoor area in the back that he says is like a “hidden oasis,” where he eventually hopes to host private events, putting to use his custom slow cooker that can roast four pigs at once. And who knows? Eventually he’d like to expand to other locations as well, using his East Oakland flagship as a central hub to train his staff, just as he once taught other inmates to cook when he was the head chef in prison.\u003c/p>\n\u003cp>In some ways, Rivera’s journey to opening this new restaurant seems incredibly improbable after all these years. But he has lived and persevered through so many different lives already — a son of the Bronx, a rapper, a fighter, a coach, a chef, an entrepreneur, a prison activist, and now a chef once again. Who’s to say he’s done reinventing himself?\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/puertoricanstreetcuisine/\">\u003ci>Puerto Rican Street Cuisine\u003c/i>\u003c/a>\u003ci> will likely have its soft opening around the second week of July at 1430 23rd Ave. in Oakland. To start out, the restaurant will be open for takeout only.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Celebration of San Jose’s Afro-Latino Roots — With Empanadas",
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"content": "\u003cp>This weekend, \u003ca href=\"https://www.kqed.org/arts/tag/san-jose\">San Jose’s\u003c/a> History Park will waft with salsa music and the intoxicating smell of deep-fried empanadas. But while food will be abundant, Saturday’s inaugural \u003ca href=\"https://www.africanamericanheritagehouseinc.org/events-1/afro-latino-festival\">Afro-Latino Festival\u003c/a> also aspires to go beyond the usual fun and games associated with this kind of cultural celebration. It wants to teach visitors how Afro Latinos have been part of the city’s fabric since its earliest colonial days.\u003c/p>\n\u003cp>All in all, it’s one more reminder that \u003ca href=\"https://www.kqed.org/arts/13964538/silicon-valley-unseen-san-jose-south-bay-locals\">Silicon Valley is so much more\u003c/a> than just the home to our region’s high-tech overlords.\u003c/p>\n\u003cp>The festival is being organized and hosted by San Jose’s African American Heritage House (AAHH), a nonprofit community center dedicated to educating the public about the history of African Americans in Santa Clara County — an often overlooked history that goes back nearly 250 years. And so, in addition to celebrating Afro-Latino culture through lively music and delicious food, the goal of the festival is to make visitors aware of how much of that history is \u003ci>specifically \u003c/i>Afro-Latino: When El Pueblo de San José de Guadalupe was founded in 1777, the first batch of settlers included \u003ca href=\"https://www.kqed.org/news/11860455/since-before-the-beginning-the-black-pioneers-of-the-south-bay\">five families of mixed Mexican and African descent\u003c/a>.\u003c/p>\n\u003cp>“It really goes back to just what we were taught in school and what we were not taught. Everyone knows about the transatlantic slave trade, to an extent, but they think in terms of where we are in the USA, right? But before those slave ships came here, they went to Cuba first,” AAHH president Susan Rigmaiden explains. “[The festival is] just to raise awareness on that. There’s a lot of cultural diversity within what people see as African or Black descent.”\u003c/p>\n\u003cp>Rigmaiden says she’s actually not certain herself of the exact size or scope of the Afro-Latino and Afro-Caribbean communities in Silicon Valley today. Santa Clara County’s Black population, on the whole, sits at around just \u003ca href=\"https://www.census.gov/quickfacts/santaclaracountycalifornia\">2.9%\u003c/a>, and the readily available data doesn’t break down how many of those folks also identify as Latino. As Rigmaiden notes, a city like San Jose doesn’t really have a “Black side of town” these days, much less a specific Puerto Rican or Afro-Dominican neighborhood.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Part of the hope in launching this festival, then, is just to see who actually comes. “This is like a call to all people of Caribbean and Latin descent to come and join with us,” Rigmaiden says. “The South Bay community is just so interested in the whole diaspora of African descendants.”\u003c/p>\n\u003cfigure id=\"attachment_13973699\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973699\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/dona-aida.jpg\" alt=\"A tray of crispy fried empanadas.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/dona-aida.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/dona-aida-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/dona-aida-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/dona-aida-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/dona-aida-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/dona-aida-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A tray of Cuban-Puerto Rican empanadas from Doña Aida’s. \u003ccite>(Courtesy of Doña Aida's Empanadas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">[aside postID='arts_13960344,arts_13965475']\u003c/span>\u003c/span>Of course, the Afro-Latino Festival will boast no shortage of fun and games too — and, especially, of good food. Confirmed vendors, most of which are run by folks of Afro-Latino descent, include Nuyorican Empanadas, a Vallejo-based Puerto Rican food business known for its arroz con gandules plates. \u003ca href=\"https://www.instagram.com/donaaidasempanadas/?hl=en\">Doña Aida’s Empanadas\u003c/a>, a Cuban-Puerto Rican pop-up based out of San Leandro, will be on hand to sell its trademark array of crispy crab, cheese and beef empanadas. There will also be a taco truck and a churro vendor, and Rigmaiden says she’s in the process of trying to add a Guatemalan food truck and a Salvadoran food truck to the lineup as well.\u003c/p>\n\u003cp>The festival will also feature the mix of clothing and jewelry vendors typical for this kind of cultural event, and a musical lineup headlined by Mio Flores’ SalSazz AllStars. Meanwhile, inside the Heritage House, an array of art exhibits and short films will allow visitors to delve more deeply into the region’s Afro Latino history — as well as more current topics, like one film that addresses the challenges that Blaxicans (Americans of Black and Mexican descent) still face today.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The Afro-Latino Festival will take place on Saturday, March 29, noon–6 p.m., at History Park (635 Phelan Rd.) in San Jose. Admission is free, but organizers are asking visitors to \u003c/i>\u003ca href=\"https://www.eventbrite.com/e/afro-latino-festival-in-san-jose-family-friendly-tickets-1280917050379\">\u003ci>pre-register online\u003c/i>\u003c/a>\u003ci>. \u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This weekend, \u003ca href=\"https://www.kqed.org/arts/tag/san-jose\">San Jose’s\u003c/a> History Park will waft with salsa music and the intoxicating smell of deep-fried empanadas. But while food will be abundant, Saturday’s inaugural \u003ca href=\"https://www.africanamericanheritagehouseinc.org/events-1/afro-latino-festival\">Afro-Latino Festival\u003c/a> also aspires to go beyond the usual fun and games associated with this kind of cultural celebration. It wants to teach visitors how Afro Latinos have been part of the city’s fabric since its earliest colonial days.\u003c/p>\n\u003cp>All in all, it’s one more reminder that \u003ca href=\"https://www.kqed.org/arts/13964538/silicon-valley-unseen-san-jose-south-bay-locals\">Silicon Valley is so much more\u003c/a> than just the home to our region’s high-tech overlords.\u003c/p>\n\u003cp>The festival is being organized and hosted by San Jose’s African American Heritage House (AAHH), a nonprofit community center dedicated to educating the public about the history of African Americans in Santa Clara County — an often overlooked history that goes back nearly 250 years. And so, in addition to celebrating Afro-Latino culture through lively music and delicious food, the goal of the festival is to make visitors aware of how much of that history is \u003ci>specifically \u003c/i>Afro-Latino: When El Pueblo de San José de Guadalupe was founded in 1777, the first batch of settlers included \u003ca href=\"https://www.kqed.org/news/11860455/since-before-the-beginning-the-black-pioneers-of-the-south-bay\">five families of mixed Mexican and African descent\u003c/a>.\u003c/p>\n\u003cp>“It really goes back to just what we were taught in school and what we were not taught. Everyone knows about the transatlantic slave trade, to an extent, but they think in terms of where we are in the USA, right? But before those slave ships came here, they went to Cuba first,” AAHH president Susan Rigmaiden explains. “[The festival is] just to raise awareness on that. There’s a lot of cultural diversity within what people see as African or Black descent.”\u003c/p>\n\u003cp>Rigmaiden says she’s actually not certain herself of the exact size or scope of the Afro-Latino and Afro-Caribbean communities in Silicon Valley today. Santa Clara County’s Black population, on the whole, sits at around just \u003ca href=\"https://www.census.gov/quickfacts/santaclaracountycalifornia\">2.9%\u003c/a>, and the readily available data doesn’t break down how many of those folks also identify as Latino. As Rigmaiden notes, a city like San Jose doesn’t really have a “Black side of town” these days, much less a specific Puerto Rican or Afro-Dominican neighborhood.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Part of the hope in launching this festival, then, is just to see who actually comes. “This is like a call to all people of Caribbean and Latin descent to come and join with us,” Rigmaiden says. “The South Bay community is just so interested in the whole diaspora of African descendants.”\u003c/p>\n\u003cfigure id=\"attachment_13973699\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973699\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/dona-aida.jpg\" alt=\"A tray of crispy fried empanadas.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/dona-aida.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/dona-aida-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/dona-aida-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/dona-aida-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/dona-aida-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/dona-aida-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A tray of Cuban-Puerto Rican empanadas from Doña Aida’s. \u003ccite>(Courtesy of Doña Aida's Empanadas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/span>Of course, the Afro-Latino Festival will boast no shortage of fun and games too — and, especially, of good food. Confirmed vendors, most of which are run by folks of Afro-Latino descent, include Nuyorican Empanadas, a Vallejo-based Puerto Rican food business known for its arroz con gandules plates. \u003ca href=\"https://www.instagram.com/donaaidasempanadas/?hl=en\">Doña Aida’s Empanadas\u003c/a>, a Cuban-Puerto Rican pop-up based out of San Leandro, will be on hand to sell its trademark array of crispy crab, cheese and beef empanadas. There will also be a taco truck and a churro vendor, and Rigmaiden says she’s in the process of trying to add a Guatemalan food truck and a Salvadoran food truck to the lineup as well.\u003c/p>\n\u003cp>The festival will also feature the mix of clothing and jewelry vendors typical for this kind of cultural event, and a musical lineup headlined by Mio Flores’ SalSazz AllStars. Meanwhile, inside the Heritage House, an array of art exhibits and short films will allow visitors to delve more deeply into the region’s Afro Latino history — as well as more current topics, like one film that addresses the challenges that Blaxicans (Americans of Black and Mexican descent) still face today.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The Afro-Latino Festival will take place on Saturday, March 29, noon–6 p.m., at History Park (635 Phelan Rd.) in San Jose. Admission is free, but organizers are asking visitors to \u003c/i>\u003ca href=\"https://www.eventbrite.com/e/afro-latino-festival-in-san-jose-family-friendly-tickets-1280917050379\">\u003ci>pre-register online\u003c/i>\u003c/a>\u003ci>. \u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Many Friday nights, I’ve pulled up to the \u003ca href=\"https://www.kqed.org/arts/tag/richmond\">Richmond\u003c/a> Costco to grab a quick, comforting dinner — not of the warehouse retailer’s famously cheap hot dogs and rotisserie chicken, but something much better: a heaping arroz con gandules combo plate from the food truck parked outside.\u003c/p>\n\u003cp>Such are the pleasures of \u003ca href=\"https://www.instagram.com/boriquakitchen/\">Boriqua Kitchen\u003c/a>. As the Bay Area’s only Puerto Rican food truck, it has routinely drawn big crowds at its regular stops — in Richmond, Vallejo and Oakland — where customers line up for chef-owner Darren Anthony Lamboy’s signature “#21 Roberto Clemente” (fried boneless chicken thigh pieces with rice, beans and sweet plantains); its crisp, garlicky tostones; and perhaps my favorite empanadas in the Bay — the deep-fried Puerto Rican variety, stuffed chock-full with incredibly juicy, well-seasoned ground beef.\u003c/p>\n\u003cfigure id=\"attachment_13960349\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13960349 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/boriqua-sign-800x1067.jpg\" alt='A wooden menu signboard reads \"Puerto Rican Street Food\" at the top.' width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/boriqua-sign-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/boriqua-sign-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/boriqua-sign-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/boriqua-sign-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/boriqua-sign-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/boriqua-sign-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/boriqua-sign.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Boriqua 2.0 will expand on its old menu (pictured here) with a number of homestyle specials. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All until this past spring, anyway, when Lamboy \u003ca href=\"https://www.instagram.com/p/C4v8Sy9v91g/?img_index=1\">announced that the business was closing\u003c/a>, at least until he was able to secure enough funds to purchase a new food truck.\u003c/p>\n\u003cp>Good news, though, for longtime customers in need of their sofrito and mayuketchup fix: Just three months later, Lamboy was in fact able to buy that new truck. Now, if all goes according to plan, the chef will launch Boriqua Kitchen 2.0 in the next couple of weeks — with an updated menu he promises will be bigger and better than ever.\u003c/p>\n\u003cp>Born and raised in Jersey City, New Jersey (with its robust Puerto Rican community), Lamboy has been a staple of the Bay Area’s small but growing Puerto Rican food scene since the mid-2010s. He briefly helped out at \u003ca href=\"https://eastbayexpress.com/borinquen-soul-dishes-out-puerto-rican-grandma-food-inside-an-oakland-convenience-store-2-1/\">Borinquen Soul\u003c/a> — a legendary, now-shuttered spot inside an Oakland convenience store — before attending culinary school and then launching Boriqua Kitchen in 2017.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But after six and a half years, the old trailer had accumulated a lot of wear and tear and needed to be brought up to code, Lamboy explains. “It served its purpose,” he says. “It was time to get a new one.”\u003c/p>\n\u003cp>Part of what the shiny new truck, along with a new commissary kitchen in Albany̦, will allow Lamboy to do is expand his menu beyond its six or seven best-known staples. So he plans to bring back his alcapurria — the custardy, oblong beef picadillo fritters — which many regard to be the \u003ca href=\"https://sf.eater.com/2019/9/24/20881911/puerto-rican-food-alcapurrias-bay-area-food-truck-boriqua-kitchen\">best in the Bay Area\u003c/a>, but rarely showed up on the menu the past couple of years. He’ll serve mini mofongos (mashed fried plantains) and, as an occasional special, the slow-roasted, crispy-skinned pork shoulder known as pernil.\u003c/p>\n\u003cfigure id=\"attachment_13960350\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960350\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/boriqua-pork-chop.jpg\" alt=\"Fried pork chops over yellow rice in a takeout carton.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/boriqua-pork-chop.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/boriqua-pork-chop-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/boriqua-pork-chop-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/boriqua-pork-chop-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/boriqua-pork-chop-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/boriqua-pork-chop-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The ‘piñones’ fried pork chop meal. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">[aside postID='arts_13919177,arts_13920581']\u003c/span>\u003c/span>Indeed, Lamboy says he’s most excited about the opportunity to offer more “authentic” homestyle chef’s specials — dishes like sancocho, a hearty meat-and-vegetable stew, and his homemade rum cake. “That’s what I want to be known for: being authentic and consistent,” Lamboy says. “Those are the two things I take to the heart.”\u003c/p>\n\u003cp>As for Boriqua Kitchen’s grand reopening, Lamboy says the new truck is currently en route. If there isn’t an unexpected delay, he hopes to relaunch the business with an all-day celebration in the park — maybe at Lake Merritt, though he hasn’t yet decided on the exact time and place.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/boriquakitchen/\">\u003ci>Follow Boriqua Kitchen on Instagram\u003c/i>\u003c/a>\u003ci> for updates on the food truck’s schedule and reopening date.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Many Friday nights, I’ve pulled up to the \u003ca href=\"https://www.kqed.org/arts/tag/richmond\">Richmond\u003c/a> Costco to grab a quick, comforting dinner — not of the warehouse retailer’s famously cheap hot dogs and rotisserie chicken, but something much better: a heaping arroz con gandules combo plate from the food truck parked outside.\u003c/p>\n\u003cp>Such are the pleasures of \u003ca href=\"https://www.instagram.com/boriquakitchen/\">Boriqua Kitchen\u003c/a>. As the Bay Area’s only Puerto Rican food truck, it has routinely drawn big crowds at its regular stops — in Richmond, Vallejo and Oakland — where customers line up for chef-owner Darren Anthony Lamboy’s signature “#21 Roberto Clemente” (fried boneless chicken thigh pieces with rice, beans and sweet plantains); its crisp, garlicky tostones; and perhaps my favorite empanadas in the Bay — the deep-fried Puerto Rican variety, stuffed chock-full with incredibly juicy, well-seasoned ground beef.\u003c/p>\n\u003cfigure id=\"attachment_13960349\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13960349 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/boriqua-sign-800x1067.jpg\" alt='A wooden menu signboard reads \"Puerto Rican Street Food\" at the top.' width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/boriqua-sign-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/boriqua-sign-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/boriqua-sign-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/boriqua-sign-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/boriqua-sign-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/boriqua-sign-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/boriqua-sign.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Boriqua 2.0 will expand on its old menu (pictured here) with a number of homestyle specials. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All until this past spring, anyway, when Lamboy \u003ca href=\"https://www.instagram.com/p/C4v8Sy9v91g/?img_index=1\">announced that the business was closing\u003c/a>, at least until he was able to secure enough funds to purchase a new food truck.\u003c/p>\n\u003cp>Good news, though, for longtime customers in need of their sofrito and mayuketchup fix: Just three months later, Lamboy was in fact able to buy that new truck. Now, if all goes according to plan, the chef will launch Boriqua Kitchen 2.0 in the next couple of weeks — with an updated menu he promises will be bigger and better than ever.\u003c/p>\n\u003cp>Born and raised in Jersey City, New Jersey (with its robust Puerto Rican community), Lamboy has been a staple of the Bay Area’s small but growing Puerto Rican food scene since the mid-2010s. He briefly helped out at \u003ca href=\"https://eastbayexpress.com/borinquen-soul-dishes-out-puerto-rican-grandma-food-inside-an-oakland-convenience-store-2-1/\">Borinquen Soul\u003c/a> — a legendary, now-shuttered spot inside an Oakland convenience store — before attending culinary school and then launching Boriqua Kitchen in 2017.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But after six and a half years, the old trailer had accumulated a lot of wear and tear and needed to be brought up to code, Lamboy explains. “It served its purpose,” he says. “It was time to get a new one.”\u003c/p>\n\u003cp>Part of what the shiny new truck, along with a new commissary kitchen in Albany̦, will allow Lamboy to do is expand his menu beyond its six or seven best-known staples. So he plans to bring back his alcapurria — the custardy, oblong beef picadillo fritters — which many regard to be the \u003ca href=\"https://sf.eater.com/2019/9/24/20881911/puerto-rican-food-alcapurrias-bay-area-food-truck-boriqua-kitchen\">best in the Bay Area\u003c/a>, but rarely showed up on the menu the past couple of years. He’ll serve mini mofongos (mashed fried plantains) and, as an occasional special, the slow-roasted, crispy-skinned pork shoulder known as pernil.\u003c/p>\n\u003cfigure id=\"attachment_13960350\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960350\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/boriqua-pork-chop.jpg\" alt=\"Fried pork chops over yellow rice in a takeout carton.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/boriqua-pork-chop.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/boriqua-pork-chop-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/boriqua-pork-chop-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/boriqua-pork-chop-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/boriqua-pork-chop-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/boriqua-pork-chop-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The ‘piñones’ fried pork chop meal. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/span>Indeed, Lamboy says he’s most excited about the opportunity to offer more “authentic” homestyle chef’s specials — dishes like sancocho, a hearty meat-and-vegetable stew, and his homemade rum cake. “That’s what I want to be known for: being authentic and consistent,” Lamboy says. “Those are the two things I take to the heart.”\u003c/p>\n\u003cp>As for Boriqua Kitchen’s grand reopening, Lamboy says the new truck is currently en route. If there isn’t an unexpected delay, he hopes to relaunch the business with an all-day celebration in the park — maybe at Lake Merritt, though he hasn’t yet decided on the exact time and place.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/boriquakitchen/\">\u003ci>Follow Boriqua Kitchen on Instagram\u003c/i>\u003c/a>\u003ci> for updates on the food truck’s schedule and reopening date.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13933529\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933529\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/cover_custom-55176823d72bd2bbb7e4d3f04fe93a5eef22f179-800x1209.jpg\" alt=\"A book cover featuring an illustration of two women with brown skin and Black wavy hair face to face. Above them floats another female figure almost acting as a sort of guardian.\" width=\"800\" height=\"1209\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/cover_custom-55176823d72bd2bbb7e4d3f04fe93a5eef22f179-800x1209.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/cover_custom-55176823d72bd2bbb7e4d3f04fe93a5eef22f179-1020x1542.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/cover_custom-55176823d72bd2bbb7e4d3f04fe93a5eef22f179-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/cover_custom-55176823d72bd2bbb7e4d3f04fe93a5eef22f179-768x1161.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/cover_custom-55176823d72bd2bbb7e4d3f04fe93a5eef22f179-1016x1536.jpg 1016w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/cover_custom-55176823d72bd2bbb7e4d3f04fe93a5eef22f179-1355x2048.jpg 1355w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/cover_custom-55176823d72bd2bbb7e4d3f04fe93a5eef22f179.jpg 1588w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Daughters of Latin America.’ \u003ccite>(Harper Collins)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Award-winning writer, editor and filmmaker Sandra Guzmán once heard an alarming statistic: Every 14 days, an Indigenous language dies around the world.\u003c/p>\n\u003cp>That is, in part, what prompted her to seek out those voices for a new multilingual project centered on Latin American women. The result is the book, \u003cem>Daughters of Latin America: An International Anthology of Writing by Latine Women\u003c/em>, which compiles the work of 140 writers, activists and thought leaders from the region.\u003c/p>\n\u003cp>[aside postid='arts_13932147']“What clicked was this notion that whenever we think about writers, we don’t automatically think of a Latin American woman writer,” Guzmán told \u003cem>All Things Considered\u003c/em>. “We don’t think of an Esmeralda Santiago or a Sandra Cisneros … or Guadeloupe’s masterful writer Maryse Condé or Edwidge Danticat.”\u003c/p>\n\u003cp>“And these are women who have historically written and guided me, and so why not bring together the voices in one volume?”\u003c/p>\n\u003cp>Guzmán also took inspiration from an existing collection, called \u003cem>New Daughters of Africa: An International Anthology of Writing by Women of African Descent\u003c/em>. It features more than 200 women from that region.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Her anthology weaves poems, short stories, essays, speeches and more. The contributors live across the Americas and the Caribbean, in Europe and in other parts of the world; some are immigrants, others are members of Indigenous communities. And there are more than 20 languages in the book.\u003c/p>\n\u003cp>“We are one of the most multilingual, multiethnic, multiracial, multireligious regions in the world,” Guzmán said. “So for me, it was really important to convey that diversity.”\u003c/p>\n\u003cp>There is, for example, Rosa Chávez, a Maya K’iche’-Kaqchikel poet and artist from Guatemala. A few of her poems appear in the Kʼicheʼ language in the anthology as well as in English. The poem, \u003cem>Speak to me in the language of time, \u003c/em>was translated from Spanish by Gabriela Ramirez- Chávez:\u003c/p>\n\u003cblockquote>\u003cp>Speak to me in the language of time\u003c/p>\n\u003cp>shake me in the silence of the stars\u003c/p>\n\u003cp>wake merely before drifting back to sleep\u003c/p>\n\u003cp>so I can love you with my domesticated tongue\u003c/p>\n\u003cp>so your barefoot voice plays inside my body.\u003c/p>\n\u003cp>Speak to me with the sun’s tongue\u003c/p>\n\u003cp>tell me green words that ripen on my skin\u003c/p>\n\u003cp>join your name to mine\u003c/p>\n\u003cp>and love me with your two hearts.\u003c/p>\u003c/blockquote>\n\u003cp>There is also Sonia Guiñansaca, who was born in Ecuador and raised in Harlem, NY. They are a Kichwa-Kañari poet, culture strategist and activist. This is an excerpt of their poem, \u003cem>Runa in Translation\u003c/em>:\u003c/p>\n\u003cblockquote>\u003cp>There is a longing to write this poem in Kichwa / I speak broken\u003c/p>\n\u003cp>Spanish / English with a heavy New York City accent / I wonder if my\u003c/p>\n\u003cp>tongue will ever heal from the breaking /\u003c/p>\n\u003cp>A breaking like when I am around other Kichwas\u003c/p>\n\u003cp>and I cannot understand them /\u003c/p>\n\u003cp>I wonder sometimes (most times) if I’m real / At age five I am plucked\u003c/p>\n\u003cp>from Ecuador and flown to the U.S. / For a brief moment I am given a new\u003c/p>\n\u003cp>name and my hair is cut / and my burgundy luggage goes missing / So I\u003c/p>\n\u003cp>arrive with nothing / I think that I am nothing through middle school / And\u003c/p>\n\u003cp>in high school I stop existing / I nest in my mouth / Quietly /Kikinka\u003c/p>\n\u003cp>maymantatak kanki\u003c/p>\u003c/blockquote>\n\u003cp>Guzmán said she also wanted to put Afro-Latinas front and center in this collection: “It’s really important for me as an Afro-Indigenous woman to include women who have paved the way for us.”\u003c/p>\n\u003cp>One example is Mary Grueso Romero, a poet, children’s literature author and Spanish professor from Colombia. Here’s an excerpt of her poem, \u003cem>Si Dios hubiese nacido aquí (If God had been born here)\u003c/em>, translated into English by Guzmán herself:\u003c/p>\n\u003cblockquote>\u003cp>If God had been born here\u003c/p>\n\u003cp>he’d be a fisherman,\u003c/p>\n\u003cp>eat chontaduro\u003c/p>\n\u003cp>and drink borojó.\u003c/p>\n\u003cp>María would be Black\u003c/p>\n\u003cp>big boned like me\u003c/p>\n\u003cp>and on top of her head would carry a platter of fish\u003c/p>\n\u003cp>offering at the top of her lungs\u003c/p>\n\u003cp>through the town’s streets\u003c/p>\n\u003cp>to all the town folk:\u003c/p>\n\u003cp>“I have silky fish whole and intact;\u003c/p>\n\u003cp>snapper to eat fried,\u003c/p>\n\u003cp>ñato fo’ stewin,\u003c/p>\n\u003cp>tollo fo’ sweatin’\u003c/p>\n\u003cp>and canchimala for tapao.”\u003c/p>\n\u003cp>If God had been born here,\u003c/p>\n\u003cp>here on this coast,\u003c/p>\n\u003cp>he’d be a farmer\u003c/p>\n\u003cp>who’d harvest coconuts from the palm\u003c/p>\n\u003cp>grove with his muscled body\u003c/p>\n\u003cp>like a Black man from El Piñal,\u003c/p>\n\u003cp>with jet Black skin\u003c/p>\n\u003cp>and ivory teeth,\u003c/p>\n\u003cp>with tight coily hair\u003c/p>\n\u003cp>like he was a chacarrás.\u003c/p>\n\u003cp>On the Pacific plain\u003c/p>\n\u003cp>he’d harvest natos and mangroves\u003c/p>\n\u003cp>that he’d turn into rollers fo’ the rails to rest,\u003c/p>\n\u003cp>and he’d fish crabs\u003c/p>\n\u003cp>from the neighborhood caves.\u003c/p>\n\u003cp>If God had been born here,\u003c/p>\n\u003cp>here on this coast,\u003c/p>\n\u003cp>he’d feel his blood rise\u003c/p>\n\u003cp>at the sound of the drum.\u003c/p>\n\u003cp>He’d dance currulao with marimba and guasá,\u003c/p>\n\u003cp>he’d drink biche\u003c/p>\n\u003cp>in the patronal festival,\u003c/p>\n\u003cp>he’d feel on his own flesh\u003c/p>\n\u003cp>the inequality’s scorn for being Black,\u003c/p>\n\u003cp>for being poor,\u003c/p>\n\u003cp>and for being from this coast.\u003c/p>\u003c/blockquote>\n\u003cp>Guzmán also wanted to highlight the works of Puerto Rican writers, explaining that they are often left in the margins.\u003c/p>\n\u003cp>“When anthologies are curated in the United States, for instance, we are often forgotten,” she said. “And when anthologies are curated in Latin America … we’re also forgotten.”\u003c/p>\n\u003cp>One of those she included was Esmeralda Santiago, a Puerto Rican novelist and memoirist who contributed the poem \u003cem>Mi Sangre \u003c/em>(\u003cem>My Blood\u003c/em>). Here’s an excerpt:\u003c/p>\n\u003cblockquote>\u003cp>I’ve left my blood in 49 states, 27 countries on five continents.\u003c/p>\n\u003cp>These days, my blood fills test tubes and spreads across specimen slides.\u003c/p>\n\u003cp>I bleed to delay death a sanguine stream to insufferable regions while my defiant blood pulses in the strangest place of all my children’s veins.\u003c/p>\u003c/blockquote>\n\u003cp>[aside postid='arts_13928174']Guzmán said she hopes this anthology will prompt people to read more of these artists — and others from the region — who live in all corners of the world.\u003c/p>\n\u003cp>“To understand Latin America through the lens of its women is to fully understand the cultures and the people that inhabit this region in different parts of the world,” she said.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>The poems in this article were adapted from \u003c/strong>\u003cstrong>\u003cem>Daughters of Latin America \u003c/em>\u003c/strong>\u003cstrong>edited by Sandra Guzmán and reprinted with permission from Amistad, an imprint of HarperCollins Publishers. Copyright 2023.\u003c/strong>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR.\u003c/a>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=These+poems+by+Latin+American+women+reflect+a+multilingual+region&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13933529\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933529\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/cover_custom-55176823d72bd2bbb7e4d3f04fe93a5eef22f179-800x1209.jpg\" alt=\"A book cover featuring an illustration of two women with brown skin and Black wavy hair face to face. Above them floats another female figure almost acting as a sort of guardian.\" width=\"800\" height=\"1209\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/cover_custom-55176823d72bd2bbb7e4d3f04fe93a5eef22f179-800x1209.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/cover_custom-55176823d72bd2bbb7e4d3f04fe93a5eef22f179-1020x1542.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/cover_custom-55176823d72bd2bbb7e4d3f04fe93a5eef22f179-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/cover_custom-55176823d72bd2bbb7e4d3f04fe93a5eef22f179-768x1161.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/cover_custom-55176823d72bd2bbb7e4d3f04fe93a5eef22f179-1016x1536.jpg 1016w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/cover_custom-55176823d72bd2bbb7e4d3f04fe93a5eef22f179-1355x2048.jpg 1355w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/cover_custom-55176823d72bd2bbb7e4d3f04fe93a5eef22f179.jpg 1588w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Daughters of Latin America.’ \u003ccite>(Harper Collins)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Award-winning writer, editor and filmmaker Sandra Guzmán once heard an alarming statistic: Every 14 days, an Indigenous language dies around the world.\u003c/p>\n\u003cp>That is, in part, what prompted her to seek out those voices for a new multilingual project centered on Latin American women. The result is the book, \u003cem>Daughters of Latin America: An International Anthology of Writing by Latine Women\u003c/em>, which compiles the work of 140 writers, activists and thought leaders from the region.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“What clicked was this notion that whenever we think about writers, we don’t automatically think of a Latin American woman writer,” Guzmán told \u003cem>All Things Considered\u003c/em>. “We don’t think of an Esmeralda Santiago or a Sandra Cisneros … or Guadeloupe’s masterful writer Maryse Condé or Edwidge Danticat.”\u003c/p>\n\u003cp>“And these are women who have historically written and guided me, and so why not bring together the voices in one volume?”\u003c/p>\n\u003cp>Guzmán also took inspiration from an existing collection, called \u003cem>New Daughters of Africa: An International Anthology of Writing by Women of African Descent\u003c/em>. It features more than 200 women from that region.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Her anthology weaves poems, short stories, essays, speeches and more. The contributors live across the Americas and the Caribbean, in Europe and in other parts of the world; some are immigrants, others are members of Indigenous communities. And there are more than 20 languages in the book.\u003c/p>\n\u003cp>“We are one of the most multilingual, multiethnic, multiracial, multireligious regions in the world,” Guzmán said. “So for me, it was really important to convey that diversity.”\u003c/p>\n\u003cp>There is, for example, Rosa Chávez, a Maya K’iche’-Kaqchikel poet and artist from Guatemala. A few of her poems appear in the Kʼicheʼ language in the anthology as well as in English. The poem, \u003cem>Speak to me in the language of time, \u003c/em>was translated from Spanish by Gabriela Ramirez- Chávez:\u003c/p>\n\u003cblockquote>\u003cp>Speak to me in the language of time\u003c/p>\n\u003cp>shake me in the silence of the stars\u003c/p>\n\u003cp>wake merely before drifting back to sleep\u003c/p>\n\u003cp>so I can love you with my domesticated tongue\u003c/p>\n\u003cp>so your barefoot voice plays inside my body.\u003c/p>\n\u003cp>Speak to me with the sun’s tongue\u003c/p>\n\u003cp>tell me green words that ripen on my skin\u003c/p>\n\u003cp>join your name to mine\u003c/p>\n\u003cp>and love me with your two hearts.\u003c/p>\u003c/blockquote>\n\u003cp>There is also Sonia Guiñansaca, who was born in Ecuador and raised in Harlem, NY. They are a Kichwa-Kañari poet, culture strategist and activist. This is an excerpt of their poem, \u003cem>Runa in Translation\u003c/em>:\u003c/p>\n\u003cblockquote>\u003cp>There is a longing to write this poem in Kichwa / I speak broken\u003c/p>\n\u003cp>Spanish / English with a heavy New York City accent / I wonder if my\u003c/p>\n\u003cp>tongue will ever heal from the breaking /\u003c/p>\n\u003cp>A breaking like when I am around other Kichwas\u003c/p>\n\u003cp>and I cannot understand them /\u003c/p>\n\u003cp>I wonder sometimes (most times) if I’m real / At age five I am plucked\u003c/p>\n\u003cp>from Ecuador and flown to the U.S. / For a brief moment I am given a new\u003c/p>\n\u003cp>name and my hair is cut / and my burgundy luggage goes missing / So I\u003c/p>\n\u003cp>arrive with nothing / I think that I am nothing through middle school / And\u003c/p>\n\u003cp>in high school I stop existing / I nest in my mouth / Quietly /Kikinka\u003c/p>\n\u003cp>maymantatak kanki\u003c/p>\u003c/blockquote>\n\u003cp>Guzmán said she also wanted to put Afro-Latinas front and center in this collection: “It’s really important for me as an Afro-Indigenous woman to include women who have paved the way for us.”\u003c/p>\n\u003cp>One example is Mary Grueso Romero, a poet, children’s literature author and Spanish professor from Colombia. Here’s an excerpt of her poem, \u003cem>Si Dios hubiese nacido aquí (If God had been born here)\u003c/em>, translated into English by Guzmán herself:\u003c/p>\n\u003cblockquote>\u003cp>If God had been born here\u003c/p>\n\u003cp>he’d be a fisherman,\u003c/p>\n\u003cp>eat chontaduro\u003c/p>\n\u003cp>and drink borojó.\u003c/p>\n\u003cp>María would be Black\u003c/p>\n\u003cp>big boned like me\u003c/p>\n\u003cp>and on top of her head would carry a platter of fish\u003c/p>\n\u003cp>offering at the top of her lungs\u003c/p>\n\u003cp>through the town’s streets\u003c/p>\n\u003cp>to all the town folk:\u003c/p>\n\u003cp>“I have silky fish whole and intact;\u003c/p>\n\u003cp>snapper to eat fried,\u003c/p>\n\u003cp>ñato fo’ stewin,\u003c/p>\n\u003cp>tollo fo’ sweatin’\u003c/p>\n\u003cp>and canchimala for tapao.”\u003c/p>\n\u003cp>If God had been born here,\u003c/p>\n\u003cp>here on this coast,\u003c/p>\n\u003cp>he’d be a farmer\u003c/p>\n\u003cp>who’d harvest coconuts from the palm\u003c/p>\n\u003cp>grove with his muscled body\u003c/p>\n\u003cp>like a Black man from El Piñal,\u003c/p>\n\u003cp>with jet Black skin\u003c/p>\n\u003cp>and ivory teeth,\u003c/p>\n\u003cp>with tight coily hair\u003c/p>\n\u003cp>like he was a chacarrás.\u003c/p>\n\u003cp>On the Pacific plain\u003c/p>\n\u003cp>he’d harvest natos and mangroves\u003c/p>\n\u003cp>that he’d turn into rollers fo’ the rails to rest,\u003c/p>\n\u003cp>and he’d fish crabs\u003c/p>\n\u003cp>from the neighborhood caves.\u003c/p>\n\u003cp>If God had been born here,\u003c/p>\n\u003cp>here on this coast,\u003c/p>\n\u003cp>he’d feel his blood rise\u003c/p>\n\u003cp>at the sound of the drum.\u003c/p>\n\u003cp>He’d dance currulao with marimba and guasá,\u003c/p>\n\u003cp>he’d drink biche\u003c/p>\n\u003cp>in the patronal festival,\u003c/p>\n\u003cp>he’d feel on his own flesh\u003c/p>\n\u003cp>the inequality’s scorn for being Black,\u003c/p>\n\u003cp>for being poor,\u003c/p>\n\u003cp>and for being from this coast.\u003c/p>\u003c/blockquote>\n\u003cp>Guzmán also wanted to highlight the works of Puerto Rican writers, explaining that they are often left in the margins.\u003c/p>\n\u003cp>“When anthologies are curated in the United States, for instance, we are often forgotten,” she said. “And when anthologies are curated in Latin America … we’re also forgotten.”\u003c/p>\n\u003cp>One of those she included was Esmeralda Santiago, a Puerto Rican novelist and memoirist who contributed the poem \u003cem>Mi Sangre \u003c/em>(\u003cem>My Blood\u003c/em>). Here’s an excerpt:\u003c/p>\n\u003cblockquote>\u003cp>I’ve left my blood in 49 states, 27 countries on five continents.\u003c/p>\n\u003cp>These days, my blood fills test tubes and spreads across specimen slides.\u003c/p>\n\u003cp>I bleed to delay death a sanguine stream to insufferable regions while my defiant blood pulses in the strangest place of all my children’s veins.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Guzmán said she hopes this anthology will prompt people to read more of these artists — and others from the region — who live in all corners of the world.\u003c/p>\n\u003cp>“To understand Latin America through the lens of its women is to fully understand the cultures and the people that inhabit this region in different parts of the world,” she said.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>The poems in this article were adapted from \u003c/strong>\u003cstrong>\u003cem>Daughters of Latin America \u003c/em>\u003c/strong>\u003cstrong>edited by Sandra Guzmán and reprinted with permission from Amistad, an imprint of HarperCollins Publishers. Copyright 2023.\u003c/strong>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR.\u003c/a>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=These+poems+by+Latin+American+women+reflect+a+multilingual+region&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The Bay Area's First Vegan Puerto Rican Restaurant Doesn't Skimp on Flavor",
"headTitle": "The Bay Area’s First Vegan Puerto Rican Restaurant Doesn’t Skimp on Flavor | KQED",
"content": "\u003cp>When you step inside Lourdes Marquez-Nau’s new restaurant, \u003ca href=\"https://www.instagram.com/casaborinquena/\">Casa Borinqueña\u003c/a>, you’ll see Puerto Rican art hanging on its bright yellow walls, pilónes (indigenous wooden mortars) on the countertop and other cultural artifacts spread around the restaurant. You’ll see photographs that the chef captured — street scenes and beach landscapes in El Viejo San Juan and her hometown of Camuy. Even the restaurant’s logo is a statement of Puerto Rican pride: It’s a mock-up of Marquez-Nau’s grandmother’s home on the island.\u003c/p>\n\u003cp>What you won’t find at Casa Borinqueña, however, is any meat on the menu.\u003c/p>\n\u003cp>Since 2018, Marquez-Nau, who also goes by Chef Lulu, has offered vegan options at her pop-ups, especially after she adopted a vegan diet herself during the pandemic. But, the chef’s new North Oakland location will be a 100% plant-based Puerto Rican restaurant — the first of its kind in the Bay Area. \u003c/p>\n\u003cp>In the classic image of a Puerto Rican meal, a hefty amount of juicy, marinated meat gets paired with rice and beans. Casa Borinqueña was no different when it first started out. \u003c/p>\n\u003cp>At her pop-ups and catering gigs around the Bay Area, Marquez-Nau’s popular dishes included her arroz mamposteao (a Puerto Rican fried rice made with smoked ham or bacon) and her pernil, the cuisine’s famous slow-roasted marinated pork. These classics were some of the chef’s own childhood favorites, after all.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>During the pandemic, however, Marquez-Nau started reflecting on her health and the way her body was feeling. “I just said, ‘It’s time to start cutting things out of my diet,’” Marquez-Nau shares. “It was about my health and me not being able to [simply] go to the gym.” Fast forward to 2020, and the chef cut all animal products out of her diet. For a while she still served meat dishes at her pop-up, but in time the chef felt it was important to have her business honestly reflect who she was. She decided to make Casa Borinqueña completely vegan. \u003c/p>\n\u003cfigure id=\"attachment_13920584\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13920584\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/casa-borinquena_shrimp-mofongo.jpg\" alt=\"A plate of shrimp mofongo against a dark blue backdrop.\" width=\"1920\" height=\"1536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/casa-borinquena_shrimp-mofongo.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/casa-borinquena_shrimp-mofongo-800x640.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/casa-borinquena_shrimp-mofongo-1020x816.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/casa-borinquena_shrimp-mofongo-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/casa-borinquena_shrimp-mofongo-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/casa-borinquena_shrimp-mofongo-1536x1229.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Chef Lourdes Marquez-Nau says it’s the sofrito — not the meat — that provides the flavor to dishes like her shrimp mofongo, which she makes with plant-based shrimp. \u003ccite>(Nicola Parisi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Marquez-Nau, the process of veganizing traditionally Puerto Rican recipes hasn’t been as difficult as you might predict. She explains that the base of all Puerto Rican cuisine isn’t the meat itself but the sofrito — a mixture of herbs and vegetables combined with cooking oil to enhance the flavor of almost every dish. \u003c/p>\n\u003cp>“Meat doesn’t have a flavor. We introduce the flavor,” says Marquez-Nau. “The texture of the meat may be different, but the flavor is there. It’s a matter of having the same approach [when cooking vegan food].” \u003c/p>\n\u003cp>The chef still infuses each dish with sofrito and sources 75% of her ingredients from Puerto Rico. The only difference is that Marquez-Nau now uses meat alternatives like the soy-based ones made by Impossible Foods. \u003c/p>\n\u003cp>“I wanted to stay traditional, so I treat vegan meat similar to how I would treat regular meat,” she shares. “Whatever [seasonings] I would use on my pork, I now use on my vegan pork.”\u003c/p>\n\u003cfigure id=\"attachment_13920585\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13920585\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/casa-borinquena_mofongo-burger.jpg\" alt=\"A vegan burger with mofongo (fried mashed plantains) serving as the bun.\" width=\"1920\" height=\"2400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/casa-borinquena_mofongo-burger.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/casa-borinquena_mofongo-burger-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/casa-borinquena_mofongo-burger-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/casa-borinquena_mofongo-burger-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/casa-borinquena_mofongo-burger-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/casa-borinquena_mofongo-burger-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/casa-borinquena_mofongo-burger-1638x2048.jpg 1638w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The vegan burger features a mofongo “bun” and Impossible Foods plant-based beef patties. \u003ccite>(Nicola Parisi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now that she has a brick-and-mortar restaurant, Marquez-Nau will expand Casa Borinqueña’s menu with new items such as plant-based pastelón (a multi-layered dish akin to a Puerto Rican plantain lasagna), coffee sourced from the island and a kind of sweet, coiled pastry called pan de Mallorca. She’ll also serve the creamy coconut drink known as a coquito — an alcohol-free version until the restaurant receives its beer-and-wine license.\u003c/p>\n\u003cp>Part of Marquez-Nau’s motivation in opening the restaurant is how common health issues like diabetes and high cholesterol are within the Latin American community, much of which doesn’t have access to healthcare. Genetics contribute to this, but Marquez-Nau believes excessive meat consumption is also a big factor. That’s why she’s dedicated to making her plant-based food accessible to everyone, especially communities of color. After all, vegan food can cost a pretty penny. In hopes of helping to bridge that gap, the restaurant will implement a “Pay What You Can Tuesday” when it will serve dishes on a voluntary donation basis. \u003c/p>\n\u003cp>“There’s a huge disparity between healthy eating and communities of color because they can’t have access to healthy food,” says Marquez-Nau. “Why shouldn’t we give back as a vegan community?” \u003c/p>\n\u003cp>Although her transition to becoming a vegan chef has had a positive effect on Marquez-Nau’s well-being, she has often felt unsupported by her community. The responses she received from Puerto Ricans ranged from “how dare you do this to Puerto Rican cuisine” to “your business isn’t going to be successful.” At times, she felt as though she had been rejected from her own culture. \u003c/p>\n\u003cp>“It was just so negative. This was a difficult time in my life when I was going through a transition, and that feedback was really bad for me,” Marquez-Nau shares. “It had me questioning everything I was doing.” \u003c/p>\n\u003cp>Still, the chef stayed devoted to her plant-based brainchild, and, as a silver lining, she found that she had been embraced by a new group of people: vegans. “I got away from that and moved forward,” the chef says. “Whoever respects me and welcomes me are my kind of people.”\u003c/p>\n\u003cfigure id=\"attachment_13920586\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13920586\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/casa-borinquena_facade.jpg\" alt='Yellow facade of a restaurant, with a sign that reads \"Casa Borinqueña.\"' width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/casa-borinquena_facade.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/casa-borinquena_facade-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/casa-borinquena_facade-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/casa-borinquena_facade-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/casa-borinquena_facade-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/casa-borinquena_facade-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The logo for the restaurant is an image of Marquez-Nau’s grandmother’s house in Puerto Rico. \u003ccite>(Paloma Cortes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[aside postID='arts_13919177,arts_13910234,arts_13906738']For now, Marquez-Nau says, Casa Borinqueña is only being held back by the Alameda County Department of Environmental Health, which has kept the restaurant in limbo for the past six months. She’s hopeful, however, that she’ll be able to welcome the community into the space by the end of this year. \u003c/p>\n\u003cp>In the meantime, starting on Nov. 3, Casa Borinqueña will serve dinner three nights a week out of \u003ca href=\"https://plantedtable.com/\">Planted Table\u003c/a>, a plant-based meal delivery company based in Oakland’s Jack London neighborhood.\u003c/p>\n\u003cp>When the restaurant is finally able to hold its grand opening, Marquez-Nau plans to invite locals to celebrate not just Puerto Rican flavors but also the culture’s overall essence. There will be live bomba, drum circles and, of course, plenty of delicious vegan food.\u003c/p>\n\u003cp>“I want people to come and think this place feels like a home.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/casaborinquena/\">\u003ci>Casa Borinqueña\u003c/i>\u003c/a>\u003ci> will open at 6211 Shattuck Ave. in Oakland in late 2022. Starting on Nov. 3, Marquez-Nau will offer both dine-in and pick-up service Thursday through Saturday, 5 p.m.–10 p.m., at \u003c/i>\u003ca href=\"https://www.instagram.com/plantedtable/?hl=en\">\u003ci>Planted Table\u003c/i>\u003c/a>\u003ci> (550 2nd St., Oakland).\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When you step inside Lourdes Marquez-Nau’s new restaurant, \u003ca href=\"https://www.instagram.com/casaborinquena/\">Casa Borinqueña\u003c/a>, you’ll see Puerto Rican art hanging on its bright yellow walls, pilónes (indigenous wooden mortars) on the countertop and other cultural artifacts spread around the restaurant. You’ll see photographs that the chef captured — street scenes and beach landscapes in El Viejo San Juan and her hometown of Camuy. Even the restaurant’s logo is a statement of Puerto Rican pride: It’s a mock-up of Marquez-Nau’s grandmother’s home on the island.\u003c/p>\n\u003cp>What you won’t find at Casa Borinqueña, however, is any meat on the menu.\u003c/p>\n\u003cp>Since 2018, Marquez-Nau, who also goes by Chef Lulu, has offered vegan options at her pop-ups, especially after she adopted a vegan diet herself during the pandemic. But, the chef’s new North Oakland location will be a 100% plant-based Puerto Rican restaurant — the first of its kind in the Bay Area. \u003c/p>\n\u003cp>In the classic image of a Puerto Rican meal, a hefty amount of juicy, marinated meat gets paired with rice and beans. Casa Borinqueña was no different when it first started out. \u003c/p>\n\u003cp>At her pop-ups and catering gigs around the Bay Area, Marquez-Nau’s popular dishes included her arroz mamposteao (a Puerto Rican fried rice made with smoked ham or bacon) and her pernil, the cuisine’s famous slow-roasted marinated pork. These classics were some of the chef’s own childhood favorites, after all.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>During the pandemic, however, Marquez-Nau started reflecting on her health and the way her body was feeling. “I just said, ‘It’s time to start cutting things out of my diet,’” Marquez-Nau shares. “It was about my health and me not being able to [simply] go to the gym.” Fast forward to 2020, and the chef cut all animal products out of her diet. For a while she still served meat dishes at her pop-up, but in time the chef felt it was important to have her business honestly reflect who she was. She decided to make Casa Borinqueña completely vegan. \u003c/p>\n\u003cfigure id=\"attachment_13920584\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13920584\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/casa-borinquena_shrimp-mofongo.jpg\" alt=\"A plate of shrimp mofongo against a dark blue backdrop.\" width=\"1920\" height=\"1536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/casa-borinquena_shrimp-mofongo.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/casa-borinquena_shrimp-mofongo-800x640.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/casa-borinquena_shrimp-mofongo-1020x816.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/casa-borinquena_shrimp-mofongo-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/casa-borinquena_shrimp-mofongo-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/casa-borinquena_shrimp-mofongo-1536x1229.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Chef Lourdes Marquez-Nau says it’s the sofrito — not the meat — that provides the flavor to dishes like her shrimp mofongo, which she makes with plant-based shrimp. \u003ccite>(Nicola Parisi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Marquez-Nau, the process of veganizing traditionally Puerto Rican recipes hasn’t been as difficult as you might predict. She explains that the base of all Puerto Rican cuisine isn’t the meat itself but the sofrito — a mixture of herbs and vegetables combined with cooking oil to enhance the flavor of almost every dish. \u003c/p>\n\u003cp>“Meat doesn’t have a flavor. We introduce the flavor,” says Marquez-Nau. “The texture of the meat may be different, but the flavor is there. It’s a matter of having the same approach [when cooking vegan food].” \u003c/p>\n\u003cp>The chef still infuses each dish with sofrito and sources 75% of her ingredients from Puerto Rico. The only difference is that Marquez-Nau now uses meat alternatives like the soy-based ones made by Impossible Foods. \u003c/p>\n\u003cp>“I wanted to stay traditional, so I treat vegan meat similar to how I would treat regular meat,” she shares. “Whatever [seasonings] I would use on my pork, I now use on my vegan pork.”\u003c/p>\n\u003cfigure id=\"attachment_13920585\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13920585\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/casa-borinquena_mofongo-burger.jpg\" alt=\"A vegan burger with mofongo (fried mashed plantains) serving as the bun.\" width=\"1920\" height=\"2400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/casa-borinquena_mofongo-burger.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/casa-borinquena_mofongo-burger-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/casa-borinquena_mofongo-burger-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/casa-borinquena_mofongo-burger-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/casa-borinquena_mofongo-burger-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/casa-borinquena_mofongo-burger-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/casa-borinquena_mofongo-burger-1638x2048.jpg 1638w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The vegan burger features a mofongo “bun” and Impossible Foods plant-based beef patties. \u003ccite>(Nicola Parisi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now that she has a brick-and-mortar restaurant, Marquez-Nau will expand Casa Borinqueña’s menu with new items such as plant-based pastelón (a multi-layered dish akin to a Puerto Rican plantain lasagna), coffee sourced from the island and a kind of sweet, coiled pastry called pan de Mallorca. She’ll also serve the creamy coconut drink known as a coquito — an alcohol-free version until the restaurant receives its beer-and-wine license.\u003c/p>\n\u003cp>Part of Marquez-Nau’s motivation in opening the restaurant is how common health issues like diabetes and high cholesterol are within the Latin American community, much of which doesn’t have access to healthcare. Genetics contribute to this, but Marquez-Nau believes excessive meat consumption is also a big factor. That’s why she’s dedicated to making her plant-based food accessible to everyone, especially communities of color. After all, vegan food can cost a pretty penny. In hopes of helping to bridge that gap, the restaurant will implement a “Pay What You Can Tuesday” when it will serve dishes on a voluntary donation basis. \u003c/p>\n\u003cp>“There’s a huge disparity between healthy eating and communities of color because they can’t have access to healthy food,” says Marquez-Nau. “Why shouldn’t we give back as a vegan community?” \u003c/p>\n\u003cp>Although her transition to becoming a vegan chef has had a positive effect on Marquez-Nau’s well-being, she has often felt unsupported by her community. The responses she received from Puerto Ricans ranged from “how dare you do this to Puerto Rican cuisine” to “your business isn’t going to be successful.” At times, she felt as though she had been rejected from her own culture. \u003c/p>\n\u003cp>“It was just so negative. This was a difficult time in my life when I was going through a transition, and that feedback was really bad for me,” Marquez-Nau shares. “It had me questioning everything I was doing.” \u003c/p>\n\u003cp>Still, the chef stayed devoted to her plant-based brainchild, and, as a silver lining, she found that she had been embraced by a new group of people: vegans. “I got away from that and moved forward,” the chef says. “Whoever respects me and welcomes me are my kind of people.”\u003c/p>\n\u003cfigure id=\"attachment_13920586\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13920586\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/casa-borinquena_facade.jpg\" alt='Yellow facade of a restaurant, with a sign that reads \"Casa Borinqueña.\"' width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/casa-borinquena_facade.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/casa-borinquena_facade-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/casa-borinquena_facade-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/casa-borinquena_facade-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/casa-borinquena_facade-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/casa-borinquena_facade-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The logo for the restaurant is an image of Marquez-Nau’s grandmother’s house in Puerto Rico. \u003ccite>(Paloma Cortes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For now, Marquez-Nau says, Casa Borinqueña is only being held back by the Alameda County Department of Environmental Health, which has kept the restaurant in limbo for the past six months. She’s hopeful, however, that she’ll be able to welcome the community into the space by the end of this year. \u003c/p>\n\u003cp>In the meantime, starting on Nov. 3, Casa Borinqueña will serve dinner three nights a week out of \u003ca href=\"https://plantedtable.com/\">Planted Table\u003c/a>, a plant-based meal delivery company based in Oakland’s Jack London neighborhood.\u003c/p>\n\u003cp>When the restaurant is finally able to hold its grand opening, Marquez-Nau plans to invite locals to celebrate not just Puerto Rican flavors but also the culture’s overall essence. There will be live bomba, drum circles and, of course, plenty of delicious vegan food.\u003c/p>\n\u003cp>“I want people to come and think this place feels like a home.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/casaborinquena/\">\u003ci>Casa Borinqueña\u003c/i>\u003c/a>\u003ci> will open at 6211 Shattuck Ave. in Oakland in late 2022. Starting on Nov. 3, Marquez-Nau will offer both dine-in and pick-up service Thursday through Saturday, 5 p.m.–10 p.m., at \u003c/i>\u003ca href=\"https://www.instagram.com/plantedtable/?hl=en\">\u003ci>Planted Table\u003c/i>\u003c/a>\u003ci> (550 2nd St., Oakland).\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "From a Hurricane's Ruin, a Puerto Rico Community Grows—on Film",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>t’s been nearly a month since Hurricane Fiona hit Puerto Rico, leaving the entire island without power. Two weeks after the hurricane, \u003ca href=\"https://www.reuters.com/business/environment/about-101000-still-without-power-puerto-rico-two-weeks-after-hurricane-fiona-2022-10-05/\" target=\"_blank\" rel=\"noopener noreferrer\">over 100,000 residents still had no electricity\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">Fiona, one of this season’s most powerful storms, made landfall almost exactly five years after Hurricane Maria.\u003c/p>\n\u003cp>Maria, the 2017 storm that caused nearly \u003ca style=\"color: #41a62a\" href=\"https://www.hsph.harvard.edu/news/features/hurricane-maria-deaths/\" target=\"_blank\" rel=\"noopener noreferrer\">3,000 excess deaths\u003c/a>, also brought about a visit from then-U.S. President Donald Trump — during which he nonchalantly \u003ca href=\"https://www.youtube.com/watch?v=kEe7_zgZbuI\" target=\"_blank\" rel=\"noopener noreferrer\">tossed paper towels\u003c/a> to those in need.\u003c/p>\n\u003cp>This gesture was emblematic of the response many people felt the U.S. territory received from the government as a whole.\u003c/p>\n\u003cp>It raises the question: what’s the proper response when natural disasters are coupled with manmade oppression, not just in Puerto Rico, but across the United States? What form does justice take in a place that’s been under-resourced, disenfranchised and suffering from the lingering impacts of colonization? How can you truly rebuild after a disaster without addressing preexisting problems?\u003c/p>\n\u003cfigure id=\"attachment_13920228\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13920228\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/6months_3.19-0091.jpg\" alt=\"Members of the 'We Still Here' cast in Washington D.C.\" width=\"750\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/6months_3.19-0091.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/6months_3.19-0091-160x107.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Members of the ‘We Still Here’ cast in Washington D.C.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">B\u003c/span>ay Area-based filmmaker Eli Jacobs-Fantauzzi says he has a clear understanding of what justice \u003cem>doesn’t\u003c/em> look like.\u003c/p>\n\u003cp>“It’s not throwing paper towels at people like the ex-president did, and it’s not throwing water bottles out of helicopters like FEMA and the military did,” Jacobs-Fantauzzi tells me during a phone call.\u003c/p>\n\u003cp>After spending time in the Puerto Rican town of Comerío in the wake of Hurricane Maria five years ago, he’s come to understand that the key to moving toward justice involves people power.\u003c/p>\n\u003cp>“It’s letting everybody get involved in the recovery process,” says Jacobs-Fantauzzi. “Bringing your skills, your talents — really a bottom-up process where it’s centered in love, centered in community and being able to dream of the future you want to create together.”\u003c/p>\n\u003cp>Jacobs-Fantauzzi is the director of the documentary film \u003ca href=\"https://www.westillherepr.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>We Still Here\u003c/em>\u003c/a>, which follows a group of young people working together in Comerío to restore their hometown.\u003c/p>\n\u003cp>The film shows people stepping in when the government isn’t present. Pitching in to build houses and community spaces, and sharing joy with one another. But the multilayered story didn’t start off as a film at all.\u003c/p>\n\u003cp>Jacobs-Fantauzzi originally left the Bay Area to bring donations to the island back in 2017. “Then the next thing you know, we’re in Comerío, we’re giving out solar electric lights and food, and sending people home,” says Jacobs-Fantauzzi. “And then we realized they don’t have a roof over their head.”\u003c/p>\n\u003cfigure id=\"attachment_13920264\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920264\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/director_EliJacobsFantauzzi2-800x535.jpg\" alt=\"A man in a blue t-shirt and necklace stands with folded arms, wearing a hat, against a blue background of sky.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/director_EliJacobsFantauzzi2-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/director_EliJacobsFantauzzi2-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/director_EliJacobsFantauzzi2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/director_EliJacobsFantauzzi2-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/director_EliJacobsFantauzzi2-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/director_EliJacobsFantauzzi2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area-based filmmaker Eli Jacobs-Fantauzzi, the director of ‘We Still Here.’ \u003ccite>(Courtesy Eli Jacobs-Fantauzzi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jacobs-Fantauzzi and his team started off shooting videos to raise awareness of the situation and the need for resources. Young folks in the community gravitated to the cameras, so Jacobs-Fantauzzi, along with his brother Kahlil Jacobs-Fantauzzi (former Berkeley mayoral candidate and co-founder of Clenched Fist Productions), began teaching workshops. “And then maybe four months later, we look at all the footage we have, and decide to do a film together,” says Jacobs-Fantauzzi.\u003c/p>\n\u003cp>They started with a 10-minute reel, then a 30-minute version before reaching an hour-long iteration. They showed their work around the community. People were brought to tears of gratitude as they watched reflections of themselves via a mobile solar-powered projector and speakers.\u003c/p>\n\u003cp>Jacobs-Fantauzzi emphasizes that the film was a collaborative process. He’s the director, his brother is the producer, but this film is a partnership with the community; specifically the young leaders featured. It’s a process he refers to as “participatory action filmmaking” or “just storytelling,” and says it allows for amplification of a community’s story, as opposed to traditional methods of “mining or extracting.”\u003c/p>\n\u003cp>The method also allows the film’s people to grow and develop naturally before your eyes.\u003c/p>\n\u003cp>Throughout the film, Mariangelie Ortiz, who at the time was 24 years old, emerges as a vocal leader. At one point, Ortiz leans on song and dance for a moment of joy in the midst of the hard work. In another scene, Ortiz is in the halls of congress in Washington D.C., chanting alongside Puerto Ricans from throughout the diaspora, demanding that their people be recognized.\u003c/p>\n\u003cfigure id=\"attachment_13920227\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920227\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/E17_0923-800x533.jpg\" alt=\"Mariangelie Ortiz and a young person from the community posing with paint brushes during the hurricane recovery effort.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/E17_0923-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/E17_0923-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/E17_0923-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/E17_0923-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/E17_0923.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mariangelie Ortiz and a young person from the community posing with paint brushes during the hurricane recovery effort. \u003ccite>(Via www.westillherepr.com )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>longside Mariangelie Ortiz, a young man named Jerriel “Yeyo” Cátala, and a cast of community activists, the concept of art itself is a main asset to this story. It’s a hell of a notion, given the situation at hand. Why art at a time like this?\u003c/p>\n\u003cp>“In the middle of despair, in the middle of love, in the middle of your greatest joy, I think art is what you go to to express how you’re feeling and who you are,” says Jacobs-Fantauzzi. “It’s so important to let the positive, the anger, the negative, the beauty out, and not keep it bundled up inside. And art is that expression for so many of us — the way we’re able to let those emotions out.”\u003c/p>\n\u003cp>In the end, it’s the art and the joy, combined with the raw beauty of Puerto Rico, that shines in this film. Beyond that is the larger concept of just storytelling, as well as the application of the just recovery method — a process by which those most impacted have a say in how the community moves forward. It’s a method than can be applied anywhere.\u003c/p>\n\u003cp>Here in California, for example, economic inequality is rampant, the cost of goods are through the roof, far too many of us are unhoused and earthquakes are a constant threat. I shudder at the idea that we may one day have to deal with similar circumstances.\u003c/p>\n\u003cp>One step in the right direction? Giving space to those who’ve been impacted the most to tell their stories.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cem>As a part of the \u003ca href=\"https://www.eventbrite.com/e/13th-annual-fist-up-film-festival-at-la-pena-tickets-424341104667\" target=\"_blank\" rel=\"noopener noreferrer\">13th Annual Fist Up Film Festival,\u003c/a> ‘We Still Here’ screens at the New Parkway Theatre in Oakland on Sunday, Oct. 16, at 2pm. A Q&A follows with director Eli Jacobs-Fantauzzi. \u003ca href=\"https://www.eventbrite.com/e/fist-up-film-festival-x-we-still-here-film-screening-tickets-434032301297\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>t’s been nearly a month since Hurricane Fiona hit Puerto Rico, leaving the entire island without power. Two weeks after the hurricane, \u003ca href=\"https://www.reuters.com/business/environment/about-101000-still-without-power-puerto-rico-two-weeks-after-hurricane-fiona-2022-10-05/\" target=\"_blank\" rel=\"noopener noreferrer\">over 100,000 residents still had no electricity\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">Fiona, one of this season’s most powerful storms, made landfall almost exactly five years after Hurricane Maria.\u003c/p>\n\u003cp>Maria, the 2017 storm that caused nearly \u003ca style=\"color: #41a62a\" href=\"https://www.hsph.harvard.edu/news/features/hurricane-maria-deaths/\" target=\"_blank\" rel=\"noopener noreferrer\">3,000 excess deaths\u003c/a>, also brought about a visit from then-U.S. President Donald Trump — during which he nonchalantly \u003ca href=\"https://www.youtube.com/watch?v=kEe7_zgZbuI\" target=\"_blank\" rel=\"noopener noreferrer\">tossed paper towels\u003c/a> to those in need.\u003c/p>\n\u003cp>This gesture was emblematic of the response many people felt the U.S. territory received from the government as a whole.\u003c/p>\n\u003cp>It raises the question: what’s the proper response when natural disasters are coupled with manmade oppression, not just in Puerto Rico, but across the United States? What form does justice take in a place that’s been under-resourced, disenfranchised and suffering from the lingering impacts of colonization? How can you truly rebuild after a disaster without addressing preexisting problems?\u003c/p>\n\u003cfigure id=\"attachment_13920228\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13920228\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/6months_3.19-0091.jpg\" alt=\"Members of the 'We Still Here' cast in Washington D.C.\" width=\"750\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/6months_3.19-0091.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/6months_3.19-0091-160x107.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Members of the ‘We Still Here’ cast in Washington D.C.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">B\u003c/span>ay Area-based filmmaker Eli Jacobs-Fantauzzi says he has a clear understanding of what justice \u003cem>doesn’t\u003c/em> look like.\u003c/p>\n\u003cp>“It’s not throwing paper towels at people like the ex-president did, and it’s not throwing water bottles out of helicopters like FEMA and the military did,” Jacobs-Fantauzzi tells me during a phone call.\u003c/p>\n\u003cp>After spending time in the Puerto Rican town of Comerío in the wake of Hurricane Maria five years ago, he’s come to understand that the key to moving toward justice involves people power.\u003c/p>\n\u003cp>“It’s letting everybody get involved in the recovery process,” says Jacobs-Fantauzzi. “Bringing your skills, your talents — really a bottom-up process where it’s centered in love, centered in community and being able to dream of the future you want to create together.”\u003c/p>\n\u003cp>Jacobs-Fantauzzi is the director of the documentary film \u003ca href=\"https://www.westillherepr.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>We Still Here\u003c/em>\u003c/a>, which follows a group of young people working together in Comerío to restore their hometown.\u003c/p>\n\u003cp>The film shows people stepping in when the government isn’t present. Pitching in to build houses and community spaces, and sharing joy with one another. But the multilayered story didn’t start off as a film at all.\u003c/p>\n\u003cp>Jacobs-Fantauzzi originally left the Bay Area to bring donations to the island back in 2017. “Then the next thing you know, we’re in Comerío, we’re giving out solar electric lights and food, and sending people home,” says Jacobs-Fantauzzi. “And then we realized they don’t have a roof over their head.”\u003c/p>\n\u003cfigure id=\"attachment_13920264\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920264\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/director_EliJacobsFantauzzi2-800x535.jpg\" alt=\"A man in a blue t-shirt and necklace stands with folded arms, wearing a hat, against a blue background of sky.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/director_EliJacobsFantauzzi2-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/director_EliJacobsFantauzzi2-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/director_EliJacobsFantauzzi2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/director_EliJacobsFantauzzi2-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/director_EliJacobsFantauzzi2-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/director_EliJacobsFantauzzi2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area-based filmmaker Eli Jacobs-Fantauzzi, the director of ‘We Still Here.’ \u003ccite>(Courtesy Eli Jacobs-Fantauzzi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jacobs-Fantauzzi and his team started off shooting videos to raise awareness of the situation and the need for resources. Young folks in the community gravitated to the cameras, so Jacobs-Fantauzzi, along with his brother Kahlil Jacobs-Fantauzzi (former Berkeley mayoral candidate and co-founder of Clenched Fist Productions), began teaching workshops. “And then maybe four months later, we look at all the footage we have, and decide to do a film together,” says Jacobs-Fantauzzi.\u003c/p>\n\u003cp>They started with a 10-minute reel, then a 30-minute version before reaching an hour-long iteration. They showed their work around the community. People were brought to tears of gratitude as they watched reflections of themselves via a mobile solar-powered projector and speakers.\u003c/p>\n\u003cp>Jacobs-Fantauzzi emphasizes that the film was a collaborative process. He’s the director, his brother is the producer, but this film is a partnership with the community; specifically the young leaders featured. It’s a process he refers to as “participatory action filmmaking” or “just storytelling,” and says it allows for amplification of a community’s story, as opposed to traditional methods of “mining or extracting.”\u003c/p>\n\u003cp>The method also allows the film’s people to grow and develop naturally before your eyes.\u003c/p>\n\u003cp>Throughout the film, Mariangelie Ortiz, who at the time was 24 years old, emerges as a vocal leader. At one point, Ortiz leans on song and dance for a moment of joy in the midst of the hard work. In another scene, Ortiz is in the halls of congress in Washington D.C., chanting alongside Puerto Ricans from throughout the diaspora, demanding that their people be recognized.\u003c/p>\n\u003cfigure id=\"attachment_13920227\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920227\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/E17_0923-800x533.jpg\" alt=\"Mariangelie Ortiz and a young person from the community posing with paint brushes during the hurricane recovery effort.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/E17_0923-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/E17_0923-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/E17_0923-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/E17_0923-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/E17_0923.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mariangelie Ortiz and a young person from the community posing with paint brushes during the hurricane recovery effort. \u003ccite>(Via www.westillherepr.com )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>longside Mariangelie Ortiz, a young man named Jerriel “Yeyo” Cátala, and a cast of community activists, the concept of art itself is a main asset to this story. It’s a hell of a notion, given the situation at hand. Why art at a time like this?\u003c/p>\n\u003cp>“In the middle of despair, in the middle of love, in the middle of your greatest joy, I think art is what you go to to express how you’re feeling and who you are,” says Jacobs-Fantauzzi. “It’s so important to let the positive, the anger, the negative, the beauty out, and not keep it bundled up inside. And art is that expression for so many of us — the way we’re able to let those emotions out.”\u003c/p>\n\u003cp>In the end, it’s the art and the joy, combined with the raw beauty of Puerto Rico, that shines in this film. Beyond that is the larger concept of just storytelling, as well as the application of the just recovery method — a process by which those most impacted have a say in how the community moves forward. It’s a method than can be applied anywhere.\u003c/p>\n\u003cp>Here in California, for example, economic inequality is rampant, the cost of goods are through the roof, far too many of us are unhoused and earthquakes are a constant threat. I shudder at the idea that we may one day have to deal with similar circumstances.\u003c/p>\n\u003cp>One step in the right direction? Giving space to those who’ve been impacted the most to tell their stories.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cem>As a part of the \u003ca href=\"https://www.eventbrite.com/e/13th-annual-fist-up-film-festival-at-la-pena-tickets-424341104667\" target=\"_blank\" rel=\"noopener noreferrer\">13th Annual Fist Up Film Festival,\u003c/a> ‘We Still Here’ screens at the New Parkway Theatre in Oakland on Sunday, Oct. 16, at 2pm. A Q&A follows with director Eli Jacobs-Fantauzzi. \u003ca href=\"https://www.eventbrite.com/e/fist-up-film-festival-x-we-still-here-film-screening-tickets-434032301297\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>\u003ca href=\"https://www.youtube.com/playlist?list=PLeGdTT0--8KhbKEVbBBpeaZd9fAznBzz9\" target=\"_blank\" rel=\"noopener noreferrer\">If Cities Could Dance\u003c/a> is KQED Arts and Culture’s award-winning video series featuring dancers across the country who represent their city’s signature moves. \u003ca href=\"https://bit.ly/SubscribeKQEDArts\" target=\"_blank\" rel=\"noopener noreferrer\">Subscribe to our YouTube channel\u003c/a> to never miss an episode of If Cities Could Dance. And \u003ca href=\"https://www.youtube.com/channel/UCS7Oxr5knNkZ8SlryFZnq0g/community?lb=UgkxTT1ph5x5nlxlXNk5VpCX_Wzof4sdIHV8\" target=\"_blank\" rel=\"noopener noreferrer\">tell us what you like most about our series\u003c/a> in our community poll!\u003c/em>\u003c/p>\n\u003cp>This Latinx Heritage Month, we’re looking back on bold artists from across the country who expand our ideas of identity, community and dance.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/13916333/if-cities-could-dance-austin-salsa\" target=\"_blank\" rel=\"noopener noreferrer\">Angie and Audrey\u003c/a>\u003c/h2>\n\u003cp>Angie Egea and Audrey Guerrero, a non-binary couple who came together through their love of Latin dancing, are making the Austin, Texas, salsa scene more inclusive. Angie and Audrey challenge the traditional binary in salsa—where the man leads and the woman follows. Instead, they take turns leading and following, often switching roles within a dance. And don’t miss their \u003ca href=\"https://www.youtube.com/watch?v=_uNxJ4-WPAY\" target=\"_blank\" rel=\"noopener noreferrer\">dance tutorial\u003c/a>.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Queer Salsa: How One Nonbinary Couple Leads and Follows | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/_tFMmU9SFGI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/13880670/if-cities-could-dance-san-francisco-la-mezcla\">La Mezcla\u003c/a>\u003c/h2>\n\u003cp>San Francisco’s \u003ca href=\"https://vanessasanchez.net/lamezcla/\" target=\"_blank\" rel=\"noopener noreferrer\">La Mezcla dance company\u003c/a>, founded and led by Vanessa Sanchez, blends tap dance and zapateado (rhythmic footwork from Mexico) to tell stories of Chicana history, culture and resistance. For their work \u003ca href=\"https://vanessasanchez.net/pachuquismo-2/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Pachuquísmo\u003c/em>\u003c/a>, dancers embody zoot-suited Chicanas of 1940s Los Angeles and take their movement to the streets of the Mission District. Check out Vanessa’s \u003ca href=\"https://youtu.be/jtiD3lC1X88\" target=\"_blank\" rel=\"noopener noreferrer\">basic tap dance tutorial\u003c/a> too.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Chicana Dance Crew Blends Tap and Mexican Footwork | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/U_vm9EU0YBU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/13912474/latinx-dancers-honor-migrant-stories-from-the-borderlands\">Safos Dance Theatre\u003c/a>\u003c/h2>\n\u003cp>Pursuing a professional dance career in Tucson, Arizona, Yvonne Montoya didn’t see brown bodies like hers on stage. So she founded \u003ca href=\"https://www.safosdance.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Safos Dance Theatre\u003c/a> to nurture a local community of dance artists who are Latinx, immigrants, queer and other dancers of color. In one work inspired by Montaya’s own family’s history, Safos Dance Theatre tells the story of braceros, migrant farm workers from Mexico who provided seasonal labor to the U.S.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Latina Choreographer Uplifts Stories from U.S.-Mexico Borderlands | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/Ub_CXFmF4sA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/13881446/if-cities-could-dance-bomba\" target=\"_blank\" rel=\"noopener noreferrer\">Mar and María Cruz\u003c/a>\u003c/h2>\n\u003cp>Sisters Mar and María Cruz, born and raised in Puerto Rico, represent a new movement of Afro Latinos who are reclaiming their cultural traditions to celebrate Black pride and acknowledge the island’s complex history of racism. Mar also teaches the foundation of Bomba, and breaks down the steps in \u003ca href=\"https://youtu.be/4nFyLdsyIgk\" target=\"_blank\" rel=\"noopener noreferrer\">this dance tutorial\u003c/a>.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Puerto Rico's Bomba, A Dance of The African Diaspora | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/z0vzkGKEWX4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/13855686/if-cities-could-dance-fresno\">Los diablos de Juxtlahuaca Oaxaca\u003c/a>\u003c/h2>\n\u003cp>In Fresno, California, farm workers and community members—many of whom are Mexican immigrants—carry on a tradition from the Oaxacan community of Casa San Miguel. Dancers don traditional masks and costumes, all made in Oaxaca; spin to thumping drums and horn blasts; and move in a whip-wielding, barely controlled frenzy called the Danza de los Diablos.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Mexican Folk Dance in Fresno | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/ndhCv9PLfH8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"https://www.youtube.com/playlist?list=PLeGdTT0--8KhbKEVbBBpeaZd9fAznBzz9\" target=\"_blank\" rel=\"noopener noreferrer\">If Cities Could Dance\u003c/a> is KQED Arts and Culture’s award-winning video series featuring dancers across the country who represent their city’s signature moves. \u003ca href=\"https://bit.ly/SubscribeKQEDArts\" target=\"_blank\" rel=\"noopener noreferrer\">Subscribe to our YouTube channel\u003c/a> to never miss an episode of If Cities Could Dance. And \u003ca href=\"https://www.youtube.com/channel/UCS7Oxr5knNkZ8SlryFZnq0g/community?lb=UgkxTT1ph5x5nlxlXNk5VpCX_Wzof4sdIHV8\" target=\"_blank\" rel=\"noopener noreferrer\">tell us what you like most about our series\u003c/a> in our community poll!\u003c/em>\u003c/p>\n\u003cp>This Latinx Heritage Month, we’re looking back on bold artists from across the country who expand our ideas of identity, community and dance.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/13916333/if-cities-could-dance-austin-salsa\" target=\"_blank\" rel=\"noopener noreferrer\">Angie and Audrey\u003c/a>\u003c/h2>\n\u003cp>Angie Egea and Audrey Guerrero, a non-binary couple who came together through their love of Latin dancing, are making the Austin, Texas, salsa scene more inclusive. Angie and Audrey challenge the traditional binary in salsa—where the man leads and the woman follows. Instead, they take turns leading and following, often switching roles within a dance. And don’t miss their \u003ca href=\"https://www.youtube.com/watch?v=_uNxJ4-WPAY\" target=\"_blank\" rel=\"noopener noreferrer\">dance tutorial\u003c/a>.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Queer Salsa: How One Nonbinary Couple Leads and Follows | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/_tFMmU9SFGI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/13880670/if-cities-could-dance-san-francisco-la-mezcla\">La Mezcla\u003c/a>\u003c/h2>\n\u003cp>San Francisco’s \u003ca href=\"https://vanessasanchez.net/lamezcla/\" target=\"_blank\" rel=\"noopener noreferrer\">La Mezcla dance company\u003c/a>, founded and led by Vanessa Sanchez, blends tap dance and zapateado (rhythmic footwork from Mexico) to tell stories of Chicana history, culture and resistance. For their work \u003ca href=\"https://vanessasanchez.net/pachuquismo-2/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Pachuquísmo\u003c/em>\u003c/a>, dancers embody zoot-suited Chicanas of 1940s Los Angeles and take their movement to the streets of the Mission District. Check out Vanessa’s \u003ca href=\"https://youtu.be/jtiD3lC1X88\" target=\"_blank\" rel=\"noopener noreferrer\">basic tap dance tutorial\u003c/a> too.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Chicana Dance Crew Blends Tap and Mexican Footwork | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/U_vm9EU0YBU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/13912474/latinx-dancers-honor-migrant-stories-from-the-borderlands\">Safos Dance Theatre\u003c/a>\u003c/h2>\n\u003cp>Pursuing a professional dance career in Tucson, Arizona, Yvonne Montoya didn’t see brown bodies like hers on stage. So she founded \u003ca href=\"https://www.safosdance.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Safos Dance Theatre\u003c/a> to nurture a local community of dance artists who are Latinx, immigrants, queer and other dancers of color. In one work inspired by Montaya’s own family’s history, Safos Dance Theatre tells the story of braceros, migrant farm workers from Mexico who provided seasonal labor to the U.S.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Latina Choreographer Uplifts Stories from U.S.-Mexico Borderlands | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/Ub_CXFmF4sA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/13881446/if-cities-could-dance-bomba\" target=\"_blank\" rel=\"noopener noreferrer\">Mar and María Cruz\u003c/a>\u003c/h2>\n\u003cp>Sisters Mar and María Cruz, born and raised in Puerto Rico, represent a new movement of Afro Latinos who are reclaiming their cultural traditions to celebrate Black pride and acknowledge the island’s complex history of racism. Mar also teaches the foundation of Bomba, and breaks down the steps in \u003ca href=\"https://youtu.be/4nFyLdsyIgk\" target=\"_blank\" rel=\"noopener noreferrer\">this dance tutorial\u003c/a>.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Puerto Rico's Bomba, A Dance of The African Diaspora | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/z0vzkGKEWX4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/13855686/if-cities-could-dance-fresno\">Los diablos de Juxtlahuaca Oaxaca\u003c/a>\u003c/h2>\n\u003cp>In Fresno, California, farm workers and community members—many of whom are Mexican immigrants—carry on a tradition from the Oaxacan community of Casa San Miguel. Dancers don traditional masks and costumes, all made in Oaxaca; spin to thumping drums and horn blasts; and move in a whip-wielding, barely controlled frenzy called the Danza de los Diablos.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Mexican Folk Dance in Fresno | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/ndhCv9PLfH8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Benito Antonio Martínez Ocasio, aka the singer Bad Bunny, doesn’t only want to sell out concert venues. Sony announced that the Grammy winner will play the lead role in Marvel’s upcoming film \u003cem>El Muerto\u003c/em>. This will be the first time a Latinx actor has their own live-action superhero film in the Marvel universe.\u003c/p>\n\u003cp>[aside postid='arts_13911337']Bad Bunny will play the character of Juan Carlos Estrada/El Muerto (the dead one), an antihero who acquires his powers from a mask that has been passed down from generation to generation. The film will be a spinoff of the Spider-Man franchise, in which El Muerto is set to attend a wrestling charity event to wrestle Spider-Man in the attempt to unmask him.\u003c/p>\n\u003cp>Bad Bunny searched the Spider-Man comic book archives for characters he thought would fit him and selected \u003cem>El Muerto\u003c/em>, who was first introduced in 2006.\u003c/p>\n\u003cp>The singer also has experience with wrestling. In 2021, he made his wrestling debut on WWE WrestleMania.\u003c/p>\n\u003cp>According to\u003cem>\u003ca href=\"https://deadline.com/2022/04/bad-bunny-spider-man-el-muerto-sonys-marvel-pic-1235009269/\" target=\"_blank\" rel=\"noopener noreferrer\"> Deadline\u003c/a>\u003c/em>, Bad Bunny told Sony Motion Picture Group President Sanford Panitch: “I love wrestling. I grew up watching wrestling and I’m a wrestler. I’m a former champion so this is why I love this character. I think it’s the perfect role to me and it will be epic.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This will not be the singer’s first experience with acting. He previously had a role on Netflix’s \u003cem>Narcos: Mexico\u003c/em> and this summer he will be on the big screen in \u003cem>Bullet Train\u003c/em>, also starring Brad Pitt and Sandra Bullock.\u003c/p>\n\u003cp>[aside postid='arts_13902470']A push for Marvel to diversify its cast seems to continue. While Mexican American actor Salma Hayek shared the stage with co-stars in 2021’s \u003cem>Eternals\u003c/em>, Bad Bunny will be the lead in \u003cem>El Muerto\u003c/em>. It wasn’t until 2018 when Chadwick Boseman starred in \u003cem>Black Panther\u003c/em> that Marvel had a non-white actor play a lead superhero role. Since then, there has also been \u003cem>Shang-Chi and the Legend of the Ten Rings,\u003c/em> starring Simu Liu and Akwafina.\u003c/p>\n\u003cp>Bad Bunny will be busy up until shooting for \u003cem>El Muerto \u003c/em>commences. Later this year he will embark on \u003cem>Bad Bunny: World’s Hottest Tour \u003c/em>and earlier this month he\u003ca href=\"https://www.instagram.com/p/Cb0SjlIF8U5/\" target=\"_blank\" rel=\"noopener noreferrer\"> announced\u003c/a> another album.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The film is set to premiere in theaters on Jan. 12, 2024.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bad+Bunny+will+be+the+first+Latino+to+lead+a+live-action+Marvel+movie&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Benito Antonio Martínez Ocasio, aka the singer Bad Bunny, doesn’t only want to sell out concert venues. Sony announced that the Grammy winner will play the lead role in Marvel’s upcoming film \u003cem>El Muerto\u003c/em>. This will be the first time a Latinx actor has their own live-action superhero film in the Marvel universe.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Bad Bunny will play the character of Juan Carlos Estrada/El Muerto (the dead one), an antihero who acquires his powers from a mask that has been passed down from generation to generation. The film will be a spinoff of the Spider-Man franchise, in which El Muerto is set to attend a wrestling charity event to wrestle Spider-Man in the attempt to unmask him.\u003c/p>\n\u003cp>Bad Bunny searched the Spider-Man comic book archives for characters he thought would fit him and selected \u003cem>El Muerto\u003c/em>, who was first introduced in 2006.\u003c/p>\n\u003cp>The singer also has experience with wrestling. In 2021, he made his wrestling debut on WWE WrestleMania.\u003c/p>\n\u003cp>According to\u003cem>\u003ca href=\"https://deadline.com/2022/04/bad-bunny-spider-man-el-muerto-sonys-marvel-pic-1235009269/\" target=\"_blank\" rel=\"noopener noreferrer\"> Deadline\u003c/a>\u003c/em>, Bad Bunny told Sony Motion Picture Group President Sanford Panitch: “I love wrestling. I grew up watching wrestling and I’m a wrestler. I’m a former champion so this is why I love this character. I think it’s the perfect role to me and it will be epic.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>A push for Marvel to diversify its cast seems to continue. While Mexican American actor Salma Hayek shared the stage with co-stars in 2021’s \u003cem>Eternals\u003c/em>, Bad Bunny will be the lead in \u003cem>El Muerto\u003c/em>. It wasn’t until 2018 when Chadwick Boseman starred in \u003cem>Black Panther\u003c/em> that Marvel had a non-white actor play a lead superhero role. Since then, there has also been \u003cem>Shang-Chi and the Legend of the Ten Rings,\u003c/em> starring Simu Liu and Akwafina.\u003c/p>\n\u003cp>Bad Bunny will be busy up until shooting for \u003cem>El Muerto \u003c/em>commences. Later this year he will embark on \u003cem>Bad Bunny: World’s Hottest Tour \u003c/em>and earlier this month he\u003ca href=\"https://www.instagram.com/p/Cb0SjlIF8U5/\" target=\"_blank\" rel=\"noopener noreferrer\"> announced\u003c/a> another album.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The film is set to premiere in theaters on Jan. 12, 2024.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bad+Bunny+will+be+the+first+Latino+to+lead+a+live-action+Marvel+movie&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Rita Moreno on 'West Side Story' and Becoming the Role Model She Needed",
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"content": "\u003cp>Actor Rita Moreno never had an on-screen, Latina role model as a child. “There was no such thing then,” she says. “Certainly not for little Puerto Rican girls like me.”\u003c/p>\n\u003cp>That changed when Moreno, who moved with her mother to the U.S. mainland from Puerto Rico in 1936 and spent years working as a contract player for MGM, landed her breakout role as Anita in the 1961 film \u003cem>West Side Story\u003c/em>.\u003c/p>\n\u003cp>“What was important about Anita to me—and still is—is that Anita, believe it or not, was the only part I ever remember where I represented Hispanics in a dignified and positive way,” she says. “It represented a lot of breakthroughs for young actors of Hispanic origin.”\u003c/p>\n\u003cp>But Moreno nearly didn’t take the part. Just before she signed the \u003cem>West Side Story \u003c/em>contract, she remembered a troubling verse in the song “\u003ca href=\"https://www.youtube.com/watch?v=tNN4WsEk984\" target=\"_blank\" rel=\"noopener noreferrer\">America\u003c/a>” in which she’d have to sing: “Puerto Rico. You ugly island, island of tropic diseases.”\u003c/p>\n\u003cp>“And it suddenly occurred to me, Oh my God, I can’t sing that! … I can’t do this to my people,” she says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Moreno says she was “this close” to turning the role down before Stephen Sondheim, at the request of a producer, changed the lyric to: “Puerto Rico, my heart’s devotion, let it sink back in the ocean.”\u003c/p>\n\u003cp>“And that’s how Stephen Sondheim saved me from turning down this magnificent role,” she says.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YhSKk-cvblc\u003c/p>\n\u003cp>After becoming the first Latina actor to win an Oscar for \u003cem>West Side Story, \u003c/em>Moreno expected more opportunities to follow. Instead, she was offered stereotyped roles as gang members and housewives.\u003c/p>\n\u003cp>“It was the heartbreak of my life,” Moreno says. She turned down the parts she thought were offensive or too insignificant, and wound up not making another movie for seven years.\u003c/p>\n\u003cp>But eventually Moreno’s career got back on track. She appeared on Broadway, was an original cast member of the children’s show \u003cem>The Electric Company\u003c/em> and later co-starred in the HBO prison series \u003cem>Oz\u003c/em>. In 1977 she became the first Latina performer to achieve EGOT status as a winner of an Emmy, Grammy, Oscar and Tony Award.\u003c/p>\n\u003cp>The new PBS \u003cem>American Masters\u003c/em> documentary, \u003ca href=\"https://www.pbs.org/wnet/americanmasters/rita-moreno-the-girl-who-decided-to-go-for-it-about/11654/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Just a\u003c/em> \u003cem>Girl Who Decided to Go for It,\u003c/em>\u003c/a>\u003cem> c\u003c/em>hronicles Moreno’s early life and her storied career. In it, she opens up about her experiences with racism and sexual assault in Hollywood\u003cem>. \u003c/em>Moreno appears in the forthcoming Steven Spielberg film adaptation of \u003cem>West Side Story, \u003c/em>for which she also serves as an executive producer.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=t84GEdvTLVQ\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview Highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On the roles MGM cast her in at the beginning of her career\u003c/strong>\u003c/p>\n\u003cp>I got native girls. I got Pacific Island parts, I got Egyptian girl parts, anything but just acting roles. They were all very specific. They all called for an accent or two that I wasn’t even familiar with. So I made up my own accents, thinking that that would enhance the parts. They all sounded Puerto Rican, actually. … I always sounded like this because it’s the only accent I understood and nobody ever said, “What are you doing? What the hell is that?” Because I would have answered, “Well, I’m trying to provide a foundation for this, this girl, this part.” But nobody asked. Nobody cared. It’s so odd when I look back.\u003c/p>\n\u003cp>\u003cstrong>On how the 1961 version of \u003c/strong>\u003cem>\u003cstrong>West Side Story\u003c/strong>\u003c/em>\u003cstrong> resonated\u003c/strong>\u003c/p>\n\u003cp>The fact that there was a person playing a \u003cem>Puertorriqueña\u003c/em> in a huge, successful musical was enough for a lot of Hispanics—not just Puerto Ricans—in this country to be thrilled to pieces. The fact that there were mistakes made … was also almost beyond the point, because we were just so glad to be paid attention to for a change. This was an extraordinary, extraordinary experience in every possible way. And it helped to inform a lot of people who were not Hispanic about what we were about—and that was important and absolutely fabulous. There were people, particularly in Puerto Rico, who were not thrilled because they felt that depicting Puerto Ricans as gang members was offensive and insulting. I think they missed the part about \u003cem>Romeo and Juliet, \u003c/em>which I thought was the genius of this. And here we are many, many, many years later with another edition of this film about to be released in December—by the way, when I will, literally, the day before we open, be 90 years old.\u003c/p>\n\u003cp>\u003cstrong>On having to darken her skin for film roles \u003c/strong>\u003c/p>\n\u003cp>I rarely, rarely ever saw my own color when I did movies. When I first went to MGM, I played a Cajun girl from New Orleans. So they actually used my own skin color. But as I got older and had more of a career, I kept getting darker and darker and darker. … [\u003cem>West Side Story\u003c/em>] was worse. That was like mud. … It was so thick and it was so dark that our faces would streak and show our real color underneath. And I remember saying to a makeup man once, “I don’t know why I have to be this color. … This is not my color.” And he actually said to me as he was making me up, “What are you, racist?” Well, talk about nonplussed. I didn’t even know what to say to him.\u003c/p>\n\u003cp>\u003cstrong>On the allegation that her Hollywood agent raped her early in her career\u003c/strong>\u003c/p>\n\u003cp>The very first time I spoke about it was when I did the documentary. I mentioned it in my book, also my biography, but it’s heartbreaking. By the way, I ran into this man, this agent, about five years ago in Palm Springs because it turned out he had booked me in a concert that I was going to do there. And I saw his face and I thought, oh, my God, it’s him. And you know what he told me without being asked? He said, “I’m sorry I didn’t make you pregnant, because that was the whole idea. … Then you would be beholden to me forever.” … I was speechless. I was absolutely speechless, I just said, “Excuse me.” And I left the room. I was dumbstruck. What do you say? “You cur, you bastard, you son of a bitch.” What do you say? … You know what, I’m glad I didn’t [say anything], because that would have probably opened too many doors.\u003c/p>\n\u003cp>\u003cstrong>On dating Marlon Brando and Elvis Presley \u003c/strong>\u003c/p>\n\u003cp>[aside postid='arts_13881446']I saw [Marlon Brando] as a person who was very strong. I had a very warped and twisted notion of what a real man was like. To me, that was Marlon. He was it. He was the king of movies and the king of everything. And on top of that, we had an extraordinary sexual relationship. So that kind of helped. …\u003c/p>\n\u003cp>I dated Elvis to make Marlon jealous. So for a short while there, I had the two kings of different things, show business royalty. And it was to make Marlon jealous, really. And he was a sweet fellow. He was very simple and he was boring, Elvis.\u003c/p>\n\u003cp>\u003cstrong>On her toxic relationship with Brando and her attempted suicide \u003c/strong>\u003c/p>\n\u003cp>My relationship with Marlon depended on what was happening at my psychotherapist’s. He would be very helpful. And then I would succumb to Marlon’s charms and go back to him for the 20th time. The only thing that really stopped it—and that was my intention at the time—was my attempted suicide. I couldn’t take being humiliated anymore. And I found that I was my own worst enemy. So it was my intention. The objective of this attempted suicide was to get rid of this relationship. …\u003c/p>\n\u003cp>[When I survived] I would never try that again. I absolutely knew I would never, ever try such a thing again. It’s so against my nature. And my doctor said to me, my therapist, he said, “You can never, ever, ever see Marlon again, because the next time you may not be as lucky.” And he made Marlon write me a letter about, “This is it, Rita, I’m sorry for everything, all the things I’ve done. This is a letter of goodbye. I will never see you again.” By the way, six months later, he called me on the phone and we became friends.\u003c/p>\n\u003cp>\u003cstrong>On being unhappy in her marriage to Leonard Gordon\u003c/strong>\u003c/p>\n\u003cp>I really did love him, but what happened was … sometimes people make contracts with each other that are never verbalized or spoken. In my case, it was “I’ll be a wonderful little girl and amuse you and make you happy if you will be my daddy and my protector and take care of me.” That’s what our contract really was, and the day that I decided I wanted to start growing up is when the marriage got into trouble, and that literally started in our seventh year. I remember talking divorce with him at that time. And of course, we didn’t, and I didn’t and that was that. But I was unhappy for a very, very, very long time.\u003c/p>\n\u003cp>\u003cstrong>On being on her own after Gordon died\u003c/strong>\u003c/p>\n\u003cp>I blossomed. I absolutely blossomed. I’m a person whose biggest hobby is laughing. Truly, I love laughter. I love humor. I love being raucous, which is one of the things that really annoyed my husband. He called it “my show business self.” And all of that was now up for grabs. I could be anyone I wanted to be. I could be what I felt. I wanted to be what I needed to be. And it was grand. Absolutely. I didn’t look back. Not one second, which is fascinating to me. I have not looked back.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Lauren Krenzel and Seth Kelley produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Rita+Moreno+On+%27West+Side+Story%27+And+Becoming+The+Role+Model+She+Needed+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Actor Rita Moreno never had an on-screen, Latina role model as a child. “There was no such thing then,” she says. “Certainly not for little Puerto Rican girls like me.”\u003c/p>\n\u003cp>That changed when Moreno, who moved with her mother to the U.S. mainland from Puerto Rico in 1936 and spent years working as a contract player for MGM, landed her breakout role as Anita in the 1961 film \u003cem>West Side Story\u003c/em>.\u003c/p>\n\u003cp>“What was important about Anita to me—and still is—is that Anita, believe it or not, was the only part I ever remember where I represented Hispanics in a dignified and positive way,” she says. “It represented a lot of breakthroughs for young actors of Hispanic origin.”\u003c/p>\n\u003cp>But Moreno nearly didn’t take the part. Just before she signed the \u003cem>West Side Story \u003c/em>contract, she remembered a troubling verse in the song “\u003ca href=\"https://www.youtube.com/watch?v=tNN4WsEk984\" target=\"_blank\" rel=\"noopener noreferrer\">America\u003c/a>” in which she’d have to sing: “Puerto Rico. You ugly island, island of tropic diseases.”\u003c/p>\n\u003cp>“And it suddenly occurred to me, Oh my God, I can’t sing that! … I can’t do this to my people,” she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Moreno says she was “this close” to turning the role down before Stephen Sondheim, at the request of a producer, changed the lyric to: “Puerto Rico, my heart’s devotion, let it sink back in the ocean.”\u003c/p>\n\u003cp>“And that’s how Stephen Sondheim saved me from turning down this magnificent role,” she says.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/YhSKk-cvblc'\n title='//www.youtube.com/embed/YhSKk-cvblc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>After becoming the first Latina actor to win an Oscar for \u003cem>West Side Story, \u003c/em>Moreno expected more opportunities to follow. Instead, she was offered stereotyped roles as gang members and housewives.\u003c/p>\n\u003cp>“It was the heartbreak of my life,” Moreno says. She turned down the parts she thought were offensive or too insignificant, and wound up not making another movie for seven years.\u003c/p>\n\u003cp>But eventually Moreno’s career got back on track. She appeared on Broadway, was an original cast member of the children’s show \u003cem>The Electric Company\u003c/em> and later co-starred in the HBO prison series \u003cem>Oz\u003c/em>. In 1977 she became the first Latina performer to achieve EGOT status as a winner of an Emmy, Grammy, Oscar and Tony Award.\u003c/p>\n\u003cp>The new PBS \u003cem>American Masters\u003c/em> documentary, \u003ca href=\"https://www.pbs.org/wnet/americanmasters/rita-moreno-the-girl-who-decided-to-go-for-it-about/11654/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Just a\u003c/em> \u003cem>Girl Who Decided to Go for It,\u003c/em>\u003c/a>\u003cem> c\u003c/em>hronicles Moreno’s early life and her storied career. In it, she opens up about her experiences with racism and sexual assault in Hollywood\u003cem>. \u003c/em>Moreno appears in the forthcoming Steven Spielberg film adaptation of \u003cem>West Side Story, \u003c/em>for which she also serves as an executive producer.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/t84GEdvTLVQ'\n title='//www.youtube.com/embed/t84GEdvTLVQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>\u003cstrong>Interview Highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On the roles MGM cast her in at the beginning of her career\u003c/strong>\u003c/p>\n\u003cp>I got native girls. I got Pacific Island parts, I got Egyptian girl parts, anything but just acting roles. They were all very specific. They all called for an accent or two that I wasn’t even familiar with. So I made up my own accents, thinking that that would enhance the parts. They all sounded Puerto Rican, actually. … I always sounded like this because it’s the only accent I understood and nobody ever said, “What are you doing? What the hell is that?” Because I would have answered, “Well, I’m trying to provide a foundation for this, this girl, this part.” But nobody asked. Nobody cared. It’s so odd when I look back.\u003c/p>\n\u003cp>\u003cstrong>On how the 1961 version of \u003c/strong>\u003cem>\u003cstrong>West Side Story\u003c/strong>\u003c/em>\u003cstrong> resonated\u003c/strong>\u003c/p>\n\u003cp>The fact that there was a person playing a \u003cem>Puertorriqueña\u003c/em> in a huge, successful musical was enough for a lot of Hispanics—not just Puerto Ricans—in this country to be thrilled to pieces. The fact that there were mistakes made … was also almost beyond the point, because we were just so glad to be paid attention to for a change. This was an extraordinary, extraordinary experience in every possible way. And it helped to inform a lot of people who were not Hispanic about what we were about—and that was important and absolutely fabulous. There were people, particularly in Puerto Rico, who were not thrilled because they felt that depicting Puerto Ricans as gang members was offensive and insulting. I think they missed the part about \u003cem>Romeo and Juliet, \u003c/em>which I thought was the genius of this. And here we are many, many, many years later with another edition of this film about to be released in December—by the way, when I will, literally, the day before we open, be 90 years old.\u003c/p>\n\u003cp>\u003cstrong>On having to darken her skin for film roles \u003c/strong>\u003c/p>\n\u003cp>I rarely, rarely ever saw my own color when I did movies. When I first went to MGM, I played a Cajun girl from New Orleans. So they actually used my own skin color. But as I got older and had more of a career, I kept getting darker and darker and darker. … [\u003cem>West Side Story\u003c/em>] was worse. That was like mud. … It was so thick and it was so dark that our faces would streak and show our real color underneath. And I remember saying to a makeup man once, “I don’t know why I have to be this color. … This is not my color.” And he actually said to me as he was making me up, “What are you, racist?” Well, talk about nonplussed. I didn’t even know what to say to him.\u003c/p>\n\u003cp>\u003cstrong>On the allegation that her Hollywood agent raped her early in her career\u003c/strong>\u003c/p>\n\u003cp>The very first time I spoke about it was when I did the documentary. I mentioned it in my book, also my biography, but it’s heartbreaking. By the way, I ran into this man, this agent, about five years ago in Palm Springs because it turned out he had booked me in a concert that I was going to do there. And I saw his face and I thought, oh, my God, it’s him. And you know what he told me without being asked? He said, “I’m sorry I didn’t make you pregnant, because that was the whole idea. … Then you would be beholden to me forever.” … I was speechless. I was absolutely speechless, I just said, “Excuse me.” And I left the room. I was dumbstruck. What do you say? “You cur, you bastard, you son of a bitch.” What do you say? … You know what, I’m glad I didn’t [say anything], because that would have probably opened too many doors.\u003c/p>\n\u003cp>\u003cstrong>On dating Marlon Brando and Elvis Presley \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I saw [Marlon Brando] as a person who was very strong. I had a very warped and twisted notion of what a real man was like. To me, that was Marlon. He was it. He was the king of movies and the king of everything. And on top of that, we had an extraordinary sexual relationship. So that kind of helped. …\u003c/p>\n\u003cp>I dated Elvis to make Marlon jealous. So for a short while there, I had the two kings of different things, show business royalty. And it was to make Marlon jealous, really. And he was a sweet fellow. He was very simple and he was boring, Elvis.\u003c/p>\n\u003cp>\u003cstrong>On her toxic relationship with Brando and her attempted suicide \u003c/strong>\u003c/p>\n\u003cp>My relationship with Marlon depended on what was happening at my psychotherapist’s. He would be very helpful. And then I would succumb to Marlon’s charms and go back to him for the 20th time. The only thing that really stopped it—and that was my intention at the time—was my attempted suicide. I couldn’t take being humiliated anymore. And I found that I was my own worst enemy. So it was my intention. The objective of this attempted suicide was to get rid of this relationship. …\u003c/p>\n\u003cp>[When I survived] I would never try that again. I absolutely knew I would never, ever try such a thing again. It’s so against my nature. And my doctor said to me, my therapist, he said, “You can never, ever, ever see Marlon again, because the next time you may not be as lucky.” And he made Marlon write me a letter about, “This is it, Rita, I’m sorry for everything, all the things I’ve done. This is a letter of goodbye. I will never see you again.” By the way, six months later, he called me on the phone and we became friends.\u003c/p>\n\u003cp>\u003cstrong>On being unhappy in her marriage to Leonard Gordon\u003c/strong>\u003c/p>\n\u003cp>I really did love him, but what happened was … sometimes people make contracts with each other that are never verbalized or spoken. In my case, it was “I’ll be a wonderful little girl and amuse you and make you happy if you will be my daddy and my protector and take care of me.” That’s what our contract really was, and the day that I decided I wanted to start growing up is when the marriage got into trouble, and that literally started in our seventh year. I remember talking divorce with him at that time. And of course, we didn’t, and I didn’t and that was that. But I was unhappy for a very, very, very long time.\u003c/p>\n\u003cp>\u003cstrong>On being on her own after Gordon died\u003c/strong>\u003c/p>\n\u003cp>I blossomed. I absolutely blossomed. I’m a person whose biggest hobby is laughing. Truly, I love laughter. I love humor. I love being raucous, which is one of the things that really annoyed my husband. He called it “my show business self.” And all of that was now up for grabs. I could be anyone I wanted to be. I could be what I felt. I wanted to be what I needed to be. And it was grand. Absolutely. I didn’t look back. Not one second, which is fascinating to me. I have not looked back.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Lauren Krenzel and Seth Kelley produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Rita+Moreno+On+%27West+Side+Story%27+And+Becoming+The+Role+Model+She+Needed+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"headTitle": "Now Playing! Keep Earth Day Going With Livable Planet Film Fest | KQED",
"content": "\u003cp>The mini-moguls of SF IndieFest have added another winner to their array of satellite festivals (DocFest, Another Hole in the Head, SF Short Film Festival, Decibels). Wading into the wide-open spaces left by the fondly remembered and sadly departed San Francisco Green Film Festival, tireless programmers Jeff Ross and Chris Metzler launch the \u003ca href=\"https://livableplanet2021.eventive.org/welcome\" rel=\"noopener noreferrer\" target=\"_blank\">Livable Planet Film Festival\u003c/a> today with an ambitious program of 20 features and several dozen shorts inspired by land, water, fire and air, and people whose lives are uniquely connected to the elements. \u003c/p>\n\u003cp>The opening night selection, \u003cem>Landfall\u003c/em>, reaches out to us from post-Maria Puerto Rico a year after its Tribeca Film Festival premiere, and garlanded with awards from its pandemic-year tour of the fest circuit. Talented director Cecilia Aldarondo takes us on an impressionistic tour of the Caribbean island, skipping around to eavesdrop on intimate conversations—primarily with Gen Y and Zers—about the future of the beautiful yet economically troubled U.S. territory.\u003c/p>\n\u003cfigure id=\"attachment_13896209\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/landfall_still_05_credit_pablo_alvarez-mesa.jpg\" alt=\"\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13896209\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/landfall_still_05_credit_pablo_alvarez-mesa.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/landfall_still_05_credit_pablo_alvarez-mesa-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/landfall_still_05_credit_pablo_alvarez-mesa-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/landfall_still_05_credit_pablo_alvarez-mesa-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/landfall_still_05_credit_pablo_alvarez-mesa-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/landfall_still_05_credit_pablo_alvarez-mesa-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Still from Cecilia Aldarondo’s ‘Landfall.’ \u003ccite>(Pablo Alvarez Mesa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Landfall\u003c/em>, like a great many documentaries, is necessitated by the abdication of crisis-happy, short-attention-span network and cable news. The film’s framing is miles from mainstream news’ rote cheerleading of capitalism: As one young Vieques woman puts it, “Hurricane Maria was like a big mop or broom with bleach. It swept everything away. And we were finally able to see how screwed we were!”\u003c/p>\n\u003cp>The screwing is partly political and entirely economic. Aldarondo blends chunks of 1950s and ’60s travel and industrial films with verité scenes of contemporary opportunists—hipster cryptocurrency profiteers, notably—to place debt-squeezed Puerto Rico’s recent cost-cutting measures in a long history of colonial exploitation rather than a unique case of disaster capitalism.\u003c/p>\n\u003cp>\u003cem>Landfall\u003c/em> (which was co-produced by Oakland’s Ines Hofmann Kanna) will air later this year on PBS’ \u003cem>POV\u003c/em> series. It’s especially relevant now as the infrastructure debate heats up in the continental U.S., and the opposition argues that spending that helps everyday people (as opposed to millionaires) is a wasteful use of the U.S. Treasury.\u003c/p>\n\u003cfigure id=\"attachment_13896202\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Crab_Season_2.jpg.crdownload.jpg\" alt=\"\" width=\"960\" height=\"544\" class=\"size-full wp-image-13896202\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Crab_Season_2.jpg.crdownload.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Crab_Season_2.jpg.crdownload-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Crab_Season_2.jpg.crdownload-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Crab_Season_2.jpg.crdownload-768x435.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Christopher Leboucher in Martin Benoist’s ‘The Crab Season.’ \u003ccite>(Courtesy SF IndieFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Christopher Leboucher, the visually impaired French protagonist of Martin Benoist’s \u003cem>The Crab Season\u003c/em>, has no agenda beyond his daily low-tide outing in the Normandy waters he’s fished since he was a small boy. “Fished” is a broad term, for Leboucher’s forte is using his bare hands to find crabs and lobsters ensconced in the seaweed-covered rock formations. “It’s like a palace with lots of hallways and amazing places,” he effuses.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Made for French television, this sublime 52-minute piece is arguably, and pleasurably, more of a landscape portrait than a character study. Filmed off the coast of Étretat, \u003cem>The Crab Season\u003c/em> is a crisp visual treat that provides an additional tactile experience when Benoist’s camera follows Leboucher’s hands underwater.\u003c/p>\n\u003cp>The intrepid fisherman offers occasional bits of philosophy in the midst of his earnestly pragmatic endeavors that give \u003cem>The Crab Season\u003c/em> a slight whiff of profundity. In a welcome counterpoint that may or may not be intentional, the sequences of a fully submerged Leboucher thrusting a flailing, boot-clad foot above the surface evoke the comic balletics of Jacques Tati.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The Livable Planet Film Festival streams online April 22-May 2. \u003ca href=\"https://livableplanet2021.eventive.org/welcome\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The mini-moguls of SF IndieFest have added another winner to their array of satellite festivals (DocFest, Another Hole in the Head, SF Short Film Festival, Decibels). Wading into the wide-open spaces left by the fondly remembered and sadly departed San Francisco Green Film Festival, tireless programmers Jeff Ross and Chris Metzler launch the \u003ca href=\"https://livableplanet2021.eventive.org/welcome\" rel=\"noopener noreferrer\" target=\"_blank\">Livable Planet Film Festival\u003c/a> today with an ambitious program of 20 features and several dozen shorts inspired by land, water, fire and air, and people whose lives are uniquely connected to the elements. \u003c/p>\n\u003cp>The opening night selection, \u003cem>Landfall\u003c/em>, reaches out to us from post-Maria Puerto Rico a year after its Tribeca Film Festival premiere, and garlanded with awards from its pandemic-year tour of the fest circuit. Talented director Cecilia Aldarondo takes us on an impressionistic tour of the Caribbean island, skipping around to eavesdrop on intimate conversations—primarily with Gen Y and Zers—about the future of the beautiful yet economically troubled U.S. territory.\u003c/p>\n\u003cfigure id=\"attachment_13896209\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/landfall_still_05_credit_pablo_alvarez-mesa.jpg\" alt=\"\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13896209\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/landfall_still_05_credit_pablo_alvarez-mesa.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/landfall_still_05_credit_pablo_alvarez-mesa-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/landfall_still_05_credit_pablo_alvarez-mesa-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/landfall_still_05_credit_pablo_alvarez-mesa-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/landfall_still_05_credit_pablo_alvarez-mesa-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/landfall_still_05_credit_pablo_alvarez-mesa-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Still from Cecilia Aldarondo’s ‘Landfall.’ \u003ccite>(Pablo Alvarez Mesa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Landfall\u003c/em>, like a great many documentaries, is necessitated by the abdication of crisis-happy, short-attention-span network and cable news. The film’s framing is miles from mainstream news’ rote cheerleading of capitalism: As one young Vieques woman puts it, “Hurricane Maria was like a big mop or broom with bleach. It swept everything away. And we were finally able to see how screwed we were!”\u003c/p>\n\u003cp>The screwing is partly political and entirely economic. Aldarondo blends chunks of 1950s and ’60s travel and industrial films with verité scenes of contemporary opportunists—hipster cryptocurrency profiteers, notably—to place debt-squeezed Puerto Rico’s recent cost-cutting measures in a long history of colonial exploitation rather than a unique case of disaster capitalism.\u003c/p>\n\u003cp>\u003cem>Landfall\u003c/em> (which was co-produced by Oakland’s Ines Hofmann Kanna) will air later this year on PBS’ \u003cem>POV\u003c/em> series. It’s especially relevant now as the infrastructure debate heats up in the continental U.S., and the opposition argues that spending that helps everyday people (as opposed to millionaires) is a wasteful use of the U.S. Treasury.\u003c/p>\n\u003cfigure id=\"attachment_13896202\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Crab_Season_2.jpg.crdownload.jpg\" alt=\"\" width=\"960\" height=\"544\" class=\"size-full wp-image-13896202\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Crab_Season_2.jpg.crdownload.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Crab_Season_2.jpg.crdownload-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Crab_Season_2.jpg.crdownload-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Crab_Season_2.jpg.crdownload-768x435.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Christopher Leboucher in Martin Benoist’s ‘The Crab Season.’ \u003ccite>(Courtesy SF IndieFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Christopher Leboucher, the visually impaired French protagonist of Martin Benoist’s \u003cem>The Crab Season\u003c/em>, has no agenda beyond his daily low-tide outing in the Normandy waters he’s fished since he was a small boy. “Fished” is a broad term, for Leboucher’s forte is using his bare hands to find crabs and lobsters ensconced in the seaweed-covered rock formations. “It’s like a palace with lots of hallways and amazing places,” he effuses.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Made for French television, this sublime 52-minute piece is arguably, and pleasurably, more of a landscape portrait than a character study. Filmed off the coast of Étretat, \u003cem>The Crab Season\u003c/em> is a crisp visual treat that provides an additional tactile experience when Benoist’s camera follows Leboucher’s hands underwater.\u003c/p>\n\u003cp>The intrepid fisherman offers occasional bits of philosophy in the midst of his earnestly pragmatic endeavors that give \u003cem>The Crab Season\u003c/em> a slight whiff of profundity. In a welcome counterpoint that may or may not be intentional, the sequences of a fully submerged Leboucher thrusting a flailing, boot-clad foot above the surface evoke the comic balletics of Jacques Tati.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The Livable Planet Film Festival streams online April 22-May 2. \u003ca href=\"https://livableplanet2021.eventive.org/welcome\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Editor’s note: KQED Arts’ award-winning video series \u003ca href=\"https://www.youtube.com/playlist?list=PLeGdTT0--8Kh9ohLGAYIVzVb-TKwEAxER\" target=\"_blank\" rel=\"noopener noreferrer\">If Cities Could Dance \u003c/a>is back for a third season! In each episode, meet dancers across the country representing their city’s signature moves. New episodes premiere every two weeks. \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/ICCD302_San_Juan_English_Captions_English.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Download English Transcript.\u003c/a> \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/ICCD302_San_Juan_Spanish_Captions.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Download Spanish Transcript. \u003c/a>\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/ICCD302_San_Juan_Content_Description.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Download Content Description.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Mar Cruz, an Afro-Puerto Rican dancer, was 22 years old when a West African ancestor visited her in a dream, put his hand on her chest and prayed in a Yoruba dialect. “When he finished his prayer I suddenly began hearing a drum beating inside of me, inside of my body, and it was so strong that it shook me,” she says. Days later she heard the exact same rhythms while walking in town, beckoning her to the free community program where she would begin to study bomba.\u003c/span>\u003c/p>\n\u003cp>The movement and sound of bomba originates in the practices of West Africans brought to the Caribbean island by European colonizers as slaves in the 17th century, and over time absorbed influences from the Spanish as well as the region’s indigenous Taíno people. Slavery fueled sugar production and many other industries, and continued until 1873, when a law creating a gradual ban went into effect. Like other Afro-Caribbean cultural forms, bomba provided a source of political and spiritual expression for people who’d been forcibly uprooted from their homes, at times catalyzing rebellions.\u003c/p>\n\u003cp>“When we have something to say to protest, we go out there and play bomba,” says Mar. “It is our way of saying ‘we are here.’”\u003c/p>\n\u003cp>\u003ca href=\"https://bit.ly/HowToBomba\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Follow Mar Cruz in this how-to tutorial as she explains the foundations of bomba dance and goes over some basic steps or “piquetes”.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In Puerto Rico’s center of black culture, Loíza, \u003ca href=\"https://remezcla.com/culture/puerto-rico-protests-loiza-george-floyd-black-lives-matter/\" target=\"_blank\" rel=\"noopener noreferrer\">bomba is at the heart of protests\u003c/a>. Since the killing of George Floyd in Minneapolis, groups like \u003ca href=\"https://www.instagram.com/colectivoile/\" target=\"_blank\" rel=\"noopener noreferrer\">Colectivo Ilé\u003c/a> have shared their grief through the dance. “That death didn’t only affect the African American community but also \u003ca href=\"https://youtu.be/lUuvPF_r6jg\" target=\"_blank\" rel=\"noopener noreferrer\">the Afro-Puerto Rican community\u003c/a>,” says Mar. “People have always been racist towards us. They are finally willing to say, ‘That was a tragedy!’ But they are racist too. There used to be lynchings here too.”\u003c/p>\n\u003cp>A new movement to assert black pride and to acknowledge the island’s complex history of racism is part of the resurgence of bomba, providing \u003ca href=\"https://www.instagram.com/sebailabomba/\" target=\"_blank\" rel=\"noopener noreferrer\">Mar and her sister María\u003c/a>, along with many more Afro-Puerto Rican performers in both Puerto Rico and diaspora communities, a creative outlet to celebrate their oft-suppressed cultural heritage. “I’m representing my ancestors,” says María. “Those black slaves who danced in the past, that was their only method of self-expression.”\u003c/p>\n\u003cfigure id=\"attachment_13884446\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Mar-Maria.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13884446 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Mar-Maria-800x450.jpg\" alt=\"Afro-Puerto Rican sisters Mar and María Cruz stand on a picturesque beach with palm trees near San Juan, Puerto Rico.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Mar-Maria-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Mar-Maria-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Mar-Maria-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Mar-Maria-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Mar-Maria-1536x863.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Mar-Maria.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sisters Mar and María Cruz. \u003ccite>(Photo by Armando Aparicio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This episode of \u003cem>If Cities Could Dance\u003c/em> highlights the artists and communities committed to bomba in its many forms, inviting new meanings and political significance in the 21st century. It brings viewers performances from San Juan, Santurce and Loíza, important sites of Afro-Puerto Rican culture. Wearing traditional long, ruffled skirts, the Cruz sisters dance in the streets of San Juan, the island’s historic port city; in front of a cave near Loíza that is believed to have sheltered black people who’d escaped their captors, and at one of Puerto Rico’s traditional chinchorros—a casual place to eat and drink—to the rhythms of the popular local act \u003ca href=\"https://www.facebook.com/Tendencias787/\" target=\"_blank\" rel=\"noopener noreferrer\">Tendencias\u003c/a>. “Anyone can join the dance,” María says of the venue’s nightly bomba events. “No one is going to judge you.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Bomba Dance Tutorial with Afro-Puerto Rican Dancer Mar Cruz | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/4nFyLdsyIgk?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>A bomba percussion ensemble generally comprises a few barriles, hand drums originally made from rum barrels, with differing pitches determining musical roles; a cuá, or barrel drum played with sticks; and a time-keeping maraca, often played by a singer. Although there are archetypical rhythmic patterns, prominently holandés, yuba and sica, the life of bomba is in the improvisational interplay between dancer and the primo barril—with the dancer taking the lead.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/playlist/28QfTGjY8j1hUfDVhmd4Hy\" width=\"100%\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Leading the drummer is one of the elements that attracts Mar to bomba. It’s different from learning the steps in what she considers more “academic” dances such as salsa, merengue or bachata in that the bomba dancer creates the rhythm spontaneously, challenging the drummers to follow. “You’re making the music with your body and on top of that it’s improvised,” she says. “Everything you freestyle becomes a communication between the dancer and the drummer.”\u003c/p>\n\u003cp>Yet if not for the efforts of families such as the Cepedas of Santurce \u003cspan style=\"font-weight: 400\">(captured in the remarkable documentary \u003c/span>\u003ca href=\"https://vimeo.com/198901090\">\u003ci>\u003cspan style=\"font-weight: 400\">Bomba: Dancing the Drum\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\"> by Searchlight Films)\u003c/span>, bomba might’ve been lost to time. In the early- and mid-20th century, as other styles grew popular among Puerto Ricans and the newly-installed colonial regime of the United States, Rafael Cepeda Atiles drew international profile as a \u003ca href=\"https://www.arts.gov/honors/heritage/fellows/rafael-cepeda\" target=\"_blank\" rel=\"noopener noreferrer\">bomba ambassador\u003c/a>, kickstarting a resurgence that continues today.\u003c/p>\n\u003cp>“[Bomba] had been marginalized and forgotten, simply because it was black music,” says Jesús Cepeda, son of Rafael Cepeda, who continues stewarding the culture through the \u003ca href=\"https://www.facebook.com/cepedaofc/\" target=\"_blank\" rel=\"noopener noreferrer\">Fundación Rafael Cepeda & Grupo Folklórico Hermanos Cepeda\u003c/a>. “That’s something that not only he, but all of us endured collectively. Our music was stereotyped as a … byproduct of black slum culture, as music of the uneducated.”\u003c/p>\n\u003cfigure id=\"attachment_13884435\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Jesus_Cepeda.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884435\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Jesus_Cepeda-800x450.jpg\" alt=\"Men in an open-air room groove to the beat as Jesús Cepeda, who appears more prominently on the right side of the photo, plays a large barrel drum.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Jesus_Cepeda-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Jesus_Cepeda-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Jesus_Cepeda-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Jesus_Cepeda-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Jesus_Cepeda-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Jesus_Cepeda.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jesús Cepeda, son of Rafael Cepeda and master drummer at the Don Rafael Cepeda School of Bomba and Plena. \u003ccite>(Photo by Armando Aparicio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, though\u003cspan style=\"font-weight: 400\">,\u003c/span> Jesús is pleased to find a new generation embracing the cause of his family. And he thinks bomba culture can continue to play a role in the United States territory’s struggle for dignity and independence. “Papi always said that when Puerto Rico finally reaches a point where it recognizes the value of its folklore, it will fight to defend its honor,” Jesús says. \u003cem>—\u003c/em> \u003cem>Text by Sam Lefebvre\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003chr>\n\u003cp>\u003cem>\u003cstrong>Visit the vibrant old town of San Juan and some of Puerto Rico’s oldest black neighborhoods to see the Afro-Latino diasporic dance tradition of Bomba with our interactive story map. \u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://uploads.knightlab.com/storymapjs/4d72621d07063db4c4778f6461829723/if-cities-could-dance-san-juan-puerto-rico/index.html\" frameborder=\"0\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor’s note: KQED Arts’ award-winning video series \u003ca href=\"https://www.youtube.com/playlist?list=PLeGdTT0--8Kh9ohLGAYIVzVb-TKwEAxER\" target=\"_blank\" rel=\"noopener noreferrer\">If Cities Could Dance \u003c/a>is back for a third season! In each episode, meet dancers across the country representing their city’s signature moves. New episodes premiere every two weeks. \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/ICCD302_San_Juan_English_Captions_English.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Download English Transcript.\u003c/a> \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/ICCD302_San_Juan_Spanish_Captions.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Download Spanish Transcript. \u003c/a>\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/ICCD302_San_Juan_Content_Description.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Download Content Description.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Mar Cruz, an Afro-Puerto Rican dancer, was 22 years old when a West African ancestor visited her in a dream, put his hand on her chest and prayed in a Yoruba dialect. “When he finished his prayer I suddenly began hearing a drum beating inside of me, inside of my body, and it was so strong that it shook me,” she says. Days later she heard the exact same rhythms while walking in town, beckoning her to the free community program where she would begin to study bomba.\u003c/span>\u003c/p>\n\u003cp>The movement and sound of bomba originates in the practices of West Africans brought to the Caribbean island by European colonizers as slaves in the 17th century, and over time absorbed influences from the Spanish as well as the region’s indigenous Taíno people. Slavery fueled sugar production and many other industries, and continued until 1873, when a law creating a gradual ban went into effect. Like other Afro-Caribbean cultural forms, bomba provided a source of political and spiritual expression for people who’d been forcibly uprooted from their homes, at times catalyzing rebellions.\u003c/p>\n\u003cp>“When we have something to say to protest, we go out there and play bomba,” says Mar. “It is our way of saying ‘we are here.’”\u003c/p>\n\u003cp>\u003ca href=\"https://bit.ly/HowToBomba\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Follow Mar Cruz in this how-to tutorial as she explains the foundations of bomba dance and goes over some basic steps or “piquetes”.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In Puerto Rico’s center of black culture, Loíza, \u003ca href=\"https://remezcla.com/culture/puerto-rico-protests-loiza-george-floyd-black-lives-matter/\" target=\"_blank\" rel=\"noopener noreferrer\">bomba is at the heart of protests\u003c/a>. Since the killing of George Floyd in Minneapolis, groups like \u003ca href=\"https://www.instagram.com/colectivoile/\" target=\"_blank\" rel=\"noopener noreferrer\">Colectivo Ilé\u003c/a> have shared their grief through the dance. “That death didn’t only affect the African American community but also \u003ca href=\"https://youtu.be/lUuvPF_r6jg\" target=\"_blank\" rel=\"noopener noreferrer\">the Afro-Puerto Rican community\u003c/a>,” says Mar. “People have always been racist towards us. They are finally willing to say, ‘That was a tragedy!’ But they are racist too. There used to be lynchings here too.”\u003c/p>\n\u003cp>A new movement to assert black pride and to acknowledge the island’s complex history of racism is part of the resurgence of bomba, providing \u003ca href=\"https://www.instagram.com/sebailabomba/\" target=\"_blank\" rel=\"noopener noreferrer\">Mar and her sister María\u003c/a>, along with many more Afro-Puerto Rican performers in both Puerto Rico and diaspora communities, a creative outlet to celebrate their oft-suppressed cultural heritage. “I’m representing my ancestors,” says María. “Those black slaves who danced in the past, that was their only method of self-expression.”\u003c/p>\n\u003cfigure id=\"attachment_13884446\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Mar-Maria.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13884446 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Mar-Maria-800x450.jpg\" alt=\"Afro-Puerto Rican sisters Mar and María Cruz stand on a picturesque beach with palm trees near San Juan, Puerto Rico.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Mar-Maria-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Mar-Maria-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Mar-Maria-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Mar-Maria-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Mar-Maria-1536x863.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Mar-Maria.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sisters Mar and María Cruz. \u003ccite>(Photo by Armando Aparicio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This episode of \u003cem>If Cities Could Dance\u003c/em> highlights the artists and communities committed to bomba in its many forms, inviting new meanings and political significance in the 21st century. It brings viewers performances from San Juan, Santurce and Loíza, important sites of Afro-Puerto Rican culture. Wearing traditional long, ruffled skirts, the Cruz sisters dance in the streets of San Juan, the island’s historic port city; in front of a cave near Loíza that is believed to have sheltered black people who’d escaped their captors, and at one of Puerto Rico’s traditional chinchorros—a casual place to eat and drink—to the rhythms of the popular local act \u003ca href=\"https://www.facebook.com/Tendencias787/\" target=\"_blank\" rel=\"noopener noreferrer\">Tendencias\u003c/a>. “Anyone can join the dance,” María says of the venue’s nightly bomba events. “No one is going to judge you.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Bomba Dance Tutorial with Afro-Puerto Rican Dancer Mar Cruz | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/4nFyLdsyIgk?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>A bomba percussion ensemble generally comprises a few barriles, hand drums originally made from rum barrels, with differing pitches determining musical roles; a cuá, or barrel drum played with sticks; and a time-keeping maraca, often played by a singer. Although there are archetypical rhythmic patterns, prominently holandés, yuba and sica, the life of bomba is in the improvisational interplay between dancer and the primo barril—with the dancer taking the lead.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/playlist/28QfTGjY8j1hUfDVhmd4Hy\" width=\"100%\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Leading the drummer is one of the elements that attracts Mar to bomba. It’s different from learning the steps in what she considers more “academic” dances such as salsa, merengue or bachata in that the bomba dancer creates the rhythm spontaneously, challenging the drummers to follow. “You’re making the music with your body and on top of that it’s improvised,” she says. “Everything you freestyle becomes a communication between the dancer and the drummer.”\u003c/p>\n\u003cp>Yet if not for the efforts of families such as the Cepedas of Santurce \u003cspan style=\"font-weight: 400\">(captured in the remarkable documentary \u003c/span>\u003ca href=\"https://vimeo.com/198901090\">\u003ci>\u003cspan style=\"font-weight: 400\">Bomba: Dancing the Drum\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\"> by Searchlight Films)\u003c/span>, bomba might’ve been lost to time. In the early- and mid-20th century, as other styles grew popular among Puerto Ricans and the newly-installed colonial regime of the United States, Rafael Cepeda Atiles drew international profile as a \u003ca href=\"https://www.arts.gov/honors/heritage/fellows/rafael-cepeda\" target=\"_blank\" rel=\"noopener noreferrer\">bomba ambassador\u003c/a>, kickstarting a resurgence that continues today.\u003c/p>\n\u003cp>“[Bomba] had been marginalized and forgotten, simply because it was black music,” says Jesús Cepeda, son of Rafael Cepeda, who continues stewarding the culture through the \u003ca href=\"https://www.facebook.com/cepedaofc/\" target=\"_blank\" rel=\"noopener noreferrer\">Fundación Rafael Cepeda & Grupo Folklórico Hermanos Cepeda\u003c/a>. “That’s something that not only he, but all of us endured collectively. Our music was stereotyped as a … byproduct of black slum culture, as music of the uneducated.”\u003c/p>\n\u003cfigure id=\"attachment_13884435\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Jesus_Cepeda.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884435\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Jesus_Cepeda-800x450.jpg\" alt=\"Men in an open-air room groove to the beat as Jesús Cepeda, who appears more prominently on the right side of the photo, plays a large barrel drum.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Jesus_Cepeda-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Jesus_Cepeda-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Jesus_Cepeda-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Jesus_Cepeda-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Jesus_Cepeda-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Jesus_Cepeda.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jesús Cepeda, son of Rafael Cepeda and master drummer at the Don Rafael Cepeda School of Bomba and Plena. \u003ccite>(Photo by Armando Aparicio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, though\u003cspan style=\"font-weight: 400\">,\u003c/span> Jesús is pleased to find a new generation embracing the cause of his family. And he thinks bomba culture can continue to play a role in the United States territory’s struggle for dignity and independence. “Papi always said that when Puerto Rico finally reaches a point where it recognizes the value of its folklore, it will fight to defend its honor,” Jesús says. \u003cem>—\u003c/em> \u003cem>Text by Sam Lefebvre\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003chr>\n\u003cp>\u003cem>\u003cstrong>Visit the vibrant old town of San Juan and some of Puerto Rico’s oldest black neighborhoods to see the Afro-Latino diasporic dance tradition of Bomba with our interactive story map. \u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://uploads.knightlab.com/storymapjs/4d72621d07063db4c4778f6461829723/if-cities-could-dance-san-juan-puerto-rico/index.html\" frameborder=\"0\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\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": "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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"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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"politicalbreakdown": {
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"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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"possible": {
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"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",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
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