Artist DJ Agana Sprays Meaningful Symbols Across a Changing Oakland
The Story of Netflix's 'Las Crónicas Del Taco' Is a Bay Area Story Too
Once Behind Bars, Now Behind the Camera Lens
Oakland's Booklandia Brings a World of Bilingual Books to Families’ Doorsteps
Gentrification and Cultural Tension in Oakland Web Series 'Uneasy'
In 'Undocumented Heart,' Day Laborers Turn their Migration Stories into Art
Jose Antonio Vargas' 'Dear America' Humanizes the Immigration Debate
Mexican Rockers Café Tacvba Stand in Solidarity with Stateside Latinx Fans
Fast, Crass and In Your Face: INDECLINE Redefines Activist Art in the Trump Era
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"content": "\u003cp>The north-south median-divided street now known as Mandela Parkway is a microcosm of the changes at play throughout Oakland. Once, it was the site of the Cypress Structure, a 1.6-mile-long two-deck freeway that collapsed during the 1989 Loma Prieta earthquake and killed 42 people. Now, Mandela Parkway is home to food establishments, industrial businesses and pathways, which in the pre-pandemic era filled with affluent residents walking through the neighborhood. But tucked into the side streets is another, simultaneous, Oakland, one that reflects the uneven effects of gentrification sweeping the Town. \u003c/p>\n\u003cp>Vanessa Espinoza, better known as \u003ca href=\"https://www.instagram.com/dj_agana/\" rel=\"noopener noreferrer\" target=\"_blank\">DJ Agana\u003c/a>, is well aware of the disparity present in these streets. She’s looking up at \u003ci>You Are Beautiful\u003c/i>, a mural on the back of East Bay Resources recycling center on West Oakland’s Willow Street. “The mural is all trashed, I don’t know if this is going to work,” she says of a planned photoshoot.\u003c/p>\n\u003cp>DJ Agana is an East Oakland graffiti artist and a member of the women’s artist collective \u003ca href=\"https://www.fewandfarwomen.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Few and Far\u003c/a>. Agana is also an emcee, a 3D visual effects animator, a jewelry maker and an activist.\u003c/p>\n\u003cfigure id=\"attachment_13879429\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/AganaMural_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13879429\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/AganaMural_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/AganaMural_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/AganaMural_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/AganaMural_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/AganaMural_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">DJ Agana in front of her contribution to the ‘You Are Beautiful’ mural. \u003ccite>(\u003ca href=\"https://www.instagram.com/carla.hr/\" target=\"_blank\">Carla Hernandez Ramirez\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>You Are Beautiful\u003c/i>, painted by Agana and Few and Far members in 2018, depicts women in all shapes and forms: pregnant, breast-feeding, voluptuous, in full tribal regalia. Its message is straightforward but emphatic—all women are beautiful. Agana’s contribution to the mural is a woman breastfeeding her baby, draped in a teal shawl, her feet surrounded by a maíz plant. \u003c/p>\n\u003cp>The image is Agana’s way of normalizing a part of motherhood that is often sexualized or seen as inappropriate in public space. “Breasts aren’t made for your sexual pleasure,” she says. “They are made to feed babies, they might be sexy, they might turn you on or make you uncomfortable, but I’m going to feed my baby when he’s hungry, and I don’t care who is around.”[pullquote size='medium' citation='DJ Agana']‘This is reclaiming what is sacred and keeping our traditions alive through our recipes, and our food.’[/pullquote]\u003c/p>\n\u003cp>Fans of Agana’s work will recognize the imagery of corn, a recurring motif in her practice. Before shelter-in-place orders shuttered the eatery, it could be seen in \u003ca href=\"https://www.instagram.com/p/B8HNJHYFjm7/\" rel=\"noopener noreferrer\" target=\"_blank\">the mural\u003c/a> that adorns the inside wall of La Guerrera’s Kitchen, a mother-daughter food establishment in Fruitvale (currently offering \u003ca href=\"https://www.laguerreraskitchen.com/#how-to-support-during-covid-19-section\" rel=\"noopener noreferrer\" target=\"_blank\">pick-up services\u003c/a> from a nearby brewery, Friday through Sunday).\u003c/p>\n\u003cp>Agana’s maíz imagery draws from her Venezuelan roots and the knowledge that ancient civilizations in Mexico and Central and South America \u003ca href=\"https://www.smithsonianmag.com/smart-news/rethinking-corny-history-maize-180971038/\" rel=\"noopener noreferrer\" target=\"_blank\">used the grain as a food staple\u003c/a> until it was colonized by the food industry. She wants to bring awareness to this sacred grain in its natural form, not as corn syrup or other heavily processed corn-based products. “This is reclaiming what is sacred and keeping our traditions alive through our recipes, and our food,” she says. “That’s why it is my symbol.” \u003c/p>\n\u003cp>As Agana walks around the mural on Willow Street, she notices missing pieces and new tags. All that remains of the homeless encampment that once occupied that stretch of the street is the illegal dumping lining the bottom of the mural.\u003c/p>\n\u003cfigure id=\"attachment_13879431\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/WillowStreet_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13879431\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/WillowStreet_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/WillowStreet_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/WillowStreet_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/WillowStreet_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/WillowStreet_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Few and Far’s mural ‘You Are Beautiful,’ seen in 2020 on West Oakland’s Willow Street. \u003ccite>(\u003ca href=\"https://www.instagram.com/carla.hr/\" target=\"_blank\">Carla Hernandez Ramirez\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The theme of this mural is ‘you are beautiful,’ which is super ironic considering the state that it is in right now,” Agana says. “But that was the state that [the area] was in when we first got here.” At the time, Willow Street was the site of a homeless encampment of over 100 unhoused people. \u003c/p>\n\u003cp>\u003ca href=\"https://www.fewandfarwomen.com/meme\" rel=\"noopener noreferrer\" target=\"_blank\">Meme\u003c/a>, one of the artists in Few and Far, leads efforts to obtain permission from building owners to secure wall space for their projects. She reached out to the owner of East Bay Resources (who owns several buildings across town that often boast street art), secured sponsorships from Ironlak Spray Paint and Monster Energy, and the collective got to work. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“When we started working on the mural, we made friends with the homeless folks, they had our back and we had theirs,” Agana says. “We shared food, we broke bread, we brought them clothes, whatever we could do to support [them].” The collective prepped and cleaned the area before they started painting. Now, the upkeep of the mural also falls on the artists, damaged walls, trash and all.\u003c/p>\n\u003cp>Today, the mural and its surroundings are a juxtaposition of the changing demographics of the city. Artists struggle to remain rooted, often a few hundred dollars away from coming up short on rent and losing housing themselves—even more the case during the ongoing coronavirus pandemic. \u003c/p>\n\u003cp>[aside postID='arts_13874738']Talking about \u003ci>You Are Beautiful\u003c/i>, Agana touches on the subject of who has permission to paint a mural and where. \u003ca href=\"https://www.kqed.org/arts/13874738/a-mural-of-tom-hanks-and-too-short-in-oakland-goes-deeper-than-paint\" rel=\"noopener noreferrer\" target=\"_blank\">Controversy recently flared\u003c/a> up over a Tom Hanks and Too $hort mural painted on the side of the building at Oakland’s San Pablo Avenue and Castro Street. \u003c/p>\n\u003cp>“We all get our walls different ways, but there is a thing about going over other people’s art,” Agana emphasizes. “Even if the owner gives you consent, that’s not enough, you gotta know what art was there before. Where it came from, who did it, you can sue, it’s disrespectful.” \u003c/p>\n\u003cp>Agana mentions a mural in San Francisco’s Mission District created by local youth under the guidance of the Precita Eyes Mural Arts Center. When it was \u003ca href=\"https://missionlocal.org/2017/06/missions-culture-not-for-sale-but-it-can-be-painted-over/\" rel=\"noopener noreferrer\" target=\"_blank\">painted over\u003c/a> in 2017, it was perceived as an attempt as a way to erase the Latinx contributions to the neighborhood. “Folks that are rooted where they are from feel some type of way,” Agana says. “If an out-of-towner rolls up and paints a wall, there’s definitely tension.” \u003c/p>\n\u003cp>The clash isn’t just between local artists and those coming from out of town. Agana says there is tension even between artists who work in different styles. “There’s tension between the graffiti and street art, between who is native to the neighborhood and the Town, and who is coming to just get some fame,” she explains. When the artist isn’t connected to the site, she says, “People feel like they are gentrifying [a wall] and taking something that is sacred.” \u003c/p>\n\u003cfigure id=\"attachment_13879430\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/FewAndFar_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13879430\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/FewAndFar_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/FewAndFar_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/FewAndFar_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/FewAndFar_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/FewAndFar_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Few and Far is a women’s artist collective. \u003ccite>(\u003ca href=\"https://www.instagram.com/carla.hr/\" target=\"_blank\">Carla Hernandez Ramirez\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Agana and the Few and Far crew, there are even more obstacles than getting permission to paint on a particular wall. The world of graffiti and street art remains heavily male dominated; getting recognition and respect as women is a battle they continue to fight. “I’m putting in a lot of work, and the ladies in the crew are also putting in a lot of work where we gain respect, but it didn’t come easy,” Agana says. “There’s a stereotype of ‘she got good because her boyfriend taught her.’ There’s this assumption that you got good because of a dude.” She emphasizes the need to respect the artistry without sexist assumptions. \u003c/p>\n\u003cp>Agana’s work, sprayed across Bay Area walls, challenges the notion of who, and what, gets to take up space in the public realm. In her purposeful depictions of maíz, of different body types engaged in activities that represent her own lived experience—and the experiences of her community—Agana puts her own beliefs into large-scale practice. \u003c/p>\n\u003cp>As she says, “It’s not about putting your name everywhere and your own personal fame. It’s about everybody and what your art represents.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The north-south median-divided street now known as Mandela Parkway is a microcosm of the changes at play throughout Oakland. Once, it was the site of the Cypress Structure, a 1.6-mile-long two-deck freeway that collapsed during the 1989 Loma Prieta earthquake and killed 42 people. Now, Mandela Parkway is home to food establishments, industrial businesses and pathways, which in the pre-pandemic era filled with affluent residents walking through the neighborhood. But tucked into the side streets is another, simultaneous, Oakland, one that reflects the uneven effects of gentrification sweeping the Town. \u003c/p>\n\u003cp>Vanessa Espinoza, better known as \u003ca href=\"https://www.instagram.com/dj_agana/\" rel=\"noopener noreferrer\" target=\"_blank\">DJ Agana\u003c/a>, is well aware of the disparity present in these streets. She’s looking up at \u003ci>You Are Beautiful\u003c/i>, a mural on the back of East Bay Resources recycling center on West Oakland’s Willow Street. “The mural is all trashed, I don’t know if this is going to work,” she says of a planned photoshoot.\u003c/p>\n\u003cp>DJ Agana is an East Oakland graffiti artist and a member of the women’s artist collective \u003ca href=\"https://www.fewandfarwomen.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Few and Far\u003c/a>. Agana is also an emcee, a 3D visual effects animator, a jewelry maker and an activist.\u003c/p>\n\u003cfigure id=\"attachment_13879429\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/AganaMural_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13879429\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/AganaMural_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/AganaMural_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/AganaMural_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/AganaMural_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/AganaMural_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">DJ Agana in front of her contribution to the ‘You Are Beautiful’ mural. \u003ccite>(\u003ca href=\"https://www.instagram.com/carla.hr/\" target=\"_blank\">Carla Hernandez Ramirez\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>You Are Beautiful\u003c/i>, painted by Agana and Few and Far members in 2018, depicts women in all shapes and forms: pregnant, breast-feeding, voluptuous, in full tribal regalia. Its message is straightforward but emphatic—all women are beautiful. Agana’s contribution to the mural is a woman breastfeeding her baby, draped in a teal shawl, her feet surrounded by a maíz plant. \u003c/p>\n\u003cp>The image is Agana’s way of normalizing a part of motherhood that is often sexualized or seen as inappropriate in public space. “Breasts aren’t made for your sexual pleasure,” she says. “They are made to feed babies, they might be sexy, they might turn you on or make you uncomfortable, but I’m going to feed my baby when he’s hungry, and I don’t care who is around.”\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fans of Agana’s work will recognize the imagery of corn, a recurring motif in her practice. Before shelter-in-place orders shuttered the eatery, it could be seen in \u003ca href=\"https://www.instagram.com/p/B8HNJHYFjm7/\" rel=\"noopener noreferrer\" target=\"_blank\">the mural\u003c/a> that adorns the inside wall of La Guerrera’s Kitchen, a mother-daughter food establishment in Fruitvale (currently offering \u003ca href=\"https://www.laguerreraskitchen.com/#how-to-support-during-covid-19-section\" rel=\"noopener noreferrer\" target=\"_blank\">pick-up services\u003c/a> from a nearby brewery, Friday through Sunday).\u003c/p>\n\u003cp>Agana’s maíz imagery draws from her Venezuelan roots and the knowledge that ancient civilizations in Mexico and Central and South America \u003ca href=\"https://www.smithsonianmag.com/smart-news/rethinking-corny-history-maize-180971038/\" rel=\"noopener noreferrer\" target=\"_blank\">used the grain as a food staple\u003c/a> until it was colonized by the food industry. She wants to bring awareness to this sacred grain in its natural form, not as corn syrup or other heavily processed corn-based products. “This is reclaiming what is sacred and keeping our traditions alive through our recipes, and our food,” she says. “That’s why it is my symbol.” \u003c/p>\n\u003cp>As Agana walks around the mural on Willow Street, she notices missing pieces and new tags. All that remains of the homeless encampment that once occupied that stretch of the street is the illegal dumping lining the bottom of the mural.\u003c/p>\n\u003cfigure id=\"attachment_13879431\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/WillowStreet_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13879431\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/WillowStreet_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/WillowStreet_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/WillowStreet_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/WillowStreet_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/WillowStreet_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Few and Far’s mural ‘You Are Beautiful,’ seen in 2020 on West Oakland’s Willow Street. \u003ccite>(\u003ca href=\"https://www.instagram.com/carla.hr/\" target=\"_blank\">Carla Hernandez Ramirez\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The theme of this mural is ‘you are beautiful,’ which is super ironic considering the state that it is in right now,” Agana says. “But that was the state that [the area] was in when we first got here.” At the time, Willow Street was the site of a homeless encampment of over 100 unhoused people. \u003c/p>\n\u003cp>\u003ca href=\"https://www.fewandfarwomen.com/meme\" rel=\"noopener noreferrer\" target=\"_blank\">Meme\u003c/a>, one of the artists in Few and Far, leads efforts to obtain permission from building owners to secure wall space for their projects. She reached out to the owner of East Bay Resources (who owns several buildings across town that often boast street art), secured sponsorships from Ironlak Spray Paint and Monster Energy, and the collective got to work. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Talking about \u003ci>You Are Beautiful\u003c/i>, Agana touches on the subject of who has permission to paint a mural and where. \u003ca href=\"https://www.kqed.org/arts/13874738/a-mural-of-tom-hanks-and-too-short-in-oakland-goes-deeper-than-paint\" rel=\"noopener noreferrer\" target=\"_blank\">Controversy recently flared\u003c/a> up over a Tom Hanks and Too $hort mural painted on the side of the building at Oakland’s San Pablo Avenue and Castro Street. \u003c/p>\n\u003cp>“We all get our walls different ways, but there is a thing about going over other people’s art,” Agana emphasizes. “Even if the owner gives you consent, that’s not enough, you gotta know what art was there before. Where it came from, who did it, you can sue, it’s disrespectful.” \u003c/p>\n\u003cp>Agana mentions a mural in San Francisco’s Mission District created by local youth under the guidance of the Precita Eyes Mural Arts Center. When it was \u003ca href=\"https://missionlocal.org/2017/06/missions-culture-not-for-sale-but-it-can-be-painted-over/\" rel=\"noopener noreferrer\" target=\"_blank\">painted over\u003c/a> in 2017, it was perceived as an attempt as a way to erase the Latinx contributions to the neighborhood. “Folks that are rooted where they are from feel some type of way,” Agana says. “If an out-of-towner rolls up and paints a wall, there’s definitely tension.” \u003c/p>\n\u003cp>The clash isn’t just between local artists and those coming from out of town. Agana says there is tension even between artists who work in different styles. “There’s tension between the graffiti and street art, between who is native to the neighborhood and the Town, and who is coming to just get some fame,” she explains. When the artist isn’t connected to the site, she says, “People feel like they are gentrifying [a wall] and taking something that is sacred.” \u003c/p>\n\u003cfigure id=\"attachment_13879430\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/FewAndFar_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13879430\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/FewAndFar_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/FewAndFar_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/FewAndFar_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/FewAndFar_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/FewAndFar_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Few and Far is a women’s artist collective. \u003ccite>(\u003ca href=\"https://www.instagram.com/carla.hr/\" target=\"_blank\">Carla Hernandez Ramirez\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Agana and the Few and Far crew, there are even more obstacles than getting permission to paint on a particular wall. The world of graffiti and street art remains heavily male dominated; getting recognition and respect as women is a battle they continue to fight. “I’m putting in a lot of work, and the ladies in the crew are also putting in a lot of work where we gain respect, but it didn’t come easy,” Agana says. “There’s a stereotype of ‘she got good because her boyfriend taught her.’ There’s this assumption that you got good because of a dude.” She emphasizes the need to respect the artistry without sexist assumptions. \u003c/p>\n\u003cp>Agana’s work, sprayed across Bay Area walls, challenges the notion of who, and what, gets to take up space in the public realm. In her purposeful depictions of maíz, of different body types engaged in activities that represent her own lived experience—and the experiences of her community—Agana puts her own beliefs into large-scale practice. \u003c/p>\n\u003cp>As she says, “It’s not about putting your name everywhere and your own personal fame. It’s about everybody and what your art represents.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "The Story of Netflix's 'Las Crónicas Del Taco' Is a Bay Area Story Too",
"title": "The Story of Netflix's 'Las Crónicas Del Taco' Is a Bay Area Story Too",
"headTitle": "Bay Area Bites | KQED Food",
"content": "\u003cp>[aside postID='bayareabites_129463,bayareabites_101583' label='More Taco Stories']\u003c/p>\n\u003cp>The late L.A. Times restaurant critic, Jonathan Gold used to say about tacos, “...when we move to New York or Paris, it is tacos that haunt our dreams; when we are hungry after a night of dancing, it is the taqueros who nourish us, who appear precisely where and when we need them the most.”\u003c/p>\n\u003cp>Gold was right, and if he were alive today, he would be incredibly proud to see that \u003ca href=\"https://www.lataco.com/a-cold-email-from-a-food-obsessed-teen-why-i-owe-everything-to-jonathan-gold/\">his former restaurant scout, Javier Cabral\u003c/a> (now editor of L.A. Taco) became an associate producer and taco scout behind the recently premiered Netflix series, \u003cem>Las Crónicas del Taco\u003c/em> (Taco Chronicles). The show takes viewers on a journey through various parts of Mexico, to dissect how tacos such as asada, al pastor, carnitas, barbacoa, canasta, and guisados land on your plate, their history, and the labor of love behind them.\u003c/p>\n\u003cfigure id=\"attachment_134410\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-134410\" src=\"https://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2019/08/las-cronicas-del-taco-concept-art-e1565712544229.jpg\" alt=\"Netflix's documentary series 'Las Crónicas del Taco' was released in July 2019.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">Netflix's documentary series 'Las Crónicas del Taco' \u003ccite>(Courtesy of Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cabral became involved with the project thanks to the creator of the series, Mexican producer, Pablo Cruz. For those not familiar with his work, Cruz is behind projects such as the movie \u003cem>Miss Bala\u003c/em> starring Gina Rodriguez, the AMC TV show, \u003cem>Fear The Walking Dead\u003c/em>, and the Spanish series, \u003cem>Luis Miguel\u003c/em> (now streaming on Netflix).\u003c/p>\n\u003cp>“We had an instant creative food chemistry, we both love food in a very obsessive and human level,” Cabral said. “We love the stories of the people behind it, especially now in this day and age where that stuff really matters for political and ethical reasons.” The two initially met years prior over Korean style smoked duck bbq at a restaurant in L.A.'s Koreatown.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Their eye, not only for the delectable visions of the tacos in each episode but also the personal stories behind it, genuinely sets the series apart from others currently streaming on the platform. And so, Cabral set off on a year-long mission to find the taqueros and their respective taquerias that would ultimately land in the show. The hashtag \u003ca href=\"https://www.instagram.com/explore/tags/tacosforpablo/\">#tacosforpablo\u003c/a> on Instagram showcases his journey.\u003c/p>\n\u003cp>http://www.instagram.com/p/Bv5-jg0BZNT/\u003c/p>\n\u003cp>What they wanted was for viewers in both Mexico and the United States to feel connected to each episode. Living in L.A., Cabral captured noticeable cultural differences between the way tacos are seen in Mexico versus here in the states. “In the U.S., tacos are taken for granted, its deliciousness, and cost-effectiveness,” Cabral said of some people expecting a taco to be cheap. “In Mexico, tacos are just tacos, people just love them. Tacos are celebrated as a way of life.”\u003c/p>\n\u003cp>“Tacos are a collective experience,” Cruz said. “Mexicans don’t take them for granted.” For Cruz, tacos are unequivocal, the maximum representative of Mexico.\u003c/p>\n\u003cp>While working on the series, he also wanted to avoid the Taco Chronicles from being seen from an outside perspective. Instead of celebrity chefs, each episode is narrated by the taco itself thanks to the work of voiceover actors. “We wanted to give each type of taco a personality,” Cruz said of the distinctive voice narrating each episode. The goal, Cruz added was to showcase the actual taqueros. “There’s no one better to talk about their creative food journey, than the taqueros themselves.”\u003c/p>\n\u003cp>The process taqueros work through—how they develop their craft—is something he knows doesn’t only happen in Mexico, and can also be seen here in the states. His favorite place comes out of the neighborhood in L.A. where he resides. “Just imagine the story, an immigrant family from Oaxaca, they come [to the states] and set up their taco stand.”\u003c/p>\n\u003cp>Series creator Cruz said, “the taco is an art, [and] this series pays homage to tradition.”\u003c/p>\n\u003cp>Here in the Bay Area, there are countless similar stories of perseverance. Some of the best food you have probably eaten comes thanks to the labor of immigrants.\u003c/p>\n\u003cfigure id=\"attachment_134412\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-134412\" src=\"https://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2019/08/la-santa-torta-truck.jpg\" alt=\"\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2019/08/la-santa-torta-truck.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/24/2019/08/la-santa-torta-truck-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/24/2019/08/la-santa-torta-truck-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2019/08/la-santa-torta-truck-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2019/08/la-santa-torta-truck-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/24/2019/08/la-santa-torta-truck-1200x900.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Business partners Leonel Oblea and Victor Guzman in front of their taco truck, La Santa Torta. \u003ccite>(Azucena Rasilla)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For business partners Leonel (Leo) Oblea and Victor Guzman, opening the taco truck \u003ca href=\"https://www.instagram.com/lasantatorta/?hl=en\">La Santa Torta\u003c/a> where they specialize in Jalisco style birria and consome was a result of wrongdoings by the Trump Administration. Both Oblea and Guzman are Dreamers (a name given to young adults who came to the States as kids at no fault of their own). Both are \u003ca href=\"https://www.nilc.org/issues/daca/\">DACA\u003c/a> recipients (the Deferred Action for Childhood Arrivals is a policy implemented by the Obama Administration which granted Dreamers the opportunity to apply for a work permit).\u003c/p>\n\u003cp>In March of 2018, the program was rescinded by the then Attorney General Jeff Sessions. It meant that thousands of Dreamers were put back in limbo, and many whose work permits expired that year would lose their status. Oblea and Guzman were two of those Dreamers who lost their jobs after their work permits expired.\u003c/p>\n\u003cfigure id=\"attachment_134419\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-134419\" src=\"https://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2019/08/la-santa-torta-birria-tacos.jpg\" alt=\"La Santa Torta specializes in Jalisco style birria and consome.\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2019/08/la-santa-torta-birria-tacos.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/24/2019/08/la-santa-torta-birria-tacos-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/24/2019/08/la-santa-torta-birria-tacos-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2019/08/la-santa-torta-birria-tacos-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2019/08/la-santa-torta-birria-tacos-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/24/2019/08/la-santa-torta-birria-tacos-1200x900.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">La Santa Torta specializes in Jalisco style birria and consome. \u003ccite>(Azucena Rasilla)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Oblea, the labor of love behind the food at La Santa Torta is deeply personal for him. “My goal [with my food] is to make people feel like they are back in Jalisco,” Oblea who is unable to return to Mexico said. Thanks to a ruling in the U.S. district court in the District of Columbia, he and Guzman are able to renew their work permits once more (DACA recipients who previously held a work permit can submit the $495 fee to renew their two-year work permit).\u003cbr>\n[aside postID='bayareabites_132646,bayareabites_118885' align='left' label='Eat More Tacos']\u003cbr>\nIn the year-and-half, since they opened, Oblea and Guzman already have a second truck, and their goal is to expand to a brick and mortar in Oakland. They see their food and service as a way to help those who are much like them and cannot travel back to Mexico. “Our spices come from the mercado de abastos in Guadalajara,” Oblea said. “My grandma goes out there and brings us back chiles de Yahualica which we use in our salsa, and spices for the birria.”\u003c/p>\n\u003cp>“Our food is comfort food,” Oblea said of making his customers feel close to home. “It tastes like Mexico, it takes them back [in the form a taco de birria].”\u003c/p>\n\u003cfigure id=\"attachment_134413\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-134413\" src=\"https://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2019/08/el-ultimo-baile-dominic.jpg\" alt=\"Dominic Prado, the taquero behind Tacos El Último Baile\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2019/08/el-ultimo-baile-dominic.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/24/2019/08/el-ultimo-baile-dominic-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/24/2019/08/el-ultimo-baile-dominic-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2019/08/el-ultimo-baile-dominic-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2019/08/el-ultimo-baile-dominic-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/24/2019/08/el-ultimo-baile-dominic-1200x900.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Dominic Prado, the taquero behind Tacos El Último Baile \u003ccite>(Courtesy of Dominic Prado)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not far from the Jack London Square neighborhood where you can find La Santa Torta, another taco truck is gaining notoriety and a cult following. \u003ca href=\"https://www.instagram.com/tacoselultimobaile/?hl=en\">Tacos El Último Baile\u003c/a> started off as a taco stand, much like Pablo Cruz’s favorite place in L.A.. Back in 2016, Dominic Prado, the taquero behind it, started out of the outdoor space of The Legionnaire Saloon, a bar in the Uptown neighborhood of Oakland.\u003c/p>\n\u003cp>Now, Prado is the proud owner of an actual truck. Most weekends, you’ll catch him at “23rd and Telegraph,” as he often advertises on the business’s Instagram account. Other times, you might see the truck outside of Bandcamp off Broadway, but still in the same vicinity.\u003c/p>\n\u003cp>For Prado who spent time in Mexico, the best tacos al pastor he’s ever tried are from the Mexican state of Morelos in the city of Cuernavaca. The best asada out of the many places here in the States and in Mexico where he has tried tacos? “In Tijuana, but also, Calexico has better tacos than Mexicali,” he said.\u003c/p>\n\u003cp>Prado takes pride in making the asada and chicken meat al carbon. A process which basically means grilling meat over mesquite charcoal. “Not all charcoal is the same,” Prado said. He has a favorite type which is a quintessential part of his secrets behind how he grills the meat.\u003c/p>\n\u003cfigure id=\"attachment_134414\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-134414\" src=\"https://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2019/08/ultimo-baile-tacos.jpg\" alt=\"Prado makes his asada and chicken meat al carbon.\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2019/08/ultimo-baile-tacos.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/24/2019/08/ultimo-baile-tacos-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/24/2019/08/ultimo-baile-tacos-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2019/08/ultimo-baile-tacos-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2019/08/ultimo-baile-tacos-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/24/2019/08/ultimo-baile-tacos-1200x900.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Prado makes his asada and chicken meat al carbon. \u003ccite>(Azucena Rasilla)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Bay Area taquero scene is such that instead of competitiveness, you’ll often see taqueros like Miguel Escobedo of \u003ca href=\"https://www.instagram.com/alpastorpapi415/?hl=en\">Al Pastor Papi\u003c/a> rooting for other comrades and posting pictures of them on his social media. \"Those are the homies,” he said of La Santa Torta and Tacos El Último Baile.\u003c/p>\n\u003cp>Escobedo is a recognized name and face in the Bay Area food scene. For many years, he was part-owner of a popular Mexican restaurant in San Francisco. In 2012, he competed in the Food Network show \u003cem>Chopped\u003c/em>. Escobedo also competed in \u003cem>Throwdown with Bobby Flay\u003c/em>, where his triple threat burrito was the champion against the Food Network chef.\u003c/p>\n\u003cp>Before his departure from the restaurant in San Francisco, Escobedo had been looking into incorporating tacos al pastor into the menu, but he also wanted his tacos to represent their pure form. “I wanted to go back home and keep it one hundred percent real,” he said.\u003c/p>\n\u003cfigure id=\"attachment_134415\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-134415\" src=\"https://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2019/08/al-pastor-papi-spit.jpg\" alt=\"A trompo is a vertical grill in which the pork meat for al pastor tacos is slowly cooked.\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2019/08/al-pastor-papi-spit.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/24/2019/08/al-pastor-papi-spit-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/24/2019/08/al-pastor-papi-spit-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2019/08/al-pastor-papi-spit-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2019/08/al-pastor-papi-spit-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/24/2019/08/al-pastor-papi-spit-1200x900.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A trompo is a vertical grill in which the pork meat for al pastor tacos is slowly cooked. \u003ccite>(Azucena Rasilla)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In order to do this, his first order of business was to order a trompo, the vertical grill in which the pork meat is slowly cooked. “When I received the trompo, and I opened and touched it, I felt like when I was 14 and received my first turntables,” the now retired formerly known DJ MR.E said. He knew he was onto something with his soon to be Al Pastor Papi taco truck.\u003cbr>\n[aside postID='bayareabites_117626,bayareabites_103206' label='Make Your Own Tacos']\u003cbr>\nIn order to bring a piece of Mexico City (where he was born) back with him and make his al pastor tacos a success, Escobedo knew had to go back there to delve into what it would take to preserve the culture of this now ancestral dish. “I needed to get some street game,” he said of traveling to Mexico to talk to local taqueros but also to take a crash course at the Instituto de Gastronomía México.\u003c/p>\n\u003cp>There, he was able to learn the mother recipe of al pastor from one of the chefs teaching the course. “He [the chef] solidified my sentiments that this is where I needed to be,” Escobedo said, and everything he learned about the making of the al pastor meat was brought back to San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_134416\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-134416\" src=\"https://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2019/08/al-pastor-papi-tacos.jpg\" alt=\"“The usual order is tacos al pastor, y una coca-cola [Mexican coke],” says Escobedo.\" width=\"1920\" height=\"1441\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2019/08/al-pastor-papi-tacos.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/24/2019/08/al-pastor-papi-tacos-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/24/2019/08/al-pastor-papi-tacos-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2019/08/al-pastor-papi-tacos-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2019/08/al-pastor-papi-tacos-1020x766.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/24/2019/08/al-pastor-papi-tacos-1200x901.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">“The usual order is tacos al pastor, y una coca-cola [Mexican coke],” says Escobedo. \u003ccite>(Azucena Rasilla)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Escobedo takes pride in each taco he serves, and much like the owners of La Santa Torta, he sees the gleaming faces of chilangos (a name given to those from Mexico City) who come by Al Pastor Papi to gets tacos and with each bite feel like they are back home, “the usual order is tacos al pastor, y una coca-cola [Mexican coke],” he added.\u003c/p>\n\u003cp>The lack of taquerias equipped with trompos is partly to blame for the lack of authentic tacos al pastor in the Bay Area. Another hurdle is an ordinance with the health department which doesn’t allow for the meat to be sliced off the trompo and served immediately on the tortilla. The meat that goes in the tacos has to first be put on the flat top, then inside the tortilla.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>This added step deviates from the original way of serving tacos al pastor like they do back in Mexico City. “I want to lead the fight in educating the health department [inspectors] on what can be done to be able to get the meat right off the trompo,” Escobedo said.\u003c/p>\n\u003cfigure id=\"attachment_134409\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-134409\" src=\"https://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2019/08/al-pastor-papi.jpg\" alt=\"Miguel Escobedo of Al Pastor Papi holds up his trompo-roasted al pastor.\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2019/08/al-pastor-papi.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/24/2019/08/al-pastor-papi-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/24/2019/08/al-pastor-papi-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2019/08/al-pastor-papi-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2019/08/al-pastor-papi-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/24/2019/08/al-pastor-papi-1200x900.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Miguel Escobedo of Al Pastor Papi holds up his trompo-roasted al pastor. \u003ccite>(Azucena Rasilla)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "Just as tacos are honored in 'Las Crónicas Del Taco', taqueros in the Bay Area are sharing and celebrating their own stories and traditions through their own taco offerings.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The late L.A. Times restaurant critic, Jonathan Gold used to say about tacos, “...when we move to New York or Paris, it is tacos that haunt our dreams; when we are hungry after a night of dancing, it is the taqueros who nourish us, who appear precisely where and when we need them the most.”\u003c/p>\n\u003cp>Gold was right, and if he were alive today, he would be incredibly proud to see that \u003ca href=\"https://www.lataco.com/a-cold-email-from-a-food-obsessed-teen-why-i-owe-everything-to-jonathan-gold/\">his former restaurant scout, Javier Cabral\u003c/a> (now editor of L.A. Taco) became an associate producer and taco scout behind the recently premiered Netflix series, \u003cem>Las Crónicas del Taco\u003c/em> (Taco Chronicles). The show takes viewers on a journey through various parts of Mexico, to dissect how tacos such as asada, al pastor, carnitas, barbacoa, canasta, and guisados land on your plate, their history, and the labor of love behind them.\u003c/p>\n\u003cfigure id=\"attachment_134410\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-134410\" src=\"https://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2019/08/las-cronicas-del-taco-concept-art-e1565712544229.jpg\" alt=\"Netflix's documentary series 'Las Crónicas del Taco' was released in July 2019.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">Netflix's documentary series 'Las Crónicas del Taco' \u003ccite>(Courtesy of Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cabral became involved with the project thanks to the creator of the series, Mexican producer, Pablo Cruz. For those not familiar with his work, Cruz is behind projects such as the movie \u003cem>Miss Bala\u003c/em> starring Gina Rodriguez, the AMC TV show, \u003cem>Fear The Walking Dead\u003c/em>, and the Spanish series, \u003cem>Luis Miguel\u003c/em> (now streaming on Netflix).\u003c/p>\n\u003cp>“We had an instant creative food chemistry, we both love food in a very obsessive and human level,” Cabral said. “We love the stories of the people behind it, especially now in this day and age where that stuff really matters for political and ethical reasons.” The two initially met years prior over Korean style smoked duck bbq at a restaurant in L.A.'s Koreatown.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Their eye, not only for the delectable visions of the tacos in each episode but also the personal stories behind it, genuinely sets the series apart from others currently streaming on the platform. And so, Cabral set off on a year-long mission to find the taqueros and their respective taquerias that would ultimately land in the show. The hashtag \u003ca href=\"https://www.instagram.com/explore/tags/tacosforpablo/\">#tacosforpablo\u003c/a> on Instagram showcases his journey.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What they wanted was for viewers in both Mexico and the United States to feel connected to each episode. Living in L.A., Cabral captured noticeable cultural differences between the way tacos are seen in Mexico versus here in the states. “In the U.S., tacos are taken for granted, its deliciousness, and cost-effectiveness,” Cabral said of some people expecting a taco to be cheap. “In Mexico, tacos are just tacos, people just love them. Tacos are celebrated as a way of life.”\u003c/p>\n\u003cp>“Tacos are a collective experience,” Cruz said. “Mexicans don’t take them for granted.” For Cruz, tacos are unequivocal, the maximum representative of Mexico.\u003c/p>\n\u003cp>While working on the series, he also wanted to avoid the Taco Chronicles from being seen from an outside perspective. Instead of celebrity chefs, each episode is narrated by the taco itself thanks to the work of voiceover actors. “We wanted to give each type of taco a personality,” Cruz said of the distinctive voice narrating each episode. The goal, Cruz added was to showcase the actual taqueros. “There’s no one better to talk about their creative food journey, than the taqueros themselves.”\u003c/p>\n\u003cp>The process taqueros work through—how they develop their craft—is something he knows doesn’t only happen in Mexico, and can also be seen here in the states. His favorite place comes out of the neighborhood in L.A. where he resides. “Just imagine the story, an immigrant family from Oaxaca, they come [to the states] and set up their taco stand.”\u003c/p>\n\u003cp>Series creator Cruz said, “the taco is an art, [and] this series pays homage to tradition.”\u003c/p>\n\u003cp>Here in the Bay Area, there are countless similar stories of perseverance. Some of the best food you have probably eaten comes thanks to the labor of immigrants.\u003c/p>\n\u003cfigure id=\"attachment_134412\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-134412\" src=\"https://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2019/08/la-santa-torta-truck.jpg\" alt=\"\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2019/08/la-santa-torta-truck.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/24/2019/08/la-santa-torta-truck-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/24/2019/08/la-santa-torta-truck-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2019/08/la-santa-torta-truck-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2019/08/la-santa-torta-truck-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/24/2019/08/la-santa-torta-truck-1200x900.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Business partners Leonel Oblea and Victor Guzman in front of their taco truck, La Santa Torta. \u003ccite>(Azucena Rasilla)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For business partners Leonel (Leo) Oblea and Victor Guzman, opening the taco truck \u003ca href=\"https://www.instagram.com/lasantatorta/?hl=en\">La Santa Torta\u003c/a> where they specialize in Jalisco style birria and consome was a result of wrongdoings by the Trump Administration. Both Oblea and Guzman are Dreamers (a name given to young adults who came to the States as kids at no fault of their own). Both are \u003ca href=\"https://www.nilc.org/issues/daca/\">DACA\u003c/a> recipients (the Deferred Action for Childhood Arrivals is a policy implemented by the Obama Administration which granted Dreamers the opportunity to apply for a work permit).\u003c/p>\n\u003cp>In March of 2018, the program was rescinded by the then Attorney General Jeff Sessions. It meant that thousands of Dreamers were put back in limbo, and many whose work permits expired that year would lose their status. Oblea and Guzman were two of those Dreamers who lost their jobs after their work permits expired.\u003c/p>\n\u003cfigure id=\"attachment_134419\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-134419\" src=\"https://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2019/08/la-santa-torta-birria-tacos.jpg\" alt=\"La Santa Torta specializes in Jalisco style birria and consome.\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2019/08/la-santa-torta-birria-tacos.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/24/2019/08/la-santa-torta-birria-tacos-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/24/2019/08/la-santa-torta-birria-tacos-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2019/08/la-santa-torta-birria-tacos-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2019/08/la-santa-torta-birria-tacos-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/24/2019/08/la-santa-torta-birria-tacos-1200x900.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">La Santa Torta specializes in Jalisco style birria and consome. \u003ccite>(Azucena Rasilla)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Oblea, the labor of love behind the food at La Santa Torta is deeply personal for him. “My goal [with my food] is to make people feel like they are back in Jalisco,” Oblea who is unable to return to Mexico said. Thanks to a ruling in the U.S. district court in the District of Columbia, he and Guzman are able to renew their work permits once more (DACA recipients who previously held a work permit can submit the $495 fee to renew their two-year work permit).\u003cbr>\n\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cbr>\nIn the year-and-half, since they opened, Oblea and Guzman already have a second truck, and their goal is to expand to a brick and mortar in Oakland. They see their food and service as a way to help those who are much like them and cannot travel back to Mexico. “Our spices come from the mercado de abastos in Guadalajara,” Oblea said. “My grandma goes out there and brings us back chiles de Yahualica which we use in our salsa, and spices for the birria.”\u003c/p>\n\u003cp>“Our food is comfort food,” Oblea said of making his customers feel close to home. “It tastes like Mexico, it takes them back [in the form a taco de birria].”\u003c/p>\n\u003cfigure id=\"attachment_134413\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-134413\" src=\"https://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2019/08/el-ultimo-baile-dominic.jpg\" alt=\"Dominic Prado, the taquero behind Tacos El Último Baile\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2019/08/el-ultimo-baile-dominic.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/24/2019/08/el-ultimo-baile-dominic-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/24/2019/08/el-ultimo-baile-dominic-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2019/08/el-ultimo-baile-dominic-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2019/08/el-ultimo-baile-dominic-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/24/2019/08/el-ultimo-baile-dominic-1200x900.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Dominic Prado, the taquero behind Tacos El Último Baile \u003ccite>(Courtesy of Dominic Prado)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not far from the Jack London Square neighborhood where you can find La Santa Torta, another taco truck is gaining notoriety and a cult following. \u003ca href=\"https://www.instagram.com/tacoselultimobaile/?hl=en\">Tacos El Último Baile\u003c/a> started off as a taco stand, much like Pablo Cruz’s favorite place in L.A.. Back in 2016, Dominic Prado, the taquero behind it, started out of the outdoor space of The Legionnaire Saloon, a bar in the Uptown neighborhood of Oakland.\u003c/p>\n\u003cp>Now, Prado is the proud owner of an actual truck. Most weekends, you’ll catch him at “23rd and Telegraph,” as he often advertises on the business’s Instagram account. Other times, you might see the truck outside of Bandcamp off Broadway, but still in the same vicinity.\u003c/p>\n\u003cp>For Prado who spent time in Mexico, the best tacos al pastor he’s ever tried are from the Mexican state of Morelos in the city of Cuernavaca. The best asada out of the many places here in the States and in Mexico where he has tried tacos? “In Tijuana, but also, Calexico has better tacos than Mexicali,” he said.\u003c/p>\n\u003cp>Prado takes pride in making the asada and chicken meat al carbon. A process which basically means grilling meat over mesquite charcoal. “Not all charcoal is the same,” Prado said. He has a favorite type which is a quintessential part of his secrets behind how he grills the meat.\u003c/p>\n\u003cfigure id=\"attachment_134414\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-134414\" src=\"https://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2019/08/ultimo-baile-tacos.jpg\" alt=\"Prado makes his asada and chicken meat al carbon.\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2019/08/ultimo-baile-tacos.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/24/2019/08/ultimo-baile-tacos-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/24/2019/08/ultimo-baile-tacos-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2019/08/ultimo-baile-tacos-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2019/08/ultimo-baile-tacos-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/24/2019/08/ultimo-baile-tacos-1200x900.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Prado makes his asada and chicken meat al carbon. \u003ccite>(Azucena Rasilla)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Bay Area taquero scene is such that instead of competitiveness, you’ll often see taqueros like Miguel Escobedo of \u003ca href=\"https://www.instagram.com/alpastorpapi415/?hl=en\">Al Pastor Papi\u003c/a> rooting for other comrades and posting pictures of them on his social media. \"Those are the homies,” he said of La Santa Torta and Tacos El Último Baile.\u003c/p>\n\u003cp>Escobedo is a recognized name and face in the Bay Area food scene. For many years, he was part-owner of a popular Mexican restaurant in San Francisco. In 2012, he competed in the Food Network show \u003cem>Chopped\u003c/em>. Escobedo also competed in \u003cem>Throwdown with Bobby Flay\u003c/em>, where his triple threat burrito was the champion against the Food Network chef.\u003c/p>\n\u003cp>Before his departure from the restaurant in San Francisco, Escobedo had been looking into incorporating tacos al pastor into the menu, but he also wanted his tacos to represent their pure form. “I wanted to go back home and keep it one hundred percent real,” he said.\u003c/p>\n\u003cfigure id=\"attachment_134415\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-134415\" src=\"https://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2019/08/al-pastor-papi-spit.jpg\" alt=\"A trompo is a vertical grill in which the pork meat for al pastor tacos is slowly cooked.\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2019/08/al-pastor-papi-spit.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/24/2019/08/al-pastor-papi-spit-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/24/2019/08/al-pastor-papi-spit-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2019/08/al-pastor-papi-spit-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2019/08/al-pastor-papi-spit-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/24/2019/08/al-pastor-papi-spit-1200x900.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A trompo is a vertical grill in which the pork meat for al pastor tacos is slowly cooked. \u003ccite>(Azucena Rasilla)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In order to do this, his first order of business was to order a trompo, the vertical grill in which the pork meat is slowly cooked. “When I received the trompo, and I opened and touched it, I felt like when I was 14 and received my first turntables,” the now retired formerly known DJ MR.E said. He knew he was onto something with his soon to be Al Pastor Papi taco truck.\u003cbr>\n\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cbr>\nIn order to bring a piece of Mexico City (where he was born) back with him and make his al pastor tacos a success, Escobedo knew had to go back there to delve into what it would take to preserve the culture of this now ancestral dish. “I needed to get some street game,” he said of traveling to Mexico to talk to local taqueros but also to take a crash course at the Instituto de Gastronomía México.\u003c/p>\n\u003cp>There, he was able to learn the mother recipe of al pastor from one of the chefs teaching the course. “He [the chef] solidified my sentiments that this is where I needed to be,” Escobedo said, and everything he learned about the making of the al pastor meat was brought back to San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_134416\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-134416\" src=\"https://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2019/08/al-pastor-papi-tacos.jpg\" alt=\"“The usual order is tacos al pastor, y una coca-cola [Mexican coke],” says Escobedo.\" width=\"1920\" height=\"1441\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2019/08/al-pastor-papi-tacos.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/24/2019/08/al-pastor-papi-tacos-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/24/2019/08/al-pastor-papi-tacos-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2019/08/al-pastor-papi-tacos-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2019/08/al-pastor-papi-tacos-1020x766.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/24/2019/08/al-pastor-papi-tacos-1200x901.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">“The usual order is tacos al pastor, y una coca-cola [Mexican coke],” says Escobedo. \u003ccite>(Azucena Rasilla)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Escobedo takes pride in each taco he serves, and much like the owners of La Santa Torta, he sees the gleaming faces of chilangos (a name given to those from Mexico City) who come by Al Pastor Papi to gets tacos and with each bite feel like they are back home, “the usual order is tacos al pastor, y una coca-cola [Mexican coke],” he added.\u003c/p>\n\u003cp>The lack of taquerias equipped with trompos is partly to blame for the lack of authentic tacos al pastor in the Bay Area. Another hurdle is an ordinance with the health department which doesn’t allow for the meat to be sliced off the trompo and served immediately on the tortilla. The meat that goes in the tacos has to first be put on the flat top, then inside the tortilla.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This added step deviates from the original way of serving tacos al pastor like they do back in Mexico City. “I want to lead the fight in educating the health department [inspectors] on what can be done to be able to get the meat right off the trompo,” Escobedo said.\u003c/p>\n\u003cfigure id=\"attachment_134409\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-134409\" src=\"https://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2019/08/al-pastor-papi.jpg\" alt=\"Miguel Escobedo of Al Pastor Papi holds up his trompo-roasted al pastor.\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2019/08/al-pastor-papi.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/24/2019/08/al-pastor-papi-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/24/2019/08/al-pastor-papi-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2019/08/al-pastor-papi-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2019/08/al-pastor-papi-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/24/2019/08/al-pastor-papi-1200x900.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Miguel Escobedo of Al Pastor Papi holds up his trompo-roasted al pastor. \u003ccite>(Azucena Rasilla)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"headTitle": "Once Behind Bars, Now Behind the Camera Lens | KQED",
"content": "\u003cp>There’s an uneasy feeling that invades your body the second you walk up the steps and through the metal detectors of the gray concrete edifice that is 850 Bryant Street.\u003c/p>\n\u003cp>Even if you know you haven’t committed a crime—perhaps you’re there to fight a parking violation, or report for jury duty—if you’re a person of color, there’s always an innate fear while visiting government agencies. Often, the ones who work inside those walls hold a position of power over your livelihood, with the ability to arrest, sentence or jail you at their discretion.\u003c/p>\n\u003cp>The most unimaginable reason to be inside this building: to visit the art exhibit currently housed on the walls of the third floor. \u003cem>Visions of Justice\u003c/em> is a story in photographs told by those who’ve been put behind bars, in some cases by the very people who walk these cold, eerie hallways of the Hall of Justice. Introduced with the question “What Does Justice Mean to You?,” the exhibit gives the formerly incarcerated the chance, if only for a brief period, to flip the cards and hold the upper hand in the form of breathtaking photography.\u003c/p>\n\u003cfigure id=\"attachment_13852630\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852630\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/Justice.Hall_-800x522.jpg\" alt=\"The entrance to 'Visions of Justice' at 850 Bryant in San Francisco.\" width=\"800\" height=\"522\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Justice.Hall_-800x522.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Justice.Hall_-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Justice.Hall_-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Justice.Hall_-1020x666.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Justice.Hall_-1200x783.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Justice.Hall_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The entrance to ‘Visions of Justice’ at 850 Bryant in San Francisco. \u003ccite>(Azucena Rasilla)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“[The exhibit] puts you back in a position of power,” photojournalist Brian L. Frank says of the work hung on the hallway walls. Frank, who had his own share of run-ins with the law before turning his life around, served as an instrumental part of \u003cem>Visions of Justice\u003c/em>. As \u003ca href=\"https://www.catchlight.io/catchlight-fellows\" target=\"_blank\" rel=\"noopener noreferrer\">a 2017 CatchLight Fellow\u003c/a>, he visited Pine Grove Youth Conservation Camp, California’s first and last remaining rehabilitative prison camp for offenders who were sentenced as teens. With his camera, he followed a group of them from their incarceration at the facility to their release and journey back home.\u003c/p>\n\u003cp>It was his own past experience with the law that helped him gain their trust.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I saw all these guys who were in this slice of time from my own adolescence, and it was staring me back in the face,” Frank says of his time spent getting to know the inmates at Pine Grove. “Having that similar background, I instantly connected with them on a very personal level.” For Frank, it was important that the guys were not solely the subject of his storytelling; he keeps in touch with many of them. “I want to be there as a mentor,” he says. “A lot of them don’t have good male role models. Just being there, they can call me for advice.”\u003c/p>\n\u003cp>The result is an intimacy in Frank’s photos, hung all alongside the left wall inside the Hall of Justice. (On the day we visit, three of the framed photos have been removed from the walls; the perpetrator remains unknown. “Someone has some serious huevos stealing stuff there, standing on the jail, basically,” an unfazed Frank says.)\u003c/p>\n\u003cfigure id=\"attachment_13852634\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852634\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/Eugene001-800x533.jpg\" alt=\"A homeless man lays wrapped in an American flag in front of the gleaming San Francisco Bay Bridge. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Eugene001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Eugene001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Eugene001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Eugene001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Eugene001-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Eugene001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A homeless man lays wrapped in an American flag in front of the gleaming San Francisco Bay Bridge. \u003ccite>(Eugene Riley/Visions of Justice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Opposite Frank’s work is a wall of photos taken by formerly incarcerated folks, a collaboration between CatchLight, Project Rebound, and the Pulitzer Center on Crisis Reporting. Together, the three entities facilitated a photojournalism workshop at San Francisco State, Frank’s alma mater, where he served as a mentor for the participants of the workshop.\u003c/p>\n\u003cp>“The big deal to me isn’t that my work was going to be there, but it was that the work of my students was going to be seen in this place where people come who affect public policy,” Frank says of their photos. “The fact that my students were going to be empowered in that way and feel like what they have to say can be heard. That to me is a powerful moment.”\u003c/p>\n\u003cp>The student photos—including portraits, candid shots of people going about their day, even a police officer—were taken in the streets where they’re from. All representative of the world they live in, both pre- and post-incarceration.\u003c/p>\n\u003cfigure id=\"attachment_13852633\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852633\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/ChrisShurn_001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/ChrisShurn_001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/ChrisShurn_001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/ChrisShurn_001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/ChrisShurn_001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/ChrisShurn_001-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/ChrisShurn_001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">After serving nine years behind bars and under surveillance, photographing the police was a difficult and empowering experience for Chris Shurn in San Francisco’s Tenderloin district. \u003ccite>(Chris Shurn/Visions of Justice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of Frank’s students with a natural ability for photography was Christopher Shurn. “One of the things he did when I was teaching him [about photography] was go out and photograph a cop,” Frank says. For Shurn, it was the opportunity to use something he learned while doing time.\u003c/p>\n\u003cp>“I knew not to come from certain angles, or do certain things,” Shurn says of approaching the officer. He ended up striking up a conversation about the officer’s cell phone, and how Shurn had served time. That conversation served as a bridge to make the photo happen.\u003c/p>\n\u003cp>Shurn hopes that those who walk by the exhibit, whether purposely or casually, see the photos beyond an artistic eye and think, “these are the people I’m putting away or people I’m hoping to set free,” he says. “Jail is not about crime and punishment. It’s about money. It’s all about numbers.”\u003c/p>\n\u003cfigure id=\"attachment_13852632\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852632\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/Justice.Photos-800x532.jpg\" alt=\"'Visions of Justice' at 850 Bryant in San Francisco.\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Justice.Photos-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Justice.Photos-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Justice.Photos-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Justice.Photos-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Justice.Photos-1200x798.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Justice.Photos.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Visions of Justice’ at 850 Bryant in San Francisco. \u003ccite>(Azucena Rasilla)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Frank knows this exhibit wouldn’t have been as effective in a typical gallery, where wealthy donors would be likely to view the photos primarily as artistic expression instead of a tool for conversation about the need for reform in the criminal justice system. More than anything, Frank wants people to see his students as more than just a statistic. As people with the desire to turn their lives around, but who are working with a limited support system.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s important to take our work to places where it can have a direct impact on the issues that the work addresses,” he says. “It feels revolutionary.”\u003c/p>\n\n",
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"excerpt": "At the Hall of Justice, photos by former inmates offer judges, wardens and the public an intimate view of the formerly incarcerated.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s an uneasy feeling that invades your body the second you walk up the steps and through the metal detectors of the gray concrete edifice that is 850 Bryant Street.\u003c/p>\n\u003cp>Even if you know you haven’t committed a crime—perhaps you’re there to fight a parking violation, or report for jury duty—if you’re a person of color, there’s always an innate fear while visiting government agencies. Often, the ones who work inside those walls hold a position of power over your livelihood, with the ability to arrest, sentence or jail you at their discretion.\u003c/p>\n\u003cp>The most unimaginable reason to be inside this building: to visit the art exhibit currently housed on the walls of the third floor. \u003cem>Visions of Justice\u003c/em> is a story in photographs told by those who’ve been put behind bars, in some cases by the very people who walk these cold, eerie hallways of the Hall of Justice. Introduced with the question “What Does Justice Mean to You?,” the exhibit gives the formerly incarcerated the chance, if only for a brief period, to flip the cards and hold the upper hand in the form of breathtaking photography.\u003c/p>\n\u003cfigure id=\"attachment_13852630\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852630\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/Justice.Hall_-800x522.jpg\" alt=\"The entrance to 'Visions of Justice' at 850 Bryant in San Francisco.\" width=\"800\" height=\"522\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Justice.Hall_-800x522.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Justice.Hall_-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Justice.Hall_-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Justice.Hall_-1020x666.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Justice.Hall_-1200x783.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Justice.Hall_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The entrance to ‘Visions of Justice’ at 850 Bryant in San Francisco. \u003ccite>(Azucena Rasilla)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“[The exhibit] puts you back in a position of power,” photojournalist Brian L. Frank says of the work hung on the hallway walls. Frank, who had his own share of run-ins with the law before turning his life around, served as an instrumental part of \u003cem>Visions of Justice\u003c/em>. As \u003ca href=\"https://www.catchlight.io/catchlight-fellows\" target=\"_blank\" rel=\"noopener noreferrer\">a 2017 CatchLight Fellow\u003c/a>, he visited Pine Grove Youth Conservation Camp, California’s first and last remaining rehabilitative prison camp for offenders who were sentenced as teens. With his camera, he followed a group of them from their incarceration at the facility to their release and journey back home.\u003c/p>\n\u003cp>It was his own past experience with the law that helped him gain their trust.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I saw all these guys who were in this slice of time from my own adolescence, and it was staring me back in the face,” Frank says of his time spent getting to know the inmates at Pine Grove. “Having that similar background, I instantly connected with them on a very personal level.” For Frank, it was important that the guys were not solely the subject of his storytelling; he keeps in touch with many of them. “I want to be there as a mentor,” he says. “A lot of them don’t have good male role models. Just being there, they can call me for advice.”\u003c/p>\n\u003cp>The result is an intimacy in Frank’s photos, hung all alongside the left wall inside the Hall of Justice. (On the day we visit, three of the framed photos have been removed from the walls; the perpetrator remains unknown. “Someone has some serious huevos stealing stuff there, standing on the jail, basically,” an unfazed Frank says.)\u003c/p>\n\u003cfigure id=\"attachment_13852634\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852634\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/Eugene001-800x533.jpg\" alt=\"A homeless man lays wrapped in an American flag in front of the gleaming San Francisco Bay Bridge. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Eugene001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Eugene001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Eugene001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Eugene001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Eugene001-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Eugene001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A homeless man lays wrapped in an American flag in front of the gleaming San Francisco Bay Bridge. \u003ccite>(Eugene Riley/Visions of Justice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Opposite Frank’s work is a wall of photos taken by formerly incarcerated folks, a collaboration between CatchLight, Project Rebound, and the Pulitzer Center on Crisis Reporting. Together, the three entities facilitated a photojournalism workshop at San Francisco State, Frank’s alma mater, where he served as a mentor for the participants of the workshop.\u003c/p>\n\u003cp>“The big deal to me isn’t that my work was going to be there, but it was that the work of my students was going to be seen in this place where people come who affect public policy,” Frank says of their photos. “The fact that my students were going to be empowered in that way and feel like what they have to say can be heard. That to me is a powerful moment.”\u003c/p>\n\u003cp>The student photos—including portraits, candid shots of people going about their day, even a police officer—were taken in the streets where they’re from. All representative of the world they live in, both pre- and post-incarceration.\u003c/p>\n\u003cfigure id=\"attachment_13852633\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852633\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/ChrisShurn_001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/ChrisShurn_001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/ChrisShurn_001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/ChrisShurn_001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/ChrisShurn_001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/ChrisShurn_001-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/ChrisShurn_001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">After serving nine years behind bars and under surveillance, photographing the police was a difficult and empowering experience for Chris Shurn in San Francisco’s Tenderloin district. \u003ccite>(Chris Shurn/Visions of Justice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of Frank’s students with a natural ability for photography was Christopher Shurn. “One of the things he did when I was teaching him [about photography] was go out and photograph a cop,” Frank says. For Shurn, it was the opportunity to use something he learned while doing time.\u003c/p>\n\u003cp>“I knew not to come from certain angles, or do certain things,” Shurn says of approaching the officer. He ended up striking up a conversation about the officer’s cell phone, and how Shurn had served time. That conversation served as a bridge to make the photo happen.\u003c/p>\n\u003cp>Shurn hopes that those who walk by the exhibit, whether purposely or casually, see the photos beyond an artistic eye and think, “these are the people I’m putting away or people I’m hoping to set free,” he says. “Jail is not about crime and punishment. It’s about money. It’s all about numbers.”\u003c/p>\n\u003cfigure id=\"attachment_13852632\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852632\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/Justice.Photos-800x532.jpg\" alt=\"'Visions of Justice' at 850 Bryant in San Francisco.\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Justice.Photos-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Justice.Photos-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Justice.Photos-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Justice.Photos-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Justice.Photos-1200x798.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Justice.Photos.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Visions of Justice’ at 850 Bryant in San Francisco. \u003ccite>(Azucena Rasilla)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Frank knows this exhibit wouldn’t have been as effective in a typical gallery, where wealthy donors would be likely to view the photos primarily as artistic expression instead of a tool for conversation about the need for reform in the criminal justice system. More than anything, Frank wants people to see his students as more than just a statistic. As people with the desire to turn their lives around, but who are working with a limited support system.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s important to take our work to places where it can have a direct impact on the issues that the work addresses,” he says. “It feels revolutionary.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Oakland's Booklandia Brings a World of Bilingual Books to Families’ Doorsteps",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Maceo Cabrera Estevez sits comfortably barefoot on her leather couch at home in East Oakland, just off of Seminary Avenue. A bookcase filled with children’s books takes up nearly an entire wall of her living room, making it the focal point of the cozy space. Estevez homeschools her children Omar and Azalea, eight and six, and her love of literature and eagerness to pass it on is immediately noticeable. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I was the Avon lady of books, with children’s books,” an elated Estevez says of starting \u003ca href=\"https://booklandiabox.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Booklandia\u003c/a>, a subscription box service that helps parents of bilingual kids—and those who want to learn Spanish—get access to quality books by Latinx writers mostly based in the United States. \u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">The name Booklandia alludes to a fairytale of sorts. In Spanish, the suffix “-landia” loosely translates to “the land of”—Disneyland becomes “Disneylandia,” for instance. Booklandia is, indeed, the magical world of Spanish-language and bilingual books in Oakland. “When you get books [from Booklandia], you’re going into a world,” Estevez says. “That’s what reading is about.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Past Estevez’ kitchen (where the book subscription service got its start back in 2016), boxes of books by dozens of authors fill a storage room. “I did this as a service to families who are raising bilingual kids,” Estevez says. “It has been common conversation of people having a difficult time finding authentic literature.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Making sure that Booklandia’s books represent a wide variety of Spanish-speaking communities has been a crucial part of Estevez’ business. She remembers getting a request from a biracial family in Spain looking for books that featured Black characters. “Her husband is African, and she wanted books that had Black children in them,” Estevez says of shipping a translation of \u003ca href=\"http://www.annamcquinn.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Anna McQuinn’\u003c/a>s series, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Lola, \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">all the way across the pond.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For Estevez, finding books that are not just translated but authored by Latinx writers is also essential. She mentions how, oftentimes, books originally written in English do not reflect Latinx culture and upbringings: the authenticity of Latinx identity isn’t there, and neither is the richness of Spanish vocabulary. One author she likes in particular is San Francisco native Monica Brown, whose book, \u003c/span>\u003ca href=\"https://www.penguinrandomhouse.com/books/203612/waiting-for-the-biblioburroesperando-el-biblioburro-by-monica-brown-illustrated-by-john-parra-translated-by-adriana-dominguez/9780553538793/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">Esperando el Biblioburro\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\"> (\u003cem>Waiting for el Biblioburro\u003c/em>, or Library-on-a-Donkey), tells the real story of teacher and librarian \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=l7OR-0s4dwo\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Luis Soriano Bohórquez\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, who travels with his donkey through the valleys of rural Colombia to bring literature to kids in remote villages.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13851398\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851398\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Booklandia-2-800x531.jpg\" alt=\"A Booklandia subscription box featuring Robert Trujillo's 'Furquan's First Flat Top,' Eduardo Espada's 'Donde Esta El Coqui' and more.\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Booklandia-2-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Booklandia-2-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Booklandia-2-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Booklandia-2-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Booklandia-2-1200x797.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Booklandia-2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Booklandia subscription box featuring Robert Trujillo’s ‘Furquan’s First Flat Top,’ Eduardo Espada’s ‘Donde Esta El Coqui’ and more. \u003ccite>(Azucena Rasilla)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The desire to raise bilingual kids is nothing new: the \u003c/span>\u003ca href=\"https://www.cde.ca.gov/ds/sd/cb/cefelfacts.asp\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">California Department of Education\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> reports that in the fall of 2017, roughly 42.3 percent of the state’s public school students spoke a language other than English at home. In recent years, bilingual education has become more commonplace. In 2016, Prop. 58 allowed schools to implement bilingual education according to students needs, repealing a decades-long ban.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Estevez collaborates with teachers across the Bay Area, furnishing their classrooms with bilingual books. One of those teachers is Margarita Garcia Villa, who teaches Spanish to K-5th grade Latinx, Black and Pacific Islander kids at an Aspire charter school in East Palo Alto. Villa found Booklandia through \u003ca href=\"https://www.instagram.com/booklandiabox/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram\u003c/a>. “I like a lot of the title selections,” Villa says. “I was pleased that there’s a large selection of books that I can use for my read-out-loud in the classroom.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I like that [Booklandia] has different age ranges, and fiction versus non-fiction,” Villa continues. “It’s helpful to just go to one site to get them all.” For Villa, it’s also important to support local businesses rather than large corporations like Amazon. She hopes that as Booklandia grows, so will its diversity of books. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Getting books from countries other than the United States is next on Estevez’ priority list. The problem: books authored and printed in other countries tend to be a lot more expensive. Estevez hopes to buy the rights to publish international titles locally.\u003c/span>\u003c/p>\n\u003cp>https://www.instagram.com/p/BuCSJL8BG08/\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Another consideration of Estevez’ is ensuring that her book selection doesn’t enforce harmful stereotypes about race, gender, religion or sexuality. She’s frustrated by the lack of books by Afro-Latinx writers. “There’s a lot of anti-Blackness everywhere,” she says of not having enough books that feature Black characters. “As book sellers, we have to advocate for [representation].”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Booklandia’s subscription boxes range from $27.95 to $32.95, and Estevez is aware that not all families have the means for a monthly, bimonthly or quarterly subscription. She gives the option of a one-time purchase, and often sells at book fairs and pop-up events around the Bay Area. She also partnered with Jacky Hunter, the owner of \u003ca href=\"http://www.kellyscornerkids.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kelly’s Corner\u003c/a> in Oakland’s Laurel District. At the kids’ and women’s clothing store, Booklandia has a permanent nook.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Estevez wants Booklandia to be a welcoming place for native Spanish speakers and those who aren’t fluent alike. “There’s so many different ways to raise a bilingual family,” Estevez says. “There’s no right or wrong way. You have to find the way, and there are a lot of resources now that people didn’t have before. It’s important to keep the language alive.”\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Booklandia will be at \u003c/span>\u003ca href=\"https://www.instagram.com/p/Bt4-wrABUFT/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Molcajete Dominguero\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in San Francisco on Feb. 24, and at the \u003c/span>\u003ca href=\"http://www.aidasalazar.com/events.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">book launch\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> of Aida Salazar’s \u003c/span>\u003c/em>\u003cspan style=\"font-weight: 400\">The Moon Within\u003c/span>\u003cem>\u003cspan style=\"font-weight: 400\"> at the Oakland Public Library’s Dimond Branch on Feb. 26. \u003c/span>\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Maceo Cabrera Estevez sits comfortably barefoot on her leather couch at home in East Oakland, just off of Seminary Avenue. A bookcase filled with children’s books takes up nearly an entire wall of her living room, making it the focal point of the cozy space. Estevez homeschools her children Omar and Azalea, eight and six, and her love of literature and eagerness to pass it on is immediately noticeable. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I was the Avon lady of books, with children’s books,” an elated Estevez says of starting \u003ca href=\"https://booklandiabox.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Booklandia\u003c/a>, a subscription box service that helps parents of bilingual kids—and those who want to learn Spanish—get access to quality books by Latinx writers mostly based in the United States. \u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">The name Booklandia alludes to a fairytale of sorts. In Spanish, the suffix “-landia” loosely translates to “the land of”—Disneyland becomes “Disneylandia,” for instance. Booklandia is, indeed, the magical world of Spanish-language and bilingual books in Oakland. “When you get books [from Booklandia], you’re going into a world,” Estevez says. “That’s what reading is about.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Past Estevez’ kitchen (where the book subscription service got its start back in 2016), boxes of books by dozens of authors fill a storage room. “I did this as a service to families who are raising bilingual kids,” Estevez says. “It has been common conversation of people having a difficult time finding authentic literature.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Making sure that Booklandia’s books represent a wide variety of Spanish-speaking communities has been a crucial part of Estevez’ business. She remembers getting a request from a biracial family in Spain looking for books that featured Black characters. “Her husband is African, and she wanted books that had Black children in them,” Estevez says of shipping a translation of \u003ca href=\"http://www.annamcquinn.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Anna McQuinn’\u003c/a>s series, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Lola, \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">all the way across the pond.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For Estevez, finding books that are not just translated but authored by Latinx writers is also essential. She mentions how, oftentimes, books originally written in English do not reflect Latinx culture and upbringings: the authenticity of Latinx identity isn’t there, and neither is the richness of Spanish vocabulary. One author she likes in particular is San Francisco native Monica Brown, whose book, \u003c/span>\u003ca href=\"https://www.penguinrandomhouse.com/books/203612/waiting-for-the-biblioburroesperando-el-biblioburro-by-monica-brown-illustrated-by-john-parra-translated-by-adriana-dominguez/9780553538793/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">Esperando el Biblioburro\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\"> (\u003cem>Waiting for el Biblioburro\u003c/em>, or Library-on-a-Donkey), tells the real story of teacher and librarian \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=l7OR-0s4dwo\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Luis Soriano Bohórquez\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, who travels with his donkey through the valleys of rural Colombia to bring literature to kids in remote villages.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13851398\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851398\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Booklandia-2-800x531.jpg\" alt=\"A Booklandia subscription box featuring Robert Trujillo's 'Furquan's First Flat Top,' Eduardo Espada's 'Donde Esta El Coqui' and more.\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Booklandia-2-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Booklandia-2-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Booklandia-2-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Booklandia-2-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Booklandia-2-1200x797.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Booklandia-2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Booklandia subscription box featuring Robert Trujillo’s ‘Furquan’s First Flat Top,’ Eduardo Espada’s ‘Donde Esta El Coqui’ and more. \u003ccite>(Azucena Rasilla)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The desire to raise bilingual kids is nothing new: the \u003c/span>\u003ca href=\"https://www.cde.ca.gov/ds/sd/cb/cefelfacts.asp\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">California Department of Education\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> reports that in the fall of 2017, roughly 42.3 percent of the state’s public school students spoke a language other than English at home. In recent years, bilingual education has become more commonplace. In 2016, Prop. 58 allowed schools to implement bilingual education according to students needs, repealing a decades-long ban.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Estevez collaborates with teachers across the Bay Area, furnishing their classrooms with bilingual books. One of those teachers is Margarita Garcia Villa, who teaches Spanish to K-5th grade Latinx, Black and Pacific Islander kids at an Aspire charter school in East Palo Alto. Villa found Booklandia through \u003ca href=\"https://www.instagram.com/booklandiabox/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram\u003c/a>. “I like a lot of the title selections,” Villa says. “I was pleased that there’s a large selection of books that I can use for my read-out-loud in the classroom.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I like that [Booklandia] has different age ranges, and fiction versus non-fiction,” Villa continues. “It’s helpful to just go to one site to get them all.” For Villa, it’s also important to support local businesses rather than large corporations like Amazon. She hopes that as Booklandia grows, so will its diversity of books. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Getting books from countries other than the United States is next on Estevez’ priority list. The problem: books authored and printed in other countries tend to be a lot more expensive. Estevez hopes to buy the rights to publish international titles locally.\u003c/span>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Another consideration of Estevez’ is ensuring that her book selection doesn’t enforce harmful stereotypes about race, gender, religion or sexuality. She’s frustrated by the lack of books by Afro-Latinx writers. “There’s a lot of anti-Blackness everywhere,” she says of not having enough books that feature Black characters. “As book sellers, we have to advocate for [representation].”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Booklandia’s subscription boxes range from $27.95 to $32.95, and Estevez is aware that not all families have the means for a monthly, bimonthly or quarterly subscription. She gives the option of a one-time purchase, and often sells at book fairs and pop-up events around the Bay Area. She also partnered with Jacky Hunter, the owner of \u003ca href=\"http://www.kellyscornerkids.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kelly’s Corner\u003c/a> in Oakland’s Laurel District. At the kids’ and women’s clothing store, Booklandia has a permanent nook.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Estevez wants Booklandia to be a welcoming place for native Spanish speakers and those who aren’t fluent alike. “There’s so many different ways to raise a bilingual family,” Estevez says. “There’s no right or wrong way. You have to find the way, and there are a lot of resources now that people didn’t have before. It’s important to keep the language alive.”\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Booklandia will be at \u003c/span>\u003ca href=\"https://www.instagram.com/p/Bt4-wrABUFT/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Molcajete Dominguero\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in San Francisco on Feb. 24, and at the \u003c/span>\u003ca href=\"http://www.aidasalazar.com/events.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">book launch\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> of Aida Salazar’s \u003c/span>\u003c/em>\u003cspan style=\"font-weight: 400\">The Moon Within\u003c/span>\u003cem>\u003cspan style=\"font-weight: 400\"> at the Oakland Public Library’s Dimond Branch on Feb. 26. \u003c/span>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>What’s it like to be a first-generation college graduate surviving in a rapidly gentrifying Oakland, all while trying to navigate job-hunting, foster friendships and deal with the daily struggle of trying to stay put in The Town?\u003c/p>\n\u003cp>With the new web series \u003cem>Uneasy\u003c/em>, local writers and filmmakers Samiat Salami and Vanessa Flores tackle this very question—with an added cultural layer. Salami is Nigerian-American, and Flores is Guatemalan-Mexican-American.\u003c/p>\n\u003cp>“With this series, we wanted to showcase what it’s like to come from post-military Nigeria, and also what is like to be Latinx and not speak Spanish, and how it affects your culture,” Salami tells me during a recent chat at a local coffee shop in downtown Oakland.\u003c/p>\n\u003cp>Some might see in \u003cem>Uneasy\u003c/em> a correlation to \u003cem>Insecure\u003c/em>, but unlike Issa Rae on her hit HBO show, don’t expect Ade (Samiat Salami), and Cat (Vanessa Flores) to be preoccupied with their love lives. The roommates’ biggest worries are housing, finances, and interpersonal discovery. (A closer comparison might be \u003cem>The North Pole\u003c/em>, the 2017 web series that tackled gentrification; both series are written and directed by people of color, and both are shot in familiar settings throughout Oakland.)\u003c/p>\n\u003cfigure id=\"attachment_13850610\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850610\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/UNeven.Lake_-1-800x488.jpg\" alt=\"Vanessa Flores and Samiat Salami, writers and filmmakers behind the new web series 'Uneasy.'\" width=\"800\" height=\"488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/UNeven.Lake_-1-800x488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/UNeven.Lake_-1-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/UNeven.Lake_-1-768x469.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/UNeven.Lake_-1-1020x623.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/UNeven.Lake_-1-1200x733.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/UNeven.Lake_-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vanessa Flores and Samiat Salami, writers and filmmakers behind the new web series ‘Uneasy.’ \u003ccite>(Jannah Manansala)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Uneasy\u003c/em>‘s two main characters are roommates. Ade is struggling to stay in the apartment with Cat; a recent graduate, she has yet to find a job, and can’t afford to pay rent. She wrestles with her friendship with Cat, and how to develop friendships with other women, and black women specifically—a conflict that Salami says came from real life.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Grad school is very white,” Salami explains. After moving the the U.S. from Nigeria, going to school in Florida, and losing part of her identity while attending grad school, “I realized when I graduated that I had no black friends… I would go to the lake, and I would see all these women having a good time, and it felt like something I didn’t get an invitation to.”\u003c/p>\n\u003cp>Meanwhile, Flores had felt “white-washed” because she doesn’t speak Spanish fluently. “It’s rejecting certain things to fit in,” she says.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=d_dyS4iMD0w&feature=youtu.be\u003c/p>\n\u003cp>Salami and Flores are not roommates in real life. Salami is married and resides in Oakland, and Flores, priced out of Oakland, recently moved to the Sunset in San Francisco. But “getting to know each other [in real life] definitely shaped the show,” Flores says.\u003c/p>\n\u003cp>Also, both Salami and Flores utilized certain situations from their time in grad school for the show. “In academia, especially in a writer’s workshop, you talk about your identity 24-7,” Salami says. For Flores, her early writing was defined by who was teaching her. “I was writing very white male fiction, and anything else that I was trying to write was nonsensical,” Flores says. “I had to assimilate my writing, and I did it, and I was pretty successful writing like a white man.”\u003c/p>\n\u003cp>In \u003cem>Uneasy\u003c/em>, Ade and Cat are up against being perceived as gentrifiers themselves, even though they both struggle financially. “Cat and Ade are each other’s people, but they will never fully know what it is like to be the other,” Salami explains. “This comes from a very real place.”\u003c/p>\n\u003cp>[contextly_sidebar id=”oOMfIFbUUpwTvC4LCU80NDC52yYXPeBD”]\u003c/p>\n\u003cp>For those who noticed the Bay Area soundtrack anchoring the movies \u003cem>Blindspotting\u003c/em> and \u003cem>Sorry To Bother You\u003c/em>, \u003cem>Uneasy\u003c/em> will give a similar vibe. The episodes include music from local artists like Trey Coastal, Mlodic, Honey Gold Jasmine, Qing Qi, Caleborate, and others.\u003c/p>\n\u003cp>For their second season, Salami and Flores aim to find more local women musicians, a challenge they encountered this time around. “When people watch the show, I want it to partner well with the music,” Salami explains.\u003c/p>\n\u003cp>Once Salami and Flores had their writing in motion, the first five episodes were entirely self-funded, with both Salami and Flores taking extra freelance work and maxing out their own credit cards. The remaining episodes (there are 8 total, roughly 10 minutes each) were funded by $10,000 in donations from a \u003ca href=\"https://www.seedandspark.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Seed & Spark\u003c/a> campaign.\u003c/p>\n\u003cp>“For Season Two we want make this bigger, involve more writers, have an actual writer’s room,” Flores says. “I would love for the show to stay grounded in Oakland and the experiences of living here,” Salami says. “Women of color have earned the right to be on television, and have our stories not be perfect.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Uneasy’ premieres in part on Sunday, Feb. 17, at the New Parkway in Oakland; \u003ca href=\"https://e.sparxo.com/uneasy\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>. It premieres in full on YouTube in March. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What’s it like to be a first-generation college graduate surviving in a rapidly gentrifying Oakland, all while trying to navigate job-hunting, foster friendships and deal with the daily struggle of trying to stay put in The Town?\u003c/p>\n\u003cp>With the new web series \u003cem>Uneasy\u003c/em>, local writers and filmmakers Samiat Salami and Vanessa Flores tackle this very question—with an added cultural layer. Salami is Nigerian-American, and Flores is Guatemalan-Mexican-American.\u003c/p>\n\u003cp>“With this series, we wanted to showcase what it’s like to come from post-military Nigeria, and also what is like to be Latinx and not speak Spanish, and how it affects your culture,” Salami tells me during a recent chat at a local coffee shop in downtown Oakland.\u003c/p>\n\u003cp>Some might see in \u003cem>Uneasy\u003c/em> a correlation to \u003cem>Insecure\u003c/em>, but unlike Issa Rae on her hit HBO show, don’t expect Ade (Samiat Salami), and Cat (Vanessa Flores) to be preoccupied with their love lives. The roommates’ biggest worries are housing, finances, and interpersonal discovery. (A closer comparison might be \u003cem>The North Pole\u003c/em>, the 2017 web series that tackled gentrification; both series are written and directed by people of color, and both are shot in familiar settings throughout Oakland.)\u003c/p>\n\u003cfigure id=\"attachment_13850610\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850610\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/UNeven.Lake_-1-800x488.jpg\" alt=\"Vanessa Flores and Samiat Salami, writers and filmmakers behind the new web series 'Uneasy.'\" width=\"800\" height=\"488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/UNeven.Lake_-1-800x488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/UNeven.Lake_-1-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/UNeven.Lake_-1-768x469.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/UNeven.Lake_-1-1020x623.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/UNeven.Lake_-1-1200x733.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/UNeven.Lake_-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vanessa Flores and Samiat Salami, writers and filmmakers behind the new web series ‘Uneasy.’ \u003ccite>(Jannah Manansala)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Uneasy\u003c/em>‘s two main characters are roommates. Ade is struggling to stay in the apartment with Cat; a recent graduate, she has yet to find a job, and can’t afford to pay rent. She wrestles with her friendship with Cat, and how to develop friendships with other women, and black women specifically—a conflict that Salami says came from real life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Grad school is very white,” Salami explains. After moving the the U.S. from Nigeria, going to school in Florida, and losing part of her identity while attending grad school, “I realized when I graduated that I had no black friends… I would go to the lake, and I would see all these women having a good time, and it felt like something I didn’t get an invitation to.”\u003c/p>\n\u003cp>Meanwhile, Flores had felt “white-washed” because she doesn’t speak Spanish fluently. “It’s rejecting certain things to fit in,” 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/d_dyS4iMD0w'\n title='//www.youtube.com/embed/d_dyS4iMD0w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Salami and Flores are not roommates in real life. Salami is married and resides in Oakland, and Flores, priced out of Oakland, recently moved to the Sunset in San Francisco. But “getting to know each other [in real life] definitely shaped the show,” Flores says.\u003c/p>\n\u003cp>Also, both Salami and Flores utilized certain situations from their time in grad school for the show. “In academia, especially in a writer’s workshop, you talk about your identity 24-7,” Salami says. For Flores, her early writing was defined by who was teaching her. “I was writing very white male fiction, and anything else that I was trying to write was nonsensical,” Flores says. “I had to assimilate my writing, and I did it, and I was pretty successful writing like a white man.”\u003c/p>\n\u003cp>In \u003cem>Uneasy\u003c/em>, Ade and Cat are up against being perceived as gentrifiers themselves, even though they both struggle financially. “Cat and Ade are each other’s people, but they will never fully know what it is like to be the other,” Salami explains. “This comes from a very real place.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>For those who noticed the Bay Area soundtrack anchoring the movies \u003cem>Blindspotting\u003c/em> and \u003cem>Sorry To Bother You\u003c/em>, \u003cem>Uneasy\u003c/em> will give a similar vibe. The episodes include music from local artists like Trey Coastal, Mlodic, Honey Gold Jasmine, Qing Qi, Caleborate, and others.\u003c/p>\n\u003cp>For their second season, Salami and Flores aim to find more local women musicians, a challenge they encountered this time around. “When people watch the show, I want it to partner well with the music,” Salami explains.\u003c/p>\n\u003cp>Once Salami and Flores had their writing in motion, the first five episodes were entirely self-funded, with both Salami and Flores taking extra freelance work and maxing out their own credit cards. The remaining episodes (there are 8 total, roughly 10 minutes each) were funded by $10,000 in donations from a \u003ca href=\"https://www.seedandspark.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Seed & Spark\u003c/a> campaign.\u003c/p>\n\u003cp>“For Season Two we want make this bigger, involve more writers, have an actual writer’s room,” Flores says. “I would love for the show to stay grounded in Oakland and the experiences of living here,” Salami says. “Women of color have earned the right to be on television, and have our stories not be perfect.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Uneasy’ premieres in part on Sunday, Feb. 17, at the New Parkway in Oakland; \u003ca href=\"https://e.sparxo.com/uneasy\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>. It premieres in full on YouTube in March. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "in-undocumented-heart-day-laborers-turn-their-migration-stories-into-art",
"title": "In 'Undocumented Heart,' Day Laborers Turn their Migration Stories into Art",
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"content": "\u003cp>On the same day demonstrators took over the steps of the Supreme Court in Washington, D.C. to protest the confirmation of controversial Supreme Court Justice Brett Kavanaugh, across the country in Oakland, a group of day laborers presented their own protest in the form of art.\u003c/p>\n\u003cp>A total of 13 day laborers are part of Peralta Hacienda Historical Park’s newest indoor and outdoor exhibition, \u003cem>\u003ca href=\"http://www.peraltahacienda.org/pages/main.php?pageid=118&pagecategory=7\" target=\"_blank\" rel=\"noopener noreferrer\">Undocumented Heart: Oakland Day Laborers Tell Their Stories\u003c/a>\u003c/em>. The artists are all members of the Oakland Workers Collective (a division of \u003ca href=\"http://streetlevelhealthproject.org/about-the-immigrant-rights-and-empowerment-program/\" target=\"_blank\" rel=\"noopener noreferrer\">Street Level Health Project\u003c/a>), a nonprofit organization that works directly with day laborers to ensure they are not exploited by employers, despite their lack of legal immigration documents.\u003c/p>\n\u003cp>Through the use of textiles, paintings and oral storytelling, the exhibition’s participants share heartfelt accounts of their own lives, detailing when they decided to migrate and what they went through to cross the border. While none of the members of the group consider themselves artists, hidden creativity results in a fascinating display of beauty. Artists Marion Coleman and Ramon Carrillo worked with the group for a year on depictions of personal struggles, resilience, the desire to survive, the consequences of separation, and the need to thrive despite the current anti-immigrant climate. What results is a display that starts a conversation: about the complexity of a broken immigration system and about the historical and political reasons behind individuals’ decisions to immigrate to the United States.\u003c/p>\n\u003cfigure id=\"attachment_13842886\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13842886\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MariaNatividadSantiago_1200.jpg\" alt=\"Santiago stands in front of the outdoor portion of the 'Undocumented Heart' exhibition.\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaNatividadSantiago_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaNatividadSantiago_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaNatividadSantiago_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaNatividadSantiago_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaNatividadSantiago_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaNatividadSantiago_1200-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaNatividadSantiago_1200-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaNatividadSantiago_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaNatividadSantiago_1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaNatividadSantiago_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">María Natividad Santiago stands in front of the outdoor portion of the ‘Undocumented Heart’ exhibition. \u003ccite>(Azucena Rasilla)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Undocumented Heart\u003c/i> is divided into two sections—the outdoor portion consists of enormous vinyl banners, the indoor portion houses the day laborers’ actual artwork. Outside, the banners hang in chronological order starting with the story of the first laborer who moved to the States. Running along the bottom of these narratives is a timeline detailing what was going on in the United States, Mexico and Central America when each laborer migrated.\u003c/p>\n\u003cp>One of the most poignant voices in the exhibition is that of Mario Pina, a Mexican father who immigrated to the United States in 2004 from the state of Guerrero. Pina worked as a gardener, a job that allowed him to send a significant amount of money home—but when the company he worked for enforced the verification of immigration paperwork, he had to quit. “It was last year when they started checking papers,” Pina says of the moment he knew his livelihood was in jeopardy. He found support in the Oakland Workers Collective. “The [collective] helped us find jobs, and make sure that people we work for pay for our labor.”\u003c/p>\n\u003cfigure id=\"attachment_13842883\" class=\"wp-caption aligncenter\" style=\"max-width: 1824px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13842883\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/PinaPainting_1200.jpg\" alt=\"A painting by Mario Pina.\" width=\"1824\" height=\"1282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaPainting_1200.jpg 1824w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaPainting_1200-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaPainting_1200-800x562.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaPainting_1200-768x540.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaPainting_1200-1020x717.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaPainting_1200-1200x843.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaPainting_1200-1180x829.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaPainting_1200-960x675.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaPainting_1200-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaPainting_1200-375x264.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaPainting_1200-520x365.jpg 520w\" sizes=\"(max-width: 1824px) 100vw, 1824px\">\u003cfigcaption class=\"wp-caption-text\">A painting by Mario Pina. \u003ccite>(Azucena Rasilla)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When I was approached about the project I told them that I’m not an artist, and I didn’t go to school,” Pina says. “But they told me, we want you to tell your story.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At the end of their workdays, Pina and the other participants would head to Peralta Hacienda for watercolor and textile workshops organized by Coleman and Carrillo. “Now seeing the end result of my hard work, I’m very proud of telling my story,” Pina says. “I want to make sure that people know that we are not criminals. We are hardworking people who come here out of necessity.”\u003c/p>\n\u003cfigure id=\"attachment_13842882\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13842882\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/PinaTextile_1200cc.jpg\" alt=\"A textile by Mario Pina.\" width=\"1200\" height=\"886\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaTextile_1200cc.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaTextile_1200cc-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaTextile_1200cc-800x591.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaTextile_1200cc-768x567.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaTextile_1200cc-1020x753.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaTextile_1200cc-1180x871.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaTextile_1200cc-960x709.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaTextile_1200cc-240x177.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaTextile_1200cc-375x277.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaTextile_1200cc-520x384.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A textile by Mario Pina. \u003ccite>(Azucena Rasilla)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pina is proud to talk about how his arduous work as a gardener paid for his children’s college degrees, including one who lives with him in the U.S. “Oftentimes people [like me] with a lack of proper legal status feel like everything is impossible. But as human beings, we have the same rights, papers or not,” he says. He beams with pride talking about both the physical work he does and the people he’s now reached through his art.\u003c/p>\n\u003cp>Similarly captivating is the story of María Natividad Santiago, who emigrated from Guadalajara, Jalisco in 1984. In the United States, she worked in the fields and as a domestic worker. At the opening of \u003ci>Undocumented Heart\u003c/i>, during a moving spoken word and music performance, Santiago sang a song about birds freely roaming the skies, alluding to the fact that migration is a natural occurrence for all species, including humans.\u003c/p>\n\u003cfigure id=\"attachment_13842885\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13842885\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MariaTextile_1200.jpg\" alt=\"A textile piece by María Natividad Santiago in 'Undocumented Heart.'\" width=\"1200\" height=\"919\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaTextile_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaTextile_1200-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaTextile_1200-800x613.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaTextile_1200-768x588.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaTextile_1200-1020x781.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaTextile_1200-1180x904.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaTextile_1200-960x735.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaTextile_1200-240x184.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaTextile_1200-375x287.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaTextile_1200-520x398.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A textile piece by María Natividad Santiago in ‘Undocumented Heart.’ \u003ccite>(Azucena Rasilla)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As people walk through the exhibition and read these migration stories, the setting of Peralta Hacienda, familiar and intimate, emerges as the perfect place to house the artwork the day laborers created in their year of workshops. Their paintings show homes and family members left behind, the textiles show expanses of desert—the settings of harrowing journeys. It’s easy to see their works and feel despair at the thought of the current administration’s attitudes and policies towards migrants. Yet while every colorful stroke of paint and every stitch represents agony and frustration, these marks also speak to an undeniable resilience.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Undocumented Heart: Oakland Day Laborers Tell Their Stories’ is on view at Peralta Hacienda Historical House through Jan. 9, 2019. \u003ca href=\"http://www.peraltahacienda.org/pages/main.php?pageid=118&pagecategory=7\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "Peralta Hacienda Historical Park exhibits the paintings, textiles and oral histories of Oakland day laborers, illustrating journeys of hope and resilience.",
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"title": "In 'Undocumented Heart,' Day Laborers Turn their Migration Stories into Art | KQED",
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"headline": "In 'Undocumented Heart,' Day Laborers Turn their Migration Stories into Art",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On the same day demonstrators took over the steps of the Supreme Court in Washington, D.C. to protest the confirmation of controversial Supreme Court Justice Brett Kavanaugh, across the country in Oakland, a group of day laborers presented their own protest in the form of art.\u003c/p>\n\u003cp>A total of 13 day laborers are part of Peralta Hacienda Historical Park’s newest indoor and outdoor exhibition, \u003cem>\u003ca href=\"http://www.peraltahacienda.org/pages/main.php?pageid=118&pagecategory=7\" target=\"_blank\" rel=\"noopener noreferrer\">Undocumented Heart: Oakland Day Laborers Tell Their Stories\u003c/a>\u003c/em>. The artists are all members of the Oakland Workers Collective (a division of \u003ca href=\"http://streetlevelhealthproject.org/about-the-immigrant-rights-and-empowerment-program/\" target=\"_blank\" rel=\"noopener noreferrer\">Street Level Health Project\u003c/a>), a nonprofit organization that works directly with day laborers to ensure they are not exploited by employers, despite their lack of legal immigration documents.\u003c/p>\n\u003cp>Through the use of textiles, paintings and oral storytelling, the exhibition’s participants share heartfelt accounts of their own lives, detailing when they decided to migrate and what they went through to cross the border. While none of the members of the group consider themselves artists, hidden creativity results in a fascinating display of beauty. Artists Marion Coleman and Ramon Carrillo worked with the group for a year on depictions of personal struggles, resilience, the desire to survive, the consequences of separation, and the need to thrive despite the current anti-immigrant climate. What results is a display that starts a conversation: about the complexity of a broken immigration system and about the historical and political reasons behind individuals’ decisions to immigrate to the United States.\u003c/p>\n\u003cfigure id=\"attachment_13842886\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13842886\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MariaNatividadSantiago_1200.jpg\" alt=\"Santiago stands in front of the outdoor portion of the 'Undocumented Heart' exhibition.\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaNatividadSantiago_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaNatividadSantiago_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaNatividadSantiago_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaNatividadSantiago_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaNatividadSantiago_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaNatividadSantiago_1200-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaNatividadSantiago_1200-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaNatividadSantiago_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaNatividadSantiago_1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaNatividadSantiago_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">María Natividad Santiago stands in front of the outdoor portion of the ‘Undocumented Heart’ exhibition. \u003ccite>(Azucena Rasilla)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Undocumented Heart\u003c/i> is divided into two sections—the outdoor portion consists of enormous vinyl banners, the indoor portion houses the day laborers’ actual artwork. Outside, the banners hang in chronological order starting with the story of the first laborer who moved to the States. Running along the bottom of these narratives is a timeline detailing what was going on in the United States, Mexico and Central America when each laborer migrated.\u003c/p>\n\u003cp>One of the most poignant voices in the exhibition is that of Mario Pina, a Mexican father who immigrated to the United States in 2004 from the state of Guerrero. Pina worked as a gardener, a job that allowed him to send a significant amount of money home—but when the company he worked for enforced the verification of immigration paperwork, he had to quit. “It was last year when they started checking papers,” Pina says of the moment he knew his livelihood was in jeopardy. He found support in the Oakland Workers Collective. “The [collective] helped us find jobs, and make sure that people we work for pay for our labor.”\u003c/p>\n\u003cfigure id=\"attachment_13842883\" class=\"wp-caption aligncenter\" style=\"max-width: 1824px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13842883\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/PinaPainting_1200.jpg\" alt=\"A painting by Mario Pina.\" width=\"1824\" height=\"1282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaPainting_1200.jpg 1824w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaPainting_1200-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaPainting_1200-800x562.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaPainting_1200-768x540.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaPainting_1200-1020x717.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaPainting_1200-1200x843.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaPainting_1200-1180x829.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaPainting_1200-960x675.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaPainting_1200-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaPainting_1200-375x264.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaPainting_1200-520x365.jpg 520w\" sizes=\"(max-width: 1824px) 100vw, 1824px\">\u003cfigcaption class=\"wp-caption-text\">A painting by Mario Pina. \u003ccite>(Azucena Rasilla)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When I was approached about the project I told them that I’m not an artist, and I didn’t go to school,” Pina says. “But they told me, we want you to tell your story.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At the end of their workdays, Pina and the other participants would head to Peralta Hacienda for watercolor and textile workshops organized by Coleman and Carrillo. “Now seeing the end result of my hard work, I’m very proud of telling my story,” Pina says. “I want to make sure that people know that we are not criminals. We are hardworking people who come here out of necessity.”\u003c/p>\n\u003cfigure id=\"attachment_13842882\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13842882\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/PinaTextile_1200cc.jpg\" alt=\"A textile by Mario Pina.\" width=\"1200\" height=\"886\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaTextile_1200cc.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaTextile_1200cc-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaTextile_1200cc-800x591.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaTextile_1200cc-768x567.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaTextile_1200cc-1020x753.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaTextile_1200cc-1180x871.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaTextile_1200cc-960x709.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaTextile_1200cc-240x177.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaTextile_1200cc-375x277.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaTextile_1200cc-520x384.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A textile by Mario Pina. \u003ccite>(Azucena Rasilla)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pina is proud to talk about how his arduous work as a gardener paid for his children’s college degrees, including one who lives with him in the U.S. “Oftentimes people [like me] with a lack of proper legal status feel like everything is impossible. But as human beings, we have the same rights, papers or not,” he says. He beams with pride talking about both the physical work he does and the people he’s now reached through his art.\u003c/p>\n\u003cp>Similarly captivating is the story of María Natividad Santiago, who emigrated from Guadalajara, Jalisco in 1984. In the United States, she worked in the fields and as a domestic worker. At the opening of \u003ci>Undocumented Heart\u003c/i>, during a moving spoken word and music performance, Santiago sang a song about birds freely roaming the skies, alluding to the fact that migration is a natural occurrence for all species, including humans.\u003c/p>\n\u003cfigure id=\"attachment_13842885\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13842885\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MariaTextile_1200.jpg\" alt=\"A textile piece by María Natividad Santiago in 'Undocumented Heart.'\" width=\"1200\" height=\"919\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaTextile_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaTextile_1200-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaTextile_1200-800x613.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaTextile_1200-768x588.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaTextile_1200-1020x781.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaTextile_1200-1180x904.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaTextile_1200-960x735.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaTextile_1200-240x184.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaTextile_1200-375x287.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaTextile_1200-520x398.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A textile piece by María Natividad Santiago in ‘Undocumented Heart.’ \u003ccite>(Azucena Rasilla)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As people walk through the exhibition and read these migration stories, the setting of Peralta Hacienda, familiar and intimate, emerges as the perfect place to house the artwork the day laborers created in their year of workshops. Their paintings show homes and family members left behind, the textiles show expanses of desert—the settings of harrowing journeys. It’s easy to see their works and feel despair at the thought of the current administration’s attitudes and policies towards migrants. Yet while every colorful stroke of paint and every stitch represents agony and frustration, these marks also speak to an undeniable resilience.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Undocumented Heart: Oakland Day Laborers Tell Their Stories’ is on view at Peralta Hacienda Historical House through Jan. 9, 2019. \u003ca href=\"http://www.peraltahacienda.org/pages/main.php?pageid=118&pagecategory=7\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Jose Antonio Vargas' 'Dear America' Humanizes the Immigration Debate",
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"content": "\u003cp>“There is no line! There is no line! There is no line!” writes Jose Antonio Vargas in his new memoir, \u003cem>\u003ca href=\"https://www.harpercollins.com/9780062851352/dear-america/\" target=\"_blank\" rel=\"noopener noreferrer\">Dear America: Notes of an Undocumented Citizen\u003c/a>, \u003c/em>his frustration practically leaping off the page.\u003c/p>\n\u003cp>This \u003ca href=\"https://www.youtube.com/watch?v=VpZ3-z1XHt4\" target=\"_blank\" rel=\"noopener noreferrer\">supposed line\u003c/a>—where immigrants queue up in an orderly fashion to become citizens—is a favored rhetorical device of conservative pundits who often ignore the lived realities of undocumented immigrants fleeing poverty, violence, gangs and persecution. In the book, Vargas argues that, for many, a viable pathway to citizenship doesn’t exist.\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-13841110\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/NCkNAr2w-800x1208.jpeg\" alt=\"\" width=\"800\" height=\"1208\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/NCkNAr2w-800x1208.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/NCkNAr2w-160x242.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/NCkNAr2w-768x1160.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/NCkNAr2w-1020x1541.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/NCkNAr2w-795x1200.jpeg 795w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/NCkNAr2w-1180x1782.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/NCkNAr2w-960x1450.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/NCkNAr2w-240x362.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/NCkNAr2w-375x566.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/NCkNAr2w-520x785.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/NCkNAr2w.jpeg 1356w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Vargas, a Pulitzer Prize-winning journalist, filmmaker and co-founder of media nonprofit Define American, publicly revealed his undocumented status in 2011 in a heart-wrenching \u003ca href=\"https://www.nytimes.com/2011/06/26/magazine/my-life-as-an-undocumented-immigrant.html\" target=\"_blank\" rel=\"noopener noreferrer\">essay\u003c/a> in \u003cem>The New York Times Magazine\u003c/em>. Since then, he’s made it his mission to help the American public understand the lives of the 11 million undocumented immigrants currently residing in the United States. The support systems that help them survive legal hurdles and an anti-immigrant political climate are a crucial part of that story.\u003c/p>\n\u003cp>“When people want to help, how do you receive that help?” asks Vargas in an interview with KQED Arts. His own support system includes his immediate Filipino family, as well as his teachers, editors and hometown friends from Mountain View. For Vargas, these crucial supporters aren’t just political allies: he jokingly refers to them as his “white family.”\u003c/p>\n\u003cp>“When we use the term ally, I don’t think it’s enough,” he says. “I don’t think it’s enough in terms of what is being done and what is at stake.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At a time when white nationalism has seeped into mainstream political discourse and the current administration fuels anti-immigrant rhetoric, Vargas argues that it’s important for Americans, regardless of race, to speak out against injustices and use their privilege to help the voiceless. In \u003cem>Dear America\u003c/em>, Vargas writes: “The centrality of whiteness—how it constructed white versus black, legal versus illegal—hurts not only people of color who aren’t white, but also white people who can’t carry the burden of what they’ve constructed.”[contextly_sidebar id=”zENoOdsjWVGdBt4hWmer5pXLL0zPT8fQ”]\u003c/p>\n\u003cp>Questions of race and immigration status are only two of the complex identity issues Vargas has faced. He is also a gay man who has had to navigate homophobia within the immigrant rights movement. “As much as people in the movement think they know me, they actually don’t,” Vargas says. “And, how painful it has been for me. It’s been so isolating.”\u003c/p>\n\u003cfigure id=\"attachment_13841111\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13841111\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/SEpa0otA-800x502.jpeg\" alt=\"Jose Antonio Vargas as a child with his mother and grandmother in the Philippines. \" width=\"800\" height=\"502\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SEpa0otA-800x502.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SEpa0otA-160x100.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SEpa0otA-768x482.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SEpa0otA-1020x640.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SEpa0otA-960x602.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SEpa0otA-240x151.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SEpa0otA-375x235.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SEpa0otA-520x326.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SEpa0otA.jpeg 1041w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jose Antonio Vargas as a child with his mother and grandmother in the Philippines. \u003ccite>(Courtesy of Jose Antonio Vargas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>Dear America\u003c/em>, Vargas goes into detail about facing his his lolo and lola’s (grandpa and grandma’s) disappointment when he came out about his sexuality in 1999. Their wish was for Vargas to eventually fall in love with and marry a woman to legalize his immigration status. Instead, Vargas had to navigate this part of himself on his own.\u003c/p>\n\u003cp>“Writing this book, I owed it to myself,” Vargas says. “I had to write it in a way that was honest.”\u003c/p>\n\u003cp>In one chapter, Vargas describes the profound impact of the 1997 \u003cem>Time\u003c/em> magazine cover where Ellen DeGeneres came out as gay. Years later, in 2012, Vargas and a group of Dreamers came out as undocumented on the cover of \u003cem>Time\u003c/em>.[contextly_sidebar id=”ybeL5u93OfuhIva9AAznLVPadyGsw8jB”]\u003c/p>\n\u003cp>Although \u003cem>Dear America\u003c/em> is a memoir, the struggles Vargas describes in the book—from the moment he left the Phillipines at 12 years old in 1993 to the day he got \u003ca href=\"https://www.nytimes.com/video/us/100000003001675/immigration-activist-jose-antonio-vargas-detained-in-texas.html\" target=\"_blank\" rel=\"noopener noreferrer\">arrested\u003c/a> on immigration violation charges in July 2014—lend insight into the plight of other undocumented immigrants. “Legality has forever been a construct of power,” Vargas writes. His words serve as a reminder that “legal” and “moral” aren’t always synonyms.\u003c/p>\n\u003cp>In the book, Vargas describes in detail how his lolo obtained fake documents to get him into the country. The ordeal is not an isolated case; many undocumented immigrants use falsified Social Security numbers to work in the United States. Vargas uses this example to debunk the myth that undocumented immigrants take resources from American taxpayers. Indeed, a 2016 \u003ca href=\"https://itep.org/wp-content/uploads/immigration2016.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">report\u003c/a> from The Institute on Taxation & Economic Policy (ITEP) reveals that undocumented immigrants pay $11.64 billion in state and local taxes every year.\u003c/p>\n\u003cfigure id=\"attachment_13841112\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13841112\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/XbLVLW4w-800x544.jpeg\" alt=\"Jose Antonio Vargas at his high school graduation in Mountain View, California. \" width=\"800\" height=\"544\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/XbLVLW4w-800x544.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/XbLVLW4w-160x109.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/XbLVLW4w-768x522.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/XbLVLW4w-1020x694.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/XbLVLW4w-1200x816.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/XbLVLW4w-1180x803.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/XbLVLW4w-960x653.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/XbLVLW4w-240x163.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/XbLVLW4w-375x255.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/XbLVLW4w-520x354.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/XbLVLW4w.jpeg 1763w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jose Antonio Vargas at his high school graduation in Mountain View, California. \u003ccite>(Courtesy of Jose Antonio Vargas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Dear America\u003c/em> also deals with the psychological consequences of family separation. Vargas delves deep into his complicated relationship with his mother, whom he hasn’t seen since he left the Philippines as a child. “Separation not only divides families,” he writes, “Separation buries emotion, buries it so far down you can’t touch it.”\u003c/p>\n\u003cp>Oftentimes, undocumented immigrants can only connect with family members back home via technology; if a loved one dies, they often can’t return home for fear of being barred from the United States. These experiences take a toll on one’s mental health.\u003c/p>\n\u003cfigure id=\"attachment_13841113\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13841113\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/xzr2Mdlg-800x548.jpeg\" alt=\"Jose Antonio Vargas was detained near the U.S.-Mexico border in 2014. \" width=\"800\" height=\"548\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/xzr2Mdlg-800x548.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/xzr2Mdlg-160x110.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/xzr2Mdlg-768x526.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/xzr2Mdlg-1020x699.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/xzr2Mdlg-1200x822.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/xzr2Mdlg-1180x809.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/xzr2Mdlg-960x658.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/xzr2Mdlg-240x164.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/xzr2Mdlg-375x257.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/xzr2Mdlg-520x356.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/xzr2Mdlg.jpeg 1862w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jose Antonio Vargas was detained near the U.S.-Mexico border in 2014. \u003ccite>(Courtesy of Jose Antonio Vargas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Don’t read \u003cem>Dear America\u003c/em> expecting direct digs at the Trump administration. Beyond presenting a compelling personal account, \u003cem>Dear America\u003c/em> serves as a history lesson on the complexity of the U.S. immigration system—how different presidents have tackled this issue and how the mainstream media perpetuates revisionist histories. It takes an incisive storyteller like Vargas to engage in that conversation.\u003c/p>\n\u003cp>“You have a lot of progressive people out there who don’t know that immigration has been a moral crisis since the Clinton era,” Vargas says. “They don’t want to face what happened during the Obama era; they don’t want to remember that George Bush was actually relatively good on this issue.”[contextly_sidebar id=”rIqIMqrTB6CceTAjQv0ySIlIBIjfB5Qb”]\u003c/p>\n\u003cp>In aiming to educate the wider American public, Vargas has learned where to channel his anger. “I didn’t want it to be an angry manifesto,” he says. “It’s bigger than that. There’s so many themes in the book that I wanted to explain. Even the theme of looking at America beyond this black-and-white binary.”\u003c/p>\n\u003cp>At its core, \u003cem>Dear America\u003c/em> is a heartrending book that poses important questions of why and how people migrate to the United States, and how a broken immigration system affects everyday families.\u003c/p>\n\u003cp>“Immigration is more than just immigration. It’s about what the country looks like and feels like,” Vargas says. “To me, the biggest question is, what are we trying to build together? What vision are we trying to offer each other?”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Jose Antonio Vargas reads from \u003c/em>Dear America: Notes of an Undocumented Citizen\u003cem> on Sept. 29 at \u003ca href=\"https://www.eventbrite.com/e/jose-antonio-vargas-with-sabaa-tahir-tickets-48285672747\" target=\"_blank\" rel=\"noopener noreferrer\">Aragon High School in Theater\u003c/a> in San Mateo and Sept. 30 at Book Passage in \u003ca href=\"https://www.bookpassage.com/event/jose-antonio-vargas-dear-america-corte-madera-store\" target=\"_blank\" rel=\"noopener noreferrer\">Corte Madera\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“There is no line! There is no line! There is no line!” writes Jose Antonio Vargas in his new memoir, \u003cem>\u003ca href=\"https://www.harpercollins.com/9780062851352/dear-america/\" target=\"_blank\" rel=\"noopener noreferrer\">Dear America: Notes of an Undocumented Citizen\u003c/a>, \u003c/em>his frustration practically leaping off the page.\u003c/p>\n\u003cp>This \u003ca href=\"https://www.youtube.com/watch?v=VpZ3-z1XHt4\" target=\"_blank\" rel=\"noopener noreferrer\">supposed line\u003c/a>—where immigrants queue up in an orderly fashion to become citizens—is a favored rhetorical device of conservative pundits who often ignore the lived realities of undocumented immigrants fleeing poverty, violence, gangs and persecution. In the book, Vargas argues that, for many, a viable pathway to citizenship doesn’t exist.\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-13841110\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/NCkNAr2w-800x1208.jpeg\" alt=\"\" width=\"800\" height=\"1208\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/NCkNAr2w-800x1208.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/NCkNAr2w-160x242.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/NCkNAr2w-768x1160.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/NCkNAr2w-1020x1541.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/NCkNAr2w-795x1200.jpeg 795w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/NCkNAr2w-1180x1782.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/NCkNAr2w-960x1450.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/NCkNAr2w-240x362.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/NCkNAr2w-375x566.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/NCkNAr2w-520x785.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/NCkNAr2w.jpeg 1356w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Vargas, a Pulitzer Prize-winning journalist, filmmaker and co-founder of media nonprofit Define American, publicly revealed his undocumented status in 2011 in a heart-wrenching \u003ca href=\"https://www.nytimes.com/2011/06/26/magazine/my-life-as-an-undocumented-immigrant.html\" target=\"_blank\" rel=\"noopener noreferrer\">essay\u003c/a> in \u003cem>The New York Times Magazine\u003c/em>. Since then, he’s made it his mission to help the American public understand the lives of the 11 million undocumented immigrants currently residing in the United States. The support systems that help them survive legal hurdles and an anti-immigrant political climate are a crucial part of that story.\u003c/p>\n\u003cp>“When people want to help, how do you receive that help?” asks Vargas in an interview with KQED Arts. His own support system includes his immediate Filipino family, as well as his teachers, editors and hometown friends from Mountain View. For Vargas, these crucial supporters aren’t just political allies: he jokingly refers to them as his “white family.”\u003c/p>\n\u003cp>“When we use the term ally, I don’t think it’s enough,” he says. “I don’t think it’s enough in terms of what is being done and what is at stake.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At a time when white nationalism has seeped into mainstream political discourse and the current administration fuels anti-immigrant rhetoric, Vargas argues that it’s important for Americans, regardless of race, to speak out against injustices and use their privilege to help the voiceless. In \u003cem>Dear America\u003c/em>, Vargas writes: “The centrality of whiteness—how it constructed white versus black, legal versus illegal—hurts not only people of color who aren’t white, but also white people who can’t carry the burden of what they’ve constructed.”\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Questions of race and immigration status are only two of the complex identity issues Vargas has faced. He is also a gay man who has had to navigate homophobia within the immigrant rights movement. “As much as people in the movement think they know me, they actually don’t,” Vargas says. “And, how painful it has been for me. It’s been so isolating.”\u003c/p>\n\u003cfigure id=\"attachment_13841111\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13841111\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/SEpa0otA-800x502.jpeg\" alt=\"Jose Antonio Vargas as a child with his mother and grandmother in the Philippines. \" width=\"800\" height=\"502\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SEpa0otA-800x502.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SEpa0otA-160x100.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SEpa0otA-768x482.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SEpa0otA-1020x640.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SEpa0otA-960x602.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SEpa0otA-240x151.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SEpa0otA-375x235.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SEpa0otA-520x326.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SEpa0otA.jpeg 1041w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jose Antonio Vargas as a child with his mother and grandmother in the Philippines. \u003ccite>(Courtesy of Jose Antonio Vargas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>Dear America\u003c/em>, Vargas goes into detail about facing his his lolo and lola’s (grandpa and grandma’s) disappointment when he came out about his sexuality in 1999. Their wish was for Vargas to eventually fall in love with and marry a woman to legalize his immigration status. Instead, Vargas had to navigate this part of himself on his own.\u003c/p>\n\u003cp>“Writing this book, I owed it to myself,” Vargas says. “I had to write it in a way that was honest.”\u003c/p>\n\u003cp>In one chapter, Vargas describes the profound impact of the 1997 \u003cem>Time\u003c/em> magazine cover where Ellen DeGeneres came out as gay. Years later, in 2012, Vargas and a group of Dreamers came out as undocumented on the cover of \u003cem>Time\u003c/em>.\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Although \u003cem>Dear America\u003c/em> is a memoir, the struggles Vargas describes in the book—from the moment he left the Phillipines at 12 years old in 1993 to the day he got \u003ca href=\"https://www.nytimes.com/video/us/100000003001675/immigration-activist-jose-antonio-vargas-detained-in-texas.html\" target=\"_blank\" rel=\"noopener noreferrer\">arrested\u003c/a> on immigration violation charges in July 2014—lend insight into the plight of other undocumented immigrants. “Legality has forever been a construct of power,” Vargas writes. His words serve as a reminder that “legal” and “moral” aren’t always synonyms.\u003c/p>\n\u003cp>In the book, Vargas describes in detail how his lolo obtained fake documents to get him into the country. The ordeal is not an isolated case; many undocumented immigrants use falsified Social Security numbers to work in the United States. Vargas uses this example to debunk the myth that undocumented immigrants take resources from American taxpayers. Indeed, a 2016 \u003ca href=\"https://itep.org/wp-content/uploads/immigration2016.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">report\u003c/a> from The Institute on Taxation & Economic Policy (ITEP) reveals that undocumented immigrants pay $11.64 billion in state and local taxes every year.\u003c/p>\n\u003cfigure id=\"attachment_13841112\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13841112\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/XbLVLW4w-800x544.jpeg\" alt=\"Jose Antonio Vargas at his high school graduation in Mountain View, California. \" width=\"800\" height=\"544\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/XbLVLW4w-800x544.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/XbLVLW4w-160x109.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/XbLVLW4w-768x522.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/XbLVLW4w-1020x694.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/XbLVLW4w-1200x816.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/XbLVLW4w-1180x803.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/XbLVLW4w-960x653.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/XbLVLW4w-240x163.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/XbLVLW4w-375x255.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/XbLVLW4w-520x354.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/XbLVLW4w.jpeg 1763w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jose Antonio Vargas at his high school graduation in Mountain View, California. \u003ccite>(Courtesy of Jose Antonio Vargas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Dear America\u003c/em> also deals with the psychological consequences of family separation. Vargas delves deep into his complicated relationship with his mother, whom he hasn’t seen since he left the Philippines as a child. “Separation not only divides families,” he writes, “Separation buries emotion, buries it so far down you can’t touch it.”\u003c/p>\n\u003cp>Oftentimes, undocumented immigrants can only connect with family members back home via technology; if a loved one dies, they often can’t return home for fear of being barred from the United States. These experiences take a toll on one’s mental health.\u003c/p>\n\u003cfigure id=\"attachment_13841113\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13841113\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/xzr2Mdlg-800x548.jpeg\" alt=\"Jose Antonio Vargas was detained near the U.S.-Mexico border in 2014. \" width=\"800\" height=\"548\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/xzr2Mdlg-800x548.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/xzr2Mdlg-160x110.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/xzr2Mdlg-768x526.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/xzr2Mdlg-1020x699.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/xzr2Mdlg-1200x822.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/xzr2Mdlg-1180x809.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/xzr2Mdlg-960x658.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/xzr2Mdlg-240x164.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/xzr2Mdlg-375x257.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/xzr2Mdlg-520x356.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/xzr2Mdlg.jpeg 1862w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jose Antonio Vargas was detained near the U.S.-Mexico border in 2014. \u003ccite>(Courtesy of Jose Antonio Vargas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Don’t read \u003cem>Dear America\u003c/em> expecting direct digs at the Trump administration. Beyond presenting a compelling personal account, \u003cem>Dear America\u003c/em> serves as a history lesson on the complexity of the U.S. immigration system—how different presidents have tackled this issue and how the mainstream media perpetuates revisionist histories. It takes an incisive storyteller like Vargas to engage in that conversation.\u003c/p>\n\u003cp>“You have a lot of progressive people out there who don’t know that immigration has been a moral crisis since the Clinton era,” Vargas says. “They don’t want to face what happened during the Obama era; they don’t want to remember that George Bush was actually relatively good on this issue.”\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In aiming to educate the wider American public, Vargas has learned where to channel his anger. “I didn’t want it to be an angry manifesto,” he says. “It’s bigger than that. There’s so many themes in the book that I wanted to explain. Even the theme of looking at America beyond this black-and-white binary.”\u003c/p>\n\u003cp>At its core, \u003cem>Dear America\u003c/em> is a heartrending book that poses important questions of why and how people migrate to the United States, and how a broken immigration system affects everyday families.\u003c/p>\n\u003cp>“Immigration is more than just immigration. It’s about what the country looks like and feels like,” Vargas says. “To me, the biggest question is, what are we trying to build together? What vision are we trying to offer each other?”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Jose Antonio Vargas reads from \u003c/em>Dear America: Notes of an Undocumented Citizen\u003cem> on Sept. 29 at \u003ca href=\"https://www.eventbrite.com/e/jose-antonio-vargas-with-sabaa-tahir-tickets-48285672747\" target=\"_blank\" rel=\"noopener noreferrer\">Aragon High School in Theater\u003c/a> in San Mateo and Sept. 30 at Book Passage in \u003ca href=\"https://www.bookpassage.com/event/jose-antonio-vargas-dear-america-corte-madera-store\" target=\"_blank\" rel=\"noopener noreferrer\">Corte Madera\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Mexican Rockers Café Tacvba Stand in Solidarity with Stateside Latinx Fans",
"headTitle": "Mexican Rockers Café Tacvba Stand in Solidarity with Stateside Latinx Fans | KQED",
"content": "\u003cp>It’s impossible to talk about Mexican rock without mentioning Café Tacvba, a hugely influential band from Ciudad Satélite, a suburban area northeast of Mexico City. Café Tacvba’s music began as an effortless fusion of regional folk sounds and rock, and the band members have been ambassadors of \u003cem>rock en Español\u003c/em> since forming in the 1989, when they began to dominate Mexico’s airwaves.\u003c/p>\n\u003cp>The quartet, comprised of Rubén Albarrán, José Alfredo “Joselo” Rangel Arroyo, Quique Rangel Arroyo and Emmanuel del Real, has long had a reputation for social activism. They raised money for victims of 2017’s destructive Mexico City earthquake and regularly use their music to speak out about important social issues, like the disappearance of 43 students from Ayotzinapa, Mexico on the track “1-2-3.”\u003c/p>\n\u003cp>https://youtu.be/nBVP8QI7320\u003c/p>\n\u003cp>In recent years, Café Tacvba have lent their voices to the fight against violence against women. In fact, don’t expect for their 1994 song “La Ingrata” to make it into any of their upcoming set lists. The band members retired the classic track, about a heartbroken man who wants to inflict pain on his former lover, two years ago. Instead of changing the lyrics, they explained in an \u003ca href=\"https://www.lanacion.com.ar/1957173-cafe-tacvba-este-mundo-en-el-que-estamos-viviendo-no-funciona\" target=\"_blank\" rel=\"noopener noreferrer\">interview\u003c/a> with Argentinian newspaper \u003cem>La Nacion\u003c/em> that, as they’ve gotten older, they’ve become more aware of how violence against women plagues our world.\u003c/p>\n\u003cp>KQED recently chatted with lead guitarist and vocalist Joselo Rangel ahead of Café Tacvba’s \u003ca href=\"http://www.theindependentsf.com/event/1689804-cafe-tacvba-san-francisco/\" target=\"_blank\" rel=\"noopener noreferrer\">five-night residency\u003c/a> at San Francisco’s Independent, which kicks off on Sept. 5. (This interview was conducted in Spanish and translated by the author.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We understand the cultural significance of our music, and how our fans have grown up with us and particular songs,” Rangel says of the band’s nearly three-decade career.\u003c/p>\n\u003cp>Indeed, Café Tacvba’s impact has reached across cultural and generational lines. \u003cem>Rolling Stone\u003c/em> called their 1994 album \u003cem>Re\u003c/em> one of \u003ca href=\"https://www.rollingstone.com/music/music-lists/the-10-greatest-latin-rock-albums-of-all-time-153398/cafe-tacuba-re-1994-157068/\" target=\"_blank\" rel=\"noopener noreferrer\">10 greatest Latin rock albums\u003c/a> of all time. The band has been nominated for five Grammys, winning Best Latin/Rock Alternative Album in 2003 for \u003cem>Cuatro Caminos\u003c/em>. They’ve also been nominated for 16 Latin Grammys and won an impressive seven—most recently, Best Alternative Album for last year’s \u003cem>Jei Beibi\u003c/em>.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> “For some [fans], \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Re\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> is the most important album of our discography,” says Rangel. “Yet we often find that others just recently found out who we are, and our newest albums are the most important for them.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13840299\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840299\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Cafe-Tacvba-press-photo-2-800x629.jpg\" alt=\"Over their three-decade career, Mexican rock band Café Tacvba have spoken out about important issues like violence against women and the disappearance of the 43 students from Ayotzinapa.\" width=\"800\" height=\"629\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cafe-Tacvba-press-photo-2-800x629.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cafe-Tacvba-press-photo-2-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cafe-Tacvba-press-photo-2-768x604.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cafe-Tacvba-press-photo-2-1020x802.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cafe-Tacvba-press-photo-2-1200x944.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cafe-Tacvba-press-photo-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cafe-Tacvba-press-photo-2-1180x928.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cafe-Tacvba-press-photo-2-960x755.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cafe-Tacvba-press-photo-2-240x189.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cafe-Tacvba-press-photo-2-375x295.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cafe-Tacvba-press-photo-2-520x409.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Over their three-decade career, Mexican rock band Café Tacvba have spoken out about important issues like violence against women and the disappearance of the 43 students from Ayotzinapa. \u003ccite>(Courtesy of Café Tacvba)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Millions of listeners have been following Café Tacvba since their 1991 self-titled debut album—and many of those fervent fans reside in the United States, specifically in areas with large Mexican-American populations. In 2009, Café Tacvba became the first Mexican rock band to play the then newly reopened Fox Theater in Oakland, returning for a sold-out show in 2017. For 2018’s NiuGüeis Tour, the band secured rare multi-show residencies in San Francisco, Chicago and Los Angeles, with San Francisco the longest out of the three.\u003c/p>\n\u003cp>“For this tour we wanted to do something different and out of the norm,” Rangel explains. “There have been many instances that we tour in places where fans are not able to get tickets, or we wish we could stay longer and play more shows while we are there.”\u003c/p>\n\u003cp>Café Tacvba’s show run at The Independent is a legendary moment for the Bay Area’s thousands of Mexican immigrants, who’ve been labeled as criminals and rapists by the current administration. Despite constant talk of Trump’s wall, Latinx music remains not only profitable, but well loved on this side of the border.\u003c/p>\n\u003cp>“It is a difficult time to be in right now, but I want to send my strength,” says Rangel. “We can’t wait to see everyone.”\u003c/p>\n\u003cp>With such Café Tacvba’s extensive discography of 12 albums (including eight studio albums, an \u003cem>MTV Unplugged\u003c/em>, a best of, a tribute and a 15th anniversary album), each night at The Independent promises to be different from the last.\u003c/p>\n\u003cp>“This is giving us the opportunity to, perhaps, play a different show every night,” says Rangel. “There are a number of songs that have solely stayed as part of an album. Revisiting them, it’s interesting but also complicated. We have to go back in time and place ourselves in the exact moment when we recorded a particular song. When we are able to do it, it’s incredible.”\u003c/p>\n\u003cp>Is there a secret formula for the band’s longevity? “We love and respect each other,” Rangel says. “We are all family. It’s not so much like a marriage, as many would be led to believe, as it is a brotherhood. We might get mad at each other, or have disagreements, but it is all temporary.”\u003c/p>\n\u003cp>It’s impossible to conduct an interview with Café Tacvba without bringing up politics, and how Mexico and the United States’ relationship has turned into a nefarious political game centered on immigration. Mexico just elected a new President, Andrés Manuel López Obrador, who will be sworn in on Dec. 1. The new leader will have to find ways to re-establish a cordial relationship with the United States under the Trump administration.\u003c/p>\n\u003cp>https://youtu.be/EBWMyfFrtKs\u003c/p>\n\u003cp>“It is such a bizarre political climate,” Rangel says. “I have yet to meet someone who voted for or currently supports Trump. Why did he win? What I discovered is that my social circle has ideas that are the complete opposite of those who voted for him.”\u003c/p>\n\u003cp>He calls the Trump phenomenon, “a sci-fi novel, a political regression.” The video for the band’s 2016 song “Futuro” depicts a Trump lookalike, La Santa Muerte (the deity of death in Mexican folklore), a priest and other surreal figures all aboard a bus throttling through space. Its lyrics deal with humans’ failure to understand the grand scheme of fate.\u003c/p>\n\u003cp>“We want to live in a world different than the one we are in now,” Joselo emphasizes, describing the residency at The Independent as an escape. “For two hours each night, we’ll play this musical ritual where we’ll live in a different world.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Café Tacvba perform at The Independent Sept. 5–9. Details \u003ca href=\"http://www.theindependentsf.com/event/1689804-cafe-tacvba-san-francisco/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s impossible to talk about Mexican rock without mentioning Café Tacvba, a hugely influential band from Ciudad Satélite, a suburban area northeast of Mexico City. Café Tacvba’s music began as an effortless fusion of regional folk sounds and rock, and the band members have been ambassadors of \u003cem>rock en Español\u003c/em> since forming in the 1989, when they began to dominate Mexico’s airwaves.\u003c/p>\n\u003cp>The quartet, comprised of Rubén Albarrán, José Alfredo “Joselo” Rangel Arroyo, Quique Rangel Arroyo and Emmanuel del Real, has long had a reputation for social activism. They raised money for victims of 2017’s destructive Mexico City earthquake and regularly use their music to speak out about important social issues, like the disappearance of 43 students from Ayotzinapa, Mexico on the track “1-2-3.”\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/nBVP8QI7320'\n title='//www.youtube.com/embed/nBVP8QI7320'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In recent years, Café Tacvba have lent their voices to the fight against violence against women. In fact, don’t expect for their 1994 song “La Ingrata” to make it into any of their upcoming set lists. The band members retired the classic track, about a heartbroken man who wants to inflict pain on his former lover, two years ago. Instead of changing the lyrics, they explained in an \u003ca href=\"https://www.lanacion.com.ar/1957173-cafe-tacvba-este-mundo-en-el-que-estamos-viviendo-no-funciona\" target=\"_blank\" rel=\"noopener noreferrer\">interview\u003c/a> with Argentinian newspaper \u003cem>La Nacion\u003c/em> that, as they’ve gotten older, they’ve become more aware of how violence against women plagues our world.\u003c/p>\n\u003cp>KQED recently chatted with lead guitarist and vocalist Joselo Rangel ahead of Café Tacvba’s \u003ca href=\"http://www.theindependentsf.com/event/1689804-cafe-tacvba-san-francisco/\" target=\"_blank\" rel=\"noopener noreferrer\">five-night residency\u003c/a> at San Francisco’s Independent, which kicks off on Sept. 5. (This interview was conducted in Spanish and translated by the author.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We understand the cultural significance of our music, and how our fans have grown up with us and particular songs,” Rangel says of the band’s nearly three-decade career.\u003c/p>\n\u003cp>Indeed, Café Tacvba’s impact has reached across cultural and generational lines. \u003cem>Rolling Stone\u003c/em> called their 1994 album \u003cem>Re\u003c/em> one of \u003ca href=\"https://www.rollingstone.com/music/music-lists/the-10-greatest-latin-rock-albums-of-all-time-153398/cafe-tacuba-re-1994-157068/\" target=\"_blank\" rel=\"noopener noreferrer\">10 greatest Latin rock albums\u003c/a> of all time. The band has been nominated for five Grammys, winning Best Latin/Rock Alternative Album in 2003 for \u003cem>Cuatro Caminos\u003c/em>. They’ve also been nominated for 16 Latin Grammys and won an impressive seven—most recently, Best Alternative Album for last year’s \u003cem>Jei Beibi\u003c/em>.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> “For some [fans], \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Re\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> is the most important album of our discography,” says Rangel. “Yet we often find that others just recently found out who we are, and our newest albums are the most important for them.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13840299\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840299\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Cafe-Tacvba-press-photo-2-800x629.jpg\" alt=\"Over their three-decade career, Mexican rock band Café Tacvba have spoken out about important issues like violence against women and the disappearance of the 43 students from Ayotzinapa.\" width=\"800\" height=\"629\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cafe-Tacvba-press-photo-2-800x629.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cafe-Tacvba-press-photo-2-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cafe-Tacvba-press-photo-2-768x604.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cafe-Tacvba-press-photo-2-1020x802.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cafe-Tacvba-press-photo-2-1200x944.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cafe-Tacvba-press-photo-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cafe-Tacvba-press-photo-2-1180x928.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cafe-Tacvba-press-photo-2-960x755.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cafe-Tacvba-press-photo-2-240x189.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cafe-Tacvba-press-photo-2-375x295.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cafe-Tacvba-press-photo-2-520x409.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Over their three-decade career, Mexican rock band Café Tacvba have spoken out about important issues like violence against women and the disappearance of the 43 students from Ayotzinapa. \u003ccite>(Courtesy of Café Tacvba)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Millions of listeners have been following Café Tacvba since their 1991 self-titled debut album—and many of those fervent fans reside in the United States, specifically in areas with large Mexican-American populations. In 2009, Café Tacvba became the first Mexican rock band to play the then newly reopened Fox Theater in Oakland, returning for a sold-out show in 2017. For 2018’s NiuGüeis Tour, the band secured rare multi-show residencies in San Francisco, Chicago and Los Angeles, with San Francisco the longest out of the three.\u003c/p>\n\u003cp>“For this tour we wanted to do something different and out of the norm,” Rangel explains. “There have been many instances that we tour in places where fans are not able to get tickets, or we wish we could stay longer and play more shows while we are there.”\u003c/p>\n\u003cp>Café Tacvba’s show run at The Independent is a legendary moment for the Bay Area’s thousands of Mexican immigrants, who’ve been labeled as criminals and rapists by the current administration. Despite constant talk of Trump’s wall, Latinx music remains not only profitable, but well loved on this side of the border.\u003c/p>\n\u003cp>“It is a difficult time to be in right now, but I want to send my strength,” says Rangel. “We can’t wait to see everyone.”\u003c/p>\n\u003cp>With such Café Tacvba’s extensive discography of 12 albums (including eight studio albums, an \u003cem>MTV Unplugged\u003c/em>, a best of, a tribute and a 15th anniversary album), each night at The Independent promises to be different from the last.\u003c/p>\n\u003cp>“This is giving us the opportunity to, perhaps, play a different show every night,” says Rangel. “There are a number of songs that have solely stayed as part of an album. Revisiting them, it’s interesting but also complicated. We have to go back in time and place ourselves in the exact moment when we recorded a particular song. When we are able to do it, it’s incredible.”\u003c/p>\n\u003cp>Is there a secret formula for the band’s longevity? “We love and respect each other,” Rangel says. “We are all family. It’s not so much like a marriage, as many would be led to believe, as it is a brotherhood. We might get mad at each other, or have disagreements, but it is all temporary.”\u003c/p>\n\u003cp>It’s impossible to conduct an interview with Café Tacvba without bringing up politics, and how Mexico and the United States’ relationship has turned into a nefarious political game centered on immigration. Mexico just elected a new President, Andrés Manuel López Obrador, who will be sworn in on Dec. 1. The new leader will have to find ways to re-establish a cordial relationship with the United States under the Trump administration.\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/EBWMyfFrtKs'\n title='//www.youtube.com/embed/EBWMyfFrtKs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“It is such a bizarre political climate,” Rangel says. “I have yet to meet someone who voted for or currently supports Trump. Why did he win? What I discovered is that my social circle has ideas that are the complete opposite of those who voted for him.”\u003c/p>\n\u003cp>He calls the Trump phenomenon, “a sci-fi novel, a political regression.” The video for the band’s 2016 song “Futuro” depicts a Trump lookalike, La Santa Muerte (the deity of death in Mexican folklore), a priest and other surreal figures all aboard a bus throttling through space. Its lyrics deal with humans’ failure to understand the grand scheme of fate.\u003c/p>\n\u003cp>“We want to live in a world different than the one we are in now,” Joselo emphasizes, describing the residency at The Independent as an escape. “For two hours each night, we’ll play this musical ritual where we’ll live in a different world.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Café Tacvba perform at The Independent Sept. 5–9. Details \u003ca href=\"http://www.theindependentsf.com/event/1689804-cafe-tacvba-san-francisco/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "fast-crass-and-in-your-face-indecline-redefines-activist-art-in-the-trump-era",
"title": "Fast, Crass and In Your Face: INDECLINE Redefines Activist Art in the Trump Era",
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"headTitle": "Fast, Crass and In Your Face: INDECLINE Redefines Activist Art in the Trump Era | KQED",
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"content": "\u003cp>Early in the morning of June 21, commuters on Interstate 80 were greeted by an unusual sight. “We make kids disappear,” read an altered billboard over Shellmound Street in Emeryville. The message was signed, “—I.C.E.”\u003c/p>\n\u003cp>The billboard responded to President Trump’s “zero-tolerance” immigration policy, and U.S. Immigration and Customs Enforcement’s (ICE) enactment of that policy, which separated 2,800 or more children from their parents along the U.S.-Mexico border since last summer. Trump later reversed the mandate of family separations, and as of July 27, the federal government \u003ca href=\"https://www.nytimes.com/2018/07/26/us/migrant-families-reunifications-deadline.html\" target=\"_blank\" rel=\"noopener noreferrer\">says it has met the court-ordered deadline\u003c/a> for reuniting “eligible” parents and children. But \u003ca href=\"https://www.nytimes.com/2018/07/27/us/migrant-families-deportations.html\" target=\"_blank\" rel=\"noopener noreferrer\">711 children deemed ineligible\u003c/a> to reunify with their parents—the parents of 431 of those children were seemingly deported without them—remain in federal custody.\u003c/p>\n\u003cp>The message, which was removed by midday, struck a chord in the Bay Area, where many people are part of mixed immigration-status households and have personally witnessed or gone through the trauma of separation and deportation.31\u003c/p>\n\u003cp>The American activist collective \u003ca href=\"https://thisisindecline.com/\" target=\"_blank\" rel=\"noopener noreferrer\">INDECLINE\u003c/a> claimed responsibility for the billboard, which originally read “We make junk disappear,” next to the face of a shocked blond-haired child, an ad for 1-800-GOT-JUNK.\u003c/p>\n\u003cp>The collective, a group of filmmakers, graffiti artists and photographers, worked on the billboard overnight, and by the following day, it made the \u003ca href=\"https://www.nbcbayarea.com/news/local/We-Make-Kids-Disappear---ICE-Activists-Vandalize-Billboard-in-Emeryville-With-Immigration-Message-486201131.html\" target=\"_blank\" rel=\"noopener noreferrer\">local media rounds\u003c/a>. Even the mayor of Emeryville, John J. Bauters, tweeted about the billboard. Unsurprisingly, he didn’t condemn it, instead saying the message “reflects our community’s belief that #FamilesBelongTogether.” (Mayor Bauters often uses his Twitter platform to support prison reform, and the need to protect the most vulnerable members of our community.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/JohnBauters/status/1009847307376848896\u003c/p>\n\u003cp>Clear Channel Outdoor, the billboard’s owner, sent INDECLINE a letter, asking the collective to “cease and desist from taking any further and future action to interfere with CCO property.” An INDECLINE spokesperson (the collective maintains anonymity) says the billboard was their way of asking, “Where’s your moral compass? How can Clear Channel care more about a billboard that can be easily painted over, rather than the countless families that have been separated.” The letter was a first for INDECLINE.\u003c/p>\n\u003cp>Why did INDECLINE pick the Bay Area, and specifically Emeryville for their action? “We were in town working on a video for [the band] Rise Against,” the spokesperson says, “and we saw this as an opportunity.”\u003c/p>\n\u003cp>It wasn’t the first Bay Area project for the collective. Last year, INDECLINE teamed up with graffiti writer PEMEX and writer NEKO of Madrid to work on \u003ci>\u003ca href=\"https://thisisindecline.com/flicks/a-house-in-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">A House in Oakland\u003c/a>\u003c/i>, a joint effort to bring awareness to the Bay Area’s homeless crisis.\u003c/p>\n\u003cp>https://vimeo.com/204100424\u003c/p>\n\u003cp>While the collective often uses existing billboards for their work (as they did last month in Emeryville), they took a different approach with this project. The team went on a dangerous and illegal hunt for plastic billboards that they cut down and stretched over PVC frames to create shelters. The collective then delivered the newly made tents to homeless encampments around Oakland.\u003c/p>\n\u003cp>INDECLINE might be best known for one of their most ambitious projects, unveiled on August 18, 2016 across five U.S. cities. Naked statues of then-Republican-presidential candidate Donald Trump appeared in public spaces in Seattle, New York, San Francisco, Cleveland and Los Angeles. The statues drew mixed reactions: some blissfully took selfies with the naked Trump, others were horrified, and many heavily criticized the project for the implicit body-shaming in Trump’s sculptural physique.\u003c/p>\n\u003cp>\u003cem>The Emperor Has No Balls\u003c/em>, as INDECLINE named the stunt, was a project six months in the making, and one that required the help and resources of not only the collective’s core group of 12, but of fans and supporters of the protest work INDECLINE does. “You don’t have to be working with the founding members in order to participate,” the INDECLINE spokesperson says, “we work with all sorts of creatives.”\u003c/p>\n\u003cp>https://vimeo.com/179665091\u003c/p>\n\u003cp>The founding members of INDECLINE met as young adults in 2001. They were, the spokesperson says, “teenagers not entirely politically developed struggling to express their feelings.”\u003c/p>\n\u003cp>Those feelings stemmed from the turbulent events of 2001: 9/11, President George W. Bush’s refusal to sign the Kyoto Agreement on Climate Change, Enron’s bankruptcy and a series of anthrax attacks across the United States.\u003c/p>\n\u003cp>The group gained notoriety for their 2002 video \u003ci>Bumfights: A Cause for Concern\u003c/i>, depicting footage of high school fights and homeless men performing stunts and skits. The backlash was immediate. The U.S.-based National Coalition for the Homeless argued that the video dehumanized the homeless population. The video was banned in the U.K., Canada and New Zealand, the producers faced felony charges and jail time, and they were required to pay settlements to the homeless men depicted in the video. Indecline Films ceased to exist, and the group rebranded as INDECLINE, protest art collective.\u003c/p>\n\u003cp>Their self-admittedly misguided early work doesn’t prevent INDECLINE from courting controversy nearly two decades later. As political turmoil increases under Trump’s presidency, their protest art gets more and more confrontational. As if naked statues of Trump weren’t enough to raise eyebrows, last year the collective put together an installation in Richmond, Virginia—a month after the white nationalist rally in Charlottesville left 32-year-old counterprotester Heather Heyer dead.\u003c/p>\n\u003cp>https://vimeo.com/232818473\u003c/p>\n\u003cp>For this particular installation, the collective took over Joseph Bryan Park, where they hung dummies dressed as clowns wearing Ku Klux Klan robes from the branches of a large tree. One of the dummies carried a sign that read, “If attacked by a mob of clowns, go for the juggler.”\u003c/p>\n\u003cp>But INDECLINE’s projects can also involve heartfelt messages of support—particularly for the undocumented community. While the collective was still in the Bay Area last month, they worked on a mural in Downtown Oakland called \u003cem>Dear Immigrants\u003c/em>, located off 15th Street and Franklin. Made by INDECLINE and ten other artists, the colorful piece simply reads, “Dear Immigrants: Without U there is no U.S.” Monarch butterflies, a symbol often used to depict migration, decorate the mural.\u003c/p>\n\u003cp>“As we were working on the mural, Mexican construction workers who were working close by came by wanting to help,” the spokesperson says. While the artists were hard at work, curious bystanders, local business owners and residents gathered around the mural until it turned into a block party-like gathering of people who shared the mural’s sentiment.\u003c/p>\n\u003cfigure id=\"attachment_13838061\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13838061\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/DearImmigrants_1200.jpg\" alt=\"INDECLINE's 'Dear Immigrants' mural, June 2018.\" width=\"1200\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/DearImmigrants_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/DearImmigrants_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/DearImmigrants_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/DearImmigrants_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/DearImmigrants_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/DearImmigrants_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/DearImmigrants_1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/DearImmigrants_1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/DearImmigrants_1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/DearImmigrants_1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">INDECLINE’s ‘Dear Immigrants’ mural, June 2018. \u003ccite>(Courtesy of the artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>INDECLINE isn’t a non-profit collective; they aren’t eligible for tax-deductible donations or grants. So in order to fund their projects, which often involve flying the group’s members across the country, renting hotel rooms, paying fabrication costs and buying hundreds of gallons of paint, they rely heavily on merchandise sales (including “emperor” figurines).\u003c/p>\n\u003cp>Their notoriety, fed by controversial, high-profile stunts like \u003cem>The Emperor Has No Balls\u003c/em>, also helps pay for their projects. And those projects, in turn, show a surprising amount of range—confronting governmental entities one week and offering up messages of support to those suffering at the hands of that government the next.\u003c/p>\n\u003cp>INDECLINE’s focus isn’t just political, they also care about bringing awareness to the social, economical and ecological injustices brought by corrupt government institutions, the damage done by greedy corporations and the abuse of power by law enforcement agencies.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Being older, we’ve seen so much politically, it has helped to solidify our beliefs,” the spokesperson says.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Early in the morning of June 21, commuters on Interstate 80 were greeted by an unusual sight. “We make kids disappear,” read an altered billboard over Shellmound Street in Emeryville. The message was signed, “—I.C.E.”\u003c/p>\n\u003cp>The billboard responded to President Trump’s “zero-tolerance” immigration policy, and U.S. Immigration and Customs Enforcement’s (ICE) enactment of that policy, which separated 2,800 or more children from their parents along the U.S.-Mexico border since last summer. Trump later reversed the mandate of family separations, and as of July 27, the federal government \u003ca href=\"https://www.nytimes.com/2018/07/26/us/migrant-families-reunifications-deadline.html\" target=\"_blank\" rel=\"noopener noreferrer\">says it has met the court-ordered deadline\u003c/a> for reuniting “eligible” parents and children. But \u003ca href=\"https://www.nytimes.com/2018/07/27/us/migrant-families-deportations.html\" target=\"_blank\" rel=\"noopener noreferrer\">711 children deemed ineligible\u003c/a> to reunify with their parents—the parents of 431 of those children were seemingly deported without them—remain in federal custody.\u003c/p>\n\u003cp>The message, which was removed by midday, struck a chord in the Bay Area, where many people are part of mixed immigration-status households and have personally witnessed or gone through the trauma of separation and deportation.31\u003c/p>\n\u003cp>The American activist collective \u003ca href=\"https://thisisindecline.com/\" target=\"_blank\" rel=\"noopener noreferrer\">INDECLINE\u003c/a> claimed responsibility for the billboard, which originally read “We make junk disappear,” next to the face of a shocked blond-haired child, an ad for 1-800-GOT-JUNK.\u003c/p>\n\u003cp>The collective, a group of filmmakers, graffiti artists and photographers, worked on the billboard overnight, and by the following day, it made the \u003ca href=\"https://www.nbcbayarea.com/news/local/We-Make-Kids-Disappear---ICE-Activists-Vandalize-Billboard-in-Emeryville-With-Immigration-Message-486201131.html\" target=\"_blank\" rel=\"noopener noreferrer\">local media rounds\u003c/a>. Even the mayor of Emeryville, John J. Bauters, tweeted about the billboard. Unsurprisingly, he didn’t condemn it, instead saying the message “reflects our community’s belief that #FamilesBelongTogether.” (Mayor Bauters often uses his Twitter platform to support prison reform, and the need to protect the most vulnerable members of our community.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Clear Channel Outdoor, the billboard’s owner, sent INDECLINE a letter, asking the collective to “cease and desist from taking any further and future action to interfere with CCO property.” An INDECLINE spokesperson (the collective maintains anonymity) says the billboard was their way of asking, “Where’s your moral compass? How can Clear Channel care more about a billboard that can be easily painted over, rather than the countless families that have been separated.” The letter was a first for INDECLINE.\u003c/p>\n\u003cp>Why did INDECLINE pick the Bay Area, and specifically Emeryville for their action? “We were in town working on a video for [the band] Rise Against,” the spokesperson says, “and we saw this as an opportunity.”\u003c/p>\n\u003cp>It wasn’t the first Bay Area project for the collective. Last year, INDECLINE teamed up with graffiti writer PEMEX and writer NEKO of Madrid to work on \u003ci>\u003ca href=\"https://thisisindecline.com/flicks/a-house-in-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">A House in Oakland\u003c/a>\u003c/i>, a joint effort to bring awareness to the Bay Area’s homeless crisis.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While the collective often uses existing billboards for their work (as they did last month in Emeryville), they took a different approach with this project. The team went on a dangerous and illegal hunt for plastic billboards that they cut down and stretched over PVC frames to create shelters. The collective then delivered the newly made tents to homeless encampments around Oakland.\u003c/p>\n\u003cp>INDECLINE might be best known for one of their most ambitious projects, unveiled on August 18, 2016 across five U.S. cities. Naked statues of then-Republican-presidential candidate Donald Trump appeared in public spaces in Seattle, New York, San Francisco, Cleveland and Los Angeles. The statues drew mixed reactions: some blissfully took selfies with the naked Trump, others were horrified, and many heavily criticized the project for the implicit body-shaming in Trump’s sculptural physique.\u003c/p>\n\u003cp>\u003cem>The Emperor Has No Balls\u003c/em>, as INDECLINE named the stunt, was a project six months in the making, and one that required the help and resources of not only the collective’s core group of 12, but of fans and supporters of the protest work INDECLINE does. “You don’t have to be working with the founding members in order to participate,” the INDECLINE spokesperson says, “we work with all sorts of creatives.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The founding members of INDECLINE met as young adults in 2001. They were, the spokesperson says, “teenagers not entirely politically developed struggling to express their feelings.”\u003c/p>\n\u003cp>Those feelings stemmed from the turbulent events of 2001: 9/11, President George W. Bush’s refusal to sign the Kyoto Agreement on Climate Change, Enron’s bankruptcy and a series of anthrax attacks across the United States.\u003c/p>\n\u003cp>The group gained notoriety for their 2002 video \u003ci>Bumfights: A Cause for Concern\u003c/i>, depicting footage of high school fights and homeless men performing stunts and skits. The backlash was immediate. The U.S.-based National Coalition for the Homeless argued that the video dehumanized the homeless population. The video was banned in the U.K., Canada and New Zealand, the producers faced felony charges and jail time, and they were required to pay settlements to the homeless men depicted in the video. Indecline Films ceased to exist, and the group rebranded as INDECLINE, protest art collective.\u003c/p>\n\u003cp>Their self-admittedly misguided early work doesn’t prevent INDECLINE from courting controversy nearly two decades later. As political turmoil increases under Trump’s presidency, their protest art gets more and more confrontational. As if naked statues of Trump weren’t enough to raise eyebrows, last year the collective put together an installation in Richmond, Virginia—a month after the white nationalist rally in Charlottesville left 32-year-old counterprotester Heather Heyer dead.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For this particular installation, the collective took over Joseph Bryan Park, where they hung dummies dressed as clowns wearing Ku Klux Klan robes from the branches of a large tree. One of the dummies carried a sign that read, “If attacked by a mob of clowns, go for the juggler.”\u003c/p>\n\u003cp>But INDECLINE’s projects can also involve heartfelt messages of support—particularly for the undocumented community. While the collective was still in the Bay Area last month, they worked on a mural in Downtown Oakland called \u003cem>Dear Immigrants\u003c/em>, located off 15th Street and Franklin. Made by INDECLINE and ten other artists, the colorful piece simply reads, “Dear Immigrants: Without U there is no U.S.” Monarch butterflies, a symbol often used to depict migration, decorate the mural.\u003c/p>\n\u003cp>“As we were working on the mural, Mexican construction workers who were working close by came by wanting to help,” the spokesperson says. While the artists were hard at work, curious bystanders, local business owners and residents gathered around the mural until it turned into a block party-like gathering of people who shared the mural’s sentiment.\u003c/p>\n\u003cfigure id=\"attachment_13838061\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13838061\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/DearImmigrants_1200.jpg\" alt=\"INDECLINE's 'Dear Immigrants' mural, June 2018.\" width=\"1200\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/DearImmigrants_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/DearImmigrants_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/DearImmigrants_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/DearImmigrants_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/DearImmigrants_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/DearImmigrants_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/DearImmigrants_1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/DearImmigrants_1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/DearImmigrants_1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/DearImmigrants_1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">INDECLINE’s ‘Dear Immigrants’ mural, June 2018. \u003ccite>(Courtesy of the artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>INDECLINE isn’t a non-profit collective; they aren’t eligible for tax-deductible donations or grants. So in order to fund their projects, which often involve flying the group’s members across the country, renting hotel rooms, paying fabrication costs and buying hundreds of gallons of paint, they rely heavily on merchandise sales (including “emperor” figurines).\u003c/p>\n\u003cp>Their notoriety, fed by controversial, high-profile stunts like \u003cem>The Emperor Has No Balls\u003c/em>, also helps pay for their projects. And those projects, in turn, show a surprising amount of range—confronting governmental entities one week and offering up messages of support to those suffering at the hands of that government the next.\u003c/p>\n\u003cp>INDECLINE’s focus isn’t just political, they also care about bringing awareness to the social, economical and ecological injustices brought by corrupt government institutions, the damage done by greedy corporations and the abuse of power by law enforcement agencies.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"meta": {
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"officialWebsiteLink": "http://freakonomics.com/",
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"meta": {
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"source": "WNYC"
},
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"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.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"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>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"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?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
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"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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