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Before working at KQED, she produced for PBS member station, KCET, in Los Angeles. In 2017, Marisol won an Emmy Award for her work on the televised documentary, \u003cem>City Rising\u003c/em>, examining California's affordable housing crisis and the historical roots of gentrification.","avatar":"https://secure.gravatar.com/avatar/6c3db46a1cabb5e1fe9a365b5f4e681e?s=600&d=blank&r=g","twitter":"marisolreports","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["editor"]},{"site":"news","roles":["author","edit_others_posts"]}],"headData":{"title":"Marisol Medina-Cadena | KQED","description":"Producer, Rightnowish Podcast","ogImgSrc":"https://secure.gravatar.com/avatar/6c3db46a1cabb5e1fe9a365b5f4e681e?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/6c3db46a1cabb5e1fe9a365b5f4e681e?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/mmedina"}},"breakingNewsReducer":{},"campaignFinanceReducer":{},"firebase":{"requesting":{},"requested":{},"timestamps":{},"data":{},"ordered":{},"auth":{"isLoaded":false,"isEmpty":true},"authError":null,"profile":{"isLoaded":false,"isEmpty":true},"listeners":{"byId":{},"allIds":[]},"isInitializing":false,"errors":[]},"navBarReducer":{"navBarId":"news","fullView":true,"showPlayer":false},"navMenuReducer":{"menus":[{"key":"menu1","items":[{"name":"News","link":"/","type":"title"},{"name":"Politics","link":"/politics"},{"name":"Science","link":"/science"},{"name":"Education","link":"/educationnews"},{"name":"Housing","link":"/housing"},{"name":"Immigration","link":"/immigration"},{"name":"Criminal Justice","link":"/criminaljustice"},{"name":"Silicon Valley","link":"/siliconvalley"},{"name":"Forum","link":"/forum"},{"name":"The California Report","link":"/californiareport"}]},{"key":"menu2","items":[{"name":"Arts & Culture","link":"/arts","type":"title"},{"name":"Critics’ Picks","link":"/thedolist"},{"name":"Cultural Commentary","link":"/artscommentary"},{"name":"Food & Drink","link":"/food"},{"name":"Bay Area Hip-Hop","link":"/bayareahiphop"},{"name":"Rebel Girls","link":"/rebelgirls"},{"name":"Arts Video","link":"/artsvideos"}]},{"key":"menu3","items":[{"name":"Podcasts","link":"/podcasts","type":"title"},{"name":"Bay Curious","link":"/podcasts/baycurious"},{"name":"Rightnowish","link":"/podcasts/rightnowish"},{"name":"The Bay","link":"/podcasts/thebay"},{"name":"On Our Watch","link":"/podcasts/onourwatch"},{"name":"Mindshift","link":"/podcasts/mindshift"},{"name":"Consider This","link":"/podcasts/considerthis"},{"name":"Political Breakdown","link":"/podcasts/politicalbreakdown"}]},{"key":"menu4","items":[{"name":"Live Radio","link":"/radio","type":"title"},{"name":"TV","link":"/tv","type":"title"},{"name":"Events","link":"/events","type":"title"},{"name":"For Educators","link":"/education","type":"title"},{"name":"Support KQED","link":"/support","type":"title"},{"name":"About","link":"/about","type":"title"},{"name":"Help Center","link":"https://kqed-helpcenter.kqed.org/s","type":"title"}]}]},"pagesReducer":{},"postsReducer":{"stream_live":{"type":"live","id":"stream_live","audioUrl":"https://streams.kqed.org/kqedradio","title":"Live Stream","excerpt":"Live Stream information currently unavailable.","link":"/radio","featImg":"","label":{"name":"KQED Live","link":"/"}},"stream_kqedNewscast":{"type":"posts","id":"stream_kqedNewscast","audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1","title":"KQED Newscast","featImg":"","label":{"name":"88.5 FM","link":"/"}},"news_11941385":{"type":"posts","id":"news_11941385","meta":{"index":"posts_1591205157","site":"news","id":"11941385","score":null,"sort":[1676847256000]},"guestAuthors":[],"slug":"california-lawmakers-aim-to-remove-lowrider-cruising-restrictions-statewide","title":"California Lawmakers Aim to Remove Lowrider, Cruising Restrictions Statewide","publishDate":1676847256,"format":"standard","headTitle":"NPR | KQED News","labelTerm":{"term":253,"site":"news"},"content":"\u003cp>California is the birthplace of lowrider culture. Modifying cars with advanced hydraulics systems and elaborate paint jobs and then taking them on a slow cruise down a main drag is a decades-old tradition.\u003c/p>\n\u003cp>But certain lowrider vehicles are illegal in California, and many cities still have bans on cruising.\u003c/p>\n\u003cp>Some Golden State lawmakers want to change that with a new bill that would end restrictions on lowriders and effectively legalize cruising across the state.\u003c/p>\n\u003cp>\"Our tagline is, 'cruising is not a crime,' \" Assemblymember David Alvarez, who sponsored the legislation, told NPR.\u003c/p>\n\u003cp>\u003ca href=\"https://leginfo.legislature.ca.gov/faces/billTextClient.xhtml?bill_id=202320240AB436\">The proposal\u003c/a> would do two things. First, it would end restrictions on lowrider vehicles in California state law. Right now, owners are barred from modifying their passenger vehicles so that the body of the car is closer to the ground than the bottom of the rims.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Second, it would end any limits on cruising on California streets. Cities and towns across California are currently permitted to pass their own cruising bans, which several have done.\u003c/p>\n\u003cp>Jovita Arellano, with the United Lowrider Coalition, \u003ca href=\"https://www.youtube.com/watch?v=viRWdKZIwYs\">said at a press conference\u003c/a> that she's been cruising since she was a young girl and supports lifting the limits on the pastime.\u003c/p>\n\u003cp>\"The passion for cruising has never left my heart. It's a part of who we are. And unfortunately, right now, on the books, it's being criminalized,\" Arellano said. \"We can't do that. We can't criminalize our culture.\"[aside label=\"Related Stories\" postID=\"arts_13923205,arts_13904550,news_11885160\"]Cruising and lowriders both have their roots in postwar Southern California, where Chicanos made an art form out of car customization and turned to driving as a means of socializing and community organizing.\u003c/p>\n\u003cp>But among outsiders, lowriding developed a reputation for clogging traffic and having links to gang activity.\u003c/p>\n\u003cp>In the late 1950s, California enacted a state law regulating lowriders. And in the late 1980s, the state began permitting cities and towns to put in place cruising bans over fears of traffic congestion and crime, lawmakers said. Lowriders have long argued that the ordinances designed to curb cruising unfairly targeted Latinos.\u003c/p>\n\u003cp>Last year both houses of the California Legislature unanimously approved a resolution urging towns and cities across the state to drop their bans on cruising, but it didn't force any municipalities to do so.\u003c/p>\n\u003cp>A number of California cities have recently scrapped their bans on cruising, from \u003ca href=\"https://ca.news.yahoo.com/sacramento-officials-voted-unanimously-repeal-051422241.html?guccounter=1&guce_referrer=aHR0cHM6Ly93d3cubnByLm9yZy8yMDIzLzAyLzE2LzExNTcyNzg3NjYvY2FsaWZvcm5pYS1sb3dyaWRlci1sYXctY3J1aXNpbmc&guce_referrer_sig=AQAAALe7bqSP1n6szKvHEvcX9skpn0UwQAF0pivx-Uu87AiofcPJtZQSZs5EHhGIjW00_NA181BjuFbA7vKHnYGcbUD_UdQ78Jf49ucsQqPhC53fYLIDIXhOhNJitPdO2CyX2FEuxbuPawo4dIuv9C3O5R5uGCXkvjJIOfOxKylcjIV5\">Sacramento\u003c/a> to \u003ca href=\"https://www.capradio.org/news/npr/story?storyid=1111771311\">San Jose\u003c/a>. And in several cities where cruising is outlawed in certain areas, such as \u003ca href=\"https://voiceofsandiego.org/2022/10/31/why-national-city-is-still-stuck-with-its-cruising-ban/\">National City\u003c/a> and \u003ca href=\"https://www.capradio.org/articles/2022/12/19/cruising-has-been-banned-in-modesto-for-30-years-one-group-is-trying-to-change-that/\">Modesto\u003c/a>, there are efforts underway to repeal the decades-old rules.\u003c/p>\n\u003cp>But bans remain on the books in places such as Los Angeles, Fresno and Santa Ana.\u003c/p>\n\u003cp>Alvarez said the bill has broad support and he expects it to become law, which would help undo stereotypes about cruising and lowriding and allow people to enjoy the custom legally.\u003c/p>\n\u003cp>\"The reality is that people who are spending their time and their money — and these cars can be very expensive — they're not individuals who are looking to do any harm,\" Alvarez said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"Acknowledging that this activity is part of our culture and not trying to erase that from our culture is important, especially when it's a positive activity,\" he added.\u003c/p>\n\n","blocks":[],"excerpt":"State law bars some modified vehicles and lets cities enact cruising bans. Lowrider advocates and Californian legislators say it criminalizes cultural traditions.","status":"publish","parent":0,"modified":1677020886,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":540},"headData":{"title":"California Lawmakers Aim to Remove Lowrider, Cruising Restrictions Statewide | KQED","description":"State law bars some modified vehicles and lets cities enact cruising bans. Lowrider advocates and Californian legislators say it criminalizes cultural traditions.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"nprByline":"Joe Hernandez","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/news/11941385/california-lawmakers-aim-to-remove-lowrider-cruising-restrictions-statewide","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>California is the birthplace of lowrider culture. Modifying cars with advanced hydraulics systems and elaborate paint jobs and then taking them on a slow cruise down a main drag is a decades-old tradition.\u003c/p>\n\u003cp>But certain lowrider vehicles are illegal in California, and many cities still have bans on cruising.\u003c/p>\n\u003cp>Some Golden State lawmakers want to change that with a new bill that would end restrictions on lowriders and effectively legalize cruising across the state.\u003c/p>\n\u003cp>\"Our tagline is, 'cruising is not a crime,' \" Assemblymember David Alvarez, who sponsored the legislation, told NPR.\u003c/p>\n\u003cp>\u003ca href=\"https://leginfo.legislature.ca.gov/faces/billTextClient.xhtml?bill_id=202320240AB436\">The proposal\u003c/a> would do two things. First, it would end restrictions on lowrider vehicles in California state law. Right now, owners are barred from modifying their passenger vehicles so that the body of the car is closer to the ground than the bottom of the rims.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Second, it would end any limits on cruising on California streets. Cities and towns across California are currently permitted to pass their own cruising bans, which several have done.\u003c/p>\n\u003cp>Jovita Arellano, with the United Lowrider Coalition, \u003ca href=\"https://www.youtube.com/watch?v=viRWdKZIwYs\">said at a press conference\u003c/a> that she's been cruising since she was a young girl and supports lifting the limits on the pastime.\u003c/p>\n\u003cp>\"The passion for cruising has never left my heart. It's a part of who we are. And unfortunately, right now, on the books, it's being criminalized,\" Arellano said. \"We can't do that. We can't criminalize our culture.\"\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"label":"Related Stories ","postid":"arts_13923205,arts_13904550,news_11885160"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Cruising and lowriders both have their roots in postwar Southern California, where Chicanos made an art form out of car customization and turned to driving as a means of socializing and community organizing.\u003c/p>\n\u003cp>But among outsiders, lowriding developed a reputation for clogging traffic and having links to gang activity.\u003c/p>\n\u003cp>In the late 1950s, California enacted a state law regulating lowriders. And in the late 1980s, the state began permitting cities and towns to put in place cruising bans over fears of traffic congestion and crime, lawmakers said. Lowriders have long argued that the ordinances designed to curb cruising unfairly targeted Latinos.\u003c/p>\n\u003cp>Last year both houses of the California Legislature unanimously approved a resolution urging towns and cities across the state to drop their bans on cruising, but it didn't force any municipalities to do so.\u003c/p>\n\u003cp>A number of California cities have recently scrapped their bans on cruising, from \u003ca href=\"https://ca.news.yahoo.com/sacramento-officials-voted-unanimously-repeal-051422241.html?guccounter=1&guce_referrer=aHR0cHM6Ly93d3cubnByLm9yZy8yMDIzLzAyLzE2LzExNTcyNzg3NjYvY2FsaWZvcm5pYS1sb3dyaWRlci1sYXctY3J1aXNpbmc&guce_referrer_sig=AQAAALe7bqSP1n6szKvHEvcX9skpn0UwQAF0pivx-Uu87AiofcPJtZQSZs5EHhGIjW00_NA181BjuFbA7vKHnYGcbUD_UdQ78Jf49ucsQqPhC53fYLIDIXhOhNJitPdO2CyX2FEuxbuPawo4dIuv9C3O5R5uGCXkvjJIOfOxKylcjIV5\">Sacramento\u003c/a> to \u003ca href=\"https://www.capradio.org/news/npr/story?storyid=1111771311\">San Jose\u003c/a>. And in several cities where cruising is outlawed in certain areas, such as \u003ca href=\"https://voiceofsandiego.org/2022/10/31/why-national-city-is-still-stuck-with-its-cruising-ban/\">National City\u003c/a> and \u003ca href=\"https://www.capradio.org/articles/2022/12/19/cruising-has-been-banned-in-modesto-for-30-years-one-group-is-trying-to-change-that/\">Modesto\u003c/a>, there are efforts underway to repeal the decades-old rules.\u003c/p>\n\u003cp>But bans remain on the books in places such as Los Angeles, Fresno and Santa Ana.\u003c/p>\n\u003cp>Alvarez said the bill has broad support and he expects it to become law, which would help undo stereotypes about cruising and lowriding and allow people to enjoy the custom legally.\u003c/p>\n\u003cp>\"The reality is that people who are spending their time and their money — and these cars can be very expensive — they're not individuals who are looking to do any harm,\" Alvarez said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"Acknowledging that this activity is part of our culture and not trying to erase that from our culture is important, especially when it's a positive activity,\" he added.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11941385/california-lawmakers-aim-to-remove-lowrider-cruising-restrictions-statewide","authors":["byline_news_11941385"],"categories":["news_8"],"tags":["news_2704","news_20135","news_29792"],"affiliates":["news_253"],"featImg":"news_11941396","label":"news_253"},"news_11919649":{"type":"posts","id":"news_11919649","meta":{"index":"posts_1591205157","site":"news","id":"11919649","score":null,"sort":[1657930763000]},"guestAuthors":[],"slug":"i-told-the-story-of-a-forgotten-chicano-revolutionary-in-a-podcast-turns-out-it-was-my-story-too","title":"I Told the Story of a Forgotten Chicano Revolutionary in a Podcast. Turns Out It Was My Story, Too","publishDate":1657930763,"format":"standard","headTitle":"The California Report Magazine | KQED News","labelTerm":{},"content":"\u003cp>\u003cem>This week, \u003ca href=\"https://www.kqed.org/news/tag/tcrmag/\">The California Report Magazine\u003c/a> teamed up with LAist Studios to share an episode from the new season of their podcast “\u003ca href=\"https://podcasts.apple.com/us/podcast/1604648881\">Imperfect Paradise: The Forgotten Revolutionary\u003c/a>.” It's the story of Oscar Gomez, a radio DJ and Chicano student leader during a time of explosive anti-immigrant political rhetoric in the early 1990s. Some people thought Gomez was going to be the next Cesar Chavez. But then he died near the UC Santa Barbara campus, under mysterious circumstances. \u003c/em>\u003c/p>\n\u003cp>\u003cem>KPCC reporter \u003ca href=\"https://laist.com/people/adolfo-guzman-lopez\">Adolfo Guzman-Lopez\u003c/a> first started digging into Gomez's life and death back in 2019, when UC Davis awarded Gomez a posthumous degree. The new podcast investigates Gomez's death and delves into his legacy — and reporting it prompted Guzman-Lopez to examine his own life, activism and journalism. \u003c/em>\u003c/p>\n\u003cp>[dropcap]I[/dropcap]n September of 2021, I and a team of producers set out to find answers to the mysterious death of a 1990s Chicano college activist and college radio DJ. Over the next 10 months, as we interviewed people and looked for documents, I came to the realization that three-decade-old activism fundamentally shaped my three-decade-long journalism career.\u003c/p>\n\u003cp>It’s certainly not what I expected to find when I first introduced our audience to Oscar Gomez in 2019. Oscar was a scholar-athlete at Baldwin Park High School who graduated in the spring of 1990, then enrolled at UC Davis that fall. In that same year California was entering a red-hot political climate driven by a backlash against increased immigration.\u003c/p>\n\u003cp>On Nov. 17, 1994, four years after Oscar’s freshman year, he was found dead on a Santa Barbara beach, apparently after a fall from a bluff near the UC Santa Barbara campus. My story \u003ca href=\"https://laist.com/news/25-years-after-his-tragic-death-oscar-gomez-gets-his-college-degree\">detailed how he was awarded a posthumous degree\u003c/a> by UC Davis 25 years after his death.\u003c/p>\n\u003cp>[pullquote size=\"medium\" align=\"right\" citation=\"Ralph Armbruster-Sandoval, professor of Chicana and Chicano studies, UCSB\"]'I don't think we're at where we're at today without these sacrifices and activism of the folks in the '90s.'[/pullquote]I could have left the story there. I could have moved on. And I was about to move on. But the people I interviewed, Oscar’s activist friends, recounted stories of how Chicano college students resisted and reacted to the state’s politics, sometimes putting their own lives on the line, and that dislodged my own memories of my own activism in those years. In the past 30 years I’ve rarely talked publicly about how I was part of the early '90s Chicano student movement, leading a student newspaper, producing a campus public affairs show and attending protests in California, some of the same protests that Oscar attended.\u003c/p>\n\u003cp>Those personal connections led me to dig deeper. I spent months searching for documents and engaging in a deep process of thinking about how the activist and journalism work I did back then affects me today. I similarly dug deep into Oscar’s college activism and found overlaps between Oscar’s work and mine. The results are in the eight-episode LAist Studios podcast “\u003ca href=\"https://laist.com/podcasts/imperfectparadise\">Imperfect Paradise: The Forgotten Revolutionary\u003c/a>.”\u003c/p>\n\u003ch2>Time traveling back to the early '90s\u003c/h2>\n\u003cp>Doing this work has made me feel like I’ve been living in the years 1990-1994. Judith Segura-Mora was one of the people who triggered a waterfall of memories. She was the UC Davis student who recruited Oscar to a Chicano student organization on campus in 1990. We put two and two together and I recalled having seen her speak at the National Chicano Student Conference in Albuquerque in 1992. I paid my way there to write a story for Voz Fronteriza, the Chicano newspaper at UC San Diego. It was the first out-of-town reporting assignment in my fledgling reporting career.\u003c/p>\n\u003cp>I talked to Judith at a reception for the Gomez family a day before Oscar’s degree ceremony. She introduced me to Eddie Salas, who was DJing at the reception. He helped on Oscar’s Chicano public affairs radio show, “\u003ca href=\"https://soundcloud.com/user-532477086\">La Onda Xicana\u003c/a>” (also known as “La Onda Chicana”), and had many late-night conversations with Oscar about a variety of musicians. Hearing Eddie’s stories about “La Onda Chicana” took me back to my own public affairs college radio show, “Radio Califas.” My show sparked an interest in the new rock bands coming out of Mexico and Latin America, an interest that would lead me to write music and concert reviews for many years.\u003c/p>\n\u003cfigure id=\"attachment_11919735\" class=\"wp-caption aligncenter\" style=\"max-width: 1172px\">\u003cimg class=\"size-full wp-image-11919735\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/07/Adolfo-Guzman-Lopez-producing-Radio-Califas-at-UCSDs-station.jpg\" alt=\"young man behind a DJ booth wearing a leather jacket and glasses smiles into the camera as a record sits on a turntable in the foreground\" width=\"1172\" height=\"922\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/07/Adolfo-Guzman-Lopez-producing-Radio-Califas-at-UCSDs-station.jpg 1172w, https://ww2.kqed.org/app/uploads/sites/10/2022/07/Adolfo-Guzman-Lopez-producing-Radio-Califas-at-UCSDs-station-800x629.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/07/Adolfo-Guzman-Lopez-producing-Radio-Califas-at-UCSDs-station-1020x802.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/07/Adolfo-Guzman-Lopez-producing-Radio-Califas-at-UCSDs-station-160x126.jpg 160w\" sizes=\"(max-width: 1172px) 100vw, 1172px\">\u003cfigcaption class=\"wp-caption-text\">Adolfo Guzman-Lopez producing 'Radio Califas' at UCSD's station, KSDT. \u003ccite>(Courtesy Adolfo Guzman-Lopez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I found a box of cassettes of my show. I was surprised at the list of interviews: the film director Robert Rodriguez talking about his first film, the LA poet Marisela Norte, the renowned Chicana journalist Elizabeth Martínez, ethnic studies scholar George Lipsitz guest-DJing while he talked about 1960s and '70s music. And I remembered that I convinced UC San Diego ethnic studies professor Jorge Mariscal to give me and the other students working on the show academic credit for our efforts.\u003c/p>\n\u003cp>The class was Lit/Writing 121 Reportage. Its four units and the A grade I earned raised my grade-point average enough to allow me to graduate from UC San Diego in 1993. Looking at the diversity of Latino arts, culture and politics on the show, I’d say our Radio Califas production team delivered.\u003c/p>\n\u003cp>As the podcast production team and I tried to find out what happened to Oscar for \"Forgotten Revolutionary,\" we heard many more stories of 1990s activism.\u003c/p>\n\u003cp>[ad fullwidth]\u003cbr>\nValentino Gutierrez, now a high school teacher in Pico Rivera, told us of going on hunger strike to expand Chicano studies while he was an undergrad at UC Santa Barbara. Margarita Berta-Avila, a fellow student and friend of Oscar’s at UC Davis, told us how strongly she felt about the Chicano movement despite not being Mexican American (her parents are from El Salvador and Peru). Other friends of Oscar’s, like Sabrina Enrique, talked of the sexism of the 1990s movement that I believed then was a thing of the past.\u003c/p>\n\u003ch2>The emotional toll of activism\u003c/h2>\n\u003cp>I heard former activists, including Judith, talk about the emotional toll so much activism took on her and her fellow student activists. She said her grades and mental health suffered. Mining my own feelings and looking at my academic transcript, I remembered how mine did, too.\u003c/p>\n\u003cp>“I don't think we're at where we're at today without these sacrifices and activism of the folks in the '90s,” said Ralph Armbruster-Sandoval, a professor of Chicana and Chicano studies at UCSB.\u003c/p>\n\u003cp>“I don't feel like they've always been properly recognized.”\u003c/p>\n\u003cp>The activism of 1990s college students survives in memories and on mostly analog platforms. These students’ newspapers, film print photographs and cassette audio recordings remain in dusty boxes in attics and garages, and in some university archives, if they’ve survived at all.\u003c/p>\n\u003cp>And that contributes, Ambruster-Sandoval said, to 1990s Chicano student activism being a “lost period.”\u003c/p>\n\u003cfigure id=\"attachment_11919727\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11919727\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/07/San-Ysidro-Anti-Columbus-protest-October-10-1992-Photo-by-Gene-Chavira.jpg\" alt=\"aerial black and white photo of young activists holding signs reading 'Columbus had no green card' and 'Chicano power' and 'brown is beautiful'\" width=\"1920\" height=\"1273\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/07/San-Ysidro-Anti-Columbus-protest-October-10-1992-Photo-by-Gene-Chavira.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2022/07/San-Ysidro-Anti-Columbus-protest-October-10-1992-Photo-by-Gene-Chavira-800x530.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/07/San-Ysidro-Anti-Columbus-protest-October-10-1992-Photo-by-Gene-Chavira-1020x676.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/07/San-Ysidro-Anti-Columbus-protest-October-10-1992-Photo-by-Gene-Chavira-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/07/San-Ysidro-Anti-Columbus-protest-October-10-1992-Photo-by-Gene-Chavira-1536x1018.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Activists hold signs at an anti-Columbus protest on Oct. 10, 1992, in San Ysidro. \u003ccite>(Courtesy Gene Chavira)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For about 25 years, that’s what the early 1990s college activist experience felt like to me. Every time I take out copies of the UC San Diego newspaper, Voz Fronteriza, that contain my writings, the pages seem to be more yellow and more brittle. I have cassette copies of my radio shows that need to be digitized before time erases their content.\u003c/p>\n\u003cp>As I began a mainstream journalism career in the late 1990s, I heard people in my first newsroom say journalism that came out of activism and even ethnic journalism fell into the category of “advocacy journalism.” There is some truth to that. But the comments left a chilling effect that led me to put away my college journalism experiences and lock them up in favor of a traditional “objective” approach. I was at the very beginning of a paid journalism career and I didn’t want another target on my back.\u003c/p>\n\u003cp>But to tell Oscar’s story for the podcast, I had to tell my own story as a 1990s activist because he and I moved in some of the same activist circles and attended some of the same marches, including the protest in downtown Santa Barbara to support Chicano Studies Professor Rudy Acuña on Feb. 1, 1992. Acuña had been turned down for a faculty position in Chicano studies at UC Santa Barbara the year before and \u003ca href=\"https://www.latimes.com/archives/la-xpm-1992-09-26-me-1047-story.html\">would sue the university\u003c/a>, alleging bias against him for his activism, race and age. Acuña’s 1972 book, “\u003ca href=\"https://www.zinnedproject.org/materials/occupied-america-history-of-chicanos\">Occupied America: A History of Chicanos\u003c/a>,” and subsequent scholarship led many to consider him a founder of Chicano studies.\u003c/p>\n\u003cp>That’s where I met Oscar and talked to him briefly.\u003c/p>\n\u003cp>California’s red-hot politics brought Oscar, me and thousands of other students to those Santa Barbara streets.\u003c/p>\n\u003cfigure id=\"attachment_11919724\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11919724\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/07/Adolfo-Guzman-Lopez-Voz.jpg\" alt=\"black and white photo of smiling students holding large banner reading 'voz fronteriza'\" width=\"1920\" height=\"1273\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/07/Adolfo-Guzman-Lopez-Voz.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2022/07/Adolfo-Guzman-Lopez-Voz-800x530.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/07/Adolfo-Guzman-Lopez-Voz-1020x676.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/07/Adolfo-Guzman-Lopez-Voz-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/07/Adolfo-Guzman-Lopez-Voz-1536x1018.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Adolfo Guzman-Lopez (second from right, in vest) and other San Diego college students who collaborated on the UC San Diego Chicano student newspaper, Voz Fronteriza, attend a rally in Santa Barbara on Feb. 1, 1992. The tall man in the center is Arnulfo Casillas, a Chicano education and cultural activist in Los Angeles and Santa Barbara who had worked on Voz Fronteriza in the late 1970s. \u003ccite>(Courtesy Gene Chavira)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The state’s institutions were being stretched to the limit after large numbers of people immigrated to the U.S. in the late 1980s to escape \u003ca href=\"https://www.federalreservehistory.org/essays/latin-american-debt-crisis#:~:text=The%20spark%20for%20the%20crisis,at%20that%20point%20totaled%20%2480\">economic crisis in Mexico\u003c/a> and violent civil wars in Central America, both situations stoked by U.S. policies. Anti-immigrant groups responded with nativist proposals to take away the civil rights of immigrants. They successfully proposed ballot measures like \u003ca href=\"https://laist.com/news/proposition-187-what-you-need-to-know\">Proposition 187\u003c/a> that targeted undocumented immigrants and their kids. (A federal judge ruled in 1997 that \u003ca href=\"https://www.latimes.com/archives/la-xpm-1997-nov-15-mn-54053-story.html\">Prop. 187 was unconstitutional\u003c/a>.)\u003c/p>\n\u003cp>Those anti-immigrant sentiments led me, Oscar and many other Chicano students to feel like we each had a target on our backs. And that environment spilled onto campuses, too, as Agustín Orozco, my friend from UC San Diego, describes\u003ca href=\"https://www.sandiegouniontribune.com/opinion/commentary/story/2022-07-07/opinion-agustin-orozco-activism?fbclid=IwAR1kOhMJRMLU5L0uLSdABE1qxNyIxZJLDV4d1B5wltj8F6De93gQORvBZwM\"> in this essay\u003c/a>.\u003c/p>\n\u003ch2>Our shared, yet different, backgrounds\u003c/h2>\n\u003cp>Oscar and I were both Chicanos but different in many ways. He was a middle-class U.S. citizen raised in the suburbs of LA County. My mother cleaned houses for a living. She and I moved to San Diego when I was 7 years old. We overstayed our tourist visas and only received the authorization to stay permanently about a decade later, when the Immigration Reform and Control Act of 1986, most often described as amnesty, became law in my senior year of high school.\u003c/p>\n\u003cp>Oscar responded to the xenophobia by joining the Chicano student organization on campus, then producing a weekly college radio show that mixed various types of music with in-studio interviews and field recordings from protests and marches he attended in different parts of the state.\u003c/p>\n\u003cp>Before this podcast, my identity as a Chicano felt stuck in the 1990s. But I’ve adopted a fuller understanding of what Chicano, Chicana, Chicanx, Latino and Latinx activism has led to. I now see how the student activism of the 1990s helped lead to the intersectional coalition building of current times, and the exploration of Indigenous philosophy.\u003c/p>\n\u003cp>“The more that we could find out about these people and what they went through and, you know, even in this case, how they passed away or were killed, you know, the more we can share truth with people,” said Israel Calderon, a history teacher at Oscar’s alma mater, Baldwin Park High School, and a childhood friend of Oscar.\u003c/p>\n\u003ch2>'Liberate your mind'\u003c/h2>\n\u003cp>That’s one of the reasons Calderon and some of \u003ca href=\"https://www.facebook.com/luchascholar/\">Oscar’s friends and relatives created a foundation in Oscar’s name\u003c/a> to raise money and hand out scholarships to Baldwin Park area high school students.\u003c/p>\n\u003cp>They’re more interested in promoting Oscar’s message to “liberate your mind” and help those who need help than they are to mythologize Oscar.\u003c/p>\n\u003cfigure id=\"attachment_11919737\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-full wp-image-11919737\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/07/OscarGomezProfileCrouching.jpg\" alt=\"A black and white photo of a young man in a white shirt and black cap crouches on an empty roadway\" width=\"800\" height=\"559\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/07/OscarGomezProfileCrouching.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/07/OscarGomezProfileCrouching-160x112.jpg 160w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oscar Gomez in an undated photo, circa 1992. \u003ccite>(Courtesy KCSB)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A story that aired last year on NPR reminded me to keep my reporting focused on the human experience. It was a story about then-NPR host Lulu Garcia-Navarro leaving the network. The reporter described how Garcia-Navarro had \u003ca href=\"https://www.npr.org/sections/publiceditor/2006/06/05/5452082/are-npr-reporters-too-involved-in-their-stories\">defended her deeply personal interviewing and reporting approaches\u003c/a>.\u003c/p>\n\u003cp>“As journalists we do not check our humanity at the door. What we must do is try and give an accurate representation of what is happening before us to the best of our ability, leaving aside our prejudices,” she said.\u003c/p>\n\u003cp>How and whether I compartmentalize my humanity in the work I do is a question this podcast has raised for me and for others.\u003c/p>\n\u003cp>“Am I doing what we had set out to? Have I compromised?” said Margarita Berta-Avila, who’s now a leader with the California Faculty Association, the union for California State University professors.\u003c/p>\n\u003cp>She said thinking of Oscar, 28 years after his death, has been an opportunity to check her ideals from her college years and ask whether she’s become jaded.\u003c/p>\n\u003cp>I have spent 21 years telling people’s stories at Southern California Public Radio. I have, to the best of my ability, tried to tell stories about people living deep moments in their lives, and of policies that would affect people in one way or another.\u003c/p>\n\u003cp>I feel like I’ve kept a part of my humanity checked at the door at times, fearing that some kind of bias would creep in. There is no bias in connecting deeply with human experiences and letting my own humanity live in that moment, too.\u003c/p>\n\u003cp>For that insight, I have El Bandido de Aztlan, Oscar Gomez, to thank.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Reporter Adolfo Guzman-Lopez first started digging into Oscar Gomez's life and death back in 2019, when UC Davis awarded Gomez a posthumous degree. Guzman-Lopez's reporting for the LAist podcast 'Imperfect Paradise: The Forgotten Revolutionary' prompted him to examine his own life, activism and journalism.","status":"publish","parent":0,"modified":1658168954,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":40,"wordCount":2381},"headData":{"title":"I Told the Story of a Forgotten Chicano Revolutionary in a Podcast. Turns Out It Was My Story, Too | KQED","description":"Reporter Adolfo Guzman-Lopez first started digging into Oscar Gomez's life and death back in 2019, when UC Davis awarded Gomez a posthumous degree. Guzman-Lopez's reporting for the LAist podcast 'Imperfect Paradise: The Forgotten Revolutionary' prompted him to examine his own life, activism and journalism.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"11919649 https://ww2.kqed.org/news/?p=11919649","disqusUrl":"https://ww2.kqed.org/news/2022/07/15/i-told-the-story-of-a-forgotten-chicano-revolutionary-in-a-podcast-turns-out-it-was-my-story-too/","disqusTitle":"I Told the Story of a Forgotten Chicano Revolutionary in a Podcast. Turns Out It Was My Story, Too","source":"The California Report Magazine","sourceUrl":"https://www.kqed.org/californiareportmagazine","audioUrl":"https://www.podtrac.com/pts/redirect.mp3/traffic.megaphone.fm/KQINC6907931232.mp3?updated=1657838195","nprByline":"\u003ca href=\"https://laist.com/people/adolfo-guzman-lopez\">Adolfo Guzman-Lopez\u003c/a>","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","path":"/news/11919649/i-told-the-story-of-a-forgotten-chicano-revolutionary-in-a-podcast-turns-out-it-was-my-story-too","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This week, \u003ca href=\"https://www.kqed.org/news/tag/tcrmag/\">The California Report Magazine\u003c/a> teamed up with LAist Studios to share an episode from the new season of their podcast “\u003ca href=\"https://podcasts.apple.com/us/podcast/1604648881\">Imperfect Paradise: The Forgotten Revolutionary\u003c/a>.” It's the story of Oscar Gomez, a radio DJ and Chicano student leader during a time of explosive anti-immigrant political rhetoric in the early 1990s. Some people thought Gomez was going to be the next Cesar Chavez. But then he died near the UC Santa Barbara campus, under mysterious circumstances. \u003c/em>\u003c/p>\n\u003cp>\u003cem>KPCC reporter \u003ca href=\"https://laist.com/people/adolfo-guzman-lopez\">Adolfo Guzman-Lopez\u003c/a> first started digging into Gomez's life and death back in 2019, when UC Davis awarded Gomez a posthumous degree. The new podcast investigates Gomez's death and delves into his legacy — and reporting it prompted Guzman-Lopez to examine his own life, activism and journalism. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">I\u003c/span>\u003c/p>\u003cp>n September of 2021, I and a team of producers set out to find answers to the mysterious death of a 1990s Chicano college activist and college radio DJ. Over the next 10 months, as we interviewed people and looked for documents, I came to the realization that three-decade-old activism fundamentally shaped my three-decade-long journalism career.\u003c/p>\n\u003cp>It’s certainly not what I expected to find when I first introduced our audience to Oscar Gomez in 2019. Oscar was a scholar-athlete at Baldwin Park High School who graduated in the spring of 1990, then enrolled at UC Davis that fall. In that same year California was entering a red-hot political climate driven by a backlash against increased immigration.\u003c/p>\n\u003cp>On Nov. 17, 1994, four years after Oscar’s freshman year, he was found dead on a Santa Barbara beach, apparently after a fall from a bluff near the UC Santa Barbara campus. My story \u003ca href=\"https://laist.com/news/25-years-after-his-tragic-death-oscar-gomez-gets-his-college-degree\">detailed how he was awarded a posthumous degree\u003c/a> by UC Davis 25 years after his death.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"'I don't think we're at where we're at today without these sacrifices and activism of the folks in the '90s.'","name":"pullquote","attributes":{"named":{"size":"medium","align":"right","citation":"Ralph Armbruster-Sandoval, professor of Chicana and Chicano studies, UCSB","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>I could have left the story there. I could have moved on. And I was about to move on. But the people I interviewed, Oscar’s activist friends, recounted stories of how Chicano college students resisted and reacted to the state’s politics, sometimes putting their own lives on the line, and that dislodged my own memories of my own activism in those years. In the past 30 years I’ve rarely talked publicly about how I was part of the early '90s Chicano student movement, leading a student newspaper, producing a campus public affairs show and attending protests in California, some of the same protests that Oscar attended.\u003c/p>\n\u003cp>Those personal connections led me to dig deeper. I spent months searching for documents and engaging in a deep process of thinking about how the activist and journalism work I did back then affects me today. I similarly dug deep into Oscar’s college activism and found overlaps between Oscar’s work and mine. The results are in the eight-episode LAist Studios podcast “\u003ca href=\"https://laist.com/podcasts/imperfectparadise\">Imperfect Paradise: The Forgotten Revolutionary\u003c/a>.”\u003c/p>\n\u003ch2>Time traveling back to the early '90s\u003c/h2>\n\u003cp>Doing this work has made me feel like I’ve been living in the years 1990-1994. Judith Segura-Mora was one of the people who triggered a waterfall of memories. She was the UC Davis student who recruited Oscar to a Chicano student organization on campus in 1990. We put two and two together and I recalled having seen her speak at the National Chicano Student Conference in Albuquerque in 1992. I paid my way there to write a story for Voz Fronteriza, the Chicano newspaper at UC San Diego. It was the first out-of-town reporting assignment in my fledgling reporting career.\u003c/p>\n\u003cp>I talked to Judith at a reception for the Gomez family a day before Oscar’s degree ceremony. She introduced me to Eddie Salas, who was DJing at the reception. He helped on Oscar’s Chicano public affairs radio show, “\u003ca href=\"https://soundcloud.com/user-532477086\">La Onda Xicana\u003c/a>” (also known as “La Onda Chicana”), and had many late-night conversations with Oscar about a variety of musicians. Hearing Eddie’s stories about “La Onda Chicana” took me back to my own public affairs college radio show, “Radio Califas.” My show sparked an interest in the new rock bands coming out of Mexico and Latin America, an interest that would lead me to write music and concert reviews for many years.\u003c/p>\n\u003cfigure id=\"attachment_11919735\" class=\"wp-caption aligncenter\" style=\"max-width: 1172px\">\u003cimg class=\"size-full wp-image-11919735\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/07/Adolfo-Guzman-Lopez-producing-Radio-Califas-at-UCSDs-station.jpg\" alt=\"young man behind a DJ booth wearing a leather jacket and glasses smiles into the camera as a record sits on a turntable in the foreground\" width=\"1172\" height=\"922\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/07/Adolfo-Guzman-Lopez-producing-Radio-Califas-at-UCSDs-station.jpg 1172w, https://ww2.kqed.org/app/uploads/sites/10/2022/07/Adolfo-Guzman-Lopez-producing-Radio-Califas-at-UCSDs-station-800x629.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/07/Adolfo-Guzman-Lopez-producing-Radio-Califas-at-UCSDs-station-1020x802.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/07/Adolfo-Guzman-Lopez-producing-Radio-Califas-at-UCSDs-station-160x126.jpg 160w\" sizes=\"(max-width: 1172px) 100vw, 1172px\">\u003cfigcaption class=\"wp-caption-text\">Adolfo Guzman-Lopez producing 'Radio Califas' at UCSD's station, KSDT. \u003ccite>(Courtesy Adolfo Guzman-Lopez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I found a box of cassettes of my show. I was surprised at the list of interviews: the film director Robert Rodriguez talking about his first film, the LA poet Marisela Norte, the renowned Chicana journalist Elizabeth Martínez, ethnic studies scholar George Lipsitz guest-DJing while he talked about 1960s and '70s music. And I remembered that I convinced UC San Diego ethnic studies professor Jorge Mariscal to give me and the other students working on the show academic credit for our efforts.\u003c/p>\n\u003cp>The class was Lit/Writing 121 Reportage. Its four units and the A grade I earned raised my grade-point average enough to allow me to graduate from UC San Diego in 1993. Looking at the diversity of Latino arts, culture and politics on the show, I’d say our Radio Califas production team delivered.\u003c/p>\n\u003cp>As the podcast production team and I tried to find out what happened to Oscar for \"Forgotten Revolutionary,\" we heard many more stories of 1990s activism.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cbr>\nValentino Gutierrez, now a high school teacher in Pico Rivera, told us of going on hunger strike to expand Chicano studies while he was an undergrad at UC Santa Barbara. Margarita Berta-Avila, a fellow student and friend of Oscar’s at UC Davis, told us how strongly she felt about the Chicano movement despite not being Mexican American (her parents are from El Salvador and Peru). Other friends of Oscar’s, like Sabrina Enrique, talked of the sexism of the 1990s movement that I believed then was a thing of the past.\u003c/p>\n\u003ch2>The emotional toll of activism\u003c/h2>\n\u003cp>I heard former activists, including Judith, talk about the emotional toll so much activism took on her and her fellow student activists. She said her grades and mental health suffered. Mining my own feelings and looking at my academic transcript, I remembered how mine did, too.\u003c/p>\n\u003cp>“I don't think we're at where we're at today without these sacrifices and activism of the folks in the '90s,” said Ralph Armbruster-Sandoval, a professor of Chicana and Chicano studies at UCSB.\u003c/p>\n\u003cp>“I don't feel like they've always been properly recognized.”\u003c/p>\n\u003cp>The activism of 1990s college students survives in memories and on mostly analog platforms. These students’ newspapers, film print photographs and cassette audio recordings remain in dusty boxes in attics and garages, and in some university archives, if they’ve survived at all.\u003c/p>\n\u003cp>And that contributes, Ambruster-Sandoval said, to 1990s Chicano student activism being a “lost period.”\u003c/p>\n\u003cfigure id=\"attachment_11919727\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11919727\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/07/San-Ysidro-Anti-Columbus-protest-October-10-1992-Photo-by-Gene-Chavira.jpg\" alt=\"aerial black and white photo of young activists holding signs reading 'Columbus had no green card' and 'Chicano power' and 'brown is beautiful'\" width=\"1920\" height=\"1273\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/07/San-Ysidro-Anti-Columbus-protest-October-10-1992-Photo-by-Gene-Chavira.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2022/07/San-Ysidro-Anti-Columbus-protest-October-10-1992-Photo-by-Gene-Chavira-800x530.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/07/San-Ysidro-Anti-Columbus-protest-October-10-1992-Photo-by-Gene-Chavira-1020x676.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/07/San-Ysidro-Anti-Columbus-protest-October-10-1992-Photo-by-Gene-Chavira-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/07/San-Ysidro-Anti-Columbus-protest-October-10-1992-Photo-by-Gene-Chavira-1536x1018.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Activists hold signs at an anti-Columbus protest on Oct. 10, 1992, in San Ysidro. \u003ccite>(Courtesy Gene Chavira)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For about 25 years, that’s what the early 1990s college activist experience felt like to me. Every time I take out copies of the UC San Diego newspaper, Voz Fronteriza, that contain my writings, the pages seem to be more yellow and more brittle. I have cassette copies of my radio shows that need to be digitized before time erases their content.\u003c/p>\n\u003cp>As I began a mainstream journalism career in the late 1990s, I heard people in my first newsroom say journalism that came out of activism and even ethnic journalism fell into the category of “advocacy journalism.” There is some truth to that. But the comments left a chilling effect that led me to put away my college journalism experiences and lock them up in favor of a traditional “objective” approach. I was at the very beginning of a paid journalism career and I didn’t want another target on my back.\u003c/p>\n\u003cp>But to tell Oscar’s story for the podcast, I had to tell my own story as a 1990s activist because he and I moved in some of the same activist circles and attended some of the same marches, including the protest in downtown Santa Barbara to support Chicano Studies Professor Rudy Acuña on Feb. 1, 1992. Acuña had been turned down for a faculty position in Chicano studies at UC Santa Barbara the year before and \u003ca href=\"https://www.latimes.com/archives/la-xpm-1992-09-26-me-1047-story.html\">would sue the university\u003c/a>, alleging bias against him for his activism, race and age. Acuña’s 1972 book, “\u003ca href=\"https://www.zinnedproject.org/materials/occupied-america-history-of-chicanos\">Occupied America: A History of Chicanos\u003c/a>,” and subsequent scholarship led many to consider him a founder of Chicano studies.\u003c/p>\n\u003cp>That’s where I met Oscar and talked to him briefly.\u003c/p>\n\u003cp>California’s red-hot politics brought Oscar, me and thousands of other students to those Santa Barbara streets.\u003c/p>\n\u003cfigure id=\"attachment_11919724\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11919724\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/07/Adolfo-Guzman-Lopez-Voz.jpg\" alt=\"black and white photo of smiling students holding large banner reading 'voz fronteriza'\" width=\"1920\" height=\"1273\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/07/Adolfo-Guzman-Lopez-Voz.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2022/07/Adolfo-Guzman-Lopez-Voz-800x530.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/07/Adolfo-Guzman-Lopez-Voz-1020x676.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/07/Adolfo-Guzman-Lopez-Voz-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/07/Adolfo-Guzman-Lopez-Voz-1536x1018.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Adolfo Guzman-Lopez (second from right, in vest) and other San Diego college students who collaborated on the UC San Diego Chicano student newspaper, Voz Fronteriza, attend a rally in Santa Barbara on Feb. 1, 1992. The tall man in the center is Arnulfo Casillas, a Chicano education and cultural activist in Los Angeles and Santa Barbara who had worked on Voz Fronteriza in the late 1970s. \u003ccite>(Courtesy Gene Chavira)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The state’s institutions were being stretched to the limit after large numbers of people immigrated to the U.S. in the late 1980s to escape \u003ca href=\"https://www.federalreservehistory.org/essays/latin-american-debt-crisis#:~:text=The%20spark%20for%20the%20crisis,at%20that%20point%20totaled%20%2480\">economic crisis in Mexico\u003c/a> and violent civil wars in Central America, both situations stoked by U.S. policies. Anti-immigrant groups responded with nativist proposals to take away the civil rights of immigrants. They successfully proposed ballot measures like \u003ca href=\"https://laist.com/news/proposition-187-what-you-need-to-know\">Proposition 187\u003c/a> that targeted undocumented immigrants and their kids. (A federal judge ruled in 1997 that \u003ca href=\"https://www.latimes.com/archives/la-xpm-1997-nov-15-mn-54053-story.html\">Prop. 187 was unconstitutional\u003c/a>.)\u003c/p>\n\u003cp>Those anti-immigrant sentiments led me, Oscar and many other Chicano students to feel like we each had a target on our backs. And that environment spilled onto campuses, too, as Agustín Orozco, my friend from UC San Diego, describes\u003ca href=\"https://www.sandiegouniontribune.com/opinion/commentary/story/2022-07-07/opinion-agustin-orozco-activism?fbclid=IwAR1kOhMJRMLU5L0uLSdABE1qxNyIxZJLDV4d1B5wltj8F6De93gQORvBZwM\"> in this essay\u003c/a>.\u003c/p>\n\u003ch2>Our shared, yet different, backgrounds\u003c/h2>\n\u003cp>Oscar and I were both Chicanos but different in many ways. He was a middle-class U.S. citizen raised in the suburbs of LA County. My mother cleaned houses for a living. She and I moved to San Diego when I was 7 years old. We overstayed our tourist visas and only received the authorization to stay permanently about a decade later, when the Immigration Reform and Control Act of 1986, most often described as amnesty, became law in my senior year of high school.\u003c/p>\n\u003cp>Oscar responded to the xenophobia by joining the Chicano student organization on campus, then producing a weekly college radio show that mixed various types of music with in-studio interviews and field recordings from protests and marches he attended in different parts of the state.\u003c/p>\n\u003cp>Before this podcast, my identity as a Chicano felt stuck in the 1990s. But I’ve adopted a fuller understanding of what Chicano, Chicana, Chicanx, Latino and Latinx activism has led to. I now see how the student activism of the 1990s helped lead to the intersectional coalition building of current times, and the exploration of Indigenous philosophy.\u003c/p>\n\u003cp>“The more that we could find out about these people and what they went through and, you know, even in this case, how they passed away or were killed, you know, the more we can share truth with people,” said Israel Calderon, a history teacher at Oscar’s alma mater, Baldwin Park High School, and a childhood friend of Oscar.\u003c/p>\n\u003ch2>'Liberate your mind'\u003c/h2>\n\u003cp>That’s one of the reasons Calderon and some of \u003ca href=\"https://www.facebook.com/luchascholar/\">Oscar’s friends and relatives created a foundation in Oscar’s name\u003c/a> to raise money and hand out scholarships to Baldwin Park area high school students.\u003c/p>\n\u003cp>They’re more interested in promoting Oscar’s message to “liberate your mind” and help those who need help than they are to mythologize Oscar.\u003c/p>\n\u003cfigure id=\"attachment_11919737\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-full wp-image-11919737\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/07/OscarGomezProfileCrouching.jpg\" alt=\"A black and white photo of a young man in a white shirt and black cap crouches on an empty roadway\" width=\"800\" height=\"559\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/07/OscarGomezProfileCrouching.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/07/OscarGomezProfileCrouching-160x112.jpg 160w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oscar Gomez in an undated photo, circa 1992. \u003ccite>(Courtesy KCSB)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A story that aired last year on NPR reminded me to keep my reporting focused on the human experience. It was a story about then-NPR host Lulu Garcia-Navarro leaving the network. The reporter described how Garcia-Navarro had \u003ca href=\"https://www.npr.org/sections/publiceditor/2006/06/05/5452082/are-npr-reporters-too-involved-in-their-stories\">defended her deeply personal interviewing and reporting approaches\u003c/a>.\u003c/p>\n\u003cp>“As journalists we do not check our humanity at the door. What we must do is try and give an accurate representation of what is happening before us to the best of our ability, leaving aside our prejudices,” she said.\u003c/p>\n\u003cp>How and whether I compartmentalize my humanity in the work I do is a question this podcast has raised for me and for others.\u003c/p>\n\u003cp>“Am I doing what we had set out to? Have I compromised?” said Margarita Berta-Avila, who’s now a leader with the California Faculty Association, the union for California State University professors.\u003c/p>\n\u003cp>She said thinking of Oscar, 28 years after his death, has been an opportunity to check her ideals from her college years and ask whether she’s become jaded.\u003c/p>\n\u003cp>I have spent 21 years telling people’s stories at Southern California Public Radio. I have, to the best of my ability, tried to tell stories about people living deep moments in their lives, and of policies that would affect people in one way or another.\u003c/p>\n\u003cp>I feel like I’ve kept a part of my humanity checked at the door at times, fearing that some kind of bias would creep in. There is no bias in connecting deeply with human experiences and letting my own humanity live in that moment, too.\u003c/p>\n\u003cp>For that insight, I have El Bandido de Aztlan, Oscar Gomez, to thank.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11919649/i-told-the-story-of-a-forgotten-chicano-revolutionary-in-a-podcast-turns-out-it-was-my-story-too","authors":["byline_news_11919649"],"programs":["news_72","news_26731"],"categories":["news_223","news_8"],"tags":["news_21077","news_18538","news_20397","news_20135","news_29773","news_31330","news_27626","news_160","news_20605","news_18142","news_25409","news_31329","news_31332","news_697","news_6375"],"affiliates":["news_7055","news_24117"],"featImg":"news_11919713","label":"source_news_11919649"},"news_11844598":{"type":"posts","id":"news_11844598","meta":{"index":"posts_1591205157","site":"news","id":"11844598","score":null,"sort":[1604101361000]},"guestAuthors":[],"slug":"we-have-a-lot-to-grieve-about-dia-de-los-muertos-in-2020","title":"'We Have a Lot to Grieve About': Día de los Muertos in 2020","publishDate":1604101361,"format":"standard","headTitle":"Forum | KQED News","labelTerm":{"term":18537,"site":"news"},"content":"\u003cp>In a year marked heavily by grief — whether wrought by the COVID-19 pandemic, police brutality or state violence — Día de los Muertos carries a renewed power for community healing.\u003c/p>\n\u003cp>And while public officials this fall are discouraging public gatherings, many are encouraging families to find ways to honor loved ones safely from home, like building an altar, sharing stories and playing music in memory of the dead.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/forum/2010101880489/pandemic-amplifies-meaning-of-dia-de-los-muertos-this-year\">KQED Forum spoke to Lara Medina\u003c/a>, professor of Chicana and Chicano studies at California State University, Northridge about how many events are finding safe sanctuary from COVID-19 online this year, how the pandemic is sharpening the experience of loss for so many in the Latinx community, and why a society that often prefers to neglect feelings of grief can draw lessons from Día de los Muertos in how to heal, cope and understand death.\u003c/p>\n\u003cp>\u003cem>This interview has been lightly edited for length and clarity.\u003c/em>\u003c/p>\n\u003ch3>Carrying Forth Día de los Muertos in 2020\u003c/h3>\n\u003cp>The majority of us in this society are experiencing grief either from the pandemic or from police and state violence on brown and Black bodies. So we have a lot to grieve about.\u003c/p>\n\u003cp>And even if we're not going to be involved in an event, virtually, it's really important that we do this in our living spaces. Even if we're \u003cem>alone\u003c/em>, we can do it.\u003c/p>\n\u003cp>[pullquote size='medium' align='right' citation='Lara Medina, professor of Chicana and Chicano studies, California State University, Northridge']'We have a lot to grieve about ... it's really important that we do this in our living spaces. Even if we're alone, we can do it.'[/pullquote]But creating art is [also] a big part of this tradition. It's really easy now to just go out to commercial stores and buy ready-made products representing the dead. That really robs us of the practice of creating art for our dead. So I highly recommend that we create art. Simple things. There are so many online resources now, but also [we should] support our independent artists who are making art for the dead.\u003c/p>\n\u003cp>What most organizations and schools are doing — and universities — is doing it virtually, so that their members in their organization or public members are able to actually show their ofrendas through Zoom events. So that we can still have this communal experience. And seeing the ofrendas more up close to the camera, it's going to be really exciting.\u003c/p>\n\u003cp>UC Berkeley’s Latinx Research Center is going to be doing a virtual event. [Community Arts Center] Self Help Graphics in Los Angeles will be doing a virtual event. At my university, we're starting with what's called a noche de ofrenda, where it is a more intimate experience of showing the ofrendas, but also telling a bit of the stories, called testimonials, about who we're remembering.\u003c/p>\n\u003cp>So, the pandemic is not preventing us from practicing this tradition.\u003c/p>\n\u003ch3>On How Día de los Muertos Brings the Living Closer to the Dead\u003c/h3>\n\u003cp>That is what offers healing: that it allows us to remain in relationship with our dead. I often say it allows us to continue to \u003cem>commune\u003c/em> with our dead. Because through the ofrenda, it's like a bridge between the living and the dead.\u003c/p>\n\u003cp>The healing that happens as we cross that bridge, or as the dead cross that bridge? That's ongoing. It just doesn't last the few days that we call Día de los Muertos. That continues on throughout the year and then annually. We renew it; we renew that relationship; we strengthen the communication. And that's what makes this healing ongoing.\u003c/p>\n\u003cp>[pullquote size='medium' align='right' citation='Lara Medina, professor of Chicana and Chicano studies, California State University, Northridge']'The healing that happens as we cross that bridge, or as the dead cross that bridge? That's ongoing. It just doesn't last the few days that we call Día de los Muertos.'[/pullquote]It's a beautiful way to teach family history, particularly to young ones who might not have known those who are being remembered in our families. And so through the photographs or the symbols, we can teach that family history to our young ones.\u003c/p>\n\u003cp>If we have a beautiful ofrenda in our homes or in our communal spaces, the next important part of this tradition is to tell the stories about who we're remembering in front of the ofrenda. And even if you're alone, you can do this by recalling the memories.\u003c/p>\n\u003cp>https://twitter.com/ChroniclesOfAzu/status/1320520128748945409\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>On the Commercialization and Appropriation of Día de los Muertos\u003c/h3>\n\u003cp>This is \u003cem>not\u003c/em> a Mexican Halloween. And it's really important to state that, because still so many people are confused because of the shared image of the skeleton ... yes, all people of all ethnicities can participate in this tradition, and receive its healing properties if they really understand what this tradition is about. And the essential aspects of it, the celebrations for Día de los Muertos, are fine or beautiful — but there has to be a more meditative and reflective aspect to what we do.\u003c/p>\n\u003cp>[pullquote size='medium' align='right' citation='Lara Medina, professor of Chicana and Chicano studies, California State University, Northridge']'You really have to be careful how this mission is being commercialized. We're not falling for that.'[/pullquote]I often say one of the biggest challenges right now [around Día de los Muertos] is to retain its authenticity. That doesn't mean it has to stay the same, or look the same every year. But we have to keep the spiritual essence of it.\u003c/p>\n\u003cp>In terms of a time to raise other political issues, it can be used that way ... Rent control, gentrification, police violence, [a statement] can be done through an ofrenda. But you really have to be careful how this mission is being commercialized. We're not falling for that.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"In a year marked by grief and loss, Día de los Muertos carries renewed power, leaving lessons for individual and collective healing.","status":"publish","parent":0,"modified":1604101361,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":1017},"headData":{"title":"'We Have a Lot to Grieve About': Día de los Muertos in 2020 | KQED","description":"In a year marked by grief and loss, Día de los Muertos carries renewed power, leaving lessons for individual and collective healing.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"11844598 https://ww2.kqed.org/news/?p=11844598","disqusUrl":"https://ww2.kqed.org/news/2020/10/30/we-have-a-lot-to-grieve-about-dia-de-los-muertos-in-2020/","disqusTitle":"'We Have a Lot to Grieve About': Día de los Muertos in 2020","path":"/news/11844598/we-have-a-lot-to-grieve-about-dia-de-los-muertos-in-2020","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a year marked heavily by grief — whether wrought by the COVID-19 pandemic, police brutality or state violence — Día de los Muertos carries a renewed power for community healing.\u003c/p>\n\u003cp>And while public officials this fall are discouraging public gatherings, many are encouraging families to find ways to honor loved ones safely from home, like building an altar, sharing stories and playing music in memory of the dead.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/forum/2010101880489/pandemic-amplifies-meaning-of-dia-de-los-muertos-this-year\">KQED Forum spoke to Lara Medina\u003c/a>, professor of Chicana and Chicano studies at California State University, Northridge about how many events are finding safe sanctuary from COVID-19 online this year, how the pandemic is sharpening the experience of loss for so many in the Latinx community, and why a society that often prefers to neglect feelings of grief can draw lessons from Día de los Muertos in how to heal, cope and understand death.\u003c/p>\n\u003cp>\u003cem>This interview has been lightly edited for length and clarity.\u003c/em>\u003c/p>\n\u003ch3>Carrying Forth Día de los Muertos in 2020\u003c/h3>\n\u003cp>The majority of us in this society are experiencing grief either from the pandemic or from police and state violence on brown and Black bodies. So we have a lot to grieve about.\u003c/p>\n\u003cp>And even if we're not going to be involved in an event, virtually, it's really important that we do this in our living spaces. Even if we're \u003cem>alone\u003c/em>, we can do it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"'We have a lot to grieve about ... it's really important that we do this in our living spaces. Even if we're alone, we can do it.'","name":"pullquote","attributes":{"named":{"size":"medium","align":"right","citation":"Lara Medina, professor of Chicana and Chicano studies, California State University, Northridge","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>But creating art is [also] a big part of this tradition. It's really easy now to just go out to commercial stores and buy ready-made products representing the dead. That really robs us of the practice of creating art for our dead. So I highly recommend that we create art. Simple things. There are so many online resources now, but also [we should] support our independent artists who are making art for the dead.\u003c/p>\n\u003cp>What most organizations and schools are doing — and universities — is doing it virtually, so that their members in their organization or public members are able to actually show their ofrendas through Zoom events. So that we can still have this communal experience. And seeing the ofrendas more up close to the camera, it's going to be really exciting.\u003c/p>\n\u003cp>UC Berkeley’s Latinx Research Center is going to be doing a virtual event. [Community Arts Center] Self Help Graphics in Los Angeles will be doing a virtual event. At my university, we're starting with what's called a noche de ofrenda, where it is a more intimate experience of showing the ofrendas, but also telling a bit of the stories, called testimonials, about who we're remembering.\u003c/p>\n\u003cp>So, the pandemic is not preventing us from practicing this tradition.\u003c/p>\n\u003ch3>On How Día de los Muertos Brings the Living Closer to the Dead\u003c/h3>\n\u003cp>That is what offers healing: that it allows us to remain in relationship with our dead. I often say it allows us to continue to \u003cem>commune\u003c/em> with our dead. Because through the ofrenda, it's like a bridge between the living and the dead.\u003c/p>\n\u003cp>The healing that happens as we cross that bridge, or as the dead cross that bridge? That's ongoing. It just doesn't last the few days that we call Día de los Muertos. That continues on throughout the year and then annually. We renew it; we renew that relationship; we strengthen the communication. And that's what makes this healing ongoing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"'The healing that happens as we cross that bridge, or as the dead cross that bridge? That's ongoing. It just doesn't last the few days that we call Día de los Muertos.'","name":"pullquote","attributes":{"named":{"size":"medium","align":"right","citation":"Lara Medina, professor of Chicana and Chicano studies, California State University, Northridge","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>It's a beautiful way to teach family history, particularly to young ones who might not have known those who are being remembered in our families. And so through the photographs or the symbols, we can teach that family history to our young ones.\u003c/p>\n\u003cp>If we have a beautiful ofrenda in our homes or in our communal spaces, the next important part of this tradition is to tell the stories about who we're remembering in front of the ofrenda. And even if you're alone, you can do this by recalling the memories.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1320520128748945409"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp> \u003c/p>\n\u003ch3>On the Commercialization and Appropriation of Día de los Muertos\u003c/h3>\n\u003cp>This is \u003cem>not\u003c/em> a Mexican Halloween. And it's really important to state that, because still so many people are confused because of the shared image of the skeleton ... yes, all people of all ethnicities can participate in this tradition, and receive its healing properties if they really understand what this tradition is about. And the essential aspects of it, the celebrations for Día de los Muertos, are fine or beautiful — but there has to be a more meditative and reflective aspect to what we do.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"'You really have to be careful how this mission is being commercialized. We're not falling for that.'","name":"pullquote","attributes":{"named":{"size":"medium","align":"right","citation":"Lara Medina, professor of Chicana and Chicano studies, California State University, Northridge","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>I often say one of the biggest challenges right now [around Día de los Muertos] is to retain its authenticity. That doesn't mean it has to stay the same, or look the same every year. But we have to keep the spiritual essence of it.\u003c/p>\n\u003cp>In terms of a time to raise other political issues, it can be used that way ... Rent control, gentrification, police violence, [a statement] can be done through an ofrenda. But you really have to be careful how this mission is being commercialized. We're not falling for that.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11844598/we-have-a-lot-to-grieve-about-dia-de-los-muertos-in-2020","authors":["11357","3243"],"programs":["news_18537"],"categories":["news_223","news_8"],"tags":["news_28740","news_20135","news_20131","news_20132","news_28741","news_28739","news_25409","news_28736","news_28737","news_28738"],"featImg":"news_11844739","label":"news_18537"},"news_11738458":{"type":"posts","id":"news_11738458","meta":{"index":"posts_1591205157","site":"news","id":"11738458","score":null,"sort":[1555178347000]},"guestAuthors":[],"slug":"music-from-the-other-coachella-meet-psychedelic-cumbia-band-ocho-ojos","title":"Music From the 'Other' Coachella: Meet Psychedelic Cumbia Band ‘Ocho Ojos’","publishDate":1555178347,"format":"audio","headTitle":"The California Report | KQED News","labelTerm":{"term":72,"site":"news"},"content":"\u003cp>As thousands of concertgoers pour into Southern California’s desert this weekend for the Coachella Valley Music and Arts Festival, the \u003ca href=\"https://www.coachella.com/\" target=\"_blank\" rel=\"noopener\">all-star lineup \u003c/a>will include Ocho Ojos, a homegrown band from the Eastern Coachella Valley that has long been a part of the region’s own underground music scene.\u003c/p>\n\u003cp>Although the band played the festival in 2017 as a last-minute fill-in, they're now officially part of the event alongside world-famous acts like Ariana Grande and Bad Bunny.\u003c/p>\n\u003cp>[aside postID='news_11737874,news_11737834,news_11737988' label='The Coachella You Might Not Have Heard About']\u003c/p>\n\u003cp>But locals have known and loved the guys behind \u003ca href=\"https://open.spotify.com/artist/0VWkKhev4sWYKb2ZO7CgpR\" target=\"_blank\" rel=\"noopener\">Ocho Ojos\u003c/a> for years. On a warm Friday night, hundreds filled a local bar to see the band headline a live cumbia dance party called ‘Baile Trankis.’\u003c/p>\n\u003cp>“We’re desert people. We like the night time. When it's fresh, we all come out and play,” partygoer Max Lopez tells me while waiting for the band to start.\u003c/p>\n\u003cp>The festival's name may be ubiquitous, but many Californians don’t realize that the Coachella Valley is an actual place people call home, not just a world-famous music event near Palm Springs with long lines and expensive ticket prices.\u003c/p>\n\u003cp>The band behind the party is steeped in local vibes. Born and raised in the Eastern Coachella Valley, guitarist Cesar Flores and synth player Danny Torres started off as a duo in 2016 performing at community centers and house shows. They named themselves Ocho Ojos, Spanish for eight eyes, to jokingly reference the thick black glasses they both wear.\u003c/p>\n\u003cp>Three years later, the band expanded to a four-piece and is busy keeping up with the numerous requests to play shows throughout the Coachella Valley.\u003c/p>\n\u003cfigure id=\"attachment_11738477\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"wp-image-11738477 size-full\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/04/RS36440_2018_1110_21440500-qut.jpg\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/04/RS36440_2018_1110_21440500-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2019/04/RS36440_2018_1110_21440500-qut-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/04/RS36440_2018_1110_21440500-qut-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/04/RS36440_2018_1110_21440500-qut-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/04/RS36440_2018_1110_21440500-qut-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Cesar Flores serenades the crowd with lyrics that reflect hometown pride. \u003ccite>(Bryan Mendez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like many traditional Mexican bands, Ocho Ojos wear matching outfits, and their signature style includes white patent leather shoes, like the kind \u003cem>chambelanes\u003c/em> wear for a \u003cem>quinceanera\u003c/em>.\u003c/p>\n\u003cp>“If you look good, you feel good. And if you feel good, you play good,” explains Torres, about their \u003cem>rasquatche\u003c/em> style.\u003c/p>\n\u003cp>The Chicano aesthetic of \u003cem>rasquatche\u003c/em> is all about making do and repurposing what you have, so when Flores found a rack of white dress shoes at a local Goodwill, the look came together.\u003c/p>\n\u003cfigure id=\"attachment_11738476\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"wp-image-11738476 size-full\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/04/RS36439_2018_1110_220441003-qut.jpg\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/04/RS36439_2018_1110_220441003-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2019/04/RS36439_2018_1110_220441003-qut-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/04/RS36439_2018_1110_220441003-qut-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/04/RS36439_2018_1110_220441003-qut-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/04/RS36439_2018_1110_220441003-qut-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">White patent leather shoes are part of Ocho Ojos signature look. \u003ccite>(Bryan Mendez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the four members of Ocho Ojos take the stage and welcome the crowd, shouting “Are ya’ll feeling \u003cem>trankis\u003c/em> (chill)? ” the audience responds with a collective roar of yeses and whistles.\u003c/p>\n\u003cp>Nancy Osegueda, wearing bell-bottom jeans and platformed boots, executes spins and fancy footwork to the music. Osegueda says she's a \"devout follower\" because Ocho Ojos shows are a “nice break” from the usual nightlife that caters to Palm Spring tourists.\u003c/p>\n\u003cfigure id=\"attachment_11738478\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"wp-image-11738478 size-full\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/04/RS36438_DSCF7425-qut.jpg\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/04/RS36438_DSCF7425-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2019/04/RS36438_DSCF7425-qut-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/04/RS36438_DSCF7425-qut-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/04/RS36438_DSCF7425-qut-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/04/RS36438_DSCF7425-qut-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Danny Torres keeps the crowd hyped with Spanglish saludos [shout-outs] \u003ccite>(Bryan Mendez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gritty bass lines and hard hitting drums from their track “\u003ca href=\"https://ocho-ojos.bandcamp.com/track/tlaloc\" target=\"_blank\" rel=\"noopener\">Tlaloc\u003c/a>” compel the crowd -- myself included -- to sway our bodies in sync. It’s as if we are listening to a futuristic rainstorm pour down from Tlaloc, the \u003cem>Mexica\u003c/em> (Aztec) deity of water.\u003c/p>\n\u003cp>Ocho Ojos’s trippy hybrid sound created with a wah pedal, synthesizer, and a Rollan SP 404 sets them apart from their peers in Coachella’s alternative music scene, where indie rock, desert rock and punk thrive.\u003c/p>\n\u003cblockquote>\n\u003cp style=\"text-align: left\">“I'm a psychedelic \u003cem>vato\u003c/em> you know with a cumbia background. I was like [I’ll] give this [music] a try. And I loved it!\" -Max Lopez\u003c/p>\n\u003c/blockquote>\n\u003cp>Concertgoer Max Lopez is a hardcore rocker type wearing all black and a t-shirt that features a local death metal band. While he's more into metal, he says he can rock out to Ocho Ojos because of their psychedelic sound.\u003c/p>\n\u003cp>“I'm a psychedelic \u003cem>vato,\u003c/em> you know, with a cumbia background. I was like, I’ll give this music a try. And I loved it,” says Lopez. “I really felt that I flowed with it.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ocho Ojos gets their psychedelic sound from Chicha, a style of cumbia that originated in the Peruvian Amazon in the late 1960s and 1970s. Chichi evolved into a soundtrack of empowerment for indigenous migrants who moved to Peru’s urban cities during the oil boom.\u003c/p>\n\u003cblockquote>\n\u003cp style=\"text-align: left\">“[Ocho Ojos] brings a little bit of a flashback. Our parents used to play cumbia so now it's our turn to listen to cumbia, but in our style.” - Chris Villalta.\u003c/p>\n\u003c/blockquote>\n\u003cp>While upper and middle class Peruvians have historically dismissed the\u003ca href=\"https://www.npr.org/sections/goatsandsoda/2015/07/07/420267088/peruvians-love-their-chicha-street-art-the-government-not-so-much\" target=\"_blank\" rel=\"noopener\"> working class Chicha scene\u003c/a>, today this music, rooted in migration, is inspiring \u003ca href=\"https://www.laweekly.com/music/an-obscure-compilation-called-the-roots-of-chichas-far-reaching-influence-in-los-angeles-8900124\" target=\"_blank\" rel=\"noopener\">a new wave\u003c/a> of young Latinx bands across Southern California.\u003c/p>\n\u003cp>“[Ocho Ojos] brings a little bit of a flashback. Our parents used to play cumbia, now it's our turn to listen to cumbia, but in our style,” says Christopher Villalta, a local photographer and fan.\u003c/p>\n\u003cp>Like Peru’s Chicha musicians who write about working-class struggle and triumph mixed with hometown pride, so too do Coachella’s Ocho Ojos. Their song “Avenida 52” references the main drag that goes from La Quinta all the way to the city of Coachella, a street their admirers know so well.\u003c/p>\n\u003cfigure id=\"attachment_11738479\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11738479 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/04/RS36441_2018_1110_220151002-qut-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/04/RS36441_2018_1110_220151002-qut-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/04/RS36441_2018_1110_220151002-qut-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/04/RS36441_2018_1110_220151002-qut-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/04/RS36441_2018_1110_220151002-qut-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/04/RS36441_2018_1110_220151002-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ocho Ojos take inspiration from Chica, a style of Cumbia from Peru. \u003ccite>(Bryan Mendez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fans like Antonio Duran say they can hear their own family’s story in Ocho Ojos' psychedelic cumbia.\u003c/p>\n\u003cp>“Our parents have worked hard for us to be where we are: to be musicians, to be artists, to be whatever the heck we want to be,” exclaims Duran. “And that is the most important part of being from Coachella: that your parents paved the way.”\u003c/p>\n\u003cp>Making something out of nothing is a lesson the band and their fans didn't just learn from Coachella Valley’s D.I.Y. music scene, but from their parents’ hustle, born out of necessity.\u003c/p>\n\u003cp>“Our ancestors did survive. And they keep surviving,” says drummer Rafael Rodriguez. “Like they say in Spanish, \u003cem>No hay de\u003c/em> \u003cem>otra. \u003c/em>There's no other way. We just have to keep on going.”\u003c/p>\n\u003cblockquote>\n\u003cp style=\"text-align: left\">“Our parents have worked hard for us to be where we are: to be musicians, to be artists, to be whatever the heck we want to be. And that is the most important part of being from Coachella, is that your parents paved the way.” - Antonio Duran\u003c/p>\n\u003c/blockquote>\n\u003cp>It’s an ethos that not only speaks to millennials but to older generations in the community as well.\u003c/p>\n\u003cp>“A few times on our social media, people have tagged us and they'll comment ‘Look my mom is dancing to your cumbia while she's cleaning!‘ That feels good. ” says Torres.\u003c/p>\n\u003cp>But tonight, no one in this twenty and thirty something crowd is Instagramming the moment. No one has their phones out. All attention is to the stage.\u003c/p>\n\u003cfigure id=\"attachment_11738508\" class=\"wp-caption aligncenter\" style=\"max-width: 1334px\">\u003cimg class=\"wp-image-11738508 size-full\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/04/IMG_1532.png\" alt=\"\" width=\"1334\" height=\"750\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/04/IMG_1532.png 1334w, https://ww2.kqed.org/app/uploads/sites/10/2019/04/IMG_1532-160x90.png 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/04/IMG_1532-800x450.png 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/04/IMG_1532-1020x573.png 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/04/IMG_1532-1200x675.png 1200w\" sizes=\"(max-width: 1334px) 100vw, 1334px\">\u003cfigcaption class=\"wp-caption-text\">Ocho Ojos’s hybrid sound sets them apart from their peers in Coachella’s alternative music scene - where indie rock, desert rock and punk thrive. \u003ccite>(Melinda Vida)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When I ask a number of people in this crowd how they feel about the Coachella Music Festival sharing the same name as their city, many tell me it’s pretty “sweet” to hear world-famous musicians practically play in their backyard... but more should be done to benefit the residents who live nearby.\u003c/p>\n\u003cp>“The city of Coachella is the namesake, but we do not get as much recognition as the city of Indio. They get all the hotels and the commerce,” says crowd member Duran.\u003c/p>\n\u003cp>Others also expressed a desire for Goldenvoice, which operates Coachella, to invest in infrastructure beyond Indio's polo grounds (where the festival takes place) and to spotlight more Latinx musicians from the Eastern Coachella Valley, not just the affluent Palm Springs area.\u003c/p>\n\u003cblockquote>\u003cp>\"Every time I go out of town, people ask me where I'm from.. They're like 'Oh what? I didn't know the Coachella Valley is a real place.' They think it's just a festival. \" - Christopher Villalta\u003c/p>\u003c/blockquote>\n\u003cp>With Ocho Ojos representing their hometown on the big festival stage this year, festival-goers will get a chance to hear from the 'real' Coachella music scene, not just imported talent.\u003c/p>\n\u003cp>“They're listening to us, that’s the beautiful part about it!” says Lopez about the band.\u003c/p>\n\u003cp>\u003ciframe title=\"Ocho Ojos - Cumbia De Este Valle\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/euWaKrakGbw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Ocho Ojos close their set with a crowd favorite “Cumbia De Este Valle.” It’s an ode to the desert back roads, agricultural fields, and the Salton Sea, the fertile grounds that have shaped this psychedelic cumbia band into who they are today.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"A homegrown Eastern Coachella Valley band brings their unique flavor (and a local following) to the Coachella Music Festival.","status":"publish","parent":0,"modified":1555619132,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":38,"wordCount":1505},"headData":{"title":"Music From the 'Other' Coachella: Meet Psychedelic Cumbia Band ‘Ocho Ojos’ | KQED","description":"A homegrown Eastern Coachella Valley band brings their unique flavor (and a local following) to the Coachella Music Festival.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"11738458 https://ww2.kqed.org/news/?p=11738458","disqusUrl":"https://ww2.kqed.org/news/2019/04/13/music-from-the-other-coachella-meet-psychedelic-cumbia-band-ocho-ojos/","disqusTitle":"Music From the 'Other' Coachella: Meet Psychedelic Cumbia Band ‘Ocho Ojos’","audioUrl":"https://www.kqed.org/.stream/anon/radio/tcrmag/2019/04/MedinaCadenaOchoOjos.mp3","audioTrackLength":390,"path":"/news/11738458/music-from-the-other-coachella-meet-psychedelic-cumbia-band-ocho-ojos","parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>As thousands of concertgoers pour into Southern California’s desert this weekend for the Coachella Valley Music and Arts Festival, the \u003ca href=\"https://www.coachella.com/\" target=\"_blank\" rel=\"noopener\">all-star lineup \u003c/a>will include Ocho Ojos, a homegrown band from the Eastern Coachella Valley that has long been a part of the region’s own underground music scene.\u003c/p>\n\u003cp>Although the band played the festival in 2017 as a last-minute fill-in, they're now officially part of the event alongside world-famous acts like Ariana Grande and Bad Bunny.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11737874,news_11737834,news_11737988","label":"The Coachella You Might Not Have Heard About "},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But locals have known and loved the guys behind \u003ca href=\"https://open.spotify.com/artist/0VWkKhev4sWYKb2ZO7CgpR\" target=\"_blank\" rel=\"noopener\">Ocho Ojos\u003c/a> for years. On a warm Friday night, hundreds filled a local bar to see the band headline a live cumbia dance party called ‘Baile Trankis.’\u003c/p>\n\u003cp>“We’re desert people. We like the night time. When it's fresh, we all come out and play,” partygoer Max Lopez tells me while waiting for the band to start.\u003c/p>\n\u003cp>The festival's name may be ubiquitous, but many Californians don’t realize that the Coachella Valley is an actual place people call home, not just a world-famous music event near Palm Springs with long lines and expensive ticket prices.\u003c/p>\n\u003cp>The band behind the party is steeped in local vibes. Born and raised in the Eastern Coachella Valley, guitarist Cesar Flores and synth player Danny Torres started off as a duo in 2016 performing at community centers and house shows. They named themselves Ocho Ojos, Spanish for eight eyes, to jokingly reference the thick black glasses they both wear.\u003c/p>\n\u003cp>Three years later, the band expanded to a four-piece and is busy keeping up with the numerous requests to play shows throughout the Coachella Valley.\u003c/p>\n\u003cfigure id=\"attachment_11738477\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"wp-image-11738477 size-full\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/04/RS36440_2018_1110_21440500-qut.jpg\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/04/RS36440_2018_1110_21440500-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2019/04/RS36440_2018_1110_21440500-qut-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/04/RS36440_2018_1110_21440500-qut-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/04/RS36440_2018_1110_21440500-qut-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/04/RS36440_2018_1110_21440500-qut-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Cesar Flores serenades the crowd with lyrics that reflect hometown pride. \u003ccite>(Bryan Mendez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like many traditional Mexican bands, Ocho Ojos wear matching outfits, and their signature style includes white patent leather shoes, like the kind \u003cem>chambelanes\u003c/em> wear for a \u003cem>quinceanera\u003c/em>.\u003c/p>\n\u003cp>“If you look good, you feel good. And if you feel good, you play good,” explains Torres, about their \u003cem>rasquatche\u003c/em> style.\u003c/p>\n\u003cp>The Chicano aesthetic of \u003cem>rasquatche\u003c/em> is all about making do and repurposing what you have, so when Flores found a rack of white dress shoes at a local Goodwill, the look came together.\u003c/p>\n\u003cfigure id=\"attachment_11738476\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"wp-image-11738476 size-full\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/04/RS36439_2018_1110_220441003-qut.jpg\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/04/RS36439_2018_1110_220441003-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2019/04/RS36439_2018_1110_220441003-qut-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/04/RS36439_2018_1110_220441003-qut-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/04/RS36439_2018_1110_220441003-qut-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/04/RS36439_2018_1110_220441003-qut-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">White patent leather shoes are part of Ocho Ojos signature look. \u003ccite>(Bryan Mendez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the four members of Ocho Ojos take the stage and welcome the crowd, shouting “Are ya’ll feeling \u003cem>trankis\u003c/em> (chill)? ” the audience responds with a collective roar of yeses and whistles.\u003c/p>\n\u003cp>Nancy Osegueda, wearing bell-bottom jeans and platformed boots, executes spins and fancy footwork to the music. Osegueda says she's a \"devout follower\" because Ocho Ojos shows are a “nice break” from the usual nightlife that caters to Palm Spring tourists.\u003c/p>\n\u003cfigure id=\"attachment_11738478\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"wp-image-11738478 size-full\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/04/RS36438_DSCF7425-qut.jpg\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/04/RS36438_DSCF7425-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2019/04/RS36438_DSCF7425-qut-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/04/RS36438_DSCF7425-qut-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/04/RS36438_DSCF7425-qut-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/04/RS36438_DSCF7425-qut-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Danny Torres keeps the crowd hyped with Spanglish saludos [shout-outs] \u003ccite>(Bryan Mendez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gritty bass lines and hard hitting drums from their track “\u003ca href=\"https://ocho-ojos.bandcamp.com/track/tlaloc\" target=\"_blank\" rel=\"noopener\">Tlaloc\u003c/a>” compel the crowd -- myself included -- to sway our bodies in sync. It’s as if we are listening to a futuristic rainstorm pour down from Tlaloc, the \u003cem>Mexica\u003c/em> (Aztec) deity of water.\u003c/p>\n\u003cp>Ocho Ojos’s trippy hybrid sound created with a wah pedal, synthesizer, and a Rollan SP 404 sets them apart from their peers in Coachella’s alternative music scene, where indie rock, desert rock and punk thrive.\u003c/p>\n\u003cblockquote>\n\u003cp style=\"text-align: left\">“I'm a psychedelic \u003cem>vato\u003c/em> you know with a cumbia background. I was like [I’ll] give this [music] a try. And I loved it!\" -Max Lopez\u003c/p>\n\u003c/blockquote>\n\u003cp>Concertgoer Max Lopez is a hardcore rocker type wearing all black and a t-shirt that features a local death metal band. While he's more into metal, he says he can rock out to Ocho Ojos because of their psychedelic sound.\u003c/p>\n\u003cp>“I'm a psychedelic \u003cem>vato,\u003c/em> you know, with a cumbia background. I was like, I’ll give this music a try. And I loved it,” says Lopez. “I really felt that I flowed with it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ocho Ojos gets their psychedelic sound from Chicha, a style of cumbia that originated in the Peruvian Amazon in the late 1960s and 1970s. Chichi evolved into a soundtrack of empowerment for indigenous migrants who moved to Peru’s urban cities during the oil boom.\u003c/p>\n\u003cblockquote>\n\u003cp style=\"text-align: left\">“[Ocho Ojos] brings a little bit of a flashback. Our parents used to play cumbia so now it's our turn to listen to cumbia, but in our style.” - Chris Villalta.\u003c/p>\n\u003c/blockquote>\n\u003cp>While upper and middle class Peruvians have historically dismissed the\u003ca href=\"https://www.npr.org/sections/goatsandsoda/2015/07/07/420267088/peruvians-love-their-chicha-street-art-the-government-not-so-much\" target=\"_blank\" rel=\"noopener\"> working class Chicha scene\u003c/a>, today this music, rooted in migration, is inspiring \u003ca href=\"https://www.laweekly.com/music/an-obscure-compilation-called-the-roots-of-chichas-far-reaching-influence-in-los-angeles-8900124\" target=\"_blank\" rel=\"noopener\">a new wave\u003c/a> of young Latinx bands across Southern California.\u003c/p>\n\u003cp>“[Ocho Ojos] brings a little bit of a flashback. Our parents used to play cumbia, now it's our turn to listen to cumbia, but in our style,” says Christopher Villalta, a local photographer and fan.\u003c/p>\n\u003cp>Like Peru’s Chicha musicians who write about working-class struggle and triumph mixed with hometown pride, so too do Coachella’s Ocho Ojos. Their song “Avenida 52” references the main drag that goes from La Quinta all the way to the city of Coachella, a street their admirers know so well.\u003c/p>\n\u003cfigure id=\"attachment_11738479\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11738479 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/04/RS36441_2018_1110_220151002-qut-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/04/RS36441_2018_1110_220151002-qut-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/04/RS36441_2018_1110_220151002-qut-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/04/RS36441_2018_1110_220151002-qut-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/04/RS36441_2018_1110_220151002-qut-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/04/RS36441_2018_1110_220151002-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ocho Ojos take inspiration from Chica, a style of Cumbia from Peru. \u003ccite>(Bryan Mendez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fans like Antonio Duran say they can hear their own family’s story in Ocho Ojos' psychedelic cumbia.\u003c/p>\n\u003cp>“Our parents have worked hard for us to be where we are: to be musicians, to be artists, to be whatever the heck we want to be,” exclaims Duran. “And that is the most important part of being from Coachella: that your parents paved the way.”\u003c/p>\n\u003cp>Making something out of nothing is a lesson the band and their fans didn't just learn from Coachella Valley’s D.I.Y. music scene, but from their parents’ hustle, born out of necessity.\u003c/p>\n\u003cp>“Our ancestors did survive. And they keep surviving,” says drummer Rafael Rodriguez. “Like they say in Spanish, \u003cem>No hay de\u003c/em> \u003cem>otra. \u003c/em>There's no other way. We just have to keep on going.”\u003c/p>\n\u003cblockquote>\n\u003cp style=\"text-align: left\">“Our parents have worked hard for us to be where we are: to be musicians, to be artists, to be whatever the heck we want to be. And that is the most important part of being from Coachella, is that your parents paved the way.” - Antonio Duran\u003c/p>\n\u003c/blockquote>\n\u003cp>It’s an ethos that not only speaks to millennials but to older generations in the community as well.\u003c/p>\n\u003cp>“A few times on our social media, people have tagged us and they'll comment ‘Look my mom is dancing to your cumbia while she's cleaning!‘ That feels good. ” says Torres.\u003c/p>\n\u003cp>But tonight, no one in this twenty and thirty something crowd is Instagramming the moment. No one has their phones out. All attention is to the stage.\u003c/p>\n\u003cfigure id=\"attachment_11738508\" class=\"wp-caption aligncenter\" style=\"max-width: 1334px\">\u003cimg class=\"wp-image-11738508 size-full\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/04/IMG_1532.png\" alt=\"\" width=\"1334\" height=\"750\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/04/IMG_1532.png 1334w, https://ww2.kqed.org/app/uploads/sites/10/2019/04/IMG_1532-160x90.png 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/04/IMG_1532-800x450.png 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/04/IMG_1532-1020x573.png 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/04/IMG_1532-1200x675.png 1200w\" sizes=\"(max-width: 1334px) 100vw, 1334px\">\u003cfigcaption class=\"wp-caption-text\">Ocho Ojos’s hybrid sound sets them apart from their peers in Coachella’s alternative music scene - where indie rock, desert rock and punk thrive. \u003ccite>(Melinda Vida)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When I ask a number of people in this crowd how they feel about the Coachella Music Festival sharing the same name as their city, many tell me it’s pretty “sweet” to hear world-famous musicians practically play in their backyard... but more should be done to benefit the residents who live nearby.\u003c/p>\n\u003cp>“The city of Coachella is the namesake, but we do not get as much recognition as the city of Indio. They get all the hotels and the commerce,” says crowd member Duran.\u003c/p>\n\u003cp>Others also expressed a desire for Goldenvoice, which operates Coachella, to invest in infrastructure beyond Indio's polo grounds (where the festival takes place) and to spotlight more Latinx musicians from the Eastern Coachella Valley, not just the affluent Palm Springs area.\u003c/p>\n\u003cblockquote>\u003cp>\"Every time I go out of town, people ask me where I'm from.. They're like 'Oh what? I didn't know the Coachella Valley is a real place.' They think it's just a festival. \" - Christopher Villalta\u003c/p>\u003c/blockquote>\n\u003cp>With Ocho Ojos representing their hometown on the big festival stage this year, festival-goers will get a chance to hear from the 'real' Coachella music scene, not just imported talent.\u003c/p>\n\u003cp>“They're listening to us, that’s the beautiful part about it!” says Lopez about the band.\u003c/p>\n\u003cp>\u003ciframe title=\"Ocho Ojos - Cumbia De Este Valle\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/euWaKrakGbw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Ocho Ojos close their set with a crowd favorite “Cumbia De Este Valle.” It’s an ode to the desert back roads, agricultural fields, and the Salton Sea, the fertile grounds that have shaped this psychedelic cumbia band into who they are today.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11738458/music-from-the-other-coachella-meet-psychedelic-cumbia-band-ocho-ojos","authors":["11528"],"programs":["news_72"],"categories":["news_223","news_8"],"tags":["news_21012","news_20135","news_23000","news_25485","news_20000","news_25381","news_20605","news_25409","news_23121","news_20086"],"featImg":"news_11738507","label":"news_72"},"news_11663440":{"type":"posts","id":"news_11663440","meta":{"index":"posts_1591205157","site":"news","id":"11663440","score":null,"sort":[1524616250000]},"guestAuthors":[],"slug":"salt-dirt-and-ants-gary-sotos-poetry-of-farm-work","title":"Salt, Dirt and Ants: Gary Soto's Poetry of Farm Work","publishDate":1524616250,"format":"audio","headTitle":"The California Report | KQED News","labelTerm":{"term":72,"site":"news"},"content":"\u003cp>Gary Soto is one of California's most prolific Chicano poets and writers. He's published some 40 books, including children's books, novels and musicals, and has been a finalist for the National Book Award, and a Pulitzer. But his roots are as a poet, writing about his experience in the fields near Fresno.\u003c/p>\n\u003caside class=\"pullquote alignright\">'Gary Soto’s poems are fast, funny, heartening, and achingly believable, like Polaroid love letters, or snatches of music heard out of a passing car; patches of beauty like patches of sunlight; the very pulse of a life.'\u003ccite>Joyce Carol Oates\u003c/cite>\u003c/aside>\n\u003cp>He was just 23 years old when he released his first book, \"The Elements of San Joaquin,\" back in 1977. Some critics have said it changed the course of Chicano literature: making it less rhetorical, more specific. Now, more than 40 years later, Chronicle Books has re-released \"The Elements of San Joaquin,\" with some new poems Soto found in his garage, and some reflections for a 2018 audience.\u003c/p>\n\u003cp>Soto talked to The California Report Magazine's host, Sasha Khokha. This interview was edited for brevity and clarity.\u003c/p>\n\u003cp>\u003cstrong>These poems include such specific images from your childhood, like licking salt or playing with ants, or things your grandmother said. How do you dredge up those memories when you're writing?\u003c/strong>\u003c/p>\n\u003cp>I was trying to provide a portrait of these places that surrounded me and the small things from ants to cans to bottle caps embedded in asphalt. As a poet I thought, 'Well I better show this territory that I live in,' either the neighborhood, playground, the fields, the factories around, the house where we grew up. I really wanted to present that world. For one it meant something to me, and it might mean something to someone else as well.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Fresno now has this famous poetry scene that really was scratched out of the dirt there, with a groundbreaking writing program at Fresno State that still serves a lot of kids from farmworker families like you. Kids whose parents may be pressuring them to earn money, not become a writer.\u003c/strong>\u003c/p>\n\u003cp>It's true. I think that my parents really had no notion that I would ever go to college. Having graduated from high school with a 1.6 GPA, my mom would tell me, 'As long as you stayed out of jail you'll be okay.' That was a low-level expectation. [When you've got] young people coming from small towns outside of Fresno, agricultural towns, towns that are isolated, there's a lot of self-doubt. And that self-doubt can be cured when you find other people who are doing the same thing [like writing poetry.]\u003c/p>\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11663762\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/04/RS30545_9781452170138-qut-800x1201.jpg\" alt=\"\" width=\"800\" height=\"1201\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30545_9781452170138-qut-800x1200.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30545_9781452170138-qut-160x240.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30545_9781452170138-qut-1020x1531.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30545_9781452170138-qut-1180x1771.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30545_9781452170138-qut-960x1441.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30545_9781452170138-qut-240x360.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30545_9781452170138-qut-375x563.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30545_9781452170138-qut-520x780.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30545_9781452170138-qut.jpg 1799w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gary Soto's 1977 book has been credited with changing the course of Chicano poetry. The newly-released edition features new poems he found in his garage.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Having lived in Fresno myself, I love that you write not only about the rural parts of the Central Valley but also about the very urban grittiness of some of its neighborhoods. You grew up on the west side of Fresno. It's always been a very multiracial place. It's grappled with poverty. It's now very industrial.\u003c/strong>\u003c/p>\n\u003cp>People have certain notions about Fresno, and it's a lot richer in people-life and complexities. It's a wonderful place. My wife is from there. I'm from there and I do speak honorably of Fresno at all times.\u003c/p>\n\u003cp>\u003cstrong>What's it like to look back on this work you produced in your early 20s, nearly four decades later?\u003c/strong>\u003c/p>\n\u003cp>I'm surprised. I was awed how serious I was as a young man. I finished the book when I was 22. My attitude was certainly serious. Over the years, my work would lighten and brighten with comedy, and love angles. I looked at this and I thought, this is a very broody young man.\u003c/p>\n\u003cp>\u003cstrong>From the title poem \"Elements of San Joaquin\"\u003c/strong>\u003c/p>\n\u003cp>\u003cem>The wind sprays pale dirt into my mouth\u003cbr>\nThe small, almost invisible scars\u003cbr>\nOn my hands.\u003c/em>\u003c/p>\n\u003cp>The pores in my throat and elbows\u003cbr>\nHave taken in a seed of dirt of their own.\u003c/p>\n\u003cp>After a day in the grape fields near Rolinda\u003cbr>\nA fine silt, washed by sweat,\u003cbr>\nHas settled into the lines\u003cbr>\nOn my wrists and palms.\u003c/p>\n\u003cp>Already I am becoming the valley,\u003cbr>\nA soil that sprouts nothing\u003cbr>\nFor any of us.\u003c/p>\n\u003cp>\u003cstrong>From \"Fresno's Westside Blues\"\u003c/strong>\u003c/p>\n\u003cp>\u003cem>There's the tinkle of a bell on a store door.\u003cbr>\nThere's laughter coming from Suki's Nails and Feet.\u003cbr>\nAnd look at Javier, with glue and paper,\u003cbr>\nMaking \u003cem>pinatas\u003c/em> behind a chain link fence --\u003cbr>\nThe beer-bellied Superman will take a birthday beating.\u003c/em>\u003c/p>\n\u003cp>A breeze twists through the trees,\u003cbr>\nOne jammed meter throws up its expired red flag.\u003cbr>\nWhen the bell at the Mexican Baptist Church sounds,\u003cbr>\nHuge black birds feed on dropped \u003cem>churros\u003c/em>\u003cbr>\nThey bow their heads and cast shadows over feral cats.\u003c/p>\n\u003cp>What is meant by escape?\u003cbr>\nYou could be any dog hugging an ancient building for shade.\u003cbr>\nWhen you turn the corner, the knife-bright sun ruthlessly cuts\u003cbr>\nThe shadow from your already mangy body.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://itunes.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\" rel=\"noopener\" target=\"_blank\">Listen to this and more in-depth storytelling by subscribing to The California Report Magazine podcast.\u003c/a>\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Gary Soto reflects on working the fields as a college student and why his 1977 poems resonate today. ","status":"publish","parent":0,"modified":1524600689,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":23,"wordCount":885},"headData":{"title":"Salt, Dirt and Ants: Gary Soto's Poetry of Farm Work | KQED","description":"Gary Soto reflects on working the fields as a college student and why his 1977 poems resonate today. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"11663440 https://ww2.kqed.org/news/?p=11663440","disqusUrl":"https://ww2.kqed.org/news/2018/04/24/salt-dirt-and-ants-gary-sotos-poetry-of-farm-work/","disqusTitle":"Salt, Dirt and Ants: Gary Soto's Poetry of Farm Work","audioUrl":"https://www.kqed.org/.stream/anon/radio/tcrmag/2018/04/KhokhaGarySoto.mp3","path":"/news/11663440/salt-dirt-and-ants-gary-sotos-poetry-of-farm-work","audioDuration":400000,"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Gary Soto is one of California's most prolific Chicano poets and writers. He's published some 40 books, including children's books, novels and musicals, and has been a finalist for the National Book Award, and a Pulitzer. But his roots are as a poet, writing about his experience in the fields near Fresno.\u003c/p>\n\u003caside class=\"pullquote alignright\">'Gary Soto’s poems are fast, funny, heartening, and achingly believable, like Polaroid love letters, or snatches of music heard out of a passing car; patches of beauty like patches of sunlight; the very pulse of a life.'\u003ccite>Joyce Carol Oates\u003c/cite>\u003c/aside>\n\u003cp>He was just 23 years old when he released his first book, \"The Elements of San Joaquin,\" back in 1977. Some critics have said it changed the course of Chicano literature: making it less rhetorical, more specific. Now, more than 40 years later, Chronicle Books has re-released \"The Elements of San Joaquin,\" with some new poems Soto found in his garage, and some reflections for a 2018 audience.\u003c/p>\n\u003cp>Soto talked to The California Report Magazine's host, Sasha Khokha. This interview was edited for brevity and clarity.\u003c/p>\n\u003cp>\u003cstrong>These poems include such specific images from your childhood, like licking salt or playing with ants, or things your grandmother said. How do you dredge up those memories when you're writing?\u003c/strong>\u003c/p>\n\u003cp>I was trying to provide a portrait of these places that surrounded me and the small things from ants to cans to bottle caps embedded in asphalt. As a poet I thought, 'Well I better show this territory that I live in,' either the neighborhood, playground, the fields, the factories around, the house where we grew up. I really wanted to present that world. For one it meant something to me, and it might mean something to someone else as well.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Fresno now has this famous poetry scene that really was scratched out of the dirt there, with a groundbreaking writing program at Fresno State that still serves a lot of kids from farmworker families like you. Kids whose parents may be pressuring them to earn money, not become a writer.\u003c/strong>\u003c/p>\n\u003cp>It's true. I think that my parents really had no notion that I would ever go to college. Having graduated from high school with a 1.6 GPA, my mom would tell me, 'As long as you stayed out of jail you'll be okay.' That was a low-level expectation. [When you've got] young people coming from small towns outside of Fresno, agricultural towns, towns that are isolated, there's a lot of self-doubt. And that self-doubt can be cured when you find other people who are doing the same thing [like writing poetry.]\u003c/p>\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11663762\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/04/RS30545_9781452170138-qut-800x1201.jpg\" alt=\"\" width=\"800\" height=\"1201\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30545_9781452170138-qut-800x1200.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30545_9781452170138-qut-160x240.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30545_9781452170138-qut-1020x1531.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30545_9781452170138-qut-1180x1771.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30545_9781452170138-qut-960x1441.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30545_9781452170138-qut-240x360.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30545_9781452170138-qut-375x563.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30545_9781452170138-qut-520x780.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30545_9781452170138-qut.jpg 1799w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gary Soto's 1977 book has been credited with changing the course of Chicano poetry. The newly-released edition features new poems he found in his garage.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Having lived in Fresno myself, I love that you write not only about the rural parts of the Central Valley but also about the very urban grittiness of some of its neighborhoods. You grew up on the west side of Fresno. It's always been a very multiracial place. It's grappled with poverty. It's now very industrial.\u003c/strong>\u003c/p>\n\u003cp>People have certain notions about Fresno, and it's a lot richer in people-life and complexities. It's a wonderful place. My wife is from there. I'm from there and I do speak honorably of Fresno at all times.\u003c/p>\n\u003cp>\u003cstrong>What's it like to look back on this work you produced in your early 20s, nearly four decades later?\u003c/strong>\u003c/p>\n\u003cp>I'm surprised. I was awed how serious I was as a young man. I finished the book when I was 22. My attitude was certainly serious. Over the years, my work would lighten and brighten with comedy, and love angles. I looked at this and I thought, this is a very broody young man.\u003c/p>\n\u003cp>\u003cstrong>From the title poem \"Elements of San Joaquin\"\u003c/strong>\u003c/p>\n\u003cp>\u003cem>The wind sprays pale dirt into my mouth\u003cbr>\nThe small, almost invisible scars\u003cbr>\nOn my hands.\u003c/em>\u003c/p>\n\u003cp>The pores in my throat and elbows\u003cbr>\nHave taken in a seed of dirt of their own.\u003c/p>\n\u003cp>After a day in the grape fields near Rolinda\u003cbr>\nA fine silt, washed by sweat,\u003cbr>\nHas settled into the lines\u003cbr>\nOn my wrists and palms.\u003c/p>\n\u003cp>Already I am becoming the valley,\u003cbr>\nA soil that sprouts nothing\u003cbr>\nFor any of us.\u003c/p>\n\u003cp>\u003cstrong>From \"Fresno's Westside Blues\"\u003c/strong>\u003c/p>\n\u003cp>\u003cem>There's the tinkle of a bell on a store door.\u003cbr>\nThere's laughter coming from Suki's Nails and Feet.\u003cbr>\nAnd look at Javier, with glue and paper,\u003cbr>\nMaking \u003cem>pinatas\u003c/em> behind a chain link fence --\u003cbr>\nThe beer-bellied Superman will take a birthday beating.\u003c/em>\u003c/p>\n\u003cp>A breeze twists through the trees,\u003cbr>\nOne jammed meter throws up its expired red flag.\u003cbr>\nWhen the bell at the Mexican Baptist Church sounds,\u003cbr>\nHuge black birds feed on dropped \u003cem>churros\u003c/em>\u003cbr>\nThey bow their heads and cast shadows over feral cats.\u003c/p>\n\u003cp>What is meant by escape?\u003cbr>\nYou could be any dog hugging an ancient building for shade.\u003cbr>\nWhen you turn the corner, the knife-bright sun ruthlessly cuts\u003cbr>\nThe shadow from your already mangy body.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://itunes.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\" rel=\"noopener\" target=\"_blank\">Listen to this and more in-depth storytelling by subscribing to The California Report Magazine podcast.\u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11663440/salt-dirt-and-ants-gary-sotos-poetry-of-farm-work","authors":["254"],"programs":["news_72"],"categories":["news_223","news_1169","news_8"],"tags":["news_20135","news_18269","news_37","news_279","news_1222"],"featImg":"news_11663915","label":"news_72"},"news_11616098":{"type":"posts","id":"news_11616098","meta":{"index":"posts_1591205157","site":"news","id":"11616098","score":null,"sort":[1505435451000]},"guestAuthors":[],"slug":"the-fiery-visions-of-iconic-l-a-artist-carlos-almaraz","title":"The 'Fiery' Visions of Iconic L.A. Artist Carlos Almaráz","publishDate":1505435451,"format":"audio","headTitle":"The California Report | KQED News","labelTerm":{"term":72,"site":"news"},"content":"\u003cp>Actor, comedian and \u003ca href=\"http://cheechmarin.com/chicano-art/\" target=\"_blank\" rel=\"noopener noreferrer\">art collector Cheech Marin \u003c/a>calls \u003ca href=\"https://www.visualaids.org/artists/detail/carlos-almaraz\" target=\"_blank\" rel=\"noopener noreferrer\">Carlos Almaráz \u003c/a>the John Coltrane of Chicano art.\u003c/p>\n\u003cp>Like Coltrane, Almaráz’s life was cut short by illness before he was able to reach his full potential. But in his 48 years, he created dozens of paintings, \u003ca href=\"http://www.muralconservancy.org/\" target=\"_blank\" rel=\"noopener noreferrer\">street murals\u003c/a> and other works.\u003c/p>\n\u003cfigure id=\"attachment_11616108\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11616108\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/ECHO-1-4-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-1-4-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-1-4-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-1-4-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-1-4.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-1-4-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-1-4-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-1-4-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-1-4-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-1-4-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Echo Park nos 1-4’ (1982), a 24-foot long, four-panel work by Carlos Almaráz. Each panel is owned by a different collector. This is the first time the complete work has been available for public view in years. \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>More than 60 paintings, sketches, notebooks and other ephemera are collected in \u003ca href=\"http://www.lacma.org/art/exhibition/playing-fire-paintings-carlos-almaraz\" target=\"_blank\" rel=\"noopener noreferrer\">‘Playing With Fire: Paintings by Carlos Almaráz’ \u003c/a>at the Los Angeles County Museum of Art. It’s the first comprehensive retrospective of the Mexican-born artist’s work in decades.\u003c/p>\n\u003cp>Almaráz’s formative years in Los Angeles were as a founding member of \u003ca href=\"https://latinomurals.wordpress.com/2014/05/27/losfour/\" target=\"_blank\" rel=\"noopener noreferrer\">Los Four\u003c/a>, a Chicano artists collective that also included Frank Romero, Beto de la Rocha and Gilbert Luján. Los Four formed in the early 1970s to create art for the people, for \u003cem>la lucha\u003c/em>; the struggle.\u003c/p>\n\u003cfigure id=\"attachment_11616116\" class=\"wp-caption alignright\" style=\"max-width: 550px\">\u003cimg class=\"size-full wp-image-11616116\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/Artist_Carlos_Almaraz_1974_Los_Angeles.jpg\" alt=\"\" width=\"550\" height=\"550\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/09/Artist_Carlos_Almaraz_1974_Los_Angeles.jpg 550w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Artist_Carlos_Almaraz_1974_Los_Angeles-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Artist_Carlos_Almaraz_1974_Los_Angeles-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Artist_Carlos_Almaraz_1974_Los_Angeles-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Artist_Carlos_Almaraz_1974_Los_Angeles-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Artist_Carlos_Almaraz_1974_Los_Angeles-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Artist_Carlos_Almaraz_1974_Los_Angeles-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Artist_Carlos_Almaraz_1974_Los_Angeles-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Artist_Carlos_Almaraz_1974_Los_Angeles-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Artist_Carlos_Almaraz_1974_Los_Angeles-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Artist_Carlos_Almaraz_1974_Los_Angeles-150x150.jpg 150w\" sizes=\"(max-width: 550px) 100vw, 550px\">\u003cfigcaption class=\"wp-caption-text\">Carlos Almaraz in 1974 during the installation of the \"Los Four\" exhibition at LACMA, Los Angeles CA. \u003ccite>(Wikipedia )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“They had some pretty grandiose ideas with Chicano art at the center,” explains actor, comedian and filmmaker Richard Montoya. He’s wrapping up a documentary of the artist called\u003ca href=\"https://www.indiegogo.com/projects/carlos-almaraz-documentary-film-project--2#/\" target=\"_blank\" rel=\"noopener noreferrer\"> “Carlos in Wonderland.\"\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“These were big personalities to maintain in kind of healthy, sometimes unhealthy competition.”\u003c/p>\n\u003cp>Almaráz began to chafe within the rigid ideological frame of the collective. He wanted to take his art further, says Montoya. And he wanted more control.\u003c/p>\n\u003cp>“Carlos kind of takes off as an individual artist. There’s a need for him to pull away from movement identity politics and into the studio for much more personal and private work.”\u003c/p>\n\u003cp>Work that reflected more universal if very personal themes; his own bisexuality, the metaphysical, Mexican mythology. But the L.A. neighborhoods he knew and loved best -- Boyle Heights, Echo Park, East L.A. -- were never too far away.\u003c/p>\n\u003cp>You catch glimpses of them throughout \"Playing with Fire.\"\u003c/p>\n\u003cfigure id=\"attachment_11616121\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11616121\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/ECHO-Lake-detail-w-bridge-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-Lake-detail-w-bridge-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-Lake-detail-w-bridge-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-Lake-detail-w-bridge-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-Lake-detail-w-bridge.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-Lake-detail-w-bridge-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-Lake-detail-w-bridge-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-Lake-detail-w-bridge-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-Lake-detail-w-bridge-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-Lake-detail-w-bridge-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of another Carlos Almaraz painting depicting L.A.'s Echo Park Lake. \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I spent an afternoon with Montoya and exhibit curator Howard Fox at LACMA. Here’s some highlights of our conversation.\u003c/p>\n\u003cp>\u003cstrong>On Almaráz's L.A. urban landscapes and his iconic freeway car crash paintings, arguably his most well-known paintings:\u003c/strong>\u003c/p>\n\u003cp>Fox: “We respond to the imagery almost viscerally like you would if you saw an actual car crash, you can’t not look at it. But with the thick buttery impasto that he paints these desperate images with, it’s almost as if you want to go up and lick the painting, but don’t do that please!”\u003c/p>\n\u003cfigure id=\"attachment_11616124\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11616124\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-2-cars-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-2-cars-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-2-cars-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-2-cars-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-2-cars.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-2-cars-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-2-cars-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-2-cars-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-2-cars-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-2-cars-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One in a series of freeway car crash paintings from the 1980’s by Carlos Almaráz. \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11616127\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11616127\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-detail-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-detail-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-detail-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-detail-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-detail.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-detail-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-detail-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-detail-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-detail-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-detail-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of one of Carlos Almaraz’s freeway car crash paintings from the 1980’s. \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Montoya: “It’s got these Disney colors too, so he’s drinking in California; the open sky, the things he couldn’t see in Mexico City as a kid. But he comes to L.A. and my God there’s these things called freeways that rise over the barrios and there are these skies and these colors.”\u003c/p>\n\u003cp>Fox: “You’ll see grand cityscapes featuring naked people cavorting in the streets, freeways zooming and zigzagging all over the place and buildings themselves are wagging like puppy dogs tails, it’s visually in your face.”\u003c/p>\n\u003cfigure id=\"attachment_11616130\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11616130\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/ECHO-1-4-detail-2-800x656.jpg\" alt=\"\" width=\"800\" height=\"656\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-1-4-detail-2-800x656.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-1-4-detail-2-160x131.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-1-4-detail-2-1020x836.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-1-4-detail-2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-1-4-detail-2-1180x967.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-1-4-detail-2-960x787.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-1-4-detail-2-240x197.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-1-4-detail-2-375x307.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-1-4-detail-2-520x426.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Echo Park nos 1-4’ (detail) \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On his role in Los Four, the Chicano art-collective:\u003c/strong>\u003c/p>\n\u003cp>Montoya: “It was a movement that demanded to know how militant you were, how Chicano you were, how authentic you were. It wasn’t the place to explore one’s gender or spirituality. Carlos was one of the first, but not the only artist, to retreat from that — for much more personal and private work, exploring gender for example. That’s a heartbreak for a Chicano artist such as myself. But the good news for me, the thank you I feel I owe to Almaráz is that he leaves the movement, but that he leaves the art and the conversation in a better place than where he found it.”\u003c/p>\n\u003cp>\u003cstrong>On whether Almaráz would embrace or resist the title of 'Chicano artist':\u003c/strong>\u003c/p>\n\u003cp>Fox: “Carlos said, \u003cem>I’m an American artist [who] also happens to be a Chicano.\u003c/em> So he acknowledges the heritage, he embraces it, but he does not typify himself, he does not specify or pigeonhole himself.”\u003c/p>\n\u003cfigure id=\"attachment_11616141\" class=\"wp-caption alignright\" style=\"max-width: 421px\">\u003cimg class=\"size-full wp-image-11616141\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/Mujeres-MURAL.jpg\" alt=\"\" width=\"421\" height=\"330\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/09/Mujeres-MURAL.jpg 421w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Mujeres-MURAL-160x125.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Mujeres-MURAL-240x188.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Mujeres-MURAL-375x294.jpg 375w\" sizes=\"(max-width: 421px) 100vw, 421px\">\u003cfigcaption class=\"wp-caption-text\">Detail of ‘La Mujer de Aztlan’ street mural at Ramona Housing project in L.A.’s Boyle Heights, created by Judith Hernandez and Carlos Almaráz in 1976. \u003ccite>(Mural Conservancy of Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Montoya: “I’ve never felt that \u003cem>Chicanismo \u003c/em>was something that needed to be transcended. Or that we grow to a greater appreciation of art. For me, his genius is taking the best of all these things, and I felt that Howard [Fox] wasn’t taking any of that away. There’s a moment in the show, in a room that carefully looks at the gay aspect of Carlos’ life. That’s super important to so many of our transgender kids, our LGBT youngsters, our undocumented kids. He was an immigrant. Each one of those things has tremendous value.\"\u003c/p>\n\u003cp>\u003cstrong>On Almaráz living on the border of multiple identities: Mexican/American, bisexual:\u003c/strong>\u003c/p>\n\u003cp>Fox: “One of his paintings, titled “Europe and the Jaguar,” I was really entranced by that because it showed a half-man half-jaguar -- a symbol right out of Mesoamerican mythology -- juxtaposed with a classical female nude, right out of European old master paintings. And between those two promenading figures, there’s this dapper young man, in a blue suit and a blue fedora. I realized, intuitively, that this was a self-portrait of the artist paying homage to the Mesoamerican mythology, modern and traditional European art.\"\u003c/p>\n\u003cfigure id=\"attachment_11616138\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11616138\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/Llorona-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/09/Llorona-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Llorona-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Llorona-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Llorona.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Llorona-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Llorona-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Llorona-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Llorona-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Llorona-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A vision of La Llorona, the crying woman, by Carlos Almaraz. La Llorona is a popular character in Latino folklore. \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fox: \"A lot of people thought you could not combine them successfully, that the juxtaposition would be too much of a clangorous rupture. But Almaráz embraced those traditions in a really interesting hybrid way.”\u003c/p>\n\u003cp>\u003cstrong>On why it took 30 years for a major Los Angeles museum to stage a Carlos Almaráz retrospective, despite many art critics considering him one of the most important California artists of the 20\u003csup>th\u003c/sup> Century. \u003c/strong>\u003c/p>\n\u003cp>Fox: “That’s a very good question and I’m afraid that any of the answers would point to curatorial neglect.\"\u003c/p>\n\u003cp>Montoya: “It’s not just that we’re in an “Oscars-So-White” town. The battle now moves into the large museums and into the theaters as well. We’re keeping it up because Carlos is kind of shoving open a door for us. And now that we’re in, with help of the curators and the third-tier allies, we’re in a tremendously exciting time. But there can be no let-up. We must continue to push forward.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Special thanks to Oscar Garza and Jonathan Shifflett of KPCC’s The Frame for their production help on this story.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The L.A. County Museum of Art is showcasing the first comprehensive retrospective of his work in decades.","status":"publish","parent":0,"modified":1505458580,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":29,"wordCount":1327},"headData":{"title":"The 'Fiery' Visions of Iconic L.A. Artist Carlos Almaráz | KQED","description":"The L.A. County Museum of Art is showcasing the first comprehensive retrospective of his work in decades.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"11616098 https://ww2.kqed.org/news/?p=11616098","disqusUrl":"https://ww2.kqed.org/news/2017/09/14/the-fiery-visions-of-iconic-l-a-artist-carlos-almaraz/","disqusTitle":"The 'Fiery' Visions of Iconic L.A. Artist Carlos Almaráz","audioUrl":"https://www.kqed.org/.stream/anon/radio/tcrmag/2017/09/TCRPM20170908CarlosAlmaraz.mp3","path":"/news/11616098/the-fiery-visions-of-iconic-l-a-artist-carlos-almaraz","audioDuration":null,"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Actor, comedian and \u003ca href=\"http://cheechmarin.com/chicano-art/\" target=\"_blank\" rel=\"noopener noreferrer\">art collector Cheech Marin \u003c/a>calls \u003ca href=\"https://www.visualaids.org/artists/detail/carlos-almaraz\" target=\"_blank\" rel=\"noopener noreferrer\">Carlos Almaráz \u003c/a>the John Coltrane of Chicano art.\u003c/p>\n\u003cp>Like Coltrane, Almaráz’s life was cut short by illness before he was able to reach his full potential. But in his 48 years, he created dozens of paintings, \u003ca href=\"http://www.muralconservancy.org/\" target=\"_blank\" rel=\"noopener noreferrer\">street murals\u003c/a> and other works.\u003c/p>\n\u003cfigure id=\"attachment_11616108\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11616108\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/ECHO-1-4-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-1-4-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-1-4-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-1-4-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-1-4.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-1-4-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-1-4-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-1-4-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-1-4-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-1-4-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Echo Park nos 1-4’ (1982), a 24-foot long, four-panel work by Carlos Almaráz. Each panel is owned by a different collector. This is the first time the complete work has been available for public view in years. \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>More than 60 paintings, sketches, notebooks and other ephemera are collected in \u003ca href=\"http://www.lacma.org/art/exhibition/playing-fire-paintings-carlos-almaraz\" target=\"_blank\" rel=\"noopener noreferrer\">‘Playing With Fire: Paintings by Carlos Almaráz’ \u003c/a>at the Los Angeles County Museum of Art. It’s the first comprehensive retrospective of the Mexican-born artist’s work in decades.\u003c/p>\n\u003cp>Almaráz’s formative years in Los Angeles were as a founding member of \u003ca href=\"https://latinomurals.wordpress.com/2014/05/27/losfour/\" target=\"_blank\" rel=\"noopener noreferrer\">Los Four\u003c/a>, a Chicano artists collective that also included Frank Romero, Beto de la Rocha and Gilbert Luján. Los Four formed in the early 1970s to create art for the people, for \u003cem>la lucha\u003c/em>; the struggle.\u003c/p>\n\u003cfigure id=\"attachment_11616116\" class=\"wp-caption alignright\" style=\"max-width: 550px\">\u003cimg class=\"size-full wp-image-11616116\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/Artist_Carlos_Almaraz_1974_Los_Angeles.jpg\" alt=\"\" width=\"550\" height=\"550\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/09/Artist_Carlos_Almaraz_1974_Los_Angeles.jpg 550w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Artist_Carlos_Almaraz_1974_Los_Angeles-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Artist_Carlos_Almaraz_1974_Los_Angeles-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Artist_Carlos_Almaraz_1974_Los_Angeles-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Artist_Carlos_Almaraz_1974_Los_Angeles-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Artist_Carlos_Almaraz_1974_Los_Angeles-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Artist_Carlos_Almaraz_1974_Los_Angeles-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Artist_Carlos_Almaraz_1974_Los_Angeles-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Artist_Carlos_Almaraz_1974_Los_Angeles-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Artist_Carlos_Almaraz_1974_Los_Angeles-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Artist_Carlos_Almaraz_1974_Los_Angeles-150x150.jpg 150w\" sizes=\"(max-width: 550px) 100vw, 550px\">\u003cfigcaption class=\"wp-caption-text\">Carlos Almaraz in 1974 during the installation of the \"Los Four\" exhibition at LACMA, Los Angeles CA. \u003ccite>(Wikipedia )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“They had some pretty grandiose ideas with Chicano art at the center,” explains actor, comedian and filmmaker Richard Montoya. He’s wrapping up a documentary of the artist called\u003ca href=\"https://www.indiegogo.com/projects/carlos-almaraz-documentary-film-project--2#/\" target=\"_blank\" rel=\"noopener noreferrer\"> “Carlos in Wonderland.\"\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“These were big personalities to maintain in kind of healthy, sometimes unhealthy competition.”\u003c/p>\n\u003cp>Almaráz began to chafe within the rigid ideological frame of the collective. He wanted to take his art further, says Montoya. And he wanted more control.\u003c/p>\n\u003cp>“Carlos kind of takes off as an individual artist. There’s a need for him to pull away from movement identity politics and into the studio for much more personal and private work.”\u003c/p>\n\u003cp>Work that reflected more universal if very personal themes; his own bisexuality, the metaphysical, Mexican mythology. But the L.A. neighborhoods he knew and loved best -- Boyle Heights, Echo Park, East L.A. -- were never too far away.\u003c/p>\n\u003cp>You catch glimpses of them throughout \"Playing with Fire.\"\u003c/p>\n\u003cfigure id=\"attachment_11616121\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11616121\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/ECHO-Lake-detail-w-bridge-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-Lake-detail-w-bridge-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-Lake-detail-w-bridge-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-Lake-detail-w-bridge-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-Lake-detail-w-bridge.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-Lake-detail-w-bridge-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-Lake-detail-w-bridge-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-Lake-detail-w-bridge-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-Lake-detail-w-bridge-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-Lake-detail-w-bridge-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of another Carlos Almaraz painting depicting L.A.'s Echo Park Lake. \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I spent an afternoon with Montoya and exhibit curator Howard Fox at LACMA. Here’s some highlights of our conversation.\u003c/p>\n\u003cp>\u003cstrong>On Almaráz's L.A. urban landscapes and his iconic freeway car crash paintings, arguably his most well-known paintings:\u003c/strong>\u003c/p>\n\u003cp>Fox: “We respond to the imagery almost viscerally like you would if you saw an actual car crash, you can’t not look at it. But with the thick buttery impasto that he paints these desperate images with, it’s almost as if you want to go up and lick the painting, but don’t do that please!”\u003c/p>\n\u003cfigure id=\"attachment_11616124\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11616124\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-2-cars-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-2-cars-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-2-cars-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-2-cars-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-2-cars.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-2-cars-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-2-cars-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-2-cars-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-2-cars-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-2-cars-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One in a series of freeway car crash paintings from the 1980’s by Carlos Almaráz. \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11616127\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11616127\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-detail-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-detail-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-detail-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-detail-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-detail.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-detail-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-detail-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-detail-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-detail-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-detail-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of one of Carlos Almaraz’s freeway car crash paintings from the 1980’s. \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Montoya: “It’s got these Disney colors too, so he’s drinking in California; the open sky, the things he couldn’t see in Mexico City as a kid. But he comes to L.A. and my God there’s these things called freeways that rise over the barrios and there are these skies and these colors.”\u003c/p>\n\u003cp>Fox: “You’ll see grand cityscapes featuring naked people cavorting in the streets, freeways zooming and zigzagging all over the place and buildings themselves are wagging like puppy dogs tails, it’s visually in your face.”\u003c/p>\n\u003cfigure id=\"attachment_11616130\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11616130\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/ECHO-1-4-detail-2-800x656.jpg\" alt=\"\" width=\"800\" height=\"656\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-1-4-detail-2-800x656.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-1-4-detail-2-160x131.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-1-4-detail-2-1020x836.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-1-4-detail-2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-1-4-detail-2-1180x967.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-1-4-detail-2-960x787.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-1-4-detail-2-240x197.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-1-4-detail-2-375x307.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-1-4-detail-2-520x426.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Echo Park nos 1-4’ (detail) \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On his role in Los Four, the Chicano art-collective:\u003c/strong>\u003c/p>\n\u003cp>Montoya: “It was a movement that demanded to know how militant you were, how Chicano you were, how authentic you were. It wasn’t the place to explore one’s gender or spirituality. Carlos was one of the first, but not the only artist, to retreat from that — for much more personal and private work, exploring gender for example. That’s a heartbreak for a Chicano artist such as myself. But the good news for me, the thank you I feel I owe to Almaráz is that he leaves the movement, but that he leaves the art and the conversation in a better place than where he found it.”\u003c/p>\n\u003cp>\u003cstrong>On whether Almaráz would embrace or resist the title of 'Chicano artist':\u003c/strong>\u003c/p>\n\u003cp>Fox: “Carlos said, \u003cem>I’m an American artist [who] also happens to be a Chicano.\u003c/em> So he acknowledges the heritage, he embraces it, but he does not typify himself, he does not specify or pigeonhole himself.”\u003c/p>\n\u003cfigure id=\"attachment_11616141\" class=\"wp-caption alignright\" style=\"max-width: 421px\">\u003cimg class=\"size-full wp-image-11616141\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/Mujeres-MURAL.jpg\" alt=\"\" width=\"421\" height=\"330\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/09/Mujeres-MURAL.jpg 421w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Mujeres-MURAL-160x125.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Mujeres-MURAL-240x188.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Mujeres-MURAL-375x294.jpg 375w\" sizes=\"(max-width: 421px) 100vw, 421px\">\u003cfigcaption class=\"wp-caption-text\">Detail of ‘La Mujer de Aztlan’ street mural at Ramona Housing project in L.A.’s Boyle Heights, created by Judith Hernandez and Carlos Almaráz in 1976. \u003ccite>(Mural Conservancy of Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Montoya: “I’ve never felt that \u003cem>Chicanismo \u003c/em>was something that needed to be transcended. Or that we grow to a greater appreciation of art. For me, his genius is taking the best of all these things, and I felt that Howard [Fox] wasn’t taking any of that away. There’s a moment in the show, in a room that carefully looks at the gay aspect of Carlos’ life. That’s super important to so many of our transgender kids, our LGBT youngsters, our undocumented kids. He was an immigrant. Each one of those things has tremendous value.\"\u003c/p>\n\u003cp>\u003cstrong>On Almaráz living on the border of multiple identities: Mexican/American, bisexual:\u003c/strong>\u003c/p>\n\u003cp>Fox: “One of his paintings, titled “Europe and the Jaguar,” I was really entranced by that because it showed a half-man half-jaguar -- a symbol right out of Mesoamerican mythology -- juxtaposed with a classical female nude, right out of European old master paintings. And between those two promenading figures, there’s this dapper young man, in a blue suit and a blue fedora. I realized, intuitively, that this was a self-portrait of the artist paying homage to the Mesoamerican mythology, modern and traditional European art.\"\u003c/p>\n\u003cfigure id=\"attachment_11616138\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11616138\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/Llorona-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/09/Llorona-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Llorona-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Llorona-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Llorona.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Llorona-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Llorona-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Llorona-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Llorona-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Llorona-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A vision of La Llorona, the crying woman, by Carlos Almaraz. La Llorona is a popular character in Latino folklore. \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fox: \"A lot of people thought you could not combine them successfully, that the juxtaposition would be too much of a clangorous rupture. But Almaráz embraced those traditions in a really interesting hybrid way.”\u003c/p>\n\u003cp>\u003cstrong>On why it took 30 years for a major Los Angeles museum to stage a Carlos Almaráz retrospective, despite many art critics considering him one of the most important California artists of the 20\u003csup>th\u003c/sup> Century. \u003c/strong>\u003c/p>\n\u003cp>Fox: “That’s a very good question and I’m afraid that any of the answers would point to curatorial neglect.\"\u003c/p>\n\u003cp>Montoya: “It’s not just that we’re in an “Oscars-So-White” town. The battle now moves into the large museums and into the theaters as well. We’re keeping it up because Carlos is kind of shoving open a door for us. And now that we’re in, with help of the curators and the third-tier allies, we’re in a tremendously exciting time. But there can be no let-up. We must continue to push forward.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Special thanks to Oscar Garza and Jonathan Shifflett of KPCC’s The Frame for their production help on this story.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11616098/the-fiery-visions-of-iconic-l-a-artist-carlos-almaraz","authors":["2600"],"programs":["news_72"],"categories":["news_223","news_8"],"tags":["news_20257","news_20135","news_4","news_17286"],"featImg":"news_11616103","label":"news_72"},"news_11155304":{"type":"posts","id":"news_11155304","meta":{"index":"posts_1591205157","site":"news","id":"11155304","score":null,"sort":[1478115036000]},"guestAuthors":[],"slug":"dia-de-los-muertos-celebrations-embrace-life-and-death","title":"Dia de los Muertos Celebrations Embrace Life and Death","publishDate":1478115036,"format":"standard","headTitle":"Dia de los Muertos Celebrations Embrace Life and Death | KQED","labelTerm":{"term":72,"site":"news"},"content":"\u003cp>At \u003ca href=\"https://www.facebook.com/pages/Oakdale-Memorial-Park-Mortuary/117609474932667\" target=\"_blank\" rel=\"noopener\">Oakdale Memorial Park\u003c/a> things are a little different on Nov. 1 — All Saints’ Day for many Christians.\u003c/p>\n\u003cp>This place of rest in \u003ca href=\"http://www.ci.glendora.ca.us/\" target=\"_blank\" rel=\"noopener\">Glendora\u003c/a>, east of Los Angeles, comes alive with the joyful strum and blaring brass of live mariachi music. The color and beauty of Mexican folkloric dance sweeps across the grounds. Sweet and savory aromas rise from a small army of food trucks nearby. And vendors sit at display tables and beneath tents, selling handmade arts and crafts.\u003c/p>\n\u003cp>Hundreds of people have come to celebrate \u003ca href=\"http://nationalgeographic.org/media/dia-de-los-muertos/\" target=\"_blank\" rel=\"noopener\">Dia de Los Muertos\u003c/a>, the indigenous Mexican festival also known as Day of the Dead.\u003c/p>\n\u003cp>Rosie Kaiban came with her daughter, Stephanie, and her granddaughter, Lauren.\u003c/p>\n\u003cp>“We’re here to enjoy all the people and enjoy everything that Dia de Los Muertos stands for,” says Kaiban.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And what it stands for is getting a little harder to tell, in part because the festival’s cultural icons are beginning to appear on everything — from beer bottles to T-shirts, tennis shoes and dog collars. Even \u003ca href=\"http://www.starbucks.com/menu/food/bakery/dia-de-los-muertos-cookie\" target=\"_blank\" rel=\"noopener\">Starbucks features Dia de los Muertos skull cookies \u003c/a>in their pastry cases.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘Building of the altar is a way that we intentionally and mindfully create something beautiful.’\u003ccite>Gilbert Cadena, professor at Cal Poly Pomona\u003c/cite>\u003c/aside>\n\u003cp>But as the scene at Oakdale Memorial Park demonstrates, the day means much more. People are here to commemorate a tradition that dates back thousands of years. The central cultural experience is about family and remembrance.\u003c/p>\n\u003cp>\u003ca href=\"http://www.artbyhectorsilva.com/\" target=\"_blank\" rel=\"noopener\">Los Angeles-based Chicano artist Hector Silva\u003c/a> stands next to his work — a stunning collection of intricate and ornate pencil art sketches, incredible for their precision and depth. Silva has celebrated the day since he was a kid in Jalisco, Mexico.\u003c/p>\n\u003cp>“It’s significant,” says Silva. “Celebrating our people that are passed on. And just remember them and to keep loving them. I do a lot of Dia de Los Muertos art because I want to keep that tradition alive.”\u003c/p>\n\u003cfigure id=\"attachment_11156533\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11156533\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/Hector-800x574.jpg\" alt=\"Los Angeles-based Chicano artist Hector Silva stands next to his ornate pencil sketches at Oakdale Memorial Park in Glendora for Dia de los Muertos Celebration.\" width=\"800\" height=\"574\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/Hector-800x574.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/Hector-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/Hector-1020x732.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/Hector.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/Hector-1180x846.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/Hector-960x689.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/Hector-240x172.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/Hector-375x269.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/Hector-520x373.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Los Angeles-based Chicano artist Hector Silva stands next to his ornate pencil sketches at Oakdale Memorial Park in Glendora for Dia de los Muertos Celebration. \u003ccite>(Tena Rubio/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And the tradition is elaborate. Celebrants \u003ca href=\"http://www.mexicansugarskull.com/support/dodhistory.html\" target=\"_blank\" rel=\"noopener\">paint their faces as skulls \u003c/a>to represent the veil between life and death. Altars are adorned with marigolds, sugar skulls and photographs of loved ones.\u003c/p>\n\u003cp>Gilbert Cadena teaches ethnic and women’s studies at Cal Poly Pomona, and hopes the focus of Dia de los Muertos remains on the deep familial and cultural ties that the day represents.\u003c/p>\n\u003cp>“Building of the altar is a way that we intentionally and mindfully create something beautiful,” Cadena says. “It’s a way your story and your life will be passed on to your children and family.”\u003c/p>\n\u003cp>Everything on the altar has meaning. Each sugar skull bears the name of a loved one. The bright and pungent marigolds are said to guide the spirits home. Bright burning candles light the way.\u003c/p>\n\u003cp>And then there are the personal touches.\u003c/p>\n\u003cp>“If your mother or father likes tamales, you can bring tamales. If they like to smoke, you bring a pipe. If they like to drink, you can bring a shot of tequila,” explains Cadena. “Something to remember them by.”\u003c/p>\n\u003cp>Dia de los Muertos is a tradition that embraces life and death — a hopeful and meaningful common bond we all share. Standing next to her family’s grave, Rosie Kaiban says it best.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“My mother-in-law. My sister-in-law. And, someday, we’ll be buried here, too.”\u003c/p>\n\n","blocks":[],"excerpt":"Indigenous Mexican festival is a chance to gather family and to honor and remember those who have passed on.","status":"publish","parent":0,"modified":1710798964,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":613},"headData":{"title":"Dia de los Muertos Celebrations Embrace Life and Death | KQED","description":"Indigenous Mexican festival is a chance to gather family and to honor and remember those who have passed on.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-41c5-bcaf-aaef00f5a073/0026bee1-2748-456d-94ef-b13701692b39/audio.mp3","sticky":false,"nprByline":"Tena Rubio","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/news/11155304/dia-de-los-muertos-celebrations-embrace-life-and-death","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>At \u003ca href=\"https://www.facebook.com/pages/Oakdale-Memorial-Park-Mortuary/117609474932667\" target=\"_blank\" rel=\"noopener\">Oakdale Memorial Park\u003c/a> things are a little different on Nov. 1 — All Saints’ Day for many Christians.\u003c/p>\n\u003cp>This place of rest in \u003ca href=\"http://www.ci.glendora.ca.us/\" target=\"_blank\" rel=\"noopener\">Glendora\u003c/a>, east of Los Angeles, comes alive with the joyful strum and blaring brass of live mariachi music. The color and beauty of Mexican folkloric dance sweeps across the grounds. Sweet and savory aromas rise from a small army of food trucks nearby. And vendors sit at display tables and beneath tents, selling handmade arts and crafts.\u003c/p>\n\u003cp>Hundreds of people have come to celebrate \u003ca href=\"http://nationalgeographic.org/media/dia-de-los-muertos/\" target=\"_blank\" rel=\"noopener\">Dia de Los Muertos\u003c/a>, the indigenous Mexican festival also known as Day of the Dead.\u003c/p>\n\u003cp>Rosie Kaiban came with her daughter, Stephanie, and her granddaughter, Lauren.\u003c/p>\n\u003cp>“We’re here to enjoy all the people and enjoy everything that Dia de Los Muertos stands for,” says Kaiban.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And what it stands for is getting a little harder to tell, in part because the festival’s cultural icons are beginning to appear on everything — from beer bottles to T-shirts, tennis shoes and dog collars. Even \u003ca href=\"http://www.starbucks.com/menu/food/bakery/dia-de-los-muertos-cookie\" target=\"_blank\" rel=\"noopener\">Starbucks features Dia de los Muertos skull cookies \u003c/a>in their pastry cases.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘Building of the altar is a way that we intentionally and mindfully create something beautiful.’\u003ccite>Gilbert Cadena, professor at Cal Poly Pomona\u003c/cite>\u003c/aside>\n\u003cp>But as the scene at Oakdale Memorial Park demonstrates, the day means much more. People are here to commemorate a tradition that dates back thousands of years. The central cultural experience is about family and remembrance.\u003c/p>\n\u003cp>\u003ca href=\"http://www.artbyhectorsilva.com/\" target=\"_blank\" rel=\"noopener\">Los Angeles-based Chicano artist Hector Silva\u003c/a> stands next to his work — a stunning collection of intricate and ornate pencil art sketches, incredible for their precision and depth. Silva has celebrated the day since he was a kid in Jalisco, Mexico.\u003c/p>\n\u003cp>“It’s significant,” says Silva. “Celebrating our people that are passed on. And just remember them and to keep loving them. I do a lot of Dia de Los Muertos art because I want to keep that tradition alive.”\u003c/p>\n\u003cfigure id=\"attachment_11156533\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11156533\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/Hector-800x574.jpg\" alt=\"Los Angeles-based Chicano artist Hector Silva stands next to his ornate pencil sketches at Oakdale Memorial Park in Glendora for Dia de los Muertos Celebration.\" width=\"800\" height=\"574\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/Hector-800x574.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/Hector-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/Hector-1020x732.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/Hector.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/Hector-1180x846.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/Hector-960x689.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/Hector-240x172.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/Hector-375x269.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/Hector-520x373.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Los Angeles-based Chicano artist Hector Silva stands next to his ornate pencil sketches at Oakdale Memorial Park in Glendora for Dia de los Muertos Celebration. \u003ccite>(Tena Rubio/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And the tradition is elaborate. Celebrants \u003ca href=\"http://www.mexicansugarskull.com/support/dodhistory.html\" target=\"_blank\" rel=\"noopener\">paint their faces as skulls \u003c/a>to represent the veil between life and death. Altars are adorned with marigolds, sugar skulls and photographs of loved ones.\u003c/p>\n\u003cp>Gilbert Cadena teaches ethnic and women’s studies at Cal Poly Pomona, and hopes the focus of Dia de los Muertos remains on the deep familial and cultural ties that the day represents.\u003c/p>\n\u003cp>“Building of the altar is a way that we intentionally and mindfully create something beautiful,” Cadena says. “It’s a way your story and your life will be passed on to your children and family.”\u003c/p>\n\u003cp>Everything on the altar has meaning. Each sugar skull bears the name of a loved one. The bright and pungent marigolds are said to guide the spirits home. Bright burning candles light the way.\u003c/p>\n\u003cp>And then there are the personal touches.\u003c/p>\n\u003cp>“If your mother or father likes tamales, you can bring tamales. If they like to smoke, you bring a pipe. If they like to drink, you can bring a shot of tequila,” explains Cadena. “Something to remember them by.”\u003c/p>\n\u003cp>Dia de los Muertos is a tradition that embraces life and death — a hopeful and meaningful common bond we all share. Standing next to her family’s grave, Rosie Kaiban says it best.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“My mother-in-law. My sister-in-law. And, someday, we’ll be buried here, too.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11155304/dia-de-los-muertos-celebrations-embrace-life-and-death","authors":["byline_news_11155304"],"programs":["news_72"],"categories":["news_223"],"tags":["news_20135","news_20131","news_20132","news_20134","news_2403","news_17286"],"featImg":"news_11156525","label":"news_72"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2023/08/possible-5gxfizEbKOJ-pbF5ASgxrs_.1400x1400.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2021/10/ATC_1400.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?","imageSrc":"https://ww2.kqed.org/news/wp-content/uploads/sites/10/powerpress/1440_0018_AmericanSuburb_iTunesTile_01.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. 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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. 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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://ww2.kqed.org/app/uploads/2021/10/ME_1400.jpg","officialWebsiteLink":"https://www.npr.org/programs/morning-edition/","meta":{"site":"news","source":"npr"},"link":"/radio/program/morning-edition"},"onourwatch":{"id":"onourwatch","title":"On Our Watch","tagline":"Police secrets, unsealed","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/2024/01/OOW_Tile_Final.png","imageAlt":"On Our Watch from NPR and KQED","officialWebsiteLink":"/podcasts/onourwatch","meta":{"site":"news","source":"kqed","order":"1"},"link":"/podcasts/onourwatch","subscribe":{"apple":"https://podcasts.apple.com/podcast/id1567098962","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw","npr":"https://rpb3r.app.goo.gl/onourwatch","spotify":"https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x","tuneIn":"https://tunein.com/radio/On-Our-Watch-p1436229/","stitcher":"https://www.stitcher.com/show/on-our-watch","rss":"https://feeds.npr.org/510360/podcast.xml"}},"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. 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