'We Belong Together': How Ritchie Valens' Music Inspired a New Book of Poetry
Anthony Cody: 'Cada Día Más Cerca del Fin del Mundo'
‘I Need to Feel Safe More Than I Need Forever’: Poet Antmen Pimentel Mendoza
Oakland Writers Ayodele Nzinga and Leila Mottley
US Poet Laureate and Sonoma Writer Ada Limón on Writing
'Love me Before the City Disappears': Poet Nijla Mu’min
'Unapologetic in the Prioritization of Black Women': bell hooks Remembered by Loved Ones
'Come on Papi, La Vacuna!': A New Arts Campaign Aims to Boost Vaccination Rates in San Joaquin Valley
A Friendship Beyond Prison Walls and a Ferlinghetti Soundscape
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The pilot and three budding stars of rock ’n’ roll — Buddy Holly, J.P. Richardson Jr. aka The Big Bopper, and Ritchie Valens — all died. That winter day became known as “The Day the Music Died,” and was immortalized in the 1971 song “American Pie” by Don McLean.\u003c/p>\n\u003cfigure id=\"attachment_11962655\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-11962655\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/09/230927-TARTA-AMERICANA-02-KQED-800x1200.jpg\" alt=\"An ornate pink and white book cover.\" width=\"800\" height=\"1200\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2023/09/230927-TARTA-AMERICANA-02-KQED-800x1200.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2023/09/230927-TARTA-AMERICANA-02-KQED-1020x1530.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2023/09/230927-TARTA-AMERICANA-02-KQED-160x240.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2023/09/230927-TARTA-AMERICANA-02-KQED-1024x1536.jpg 1024w, https://ww2.kqed.org/app/uploads/sites/10/2023/09/230927-TARTA-AMERICANA-02-KQED.jpg 1333w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A new book by award-winning poet J. Michael Martinez uses the life and music of ‘La Bamba’ singer Ritchie Valens to explore identity, culture and politics. \u003ccite>(Courtesy of J. Michael Martinez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Valens was the youngest on board at 17 years old. The Mexican-American singer from Pacoima, in the San Fernando Valley, had begun his career less than a year earlier. Yet, his legacy was already cemented through his timeless hits including, “We Belong Together,” “Donna,” and his widely beloved interpretation of the Mexican folk song, “La Bamba.”\u003c/p>\n\u003cp>In 1987, the film \u003cem>La Bamba\u003c/em> starring Lou Diamond Phillips, captured Valens’ life story. Los Lobos, the veteran East Los Angeles rockers, performed Valens’ music. The band’s cover of “La Bamba,” went on to become a No. 1 hit upon the film’s release, reintroducing the music of Ritchie Valens to a new generation of fans.\u003c/p>\n\u003cp>Almost 40 years later, award-winning poet and San José State professor J. Michael Martinez has created a new, poetic ode to Valens. \u003cem>Tarta Americana\u003c/em>, which is Spanish for American Pie, uses the life and music of Valens to better understand issues around race, culture and politics as they show up in Martinez’s own life.\u003c/p>\n\u003cp>\u003cem>Sasha Khokha’s interview with J. Michael Martinez has been edited for length and clarity — for the full version, listen to the audio at the top of the page.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Sasha Khokha: \u003c/strong>How did you first get into Ritchie Valens’ music?\u003c/p>\n\u003cp>\u003cstrong>Michael Martinez: \u003c/strong>My mother had “La Bamba” on vinyl, and it was actually the first record that she owned, so she would throw it on the record player growing up. After the movie came out, I was completely enthralled. And so, we ended up having the soundtrack always going and as a child, I would dance to “La Bamba.”\u003c/p>\n\u003cp>My mom had such a visceral, joyous response to the sound of his voice and to that opening pluck of guitar. To see my mother immediately joyous and jovial, shaking and ready to dance, that was always a sign that it was going to be a good day.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BycLmWI97Nc\u003c/p>\n\u003cp>\u003cstrong>You mention the film \u003cem>La Bamba\u003c/em> a lot in this book. Tell me your first memories of watching it.\u003c/strong>\u003c/p>\n\u003cp>I distinctly remember this. We were in our little TV room. We’d ordered pepperoni pizza and my mother pushed it into the VHS and [hit] play. And [there’s] the opening music that the film has and then this particular scene of Latinos and Latinas in the fields harvesting and gathering.\u003c/p>\n\u003cfigure id=\"attachment_11962656\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-11962656\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/09/230927-TARTA-AMERICANA-03-KQED-800x1110.jpg\" alt=\"A scan of a photo of you children smiling and posing for a photo.\" width=\"800\" height=\"1110\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2023/09/230927-TARTA-AMERICANA-03-KQED-800x1110.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2023/09/230927-TARTA-AMERICANA-03-KQED-1020x1416.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2023/09/230927-TARTA-AMERICANA-03-KQED-160x222.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2023/09/230927-TARTA-AMERICANA-03-KQED-1107x1536.jpg 1107w, https://ww2.kqed.org/app/uploads/sites/10/2023/09/230927-TARTA-AMERICANA-03-KQED.jpg 1441w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ivan Martinez and 5-year-old J. Michael Martinez, around the time he first watched the film La Bamba. \u003ccite>(Courtesy of J. Michael Martinez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>No other film that I’d seen up to that point as a child had ever resonated with me in that way before. Because there were people that looked like my uncles and aunts, that looked like my mother, my father, and then Ritchie who was not able to speak Spanish fluently, like me.\u003c/p>\n\u003cp>It really changed my perspective of racial identification. Even as a child, I was like, “Oh, here’s a Chicano that can’t speak Spanish fluently like me that is interested in art like me.” He was deeply, deeply important — a pivotal figure for me to comprehend what it means to be a Chicano, a Latino, in the U.S.\u003c/p>\n\u003cp>\u003cstrong>Are there parallels that you see in terms of Valens’ journey as an artist and yours?\u003c/strong>\u003c/p>\n\u003cp>He was very much a presence in my young childhood, and so radically influenced my visions of what an artist can be. When he was singing, that music was meant to generate community and to generate hope and love, to bring people together, to see them in their joy. That full effort to pursue art, to pursue music, parallels for me the desire to pursue poetry in language and to cultivate community in the hopes of providing some avenue toward joy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Valens’ name was actually whitewashed by his record producer. His real name was Richard Valenzuela, right?\u003c/strong>\u003c/p>\n\u003cp>Certain people, because they’re lighter, they’re more digestible in terms of cultural perception and cultural difference. The more you look like me, the more I can comprehend you. And I think with Valens, that name becomes more legible to audiences that may not understand the “Zuela” of “Valenzuela.”\u003c/p>\n\u003cp>\u003cstrong>But what’s incredible is that one of his hit songs ended up being in Spanish.\u003c/strong>\u003c/p>\n\u003cp>Isn’t that ironic? Isn’t that beautiful? You don’t need to compromise in order to be popular, to create art that finds itself accessible to different audiences. That still informs my revolutionary attitude toward language, toward teaching; that there can be integrity and you don’t necessarily need to compromise in the name of capital to sell a product.\u003c/p>\n\u003cfigure id=\"attachment_11962660\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-11962660\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/09/230927-TARTA-AMERICANA-07-KQED.jpg\" alt=\"A group of people outdoors beside a house.\" width=\"2000\" height=\"1333\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2023/09/230927-TARTA-AMERICANA-07-KQED.jpg 2000w, https://ww2.kqed.org/app/uploads/sites/10/2023/09/230927-TARTA-AMERICANA-07-KQED-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2023/09/230927-TARTA-AMERICANA-07-KQED-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2023/09/230927-TARTA-AMERICANA-07-KQED-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2023/09/230927-TARTA-AMERICANA-07-KQED-1536x1024.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2023/09/230927-TARTA-AMERICANA-07-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A Martinez family gathering. \u003ccite>(Courtesy of J. Michael Martinez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>A lot of this book is in the form of letters from you to Valens. One of my favorite letters is where you talk about an experience your niece had and how you reacted to it. \u003c/strong>\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>Letters to Ritchie XI\u003c/em>\u003c/p>\n\u003cp>Ritchie,\u003c/p>\n\u003cp>This morning my seven-year-old niece told me a story\u003c/p>\n\u003cp>about a girl in her class asking her if she was a “dirty\u003c/p>\n\u003cp>Mexican,” & frowning, I recalled a conversation with\u003c/p>\n\u003cp>my mother two days prior, when my mother reminded\u003c/p>\n\u003cp>me: when I was five, when we were the only “colored”\u003c/p>\n\u003cp>people in the freshly painted suburban all-American\u003c/p>\n\u003cp>picket fence dream on the northwest side of a pretty\u003c/p>\n\u003cp>square town; my mother said, one day, after playing on\u003c/p>\n\u003cp>the sparkly slide side of the park, I stumbled home,\u003c/p>\n\u003cp>crying, & Baby-Me told my Mom-Then that an older,\u003c/p>\n\u003cp>tall, freckle-faced, red-haired boy kept calling me a\u003c/p>\n\u003cp>“dirty Mexican,” & my mom said I cry-sighed to her, “I\u003c/p>\n\u003cp>take showers, Mommy, I’m not\u003c/p>\n\u003cp style=\"padding-left: 120px;\">dirty,”\u003c/p>\n\u003cp style=\"padding-left: 120px;\">&, Ritchie,\u003c/p>\n\u003cp style=\"padding-left: 120px;\">heart emojis\u003c/p>\n\u003cp style=\"padding-left: 160px;\">pop-tart\u003c/p>\n\u003cp>around me as I try to remember being such a small\u003c/p>\n\u003cp>bucktoothed bowl-cut, &, Ritchie, this morning, forty\u003c/p>\n\u003cp>years older than four feet, I asked my niece how she\u003c/p>\n\u003cp>replied, & my niece flipped her long, chestnut-brown\u003c/p>\n\u003cp>hair over her shoulder, & after an intentionally dramatic\u003c/p>\n\u003cp>pause, she lifted her chin, & rocking her head on her\u003c/p>\n\u003cp>neck, all Beyoncé-Queen-B-has-deemed-you-Oh-No-\u003c/p>\n\u003cp>You-Didn’t, she said, “I told her I was a Martinez, & then\u003c/p>\n\u003cp>I pushed her butt to the ground,” &, Ritchie, fireworks\u003c/p>\n\u003cp>smiling out of the corner of her eyes, for one moment we\u003c/p>\n\u003cp>were both one anticipation, then, heads thrown back,\u003c/p>\n\u003cp>we’re braying trombones, stomping merry—joy our\u003c/p>\n\u003cp>preferred stereotype.\u003c/p>\u003c/blockquote>\n\u003cp>[aside label='More Stories on the Arts' tag='arts']\u003cstrong>Valens almost becomes the listener and somebody to bear witness to your own biographical journey as you’re mining his.\u003c/strong>\u003c/p>\n\u003cp>Yeah, I think that’s really right on. Ritchie became synonymous for me as this energy that we associate with love and how it brings generations like me and my mother, my niece who loves \u003cem>La Bamba\u003c/em>, different races together.\u003c/p>\n\u003cp>He’s a vehicle, a spirit and energy that I can ride and identify with toward this plane of understanding.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"J. Michael Martinez's new poetry book, 'Tarta Americana,' takes inspiration from the life and music of the late rock 'n' roll icon Ritchie Valens. ","status":"publish","parent":0,"modified":1695958953,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":53,"wordCount":1370},"headData":{"title":"'We Belong Together': How Ritchie Valens' Music Inspired a New Book of Poetry | KQED","description":"J. Michael Martinez's new poetry book, 'Tarta Americana,' takes inspiration from the life and music of the late rock 'n' roll icon Ritchie Valens. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"'We Belong Together': How Ritchie Valens' Music Inspired a New Book of Poetry","datePublished":"2023-09-29T14:30:51.000Z","dateModified":"2023-09-29T03:42:33.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-41c5-bcaf-aaef00f5a073/eaad2e5e-7e45-4309-b571-b08b013abb6b/audio.mp3","nprByline":"\u003ca href=\"https://jessicakariisa.com/\">Jessica Kariisa and Sasha Khokha\u003c/a>","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/news/11962630/we-belong-together-how-ritchie-valens-music-inspired-a-new-book-of-poetry","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Few dates hold as much resonance in the history of American rock ’n’ roll as Feb. 3, 1959.\u003c/p>\n\u003cp>On that day, a single-engine plane with room for only three passengers crashed into a cornfield in Clear Lake, Iowa, just minutes after takeoff. The pilot and three budding stars of rock ’n’ roll — Buddy Holly, J.P. Richardson Jr. aka The Big Bopper, and Ritchie Valens — all died. That winter day became known as “The Day the Music Died,” and was immortalized in the 1971 song “American Pie” by Don McLean.\u003c/p>\n\u003cfigure id=\"attachment_11962655\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-11962655\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/09/230927-TARTA-AMERICANA-02-KQED-800x1200.jpg\" alt=\"An ornate pink and white book cover.\" width=\"800\" height=\"1200\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2023/09/230927-TARTA-AMERICANA-02-KQED-800x1200.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2023/09/230927-TARTA-AMERICANA-02-KQED-1020x1530.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2023/09/230927-TARTA-AMERICANA-02-KQED-160x240.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2023/09/230927-TARTA-AMERICANA-02-KQED-1024x1536.jpg 1024w, https://ww2.kqed.org/app/uploads/sites/10/2023/09/230927-TARTA-AMERICANA-02-KQED.jpg 1333w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A new book by award-winning poet J. Michael Martinez uses the life and music of ‘La Bamba’ singer Ritchie Valens to explore identity, culture and politics. \u003ccite>(Courtesy of J. Michael Martinez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Valens was the youngest on board at 17 years old. The Mexican-American singer from Pacoima, in the San Fernando Valley, had begun his career less than a year earlier. Yet, his legacy was already cemented through his timeless hits including, “We Belong Together,” “Donna,” and his widely beloved interpretation of the Mexican folk song, “La Bamba.”\u003c/p>\n\u003cp>In 1987, the film \u003cem>La Bamba\u003c/em> starring Lou Diamond Phillips, captured Valens’ life story. Los Lobos, the veteran East Los Angeles rockers, performed Valens’ music. The band’s cover of “La Bamba,” went on to become a No. 1 hit upon the film’s release, reintroducing the music of Ritchie Valens to a new generation of fans.\u003c/p>\n\u003cp>Almost 40 years later, award-winning poet and San José State professor J. Michael Martinez has created a new, poetic ode to Valens. \u003cem>Tarta Americana\u003c/em>, which is Spanish for American Pie, uses the life and music of Valens to better understand issues around race, culture and politics as they show up in Martinez’s own life.\u003c/p>\n\u003cp>\u003cem>Sasha Khokha’s interview with J. Michael Martinez has been edited for length and clarity — for the full version, listen to the audio at the top of the page.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Sasha Khokha: \u003c/strong>How did you first get into Ritchie Valens’ music?\u003c/p>\n\u003cp>\u003cstrong>Michael Martinez: \u003c/strong>My mother had “La Bamba” on vinyl, and it was actually the first record that she owned, so she would throw it on the record player growing up. After the movie came out, I was completely enthralled. And so, we ended up having the soundtrack always going and as a child, I would dance to “La Bamba.”\u003c/p>\n\u003cp>My mom had such a visceral, joyous response to the sound of his voice and to that opening pluck of guitar. To see my mother immediately joyous and jovial, shaking and ready to dance, that was always a sign that it was going to be a good day.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/BycLmWI97Nc'\n title='//www.youtube.com/embed/BycLmWI97Nc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>You mention the film \u003cem>La Bamba\u003c/em> a lot in this book. Tell me your first memories of watching it.\u003c/strong>\u003c/p>\n\u003cp>I distinctly remember this. We were in our little TV room. We’d ordered pepperoni pizza and my mother pushed it into the VHS and [hit] play. And [there’s] the opening music that the film has and then this particular scene of Latinos and Latinas in the fields harvesting and gathering.\u003c/p>\n\u003cfigure id=\"attachment_11962656\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-11962656\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/09/230927-TARTA-AMERICANA-03-KQED-800x1110.jpg\" alt=\"A scan of a photo of you children smiling and posing for a photo.\" width=\"800\" height=\"1110\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2023/09/230927-TARTA-AMERICANA-03-KQED-800x1110.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2023/09/230927-TARTA-AMERICANA-03-KQED-1020x1416.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2023/09/230927-TARTA-AMERICANA-03-KQED-160x222.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2023/09/230927-TARTA-AMERICANA-03-KQED-1107x1536.jpg 1107w, https://ww2.kqed.org/app/uploads/sites/10/2023/09/230927-TARTA-AMERICANA-03-KQED.jpg 1441w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ivan Martinez and 5-year-old J. Michael Martinez, around the time he first watched the film La Bamba. \u003ccite>(Courtesy of J. Michael Martinez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>No other film that I’d seen up to that point as a child had ever resonated with me in that way before. Because there were people that looked like my uncles and aunts, that looked like my mother, my father, and then Ritchie who was not able to speak Spanish fluently, like me.\u003c/p>\n\u003cp>It really changed my perspective of racial identification. Even as a child, I was like, “Oh, here’s a Chicano that can’t speak Spanish fluently like me that is interested in art like me.” He was deeply, deeply important — a pivotal figure for me to comprehend what it means to be a Chicano, a Latino, in the U.S.\u003c/p>\n\u003cp>\u003cstrong>Are there parallels that you see in terms of Valens’ journey as an artist and yours?\u003c/strong>\u003c/p>\n\u003cp>He was very much a presence in my young childhood, and so radically influenced my visions of what an artist can be. When he was singing, that music was meant to generate community and to generate hope and love, to bring people together, to see them in their joy. That full effort to pursue art, to pursue music, parallels for me the desire to pursue poetry in language and to cultivate community in the hopes of providing some avenue toward joy.\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>Valens’ name was actually whitewashed by his record producer. His real name was Richard Valenzuela, right?\u003c/strong>\u003c/p>\n\u003cp>Certain people, because they’re lighter, they’re more digestible in terms of cultural perception and cultural difference. The more you look like me, the more I can comprehend you. And I think with Valens, that name becomes more legible to audiences that may not understand the “Zuela” of “Valenzuela.”\u003c/p>\n\u003cp>\u003cstrong>But what’s incredible is that one of his hit songs ended up being in Spanish.\u003c/strong>\u003c/p>\n\u003cp>Isn’t that ironic? Isn’t that beautiful? You don’t need to compromise in order to be popular, to create art that finds itself accessible to different audiences. That still informs my revolutionary attitude toward language, toward teaching; that there can be integrity and you don’t necessarily need to compromise in the name of capital to sell a product.\u003c/p>\n\u003cfigure id=\"attachment_11962660\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-11962660\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/09/230927-TARTA-AMERICANA-07-KQED.jpg\" alt=\"A group of people outdoors beside a house.\" width=\"2000\" height=\"1333\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2023/09/230927-TARTA-AMERICANA-07-KQED.jpg 2000w, https://ww2.kqed.org/app/uploads/sites/10/2023/09/230927-TARTA-AMERICANA-07-KQED-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2023/09/230927-TARTA-AMERICANA-07-KQED-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2023/09/230927-TARTA-AMERICANA-07-KQED-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2023/09/230927-TARTA-AMERICANA-07-KQED-1536x1024.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2023/09/230927-TARTA-AMERICANA-07-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A Martinez family gathering. \u003ccite>(Courtesy of J. Michael Martinez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>A lot of this book is in the form of letters from you to Valens. One of my favorite letters is where you talk about an experience your niece had and how you reacted to it. \u003c/strong>\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>Letters to Ritchie XI\u003c/em>\u003c/p>\n\u003cp>Ritchie,\u003c/p>\n\u003cp>This morning my seven-year-old niece told me a story\u003c/p>\n\u003cp>about a girl in her class asking her if she was a “dirty\u003c/p>\n\u003cp>Mexican,” & frowning, I recalled a conversation with\u003c/p>\n\u003cp>my mother two days prior, when my mother reminded\u003c/p>\n\u003cp>me: when I was five, when we were the only “colored”\u003c/p>\n\u003cp>people in the freshly painted suburban all-American\u003c/p>\n\u003cp>picket fence dream on the northwest side of a pretty\u003c/p>\n\u003cp>square town; my mother said, one day, after playing on\u003c/p>\n\u003cp>the sparkly slide side of the park, I stumbled home,\u003c/p>\n\u003cp>crying, & Baby-Me told my Mom-Then that an older,\u003c/p>\n\u003cp>tall, freckle-faced, red-haired boy kept calling me a\u003c/p>\n\u003cp>“dirty Mexican,” & my mom said I cry-sighed to her, “I\u003c/p>\n\u003cp>take showers, Mommy, I’m not\u003c/p>\n\u003cp style=\"padding-left: 120px;\">dirty,”\u003c/p>\n\u003cp style=\"padding-left: 120px;\">&, Ritchie,\u003c/p>\n\u003cp style=\"padding-left: 120px;\">heart emojis\u003c/p>\n\u003cp style=\"padding-left: 160px;\">pop-tart\u003c/p>\n\u003cp>around me as I try to remember being such a small\u003c/p>\n\u003cp>bucktoothed bowl-cut, &, Ritchie, this morning, forty\u003c/p>\n\u003cp>years older than four feet, I asked my niece how she\u003c/p>\n\u003cp>replied, & my niece flipped her long, chestnut-brown\u003c/p>\n\u003cp>hair over her shoulder, & after an intentionally dramatic\u003c/p>\n\u003cp>pause, she lifted her chin, & rocking her head on her\u003c/p>\n\u003cp>neck, all Beyoncé-Queen-B-has-deemed-you-Oh-No-\u003c/p>\n\u003cp>You-Didn’t, she said, “I told her I was a Martinez, & then\u003c/p>\n\u003cp>I pushed her butt to the ground,” &, Ritchie, fireworks\u003c/p>\n\u003cp>smiling out of the corner of her eyes, for one moment we\u003c/p>\n\u003cp>were both one anticipation, then, heads thrown back,\u003c/p>\n\u003cp>we’re braying trombones, stomping merry—joy our\u003c/p>\n\u003cp>preferred stereotype.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"label":"More Stories on the Arts ","tag":"arts"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cstrong>Valens almost becomes the listener and somebody to bear witness to your own biographical journey as you’re mining his.\u003c/strong>\u003c/p>\n\u003cp>Yeah, I think that’s really right on. Ritchie became synonymous for me as this energy that we associate with love and how it brings generations like me and my mother, my niece who loves \u003cem>La Bamba\u003c/em>, different races together.\u003c/p>\n\u003cp>He’s a vehicle, a spirit and energy that I can ride and identify with toward this plane of understanding.\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/11962630/we-belong-together-how-ritchie-valens-music-inspired-a-new-book-of-poetry","authors":["byline_news_11962630"],"programs":["news_72","news_26731"],"categories":["news_29992","news_8"],"tags":["news_19133","news_33259","news_18538","news_33261","news_1425","news_1222","news_33258","news_5711","news_33260"],"featImg":"news_11962654","label":"news_26731"},"news_11947995":{"type":"posts","id":"news_11947995","meta":{"index":"posts_1591205157","site":"news","id":"11947995","score":null,"sort":[1682900139000]},"guestAuthors":[],"slug":"anthony-cody-cada-dia-mas-cerca-del-fin-del-mundo","title":"Anthony Cody: 'Cada Día Más Cerca del Fin del Mundo'","publishDate":1682900139,"format":"audio","headTitle":"Anthony Cody: ‘Cada Día Más Cerca del Fin del Mundo’ | KQED","labelTerm":{"site":"news"},"content":"\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/sundaymusicdrop\">The Sunday Music Drop is a weekly radio series hosted by the KQED weekend news team.\u003c/a> In each segment, we feature a song from a local musician or band with an upcoming show and hear about what inspires their music.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Throughout April we have mixed it up in honor of National Poetry Month. We’ve brought you one poem each week from a poet with an upcoming reading. This week’s is the final poem in the series.\u003c/em>\u003c/p>\n\u003cp>Anthony Cody wrote the opening poem from his collection, \u003cem>\u003ca href=\"https://press.uchicago.edu/ucp/books/book/distributed/R/bo196817695.html\">The Rendering\u003c/a>\u003c/em>, after doomscrolling and seeing a video online of a logging machine making quick work of a small forest. “Cada Día Más Cerca del Fin del Mundo” translates to, essentially, “Every day closer to the end of the world.”\u003c/p>\n\u003cp>Cody makes an effort to ensure that his poems are able to expand and engage with people beyond just the page. “If I can make poems in different settings and have different avenues for engagement,” he says, it’s a way to invite people in who also want to make poems or engage with the poem.\u003c/p>\n\u003cp>Cody describes his poetry as having a sort of “chaotic aesthetic.” He might veer away from a narrative poem and try to do something more experimental or a “little bit more funky.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For example, his book includes \u003ca href=\"https://anthonycody.com/therendering/\">QR codes with links\u003c/a> to ways of taking the poem off the page and into another form, with instructions to print and assemble one poem, “Nothing but a Margin, but a Yield,” as a double-sided deck.\u003c/p>\n\u003cp>Cody also explores different ways of creating these moments of pause or reflection. His poems explore a range of themes, from the history of lynchings of Mexicans and Mexican Americans in the Southwest to climate catastrophe. Ultimately, he’s interested in exploring how to create the space that allows a reader to think or interact. “How do we have that interruption, that intervention, that rupture in the moment so we can sort of engage with it differently?” he asks.\u003c/p>\n\u003cp>Cody will be talking about \u003ca href=\"https://www.baybookfest.org/session/poetry-and-the-archives-of-history/\">poetry and the archives of history\u003c/a> on Saturday May 6, at 1 p.m. at The Marsh in Berkeley. He’ll also be \u003ca href=\"https://www.baybookfest.org/session/poetry-at-the-end-of-the-world/\">exploring themes of apocalypse, survival and hope with a panel of poets\u003c/a> on May 7, at 7 p.m. at Freight and Salvage. Both events are part of the \u003ca href=\"https://www.baybookfest.org/\">Bay Area Book Festival\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"The title poem of Anthony Cody's latest book translates to, 'Every day closer to the end of the world.'","status":"publish","parent":0,"modified":1682962812,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":422},"headData":{"title":"Anthony Cody: 'Cada Día Más Cerca del Fin del Mundo' | KQED","description":"The title poem of Anthony Cody's latest book translates to, 'Every day closer to the end of the world.'","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"Anthony Cody: 'Cada Día Más Cerca del Fin del Mundo'","datePublished":"2023-05-01T00:15:39.000Z","dateModified":"2023-05-01T17:40:12.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"audioUrl":"https://ww2.kqed.org/app/uploads/sites/10/2023/04/Poetry-Drop_Antony-Cody_230430.mp3","excludeFromSiteSearch":"Include","articleAge":"0","path":"/news/11947995/anthony-cody-cada-dia-mas-cerca-del-fin-del-mundo","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/sundaymusicdrop\">The Sunday Music Drop is a weekly radio series hosted by the KQED weekend news team.\u003c/a> In each segment, we feature a song from a local musician or band with an upcoming show and hear about what inspires their music.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Throughout April we have mixed it up in honor of National Poetry Month. We’ve brought you one poem each week from a poet with an upcoming reading. This week’s is the final poem in the series.\u003c/em>\u003c/p>\n\u003cp>Anthony Cody wrote the opening poem from his collection, \u003cem>\u003ca href=\"https://press.uchicago.edu/ucp/books/book/distributed/R/bo196817695.html\">The Rendering\u003c/a>\u003c/em>, after doomscrolling and seeing a video online of a logging machine making quick work of a small forest. “Cada Día Más Cerca del Fin del Mundo” translates to, essentially, “Every day closer to the end of the world.”\u003c/p>\n\u003cp>Cody makes an effort to ensure that his poems are able to expand and engage with people beyond just the page. “If I can make poems in different settings and have different avenues for engagement,” he says, it’s a way to invite people in who also want to make poems or engage with the poem.\u003c/p>\n\u003cp>Cody describes his poetry as having a sort of “chaotic aesthetic.” He might veer away from a narrative poem and try to do something more experimental or a “little bit more funky.”\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>For example, his book includes \u003ca href=\"https://anthonycody.com/therendering/\">QR codes with links\u003c/a> to ways of taking the poem off the page and into another form, with instructions to print and assemble one poem, “Nothing but a Margin, but a Yield,” as a double-sided deck.\u003c/p>\n\u003cp>Cody also explores different ways of creating these moments of pause or reflection. His poems explore a range of themes, from the history of lynchings of Mexicans and Mexican Americans in the Southwest to climate catastrophe. Ultimately, he’s interested in exploring how to create the space that allows a reader to think or interact. “How do we have that interruption, that intervention, that rupture in the moment so we can sort of engage with it differently?” he asks.\u003c/p>\n\u003cp>Cody will be talking about \u003ca href=\"https://www.baybookfest.org/session/poetry-and-the-archives-of-history/\">poetry and the archives of history\u003c/a> on Saturday May 6, at 1 p.m. at The Marsh in Berkeley. He’ll also be \u003ca href=\"https://www.baybookfest.org/session/poetry-at-the-end-of-the-world/\">exploring themes of apocalypse, survival and hope with a panel of poets\u003c/a> on May 7, at 7 p.m. at Freight and Salvage. Both events are part of the \u003ca href=\"https://www.baybookfest.org/\">Bay Area Book Festival\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11947995/anthony-cody-cada-dia-mas-cerca-del-fin-del-mundo","authors":["11626"],"categories":["news_29992","news_8"],"tags":["news_32687","news_27626","news_1222","news_31662","news_31663"],"featImg":"news_11947996","label":"news"},"news_11947152":{"type":"posts","id":"news_11947152","meta":{"index":"posts_1591205157","site":"news","id":"11947152","score":null,"sort":[1682071201000]},"guestAuthors":[],"slug":"heartbreak-the-apocalypse-and-queer-love-national-poetry-month-with-antmen-pimentel-mendoza","title":"‘I Need to Feel Safe More Than I Need Forever’: Poet Antmen Pimentel Mendoza","publishDate":1682071201,"format":"audio","headTitle":"‘I Need to Feel Safe More Than I Need Forever’: Poet Antmen Pimentel Mendoza | KQED","labelTerm":{},"content":"\u003cp>\u003cspan style=\"font-weight: 400\">To commemorate National Poetry Month, producer Maria Esquinca talks to Bay Area-based poet\u003ca href=\"https://www.antmenpm.com/\"> Antmen Pimentel Mendoza\u003c/a> about his Chapbook collection, “My Boyfriend Apocalypse.” He talks about surviving the apocalypse, queer love, and finding play in poetry. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">You can listen to Antmen Pimentel Mendoza read live on \u003c/span>\u003ca href=\"https://www.fabulosabooks.com/eventsart.html\">\u003cspan style=\"font-weight: 400\">Tuesday, April 25, at 7 p.m. at Fabulosa Books in San Francisco.\u003c/span>\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">You can find him on Twitter and instagram @antmenismagic.\u003c/span>\u003c/p>\n\u003cdiv class=\"card card--enclosed grey\">\n\u003cp id=\"embed-code\" class=\"inconsolata\">\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC5859624931&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\n\u003c/p>\n\u003c/div>\n\u003cp>\u003ca href=\"https://bit.ly/3VQo2PE\">\u003cem>Episode transcript\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Links:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.antmenpm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Antmen Pimantel Mendoza’s website\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://www.kqed.org/news/11946171/antmen-pimentel-mendoza-eau-dbedroom-dancing-i-learn-from-you\" target=\"_blank\" rel=\"noopener noreferrer\">READ: ‘Eau D’Bedroom Dancing (I Learn From You)’\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"To commemorate National Poetry Month, producer Maria Esquinca talks to Bay Area-based poet Antmen Pimentel Mendoza about his Chapbook collection, “My Boyfriend Apocalypse.”","status":"publish","parent":0,"modified":1700682682,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":95},"headData":{"title":"‘I Need to Feel Safe More Than I Need Forever’: Poet Antmen Pimentel Mendoza | KQED","description":"To commemorate National Poetry Month, producer Maria Esquinca talks to Bay Area-based poet Antmen Pimentel Mendoza about his Chapbook collection, “My Boyfriend Apocalypse.”","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"‘I Need to Feel Safe More Than I Need Forever’: Poet Antmen Pimentel 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Esquinca talks to Bay Area-based poet\u003ca href=\"https://www.antmenpm.com/\"> Antmen Pimentel Mendoza\u003c/a> about his Chapbook collection, “My Boyfriend Apocalypse.” He talks about surviving the apocalypse, queer love, and finding play in poetry. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">You can listen to Antmen Pimentel Mendoza read live on \u003c/span>\u003ca href=\"https://www.fabulosabooks.com/eventsart.html\">\u003cspan style=\"font-weight: 400\">Tuesday, April 25, at 7 p.m. at Fabulosa Books in San Francisco.\u003c/span>\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">You can find him on Twitter and instagram @antmenismagic.\u003c/span>\u003c/p>\n\u003cdiv class=\"card card--enclosed grey\">\n\u003cp id=\"embed-code\" class=\"inconsolata\">\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC5859624931&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\n\u003c/p>\n\u003c/div>\n\u003cp>\u003ca href=\"https://bit.ly/3VQo2PE\">\u003cem>Episode transcript\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Links:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.antmenpm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Antmen Pimantel Mendoza’s website\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://www.kqed.org/news/11946171/antmen-pimentel-mendoza-eau-dbedroom-dancing-i-learn-from-you\" target=\"_blank\" rel=\"noopener noreferrer\">READ: ‘Eau D’Bedroom Dancing (I Learn From You)’\u003c/a>\u003c/li>\n\u003c/ul>\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>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11947152/heartbreak-the-apocalypse-and-queer-love-national-poetry-month-with-antmen-pimentel-mendoza","authors":["11802"],"programs":["news_28779"],"categories":["news_8","news_33520"],"tags":["news_31002","news_1222","news_30502","news_22598"],"featImg":"news_11947154","label":"source_news_11947152"},"news_11928031":{"type":"posts","id":"news_11928031","meta":{"index":"posts_1591205157","site":"news","id":"11928031","score":null,"sort":[1665184344000]},"guestAuthors":[],"slug":"oakland-writers-ayodele-nzinga-and-leila-mottley","title":"Oakland Writers Ayodele Nzinga and Leila Mottley","publishDate":1665184344,"format":"video","headTitle":"KQED Newsroom | KQED News","labelTerm":{"term":7052,"site":"news"},"content":"\u003cp>\u003cb>Oakland Writers Ayodele Nzinga and Leila Mottley\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This week, we welcome two contemporary Oakland authors: Leila Mottley and Dr. Ayodele Nzinga. Mottley is an Oakland Youth Poet Laureate, who at just 19 years old published \"Nightcrawling\" — an immersive novel and an Oprah's Book Club selection — based on local events. She's joined by Oakland's inaugural Poet Laureate, Dr. Ayodele Nzinga, who shines not only as an author but also as a director, actor and educator. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Guests:\u003c/span>\u003c/p>\n\u003cul>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Leila Mottley, \"Nightcrawling\" author\u003c/span>\u003c/li>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Ayodele Nzinga, Oakland Poet Laureate\u003c/span>\u003c/li>\n\u003c/ul>\n\u003cp> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>This Week in California News and Politics\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">San Francisco Mayor London Breed, together with San Francisco Police Chief Bill Scott and San Francisco District Attorney Brooke Jenkins, announced a renewed push to prosecute drug dealers while also helping people dealing with substance use disorder. We talk with \u003c/span>\u003cb>Scott Shafer,\u003c/b> \u003cb>KQED politics and government senior editor\u003c/b>\u003cspan style=\"font-weight: 400\">, who spoke with Mayor Breed this week.\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Something Beautiful: West Oakland Mural Project\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The West Oakland Mural Project highlights the vital role women played in the revolutionary Black Panther Party.\u003c/span>\u003c/p>\n\n","blocks":[],"excerpt":null,"status":"publish","parent":0,"modified":1665184344,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":180},"headData":{"title":"Oakland Writers Ayodele Nzinga and Leila Mottley | KQED","description":"Oakland Writers Ayodele Nzinga and Leila Mottley This week, we welcome two contemporary Oakland authors: Leila Mottley and Dr. Ayodele Nzinga. Mottley is an Oakland Youth Poet Laureate, who at just 19 years old published "Nightcrawling" — an immersive novel and an Oprah's Book Club selection — based on local events. She's joined by Oakland's","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"Oakland Writers Ayodele Nzinga and Leila Mottley","datePublished":"2022-10-07T23:12:24.000Z","dateModified":"2022-10-07T23:12:24.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"disqusIdentifier":"11928031 https://ww2.kqed.org/news/?p=11928031","disqusUrl":"https://ww2.kqed.org/news/2022/10/07/oakland-writers-ayodele-nzinga-and-leila-mottley/","disqusTitle":"Oakland Writers Ayodele Nzinga and Leila Mottley","videoEmbed":"https://youtu.be/v-_ee2Q1jFY","excludeFromSiteSearch":"Include","path":"/news/11928031/oakland-writers-ayodele-nzinga-and-leila-mottley","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>Oakland Writers Ayodele Nzinga and Leila Mottley\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This week, we welcome two contemporary Oakland authors: Leila Mottley and Dr. Ayodele Nzinga. Mottley is an Oakland Youth Poet Laureate, who at just 19 years old published \"Nightcrawling\" — an immersive novel and an Oprah's Book Club selection — based on local events. She's joined by Oakland's inaugural Poet Laureate, Dr. Ayodele Nzinga, who shines not only as an author but also as a director, actor and educator. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Guests:\u003c/span>\u003c/p>\n\u003cul>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Leila Mottley, \"Nightcrawling\" author\u003c/span>\u003c/li>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Ayodele Nzinga, Oakland Poet Laureate\u003c/span>\u003c/li>\n\u003c/ul>\n\u003cp> \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>\u003cb>This Week in California News and Politics\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">San Francisco Mayor London Breed, together with San Francisco Police Chief Bill Scott and San Francisco District Attorney Brooke Jenkins, announced a renewed push to prosecute drug dealers while also helping people dealing with substance use disorder. We talk with \u003c/span>\u003cb>Scott Shafer,\u003c/b> \u003cb>KQED politics and government senior editor\u003c/b>\u003cspan style=\"font-weight: 400\">, who spoke with Mayor Breed this week.\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Something Beautiful: West Oakland Mural Project\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The West Oakland Mural Project highlights the vital role women played in the revolutionary Black Panther Party.\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11928031/oakland-writers-ayodele-nzinga-and-leila-mottley","authors":["236"],"programs":["news_7052"],"categories":["news_29992","news_223","news_1758","news_28750","news_457","news_6266","news_6188","news_28250","news_13"],"tags":["news_30878","news_31781","news_18880","news_18012","news_31336","news_22903","news_1775","news_31780","news_24474","news_18","news_1222","news_30740","news_31782","news_31783","news_163"],"featImg":"news_11928107","label":"news_7052"},"news_11923881":{"type":"posts","id":"news_11923881","meta":{"index":"posts_1591205157","site":"news","id":"11923881","score":null,"sort":[1661900713000]},"guestAuthors":[],"slug":"us-poet-laureate-and-sonoma-writer-ada-limon-on-writing","title":"US Poet Laureate and Sonoma Writer Ada Limón on Writing","publishDate":1661900713,"format":"audio","headTitle":"KQED News","labelTerm":{"site":"news"},"content":"\u003cp>As the 24th poet laureate of the United States, Ada Limón is an ambassador to the world of beautiful words. Her poems use clear, everyday language. But they have as much literary heft as they do accessibility. Limón has written a half dozen books of poetry, and her most recent work is \"\u003ca href=\"https://www.npr.org/2022/05/09/1096005629/ada-limon-hurting-kind-review-poetry\" target=\"_blank\" rel=\"noopener noreferrer\">The Hurting Kind\u003c/a>.\" She's also the winner of the National Book Critics Circle Award for poetry and many other accolades.\u003c/p>\n\u003cp>Limón was born in Sonoma County, and now lives among the hills and horses of Kentucky. \u003ca href=\"https://www.kqed.org/forum/2010101890341/u-s-poet-laureate-ada-limon-on-elevating-and-promoting-poetry-when-america-needs-healing\" target=\"_blank\" rel=\"noopener noreferrer\">KQED Forum host Alexis Madrigal spoke with Limón\u003c/a> about her new post as poet laureate and how to read a poem.\u003c/p>\n\u003cp>\u003cem>The following excerpts have been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>ALEXIS MADRIGAL: In a 2008 essay, you were living in New York and pondering regional poetry and asking if you were, in fact, a poet of Sonoma. And then you said, \"I think I would claim myself a California poet. This definition is too tight, and it smells like old wine.\" Do you see yourself now as a Sonoma poet? \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>ADA LIMÓN:\u003c/strong> To be honest, I think that the place I feel the most at home is in Sonoma. It does feel like a place where I deeply belong. But I also feel like there is a part of me that now that I've lived so many different places ... I do feel like there's this sort of sense that I belong to America. I think the landscape of the United States is something that I really feel connected to. And now that I've lived so many places in it, I feel like I can speak to that. But, Sonoma definitely still feels like home.\u003c/p>\n\u003cp>\u003cstrong>Do you feel coming from these different places, living in these different places, that contrasts stick out more?\u003c/strong>\u003c/p>\n\u003cp>I think that one of the things that I really love about being in different places, even just traveling, is that idea of getting to know the natural elements in each place. When I first arrived in Kentucky, I was really hoping to move back to California permanently, and then I fell madly in love and married my husband and I live in Kentucky and have learned to just love it.\u003c/p>\n\u003cp>But I think the way that I know to love something, or how I can figure that out, is to explore the natural landscape around me. A lot of the poems in the book are about me really figuring out the landscape around me and looking at the old barns and the incredible horse pastures everywhere. That was important to me to figure out — how to love a place, to name the plants and animals, that I'm surrounded by.\u003c/p>\n\u003cp>\u003cstrong>Let's have you read \"\u003ca href=\"https://www.oprahdaily.com/entertainment/books/a39654803/ada-limon-hurting-kind-poem-video/\" target=\"_blank\" rel=\"noopener noreferrer\">A Good Story\u003c/a>.\" This is from your most recent collection.\u003c/strong>\u003c/p>\n\u003cp>It's a poem that began for me at a place where I feel like there were so many poems that were dealing with trauma. And I think it's incredibly important that we write and read poems that are hard and that deal with the hard things. But I also really wanted to write about tenderness and be grateful for those moments that tenderness was offered to me. This is where that poem came from.\u003c/p>\n\u003cp>\u003cstrong>It made me think of a time my sister's ex-husband silently made me a bowl of macaroni and cheese, while I cried on my sister's lap. What is the literary infrastructure that makes that pack such a punch?\u003c/strong>\u003c/p>\n\u003cp>Thank you for that. The poem is in couplets and there are actually long lines in the poem that sort of allow for it to move a little faster.\u003c/p>\n\u003cp>The line length of a poem really determines the rhythm and speed of how the poem is read. A shorter line is going to be much slower if you think sort of Emily Dickinson, that's going to read much slower because it's got the breath in it.\u003c/p>\n\u003cp>That slight pause after the line break is going to make you read it slower and then a longer line is going to read a little faster.\u003c/p>\n\u003cp>You can think of Whitman and then sort of the mid-length line is more for conversation. You can think of Shakespeare. It's meant to be read a little fast, but then at the same time it's in couplets. So you're going to break after each of those couplets, which gives you that little moment of pause.\u003c/p>\n\u003cp>It has that sort of rhythm that goes back and forth.\u003c/p>\n\u003cp>The last line is then on its own, which kind of allows for it to stand out a little bit.\u003c/p>\n\u003cp>The other part of this poem is that it's dealing with time.\u003c/p>\n\u003cp>I had a student ask me, \"How is it that you can go from the present moment into the past or into the future so easily in your poems?\" And I said, well, this is going to sound weird, but I think time doesn't exist. I say my stepfather told me a story. And then he does this thing. But at the same time, it does feel like it's happening in the present moment because it begins with a hard day. And what does the hard day require? The hard day requires a good story and sometimes that good story isn't something that's happening now. But maybe it's a memory like you were talking about. The person that fed you macaroni and cheese.\u003cbr>\n[pullquote size=\"medium\" align=\"right\" citation=\"Ada Limón, 24th US poet laureate\"]'There's a real danger in living without feeling and swallowing everything to become sort of courageous and resilient ... sometimes I think we also need to be a mess.'[/pullquote]\u003c/p>\n\u003cp>\u003cstrong>We praise people so much for courage and bravery and strength and sometimes not for tenderness. In \"The Hurting Kind,\" how do you think about celebrating the ability to hold grief or the ability to hurt? How does one actually do that?\u003c/strong>\u003c/p>\n\u003cp>I've been thinking about this a lot, and I feel like oftentimes when we come to a poem, it's not even so much that we have to feel a certain thing, right? You don't have to feel exactly what I want you to feel after a poem I've read or a poem I've given you by somebody else.\u003c/p>\n\u003cp>Maybe the important thing is just that you feel period.\u003c/p>\n\u003cp>And maybe that is something that we need to tap into, because I know for me, this is true. We've just become so numb to so much because there's just so much chaos and crisis in the world that it feels like every one of us is being shoved from one emergency to the next.\u003c/p>\n\u003cp>We have to compartmentalize, and of course, we have to go numb a little bit. But I think that there is a real danger in that. There's a real danger in living without feeling and swallowing everything to become sort of courageous and resilient. And listen, I love the word \"resilience\" and I want to be resilient. But sometimes I think we also need to be a mess.[pullquote size=\"medium\" align=\"left\" citation=\"Ada Limón, 24th US poet laureate\"]'There is power in that moment when you break down, that moment when you feel all the feelings and it feels like too much.'[/pullquote]We need to feel and maybe have someone give us macaroni and cheese while we cry. I think those are really important moments. It's what makes us human. It also is what makes us able to find strength.\u003c/p>\n\u003cp>There is power in that moment when you break down, that moment when you feel all the feelings and it feels like too much. That's important because that's where we get the courage to go on, and maybe pursue the action that we need to see in the world. But I do think we need to make space for breathing, for falling apart, for crying. And for grieving those that we lost, because we just, we move on so quickly.\u003c/p>\n\u003cp>We're asked to move on so quickly. And I think sometimes we aren't supposed to.\u003c/p>\n\u003cp>\u003cstrong>It feels like the river you grew up by, the creek you grew up by in Sonoma, it raised you in some way, thinking about the poem you wrote about the raccoon decomposing in the water with its little hand eventually turning to bone.\u003c/strong>\u003c/p>\n\u003cp>That's the Calabazas Creek. That creek is really important to me. Someone asked me one time where my poems come from and that creek was my first thought: \"It's the Calabazas Creek.\" There's something about that area.\u003c/p>\n\u003cp>Sometimes with poetry, we're looking for the voice under the voice. It's not just the voice, but the thing underneath it. And that creek was underneath our life. The cars were going from the job and school and all of that. You could feel the rush. But there it was quiet. It was small. There were the little crawdads and little minnows. And there was all of this life happening. But it was like a secret life. And I think oftentimes my poems begin there.\u003c/p>\n\u003cp>\u003cstrong>In this new role as poet laureate, do you feel like you have to perform yourself and perform yourself in certain ways? How do you feel about being the first Latina poet laureate?\u003c/strong>\u003c/p>\n\u003cp>That's a great question. It's easy to feel that way, and I think that people will ask that of me. But I really hope I stay true to me and who I am as an authentic human being, full of complex emotions and identities and desires and needs and poems. If I want to perform anything, it's a poem and it's not an identity.\u003c/p>\n\u003cp>\u003cstrong>Through your life you've had a few different physical conditions that have conditioned you to think about pain in certain ways. How has that infused into your identity, to have been dealing with that since you were a child?\u003c/strong>\u003c/p>\n\u003cp>I have pretty intense scoliosis. And so, in fact, I just had an adjustment yesterday and I deal with it all the time. It is something that causes me quite a bit of pain. And I think a lot about mobility issues.\u003c/p>\n\u003cp>I'm trying to avoid some of the phrasing that makes me really uncomfortable. People will say, \"Oh, you were in chronic pain.\" And I'm like, the only problem with the word \"chronic pain\" is that I would like to leave space for it not to be chronic. I'd also like to leave space for maybe someday it will all magically disappear. I think a lot about language, and the language of the body, but also that sometimes when you practice meditation, which I do, a lot of the wonderful teachers and guides will say, \"Now return to the body.\" And I often think — what if the body is really not a happy place right now?[aside tag=\"poetry, writing\" label=\"More Related Stories\"]Sometimes the most free I feel is when I'm in the mind, and not in the body. That's an interesting thing for me to explore in my own writing.\u003c/p>\n\u003cp>\u003cstrong>I do love that in your poems, your garden is growing and changing. That has been a real salve for you — the world may have issues, but on your plot of land, things are beautiful and green.\u003c/strong>\u003c/p>\n\u003cp>Finding some refuge in the natural world is really essential to remembering that I am part of nature as well, and that even my own mortality is linked to the natural world and the cycles of things. It feels to me like nature is one of our greatest teachers, and if you're paying attention, you get all of those incredible lessons right there up front. I'm always trying to figure out my purpose, what is the point to all of the big questions that artists and human beings have been asking since the dawn of time? And I think sometimes the answers are there, just watching the natural world. And that answer is that cycle.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"KQED Forum host Alexis Madrigal sat down with Ada Limón to talk poetry, writing and her most recent book, 'The Hurting Kind.'","status":"publish","parent":0,"modified":1661966694,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":38,"wordCount":2070},"headData":{"title":"US Poet Laureate and Sonoma Writer Ada Limón on Writing | KQED","description":"KQED Forum host Alexis Madrigal sat down with Ada Limón to talk poetry, writing and her most recent book, 'The Hurting Kind.'","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"US Poet Laureate and Sonoma Writer Ada Limón on Writing","datePublished":"2022-08-30T23:05:13.000Z","dateModified":"2022-08-31T17:24:54.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"disqusIdentifier":"11923881 https://ww2.kqed.org/news/?p=11923881","disqusUrl":"https://ww2.kqed.org/news/2022/08/30/us-poet-laureate-and-sonoma-writer-ada-limon-on-writing/","disqusTitle":"US Poet Laureate and Sonoma Writer Ada Limón on Writing","audioUrl":"https://dcs.megaphone.fm/KQINC6324659107.mp3?key=7c9782f04b41d206d47eb4c51e325983","excludeFromSiteSearch":"Include","path":"/news/11923881/us-poet-laureate-and-sonoma-writer-ada-limon-on-writing","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the 24th poet laureate of the United States, Ada Limón is an ambassador to the world of beautiful words. Her poems use clear, everyday language. But they have as much literary heft as they do accessibility. Limón has written a half dozen books of poetry, and her most recent work is \"\u003ca href=\"https://www.npr.org/2022/05/09/1096005629/ada-limon-hurting-kind-review-poetry\" target=\"_blank\" rel=\"noopener noreferrer\">The Hurting Kind\u003c/a>.\" She's also the winner of the National Book Critics Circle Award for poetry and many other accolades.\u003c/p>\n\u003cp>Limón was born in Sonoma County, and now lives among the hills and horses of Kentucky. \u003ca href=\"https://www.kqed.org/forum/2010101890341/u-s-poet-laureate-ada-limon-on-elevating-and-promoting-poetry-when-america-needs-healing\" target=\"_blank\" rel=\"noopener noreferrer\">KQED Forum host Alexis Madrigal spoke with Limón\u003c/a> about her new post as poet laureate and how to read a poem.\u003c/p>\n\u003cp>\u003cem>The following excerpts have been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>ALEXIS MADRIGAL: In a 2008 essay, you were living in New York and pondering regional poetry and asking if you were, in fact, a poet of Sonoma. And then you said, \"I think I would claim myself a California poet. This definition is too tight, and it smells like old wine.\" Do you see yourself now as a Sonoma poet? \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>ADA LIMÓN:\u003c/strong> To be honest, I think that the place I feel the most at home is in Sonoma. It does feel like a place where I deeply belong. But I also feel like there is a part of me that now that I've lived so many different places ... I do feel like there's this sort of sense that I belong to America. I think the landscape of the United States is something that I really feel connected to. And now that I've lived so many places in it, I feel like I can speak to that. But, Sonoma definitely still feels like home.\u003c/p>\n\u003cp>\u003cstrong>Do you feel coming from these different places, living in these different places, that contrasts stick out more?\u003c/strong>\u003c/p>\n\u003cp>I think that one of the things that I really love about being in different places, even just traveling, is that idea of getting to know the natural elements in each place. When I first arrived in Kentucky, I was really hoping to move back to California permanently, and then I fell madly in love and married my husband and I live in Kentucky and have learned to just love it.\u003c/p>\n\u003cp>But I think the way that I know to love something, or how I can figure that out, is to explore the natural landscape around me. A lot of the poems in the book are about me really figuring out the landscape around me and looking at the old barns and the incredible horse pastures everywhere. That was important to me to figure out — how to love a place, to name the plants and animals, that I'm surrounded by.\u003c/p>\n\u003cp>\u003cstrong>Let's have you read \"\u003ca href=\"https://www.oprahdaily.com/entertainment/books/a39654803/ada-limon-hurting-kind-poem-video/\" target=\"_blank\" rel=\"noopener noreferrer\">A Good Story\u003c/a>.\" This is from your most recent collection.\u003c/strong>\u003c/p>\n\u003cp>It's a poem that began for me at a place where I feel like there were so many poems that were dealing with trauma. And I think it's incredibly important that we write and read poems that are hard and that deal with the hard things. But I also really wanted to write about tenderness and be grateful for those moments that tenderness was offered to me. This is where that poem came from.\u003c/p>\n\u003cp>\u003cstrong>It made me think of a time my sister's ex-husband silently made me a bowl of macaroni and cheese, while I cried on my sister's lap. What is the literary infrastructure that makes that pack such a punch?\u003c/strong>\u003c/p>\n\u003cp>Thank you for that. The poem is in couplets and there are actually long lines in the poem that sort of allow for it to move a little faster.\u003c/p>\n\u003cp>The line length of a poem really determines the rhythm and speed of how the poem is read. A shorter line is going to be much slower if you think sort of Emily Dickinson, that's going to read much slower because it's got the breath in it.\u003c/p>\n\u003cp>That slight pause after the line break is going to make you read it slower and then a longer line is going to read a little faster.\u003c/p>\n\u003cp>You can think of Whitman and then sort of the mid-length line is more for conversation. You can think of Shakespeare. It's meant to be read a little fast, but then at the same time it's in couplets. So you're going to break after each of those couplets, which gives you that little moment of pause.\u003c/p>\n\u003cp>It has that sort of rhythm that goes back and forth.\u003c/p>\n\u003cp>The last line is then on its own, which kind of allows for it to stand out a little bit.\u003c/p>\n\u003cp>The other part of this poem is that it's dealing with time.\u003c/p>\n\u003cp>I had a student ask me, \"How is it that you can go from the present moment into the past or into the future so easily in your poems?\" And I said, well, this is going to sound weird, but I think time doesn't exist. I say my stepfather told me a story. And then he does this thing. But at the same time, it does feel like it's happening in the present moment because it begins with a hard day. And what does the hard day require? The hard day requires a good story and sometimes that good story isn't something that's happening now. But maybe it's a memory like you were talking about. The person that fed you macaroni and cheese.\u003cbr>\n\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"'There's a real danger in living without feeling and swallowing everything to become sort of courageous and resilient ... sometimes I think we also need to be a mess.'","name":"pullquote","attributes":{"named":{"size":"medium","align":"right","citation":"Ada Limón, 24th US poet laureate","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>We praise people so much for courage and bravery and strength and sometimes not for tenderness. In \"The Hurting Kind,\" how do you think about celebrating the ability to hold grief or the ability to hurt? How does one actually do that?\u003c/strong>\u003c/p>\n\u003cp>I've been thinking about this a lot, and I feel like oftentimes when we come to a poem, it's not even so much that we have to feel a certain thing, right? You don't have to feel exactly what I want you to feel after a poem I've read or a poem I've given you by somebody else.\u003c/p>\n\u003cp>Maybe the important thing is just that you feel period.\u003c/p>\n\u003cp>And maybe that is something that we need to tap into, because I know for me, this is true. We've just become so numb to so much because there's just so much chaos and crisis in the world that it feels like every one of us is being shoved from one emergency to the next.\u003c/p>\n\u003cp>We have to compartmentalize, and of course, we have to go numb a little bit. But I think that there is a real danger in that. There's a real danger in living without feeling and swallowing everything to become sort of courageous and resilient. And listen, I love the word \"resilience\" and I want to be resilient. But sometimes I think we also need to be a mess.\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"'There is power in that moment when you break down, that moment when you feel all the feelings and it feels like too much.'","name":"pullquote","attributes":{"named":{"size":"medium","align":"left","citation":"Ada Limón, 24th US poet laureate","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>We need to feel and maybe have someone give us macaroni and cheese while we cry. I think those are really important moments. It's what makes us human. It also is what makes us able to find strength.\u003c/p>\n\u003cp>There is power in that moment when you break down, that moment when you feel all the feelings and it feels like too much. That's important because that's where we get the courage to go on, and maybe pursue the action that we need to see in the world. But I do think we need to make space for breathing, for falling apart, for crying. And for grieving those that we lost, because we just, we move on so quickly.\u003c/p>\n\u003cp>We're asked to move on so quickly. And I think sometimes we aren't supposed to.\u003c/p>\n\u003cp>\u003cstrong>It feels like the river you grew up by, the creek you grew up by in Sonoma, it raised you in some way, thinking about the poem you wrote about the raccoon decomposing in the water with its little hand eventually turning to bone.\u003c/strong>\u003c/p>\n\u003cp>That's the Calabazas Creek. That creek is really important to me. Someone asked me one time where my poems come from and that creek was my first thought: \"It's the Calabazas Creek.\" There's something about that area.\u003c/p>\n\u003cp>Sometimes with poetry, we're looking for the voice under the voice. It's not just the voice, but the thing underneath it. And that creek was underneath our life. The cars were going from the job and school and all of that. You could feel the rush. But there it was quiet. It was small. There were the little crawdads and little minnows. And there was all of this life happening. But it was like a secret life. And I think oftentimes my poems begin there.\u003c/p>\n\u003cp>\u003cstrong>In this new role as poet laureate, do you feel like you have to perform yourself and perform yourself in certain ways? How do you feel about being the first Latina poet laureate?\u003c/strong>\u003c/p>\n\u003cp>That's a great question. It's easy to feel that way, and I think that people will ask that of me. But I really hope I stay true to me and who I am as an authentic human being, full of complex emotions and identities and desires and needs and poems. If I want to perform anything, it's a poem and it's not an identity.\u003c/p>\n\u003cp>\u003cstrong>Through your life you've had a few different physical conditions that have conditioned you to think about pain in certain ways. How has that infused into your identity, to have been dealing with that since you were a child?\u003c/strong>\u003c/p>\n\u003cp>I have pretty intense scoliosis. And so, in fact, I just had an adjustment yesterday and I deal with it all the time. It is something that causes me quite a bit of pain. And I think a lot about mobility issues.\u003c/p>\n\u003cp>I'm trying to avoid some of the phrasing that makes me really uncomfortable. People will say, \"Oh, you were in chronic pain.\" And I'm like, the only problem with the word \"chronic pain\" is that I would like to leave space for it not to be chronic. I'd also like to leave space for maybe someday it will all magically disappear. I think a lot about language, and the language of the body, but also that sometimes when you practice meditation, which I do, a lot of the wonderful teachers and guides will say, \"Now return to the body.\" And I often think — what if the body is really not a happy place right now?\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"tag":"poetry, writing","label":"More Related Stories "},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Sometimes the most free I feel is when I'm in the mind, and not in the body. That's an interesting thing for me to explore in my own writing.\u003c/p>\n\u003cp>\u003cstrong>I do love that in your poems, your garden is growing and changing. That has been a real salve for you — the world may have issues, but on your plot of land, things are beautiful and green.\u003c/strong>\u003c/p>\n\u003cp>Finding some refuge in the natural world is really essential to remembering that I am part of nature as well, and that even my own mortality is linked to the natural world and the cycles of things. It feels to me like nature is one of our greatest teachers, and if you're paying attention, you get all of those incredible lessons right there up front. I'm always trying to figure out my purpose, what is the point to all of the big questions that artists and human beings have been asking since the dawn of time? And I think sometimes the answers are there, just watching the natural world. And that answer is that cycle.\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>\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/11923881/us-poet-laureate-and-sonoma-writer-ada-limon-on-writing","authors":["11757","11626"],"categories":["news_29992","news_223","news_28250","news_8"],"tags":["news_31521","news_1222"],"featImg":"news_11923884","label":"news"},"news_11912315":{"type":"posts","id":"news_11912315","meta":{"index":"posts_1591205157","site":"news","id":"11912315","score":null,"sort":[1651053655000]},"guestAuthors":[],"slug":"love-me-before-this-city-disappears-poet-nijla-mumin","title":"'Love me Before the City Disappears': Poet Nijla Mu’min","publishDate":1651053655,"format":"audio","headTitle":"‘Love me Before the City Disappears’: Poet Nijla Mu’min | KQED","labelTerm":{},"content":"\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Tell me memories mean something,\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">and I will carve your face on a tree\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">never cut it down,\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">Guard it with what slaps and surprises \u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">Sage and old E-40 cassettes from an OG’s trunk\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Can we love in a city, lost\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">Can we touch in a city, gone\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">– An excerpt from “Love Me Before The City Disappears” \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">April is National Poetry Month! And before it ends, we want to celebrate contemporary poetry inspired by life in the Bay Area. Producer Maria Esquinca interviews writer and director Nijla Mu’min about her poetry, which explores the Bay as a backdrop of love, growing up here, and feeling unwelcome in a place that’s changed. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Guest: \u003c/b>\u003cspan style=\"font-weight: 400\">Nijla Mu’min (poet and filmmaker)\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://bit.ly/3Kw0nwm\" target=\"_blank\" rel=\"noopener noreferrer\">Read the transcript.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC2463056734\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\n","blocks":[],"excerpt":null,"status":"publish","parent":0,"modified":1700690622,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":136},"headData":{"title":"'Love me Before the City Disappears': Poet Nijla Mu’min | KQED","description":"April is National Poetry Month! And before it ends, we want to celebrate contemporary poetry inspired by life in the Bay Area.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialDescription":"April is National Poetry Month! And before it ends, we want to celebrate contemporary poetry inspired by life in the Bay Area.","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"'Love me Before the City Disappears': Poet Nijla Mu’min","datePublished":"2022-04-27T10:00:55.000Z","dateModified":"2023-11-22T22:03:42.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"source":"The Bay","sourceUrl":"https://www.kqed.org/podcasts/thebay","audioUrl":"https://www.podtrac.com/pts/redirect.mp3/traffic.megaphone.fm/KQINC2463056734.mp3?updated=1651027630","excludeFromSiteSearch":"Include","path":"/news/11912315/love-me-before-this-city-disappears-poet-nijla-mumin","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Tell me memories mean something,\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">and I will carve your face on a tree\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">never cut it down,\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">Guard it with what slaps and surprises \u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">Sage and old E-40 cassettes from an OG’s trunk\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Can we love in a city, lost\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">Can we touch in a city, gone\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">– An excerpt from “Love Me Before The City Disappears” \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">April is National Poetry Month! And before it ends, we want to celebrate contemporary poetry inspired by life in the Bay Area. Producer Maria Esquinca interviews writer and director Nijla Mu’min about her poetry, which explores the Bay as a backdrop of love, growing up here, and feeling unwelcome in a place that’s changed. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Guest: \u003c/b>\u003cspan style=\"font-weight: 400\">Nijla Mu’min (poet and filmmaker)\u003c/span>\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>\u003ca href=\"https://bit.ly/3Kw0nwm\" target=\"_blank\" rel=\"noopener noreferrer\">Read the transcript.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC2463056734\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11912315/love-me-before-this-city-disappears-poet-nijla-mumin","authors":["8654","11802","11749"],"programs":["news_28779"],"categories":["news_8","news_33520"],"tags":["news_31003","news_31002","news_31004","news_18","news_1222","news_22598"],"featImg":"news_11912351","label":"source_news_11912315"},"news_11900423":{"type":"posts","id":"news_11900423","meta":{"index":"posts_1591205157","site":"news","id":"11900423","score":null,"sort":[1640806254000]},"guestAuthors":[],"slug":"unapologetic-in-the-prioritization-of-black-women-bell-hooks-remembered-by-loved-ones","title":"'Unapologetic in the Prioritization of Black Women': bell hooks Remembered by Loved Ones","publishDate":1640806254,"format":"standard","headTitle":"NPR | KQED News","labelTerm":{"term":253,"site":"news"},"content":"\u003cp>M. Shadee Malaklou had just been hired as the new chair of the \u003ca href=\"https://www.berea.edu/wgs/\">Women's and Gender Studies department at Berea College\u003c/a> in Kentucky when she was invited to have lunch with bell hooks. When she arrived, Malaklou remembers, hooks said with a nod and a wink, \"'I was against your hire.'\"\u003c/p>\n\u003cp>Rather than being taken aback, Malaklou leaned into hooks's irreverence and witty honesty — a trait of her writing, too.\u003c/p>\n\u003cp>\"That was her way,\" says Malaklou. hooks had assumed that Malaklou, a woman of Iranian descent from Southern California, wouldn't like Berea's lack of an Iranian American community and would leave. But three years later, hooks was writing a glowing commendation for Malaklou's tenure.\u003c/p>\n\u003cp>[aside postID=\"news_11899786\" hero=\"https://ww2.kqed.org/app/uploads/sites/10/2021/12/Bellhooks.jpeg\"]Malaklou, now the inaugural director of Berea College's recently opened \u003ca href=\"https://www.berea.edu/bhc/\">bell hooks center\u003c/a>, speaks about her friendship with hooks with gratitude, recognizing she had access to the private and mundane side of her, while others celebrated her public figure and academia.\u003c/p>\n\u003cp>Over the last three years of bell hooks's life, she and Malaklou became close friends and confidants. Sometimes, she would call Malaklou to share McDonald's cheeseburgers, even in the middle of class. It's also well-known that hooks had an endless craving for Juicy Fruit gum: \"She would ask me to order it for her in hordes from Amazon,\" says Malaklou.\u003c/p>\n\u003cp>The rest of the world probably knows hooks best through her most popular books, \"\u003ca href=\"https://www.routledge.com/Feminism-Is-for-Everybody-Passionate-Politics/hooks/p/book/9781138821620\">Feminism Is for Everybody\u003c/a>,\" \"\u003ca href=\"https://sites.utexas.edu/lsjcs/files/2018/02/Teaching-to-Transcend.pdf\">Teaching to Transgress\u003c/a>\" and \"\u003ca href=\"https://www.mahoganybooks.com/9780060959470\">All About Love: New Visions\u003c/a>,\" which reemerged in the pandemic as a New York Times bestseller despite being published in 2000.\u003c/p>\n\u003cp>Since \u003ca href=\"https://www.kqed.org/news/11899786/she-was-prophetic-bay-area-remembers-groundbreaking-author-and-cultural-critic-bell-hooks\">hooks's passing on Dec. 15\u003c/a>, social media has flooded with eulogies and poignant reflections on almost three decades of her work in feminism, teaching and theory. Many noted the accessibility of her language, as well as her willingness to write from life experience as a way to speak on spirituality and family.\u003c/p>\n\u003cp>Before she was bell hooks, though, she was Gloria Watkins, a rising scholar teaching at Yale University in the 1980s. At that time, Rachel Chapman, now a tenured professor of anthropology at the University of Washington, had the professor as her undergraduate thesis advisor. Chapman remembers that her classes were highly sought after, and that she led a support group of Black women, called \"Sisters of the Yam,\" who idolized her.\u003c/p>\n\u003cp>While working with hooks, Chapman recognized that much of her mentor's work was concerned with the loss of Black life. \"She was writing about what it means to be young and Black and angry and seeing clearly the thin line between being mad and madness, between radical action and personal self-destruction,\" says Chapman.\u003c/p>\n\u003cp>[pullquote size='large' align='right']Before she was bell hooks, though, she was Gloria Watkins, a rising scholar teaching at Yale University in the 1980s.[/pullquote]What Chapman witnessed at the time was someone working through the pain and the hurt that would later lead to \"All About Love.\" Chapman would see hooks again in Los Angeles, while she was working toward her doctoral degree at UCLA in 1992. The \u003ca href=\"https://www.npr.org/2017/04/26/524744989/when-la-erupted-in-anger-a-look-back-at-the-rodney-king-riots\">Los Angeles riots were raging after the police beating of Rodney King\u003c/a>, and hooks was addressing a beleaguered crowd of the college's student activists. She offered them advice that would stay with Chapman over the years.\u003c/p>\n\u003cp>\"'I don't do social justice work with anyone who's not in a movement with me for a lifetime. And that really reduces the number of people who I'm willing to interact with on that level,'\" Chapman remembers hooks saying. \"That gave me permission to not have to engage every person running their racism at me. I now do whatever gives me strength and move on.\"\u003c/p>\n\u003cp>hooks's work with students and approach to education has also become part of her legacy, says Jody Greene, founder of the \u003ca href=\"https://citl.ucsc.edu/\">Center for Innovations in Teaching and Learning\u003c/a> at UC Santa Cruz, where hooks received her doctoral degree. She says the writer's books about the practice of teaching have been deeply influential to teachers like herself.\u003c/p>\n\u003cp>\"hooks strongly believed in education as the cultivation of a human being and not just an instrument for creating good employees,\" says Greene, who was a student at Yale during hooks's time there.\u003c/p>\n\u003cp>[pullquote align=\"right\" size=\"medium\" citation=\"Professor Rachel Chapman, University of Washington\"]'She was writing about what it means to be young and Black and angry.'[/pullquote]In her last decade of life, hooks wasn't growing complacent in her ideas, friends say: She was actively learning and growing, giving talks and having conversations with other academics and public figures.\u003c/p>\n\u003cp>Shelby Chestnut, director of policy and programs at the Transgender Law Center, \u003ca href=\"https://www.youtube.com/watch?v=9oMmZIJijgY&t=1081s\">introduced hooks and Laverne Cox at their conversation at the New School\u003c/a> in 2014. Chestnut remembers meeting hooks for the first time, particularly her generosity and tenderness toward strangers.\u003c/p>\n\u003cp>\"She was like, 'Hold my hand.' And so I held her hand and then Laverne held her other hand, and we just walked around the [West Village],\" says Chestnut.\u003c/p>\n\u003cp>Chestnut saw hooks working to understand and include the trans community in her understandings about feminism, even at a time it wasn't popular. Her foundational works on feminism, including \"\u003ca href=\"https://www.routledge.com/Aint-I-a-Woman-Black-Women-and-Feminism/hooks/p/book/9781138821514\">Ain't I a Woman\u003c/a>,\" critiqued white feminism and began farsighted conversations around intersectionality even before \u003ca href=\"https://www.npr.org/2021/03/29/982357959/what-does-intersectionality-mean\">the term was created by Kimberlé Crenshaw\u003c/a>.\u003c/p>\n\u003cp>\"Even her kindness to all, to feminism more broadly, she was really unapologetic in the prioritization of Black women,\" says Chestnut.\u003c/p>\n\u003cp>Multiple people shared how hooks profoundly cared for young people and children, too. Linda Strong-Leek, former professor at Berea College and now provost at Haverford College, remembered hooks's concern that \"'we had never seen a book with a Black boy just sitting and reading.'\"\u003c/p>\n\u003cp>Many of her hooks's books, such as \"\u003ca href=\"https://www.lbyr.com/titles/bell-hooks/be-boy-buzz/9781484788400/\">Be Boy Buzz\u003c/a>,\" were aimed at increasing literacy for children of color and providing meaningful representation.\u003c/p>\n\u003cp>[aside label ='Related Coverage' tag='education']hooks gave over 30 years of her life to groundbreaking scholarship, but she also identified as an Appalachian scholar and chose to return to her home state of Kentucky in the last years of her life.\u003c/p>\n\u003cp>In her book \"\u003ca href=\"https://www.routledge.com/Belonging-A-Culture-of-Place/hooks/p/book/9780415968164\">Belonging: A Culture of Place\u003c/a>,\" hooks wasn't an abstract theorist, but someone grounded in the geography of her rural upbringing in contrast to city life. Her friends say her love for community was both political and personal. Strong-Leek recalls that, first and foremost, hooks was dedicated to the people around her.\u003c/p>\n\u003cp>\"We would go out in Berea. Most people didn't know who she was if they weren't connected to the college or readers [of] feminist theory,\" she says. \"I want people to remember that she loved regular people.\"\u003cbr>\n[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"\"She was writing about what it means to be young and Black and angry and seeing clearly the thin line … between radical action and personal self-destruction,\" says former student and now University of Washington professor Rachel Chapman.","status":"publish","parent":0,"modified":1640820700,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":24,"wordCount":1148},"headData":{"title":"'Unapologetic in the Prioritization of Black Women': bell hooks Remembered by Loved Ones | KQED","description":""She was writing about what it means to be young and Black and angry and seeing clearly the thin line … between radical action and personal self-destruction," says former student and now University of Washington professor Rachel Chapman.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"'Unapologetic in the Prioritization of Black Women': bell hooks Remembered by Loved Ones","datePublished":"2021-12-29T19:30:54.000Z","dateModified":"2021-12-29T23:31:40.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"disqusIdentifier":"11900423 https://ww2.kqed.org/news/?p=11900423","disqusUrl":"https://ww2.kqed.org/news/2021/12/29/unapologetic-in-the-prioritization-of-black-women-bell-hooks-remembered-by-loved-ones/","disqusTitle":"'Unapologetic in the Prioritization of Black Women': bell hooks Remembered by Loved Ones","nprByline":"\u003ca href=\"https://twitter.com/jireh_deng\">Jireh Deng\u003c/a>","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","path":"/news/11900423/unapologetic-in-the-prioritization-of-black-women-bell-hooks-remembered-by-loved-ones","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>M. Shadee Malaklou had just been hired as the new chair of the \u003ca href=\"https://www.berea.edu/wgs/\">Women's and Gender Studies department at Berea College\u003c/a> in Kentucky when she was invited to have lunch with bell hooks. When she arrived, Malaklou remembers, hooks said with a nod and a wink, \"'I was against your hire.'\"\u003c/p>\n\u003cp>Rather than being taken aback, Malaklou leaned into hooks's irreverence and witty honesty — a trait of her writing, too.\u003c/p>\n\u003cp>\"That was her way,\" says Malaklou. hooks had assumed that Malaklou, a woman of Iranian descent from Southern California, wouldn't like Berea's lack of an Iranian American community and would leave. But three years later, hooks was writing a glowing commendation for Malaklou's tenure.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11899786","hero":"https://ww2.kqed.org/app/uploads/sites/10/2021/12/Bellhooks.jpeg","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Malaklou, now the inaugural director of Berea College's recently opened \u003ca href=\"https://www.berea.edu/bhc/\">bell hooks center\u003c/a>, speaks about her friendship with hooks with gratitude, recognizing she had access to the private and mundane side of her, while others celebrated her public figure and academia.\u003c/p>\n\u003cp>Over the last three years of bell hooks's life, she and Malaklou became close friends and confidants. Sometimes, she would call Malaklou to share McDonald's cheeseburgers, even in the middle of class. It's also well-known that hooks had an endless craving for Juicy Fruit gum: \"She would ask me to order it for her in hordes from Amazon,\" says Malaklou.\u003c/p>\n\u003cp>The rest of the world probably knows hooks best through her most popular books, \"\u003ca href=\"https://www.routledge.com/Feminism-Is-for-Everybody-Passionate-Politics/hooks/p/book/9781138821620\">Feminism Is for Everybody\u003c/a>,\" \"\u003ca href=\"https://sites.utexas.edu/lsjcs/files/2018/02/Teaching-to-Transcend.pdf\">Teaching to Transgress\u003c/a>\" and \"\u003ca href=\"https://www.mahoganybooks.com/9780060959470\">All About Love: New Visions\u003c/a>,\" which reemerged in the pandemic as a New York Times bestseller despite being published in 2000.\u003c/p>\n\u003cp>Since \u003ca href=\"https://www.kqed.org/news/11899786/she-was-prophetic-bay-area-remembers-groundbreaking-author-and-cultural-critic-bell-hooks\">hooks's passing on Dec. 15\u003c/a>, social media has flooded with eulogies and poignant reflections on almost three decades of her work in feminism, teaching and theory. Many noted the accessibility of her language, as well as her willingness to write from life experience as a way to speak on spirituality and family.\u003c/p>\n\u003cp>Before she was bell hooks, though, she was Gloria Watkins, a rising scholar teaching at Yale University in the 1980s. At that time, Rachel Chapman, now a tenured professor of anthropology at the University of Washington, had the professor as her undergraduate thesis advisor. Chapman remembers that her classes were highly sought after, and that she led a support group of Black women, called \"Sisters of the Yam,\" who idolized her.\u003c/p>\n\u003cp>While working with hooks, Chapman recognized that much of her mentor's work was concerned with the loss of Black life. \"She was writing about what it means to be young and Black and angry and seeing clearly the thin line between being mad and madness, between radical action and personal self-destruction,\" says Chapman.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"Before she was bell hooks, though, she was Gloria Watkins, a rising scholar teaching at Yale University in the 1980s.","name":"pullquote","attributes":{"named":{"size":"large","align":"right","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>What Chapman witnessed at the time was someone working through the pain and the hurt that would later lead to \"All About Love.\" Chapman would see hooks again in Los Angeles, while she was working toward her doctoral degree at UCLA in 1992. The \u003ca href=\"https://www.npr.org/2017/04/26/524744989/when-la-erupted-in-anger-a-look-back-at-the-rodney-king-riots\">Los Angeles riots were raging after the police beating of Rodney King\u003c/a>, and hooks was addressing a beleaguered crowd of the college's student activists. She offered them advice that would stay with Chapman over the years.\u003c/p>\n\u003cp>\"'I don't do social justice work with anyone who's not in a movement with me for a lifetime. And that really reduces the number of people who I'm willing to interact with on that level,'\" Chapman remembers hooks saying. \"That gave me permission to not have to engage every person running their racism at me. I now do whatever gives me strength and move on.\"\u003c/p>\n\u003cp>hooks's work with students and approach to education has also become part of her legacy, says Jody Greene, founder of the \u003ca href=\"https://citl.ucsc.edu/\">Center for Innovations in Teaching and Learning\u003c/a> at UC Santa Cruz, where hooks received her doctoral degree. She says the writer's books about the practice of teaching have been deeply influential to teachers like herself.\u003c/p>\n\u003cp>\"hooks strongly believed in education as the cultivation of a human being and not just an instrument for creating good employees,\" says Greene, who was a student at Yale during hooks's time there.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"'She was writing about what it means to be young and Black and angry.'","name":"pullquote","attributes":{"named":{"align":"right","size":"medium","citation":"Professor Rachel Chapman, University of Washington","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>In her last decade of life, hooks wasn't growing complacent in her ideas, friends say: She was actively learning and growing, giving talks and having conversations with other academics and public figures.\u003c/p>\n\u003cp>Shelby Chestnut, director of policy and programs at the Transgender Law Center, \u003ca href=\"https://www.youtube.com/watch?v=9oMmZIJijgY&t=1081s\">introduced hooks and Laverne Cox at their conversation at the New School\u003c/a> in 2014. Chestnut remembers meeting hooks for the first time, particularly her generosity and tenderness toward strangers.\u003c/p>\n\u003cp>\"She was like, 'Hold my hand.' And so I held her hand and then Laverne held her other hand, and we just walked around the [West Village],\" says Chestnut.\u003c/p>\n\u003cp>Chestnut saw hooks working to understand and include the trans community in her understandings about feminism, even at a time it wasn't popular. Her foundational works on feminism, including \"\u003ca href=\"https://www.routledge.com/Aint-I-a-Woman-Black-Women-and-Feminism/hooks/p/book/9781138821514\">Ain't I a Woman\u003c/a>,\" critiqued white feminism and began farsighted conversations around intersectionality even before \u003ca href=\"https://www.npr.org/2021/03/29/982357959/what-does-intersectionality-mean\">the term was created by Kimberlé Crenshaw\u003c/a>.\u003c/p>\n\u003cp>\"Even her kindness to all, to feminism more broadly, she was really unapologetic in the prioritization of Black women,\" says Chestnut.\u003c/p>\n\u003cp>Multiple people shared how hooks profoundly cared for young people and children, too. Linda Strong-Leek, former professor at Berea College and now provost at Haverford College, remembered hooks's concern that \"'we had never seen a book with a Black boy just sitting and reading.'\"\u003c/p>\n\u003cp>Many of her hooks's books, such as \"\u003ca href=\"https://www.lbyr.com/titles/bell-hooks/be-boy-buzz/9781484788400/\">Be Boy Buzz\u003c/a>,\" were aimed at increasing literacy for children of color and providing meaningful representation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"label":"Related Coverage ","tag":"education"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>hooks gave over 30 years of her life to groundbreaking scholarship, but she also identified as an Appalachian scholar and chose to return to her home state of Kentucky in the last years of her life.\u003c/p>\n\u003cp>In her book \"\u003ca href=\"https://www.routledge.com/Belonging-A-Culture-of-Place/hooks/p/book/9780415968164\">Belonging: A Culture of Place\u003c/a>,\" hooks wasn't an abstract theorist, but someone grounded in the geography of her rural upbringing in contrast to city life. Her friends say her love for community was both political and personal. Strong-Leek recalls that, first and foremost, hooks was dedicated to the people around her.\u003c/p>\n\u003cp>\"We would go out in Berea. Most people didn't know who she was if they weren't connected to the college or readers [of] feminist theory,\" she says. \"I want people to remember that she loved regular people.\"\u003cbr>\n\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>\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/11900423/unapologetic-in-the-prioritization-of-black-women-bell-hooks-remembered-by-loved-ones","authors":["byline_news_11900423"],"categories":["news_29992","news_223","news_8"],"tags":["news_30407","news_20013","news_27626","news_30448","news_22557","news_1222","news_16988","news_178","news_1928","news_2792"],"affiliates":["news_253"],"featImg":"news_11900443","label":"news_253"},"news_11879912":{"type":"posts","id":"news_11879912","meta":{"index":"posts_1591205157","site":"news","id":"11879912","score":null,"sort":[1625252448000]},"guestAuthors":[],"slug":"come-on-papi-la-vacuna-a-new-arts-campaign-aims-to-boost-vaccination-rates-in-san-joaquin-valley","title":"'Come on Papi, La Vacuna!': A New Arts Campaign Aims to Boost Vaccination Rates in San Joaquin Valley","publishDate":1625252448,"format":"standard","headTitle":"The California Report Magazine | KQED News","labelTerm":{},"content":"\u003cp>\"Together, so many years,\" writes \u003ca href=\"https://www.kqed.org/news/10683695/californias-juan-felipe-herrera-inaugurates-term-as-u-s-poet-laureate\">Juan Felipe Herrera, former U.S. poet laureate\u003c/a>, in his recent poem \"\u003ca href=\"https://actaonline.org/wp-content/uploads/2021/06/Tantos-An%CC%83os-Juntos_Bilingual.pdf\">Tantos Años Juntos\u003c/a>,\" created to encourage farmworkers to get vaccinated.\u003c/p>\n\u003cp>\"I do not want you to leave my side.\"\u003c/p>\n\u003cp>Herrera has performed this poem at events throughout the Central Valley as part of a new cultural campaign called ACTAvando Contra COVID that is bringing songs, poems and radio dramas to farmworkers and other Spanish-speaking audiences. It's a collaboration between the \u003ca href=\"http://actaonline.org\">Alliance for California Traditional Arts\u003c/a> (ACTA) and \u003ca href=\"http://radiobilingue.org/en/\">Radio Bilingüe\u003c/a>, the national Latino public radio network.\u003c/p>\n\u003cp>\"Take the vaccine, I do not want you to leave my side,\" the poem continues. \"Nothing is stronger than our family and our love.\"\u003c/p>\n\u003cfigure id=\"attachment_11879938\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg class=\"wp-image-11879938 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera018-scaled.jpg\" alt=\"A person wearing a hat reads a poem and smiles in an open-air space.\" width=\"2560\" height=\"1680\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera018-scaled.jpg 2560w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera018-800x525.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera018-1020x669.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera018-160x105.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera018-1536x1008.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera018-2048x1344.jpg 2048w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera018-1920x1260.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Juan Felipe Herrera, former poet laureate of the United States, performs with Los Originarios del Plan at the Madera Flea Market on June 13, 2021. \u003ccite>(Courtesy of Jenn Emerling/ACTA.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since the beginning of the pandemic, farmworkers throughout the Central Valley have been \u003ca href=\"https://www.cirsinc.org/phocadownload/farmworker_vulnerability_covid-19_research-report_final_villarejo_07-26-2020.pdf\">hard hit by COVID infections\u003c/a>.\u003c/p>\n\u003cp>\"The farmworkers had to be out there,\" said Hugo Morales, executive director and co-founder of Radio Bilingüe. \"Because they had to eat, they had to feed their families. They had to earn an income. \u003cspan style=\"font-weight: 400\">Many of them are undocumented, so there was essentially no assistance for them.\"\u003c/span>\u003c/p>\n\u003cp>[pullquote align=\"right\" size=\"medium\" citation=\"Hugo Morales, Radio Bilingüe\"]'The farmworkers had to be out there ... because they had to eat, they had to feed their families. They had to earn an income.'[/pullquote]But the vaccination rate among farmworkers still lags far behind the rest of the state.\u003c/p>\n\u003cp>Nearly\u003ca href=\"https://covid19.ca.gov/vaccination-progress-data/\"> 60% of \u003c/a>Californians are fully vaccinated, but health experts warn that some regions, like the San Joaquin Valley, still have dramatically low vaccination rates. In Kings County, for example, \u003ca href=\"https://covid19.ca.gov/vaccination-progress-data/\">nearly three-quarters of Latino residents have yet to get a shot.\u003c/a>\u003c/p>\n\u003cp>One of the key challenges for boosting vaccinations rates has been the spread of misinformation on social media platforms.\u003c/p>\n\u003cp>Morales explains that the historic mistreatment of migrant workers has led to a mistrust of Western medicine — like when migrants who arrived as part of the Bracero program in the 1950s and 1960s were \u003ca href=\"https://thebraceroprogram.weebly.com/dehumanization.html\">sprayed with DDT.\u003c/a>\u003c/p>\n\u003cp>[aside postID=\"news_10341616\" hero=\"https://ww2.kqed.org/app/uploads/sites/10/2014/09/morenocrop1.jpeg\"]\"Unfortunately, [misinformation] plays on the fears,\" he said. \"There's a history there that is very concrete.\"\u003c/p>\n\u003cp>But Morales and the other organizers of the campaign hope that art can help address these concerns.\u003c/p>\n\u003cp>Along with Herrera, ACTA has commissioned other celebrated artists, like Carmencristina Moreno, known as the \u003ca href=\"https://www.kqed.org/news/10341616/the-chicana-first-lady-of-song\">Chicana First Lady of Song\u003c/a>, who has written original works encouraging vulnerable communities like farmworkers to stay safe by utilizing face masks, washing their hands and getting vaccinated.\u003c/p>\n\u003cp>https://youtu.be/9GFBkDwh9rY\u003c/p>\n\u003cp>The campaign is also relying on musicians with deep ties to the immigrant community, like Leonel Mendoza Acevedo. His acoustic string ensemble, \u003ca href=\"https://www.facebook.com/pages/category/Musician-Band/Originarios-del-Plan-149320349234548/\">Los Originarios del Plan,\u003c/a> has roots in the Mexican state of Michoacán.\u003c/p>\n\u003cp>\"When we talked about what kind of song would they compose for this, Leonel immediately said, 'We should we should use the form of a Valona,' \" said Amy Kitchener, ACTA's executive director. \"It's like lyric poetry, for expressing social concerns.\"\u003c/p>\n\u003cfigure id=\"attachment_11879939\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg class=\"wp-image-11879939 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera029-scaled.jpg\" alt=\"A band, including a pair of violinists, a harpist and a guitarist, perform on a stage.\" width=\"2560\" height=\"1693\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera029-scaled.jpg 2560w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera029-800x529.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera029-1020x675.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera029-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera029-1536x1016.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera029-2048x1354.jpg 2048w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera029-1920x1270.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Los Originarios del Plan perform at the Madera Flea Market on June 13, 2021. \u003ccite>(Courtesy of Jenn Emerling/ACTA.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mendoza thought it was really important to use the very traditional form from his area because it was a way to call his community into action. \"When people hear the Valona, they know I'm talking to them,\" he said.\u003c/p>\n\u003cp>\"We were all hit by the pandemic, with the death of two good friends,\" added Mendoza. \"We know how important it is to get vaccinated and we don’t want any more deaths. The longer it takes for us to all get vaccinated, death may be waiting for us around the corner.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dUR9R09a6wM\u003c/p>\n\u003cp>Meanwhile, artists like \u003ca href=\"https://www.facebook.com/Gruporecreacion\">Grupo Recreación Musical\u003c/a> are increasing messaging to Spanish and Mixteco-speaking communities by writing and composing songs in both languages.\u003c/p>\n\u003cp>\"One of the communities that is most vulnerable to this pandemic has been the Indigenous community,\" said Morales, a Mixteco immigrant himself who pioneered radio programming in Indigenous languages spoken in Mexico.\u003c/p>\n\u003cp>\"Those that are dying under the age of 50 are often Mexican-Americans and Indigenous people,\" he said. \"So it's not over for the essential workers.\"\u003c/p>\n\u003cfigure id=\"attachment_11879937\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg class=\"wp-image-11879937 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera014.jpg\" alt=\"A small child gets tested for COVID-19 by a nurse.\" width=\"2000\" height=\"1363\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera014.jpg 2000w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera014-800x545.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera014-1020x695.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera014-160x109.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera014-1536x1047.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera014-1920x1308.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A child being tested for COVID-19 during an ACTAvando Contra COVID event at the Madera Flea Market on June 13, 2021. Visitors could get tested and sign up for vaccines while musicians played. \u003ccite>(Courtesy of Jenn Emerling/ACTA.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Radio drama is another tool artists are using to to get the word out.\u003c/p>\n\u003cp>Former Poet Laureate Herrera wrote and directed \"¡Vacúnate Prudencio!,\" a radio drama inspired by a weekly radio-comedy program from the 1930s called \"La Familia Feliz\" in Ciudad Juárez.\u003c/p>\n\u003cp>[aside postID=\"news_10683695\" hero=\"https://ww2.kqed.org/app/uploads/sites/10/2015/09/Herrera-1440x1080.jpg\"]\"The style is similar to Teatro Campesino, and farmworkers’ theater,\" said Herrera. \"A beautiful form, because it is so familiar, funny, exaggerated and real all at the same time.\"\u003c/p>\n\u003cp>\"It’s for the people. With all our love. The actors are from the San Joaquin Valley, my former students. It is an embrace for our communities.”\u003c/p>\n\u003cp>The story follows Prudencio, a father and husband who refuses to get vaccinated out of pride.\u003c/p>\n\u003cp>\"He's fairly sure that he's so strong,\" Kitchener from ACTA explained. \"He's strong like iron and like a tree, like he's not going to need the vaccine. So his son in middle school comes in and starts to urge him [to get vaccinated] based on his information.\"\u003c/p>\n\u003cp>\"Come on papi, la vacuna! Just a shot in the arm and a cool mask, dad,\" says Prudencio's son in the story. \"Tenemos que usarla, papi.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"San Joaquin Valley musicians and poets launch a new campaign to push farmworkers to get the vaccine.","status":"publish","parent":0,"modified":1626890386,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":29,"wordCount":1013},"headData":{"title":"'Come on Papi, La Vacuna!': A New Arts Campaign Aims to Boost Vaccination Rates in San Joaquin Valley | KQED","description":"San Joaquin Valley musicians and poets launch a new campaign to push farmworkers to get the vaccine.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"'Come on Papi, La Vacuna!': A New Arts Campaign Aims to Boost Vaccination Rates in San Joaquin Valley","datePublished":"2021-07-02T19:00:48.000Z","dateModified":"2021-07-21T17:59:46.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"disqusIdentifier":"11879912 https://ww2.kqed.org/news/?p=11879912","disqusUrl":"https://ww2.kqed.org/news/2021/07/02/come-on-papi-la-vacuna-a-new-arts-campaign-aims-to-boost-vaccination-rates-in-san-joaquin-valley/","disqusTitle":"'Come on Papi, La Vacuna!': A New Arts Campaign Aims to Boost Vaccination Rates in San Joaquin Valley","source":"The California Report Magazine","sourceUrl":"https://www.kqed.org/news/program/the-california-report-magazine","audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-41c5-bcaf-aaef00f5a073/6d9715c5-bf18-46db-bac8-ad59017fd409/audio.mp3","path":"/news/11879912/come-on-papi-la-vacuna-a-new-arts-campaign-aims-to-boost-vaccination-rates-in-san-joaquin-valley","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\"Together, so many years,\" writes \u003ca href=\"https://www.kqed.org/news/10683695/californias-juan-felipe-herrera-inaugurates-term-as-u-s-poet-laureate\">Juan Felipe Herrera, former U.S. poet laureate\u003c/a>, in his recent poem \"\u003ca href=\"https://actaonline.org/wp-content/uploads/2021/06/Tantos-An%CC%83os-Juntos_Bilingual.pdf\">Tantos Años Juntos\u003c/a>,\" created to encourage farmworkers to get vaccinated.\u003c/p>\n\u003cp>\"I do not want you to leave my side.\"\u003c/p>\n\u003cp>Herrera has performed this poem at events throughout the Central Valley as part of a new cultural campaign called ACTAvando Contra COVID that is bringing songs, poems and radio dramas to farmworkers and other Spanish-speaking audiences. It's a collaboration between the \u003ca href=\"http://actaonline.org\">Alliance for California Traditional Arts\u003c/a> (ACTA) and \u003ca href=\"http://radiobilingue.org/en/\">Radio Bilingüe\u003c/a>, the national Latino public radio network.\u003c/p>\n\u003cp>\"Take the vaccine, I do not want you to leave my side,\" the poem continues. \"Nothing is stronger than our family and our love.\"\u003c/p>\n\u003cfigure id=\"attachment_11879938\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg class=\"wp-image-11879938 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera018-scaled.jpg\" alt=\"A person wearing a hat reads a poem and smiles in an open-air space.\" width=\"2560\" height=\"1680\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera018-scaled.jpg 2560w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera018-800x525.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera018-1020x669.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera018-160x105.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera018-1536x1008.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera018-2048x1344.jpg 2048w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera018-1920x1260.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Juan Felipe Herrera, former poet laureate of the United States, performs with Los Originarios del Plan at the Madera Flea Market on June 13, 2021. \u003ccite>(Courtesy of Jenn Emerling/ACTA.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since the beginning of the pandemic, farmworkers throughout the Central Valley have been \u003ca href=\"https://www.cirsinc.org/phocadownload/farmworker_vulnerability_covid-19_research-report_final_villarejo_07-26-2020.pdf\">hard hit by COVID infections\u003c/a>.\u003c/p>\n\u003cp>\"The farmworkers had to be out there,\" said Hugo Morales, executive director and co-founder of Radio Bilingüe. \"Because they had to eat, they had to feed their families. They had to earn an income. \u003cspan style=\"font-weight: 400\">Many of them are undocumented, so there was essentially no assistance for them.\"\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"'The farmworkers had to be out there ... because they had to eat, they had to feed their families. They had to earn an income.'","name":"pullquote","attributes":{"named":{"align":"right","size":"medium","citation":"Hugo Morales, Radio Bilingüe","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>But the vaccination rate among farmworkers still lags far behind the rest of the state.\u003c/p>\n\u003cp>Nearly\u003ca href=\"https://covid19.ca.gov/vaccination-progress-data/\"> 60% of \u003c/a>Californians are fully vaccinated, but health experts warn that some regions, like the San Joaquin Valley, still have dramatically low vaccination rates. In Kings County, for example, \u003ca href=\"https://covid19.ca.gov/vaccination-progress-data/\">nearly three-quarters of Latino residents have yet to get a shot.\u003c/a>\u003c/p>\n\u003cp>One of the key challenges for boosting vaccinations rates has been the spread of misinformation on social media platforms.\u003c/p>\n\u003cp>Morales explains that the historic mistreatment of migrant workers has led to a mistrust of Western medicine — like when migrants who arrived as part of the Bracero program in the 1950s and 1960s were \u003ca href=\"https://thebraceroprogram.weebly.com/dehumanization.html\">sprayed with DDT.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_10341616","hero":"https://ww2.kqed.org/app/uploads/sites/10/2014/09/morenocrop1.jpeg","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\"Unfortunately, [misinformation] plays on the fears,\" he said. \"There's a history there that is very concrete.\"\u003c/p>\n\u003cp>But Morales and the other organizers of the campaign hope that art can help address these concerns.\u003c/p>\n\u003cp>Along with Herrera, ACTA has commissioned other celebrated artists, like Carmencristina Moreno, known as the \u003ca href=\"https://www.kqed.org/news/10341616/the-chicana-first-lady-of-song\">Chicana First Lady of Song\u003c/a>, who has written original works encouraging vulnerable communities like farmworkers to stay safe by utilizing face masks, washing their hands and getting vaccinated.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/9GFBkDwh9rY'\n title='//www.youtube.com/embed/9GFBkDwh9rY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The campaign is also relying on musicians with deep ties to the immigrant community, like Leonel Mendoza Acevedo. His acoustic string ensemble, \u003ca href=\"https://www.facebook.com/pages/category/Musician-Band/Originarios-del-Plan-149320349234548/\">Los Originarios del Plan,\u003c/a> has roots in the Mexican state of Michoacán.\u003c/p>\n\u003cp>\"When we talked about what kind of song would they compose for this, Leonel immediately said, 'We should we should use the form of a Valona,' \" said Amy Kitchener, ACTA's executive director. \"It's like lyric poetry, for expressing social concerns.\"\u003c/p>\n\u003cfigure id=\"attachment_11879939\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg class=\"wp-image-11879939 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera029-scaled.jpg\" alt=\"A band, including a pair of violinists, a harpist and a guitarist, perform on a stage.\" width=\"2560\" height=\"1693\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera029-scaled.jpg 2560w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera029-800x529.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera029-1020x675.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera029-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera029-1536x1016.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera029-2048x1354.jpg 2048w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera029-1920x1270.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Los Originarios del Plan perform at the Madera Flea Market on June 13, 2021. \u003ccite>(Courtesy of Jenn Emerling/ACTA.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mendoza thought it was really important to use the very traditional form from his area because it was a way to call his community into action. \"When people hear the Valona, they know I'm talking to them,\" he said.\u003c/p>\n\u003cp>\"We were all hit by the pandemic, with the death of two good friends,\" added Mendoza. \"We know how important it is to get vaccinated and we don’t want any more deaths. The longer it takes for us to all get vaccinated, death may be waiting for us around the corner.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/dUR9R09a6wM'\n title='//www.youtube.com/embed/dUR9R09a6wM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Meanwhile, artists like \u003ca href=\"https://www.facebook.com/Gruporecreacion\">Grupo Recreación Musical\u003c/a> are increasing messaging to Spanish and Mixteco-speaking communities by writing and composing songs in both languages.\u003c/p>\n\u003cp>\"One of the communities that is most vulnerable to this pandemic has been the Indigenous community,\" said Morales, a Mixteco immigrant himself who pioneered radio programming in Indigenous languages spoken in Mexico.\u003c/p>\n\u003cp>\"Those that are dying under the age of 50 are often Mexican-Americans and Indigenous people,\" he said. \"So it's not over for the essential workers.\"\u003c/p>\n\u003cfigure id=\"attachment_11879937\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg class=\"wp-image-11879937 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera014.jpg\" alt=\"A small child gets tested for COVID-19 by a nurse.\" width=\"2000\" height=\"1363\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera014.jpg 2000w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera014-800x545.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera014-1020x695.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera014-160x109.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera014-1536x1047.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera014-1920x1308.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A child being tested for COVID-19 during an ACTAvando Contra COVID event at the Madera Flea Market on June 13, 2021. Visitors could get tested and sign up for vaccines while musicians played. \u003ccite>(Courtesy of Jenn Emerling/ACTA.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Radio drama is another tool artists are using to to get the word out.\u003c/p>\n\u003cp>Former Poet Laureate Herrera wrote and directed \"¡Vacúnate Prudencio!,\" a radio drama inspired by a weekly radio-comedy program from the 1930s called \"La Familia Feliz\" in Ciudad Juárez.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_10683695","hero":"https://ww2.kqed.org/app/uploads/sites/10/2015/09/Herrera-1440x1080.jpg","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\"The style is similar to Teatro Campesino, and farmworkers’ theater,\" said Herrera. \"A beautiful form, because it is so familiar, funny, exaggerated and real all at the same time.\"\u003c/p>\n\u003cp>\"It’s for the people. With all our love. The actors are from the San Joaquin Valley, my former students. It is an embrace for our communities.”\u003c/p>\n\u003cp>The story follows Prudencio, a father and husband who refuses to get vaccinated out of pride.\u003c/p>\n\u003cp>\"He's fairly sure that he's so strong,\" Kitchener from ACTA explained. \"He's strong like iron and like a tree, like he's not going to need the vaccine. So his son in middle school comes in and starts to urge him [to get vaccinated] based on his information.\"\u003c/p>\n\u003cp>\"Come on papi, la vacuna! Just a shot in the arm and a cool mask, dad,\" says Prudencio's son in the story. \"Tenemos que usarla, papi.\"\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/11879912/come-on-papi-la-vacuna-a-new-arts-campaign-aims-to-boost-vaccination-rates-in-san-joaquin-valley","authors":["11727"],"programs":["news_72","news_26731"],"categories":["news_223","news_8"],"tags":["news_29636","news_28827","news_28519","news_311","news_18269","news_18201","news_29637","news_1425","news_1222","news_29635","news_312","news_18215"],"featImg":"news_11879940","label":"source_news_11879912"},"news_11862282":{"type":"posts","id":"news_11862282","meta":{"index":"posts_1591205157","site":"news","id":"11862282","score":null,"sort":[1614384024000]},"guestAuthors":[],"slug":"a-friendship-beyond-prison-walls-and-a-ferlinghetti-soundscape","title":"A Friendship Beyond Prison Walls and a Ferlinghetti Soundscape","publishDate":1614384024,"format":"audio","headTitle":"The California Report Magazine | KQED News","labelTerm":{"term":26731,"site":"news"},"content":"\u003cp>\u003cem>\u003ca href=\"http://itunes.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\" target=\"_blank\" rel=\"noopener noreferrer\">Listen to this and more in-depth storytelling by subscribing to The California Report Magazine podcast.\u003c/a>\u003c/em>\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kalw.org/post/special-letters-outside-almost-one-year-pandemic\">‘With You, Everything Was Better’: Letters from ‘Uncuffed’ Podcast\u003c/a>\u003c/h2>\n\u003cp>Adamu Chan and Edmond Richardson met while they were incarcerated at San Quentin about two years ago, and have been best friends ever since. Adamu was released last fall, and they’ve kept in touch by writing letters to each other. Edmond tells Adamu about the lingering effects of COVID, which he contracted while inside the prison. Adamu describes adjusting to life on the outside. We’ll hear part of an episode Adamu helped produce for the KALW Public Media podcast, “Uncuffed.”\u003c/p>\n\u003ch2>\u003ca href=\"http://www.kitchensisters.org/present/lawrence-ferlinghetti/\">‘Rivers of Memory’: A Lush Soundscape of Lawrence Ferlinghetti’s Life and Words\u003c/a>\u003c/h2>\n\u003cp>We mark the loss of literary giant Lawrence Ferlinghetti, who died on February 22nd at the age of 101. Poet, activist, and publisher of many Beat poets of the 1950s and 60s, Ferlinghetti was considered by many to be the soul of San Francisco’s counterculture movement. The Kitchen Sisters, Nikki Silva and Davia Nelson, bring us an audio documentary they produced in honor of Ferlinghetti’s 99th birthday. It’s a collaboration with sound designer Jim McKee, who recorded Ferlinghetti for two decades, and draws from McKee’s lush documentary “Rivers of Memory,” featuring Ferlinghetti’s poetry and musings on his own life.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":null,"status":"publish","parent":0,"modified":1614381587,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":5,"wordCount":244},"headData":{"title":"A Friendship Beyond Prison Walls and a Ferlinghetti Soundscape | KQED","description":"Intimate letters between best friends. And a gorgeous audio documentary about the late Lawrence Ferlinghetti from The Kitchen Sisters.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"A Friendship Beyond Prison Walls and a Ferlinghetti Soundscape","datePublished":"2021-02-27T00:00:24.000Z","dateModified":"2021-02-26T23:19:47.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"disqusIdentifier":"11862282 https://ww2.kqed.org/news/?p=11862282","disqusUrl":"https://ww2.kqed.org/news/2021/02/26/a-friendship-beyond-prison-walls-and-a-ferlinghetti-soundscape/","disqusTitle":"A Friendship Beyond Prison Walls and a Ferlinghetti Soundscape","sourceUrl":"https://www.kqed.org/news/tag/tcrmag/ ","audioUrl":"https://www.podtrac.com/pts/redirect.mp3/traffic.megaphone.fm/KQINC7133670759.mp3","path":"/news/11862282/a-friendship-beyond-prison-walls-and-a-ferlinghetti-soundscape","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"http://itunes.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\" target=\"_blank\" rel=\"noopener noreferrer\">Listen to this and more in-depth storytelling by subscribing to The California Report Magazine podcast.\u003c/a>\u003c/em>\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kalw.org/post/special-letters-outside-almost-one-year-pandemic\">‘With You, Everything Was Better’: Letters from ‘Uncuffed’ Podcast\u003c/a>\u003c/h2>\n\u003cp>Adamu Chan and Edmond Richardson met while they were incarcerated at San Quentin about two years ago, and have been best friends ever since. Adamu was released last fall, and they’ve kept in touch by writing letters to each other. Edmond tells Adamu about the lingering effects of COVID, which he contracted while inside the prison. Adamu describes adjusting to life on the outside. We’ll hear part of an episode Adamu helped produce for the KALW Public Media podcast, “Uncuffed.”\u003c/p>\n\u003ch2>\u003ca href=\"http://www.kitchensisters.org/present/lawrence-ferlinghetti/\">‘Rivers of Memory’: A Lush Soundscape of Lawrence Ferlinghetti’s Life and Words\u003c/a>\u003c/h2>\n\u003cp>We mark the loss of literary giant Lawrence Ferlinghetti, who died on February 22nd at the age of 101. Poet, activist, and publisher of many Beat poets of the 1950s and 60s, Ferlinghetti was considered by many to be the soul of San Francisco’s counterculture movement. The Kitchen Sisters, Nikki Silva and Davia Nelson, bring us an audio documentary they produced in honor of Ferlinghetti’s 99th birthday. It’s a collaboration with sound designer Jim McKee, who recorded Ferlinghetti for two decades, and draws from McKee’s lush documentary “Rivers of Memory,” featuring Ferlinghetti’s poetry and musings on his own life.\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>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11862282/a-friendship-beyond-prison-walls-and-a-ferlinghetti-soundscape","authors":["236"],"programs":["news_72","news_26731"],"categories":["news_8","news_21291"],"tags":["news_28654","news_29202","news_1222","news_486"],"featImg":"news_11862310","label":"news_26731"}},"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? 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