WEBVTT - Mexico City: Mi Casa, Mi Casa

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<v Speaker 1>Pushkin. Hey, Brendan, this is Christie from Topic I'm Missing.

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<v Speaker 1>You're on your flight to Mexico City right now. We

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<v Speaker 1>just wanted to make sure you receive my email because

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<v Speaker 1>they haven't hear back from you. So there just is

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<v Speaker 1>We really want to proper dinner party from you this episode.

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<v Speaker 1>Not like an art loss or a pizza party, but

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<v Speaker 1>like an actual dinner party at the home of a

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<v Speaker 1>local person. It's like you promise when you pitch just

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<v Speaker 1>a podcast. Remember, Okay, let me know if you have

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<v Speaker 1>any questions. Oh. Also, I was looking over your receipts

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<v Speaker 1>and you can't expense cocktails on non travel base and

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<v Speaker 1>I'm going to assume that was a mistake. Okay, assimi, Ago,

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<v Speaker 1>this is not lost. Each episode, a friend and I

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<v Speaker 1>go somewhere to find ourselves and yeah, try to get

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<v Speaker 1>invited to a dinner party. Um, Brendan, friends is this week?

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<v Speaker 1>My friend is my frequent co conspirator, the writer Daniel Henderson,

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<v Speaker 1>and the somewhere Mexico City. Driving through a neighborhood, you

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<v Speaker 1>see people kind of just going about their Friday morning

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<v Speaker 1>routine and then you kind of turn on an avenue

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<v Speaker 1>and it's very open and the city lake. Yeah, it's cool.

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<v Speaker 1>After dropping our things off at our renter department, Danielle

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<v Speaker 1>and I cruised the streets of Mexico City in the

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<v Speaker 1>back of maneuver. We passed clusters of people gathered near

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<v Speaker 1>food carts and coolers filled with twenty five cents Tomali's.

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<v Speaker 1>The streetscape shifts from neo colonial buildings and big trees

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<v Speaker 1>to low slung auto repair shops baking in the sun.

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<v Speaker 1>So where we go, we're taking this uperwear. I thought

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<v Speaker 1>we started the Zokolo, the main square, which is the

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<v Speaker 1>center of Mexico City, of the city of twenty million

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<v Speaker 1>and growing. And so we're meeting Professor Pavel Maldonado and

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<v Speaker 1>he's a professor of culture at the University of Mexico.

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<v Speaker 1>So I thought he could kind of get us our bearings.

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<v Speaker 1>Because I get to do this all day, I could

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<v Speaker 1>just be in the super Well. There's a lot of

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<v Speaker 1>color here. It's like red grid white. Also, a woman

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<v Speaker 1>wearing an aren't like he has a uniform with CDMX.

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<v Speaker 1>It looks like she works for the city cleaning the

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<v Speaker 1>sweeping the street. I like uniform culture. I feel like,

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<v Speaker 1>don't don't expand on that that it's such a privilege

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<v Speaker 1>in New York. No, it doesn't, or why I've warned

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<v Speaker 1>them like I don't. Danielle might not share my appreciation

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<v Speaker 1>for chic workwear, but it was important she and I

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<v Speaker 1>were on the same page about our mission in Mexico,

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<v Speaker 1>because yes, we were going to learn about the secrets

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<v Speaker 1>of masks, wrestling, eat great food, and get private dance lessons. Well.

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<v Speaker 1>He also had a very specific objective. She was really

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<v Speaker 1>adamant that we have to have a dinner party this trip.

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<v Speaker 1>I mean, that's on you. It's just not realistic for

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<v Speaker 1>a travel show. I think it's if we were here

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<v Speaker 1>for a week, sure, for two days. I mean, like, honestly,

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<v Speaker 1>I feel like at the beginning of the show, I

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<v Speaker 1>did think it was a good idea, But as you've

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<v Speaker 1>pointed out to me, in other places, like we do

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<v Speaker 1>get good conversations with people while we're meeting them, so

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<v Speaker 1>it does seem a little superfluous maybe to go to

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<v Speaker 1>their home, but I don't know that's the show they bought.

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<v Speaker 1>In a moment, the light shifts in the back of

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<v Speaker 1>our uber are dense surroundings, cars, peddlers, pedestrians give way

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<v Speaker 1>to sky and space. Yeah, it is legitimately the biggest

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<v Speaker 1>flag I've ever seen in my life, Mexican flag. We've

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<v Speaker 1>entered the Zokolo, one of the largest city squares in

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<v Speaker 1>the world. Casually dressed in a Bart Simpson T shirt,

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<v Speaker 1>Professor Pavel Maldonado fits right in with the other locals,

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<v Speaker 1>just doing their thing in the Zokolo's vast, shadeless expanse.

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<v Speaker 1>You know, guys work here at the Socolo, the santric area,

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<v Speaker 1>and this plast is supposed to hold one hundred thousand

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<v Speaker 1>people if you want to be you know heard nowadays

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<v Speaker 1>saying whatever this the play were used to come even

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<v Speaker 1>from Mexicans that are now from Mexico City. Did he

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<v Speaker 1>of coming to Socco? It's like wow, you know, like

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<v Speaker 1>the big deal. You know, you may think that it's

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<v Speaker 1>kind of touristic, like I get a picture of selfie,

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<v Speaker 1>you know, with a flat but actually I would say

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<v Speaker 1>that probably nine out of ten Mexicans you know, have

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<v Speaker 1>this picture as a Facebook profile, you know, at least

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<v Speaker 1>once in their lives. What is it like to live

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<v Speaker 1>in the middle of all these millions and millions of people?

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<v Speaker 1>Is the city where everything can happen? You know, it's funny.

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<v Speaker 1>Salvador da Lee came here once only watching his life

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<v Speaker 1>and he was like, um, I don't know, like kind

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<v Speaker 1>of jealous because he was like, you know, the city

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<v Speaker 1>like so surreal, you know, even more than my art.

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<v Speaker 1>Do you guys know? By the way, what's the definition

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<v Speaker 1>of the word Mexico do you guys know it? No? Well,

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<v Speaker 1>the word Chico, like from Mexico, means center, So the

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<v Speaker 1>word Mexico mins the belly, bottom of the universe, the

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<v Speaker 1>center of the universe. What's going on? Well, you know,

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<v Speaker 1>this plas is like so popular. You know, people who

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<v Speaker 1>you know have here or said some protests or some

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<v Speaker 1>meetings and like, you know, people trying to get some

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<v Speaker 1>more riots. You know, in general, get right, but also

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<v Speaker 1>like the place where you have all these massive concerts,

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<v Speaker 1>free concerts. I also think it's it's kind of interesting

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<v Speaker 1>that there's such a rich history of heavy metal music here. Yeahs,

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<v Speaker 1>who are your bands? Guns and Roses and yes, you

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<v Speaker 1>know kids like or Ozzie Osbourne, y alltise like heavy

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<v Speaker 1>metal bands were like like you know, it's this white

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<v Speaker 1>guy with his long hair. You know here in Mexico

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<v Speaker 1>we carried to ideas a stigma like that brown skin

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<v Speaker 1>people are not attractive. So yes, when the Spanish came here,

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<v Speaker 1>of course, the idea of being indigenous, you know it

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<v Speaker 1>would be brown skin was like, you know, that's not cool,

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<v Speaker 1>you know, But the slash was like, yeah, this guy's bronsky.

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<v Speaker 1>I love that slash was the gateway. Yeah, we're literally,

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<v Speaker 1>I mean so we're literally on top of a Naztec ruin, right, Yeah,

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<v Speaker 1>that's right, you can see it. Actually, what does it

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<v Speaker 1>feel like to live in a city where the past

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<v Speaker 1>is underneath you and the future is rapidly being built

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<v Speaker 1>around you? Many people they will say like, oh, you know,

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<v Speaker 1>people here we have no memory. I think that's why

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<v Speaker 1>we're not so aware of who we are. And if

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<v Speaker 1>you're not aware of that, you're you're not aware of

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<v Speaker 1>who you can bet. We hear drums and follow their

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<v Speaker 1>sound to a far corner of the Zokolo, we find

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<v Speaker 1>a roped off area of dark stones and partial stairs

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<v Speaker 1>remnants of a temple built in the fourteenth century for

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<v Speaker 1>worshiping the God of Rain and the God of war. Nearby,

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<v Speaker 1>a group of men and women dressed in n Aztec

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<v Speaker 1>clothing with painted faces feathers and skull masks, bang on

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<v Speaker 1>drums and dance. This place was so important before the

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<v Speaker 1>Aztec civilization. It was a place where you can get

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<v Speaker 1>in contact to the you know, the gods, the gods

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<v Speaker 1>you know paid reviews are do you are these people

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<v Speaker 1>actual Aztecs? No? Uh, they are. They went to Nyu,

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<v Speaker 1>most of these people are. They're really like shamans or

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<v Speaker 1>you know, educated people you know in these fields. Which, yeah,

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<v Speaker 1>there's such of the culture. This place is so important

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<v Speaker 1>and so popular, not only among visitors but also among

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<v Speaker 1>locals because it's the place. Would you get the olympias?

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<v Speaker 1>You know you have olympia, you know, to clean like

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<v Speaker 1>negative vibes that you received from the order from your enemies.

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<v Speaker 1>Olympia is an Aztec healing ritual meant to cleanse the spirit.

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<v Speaker 1>It evolves being immersed in a percussive sound bath, rubbed

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<v Speaker 1>with fresh herbs and the fog of insects. That's also

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<v Speaker 1>a good preparation for chicken. You're heartbroken, you know, your

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<v Speaker 1>job play as well. Come canna get olympia, man, Maybe

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<v Speaker 1>I need to get one. Yeah, you know, I think

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<v Speaker 1>I need some bad vibe removal. How do you do.

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<v Speaker 1>Pavel approaches the shaman and lets him know him in

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<v Speaker 1>the market for Olympia, You're leaving everything behind. You know,

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<v Speaker 1>this is the new Brands and you know, yes, I'm

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<v Speaker 1>wishing for this show to succeed because i want this

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<v Speaker 1>to be my new future. And then also I'm wishing

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<v Speaker 1>for a dinner party to happen by the end of

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<v Speaker 1>this weekend. Raid close your right, please. The sound of

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<v Speaker 1>the shell is gonna made out the spirits. This bad vibes,

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<v Speaker 1>his bad souls escape from Brandon's body. But this rituals

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<v Speaker 1>before and after the combats. It's the way that you

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<v Speaker 1>can be protected. This is a new beginning for Brandson,

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<v Speaker 1>you know, and it's a new beginning for all of us.

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<v Speaker 1>Right now. I emerge ears ringing, smelling a bit like

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<v Speaker 1>a hippie dorm room and invigorated. You're you're a new

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<v Speaker 1>person now. That was smoky but interesting. I smelled a

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<v Speaker 1>lot of sense. He made me close my eyes. I

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<v Speaker 1>feel ready to roll. Not wanting the effect to wear off,

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<v Speaker 1>I decided to put some of my newly cleansed vibes

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<v Speaker 1>to work. Part of the thing we're doing is we're

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<v Speaker 1>trying to get invited to someone's house for dinner. The

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<v Speaker 1>idea thinking that getting in someone's home will really understand

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<v Speaker 1>the culture. So I wonder, Daniel and I maybe induced

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<v Speaker 1>a dinner party. You can invite your friends over, and

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<v Speaker 1>I would really like to have you on my blaze.

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<v Speaker 1>But uh, I get it, it's a big ask. Well

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<v Speaker 1>how about this. I have faith that I'm going to

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<v Speaker 1>find someone will be game if I do. Would you

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<v Speaker 1>maybe be willing to join us? Yeah? You know, you

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<v Speaker 1>can kind of meet with a a scalt man. Oh nice,

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<v Speaker 1>I could do with a shot of mescal to Washtown

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<v Speaker 1>Pavel's rejection for here in the belly button of Mexico,

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<v Speaker 1>a huge space dedicated to social gatherings. You think people

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<v Speaker 1>would jump at the idea of hosting a dinner party,

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<v Speaker 1>but alas, it seems like good vibes alone aren't enough.

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<v Speaker 1>We need to up our game. So that's what we do,

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<v Speaker 1>all right, So our next job is dance lessons. Wait,

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<v Speaker 1>you're you're having dance lessons and I'm going to hang out.

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<v Speaker 1>We are We are going to have dance lessons, hopefully,

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<v Speaker 1>because we are in a city where apparently everyone dances

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<v Speaker 1>all the time, all ages old, young, For formal occasions

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<v Speaker 1>and NYM formal occasions. I'm so excited to watch you

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<v Speaker 1>do that. I personally know dance because I cannot dance.

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<v Speaker 1>I have no moves. I've got great rhythm, I don't

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<v Speaker 1>enjoy I don't know how to say it, but like,

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<v Speaker 1>I'm at odds with my body and I don't want

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<v Speaker 1>to do anything that I know will make me look

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<v Speaker 1>and feel foolish. Dancing is for like beautiful people who

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<v Speaker 1>like to be seen, and I don't like that. M

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<v Speaker 1>I'm an old person with a sword back, and I

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<v Speaker 1>like that. It's also a way to get lost. Let's

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<v Speaker 1>let's think of it as a window into the culture,

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<v Speaker 1>and we'll see. We'll take it from there. We'll go inside,

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<v Speaker 1>we'll meet Rosa. We'll definitely gonna good meet and check

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<v Speaker 1>it out and and watch thank you, goodbye, goodbye. Let

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<v Speaker 1>me take it advil just in case I feel the

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<v Speaker 1>spirit hit me. I should also take my hand I

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<v Speaker 1>depressed them in case I feel spirit happy Rosa, Hi,

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<v Speaker 1>hi Thaniel. For the reason we wanted to come here,

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<v Speaker 1>or I wanted to come here, is because it seems

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<v Speaker 1>like dancing is a very big part of the culture here.

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<v Speaker 1>You usually like people come here to Mexico City. I

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<v Speaker 1>don't know, like to know the city or the museums

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<v Speaker 1>or the historic part, but not that like social aspect

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<v Speaker 1>of life like in Mexico City. What are the most

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<v Speaker 1>kind of common dances of this form? It would be

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<v Speaker 1>salsa of course, dance on. I think it's one of

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<v Speaker 1>the we're gonna learn how to do dance on here

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<v Speaker 1>in Mexico. You've seen maybe you've seen it since you

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<v Speaker 1>were a kid, so maybe even if you don't dance, well,

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<v Speaker 1>you kind of know how to do it, like you

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<v Speaker 1>know how it feels, it moves more like in a

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<v Speaker 1>natural organic way. Americans. It's really funny because they look

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<v Speaker 1>really Americans, so it's really easy to see that you're

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<v Speaker 1>not like made to dance. Now you're on her side.

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<v Speaker 1>Hold on a second, but actually it's I know you're

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<v Speaker 1>saying Americans are just a little whatever stiffer. I would

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<v Speaker 1>say trunk, like like you see that part of the

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<v Speaker 1>tree trunk or like trunk. So you just moved like

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<v Speaker 1>like a trunk. You know, you just walked like Frankenstein.

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<v Speaker 1>Not to put you on the spot here, but what

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<v Speaker 1>did you think about me when you saw me coming

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<v Speaker 1>in I thought, okay, Brandon's American. God, Oh my god,

0:13:41.356 --> 0:13:45.756
<v Speaker 1>you're right, And yet somehow I'm offended. I'm kidding. I'm kidding.

0:13:46.316 --> 0:13:51.476
<v Speaker 1>I do walk like I came off a horse. You

0:13:51.596 --> 0:13:55.476
<v Speaker 1>can be as great as you want, like because you're

0:13:55.596 --> 0:13:59.476
<v Speaker 1>you can have fun and you can learn. And that's

0:13:59.796 --> 0:14:04.756
<v Speaker 1>what this is all about, like having fun. No, I'm

0:14:04.796 --> 0:14:07.316
<v Speaker 1>resistant to death. I didn't tell her we were coming

0:14:07.396 --> 0:14:10.196
<v Speaker 1>until we were on your way, and then she said,

0:14:10.396 --> 0:14:14.156
<v Speaker 1>already knew. And then she said that I will watch

0:14:14.236 --> 0:14:16.636
<v Speaker 1>you dance because I'm not gonna dance, but I feel

0:14:16.676 --> 0:14:19.436
<v Speaker 1>like Danielle will be an excellent dancer. Yeah, I think

0:14:19.516 --> 0:14:21.916
<v Speaker 1>you're gonna be great. I'm so tall, I'm too big.

0:14:21.996 --> 0:14:26.316
<v Speaker 1>I don't think that's only like stereotypes. This is not ballet.

0:14:26.676 --> 0:14:30.716
<v Speaker 1>We're not in Russia. You just have one right foot

0:14:31.276 --> 0:14:34.836
<v Speaker 1>and one foot. You just have to like know how

0:14:34.916 --> 0:14:37.836
<v Speaker 1>to use them. So I think everybody can have that

0:14:38.036 --> 0:14:40.796
<v Speaker 1>kind of like redemption. All right, well, let's do it.

0:14:43.996 --> 0:14:46.796
<v Speaker 1>You need to be a little bit closer than that.

0:14:48.436 --> 0:14:51.636
<v Speaker 1>I know you hate this, but okay, at this point,

0:14:51.796 --> 0:14:54.476
<v Speaker 1>Danielle and I are standing nose to nose. We look

0:14:54.516 --> 0:14:57.436
<v Speaker 1>like wax figures on a wedding cake, one arm around

0:14:57.476 --> 0:14:59.676
<v Speaker 1>each other's back and the other stretched out in a

0:14:59.796 --> 0:15:04.676
<v Speaker 1>right angle, poised to dance. So the basic step of

0:15:04.876 --> 0:15:10.356
<v Speaker 1>dancer's a box. Okay, dan you know you're gonna start

0:15:10.436 --> 0:15:19.716
<v Speaker 1>with your right foot backwards one two, three, four? Okay.

0:15:19.836 --> 0:15:24.196
<v Speaker 1>So they are turning right now. They are doing it

0:15:24.516 --> 0:15:28.276
<v Speaker 1>pretty much well. I would say they're dancing dance on

0:15:28.556 --> 0:15:34.596
<v Speaker 1>for almost five years, Danielle. She seems like like this

0:15:35.036 --> 0:15:42.356
<v Speaker 1>gorgeous European girl with the ballroom tenderness in your body

0:15:43.316 --> 0:15:49.516
<v Speaker 1>and Brendan postures. He really really needs to have more

0:15:49.636 --> 0:16:02.356
<v Speaker 1>confidence while leading. They seem they're having fun. Also, are

0:16:02.476 --> 0:16:06.956
<v Speaker 1>you are you sure you've never done this? You're sure? Okay? Okay?

0:16:07.236 --> 0:16:08.876
<v Speaker 1>Who said in the car that you are going to

0:16:08.916 --> 0:16:11.716
<v Speaker 1>get good at this? And I wasn't. Wow, it's so cool, like,

0:16:12.076 --> 0:16:15.356
<v Speaker 1>see you can do this. Well, this has been amazing.

0:16:15.556 --> 0:16:18.956
<v Speaker 1>And I believe you when you say it's social therapy. Um.

0:16:19.516 --> 0:16:23.156
<v Speaker 1>One of my forms of social therapy is entertaining at home.

0:16:23.356 --> 0:16:27.236
<v Speaker 1>And so I'm wondering, yeah, are you interested in dinner parties? Yeah?

0:16:27.276 --> 0:16:30.356
<v Speaker 1>I love dinner parties, So could like it could Danielle

0:16:30.356 --> 0:16:31.636
<v Speaker 1>and I and if we found some other people who

0:16:31.676 --> 0:16:33.476
<v Speaker 1>like come to your place like tomorrow and we could

0:16:33.476 --> 0:16:38.996
<v Speaker 1>prepare dinner. A lot of people here in Mexico say, yeah, okay,

0:16:39.036 --> 0:16:43.196
<v Speaker 1>well but Mikasa. It's only Mikasa, okay, So, oh my god,

0:16:43.516 --> 0:16:46.076
<v Speaker 1>I can't believe Mikasa's Tukasa is not a real thing.

0:16:47.916 --> 0:16:49.796
<v Speaker 1>And I can't believe you're laughing. You know, I need

0:16:49.796 --> 0:16:51.996
<v Speaker 1>to have a dinner party. That was hilarious though, because

0:16:51.996 --> 0:16:59.716
<v Speaker 1>I told you that would happen. That was awesome. Well,

0:16:59.756 --> 0:17:04.036
<v Speaker 1>I'm glad that you overcame your anst about it, but honestly,

0:17:04.196 --> 0:17:06.636
<v Speaker 1>like it's Friday night and we have zero attraction on

0:17:06.716 --> 0:17:09.556
<v Speaker 1>the dinner party front, I'm a little concerned. Well let's

0:17:09.556 --> 0:17:11.476
<v Speaker 1>say we don't get a dinner party tomorrow, mors, what

0:17:11.476 --> 0:17:13.236
<v Speaker 1>should we do? I mean, are they going to cancel

0:17:13.276 --> 0:17:15.716
<v Speaker 1>the show? I'm going to owe them all the money

0:17:15.796 --> 0:17:17.796
<v Speaker 1>for all the shows? And then it's like, oh, two

0:17:17.916 --> 0:17:21.236
<v Speaker 1>people just went on vacation and recorded a bunch of junk,

0:17:21.516 --> 0:17:24.956
<v Speaker 1>Like that's crazy, Like have you ever seen that show?

0:17:25.076 --> 0:17:28.756
<v Speaker 1>Like what's the log line on that show? Back at

0:17:28.796 --> 0:17:31.476
<v Speaker 1>our lodgings for a much needed siesta. I think back

0:17:31.516 --> 0:17:34.156
<v Speaker 1>when something roads that told me, you need to lead

0:17:34.236 --> 0:17:37.756
<v Speaker 1>with more confidence. If I really want to get people's

0:17:37.756 --> 0:17:40.596
<v Speaker 1>troncos around a table for a dinner party, I'm going

0:17:40.636 --> 0:17:43.996
<v Speaker 1>to need to assert myself. Fortunately for me, our next

0:17:43.996 --> 0:17:49.316
<v Speaker 1>stop is a masterclass in power and grit. This is

0:17:49.356 --> 0:17:51.956
<v Speaker 1>definitely the most hectic street life I've encountered since I've

0:17:51.956 --> 0:17:56.756
<v Speaker 1>been here. Well, Friday night Friday night fights, all right,

0:17:56.756 --> 0:18:00.356
<v Speaker 1>So we're approaching the thing. So we're in Roma, and

0:18:00.516 --> 0:18:02.156
<v Speaker 1>once we get on the other side of this drag

0:18:02.196 --> 0:18:06.596
<v Speaker 1>woking in Doctores and Doctores is the home of Rana

0:18:06.636 --> 0:18:09.556
<v Speaker 1>Amico where we're going to watch Luja. We're on our

0:18:09.596 --> 0:18:12.636
<v Speaker 1>way to Luca Libre with Asa Merit, an American journalist

0:18:12.676 --> 0:18:15.156
<v Speaker 1>who lives in Mexico City and spend a year working

0:18:15.196 --> 0:18:18.716
<v Speaker 1>on a documentary about its infamous mask wrestlers. What does

0:18:18.796 --> 0:18:24.196
<v Speaker 1>Lucca libre mean? Literally translated? So, Luca libre means free fighting. So,

0:18:24.396 --> 0:18:26.756
<v Speaker 1>I mean, there's so much to be said about to

0:18:26.836 --> 0:18:30.116
<v Speaker 1>what extent its scripted. It's not scripted, but in its

0:18:30.436 --> 0:18:34.876
<v Speaker 1>early days, much of Luca Libre wasn't as scripted as

0:18:35.036 --> 0:18:37.836
<v Speaker 1>narrative based as it is as it is today, and

0:18:37.996 --> 0:18:41.316
<v Speaker 1>so that's why it was called free fighting, and so

0:18:41.716 --> 0:18:43.516
<v Speaker 1>what's up with the masks like that? To me? When

0:18:43.516 --> 0:18:45.396
<v Speaker 1>I think of lucha libre, that's the thing that pops

0:18:45.436 --> 0:18:48.636
<v Speaker 1>in my mind. Okay, So the masks are key to

0:18:48.996 --> 0:18:51.516
<v Speaker 1>each of the wrestler's identities, all right. So in the

0:18:51.596 --> 0:18:55.076
<v Speaker 1>old tradition of luca libre in the golden era, was

0:18:55.156 --> 0:18:58.436
<v Speaker 1>these luchadors who went their whole life without revealing their identity.

0:18:58.876 --> 0:19:00.836
<v Speaker 1>So they would even wear their mask in public. They

0:19:00.876 --> 0:19:03.036
<v Speaker 1>would wear their mask on the plane and the security

0:19:03.076 --> 0:19:05.556
<v Speaker 1>they had passports they had their mask on and no

0:19:05.676 --> 0:19:08.876
<v Speaker 1>one really knew. And Alsanto, the most famous luch store

0:19:08.876 --> 0:19:10.716
<v Speaker 1>of all time, he had like a closet in his

0:19:10.836 --> 0:19:14.476
<v Speaker 1>house and his children thought he was a traveling businessman

0:19:14.556 --> 0:19:16.316
<v Speaker 1>until he was like they were like eight, and he

0:19:16.436 --> 0:19:21.556
<v Speaker 1>finally spilled the beans. So the mass traditionally is this symbol,

0:19:22.036 --> 0:19:24.236
<v Speaker 1>and it's a way for the wrestlers to keep their anonymity.

0:19:24.756 --> 0:19:28.396
<v Speaker 1>But it's also integral to the storytelling of lucha libre.

0:19:28.796 --> 0:19:31.636
<v Speaker 1>So Luca lira is all about good and evil. You

0:19:31.716 --> 0:19:34.196
<v Speaker 1>have the rudos kind of like rude if you think

0:19:34.196 --> 0:19:35.796
<v Speaker 1>of it that way, the bad guys, and then the

0:19:35.876 --> 0:19:39.076
<v Speaker 1>technicos like technical and the technicos are the good guys,

0:19:39.396 --> 0:19:42.036
<v Speaker 1>and so essentially what you're seeing in a Lucha Libre

0:19:42.236 --> 0:19:47.276
<v Speaker 1>match is a very sort of mythic, archetypal, iconic battle

0:19:47.596 --> 0:19:51.036
<v Speaker 1>between like the very good and the very evil. I

0:19:51.116 --> 0:19:54.516
<v Speaker 1>think the theater element is really important to understand that

0:19:54.676 --> 0:19:59.276
<v Speaker 1>there's a certain catharsis that's happening for some audience members

0:19:59.316 --> 0:20:02.836
<v Speaker 1>that's really different than the thrills of watching Game seven

0:20:02.876 --> 0:20:05.676
<v Speaker 1>of the NBA Playoff. Do you have any theories in

0:20:05.756 --> 0:20:09.556
<v Speaker 1>your studies of this, like why these mass characters resonate

0:20:09.676 --> 0:20:12.436
<v Speaker 1>so powerfully with people in Mexico and in Mexico City,

0:20:12.476 --> 0:20:17.516
<v Speaker 1>specifically of the dozens of wrestlers and Luca Libre filmmakers

0:20:17.596 --> 0:20:20.276
<v Speaker 1>and everyone I spoke to, Like, though, there's one anecdote

0:20:20.316 --> 0:20:22.596
<v Speaker 1>that I will never forget, and it's this woman who

0:20:22.716 --> 0:20:26.076
<v Speaker 1>described to me how she liked Luca Libre and the

0:20:26.156 --> 0:20:30.196
<v Speaker 1>masks to Diodos Martos and so Diodo Swartzi's Day of

0:20:30.196 --> 0:20:33.316
<v Speaker 1>the Dead is this annual holiday here in Mexico where

0:20:33.436 --> 0:20:36.836
<v Speaker 1>families get together and remember those who have passed away.

0:20:37.316 --> 0:20:39.756
<v Speaker 1>So she was explaining that to me, and she said, hey, listen,

0:20:39.836 --> 0:20:41.796
<v Speaker 1>like Day of the dead. It's it's not just like

0:20:41.916 --> 0:20:45.436
<v Speaker 1>we're getting around thinking about her relatives. We really believe

0:20:45.676 --> 0:20:48.196
<v Speaker 1>that they are there with us in the room. It's

0:20:48.196 --> 0:20:51.396
<v Speaker 1>the same with Luca Libre, like we believe. And she

0:20:51.556 --> 0:20:56.076
<v Speaker 1>described Mesco as this nation with imagination, and there were

0:20:56.116 --> 0:20:57.596
<v Speaker 1>there were hints of that from so many of the

0:20:57.636 --> 0:21:00.156
<v Speaker 1>people I talked to, that the mask was this incredible

0:21:00.196 --> 0:21:03.756
<v Speaker 1>tool for someone's imagination. We merge into a mass of

0:21:03.876 --> 0:21:07.756
<v Speaker 1>humans squeezing their way into the arena and finally surface

0:21:07.836 --> 0:21:12.436
<v Speaker 1>among thousands of hands surrounding an illuminated wrestling right. The

0:21:12.516 --> 0:21:16.556
<v Speaker 1>air smells of booze and fried food. The energy is crackling.

0:21:17.556 --> 0:21:19.836
<v Speaker 1>All eyes are focused on the center of the ring,

0:21:20.356 --> 0:21:24.236
<v Speaker 1>where two topless, masked men repeatedly crashed into each other.

0:21:25.956 --> 0:21:28.356
<v Speaker 1>So what you got going on right now is this

0:21:28.516 --> 0:21:29.916
<v Speaker 1>is like you got the same thing as the w W,

0:21:30.116 --> 0:21:33.036
<v Speaker 1>where you got like tag team type situation. So the

0:21:33.116 --> 0:21:35.436
<v Speaker 1>guy of the gold mask just stepped out and his partner,

0:21:35.556 --> 0:21:37.716
<v Speaker 1>which I think is the dude with the blue bandana

0:21:37.756 --> 0:21:42.836
<v Speaker 1>around his head, went in and he is getting double teamed,

0:21:42.916 --> 0:21:47.716
<v Speaker 1>unsurprisingly by the poor sported. He's about the really hurt,

0:21:47.756 --> 0:21:53.276
<v Speaker 1>he's about double job. Here comes the gold guy gold

0:21:53.316 --> 0:22:04.516
<v Speaker 1>Mask is back. Oh that sounded like a hurt Oh

0:22:08.796 --> 0:22:10.836
<v Speaker 1>I it, but I want the gold mask guy to win.

0:22:13.116 --> 0:22:15.116
<v Speaker 1>That's because since we've been here, he's been getting hurt

0:22:15.156 --> 0:22:16.916
<v Speaker 1>the most, so I kind of want him to overcome that.

0:22:18.996 --> 0:22:20.716
<v Speaker 1>You said earlier that you have a problem with the

0:22:20.796 --> 0:22:23.996
<v Speaker 1>word xpat. You think of x pats and you kind

0:22:24.036 --> 0:22:26.516
<v Speaker 1>of think of like people living around the world, and

0:22:26.596 --> 0:22:29.756
<v Speaker 1>they're kind of like rich neighborhoods going to their American schools.

0:22:29.996 --> 0:22:31.916
<v Speaker 1>If you come to Mexico to live in Mexico and

0:22:31.996 --> 0:22:35.996
<v Speaker 1>are earning in a currency either in the United States

0:22:36.756 --> 0:22:39.996
<v Speaker 1>or in Western Europe, the quality of life available to

0:22:40.076 --> 0:22:43.316
<v Speaker 1>you is like an entire social class hire. I mean,

0:22:43.436 --> 0:22:47.036
<v Speaker 1>something also comes to mind, how many Mexicans are called

0:22:47.156 --> 0:22:50.196
<v Speaker 1>expats in the news in America. They're called immigrants and

0:22:50.676 --> 0:22:53.596
<v Speaker 1>there's a threat they're like invading us or they're immigrants.

0:22:53.756 --> 0:22:55.836
<v Speaker 1>But there's never like, oh, there's a big XPACT community

0:22:56.156 --> 0:22:59.836
<v Speaker 1>in Brooklyn, or there's a big XPACT community in Los Angeles. Yeah, no, exactly.

0:23:00.116 --> 0:23:04.436
<v Speaker 1>You know, I prioritize being of this place, not of

0:23:04.636 --> 0:23:15.476
<v Speaker 1>somewhere else who happens to be here. Yeah, Well, two

0:23:15.556 --> 0:23:18.116
<v Speaker 1>body slamming. I mean, look, they're made to be as

0:23:18.196 --> 0:23:22.916
<v Speaker 1>dramatic as possible, right, so they're always really dramatic. Mucha libre,

0:23:23.596 --> 0:23:27.156
<v Speaker 1>a made up social occasion that inspires camaraderie and provides

0:23:27.156 --> 0:23:31.036
<v Speaker 1>an outlet for emotions and the imagination. Kind of like

0:23:31.156 --> 0:23:33.716
<v Speaker 1>my idea of a good dinner party. Except at dinner

0:23:33.756 --> 0:23:36.676
<v Speaker 1>parties the stakes are nothing less than body slammy are

0:23:36.716 --> 0:23:39.236
<v Speaker 1>collective on we un till it begs the reff for mercy.

0:23:39.996 --> 0:23:42.036
<v Speaker 1>I asked, as if he's ready to enter the arena

0:23:42.116 --> 0:23:46.476
<v Speaker 1>with me. Sorry, man, I just had a kid. No way, really, yeah,

0:23:46.556 --> 0:23:51.716
<v Speaker 1>seven days ago, right, okay, Well, thanks for taking us

0:23:51.716 --> 0:24:00.716
<v Speaker 1>on this stour. This wasn't good. We had only one

0:24:00.756 --> 0:24:04.236
<v Speaker 1>more day left in Mexico City and still no plans

0:24:04.276 --> 0:24:21.596
<v Speaker 1>for a grande dinner fiesta. During my flight down here,

0:24:21.676 --> 0:24:25.396
<v Speaker 1>I read a book about screenplays. Apparently in every movie,

0:24:25.676 --> 0:24:29.356
<v Speaker 1>from Harry Potter to Parasite, there comes in all is

0:24:29.396 --> 0:24:32.356
<v Speaker 1>lost moment. This is the part of the story where

0:24:32.396 --> 0:24:36.236
<v Speaker 1>our hero has no hope, his dreams have shattered, and

0:24:36.396 --> 0:24:41.196
<v Speaker 1>his chance of success is practically zero. Asa shutting us

0:24:41.236 --> 0:24:46.476
<v Speaker 1>down for a dinner party wasn't that moment? No are

0:24:46.556 --> 0:24:49.316
<v Speaker 1>all is lost moment would come the next morning when

0:24:49.436 --> 0:24:53.516
<v Speaker 1>Danielle wakes up with a crippling stomach helmet. Yes, that's

0:24:53.556 --> 0:24:59.036
<v Speaker 1>stomach helmet. The stomach helmet not uncommon to tourists in Mexico. This,

0:25:00.316 --> 0:25:04.996
<v Speaker 1>this is the moment all is lost. After loud sobbing

0:25:05.036 --> 0:25:07.116
<v Speaker 1>in the shower like an out of tune Mariachi band,

0:25:07.716 --> 0:25:09.676
<v Speaker 1>I get dressed and drag mysel helf over to what

0:25:09.836 --> 0:25:12.116
<v Speaker 1>was supposed to be our final meetup, but for our

0:25:12.156 --> 0:25:16.916
<v Speaker 1>triumphant dinner party. Omar. Yeah, yeah, hey, Brendan, nice to

0:25:16.956 --> 0:25:18.876
<v Speaker 1>meet you. Thanks so much for meeting us. Now our pleasure.

0:25:19.156 --> 0:25:21.996
<v Speaker 1>Tell me what our planets. Omar Rodriguez Graham is a

0:25:22.156 --> 0:25:26.036
<v Speaker 1>successful local painter with very cool glasses frames. I thought

0:25:26.036 --> 0:25:28.796
<v Speaker 1>it'd be good to meet up here because this is

0:25:28.916 --> 0:25:33.396
<v Speaker 1>like the iconic spots see murals in Mexico, you know which,

0:25:33.396 --> 0:25:40.676
<v Speaker 1>It has murals by the Dria Sicos and a couple

0:25:40.716 --> 0:25:43.676
<v Speaker 1>of other guys. You know, it's a pretty beautiful building already. Yeah, stop,

0:25:43.916 --> 0:25:45.756
<v Speaker 1>and we haven't even looked at Meurle yet. Well, let's

0:25:45.796 --> 0:25:48.156
<v Speaker 1>go take a look, all right. Cool? We pause in

0:25:48.236 --> 0:25:50.996
<v Speaker 1>front of a huge abstract mural the size of a billboard.

0:25:51.116 --> 0:25:56.596
<v Speaker 1>There's magenta feel, purple, lavender, gray, red color. I thought

0:25:56.596 --> 0:25:59.476
<v Speaker 1>you were only a sound guy. So yeah, we're in

0:25:59.596 --> 0:26:02.196
<v Speaker 1>like this big four story hall with a lot of

0:26:02.276 --> 0:26:05.956
<v Speaker 1>like Art Deco motifs that have in Mexican and eyes

0:26:06.076 --> 0:26:08.796
<v Speaker 1>that's like art Deco meets as tech. Yeah, exactly exactly.

0:26:09.116 --> 0:26:11.996
<v Speaker 1>I grew up here. I was born in Mexico. My

0:26:12.116 --> 0:26:15.756
<v Speaker 1>father was a painter, but he also did a set design.

0:26:16.196 --> 0:26:18.036
<v Speaker 1>So when I was a child that come to Baya

0:26:18.476 --> 0:26:20.716
<v Speaker 1>to see his opera as he did, or to see

0:26:20.716 --> 0:26:22.396
<v Speaker 1>the other plays that he worked on, and so like,

0:26:23.196 --> 0:26:26.076
<v Speaker 1>there was always like a very special place in my

0:26:26.716 --> 0:26:30.116
<v Speaker 1>heart for the murals, and I do think it's it's

0:26:30.156 --> 0:26:33.516
<v Speaker 1>something very particular to Mexican art, if I remember or

0:26:33.596 --> 0:26:37.796
<v Speaker 1>the history correctly. The first mural was done by Diabo Rivera,

0:26:37.996 --> 0:26:42.476
<v Speaker 1>so is a Rivera and it basically shows like the

0:26:42.556 --> 0:26:46.276
<v Speaker 1>power of man, of science, of technology. The mural we're

0:26:46.316 --> 0:26:49.916
<v Speaker 1>looking at is called Man Controller of the Universe. In

0:26:49.996 --> 0:26:52.916
<v Speaker 1>the center is a worker wearing overalls and holding a lever,

0:26:53.516 --> 0:26:56.756
<v Speaker 1>crowding him on all sides, or people, soldiers, workers, and

0:26:56.996 --> 0:27:00.756
<v Speaker 1>scenes a laboratory, a battlefield, all meant to depict the

0:27:00.836 --> 0:27:05.476
<v Speaker 1>modern condition. It's clearly political. In one corner, kids of

0:27:05.516 --> 0:27:08.356
<v Speaker 1>different races hold hands one on the other, a group

0:27:08.436 --> 0:27:12.276
<v Speaker 1>of oblivion rich people sip cocktails. The murals seems to

0:27:12.316 --> 0:27:15.516
<v Speaker 1>be saying, now that man can control the universe through technology,

0:27:15.716 --> 0:27:17.636
<v Speaker 1>what is he going to do with it? A lot

0:27:17.676 --> 0:27:20.516
<v Speaker 1>of the murals in this building really have a lot

0:27:20.596 --> 0:27:24.596
<v Speaker 1>of social criticism there, really are trying to portray the

0:27:24.716 --> 0:27:30.396
<v Speaker 1>fight of the common man, the upheavals of society, nationalism, globalization, war,

0:27:30.796 --> 0:27:33.396
<v Speaker 1>and in a way it's also very relevant today, you

0:27:33.476 --> 0:27:36.876
<v Speaker 1>know what I mean. Social criticism in art in the

0:27:37.076 --> 0:27:41.116
<v Speaker 1>commercial sphere is really complicated because, like I know a

0:27:41.196 --> 0:27:43.796
<v Speaker 1>lot of artists that they're like, no, let's fight for

0:27:43.876 --> 0:27:47.956
<v Speaker 1>the common man, like very socialist ideas at anti capitalist

0:27:48.156 --> 0:27:50.836
<v Speaker 1>art works, but then they're like selling their works for

0:27:50.916 --> 0:27:53.396
<v Speaker 1>like hundreds of thousand dollars, you know, like where's that

0:27:53.516 --> 0:27:57.076
<v Speaker 1>money going. Listening to Omar, I thought about how traveling

0:27:57.156 --> 0:28:00.596
<v Speaker 1>the world via dinner party wasn't exactly curing cancer or

0:28:00.996 --> 0:28:04.716
<v Speaker 1>moving the needle politically. And after taking in more murals,

0:28:04.956 --> 0:28:08.876
<v Speaker 1>some depicting the hearts of colonization, others documenting social decay,

0:28:09.476 --> 0:28:12.116
<v Speaker 1>I share some of my misgivings with Omar. Well, it's

0:28:12.156 --> 0:28:14.876
<v Speaker 1>it's I think that's something that is always like hanging

0:28:14.916 --> 0:28:16.916
<v Speaker 1>on my shoulders as well. You know, it's tricky because,

0:28:17.156 --> 0:28:19.356
<v Speaker 1>you know, like our privilege, like for me to be

0:28:19.476 --> 0:28:21.916
<v Speaker 1>making paintings or for you to just be traveling around

0:28:22.356 --> 0:28:24.916
<v Speaker 1>recording a podcast, is really due to the fact that

0:28:25.116 --> 0:28:27.956
<v Speaker 1>we're kind of working on the shoulders of like masses

0:28:27.996 --> 0:28:31.636
<v Speaker 1>of humanity. It's a problem to deal with. I don't

0:28:31.676 --> 0:28:34.116
<v Speaker 1>know how to respond to it. You know, there is

0:28:34.196 --> 0:28:37.236
<v Speaker 1>an equality, and I think the first step is to

0:28:37.316 --> 0:28:40.796
<v Speaker 1>acknowledge it, you know, to understand that your privilege comes

0:28:40.876 --> 0:28:43.996
<v Speaker 1>from someone else's suffering in the end. You know, but

0:28:44.156 --> 0:28:47.156
<v Speaker 1>that doesn't mean that you should waste your opportunities, you know.

0:28:47.276 --> 0:28:50.396
<v Speaker 1>That's rather how do you take advantage of them responsibly?

0:28:50.676 --> 0:28:53.356
<v Speaker 1>And how do you give back however you can? You know,

0:28:54.436 --> 0:28:58.356
<v Speaker 1>this was good food for thought, just the type of

0:28:58.436 --> 0:29:01.276
<v Speaker 1>conversation I'd hope to achieve if I'd successfully pulled off

0:29:01.316 --> 0:29:04.956
<v Speaker 1>a dinner party. In fact, Omar was exactly the sort

0:29:04.996 --> 0:29:07.796
<v Speaker 1>of guess I'd want there, and come to think of it,

0:29:08.636 --> 0:29:11.276
<v Speaker 1>it was also so exactly the sort of person I'd

0:29:11.316 --> 0:29:16.476
<v Speaker 1>want to host it. What's your budget. I mean I think,

0:29:16.636 --> 0:29:18.436
<v Speaker 1>I think I would. I I can make it work.

0:29:18.516 --> 0:29:20.996
<v Speaker 1>The company specifically told me, like had of a dinner party,

0:29:21.076 --> 0:29:23.076
<v Speaker 1>so it's budget for it. But yeah no, no, I

0:29:23.116 --> 0:29:25.876
<v Speaker 1>could favor the food and like that, could you absorb us? Yes? Yes,

0:29:26.276 --> 0:29:28.236
<v Speaker 1>why don't we do like a potluck type of thing? Okay,

0:29:28.436 --> 0:29:30.396
<v Speaker 1>like everybody pinching a little bit, I need to call

0:29:30.436 --> 0:29:34.356
<v Speaker 1>in a backup. With a possible pot luck pending and

0:29:34.436 --> 0:29:36.676
<v Speaker 1>a co host unable to leave sight of a latrine.

0:29:37.196 --> 0:29:40.236
<v Speaker 1>It was time. I led with confidence. I put a

0:29:40.276 --> 0:29:42.116
<v Speaker 1>call into a friend of a friend a food and

0:29:42.156 --> 0:29:44.196
<v Speaker 1>wine with it, and I told him I needed dinner

0:29:44.236 --> 0:29:46.756
<v Speaker 1>party fixings for a group that evening, and I do

0:29:46.836 --> 0:29:49.876
<v Speaker 1>whatever it took. I'm Niels Bernstein. I split my time

0:29:49.916 --> 0:29:52.276
<v Speaker 1>between Mexico City and New York. He told me to

0:29:52.316 --> 0:29:55.356
<v Speaker 1>meet him at Mercado de Medagine one hour. Okay, here

0:29:55.396 --> 0:29:57.596
<v Speaker 1>we are. This is my favorite carnita stand that it's

0:29:57.636 --> 0:30:02.956
<v Speaker 1>looking good. There's a piggy bank here. Oh it's our

0:30:03.036 --> 0:30:05.356
<v Speaker 1>humor right here. Oh there we go. Yeah, you need

0:30:05.476 --> 0:30:08.996
<v Speaker 1>lines and salsas. Just you gotta, you know, rig everything

0:30:09.156 --> 0:30:15.676
<v Speaker 1>to taste. Brain case is whoa I've never eaten a

0:30:15.716 --> 0:30:19.916
<v Speaker 1>brain brain eye uterus. Not my favorite. Here, I like

0:30:19.956 --> 0:30:23.836
<v Speaker 1>a lot. There's these spicy pickled onions, which I think

0:30:23.876 --> 0:30:26.756
<v Speaker 1>we might just make our own. Okay, okay, some haban

0:30:26.836 --> 0:30:29.636
<v Speaker 1>arrows here which we can use for the marinated onions. Yeah,

0:30:29.636 --> 0:30:33.756
<v Speaker 1>they're like little jewels, deathly spicy jewels. My Irish stomach

0:30:33.876 --> 0:30:35.836
<v Speaker 1>is quaking. If you want to get some mail, larva

0:30:36.116 --> 0:30:39.036
<v Speaker 1>is over. You're chaing that out. Okay, so let's go

0:30:39.196 --> 0:30:42.796
<v Speaker 1>get some salad fixings. Here we're looking at some star fruit,

0:30:42.996 --> 0:30:46.716
<v Speaker 1>some pomegranate, various plums and cherries, a lot of different citrus.

0:30:47.076 --> 0:30:50.236
<v Speaker 1>All right, thank you, Mercado. What is it again, Mercado

0:30:50.316 --> 0:30:58.396
<v Speaker 1>medine gassias, Adios Mercado Medeline. And then showtime along with Omar,

0:30:58.676 --> 0:31:01.796
<v Speaker 1>his wife Morgan, and their dog Nioki, a local friend,

0:31:01.836 --> 0:31:04.996
<v Speaker 1>and a roommates, as well as Omar's downstairs neighbor who

0:31:05.036 --> 0:31:13.596
<v Speaker 1>brought us guitar in a bottle of mescow old. Look

0:31:13.676 --> 0:31:17.116
<v Speaker 1>these guys, they're excited you're here. Oh this way soon

0:31:17.596 --> 0:31:23.716
<v Speaker 1>dinner was served, So karamitas and mills brock. What else

0:31:23.716 --> 0:31:26.796
<v Speaker 1>do you have for dinner? This is the solid of

0:31:27.236 --> 0:31:33.716
<v Speaker 1>laga and cherry Tomato. We talked about the city. This

0:31:34.036 --> 0:31:39.516
<v Speaker 1>is a friendly city. Are happening, everybody can feel that

0:31:39.836 --> 0:31:43.716
<v Speaker 1>you are income. We talked politics. Party in Power now

0:31:44.156 --> 0:31:47.676
<v Speaker 1>was trying to cut financing for political parties, and I

0:31:47.876 --> 0:31:52.196
<v Speaker 1>was happy and relieved, not only because I could return

0:31:52.236 --> 0:31:54.076
<v Speaker 1>to New York and let my bosses know I'd pulled

0:31:54.116 --> 0:31:57.356
<v Speaker 1>off an actual dinner party dinner party, but because I

0:31:57.436 --> 0:32:00.156
<v Speaker 1>was reminded that my pensiont to break bread with strangers

0:32:00.556 --> 0:32:05.156
<v Speaker 1>wasn't frivolous after all. Dinner parties a recess for grown ups,

0:32:05.716 --> 0:32:07.756
<v Speaker 1>a rare space where people can gather and not be

0:32:07.876 --> 0:32:10.516
<v Speaker 1>under the watchful eye of a ball us, a needy child,

0:32:10.676 --> 0:32:13.876
<v Speaker 1>or an impatient waiter. There are gatherings that are intimate

0:32:13.996 --> 0:32:17.716
<v Speaker 1>and have the power to transcend cultural barriers. There are

0:32:17.716 --> 0:32:21.556
<v Speaker 1>places where we get to play, entertain argue, and feed ourselves,

0:32:22.156 --> 0:32:25.716
<v Speaker 1>not just their bodies, but our souls, newly cleansed or not.

0:32:26.756 --> 0:32:29.076
<v Speaker 1>And dinner parties are a lot harder to manifest than

0:32:29.116 --> 0:32:32.596
<v Speaker 1>you'd think, even at home. So when we are able

0:32:32.636 --> 0:32:35.516
<v Speaker 1>to make them happen, we should relish it. Welcome to

0:32:35.636 --> 0:32:42.876
<v Speaker 1>all of our expats. Whatever I was sad, d wasn't

0:32:42.876 --> 0:32:45.116
<v Speaker 1>with us can't you just picture her showing off her

0:32:45.196 --> 0:32:49.116
<v Speaker 1>dans On moves in the corner. But I still feel triumphant,

0:32:49.956 --> 0:32:54.116
<v Speaker 1>like a masked Luca Libre wrestler, topless and gold shorts,

0:32:54.756 --> 0:32:58.036
<v Speaker 1>waving my clasped arms over one shoulder and then the

0:32:58.116 --> 0:33:08.516
<v Speaker 1>other like a champion. The lead producer on this episode

0:33:08.556 --> 0:33:13.556
<v Speaker 1>of Not Law was the unflappable Tally Abacasas. The show

0:33:13.676 --> 0:33:16.556
<v Speaker 1>was also produced and written by me Brendan Francis Nunham.

0:33:16.876 --> 0:33:20.396
<v Speaker 1>Our associate producer was Jackson Musker. Our story editor for

0:33:20.476 --> 0:33:23.196
<v Speaker 1>this episode was Mira bert Win Tonik. The show was

0:33:23.276 --> 0:33:26.156
<v Speaker 1>mixed by Hannis Brown and a big thanks to my

0:33:26.276 --> 0:33:31.236
<v Speaker 1>friend and this episode's travel partner, Daniel Henderson. Not Lost

0:33:31.316 --> 0:33:35.476
<v Speaker 1>as a co production of Pushkin Industries, Topic Studios and iHeartMedia.

0:33:35.836 --> 0:33:39.916
<v Speaker 1>It was developed at Topic Studios. The show's executive producers

0:33:39.916 --> 0:33:43.716
<v Speaker 1>are me Christi Gressman, Maria Zuckerman, Lisa Langang, and La

0:33:43.796 --> 0:33:47.596
<v Speaker 1>Tom Mullad. Production assistance on this episode also came from

0:33:47.716 --> 0:33:51.396
<v Speaker 1>Jacob Smith, Amy Gaines and Julia Barton at Pushkin. Our

0:33:51.476 --> 0:33:55.676
<v Speaker 1>theme song was created by Alexis Georgiopolis rhymes with Metropolis

0:33:56.636 --> 0:34:03.116
<v Speaker 1>and muchos gracias to Professor Pavel Maldonado, Rosa maracarman, Asa Merritt,

0:34:03.396 --> 0:34:06.716
<v Speaker 1>the Great Nils Bernstein, and I am forever indebted to

0:34:06.796 --> 0:34:10.196
<v Speaker 1>Omar Rodriguez Graham, his wife Morgan, and their dog Joki

0:34:10.476 --> 0:34:13.516
<v Speaker 1>for their hospitality. If you want to see some pictures

0:34:13.556 --> 0:34:15.436
<v Speaker 1>of where we went or learn more about our guests,

0:34:15.476 --> 0:34:18.316
<v Speaker 1>you can head to not Lawshow dot com. And if

0:34:18.356 --> 0:34:21.316
<v Speaker 1>you could just take a moment right now you're not traveling,

0:34:21.476 --> 0:34:23.956
<v Speaker 1>or maybe you are, if you just head on over

0:34:24.036 --> 0:34:28.236
<v Speaker 1>to Apple Podcasts, rate and review us. Oh man, you

0:34:28.316 --> 0:34:31.036
<v Speaker 1>are going to feel so great and we will too.

0:34:31.356 --> 0:34:34.476
<v Speaker 1>It's an easy win win. You can learn more about

0:34:34.556 --> 0:34:38.116
<v Speaker 1>Topic Studios at Topic studios dot com and to find

0:34:38.156 --> 0:34:41.956
<v Speaker 1>more Pushkin podcasts, listen on the iHeartRadio app, Apple Podcasts,

0:34:42.276 --> 0:34:45.956
<v Speaker 1>or wherever you listen to podcasts. I'm Brendan Francis, Newnham.

0:34:46.196 --> 0:34:48.436
<v Speaker 1>Until next time, bonvoyage