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Speaker 1: From Futromedia and PRX It's Latino Usa I Marie no

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Speaker 1: Josa Today, the history of resilience in Dango and three

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Speaker 1: trailblazing women who are reclaiming it for future generations. While

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Speaker 1: dango is usually pictured as a dance between a white

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Speaker 1: man in an elegant black suit and a white woman

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Speaker 1: in high heels and a tight red dress, the reality

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Speaker 1: of tango goes much deeper, born in the brothels and

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Speaker 1: dance halls of society's lowercast. This music and dance is

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Speaker 1: actually rooted in Argentina's African and queer subcultures. Before it

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Speaker 1: became the defining music of Argentina, tango was actually condemned

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Speaker 1: by elites and the church as well, which saw it

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Speaker 1: as obscene and transgressive. The dance's reign was also threatened

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Speaker 1: by the worldwide phenomenon of rock and roll, and then

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Speaker 1: all but buried by Argentina's Dirty War. When dungo began

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Speaker 1: its revival in the nineteen eighties and nineties, a new

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Speaker 1: era of dungo artists began challenging rigid norms established in

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Speaker 1: the early half of the twentieth century, breaking from traditional

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Speaker 1: gender roles and shining a light on the black history

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Speaker 1: of dungo. These artists aimed to invoke Dungo's past to

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Speaker 1: make way for a more inclusive future. In this episode,

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Speaker 1: we're going to travel to Argentina and meet three women

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Speaker 1: who are going to help us understand the controversial roots

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Speaker 1: of dungo and how they're helping to give new life

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Speaker 1: to a dance very much rooted in tradition. Producer Jessica

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Speaker 1: Bonds will lead us on that journey.

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Speaker 2: Hey Sure, Buenos Aires native entango dancer and instructor has

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Speaker 2: had a relationship with tango for as long as she

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Speaker 2: can remember.

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Speaker 3: My memories are from my family, my very young years,

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Speaker 3: because in the parties in the Christmas, in the New

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Speaker 3: Year or birthdays, the family was in the party to

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Speaker 3: it and dance. So I danced on the feet of

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Speaker 3: my father like a doll as part of the ceremony

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Speaker 3: in the family.

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Speaker 2: It was the nineteen forties and fifties, tango's golden age.

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Speaker 2: Back then, Shushu was just a little girl, but she

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Speaker 2: remembers hearing music's building out of cafes and cabarets into

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Speaker 2: the streets of Buenos Aires. Every night it was danced

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Speaker 2: in clubs, saloons, and carnivals. Tango became a reflection of

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Speaker 2: Buenosidas's identity a metropolis that did not sleep, and tango

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Speaker 2: was its nocturnal muse Then, during the sixties and seventies,

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Speaker 2: rock and roll was introduced to the world. This new sound,

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Speaker 2: inspired by the sexual and political revolutions of the time,

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Speaker 2: influenced a new generation across the globe. Youth rejected everything

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Speaker 2: that seemed old and antiquated. For Argentines, tango fell into

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Speaker 2: this category. Shushu, who by then was well into her

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Speaker 2: teage years, remembers that time.

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Speaker 3: I don't want it to listen to tango for me

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Speaker 3: bored or I changed the radio because oh, that is

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Speaker 3: music for old people. I want rock and.

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Speaker 2: Roll, And then all the music stopped. Argentina's last military

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Speaker 2: dictatorship ruled from nineteen seventy six to nineteen eighty three

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Speaker 2: and was known for its human rights atrocities. The regime

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Speaker 2: also halted the evolution of art and culture through strict

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Speaker 2: curfews and extreme censorship. So she was in her early

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Speaker 2: twenties at the time, even though she wasn't into the

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Speaker 2: tango scene as much. She remembers how tangos suffered during

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Speaker 2: this period.

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Speaker 3: We so for many kind of different things, and one

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Speaker 3: of that was the impossibility to net with our identity,

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Speaker 3: our roots. Many tangos was censored and many plays to

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Speaker 3: Dan's Tango was closed too, and the militars editor in

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Speaker 3: one place and stop all the music, or ask you documents,

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Speaker 3: or maybe you finish your night in the police office.

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Speaker 2: The dictatorship traumatized the country. Tens of thousands were disappeared

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Speaker 2: in those seven years. Assassinations were carried out via mass shootings,

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Speaker 2: and people were drugged and thrown from airplanes into the ocean. Additionally,

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Speaker 2: twelve thousand prisoners, many of whom did not have a

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Speaker 2: fair trial, were detained in a network of secret concentration

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Speaker 2: camps located throughout Argentina. By the nineteen eighties, economic collapse,

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Speaker 2: public discontent, and the disastrous handling of the Falcon War

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Speaker 2: between Argentina and England resulted in the end of the

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Speaker 2: military junta. When democracy was finally restored in nineteen eighty three,

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Speaker 2: Shushoo says people were eager for new ways of expression

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Speaker 2: and they found it in tango.

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Speaker 3: Tango Always wait for You was there like a seed

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Speaker 3: into very deep hole into the ground, waiting to the

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Speaker 3: winter lifts, and in that moment start the spring of tango.

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Speaker 3: The tango start to develop again from sero.

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Speaker 2: The repression she and others her age experience during Argentina's

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Speaker 2: Dirty War awoke. She shoos childhood memories her family parties

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Speaker 2: when she would dance tango on top of her dad's feet.

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Speaker 2: She too wanted to reclaim her identity, so at age

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Speaker 2: twenty three, she began taking tango classes, but it wasn't enough.

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Speaker 2: She wanted to become a pro at it.

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Speaker 3: What I love is teach, so I needed to learn

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Speaker 3: how to lead. I needed to dominate both roles.

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Speaker 2: Traditionally, in tango, the leader role is assigned to the

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Speaker 2: male partner and the follower role to the female, So

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Speaker 2: when she should try to learn both roles, she faced

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Speaker 2: a lot of resistance.

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Speaker 4: In the old times.

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Speaker 3: If you, for example, take a lesson, you say to

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Speaker 3: the teacher, ah, I am here because I want to lead,

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Speaker 3: and the teacher say, no, you are a woman, but

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Speaker 3: I pay you. No, No, you are a woman, you

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Speaker 3: cannot lead or the other women. No, I don't want

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Speaker 3: to dance with you. I am here to embrace a man. No,

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Speaker 3: embrace a woman. I just feel that I was alone.

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Speaker 2: I am crazy, but she should wasn't alone. While she

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Speaker 2: was reconnecting with tango for herself and young adulthood. Madnodo Campo,

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Speaker 2: as a teenager who came of age during the Dirty War,

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Speaker 2: was finding tango for the first time.

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Speaker 5: At the end of the military process. With the beginning

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Speaker 5: of the democracy, the old milongio so of the forties

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Speaker 5: started to go out again to the clubs to dance.

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Speaker 2: A milongio is a person who dances tango in social settings.

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Speaker 2: The word comes from the term milonga, a derivative of

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Speaker 2: Bandtu language, which made its way to Argentina through enslavement.

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Speaker 2: Milonga also refers to a tango dance event.

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Speaker 5: And the young people started to go to these class

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Speaker 5: learning from these old milanerras.

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Speaker 2: Wanting more freedom and flexibility, young dancers started clashing with

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Speaker 2: the old guard Manana didn't grow up with tango the

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Speaker 2: way she should it because it wasn't around during her childhood.

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Speaker 2: Tango from Mariana was something new, almost foreign, but the

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Speaker 2: exoticness of it quickly faded for her.

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Speaker 5: I started to take lessons in a place that call Elgacito,

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Speaker 5: the people that used to go. There were very old people,

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Speaker 5: and it was in a traditional place where the men

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Speaker 5: led and the woman followed.

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Speaker 2: Magena realized Tengo's codes weren't lining up with the increasingly

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Speaker 2: gender inclusive Buenos Aires society of the nineteen nineties. While

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Speaker 2: Argentina was moving away from rigid gender expectations, an entire

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Speaker 2: generation of dango was still frozen in time.

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Speaker 5: I wanted to dance, and I didn't want to dance

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Speaker 5: only with men. I didn't want to wait for the

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Speaker 5: men all the time. Or the other thing was that

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Speaker 5: they all the knowledge in the classes where it was

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Speaker 5: given to the men. The women helped the men to dance.

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Speaker 5: And also I started to see the old men always

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Speaker 5: dance it with young women, and the old women didn't

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Speaker 5: dance or wait all the night. And I was rebellos

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Speaker 5: against this.

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Speaker 2: The yea of reforming tango seemed like an impossible task

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Speaker 2: for both Madiana and Shushu, but that didn't seem to

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Speaker 2: stop them. In the decades after, both of them worked

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Speaker 2: tirelessly towards mantling their rigid, heteronormative and superficial elements of

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Speaker 2: antiquated and unevolved tango. Meanwhile, tango was infiltrating the foreign market,

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Speaker 2: and by two thousand and four it reached Shilene Oliveda

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Speaker 2: for the first time. She Lena was a Brazilian college

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Speaker 2: student in Cuba. She was only seventeen when a Bolivian

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Speaker 2: roommate introduced her to the music and dance. As a

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Speaker 2: black woman, she Lena found it hard to connect with

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Speaker 2: tango at first.

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Speaker 6: For me, it was really something really unthinkable because I had,

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Speaker 6: as I guess everyone passed that image of tango, very European,

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Speaker 6: very white, very cheek.

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Speaker 2: But when she Lena started to study the lyrics, to

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Speaker 2: really look closely at the music, she gained a completely

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Speaker 2: new perspective on tango.

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Speaker 6: We in Brazil are very like separated of the rest

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Speaker 6: of America Latina. We just don't talk of Spanish. So

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Speaker 6: when I started to heard it, I realized that the

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Speaker 6: lyrics were very, very humans, very deep, and very close

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Speaker 6: of me.

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Speaker 2: Sheilene, who was able to understand Spanish, fell hard for tango.

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Speaker 2: She wasn't a dancer. She wanted to sing. As a

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Speaker 2: young teenager, she'd been a singer in Brazil, and tango

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Speaker 2: sparked her interest in music all over again. In two

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Speaker 2: thousand and eight, after finishing college, she Lena visited her

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Speaker 2: roommate back in Bolivia. That's where she met her roommate's mother,

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Speaker 2: who was a tango dancer and singer. She became she

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Speaker 2: Lena's first mentor in tango.

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Speaker 6: She was really determinated to make me understand that I

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Speaker 6: could sing. She gave to me three different tangles to learn,

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Speaker 6: and she gives to me an appointment with a musician

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Speaker 6: who was playing in the Casargentina there in La Pace.

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Speaker 4: That place.

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Speaker 6: Were vascinated to Argentine tradiction, and I didn't have a

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Speaker 6: lot of choice, so I go. I started to sing

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Speaker 6: to learn.

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Speaker 2: She realized that she could turn this new passion into

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Speaker 2: an actual career, but tragedy struck. Her friend's mother became

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Speaker 2: very ill and died.

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Speaker 6: Suddenly, my friends invite me to sing tango in her funeral.

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Speaker 2: She learned us saying gadua a tango classic canadastie.

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Speaker 4: Elvient nextra but as you so.

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Speaker 7: Zo in las sombras me andrasta yes and tua con.

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Speaker 6: That were my deboots, my first time officially singing tango

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Speaker 6: done mia.

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Speaker 2: In that moment, she Lena finally connected with tango passion

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Speaker 2: overtook all those stereotypes, those rigid tropes, They didn't matter anymore.

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Speaker 2: All that mattered was the music.

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Speaker 7: Garuba solo, trite, borla service, ste coassan Trancia.

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Speaker 6: Singendo was really beautiful and said was beautiful, and the

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Speaker 6: whole family were very happy to give this last gift

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Speaker 6: to her.

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Speaker 2: She Lena's relationship to Dango wouldn't always be this simple, though.

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Speaker 2: She decided to move to Buenos Aires to pursue her career,

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Speaker 2: but she was still an outsider entering a world that

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Speaker 2: was still largely stuck in the past when it came

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Speaker 2: to matters of race, gender, and quote unquote tradition. So

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Speaker 2: Shena decided to fight for a more inclusive future for tango,

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Speaker 2: a vision shared by Shushu, by Marianna, and by the

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Speaker 2: next generation of performers pushing the boundaries of Argentina's quintessential dance.

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Speaker 1: Coming up on Latino Usa, Juju, Shilene and Marianna tell

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Speaker 1: us how each is creating Dango's space, says for the blind,

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Speaker 1: black and queer populations of Argentina, stay with us, not

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Speaker 1: stay why yes, hey, we're back. So after years of

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Speaker 1: building intimate relationships with dango. Shu Zhu, Shilene, and Marianna

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Speaker 1: begin to help others connect to the music and to

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Speaker 1: the dance as well. Here's Jessica Bones with the rest

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Speaker 1: of the story.

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Speaker 2: Shushu and other performers and instructors like Marianna and Shi

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Speaker 2: Lene want to open dango to everyone. For Shushu, that

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Speaker 2: means closing your eyes literally course, but it's okay. After

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Speaker 2: twenty five years in a tango scene. Today, Shushu is

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Speaker 2: a well regarded instructor in Buenos Aires, and she's not

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Speaker 2: for a pretty unique lesson plan. She blindfolds her students

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Speaker 2: while they dance, a technique she thought would help dispenser stereotypes.

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Speaker 3: They can not see if you are fat or you

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Speaker 3: are short, or if you are.

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Speaker 4: A toll, or you are black or you are white.

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Speaker 3: It's not important if you have a nice dress to

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Speaker 3: be invited to dance, or if you look very good

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Speaker 3: you're on that, or how you move with no, no, no,

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Speaker 3: you cannot see, so all the things that you judge

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Speaker 3: to the person through your eyes are not there, so

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Speaker 3: as much more.

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Speaker 5: That you can get without your eyes.

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Speaker 2: She Su even went an extra mile to teach the

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Speaker 2: visually impaired, She says she learns a lot from them.

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Speaker 3: I started to experimit with the light people was very emotional.

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Speaker 3: People feel something absolutely new and it was very happy

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Speaker 3: because they can dance together, move in one space with

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Speaker 3: other persons. That is something very strong.

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Speaker 2: Similarly from Madianna, contributing to the evolution of tango meant

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Speaker 2: breaking down gender and racial stereotypes.

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Speaker 4: When I came to her.

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Speaker 2: Own practice and teaching, Marina focused on really finding traditional

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Speaker 2: roles in tango.

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Speaker 5: I studied to teach in a lesbian place called like

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Speaker 5: Assael and Guentro, and the men were forbidden. Men could

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Speaker 5: not enter. Then for me, my idea was teaching tango

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Speaker 5: to everybody and exchange roles.

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Speaker 2: For Mariana, queer tango was an act of female empowerment.

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Speaker 5: The queer tango is it's difficult to define. When I started,

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Speaker 5: I wanted to separate a role from the gender.

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Speaker 7: And tender because.

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Speaker 5: It has to do with the feminist position.

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Speaker 2: Marina began teaching tango to queer Argentines and later in

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Speaker 2: two thousand and five, she founded Tango Queer, a weekly

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Speaker 2: party where women dance with women and men with men. Freely.

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Speaker 2: Her approach might seem a bit radical to some hardline

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Speaker 2: tango traditionalists, but a dive into the history of tango

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Speaker 2: reveals its origins were quite flexible when it came to

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Speaker 2: gender roles.

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Speaker 5: The queer tangle exists from the beginning of the history

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Speaker 5: of the tango. Men dancing with men and women with

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Speaker 5: women from the very beginning, and you can see that

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Speaker 5: in the photos that you can find very easy in Internet.

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Speaker 2: What's believed to be the first published photo of tango

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Speaker 2: dancers did it back to nineteen oh three, depicts two

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Speaker 2: men made embrace. They're wearing loose fitted pants, blazers, hats,

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Speaker 2: and boots. One of them has his pants tucked into

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Speaker 2: his boots, sort of like a gaucho the Argentine cowboy.

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Speaker 5: The history tells that the men, before entering in the brathons,

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Speaker 5: they did dance two together to practice the steps. Also

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Speaker 5: that are also photographs of women dancing together, especially foreign

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Speaker 5: European prostitutes. All these environments were very queer in one way,

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Speaker 5: it was not so strict. The tango was very amoral.

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Speaker 5: Then tango became famous in Paris in nineteen.

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Speaker 2: Ten, primarily danced by workers and sailors. Both Argentine and

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Speaker 2: European tango across the Atlantic Ocean at the start of

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Speaker 2: the twentieth century and entered the cabarets and brothels of France.

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Speaker 2: The dance was eventually embraced by the upper class, becoming

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Speaker 2: a sensation in Paris.

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Speaker 5: Then when they come to Buenos Aires, in this one

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Speaker 5: it was taken by the high class and then started

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Speaker 5: all these morality around the tango. But before it was

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Speaker 5: very amoral and it was not necessarily that they were

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Speaker 5: lesbians or gays, just exchange roles.

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Speaker 2: Mariana says that those very defined gender roles a man leading,

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Speaker 2: a woman following, do have a basis in tango's history,

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Speaker 2: but only with respect to the nineteen forties and fifties.

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Speaker 5: In the goldern Age, the clubs were full of people

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Speaker 5: of middle class and in this moment the moral was

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Speaker 5: very strong, and what we receive in day this was

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Speaker 5: this tango, not the tango of the origins. That's why

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Speaker 5: when we started with the queer tango and people say, oh,

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Speaker 5: the tango is men and women, our argument was, but

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Speaker 5: the tango started queer.

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Speaker 2: But tango's origins aren't just queer, seen as a predominantly

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Speaker 2: white dance, tango in fact has black roots. Thattelenderiano considered

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Speaker 2: the first tango in history. It was composed in eighteen

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Speaker 2: ninety seven by the Afro Argentine musician Rosendo mend Saba.

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Speaker 2: He was known as one of the greatest local pianists

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Speaker 2: at the time and was a regular and many venues

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Speaker 2: where tango was becoming popular. Understanding tango's past is Kidra

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Speaker 2: building its future. Marinanoses and so does she Lenez. After

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Speaker 2: moving from her native Brasil to Buenos Aires in twenty twelve,

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Speaker 2: she Lena began exploring the history of tango. She discovered

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Speaker 2: its African influences and that opened a new dimension in

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Speaker 2: tango for her.

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Speaker 6: In the beginning of the centuries, holf a part of

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Speaker 6: people here was black.

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Speaker 4: Here in Buenos.

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Speaker 6: Aires, specifically places with marginal people. They are also doing

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Speaker 6: things to have fun, to create something to escape of

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Speaker 6: the sadness to be in this condition of slavery.

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Speaker 7: Those vis Spiran.

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Speaker 6: After to discovery the Black African origin of the style

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Speaker 6: of this music, more and more it's like, okay, this

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Speaker 6: is like a lot of music styles.

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Speaker 4: Like somebody this is like funk, jazz and the beginning.

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Speaker 6: Was really like, oh, I have to learn it's so

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Speaker 6: outside of.

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Speaker 4: My culture, which is true, but not that much.

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Speaker 8: Lavina sona belong I guess Bylanus Lavia so Belan.

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Speaker 5: Starland.

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Speaker 2: Tango evolved from a drum heavy music style that came

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Speaker 2: from free slaves in South America. It later fused with

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Speaker 2: other immigrant music before becoming milonga and finally dogo. The

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Speaker 2: word dango itself was used to describe the place where

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Speaker 2: former slaves gathered to dance. Black musicians put dango on

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Speaker 2: the map. Composers such as Mendisabaas Kishermo Barvieri, Juaquin Mora,

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Speaker 2: and more recently Oraso Salagan were instrumental in creating the

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Speaker 2: dango we know today. Their contributions to doango, however, have

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Speaker 2: been hidden over time, much like Argentina's historical black population.

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Speaker 2: Even though after descendants accounted for thirty percent of the

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Speaker 2: country's population at the start of the eighteenth century, Argentina

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Speaker 2: strove to present itself to the world as a homogeneously

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Speaker 2: white nation of European descent. In the late nineteenth century,

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Speaker 2: war and diseases decimated Argentina's black population, serving in the

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Speaker 2: army and living in segregated neighborhoods were diseases such as

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Speaker 2: yellow fever and holera spread. It was it in till

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Speaker 2: twenty ten that Argentina's national census began counting people of

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Speaker 2: African descent for the first time, after descendants currently make

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Speaker 2: less than one percent of the forty one million people

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Speaker 2: living in Argentina. She Lena says she often faces resistance

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Speaker 2: and judgment for being a black woman in Buenos Aires,

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Speaker 2: and especially for being a black tango singer.

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Speaker 4: I guess it's.

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Speaker 6: Always going to be some kind of surprise to people

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Speaker 6: who doesn't want to recognizing how the city try to.

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Speaker 4: Hide the black culture here.

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Speaker 6: I have a lot of memories and phrases of people

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Speaker 6: who was very surprising to see me just because I'm black.

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Speaker 2: Shei Lena says. These interactions range from mild and easy

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Speaker 2: to dismiss to threatening or demoralizing. It's part of the job,

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Speaker 2: she says.

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Speaker 6: I was invited to sing in a very undergrounds milong

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Speaker 6: as I was there in the middle of the place,

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Speaker 6: without Sonido, without Mike, just with the voice listening.

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Speaker 4: Ni Sierra visit.

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Speaker 8: Nadiaky Econsolary and me upflicks.

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Speaker 6: You and uh, some men just said, okay, now you're

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Speaker 6: gonna start the dance samba.

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Speaker 5: Ha ha ha.

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Speaker 6: He saw me as a black woman there and the

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Speaker 6: first thing that he can connected is with the sambo

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Speaker 6: and dancing.

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Speaker 4: And I just said, I came here to sing tango today.

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Speaker 2: She Lena uses her platform as a tango singer to

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Speaker 2: educate people about the African roots of tango. She performs

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Speaker 2: music by black composers and explains the audiences her performances

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Speaker 2: tie back to their black roots. Nis Venice, Sara Monte Tangetra.

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Speaker 6: When I do tango, I put that real part of

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Speaker 6: this history in the table because I guess it's some

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Speaker 6: kind of interchange. The tangle gives so much to me.

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Speaker 6: I am a different singer now, I am a different artist.

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Speaker 6: Now I travel singing tango. People who knows me singing

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Speaker 6: tango knows how how much I care about it. So

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Speaker 6: it's some kind of part of give back what tango

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Speaker 6: gives to me, recognizing those beginnings or the birth or

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Speaker 6: la jasis. It's a very large relationship and we are

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Speaker 6: happy to get them in the tango.

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Speaker 2: Yes, tango is slowly changing, much like it's birthplace. After

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Speaker 2: living in Buenos Aires for ten years, Chilena has started

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Speaker 2: to feel more accepted.

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Speaker 6: Two weeks ago, I sink here in Congresso Plaza. When

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Speaker 6: I finished the thing, some kind of old man past

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Speaker 6: and said, oh you you.

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Speaker 4: Really has a good voice, really have a good voice.

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Speaker 6: You are on the way, very Argentinian, very old man's coming.

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Speaker 4: Okay.

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Speaker 6: When I was, he was not surprising with my look,

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Speaker 6: the fact that I'm black, and that was something that

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Speaker 6: makes me feel really happy.

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Speaker 2: Contributing to Mariannas and others efforts to make tango more

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Speaker 2: relatable for everybody, Buenos Airest's society has also become more inclusive.

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Speaker 5: Claro happened at the same time of different political events

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Speaker 5: for the LGTV community and the women also, for example,

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Speaker 5: the equal Matrinioitario equal marriage identity law. It was a

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Speaker 5: period more than about fifteen years where we did have

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Speaker 5: a lot of improvement in these kind of laws, but

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Speaker 5: would change in the end of the nineties beginning of

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Speaker 5: the two thousand. What is the position and the visibility

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Speaker 5: and the political conscience. We took what was our rights,

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Speaker 5: and one of these rights we were dancing with the

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Speaker 5: person with whom you wanted to dance.

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Speaker 2: Mariana is also very optimistic about the future.

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Speaker 5: It's time there are more women than sintango, more men

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Speaker 5: following less problems with the queers, and the society is

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Speaker 5: each time more open.

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Speaker 2: Trael Plazers like Mariana Chi Lena and she should live

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Speaker 2: by that. Mantra Tango and the society they live in

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Speaker 2: should be open for all.

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Speaker 3: It's not important what is your relation, what is your ideology,

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Speaker 3: political ideology, what is your right?

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Speaker 4: What is your age?

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Speaker 3: You can unstable and we don't need to discuss because

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Speaker 3: when you do that, you need to make silence, to

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Speaker 3: listen to your heart.

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Speaker 5: So no discussions, no fight.

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Speaker 4: More Rice less wark, Let's.

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Speaker 5: Hate SUSA co.

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Speaker 4: Record a photos and very.

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Speaker 1: Ravalaacomo Benepez how This episode was produced by Argentinian American

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00:31:22,840 --> 00:31:27,280
Speaker 1: journalist Jessica Pons and Alejandra Salasad. It was edited by

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00:31:27,360 --> 00:31:32,440
Speaker 1: Andrea Lopez Gruzado and mixed by Stephanie Lobau and Julia Caruso.

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Speaker 1: Fact checking for this episode by our fellows Elisa Baena

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Speaker 1: and Andrew Vignalis. Special thanks to Shidlene Oliveira and Finees

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00:31:41,080 --> 00:31:44,480
Speaker 1: dere Tango for sharing their music with us for this episode.

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Speaker 1: The Latino USA team includes Marta Martinez, Mike Sargent, Julia

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Speaker 1: Da Martinelli, Victoria Estrada, Patricia Sulvaran, Gini Montalbo, Rinaldo, Leanos

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00:31:55,520 --> 00:31:59,040
Speaker 1: Junior and Julia Rocha, with help from Raoul Prees. Our

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00:31:59,200 --> 00:32:03,200
Speaker 1: editorial director is Julio Ricardo Uarella. Our associate engineers are

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Speaker 1: gabriel Lebayez and jj Krubin. Our digital editor is Louis Luna.

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00:32:08,040 --> 00:32:11,360
Speaker 1: Monica Morales is one of our Latino USA fellows. Our

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00:32:11,480 --> 00:32:14,400
Speaker 1: theme music was composed by Senior Rubinos. If you like

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00:32:14,480 --> 00:32:17,920
Speaker 1: the music you heard on this episode, stop by Latinousa

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00:32:18,040 --> 00:32:21,400
Speaker 1: dot org and check out our weekly Spotify playlist. I'm

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00:32:21,440 --> 00:32:25,160
Speaker 1: your host and executive producer Maria Nojosa. Join us again

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00:32:25,240 --> 00:32:27,920
Speaker 1: on our next episode, and in the meantime, look for

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00:32:28,080 --> 00:32:31,560
Speaker 1: us on all of your social media. I'll see you there, Jao.

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Speaker 9: Latino USA is made possible in part by the John D.

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00:32:37,000 --> 00:32:41,440
Speaker 9: And Catherine T. MacArthur Foundation, the Ford Foundation, working with

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00:32:41,640 --> 00:32:46,760
Speaker 9: visionaries on the frontlines of social change worldwide, and the

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00:32:46,920 --> 00:32:53,280
Speaker 9: Heising Simons Foundation unlocking knowledge, opportunity and possibilities. More at

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00:32:53,520 --> 00:32:55,240
Speaker 9: Hsfoundation dot org.

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Speaker 1: No but now I'm like breathing in the incense. But

434
00:33:02,360 --> 00:33:05,480
Speaker 1: it did kill the mosquitoes, so it's like one or

435
00:33:05,480 --> 00:33:07,880
Speaker 1: the other. All right, cough cough, Here we go in three,

436
00:33:08,280 --> 00:33:09,240
Speaker 1: two one