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Speaker 1: Hey, Latino USA listener, It's Mariaino Hosa here. So today

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Speaker 1: we're going to share a new episode from the Port

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Speaker 1: of Entry podcast. It's a series from KPBS and PRX

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Speaker 1: that we've featured in the past on this feed. The

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Speaker 1: podcast tells personal stories of love, hope, struggle and survival

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Speaker 1: from border crossers, frontisas and frontterisos and other people whose

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Speaker 1: lives are shaped by the wall. In this episode, we're

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Speaker 1: going to meet Mexican musician Javier Battis, who very likely

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Speaker 1: would have been world famous had he headed north of

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Speaker 1: the border with his good friend and bandmate Cadlos Santana

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Speaker 1: way back in the day. Instead, Javiered went south to

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Speaker 1: Mexico City. That's where he discovered an internal peace and

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Speaker 1: fulfillment that he says is a lot more important than fame.

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Speaker 1: So here's a new episode of Port of Entry. Esperro

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Speaker 1: kellzus enjoy.

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Speaker 2: From KPBS and PRX. This is Port of Entry where

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Speaker 2: we tell cross border stories that connect us. I'm Alan Lilienthal.

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Speaker 2: Maybe you're familiar with this guitar legend playing underneath me

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Speaker 2: right now. You might recognize the fusion of Latin sounds

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Speaker 2: with soaring electric guitar. This legendary Mexican guitar player got

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Speaker 2: to start right here at the border in Tijuana. He

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Speaker 2: came of age listening to the blues greats like BB

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Speaker 2: King and Tvon Walker and then took that sound and

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Speaker 2: went on to play huge stadium sized crowds in the

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Speaker 2: sixties and seventies. He's one of the first guitar players

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Speaker 2: to come out of Mexico to really revolutionize the sound

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Speaker 2: of the electric guitar. But if you think that guitarist

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Speaker 2: you just heard is this guitarist you're hearing now, you,

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Speaker 2: my friend, are wrong, because the famous electric guitar player

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Speaker 2: I'm gonna tell you about today is not Carlos Santana.

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Speaker 2: It's actually the guy who helped Santana become the famous

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Speaker 2: musician he is today.

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Speaker 3: When not basically Gonnagorian's chance.

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Speaker 4: Yeah, Frank, this is the one and only Javier Battis.

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Speaker 2: He kept calling me Frank, by the way, because of

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Speaker 2: my long, curly black hair that he is convinced makes

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Speaker 2: me look like Frank Zappa. Kavireta's hair, though, is way

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Speaker 2: more epic and iconic and longer than mine. For now,

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Speaker 2: he rocks, a glorious frizzy afro, his hair tops off,

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Speaker 2: his skinny jeans, his pointy.

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Speaker 4: Leather rocker boots, his cool shirts.

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Speaker 2: Sometimes of himself, and his big silver necklaces with big

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Speaker 2: pendants around his neck. Basically, he looks like a famous

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Speaker 2: rock star, and in Mexico he really is. A few

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Speaker 2: weeks back, my producer Kinsey Morland, and I got to

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Speaker 2: hear Kavier play a few songs in his practice studio

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Speaker 2: outside his house, which is just six blocks south of

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Speaker 2: the US Mexico border in Anontijuana. After he played us

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Speaker 2: a few songs, he invited us into his living room,

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Speaker 2: then sat us down and pulled out a Manila folder.

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Speaker 3: So I gotta show you this is very important to me.

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Speaker 2: The folder was filled with old newspaper clippings, photos, showflyers,

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Speaker 2: and other memorabilia from his nearly seven decades.

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Speaker 4: As a rock star.

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Speaker 2: The first thing Kaer pulled out was a comic book

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Speaker 2: written by Carlos Santana. Then he turned to the page

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Speaker 2: where he himself makes an appearance.

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Speaker 5: Okay, so this is if you can read here, He says,

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Speaker 5: when I saw kabir wa is playing in the plaza

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Speaker 5: him and then he says, when I saw harbat Is

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Speaker 5: playing in the plaza, all I wanted to do after

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Speaker 5: I saw him was played like him. And in this book,

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Speaker 5: in this book, he says, I started the sound of

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Speaker 5: hair about his guitar until I got it, and then

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Speaker 5: I figured out my own, my old sound, which is

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Speaker 5: myself anyway, he always says.

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Speaker 3: In this book and in every book that.

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Speaker 5: He he he writes, he writes, care what is was

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Speaker 5: the guy who starts?

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Speaker 3: You know? And what does that leave me? He Hearn't

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Speaker 3: you whatevery poor?

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Speaker 4: What the hell right?

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Speaker 2: How did this musical legend, the men who inspired Carlos

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Speaker 2: Santana end.

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Speaker 4: Up, as he says, poor in Tijuana.

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Speaker 2: Today's story continues our new season of Port of Entry.

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Speaker 2: It's a season about artists and musicians who've turned pain

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Speaker 2: into superpowers. So there's a popular narrative about Caavier that

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Speaker 2: attempts to explain his relative obscurity when compared to Carlos Santana.

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Speaker 2: It essentially says that because xavire To stayed in Mexico

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Speaker 2: to make his music instead of crossing the border to

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Speaker 2: chase fame alongside his friend Carlos, he missed his big

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Speaker 2: break and as the story goes, now, poor Javier is

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Speaker 2: stuck in this black hole of obscurity. But that narrative

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Speaker 2: that Carlos Antenna went north and found great success and

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Speaker 2: fame and Javier Abatis went south and sunk into oblivion,

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Speaker 2: it doesn't paint the full picture. The real story isn't

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Speaker 2: so simple.

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Speaker 5: I'm doing about five or six interviews every day. Well

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Speaker 5: I'm care this one is expected right now at this moment,

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Speaker 5: a new record is coming out and it's on on

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Speaker 5: the radios.

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Speaker 3: So yeah, so in about half an hour and an hour,

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Speaker 3: I'm gonna be again. I already did too. Wow. Yeah,

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Speaker 3: got up at six o'clock in the morning. Oh my gosh,

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Speaker 3: you weren't too bad at five?

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Speaker 5: Still a rock star?

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Speaker 3: Oh yeah? Really? Really? I it is commonly it, yeah, assured,

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Speaker 3: because that's why that's why I'm you know, if you

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Speaker 3: don't you.

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Speaker 5: Go the one hundred miles and you still gotta go

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Speaker 5: the twenty miles extra?

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Speaker 3: You know? Did you get me? So? Yeah?

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Speaker 4: Have you heard about these? Is pretty famous in Mexico?

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Speaker 4: He really really is.

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Speaker 3: I mean he might not be.

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Speaker 2: A household name, but especially in certain circles, he is

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Speaker 2: indeed a rock legend if you ask musicians in the know.

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Speaker 2: He's truly considered one of the fathers of Mexican rock

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Speaker 2: and roll, and his nickname in Mexico is El Brujo

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Speaker 2: del Roque, meaning warlock or wizard, because of the incredible

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Speaker 2: sorcery he pulls off when he has a guitar in

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Speaker 2: his hand. Javier's got a wax sculpture of himself in

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Speaker 2: Tijuana's famous Wax Museum. His face will soon be on

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Speaker 2: a new Hollywood like sign going up in the hills

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Speaker 2: of Tijuana, and the city of Tijuana even named a

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Speaker 2: street after him.

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Speaker 3: Where I live.

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Speaker 5: I'm born in the house where I where I live,

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Speaker 5: where we where we live.

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Speaker 3: Yeah, and I was born in that house.

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Speaker 5: And that street goes up a hill and this and

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Speaker 5: that street is called mud mean, you know, you know

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Speaker 5: what the government from the from the they're gonna turn

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Speaker 5: my house when I die. There's gonna take a long time.

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Speaker 5: They're gonna turn to my house into me see him

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Speaker 5: for Gavieratis and some of his friends, the musician friends

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Speaker 5: that he made famous.

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Speaker 2: But that said, Javierre's fame, even in Mexico has flickered

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Speaker 2: on and off over the years. One minute, Caavireta says

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Speaker 2: he feels like the most famous musician in Mexico.

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Speaker 4: The next he seems.

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Speaker 2: Genuinely worried about being forgotten one day. That's partly why

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Speaker 2: he's still working so hard.

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Speaker 5: So I don't stop working. If I stopped working, I

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Speaker 5: started a shrink. I'm seventy seven years old.

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Speaker 2: I mean, come on, this past summer, when Kinsey and

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Speaker 2: I went to Kaviera's house, we both got a little lost,

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Speaker 2: but eventually we found it.

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Speaker 5: I saw a huge son, That's how we found it.

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Speaker 2: Finally, Kavira's house is right there on his eponymous road

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Speaker 2: rampade kaber bactis impossible to miss because of the huge,

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Speaker 2: colorful mural of him painted on the outside of his

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Speaker 2: practice studio.

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Speaker 3: And I told the guys, I told the guys that

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Speaker 3: gave me the street, you know, Preside part and all that.

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Speaker 3: And they're told mey man, you really messed that up.

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Speaker 3: But he said, come here. You didn't tell me where

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Speaker 3: to put the toll booth for music education.

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Speaker 2: Nearly every Wednesday night for decades now, Carrier has run

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Speaker 2: a music school at its place.

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Speaker 3: This is really cool. I can tell why he's so happy. Yeah,

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Speaker 3: it's like kind of positive enforcement. How cool this is

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Speaker 3: the street.

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Speaker 2: Who kids come to learn music from him?

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Speaker 5: And as in this room you think probably.

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Speaker 2: I guess like classic see cool?

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Speaker 3: You know, this is the school from seven to nine

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Speaker 3: is school.

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Speaker 5: I teach everybody how to play, every buddy and anybody

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Speaker 5: in any language, well other than in.

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Speaker 3: Spanish and English non languages. Perfect okay. And so the

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Speaker 3: bat goos on, what does this nice work? You just

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Speaker 3: let anybody show up or the advance. It starts off

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Speaker 3: as a jam and then the classes comes here. So yeah,

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Speaker 3: it's pretty good. A couple of hours, you know, no

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Speaker 3: later than nine, nine thirty, and everybody gets to play.

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Speaker 3: We have a lot of fun.

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Speaker 5: Sometimes people bring tequila, which is accepted. Yeah, yeah, you

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Speaker 5: know now you know, Oh yeah, that's the nogo.

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Speaker 3: Oh how many students over the years have been in

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Speaker 3: and out over a thousand something? Oh sure, sixty five years?

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Speaker 3: Are you kidding me? Why?

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Speaker 2: Why is music import?

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Speaker 5: Because I believe it or not, I'm not being crazy.

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Speaker 5: But even in the States, they don't play like us,

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Speaker 5: you know. So I am very interested in my legacy,

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Speaker 5: being that I student dead here in Mexico. Being a

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Speaker 5: good meg. She can teach you. All these guys got

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Speaker 5: to play so that by legacy we'll keep on and

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Speaker 5: on and on. The James Browns and Rachels, the Bubbie Blairs,

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Speaker 5: the Little Richards. You know, those guys are no longer

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Speaker 5: with her and nobody, nobody that can play that.

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Speaker 3: Kind of music. But the music, the music has to

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Speaker 3: have a special place, and you should mess around with us,

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Speaker 3: you know, don't mess around with music.

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Speaker 5: You know it's gonna bite you in the ass, you

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Speaker 5: know if if you do so. Music has to be

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Speaker 5: what it is. And they say, boogie is dad? What

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Speaker 5: probably that? Well maybe, and mambo is gone. Sure, rock

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Speaker 5: and roll has gone, your mama is gone. You know, No,

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Speaker 5: rock and roll hasn't gone nowhere. Man, it's here the life.

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Speaker 3: You know. Say yeah, so.

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Speaker 5: I'm taking good care of that. And a lot of

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Speaker 5: groups in Mexico, see what these you know, So here

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Speaker 5: in Mexico we're keeping the music. There are a lot

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Speaker 5: of people out of my group and my teachers have

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Speaker 5: become worldwide millionaires.

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Speaker 3: Well good for them.

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Speaker 5: You know, they don't owe me anything. They don't because

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Speaker 5: I don't charge for teaching. I don't charge who want

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Speaker 5: to baby or you know who can't pay me.

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Speaker 3: It's the same. And right now I have a little

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Speaker 3: kid thirteen years old and he plays like me. Now. Man,

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Speaker 3: he's great. And so I'm very.

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Speaker 5: Happy when I do, very happy. Who I am very

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Speaker 5: happy with my wife, with my kids. And that's about it,

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Speaker 5: you know.

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Speaker 2: So over the years, Kaviat has helped hundreds of musicians

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Speaker 2: in Mexico learn how to play electric guitar, including back

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Speaker 2: in the fifties and sixties, Carlos Santana, but Kavier.

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Speaker 4: Says no one really taught him how to play.

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Speaker 2: He says his mom showed him how to play his

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Speaker 2: first four chords, but beyond that, he says his ability

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Speaker 2: to play music is a gift from above.

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Speaker 3: I learned from God. God gave me a talent, a

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Speaker 3: special talent. He showed me how to.

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Speaker 5: Play the guitar and sing, and then he showed me

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Speaker 5: how to teach the other people share my knowledge.

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Speaker 3: So I am very grateful, very blessed.

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Speaker 2: You know, you remember the first time you picked up

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Speaker 2: a guitar?

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Speaker 3: A memory of that I don't remember yesterday, So don't

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Speaker 3: ask me anything.

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Speaker 5: Yeah, and so I remember when when I started asking,

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Speaker 5: as a little little bitsy kid, asking for some from

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Speaker 5: instruments because I wanted to sing, because I came here

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Speaker 5: to sing, and so and so I got saxophones and

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Speaker 5: flutes and drums and pianos and guitars and basses, and

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Speaker 5: you know, by ten, I was playing everything. Oh yeah,

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Speaker 5: but the guitar had a special I tell you. By ten,

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Speaker 5: I was playing and singing everything his music, you know, sure,

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Speaker 5: Manda Koma.

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Speaker 2: It was around this time that Javier had a real

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Speaker 2: light bulb moment when it came to his future musical career.

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Speaker 4: He was about ten years old when he remembers his

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Speaker 4: mom calling from her bedroom.

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Speaker 2: It was late at night, and she wanted Javier to

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Speaker 2: turn off the radio that someone had left on.

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Speaker 5: So I got out of my bed and went to

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Speaker 5: the living room to turn off the radio.

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Speaker 3: And then I got a little baby, I love my baby.

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Speaker 3: What is this blue TiVo walker? Yes? Love mo.

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Speaker 5: Then I turned it really really down, and I put

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Speaker 5: my head to the speaker and my mama, do you

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Speaker 5: turn it off?

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Speaker 3: Yeah? Ma, you know I'm gonna change mama a living baby.

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Speaker 5: This was nineteen fifty eight and black music wasn't played

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Speaker 5: on the radio in the States, but at ten o'clock

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Speaker 5: at night, the Mexican radio used to go off, and

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Speaker 5: on the Mexican radio they used to broadcast all this beautiful,

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Speaker 5: beautiful music.

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Speaker 3: And so every night, every night, every night, every.

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Speaker 5: Night, I used to turn on the radio TiVo. Walker

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Speaker 5: was the first guitarist and blue singer that.

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Speaker 3: I heard, Yes I Love You, and then Elmore James,

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Speaker 3: and then Sunny Boy William. You got to help me, baby,

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Speaker 3: I can't do it all by myself. Bb you are

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Speaker 3: real wild man woman, Johnny Hooker one one Scots One Bill,

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Speaker 3: Jemmie Read bam Ma Ma and Body Waters. You know

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Speaker 3: you change your mind? You know I won't go home. No.

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Speaker 4: Cavier was hooked.

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Speaker 2: He wanted to listen to the blues all day, every

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Speaker 2: day and not just wait around for the late night

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Speaker 2: radio show. So he started crossing the border to buy

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Speaker 2: records at a vinyl shop in downtown San Diego.

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Speaker 5: I started to get him my Elmore James, you know,

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Speaker 5: Robert John. I'm saying, all the beautiful blues musicians, and

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Speaker 5: so I started singing that music here on the radio.

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Speaker 3: And by that time it was really easy because there

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Speaker 3: were only three chords to the songs the blues, you know,

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Speaker 3: three chords school on Coreo two chords, to the Coreo

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Speaker 3: so to, to the blues three chords.

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Speaker 5: Then I started learning I speak English. I started learning

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Speaker 5: the words after to the music, but the really simple

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Speaker 5: too sad to be alone, So I'm convenient to be alone.

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Speaker 3: Yeah, so sad to be awesome too much on convenient

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Speaker 3: to be alone.

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Speaker 2: By the age of twelve, Cave had started a band

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Speaker 2: called the TJS b B B B B Bank.

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Speaker 3: And so I was very famous with the TJS.

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Speaker 5: And I started, you know, working on the night the

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Speaker 5: very nice places with the weddings and the kiss and

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Speaker 5: all that stuff.

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Speaker 3: And I played like I played right.

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Speaker 5: Now, man, because it was a god gift, you know,

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Speaker 5: a gift from God. The way I played, it's not

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Speaker 5: easy to find somebody.

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00:21:41,000 --> 00:21:43,680
Speaker 2: The way I played immediately came through you, like you're

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00:21:43,680 --> 00:21:44,920
Speaker 2: an idioty man, you know.

291
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Speaker 3: And so I got, you know, really famous.

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Speaker 5: And then we used to go to the Battle of

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Speaker 5: the Bends in San Diego against the Rhytham Mayors and

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Speaker 5: UH and the guys from over there, who were really

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Speaker 5: really good, and we used to win all the battles,

296
00:22:01,960 --> 00:22:03,080
Speaker 5: but we were we were good.

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Speaker 2: One day, Javier and the TJ's were playing a gig

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Speaker 2: at a park in downtown Tijuana, and that's when Javier

299
00:22:25,600 --> 00:22:28,240
Speaker 2: met a kid named Carlos Santana.

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Speaker 5: I used to play with the DJs at tebo'clock and

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00:22:33,720 --> 00:22:38,920
Speaker 5: Sunday Sunday afternoons tourbo'clock, you know, at the daytime, and

302
00:22:39,280 --> 00:22:42,440
Speaker 5: we used to pack up place free listening to a

303
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Speaker 5: little kids playing the guitar like mothers would do it.

304
00:22:46,760 --> 00:22:53,240
Speaker 3: And and then Carlos' mother saw me play and went

305
00:22:53,320 --> 00:22:57,320
Speaker 3: to pick up her kid. She brought him. He said,

306
00:22:57,880 --> 00:23:00,360
Speaker 3: the first time I heard you're about this had play.

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00:23:01,160 --> 00:23:06,640
Speaker 5: I got the way he played and studied and made

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00:23:06,680 --> 00:23:11,400
Speaker 5: a sound from his music to my music. I mean,

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00:23:11,480 --> 00:23:14,200
Speaker 5: he's saying that he got my music to play his music.

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Speaker 5: But when you hear him, you hear me.

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Speaker 3: But when you hear me, you hear him. And ham comead.

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Speaker 5: We were friends every day for five years from fifty

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Speaker 5: eight to sixty three, when I.

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Speaker 4: Left Gabrire Sas.

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Speaker 2: He and Carlos were like brothers for those five years,

316
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Speaker 2: and most of the time they were playing music together,

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Speaker 2: often for audiences filled with people from the military in

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Speaker 2: San Diego.

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Speaker 4: Tijuana was the place to go for good live blues

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Speaker 4: music back then.

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Speaker 3: Well you pack up the place. I mean, we people came.

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Speaker 3: So the Marie and Navy, the Army, the Navy sealed

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Speaker 3: the way.

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Speaker 5: Everybody's still there in San Diego, right, and so they

325
00:24:08,480 --> 00:24:12,080
Speaker 5: didn't have any place to go through here or go

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Speaker 5: see or play.

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Speaker 3: So everybody came from over there to hear.

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Speaker 5: Us play and to dance with the women. You know,

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00:24:20,960 --> 00:24:25,200
Speaker 5: they danced a lot. Yeah, you good dancers, good dancers.

330
00:24:26,200 --> 00:24:31,520
Speaker 5: And uh so in about a month, all the Revolution

331
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Speaker 5: Street was on the rock and roll two three, four

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00:24:36,320 --> 00:24:40,200
Speaker 5: or five groups every day. And you know what, Tijuana

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00:24:40,359 --> 00:24:45,920
Speaker 5: those times, it was beautiful time. Tijuana didn't close. It

334
00:24:46,160 --> 00:24:55,680
Speaker 5: was twenty four hours. It was beautiful.

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00:24:55,720 --> 00:24:59,240
Speaker 3: You could leave your bicycles and the outside your car open.

336
00:25:00,119 --> 00:25:03,359
Speaker 5: It was it was something else. It was a little

337
00:25:03,400 --> 00:25:06,480
Speaker 5: bit like Kevin if it was to be really rock

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00:25:06,520 --> 00:25:10,520
Speaker 5: and roll and rock and roll heaven yet and so

339
00:25:10,720 --> 00:25:12,760
Speaker 5: we became very famous.

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00:25:20,760 --> 00:25:24,000
Speaker 2: People in the music industry started noticing this little band

341
00:25:24,040 --> 00:25:36,119
Speaker 2: from Tijuana that could pull big crowds. Carrier says he

342
00:25:36,200 --> 00:25:39,800
Speaker 2: got scouted by a big wig music producer from Mexico City, and.

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00:25:40,000 --> 00:25:45,040
Speaker 3: So some guys from Mexico came and they discovered me.

344
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Speaker 5: By then I was fifteen, and I came to Mexico

345
00:25:51,320 --> 00:25:57,560
Speaker 5: at seventeen, and when I got there, I became instant, instant, instantly,

346
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Speaker 5: the famous, most famous star in Mexico.

347
00:26:02,600 --> 00:26:05,800
Speaker 2: Around the same time, Carlos Santana's family moved north of

348
00:26:05,880 --> 00:26:09,800
Speaker 2: the border to San Francisco, and both Cavier and Carlos

349
00:26:10,000 --> 00:26:14,040
Speaker 2: hit the ground running. Carlos started on his path to fame,

350
00:26:29,400 --> 00:26:32,640
Speaker 2: and Caavier became a big star in Mexico City.

351
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Speaker 4: Well baa.

352
00:26:43,080 --> 00:26:46,159
Speaker 5: And so when I became really famous, when I did

353
00:26:46,240 --> 00:26:51,879
Speaker 5: all the thirty two movies, I have done over fifty records, fifteen.

354
00:26:54,359 --> 00:26:55,520
Speaker 3: Just like a boom movie.

355
00:26:58,160 --> 00:27:00,720
Speaker 2: Javier says he and Carlos stayed in touch during his

356
00:27:00,840 --> 00:27:03,679
Speaker 2: time in Mexico City, and he says Carlos and other

357
00:27:03,800 --> 00:27:06,320
Speaker 2: musician friends of his were always trying to convince him

358
00:27:06,359 --> 00:27:08,680
Speaker 2: to join them north of the border in the US,

359
00:27:09,240 --> 00:27:11,119
Speaker 2: but Caavier dug in his heels.

360
00:27:11,440 --> 00:27:15,360
Speaker 5: All these beautiful people in the States that we're calling

361
00:27:15,440 --> 00:27:18,880
Speaker 5: me have come over here and played the low. I'm

362
00:27:18,920 --> 00:27:22,800
Speaker 5: staying in Mexico because I'm working with the bay Idols.

363
00:27:23,400 --> 00:27:26,239
Speaker 3: In Mexico. My life was get up.

364
00:27:26,440 --> 00:27:31,960
Speaker 5: Interviews from programs radio, TV and then go to bed

365
00:27:32,400 --> 00:27:35,400
Speaker 5: at four o'clock because there was a party here, party there,

366
00:27:35,440 --> 00:27:38,360
Speaker 5: a party there. I had to go to the I'm

367
00:27:38,400 --> 00:27:41,600
Speaker 5: not complaining, but I was getting very tired of it,

368
00:27:41,960 --> 00:27:45,400
Speaker 5: you know. And so because being being fables is that's

369
00:27:45,440 --> 00:27:49,360
Speaker 5: like being fabous. Being fables is a hassle, man, It's

370
00:27:50,000 --> 00:27:50,560
Speaker 5: oh yeah.

371
00:27:56,560 --> 00:28:00,520
Speaker 2: Being famous became an even bigger hassle when the Mexican government,

372
00:28:00,880 --> 00:28:04,000
Speaker 2: which from the sixties through the eighties was sort of

373
00:28:04,080 --> 00:28:09,080
Speaker 2: this conservative extension of the Catholic Church, became increasingly nervous

374
00:28:09,119 --> 00:28:12,040
Speaker 2: about the rock and roll culture spreading across the country.

375
00:28:12,680 --> 00:28:16,280
Speaker 2: Kavita says government officials were concerned about his growing influence.

376
00:28:16,760 --> 00:28:19,800
Speaker 3: People have always been scared of be heavy. Just look

377
00:28:19,880 --> 00:28:23,520
Speaker 3: at me, man, But no, the government was really scared

378
00:28:23,520 --> 00:28:23,760
Speaker 3: of me.

379
00:28:24,240 --> 00:28:27,600
Speaker 2: The rock and roll scene was forced underground, and it

380
00:28:27,840 --> 00:28:31,400
Speaker 2: was a rough few decades. Kaviera says he and other

381
00:28:31,520 --> 00:28:34,480
Speaker 2: rock musicians in Mexico who were seen as a threat

382
00:28:34,520 --> 00:28:38,959
Speaker 2: to society lost everything. He says the government forced him

383
00:28:39,000 --> 00:28:41,680
Speaker 2: to shut down his coffee shop, his nightclub, and.

384
00:28:41,880 --> 00:28:44,360
Speaker 4: Other businesses in Mexico City that he built up.

385
00:28:44,960 --> 00:28:48,320
Speaker 2: So in nineteen eighty four he got fed up, and

386
00:28:48,520 --> 00:28:51,600
Speaker 2: when his mom passed away, he decided to move back

387
00:28:51,960 --> 00:28:52,600
Speaker 2: to Tijuana.

388
00:28:53,000 --> 00:28:55,880
Speaker 3: We came to say go back to my mama, and

389
00:28:56,560 --> 00:28:59,160
Speaker 3: it was really sad, you know, because my mama was

390
00:29:00,160 --> 00:29:04,920
Speaker 3: my friend, that she was like my confidante, and she

391
00:29:05,320 --> 00:29:06,400
Speaker 3: she brought me ablow.

392
00:29:07,080 --> 00:29:09,320
Speaker 4: Caaviera stayed in Tijuana after that.

393
00:29:15,440 --> 00:29:18,360
Speaker 2: So how did he keep his career alive even though

394
00:29:18,400 --> 00:29:21,600
Speaker 2: he was now living far away from the cultural enclave

395
00:29:21,680 --> 00:29:26,160
Speaker 2: of Mexico City, way off the beaten musical path. He

396
00:29:26,240 --> 00:29:28,440
Speaker 2: did this in part by taking his show on the road.

397
00:29:28,920 --> 00:29:32,000
Speaker 2: He says, one of the most memorable tours was through Italy.

398
00:29:32,680 --> 00:29:36,920
Speaker 3: We traveled from my house to Italy, you know, the

399
00:29:37,280 --> 00:29:37,800
Speaker 3: whole boot.

400
00:29:40,840 --> 00:29:44,000
Speaker 5: We started in Milan, and then from Cessania and then

401
00:29:44,160 --> 00:29:47,280
Speaker 5: Rome and then a little other city and then.

402
00:29:49,320 --> 00:29:49,760
Speaker 3: Naples.

403
00:29:52,040 --> 00:29:55,360
Speaker 2: Javier says he doesn't regret leaving Mexico City behind. He

404
00:29:55,600 --> 00:30:00,080
Speaker 2: doesn't miss it, but he does miss one thing, though.

405
00:30:00,240 --> 00:30:00,960
Speaker 3: The applause.

406
00:30:02,800 --> 00:30:07,800
Speaker 5: If something I've missed about not being in Mexico is

407
00:30:07,920 --> 00:30:13,400
Speaker 5: the applause, Because here in Tijuana I get a good

408
00:30:13,480 --> 00:30:17,280
Speaker 5: applause from one hundred people, two hundred people, you know.

409
00:30:18,360 --> 00:30:21,560
Speaker 5: Every time I call all my friends in Tijuana, both

410
00:30:21,600 --> 00:30:29,760
Speaker 5: of them are there, you know, and but yeah, but

411
00:30:29,960 --> 00:30:34,080
Speaker 5: in Mexico. In Mexico, I get ten thousand people, you

412
00:30:34,200 --> 00:30:36,080
Speaker 5: have twenty thousand people.

413
00:30:36,600 --> 00:30:50,920
Speaker 3: When you hear that applause, you go, and so I there.

414
00:30:51,000 --> 00:30:54,520
Speaker 5: I miss, of course the applause, because if I leave,

415
00:30:54,560 --> 00:30:57,760
Speaker 5: I don't live about real big body, which I do

416
00:30:57,960 --> 00:31:03,360
Speaker 5: get money, but not real I believe about because of

417
00:31:03,440 --> 00:31:04,000
Speaker 5: the apouse.

418
00:31:04,080 --> 00:31:15,440
Speaker 3: The applause is see, that's it in concerts and concerts

419
00:31:15,520 --> 00:31:16,240
Speaker 3: and concerts.

420
00:31:33,280 --> 00:31:36,280
Speaker 2: The truth is, had Javier stayed in Mexico City instead

421
00:31:36,280 --> 00:31:39,040
Speaker 2: of moving back to Tijuana or gone to San Francisco

422
00:31:39,120 --> 00:31:42,960
Speaker 2: alongside Carlos, maybe he would be more well known on

423
00:31:43,280 --> 00:31:44,560
Speaker 2: both sides of the border.

424
00:31:45,280 --> 00:31:46,640
Speaker 4: But his family, his.

425
00:31:46,720 --> 00:31:50,480
Speaker 2: Wife Claudia, his five kids, and especially his faith in

426
00:31:50,600 --> 00:31:54,320
Speaker 2: God made him feel rich and full and no longer

427
00:31:54,400 --> 00:31:56,760
Speaker 2: interested in chasing fame the way he did when he

428
00:31:56,840 --> 00:31:59,720
Speaker 2: was younger. And because of that, he may not be

429
00:31:59,840 --> 00:32:02,200
Speaker 2: rich when it comes to money, but he says he

430
00:32:02,280 --> 00:32:05,000
Speaker 2: feels rich in the ways that matter most of him.

431
00:32:18,080 --> 00:32:21,960
Speaker 5: I haven't stopped working, and I don't know anything else

432
00:32:22,040 --> 00:32:25,600
Speaker 5: to do. I sing, I get paid, I go home.

433
00:32:26,200 --> 00:32:26,840
Speaker 3: That's what I do.

434
00:32:27,360 --> 00:32:32,080
Speaker 5: Out of my band have come out worldwide known musicians

435
00:32:32,120 --> 00:32:35,560
Speaker 5: like Fito de la Para, Todo la Varrea, you know,

436
00:32:35,840 --> 00:32:40,960
Speaker 5: Love from I Consider Turner and the Monkeys, marcol Mendoza,

437
00:32:41,600 --> 00:32:46,640
Speaker 5: you know, Carlos Santana, you all these guys, really really.

438
00:32:46,480 --> 00:32:52,080
Speaker 3: Famous guys you know worldwide. I am not I am

439
00:32:52,200 --> 00:32:57,720
Speaker 3: not seeking or or searching for that. I am very grateful,

440
00:32:58,000 --> 00:33:01,760
Speaker 3: glad and really humbled by the level that I'm leaving

441
00:33:01,880 --> 00:33:06,000
Speaker 3: in like a like a really poor musician. I've been

442
00:33:06,080 --> 00:33:12,080
Speaker 3: so rich rich, I mean really you know, but right now, no,

443
00:33:12,600 --> 00:33:15,200
Speaker 3: I play. I get my money and that's what we have,

444
00:33:15,880 --> 00:33:22,720
Speaker 3: you know, pro tango and I'm a sport. Oh God

445
00:33:25,360 --> 00:33:28,600
Speaker 3: gets my heart because there's nothing better than that.

446
00:33:28,760 --> 00:33:32,320
Speaker 5: There's no money that can pay that. You know, I'm

447
00:33:32,360 --> 00:33:35,920
Speaker 5: gonna buy you a wife, a daughter, No, no, no money,

448
00:33:36,560 --> 00:33:40,840
Speaker 5: nothing can buy that. I have it and it's beautiful

449
00:33:40,960 --> 00:33:41,720
Speaker 5: and that's it.

450
00:33:48,440 --> 00:33:56,960
Speaker 4: H It did it take you a while to learn that?

451
00:33:57,000 --> 00:33:59,040
Speaker 2: Because like, I'm a musician too, and I think like

452
00:33:59,360 --> 00:34:01,120
Speaker 2: the older I get, the more I realized that these

453
00:34:01,200 --> 00:34:03,440
Speaker 2: things that we were told that we want from music,

454
00:34:03,520 --> 00:34:06,160
Speaker 2: like big fame and music and all that stuff is

455
00:34:06,200 --> 00:34:08,640
Speaker 2: like no, there's like things that really feel like family,

456
00:34:08,880 --> 00:34:09,520
Speaker 2: like you said, did.

457
00:34:09,840 --> 00:34:10,160
Speaker 3: It take you?

458
00:34:10,560 --> 00:34:16,240
Speaker 5: I tasted all the fames, all the money, you know, millions.

459
00:34:17,000 --> 00:34:20,120
Speaker 5: And when you start living with the people that have money,

460
00:34:20,280 --> 00:34:24,640
Speaker 5: you you understand that if you have feelings, you understand

461
00:34:24,640 --> 00:34:28,480
Speaker 5: that those people don't have feelings, don't have heart, don't

462
00:34:28,560 --> 00:34:34,680
Speaker 5: have thoughts, don't have humanity, They're not humble, They're arrogant

463
00:34:34,880 --> 00:34:43,000
Speaker 5: and despotic. Why money can't buy you what you are?

464
00:34:43,840 --> 00:34:50,480
Speaker 5: I can buy your stuff, you know, guitars, good guitars,

465
00:34:52,000 --> 00:34:56,399
Speaker 5: and but don't buy you inner piece.

466
00:34:56,640 --> 00:34:56,800
Speaker 3: You know.

467
00:35:17,239 --> 00:35:21,320
Speaker 4: When Xavier thinks about the immense fame and fortune his

468
00:35:21,480 --> 00:35:25,320
Speaker 4: friend Carlos Santana has found, he says he's not jealous,

469
00:35:26,320 --> 00:35:27,400
Speaker 4: just proud.

470
00:35:28,520 --> 00:35:31,160
Speaker 3: We're still are brothers. But he leaves in Dubai and

471
00:35:31,239 --> 00:35:35,120
Speaker 3: I live here in Takata. No, he lives in that Vegas.

472
00:35:36,800 --> 00:35:39,359
Speaker 5: In an He lives in an eight and a half

473
00:35:40,080 --> 00:35:43,440
Speaker 5: billion dollars house he constructed for himself.

474
00:35:44,960 --> 00:35:47,640
Speaker 3: So I think he gets money. Yeah.

475
00:35:57,200 --> 00:35:59,759
Speaker 2: Every now and then, Javier says, Carlos will call him

476
00:35:59,760 --> 00:36:03,040
Speaker 2: out to talk about how he feels a little guilty

477
00:36:03,280 --> 00:36:05,400
Speaker 2: about how things have turned out for Cawer.

478
00:36:07,280 --> 00:36:11,839
Speaker 5: Yeah, keep us, keep us to have just start a key,

479
00:36:11,920 --> 00:36:16,399
Speaker 5: make you should be here, not me. Me Carlos four

480
00:36:16,560 --> 00:36:19,480
Speaker 5: or five o'clock in the morning, he called me, and

481
00:36:20,040 --> 00:36:23,960
Speaker 5: I mean those kind of things. You know, I get

482
00:36:24,040 --> 00:36:27,879
Speaker 5: him my embrasi and I don't talk about him too much.

483
00:36:28,000 --> 00:36:31,960
Speaker 5: You know, you're an important guy, you see, That's what

484
00:36:32,080 --> 00:36:40,640
Speaker 5: I mean. Yeah, I'm an important guy. Got be proud

485
00:36:40,640 --> 00:36:48,320
Speaker 5: of a Oh yeah, but I'm famous. I'm famous.

486
00:36:49,000 --> 00:36:51,360
Speaker 3: You just want you want to be famous. I'm famous,

487
00:36:52,200 --> 00:36:56,880
Speaker 3: no street, I'm famous. I got my own street to

488
00:36:56,920 --> 00:36:57,160
Speaker 3: say that.

489
00:37:02,239 --> 00:37:06,120
Speaker 2: There is something that has started really hurting Xavier's feelings, though,

490
00:37:06,640 --> 00:37:09,800
Speaker 2: especially given how much he loves the city of Tijuana.

491
00:37:10,360 --> 00:37:13,160
Speaker 2: The first time we met with Javier, he was literally

492
00:37:13,239 --> 00:37:17,840
Speaker 2: wearing a shirt that said I Love Tijuana. But sometimes

493
00:37:18,440 --> 00:37:23,160
Speaker 2: he feels like the city is forgetting to love him back, like,

494
00:37:23,360 --> 00:37:25,880
Speaker 2: for example, a few months back, the city held an

495
00:37:25,880 --> 00:37:29,480
Speaker 2: anniversary concert and Xaviered wasn't on the line up.

496
00:37:29,760 --> 00:37:35,040
Speaker 3: It's something is pitiful to me, painful that even the

497
00:37:35,120 --> 00:37:38,960
Speaker 3: guys from Tijuana don't know what I do. I hate

498
00:37:38,960 --> 00:37:42,120
Speaker 3: it because I'm here and I can't pay anywhere. They

499
00:37:42,280 --> 00:37:45,239
Speaker 3: want me to play and they don't take me. No.

500
00:37:45,560 --> 00:37:48,719
Speaker 3: What I mean is, if I'm here, why don't they

501
00:37:48,880 --> 00:37:51,800
Speaker 3: call us, you know, with my group and everything, my singers,

502
00:37:51,880 --> 00:37:56,279
Speaker 3: my dancers, my horn players, I mean god, you know.

503
00:38:03,640 --> 00:38:06,320
Speaker 2: Back at Javier's house, which by the way, it feels

504
00:38:06,440 --> 00:38:09,680
Speaker 2: like a museum of himself with photos and band posters

505
00:38:09,760 --> 00:38:14,280
Speaker 2: and other musical memorabilia plastering all the walls, the music

506
00:38:14,320 --> 00:38:17,520
Speaker 2: school transformed into a practice session for Javier and its

507
00:38:17,600 --> 00:38:27,400
Speaker 2: current band, and Kinsey and I got a taste of

508
00:38:27,480 --> 00:38:30,400
Speaker 2: what it's like not only to hear this living legend

509
00:38:30,480 --> 00:38:33,960
Speaker 2: play guitar and sing, but also to hear his stories

510
00:38:34,120 --> 00:38:37,720
Speaker 2: and feel the joy he radiates when he's making music.

511
00:38:38,360 --> 00:38:41,920
Speaker 5: Okay, we're gonna play some instrumentals right now. I want

512
00:38:41,960 --> 00:38:47,520
Speaker 5: you to listen to some of my compositions because I

513
00:38:47,719 --> 00:38:48,640
Speaker 5: composed very well.

514
00:38:52,360 --> 00:38:55,040
Speaker 3: Get this one.

515
00:38:55,760 --> 00:38:56,160
Speaker 2: I I.

516
00:38:57,800 --> 00:39:00,960
Speaker 5: Wrote this one for a girl they used to take

517
00:39:01,040 --> 00:39:04,160
Speaker 5: care of Carlos and me in a conboy club because

518
00:39:04,160 --> 00:39:04,799
Speaker 5: we used to work.

519
00:39:05,760 --> 00:39:08,160
Speaker 3: Her label was floored. It's why I wrote a song

520
00:39:08,200 --> 00:39:10,800
Speaker 3: about her, because she was so good to us, you know.

521
00:39:47,680 --> 00:39:52,000
Speaker 3: All right, So Frank I got some pictures. I decided

522
00:39:52,360 --> 00:39:56,240
Speaker 3: I'm gonna see if we can find them to show you. Okay,

523
00:39:57,040 --> 00:39:58,799
Speaker 3: that will be ten dollars and.

524
00:40:01,360 --> 00:40:04,000
Speaker 2: Right Before we left Cavier, he pulled out an eight

525
00:40:04,040 --> 00:40:06,200
Speaker 2: by ten black and white photo of him sitting at

526
00:40:06,239 --> 00:40:10,040
Speaker 2: a table with several famous musicians, including Carlos Santanna.

527
00:40:10,719 --> 00:40:14,080
Speaker 5: All these guys are gone now, they're dead, they're dying,

528
00:40:15,840 --> 00:40:17,640
Speaker 5: and it's only me in Carlos.

529
00:40:30,280 --> 00:40:31,280
Speaker 3: So for the music.

530
00:40:31,360 --> 00:40:37,040
Speaker 5: I've done everything and anything, you know, because a lot

531
00:40:37,080 --> 00:40:40,960
Speaker 5: of idiot people, especially here in my country, they try

532
00:40:41,040 --> 00:40:44,839
Speaker 5: to take down whatever I have built up. But it's

533
00:40:45,160 --> 00:40:48,280
Speaker 5: it's not easy and they're not gonna get nowhere because

534
00:40:48,600 --> 00:40:49,360
Speaker 5: I got a street.

535
00:40:50,600 --> 00:40:52,400
Speaker 3: You know. He's saying, it's not funny, and.

536
00:40:52,520 --> 00:40:56,000
Speaker 5: I didn't do with that. The people that know did it,

537
00:40:56,480 --> 00:40:59,680
Speaker 5: you know. So I'm not I'm not playing in a

538
00:41:00,400 --> 00:41:03,759
Speaker 5: you know, a joint punches in the air. I'm doing

539
00:41:03,840 --> 00:41:06,280
Speaker 5: what I was supposed to do and with all my love.

540
00:41:08,680 --> 00:41:09,239
Speaker 3: What hell is?

541
00:41:47,480 --> 00:41:49,920
Speaker 4: Port of Entry is written and produced by Kinsey Morland.

542
00:41:50,239 --> 00:41:53,440
Speaker 2: Emily Jankowski is the co producer and director of sound design.

543
00:41:53,840 --> 00:41:57,720
Speaker 2: Alissa Barba is our editor, Lisa Morissette is operations manager,

544
00:41:57,800 --> 00:42:01,360
Speaker 2: and John Decker is the interim Associate General Manager of content.

545
00:42:01,800 --> 00:42:03,280
Speaker 4: I'm your host, Alnia.

546
00:42:03,920 --> 00:42:06,719
Speaker 2: This program is made possible in part by the Corporation

547
00:42:06,920 --> 00:42:10,160
Speaker 2: for Public Broadcasting, a private corporation funded by.

548
00:42:10,120 --> 00:42:10,920
Speaker 3: The American people.

549
00:42:11,360 --> 00:42:13,440
Speaker 4: Thank you for listening, and hey, if you liked this

550
00:42:13,560 --> 00:42:14,120
Speaker 4: episode and.

551
00:42:14,120 --> 00:42:16,560
Speaker 2: You want to help keep the show going, become a

552
00:42:16,640 --> 00:42:20,000
Speaker 2: KPBS member today. Go to kpbs dot org and click

553
00:42:20,080 --> 00:42:21,480
Speaker 2: on the blue give now button.

554
00:42:22,000 --> 00:42:22,279
Speaker 3: Thank you,