1 00:00:02,720 --> 00:00:04,640 Speaker 1: I think someone we know isn't here. 2 00:00:04,680 --> 00:00:06,920 Speaker 2: Oh yeah, and we know this person, I think pretty well. 3 00:00:07,560 --> 00:00:11,600 Speaker 2: It's a Wednesday morning in June. The Smithsonian's National Museum 4 00:00:11,640 --> 00:00:15,960 Speaker 2: of American History in Washington, DC is mostly empty right now. 5 00:00:16,520 --> 00:00:19,040 Speaker 2: Its doors won't open to the public for another hour 6 00:00:19,079 --> 00:00:22,439 Speaker 2: and a half. But my colleague Alexandra Salasard and I 7 00:00:22,520 --> 00:00:26,360 Speaker 2: cut early access today, so we're here, and so is 8 00:00:26,360 --> 00:00:29,960 Speaker 2: our boss. Well kind of yeah, that's Maria. 9 00:00:30,000 --> 00:00:30,640 Speaker 3: That's fun. 10 00:00:31,720 --> 00:00:34,400 Speaker 2: She's standing there with hoop earrings and her red lipstick. 11 00:00:35,680 --> 00:00:39,479 Speaker 1: Okay, so she isn't actually here here, but she's on 12 00:00:39,520 --> 00:00:41,720 Speaker 1: a screen in front of us, dressed in a black 13 00:00:41,800 --> 00:00:45,840 Speaker 1: jump student heels, welcoming us to a groundbreaking new exhibition 14 00:00:46,000 --> 00:00:49,879 Speaker 1: called Presente a Latino History of the United States. And 15 00:00:49,920 --> 00:00:52,559 Speaker 1: now I'm standing here with Ray, my colleague. You just 16 00:00:52,600 --> 00:00:56,240 Speaker 1: heard from Renaldo Lanos Junior, and we're face to face 17 00:00:56,320 --> 00:00:58,800 Speaker 1: with the life size video of Marie no Josa. 18 00:01:01,280 --> 00:01:02,200 Speaker 4: Hey, Maria. 19 00:01:02,320 --> 00:01:05,160 Speaker 2: Maria is one of about a dozen Latinos and Latinas 20 00:01:05,240 --> 00:01:09,160 Speaker 2: featured in this exhibition for their work in the Latino community. 21 00:01:09,319 --> 00:01:14,800 Speaker 2: I'm she pops up on screens in the center of 22 00:01:14,840 --> 00:01:19,480 Speaker 2: the gallery space, along with others a nurse, an immigration activist. 23 00:01:19,720 --> 00:01:21,080 Speaker 2: Other journalists like her. 24 00:01:21,840 --> 00:01:25,000 Speaker 1: It's kind of funny. We usually don't have Maria watching 25 00:01:25,080 --> 00:01:28,280 Speaker 1: us while we're out working as producers for Latino USA. 26 00:01:29,080 --> 00:01:32,959 Speaker 2: Vicente's house in the Molina Latino Family Gallery. It's in 27 00:01:32,959 --> 00:01:36,360 Speaker 2: the Museum of American History, and it's the Smithsonian's first 28 00:01:36,360 --> 00:01:40,920 Speaker 2: permanent space dedicated to the Latino experience in the United States. 29 00:01:41,280 --> 00:01:44,760 Speaker 2: That alone is something remarkable. But we're here to cover 30 00:01:44,840 --> 00:01:48,440 Speaker 2: the opening of the show mainly because it's a precursor 31 00:01:48,760 --> 00:01:50,080 Speaker 2: of something big to come. 32 00:01:50,680 --> 00:01:52,760 Speaker 5: Thank you all for being here today and helping us 33 00:01:52,800 --> 00:01:55,880 Speaker 5: celebrate this moment. To stay today, we celebrate this new gallery, 34 00:01:55,920 --> 00:01:59,600 Speaker 5: and soon we'll celebrate an entire museum dedicate to the 35 00:01:59,680 --> 00:02:02,400 Speaker 5: rich and vibrant history of the American Latino. 36 00:02:03,040 --> 00:02:07,400 Speaker 1: That's Corges Amnillo. He's the inaugural director of the upcoming museum. 37 00:02:07,440 --> 00:02:11,959 Speaker 1: He's talking about the Smithsonian's National Museum of the American Latino, 38 00:02:12,639 --> 00:02:16,760 Speaker 1: and Presente is a major step towards that museum. 39 00:02:16,840 --> 00:02:19,320 Speaker 5: Like our democracy, we're all part of this new museum. 40 00:02:19,600 --> 00:02:21,480 Speaker 5: I hope you enjoy the exhibit, and due course, I 41 00:02:21,520 --> 00:02:23,760 Speaker 5: look forward to seeing you all at the new National 42 00:02:23,840 --> 00:02:25,639 Speaker 5: Museum of the American Latino. Thank you. 43 00:02:33,880 --> 00:02:38,040 Speaker 6: Fro Fudro Media and RX It's Latino USA. I'm Maria 44 00:02:38,120 --> 00:02:41,480 Speaker 6: jo Jrosa. Today we trace the origins of the National 45 00:02:41,560 --> 00:02:44,880 Speaker 6: Museum of the American Latino and how it's starting to 46 00:02:44,960 --> 00:02:54,480 Speaker 6: take shape. Museums are political spaces. They carry a big 47 00:02:54,560 --> 00:02:59,920 Speaker 6: responsibility to decide which stories and artifacts to preserve across generation. 48 00:03:00,880 --> 00:03:04,480 Speaker 6: Over time, they helped define our social and cultural identities. 49 00:03:04,800 --> 00:03:08,480 Speaker 6: The Smithsonian Institution is no exception, home to some of 50 00:03:08,520 --> 00:03:13,120 Speaker 6: our biggest national museums. The Smithsonian strives to capture the 51 00:03:13,280 --> 00:03:17,760 Speaker 6: history and culture of the entire United States, but that's 52 00:03:18,040 --> 00:03:23,240 Speaker 6: easier said than done. The institution has repeatedly failed to 53 00:03:23,320 --> 00:03:26,639 Speaker 6: fulfill its mission in the past, especially when it comes 54 00:03:26,680 --> 00:03:32,120 Speaker 6: to honoring and spotlighting black, Brown, Asian, and Indigenous people. Now, 55 00:03:32,520 --> 00:03:37,720 Speaker 6: nearly two centuries after the Smithsonian was founded, its roster 56 00:03:37,960 --> 00:03:42,120 Speaker 6: is expanding to include the National Museum of the American Latino. 57 00:03:45,560 --> 00:03:49,600 Speaker 6: Getting here was decades in the making. In nineteen ninety four, 58 00:03:49,680 --> 00:03:54,080 Speaker 6: the Smithsonian released a report called Willful Neglect, which found 59 00:03:54,120 --> 00:03:57,640 Speaker 6: that Latinos and Latinas were left out in nearly every 60 00:03:57,880 --> 00:04:02,720 Speaker 6: aspect of the Smithsonian's operation. The report made waves, and 61 00:04:02,960 --> 00:04:06,320 Speaker 6: it sparked a campaign to create a national museum for 62 00:04:06,440 --> 00:04:11,360 Speaker 6: Latinos and Latinas. After two decades, in late twenty twenty, 63 00:04:11,840 --> 00:04:15,800 Speaker 6: Congress finally approved the creation of the National Museum of 64 00:04:15,840 --> 00:04:20,679 Speaker 6: the American Latino. The National Museum of the American Latino 65 00:04:21,000 --> 00:04:24,840 Speaker 6: doesn't even have a building yet, and it's not expected 66 00:04:24,920 --> 00:04:27,760 Speaker 6: to open to the public for at least another decade. 67 00:04:28,320 --> 00:04:32,040 Speaker 6: But the museum is already making moves. A founding director, 68 00:04:32,480 --> 00:04:36,440 Speaker 6: a board, and some core staff have been hired, and 69 00:04:36,640 --> 00:04:41,279 Speaker 6: it's even debuted its first show. It's already creating a 70 00:04:41,320 --> 00:04:44,479 Speaker 6: foundation that the rest of the institution will be built 71 00:04:44,520 --> 00:04:48,200 Speaker 6: off of, and that calls for some scrutiny. 72 00:04:49,080 --> 00:04:50,080 Speaker 2: Full disclosure. 73 00:04:50,440 --> 00:04:54,600 Speaker 6: Yes, I was interviewed and featured in the museum's latest show, Precente, 74 00:04:54,880 --> 00:04:58,240 Speaker 6: because of my work as a Latina journalist, but I 75 00:04:58,279 --> 00:05:00,680 Speaker 6: haven't been involved with the project in any other way, 76 00:05:00,720 --> 00:05:03,640 Speaker 6: and neither has my team, and I haven't been involved 77 00:05:03,680 --> 00:05:09,320 Speaker 6: in reporting out this story. So with that said, how 78 00:05:09,400 --> 00:05:14,840 Speaker 6: do you create a National Latino Museum? Latino USA producers 79 00:05:14,880 --> 00:05:20,560 Speaker 6: Alexandra Salasad and Reinaldo Junior trace how years of advocacy 80 00:05:20,720 --> 00:05:23,279 Speaker 6: led us to this moment. And they're going to explore 81 00:05:23,320 --> 00:05:29,680 Speaker 6: how the museum takes its first steps towards becoming a reality. 82 00:05:30,600 --> 00:05:34,640 Speaker 1: We walk into the Smithsonian's Museum of American History and 83 00:05:34,680 --> 00:05:37,720 Speaker 1: we're welcomed by the word Precente. It's in all caps, 84 00:05:37,960 --> 00:05:40,080 Speaker 1: cut out of a large black panel at the entrance 85 00:05:40,120 --> 00:05:44,760 Speaker 1: of Molina Gallery. Precenta's mission is to showcase how Latino 86 00:05:44,880 --> 00:05:49,760 Speaker 1: history is American history. That's a significant challenge, and the 87 00:05:49,800 --> 00:05:53,719 Speaker 1: show's ambition becomes even clearer when we go inside because 88 00:05:53,720 --> 00:05:58,000 Speaker 1: the gallery isn't that big. It's basically one large room, 89 00:05:58,160 --> 00:06:00,800 Speaker 1: a modest size for a gallery meant to tell centries 90 00:06:00,920 --> 00:06:06,839 Speaker 1: of LATINX narratives. Colorful artifacts hang on the wall. The 91 00:06:06,920 --> 00:06:10,039 Speaker 1: first piece that greets us is this bright red dance 92 00:06:10,120 --> 00:06:13,839 Speaker 1: outfit from New Mexico used in ceremonies honoring Native people 93 00:06:13,880 --> 00:06:14,520 Speaker 1: from the region. 94 00:06:14,640 --> 00:06:18,719 Speaker 7: And this is like this really beautiful dress with fringe 95 00:06:19,200 --> 00:06:20,440 Speaker 7: and feathers. 96 00:06:20,080 --> 00:06:22,880 Speaker 2: And beadwork behind it. There's like, you know, there's a 97 00:06:23,000 --> 00:06:27,440 Speaker 2: videoplane of people who are you know, who are dancing 98 00:06:27,480 --> 00:06:30,880 Speaker 2: and playing with some of their music as well. 99 00:06:31,080 --> 00:06:31,240 Speaker 3: More. 100 00:06:31,279 --> 00:06:34,640 Speaker 1: Items, over two hundred of them placed around the gallery 101 00:06:34,720 --> 00:06:40,120 Speaker 1: tell stories of migration, colonialism, political movements and LATINX culture. 102 00:06:40,520 --> 00:06:44,040 Speaker 1: There's a registration form from eighteen sixty seven for Enslaved 103 00:06:44,080 --> 00:06:48,360 Speaker 1: Persons in Puerto Rico. A nineteenth century printing press evoking 104 00:06:48,360 --> 00:06:52,120 Speaker 1: the work of LATINX journalists and writers who documented historic 105 00:06:52,200 --> 00:06:56,200 Speaker 1: moments like the Mexican American War. Tiny makeshift raft made 106 00:06:56,200 --> 00:07:00,400 Speaker 1: of found materials like wood and styrofoam. Cuban refugee used 107 00:07:00,440 --> 00:07:02,680 Speaker 1: it to make a two hundred and fifteen mile journey 108 00:07:02,720 --> 00:07:06,320 Speaker 1: to the US back in the nineties. An old skateboard 109 00:07:06,360 --> 00:07:09,800 Speaker 1: and vintage punk music records. A backpack and sneakers worn 110 00:07:09,840 --> 00:07:14,480 Speaker 1: by migrants, construction hats and graduation caps, protest signs, and 111 00:07:14,560 --> 00:07:18,600 Speaker 1: statuettes of Catholic saints. In other settings, these pieces might 112 00:07:18,640 --> 00:07:23,040 Speaker 1: be dismissed as small everyday items. Now they sit under 113 00:07:23,040 --> 00:07:26,720 Speaker 1: spotlights in a national gallery space, each offering a small 114 00:07:26,760 --> 00:07:31,000 Speaker 1: gateway to another person's life. Ray and I walk up 115 00:07:31,000 --> 00:07:33,280 Speaker 1: to a sculpture. As we take in the piece, we 116 00:07:33,360 --> 00:07:35,800 Speaker 1: get to speak with Henry Munos, the chairman of the 117 00:07:35,800 --> 00:07:38,400 Speaker 1: board for the National Museum of the American Latino. 118 00:07:39,400 --> 00:07:43,120 Speaker 4: If you made me pick one thing in this entire gallery, 119 00:07:43,160 --> 00:07:48,520 Speaker 4: I would pick the Tree of Life by Mayestra Edonica Castillo. 120 00:07:48,680 --> 00:07:51,520 Speaker 2: I just think it's beautiful. 121 00:07:51,760 --> 00:07:54,720 Speaker 1: The Tree of Life arbol de la vida in Spanish 122 00:07:55,480 --> 00:07:58,880 Speaker 1: Lada is a popular kind of sculpture found throughout Mexico 123 00:07:59,000 --> 00:08:02,880 Speaker 1: and inspired by the Biblical Tree of Life. Betonica's version 124 00:08:02,880 --> 00:08:05,600 Speaker 1: here looks like a multi colored skeleton of a tree 125 00:08:05,920 --> 00:08:09,760 Speaker 1: made of clay. Small figurines of LATINX icon's rest on 126 00:08:09,800 --> 00:08:14,240 Speaker 1: its branches, like labor organizers the Lorees Wuerta and Emmatena Yuka, 127 00:08:14,600 --> 00:08:19,120 Speaker 1: Supreme Court Justice Sonya Soto, major baseball player Mariano Rivera, 128 00:08:19,480 --> 00:08:21,280 Speaker 1: artist Anna Mendieta. 129 00:08:21,560 --> 00:08:26,360 Speaker 4: I just think it's fantastic. It's got the LGBTQ community. 130 00:08:26,440 --> 00:08:30,320 Speaker 4: Look at the astronauts. The storytelling is just fantastic. 131 00:08:30,760 --> 00:08:33,400 Speaker 1: Henry has been involved with public efforts to create a 132 00:08:33,480 --> 00:08:38,040 Speaker 1: national LATINX museum for close to thirty years, basically since 133 00:08:38,040 --> 00:08:41,320 Speaker 1: the Wilful Neglect Report revealed the lack of Latinx representation 134 00:08:41,480 --> 00:08:42,439 Speaker 1: within the Smithsonian. 135 00:08:43,160 --> 00:08:46,640 Speaker 4: I'm one of those people who's been waiting five hundred 136 00:08:46,679 --> 00:08:48,280 Speaker 4: years for this to happen. 137 00:08:48,960 --> 00:08:52,240 Speaker 1: Henri's frustration over the slow moving process of making a 138 00:08:52,280 --> 00:09:02,880 Speaker 1: new museum echoes across the Smithsonian's history for example, the 139 00:09:02,920 --> 00:09:06,520 Speaker 1: creation of the Smithsonian's National Museum of the American Indian 140 00:09:06,920 --> 00:09:14,160 Speaker 1: wasn't approved until November nineteen eighty nine, Yes, nineteen eighty nine. 141 00:09:14,200 --> 00:09:16,880 Speaker 1: For more than a decade prior, Native American tribes and 142 00:09:16,920 --> 00:09:20,640 Speaker 1: activists were publicly calling out museums across the country for 143 00:09:20,720 --> 00:09:24,800 Speaker 1: stealing the bones and artifacts of their ancestors. At the 144 00:09:24,840 --> 00:09:27,880 Speaker 1: center of it all was the Smithsonian, which was holding 145 00:09:27,920 --> 00:09:32,840 Speaker 1: the skeletal remains of approximately eighteen thousand Native Americans. In 146 00:09:32,880 --> 00:09:37,120 Speaker 1: September nineteen eighty nine, the Smithsonian finally agreed to repatriat 147 00:09:37,160 --> 00:09:41,679 Speaker 1: remains to their respective tribes, a process that's still ongoing today. 148 00:09:42,000 --> 00:09:44,920 Speaker 1: That same year, legislation to create a National Museum of 149 00:09:44,960 --> 00:09:48,880 Speaker 1: the American Indian under the Smithsonian was introduced and passed 150 00:09:48,920 --> 00:09:52,040 Speaker 1: in Congress. Fifteen years later, in two thousand and four, 151 00:09:52,520 --> 00:09:55,480 Speaker 1: the museum in Washington, d c. Finally opened its doors. 152 00:09:56,080 --> 00:10:00,360 Speaker 1: Following generations of exclusion and theft from Native Americans, it 153 00:10:00,400 --> 00:10:03,480 Speaker 1: took the institution about one hundred and fifty years to 154 00:10:03,640 --> 00:10:06,800 Speaker 1: highlight the people whose land its museums stand on to 155 00:10:06,840 --> 00:10:14,280 Speaker 1: begin with. Another example is the most recent Smithsonian museum, 156 00:10:15,240 --> 00:10:19,000 Speaker 1: the National Museum of African American history and culture literally 157 00:10:19,080 --> 00:10:22,439 Speaker 1: took a century to become a reality. Black Civil War 158 00:10:22,520 --> 00:10:25,600 Speaker 1: veterans proposed the idea for a monument or memorial for 159 00:10:25,679 --> 00:10:29,880 Speaker 1: African Americans in nineteen fifteen, and a bill was introduced 160 00:10:29,880 --> 00:10:32,559 Speaker 1: to Congress a year later, but the idea would take 161 00:10:32,640 --> 00:10:35,640 Speaker 1: years to garner political support, and even when it looked 162 00:10:35,640 --> 00:10:38,840 Speaker 1: like it might happen every few decades or so, Congress 163 00:10:38,840 --> 00:10:42,040 Speaker 1: wouldn't allot enough funding to the project. An iteration of 164 00:10:42,080 --> 00:10:46,400 Speaker 1: that legislation with partial funding was finally approved by Congress 165 00:10:46,400 --> 00:10:48,599 Speaker 1: in two thousand and three, and the museum opened to 166 00:10:48,640 --> 00:10:54,440 Speaker 1: the public over a decade later in twenty sixteen. Like 167 00:10:54,520 --> 00:10:58,000 Speaker 1: these other museums, Henry believes a National Latino Museum is 168 00:10:58,040 --> 00:11:02,319 Speaker 1: a chance to capture the very and varied roles Latinos 169 00:11:02,320 --> 00:11:04,200 Speaker 1: have played in shaping this country. 170 00:11:04,520 --> 00:11:06,480 Speaker 4: Our people have been here since before there was a 171 00:11:06,600 --> 00:11:11,040 Speaker 4: United States of America, and so this gallery has an 172 00:11:11,040 --> 00:11:14,800 Speaker 4: opportunity to create cultural understanding at a moment in our 173 00:11:14,840 --> 00:11:16,800 Speaker 4: country's history where we really need it. 174 00:11:17,520 --> 00:11:21,079 Speaker 1: Henry has spent decades working with the Smithsonian. He served 175 00:11:21,080 --> 00:11:23,800 Speaker 1: on its national Board, and he eventually became the chairman 176 00:11:23,880 --> 00:11:27,600 Speaker 1: of the Latino Center. The Smithsonian's response to its infamous report. 177 00:11:28,559 --> 00:11:31,080 Speaker 1: Henry's a big donor too. His name is on the 178 00:11:31,080 --> 00:11:34,640 Speaker 1: wall at the entrance of the Precenta exhibition. It represents 179 00:11:34,720 --> 00:11:37,480 Speaker 1: what he's been advocating for all these years. 180 00:11:38,040 --> 00:11:41,280 Speaker 4: So the fact that it took, you know, thirty years 181 00:11:41,320 --> 00:11:45,200 Speaker 4: of educating not just the members of Congress but the 182 00:11:45,240 --> 00:11:51,400 Speaker 4: public about the importance of this museum is that's just 183 00:11:51,480 --> 00:11:54,360 Speaker 4: the way it is. And I'm glad that we're here today, 184 00:11:54,360 --> 00:11:56,200 Speaker 4: and I hope I'm here long enough to see the 185 00:11:56,240 --> 00:12:00,000 Speaker 4: opening of the doors of the National Museum of American. 186 00:12:02,559 --> 00:12:05,719 Speaker 2: Henry mentions Congress because way before the creation of a 187 00:12:05,800 --> 00:12:09,760 Speaker 2: Latino museum was even a possibility, the battle to try 188 00:12:09,800 --> 00:12:12,400 Speaker 2: to make that happen took place on Capitol Hill. 189 00:12:13,160 --> 00:12:16,880 Speaker 8: My name is Ileana Ross Clayton, and and I was 190 00:12:16,920 --> 00:12:21,840 Speaker 8: a member of Congress for almost thirty years representing South Florida. 191 00:12:21,960 --> 00:12:24,360 Speaker 2: Ileana was born in Cuba and then moved to the 192 00:12:24,480 --> 00:12:27,400 Speaker 2: US when she was just eight years old. She was 193 00:12:27,400 --> 00:12:30,520 Speaker 2: elected to Congress over thirty years ago as a Republican. 194 00:12:31,000 --> 00:12:34,520 Speaker 2: As a congresswoman, Ilana says she formerly started pushing for 195 00:12:34,600 --> 00:12:38,000 Speaker 2: a Latino museum back in two thousand and four, but 196 00:12:38,240 --> 00:12:41,440 Speaker 2: she admits she saw the need for this much much sooner. 197 00:12:41,920 --> 00:12:44,960 Speaker 8: But when I got elected in nineteen eighty nine, my 198 00:12:45,080 --> 00:12:48,200 Speaker 8: children were very young, and I would take them to 199 00:12:48,480 --> 00:12:52,559 Speaker 8: these beautiful museums that we have here in Washington, d c. 200 00:12:53,240 --> 00:12:57,160 Speaker 8: And part of the Smithsonian Collage of museums, and I 201 00:12:57,200 --> 00:13:00,439 Speaker 8: would always be amazed that there was never any any 202 00:13:00,520 --> 00:13:05,720 Speaker 8: section or any museum devoted to the growing impact of 203 00:13:06,160 --> 00:13:09,640 Speaker 8: Hispanic communities throughout the United States. And I said, Wow, 204 00:13:09,679 --> 00:13:12,840 Speaker 8: that's really missing. You know, maybe we should do something 205 00:13:12,880 --> 00:13:14,920 Speaker 8: about that. There's a real void. 206 00:13:18,760 --> 00:13:22,840 Speaker 2: To understand why Ileanna, a congresswoman, needed to get involved 207 00:13:22,880 --> 00:13:25,440 Speaker 2: in this issue, we have to first understand that the 208 00:13:25,440 --> 00:13:29,520 Speaker 2: Smithsonian is actually part of the federal government. It's granted 209 00:13:29,559 --> 00:13:33,480 Speaker 2: authority over its own grounds and buildings, but it depends 210 00:13:33,559 --> 00:13:37,480 Speaker 2: on Congress for some funding and the authorization of major 211 00:13:37,520 --> 00:13:42,479 Speaker 2: projects projects like a National Latino Museum, and the Smithsonian 212 00:13:42,679 --> 00:13:47,040 Speaker 2: is in part funded by US US taxpayers. In twenty 213 00:13:47,080 --> 00:13:50,360 Speaker 2: twenty one, more than sixty percent of the institution's funding 214 00:13:50,720 --> 00:13:56,120 Speaker 2: came from the federal government. Creating a National Latino Museum 215 00:13:56,360 --> 00:14:00,760 Speaker 2: became a legislative priority for Ileana and started working on 216 00:14:00,800 --> 00:14:05,880 Speaker 2: it with former Congressman Jose Serrano, a Democrat from New York. First, 217 00:14:06,120 --> 00:14:08,240 Speaker 2: they needed to figure out what to call it. 218 00:14:08,640 --> 00:14:11,880 Speaker 8: We fussed about whether it should be called Hispanic, American, 219 00:14:12,320 --> 00:14:14,720 Speaker 8: or Latino, I mean, Jos, all kinds of words that 220 00:14:14,760 --> 00:14:17,760 Speaker 8: you could throw out as to who we were. And 221 00:14:17,840 --> 00:14:20,680 Speaker 8: finally it was settled on the National Museum of the 222 00:14:20,760 --> 00:14:22,080 Speaker 8: American Latino. 223 00:14:22,840 --> 00:14:25,360 Speaker 2: Then it was time to draft some legislation. 224 00:14:26,360 --> 00:14:30,680 Speaker 8: Jose and I filed a bill that would create a 225 00:14:30,800 --> 00:14:37,440 Speaker 8: commission to study whether we could have such a museum. 226 00:14:37,960 --> 00:14:42,040 Speaker 2: They couldn't introduce legislation to create a National Latino Museum 227 00:14:42,400 --> 00:14:46,320 Speaker 2: without formally exploring the possibility first. After several years of 228 00:14:46,360 --> 00:14:49,280 Speaker 2: pushing for it, the creation of the commission was approved 229 00:14:49,280 --> 00:14:51,680 Speaker 2: at the tail end of George W. Bush's time in 230 00:14:51,760 --> 00:14:55,000 Speaker 2: office in two thousand and eight. The commission wouldn't actually 231 00:14:55,080 --> 00:14:58,480 Speaker 2: be formed until a year later under the Obama administration. 232 00:14:59,600 --> 00:15:03,120 Speaker 2: Remember Henry Munos, now the chairman of the National Museum 233 00:15:03,200 --> 00:15:06,840 Speaker 2: of the American Latino. He was also the person chosen 234 00:15:06,920 --> 00:15:09,840 Speaker 2: to lead this commission. This is Henry talking at a 235 00:15:09,840 --> 00:15:12,440 Speaker 2: two thousand and nine press conference about the work ahead. 236 00:15:12,840 --> 00:15:15,760 Speaker 9: I want to say that at this moment in our 237 00:15:15,840 --> 00:15:19,720 Speaker 9: nation's history, the appointment of a commission that is composed 238 00:15:19,800 --> 00:15:23,440 Speaker 9: of citizen members of people who will volunteer their time 239 00:15:23,520 --> 00:15:25,640 Speaker 9: over the course of the next year to look at 240 00:15:25,640 --> 00:15:30,400 Speaker 9: the location, the concepts, the collections, and the fundraising to 241 00:15:30,480 --> 00:15:33,720 Speaker 9: create a National Museum of the American Latino is historic. 242 00:15:34,240 --> 00:15:36,640 Speaker 2: The group wrapped up and presented its findings to the 243 00:15:36,680 --> 00:15:40,640 Speaker 2: President in twenty eleven. The result was what Ileana and 244 00:15:40,680 --> 00:15:45,000 Speaker 2: supporting colleagues were hoping for. Building a museum for Latinos 245 00:15:45,040 --> 00:15:49,360 Speaker 2: on the National Mall was possible and vital. Anything less 246 00:15:49,520 --> 00:15:50,440 Speaker 2: would fall short. 247 00:15:50,720 --> 00:15:54,120 Speaker 8: Once we had that, then we wanted to actually build 248 00:15:54,160 --> 00:15:58,240 Speaker 8: the museum. Oh boy, it's a task worthy of hercules. 249 00:15:58,720 --> 00:16:03,960 Speaker 8: But in twenty seven we introduced the National Museum of 250 00:16:04,080 --> 00:16:07,320 Speaker 8: the American Latino Act. And I'm sorry to give you 251 00:16:07,360 --> 00:16:10,880 Speaker 8: such a chronology, but it's been quite a struggle. 252 00:16:11,160 --> 00:16:14,560 Speaker 2: The bill had a surprising amount of bipartisans support behind it, 253 00:16:14,920 --> 00:16:18,840 Speaker 2: especially from Senators and House members who represented areas with 254 00:16:19,040 --> 00:16:23,480 Speaker 2: large LATINX populations. The National Latino Museum was backed by 255 00:16:23,480 --> 00:16:28,200 Speaker 2: people like then California Congressman Javiert Becera. Today he's President 256 00:16:28,280 --> 00:16:31,480 Speaker 2: Biden's Secretary of Health and Human Services. 257 00:16:31,200 --> 00:16:33,840 Speaker 10: If you walk through the mall of the nation's capital, 258 00:16:34,280 --> 00:16:38,160 Speaker 10: you can come out understanding better than any place also 259 00:16:38,200 --> 00:16:40,120 Speaker 10: the world, what it means to be an American. But 260 00:16:40,760 --> 00:16:43,880 Speaker 10: once you finish that walk through all those museums along 261 00:16:43,920 --> 00:16:46,080 Speaker 10: the mall, you don't have a complete picture. 262 00:16:46,440 --> 00:16:49,880 Speaker 2: Former Senator Ken Salas out of Colorado and Senator Bob 263 00:16:49,920 --> 00:16:54,160 Speaker 2: Menendez of New Jersey, both Democrats, supported the museum, and 264 00:16:54,320 --> 00:16:58,000 Speaker 2: some Republican heavyweights also through their support behind it. The 265 00:16:58,080 --> 00:17:01,240 Speaker 2: late Senator Orrin Hatch from Utah was an early proponent, 266 00:17:01,760 --> 00:17:06,040 Speaker 2: and Texas Senator John Cornyn helped introduce the final legislation 267 00:17:06,119 --> 00:17:09,200 Speaker 2: that would make the museum official. But it wasn't all 268 00:17:09,200 --> 00:17:09,959 Speaker 2: smooth sailing. 269 00:17:10,320 --> 00:17:13,600 Speaker 8: There were many moments where we thought, oh my goodness, 270 00:17:13,640 --> 00:17:16,480 Speaker 8: this is just never going to get off the ground. 271 00:17:19,280 --> 00:17:23,120 Speaker 2: There were many arguments against creating a National Latino Museum, 272 00:17:23,560 --> 00:17:27,119 Speaker 2: things like it was too expensive or too political. There 273 00:17:27,119 --> 00:17:30,760 Speaker 2: were also objections to building on the National Mall. One 274 00:17:30,800 --> 00:17:34,440 Speaker 2: line of thinking from several people in Congress was that, oh, 275 00:17:34,560 --> 00:17:37,760 Speaker 2: if we give Latinos a museum, then every quote unquote 276 00:17:37,760 --> 00:17:41,520 Speaker 2: minority group is going to want one. Another popular suggestion 277 00:17:41,680 --> 00:17:45,480 Speaker 2: among those not in favor was instead of a Latino museum, 278 00:17:46,000 --> 00:17:49,200 Speaker 2: Why not a national immigration museum. Wouldn't that be more 279 00:17:49,200 --> 00:17:53,520 Speaker 2: inclusive of other communities. Here's Utah Senator Mike Lee, who 280 00:17:53,560 --> 00:17:57,440 Speaker 2: at one point blocked legislation to create a National Latino Museum. 281 00:17:57,760 --> 00:17:59,920 Speaker 11: But the last thing we need is to further do 282 00:18:00,560 --> 00:18:04,840 Speaker 11: an already divided nation with an array of segregated, separate, 283 00:18:04,840 --> 00:18:08,320 Speaker 11: but equal museums for hyphenated identity groups. 284 00:18:08,520 --> 00:18:10,760 Speaker 2: It was an ongoing tug of war, and the bill 285 00:18:10,840 --> 00:18:13,600 Speaker 2: kept getting bogged down and kicked off the floor for 286 00:18:13,680 --> 00:18:18,000 Speaker 2: many years. Then December twenty twenty came along. We were 287 00:18:18,040 --> 00:18:21,920 Speaker 2: in the midst of an unprecedented pandemic, and political tensions 288 00:18:21,960 --> 00:18:25,800 Speaker 2: in the US were reaching all time highs. Congress was 289 00:18:25,800 --> 00:18:30,359 Speaker 2: on the verge of passing COVID nineteen relief legislation. So 290 00:18:30,600 --> 00:18:34,080 Speaker 2: Iliana and her colleagues decided to attach their bill for 291 00:18:34,160 --> 00:18:38,320 Speaker 2: a National Latino Museum to this larger package. It was 292 00:18:38,359 --> 00:18:41,800 Speaker 2: a tactical move, she says. They knew the COVID legislation 293 00:18:42,200 --> 00:18:46,639 Speaker 2: had to pass, and it finally did on December twenty seven, 294 00:18:46,920 --> 00:18:50,800 Speaker 2: twenty twenty. The National Latino Museum was wrapped up in 295 00:18:50,840 --> 00:18:55,080 Speaker 2: a nearly nine hundred billion dollars COVID nineteen relief package 296 00:18:55,440 --> 00:18:59,400 Speaker 2: like a trojan horse. Ilana says, the Trump administration took 297 00:18:59,440 --> 00:18:59,920 Speaker 2: it in strike. 298 00:19:00,920 --> 00:19:03,480 Speaker 8: I guess some people would think that it was ironic, 299 00:19:03,800 --> 00:19:07,359 Speaker 8: but actually the Trump administration did not fight this bill 300 00:19:07,359 --> 00:19:07,720 Speaker 8: at all. 301 00:19:11,960 --> 00:19:15,800 Speaker 1: The President's signature greenlit the creation of the National Museum 302 00:19:15,880 --> 00:19:19,200 Speaker 1: of the American Latino. It also approved its funding model. 303 00:19:19,560 --> 00:19:21,920 Speaker 1: Half of the money would come from Congress and half 304 00:19:21,960 --> 00:19:25,080 Speaker 1: would need to be fundraised from private donors. It's the 305 00:19:25,119 --> 00:19:28,280 Speaker 1: same funding model the National Museum of African American History 306 00:19:28,280 --> 00:19:31,880 Speaker 1: and Culture used. The cost of the National Latino Museum 307 00:19:32,040 --> 00:19:34,479 Speaker 1: is projected to be anywhere between six hundred to eight 308 00:19:34,560 --> 00:19:38,800 Speaker 1: hundred million dollars, though that's subject to change. The museum 309 00:19:38,840 --> 00:19:41,760 Speaker 1: is going to need some big funders, which often means 310 00:19:41,760 --> 00:19:47,399 Speaker 1: big companies. Walmart, Microsoft, Wells, Fargo, Bank of America, and 311 00:19:47,520 --> 00:19:50,960 Speaker 1: Coca Cola are among those that have already pledged some millions. 312 00:19:51,800 --> 00:19:54,560 Speaker 1: Along with securing its funding, the museum also needs to 313 00:19:54,600 --> 00:19:57,960 Speaker 1: find its home. The location is highly contested right now, 314 00:19:58,119 --> 00:20:00,720 Speaker 1: either to be on the National Mall from the National 315 00:20:00,760 --> 00:20:03,960 Speaker 1: Museum of African American History and Culture or on a 316 00:20:03,960 --> 00:20:08,240 Speaker 1: different site. And then there's the question of staffing and curation, 317 00:20:08,560 --> 00:20:11,960 Speaker 1: and along that process building an institution for the future 318 00:20:12,000 --> 00:20:17,639 Speaker 1: that is representative of everyone in the LATINX community, cross generations, race, gender, 319 00:20:17,800 --> 00:20:27,600 Speaker 1: and nationality. Easy, right, Yeah. Brecente started to give life 320 00:20:27,720 --> 00:20:31,280 Speaker 1: to the National Museum of the American Latino, and as 321 00:20:31,320 --> 00:20:35,639 Speaker 1: this space becomes more and more tangible, more real, people 322 00:20:35,680 --> 00:20:39,280 Speaker 1: within the community are starting to ask whose stories are 323 00:20:39,280 --> 00:20:41,880 Speaker 1: going to be on its walls and floors and who 324 00:20:42,560 --> 00:20:45,879 Speaker 1: might be left out. Here's Henry Munos, the chairman of 325 00:20:45,920 --> 00:20:47,360 Speaker 1: the board for the Latino Museum. 326 00:20:47,400 --> 00:20:51,280 Speaker 4: Again, well it's a queer brown chairman of the National 327 00:20:51,320 --> 00:20:54,520 Speaker 4: Museum of the American Latino. I would say that museums 328 00:20:54,520 --> 00:21:00,720 Speaker 4: have always their strongest when there are places of conversation, 329 00:21:01,280 --> 00:21:05,040 Speaker 4: and those conversations are not always easy. And this is 330 00:21:05,080 --> 00:21:08,800 Speaker 4: the beginning of this process. So I would say, come 331 00:21:08,840 --> 00:21:09,160 Speaker 4: on in. 332 00:21:11,320 --> 00:21:14,439 Speaker 6: Who gets to be part of the National Museum of 333 00:21:14,480 --> 00:21:18,960 Speaker 6: the American Latino, both behind the scenes and on display. 334 00:21:19,480 --> 00:21:24,040 Speaker 6: That question hangs in the balance as this institution begins 335 00:21:24,080 --> 00:22:01,720 Speaker 6: to take shape. Stay with us, Yes, hey, we're back. 336 00:22:02,440 --> 00:22:04,520 Speaker 6: When we left off, we heard from some of the 337 00:22:04,600 --> 00:22:07,639 Speaker 6: people that were trying to make the National Museum of 338 00:22:07,680 --> 00:22:12,840 Speaker 6: the American Latino a reality now as efforts to build 339 00:22:12,880 --> 00:22:15,800 Speaker 6: it are underway. We're going to dive behind the scenes 340 00:22:16,240 --> 00:22:19,439 Speaker 6: to try to understand the vision of this museum and 341 00:22:19,560 --> 00:22:23,080 Speaker 6: how crucial it is to include different voices in the process. 342 00:22:25,240 --> 00:22:27,879 Speaker 2: At Wadalodas is giving us a tour of some of 343 00:22:27,920 --> 00:22:29,800 Speaker 2: its favorite spots in Presente. 344 00:22:30,240 --> 00:22:32,560 Speaker 12: This has been seven years of a lot of hard work. 345 00:22:32,600 --> 00:22:35,720 Speaker 12: We started from nothing. We had no project manager, we 346 00:22:35,720 --> 00:22:38,720 Speaker 12: had no space, we had no money, you know, but 347 00:22:38,800 --> 00:22:42,040 Speaker 12: it was built on a desire to you know, plant 348 00:22:42,040 --> 00:22:42,520 Speaker 12: the flag. 349 00:22:43,119 --> 00:22:46,320 Speaker 2: Until recently, at Watado was the director of the Smithsonian 350 00:22:46,400 --> 00:22:50,119 Speaker 2: Latino Center. The center has been around since nineteen ninety seven. 351 00:22:50,440 --> 00:22:54,000 Speaker 2: It was the Smithsonian's response to its report about Latinos. 352 00:22:54,160 --> 00:22:56,560 Speaker 2: At Wadado let the center from two thousand and eight 353 00:22:56,840 --> 00:22:59,360 Speaker 2: until it got absorbed into the Museum of the American 354 00:22:59,440 --> 00:23:02,840 Speaker 2: Latino in the last two years. Eduardo is now the 355 00:23:02,920 --> 00:23:05,320 Speaker 2: Museum's acting deputy director. 356 00:23:05,800 --> 00:23:07,600 Speaker 12: You know, and I love very much that we're able 357 00:23:07,640 --> 00:23:09,560 Speaker 12: to tell stories that people don't know about. 358 00:23:09,840 --> 00:23:12,679 Speaker 2: Stories like so Theo Figaroa's. 359 00:23:13,760 --> 00:23:16,040 Speaker 12: You know, he is the Afro Puerto Rican guy, and 360 00:23:16,359 --> 00:23:19,200 Speaker 12: of course, you know, we know that Afro Puerto Ricans 361 00:23:19,200 --> 00:23:22,760 Speaker 12: didn't have the same access generally speaking to resources, including 362 00:23:23,040 --> 00:23:27,000 Speaker 12: quality education on the island. So one of the things 363 00:23:27,000 --> 00:23:32,199 Speaker 12: that made too Figoa so literate, so committed was he 364 00:23:32,280 --> 00:23:34,960 Speaker 12: was a typeesetter. So that's the way he learned and 365 00:23:35,240 --> 00:23:36,840 Speaker 12: enhances his literacy. 366 00:23:37,240 --> 00:23:39,600 Speaker 2: So Thato later moved to New York where he founded 367 00:23:39,680 --> 00:23:42,960 Speaker 2: in Brena America. It was a print shop in Lower 368 00:23:42,960 --> 00:23:47,280 Speaker 2: Manhattan that produced the Cuban Revolutionary Parties newspaper. He also 369 00:23:47,320 --> 00:23:51,960 Speaker 2: contributed to other local Spanish language publications. The hidden histories 370 00:23:52,000 --> 00:23:54,920 Speaker 2: continue now on the West coast. 371 00:23:55,400 --> 00:23:58,639 Speaker 12: You see to Puttin the San Gabrielle over here. She 372 00:23:58,920 --> 00:24:03,520 Speaker 12: was a stream fighter from the Sungavria Mission, Tongva woman 373 00:24:03,800 --> 00:24:08,800 Speaker 12: who was resisting the Spanish imposition of the mission systems 374 00:24:09,560 --> 00:24:12,639 Speaker 12: which were essentially it was enslavement. As basically as we 375 00:24:13,560 --> 00:24:16,720 Speaker 12: don't know about Purina, right, and there's so many other characters. 376 00:24:16,760 --> 00:24:19,640 Speaker 12: So who was the Stevan Nico, right, the first African 377 00:24:19,680 --> 00:24:22,360 Speaker 12: person to come out to the American continent, Right, it's 378 00:24:22,359 --> 00:24:25,520 Speaker 12: a slave, a Berber Muslim. And then there's prope that 379 00:24:25,600 --> 00:24:28,359 Speaker 12: the Bublo were bolted sixteen eighty that Budha the Spaniards 380 00:24:28,400 --> 00:24:30,000 Speaker 12: out of what is not Santa Fin. 381 00:24:30,800 --> 00:24:34,359 Speaker 2: Eduardo says that a sculpture of Pueblo revolutionary leader Pope 382 00:24:34,840 --> 00:24:38,480 Speaker 2: will be the museum's first acquisition in honor of Latino's 383 00:24:38,520 --> 00:24:41,720 Speaker 2: indigenous roots. The black and gree piece was made in 384 00:24:41,760 --> 00:24:47,639 Speaker 2: twenty eighteen by Pueblo artists Virgil Ortiz. Along with Edwaddo's 385 00:24:47,680 --> 00:24:50,359 Speaker 2: personal tour, we noticed some more things in the show. 386 00:24:50,840 --> 00:24:54,520 Speaker 2: There were artifacts and stories about US expansionism and the 387 00:24:54,560 --> 00:24:58,280 Speaker 2: Puerto Rican independence movement. A few steps ahead, there were 388 00:24:58,320 --> 00:25:02,120 Speaker 2: displays about Cuban immigration and the history of Texas and Mexico. 389 00:25:02,760 --> 00:25:06,120 Speaker 2: There were still some things missing. Latinos hail from more 390 00:25:06,160 --> 00:25:09,560 Speaker 2: than thirty different countries, and not all of them and 391 00:25:09,600 --> 00:25:13,439 Speaker 2: their histories were visible. There also weren't a lot of 392 00:25:13,520 --> 00:25:18,760 Speaker 2: prominent stories about children, Asian Latinos and the LGBTQ community 393 00:25:18,920 --> 00:25:22,440 Speaker 2: out front and center. One of the acknowledges they had 394 00:25:22,480 --> 00:25:23,560 Speaker 2: to make some tough calls. 395 00:25:24,080 --> 00:25:28,119 Speaker 12: For example, Brazilians are not reflected here, and you know, 396 00:25:28,160 --> 00:25:30,919 Speaker 12: the Brazilian community is a tricky one because you know, 397 00:25:30,960 --> 00:25:34,199 Speaker 12: they're from a Portuguese speaking country. And this is not 398 00:25:34,240 --> 00:25:39,359 Speaker 12: a Hispanic gallery, that's not an Hispanic museum. It's American Latino. 399 00:25:39,680 --> 00:25:42,480 Speaker 12: As far as I'm concerned, they're part of our community, 400 00:25:43,200 --> 00:25:45,240 Speaker 12: and so I think as they grow as a community, 401 00:25:45,240 --> 00:25:48,120 Speaker 12: we need to be more responsive to that demographic. 402 00:25:53,240 --> 00:25:56,119 Speaker 2: Since the National Museum of the American Latino won't be 403 00:25:56,200 --> 00:25:59,520 Speaker 2: open for at least another decade, one of those says 404 00:25:59,520 --> 00:26:02,280 Speaker 2: that the movie gallery will continue to be a space 405 00:26:02,320 --> 00:26:04,679 Speaker 2: for the museum to figure out how to tell the 406 00:26:04,880 --> 00:26:09,520 Speaker 2: overarching narrative of Latinos in the United States. It's an 407 00:26:09,520 --> 00:26:12,960 Speaker 2: opportunity to realize what they missed the first time and 408 00:26:13,080 --> 00:26:16,800 Speaker 2: figure out how they can make it better. After Precente, 409 00:26:16,840 --> 00:26:20,359 Speaker 2: the team at the Smithsonian plans to create other exhibitions, 410 00:26:20,400 --> 00:26:24,840 Speaker 2: including shows about Latinos in the military and Latino youth activism. 411 00:26:25,359 --> 00:26:28,960 Speaker 2: But for now, one takeaway from this show for everyone 412 00:26:29,440 --> 00:26:31,200 Speaker 2: is that there's still a lot of work ahead. 413 00:26:36,040 --> 00:26:40,080 Speaker 3: The Smithsonian is incredibly important. I'm a historian, that's my 414 00:26:40,240 --> 00:26:44,240 Speaker 3: academic discipline, and I've also taken classes on public history. 415 00:26:44,560 --> 00:26:47,960 Speaker 3: That's what museums are, essentially public history right there, right 416 00:26:48,040 --> 00:26:50,200 Speaker 3: for the people, for anyone to come in. 417 00:26:50,880 --> 00:26:54,879 Speaker 1: This is Rosa Clemente. She's a scholar, organizer, and independent 418 00:26:54,960 --> 00:26:59,160 Speaker 1: journalist whose work centers on Afro Black LATINX communities and identity. 419 00:27:00,080 --> 00:27:01,840 Speaker 1: In two thousand and eight, she also ran for vice 420 00:27:01,880 --> 00:27:04,880 Speaker 1: president on the Green Party ticket. For years now, she's 421 00:27:04,880 --> 00:27:08,080 Speaker 1: been following the ongoing process to create a national museum 422 00:27:08,119 --> 00:27:11,639 Speaker 1: for Latinos, and she's already feeling skeptical about the direction 423 00:27:11,760 --> 00:27:12,359 Speaker 1: of the space. 424 00:27:13,119 --> 00:27:17,280 Speaker 3: Should the Smithsonian have a museum for us? Absolutely? The 425 00:27:17,400 --> 00:27:21,880 Speaker 3: problem is even saying the Museum of the American Latino? 426 00:27:22,080 --> 00:27:24,840 Speaker 3: What does that mean? Like? Who do you include in Latino? 427 00:27:29,200 --> 00:27:32,520 Speaker 1: As a historian, Rosa says she finds herself drawn to 428 00:27:32,600 --> 00:27:36,639 Speaker 1: museums as spaces for discourse and archiving, but as a 429 00:27:36,640 --> 00:27:39,360 Speaker 1: black Puerto Rican woman, she's all too aware of how 430 00:27:39,359 --> 00:27:43,800 Speaker 1: these institutions often fail her in her community. It wasn't 431 00:27:43,880 --> 00:27:46,280 Speaker 1: until she got to college that she began to understand 432 00:27:46,320 --> 00:27:49,199 Speaker 1: her own history. She just didn't have access to that 433 00:27:49,280 --> 00:27:50,200 Speaker 1: knowledge growing up. 434 00:27:50,600 --> 00:27:53,240 Speaker 3: I don't even think I knew why Puerto Rico was 435 00:27:53,280 --> 00:27:56,520 Speaker 3: a colony. I just I knew I was Puerto Rican, 436 00:27:56,600 --> 00:27:57,880 Speaker 3: and I was always proud of that. 437 00:27:58,600 --> 00:28:01,480 Speaker 1: Rosa began to look for space is that were intentionally 438 00:28:01,520 --> 00:28:04,959 Speaker 1: built for her and her Afro Black communities, which is 439 00:28:05,160 --> 00:28:09,760 Speaker 1: very different from institutions that simply just make room. She says, 440 00:28:09,760 --> 00:28:11,120 Speaker 1: you can always tell the difference. 441 00:28:12,800 --> 00:28:15,080 Speaker 3: I love going to museums a part of me. When 442 00:28:15,119 --> 00:28:18,119 Speaker 3: I walk into them, I look at what's on the wall, 443 00:28:18,200 --> 00:28:20,679 Speaker 3: and then I go, who's not here? And that's how 444 00:28:20,720 --> 00:28:22,719 Speaker 3: I feel this museum is going to be. It's going 445 00:28:22,760 --> 00:28:26,000 Speaker 3: to open one day and fifteen million of us are 446 00:28:26,040 --> 00:28:28,280 Speaker 3: going to walk in and be like, where are we? 447 00:28:30,720 --> 00:28:33,119 Speaker 1: That's why she felt she had to call out the Smithsonian. 448 00:28:34,000 --> 00:28:36,159 Speaker 1: Earlier this year, Rosa wrote an op ed for the 449 00:28:36,160 --> 00:28:39,080 Speaker 1: new site Latino Rebels, which, like this show, is a 450 00:28:39,120 --> 00:28:43,680 Speaker 1: FUTPUO media property. Her piece was titled Afro Black LATINX 451 00:28:43,720 --> 00:28:47,320 Speaker 1: People the Missing Pieces of National Museum of the American Latino. 452 00:28:48,080 --> 00:28:50,920 Speaker 1: Rosa was concerned that the stewards of this new museum 453 00:28:51,040 --> 00:28:55,200 Speaker 1: were excluding Afro Black, Latino, Latina and LATINX history and 454 00:28:55,320 --> 00:28:59,600 Speaker 1: input in this space. She drew that conclusion after learning 455 00:28:59,680 --> 00:29:02,440 Speaker 1: that a lot of folks who were publicly advocating for 456 00:29:02,520 --> 00:29:06,920 Speaker 1: the museum did not identify as black or Afro LATINX themselves. 457 00:29:08,000 --> 00:29:12,960 Speaker 3: There's sixty five millions LATINX people potentially. Now imagine if 458 00:29:13,000 --> 00:29:15,480 Speaker 3: one out of every four of us identified as black, 459 00:29:15,520 --> 00:29:19,200 Speaker 3: that's fifteen million of us. They fundamentally know they can't 460 00:29:19,360 --> 00:29:23,960 Speaker 3: move forward without us. They want us without us having 461 00:29:24,160 --> 00:29:28,760 Speaker 3: any politic or power in these discussions and the work itself. 462 00:29:29,440 --> 00:29:32,680 Speaker 1: Shortly after Rosa's op ed was published, the National Museum 463 00:29:32,680 --> 00:29:35,560 Speaker 1: of the American Latino reached out to Latino Repels and 464 00:29:35,600 --> 00:29:38,960 Speaker 1: to Rossa to respond and to add a clarification. They 465 00:29:38,960 --> 00:29:41,640 Speaker 1: said that she specifically called out the board of an 466 00:29:41,720 --> 00:29:45,200 Speaker 1: unaffiliated advocacy group called Friends of the National Museum of 467 00:29:45,240 --> 00:29:49,440 Speaker 1: the American Latino. The advocacy group told Latino USA that 468 00:29:49,560 --> 00:29:52,400 Speaker 1: they agree that inclusivity needs to be a priority one 469 00:29:52,520 --> 00:29:55,640 Speaker 1: hundred percent, and they're working on opening their lines of 470 00:29:55,680 --> 00:29:58,160 Speaker 1: communication to see how they can improve in that area, 471 00:29:58,720 --> 00:30:01,480 Speaker 1: but they also said the question of inclusion and diversity 472 00:30:01,800 --> 00:30:05,760 Speaker 1: will ultimately be the responsibility of the Smithsonian. For her part, 473 00:30:06,080 --> 00:30:09,200 Speaker 1: whether it's an outside advocacy group or the real deal, 474 00:30:09,960 --> 00:30:12,440 Speaker 1: Rosa stands by her bigger picture critique. 475 00:30:12,760 --> 00:30:15,520 Speaker 3: Why do you need to differentiate if you are all 476 00:30:15,600 --> 00:30:19,400 Speaker 3: working towards creating this museum and making sure it's on 477 00:30:19,560 --> 00:30:23,360 Speaker 3: the mall in DC. Your cherry picking right now to 478 00:30:23,440 --> 00:30:26,880 Speaker 3: try to break down my argument as opposed to dealing 479 00:30:26,920 --> 00:30:29,640 Speaker 3: with the issue at hand. 480 00:30:33,520 --> 00:30:36,280 Speaker 2: Leading the charge at the National Museum of the American 481 00:30:36,360 --> 00:30:40,760 Speaker 2: Latino is its new director, Porge Zamanio. You heard from 482 00:30:40,840 --> 00:30:43,000 Speaker 2: him at the beginning of the show when he was 483 00:30:43,040 --> 00:30:46,920 Speaker 2: welcoming us to Precente. Before this, has spent more than 484 00:30:46,960 --> 00:30:50,480 Speaker 2: twenty years at the History of Miami Museum, most recently 485 00:30:50,840 --> 00:30:55,520 Speaker 2: as its executive director and CEO. Now he's the director 486 00:30:55,560 --> 00:30:58,880 Speaker 2: of a museum that doesn't even physically exist yet. So 487 00:30:59,160 --> 00:31:03,600 Speaker 2: if you can imagine, and his responsibilities are already pretty substantial. 488 00:31:04,120 --> 00:31:05,760 Speaker 5: You have to raise one hundreds of millions of dollars, 489 00:31:06,440 --> 00:31:09,840 Speaker 5: You have to travel across the United States collecting stories 490 00:31:09,880 --> 00:31:13,080 Speaker 5: and artifacts and objects along with your team. Of course, 491 00:31:13,120 --> 00:31:15,000 Speaker 5: you know you need to consider all those things. 492 00:31:15,520 --> 00:31:18,520 Speaker 2: We interviewed him a few weeks before he officially became 493 00:31:18,720 --> 00:31:22,560 Speaker 2: executive director of the Museum of the American Latino. That 494 00:31:22,680 --> 00:31:25,360 Speaker 2: was back in May. We asked him about his plans 495 00:31:25,400 --> 00:31:28,600 Speaker 2: to address the wide range and scope of the LATINX 496 00:31:28,640 --> 00:31:34,040 Speaker 2: community in the museum, including matters of race, nationality, and gender. 497 00:31:34,880 --> 00:31:37,480 Speaker 2: He said he's aware of the matter, but he didn't 498 00:31:37,480 --> 00:31:39,760 Speaker 2: really have a specific game plan yet. 499 00:31:40,000 --> 00:31:43,440 Speaker 5: We know that Latino community is not a monolithic group, right, 500 00:31:44,000 --> 00:31:48,080 Speaker 5: Different backgrounds and different needs, and that's really important. So 501 00:31:48,440 --> 00:31:50,760 Speaker 5: the team and I are really going to cover as 502 00:31:50,760 --> 00:31:53,680 Speaker 5: main things as possible and mainy topics to try to 503 00:31:53,680 --> 00:31:55,920 Speaker 5: explore what needs to be told and how it's presented, 504 00:31:56,080 --> 00:31:59,040 Speaker 5: because it's tough, you know, you don't have space for everything. 505 00:32:00,120 --> 00:32:02,640 Speaker 2: Also said that he's working with staff from the former 506 00:32:02,720 --> 00:32:06,400 Speaker 2: Latino Center who have now joined the museum. For years, 507 00:32:06,480 --> 00:32:10,760 Speaker 2: they've developed content and work with Smithsonian Museums on exhibitions, 508 00:32:11,000 --> 00:32:13,480 Speaker 2: and Horge says that a lot of the foundational work 509 00:32:13,680 --> 00:32:16,960 Speaker 2: has already been underway thanks to them. To build off 510 00:32:17,000 --> 00:32:21,000 Speaker 2: that work, what had talked about creating a widely accessible institution. 511 00:32:21,720 --> 00:32:23,320 Speaker 2: That's a big priority for him. 512 00:32:23,680 --> 00:32:26,160 Speaker 5: I want our presence to be throughout the United States 513 00:32:26,160 --> 00:32:28,720 Speaker 5: and Latino communities. So that's going to be a new 514 00:32:28,760 --> 00:32:31,400 Speaker 5: way we develop a museum where we take it out 515 00:32:31,440 --> 00:32:35,160 Speaker 5: into communities across the United States, maybe as satellite exhibits, 516 00:32:35,200 --> 00:32:39,640 Speaker 5: maybe as travelers, and ways to engage different communities, especially 517 00:32:39,640 --> 00:32:42,680 Speaker 5: those that cannot make the trip to DC. How are 518 00:32:42,680 --> 00:32:44,800 Speaker 5: they going to experience this and how are they going 519 00:32:44,840 --> 00:32:46,680 Speaker 5: to share their story? So that's what we need to 520 00:32:46,680 --> 00:32:48,280 Speaker 5: figure out over the next few years. 521 00:32:48,560 --> 00:32:51,520 Speaker 2: We also ask about his vision for the museum in 522 00:32:51,560 --> 00:32:52,400 Speaker 2: the long term. 523 00:32:52,520 --> 00:32:54,480 Speaker 5: It's going to be a vision that's developed not only 524 00:32:54,520 --> 00:32:57,360 Speaker 5: by the team and myself, but really by talking to 525 00:32:57,400 --> 00:33:00,320 Speaker 5: people and challenging ourselves. What can we do better than 526 00:33:00,400 --> 00:33:03,320 Speaker 5: other museums find these stories of wise museum matters right? 527 00:33:03,360 --> 00:33:05,120 Speaker 5: And how do we make sure that this Latino history 528 00:33:05,160 --> 00:33:07,120 Speaker 5: is American history. That's going to be a challenge and 529 00:33:07,120 --> 00:33:08,600 Speaker 5: I don't have the answer for it right now what 530 00:33:08,720 --> 00:33:11,560 Speaker 5: that main vision is, but it's gonna be fun to explore. 531 00:33:12,080 --> 00:33:15,800 Speaker 2: The museum is currently a work in progress, but overall 532 00:33:16,160 --> 00:33:18,719 Speaker 2: it seems that there are still way more questions than 533 00:33:18,800 --> 00:33:21,240 Speaker 2: answers about the future of this space. 534 00:33:25,880 --> 00:33:29,840 Speaker 1: For Rosa, it still feels disingenuous to have an institution 535 00:33:30,000 --> 00:33:33,120 Speaker 1: like the Smithsonian, one with a history of centering whiteness 536 00:33:33,160 --> 00:33:36,840 Speaker 1: and colonialism, claim to be prioritizing diversity. 537 00:33:37,400 --> 00:33:41,160 Speaker 3: Ultimately, Museum Shop is to make sure that every story, 538 00:33:41,200 --> 00:33:45,640 Speaker 3: whether bad or good, is told. Whether we were excluded 539 00:33:45,720 --> 00:33:48,640 Speaker 3: one time and now we're not. So those are the 540 00:33:48,640 --> 00:33:52,719 Speaker 3: things that I also think people are grappingly with in 541 00:33:52,760 --> 00:33:55,840 Speaker 3: a way. But also we have to be careful how 542 00:33:55,920 --> 00:33:59,840 Speaker 3: much time we spend begging people to include us. 543 00:34:00,320 --> 00:34:02,560 Speaker 1: Rosa says she doesn't want to feel like a visual 544 00:34:02,640 --> 00:34:05,880 Speaker 1: prop and she has a point. The Molina Gallery, the 545 00:34:05,920 --> 00:34:08,840 Speaker 1: new state of the art space holding the Precente exhibition, 546 00:34:09,520 --> 00:34:12,480 Speaker 1: is only about forty five hundred square feet in size. 547 00:34:13,400 --> 00:34:16,480 Speaker 1: Compare that to the three hundred and twenty five thousand 548 00:34:16,560 --> 00:34:20,080 Speaker 1: square feet available to the public in the entire Museum 549 00:34:20,080 --> 00:34:23,480 Speaker 1: of American History. It's just a little bit more than 550 00:34:23,560 --> 00:34:27,480 Speaker 1: one percent of the total space of this massive building 551 00:34:27,680 --> 00:34:32,640 Speaker 1: dedicated to American history and culture. Considering Latinos represent nineteen 552 00:34:32,680 --> 00:34:36,520 Speaker 1: percent of the US population, it's telling that a space 553 00:34:36,640 --> 00:34:41,759 Speaker 1: like this completely dedicated to Latinos and Latinas never existed 554 00:34:41,840 --> 00:34:49,720 Speaker 1: in this particular museum to begin with. According to Rosa, 555 00:34:50,000 --> 00:34:53,040 Speaker 1: if only elite, non black folks are involved from the start, 556 00:34:53,360 --> 00:34:56,240 Speaker 1: then all you're doing is building an elite, non black museum. 557 00:34:56,960 --> 00:35:00,040 Speaker 1: Any talk of inclusion or diversity after that just this 558 00:35:00,120 --> 00:35:01,359 Speaker 1: feels like lip service to her. 559 00:35:02,440 --> 00:35:06,680 Speaker 3: The reality is the entire experience of the American Latino 560 00:35:07,040 --> 00:35:11,359 Speaker 3: is rooted in black and brownness. That should be the 561 00:35:11,480 --> 00:35:15,680 Speaker 3: center's part and everything gets built from that, not throwing 562 00:35:15,800 --> 00:35:19,880 Speaker 3: us in because some people are speaking out or somebody 563 00:35:20,040 --> 00:35:23,040 Speaker 3: was like, wait a minute, everybody here there is not 564 00:35:23,160 --> 00:35:26,200 Speaker 3: one Afro Black Latino person represented. 565 00:35:26,320 --> 00:35:30,279 Speaker 1: As Precente, and the museum gained momentum. More people are 566 00:35:30,320 --> 00:35:34,200 Speaker 1: getting vocal with their thoughts. Outlets including The Hill and 567 00:35:34,400 --> 00:35:39,160 Speaker 1: An American, published conservative reviews of Precente, criticizing what authors 568 00:35:39,200 --> 00:35:42,160 Speaker 1: identified as a streak of radical leftism in the show. 569 00:35:42,480 --> 00:35:45,800 Speaker 1: They said Precente failed to condemn left wing dictatorships in 570 00:35:45,880 --> 00:35:50,360 Speaker 1: Latin America and left out LATINX contributions to the US military. 571 00:35:50,960 --> 00:35:54,160 Speaker 1: They also took issue with its quote unquote woke take 572 00:35:54,239 --> 00:35:58,640 Speaker 1: on American expansionism as a successor to Spanish colonialism. One 573 00:35:58,680 --> 00:36:01,920 Speaker 1: piece even called for Congress to revoke its funding for 574 00:36:02,040 --> 00:36:09,040 Speaker 1: the National Museum of the American Latino entirely. Earlier this year, 575 00:36:09,160 --> 00:36:12,640 Speaker 1: the museum announced the formation of a scholarly advisory committee. 576 00:36:12,760 --> 00:36:16,360 Speaker 1: Eighteen prominent LATINX academics from across the country joined the council, 577 00:36:16,640 --> 00:36:19,719 Speaker 1: bringing their expertise in a range of topics such as 578 00:36:19,840 --> 00:36:25,000 Speaker 1: literature and journalism, politics and law, LGBTQ issues, Central American migration, 579 00:36:25,440 --> 00:36:29,920 Speaker 1: Mexican American identity, the African diaspora, Caribbean history, and the 580 00:36:29,960 --> 00:36:34,080 Speaker 1: list goes on. Their job formerly is to review exhibitions 581 00:36:34,120 --> 00:36:36,840 Speaker 1: and help guide the vision Jorge was talking about earlier, 582 00:36:37,560 --> 00:36:40,640 Speaker 1: but we're not sure exactly how their work will manifest 583 00:36:40,920 --> 00:36:45,440 Speaker 1: and how influential their input will actually be. The opportunity 584 00:36:45,480 --> 00:36:49,040 Speaker 1: at hand is unique, a museum by about and four 585 00:36:49,120 --> 00:36:53,440 Speaker 1: latinxes on one of the nation's biggest platforms. No single 586 00:36:53,480 --> 00:36:56,799 Speaker 1: museum will ever satisfy everyone, but if this is to 587 00:36:56,840 --> 00:37:00,560 Speaker 1: be a truly representative museum of the American Latino, we 588 00:37:00,640 --> 00:37:02,440 Speaker 1: must keep holding it to that standard. 589 00:37:02,520 --> 00:37:14,920 Speaker 2: Anyway, the National Mall in DC is bustling today. Tourists 590 00:37:15,000 --> 00:37:18,279 Speaker 2: are walking around with their families, People in suits are 591 00:37:18,280 --> 00:37:21,680 Speaker 2: making their way back to work after lunch. Cars zoom 592 00:37:21,760 --> 00:37:25,040 Speaker 2: past us. There's also an ice cream truck park kind 593 00:37:25,040 --> 00:37:28,440 Speaker 2: of close by, and it's blasting its music. It's around 594 00:37:28,520 --> 00:37:31,440 Speaker 2: noon and the sun is out and bright and hot. 595 00:37:31,800 --> 00:37:34,400 Speaker 2: But a Leah and I sit down anyway under the 596 00:37:34,440 --> 00:37:36,040 Speaker 2: shade of a large tree. 597 00:37:36,640 --> 00:37:37,760 Speaker 1: Have you been to the mall before? 598 00:37:38,520 --> 00:37:42,080 Speaker 2: I have, but like as like a tourist, so like 599 00:37:42,160 --> 00:37:44,440 Speaker 2: I'm always when I come to DC, I'm like, well, 600 00:37:44,440 --> 00:37:46,200 Speaker 2: what is actually in the mall? You know what I mean? 601 00:37:46,280 --> 00:37:48,959 Speaker 2: Like I'm not like too too, Like we just walked 602 00:37:48,960 --> 00:37:51,960 Speaker 2: out of Vitcente and took a fifteen minute long stroll 603 00:37:52,200 --> 00:37:54,800 Speaker 2: up the Mall to reach this particular spot. 604 00:37:55,040 --> 00:37:59,600 Speaker 13: This is the plot where a lot of advocates, including 605 00:37:59,640 --> 00:38:04,440 Speaker 13: folks the Smithsonian, want the Museum of the American Latino 606 00:38:04,520 --> 00:38:06,880 Speaker 13: to stand. It's not the biggest plot of land, but 607 00:38:07,000 --> 00:38:10,000 Speaker 13: it's like it's kind of an iconic setting. Right here 608 00:38:10,200 --> 00:38:14,160 Speaker 13: in front of me is the Washington Monument, and then 609 00:38:14,680 --> 00:38:18,680 Speaker 13: right across the way, almost like poetically, is the National 610 00:38:18,760 --> 00:38:21,280 Speaker 13: Museum of African American History and Culture. 611 00:38:21,800 --> 00:38:25,200 Speaker 2: This isn't the only site that's being considered for the museum. 612 00:38:25,600 --> 00:38:27,719 Speaker 2: There's a spot adjacent to the Senate side of the 613 00:38:27,719 --> 00:38:31,240 Speaker 2: Capitol building too. Some people have toyed with the idea 614 00:38:31,320 --> 00:38:35,880 Speaker 2: of refurbishing some existing buildings, like the Smithsonian's Arts and 615 00:38:36,000 --> 00:38:39,960 Speaker 2: Industries building, or even the Department of Agriculture, which is 616 00:38:40,000 --> 00:38:43,719 Speaker 2: the only federal agency on the National Mall and is 617 00:38:43,760 --> 00:38:49,200 Speaker 2: housed in this giant, elegant building. This spot, though it's 618 00:38:49,239 --> 00:38:53,680 Speaker 2: calm and it's right in the middle of everything, it 619 00:38:53,719 --> 00:38:55,600 Speaker 2: was to happen here. I feel a lot of the 620 00:38:55,640 --> 00:38:59,359 Speaker 2: people that we've spoken with would almost feel like, you know, 621 00:38:59,600 --> 00:39:02,839 Speaker 2: miss accomplished, you know, to really have it here in 622 00:39:02,880 --> 00:39:06,840 Speaker 2: the center at the National Mall, accessible for everyone. 623 00:39:06,920 --> 00:39:09,200 Speaker 7: There's a right now, there's like a little trail, There's 624 00:39:09,200 --> 00:39:13,160 Speaker 7: a lot of old trees all around, and it's kind 625 00:39:13,160 --> 00:39:15,560 Speaker 7: of it's very peaceful and kind of lovely the way 626 00:39:15,600 --> 00:39:18,120 Speaker 7: it is, But this is kind of the spot that 627 00:39:18,120 --> 00:39:20,440 Speaker 7: could maybe have new life in the future. 628 00:39:24,160 --> 00:39:27,160 Speaker 2: As Ala and I sit here taking it in, we 629 00:39:27,280 --> 00:39:31,520 Speaker 2: feel all the potential this place holds. If the Latino 630 00:39:31,640 --> 00:39:35,320 Speaker 2: Museum is built here, it could represent the national scale 631 00:39:35,360 --> 00:39:42,120 Speaker 2: recognition latinx's have deserved and demanded of the Smithsonian. We're 632 00:39:42,160 --> 00:39:46,560 Speaker 2: also left with so many questions, questions that can only 633 00:39:46,560 --> 00:39:49,799 Speaker 2: be answered with time. Yes, it's going to take a 634 00:39:49,840 --> 00:39:52,919 Speaker 2: decade to bring this space to life, and we will 635 00:39:52,920 --> 00:39:56,680 Speaker 2: continue to hold the Smithsonian accountable to creating a museum 636 00:39:57,120 --> 00:40:00,200 Speaker 2: that is honest and thoroughly inclusive of the lif the 637 00:40:00,239 --> 00:40:04,840 Speaker 2: next community. But this is also a massive institution with 638 00:40:04,960 --> 00:40:09,320 Speaker 2: the history of exclusion, and after decades of wilful neglect, 639 00:40:09,920 --> 00:40:15,200 Speaker 2: some skepticism is warranted. Can we trust that they'll get 640 00:40:15,200 --> 00:40:15,640 Speaker 2: this right? 641 00:40:31,080 --> 00:40:34,680 Speaker 6: This episode was produced by Alejandra Salassa and Rinaldo Leanos 642 00:40:34,760 --> 00:40:38,399 Speaker 6: Junior and edited by Andrea Lobez. Grusado. It was mixed 643 00:40:38,440 --> 00:40:42,640 Speaker 6: by Andy Bosnak. Fact checking for this episode by Elisa Baena. 644 00:40:43,080 --> 00:40:48,080 Speaker 6: The Latino USA team includes Marta Martinez, Daisy Contredras, Mike Sergent, 645 00:40:48,200 --> 00:40:53,200 Speaker 6: Julieta Martinelli, Victoria Strada, Patricia Sulvaran, and Julia Rocha without 646 00:40:53,200 --> 00:40:57,319 Speaker 6: from Raoul Perez. Our editorial director is Fernando Santos. Our 647 00:40:57,360 --> 00:41:00,880 Speaker 6: director of Engineering is Stephanie Lebau. Our senior engineer is 648 00:41:00,960 --> 00:41:04,880 Speaker 6: Julia Caruso. Our associate engineers are Gabrielle A Bias and 649 00:41:04,960 --> 00:41:09,080 Speaker 6: jj Carubin. Our marketing manager is Luis Luna. Our theme 650 00:41:09,160 --> 00:41:12,279 Speaker 6: music was composed by Zane Ruinos. I'm your host and 651 00:41:12,320 --> 00:41:15,560 Speaker 6: executive producer Mariao Josa. Join us again on our next episode, 652 00:41:15,600 --> 00:41:17,600 Speaker 6: and in the meantime, look for us on all of 653 00:41:17,640 --> 00:41:25,040 Speaker 6: your social media and remember yes I knows Bye. 654 00:41:26,120 --> 00:41:29,279 Speaker 14: Latino USA is made possible in part by the John D. 655 00:41:29,560 --> 00:41:34,480 Speaker 14: And Catherine T. MacArthur Foundation California Endowment building a strong 656 00:41:34,560 --> 00:41:39,000 Speaker 14: State by improving the health of all Californians, and funding 657 00:41:39,000 --> 00:41:42,000 Speaker 14: for Latino USA is Coverage of a culture of health 658 00:41:42,280 --> 00:41:44,360 Speaker 14: is made possible in part by a grant from the 659 00:41:44,440 --> 00:41:46,040 Speaker 14: Robert Wood Johnson Foundation. 660 00:41:50,320 --> 00:41:52,560 Speaker 3: Oh, thank you guys. You're so wonderful. 661 00:41:52,560 --> 00:41:55,720 Speaker 8: And let me tell you, I thought it was silly 662 00:41:55,760 --> 00:41:58,640 Speaker 8: when you first said to put this microphone. I thought, 663 00:41:58,840 --> 00:42:00,399 Speaker 8: you know, it's just going to be the same kind 664 00:42:00,440 --> 00:42:04,600 Speaker 8: of But I have never used this system before. Wow, 665 00:42:04,680 --> 00:42:06,839 Speaker 8: and the sound system that I hear in my ear, 666 00:42:07,400 --> 00:42:10,720 Speaker 8: it makes such a difference. So thank you for fussing 667 00:42:10,760 --> 00:42:13,759 Speaker 8: over this and making sure that we would have this 668 00:42:13,920 --> 00:42:14,640 Speaker 8: kind of setup. 669 00:42:14,920 --> 00:42:15,720 Speaker 2: It is great. 670 00:42:16,800 --> 00:42:18,879 Speaker 8: And now I'm gonna I'm gonna run to my three 671 00:42:18,880 --> 00:42:19,920 Speaker 8: o'clock appointment.