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<v Speaker 1>In July of twenty twenty four months before the presidential election,

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<v Speaker 1>Robert Unanue, the CEO of Goya Foods, gave a speech

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<v Speaker 1>at the White House.

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<v Speaker 2>Good afternoon, it's a president.

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<v Speaker 3>Good after and everyone, it's such an honor and such

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<v Speaker 3>a blessing to be here in the greatest country in

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<v Speaker 3>the world.

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<v Speaker 1>He talked about Goya's mission and growth through the years,

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<v Speaker 1>from being a small bodega in New York City's Lower

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<v Speaker 1>East Side to now a billion dollar corporation, and then

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<v Speaker 1>Unanue changed the script.

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<v Speaker 3>We're all truly blessed at the same time to have

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<v Speaker 3>a leader like President Trump, who is a builder. We

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<v Speaker 3>pray for our leadership, our president, and we pray for

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<v Speaker 3>our country.

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<v Speaker 1>And at that moment, Robert Noiz support for Donald Trump

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<v Speaker 1>put his company, Goya and its products at the center

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<v Speaker 1>of a brief but pretty intense political controversy. You might

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<v Speaker 1>remember the viral photo of Ivanka Trump where she's holding

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<v Speaker 1>a can of Goya beans. At the same time, opposing

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<v Speaker 1>hashtags like Goya away were trending online and there were

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<v Speaker 1>calls for a boycott of all the company's products, especially

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<v Speaker 1>among Latinos and Latinas. Latino leaders like Representative Alexandria Acacio

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<v Speaker 1>Cortez and playwright lin Manuel Miranda advocated for people to

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<v Speaker 1>reconsider purchasing Goya Foods.

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<v Speaker 4>Do not expect a community that feels victimized by Donald

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<v Speaker 4>Trump and attacked by Donald Trump constantly, and that is

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<v Speaker 4>your loyal consumer base not to react and feel hurt

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<v Speaker 4>when they see you praising that person.

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<v Speaker 1>But Goya also had its advocates like Ivanka Trump. Many

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<v Speaker 1>threw their support behind the company, dismissing the boycott.

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<v Speaker 5>Cancel culture strikes again.

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<v Speaker 1>Goya Food CEO is refusing to apologize in the face

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<v Speaker 1>of a liberal boycott of his food company.

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<v Speaker 5>This country is too fat to boycott a food company.

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<v Speaker 3>This is a top ten dinner item for most family.

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<v Speaker 1>And some of the loudest critics of the boycott were

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<v Speaker 1>Goya's main distributors, but Deega owners, many of whom are

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<v Speaker 1>Latinos and Latinas as well.

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<v Speaker 6>Goya Foods will remain on our shelves and our community

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<v Speaker 6>will continue.

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<v Speaker 2>To buy Goya products.

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<v Speaker 3>Goya is in our community, bas Symphony, It's today.

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<v Speaker 1>Well, it turns out this was not the first time

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<v Speaker 1>that Goya, the giant food company, had found itself in

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<v Speaker 1>the middle of a controversy, and just like before, it

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<v Speaker 1>was about much more than just a can of beans

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<v Speaker 1>from Futuro Media. It's Latino USA, Marie Jojosa and today

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<v Speaker 1>Goya in three boycotts. Goya is a giant in the

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<v Speaker 1>United States food industry. Today, the company is worth over

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<v Speaker 1>one billion dollars and employees over four thousand people in

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<v Speaker 1>dozens of factories throughout the country and abroad. It's also

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<v Speaker 1>a staple in Latino homes across the US. The Latino

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<v Speaker 1>community is a huge part of Goya's consumer base. After

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<v Speaker 1>Goya Food CEO Robert Unanuez spoke in the White House

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<v Speaker 1>Rose Garden last summer, producer Gabriel Berebe realized she had

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<v Speaker 1>a lot of questions about the brand. Receiving all of

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<v Speaker 1>this attention, Gabriel started digging into Goya itself, the family

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<v Speaker 1>behind the brand, and some of the past controversies that

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<v Speaker 1>the company his weathered. Through Gabriel's reporting, she discovered a

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<v Speaker 1>common theme repeating itself over the years, something bigger than

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<v Speaker 1>any single news headline. Goya is more than pantry, staples

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<v Speaker 1>and spices to its customers. Specifically, it's Latino customers. For

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<v Speaker 1>many Latinos and Latinas, Goya is like a badge of identity.

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<v Speaker 1>So that's a pretty tall order for a company. Hey, Gabriel,

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<v Speaker 1>welcome to the show.

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<v Speaker 7>Hi Maria.

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<v Speaker 1>So Gabriel, tell us what happened that you were like, hmm,

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<v Speaker 1>I need to spend some more time thinking about Goya

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<v Speaker 1>food products and that this led you down a kind

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<v Speaker 1>of rabbit hole.

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<v Speaker 7>So, Maria, before the boycott, I had no idea who

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<v Speaker 7>the unan my family was. I grew up with Goya beans,

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<v Speaker 7>but didn't know or never really thought about how this

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<v Speaker 7>company became a symbol of Latino identity in the US.

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<v Speaker 7>Clearly it wasn't about how much people love their beans

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<v Speaker 7>or Adobo. It was something much deeper than that. Goya

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<v Speaker 7>evokes emotions for many Latinos, and in researching Goya, I

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<v Speaker 7>found three separate boycotts spanning decades, where Goya's carefully crafted

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<v Speaker 7>image as a symbol of Latino identity was thrown into question,

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<v Speaker 7>one in Miami, one in New York and Puerto Rico,

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<v Speaker 7>and the other one from the summer. And together they

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<v Speaker 7>helped tell a not so rosy story about this powerful company.

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<v Speaker 7>But before I jump in It's important to understand the

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<v Speaker 7>history of the brand and how the Unanui family used

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<v Speaker 7>their immigrant background to craft their business image.

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<v Speaker 1>Okay, so we know that Goya was founded in the

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<v Speaker 1>nineteen thirties by then Prudencio Unanui and his wife Carolina.

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<v Speaker 1>And Don Prudencio was actually a merchant from Spain right.

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<v Speaker 7>He arrived in Puerto Rico from Spain in nineteen oh two,

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<v Speaker 7>then moved to the United States and started a small

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<v Speaker 7>business in New York City importing goods from Spain. That

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<v Speaker 7>business eventually became Goya Foods. Robert Unanui, Goya's current CEO,

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<v Speaker 7>often tells his grandfather's story.

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<v Speaker 3>He misstaste from home and he had an idea that

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<v Speaker 3>other immigrants also miss taste from home.

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<v Speaker 7>Don Prudencio started importing goods like olive oil and other

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<v Speaker 7>canfish products to his shop on the Lower East Side,

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<v Speaker 7>serving the Spanish immigrant community.

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<v Speaker 1>But Goya then ends up being really a Latino brand

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<v Speaker 1>for the entire population. I mean, it grows and this

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<v Speaker 1>is you know their primary customers are Latinos and Latinas.

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<v Speaker 1>So tell us the story of how Don Purudencio becomes

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<v Speaker 1>so successful in expanding this business.

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<v Speaker 7>Well after World War Two, US factory owners took advantage

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<v Speaker 7>of the depression in Puerto Rico to outsourced cheap labor

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<v Speaker 7>from the island and in Espana. Just one year, the

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<v Speaker 7>Puerto Rican population in New York City nearly quadrupled from

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<v Speaker 7>thirteen thousand to over fifty thousand people. I spoke with

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<v Speaker 7>Puerto Rican food historian Professor Cruz Miguel Artist Quadra about

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<v Speaker 7>how you nonally capitalized on this migration wave to grow

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<v Speaker 7>his business.

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<v Speaker 6>The political and economical transform mentioned that occurring Puerto Rico

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<v Speaker 6>in the nineteen forties opened a huge, big door to Nan.

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<v Speaker 6>The success of Goya Foods and it's entanglement with Puerto

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<v Speaker 6>Rican food habits and colinary traditions.

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<v Speaker 8>Was at his door step.

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<v Speaker 6>And make no mistake, and Megrant himself, and I know

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<v Speaker 6>that this big first migration would travel with its food memories.

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<v Speaker 1>Wow, food memories. I mean that's a great concept, right,

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<v Speaker 1>This notion of you know, eating rice and beans as

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<v Speaker 1>a kid, or tortillas or you know, making fresh tamalis

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<v Speaker 1>over the holidays with your family. I mean, there is

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<v Speaker 1>this this thing food memories, and we all have them.

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<v Speaker 7>Yeah, it's this idea that food is personal or ortiz

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<v Speaker 7>Quadra often refers to this term food or palette memories.

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<v Speaker 7>He first coined the term in his book Eating Puerto Rico,

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<v Speaker 7>and he uses this concept to describe the intimate bond

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<v Speaker 7>with food formed by cultural and historical practices. So this

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<v Speaker 7>idea that the food we eat reflects our values, choices,

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<v Speaker 7>and culture, and it's central and understanding Goya's rise.

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<v Speaker 1>So more Puerto Ricans moved into New York City and

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<v Speaker 1>there was the experience of racism and xenophobia that a

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<v Speaker 1>lot of outsider communities experience. Puerto Ricans are not immigrants, right,

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<v Speaker 1>because they're just moving from one part of the United

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<v Speaker 1>States to another part of the United States. But as

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<v Speaker 1>it was in New York City, that wasn't welcoming to

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<v Speaker 1>many Puerto Ricans. I mean that increases the need for

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<v Speaker 1>food to be a place where you find solace and

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<v Speaker 1>comfort right exactly.

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<v Speaker 6>Food is so important it can't trace you back to

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<v Speaker 6>your homeland. Goya became the food link to the homeland

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<v Speaker 6>and to the food of Puerto Ricans in the diaspora.

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<v Speaker 7>Don Pruencio continue to build Goya around the city's growing

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<v Speaker 7>immigrant community, from Latin America. He knew that capitalizing on

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<v Speaker 7>food memories was a powerful business strategy. His grandson Robert

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<v Speaker 7>talked about this in an interview.

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<v Speaker 9>Now, what a lot of people feel is when an

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<v Speaker 9>immigrant comes into this country, they'll soon switch over to

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<v Speaker 9>American cuisine hot dogs and hamburgers and things like that.

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<v Speaker 9>But food is a deep tradition for most immigrants. And

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<v Speaker 9>that's what makes the brand and our cuisine so powerful

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<v Speaker 9>to the immigrant community is that tie to homeland and was.

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<v Speaker 1>In It was basically a brand strategy that Goya embarked

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<v Speaker 1>on in a very big way, and essentially it worked.

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<v Speaker 7>Slowly but steadily. Goya became a staple of not just

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<v Speaker 7>Puerto Rican kitchens, but Latino households all across the US.

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<v Speaker 6>They are gaining lots of money, taking the advantage of

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<v Speaker 6>the palade and the memory palate not only of Puerto Ricans,

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<v Speaker 6>but also of Caribbean and Central American migrations to the USA.

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<v Speaker 7>By nineteen eighty, Goya had over one thousand employees and

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<v Speaker 7>expanded their operations across the country. And this is where

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<v Speaker 7>my research took a turn into the crazy world of

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<v Speaker 7>Goya Archives. Yes, in this growth in the seventies and eighties,

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<v Speaker 7>Goya began producing these television advertisements. They even had their

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<v Speaker 7>own show, eld Super Show Goya l Superja, cooking shows

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<v Speaker 7>with big names like Celia Cruz.

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<v Speaker 1>Then I actually remember seeing that commercial and remember Celiac

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<v Speaker 1>Gruz doing that little dance as she's like, I got

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<v Speaker 1>this sat see.

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<v Speaker 7>I know that ad was pretty catchy. Goya started to

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<v Speaker 7>build a really compelling narrative of their business empire. They

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<v Speaker 7>created a brand off of the idea of being part

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<v Speaker 7>of the American dream for Latinos, in particular, in the

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<v Speaker 7>nineteen eighties, immigration from Latin America soared even more, and

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<v Speaker 7>Goya's growth followed. They started selling impanadas for the Colombian

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<v Speaker 7>community in New York and Miami, and refried beans and

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<v Speaker 7>salsa for the Mexican community in Texas and on the

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<v Speaker 7>West Coast. The business, its workers, and its consumers became

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<v Speaker 7>known as La grand Familia Goya, the Grand Goya family.

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<v Speaker 1>Okay, so where did the Boycotts begin to fit in

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<v Speaker 1>in this story?

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<v Speaker 7>Well, Maria, this claim to family status, it came at

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<v Speaker 7>a cost. In nineteen ninety eight, the image of the

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<v Speaker 7>happy family of La Grande Familia Goya was thrown into question,

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<v Speaker 7>and for the first time in the public spotlight, Goya

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<v Speaker 7>was caught up in an ugly dispute with its employees.

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<v Speaker 7>They were mostly Latino immigrants working in Goya's regional Florida

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<v Speaker 7>factory in Miami, and they were trying to unionize to

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<v Speaker 7>improve working conditions. This dispute raised the question what did

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<v Speaker 7>it mean to be part of the Grand Goya family.

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<v Speaker 10>The level of arrogance of this family, It was almost

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<v Speaker 10>like they were running a plantation and these were the

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<v Speaker 10>indentured servants on the plantation.

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<v Speaker 1>Coming up on Latino USA, Goya faces its first public boycott.

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<v Speaker 1>Stay with us, Hey, We're back and when we left off.

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<v Speaker 1>A group of immigrant workers at Goya's factory in Miami

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<v Speaker 1>challenged Goya's carefully craft narrative of lagran Familia Goya, which

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<v Speaker 1>means the grand Goya family, and Gabriel is going to

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<v Speaker 1>pick up this story from here.

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<v Speaker 7>Goya's factory in Miami Dade County was a pillar for

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<v Speaker 7>the food company. It supplied Goya products to the major

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<v Speaker 7>grocery stores throughout the state of Florida. On the wall

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<v Speaker 7>of the large Miami warehouse, there was a painting that

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<v Speaker 7>read La grand Familia Goya juntos oi yenel nuevo Millennio

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<v Speaker 7>The Grand Goya Family together now and in the New Millennium.

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<v Speaker 7>It was painted in Goya's large signature blue lettering. Ridolfo Chavez,

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<v Speaker 7>a truck driver who worked for Goya for nearly a decade,

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<v Speaker 7>was part of this family, or at least he thought

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<v Speaker 7>he was.

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<v Speaker 11>My name of Rodolpho Chaves hem Orno for Nicaraua. I

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<v Speaker 11>left Nicaraua in nineteen eighty four.

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<v Speaker 7>Rodolpho came to the United States when he was seventeen. Maria,

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<v Speaker 7>his high school sweetheart from Nicaragua, eventually joined him in

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<v Speaker 7>California and they got married. After five years, Ridolfo, his wife,

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<v Speaker 7>and their baby daughter drove from Los Angeles to Miami

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<v Speaker 7>in search of better job opportunities.

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<v Speaker 11>We were starting to go through the America dream and

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<v Speaker 11>we was working as a handyman.

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<v Speaker 2>Whatever we can do, we do it.

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<v Speaker 11>But Lady Anna, a friend of us, got me a

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<v Speaker 11>job in Goya for to Florida.

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<v Speaker 7>Rodolpho started working as a truck driver for Goya, delivering

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<v Speaker 7>goods throughout most of South Florida.

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<v Speaker 11>The truck was very old trucks going four o'clock in

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<v Speaker 11>the morning from Miami to Naples, and.

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<v Speaker 7>Even though he was in Florida, Ridolfo remembers how chilly

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<v Speaker 7>some of those early mornings were.

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<v Speaker 11>That truck didn't have no hitter, That wind got through

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<v Speaker 11>even you close the window, but you can feel the

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<v Speaker 11>bridge from outside.

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<v Speaker 7>And during those first few years, I've enjoyed working at Goya.

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<v Speaker 11>They make us feel like a family, like they said,

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<v Speaker 11>that big family Goya, and it was nice at the beginning,

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<v Speaker 11>it was very nice.

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<v Speaker 7>Ridolpho liked his coworkers and had a good relationship with

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<v Speaker 7>his boss. Most of the people he worked with were

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<v Speaker 7>also immigrants, mainly from Cuba and the Dominican Republic, and

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<v Speaker 7>they were mostly Latino men. He said he felt supported

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<v Speaker 7>by everyone at the plant and said he felt grateful

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<v Speaker 7>for this job. But then the company appointed Mary Ann Unaway,

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<v Speaker 7>the third generation of Unanways to run Goya, to head

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<v Speaker 7>the Florida operations.

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<v Speaker 11>She came and she have a new point of view

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<v Speaker 11>of business and she started doing a lot of changes.

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<v Speaker 7>Those changes included cutting back on worker pensions and benefits,

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<v Speaker 7>shortening their vacation times, eliminating overtime, and most notably cutting

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<v Speaker 7>back on operation costs, which led to this infestation of rats,

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<v Speaker 7>mice and roaches in the warehouse.

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<v Speaker 2>And there was mice all over.

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<v Speaker 11>We deal as a truck driver because when they pulled

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<v Speaker 11>a piallet inside, something jumping from the palt something jump

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<v Speaker 11>on you.

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<v Speaker 2>And that's what you guys care. They jump into to you.

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<v Speaker 2>So we deal with that and we told the company

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<v Speaker 2>about it, but they didn't caret Ceta.

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<v Speaker 7>This rat infestation was only one problem on top of

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<v Speaker 7>many that Goya's workers began facing. Their hours became longer,

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<v Speaker 7>their time off was cut short, while their paychecks were cut,

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<v Speaker 7>and every time they tried to speak up about it,

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<v Speaker 7>they experienced pushback from Goiaz management. Fed Up with the

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<v Speaker 7>declining working conditions, Goya's workers started a campaign to unionize

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<v Speaker 7>in the Miami operation and fight for better working conditions,

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<v Speaker 7>which included better hours, our pension, retirement plans, and sanitary

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<v Speaker 7>warehouse protocols.

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<v Speaker 11>So I joined the union and then we presented to

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<v Speaker 11>the company we were asking for about it to take place,

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<v Speaker 11>and that's when Goya started the very very rough campaign

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<v Speaker 11>against the union.

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<v Speaker 7>At first, Goya refused to recognize the workers demands to

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<v Speaker 7>join the union known as Unite. So the workers took

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<v Speaker 7>their demands to the public.

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<v Speaker 2>And we marched with data March Rodolfo.

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<v Speaker 7>Along with the other workers who were part of the

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<v Speaker 7>union negotiations, they held a demonstration outside of a Winn

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<v Speaker 7>Dixie supermarket in Miami. It's one of Goya's largest distributors

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<v Speaker 7>in the region. During the March, three Goya workers went

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<v Speaker 7>inside the supermarket and asked the manager to sign a

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<v Speaker 7>petition listing their demands.

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<v Speaker 11>Goya find out that the same day, of course, and

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<v Speaker 11>they knew who was inside, so those people they didn't.

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<v Speaker 2>Next day they came to work, they got fire.

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<v Speaker 7>Goya fired three of Rodolpho's coworkers after that incident for

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<v Speaker 7>making a scene at the supermarket and in the Miami warehouse.

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<v Speaker 7>They became known as the wind Dixie three. But you know,

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<v Speaker 7>USA reached out to Goya about the incident, but the

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<v Speaker 7>company didn't respond. The firing of the Windixi three became

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<v Speaker 7>this cautionary tale for any of Goya's workers who tried

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<v Speaker 7>to push union negotiations further.

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<v Speaker 11>During this time, you know, the union effort to organize

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<v Speaker 11>and it was getting low, low than the most city

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<v Speaker 11>of the work. It was very It was frustration. It

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<v Speaker 11>was very I mean because of all these changes, because

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<v Speaker 11>of the fire employee, and they fired a couple more.

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<v Speaker 11>Hard to remember exactly, but I know they especially because

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<v Speaker 11>of the with this trio. Everything went down the rain.

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<v Speaker 11>But they didn't care about workers. They didn't. They only

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<v Speaker 11>care about losing their power. Power to fire you whenever

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<v Speaker 11>they want, power to change your benefit whenever they would

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<v Speaker 11>have And that's what that's what it is, you know,

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<v Speaker 11>most about power.

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<v Speaker 7>After his friends got fired, Ridolfo's belief in the union's

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<v Speaker 7>mission just got stronger. He kept wearing his Union shirt

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<v Speaker 7>visible under his Goya uniform, and eventually a little over

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<v Speaker 7>a year after the wind Dixie incident, Ridolfo got a call.

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<v Speaker 11>But there was a conversation disparture. The picture told me, no,

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<v Speaker 11>you don't have no rap tomorrow. You had to go

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<v Speaker 11>and see Maric Christina, which is what the hr when

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<v Speaker 11>they told me that I was fired.

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<v Speaker 2>I fired.

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<v Speaker 11>You were kind of pressure that night and talked to

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<v Speaker 11>my wife and said, I don't know what's going to

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<v Speaker 11>happen tomorrow, but I guess I lost my job. And

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<v Speaker 11>you know, it was kind of frustration. After ten years

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<v Speaker 11>almost ten years. At that day, it was like, my,

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<v Speaker 11>my word, my American dream went down the grain. Because

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<v Speaker 11>you are so used to working on a play for

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<v Speaker 11>so many years that you don't you don't think about

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<v Speaker 11>you think about the future will be hard.

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<v Speaker 7>Rodolf Was said the company told him he was fired

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<v Speaker 7>for being insubordinate, and Rodolfo was one of several Goya workers,

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<v Speaker 7>including the wend Dixie III, who Goya fired for trying

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<v Speaker 7>to unionize. A battle for settlements ensued and the whole

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<v Speaker 7>thing got even uglier. The negotiations lasted sixteen years, and

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<v Speaker 7>in twenty fourteen, the National Labor Relations Board finally charged

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<v Speaker 7>Goya with fifteen violations of the National Labor Relations Act

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<v Speaker 7>and Goya had to pay over three million dollars to

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<v Speaker 7>the NLRB to distribute to the employees who were wronged.

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<v Speaker 7>The regional director of the union, Harris Rayner, stepped into

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<v Speaker 7>negotiations with Goya on behalf of the current and fired workers.

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<v Speaker 10>They went after those long term employees not only to

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<v Speaker 10>get rid of them, but to send a message to

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<v Speaker 10>all the other employees that if you stand up for

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<v Speaker 10>your rights, here's what's going to happen to you. And

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<v Speaker 10>those employees were engaged in something that was later called

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<v Speaker 10>protected concerted activity, which is when employees act together to

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<v Speaker 10>achieve an end that's legal, and they act in a

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<v Speaker 10>legal manner and the company punishes them illegally for exercising

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<v Speaker 10>their rights.

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<v Speaker 7>These charges included illegally disciplining employees by withholding wage increases

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<v Speaker 7>and taking away benefits, ignoring worker complaints about unsanitary working conditions,

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<v Speaker 7>taking away pension and benefit plans. But when Rayner stepped

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<v Speaker 7>in to bring Goya to the bargaining table with the union,

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<v Speaker 7>Goya wouldn't budge.

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<v Speaker 10>They clearly felt like these employees had no right to

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<v Speaker 10>ask for anything, to organize to have a union. I mean,

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<v Speaker 10>I've never seen such dictatorship, the level of arrogance of

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<v Speaker 10>this family. It was almost like they were running a

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<v Speaker 10>plantation and these were the indentured servants on the plantation.

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<v Speaker 7>Reiner also brought up another point that highlighted the further

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<v Speaker 7>hypocrisy of Goya's mistreatment of its workers in the factory.

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<v Speaker 10>And then they felt like that because they were Spanish

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<v Speaker 10>speaking and most of the employees were from Latin countries,

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<v Speaker 10>that they could just talk to them separately and try

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<v Speaker 10>to flim flam them and lie to them and manipulate

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<v Speaker 10>them in any way that they could. It's an incredible

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<v Speaker 10>story of arrogance and social class.

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<v Speaker 7>After the union made complaints to the National Labor Relations Board,

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<v Speaker 7>Reiner cited cases where the Unanois themselves lied to the

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<v Speaker 7>terminated employees. The unanoways told the fired employees that the

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<v Speaker 7>union had lost the case and the judge decided against them.

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<v Speaker 7>They did this to convince these former employees to sign

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<v Speaker 7>settlement agreements, which then allowed Goya to private settle disputes

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<v Speaker 7>on their own terms, rather than giving workers a fair

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<v Speaker 7>chance of representation. Efforts to negotiate a union contract with

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<v Speaker 7>Goya lasted years and eventually petered out. It's a common

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<v Speaker 7>tactic to squash unionizing efforts, draw out the negotiation process

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<v Speaker 7>long enough for support for the union to die out,

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<v Speaker 7>and that's exactly what happened. The efforts to negotiate a

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<v Speaker 7>union contract did die out after a sixteen year deadlock.

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<v Speaker 7>Goya never agreed to union contract in the Miami plant,

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<v Speaker 7>and Rudolfo never got his job back. In fact, most

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<v Speaker 7>of the workers who were fired during that period had

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<v Speaker 7>their benefit and retirement plans taken away and never received

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<v Speaker 7>settlements from Goya.

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<v Speaker 11>They don't care about customer, they don't care about workers.

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<v Speaker 2>They just care about making a profit.

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<v Speaker 11>There's only a few families that lived through the agony

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<v Speaker 11>of Goya to the family Goya.

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<v Speaker 7>After the Miami protests, the Goya brand remained mostly out

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<v Speaker 7>of a critical spotlight. The boycott and labor disputes hadn't

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<v Speaker 7>amounted to damaging the company's reputation, and Goya continued expanding

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<v Speaker 7>their brand rapidly in the US throughout the two thousands.

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<v Speaker 7>But over a decade later, in twenty seventeen, Goya once

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<v Speaker 7>again found itself entangled in another controversy. This time it

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<v Speaker 7>was with the Puerto Rican community in New York. The

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<v Speaker 7>Puerto Rican Day Parade in New York City is one

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<v Speaker 7>of the city's largest parades. Every June, thirty five blocks

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<v Speaker 7>in Manhattan are closed and flooded with Puerto Rican music, dancing,

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<v Speaker 7>and floats. The parade is sponsored by big corporations like

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<v Speaker 7>Coca Cola, Google, Jet Blue, and Goya had been a

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<v Speaker 7>sponsor since the inaugural parade in nineteen fifty eight. They

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<v Speaker 7>even had their own Goya float and dancers in the

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<v Speaker 7>lineup every year, but that all changed in twenty seventeen

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<v Speaker 7>because of a controversy over a man named Oscar Lopez Rivera.

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<v Speaker 5>Organizers of New York's Puerto Rican Day Parade are being

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<v Speaker 5>criticized for honoring a convicted terrorist, Oscar Lopez Rivera, who

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<v Speaker 5>was recently pardoned by President Obama. Sponsors of the parade,

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<v Speaker 5>pulling out at and T, Coca Cola, Jet Blue, Goya,

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<v Speaker 5>and even the Yankees have all removed their support.

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<v Speaker 7>Lopez Rivera is a controversial figure. He was a leader

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<v Speaker 7>of the Armed Forces of National Liberation, a group that

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<v Speaker 7>advocated for independence of Puerto Rico. He also spent thirty

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<v Speaker 7>five years in prison for being accused of conspiracy to

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<v Speaker 7>overthrow the United States government, but after the FBI failed

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<v Speaker 7>to connect him to a threat of bombings carried out

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<v Speaker 7>in the name of the pro independence group, people began

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<v Speaker 7>calling for his release. In twenty seventeen, President Obama commuted

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<v Speaker 7>rivera sentence, so when the organizers of the Puerto Rican

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<v Speaker 7>Day Parade named the twenty seventeen event in honor of

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<v Speaker 7>Lopez Rivera, these corporations essentially boycotted the parade. But what

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<v Speaker 7>they didn't expect was a boycott to their boycott. Here's

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<v Speaker 7>artist isabel Turner and her mother at that parade.

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<v Speaker 12>Everybody's waving a flag, blasting from music from cars, people

415
00:27:31.119 --> 00:27:34.159
<v Speaker 12>are singing on top of floats. It just makes my

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<v Speaker 12>heart feel so warm to see so many people filled

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<v Speaker 12>with so much pride for their homeland.

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<v Speaker 7>But that year the parade was different for Isabelle and

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<v Speaker 7>many other Puerto Ricans. Parade organizers and many in the

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<v Speaker 7>Puerto Rican community were calling to boycott Goya products after

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<v Speaker 7>the company pulled its sponsorship. So this is what I'm

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<v Speaker 7>talking about, the boycott. Of the boycott and Isabelle joined in.

423
00:27:57.119 --> 00:27:59.320
<v Speaker 12>I think the main thing was people saying, you're Goya,

424
00:27:59.400 --> 00:28:03.240
<v Speaker 12>You're a nicon symbol for the Puerto Rican community, Like

425
00:28:03.600 --> 00:28:05.479
<v Speaker 12>how could you leave? Like how could you drop out

426
00:28:05.520 --> 00:28:05.719
<v Speaker 12>of this?

427
00:28:06.480 --> 00:28:09.520
<v Speaker 7>For Isabelle, Goya pulling out of this parade led to

428
00:28:09.560 --> 00:28:12.520
<v Speaker 7>a larger realization about the company's role in her life.

429
00:28:13.280 --> 00:28:15.840
<v Speaker 7>Goya was more than just a pantry staple for her.

430
00:28:16.359 --> 00:28:18.600
<v Speaker 7>It was a means to make these dishes that feel

431
00:28:18.600 --> 00:28:20.800
<v Speaker 7>like home and buying families together.

432
00:28:21.800 --> 00:28:24.280
<v Speaker 12>Whenever I think of family events, I always think of

433
00:28:24.280 --> 00:28:27.359
<v Speaker 12>my mom making out roskongandulas, which is a Puerto Rican

434
00:28:27.440 --> 00:28:32.120
<v Speaker 12>rice dish that normally requires a Knagoya beans. Or Christmas time,

435
00:28:32.160 --> 00:28:35.080
<v Speaker 12>we'll have coquito and that will normally get the cream

436
00:28:35.080 --> 00:28:38.720
<v Speaker 12>of coconut from a Goya can. So I started thinking

437
00:28:38.760 --> 00:28:43.400
<v Speaker 12>about how Goya is just such an integral, almost part

438
00:28:43.440 --> 00:28:46.400
<v Speaker 12>of my identity, or that for so long I thought

439
00:28:46.400 --> 00:28:51.160
<v Speaker 12>of it as something that was really ingrained in who

440
00:28:51.240 --> 00:28:52.800
<v Speaker 12>I was and who I was as a Puerto Rican.

441
00:28:53.640 --> 00:28:57.280
<v Speaker 7>But at this point boycotting Goya products wasn't enough for Isabelle.

442
00:28:57.800 --> 00:29:00.360
<v Speaker 7>She began asking deeper questions.

443
00:29:00.120 --> 00:29:03.000
<v Speaker 12>Who was behind these products? Whose cultures have been boiled

444
00:29:03.000 --> 00:29:05.640
<v Speaker 12>down to fit into these package goods. If Goya is

445
00:29:05.640 --> 00:29:09.320
<v Speaker 12>so ingrained in such a part of the family, should

446
00:29:09.320 --> 00:29:12.560
<v Speaker 12>it be given the status of a family member?

447
00:29:13.280 --> 00:29:16.080
<v Speaker 7>And as an artist and photographer, she turned to art

448
00:29:16.120 --> 00:29:17.880
<v Speaker 7>as a way of processing what had happened at the

449
00:29:17.920 --> 00:29:22.520
<v Speaker 7>twenty seventeen parade. It led to this entire photography series

450
00:29:22.560 --> 00:29:26.080
<v Speaker 7>called Tiana kiss Er Bueno translating to it has to

451
00:29:26.120 --> 00:29:31.960
<v Speaker 7>be good, Goya's most popular marketing slogan. At first, Tiana

452
00:29:32.040 --> 00:29:35.440
<v Speaker 7>Kisser Bueno looks like a colorful shrine to Goya, with

453
00:29:35.680 --> 00:29:39.160
<v Speaker 7>canned vegetables and Goya prayer candles laid out on an

454
00:29:39.200 --> 00:29:42.360
<v Speaker 7>altar of banana leaves. But you have to look closer

455
00:29:42.400 --> 00:29:47.640
<v Speaker 7>and see what Isabelle's really doing here. She dug through

456
00:29:47.960 --> 00:29:52.000
<v Speaker 7>hundreds of negatives of old photographs of her family. She

457
00:29:52.080 --> 00:29:54.680
<v Speaker 7>selected photos like a black and white portrait of her

458
00:29:54.720 --> 00:29:59.200
<v Speaker 7>mother's first communion in Puerto Rico, this weathered, early colored

459
00:29:59.200 --> 00:30:02.240
<v Speaker 7>photograph of her her aunts in grade school posing on

460
00:30:02.280 --> 00:30:05.040
<v Speaker 7>a playground in front of a tenement building in the Bronx.

461
00:30:05.880 --> 00:30:10.000
<v Speaker 7>She took these precious heirlooms and neatly reprinted them onto

462
00:30:10.000 --> 00:30:14.920
<v Speaker 7>the labels of Goya cans. So at first the cans

463
00:30:15.040 --> 00:30:16.880
<v Speaker 7>just look like what do you see it at bodega?

464
00:30:17.160 --> 00:30:20.600
<v Speaker 7>But look closer and you'll see photos of Isabel's family

465
00:30:20.760 --> 00:30:24.920
<v Speaker 7>on each can. The most darring part of Isabel's metaphor

466
00:30:24.960 --> 00:30:28.040
<v Speaker 7>here is that every face is covered with a white

467
00:30:28.120 --> 00:30:28.760
<v Speaker 7>price tag.

468
00:30:29.800 --> 00:30:34.240
<v Speaker 12>My culture has a monetary value now because a corporation

469
00:30:34.520 --> 00:30:38.480
<v Speaker 12>decided that once upon a time, maybe they had good

470
00:30:38.480 --> 00:30:43.320
<v Speaker 12>intentions and they wanted to sell packaged goods, but they

471
00:30:43.360 --> 00:30:46.320
<v Speaker 12>progressed so far from that now and they've decided that

472
00:30:46.400 --> 00:30:51.960
<v Speaker 12>they were going to sell culture. I wanted people to

473
00:30:52.000 --> 00:30:53.400
<v Speaker 12>see that like, oh I could buy this, Oh I

474
00:30:53.400 --> 00:30:55.160
<v Speaker 12>could take this. Oh this is for sale. Oh this

475
00:30:55.200 --> 00:30:57.120
<v Speaker 12>is for sale. Oh this Stanley picture that's for sale.

476
00:30:57.320 --> 00:30:58.920
<v Speaker 12>These cultures have become commodities.

477
00:30:59.240 --> 00:31:03.640
<v Speaker 7>Isabelle also saw that Goya had created this strong association

478
00:31:03.800 --> 00:31:07.160
<v Speaker 7>between their products and the American dream. They even state

479
00:31:07.200 --> 00:31:11.560
<v Speaker 7>this mission on their website. But Isabelle believes that Puerto

480
00:31:11.680 --> 00:31:15.800
<v Speaker 7>Ricans have never been granted the American dream, and she

481
00:31:15.880 --> 00:31:19.560
<v Speaker 7>felt that Goya never really cared about the relentless hardships

482
00:31:19.600 --> 00:31:23.040
<v Speaker 7>the Puerto Rican community and even the larger Latino community

483
00:31:23.040 --> 00:31:28.120
<v Speaker 7>has faced. The twenty seventeen Periode was Isabelle's AHA moment,

484
00:31:28.880 --> 00:31:30.240
<v Speaker 7>and she hasn't looked back since.

485
00:31:30.960 --> 00:31:35.960
<v Speaker 12>It was also a death or a goodbye to Goya

486
00:31:36.040 --> 00:31:39.600
<v Speaker 12>in a lot of ways, goodbye to that chapter of

487
00:31:40.680 --> 00:31:45.360
<v Speaker 12>them being my iconic symbol for my culture. This alignment

488
00:31:45.360 --> 00:31:51.640
<v Speaker 12>with Goya as the icon of culture, Puerto Rican culture,

489
00:31:51.720 --> 00:31:55.800
<v Speaker 12>LATINX culture, it doesn't work.

490
00:31:56.920 --> 00:32:00.400
<v Speaker 7>By twenty seventeen, Goya was already a household prom for

491
00:32:00.560 --> 00:32:04.920
<v Speaker 7>all Americans, not just Latinos. The company exceeded one billion

492
00:32:05.000 --> 00:32:08.600
<v Speaker 7>dollars in revenue in twenty eighteen, just like with the

493
00:32:08.600 --> 00:32:11.600
<v Speaker 7>boycott from the Goya workers in Miami twenty years before.

494
00:32:12.280 --> 00:32:16.480
<v Speaker 7>The one after the twenty seventeen parade died out, and

495
00:32:16.520 --> 00:32:22.480
<v Speaker 7>then in twenty twenty another reckoning came, and this one

496
00:32:22.760 --> 00:32:24.280
<v Speaker 7>gained a ton of attention.

497
00:32:25.720 --> 00:32:28.640
<v Speaker 3>We're all truly blessed at the same time to have

498
00:32:29.160 --> 00:32:32.200
<v Speaker 3>a leader like President Trump, who was a builder.

499
00:32:33.320 --> 00:32:36.920
<v Speaker 7>After Goya's president expressed his support for Donald Trump, I

500
00:32:37.040 --> 00:32:40.080
<v Speaker 7>wanted to know what these boycotts looked like within the

501
00:32:40.160 --> 00:32:44.680
<v Speaker 7>Latino community. In the context of a global pandemic. Latinos

502
00:32:44.680 --> 00:32:48.880
<v Speaker 7>were experiencing a coronavirus death rate nearly three times higher

503
00:32:48.920 --> 00:32:53.120
<v Speaker 7>than white Americans and a disproportionately high rate of unemployment

504
00:32:53.360 --> 00:32:57.120
<v Speaker 7>compared to the national average. Black and barn Latinos especially

505
00:32:57.200 --> 00:32:59.160
<v Speaker 7>had a lot more to worry about at the time

506
00:32:59.640 --> 00:33:03.400
<v Speaker 7>than whether or not to buy Goya products. I still

507
00:33:03.440 --> 00:33:06.920
<v Speaker 7>saw Goya on the shelves of grocery stores and bovegas,

508
00:33:06.960 --> 00:33:09.400
<v Speaker 7>and I wanted to know if these calls for a

509
00:33:09.440 --> 00:33:13.920
<v Speaker 7>boycott were really resonating with Latinos, the community that Goya

510
00:33:14.120 --> 00:33:18.560
<v Speaker 7>says it's foreign represents, or was it all just noise.

511
00:33:20.440 --> 00:33:23.200
<v Speaker 7>A few weeks after Unnoy's comments, I met a bar

512
00:33:23.280 --> 00:33:26.600
<v Speaker 7>owner in San Francisco's Mission District who had stopped buying

513
00:33:26.600 --> 00:33:27.880
<v Speaker 7>Goya for her restaurant.

514
00:33:28.720 --> 00:33:32.080
<v Speaker 13>It felt kind of shitty, to be honest, I don't know.

515
00:33:32.760 --> 00:33:35.320
<v Speaker 13>I'm not gonna lie. It kind of was like a

516
00:33:35.400 --> 00:33:38.360
<v Speaker 13>punch to my gut, Like my favorite black beans were

517
00:33:38.360 --> 00:33:42.080
<v Speaker 13>a Goya. Yeah, yeah, I made a conscious choice not

518
00:33:42.120 --> 00:33:43.160
<v Speaker 13>to purchase them after that.

519
00:33:44.160 --> 00:33:47.720
<v Speaker 7>This is Mari Soil Gonzalez. We met at Lupulandia, the

520
00:33:47.800 --> 00:33:51.479
<v Speaker 7>Mexican bar she opened in November of twenty nineteen on

521
00:33:51.560 --> 00:33:56.760
<v Speaker 7>Mission Street. The space is colorful, bright pink and blue

522
00:33:56.760 --> 00:34:00.560
<v Speaker 7>paintings lined the wall, and this massive mural a sholo

523
00:34:01.000 --> 00:34:04.320
<v Speaker 7>the Mexican hairless dog breed reaches the high ceilings over

524
00:34:04.360 --> 00:34:04.680
<v Speaker 7>the bar.

525
00:34:05.240 --> 00:34:07.720
<v Speaker 13>Food is everything, So when we were able to open

526
00:34:07.760 --> 00:34:12.920
<v Speaker 13>a restaurant that could highlight Mexican flavors like things that

527
00:34:12.960 --> 00:34:16.480
<v Speaker 13>I think my mom would enjoy is everything.

528
00:34:17.200 --> 00:34:20.799
<v Speaker 7>Marisol used Goya products to make these dishes, from the

529
00:34:20.840 --> 00:34:24.400
<v Speaker 7>seasoning for their rice dishes to Goya beans for their tacos.

530
00:34:25.080 --> 00:34:28.160
<v Speaker 7>But after they decided to boycott Goya, Mariso and her

531
00:34:28.239 --> 00:34:32.279
<v Speaker 7>husband turned to making food from scratch at home and

532
00:34:32.360 --> 00:34:34.560
<v Speaker 7>at the restaurant.

533
00:34:33.719 --> 00:34:35.640
<v Speaker 13>And I always say, like, my mom used to make

534
00:34:35.680 --> 00:34:38.000
<v Speaker 13>this for me, Like this was like something that used

535
00:34:38.040 --> 00:34:40.960
<v Speaker 13>to love. And you know, even Anthony remembers his grandma

536
00:34:41.040 --> 00:34:44.399
<v Speaker 13>making felo for him. There's just certain things that kind

537
00:34:44.400 --> 00:34:48.760
<v Speaker 13>of I don't know. They not only do they taste delicious,

538
00:34:48.800 --> 00:34:51.520
<v Speaker 13>but they like remind you of certain things, like there's

539
00:34:51.560 --> 00:34:54.439
<v Speaker 13>this nostalgia for like, uh, yeah, I remember my mom

540
00:34:54.520 --> 00:34:56.040
<v Speaker 13>used to make this for me. So now I want

541
00:34:56.080 --> 00:34:57.920
<v Speaker 13>to do that for my kid, and I want him

542
00:34:57.920 --> 00:35:00.800
<v Speaker 13>to be connected to my mom through this would as well.

543
00:35:01.040 --> 00:35:04.719
<v Speaker 7>And Marisol kept adhering to this boycott even through the

544
00:35:04.880 --> 00:35:08.080
<v Speaker 7>devastating economic downturn the pandemic had caused.

545
00:35:08.520 --> 00:35:09.759
<v Speaker 2>So business was doing well.

546
00:35:09.920 --> 00:35:13.120
<v Speaker 13>People responded really well to the food. So yeah, Bologna

547
00:35:13.320 --> 00:35:16.080
<v Speaker 13>was becoming the place that we wanted it to be.

548
00:35:17.080 --> 00:35:20.839
<v Speaker 13>And then COVID hit and the city shut us down.

549
00:35:21.640 --> 00:35:24.439
<v Speaker 13>We yeah, I mean from one day to the other,

550
00:35:24.640 --> 00:35:27.440
<v Speaker 13>we essentially had to close down the place. And it

551
00:35:27.440 --> 00:35:28.320
<v Speaker 13>was a little heartbreaking.

552
00:35:30.320 --> 00:35:36.520
<v Speaker 7>I mean, this was her reality. An unprecedented pandemic was

553
00:35:36.560 --> 00:35:40.040
<v Speaker 7>threatening her livelihood and the restaurant she had always dreamed

554
00:35:40.080 --> 00:35:45.480
<v Speaker 7>of opening. She boycotted Goya, and then what with the

555
00:35:45.520 --> 00:35:49.400
<v Speaker 7>bar facing closure Mariusol didn't have the time or energy

556
00:35:49.440 --> 00:35:54.640
<v Speaker 7>to ask this question then what She even admitted that

557
00:35:54.719 --> 00:35:58.160
<v Speaker 7>she didn't know how tenable the boycott was. With bodegas

558
00:35:58.160 --> 00:36:02.280
<v Speaker 7>and restaurants struggling to stay open, so many had already

559
00:36:02.280 --> 00:36:06.160
<v Speaker 7>closed in the city, and it made me wonder whether

560
00:36:06.480 --> 00:36:11.520
<v Speaker 7>this boycott was serving any larger purpose. What was the

561
00:36:11.560 --> 00:36:15.560
<v Speaker 7>point of all this. I kept thinking back to this

562
00:36:15.680 --> 00:36:19.319
<v Speaker 7>idea that the food historian Professor Ortie's Quadra brought up.

563
00:36:20.360 --> 00:36:24.359
<v Speaker 6>Food is so important it can't trace you back to

564
00:36:24.440 --> 00:36:25.759
<v Speaker 6>your homeland.

565
00:36:25.880 --> 00:36:30.799
<v Speaker 7>The idea that food memories are the foundation of our

566
00:36:30.920 --> 00:36:33.759
<v Speaker 7>intimate connections with our culture and identity.

567
00:36:35.239 --> 00:36:44.080
<v Speaker 6>Remembering food it solid defies your identity in processes.

568
00:36:43.480 --> 00:36:44.480
<v Speaker 2>Of layas for us.

569
00:36:47.920 --> 00:36:51.920
<v Speaker 7>I ask Professor Ortiz's Quadra if this identity through food

570
00:36:52.120 --> 00:36:55.760
<v Speaker 7>can ever be reclaimed, and he did tell me about

571
00:36:55.800 --> 00:36:58.960
<v Speaker 7>one movement in Puerto Rico that is trying to do

572
00:36:59.040 --> 00:36:59.359
<v Speaker 7>just that.

573
00:37:01.160 --> 00:37:06.480
<v Speaker 8>There is a flourishing, if I can say that, of

574
00:37:06.680 --> 00:37:12.200
<v Speaker 8>young people professionals that are returning back to agriculture, specifically

575
00:37:12.239 --> 00:37:17.640
<v Speaker 8>small agriculture, and it's a way to step away on

576
00:37:17.760 --> 00:37:22.160
<v Speaker 8>the margins of this food capitalism, particularly because Puerto Rico

577
00:37:22.200 --> 00:37:24.560
<v Speaker 8>has a big problem of imports.

578
00:37:24.719 --> 00:37:27.839
<v Speaker 6>Eighty five eighty eight percent of our food is important.

579
00:37:28.080 --> 00:37:34.000
<v Speaker 6>So this movement is trying to may or plant or

580
00:37:34.400 --> 00:37:39.440
<v Speaker 6>produce foodstuffs that are very essential in our cooking and

581
00:37:39.760 --> 00:37:41.480
<v Speaker 6>are palad And.

582
00:37:41.480 --> 00:37:45.640
<v Speaker 7>This movement isn't only happening in Puerto Rico. It's happening everywhere,

583
00:37:46.360 --> 00:37:50.600
<v Speaker 7>from urban farming movements in California to food sovereignty movements

584
00:37:50.640 --> 00:37:55.960
<v Speaker 7>in Cuba. The takeaway is this commitment to reforming relationship

585
00:37:56.040 --> 00:38:02.640
<v Speaker 7>with food. It's hard and it takes sacrifice in this process.

586
00:38:03.000 --> 00:38:10.399
<v Speaker 7>It doesn't happen overnight. Everyone involved in these boycotts they

587
00:38:10.840 --> 00:38:14.520
<v Speaker 7>realized that Goya had capitalized on their emotional connection to

588
00:38:14.600 --> 00:38:18.359
<v Speaker 7>food for its own corporate profit, and they tried to

589
00:38:18.360 --> 00:38:22.799
<v Speaker 7>do something about it. For Rodolfo, Goya's promise of being

590
00:38:22.880 --> 00:38:26.240
<v Speaker 7>part of La Grand Familia, of achieving the American dream

591
00:38:26.360 --> 00:38:30.439
<v Speaker 7>through the food company was a lie, and he fought back.

592
00:38:31.400 --> 00:38:35.000
<v Speaker 7>The Puerto Rican artist Isabelle divorced her Puerto Rican identity

593
00:38:35.040 --> 00:38:37.960
<v Speaker 7>from Goya after recognizing the ways in which the food

594
00:38:38.000 --> 00:38:41.840
<v Speaker 7>company had embedded itself in her relationship with her culture.

595
00:38:42.800 --> 00:38:46.440
<v Speaker 7>Marisol took goya support for Donald Trump as a betrayal

596
00:38:46.440 --> 00:38:49.360
<v Speaker 7>against the community it claims to serve and honored that

597
00:38:49.440 --> 00:38:58.680
<v Speaker 7>boycott even while facing imminent closure of her restaurant. If

598
00:38:59.000 --> 00:39:02.239
<v Speaker 7>Goya's meteor expansion in the US is due to the

599
00:39:02.280 --> 00:39:07.000
<v Speaker 7>brand's uncanny ability to represent the entire Latino community in

600
00:39:07.040 --> 00:39:10.200
<v Speaker 7>the US, that also seems to be one of the

601
00:39:10.200 --> 00:39:16.480
<v Speaker 7>company's biggest flaws, and reinventing these food memories, as Professor

602
00:39:16.600 --> 00:39:20.759
<v Speaker 7>Ortiz Quadra calls them, it can start small, like in

603
00:39:20.800 --> 00:39:29.160
<v Speaker 7>your kitchen. That's how Isabella's getting started, by making her

604
00:39:29.200 --> 00:39:34.040
<v Speaker 7>own sofrito from scratch and memorizing her mom's recipe by heart.

605
00:39:35.000 --> 00:39:38.160
<v Speaker 12>My mom puts three to four clothes of garlic, one

606
00:39:38.200 --> 00:39:42.719
<v Speaker 12>onion normally smaller medium, depending one green pepper or you

607
00:39:42.719 --> 00:39:44.799
<v Speaker 12>can use one red pepper, because you can either make

608
00:39:45.000 --> 00:39:49.479
<v Speaker 12>red sofrito or green sofrito, but occasionally my mom will

609
00:39:49.480 --> 00:39:51.719
<v Speaker 12>do half of a green pepper, half of a red

610
00:39:52.800 --> 00:39:56.560
<v Speaker 12>then half a cup of olive oil, and then of filento.

611
00:40:04.920 --> 00:40:08.799
<v Speaker 1>This episode was produced by Gabrielle Burbe and Alejandra Salasadin,

612
00:40:08.920 --> 00:40:13.680
<v Speaker 1>edited by Marta Martinez. The Latino USA team includes Niel Macias,

613
00:40:13.760 --> 00:40:19.280
<v Speaker 1>Andrea Lopez Gruzsado, Julieta Martinelli, Alissa Scarce, Gini Montalbo, Reinaldo,

614
00:40:19.360 --> 00:40:22.640
<v Speaker 1>Leanos Junior and Julia Rocha with help from Raul Prees.

615
00:40:22.920 --> 00:40:26.520
<v Speaker 1>Our engineers are Stephanie Lebou, Julia Caruso and Lia Shaw,

616
00:40:26.760 --> 00:40:30.600
<v Speaker 1>with help from Elisiuba YouTube. Our digital editor is Los Luna.

617
00:40:30.920 --> 00:40:34.520
<v Speaker 1>Our interns are Samantha Friedman and Carl Rubin. Our theme

618
00:40:34.600 --> 00:40:37.279
<v Speaker 1>music was composed by Zane ro Renos. If you like

619
00:40:37.320 --> 00:40:39.919
<v Speaker 1>the music you heard on this episode, stop by Latinousa

620
00:40:40.000 --> 00:40:43.200
<v Speaker 1>dot org and check out our weekly Spotify playlist. I'm

621
00:40:43.239 --> 00:40:46.479
<v Speaker 1>your host and executive producer MARIEO Josa. Join us again

622
00:40:46.560 --> 00:40:49.359
<v Speaker 1>next time, and in the meantime, look for us on

623
00:40:49.440 --> 00:40:52.440
<v Speaker 1>all of your social media. I'll see you there, Ciao.

624
00:40:58.000 --> 00:41:02.120
<v Speaker 14>Latino USA is made passible in part by the John D.

625
00:41:02.360 --> 00:41:06.799
<v Speaker 14>And Catherine T. MacArthur Foundation, the Ford Foundation, working with

626
00:41:06.920 --> 00:41:10.879
<v Speaker 14>visionaries on the front lines of social change worldwide, and

627
00:41:11.440 --> 00:41:12.520
<v Speaker 14>the wind Coat Foundation.

628
00:41:17.880 --> 00:41:22.080
<v Speaker 1>I'm Maria Josa next time on Latino USA. In La

629
00:41:22.120 --> 00:41:26.600
<v Speaker 1>Boca the Lobo. What Mexican researchers learned about how asylum

630
00:41:26.640 --> 00:41:30.879
<v Speaker 1>seekers forced by the US to wait in Mexico are

631
00:41:30.920 --> 00:41:34.919
<v Speaker 1>surviving while in the mouth of the wolf. That's next time.

632
00:41:35.000 --> 00:41:36.000
<v Speaker 1>On Latino USA