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Downloaded from
YTS.MX

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Official YIFY movies site:
YTS.MX

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(lively guitar music playing)

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(singing in Spanish)

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(Martha speaks Spanish)

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(continues singing)

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(Martha singing in Spanish)

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(music continues)

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(speaking Spanish)

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(crowd chattering)

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(music ends)

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Good evening, everyone.
Good evening.

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Hi. Welcome.

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Hello.

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(audience cheering)

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Hi, everybody.
My name is Kabir Sehgal.

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I'm the executive producer
of "Fandango at the Wall."

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This is my mentor
and colleague Arturo O'Farrill.

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Everyone,
Arturo O'Farrill.

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(crowd cheering)

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And this is
Jorge Francisco Castillo.

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Jorge is the inspiration
for Fandango Fronterizo,

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and its founder.

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This project has taken us

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to the US-Mexico border

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and beyond to Veracruz, Mexico,

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where we met the incredible
son jarocho artists

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who you will see tonight.

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We recorded an album with them

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and the Afro Latin
Jazz Orchestra in Tijuana

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at the Fandango Fronterizo.

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And now for the first time,

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we're bringing that fandango
here to New York.

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-(applause)
-(light guitar music playing)

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(singing in Spanish)

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♪ ♪

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♪ ♪

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Arturo O'Farrill:
Chico and Lupe
are my mother and father

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My father was a famous
Afro-Cuban jazz composer.

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Considered one of
the architects

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of Afro-Cuban Jazz.

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We, had, um...

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a big ceremony

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when they unveiled
the street sign

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and we planned this concert

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at the Soldiers
and Sailors Monument.

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And we had Wyn Marsalis
and Paquito D'Rivera,

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and the
Afro Latin Jazz Orchestra.

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We had, like, a sound system
and a whole stage,

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and it rained like crazy.

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(peppy soft jazz music playing)

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My mother was, uh,

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brought to Nuevo Laredo, Texas,
at the age of 12 to sing,

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and she just kind of

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was a child
Mexican singer and, um...

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From her I got
this real sense of justice.

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I got this real sense
of what ought to be

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and what is not right.

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And this is kind of
what happened

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when I came upon
this article,

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uh, about
Jorge Francisco Castillo

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and about
the whole concept of, um...

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The whole concept of being
an immigrant, being a Mexican.

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Being...

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a non...

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Being not the member

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of the dominant,
uh, societal, uh, culture.

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Kabir Sehgal:
Arturo and I were
having dinner together

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and he said, "I came across
this article in the newspaper."

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So I said,
"Let me see it."
And I read it.

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And it was
about this, uh, festival

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that happens
at the border wall

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between San Diego
and Tijuana.

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And all it said was
there was this man

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named Jorge Castillo

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and he's a librarian.

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And he puts on a festival
called Fandango Fronterizo.

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(seagulls squawking)

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Jorge Francisco Castillo:
This is the wall
that I came to visit

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for the first time in 2007.

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And I saw some families
on the other side.

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And I remember a little boy
handed me a bottle of water.

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And shaking my hand.

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And I was totally shocked
by that action and...

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immediately to my mind
came the possibility

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of having a fandango
in this place.

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I ended up starting,
just to call

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all the local libraries in...
in San Diego.

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And I finally found Jorge.

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And then I asked him
whether he would like

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to join Arturo and me
at the border

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between the United States
and Mexico

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to record a live album
inspired by what he started.

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-Arturo: Welcome to Mexico.
-Kabir: Mexico.

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Arturo:
México.

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(indistinct chatter)

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(inaudible)

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(speaking Spanish)

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(brass instrument
playing scales)

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Kabir:
Welcome, everyone,
to day number one

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of "Fandango at the Wall."

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This is an incredible project
we're bringing together.

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Probably 150 people
to make a statement.

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To make music,
but really to, uh,

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to dramatize what's going on
in our countries.

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To bring people
and countries together.

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Arturo:
We're doing something
that's never been done before.

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And we're doing something
that we hope will draw

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all of us together

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in a way that, um,
nothing like music can.

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Jorge:
Bienvenidos.
Welcome, everybody.

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We're really honored
to have all of you here.

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Starting with
Arturo and Kabir.

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It's a real blessing

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to have so many people
in-- in Tijuana,

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being part of
the Fandango Fronterizo.

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It's gonna be a great experience
to play together

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tomorrow at the--
at the wall.

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And, uh, to be part
of one family.

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That's the whole idea.

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I really...
I'm really touched with this.

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This is really amazing.
It's very emotional.

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Thank you so much. Thank you.
Thank you, guys.

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-(applause)
-Thank you.

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Thank you.

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(soft piano
and violin music playing)

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♪ ♪

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♪ ♪

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♪ ♪

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(inaudible)

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♪ ♪

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(sizzling)

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(speaking Spanish)

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It's 40 feet from here,

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is the US border.

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-(indistinct chatter)
-(laughter)

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Abdul:
No wall's gonna stop us, man.

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-Man: No.
-(laughter)

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Down!

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Abdul:
Next year,
the demilitarized zone.

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Kabir:
There's, like,
75,000 guns in Mexico

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-that have been
traced to America.
-Arturo: Yeah.

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-So the drugs
are going this way.
-Right, and the guns...

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And the money and guns
coming this way.

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-Arturo: I know.
-Kabir: And it's like
this loop.

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A vicious loop of drugs,
people, money, all tied up.

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And the addictions
are right here.

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(soft piano
and violin music playing)

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♪ ♪

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♪ ♪

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Kabir: Arturo.

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♪ ♪

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♪ ♪

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Arturo:
I walked up to the water

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and I felt
my mother's presence

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on this project.

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It's incredibly
important to me

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that people have been gathered

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from every corner of the Earth
to the border.

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To New York. To Veracruz.

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To San Diego. To Tijuana.

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From Iran. From Iraq.

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Uh, people who
have never met

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have gathered
around this campfire

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that we've built.

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And I'm just really grateful
that this is the way

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my life's energy
is being spent right now.

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♪ ♪

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(lively guitar music playing)

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(Jorge singing in Spanish)

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Jorge:
I think I'm a free soul,

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that I like to travel,
I like to meet people.

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And that's how
son jarocho came to me.

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I was going through
a divorce

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at that time,
in-- in my life.

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So, uh...

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I was kinda like at a stage

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where I didn't know
where I was going

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with the music,
with the...

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Well, a lot of things
were happening.

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My kids were growing up,

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they were leaving
the house.

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And then son jarocho came to me

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and, and brought me all
these friends and people

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and all this community.

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And I fell in love
with this music.

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I just felt like, uh,
it-it held me in its arms.

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And it was hugging me
all the time.

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Even though
I was born in Texas

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and then raised
in Juarez, Mexico,

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and being in California
and then Tijuana,

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and connect all this music
and all this

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through this movement
of the Fandango.

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It's been one of
the best experiences in my life.

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Kabir:
Jorge said to me, if you're
gonna make an album

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that features son jarocho music

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you have to come to Veracruz
and learn about this music

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and meet
the masters themselves.

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So I said Arturo,
"We're going to Veracruz."

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♪ ♪

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00:13:07,834 --> 00:13:09,000
Arturo:
Jacob was telling me...

202
00:13:10,333 --> 00:13:14,166
that this is
sacred magic land.

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00:13:14,250 --> 00:13:15,291
Jorge: Exactly.

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Arturo:
That little mystical creatures

205
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called Pecheques or...

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00:13:17,709 --> 00:13:19,166
-Jorge: Chaneques.
-Arturo: Chaneques.

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00:13:19,250 --> 00:13:20,458
-Jorge: Chaneques.
-Chaneques.

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00:13:20,542 --> 00:13:22,333
And that this whole area
is known

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00:13:22,417 --> 00:13:25,208
for mystical occurrences.

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-Jorge: Sí.
-And so, you...

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00:13:26,625 --> 00:13:28,792
Yeah, you come here
and you kinda feel that.

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00:13:28,875 --> 00:13:32,709
You feel that there is
something in the Earth here.

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00:13:33,417 --> 00:13:35,959
There's something
in the air here that is--

214
00:13:36,041 --> 00:13:38,458
I think you have some Chaneques
within you, Arturo.

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00:13:39,041 --> 00:13:40,792
-I think--
-Jorge: Probably, we all do.

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00:13:40,875 --> 00:13:41,959
(laughter)

217
00:13:43,041 --> 00:13:45,625
No, it's funny,
now that I think of,
at just this very moment,

218
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I remember
visiting my friend

219
00:13:48,875 --> 00:13:50,625
in the University
of Vermont.

220
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And him giving me
a whole rundown

221
00:13:53,458 --> 00:13:56,834
of how the only place
in Mexico

222
00:13:56,917 --> 00:13:59,500
that really has
Afro-Mexican music

223
00:13:59,583 --> 00:14:01,917
is son jarocho in Veracruz.

224
00:14:02,000 --> 00:14:04,667
And how the roots
of son jarocho

225
00:14:04,750 --> 00:14:08,500
and Afro-Mexican music
is directly traced

226
00:14:08,583 --> 00:14:13,041
to the, uh, the landing
of slave ships here.

227
00:14:20,792 --> 00:14:24,208
(Martha singing in Spanish)

228
00:14:41,750 --> 00:14:45,000
(speaking Spanish)

229
00:15:21,959 --> 00:15:23,542
(Martha speaking Spanish)

230
00:15:26,417 --> 00:15:28,500
-(Arturo speaking Spanish)
-(Chalo speaking Spanish)

231
00:15:28,583 --> 00:15:31,500
-(Arturo speaking Spanish)
-(Martha speaking Spanish)

232
00:15:33,041 --> 00:15:35,000
-(Jorge speaks Spanish)
-(Martha speaks Spanish)

233
00:15:37,250 --> 00:15:39,542
Jorge:
Don Andres
is almost 90 years old,

234
00:15:39,625 --> 00:15:41,750
and to me this, uh, icon.

235
00:15:41,834 --> 00:15:44,250
He's one of the best
son jarocho musicians.

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00:15:44,917 --> 00:15:48,166
(gentle melodica
and guitar music playing)

237
00:15:54,542 --> 00:15:57,291
♪ ♪

238
00:16:01,041 --> 00:16:02,542
(chuckles)

239
00:16:10,250 --> 00:16:12,083
(Tereso speaking Spanish)

240
00:16:12,166 --> 00:16:15,250
(playing "El Cascabel,"
requinto guitar solo)

241
00:16:27,000 --> 00:16:28,834
(music intensifies)

242
00:16:30,375 --> 00:16:32,500
(melodica joins guitars)

243
00:16:36,709 --> 00:16:40,667
(singing in Spanish)

244
00:17:01,750 --> 00:17:03,083
(speaks Spanish)

245
00:17:03,166 --> 00:17:05,750
(tapping feet rhythmically)

246
00:17:05,834 --> 00:17:08,250
♪ ♪

247
00:17:22,583 --> 00:17:24,458
(speaking Spanish)

248
00:17:24,917 --> 00:17:26,917
(Don Vega speaking Spanish)

249
00:17:34,041 --> 00:17:36,000
(scratching hat)

250
00:17:44,709 --> 00:17:45,959
(Martha speaking Spanish)

251
00:17:47,750 --> 00:17:49,000
(laughter)

252
00:17:49,083 --> 00:17:51,792
-(Don Vega speaking Spanish)
-Sí, sí, sí.

253
00:17:57,291 --> 00:17:59,291
(Martha speaking Spanish)

254
00:18:12,250 --> 00:18:13,500
(rooster crows)

255
00:18:32,166 --> 00:18:34,500
(soft requinto guitar
music playing)

256
00:18:38,125 --> 00:18:40,625
(singing in Spanish)

257
00:19:04,000 --> 00:19:06,208
(speaking Spanish)

258
00:19:36,542 --> 00:19:39,291
(singing in Spanish)

259
00:19:41,583 --> 00:19:44,375
(singing in Spanish)

260
00:19:52,250 --> 00:19:54,000
Jorge:
Martha is one of today's

261
00:19:54,083 --> 00:19:55,500
most accomplished dancers.

262
00:19:55,583 --> 00:19:58,583
Or like we say
in son jarocho,  zapateado.

263
00:19:58,667 --> 00:20:01,417
Dancing is very important
for son jarocho

264
00:20:01,500 --> 00:20:03,333
'cause that's your percussion.

265
00:20:03,417 --> 00:20:05,000
The dancer is the drummer.

266
00:20:05,083 --> 00:20:07,083
(continues singing in Spanish)

267
00:20:09,208 --> 00:20:11,750
♪ ♪

268
00:20:14,041 --> 00:20:14,959
Oh!

269
00:20:15,041 --> 00:20:16,291
Ohh!

270
00:20:16,375 --> 00:20:17,375
(laughter)

271
00:20:17,458 --> 00:20:18,458
Do you want me
to go get it?

272
00:20:18,542 --> 00:20:19,667
No, it's okay.

273
00:20:21,625 --> 00:20:24,291
(peppy melodica
and guitar music playing)

274
00:20:33,291 --> 00:20:35,709
(tapping feet rhythmically)

275
00:20:35,792 --> 00:20:38,917
(singing in Spanish)

276
00:20:44,291 --> 00:20:46,959
(singing in Spanish)

277
00:20:53,500 --> 00:20:56,500
(singing in Spanish)

278
00:21:02,333 --> 00:21:03,625
Jorge: Arturo.

279
00:21:04,041 --> 00:21:07,291
(Jorge speaking Spanish)

280
00:21:08,500 --> 00:21:10,333
(Arturo speaking Spanish)

281
00:21:12,291 --> 00:21:14,291
-(Arturo speaking Spanish)
-La tierra.

282
00:21:26,417 --> 00:21:27,500
Exactly.

283
00:21:30,166 --> 00:21:31,458
Kabir:
Beautiful with the animals.

284
00:21:31,542 --> 00:21:32,917
I just felt like
I was in a...

285
00:21:33,041 --> 00:21:34,250
not a postcard, but...

286
00:21:34,333 --> 00:21:36,291
in a, like,
a time capsule in a way.

287
00:21:36,375 --> 00:21:37,792
Everyone in the kitchen
yesterday making

288
00:21:37,875 --> 00:21:40,041
-that best, amazing meal
and those tortillas.
-(Arturo sighs)

289
00:21:40,125 --> 00:21:42,000
-Bro! What about
those tortillas?
-Oh, my God.

290
00:21:42,083 --> 00:21:43,750
Those tortillas are,
like, I don't know,

291
00:21:43,834 --> 00:21:45,291
I can't get them
out of my mind.

292
00:21:45,375 --> 00:21:47,000
Bro, I don't think
I'm ever...

293
00:21:47,083 --> 00:21:50,375
Jorge, I don't think I'm ever
gonna have a tortilla again.

294
00:21:50,458 --> 00:21:52,166
Ever.
Unless I come here.

295
00:21:52,250 --> 00:21:53,291
(Jorge laughs)

296
00:21:53,375 --> 00:21:54,458
Kabir:
How often do you come now?

297
00:21:54,542 --> 00:21:55,792
-You come like every year?
-Oh, I...

298
00:21:55,875 --> 00:21:58,208
I come like two or three times
a year now.

299
00:21:58,291 --> 00:22:00,125
And-- and I love it.
Uh, I love it.

300
00:22:00,208 --> 00:22:02,166
Although I try
to avoid the summer.

301
00:22:02,250 --> 00:22:03,750
-Kabir: Yeah.
-(laughs)

302
00:22:03,834 --> 00:22:06,000
(soft requinto guitar
music playing)

303
00:22:08,125 --> 00:22:11,166
(tapping feet rhythmically)

304
00:22:27,625 --> 00:22:29,792
♪ ♪

305
00:22:33,709 --> 00:22:36,583
(singing in Spanish)

306
00:23:27,250 --> 00:23:30,792
♪ ♪

307
00:23:34,375 --> 00:23:37,542
Jorge:
Ramon Gutierrez is one of
the best requinto players.

308
00:23:37,625 --> 00:23:42,041
And requinto is the lead guitar
of the son jarocho.

309
00:23:42,125 --> 00:23:44,500
He likes to improvise a lot.

310
00:23:44,583 --> 00:23:47,375
So, I think he will be perfect
for this encounter

311
00:23:47,458 --> 00:23:49,750
with the Afro Latin
Jazz Orchestra

312
00:23:49,834 --> 00:23:51,500
at the Fandango Fronterizo.

313
00:23:52,000 --> 00:23:55,458
(Ramon speaking Spanish)

314
00:24:28,625 --> 00:24:31,375
(son jarocho music playing)

315
00:25:18,083 --> 00:25:22,083
♪ ♪

316
00:25:34,125 --> 00:25:37,125
(vocalizing)

317
00:25:44,291 --> 00:25:48,667
(singing in Spanish)

318
00:26:04,834 --> 00:26:07,125
(Ramon speaking Spanish)

319
00:26:16,750 --> 00:26:19,834
(singing in Spanish)

320
00:26:26,834 --> 00:26:30,667
(daughter singing in Spanish)

321
00:26:32,458 --> 00:26:35,500
(vocalizing)

322
00:26:38,417 --> 00:26:41,792
♪ ♪

323
00:27:00,583 --> 00:27:04,166
♪ ♪

324
00:27:10,583 --> 00:27:14,166
(up-tempo
leona guitar music playing)

325
00:27:25,208 --> 00:27:27,917
(singing in Spanish)

326
00:27:34,875 --> 00:27:37,166
Jorge:
The leona is the bass
of son jarocho.

327
00:27:37,250 --> 00:27:39,709
And Tacho is
an accomplished leona player.

328
00:27:39,792 --> 00:27:41,291
One of the best.

329
00:27:41,375 --> 00:27:44,125
And Wendy is fantastic
with the  quijada,

330
00:27:44,208 --> 00:27:47,375
a percussive instrument
also known as the jawbone.

331
00:27:49,792 --> 00:27:52,792
(speaking Spanish)

332
00:28:34,542 --> 00:28:37,458
♪ ♪

333
00:29:09,625 --> 00:29:13,041
(peppy music playing)

334
00:29:23,667 --> 00:29:26,667
(Tacho speaking Spanish)

335
00:30:16,125 --> 00:30:18,083
(voice breaking)

336
00:30:21,458 --> 00:30:22,834
(exhales)

337
00:31:18,583 --> 00:31:20,166
(speaking Spanish)

338
00:31:49,000 --> 00:31:51,709
(Wendy speaking Spanish)

339
00:31:51,792 --> 00:31:53,917
(singing in Spanish)

340
00:32:09,458 --> 00:32:11,834
(up-tempo music playing)

341
00:32:37,208 --> 00:32:39,500
(peppy music playing)

342
00:32:41,166 --> 00:32:42,375
(music intensifies)

343
00:32:42,458 --> 00:32:44,417
(singing in Spanish)

344
00:33:49,959 --> 00:33:53,750
♪ ♪

345
00:34:09,625 --> 00:34:11,792
-(music ends)
-(applause)

346
00:34:23,041 --> 00:34:24,959
(barking)

347
00:34:31,083 --> 00:34:32,625
(speaking Spanish)

348
00:34:37,417 --> 00:34:40,083
Jorge:
Patricio Hidalgo,
one of the best musicians

349
00:34:40,166 --> 00:34:41,500
in modern son jarocho

350
00:34:41,583 --> 00:34:44,709
and at the same time
he is like a mentor to me.

351
00:34:44,792 --> 00:34:47,667
And he motivated me
to be part of this music.

352
00:34:47,750 --> 00:34:50,333
(speaking Spanish)

353
00:34:57,500 --> 00:34:59,166
(speaking Spanish)

354
00:35:02,750 --> 00:35:04,333
(laughter)

355
00:35:11,083 --> 00:35:13,500
(Arturo speaking Spanish)

356
00:35:17,542 --> 00:35:19,125
(Patricio speaks Spanish)

357
00:35:19,208 --> 00:35:21,500
-(Arturo speaks Spanish)
-(Patricio speaks Spanish)

358
00:35:22,083 --> 00:35:23,500
-(clangs)
-(all gasp)

359
00:35:24,375 --> 00:35:26,792
(playing notes)

360
00:35:28,417 --> 00:35:29,333
(speaks Spanish)

361
00:35:29,417 --> 00:35:31,750
(music continues)

362
00:35:44,125 --> 00:35:45,917
(laughter)

363
00:35:53,542 --> 00:35:55,083
(plays notes)

364
00:35:55,709 --> 00:35:57,500
(plays notes)

365
00:36:04,125 --> 00:36:07,542
(Yatzil speaking Spanish)

366
00:36:25,083 --> 00:36:27,291
(singing in Spanish)

367
00:37:33,458 --> 00:37:35,709
(peppy music playing)

368
00:37:39,375 --> 00:37:42,375
(ululating sounds)

369
00:38:11,458 --> 00:38:13,875
(singing in Spanish)

370
00:38:37,000 --> 00:38:39,542
(upbeat orchestral
music playing)

371
00:38:57,458 --> 00:38:59,208
(clarinet solo)

372
00:39:02,417 --> 00:39:05,417
(percussion joins orchestra)

373
00:39:17,125 --> 00:39:19,625
(tapping feet rhythmically)

374
00:39:31,875 --> 00:39:34,750
♪ ♪

375
00:40:02,125 --> 00:40:04,792
(man whoops)

376
00:40:19,583 --> 00:40:22,792
(singing in Spanish)

377
00:40:42,417 --> 00:40:46,125
♪ ♪

378
00:40:55,667 --> 00:40:57,458
-(music ends)
-(applause)

379
00:41:06,125 --> 00:41:08,542
(strumming guitar)

380
00:41:10,792 --> 00:41:13,417
Jorge:
Fernando Guadarrama
is a great poet.

381
00:41:13,500 --> 00:41:17,583
In son jarocho, the decima
is like a poem of ten lines.

382
00:41:17,667 --> 00:41:19,709
Fernando will improvise.

383
00:41:19,792 --> 00:41:22,458
Improvising on the spot
is not easy.

384
00:41:22,542 --> 00:41:24,208
And he is one of the best,

385
00:41:24,291 --> 00:41:26,291
so I thought he will be
a perfect match

386
00:41:26,375 --> 00:41:27,792
for the Fandango Fronterizo.

387
00:41:27,875 --> 00:41:30,417
(singing in Spanish)

388
00:41:38,291 --> 00:41:40,542
(continues singing)

389
00:41:42,000 --> 00:41:43,917
(Fernando speaking Spanish)

390
00:43:30,000 --> 00:43:32,625
(singing in Spanish)

391
00:43:43,750 --> 00:43:46,375
(Fernando speaking Spanish)

392
00:44:30,959 --> 00:44:33,125
(soft guitar music playing)

393
00:44:39,458 --> 00:44:40,750
(inaudible)

394
00:44:41,208 --> 00:44:43,917
(singing in Spanish)

395
00:45:08,125 --> 00:45:10,250
(speaking Spanish)

396
00:45:23,709 --> 00:45:25,834
(music continues)

397
00:47:07,166 --> 00:47:09,083
(cheering)

398
00:47:09,166 --> 00:47:11,709
(upbeat orchestral
music playing)

399
00:47:19,083 --> 00:47:21,917
(tapping feet rhythmically)

400
00:47:35,333 --> 00:47:38,291
(Fernando speaking Spanish)

401
00:47:53,667 --> 00:47:55,417
(audience cheering)

402
00:48:20,041 --> 00:48:21,792
(audience cheering)

403
00:48:39,750 --> 00:48:42,667
♪ ♪

404
00:49:03,291 --> 00:49:05,291
(audience cheering)

405
00:49:14,583 --> 00:49:16,417
-(music ends)
-(applause)

406
00:49:16,500 --> 00:49:18,208
(cheering)

407
00:49:23,083 --> 00:49:24,917
Kabir:
One of the things I really
like about the borderlands

408
00:49:25,000 --> 00:49:27,417
is that people who grow up
in the borderlands

409
00:49:27,500 --> 00:49:28,834
grow up speaking
two languages,

410
00:49:28,917 --> 00:49:31,959
and America is one of
the few places in the world

411
00:49:32,041 --> 00:49:33,500
that if you speak
one language,

412
00:49:33,583 --> 00:49:34,917
you're considered
well educated.

413
00:49:35,000 --> 00:49:36,250
-Jorge: No matter where you are.
-Yeah.

414
00:49:36,333 --> 00:49:37,417
Jorge:
That's true.

415
00:49:37,500 --> 00:49:38,583
Kabir:
And so, when you talk about

416
00:49:38,667 --> 00:49:39,834
the kinda world
we're living in,

417
00:49:39,917 --> 00:49:41,667
we're increasingly
living together.

418
00:49:41,750 --> 00:49:44,166
We can communicate
with anyone online.

419
00:49:45,917 --> 00:49:47,625
Being able to speak
different languages.

420
00:49:47,875 --> 00:49:49,041
We all come
from kinda different...

421
00:49:49,125 --> 00:49:50,792
We're kinda like
hyphenated Americans, right?

422
00:49:50,875 --> 00:49:52,125
I'm an Indian American.

423
00:49:52,208 --> 00:49:54,041
You're a Mexican
Irish American.

424
00:49:54,125 --> 00:49:55,417
Jorge here, bi...

425
00:49:55,500 --> 00:49:58,417
Bi-national, right?
Mexican American.

426
00:49:58,500 --> 00:50:00,166
And so being
a hyphenated American,

427
00:50:00,250 --> 00:50:01,875
I think is increasingly
the future

428
00:50:01,959 --> 00:50:03,875
because Hispanics
are gonna be

429
00:50:04,000 --> 00:50:07,000
the largest minority
majority group in America,

430
00:50:07,083 --> 00:50:08,667
if not they're...
if they aren't already.

431
00:50:08,750 --> 00:50:10,125
And it just...

432
00:50:10,542 --> 00:50:13,083
the sooner you encounter people
who are different from you,

433
00:50:13,166 --> 00:50:14,583
it prepares you
for the world.

434
00:50:17,500 --> 00:50:20,583
Do you think that
there should be
no border wall?

435
00:50:21,083 --> 00:50:22,208
Yeah, I-I think, uh...

436
00:50:22,291 --> 00:50:23,083
There should be no wall?

437
00:50:23,166 --> 00:50:24,166
There should be
no wall.

438
00:50:24,250 --> 00:50:25,417
Do you want the wall
to go away?

439
00:50:25,583 --> 00:50:27,166
I think it's a meaningless...

440
00:50:27,250 --> 00:50:30,208
Your book states
the statistics...

441
00:50:30,291 --> 00:50:31,959
-Kabir: Right. But--
-That... No.

442
00:50:32,041 --> 00:50:33,291
Your book states
the statistics

443
00:50:33,375 --> 00:50:35,792
that most
of the illegal immigration

444
00:50:35,875 --> 00:50:37,166
is visa overstays.

445
00:50:37,250 --> 00:50:39,667
It takes place
through border points.

446
00:50:39,750 --> 00:50:42,542
That most of the drugs
go through border points.

447
00:50:42,625 --> 00:50:43,667
The wall is ineffective.

448
00:50:43,750 --> 00:50:45,208
It has been ineffective.
It will...

449
00:50:45,291 --> 00:50:47,750
If you can make it
profitable to be peaceful,

450
00:50:48,500 --> 00:50:49,375
that's the way to do it.

451
00:50:49,458 --> 00:50:50,375
When you...
When you...

452
00:50:50,458 --> 00:50:51,458
When you have to
rely on someone

453
00:50:51,542 --> 00:50:53,208
to get a part
of an automobile

454
00:50:53,291 --> 00:50:55,542
or you're part of
the supply chain, like...

455
00:50:55,625 --> 00:50:57,041
Arturo:
That's good business, yeah.

456
00:50:57,125 --> 00:50:58,792
You make it profitable
to do work with each other.

457
00:50:58,875 --> 00:51:00,417
In Atlanta,
where I'm from,

458
00:51:00,500 --> 00:51:02,875
blacks and whites do
joint business deals together,

459
00:51:02,959 --> 00:51:04,333
they bid on contracts.

460
00:51:04,417 --> 00:51:06,458
When you work with someone,
you don't wanna kill 'em.

461
00:51:06,542 --> 00:51:07,875
You wanna make
money together.

462
00:51:07,959 --> 00:51:10,125
So I say, how do we make
this borderland community?

463
00:51:10,208 --> 00:51:11,959
How do we bring
more industry there

464
00:51:12,041 --> 00:51:13,834
and do cross-border factories?

465
00:51:13,917 --> 00:51:15,500
-Cross-border commerce.
-Jorge: But--

466
00:51:15,583 --> 00:51:16,709
Cross-border trade.

467
00:51:16,792 --> 00:51:17,709
-But think about--
-Really across border.

468
00:51:17,792 --> 00:51:19,500
But if it's...
if it's equal

469
00:51:19,583 --> 00:51:21,166
then-- then it'll work.

470
00:51:21,542 --> 00:51:24,417
(speaking Spanish)

471
00:51:49,458 --> 00:51:51,834
(strumming guitar)

472
00:52:08,250 --> 00:52:11,041
(singing in Spanish)

473
00:52:28,750 --> 00:52:30,709
(speaking Spanish)

474
00:52:51,500 --> 00:52:54,917
(singing in Spanish)

475
00:53:10,083 --> 00:53:12,458
(speaking Spanish)

476
00:53:59,583 --> 00:54:02,458
(singing in Spanish)

477
00:54:16,000 --> 00:54:20,709
(singing continues)

478
00:54:23,834 --> 00:54:26,000
(vocalizing)

479
00:54:28,834 --> 00:54:30,625
(strumming oud)

480
00:54:37,041 --> 00:54:40,834
Rahim Alhaj:
My story goes
right to that matter

481
00:54:40,917 --> 00:54:42,458
because I escaped...

482
00:54:44,000 --> 00:54:45,500
Iraq in 1991

483
00:54:45,583 --> 00:54:49,333
to Jordan with
false travel document.

484
00:54:50,166 --> 00:54:53,000
And, uh, crossing

485
00:54:53,542 --> 00:54:55,792
another border to Syria,

486
00:54:55,875 --> 00:54:56,959
to Damascus.

487
00:54:57,041 --> 00:54:59,792
-(vocalizing)
-(strumming oud)

488
00:54:59,875 --> 00:55:01,917
(singing in foreign language)

489
00:55:05,959 --> 00:55:09,583
As an Iranian person,
I've been in that situation.

490
00:55:09,792 --> 00:55:11,375
But in my country,

491
00:55:11,583 --> 00:55:13,625
I'm as a Baha'i,
that I practice

492
00:55:13,709 --> 00:55:16,041
another religion,
not Muslim.

493
00:55:16,125 --> 00:55:18,709
I wasn't able to go
to university

494
00:55:18,792 --> 00:55:20,834
for higher education
after high school.

495
00:55:20,917 --> 00:55:23,625
So I came to the United States
to just have

496
00:55:23,917 --> 00:55:26,041
um, I mean,
better situation

497
00:55:26,125 --> 00:55:28,875
for studying
and introducing my culture.

498
00:55:28,959 --> 00:55:30,834
(soft orchestral music playing)

499
00:55:36,166 --> 00:55:38,375
(Patricio singing in Spanish)

500
00:55:41,875 --> 00:55:44,417
(singing continues)

501
00:55:52,375 --> 00:55:54,375
(singing continues)

502
00:56:08,375 --> 00:56:10,750
(singing continues)

503
00:56:30,583 --> 00:56:33,125
(singing continues)

504
00:56:41,291 --> 00:56:43,834
(singing continues)

505
00:56:47,959 --> 00:56:50,125
(strumming intensifies)

506
00:56:53,917 --> 00:56:56,583
-(music ends)
-(applause and cheers)

507
00:57:10,542 --> 00:57:13,208
Kabir:
You're saying we can
only drive during the day?

508
00:57:13,291 --> 00:57:14,750
We shouldn't drive at night?

509
00:57:14,834 --> 00:57:16,083
-Jorge: In this land?
-Kabir: Yeah.

510
00:57:16,166 --> 00:57:17,625
Jorge:
Yeah, it-- unfortunately,

511
00:57:17,709 --> 00:57:20,750
these days it has become
very, very unsecure.

512
00:57:20,834 --> 00:57:21,792
What's the worst
that could happen?

513
00:57:21,875 --> 00:57:22,709
Like someone
stops us right now,

514
00:57:22,792 --> 00:57:23,792
what would happen?

515
00:57:23,875 --> 00:57:25,417
Well, you know,

516
00:57:25,500 --> 00:57:27,583
we could be stopped
at any moment.

517
00:57:27,667 --> 00:57:29,500
And hopefully
it doesn't happen.

518
00:57:30,583 --> 00:57:32,959
Some guys could
all of a sudden stop you

519
00:57:33,041 --> 00:57:34,542
in the middle of the road
with weapons

520
00:57:34,625 --> 00:57:36,583
and ask you
to get out of your car

521
00:57:36,667 --> 00:57:39,250
and-- and either kidnap you,

522
00:57:39,333 --> 00:57:40,917
take your belongings away

523
00:57:41,000 --> 00:57:43,000
or-or even, you know,

524
00:57:43,083 --> 00:57:44,458
worse comes to worse,

525
00:57:44,542 --> 00:57:46,375
I mean, they can even...

526
00:57:46,875 --> 00:57:47,792
disappear you.

527
00:57:48,041 --> 00:57:49,792
I mean, unfortunately

528
00:57:49,875 --> 00:57:52,291
that's the kind of,
uh, situation

529
00:57:52,375 --> 00:57:54,458
that is going on in--
in this area

530
00:57:54,542 --> 00:57:57,041
and a lot of places
in Mexico right now.

531
00:57:57,125 --> 00:57:58,959
(upbeat guitar music playing)

532
00:57:59,041 --> 00:58:01,041
(music intensifies)

533
00:58:11,375 --> 00:58:12,709
(speaking Spanish)

534
00:58:30,125 --> 00:58:32,041
(Wendy speaking Spanish)

535
00:59:35,291 --> 00:59:36,458
(sniffles)

536
00:59:42,125 --> 00:59:45,125
(light jarana music playing)

537
00:59:55,542 --> 00:59:59,542
♪ ♪

538
01:00:04,959 --> 01:00:06,500
(Patricio speaking Spanish)

539
01:00:53,041 --> 01:00:54,208
(strums jarana)

540
01:01:07,083 --> 01:01:08,709
(strums jarana)

541
01:01:17,375 --> 01:01:19,375
Jorge:
When I was talking
to Patricio one day,

542
01:01:19,458 --> 01:01:21,166
Patricio Hidalgo,

543
01:01:21,250 --> 01:01:22,417
he mentioned one time,

544
01:01:22,667 --> 01:01:25,208
you know, um, Fandango...

545
01:01:25,875 --> 01:01:28,250
is the road of peace.

546
01:01:28,458 --> 01:01:30,625
The road of peace
in Veracruz.

547
01:01:30,709 --> 01:01:32,583
I never been to a Fandango,

548
01:01:33,083 --> 01:01:36,333
uh, either in
Veracruz or Tijuana

549
01:01:36,417 --> 01:01:39,333
or San Diego, LA, wherever.

550
01:01:39,417 --> 01:01:40,875
There is never violence, so...

551
01:01:40,959 --> 01:01:45,250
so it feels like--
like this Chaneques

552
01:01:45,792 --> 01:01:46,917
that we were talking about

553
01:01:47,000 --> 01:01:48,709
are protecting us
all the time.

554
01:01:48,792 --> 01:01:49,667
(laughs)

555
01:01:50,000 --> 01:01:52,917
(uplifting orchestral
music playing)

556
01:02:12,917 --> 01:02:15,625
(Patricio singing in Spanish)

557
01:02:44,083 --> 01:02:45,166
(laughter)

558
01:02:47,458 --> 01:02:48,959
-(applause)
-(laughter)

559
01:02:53,125 --> 01:02:55,834
(mini piano plinking)

560
01:03:03,041 --> 01:03:05,458
(speaking Spanish)

561
01:03:09,583 --> 01:03:11,333
(laughter)

562
01:03:15,333 --> 01:03:17,834
-(Patricio speaking Spanish)
-(laughter)

563
01:03:38,500 --> 01:03:40,208
-(chuckling)
-(applause)

564
01:03:44,917 --> 01:03:48,542
(gentle piano music playing)

565
01:04:02,333 --> 01:04:05,041
♪ ♪

566
01:04:08,917 --> 01:04:10,000
When you come here

567
01:04:10,083 --> 01:04:13,750
oddly you don't feel,
uh, sad.

568
01:04:14,375 --> 01:04:17,083
You feel a spiritual sense.

569
01:04:17,333 --> 01:04:19,834
And you feel empowered
on the human spirit

570
01:04:19,917 --> 01:04:23,792
because of how they've taken
what was an abomination,

571
01:04:23,875 --> 01:04:25,375
have turned it into

572
01:04:25,458 --> 01:04:28,291
something of the human
imagination and beauty.

573
01:04:31,208 --> 01:04:33,083
One of the musicians
yesterday

574
01:04:33,333 --> 01:04:35,667
said something
that was so heavy.

575
01:04:35,750 --> 01:04:38,291
He said this wall
is not dividing us,

576
01:04:38,583 --> 01:04:40,000
it's uniting us.

577
01:04:40,083 --> 01:04:41,083
Douglas Brinkley:
How do you think, Arturo,

578
01:04:41,166 --> 01:04:42,625
the music makes a difference?

579
01:04:42,709 --> 01:04:45,083
Arturo:
I've been traveling
as musician

580
01:04:45,166 --> 01:04:47,458
since I was 17 or 18.

581
01:04:47,792 --> 01:04:50,667
So I always considered
myself a borderless person.

582
01:04:50,750 --> 01:04:51,625
Yeah.

583
01:04:51,917 --> 01:04:54,208
Japan, Germany,
Korea, Russia.

584
01:04:54,291 --> 01:04:56,458
So, you don't really
think about the fact

585
01:04:56,792 --> 01:04:59,083
that there's passports
and borders and things.

586
01:04:59,166 --> 01:05:00,667
You become
accustomed to the idea

587
01:05:00,750 --> 01:05:02,625
that you belong
to all of this.

588
01:05:03,041 --> 01:05:06,375
And this is just...
This is an aberration.

589
01:05:06,458 --> 01:05:09,291
Douglas:
The thing that's odd if
you think about with, uh...

590
01:05:09,792 --> 01:05:11,875
Ronald Reagan

591
01:05:11,959 --> 01:05:13,625
who is considered the...

592
01:05:14,417 --> 01:05:17,291
paragon of
American conservatism

593
01:05:17,375 --> 01:05:20,500
talking about "Mr. Gorbachev,
tear down this wall,"

594
01:05:20,792 --> 01:05:23,208
and giving that
amazing speech in Berlin

595
01:05:23,291 --> 01:05:24,625
about fighting for freedom,

596
01:05:24,709 --> 01:05:28,291
and then you come
to the US-Mexican border

597
01:05:28,375 --> 01:05:31,583
and see an ugly barrier here

598
01:05:31,667 --> 01:05:33,709
of just metal jagging up

599
01:05:33,792 --> 01:05:37,125
and it kind of speaks against
American democratic ideals

600
01:05:37,208 --> 01:05:41,750
to be, I think, treating our--
our border zone in such a way.

601
01:05:41,834 --> 01:05:44,667
(soft piano and violin
music playing)

602
01:05:59,625 --> 01:06:01,625
(piano tempo increases)

603
01:06:08,709 --> 01:06:11,917
(music intensifies)

604
01:06:19,208 --> 01:06:20,792
(indistinct chatter)

605
01:06:20,875 --> 01:06:22,875
(Jorge speaking Spanish over PA)

606
01:06:24,542 --> 01:06:26,750
(people cheering)

607
01:06:38,250 --> 01:06:39,834
(woman speaking Spanish)

608
01:06:39,917 --> 01:06:42,041
(Jorge speaking Spanish)

609
01:06:43,208 --> 01:06:44,375
(cheering)

610
01:06:53,834 --> 01:06:55,709
(cheering)

611
01:06:59,333 --> 01:07:01,417
(cheering)

612
01:07:03,333 --> 01:07:05,458
(cheering)

613
01:07:06,583 --> 01:07:07,917
(cheering)

614
01:07:10,667 --> 01:07:12,709
(cheering)

615
01:07:14,500 --> 01:07:16,417
(cheering)

616
01:07:26,458 --> 01:07:29,667
(cheering continues)

617
01:07:37,417 --> 01:07:38,834
(cheering)

618
01:08:03,125 --> 01:08:06,542
-(Fernando speaking Spanish)
-Sí, bueno, bueno, bueno.

619
01:08:06,625 --> 01:08:08,333
(Jorge speaking Spanish)

620
01:08:09,834 --> 01:08:12,166
(Fernando speaking Spanish)

621
01:08:36,834 --> 01:08:39,083
(cheering)

622
01:08:39,166 --> 01:08:41,000
(strumming jarana)

623
01:08:41,458 --> 01:08:45,500
(singing in Spanish)

624
01:09:26,000 --> 01:09:28,542
(cheering)

625
01:09:31,583 --> 01:09:33,041
(laughs)

626
01:09:33,500 --> 01:09:34,917
(speaking Spanish)

627
01:09:35,250 --> 01:09:36,458
(Beto speaking Spanish)

628
01:09:40,166 --> 01:09:41,417
(Arturo speaking Spanish)

629
01:09:41,500 --> 01:09:42,333
(Ernesto speaking Spanish)

630
01:09:42,417 --> 01:09:44,250
(Beto speaking Spanish)

631
01:09:45,583 --> 01:09:46,834
(laughs)

632
01:09:46,917 --> 01:09:49,250
This has been a reality
for the last...

633
01:09:49,333 --> 01:09:50,458
What, 50 years...

634
01:09:50,542 --> 01:09:51,709
Fifty years.

635
01:09:51,792 --> 01:09:53,750
Having this thing here,
right here.

636
01:09:54,083 --> 01:09:55,208
It needs to come down.

637
01:09:55,667 --> 01:09:57,417
And this is gonna
bring it down, eh.

638
01:09:57,625 --> 01:09:58,875
Art, music, culture.

639
01:09:58,959 --> 01:09:59,875
It goes right through.

640
01:09:59,959 --> 01:10:01,041
Our music goes
right through.

641
01:10:01,125 --> 01:10:02,417
(speaking Spanish)

642
01:10:02,500 --> 01:10:04,417
-(Ernesto speaking Spanish)
-(Beto speaking Spanish)

643
01:10:05,542 --> 01:10:07,333
(laughter)

644
01:10:07,417 --> 01:10:08,166
(indistinct)

645
01:10:08,250 --> 01:10:09,125
High pinky.

646
01:10:09,208 --> 01:10:10,125
High pinky.

647
01:10:10,333 --> 01:10:11,667
All: High pinky!

648
01:10:11,750 --> 01:10:12,583
High pinky.
(laughs)

649
01:10:12,667 --> 01:10:14,500
(laughter)

650
01:10:14,875 --> 01:10:16,500
(speaking Spanish)

651
01:10:17,125 --> 01:10:18,250
Wow!

652
01:10:19,000 --> 01:10:21,083
(Jorge speaking Spanish)

653
01:10:21,166 --> 01:10:25,083
Jorge:
Every time you do that,
the wall shakes. (laughs)

654
01:10:26,667 --> 01:10:31,417
(ocean waves crashing)

655
01:10:33,750 --> 01:10:34,875
-(clapping)
-(whooping)

656
01:10:34,959 --> 01:10:37,417
(Arturo speaking Spanish)

657
01:10:59,417 --> 01:11:01,667
(applause)

658
01:11:06,166 --> 01:11:08,375
(cheering)

659
01:11:11,500 --> 01:11:13,542
(strumming)

660
01:11:15,542 --> 01:11:17,959
(peppy music playing)

661
01:11:33,625 --> 01:11:35,709
(singing in Spanish)

662
01:12:04,959 --> 01:12:07,583
♪ ♪

663
01:12:21,834 --> 01:12:25,250
(singing in Spanish)

664
01:12:50,500 --> 01:12:53,583
♪ ♪

665
01:13:19,375 --> 01:13:22,500
♪ ♪

666
01:13:41,125 --> 01:13:43,458
(music intensifies)

667
01:13:46,333 --> 01:13:48,667
(continues singing in Spanish)

668
01:14:02,458 --> 01:14:04,208
(inaudible)

669
01:14:22,667 --> 01:14:25,041
(singing continues)

670
01:14:47,500 --> 01:14:49,583
(tempo decreases)

671
01:14:56,709 --> 01:14:59,041
-(inaudible)
-(tapping feet rhythmically)

672
01:15:00,542 --> 01:15:02,208
(inaudible)

673
01:15:03,166 --> 01:15:05,875
♪ ♪

674
01:15:09,709 --> 01:15:12,959
(rhythmic clapping)

675
01:15:17,041 --> 01:15:19,083
(guitar joins orchestra)

676
01:15:22,500 --> 01:15:24,417
(string instruments
join orchestra)

677
01:15:24,500 --> 01:15:26,583
(tempo increases)

678
01:15:47,000 --> 01:15:47,917
(music ends)

679
01:15:48,000 --> 01:15:50,166
(cheering and applause)

680
01:15:55,458 --> 01:15:58,583
(waves crashing)

681
01:16:03,625 --> 01:16:06,458
(waves continue crashing)

682
01:16:30,125 --> 01:16:32,834
(indistinct chatter in Spanish)

683
01:16:36,166 --> 01:16:37,375
(speaking Spanish)

684
01:16:41,583 --> 01:16:43,667
(speaking Spanish)

685
01:17:12,625 --> 01:17:14,709
(speaking Spanish)

686
01:17:16,458 --> 01:17:18,083
(Fernando speaking Spanish)

687
01:17:18,166 --> 01:17:19,583
(laughs)

688
01:17:22,709 --> 01:17:25,041
(lively harmonica music playing)

689
01:17:25,125 --> 01:17:27,125
Kabir:
After Fandango Fronterizo,

690
01:17:27,208 --> 01:17:30,083
we coined this phrase
"The Fandango Doctrine,"

691
01:17:30,166 --> 01:17:33,208
which is all about
bringing the fandango

692
01:17:33,291 --> 01:17:34,750
to different places
around the world.

693
01:17:34,834 --> 01:17:36,500
And we thought,
what better place

694
01:17:36,583 --> 01:17:38,583
than our hometown of New York?

695
01:17:42,375 --> 01:17:45,333
♪ ♪

696
01:17:48,375 --> 01:17:50,750
(horns honking)

697
01:18:06,083 --> 01:18:07,542
(speaking Spanish)

698
01:18:45,041 --> 01:18:48,250
♪ ♪

699
01:19:02,333 --> 01:19:03,458
Wee-hee!

700
01:19:04,250 --> 01:19:05,792
(speaking Spanish)

701
01:19:12,417 --> 01:19:14,333
(Wendy speaking Spanish)

702
01:19:53,000 --> 01:19:54,792
(speaking Spanish)

703
01:19:55,667 --> 01:19:57,041
(speaking Spanish)

704
01:19:57,125 --> 01:19:59,166
(speaking Spanish)

705
01:20:08,041 --> 01:20:10,709
(singing in Spanish)

706
01:21:12,959 --> 01:21:15,875
(slow guitar music playing)

707
01:22:02,792 --> 01:22:04,333
-(music ends)
-(applause and cheers)

708
01:22:11,542 --> 01:22:14,000
(guitar solo)

709
01:22:18,000 --> 01:22:21,000
(upbeat music playing)

710
01:22:32,583 --> 01:22:35,625
(singing in Spanish)

711
01:22:57,458 --> 01:23:01,709
♪ ♪

712
01:23:06,500 --> 01:23:09,333
(speaking Spanish)

713
01:23:20,667 --> 01:23:24,083
(Patricio singing in Spanish)

714
01:23:58,417 --> 01:23:59,583
Man:
Arturo!

715
01:24:00,083 --> 01:24:01,291
(speaking Spanish)

716
01:24:01,917 --> 01:24:04,375
(uplifting
melodica music playing)

717
01:24:04,792 --> 01:24:07,166
(applause and cheers)

718
01:24:30,417 --> 01:24:33,500
(Jorge singing in Spanish)

719
01:25:12,500 --> 01:25:13,583
(audience cheering)

720
01:25:13,667 --> 01:25:14,834
(speaks Spanish)

721
01:25:14,917 --> 01:25:18,125
-(jazz funk music playing)
-(rhythmic clapping)

722
01:25:20,709 --> 01:25:22,291
You're welcome to dance.

723
01:25:24,792 --> 01:25:26,834
(lively orchestral
music playing)

724
01:25:40,000 --> 01:25:43,250
(singing in Spanish)

725
01:26:33,333 --> 01:26:36,583
♪ ♪

726
01:27:42,166 --> 01:27:45,834
♪ ♪

727
01:28:06,458 --> 01:28:08,125
(speaking Spanish)

728
01:28:31,458 --> 01:28:32,625
(cheering)

729
01:28:32,709 --> 01:28:33,750
Whoo!

730
01:28:33,834 --> 01:28:36,834
(music crescendos)

731
01:28:41,709 --> 01:28:43,709
-(music ends)
-(audience cheering)

732
01:28:57,792 --> 01:29:00,792
(slow jazz music playing)

733
01:29:03,417 --> 01:29:06,083
(tempo increases)

734
01:29:10,709 --> 01:29:13,375
♪ ♪

735
01:29:14,792 --> 01:29:17,959
(Mandy Gonzalez singing
"Amor Sin Fronteras")

736
01:30:30,667 --> 01:30:33,166
(singing continues)

737
01:30:41,500 --> 01:30:43,792
(fast-paced
violin music playing)

738
01:31:34,792 --> 01:31:36,917
-(whoops)
-(cheering)

739
01:31:45,875 --> 01:31:48,709
(continues singing in Spanish)

740
01:32:54,625 --> 01:32:55,959
(music ends)