Bonus Episode: La Faraona of Agua Caliente

S1: Hey , everyone who wrote this here producer report. We have a bonus episode today. A special Halloween edition. With me are the host of the show. Alan , the Golem of goldenrod. Lilienthal. Howdy.

S2: Howdy.

S1: And Natalie , the witch of Buena Vista. Gonzalez.

S3: Yes , it's me.

S1: On the board is technical producer and sound designer. Adrian. Adrian. Sorry. The werewolf of Chula Vista. Villalobos. Oh. Today we're kind of shifting gears a bit and adopting a different format. I will basically be sharing a tragic story and scary , of course , from Tijuana folklore , and we'll get to comment and react our story , you may ask ? Um. According to legend , the dancer who was involved in a supposed crime of passion that still haunts the grounds where the tragedy took place.

S3: Ah , so la cabeza.

S2: Well knows the answer without a head.

S1: So it's not like the the dancer without the head , the beheaded dancer. But it's just the. It's supposedly an apparition of a woman who used to be a dancer , a famous dancer. Uh , so we'll talk about the folklore , the person , the social historical context around her and , and what happened and the significance of the story to help us understand fact from fiction , I enlisted the help of Fernando Escovedo , a researcher and historian of Tijuana who has dedicated his career to understanding the history behind the folklore. We will also be hearing from Ursula mansour , an actress and researcher who was dedicated a good part of a decade to impersonate La Llorona. But first , the opening credits Chico's Take It Away from KPBS.

S2: This is Port of Entry.

S3: Where we tell Crossborder stories that connect us. I'm Alan Lilienthal and I'm Natalie Gonzalez.

S2: Nats hula artist. Franco. Yes.

S3: Yes.

S1:

S2: You are listening to Port of Entry.

S1: Folks will come back to our Halloween special , where we will be diving into one of the most famous legends and kind of demystify the story. There was Calientes that was the Agua Caliente Agua Caliente system.

S2: No.

S3: No. Me neither. I mean , kind of , but only , as we mentioned earlier. La cabeza , the dancer without a head.

S1: Okay , well , the story is shrouded in mystery , intrigue and tragedy , but the tale has more to say about the city , the times and human nature than about the actual legend itself. But by all accounts , it is a tragic story that I think is a sad story. So to note , all the sources had slightly different takes on who was from who she was to who actually killed her. Mhm. First , what was the first source ? Well , it was an anthology at Tijuana in which she compiles the one of the most important folktales and legends. She is credited with putting together all of the oral stories in writing for and forever shaping the imagination of Tijuana's future generations. Second is Fernando Escobedo , 81 , a historian researcher who shared his research about the life of Esperanza Padilla , the woman behind Lazzaroni. Fernando is putting together a documentary with the producers of the El Tiempo , a YouTube channel dedicated to put forth Tijuana's folktales. We will be linking those videos in the description. Lastly , a little footnote by Ursula mansour , a Tijuana actress who dedicated much of her life to impersonating Loughren. But for those who haven't heard the legend or the tale of La Fauna , let's get into that. The legend is written by Sarabia and translated and retold by yours truly. The story takes place in Tijuana's golden age. Tijuana , back then was something like America's Monte Carlo and attracted American celebrities , Mexican politicians , diplomats , gangsters and gamblers alike. During the 30s. The cream of the cream. For those who don't know , the former spa resort hotel in Tijuana was built a type of natural hot spring. It used to be beautiful. Imagine something like Palm Springs , but with water. That area is now a high school. In the middle school , after the government policies shut down gambling in Mexico in 1935 , many students and faculty members over the last 80 years report the haunting of a woman floating just slightly above the ground. That ghost is La Corona , according to legend. So who was she was a performer , a dancer , and one of the more popular floor shows in the hotel. She was supposedly known as being somewhat of a good luck charm to keep up by your side , as you were gambling in tables and casinos. She had many admirers and many , many suitors , which gifted her a lot of wealth in the form of diamonds and jewelry. But according to Rebecca , she fell in love with an Englishman with whom she started a relationship , an unrequited love. In this relationship , Some say he was an investor. Others say he was a dealer. Others say a bootlegger or an alcohol smuggler. In other accounts , he was a member of Al Capone's mafia. Yet in all the stories , it all ends in tragedy. He promised her a life full of love and to grow old back in England. But as the story goes , he was only using her for good luck and was never planning to marry her. According to Becca , she would hand him her earnings and gifts that she would get from the admirers for safekeeping , which he would store along with his winnings and inside a leather chest. Soon , she realized his true intentions and realized she was going to leave her high and dry to take the loot with him back to England. Some say it's because she saw him with another woman. So Rebecca recounts that a groundskeeper , soccer one rainy night , leave her bungalow with a leather chest and a gun. According to her book , Lafarge saw that the Englishman was packing his belongings in the chest , in the closet and lock the closet door with the key which he placed under his pillow. She tried to get one step ahead of him by taking the loot first , after she saw him in a deep sleep. So she took the closet key from under his pillow and took the chest outside to bury or hide in the west part of the hotel near the minaret , and tossed or bury the gun along with the chest. An hour or two passed after she came back empty handed and completely soaked in rain. The legend says that when she came back into the bungalow , the Englishman was startled by the noise and woke up to the realization that the closet was open and the chest was gone. In a fit of rage , he looked for his gun , but noticing it was also missing. He lunged at her , beat her , and tried to strangle her. But because she was the only one that knew where the loot was , he let go and threw her against the bed. She laughed in pain and sobbed in the bitter realization that he did not love her. As they both come down , she poured a glass of wine for both of them , as well as a vial of poison split among the two glasses she had hidden in her robe. The unsuspecting Englishman took the glass and they both drank. Minutes later she collapsed. As for the Englishman , he started feeling sick and ran out , yelling that he was poisoned to get help , which he did and was saved. He was never seen again. Legend has it is that the owner's body was buried to avoid any scandal that might discredit the resort in which she now haunts to this day. That's Chico's. Do any of you know any people who might have come across hauntings ? No , I don't.

S2: Have any superstitious friends. I just cut them out of my life.

S3: Oh , okay. Well , I'm superstitious , just so. You need to cut me out of your life. Sometimes I'm superstitious. No , I think my my dad went to Lazaro Cardenas High School , and maybe he has some stories , but nothing that I know of.

S2:

S1: But it's not of my recent generation. But I know of people like from older generations that have a grandparent or a parent that have seen her.

S2: So she's she's she's been in hiding for for a few generations. I don't think she's.

S1: Hiding , but she's definitely haunted some people over the , over the years. But anyways.

S3: Or maybe she's just very selective.

S2: Or maybe not that people.

S3: Have you.

S2: Maybe not that people have phones and cameras.

S3: She's she's like , no pictures please. Yeah. Yeah , probably. Okay.

S1: Okay. Moving on. Like many legends , facts are intertwined with myth. And to help us tell each other apart , we enlisted the help of Fernandez Cabrera. Fernandez Quevedo is a Tijuana historian researcher , and he shared his findings and research that he and a colleague of her are finally showing a forthcoming documentary of the life of Esperanza Lopez Padilla , the woman behind the Corona. I met him in the old grounds of Oakland in Bungalow 21 , the supposed place of her death. We were also accompanied by Jose Barajas , the current owner of the bungalow and manager of the museum. Professor Barajas has taken on the task of restoring the bungalow and putting the museum together. We sat on the porch of the bungalow and across from us was a mural dedicated to La Verona , whose motto actually is Ursula mansour , the actress who's a friend and colleague of Fernando. Adrienne. Please note the clip.

S4: The legend of Arizona is a very complex thing to try to explain in such few time , but we can say that there's two two ways to explain the story of the legend and the real life of Esperanza Lopez Padilla , who was the origin of the legend , sort I took the real story and transform it into a legend , or took the different parts of different memories from students from the school , from the Lazaro Cardona School , from the Technical Industrial School of Tijuana and the teachers and transform it into a legend.

S1: So guys , this interview happened at the bungalow were supposedly she was murdered. Whoa.

S2: Whoa. Okay.

S3: Okay.

S2:

S1: Like , not at the porch when I was interviewing Fernando , but definitely when I went inside into her , um , supposedly , um , room , which was had all sorts of different clothing and just little.

S2:

S1: Her clothing , but I mean clothing , women's clothing from the 1920s. And so it's.

S2: Like , dress it up.

S1: It's super creepy. And so the flooring was the same and the lamp the same from that age , from that , from the original bungalows. So Fernando retold the story , but he told it in Spanish and so I translated it. We're going to retell it , and Alan is going to do the honors of retelling the story.

S2: Esperanza Lopez Padilla met a violent end due to the actions of her newlywed husband , Rodrigo Prieto Dominguez. Their initially warm and normal relationship rapidly deteriorated following their union , as Rodrigo's jealousy became clinically obsessive. Rodrigo's personality and actions seemed to reflect deep troubles , as hinted by his manipulative decision to marry Esperanza under the guise of protecting her from another man , a high ranking official at Agua Caliente who he claimed was pursuing her. His paranoia and manipulation pointed to a troubled mind , but the violence of his actions marked a dark chapter in the stories of Agua Caliente. Married for just a month and a half on a fateful day after consuming half a bottle of tequila at a downtown bar. Rodrigo returned to their separate bungalows in Agua Caliente , where they'd been living apart because of his uncontrollable jealousy. In a fit of rage fueled by his insecurities and intoxicated state. Rodrigo fatally shot Esperanza five times with shots to her stomach , both shoulder blades and her heart , completing an almost symbolic cross in a chilling aftermath. Rodrigo , realizing the gravity of his actions as he watched Esperanza dying , was overwhelmed with remorse. He confessed to a colleague in the hotel kitchen that he had killed Esperanza , and subsequently turned himself into the police. Detailing the tragic events.

S1: A tragic death both in legend and reality.

S2: And that's called Rodrigo.

S1: Dan , this. This guy. Obsessed , I mean , Jesus , come on , Mexican man. What are we doing ? What are we doing ? Yes.

S2:

S3: But , like , how do we even know that he was overwhelmed with remorse ? Like , how do we even know that ? Who was there ? Apparently.

S1: Is that he went and , uh , he handed himself to the jail. To the to the policeman. Well , and so you said he felt guilty.

S5: Um , yeah. If you didn't , he.

S2: Would have just ran away. Exactly.

S1: Which is what the legend says , that.

S2: He's like , I need to be punished.

S1: But the legend says , I mean , he he was poisoned , but he survives. And then he he gets out of town. Yeah , and nobody knows about him. But in this one , um , you know , the reality is , actually , he turned himself in and , um. Yeah , that's that died.

S2: In jail , probably. Yeah.

S1: Yeah. So , um , so , yeah , but we kind of trying to figure out is what was going on in the during that time. I mean , how did Esperanza get there ? I mean , what attracted her to what you will get to that after a short break , guys will come back to the port of entry. We're talking about La Farren. So what was going on in our during that time , and what attracted exponentially was Padilla , aka La to Caliente. To help us understand this , Fernando Escobedo shared his findings. Okay.

S4: Okay. Esperanza was a girl born in 1910 , in Los Angeles , in L.A. , California , in a family of three girls and two boys. All of them were involved in entertainment. All of them were dancers or musicians. And they started dancing over there in Los Angeles in different Latino theaters the Hidalgo Theater , the Mexico Theater , the California Theater , the $1 Million theater , the different parts of L.A. where the Latinos could entertain and work. So by 1933 , Esperanza Lopez was chosen by the people here in Agua Caliente because of the trajectory , their experience as a dancer. She learned at the high school , at her high school in James Garfield High School in Los Angeles and then went to a theater company directed by Elena Landau , a very famous artist from Monterrey , Mexico , and she started learning a lot of the business. Right ? Entertainment. And that's the way she started. She was picked up by the people of Agua Caliente to start us at the floor show in 1933 , the late 1933 , November , December and until her death in March 1934. She really didn't stay here a lot of months , a lot of time. But her story transcended the frontier , the border , the generations and the border. You could find the Esperanza Lopez story in in Chicago Tribune , in the newspapers , in New York City , in the L.A. times , many parts of the US and in other countries.

S1:

S2:

S1: Like some say that she was from Sonora , and then she and others say that she was coming from Sonora. Fernando's finding says no , that she was born in L.A. , went to high school in L.A. , and then because of the theater companies that were going down there , she got the lead to come down into Tijuana. Wow.

S2: Wow. So she left Hollywood to come to Tijuana to try to make it as an actress.

S1: Because Hollywood wasn't Hollywood back then.

S2: That wasn't.

S3:

S1:

S2: It was the beginning of Hollywood , the.

S1: Beginnings of Hollywood. But Mexico was going through that golden age of seminar cinema , just barely starting. And so you had this beautiful landscape in Tijuana. So we were just coming in like again , come here to party , to relax.

S2: To drink alcohol because they couldn't in the States. Yes. And.

S1: And. Yeah.

S2: And what better way to network with some alcohol in Mexico. Exactly.

S1: Exactly. So she was looking for her plug.

S3: That's a way scarier story trying to make it as an artist in Taiwan. I'm saying it because I'm an artist in Tijuana. I know , I know the struggle.

S1: So yeah , dude , it's a shame and a dark fate trying to look for a plug. And if anything knows about , you know , the big an artist in Tijuana. Isn't that right ? Yeah.

S3:

S1: Being an artist.

S3: Well , that's that's a whole different Halloween story. So.

S1: So. Yeah. So there was a lot going on in Tijuana back then , guys. Mexico was going through that the start of the golden age of cinema. And so people were getting people from from Mexico City , from different parts of , of , of the US were getting attracted to come into Tijuana at that time. Adrian , please told the clip.

S4: Tijuana was in the 1920s around the context of the drug laws in , in the US right , the Volstead Act that prohibited the drinking beverages , alcohol , beverages , and Tijuana was free for from that kind of policy. So they started building up an industry or an industry tourist industry around around the industry of alcohol and entertainment , right , like you have right now in Las Vegas. But how and how Caliente and Tijuana was like the first experience that the first example that that happened later in in Las Vegas , right. There was a casino since 1928. There was a casino where there were many casinos in Tijuana , the first casino in Tijuana in 1915 , the Tijuana Fair. Then you had the Monte Carlo Casino right in front of the border , besides the first racetrack of Tijuana that was built in 1916. And by 1928 , in in June the 20th 3rd of June 23rd , 1928 , Caliente was inaugurated and lasted until 1935. June 1935 , when it was closed by the policies of the Mexican government , federal Mexican government of Lazaro Cardenas that prohibited the playing of the games. The games in the in all of the of Mexico , in all of Mexico , especially in Tijuana. We can say that Tijuana was the first massive tourist attraction for the US in all of the world , because Canada in Europe wasn't a massive kind of of tourism for the US in those years. In 1920s , Tijuana was like the first city that attracted citizens of the United States to visit about abroad , abroad. The use of the cars was very important in that because the course was invented in the early 20th century , and they started traveling across the United States. And the first place that they were , they were attracted to and another country to cross the border of the US was Tijuana. Tijuana. You can you could see Tijuana in the 1920s , in music , in songs , in Broadway , in Ziegfeld Follies , in the name of cities in California. Movies. Also movies. Many movies were done in Tijuana in the 1920s , so it was like a phenomenon. Tijuana was a phenomenon , a massive phenomenon that attracted us entertainment and tourism.

S1: So you mentioned that it was a the Agua Caliente was a hotbed or a hot spot for many powerful producers. Yes.

S4: Yes. One of them was one , like an owner of Agua Caliente. Joseph Schenck or Joseph Schenck , the daughter of Fox. 20th Century Fox , the first director , second director of United Artists , represented a representative of many artists that worked with him like Charlie Chaplin , like Douglas Fairbanks , like Mary Pickford. The best , only the best of the of those years. And he was the one of one of the businessmen that had more actions in our client. And also he was the president of the Jockey Club of the racetrack. So he had a lot , a lot of power in our client. And he worked very closely to Baron Long , another of the first owners of our client. We can say that Joseph Schanke was in our client since the 19 , since 1928. He wasn't in the papers in the first document of our client as a company , but he was very important shareholder.

S3: Okay , so there were crazy times when I was living in Taiwan.

S1: Crazy busy partying time.

S3: And I wished I could go back to those times of fame. I would appreciate it as an artist , but I also think it's horrible. That was just like pursuing her dream and she ended up , you know , death. Yeah.

S1: I mean , she was looking for the dream. Just like. Like. Like Rita Hayworth. Like for another dimension. And so she was just trying her luck. Kind of like a springboard for.

S4: The people in Agua Caliente. Were owners of a theater in East L.A.. In Los Angeles , the theater was called Mexico Theater. Enrique Martinez was the accountant of our caliente. And maybe I don't have the story , the whole of the story of the theater , but I think they used that to bring some of the talent of the Mexicans , the Latino part of the entertainment in Los Angeles , to bring it to our Caliente. And you can see they were very intelligent people in business , like people to bring a very positive reaction to the business that they were building.

S1: It was the connections that moved between Tijuana that if you think about it , you're an artist trying to make it big and you know that anyone who's anyone will be there in. So Esperanza was looking for her chance. Just like any other , you know , struggling artist. Which in turn makes the Esperanza story tragic. Again , it's just that girl , that person trying to make her dreams work and then interrupt it because of an obsession of a man. And somehow , along the way , the story gets distorted , in which the killer makes it out alive and kind of makes him look good going on.

S3: I mean , I don't even know what to say. Magically.

S1: Magically.

S3: And kind of. Yeah , like I'm used to it. Yeah.

S1: Yeah. It's just so sad just how the story gets buried and sent and the facts can just completely go overlooked. And with this throwback , Rodrigo Prieto did just completely overshadows like the intent of Esperanza. And she's trying to become that better person. Well Anyways , so one thing that I wondered is what impact was Sohrab has work and I guess the collective imaginary of Tijuana's generations and and what Fernando feel about it. So let's have a listen. Oh , so what is so all of the this the folklore of Esperanza is captured by Sohrab. Tell us about the significance of.

S4: Such an important document of such an important book , because it permitted that the legend went on and attracted the attention of different generations like me , 100 , almost 100 years later , almost 100 like 90 years later. Okay , so if no one wrote about the legend of Arizona and speaking about the story of Esperanza Lopez , not exactly as it was , but as a legend , maybe we weren't. We won't be talking about this right now. And I think this could lead to many historians and myself to understand the presence of women in the history of our client and Tijuana , because even if we don't like it , we as historians , we can see through a window of a tragedy , because a tragedy hits many spots and picks up a lot of names of people. And the story of a place like Agua Caliente is , you can see it , you can be , you can , you can have a look right at the moment when Esperanza was working. And that's why the that's the reason why I started investigating all of the floor shows and the dancers and the because of Esperanza Lopez. If if Sarabia hadn't written that legend , I wouldn't be in. I wouldn't be writing or investigating about the others , the other girls and the other singers and the other musicians of Agua Caliente and Tijuana. I really think that the history of Tijuana is like laying off the experience , previous experience of many of the people that came to Tijuana , like only speaking about the discourse , the legend , the black legend of Tijuana. And that's all like , that explains everything. But you don't see the personal experience , genealogy , the work experience , the relations of their ancestors , their parents , their brothers or sisters who they were. And if you see everything , if you see it as a whole , you can understand better why they came here , the good and the bad , everything.

S1: What Fernando does , I think is great because he kind of paints Esperanza as a complete person , you know , not just that scary story that we hear.

S3: That's what I was going to say like that. It's I think it's interesting the like , I kind of knew this story when I was a kid , but it's just like the dramatic story of , like , the dancer without a head , but like the relevance of that story when I was a kid was just the fact that she was a ghost hunting people. But like , the reality is that it's a horrible story of a femicide. Exactly.

S6: Exactly.

S1: So let's say if you if you were walking across Lazaro Cardenas on a rainy night , Natalie , I.

S3: Would never do that.

S1: Say you did. That.

S3: That. Let me just just say something real quick. I'm. I'm a very superstitious person. And , uh , and when I drive around Lazaro Cardenas at night , like , I don't , I don't turn my head like to to look at the , at the , at the high school because it's just like , I get scared , really , because I grew up thinking , like this. This was weird when I was a kid. Like , I grew up hearing about Latinos in Cabeza and like , just like that whole area of our work. I just think , like , it's super creepy.

S1: Oh my God.

S3: And thank God I didn't go to Lazaro Cardenas. If you say if.

S1:

S3: I thought you were just like a ghost. There's , like , so much behind your story. And I'm glad that , well , we're gonna get into it , but I was going to say something about the actress. Um , but we haven't talked about that. Well , actually.

S1: It's a good segue. We're going to hear from Ursula mansour , who immerses and educates audiences of all ages about the folklore and Barca.

S7: Hi , I am Ursula mansour. I am an actress , scriptwriter and storyteller in Tijuana. The people call me the Pharaoh because I've been playing the character of the Agua Caliente dancer for many years. I began researching this character When I was starting at junior high school , La Poly and Lazaro Cardenas High School , where the girls appears and I participate in the history fair. I made my first adaptation when I was starting at the Book Center for Young Readers at the California State University , and the first time that I performed it at the Binational Border Festival in 1997 , I've been invited to present my performance to history fairs , Tijuana San Diego festivals , and to high schools in Tijuana. The legend of the missing dancer arose at the time of the casino , but now it is still in the schools because in 1935 the casino was closed and President Cardenas turned it into a school center. People knew was that a dancer in a white dress would appear. Then they imagined her as a ballet dancer , but she was a flamenco dancer because she danced in the Andalusian courtyard. Patio , Andalusia. Of the Agua Caliente Casino. This shows where an idea of Old Mexico that the owners barons of the border promoting in tourism. And the same is reflected in the architecture of the Agua Caliente Casino , the Californian missionary style , and the Moorish style of Andalusia , the south of Spain , the part dominated by the Muslim and which have our client the spa , look like the Alhambra Palace. There are still the minaret , the mosque wall and the bungalows. That's why there are many postcards from the time with different flamenco dancers. Rita CanSino , the famous Rita Hayworth , shared the stage with Verona. I am a flamenco dancer and that's why that includes flamenco in my adaptation , which I published in my book as Book as Book in 2004. I included this urban legend because I visit Schools. We then showed dancing flamenco with a live guitarist. It has been a great contribution for the new generations to know that she was a flamenco dancer. I base it on a jazz version from her book Narrations and Legends of Tijuana. This version talks about how the flamenco dancer fell in love with an English baron who murdered her because of ambition , and made a romantic version and keep the ending where she puts poison in the wine. I remove the bloody part and rescue the historical context. It is the most well-known legend of Tijuana. By they only know the horrible , ghastly part. And they don't know her. True story. That's why I consider it creating an image for this character. The only document that a dancer was murdered at the time , is in the magazine El Detective International by Professor Joaquin Aguilar. The magazine features a passionate drama in Agua Caliente and refers to a dancer , Esperanza Lopez. Shot that by Rodrigo , a cashier of the cafeteria. So we can deduce that she's the dancer who generates the flame. There is another testimony that mentioned that her name was Anita , and for many years she was confused when another character. Now I am preparing a film and my job is to recreate the character. Flamenco dancers , even if they come from Hollywood or were born in Spain or had been taught by someone in their family. It is a family dance tradition of Gypsy origin. She was also a gypsy , and her name and her culture are closely related to magic. My contribution is to recreate the legend in what has been generated in the collective unconscious and perpetuate it to create an emblematic image for history , because that's what gave us identify.

S1: So yeah , another tick of this , right ? According to Ursula , she was , uh , she had gypsy , um , inheritance. I'm not quite so sure about that. Or Fernando doesn't mention didn't mention that. But I mean , again , it gives to show you that there's different , different versions , uh , different takes. And so each person just kind of like , fills in what they think about the story. Yeah. Now you were going to say something about , um. Ursula.

S8: Ursula. Ursula.

S3: No , I was just going to say that I think it's very interesting and I admire what she's doing , and I like that she's doing that because I guess it's like , I don't know if I could do it. Like , I would feel like it's a lot of One's ability to interpret. You know , the life of of of someone who had that tragic story. But I admire Ursula a lot for doing that , and I appreciate it , too.

S1: I guess it's it's a great vocation just trying to move around the city or different parts of the country just to teach people about this story. And what is the folklore of Taiwan ? Mhm.

S8:

S1: I like and also if you guys are interested in catching one of her shows , I mean we will definitely be linking her socials so you guys can check it out. Um , and last comment. Not no no guys this is uh was it this is a laugh around the history of the deceased murdered dancer from Taiwan.

S3: Or if you're a Taiwan from my generation , the real story of ballerinas in the sense that we grew up.

S1: The dancer , the beheaded dancer. Yes , guys , this is all for your story. I'm sure this is them. Yeah. So this is our Halloween special , and I hope you enjoyed it.

S3: This episode of Port of Entry was written produced by Julio Cesar Ortiz Franco.

S2: Adrian Villalobos. Technical producer and sound designer.

S3: Lisa Morrissette is director of audio programming and Operations.

S2: This program is made possible in part by the Corporation for Public Broadcasting , a private corporation funded by the American people.

S9: This project was also made possible with support from California Humanities , a nonprofit partner of the National Endowment for the Humanities. Visit Call home. Org.

S2: I'm Alan Lilienthal and.

S9: I'm Natalia Gonzalez. Nos vemos pronto.