Read more about the episode here.

This is Latino USA. The radio journal of news and cultura.

It’s Latino USA. Welcome to Latino USA. 

I’m Maria Hinojosa. 

We bring you stories that are underreported, but that matter to you. Overlooked by the rest of the media. And while the country is struggling to deal with these problems. We listen to the stories of black and Latino students.

A united Latino front. A cultural renaissance. Organizing at the forefront of the movement. 

I’m Maria Hinojosa. 

No se vayan. 

Eugenio: Every time they need a gang member, call a Latino, a narco, call a Latino. 

Maria: An abuser.

Eugenio: A murder, an abuser; call a Latino. 

Maria: A poor downtrodden immigrant refugee. 

Eugenio: Call a Latino. And we are more than that. 

And I was always fighting for that. I promised myself if I am able one day to produce my own movies in the U S I’m going to try to change that narrative.

Maria: From Futuro Media and PRX, it’s Latino USA. I’m Maria Hinojosa. Today Mexican actor and comedian Eugenio Derbez gets serious. 

Maria: Eugenio Derbez is one of the most famous Mexican artists and comedians of our generation, and though we do not like to do comparisons, in case there’s someone who knows nothing about Eugenio Derbez, he would be the equivalent of Steve Martin, for example, unable to walk down the streets of Mexico City without getting recognized.

Maria: He is an actor, a writer, a director, and a producer. He got his start at the forefront of many comedy series that have made families laugh for decades on television. Some of them include “Al derecho y al Derbez”, “Derbez en cuando”, and “La familia Peluche”, you can still catch some of Eugenio’s shows on reruns [00:02:00] today. 

Eugenio isn’t only famous in Mexico, though. He’s a well-known name across Latin America and in many Spanish-speaking households right here in the U. S.

Person #1: Yo pienso que Eugenio Derbez es el mejor. 

Person #2: I’m a big fan and I like his range, and the growth that he has done since he first started. He’s making Mexico proud. Ídolo de México, ídolo de todos en Latinoamérica.

Person #3: Best donkey. 

Maria: That’s right, you might recognize Derbez as the voice of Donkey, in the Spanish language version of the Shrek movies. He wrote his own jokes for the role, and some say his version is even better than the original English version. Oh, wow! 

Eugenio: ¡Eso sí que asusta! Y si el rugido no funciona tu mal aliento seguro los desmaya. Necesitas unas pastillitas de menta, porque el hocico ¡te apesta!! 

Maria: In recent years, Eugenio has reinvented himself in the US. A process that was not easy. While he was a mega star in Mexico, he was just some guy [00:03:00] named Eugenio in Hollywood and in the United States. So, he seized the opportunity to completely transform his career by becoming a dramatic actor. A big opportunity came knocking with the movie “Coda”. He played the supporting role of a music teacher.

Eugenio: Do you have something to say? 

Eugenio: I think so. 

Eugenio: Good. Then I’ll see you in class. Go. 

Maria: “Coda” went on to win the Oscar for Best Picture in 2022. 

Maria: Now, Eugenio Derbez has returned to Mexico to star in “Radical”. His first leading dramatic role.

Maria:: In the movie, again, he plays the role of a teacher. His name is Sergio, and one of his students is Paloma Noyola, a brilliant student with a lot of potential.

Maria: This time, the film is based on a true story. Here now is my conversation with Eugenio Derbez. We talk about his work, his drive, and how he keeps his feet on the ground. [00:04:00] 

Maria: I’m really happy that you’re here, Eugenio. 

Eugenio: I’m very happy to finally meet in person. 

Maria: So, Eugenio, we interviewed you in 2013, in 2017. And now you’re back again, so, that doesn’t happen a lot on Latino USA. I was thinking about this. 

Maria: You’re an artist that I respect. 

Eugenio: ¡Ay, gracias, Maria! Que linda. Thank you very much for your kind words.

Eugenio: Thank you! 

Maria: One of the things that, that we’re going to talk about in this interview is the notion of reinvention. 

Eugenio: Yeah, absolutely. 

Maria: I wanted to talk to you a little bit, going back to your 2017 interview. Where you talked about leaving todo lo que tienes behind in Mexico, all of the fame. You cannot walk down a street in Mexico without being mobbed.

Maria: Now that you have a little bit of distance, right? The time that you left Mexico to move to Hollywood, the successes that you’ve had. But, can you go back to those first [00:05:00] days where you were like…¡Me voy! And I’m going to move to LA and start all over again. Do you remember those emotions? 

Eugenio: Absolutely. It was hard to process because back then, every time I was traveling to the U S for a meeting with an executive producer, for example, in Hollywood and you know, at the airport, they were like. Mr.Derbez here, there, and the whole entourage around me. Paparazzis, blah, blah, blah. And then as soon as I landed in L. A., it was just me carrying my luggage, asking for a taxi, you know, then arriving to the producer’s offices. And they don’t even know how to write my name or pronounce it. They were like, well, can you write it down and then sit down, wait?

And they kept me waiting there for a half an hour. But that helped me a lot to understand that. Como que me puso los pies en la tierra. Put your feet on the ground. 

My feet on the ground, because I was aware that I was not more than anyone else. [00:06:00] Just that in one country I was trendy. Super famous. Super famous.

Super famous. And in the other one it’s just a human being. That’s it. 

So, it was really hard for me to process that. But at the same time it was very, I enjoyed it a lot. It was like living in these two worlds, sometimes in the same day, so it was a very curious experience. 

Maria: One of the things that has happened in your time here in the United States, because it’s been what, a decade now? 

Eugenio: A decade now. 

Maria: Okay. So when you move to the United States, you’re breaking out of the comedic box and you’re doing work that is increasingly more serious, right? So what you do is that when you move to the United States, you form your own production company. It’s called Tres Pasos?

Eugenio: 3Pas. 

Maria: No me digas, ¿tripas? 

Eugenio: Tripas. 

Maria: ¿Ya viste? I’m really getting schooled by you, man. I want, tripas. Oh my god!

Eugenio: You guys, so it’s T-R-Three-P-A-S. Three in English, and then pass. Oh, and because it’s a bilingual company, we decided to do that. And tripas is guts because every important decision that you’re making in your life is with your guts, with your tripa.

Maria: Oh my god! Is that cool. So part of your ethos, right, of actually trusting your gut is that you say yes to playing the role of Bernardo Villalobos in “Coda” about a community that is set aside. The deaf community. 

Eugenio: Yeah. You know what Bowie said about Bob Dylan? A voice like sand and glue. There are plenty of pretty voices with nothing to say.

Maria: Do you have something to say? 

Eugenio: Then in 2022, Coda wins the Oscar for best picture. An extraordinary moment. 

Maria: So óyeme, Eugenio, when you’re just like, Oh my God! I’m on the stage at the Oscars. What was that moment like? 

Eugenio: It was the most unbelievable thing ever in my entire life. I mean, first of all,  we didn’t expect it, at all.

And I swear, and let me tell you why, it’s easy. 

We were a small independent movie, but you know, not big commercial Hollywood names and the other movies were full of them, like, Leonardo DiCaprio and Jennifer Lawrence. The other one was like Meryl Streep. Another one, uh, Al Pacino. Another one, Adam Driver, Lady Gaga.

I mean, we were against the biggest Hollywood actors ever. So I was completely sure, completely sure, we’re not going to be able to win any. I mean, there was a part of you that was like, Oh my God, wouldn’t it be cool if that happened? But it’s never going to happen. 

But I was, I swear, I’m not kidding. I was a hundred percent sure that was not going to happen. So I was actually enjoying. 

Yeah. You know, when you’re in a show and you’re always nervous, ah, what if this, what if that, I was completely relaxed. 

It’s never going to happen. 

It’s never going to happen. So, and all of a sudden when they said, and the winner is Coda. I, I, I don’t even remember what happened there.

It’s like blurred in my mind. I just remember that I’m on stage already with them and remembering that since I was eight years old, every single year, I was always watching the Oscars with my mom and I was always dreaming. 

I was always telling my mom, I want to do that. I want to be a storyteller. 

Maria: Ay qué lindo. So you didn’t say, I wanna be famous.

Eugenio: No, no, no, no. 

Maria: En español. 

Eugenio: Mamá yo quiero dedicarme a eso, contar historias, como en las películas en Hollywood. ¿Cómo le hago para llegar ahí? Y… 

Maria: Because I, so many people are just like, I wanna be on the stage ’cause I wanna be famous. 

Eugenio: No, no, no. It was, it was not about fame, it was about movies. I love going to the movies, theaters and my mom and I, we were, every single weekend we went to see, at least two, or even four a day, Maria.

Maria: What movie theater would you go to? 

Eugenio: In Mexico City, there were  multicinemas and they were like, the, the schedule was always like four, six, eight, 10. So sometimes my mom was like, let’s do a four, 4 PM. This one, six, this other one, eight and 10. 

So what I felt every time I was in the movie theater. I was moved by every story that I watched and that made me fell in love with cinema.

And that’s when I told my mom, especially when I was watching the Oscars and I was like: Mom, I want to be one of these guys. I want to be one day an actor or a director. And my mom was really, really kind. She never said nah, but she was like, I know my love, but it’s, it’s really hard. 

It’s a lot of competition there. It’s complicated. If you want, uh, you need to be well prepared and you have to go to the U. S. and take a… 

Maria: She was like giving you a serious answer. Like if you want to do it, you’re going to have to do di di di di di. 

Eugenio: Exactly. And many, many years later, I was on [00:11:00] that stage. So when I was standing up on the stage.

Archive: And the Oscar goes to….Okay. Coda!

Eugenio: There was a moment that I look up. I remember. Because I was connected with my mom. I was like, mom here. It was like, mamá, and here I am many, many years later. And I, I was like trying to go, all the way back to that small apartment in Mexico City, it was very, very touching. 

Maria: What a beautiful story and it’s interesting that you bring up your mom who obviously had a big influence on you in relation to Coda.

Maria: There were many things I loved about the film, focusing on the deaf community and then just making them part of the mainstream is just such a, something really beautiful to watch. Beautiful. But what I loved about Coda was that… you were not, you were not “El Mexicano”, you know, the funny guy, the purposely thick accent.

You were an actor playing the role of the teacher, right? That’s how I remember you is playing the role of the teacher, having this beautiful, this beautiful back narrative. And I’m wondering about that decision to say yes to a role where you were like not going to be able to fall back on the comedic tradition.

This was serious acting for you. 

Eugenio: It was very challenging and I knew it was a risk, but at the same time, those kind of roles were never offered to me when I was in Mexico. 

In Mexico, there was a time where I wanted to be a, also a dramatic actor or start doing movies and things with more depth, things that would be more serious.

And they never. gave me a chance to do something like that. 

They were like always telling me, ah, it’s, you know, people are going to laugh. If they see you, you’re going to ruin the movie. They were really, really, really straightforward when they were telling me why, and they were like, no, you know, this is a very dramatic movie, and [00:13:00] if they see you on screen, they will immediately think that you’re a comedian or they’re going to remember your characters, whatever. 

So they never gave me a chance. And in the US. when they were offering me a Coda, for example, I knew that the director, she was not aware of my background or my characters or my TV shows.

It was so refreshing. 

Maria: Because you went into the audition just. 

Eugenio: Just like as an actor. 

Maria: Wow. 

Eugenio: And because one of the producers told the director, this guy is really popular among Latinos. It would be great. It would be good to have a Latino in the story. What I loved about the character was that. Because, you know, every time they need a gang member, call a Latino; a narco, call a Latino; uh, an abuser, a murder, an abuser, uh, call a Latino.

Maria: A poor downtrodden immigrant refugee. 

Eugenio: Call a Latino.

Eugenio: And we are more than that.

Eugenio: And I was always fighting for that. And I was, I promised myself if I am able one day to produce my own movies in the US I’m going to try to change that narrative and portray Latinos in a different way. So when they offered me this role, I knew it was perfect for me, because it was just a music teacher that happens to be Latino.

And that’s the way it should be. That’s real diversity. 

Maria: Because that’s life in the United States. 

Eugenio: Exactly!

Maria: I mean, we’re Latinos are everywhere. North Dakota, Alaska, Maine, Florida, Arkansas, everywhere. 

Eugenio: Absolutely. So immediately said yes to Coda. And so we made, we adapted some stuff to say that he was from Mexico, that he studied in Mexico, blah, blah.

Maria: And then he moved to the U S. It was really a very important role to me because they were finally giving me a chance to be a dramatic actor. And it was not about being Latino. 

You know, people, I know this happens to you, Eugenio, it happens to me, right? You reach a certain level of, visibility. And because of social media, frankly, life can look great on social media, but actually it’s really hard.

Like you’re having to go into an audition call. You don’t have to audition for anything in Mexico and here you’re going into an audition where they’re just like, yeah, try this guy out. 

People need to understand it’s really hard. What does that hard part do for you, the fact that it’s like, oh… Otra vez. I mean, you know, your company is named Tripas, it’s all about trusting your gut, but you know, the gut is also, we can get wounded, we can get hit right in our gut, right?

Eugenio: Constantly. Constantly. Since I moved to this country. Every single day, I am doing things that make me feel uncomfortable in a good way. I mean, when I was in Mexico, I was the king in Televisa. 

So here, every single day, I’m like, Oh my God, I have a meeting in Universal Studios or Paramount or Sony and, and where a [00:16:00] lot of important executives and in English, and English is not my first language as you can tell.

It’s, it’s complicated. So I’m always like full of fear. 

It has helped me to be more humble, honestly, and it makes me nervous. Of course. And I prepare way more than when I was young, because I’m now in Hollywood.

It’s the top of the line, you know, there’s nothing beyond that. So I need to be really prepared.

I need to take sometimes acting lessons just for a casting. But on the other hand. That’s the kind of things that keep me young, that keep me hungry, that makes me feel like when I was, I don’t know, 17, 18 years old and I was starting my life and fighting for credibility. 

A teenager fighting for a place in the world.

Maria: Coming up on Latino USA. We continue our conversation with Mexican actor and producer Eugenio Derbez. And talk about the challenges of taking on a lead role in a dramatic movie. 

Maria: Stay with us. 

Maria: No te vayas.[00:18:00] 

Maria: Hey! We’re back. 

Maria: We’re going to continue chatting with Eugenio Derbez. 

Maria: We’re talking about his transition from comedy star in Mexico and Latin America to his most recent work. A dramatic lead role in his own movie, Radical. 

It’s the true story of a teacher in Matamoros, a mexican border city, who tries to support his students in an underserved community.

All right, let’s jump back to our conversation. 

So you decide to fight ,again, in an interesting way. Because, you know, after you win the Oscar, again, the doors now are more open, just more open. 

Somebody could have thought, well, Eugenio is now going to do a fully English language film, very mainstream, you know, cause he’s fully mainstream now.

Instead you released, at the end of 2023, “Radical” or Radical. 

You make this fully Spanish language with subtitles. It did win the Festival Favorite Award at the 2023, Sundance Film Festival. That was huge. And we decided that we wanted to have you describe what “Radical” is about. So what’s the plot? What’s the storyline?

Eugenio: It’s based on a true story. The Wired magazine in the U. S. named a 12 year old kid the next Steve Jobs. 

And this is a story of a girl that, was born in the trash, that wants to become an astronaut and that she has the potential to get there. 

And then I learned that there was a teacher behind this girl and many other things.

Eugenio: So, I remember I was in 2012. Living in Mexico back then, I was watching the news and everyone was talking about that. 

It was a big moment. It was a big moment in Mexico. 

La revista estadounidense Wired, que se especializa en temas tales como la ciencia y la tecnología, ha señalado a una persona en particular como la sucesora del fundador de la empresa Apple, Steve Jobs.

And I was shocked. I mean, how come this 12-year-old girl from a small public school in Matamoros was now named the next Steve Jobs? 

But they didn’t tell a lot about the story, about the background of Paloma. 

So a few years later, when I moved already to the U S the journalist who wrote the original article came to us and he offered the rights for the movie.

And I immediately say, yes, let’s do it. I said, this is the kind of stories I need to tell. First, because it’s interesting. Second, because I know this is going to be universal. This story could happen in any part of the world, and you’re going to feel identified. And also because it was the kind of movies that I want to tell in my company.

Movies were, even though it’s a raw, very raw and tough movie, you can see also people like Sergio, the teacher, or Paloma, the student, that are good people, good Mexicans, and I was [00:21:00] tired of watching the news and just watching the faces of the narcos, or the criminals, or the gang members, and we’re more than that.

So. It’s time to put the spotlight on the good people too. 

Maria: The interesting thing is, for you in this movie, is that there’s nothing between Eugenio Derbez and the audience. 

We don’t see you actually in any comedic form. We don’t see you wearing any kind of interesting get up or look at all. It’s very, as you said, raw. And it’s kind of like, again, this time, because it’s not somebody else’s film, it’s your film. It’s the comedic megastar who is really… choosing to be quite serious.

So can you tell us a little bit about that very particular decision again, of the United States is a place where you’ve had to keep yourself grounded. But what about this [00:22:00] notion about you, the comedic megastar, really saying, I’m going to be serious. I’m taking it yet another step further than Coda.

Maria: Absolutely. 

Eugenio: It’s intentional. It’s completely intentional. And it was actually, this is my first dramatic role starring in a movie. 

Maria: Mm-Hmm. 

Eugenio: Because I, I’ve done a little bit, but not much. But, uh, some dramatic roles in other movies, but it’s just like, Coda probably was the biggest role I’ve got, but I was part of the ensemble cast.

Eugenio: Right. This is you.

Eugenio: This is me just, starring in a dramatic movie. ¿Que si estoy loco? No estás huyendo de algo? No, solo quería probar algo distinto. ¿Cómo qué? No lo sé, sigo tratando de descubrirlo.

Probably two days before we start shooting, I was having second thoughts. I got cold feet. I was like, what am I doing here? People are going to criticize me. They’re going to say, what, what is he doing here? 

Maria: Que loco. 

Eugenio: Que  loco. He should go back to his characters. Exactly. All that stuff that I was like, oh my God, I was so nervous.

I thought it was a mistake, probably. I thought I should just produce it, but not be an actor in it. 

So I was panicked, honestly. Especially because the director, Christopher Zalla, who’s been all around the world. He was not aware of Mexico and how they perceive my image there. And so I was constantly fighting with him, like, Chris, you don’t know people.

They know me really well. So I don’t want them to see Eugenio Derbez on screen. I want them to see the character. 

So I was fighting to put something in my face, like a different hairdo or glasses or something. And he was like, no, I want you just like that. 

Maria: Wow. 

Eugenio: Yeah. And, and I felt so insecure. I remember that I was talking to my business partner and because he was like, if you want, you can talk as a producer and say, no, there’s no [00:24:00] way. Then do whatever you want.

I didn’t want to, because I was like, I’ve been there and I don’t want to be disrespectful with the director. So now I’m talking as an actor and I don’t feel comfortable, but, I need to obey my director and probably he was right. He was right. Absolutely. He was right. And now. It’s probably one of the most beautiful compliments that I’ve been reading constantly in social media that they say, I didn’t see Eugenio Derbez in that character.

 I forgot that it was Eugenio Derbez. And for me, that was one of the best compliments I’ve gotten in my career. 

Eugenio: So this notion of wanting to do stories based on real life, right, because you also did the 2016 film Miracles from Heaven. But there’s again, it is a quite serious decision for you. I want to do stories that are gritty, very much about ganas, also tripas, guts, desire, being hungry, [00:25:00] and based on real life.

Maria: And why is that? 

Eugenio: I love stories that are based in real life. 

For some reason, me as an audience, I love those kind of stories because I feel they have an extra ingredient that makes you realize that even if it’s something that it’s incredible, you know, that it happened and it immediately has a bigger value for me. And it’s a beautiful true story and that’s what I love that I’m always thinking that there are still good people that can make great changes in the world.

So, the story is about Sergio, the teacher who is working with Paloma. It’s a lot about, you know, breaking what’s happening in failed educational systems, where we were prepping the interviews, it’s not a failed public educational system just in Mexico. 

Maria: No.

Maria: It’s a failed public education system in the United States, even though the secretary of education now, Miguel Cardona, you know, talks about bilingual as a superpower. 

Maria: It’s a big change, but it’s in general, in this country, they’re trying to not teach history. Right? Like literally, literally change it. So one, can you give us a quick update on what’s happened in all of the time since Paloma was written about and Sergio was the teacher, like what’s the quick update. And what do you want people to take away?

Eugenio: Well, there are a lot of messages here. 

First of all, let me tell you what’s going on with the real Paloma and the real Sergio. The real Paloma, usually in that kind of environment, in those schools, kids, they don’t even finish elementary school. When we were talking to Sergio, one of the worst problems in the school that he was teaching, it was that kids quit.

In the middle of the year, because they have to work, because they have to take care of their families, their little brothers, so mom or dad can go work. Some of them end up in crime, you know, working for the crimen organizado, the narcos. So, it’s unthinkable that someone would go all the way up to high school.

Forget about college. 

Well, Paloma, she’s like two or three months away of finishing college. Nowadays, she wanted to be an astronaut, but she ended up in law school, because she felt that she would be more helpful to her community by being a lawyer. And right now she’s about to finish college as a lawyer.

The teacher. When I was shooting the movie and he came to visit, I asked him, where are you now? And he said. I’m still in the same school teaching the same grade. 

And I was like, but why? And he said, after the magazine came out, a lot of people approached me, especially private schools. And they offered me amazing opportunities, a great salary, in a much better place, with a lot of equipment, computers, etcetera.

And I felt that I was betraying my kids by leaving to a better place. So I decided to stay in the same school and the same grade, because I feel that here is where they need me more.

That, isn’t that beautiful? 

Maria: The lessons we learn from the people that we meet, you know, as a journalist, when people ask me like, Oh, what famous person? 

It’s like, no, actually the people who inspire me the most, are the people that are just out there doing their thing, whether as artists or as teachers or as people defending their community. No, es impresionante.

Eugenio: I know.

Maria: If you look at humanity. From the possibility as opposed to humanity as a threat, right? Because you are of these two worlds. Are you hopeful about the United States? Are you hopeful about México? It’s an election year in the United States. It’s an election year in Mexico. Like, are you feeling hopeful or not?

Eugenio: Oh, that’s a great question. Not much, honestly. 

Maria: ¿De verdad? Why? 

Eugenio: Because I remember… years ago, we were all excited about some candidates and there were always differences and you wanted, Oh, I’ll go right, or left, or black, or white, but nowadays in both countries, you don’t see like something that you like, you know what I mean?

It’s not like, Oh. I would like this person to be our president in, in this country or, or in this other country. I feel that it’s like always the same thing. There’s not a new air or, or a big change. And that’s makes me a little bit concerned. 

I would like to have a another option, you know, so we can at least have something different.

But nowadays it feels like everything’s the same. And I love both countries because I was born in, in Mexico, but now I live in the US and I love the US too. I, I’m worried about both [00:30:00] countries, honestly. 

Maria: !Híjole! All right, well, we’re going to switch canales. Let’s talk about dreams. One of the things that I do, I’m a professor at Barnard College, my alma mater, and I start all of my classes, I ask my students, what’s your craziest, wildest dream? 

Maria: I want to be an astronaut. So right now, do you have a crazy, wild dream that you’re like, that you’re prepared to say? 

Eugenio: Um, God, for many, many years it was winning an Oscar, but now I feel that it’s more about telling stories that could change the world, more than winning an award.

Sometimes there are movies that are amazing that they didn’t made it to the Oscars and sometimes they, there are movies that won an Oscar and they’re not that good probably. So, now I’m part now of a movie that won an Oscar that, that makes me happy. I’m probably still, I would like to have one. By myself, probably that would be my wildest dream. But also make a movie [00:31:00] that can make a difference.

And that said, I probably feel that Radical is one of them. So I feel that Radical can make a lot of huge changes in the world. We are already talking to politicians in Mexico and in the U S. And my hope is that we can start a conversation about a new way of teaching kids. And I hope they can approach to Sergio, the teacher in Radical, to see if we can reply his model in other schools.

That would be for me one of a dream come true, definitely. 

Maria: Eugenio Derbez, it has been so much fun talking to you. Muchas gracias de nuevo to come and visit Latino USA. We love having you on the show and continued success. 

Eugenio: Thank you very much. Love you.

Maria: This episode was produced by Gina Montalvo and Glorimar Marquez. It was edited by Martha Martinez and mixed by Julia Caruso. The Latino USA team also includes Victoria Estrada. Reynaldo Leanos Jr., Andrea Lopez Cruzado, Mike Sargent, Nour Saudi, and Nancy Trujillo. Peniley Ramírez is our co executive producer.

Maria: Our director of engineering is Stephanie Lebow. Additional engineering support by Gabriella Baez and J.J Querubin. Our marketing manager is Luis Luna. Our theme music was composed by Xenia Rubinos.

Maria: I’m your host and executive producer, Maria Hinojosa.

Maria: Join us again on our next episode. And in the meantime, look for us on social media and remember always and forever.

Maria: No te vayas. Bye.

Latino USA is made possible in part by the [00:33:00] Ford Foundation. Working with visionaries on the frontlines of social change worldwide. The John D. and Catherine T. MacArthur Foundation. And Agnes Gund.

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