Together we make new Cuentos for a new generation of globe-trotters.
Together we make new Cuentos for a new generation of globe-trotters.
Together we make new Cuentos for a new generation of globe-trotters.
In just one lifetime, cities like Shanghai have transformed from trading hubs for merchants only to internationally renowned metropolises for tens of millions of people finding a way to make a piece of the city their own. In China, Shanghai’s trajectory to stardom over the course of some seventy years is not so different from that of L.A.’s rise to global recognition. For each city, migrants and migrant culture are indisputably what make them so rich in flavor, style and depth. At the same time, in cities so large it’s difficult to keep track of just where everything is going, that is, in terms of who’s staying or who’s going, who’s coming, who we’ve lost, and how we might support those who we find along the way again. In my own life, at one point cities seemed to be the very end of the world themselves, places with no end for good reason: to explore indefinitely. Now, I view cities as another destination through the road, but not the end-goals outright; even after all we might achieve with beautiful skylines, bustling financial centers, and a litany of food and retail choices, so long as our people remain in need, still there must be something better to find, something better to create. Shanghai, you’ve inspired me to create again! To think BIG.
I’ve come to learn that every city has something to say, but also that probably not enough can be said of just how important port-cities are for connecting one part of the globe to another. Maybe it was quite meant to be that we see this special place from China’s harbors then. But what do you say, Los Angeles? Shall we continue exploring to see which insights we can take back home with us?
At more than 5,500 miles from home, with fervor in my veins pushing as ever before to unlock the best of myself for the rest of the world to know.
Let’s make it happen, Los Angeles. From Huzhou to Shanghai, let’s give these Cuentos what they need, something more to believe in.
So it’s the second week of summer and you read How to Beat Summer 2019 Parts I – III, 10 Ways Not to Beat Summer 2019, and even How to Outline Summer 2019, but you’re still not quite sure what to do with all this newfound time on your hands.
In this case, you’re likely making it just a tad more complicated than it needs to be (I know from experience). But with this blog, we’re going to give it one more shot in a last-minute challenge for you.
The only requirements for this challenge are a few hours of time on your hands, permission to go out for a few of those hours, and either a parent, friend, sibling or pet turtle to accompany you. Okay, maybe not the pet turtle. Sorry pet!
Ready? You’re now officially a secret agent going on an adventure. Your mission: to explore the second most populous city in the world and bring some of its top secrets back to headquarters. Your key ‘weapons’ for the mission are: walking shoes, a smart-phone, a Los Cuentos hat, and a water bottle.
There are also no cars allowed for the assignment. Metro buses and rail-lines only.
Ready to find out where you’re going? You will choose one of the following places for this mission:
In true secret-agent fashion, you’re not visiting these places just to ‘have fun.’ You’re going to ‘excavate’ them for some classified info like a world class spy. Sure, you can go with your people, get some ice cream at the stores, and check out the stuff on sale like a lookie-loo. But the real purpose of your visit to these other places will be to find out the following:
I. Where is ‘the heart’ of the neighborhood? (As in, where is the public square, or main area? What kind of businesses are there? Is there any kind of art you see there?)
II. How does it differ from your side of town? (What kind of people are there? How many languages do you hear spoken? And what can you tell about the ‘other’ kids at this other part of town?)
III. How might your neighborhood ‘be’ more like this one? (Could there be a different Metro Station to make it easier to get to your side of L.A, like with these other neighborhoods? If you could choose the stores you’d have in your neighborhood’s main area, what would they sell? And apart from the stores, where would the kids in your neighborhood hang out? Would they have their own main area too, or public square?)
That’s it! It’s true that these are quite a few different questions to remember during your visit to the assignment, but we both know you can glance at this blog while you’re out there on assignment.
We also both know that this is a mission you can definitely accomplish in three to four hours. Metro’s lines were made for you to use for exactly this kind of challenge, just as these ‘other’ places were made for you to visit and learn about.
At the end of the assignment, you’ll feel accomplished for learning about a new part of Los Angeles for yourself, send me the answers to your questions for a top-secret review, and receive a brief follow-up mission, if you so choose.
So, what are you waiting for? Give this last-minute challenge a shot and get out there, young storyteller. Your city is counting on you!
“What you give is what you get,
But I only give respect,
Where I really think it’s due,
Tell me who the hell are you?”
Sal Roses is a Salvadoran American writer born and raised in the City of Los Angeles, whose parents hail from the Pueblo of Santa Rosa de Lìma, La Union, El Salvador. As a member of the ‘first’ generation of his family in L.A., Roses’s world was one where a survival & entrepreneurial mentality at home often clashed with the systemic nature of American schools, work and life. Before finding himself as an artist, Roses would navigate through violence and abuse at home and his environment, financial instability, and the process of discovering his voice, eventually learning ‘to turn mud into gold.’ He now seeks to influence the world through music emblazoned with messages of confidence, self-reliance, and determination to turn one’s dreams into reality.
1. Who are some of your earliest musical influences?
Parents are always first. They introduced me to Latin music, including cumbias, románticas, and all that good stuff. But it wasn’t until my cousins introduced me to hip hop that I saw the most for myself in the music. They introduced me to Chicano gangster rap, and that’s when I really started to visualize what these artists were going through. I could see it going on with my primos.
2. Tell me about Appetizers, Vol 1. What led you to this name for your EP?
It’s just a taste! And you can’t have the entree without a set of appetizers. It’s a build up to the full course of art we intend to supply. At 3 songs it felt like the perfect follow up to Killing Other People’s Beats The Mixtape (KOPB The Mixtape). Appetizers Vol. 1 also gives me creative freedom to drop a snack whenever I feel like the people are hungry for it. Just gotta stay hungry.
3. Tell me about the Spanish verse in Now; why did you choose to include Spanish in your opening song?
It was very important to include Spanish on this first project. Spanish and English have been equally important in shaping me to the point that it would have been wrong to leave out a verse in the latter. Plus, now more than ever, you can feel the strength of the language; it just carries a little more weight these days.
4. What do you make of Latinos in Hip Hop in 2019?
We’ve been consumers of Hip Hop from near the beginning but have gone mostly under-represented for a while. As a market, the Latino culture is being targeted more than ever before in the music, but it also calls for creatives like us to fill in the missing pieces. There are still so many stories to be told, so many thoughts to be brought up for discussion, deep rooted issues that need addressing. Our true contribution is still being formed and that’s the most exciting part about it.
5. And so, what if Adam ate the apple first?
This is my favorite line in the whole project! Imagine a world where, for all intents and purposes, Adam took that bite instead of Eve. Would men feel more inclined to push for gender equality? Would we want women to treat us differently? I say this as someone who considers themselves a feminist, pushing for true gender equality and not gender overcompensation. To me it’s thought-provoking, like a whole different world can be imagined just based on that thought.
6. Tell me about the drums in Richard’s Drums.
I was making this beat, and my drums were sucking bad. Every single sound before the drums excited me, but when I got to them, they kicked my ass. So I called Richard over, and in like 2 minutes he laid it down. We named the track after him in that moment.
7. Who else would you like to shout out now that your EP is out?
I’d like to shout out anybody and everybody whose been supporting our movement. So much work has been put in behind the scenes just to get to where we are right now. It’s still so small-scale that having true support from people who believe in what we’re doing has been instrumental in creating not just music, but a movement, a mobilization, a future. Thank you all.
To check out Sal’s Appetizers, Vol. 1, find his album on Spotify HERE.
It’s not often that I have the opportunity to reflect on Salvadoran-American fiction. In fact, this is actually the very first time. The only other instance in which I’ve cited the work of a contemporary Salvadoran-American author is in a brief note on Juan José Martínez D’aubuisson’s Ver, oír y callar (2016), a nonfiction book on the infamous wars between El Salvador’s two rival barrios. Now, Randy Jurado Ertll’s El Cipitío (2016) has changed that. As a disclosure, I met Randy Ertll last summer at a Central-American festival in Los Angeles, where I purchased a copy of his book.
The story of El Cipitío actually precedes Ertll’s book, going back to a Salvadoran legend about an orphaned boy spawning from an ‘extramarital’ affair between his mother, Siguanaba, and the Morning Star, otherwise known as Lucifer. In Nahuatl, or the Aztec language, Siguanaba means ‘beautiful woman’, which is what Cipitío’s mother is considered before his birth. By contrast, Sihuehuet means ‘ugly woman’, which is what Cipitío’s mother is considered in the wake of her ‘illegitimate’ child. Furthermore, in Nahuatl, Cipit is a word for youth, and today, almost any Salvadoran you can find will commonly refer to youth as ‘cipotes.’ If this has you wondering about how a North American or “Mexican” indigenous tribe’s language made its way into Central America, it’s because of the Aztec culture’s span into Central America at least half-a-century before the Spanish arrived to the American continent.
In other words, Cipitío’s dance through the imagination goes back so long that probably no living person today could trace its exact timeline. Moreover, the story has changed throughout the ages to reflect the views of different generations in different contexts and environments. With this in mind, J.T.’s review will tell readers why Randy Ertll’s Cipitío (2016) gives voice to a quintessentially modern version of Salvadoran-American male youth culture across Central and North America, fulfilling a dire need for the representation of this culture in contemporary American literature.
As an advisory, when I picked up the book, I had a choice between an English and Spanish version, choosing to go with the latter in an effort to improve my fluency. In turn, the following quotes will all be in Español, while my analyses will remain in English. A truly modern Latinx style of review.
To begin with, Ertll informs readers early that his Cipitío will be a far more complicated character than what those familiar with the legend may be used to:
“La traumatizada criatura, con apariencia de niño, casi siempre estaba enfadada por nunca haber pasado de los 10 años de edad y quedarse solo midiendo tres pies de altura. El demonio le había hecho así y le impuso el deseo obsesivo de vengarse de todo el mundo.”
By introducing el Cipitío as a brown-faced boy of extraordinarily short stature–who nevertheless has hidden superpowers while being ‘cursed’ indefinitely to being ten years old–Ertll honors the essence of the legendary character’s features. But by referring to him as a ‘traumatized creature’ made by the ‘devil’, he describes a more modern and relatable figure to the ‘racial subconscious’; for one, Cipitío’s brown skin and short stature reflect the features of many real Latin-Americans, whose physical bodies, like our protagonist’s, occupy space in a world where tall, strident white figures symbolize the dominant order. For another, because even Cipitío’s own mother is a source of rancor for him, reminding him only of loss and separation, there is little to no chance for the youth to understand the layers of his story beyond that of the pain it invokes, a recurring theme for many Latino families as they tell the stories of their migration across lands.
Ertll’s Cipitío is thus complicated from the beginning, setting him apart from the more simplistic youth in the legend who’s a generally happy character only occasionally suffering loss and chagrin. At the same time, for any reader who’s even slightly familiar with Latin-American displacement over the last three decades of U.S. policy, it’s clear that Ertll’s character is speaking to the historical periods preceding his contemporary one.
Even if readers are not familiar with this history though, as good fiction does, Ertll’s writing offers a glimpse into the historic Latin-American diaspora through the details ‘fleshing out’ el Cipitío, which are ‘facts’ that specifically many Salvadoran-Americans know well today: officially, from 1980 – 1992 there was a war in El Salvador between the U.S. backed Alianza Republicana Nacionalista (ARENA) government and the Frente Farabundo Martí para la Liberación Nacional (FMLN). This war cost tens of thousands of lives, and displaced tens of thousands more; in that process, according to Ertll, even Cipitío’s twin brother, named el Duende (Nahuatl for ‘malign’), whom Cipitio was also separated from at birth, is taken as a youth to fight as a member of ARENA’s national military. Duende eventually leaves the national military and El Salvador altogether for the U.S., however, where he vanishes almost entirely:
“Dentro de las guerillas, no existía ningún progreso para el Duende; así que el decidió inmigrar a los Estados Unidos. Y nunca le dijo a nadie dónde vivía; su direccion la mantenía en secreto. Por eso, algunos decían que el residía en Washington, D.C.; otros señalaban que en Virginia o Maryland. El caso es que un día el Duende vino a ser visto vagando por áreas boscosas, escalando árboles como un mono, puesto que el encantaba tomar siestas dentro de los árboles frondosos.”
By naming Virginia, Maryland and Washington D.C. as states where Cipitío’s twin brother possibly disappeared to, Ertll calls attention to the handful of places in the U.S. other than Los Angeles and New York where thousands of Salvadoran migrants took refuge during the eighties and early nineties. Once again, this is what makes the protagonist’s story highly relatable: the trajectory of Duende’s journey honors those of countless Central Americans displaced as a result of U.S. intervention in Latin America during 1970s and 1980s’ Cold War policy.
At the same time, Duende’s steadfast refusal to let any of his countrymen know his whereabouts after the war acknowledges the theme of many central-American stories of migration to the U.S. post 1980, in which the ‘old country’ stirs only memories of pain, corrupt government officials, and broken family units, leading many to sever ties with their native land to ‘start over’ with the new one. Before letting readers into what life in the new country looks like, however, Ertll looks to the trails walked by so many Central Americans en route to the U.S. for refuge:
“El Cipitío camino hasta México y vio cómo los centroamericanos eran brutalmente golpeados, violados y asesinados. Eso le trajo viejos recuerdos de lo que hacía el batallón Díaz Arce en su país natal. Las guerillas y los escuadrónes de la muerte cruzaban México, y en verdad eran bestias contra su propia gente. Aprendieron de sus maestros españoles durante la colonización a odiar a las mujeres y a golpear a sus esposas, madres, hijas y novias.”
Although Ertll’s Cipitío maintains supernatural powers through his journey, he nevertheless experiences human emotions, especially as a ten year old witnessing the plight of fellow Salvadorans making the trek through dangerous trails upwards through Mexico. What’s more, Ertll’s telling of how Salvadoran death squads embarked on those routes as well, whose members sometimes beat their own wives, mothers, and daughters in the process, forces readers to confront those same dirt trails in their own imaginations: a necessary process if they’re to acquire an understanding of the way these stories inform el Cipitío, and by extension, much of Salvadoran-American culture today. Ertll’s subsequent reflection that these men must have inherited hatred for their own people from Spanish colonizers captures the enduring legacy of colonialism for much of Latin-America, including for his protagonist, whose name literally comes from a word meaning ‘the youth.’ Youth are the group most impacted by government policies throughout Ertll’s novel, but it’s the way the author ties this phenomenon into the actual Salvadoran-American experience in Los Angeles that resonates most for J.T:
“Se matriculó en Le Conte Middle School y era el chico más pequeño de su clase…Empezó a vestirse como los otros niños de la escuela y dejo que su pelo le creciera largo. En ocasiones se ponía ropa negra para representar su lado satánico, y por ello fue invitado a unirse a los locos de heavy metal.”
Since at least the early 1980s, in the East Hollywood area Le Conte Middle School has been one of the only public middle schools–the other being Thomas Starr King–where a myriad of Salvadoran, Guatemalan and other central American families have sent their children to be educated. By sprinkling these small, communal sites of Los Angeles into the new Cipitío’s story, then, Ertll’s character speaks with authenticity to the lived experiences of many Salvadoran-American youth over the last forty years in settings like L.A. This is significant because Ertll understands that like Cipitío, many young Salvadoran-Americans in the U.S. can claim ties to far away, magical places in Central-America and beyond, but often view the ‘old country’ which their families once called home–like the neglected streets many of them live on, and like the frequently understaffed schools they attend–as anything but extraordinary. Thus, the new Cipitío puts these tiny ‘barrios’ on the map, or historicizes East Hollywood, Le Conte Middle School and more.
In the same vein, Cipitío’s adoption of the heavy metal look speaks to another historic reality through L.A.’s middle and high schools during the 1980s: the influence of American heavy metal or ‘satanic’ music on a generation of ‘misfit’ youth, who as a result of their skin, language–and don’t forget, stature–not only didn’t fit in with the dominant White culture, but also failed to gain acceptance from the more visible and historic Mexican youth at the time. Ertll’s Cipitío thus marks another specter following the contemporary Salvadoran-American experience: the story of the overly popularized MS-13 gang, which was founded in Los Angeles by Salvadoran youth in neighborhoods like East Hollywood’s, where after-school programs and other resources for their successful integration into the U.S. were lacking, to say the least; Ertll understands that the formation of the truchas was a matter of self-acceptance–a chosen family, so to speak, especially for orphaned children like Cipitío–and protection against Mexican gangs, which at the time refused to treat Central-Americans as equals in typically racialized U.S. relations. Our protagonist thus moves in this fashion through L.A.’s schools, until it leads him to ponder the city’s class structure as a whole:
“El Cipitío recorrió las calles y exploró la historia de Los Ángeles, su arquitectura y logros de ingeniería. Vio las divisiones entre los ricos y los pobres. Los ricos vivían cómodamente en el Lado Oeste y otras áreas, mientras que los pobres tomaron los barrios bajos.”
Throughout the 1980s, as the central American diaspora made its way into Los Angeles, the city grew increasingly segregated. This was due to a range of political developments preceding the Salvadoran war, including the defunding of L.A.’s public schools, the successful efforts to stop desegregation at those same schools, the rise of drug addiction, gang violence, the AIDS crisis, and more. As Laura Pulido and Josh Kun describe in Black and Brown in Los Angeles (2013):
“…in the 1980s we begin to see such things as the rise of the prison-industrial complex as the preferred means to deal with surplus labor and social problems…the almost complete abandonment of the public school system by white and the middle class of all colors; the suburbanization of both the Black and Brown middle class as people of color moved farther away from the woes of the central city and in search of affordable housing; and the emergence of Los Angeles as the capital of the working poor.”
For these reasons, when by a magical turn of events Cipitío becomes mayor of our famed city–his heavy metal style notwithstanding, and as surely many youth like him have imagined themselves to be at some point, even if only playfully–our protagonist uses both his secret and official powers to transform L.A. with a radical idea: a free college education for all of the city’s Black, Brown and Asian youth from places like East Hollywood, South Central, East Los Angeles and more:
“Su fundación asi ofrecía becas completas para cada estudiante de secundaria, y pagaba todos los gastos universitarios. Los estudiantes no podían creerlo, sobre todo los estudiantes pobres, cuyos padres eran costureras, conserjes, guardias de seguridad y maestros suplentes. Cuando los estudiantes se graduaban en colegios y universidades, regresaban a sus comunidades pobres ya convertidos en médicos, abogados, arquitectos, y ponían manos a la obra para ayudar a revitalizar la zona.”
Here, by going on to play mayor in his story, Cipitío makes the cut from a struggle which many ‘first’ or ‘second’ generation American youth find themselves grappling with at some point in their lives: the prospect of transcending poverty to move into the ‘middle-class’, despite being raised by parents laboring daily as garment factory workers, security guards, custodians, and in other jobs tied indefinitely to minimum wages.
As Mayor Cipitío’s beca awardees return to Los Angeles, then, the pages create a striking image for readers to envision–though not a new one by any means–of hundreds of thousands of students in Los Angeles going to college every year and returning as doctors, lawyers, architects, and more to uplift the neighborhoods they come from. By last official count, LAUSD’s students are nearly 75% Latino, 10% Black, and 5% Asian, respectively, but more than two-thirds of graduates are not prepared for college after high school. Once again, then, Ertll’s writing pays tribute to the lived experiences of people like Cipitío all across the modern ‘world city.’
Following his successful tenure at City Hall, our protagonist aspires for an even higher office: the presidency of the United States itself. Cipitío’s ambition highlights the prevalence of the U.S’s popularity contest in the minds of many Salvadoran-Americans like himself, and plays to the reader’s delight: after all, who wouldn’t want to see a little brown-faced ten year old in the role of U.S. president for a change?
This brings into focus the very reason that literature exists: to (re)imagine our world by other means. By this point in the novel, Cipitío’s growing aspirations are allowed to flourish in the ‘safe space’ of the literature, where something so ‘absurd’ as a Central-American directly challenging the confines of the ‘real world’ and claiming victory can take place (Spoiler Alert: Cipitío goes on to win the election for president by a landslide); a sequence of events that little Black and Brown children just like him all throughout Los Angeles and the world can benefit from seeing for a change.
Even so, despite Cipitío’s unlikely success at the highest echelons of power, he continues to be haunted by the gorge of his memory, which navigates him back to a primordial need, for something even greater than the presidency: the need for a love that only a mother could provide to her son.
“El alcalde Cipitío tenía sueños donde era abrazado y aceptado por su madre, que ella nunca lo ahogó, que lo nutría y cuidaba de él. Se imaginaba que ella lo llevaba en sus brazos, acariciando su cabello, dándole leche de su pecho voluptuoso.”
Cipitío’s longing for his mother through the high end of his journey is what makes his story, once more, something local. It is also a showcase in how memory makes human life a mixture of memories, dreams, and what might still yet be. In the case of the youth, the memory of a violent separation from his mother persists in reducing his world:
Pero cuando despertaba, la realidad lo golpeaba con el peso de una tonelada de ladrillos; y se ponía enojado, furioso, enfurecido.
Dreams can be nightmares, just as memories can take us back to some of our worst experiences of dehumanization, an appropriate reminder considering the recent incarceration of Central American children apprehended at the U.S. border by the U.S.’s latest ‘zero tolerance’ policy.
Like Cipitío, these children, who have also been separated from their mothers and guardians–and who have even been tried in U.S. courts despite their age–just may be gifted with superpowers, especially if surviving the perilous trek to the U.S. has anything to say about it. Like Cipitío, they can also be mayors, presidents, and otherwise people who can change the world if only we’d let them; if only we’d meet them with the love that all ‘creatures’ like them need.
It’s for these reasons and more that Ertll’s novel is a timely read for any ‘global citizen’ today, and one that has full approval from The L.A. Storyteller. To get your copy, check out Ertll’s website HERE.
And the next time you see el Cipitío or a youth like him in a city like Los Angeles, please be sure to show them a lot of respect! (Spoiler Alert: they all have superpowers.)
Nishiarai prefecture in Tokyo, Japan; Summer 2017
The year was 1998, and I was about seven or eight years old. I remember that it was some time just after school when my brother and I had gotten back home from Lockwood Elementary.
We’d sat down in the living room for what was supposed to be another afternoon hour of Batman and Superman on what was then known as the Kids WB, but that day, we were in for a surprise: as a band of characters from Japanese anime roared with life off the screen to meet us, Batman and Superman turned into afterthoughts. It was time for Pokemon, the animated series.
Although as a kids cartoon Pokemon hailed from an inherently magical world, there was also something almost nostalgic about their design, as if we had encountered their figures at some different time before. They moved swiftly, with energy in every motion, and interacted with pure curiosity towards one another and everything else around them.
From there, everything we thought we knew about cartoon heroes would be forever altered. They no longer had to wear suits and masks to cover up their identities, or be strictly “grown up” to save the world. They also didn’t need to drive fancy cars to drift through galaxies far unlike our own. And they could make mistakes too. Lots of them. They could be kids, just like we were, stumbling from one place to the next, and so we became inducted into the Pokemon universe.
And the series was just the beginning.
Not long after Pokemon’s cartoon series, Pokemon, the game for Gameboy Color stormed into our lives. Three different versions of it. We thus upgraded from our original Gameboy and Donkey Kong to a Gameboy Color for the Blue version of Pokemon.
And the game was even better than the series because it allowed us to live with our Pocket Monsters every day of the week at any time of the day with them, or at least it did for yours truly. I remember carrying my Gameboy Color with me everywhere, even underneath the covers when it was time to go to sleep. Back then, the Gameboy didn’t have its own LCD bright light to see the game screen through the dark, but I solved that problem easily by hiding a flashlight underneath the pillow. It was that serious. I had to catch them all, even late into the night!
Finally, as if to leave no room for strays, there came Pokemon, the game cards, including holographic versions that were almost sacred just to look at. Pokemon wasn’t a series then. It was a pandemic, a takeover of American life. Pokemon invaded living rooms and lunch hours and after-school activities all across the Western hemisphere, and I relished every minute of it. To this day, at my twenty-eight years, I still love Pokemon.
One of the first questions I get when I tell people about visiting Japan is: why there? I’d like to answer this question with a short series for readers on how Japanese culture came into my life at an early age as a young person growing up in Los Angeles.
It started with Nintendo’s Gameboy. Not the Gameboy SP, nor even the Gameboy Color, but just the very first GAMEBOY released by Japan’s Nintendo company, along with a little cartridge disk inside of the Gameboy with a sticker at its center that glistened in the daylight as it read DONKEY KONG.
When the Metro 26 bus from Virgil Avenue to Downtown L.A. still existed, I couldn’t have been more than five years old as I sat next to mom in the terse round seats that used to make up the bus. In my hands I clutched the big, brawny Gameboy, and practically hugged it with my stomach to keep it from falling.
The 26 bus would bobble up and down Virgil boulevard and rattle its way through Temple street’s damaged pavement, but with my Gameboy in hand, there was rarely a single shock during the commute which could startle me. I sat immersed in an alternate universe with Donkey Kong, one of gaming’s favorite characters at the time, and together we skipped past troves of wooden containers and darts hurled our way, gliding through digital skies collecting banana peels for points en route to gaming victory.
It was the future, but back then it was just the early 1990s, although we the little ones knew, or our hands knew, that we were edging on the brink of a digital revolution which would change the world for decades to come. That is, until mom tugged at our hands on arriving to our stop because it was time to race off the bus.
It’s been over a full year since JIMBO TIMES reached Japan for the first time last summer.
I’ve had ‘Nippon’s’ pueblos in mind ever since, and even more so lately due to the anniversary at hand. But now, I’ve also learned of a recent series of typhoons and earthquakes that have struck the island-nation.
My thoughts are thus at this moment especially with each of the friends I was able to meet in The Land of the Rising Sun; humble, honest people who I know are concerned about what follows in the aftermath of these earth-rattling events.
All across the world there is a challenge to human life and survival, and each human being a part in rising to such challenges. Keeping in mind the great humanitarian spirit that I encountered with the Japanese people, however, I believe their pueblos will overcome this critical period as they overcome each day: with honor, unity, and resolve, and the tremendous strength borne from the synchrony between these things.
And from what I was also able to gather during my time there, I believe it’s fair to say that life in Nippon moves as it does everywhere else, that is, one day at a time. From Los Angeles, then, with Japan’s pueblos today and each day following,