I took Bruce Nelson’s history of the labor movement class at Dartmouth, my senior year, 1986, which was also Nelson’s first year at the college. He is turning 80 this summer, which means he is 23 years older than me, was therefore 45 when we met, though he seemed younger.
Over the years I have rang him a few times, for example when I ran for City Council and claimed to be pro-worker.
Every day I wake up and count how many more people have signed up for my concert at the art center which loosely speaking is also a cross promotion for “The Black Index” an art Exhibit by Bridget Cooks curator which references race and Black Lives Matter. So how does La Doña’s “Cuando Se Van” which References gentrification relate to the history of labor and/or civil rights in San Francisco as discussed by Nelson above? I guess a part of the service is that if the creation of wealth by the tech companies had a social justice element then middle class and working class San Franciscans would benefit and not be in contact with the influx of specialized workers.
Although she does not pose a solution she has every right to raise the question in her part in her heart in her art. Cecilia Cassandra Pena Govea pka La Doña also told me she has relatives who worked or work in the labor movement.
In “Setas Y Ceros” I am reminded of The Midas Myth – -everything you touch turns to gold but you starve to death — and “the Wizard of Oz” — is she Dorothy or the Witch? — plus she says “capitalism is killing us, but i’m still out there”. Fijate: her middle name is Cassandra, the seer.