as cultural desegregation.hat we see in our blind spots as we have rising rates of resegregation, the gaps in wealth and income and housing homeownership and educational attainment. it's a paradox. we have cultural desegregation happening and cultural inequity increasing at the same time. >> host: left step back because you talk about the or relative race in how we shift from a oral to the visual. what's at stake remake that shipped? >> guest: race begins by saying the book between appearance and perception of difference. it's not biological. we can agree on that. it's something that's a construct, something that we think about when we see so when you attach difference, the real difference to the systems of any quality of freedom of slavery of containment and freedom and so on and so forth that's when i start seeing the kinds of problems that the artists would dearly love talk about all the way from you know the turn-of-the-century all the way up until now. he talked about invisibility and "the invisible man."

is cultural desegregation. what is neighbor our blind spot we have rising rates of resegregation, gaps in wealth and income and housing and home ownership and educational attainment. so it's a paradox. we have both cultural desegregation happening and racial and resegregation and cultural inequity happening attachment. >> host: you talk about the orality of race -- what is that statement. it's not a shift that is advantageous. there was some value to the prove movement as well that we lose. >> guest: race begins -- i say in the book, between appearance and the perception of difference. it's not biologgal, it's something we think.when we see it. when you attach difference -- visual difference to the systems of inequality, of freedom, of slavery, of containment, and freedom, and so on and so forth, that is when we start seeing the kinds of problems artists talk about. all the way from the turn of the century, up through now, artists of color. and he talked about invisibility. now we have questions of visibility,

heritage assets are their primary intentively cultural heritage nonprofits and cultural establishment not protected by traditionally landmark protections we've found like marcus books that the landmark protection will not help those businesses find a way to find protection against evicts and rent increases or provide assistance with property acquisition that is so necessary included in the second slide examples of ongoing issues related to cultural heritage assets including the elbow room this evening there's a preapplication meeting in the community where they will discuss plan to demolish that building and replace that with a 5 story residential building that displaces that building the club the building next door is demolished for a residential building that shows very much related to your discussion before us oftentimes those places are threatened by new adjacent places that make them incompatible a long term gay bar in the mission that closed last year and the recognizing i didn't theater that is facing renewal and the operators are concerned about their digital ability to afford

. >> host: culture. that's my question to how does coulter put into each of those things? people understand racial bias linked to culture. >> guest: i think that's partly the work of what folks like you and me and a lot of our colleagues are doing is trying to relate the two together. what we say is the cultural change proceeds of coaching to a lot of us are working in this sort of very. that you have the imagination, particularly now during this period in which politics is hamstrung, stalemated, to be able to imagine changes really, really crucial for us to go through to the place where we can build very healthy movements for change. but getting back to the question that you are talking about here, i think it's important for us to be able to foster a culture that points towards racial justice, that artists, creative folks and folks working in the culture should be uncovering our blind spots force. we have to allow them to be able to do that, and we out to be bringing those images into the culture that w

is the cultural desegregation. but isn't a blind spot is the rising rate of the segregation and the gaps in the wealth and income and the housing homeownership and educational attainment. so it is a sort of paradox of the racial cultural and equity increasing at the same time. >> isn't a shift talk to me about that. >> guest: the race begins in the book between the perception of the difference. like it is not biological. we would agree it is a construct that we think about the systems of inequality of freedom and slavery and containment and freedom and so on and so forth so that when we see the kind of problems that we have come to so dearly love talk about all the way from the turn-of-the-century and up until now and of course he talked about the invisibility now we have the questions that complicate things a lot so these are the kind of thing is things we are talking about now. >> host: it's this idea of hyper visibility that become almost ubiquitous in how the world imagines race and imagines difference and how

. >> it's culture russia. it's exactly how russia appreciates european culture. it says we're part of european culture. so it's very important always to show to everybody russia has many faces. >> rose: henri matisse and,ñr the hermitage museum in st. petersburg when we continue. >> rose: funding for "charlie rose" has been provided by the following: >> rose: additional funding provided by: >> and by bloomberg, a provider of multimedia news and information worldwide. captioning sponsored by rose communications from our studios in new york city, this is charlie rose. >> rose: henri matisse is often regarded as the father of modern art. he used cut-outs during the later years of his left. he described this process as drawing with scissors. at the exbusiness at the museum of modern art highlights hisman you'll other career. 100 cut-outs with drawings, sustain, glass and textiles. also mark the post conservation debut of the moment of the swimming pool. joining me to talk about matisse is caller buckberg andhauptman f drawings and prints. i'm pleased to have them at

culture and opportunity. culture?e mean by we're laying out, saying, let us measure the help of american the education system, our religion and civil institutions. suchtunity looks at things as what type of educational achievement are our students likely are you to find work? what are the chances of starting your own businesses? and will you still have the opportunity to be successful in business as you were in the past? to take you back in time to about 20 years ago, when quaylece president dan was embarked in a dispute with a named murphyacter brown over the role of single motherhood. this is considered a key part of cultural wars. you had a sitting president of the united states in a silly debate with a television character. but now you're starting to see a little bit more of a consensus, maybe the murphy brown wars about single motherhood shouldn't be lumped cultural war argument. but there's a very important economic component as well. right,r the work on the somebody like charles murray, a look and says family b

he understands the importance of culture. he tries to help culture.e is an intellectual, more than other rulers of russia before. >> you mean after the revolution? >> after the revolution. this is important for us. all these things are important. >> we always ask this because of the russian cultural heritage. are there great novelists writing today that capture the sweep of history like tolstoy? >> i am afraid not. >> nor here, either. but something is emerging. some good writers. we have more good writers then maybe 50 years ago. >> the stories are the same thing that great novelist write about? love, jealousy, rage, pride. >> is the same things. they discuss the internal problems. it will be ok. >> is great to have you here. thank you very much. congratulations on becoming anniversary, 250 years of the hermitage. >> i am sending you an invitation. >> thank you. thank you for joining us. we will see you next time. ♪ >> progress is sometimes exponential. new innovations create even knew her breakthroughs. >> it's fairly exciting to think that we might

we speak with a former frat boy speaking out against fraternity culture. then, debunking the "opting out" myth. and, why the president of turkey says men and women will never be equal. ♪ ♪ >> hello, i'm bonnie erbe. welcome to to the contrary, a discussion of news and social trends from diverse perspectives. up first, sexual assault on campus. >>> the university of virginia held an emergency meeting this week to reassess campus culture. uva president teresa sullivan suspended all fraternities until early january. the school administration called for an independent investigation of the school's sexual assault policies. the administration is responding to a damning rolling stone magazine article that alleged a gang rape perpetrated by fraternity brothers inside a frat house. andrew lohse is a former frat leader who has written an expoÉe on frat life, hazing and its are link to campus rape. he says it's time to stop the violence and sexual assault that permeate frat culture. are. >> two cups of clear vinegar is enough to make you feel like your internal organ

there's so much in there that twines the culture. -- defines the culture. one of the things that defines the culture is hiring great people. what do you look for when you hire? how important is hiring? >> hiring is everything that you do, and we had a set of attributes which you helped us create, role-related knowledge, basic cognitive ability. but i think the main thing that was different was we really looked for passion, and we looked for generalists, not specialists. and i think the biggest thing that i learned in in the first year was that technology was changing so quickly that if you put a specialist into a role, they're going to look at that role based on their specialty. if you put a generalist and a learning animal into that role, they're going to roll with the punches and be able to deal with change. the other thing that was fundamentally different was the way we hired with committees, which i couldn't stand at the beginning, and you and others were largely responsible for. >> and you were ultimately in charge of this process. >> i was. i couldn't

so p many other latino cultures. just depends on which information is given to you. >> we tend to focus on the biggest group which is mexican-americans. you will see salsa and latino pop and m ark riacchi. >> what does it tell you about it in the bay area. that a site like this is needed. what does it say about us? >> we're growing. english now. we are very in tune to the lat foe culture. because of that, we love representing the beauty of latino culture. we have done focus groups and people love the latino culture. whether it's history, food or music. we just want to represent that to the bay area. >> you had a big launch. why do you think this is a big deal? >> we did the launch party in san jose at the glass house. we focus a lot in the south bay because 40% of latinoss are in the south bay. so you will see a lot of events. it's not only south bay. that tells you the growing power of latinoss in this country. it's just the numbers. as you know we are the biggest group in california. >> what do you want those who l

who drive the culture forward. these are the people that drive the average, not everyone will be a diva, push them to fight harder, and often these are the people who ultimately become the most famous in our industry. you can argue, for example, steve jobs, brilliant, brilliant product manager, divas, very driven, very strong, look at the impact of people like that. we need that please do not drive them out. >> i talked in the opening about your thoughts on scale. i have never seen anyone manage scale as effectively, to take google from 200 people when you joined to today 50,000. and the most remarkable thing -- and i will tell some of the stories more broadly how you scale culture, but things that happened when you arrived. 200 people, way too much work. he came in, saw the annual plan and said, we are going to double. we're going to go to 400 people this year. eric said, no, no, no. we will have 50 people hired between now and the end of the year. we took our hiring plan. who is going to do all this work? these c

-- tavern culture. in taverns, these leaders hosted committees that corresponded with her their counterparts in other towns. new york was a leader given its access to networks, drinking culture, and cultural pluralism. new york was a good hub for these relationships. to the extent americans and other cities reflected these laments, -- elements, they too participated in orderly and disorderly resistance. it fostered bonds among white men and encouraged an open debate of political issues as they gave rise to disorderly dissent to british authority. they persuaded americans to separate from great britain. without taverns, it is difficult to conceive of how the revolution might have taken place. before questions, i want to talk about two incidents as an epilogue involving alcohol in the history of revolutionary new york city relevant to the revolution. the first was in the early morning hours of september 21, 1776, a few days after british troops occupied lower manhattan. a fire broke out at the tip of poss

buren's work became the subject of a memorable cultural battle as only the french can wage. the conservative newspaper of paris roared its disapproval, calling the work cultural hooliganism. ultimately people were attracted to the new landmark as a congenial place to be. a moving example of postmodern architecture is this museum in moenchen gladbach, germany, specifically designed by hans hollein to house avant-garde art. references to the greek citadel to the skyscraper, and to the cathedral are all successfully combined here. what has been built in the eighties with the moenchen gladbach museum is more the museum as a temple or church, substituting the museum as a place for another god. and art is the new religion of today, where you don't understand but you trust. that's what the religion is about. you have to trust because it's in the museum. anselm keiffer's massive winged book captures both the spiritual and the material-- the debasement of the word in our time and a persistent belief in it. the wings rise towards the heavens, while the material, lead insists upon its

the islamic culture is very different from western culture. in western culture the way you relate to each other, you call each other equal in front of god. in the muslim world it is a different relationship. >> when you came to this took you 17 years, what religion did you join? >> i became a christian. question for one -- one basic reason, it made me a better person. it also produces trust between people. they getting that does, as an ideology, putting aside religion -- what christianity does to our society it establishes a level of trust between people. the trust s away between people. in the go to live muslim world nobody trust anybody. >> wendy to become an activist for israel? >> after 911. phone with ng up the my relatives i was very upset. the man that made 911 was for my country. i met a lot of people like him in the middle east, with the same way of thinking. i was so upset, and i felt so especially for the jews. said to my friends, how can whole ligion accuse a group of people of doing we ething that we arabs know have done ourselves

other issues but some suggestions being made that the empress of china joins the registration of cultural importance and i hope that you and other presentations will mention chinatown because while they're still many living owners probably generational changes go as much in the making we need to help to address this and front on and overall possible techniques for this to go throw the proper process. >> thank you for appointing the empress of china it's one of our legacy bars and restaurant and sadly one the businesses that is most enthusiastically about the initial round in the early 2013 so it's challenging a real loss for chinatown if that occurs. >> for the empress that emphasis if the owners want to sell the building for over $20 million how can a open space compete with that pressure to help them stay in place. >> i hope that what we are saying will ultimately trigger a larger discussion and help the different strategies how business and business and business by hopefully, this discussion will be carried with an argument of what historic and cultural preservation so the discussion b

bill cosby's cultural war. i first met bill cosby as a student journalist in the 60s and i interviewed a number of celebrities that came to the campus. they had good sound bites to give about the world or about civil rights or the black power movement or what was going on. bill cosby, what a disappointment he was. all he wanted to talk about was kids, stay in school. just enjoy the resources you've got and learn from them. i thought he's no fun. he sounds like my grandparents. but then flash forward. i'm a parent i am a parent myself now and i'm able to teach in all of those years so i wasn't expecting this as we hear them say that they reject bill cosby no, they don't. he expresses a voice that all the fuss had heard in our families but it is not news when you have african-americans in the strong families working hard at staying in school etc.. there is work to be done and we have seen a lot of good work in the involvement around the country that doesn't make news because who cares about the kids that are succ

in the mid-1950s, the art of the disposable consumer culture was born.n '57, the british artist richard hamilton issued its manifesto. this art, he said, should be popular, that is, designed for a mass audience. it should be transient, expendable, low-cost, mass-produced, gimmicky, and in the 1960s, this art came of age-- pop. there was at that moment a kind of liberating nihilism, a sense that you could sort of clear away the junk of an inheritance from the 19th century which people had long since ceased to believe in. so that kind of clearing away and allowing oneself to really stare modern culture in the face, that had a tremendously liberating, invigorating, energizing quality, and it's that quality that gave pop art its kind of joyousness at the beginning... even though a lot of the message had this very acid undertone because it was denying a lot of things that we'd like to think about ourselves. when roy lichtenstein turns to the visual vocabulary of comic books, he's examining stereotypes, packaged images, packaged plots, packaged personalities.

native american children were stripped of their culture and identity. many suffered abuse in the schools. the assimilation policies continued. in the 1950s came the indian adoption project. native children were taken by social workers and missionaries and placed in white homes. by the time icwa was passed more than 25 percent of native children had been removed from their families. today, what native americans call "historical trauma" still casts a long shadow. we're in kyle, a town on the reservation, and people are walking today against suicide - an all too common occurrence in a place with little industry and where more than 80% of the people are unemployed. the walk is led by the sweetgrass suicide prevention group. >> we're seven times more likely to want to harm ourselves because we feel there's no hope. tiny de cory is the coordinator of the group. she says that struggles with alcohol and drug addiction are common here. >> we've had six suicides from january to a few days ago. six. but we have saved a lot of people's lives, a lot of youth. >> i s

well, the index focuses on two things, culture and opportunity. what do we mean by culture? in this definition we're laying out saying, let us measure the health of american families, our civil institutions. civil opportunity looks at what type of educational achievement are our students getting. how likely are you to find work? what are the chances of starting your own businesses? you still have the opportunity to be successful in business as you were in the past? now, i want to take you back in time to about 20 years ago when then vice president dan quayle was embarked in a dispute with a minor tv character called murphy brown over the role of single motherhood. this is considered a key part of the cultural war. the sitting president of the united states in a silly debate with a television character. now you're starting to see, and i would argue you start to see a little more consensus saying, maybe the murphy brown wars about single motherhood shouldn't be lumped in just the cultural war argument, but there's a social economic component as well. consider the work of charl

it's often said that statues like this are emblematic of early greek culture. think they are for four reasons. the sculptor has taken the statue's clothes off. convinced that man is the measure of all things, he allows him to stand free and proud, allows your eyes to roam unobstructed across his body. he's autonomous. the sculptor has stripped away the back pillar and the screen between the legs of the egyptian statues that were his predecessors and has allowed him to walk forward in three-dimensional space. he's beautiful. he's also youthful. the sculptor has chosen that period between 18 and 21 that the greeks believed was the prime of one's life, the acme of one's existence on earth. as a result, the statue could serve one of two main functions. it could be offered to the gods, particularly to apollo, the epitome of this youthful ideal, or it could stand above the grave of a man of any age, reminding his descendants of when he was in his prime, standing youthful, proud, autonomous, beholden to no one, the measure of all things. the male figure-- naked, proud

they were penetrating the culture. they came with values that are very different from arabian values. , treat your ,eighbor as you treat yourself peace and justice for everybody, womenare equal -- men and are more or less human beings. that is very different from the arabian style of culture. women are possessions. wife.ew men had only one marriage was not one man and one woman, it was one man, multiple wives. so christianity came and threatened the normal culture of arabia, which was a brutal culture. ,o reverse, water is scarce people trying to protect their wealth and other tribes were their enemies. other tribes do not have the same human rights as some tribes. human rights are by membership of your tribe. judaismchristianity and -- arabia required, in my opinion, major role -- major cultural change. as an assertion to arabian culture. and as a rejection to judaism and christianity. prospect of islam actually killed a lot of men in jewish tribes and he was a warrior. mohammed was a warrior. wars has, after all thes

. >> the baseline culture was materialism, and also the feeling that the culture itself didn't honorrit and didn't honor creativity. >> the early 1950s, the nation recognized in its midst the social movement called b generation. ♪ a novel titled "on the road" became a best-seller. >> when kerouac's book came out, it became a revolution, defined a new generation of what being beat means, and it defined it as a spiritual revolution. that if we're living in an age of conformity, if everybody's trying to work for the corporation, that you're losing a sense of self. >> i was traveling west one time at the junction of the state line of colorado. i saw in the clouds huge and massed above the golden desert of even fall, the great image of god with four fingers pointed straight at me. come on, boy, go thou across the grown, go moan for man. go moan, go groan, go groan alone, go roll your bones alone. [ applause ] >> jack kerouac became like a godfather for counterculture. >> the village has a life and language all its own. if you dig it, you're hip. if you don't, man, you're square. coffey ho

>> yeah. >> the french are known to be proud of their culture and specific about it. the japanese are proud of their do you recall and specific about it. again, you are an outsider to durltz. >> yeah. >> how did that work for you, companies? >> because the two cultures are so distinct and such a strong, you know, distinct personalities, we didn't try to do, okay, we are going to do something hybrid. >> right. >> didn't do that. frefrling? >> it was going to be doomed anywhere. you were going to hit the wall. the only way to make it happen was to say, okay. everybody stays home in a sustain way. everybody keeps its own identities, own history but as we need scale, we need cooperation, we need complementarity. this is a cooperation for the long-term. it was in a certain way easier because the personalties were so strong of the culture and we have heard over the last few years that you were approached several times by american car makers at one point to run ford and then in the worst of what was going on the american auto industry, to run general motors. tell me about wh

islamic culture is very different from western culture. western culture is really -- the way they relate to one another, they relate to each other as human beings. we are all equal in front of god. in the muslim world, it is a slave-master relationship with human beings. >> when you came to this country, you took 17 years that you remained a muslim or you were not anything -- >> i was not. >> what religion did you then join? >> i became a christian for one reason, one basic reason. it made me a better person. and also produces a society that has trust between people. the good thing about what christianity does, as an ideology -- put aside religion, whether it is literal or not -- what christianity does to a society is establishes a level of trust between people upon which civilization can happen. islam takes away the trust of people. if you go to live in the muslim world, you will see that nobody trusts anybody. >> when did you become an activist and form arabs for israel? >> after 9/11. >> how soon after? >> right away. i was very traumat

i think all human societies are the product of a process of cultural evolution. in general, this evolution leads to an increase in the size of societies, an increase in the complexity of their interaction and institutions. it also leads to more economic interdependence among households within a society, and among societies. keach: to trace the evolution of human societies in the new world, an archaeological team comes here to mexico's tehuacan valley. the team is led by veteran archaeologist scotty macneish. they are seeking evidence of the first inhabitants of the valley. when macneish first excavated here in 1962, he discovered a time capsule of human occupation at a site called purron cave. macneish: here we are back at purron cave. we really haven't dug in it in almost 30 years. walls all preserved. even the trowel marks we made to mark off strata are still preserved and we have all sorts of neat floors of charcoal one on top of the other. the amazing thing about this cave is that we really have unbelievable preservation. the reason we have preservation is it

we want recognition of our culture, and we want autonomy. if we are to prevent our boys from taking up arms, we will have to take serious steps in that direction. >> but the pkk is calling for a return to violence across the region, and the call is being heard. close to the syrian border, we meet amed, a turkish kurd. the young medical student left his town of adana to join the fight for kurdistan. how and where, he does not yet know. but he is sure that relying on peaceful means is not the answer. >> the turkish nationalists continue to humiliate us by saying there is only one nationality and one language. the peace talks have taken us nowhere, so at least if we join in armed struggle, we can demonstrate our pride in our roots. and it gives us a space to live in freedom. >> when a police car drives past, amed makes a run for it. by now, he will be in the mountains with the pkk. it was this dream of freedom and a better life that drew ibrahim kivik to join the kurdish armed resistance movement. before he left, he wrote a goodbye letter to hi

you also have it entering popular culture. w comes in at this time realizing that what he will do now is try to address the tensions emerging. in the first issue, he writes, these are volatile times for the emerging korean-american community. the struggling newcomers are pitted against another ethnic minority. i don't even know where to go with this because it is so dense, or and devastating in many ways, but he and the staff of young people, writers who range from as the koreans to people who are not korean-americans work on trying to reframe how the relationship between blacks and koreans in los angeles essentially in the year leading up to the riots, trying to provide more perspective to tell more stories , it's not just about korean-americans being defined by an antagonistic relationship. they do this through a bunch of ways, including working through the black an actor and exchanging editorials and creating a public dialogue will stop it was initially inserted within the daily korean newspaper but at a certain point, he f

the culture is vibrant.espondent for iran, his wife and fellow journalist works for uae based newspaper "the national." jason is iranian/american. and his wife, a full iranian. this is their city, tehran. >> the official attitude toward fun in general seems to be an ever-shifting -- is fun even a good idea? >> a lot of push and pull. a lot of give and take. when i first started coming here you wouldn't hear pop music in a restaurant or -- >> now it is everywhere. >> we have police they arrest girls or women for having -- not being covered enough. it is not that we live with the police in our head, you know. >> one of the first things that people will say when you say, i'm going to iran. yeah, but don't they make women do this, this, this, this. >> actually -- not so much, not as much as our friend. compare and contrast, women aren't allowed to drive in saudi arabia. >> that's right. >> or vote. >> you can drive. you can vote? >> yeah, of course. of course. >> my sister is an accountant. she has her own compa

i wanted to get forgiveness for the crimes of my culture. feel like i carried the crimes of my fathers. and how do i make it right? >> so he began to explore and listen to native americans like jackie and her husband kirk, who initially was very skeptical about what this white outsider wanted. >> my folks, having been in the boarding schools, and when the boarding schools shut down, my generation being adopted out into nonindian homes, the abuses i experienced in that nonindian home, coming to terms with all of that, i had little faith in or trust in particularly white men. so of course, i think he's only looking for some way to exploit us, exploit our culture for his own purposes. >> it made native americans open up and eventually trust kent is that this white outsider really did listen. >> he listened. what i mean by that is, he intently heard me. there was something about his spirit when i talked to him that was very gentle, authentic. >> i think kent is -- he is such a remarkable man, but i think it's because of his, you foe, his study,

culturally sustainable economic ventures. in 1990, she was awarded a macarthur fellowship for this work. from 1982 to the present, she has continued her organizing work and has served as an adjunct professor in colleges such as the university of new mexico and the colorado college. some of her photography appeared in numerous civil right movement books and photo exhibits. two exhibits featuring her images and those of other activists in the struggle have traveled extensively throughout the u.s. she is also the co-author of "rural environmental planning for sustainable communities" and a contributor to "across the great divide." so you see this path continues on. today, i want to welcome maria varela. we are so thrilled to have you with us. [applause] >> thank you for the invitation and introduction and the hard work of the staff to put this on. i concur with the need to give them all thanks on this. actually, that sounded like the blogger fee of a dilettante in inbiography of a dilettante some ways. we are not going to go int

for that first 1500 years of life, in order to understand the people and know about their culture and preserve their legacy, we excavate and what are known as maidens -- middens and the landscape features. archaeologists have had 75 excavations in over 30 years to understand this place and these people. a midden means debris of life. so essentially garbage. within the middens are indicator of environmental change and artifacts that were left high and. these are eastern oysters and these are crested oysters. crested oysters exist in higher salinity waters. to get higher salinity at various points but also when there are prolonged periods of droubt. there are holes that indicate higher salinity waters. this is some of the clues or indicators to where people were going to collect food, particularly when they are in assemblage, in a mix with other species. the acre near -- by detailed analysis we began to understand the resilience of the people here and parts of their culture. we know they endured an extreme period of long-term cld. the abandoned the site around a three years. when they r

in focusing on cultural change on conflict between cultures, and this kind of approach avoids fundamental questions about the formation of the united states and its implications for the present and the future. this approach to history allows one to safely put aside present responsibility for continued harm done by that passed on the question of reparations, restitution, restoration of land and reordering of society. multiculturalism became the cutting match of post-civil rights movement and revising u.s. history. for this to work in the process, indigenous nations and communities had to be left out of the picture. i've territorially and treaty-based people's in north america, they did not fit into the greater multiculturalism, but were included by transforming them into inculcate oppressed racial group by colonized mexican-americans and puerto ricans were dissolved into another such group variously called the scenic or like e-mail. i'm on the whole question of the mexican border is blurred in that manner as well. the multicultural approach emphasize the contribution of individuals from th

you also have it entering popular culture. kw comes in at this time realizing that what he will do now is try to address the tensions emerging. in the first issue, he writes, these are volatile times for the emerging korean-american community. the struggling newcomers are pitted against another ethnic minority. the jewish journal, to exchange editorials and create more public dialogue. the other interesting thing, is that it started within the daily korean newspaper. at a certain point, k w feels it is important for other people who are not. to have direct access. you no longer have to get a korean newspaper to get the english edition. when the riots broke out, k w was in the hospital awaiting a liver transplant. he was talking to reporters about what his response with the to the assessment to what has happened in los angeles. rush into this, there is no ending. k w returns to sacramento to recover from surgery. he retires from the union when it dissolves in 1994. he continues to write stories to distribute. with academics and