He contends that the forces behind gentrification have evolved. My colleague Derek Hyra just finished a paper about the fifth wave of gentrification. Let’s enjoy our time while we can.” Can you talk about some of the forces behind gentrification and how storytellers can incorporate that into their plotline?įullilove: That’s a really big question. There’s a scene in In the Heights where Usnavi, the protagonist, said something along the lines of, “Maybe this is our last night together, but there’s no point in moping around. Your rent is going to go up, people are not going to buy your products, and your ability to have access to the resources that the other businesses have just does not exist. By focusing on that, it shows that if you figure out and accept this change, you’re going to survive.īut the reality is that you don’t survive because the competition that is coming after you has different kinds of resources. The business itself represents a larger idea within the United States that if you have your business and work hard, you’re going to be able to make it. Leonardo Vilchis: Focusing on the businesses gives this feeling that the issue really is entrepreneurship and people’s individual struggles to survive. Leonardo Vilchis, co-founder of Union de Vecinos, an organization of neighborhood committees building community power in Boyle Heights in East LA. So I think dramatically, those are good choices. But I think these stories about places are more of a crossroads of all kinds of people. It could have been a story about a family facing eviction, and where did they go. There are places where the crisis becomes very vivid for people and so those become the stories of it. The stores are a very visible piece of it, it could be another kind of place. That’s important because part of the harm that gentrification does to people is how long and stressful it is. So it’s really 20 years, and a 20-year-process has a lot of phases.
That’s 16 years and it started before that. So writing a play about Washington Heights in 2005 gentrification, and gentrification is still going on now in 2021. Mindy F ullilove: In the Heights was written in 2005. What do you think about this creative choice to focus on small businesses, and are there other people, groups, or institutions that you think should be included in the story? Mindy Fullilove, professor of urban policy and health at the New School.
#GENTRIFICATION OF PALETRO MAN FULL#
See the full video above.īrandon Duong: The most visible victims of gentrification in Gentefied and In the Heights are businesses-the taqueria in Gentefied and the nail salon in In the Heights.
Joining me was Mindy Fullilove, professor of urban policy and health at the New School, and author of Root Shock and Urban Alchemy Leonardo Vilchis, co-founder of Union de Vecinos, an organization of neighborhood committees building community power in Boyle Heights and Kenia Alcocer, co-director of Union de Vecinos.īelow is an edited excerpt of the discussion. I recently had the opportunity to chat with organizers and housing advocates about Netflix’s Gentefied-based in the Boyle Heights section of LA-and In the Heights, based in Brooklyn. While the word “gentrification” is being tossed around a lot more, we at Shelterforce are particularly interested in how these storylines and portrayals in cinema stack up to how gentrification plays out in real life.
#GENTRIFICATION OF PALETRO MAN TV#
In the last few years, we’ve seen a surge of films and TV shows address gentrification-movies like The Last Black Man in San Francisco, Vampires in the Bronx, and In the Heights, and shows like Vida, Shameless, and Gentefied.
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