but that was the closest thing i had. redcorn: please, dale, that belonged to my father. dale: yeah, it s nice, what s that made out of? rigatoni? redcorn: bones. dale: ewww. lucas brown eyes: there s this this very native centric storyline where john redcorn, wants to really start to share his culture with his son. redcorn: you have to make a choice joseph, sometimes a herd can be the safest place there is, but the wrong herd can trample you. lucas brown eyes: we have this culture that has traditionally been taken or stolen or misappropriated. bill: hey dale, something seems different about you. dale: something is different, bill. i had a vision. i m an indian now. dale: good morning class. lucas brown eyes: not seeing native american characters, not seeing native people like you. you hunger for it. so when you get a side character who s not in every episode, it s not a full meal, but it s something. patrick gomez: the road to representation has been a long and winding one for many co
washington: hey, yo man. thanks for coming to buchanan high school on career day my good brotha. vinnie: mr. here s a present, a fortune cookie. all: fortune cookie... read it read it! patrick gomez: for so long, diversity and representation traditionally meant that you had ah some black characters, and the other the other ethnic minorities were not really part of that conversation freddie: i come from two backgrounds, hungarian and puerto rican. yeah. i m a hungar-ican george lopez: when i saw freddie prinze in 1973, i fell in love for the first time. paul reiser: he did one exceptional shot on the tonight show and seemingly a minute later was the star of his own show. chico, don t be discouraged. jim mckairnes: in 1974, chico and the man is speaking to the changing face of america.
the 40s and 50s, before leaving to go to film school. why did you come back? - why did i come back? i was gone from about 68 to about 75. they i came home, and i saw everything s decaying even worse, and the people i hung out with, like there s sal carulli and other guys, they were these really characters. - chico pushed the button me. no one gonna push the button on me. nobody. nobody. the only guy that can do that is that guy up there, j.c. j. c., my man. - there s a lot of world war ii people that were starting to die off, and i was really like, this is gonna disappear, and the industry s going away. so i didn t know what else to make films about, so i just started documentaries and i just wanted to capture, and get some of these characters on film, and make them mythical. - but you stayed in braddock because braddock was your subject. - it s my subject, and i thought, okay, what if i move? if i move to los angeles, maybe i can get a job in the industry, but what if i get st
daughters, two of them in ps172 in brooklyn. we know that school. that s where illegal immigrants were housed until yesterday. mr. chico, the parents won. what did you do? to be honest, we have nothing against the immigrants. i come from immigrant families. the community is full of hispanics. we just believe that school gym isn t a place to put these people in. it is not a place for them. the gymnasium was built for the children so they can have an education and have gym. it is not a place for them to be put. harris: how did you make your voice heard on that? i see some people in the video that were showing with signs and so forth. they didn t come to you and ask if you could do this, they just did it. they just did it overnight. from what i heard it was over a weekend. mother s day weekend they came