Thursday, September 17, 2026

photos from the edge 42 - A NEW SYSTEM OF LABOR THREATENS FARMWORKER POWER

photos from the edge 42 - A NEW SYSTEM OF LABOR THREATENS FARMWORKER POWER
By David Bacon
Barn Raiser, 9/17/26
https://barnraisingmedia.com/a-new-system-of-labor-upends-farmworker-protections/



Farmworkers began harvesting watermelons as soon as there was enough light to see, in a field near Arvin, California, in the San Joaquin Valley. The first people at work in this field are the cutters, who go down the rows looking for ripe melons. When they find one, they cut the vine and lift it above the leaves. Antonio Torrez, works as part of a three-person team.


Harvesting watermelons is brutally heavy work, done in extreme heat, but so coordinated that it’s almost a dance. First into a field come the cutters. They sever the vine and free each ripe melon from the plant, resting it on the leaves above the furrow. 

Then come the tossers. A tractor pulls a flatbed trailer carrying giant boxes down the rows. On each side are three workers. The outside man lifts a big melon off the ground and, with apparent ease, tosses it to the man in the middle. That worker catches it and at the same time picks up a melon at his feet, tossing both to the person on the inside. That third worker has to catch the flying melons while picking from his own row. He lifts them into the waiting hands of the loader on the trailer above, who catches them as they come, usually two at a time. Then the loader twists and carefully lays them into a waiting bin. 

The dance is performed (there is no other word for it) swiftly, but no one drops any of the giant fruits, which can weigh anywhere between 15 to 25 pounds. The tossers swing back and forth, catching and lifting and tossing. They’re almost running as they move down the rows. In the course of a day, they rotate positions so that each worker eventually does the harder and easier jobs in turn. They work so fast they’re never more than a day, two at most, in one place.

Behind the cutters, Jose Chavez and Martin Mendoza are part of a crew of loaders. They pick up the melons, often two at a time, and hand or toss them to men on the trailer, who put them into bins.


Until recently, this kind of labor gave workers the ability to bargain, and win, better wages and protections. But the rise of temporary farmworker visas combined with an increasingly mechanical harvesting process mean big change 

The crew I met at the peak of one summer’s heat was working in the south end of the San Joaquin Valley, not far from Arvin. At 5:30 that morning, as the sun came up, workers’ cars already lined the valley’s rural roads and highways, next to field after field. Even before daybreak, people were streaming from their vehicles into the rows and vines. By starting early, they could get seven or eight hours in before the heat reached its peak. 

Juan Hernandez picks up a watermelon as Jose Chavez gets ready to catch it. Meanwhile Martin Mendoza tosses two melons to Jose Moreno on the trailer.


It was already over 80 degrees, and by midafternoon the temperature would top 114. The southern San Joaquin Valley is a desert-like pan between the high Sierras and the Pacific Coast ranges, whose rivers have been diverted into giant irrigation projects. High temperatures are the norm. In 1933 the thermometer reached 116 degrees on July 27. The high in July 2021 was 115.

I had been looking for watermelon tossers to photograph, and Fausto Sanchez, the community worker for California Rural Legal Assistance (CRLA), had given me the coordinates for a field where he’d seen them the day before. When I was a United Farm Worker (UFW) organizer in the 1970s, finding fields often meant following obscure instructions based on landmarks and imagined estimates of distance. Guidance by reading coordinates on an iPhone was a new experience. But it worked, kind of, and after failing to locate two fields I finally found the crew in a third. 

Going into the field to take the pictures, I knew I didn’t need to ask permission from a supervisor. Watermelon crews work without a foreman, so I just needed their agreement to photograph them. These workers take pride in their ability, and willingness, to do this heavy labor in ferocious heat, day after day. They were glad to show a white guy with a camera what they could do.

On the trailer Marcos Mascareno catches two watermelons at a time, puts them (without bruising them) into the bins and gets ready for the next toss.


I’ve photographed such crews for decades. You don’t have much time to shoot in the middle of a field. People are working and don’t want to stop, especially if, like the melon throwers, they’re working on a piece rate. If you want pictures of people while they’re working, you do it on the run. You learn to walk backwards and look and talk and shoot, all at the same time. That in itself earns you respect.

So in this melon field I was half running and half walking backwards in the mud and vines, with a worker in front of me, sort of interested, but I’m sure thinking, “What a pain in the ass this guy is. I hope he doesn’t get in the way.” They were very polite though. No one ever said, “Get the hell out of my way.”   

I’ve admired watermelon harvesters since my union days. They’re strong and skilled; the melons are heavy, yet they throw them in precise coordination. A given crew will travel together for months, heading north from fields near the Mexican border through California, Oregon and Washington as the advancing heat ripens the fruit. In the winter, most watermelon workers live in the border towns of Mexicali and Calexico in the Imperial Valley, and the twin cities of San Luis in Arizona and San Luis Rio Colorado in Sonora. A few live in the Coachella Valley, an hour north of the border. During the harvest season they’re on the road and don’t see their families until the picking is over and they return home. 

The tractor and crew head down the field.


Some crews function as a collective and return to the same fields and growers year after year, bargaining with the grower directly. In previous years, the crew method of bargaining, and their control of the speed of the work, gave them a lot of leverage and resulted in better pay. Watermelon crews get paid as a group, $150 for each trailer. The trailer in this field held 16 full bins, for a total of perhaps 500 watermelons. They divide the money evenly, which worked out to about $20 per person for each trailer. They can load 7-8 trailers before it gets too hot for this heavy exertion. 

Other farmworkers also have used their crew organization to get better wages through control over the work. Lettuce cutters had a similar power and were organized in what were called “ground crews” of 30-40 workers divided into trios: two cutting and one packing boxes. They could control the amount of lettuce they would cut in a day and would slow down or even stop to get the piece rate increased. In earlier decades, Filipino crews of grape pickers would also negotiate with growers as a group, headed by their own crew boss. The 1965 grape strike began when those crews struck, first in Coachella and then in Delano.

Today, however, this traditional way of working and bargaining is disappearing. The Filipino crews are now history. Ground crews are disappearing too, and lettuce is harvested these days by workers behind a lettuce machine that controls the work speed, making collective action harder. Lechugeros are no longer always among the best paid in farm labor, as they were before.

Each trailer carries an Igloo cooler with water. When the workers stop for a break they get a drink. Armando Miranda drinks straight from the spigot. California regulations require employers to provide one quart of fresh water per worker per hour of labor.


To see if the same process was changing the work of melon harvesters, I began driving through the San Joaquin Valley, searching for crews, particularly those recruited to work under the H-2A visa program, which allows employers to bring workers from abroad, who labor under exploitative conditions for up to 10 months, after which they have to leave the country. In the end, I found several. Often the foremen were young men in the H-2A program themselves. 

The crews saw no problem with me taking photographs. They talked easily about their jobs, which they’d tried hard to get when they were recruited in Mexico. 
 
On one ranch near Firebaugh, I recognized the name on the boxes of melons the workers were picking. King Fisher was a play on words by the Fisher family, whose Fisher Ranch is one of the largest growers in the Palo Verde Valley. In the 1970s, I was sent to that desert oasis on the Colorado River by the UFW, to help melon workers organize a union. The Fishers employed more workers on more acres there than any other grower.

The loading crew often works faster than the cutters can cut, and stop for a break when they catch up to them. Juan Hernandez wipes the sweat from his eyes as he pauses for a minute or two.


In the Firebaugh field, I found a crew of farmworkers on H-2A visas, harvesting melons early in the morning. Their recruiter, Rancho Nuevo Harvesting, contracts crews of H-2A workers for growers throughout California. The Fisher family had hired Rancho Nuevo Harvesting to harvest the field. 

Under state and federal law, employers must provide the workers with housing. In 2023, acting Secretary of Labor Julie Su won a judgement against Rancho Nuevo for providing unsafe housing, underpaying workers and supplying them with spoiled food, forcing the contractor to pay over $1 million in back wages and penalties.

The temperature in Firebaugh at 9:00 in the morning was over 95 degrees. It would reach 110 that afternoon. The workers in the field were Cora indigenous people (náayerite in their language), recruited from the Mexican state of Nayarit. It was only their second day of work in the U.S. and they were not yet accustomed to the heat. The náayerite live in a mountainous region where the climate is cool, often even cold. According to a man cutting melons next to the machine, one worker began to bleed from his nose the day before, on his first day working in the fierce heat.

An H-2A worker tosses a melon onto the conveyor belt.


As they moved through the field they cut the melons from the vines and tossed them onto a conveyor belt leading to a platform pulled behind a tractor. There, other workers packed the melons into boxes. This system is replacing the earlier system, in which workers tossed, caught and packed melons with their hands. The conveyor belt and the loader assembly are parts of a mechanized system, the Melonator, intended to supplant much of hand labor in melon harvesting. 

Growers, especially the largest corporate ones, don’t like the old system. It gives workers too much control, which the workers use to win better wages. Today some autonomous crews still cut and toss watermelons, but for other melons this new system of machines and H-2A workers is becoming almost universal.

Grower Bart Fisher says that when an additional assembly is added to replace the pickers themselves, the machine will only need seven people to do a job that now requires 30 people in the H-2A crew. He has developed melon varieties that stand up to machine harvesting. Nevertheless, even Hank Giclas, senior vice president for science and technology at the Western Growers Association, regrets the disappearance of the old system. “These workers are skilled,” he says, “and the product is a delicate product.”

Farmworkers brought to the U.S. in the H-2A visa program harvest melons early in the morning in a field near Firebaugh, in the San Joaquin Valley.  They cut the melons from the vines, ad toss them onto a conveyor belt that leads to a platform where other workers pack the melons into boxes.


According to Fisher, a shortage of farmworkers is driving up labor costs, and California law, fought for by the UFW now requires that growers pay overtime after 40 hours. “We’re marching toward an 8-hour workday and $15 an hour. It’s just going to make us noncompetitive,” he told the Desert Sun in 2018.

As the pandemic was well into its second year, Roberto de la Rosa called me from Porterville in the southern San Joaquin Valley. Roberto, a human rights lawyer and board president of CRLA, was helping a group of H-2A guestworkers who’d been cheated of their pay by a labor contractor. 

I talked with a leader of this group who’d confronted their stubborn crew boss, who he knew would never hire him again. Like all H-2A workers, he was dependent on the wages he could earn in U.S. fields—low by U.S. standards, but a lot higher than farmworker pay in Mexico. He wanted to denounce what had happened to him, but also to come back to work in the U.S. the following year. He feared other labor recruiters would blacklist him as a protester and asked me not to use his real name. “All the people I work with are afraid of reprisals if we speak up,” he told me. 

Workers on the machine pack melons into boxes with the “KingFisher” label. The label marks produce from the ranches of the Fisher family, one of California’s largest melon growers.


I’ll call him Eduardo. In 2020, he arrived in the San Joaquin Valley to pick oranges, tangerines and lemons for Porterville Citrus, a large grower. He was hired in Veracruz, Mexico, by a recruiter for Fresh Harvest, another labor contractor that brings thousands of workers to the U.S. every year under the H-2A visa program. Fresh Harvest also has a record of labor violations and paid $1 million to farmworkers in a case brought by CRLA in 2018 over unpaid travel time.

About 2 million farmworkers labor in U.S. fields. In 2025, the Department of Labor gave growers certifications for 398,258 H-2A workers, or about a fifth of the entire U.S. farm labor workforce. That’s a fourfold increase from 98,813 in 2012. Almost all are young men. Those who can’t work fast enough, or who protest, can be fired at any time and sent back. “We all come from marginalized communities in Mexico where there’s no work,” Eduardo explained. “It’s easy for the company to take advantage of our need.” 

Federal regulations establish a minimum wage for H-2A workers. In the fall of 2025, the Trump administration cut the mandatory minimum for H-2A workers in California from $19.97 an hour to $16.59. Since the state’s minimum wage is now $16.90 an hour, the federal wage would be illegal and will therefore default to the state minimum. 

The H-2A workers at the Travelodge Motel get their meals at the taco truck in the motel parking lot.


The UFW sued, and at the end of August, U.S. District Judge Kirk E. Sherriff in Fresno ruled that the federal wage was illegal because the Department of Labor didn’t “ensure that the hiring of H-2A workers will not ‘adversely affect’ U.S. farmworkers’ wages.” Nevertheless, the probably illegal wage will remain in effect while the Department of Labor formulates a new one. Despite that, the ruling is based on the obvious fact that the wage paid H-2A workers in effect functions as a ceiling on the wages of all farmworkers, who face replacement if they’re not willing to work for it. 

Many H-2A workers report not being paid even what they were promised, or what the law requires. What makes the program attractive to growers is that workers do not have any ability to negotiate their labor contracts. Their living environment and mobility are restricted, and they face the loss of their job and visa if they protest. 

“We were being paid by the hour, but they put production quotas on us and continually demanded more,” Eduardo told me. “They said we’d be fired and put on a blacklist if we didn’t meet the quota. In the oranges, we had to fill a bin every hour. If there was a lot of fruit in the trees, we had to fill it every 45 minutes, or even every half hour.” In his crew of 45 pickers, eight were fired in six months for not meeting the quota. “It was completely exhausting. The food the company gave us wasn’t enough and we were tired all the time.”  

Some rooms in the Palm Tree Inn have notices on the windows saying they've been decontaminated and/or disinfected "against a multitude of virus and bacteria to specifically include COVID-19."


Trump’s wage cut of over $3 an hour comes on top of other complaints that H-2A workers have had, especially about their housing. Historically, the regulations governing the H-2A program required growers to furnish housing to workers without charge. Last year, however, the Trump administration issued a new rule, now being challenged in court, that would allow growers to charge workers $3 an hour for housing, on top of its mandated pay cut. According to the U.S. Department of Labor memo, that would bring the hourly wage for H-2A workers in California down to $13.52, even more illegal should growers implement it.

In 2020 Eduardo was housed, along with several hundred other H-2A workers, at the Palm Tree Inn, a rundown motel by the freeway in Porterville. “Some of us were living 3-4 people in one room,” he said, “and there were rooms with as many as 8 or 10. In the van or bus going to and from work we were crowded like sardines. During the pandemic we were very worried about it.”

According to Mari Perez and Art Rodriguez, organizers for the Central Valley Empowerment Alliance, when they went to the Palm Tree Inn to talk with Eduardo and other protesting workers, Fresh Harvest guards threw them off the property. Other farmworker advocacy organizations also charge that labor contractors routinely refuse public access to motel residences for H-2A workers.

After the controversy over unpaid wages the motel appeared vacant.  The H-2A farmworkers working for Porterville Citrus were housed there.


The Palm Tree Inn is an old motel. It received terrible reviews on Yelp until Fresh Harvest took over its rooms to house its H-2A crews. I visited the Palm Tree Inn after the workers left, a dilapidated two-story building on two sides of a blistering hot asphalt parking lot. After the controversy over unpaid wages, and the expiration of the contracts for the last workers, the motel appeared vacant. I couldn’t get into the locked rooms. The concrete stairways and outside walkways were crumbling. 

Most disturbing was the notice posted in several windows, saying the rooms had been decontaminated and/or disinfected. The Material Safety Data Sheet said the chemical used was Aqua Systems’ Quat Sanitizer II, “a quaternary ammonium product proven to be effective for sanitizing work areas and equipment against a multitude of virus and bacteria, to specifically include COVID-19.”

During the pandemic, in little towns like Huron and Los Banos, growers have taken over motels like the Palm Tree Inn, hastily assembling steel bunk bed frames so that each room can house four or six workers, sometimes more. While proximity increased the danger of Covid infection, labor contractors seemed oblivious. Perhaps they were making so much money from their mushrooming labor contracts that the risk was worth ignoring, at least for them.

Farmworkers brought to the U.S. in the H-2A visa program are housed by the labor contractor Jim Hernandez at the Travelodge Motel in Los Banos, in the San Joaquin Valley.  Jose Diaz Solano is welding bunk bed frames so the contractor can increase the number of workers sleeping in each motel room from  3 to 4.


Corporate agriculture is increasingly dependent on the explosive growth of this program, ignoring the cost in lost jobs to local farmworkers, and the toll on the H-2A workers themselves. The pandemic highlighted that cost. Cynthia Rice, former litigation director for CRLA, points to the isolation of the workers and the temporary nature of their presence in the U.S. as root causes of their vulnerability. “Our agricultural industry is sustained by cross border labor—we have to acknowledge that,” she says. “But these workers have only a quasi-legal status, controlled by growers.”  

Where the self-organizing of watermelon crews and lettuce cutters gave them some degree of power to counter grower control, they are losing it to this exploitative new labor system.

H-2A workers for Rancho Nuevo Harvesting on the Fisher ranch.

The temperature at the time, about 9:00 in the morning, was over 95 degrees.

The conveyor belt and the loader assembly are parts of a mechanized system the Melonator.  As the machine moves through the field, at the end of the conveyor belt the melons are loaded into a large hopper on a trailer dragged by a tractor.

Tuesday, September 15, 2026

photos from the edge 41 - A WORKING CLASS TOWN CELEBRATES LABOR DAY

photos from the edge 41 - A WORKING CLASS TOWN CELEBRATES LABOR DAY
By David Bacon

Fort Bragg, a small north coast city with a history of labor activism, still uses Labor Day as an occasion to celebrate working people when other communities just treat it as a day off work.  This year two parades filed down Franklin Street - one for children and one marking the start of the school year - while elsewhere people showed off their dogs and cars.  And of course, demonstrators held sarcastic signs ridiculing Trump in the weekly noontime protest on the corner of Main and Laurel.   

Fort Bragg's radical tradition is still alive, and Labor Day was the chance to remember.  One of that history's high points came in the years after World War Two, when workers in the biggest industries in the country, from auto plants to farm equipment factories, went out on strike together.  The lumber industry, then Fort Bragg's economic mainstay, was no exception.

From January 1946 to April 1948 the workers at the Union Lumber mill struck over the combination of low wages and huge price increases that came after the war.  In addition to fighting the economic pain, their union, the Redwood District Council of Lumber and Sawmill Workers Local 2610, also wanted a closed shop.  The strike swept through the north coast, shutting down mills from Eureka to Caspar.  Union Lumber brought in scabs, and picket lines were filled with hundreds of strikers for 15 months.  It was not Fort Bragg's first strike - the union at the mill was originally organized by leftwing CIO activists in the 1930s.

Among them was Mickey Lima, born the son of a Portuguese fishing family in Usal, now a ghost town up the coast.  For his activism Lima was jailed during the strike.  Later, in the years of the McCarthy Red scare, he was put on trial for violating the Smith Act, as the head of the Communist Party in northern California.  The Supreme Court declared the Smith Act unconstitutional in 1958 (although we hear the same calls for outlawing socialist ideas coming hot and heavy from today's White House).  

Lima, and his wife Helen, a health care unionist, were hardly Mendocino County's only radicals of an earlier era.  Red artist Emmy Lou Packard is celebrated today as one of the founders of the Mendocino Art Center.  Lima built a cabin on Route 20 to escape the stress of the Smith Act trial.  To warn rambunctious children (like me) against running into its sliding glass door, he taped onto it her long print of oxen hauling redwood logs through the forest. Today Packard's art work hangs in museums and galleries.

Oscar Erickson made Fort Bragg home after serving years in San Quintin for organizing Imperial Valley farmworkers in the 1930s.  He was a citizen, but other organizers in that same effort were deported after prison, handed over to the migra, much as the sheriffs of counties like Sonoma still do today.  Oscar also built a house on Route 20.  

Mexicans and Chicanos in Fort Bragg have their own history of community resistance.  After families came from the Yucatan and southern Mexico to shell sea urchins in the Noyo River harbor, they faced the terror of ICE's predecessor, the Immigration and Naturalization Service.  Loreto Rojas and Diana Coryat interviewed Lucresha Renteria for their Nuestro Norte, Our North podcast, about her memories of what happened one day in 1988.  

"Kids were coming out of the buses," Renteria recalled, "going home to empty apartments because their parents had been picked up at the sea urchin plants at the fisheries in Noyo Harbor, both north and south.  Still in their rubber boots from work, they weren't able to change into regular clothes."  Police and immigration agents drove around outside a local church while kids in a youth group, including Renteria, hid inside.

Nevertheless, Renteria remembers that the raid produced a big change for both Latino and white families.  "The white community came out in full support of their neighbors, friends, coworkers, and strangers to just say, this isn't right. So many things changed after that. One of the most significant was that the police department did go on record, maintained ever since, that they would not assist INS or now ICE in any future raids in the community."

In the schools things changed as well.  Renteria recalls that in the era when her parents were in school, in many communities in the west and southwest, "teachers were relentless about having to speak English in the classroom. They wouldn't let kids go to the bathroom if they couldn't ask in English."  Today Fort Bragg's Latino youth show their culture openly and speak whatever language they choose.  Last year they marched in protest, together with community supporters, almost as soon as the incoming Trump administration began its immigration threats.  Indivisible and activist groups continue to stand on a downtown corner every Friday, condemning raids and genocide with handmade signs plastered with anger and ridicule.  

This Labor Day wasn't exactly a political protest, however, although it had its share of placards.  In the marching contingents of soccer and football players and cheerleaders, the diversity of Fort Bragg's students was what was really on display.  It is a working-class town, and as its history would dictate, a community where respect for that is a strong common bond.

My thanks to MendoLatino and Nuestro Norte, Our North, and Lucresha Renteria, for the use of the podcast.  The audio is here:  https://on.soundcloud.com/xbV7BYUuTiLOXpukYK 
and the transcript is here:  https://docs.google.com/document/d/1OwLrOlJAGx4_DtfGKB33HAa3PKJuBg_CeiVg7EvDSc4/edit?tab=t.0

For more about the 1988 raid:  https://www.advocate-news.com/2025/04/17/fort-bragg-renews-support-for-immigrants-amid-ice-crackdown/  

For more about the lumber strike:  https://cdnc.ucr.edu/?a=d&d=EBLJ19460809-01.2.14&e=-------en--20--1--txt-txIN--------

For more about the Imperial Valley strike:  https://revolutionsnewsstand.com/2024/11/25/the-story-of-the-imperial-valley-by-frank-spector-i-l-d-pamphlet-no-3-international-labor-defense-new-york-1931/

 























 

Thursday, September 3, 2026

photos from the edge 40 - SAVING 'SINBAD'S VOYAGE'

photos from the edge 40 - SAVING 'SINBAD'S VOYAGE'
By David Bacon
American Community Media, 9/1/26
https://americancommunitymedia.org/immigration/saving-sinbads-voyage/

Muralist Mokhtar Paki and assistants Masoud Salamat and O'Brian Thiele repair the Sinbad Voyage mural, the honored migrants.

A mural in Berkeley, California depicting immigrants and refugees braving the open sea was vandalized earlier this month. Mokhtar Paki, who painted the mural, describes it as his "love letter to Berkeley." An immigrant himself, Paki left Iran as a political refugee in 1983, later settling in Berkeley and gaining U.S. citizenship. 

According to the artist, the mural's desecration - with white paint splattered across the image - is an attack on all immigrants. But Paki is using the incident to bring attention to the attacks on immigrant communities across the country. Working alongside two other muralists - Massoud Salamat and O'Brien Thiele - to restore the painting, Paki discussed its origin and meaning with photojournalist David Bacon. (This conversation has been edited for length and clarity.)

Tell me about the name of the mural.

Sinbad's Voyage refers to a fairy tale from the classic One Thousand and One Nights. It's about a group of sailors trying to reach, metaphorically, a happier place to live. They tried seven times, and each time they had to go back. I found it very relevant to the story of many immigrants who try to reach another land and are deported, or have to go back, and then they try again. So it's about resilience - about trying, about adventure, and finally getting somewhere you want, or, unfortunately, perishing along the way, very much like in the story of Sinbad's Voyage, where many people died.

Neighbors left signs in support of immigrants after vandals defaced Paki's work. 

How did the mural come to be?

In 2014, we were witnessing this whole movement of immigrants trying to reach the Mediterranean Sea from Africa and the Middle East. Many of them used really small boats, crammed with people, and unfortunately many of them died, drowned in the Mediterranean near the Greek and Italian coasts.

I was really devastated every time I saw so many people crowded into one small boat. So in 2016, I did a simple black-and-white ink drawing and posted it on social media. Then in 2019, I made a painting of it. But I still wasn't satisfied - it was just a painting in my studio. So what? So I took a picture of it and sent it to the City of Berkeley, to the Civic Arts Commission, and to other places. It took about two years to hear back - that was 2022 - and then about five or six more months for the paperwork. I finally started on January 23rd, 2023, and finished in May. Those were the best four months of my life as an artist, because everybody here was really coming out and supporting it.

There are about 400 figures in the mural, many depicting historic individuals as well as immigrants from Paki's own neighborhood in Berkeley, Calif.

And the image itself. What does it depict?

The image is a vast gray ocean, and in the center there's a boat with a colorful crowd of people crammed together - different sizes of heads and so on, but everybody has a different hairstyle, or scarf, or clothing pattern. They have nothing to carry with them - you can't carry your piano, or your pet. They carry themselves. But they bring their culture.

There are about 400 figures in the mural, and around 88 of them have faces. Some of the faces are of people who aren't here anymore - for example, Hajji Sayyah, who died a hundred years ago and was, they say, the first Iranian resident of the United States. Another is a relative of mine - my niece, Sana, who drowned when she and her father tried to cross the Persian Gulf to escape. She was five years old when she died. There's another figure, Jacqueline, who was Guatemalan, seven years old - during the family separations a few years ago, she got sick and wasn't taken care of; they just put her in a room. Her case became well known, so it was easy for me to find her story and put her here. There's another one, Carlos, the same kind of tragedy.

But it's not only about tragedy. I have two friends who live in the Berkeley area, immigrants from Russia, accomplished musicians, and they wanted me to paint them with their instruments. I said no, no, no - nobody with an instrument, especially a huge harp; the boat would sink under the weight of your harp! So instead I put the harp as her earring - you can see that, with her husband beside her.

Several of the faces are more prominent. What do they represent?

I made three faces the largest. I chose the three regions that have produced the most immigrants over the last twenty-five years - the Middle East, Africa, and Central America - and gave each a representative. The one in the middle is a woman from Congo, representing Africa. To her left is Carlos, from Guatemala, representing Central America. And to her right is a Kurdish figure representing the Middle East. Those three are the largest faces.

Masoud Salamat carefully lifts the defacing paint. 

What about the style of the mural?

The technique is based on a traditional style of painting from Iran, called pardeh, or pardeh-khani. Pardeh means "curtain" - it's a huge, loose canvas that painters would roll up and carry from place to place, then unroll and hang on a wall and narrate the story to people. On these paintings, the faces and bodies could vary a lot depending on how important the character was - much like in film, where you have a villain and a hero. And the person who narrates it is called the pardeh-khan, the narrator of the curtain.

In the mural there are also these ghostly images of what look like military boats.

Yes - we call them "guards." They could be helpful - for example, I included the Greek Coast Guard, because they've saved a lot of lives, and I wanted to celebrate that. But you have to be out on the ocean, facing someone with a gun, to know how that feels. And it wasn't always a good story with the coast guard, either - even the Greek Coast Guard has been accused of negligence, and worse. So, in a way, yes - this is a symbol of danger. But again, this mural wasn't really about the "negative" people. For me, these figures are positive. The danger, the negative thing, for me, was mostly the ocean itself - what was happening out there.

When did you first learn about the act of vandalism defacing the mural?

I was out of the country on a trip, planned for four or five days. On the first day, a friend called me and gave me the bad news, which kind of ruined the trip. I wasn't in a position to return immediately, so I stayed the remaining three days and then came back. When I saw it, it was very, very difficult, because this mural had been on my mind constantly. It was shocking - unbelievable. Every day I walked past it after that, I saw it.

I think the fact that it's a big white splash of paint is very symbolic. It could have been yellow, or black, or red. But the fact that it was white - I think that says something. And if something like this can happen in Berkeley, just imagine what happens elsewhere. Imagine how it feels to see it happen here, in a place I thought would protect it.

O'Brian Thiele, Paki, and Masoud Salamat work to restore the mural. 

What's been the response from the community?

All the neighbors around here have shown their love and support every single moment. They come by, they slow down, they say something. They've offered money. When I wasn't here, they went to the liquor store on the corner and talked to the manager, because I wasn't around, wanting to know what they could do, wanting to give money.

A mural is collective work. It's collaborative, partly because of the scale of it, but mostly because it reflects the community, and because of the way you create it - people watch you work from the beginning all the way to the end, every day. So they end up collaborating with their emotions. For example, there are a few figures here who were people just passing by - they asked if they could be included, and I said yes, because they're immigrants. So it really is collaborative work.

Any parting message you want to share?

I think right now is the moment to really show our solidarity with immigrants. Just imagine being a Haitian immigrant in the United States right now - totally defenseless - and think about what happens to people like that every single day. They arrest thousands of them and send them back to their countries, or somewhere - we don't even know where. That's what I want to talk about. I don't want to talk about who did this or why. What matters is why this mural was created in the first place. And we're going to repair it. We're going to bring it back, in solidarity with immigrants.

Paki carefully peels paint away from the mural beneath.