tv CNN Special Program CNN September 30, 2018 8:00pm-9:00pm PDT
tirelessly to combat the problem. it's just such an uphill battle. the bright lights, though, are programs like remerge, the women i met there, they have hit rock bottom and they are just so ready and determined to make a change and from where i sit here, that seems to be the only way out. ♪ ♪ >> anthony: maybe you know him -- i hope you know him -- from such excellent shows as "united shades of america." host, writer, comedian -- w. kamau bell. ♪ i bumped into him in the cnn scene room recently fondling his emmy, and i asked him, "kamau, if you could go anywhere on earth for like a mash-up episode of my show and yours, where would that be?" he said kenya. so, here we are, "united shades unknown" or "parts united."
scratch that. that doesn't sound good. "america's shadiest parts." no, that doesn't work either. "unknown shades of --" ♪ i took a walk through this beautiful world ♪ ♪ felt the cool rain on my shoulder ♪ ♪ found something good in this beautiful world ♪ ♪ i felt the rain getting colder ♪ ♪ sha la la la la sha la la la la la ♪ ♪ sha la la la la sha la la la la la la ♪ ♪
>> anthony: first time on this continent? >> kamau: yes. as a african-american, there's a lot of talk about going back to this thing of the "motherland." >> anthony: and look, a seriously radicalizing experience for african-american comics who come here before. >> kamau: yes. yeah, yeah, yeah. >> anthony: life changing, so we shall see. >> kamau: even walking through the streets, i have this feeling of like, when i moved from chicago to oakland -- you know you hear about oakland as being this black city. and you get there and it's like, you know, there's black people here, but it's not like -- >> anthony: uh-huh. >> kamau: this is what i imagined oakland was going to be like. like, this feels like this is black, you know. ♪ >> anthony: nairobi means "cool water" in maasai. it's the capitol of kenya with 6.5 million people living in the metro area. it grew up around a british
railroad depot during the colonial era, halfway between other british interests in uganda and the coastal port of mombasa. ♪ i will admit to a weird, frankly unlovely sense of "been here, done that." it's not a good look for me, i know. but there's a mischievous curiosity tucked away in some poisonous part of my brain that's dying to see how kamau handles the heat, the spice, the crowds, the overwhelming rush of a whole new world, because that's what it is, first time. this ain't berkeley. [ horns honking ] ♪ >> anthony: i'm already happy. >> kamau: i'm pretty happy because i've seen this scene so many times on your show. i finally get to be in this scene. this is going to be good. >> anthony: i mean, you have a kenyan name. >> kamau: yes. my parents met in east palo alto, california.
you know, this is like the late '60s, starting to be the early '70s, so post the civil rights movement, at that point where black people are trying to really, like, want a connection to the motherland. and in east palo alto there was this push towards naming it nairobi -- nairobi, california. back then, there was people who were like, "we need to be associated with an example of african culture that is winning." and at that point, kenya was being looked at as winning because they had just kick out the brits. and there's all this sort of like, you know, "we need to start a whole new culture, a new government." so they start a community college that's in people's houses and in basements and storefronts. and i was the first baby born to one of the heads of the council, apparently. and apparently there was like a whole ceremony. it lasted eight days, and you know. i picture it like "the lion king." i don't know. there's no pictures. >> anthony: and yet, a proud kenyan name, given your background, why so long? what took you so long, man? >> kamau: i was waiting for an
invitation. i think, as a black american, i'm still wrestling with my african-american identity sometimes. and i'm still wondering am i doing right by this culture and does this culture think i'm doing right by them. and that's why i don't want to walk around like, "i'm home!" i also think that a lot of times black people in america have really struggled with that as an identity, what does it mean to be a black in america? i'm like i fought hard to claim this identity. it's exhausting. you know? am i ready to start with a new one? i don't know yet. >> anthony: well, we'll see in a week when you head back. >> kamau: exactly. ♪ >> anthony: shit runs deep here. meaning, best scientists can tell, it all started for us in this neighborhood. tribes of hunter-gatherers, arab and persian traders, the omani all left their mark. but the british empire's hold from 1895 to 1964 is perhaps most deeply felt.
the british system of education, governance, justice, along with -- to a certain extent -- it's values, were imposed on a native people and laid for better and worse much of the foundation for modern kenya. it did abolish slavery, for instance. it did build a modern infrastructure. it was also completely and fundamentally exploitative, often violent and, well, racist. kenya existed to make white people from far away rich. but in 1963, kenya won its independence and elected its first president, jomo kenyatta, and since that time has fought an uphill battle to shake the last vestiges of colonial rule while hanging on to what worked. things are by most accounts going well. there is a growing middle class, a highly rated educational system and an enthusiastic and multilingual professional sector.
which is to say this is decidedly not a shithole. it's dynamic, it's changing, and it's incredible. kenya -- by kenyans, for kenyans. but hurdles exist. bizarre, almost surreal ones in this case. mitumba, for instance. also known as "the clothing of dead white people." >> njeri: 70% of africans are wearing secondhand clothes. if we can just make our own clothes and make them cheap enough, and make the money and keep the money. >> anthony: njeri gikera is the owner of chili mango, an all-kenyan street wear company. melissa mbugua is a managing director at a creative consulting firm. >> anthony: as i understand it, there used to be 500,000 manufacturing jobs in kenya. textile manufacturing. and there's now 20,000. >> njeri: before the '80s, we had a booming textile industry
that could employ 500,000 people. but now in the '80s, when the world bank introduced the free trade, we got all the secondhand clothes coming into the country. >> anthony: here's how it works. your pants or your t-shirt get old or boring. so, being a good-hearted soul, rather than throw them out, you drop them in a charity box, assuming they'll go to someone who needs them. but no. in fact, that charity sells your pants and your t-shirt along with a whole lot of other clothes in bulk to a secondhand clothing exporter, a middle man, part of a billion-dollar industry. exporters then sell your stuff by the container load to places like kenya. along the way, millions of dollars are creamed off in duties. the old clothes are then unpacked, sorted and sold in markets throughout the country. this low-cost clothing option has absolutely crushed the domestic textile market. >> anthony: now some countries
in africa have said, "wait a minute. this is not good for our employment situation. we're not going to let this stuff in anymore." what happened then? >> njeri: so america came and they told us they would have trade sanctions against us. >> anthony: if you didn't take all this used clothes. >> njeri: exactly. yeah, because of the free trade, yeah, exactly. >> anthony: that's extortion. >> melissa: it's pretty much oppressive. >> nieri: it's bullying. >> melissa: it's colonialism. >> kamau: usa! usa! [ laughter ] >> anthony: as screwed up as the whole situation is, people do love the availability of cheap clothes. and toi market is the place to go for what in nyc would be called vintage. a dense labyrinth of shops, neatly organized by specialty. >> kamau: "honey, i brought all the uggs back from kenya." [ laughter ] there's got to be something in your size. >> anthony: the challenge today is gonna be finding footwear for kamau's decidedly non-kenyan feet. not to mention mine. >> anthony: nah, i need a half
size up. >> njeri: oh, nice. >> kamau: there we go. i had to come to the continent to find shoes that fit me. >> njeri: high five! high ten, yeah. >> kamau: let's just be clear. some rich, annoying american person who bought these, wore them twice, and then was like, "ew, they're out of season." >> melissa: yeah. >> anthony: that debbie harry shirt is kinda cool. yeah. i will take this, for sure. >> kamau: oh, here we go. >> melissa: oh, nice. >> kamau: now we're talking. black man in america wearing a king kong shirt. >> melissa: that's too much, yeah. >> kamau: i don't know how it goes over here, but in america, that's a great narc shirt. >> anthony: right. >> kamau: "hey, kids." >> anthony: "anyone want to buy some acid?" >> kamau: this is just weird enough and simple enough. >> anthony: that's pretty cool. >> kamau: i feel like -- where did you get that shirt? i got it in kenya. [ laughter ] >> anthony: is there a realistic hope that the textile industry would come back? >> njeri: there is -- to me there is. you know china and south korea, they didn't leave poverty or
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in kibera, nairobi's largest neighborhood, they make their own -- part of a project run by the maasai mbili art collective -- intended to empower kids who don't otherwise have much. >> simon: there's a swahili saying that says [ speaking swahili ] art is a reflection of the community. >> mammito: well, what we did is to make art. we use it as a tool. >> geoff: so many stories have been told about kibera. >> simon: but they're negative stories. many organizations come here in kibera, they shoot videos and films talking about aids, drugs, you know, negative things about kibera. >> kamau: so you have a lot of
documentary crews that come through here and film crews that come through here? >> geoff: they usually come here. >> kamau: so my question -- i have a question. are we assholes? [ laughter ] >> anthony: i was ready for that. >> kamau: we can talk around it. i feel like a white guy right now. you know what i mean? [ rooster crowing ] >> anthony: kibera is massive. around 172,000 people live here. >> kamau: and so here, as a person named kamau, i'm not unique. >> all: yeah! >> geoff: it's a common name here. >> kamau: i've waited all my life to be common. >> mammito: welcome home. i'll go and tell our forefathers you are here. >> kamau: thank you. thank you. [ laughter ] >> anthony: mammito eunice is a comedian. simon okuku, a musician, and geoff ochieng -- once voted kenya's funniest person -- are all using art to tell a new
story about kibera. >> simon: it started from the challenge that we've been facing in this life. like me, you know, i've been brought up by a single parent. i used to even engage in criminal activities. coming across my fellow friends, who have been passing to such kind of messes, we decided to come up with an organization, known as kibera creative arts to try to teach our fellow young people to make them avoid getting in these traps that are set for us. >> anthony: kibera is also ground zero for what's called around here "the white savior complex" -- a focal point for the more than 12,000 mostly well-meaning ex-pat aid workers who live in kenya. it's a dynamic that can be counter-productive as salaried employment discrepancies can cause a ripple effect of problems for native kenyans. many kenyans are working on a grassroots level to take control of their own future. kibera creative arts being an example.
artists and performers from the neighborhood working to support and develop local talent. >> kamau: what is it like to be a comedian in kenya? how does that look? >> geoff: it is so hard to make people laugh in kenya. imagine, these are people that have not paid their rent. these are people who have gone without food for some days. >> kamau: so they come in angry? angry and hungry. >> geoff: yeah, yeah. >> performer: you should take me with this camera when i was small. now that i'm big, let me be taken by big things. >> geoff: and that's the reason why when you go on stage and make people laugh, it is a plus. you say, wow, man. ♪ >> mammito: i love to make more people happy because there's always ups and downs in life, but we always laugh. >> geoff: you know when people see mammito performing and they see all the people seeing mammito as a star. if mammito is just performing
and she's now a star, i don't need to go run somewhere to make me a star. i can use whatever i have because i think even in kibera we have some things that we can show to the world. ♪ >> anthony: by regional standards, kenya -- nairobi anyway -- is particularly tolerant. kenya has become a sanctuary of sorts for a number of diverse ethnic, political and social groups. one such group with a steadily growing nucleus is the lbgt community. not too long ago a nearly unthinkable development. >> anthony: so you shall never know this pain or awkwardness, you know, when i'm doing shows in the states, i often find myself, "so, what's it like being black in america?" now you will share my pain. what's it like being gay in kenya? >> anthony: kawira mwirichia, malcolm muga and awuor onyango are members of "to revolutionary art love", a gay art collective. kevin mwachiro is a writer and journalist. >> kamau: so how free can you
be? like, are there places in kenya where you could walk around holding hands with your partner? >> malcolm: you could try. >> kamau: are there places you can go where it's not an experiment? >> malcolm: no. i think at all points it's an experiment. >> anthony: well, so where's the threat from? where is it most dangerous? >> awuor: i think violence is like from homophobes. all of it is based around, like, desire of the penis. right, so if you see two women kiss, it's hot because you think you can get in there. >> kamau: "oh, they're just one penis short." >> awuor: yeah, you know, "they need me to help them out with the dick." but if you -- >> kawira: there's an abundance. [ laughter ] >> awuor: and the violence, like against lesbians, always comes
in the part where like men realize, "oh, they're not attracted to me." >> anthony: much of the news concerning gay rights on this continent continues to be pretty grim. it should be pointed out that even being gay is still illegal here. but in february of 2018, the kenyan national gay and lesbian rights commission filed suit to strike down sections of the laws -- arguing, well, the obvious -- that they violate basic human rights. what happens next? well, a lot of people are holding their breath. if the law is overturned, what are the larger implications? >> kevin: if we win this case, i'm happy and scared at the same time. >> anthony: why scared? >> kevin: backlash, obviously. what happens is there will be people -- people will be attacked. i mean, we're moving to an extreme end of freedom, and there will be hate. i mean, i want it to happen so bad. if it happens for us, it will be an inclusion for every other minority in this country.
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♪ >> anthony: whatever bus you're taking, it ain't like this. crosstown traffic just got a little bit wilder and more fun if you're riding the friendly skies of a matatu. matatus are privately owned and operated bus lines, running regular routes. fiercely competitive. to the point that owners starting making modifications and an ever-changing range of themes, designed to attract the fickle commuter. oh, yeah. ♪ >> kamau: not subtle. >> anthony: all right, let's do it, man. culminating in buses like this --
mad max -- a rolling, post-apocalyptic, seizure-inducing party bus. just the thing you need after a hard day's work. ♪ >> kamau: i'm not trying to dance. it's making me dance. i don't actually want to dance. >> anthony: so what do people want in a mutatu? what do they have to have? >> brian: first of all, you need to have good music. the exterior art has to be popping. >> anthony: wide-screen tvs. >> brian: yeah, tvs, wi-fi, air fresheners. ♪ >> anthony: beers and goat's head soup. a global classic, slow-cooked well, goat's head. my companion, mr. bell,
unaccustomed as he is to the ways of africa, is new to this dish. and i don't want to sound all colonel mustard, but i eat this shit for breakfast by now. you know what i mean? >> kamau: i hear the words goat head soup, and i think, "oh, it'll be meat from the goat's head in a soup." >> anthony: oh no, it's a goat head, dude. >> kamau: that explains things, as we see. a full-on head of a goat. >> anthony: brian wanyama obhiando is a blogger, photographer and chronicler of the matatu phenomenon. lucia alessandra murotto is a legendary conductor. cathrine kambun is the owner of mad max. >> anthony: honored guest. >> kamau: honored guest. is this eye i'm eating right here? >> anthony: yup. salt. >> anthony: i generously reserve the best and most tender bits for my friend, as one does.
i fear, however, that he was less than enthusiastic, initially, anyway. wait till he tries the brain. he's gonna love it. >> kamau: that's my first eye. >> anthony: yeah? it's all right. >> kamau: i knew i'd end up doing something like that with you. [ laughter ] >> anthony: so you own the business? >> cathy: yeah. >> anthony: and how long have you been in the business? >> cathy: like five years. >> anthony: we want to get into the mutatu business. in new york. >> kamau: yes. [ laughter ]
>> anthony: thinking about some improvements. we need a hot tub. this could reinvigorate public transportation as we know it. >> kamau: especially in new york and l.a., people don't like the bus. and what does it mean to be the conductor? they don't just let anybody be the conductor. >> lucia: in this job you need to have a lot of patience. just somebody who's had a bad day, they just don't want to pay. if you don't have patience you just find yourself on top of the moon. >> kamau: so can you tell me, what's it like growing up as an italian-kenyan? >> lucia: um, the challenges i had was a kid was my hair. everyone wanted to touch my hair. one thing i love about this job is that i meet all types of people. and i don't look down on them and they don't look down on me. that's the best part of it. ♪ >> anthony: just wait until new york city sees kamau and my joint venture -- the wolf blitzer. ♪ you wouldn't accept an incomplete job
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>> anthony: a few hours' drive from nairobi, it's another world. the africa of dreams, of films, the natural world. but a world under constant threat. lewa wildlife conservancy seeks to address the problem of keeping all this alive and safe without excluding or marginalizing the people who've lived here for centuries. >> karmusha: this is dave, guys. look at this guy here. this is dave the giraffe. he's a residential giraffe. hi, dave. >> anthony: our guide is karmushu kiama. he grew up in a village near
here and has a deep knowledge of the wildlife of lewa. >> kamau: this is significantly better than the zoo, i guess that goes without saying. >> anthony: yeah. >> kamau: for some reason i had a negative connotation of safari. >> anthony: they used to shoot animals in safari. there's our kind of safari and then there's the, you know, trump jr. safari. >> kamau: yeah, i think i was afraid every time i said the word that people were just like, "what are you doing?" like -- >> anthony: no, this is -- this is a good kind of safari. >> kamau: okay. >> anthony: good for the world. >> kamau: okay, good. >> karmusha: 100% good for the world. >> kamau: good for the world. >> karmusha: good for all the communities.
>> kamau: i think we need another word or something. >> karmusha: see an elephant? >> anthony: where? >> karmusha: right there. >> kamau: even if you see them in a zoo closer, they're behind bars that it just doesn't feel connected. but i feel like we're right here. >> anthony: yeah, he's actually going someplace. >> kamau: yeah, he's not just walking in a circle. he's actually got stuff to do. ♪ >> anthony: the fact of the matter is, these magnificent animals would most likely be gone without the intervention of man. people pay a lot of money to come see these animals. without that money, the overwhelming likelihood is that they would have been wiped out long ago. particularly this one -- whoa, what's that? >> karmusha: that's a rhino. our first rhino. >> kamau: wow. ♪ >> anthony: the conservancy was set up specifically to protect these guys. [ gunshots ] poaching is, of course, an ever-present danger to both the animals at lewa and the people who look after them. particularly the rhinoceros, whose horn is believed by wealthy chinese buyers to be a
strong medicine with virility-enhancing powers. the reality, that the substance that makes up a rhino horn is the same as the human fingernail, does not deter a market that will pay tens of thousands of dollars for a single horn. with 62,000 acres to cover, lewa's anti-poaching program is necessarily aggressive, inclusive, and cutting edge, relying on local trackers, advanced tracking technologies, and perhaps most importantly, good community outreach and intelligence gathering. if the local people are not on your side, you are at a serious disadvantage.
>> karmusha: so that's a white rhino. >> kamau: it's a white rhino? >> karmusha: that is a white rhino. >> kamau: so how do -- >> karmusha: it's nothing to do with the coloration. white was an african name -- "whit" -- which means "wide-mouth." and whoever came to write about them put an "e" there. then it became "white." >> kamau: okay, because you said white rhino, and i was like -- >> karmusha: yeah, it's not white. >> kamau: i think his dad might be black. ♪ >> anthony: does it look like you wanted it to look? or expected it to look? >> kamau: i mean, uh, no. i mean, i guess i don't know. i mean, i grew up as a kid, you know, my first images of africa were "tarzan," you know? so i don't think i knew what kenya africa was. you know? >> anthony: what a shithole, right? [ laughter ]
>> kamau: what a shithole. i mean, the other thing i'm aware of too is i think about not wanting to feel like i have come home, you know? and yet there is a sense that there is this diasporic connection, even though i did not come from kenya, you know? it's nice to have that connection. even if the frame that that connection was built through was colonialism. even though that's not -- it's the good part of colonialism. it brings people together. [ laughter ] >> anthony: i don't know. it should kind of be compulsory viewing for -- if you ever run for president, this should be compulsory viewing. >> kamau: at the very least, i do think that a lot of perspectives will be opened up, a lot of minds will be changed. so, that goal you've been saving for,
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♪ >> tom: traditionally, we've had some sort of conservation culture, which sort of got eroded. it's been with us, it's been with our forefathers. we just lost it somewhere, recently. and we're trying to get it back. >> anthony: when you have traditional pastoral communities under intense and immediate pressure, trying to convince them that wildlife, which can, as in the case of one rhino or
elephant, bring in life-changing amounts of money, it is a hard thing to convince them that it is in their long-term interest to let them live -- particularly when it was often wealthy white outsiders doing the asking. >> mike: if you are very successful in managing this ex-cattle ranch as a conservancy, but wildlife across kenya as a whole had no future, then to all intents and purposes you've just established a zoo. and so what lewa's ethos has always been is to just show kenyans that actual wildlife can have value and benefit. ♪ >> anthony: mike watson is the ceo of the lewa conservancy. tom lalampa leads the northern rangeland trust. faith riunga is the head of
education at lewa. and wanjinku kinuthia is head of communication. >> anthony: you're responsible for a larger picture, involving a huge challenge. first, the immediate needs of a lot of people. but also, potential conflicts with the traditional way of life. how have you been able to do what you've been able to do? >> tom: i was born in and brought up in a very strong pastoral background. we were really anti-anything about conservation. really anti, because one we had the perception that this is a government thing, this is about grabbing our land -- >> kamau: it probably doesn't help that a lot of that land is owned by white people, right? somebody else is owning our land. >> tom: initially. >> kamau: okay. >> tom: there's also a perception that conservations being driven by the white, and so it's not about the communities, it's not about us. it's about them. but you know, gradually, um, we came to realize that the approach that was being introduced was a community approach. >> faith: going back 13 years back, there was one girl who made it to high school. and she's speaking english, she's dressing up, and the other girls are like, "you know what? i'd like to be her." and the more, and more, and more they've seen, go through high
school, graduate, slowly by slowly they get to see the value themselves. education works very well. >> kamau: are there efforts for people in the community who couldn't afford to come in here to sort of see what's going on in here so they can have the -- >> wanjiku: yeah, we have a conservation education program here, with over 3,500 school children come on to lewa, free of charge, go around, get to see wildlife, because unless you can afford to go to national parks or to places like lewa, then you definitely wouldn't have the opportunity interact with wildlife. >> kamau: so we're headed towards the lions? is that what we're doing right now? >> karmusha: so now you can see at the peak, you can just see something sticking out. that's a lion sitting. >> anthony: oh, i see.
right next to the little tree. >> kamau: whoa. >> anthony: oh, there's a bunch of them. >> karmusha: yeah, yeah. if we're lucky, they might come down the hill. >> kamau: that's lucky? we define lucky in different ways. >> karmusha: they seem to be having their eyes on something. he's going to go left so we have a good position. >> kamau: hey, how you doing lion? ♪ so the lion is about 30 feet from us or so? ♪ just --
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not long ago, ronda started here. and then, more jobs began to appear. these techs in a lab. this builder in a hardhat... ...the welders and electricians who do all of that. the diner staffed up 'cause they all needed lunch. teachers... doctors... jobs grew a bunch. what started with one job spread all around. because each job in energy creates many more in this town. energy lives here.
♪ >> anthony: just outside the borders of lewa conservancy is a massai village known as the il ngwesi community range. they are working with lewa to not only embrace conservation but also to maintain their way of life. >> kip: in maasai traditional way, we got our diets, which is meat, blood and milk. at least once in a while, they do blood tapping.
>> anthony: to the maasai, the cow is a sacred animal. giver of all things. unlike the west, meat is not the primary interest. here, cattle are sustainable, a long-term asset, for milk, for cheese, and on special occasions, blood. straight from the tap. >> anthony: okay, here we go. all right, well done. >> anthony: annoying as hell for the cow, no doubt, but decidedly not fatal. it might, however, prove fatal for my colleague kamau, who unlike me, has never experienced this local beverage. a warm jet of arterial blood into the gourd, add some thick, clotting milk, also from cow. shake, and down the hatch. >> kip: would you like to have a sip? >> anthony: yes.
here we go. oh, you're going to like it. and keep in mind the whole village is watching. and you are on tv. >> kamau: okay. i'm home. >> anthony: makes you strong. >> kamau: yeah. >> anthony: well done. >> kamau: thank you, thank you. >> anthony: working with the local maasai community is both an absolute necessity, and the right thing to do. to displace and forever disrupt the people who've lived here forever, in favor of animals that wealthy white people want to take pictures of would be hideous and unconscionable. this is happening elsewhere on the continent, but the people at
lewa and il ngwesi are working very hard to find a better path. [ lela speaking foreign dialect ] >> kip: he's saying the meaning of the word "il n'gwesi." it's the people who survive by hunting and gathering. [ lela speaking foreign dialect ] >> kip: and hunting wasn't what we understand of hunting today. it was hunting for survival, for food. not for business, not for selling -- >> anthony: trophies. >> kip: trophies and stuff. >> anthony: jonathan kip is a maasai chief. lela kinyaha is a maasai elder here at il ngwesi. >> anthony: was this an easy or a difficult transition? or was it imposed from outside? >> kip: the transition first is when the poachers or the sport hunting was happening, we think it was a western idea. >> anthony: yup. >> kip: and we were not beneficiaries of it.
until when an idea came from lewa and said, "well, we can turn wildlife conservation for the future of this land, conserve land for the future generations." i think they did what we say, you know, you teach a person how to fish, instead of providing them fish. so they taught us how to fish. and from there, we are not being driven by lewa anymore, or any white person, or any ngo. lewa is still a great, great neighbor. so we need each other, but we are not really dependent of each other anymore. we value the game, we value the animals, we know where we're heading to. ♪ >> anthony: and just like that, after months of drought throughout kenya -- rain. >> kamau: i was told that since i'm kamau from america, i brought the rain. >> kip: great, well done. >> anthony: giver of rain.
i listen. but in the end, i know. it's my story, not kamau's, not kenya's or kenyans. those stories are yet to be heard. ♪ >> anthony: welcome to the enchanted, seldom-visited wonderland of asturias. that's in spain, if you didn't know. and of course because it's spain, i did not come here alone. i came here with a good friend, great chef. he's a complicated man. nobody understands him but his woman. and i'm not talking about john shaft, shut your mouth. i'm talking about jose andres. >> jose: another beer! wide!