WEBVTT - iLe on Song and Protest

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<v Speaker 1>We've been through so much.

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<v Speaker 2>It takes away your energy and you feel like, yeah,

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<v Speaker 2>like you're stuck, but at the same time, like we

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<v Speaker 2>have to find a way to give each other strengths.

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<v Speaker 2>I was focusing more on the courage that I feel

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<v Speaker 2>that we all have inside of us. That is actually

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<v Speaker 2>what makes us react and gives us the strength and

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<v Speaker 2>the impulse that we need to send the message that

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<v Speaker 2>we want to send.

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<v Speaker 3>From Futuro Media and pr X, it's Latino usay, I'm

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<v Speaker 3>Maria no posa today. Puerto Rican singer songwriter Ile on

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<v Speaker 3>the evolution of her music as a form of protest.

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<v Speaker 3>For Puerto Rican singer songwriter Ileana Cabra, better known by

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<v Speaker 3>her stage name Ile, music has always been a way

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<v Speaker 3>to understand the world around her, even from a young age.

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<v Speaker 2>I was a little one in the house where I

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<v Speaker 2>grew up, so I kind of absorbed all that musicality

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<v Speaker 2>that my whole family was listening to.

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<v Speaker 3>Ille remembers listening to salsa and boleros with her family,

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<v Speaker 3>often taking note of the political messages in the lively,

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<v Speaker 3>danceable songs.

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<v Speaker 2>My dad always likes to try to find the background

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<v Speaker 2>of songs that he likes so I remember, for example,

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<v Speaker 2>there's a song from Ruin Bladles that is called Tiburon,

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<v Speaker 2>and he wrote it in Puerto Rico, and it is

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<v Speaker 2>very connected to the history and our situation still being

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<v Speaker 2>a colony from the United States.

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<v Speaker 3>In Tiburon, Ruben Blades sings about a ruthless shark, symbolizing

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<v Speaker 3>the United States. It praised on the Caribbean, and for Ile,

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<v Speaker 3>songs like this cemented the relationship between the musical and

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<v Speaker 3>the political. They often went hand in hand.

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<v Speaker 2>Even though you enjoy it and you danced to it,

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<v Speaker 2>when you sing the lyrics, it is very powerful.

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<v Speaker 3>When Ile was a teenager, she began to sing with

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<v Speaker 3>her older brothers Rene Perez and Eduardo Cavra, also known

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<v Speaker 3>as Residente and Misitante from the rap duo Kaye. Under

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<v Speaker 3>the stage name PG thirteen. Ile performed with Gaietrese through

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<v Speaker 3>her mid twenties, but even as Ile was touring the

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<v Speaker 3>world with Gaietrese, she continued to explore the rich legacies

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<v Speaker 3>of music in the Caribbean, and in twenty sixteen, she

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<v Speaker 3>decided to go solo, releasing her debut album Ileviabre with

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<v Speaker 3>Lush Boleros and Latin jazz grooves. The album has the

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<v Speaker 3>feel of a different era, but through her lyricism, Ile

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<v Speaker 3>captures the feminist spirit of her generation.

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<v Speaker 4>La gobardiadu Frere.

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<v Speaker 3>Ile often sings about power Baya. Her second album, al Madura,

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<v Speaker 3>was released in twenty nineteen, and Ile wrote these songs

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<v Speaker 3>in the aftermath of Hurricane Maria.

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<v Speaker 1>And.

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<v Speaker 3>The album draws from a vast range of Caribbean musicality

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<v Speaker 3>to talk about the politics of colonialism in Puerto Rico, her.

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<v Speaker 5>Home now Elimpiamano.

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<v Speaker 3>And in her twenty twenty two album Nakarile, the singer

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<v Speaker 3>looks within.

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<v Speaker 5>Thenlcorazon Expresto.

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<v Speaker 3>The album brings together the personal and the political, getting

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<v Speaker 3>introspective about how she moves through patriarchy and colonialism without

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<v Speaker 3>losing Pope recently released her first new song since Nakarile.

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<v Speaker 3>It's a personal one about the end of a relationship.

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<v Speaker 3>And Ele has confirmed that she's working on a new album.

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<v Speaker 3>So while we wait for that release, we wanted to

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<v Speaker 3>bring you this piece that we originally aired in twenty

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<v Speaker 3>twenty three. In this episode, I reflects on her artistic journey.

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<v Speaker 3>Here's Ele in her own words.

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<v Speaker 1>My name is Ile. I am from Puerto Rico and

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<v Speaker 1>I am a singer.

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<v Speaker 2>Where I grew up, there was a lot of music

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<v Speaker 2>going around, like from different types of.

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<v Speaker 1>Genres as Puerto Rico's.

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<v Speaker 2>We listened to salsa and boleros, but at the same

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<v Speaker 2>time we heard like rock music and also throw a

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<v Speaker 2>like more folklore from Puerto Rico Latin America, and also

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<v Speaker 2>there are a lot of protest songs.

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<v Speaker 1>I think maybe in.

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<v Speaker 2>My teenage years, suddenly I feel that I was missing

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<v Speaker 2>out on listening female singers in this type of music

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<v Speaker 2>like salsa and boleros that I've heard so much.

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<v Speaker 1>And I remember having that transitional moment in my life

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<v Speaker 1>where my dad presented me to U La Lupe.

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<v Speaker 2>Yeah, because it was like, oh my god, she's like

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<v Speaker 2>this is deep stuff.

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<v Speaker 1>What she's singing, the way she's.

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<v Speaker 2>Doing it, like there was a lot of emotion going

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<v Speaker 2>on that I wasn't expecting, and I remember that I

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<v Speaker 2>felt her so real and so passionate and so breath taking.

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<v Speaker 2>The way she sang and the way she interpreted the

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<v Speaker 2>song she was singing was like a shock for me,

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<v Speaker 2>and it captured my attention a lot to listen to

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<v Speaker 2>this real, feminine.

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<v Speaker 1>Powerful voice and I've always sang since I was little,

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<v Speaker 1>but I've always seen singing as more of a hobby.

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<v Speaker 1>Little by little, I.

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<v Speaker 2>Started digging more into more female voices in that genre

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<v Speaker 2>of saxam Boletto, and I keep digging even more, and

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<v Speaker 2>I've learned from them, you know, even if I've never

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<v Speaker 2>met them before, I feel like I do in a way,

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<v Speaker 2>like they are my teachers. In Ilea, my first album,

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<v Speaker 2>I was coming from a big transition in my life.

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<v Speaker 2>I was like ten years touring with my brothers with

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<v Speaker 2>their group. I really wanted to experiment on side of

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<v Speaker 2>me that I've always wanted to play with that Polero.

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<v Speaker 1>Very more classic.

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<v Speaker 2>But for me, the risky part was how to play

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<v Speaker 2>with all that in this moment, you know, in this

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<v Speaker 2>time where I feel very different from the songs that

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<v Speaker 2>I listen to.

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<v Speaker 1>You know, even though I enjoy.

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<v Speaker 2>Them and I feel a lot listening to them, I'm

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<v Speaker 2>in another moment, you know, from another generation, see.

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<v Speaker 1>Is upper.

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<v Speaker 2>So I was thinking a lot in myself, you know,

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<v Speaker 2>as a woman, but mostly the women in my family,

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<v Speaker 2>the women that surround me, and how normal it has

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<v Speaker 2>been for us as women to.

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<v Speaker 1>Struggle so much.

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<v Speaker 2>And I think especially in relationships, you see so many

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<v Speaker 2>abusive patterns, So yeah, maybe represents more that side of

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<v Speaker 2>me of just like confronting the reality that the tough

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<v Speaker 2>reality of what it is to be a woman.

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<v Speaker 1>In this world. But a kilos.

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<v Speaker 4>Do well.

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<v Speaker 2>In Almadura, I wanted to play with my roots as

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<v Speaker 2>a Puerto Rican Caribbean.

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<v Speaker 6>So knowing body though.

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<v Speaker 2>Nauba, I've always enjoyed so so much like percussion. I

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<v Speaker 2>love percussion and I love rhythm, and for me, it

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<v Speaker 2>was connected to the way that I was feeling as well.

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<v Speaker 2>When I was creating that album, I was very angry

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<v Speaker 2>towards Hurraca Maria, but it was like kind of disgusting

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<v Speaker 2>to see the way the US government as well as

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<v Speaker 2>the Puerto Rican government were managing the whole situation.

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<v Speaker 1>You felt not taken care of at all.

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<v Speaker 2>And it was like a big shock for us as

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<v Speaker 2>a country to just realize that, Okay, like we are

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<v Speaker 2>not going to receive the help or the attention that

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<v Speaker 2>we were expecting, so we need to find a way.

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<v Speaker 1>To do it on our own.

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<v Speaker 2>And that's what we did in Hurakan Marian That's what

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<v Speaker 2>we keep doing.

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<v Speaker 1>Like I just needed to let all.

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<v Speaker 2>That out and and that's what I did with with Alma,

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<v Speaker 2>finding a way to heal myself at the same time.

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<v Speaker 2>And for example, Contrato for me is the song that

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<v Speaker 2>best defines the whole album.

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<v Speaker 6>Is the way.

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<v Speaker 1>We've been through so much.

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<v Speaker 2>It takes away your energy and you feel like yeah,

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<v Speaker 2>like like you're stuck, but at the same time like

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<v Speaker 2>we have to find a way to give each other strength.

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<v Speaker 1>I was focusing more.

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<v Speaker 2>On the courage that I feel that we all have

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<v Speaker 2>inside of us. That is actually what makes us react

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<v Speaker 2>and gives us the strength and the impulse that we

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<v Speaker 2>need to send the message that we want to send.

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<v Speaker 2>Especially after Maria, I feel that many people felt the

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<v Speaker 2>obligation of having to leave the country and it was

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<v Speaker 2>very painful to watch. A Gi is a song that

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<v Speaker 2>speaks about people that stay and people that leave their country.

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<v Speaker 2>Nadal sakamo that it says like no one gets us

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<v Speaker 2>out of here if here is where we were born.

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<v Speaker 2>It's a very important phrase for me because nowadays we

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<v Speaker 2>are really really feeling that we in Puerto Rico are

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<v Speaker 2>being totally the plasas displaced.

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<v Speaker 5>The dui YadA yea, the yucky, the duga ya yeah, yucky.

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<v Speaker 2>Twenty twenty, the year that we all thought was going

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<v Speaker 2>to be amazing, incredible. I was actually going to tour,

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<v Speaker 2>you know, with Almadura that year.

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<v Speaker 1>Suddenly everything changed drastically in the pandemic.

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<v Speaker 2>Like I was with myself a lot, and I couldn't

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<v Speaker 2>go anywhere, you know, so I was just looking at

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<v Speaker 2>the window and trying to escape, you know, from there,

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<v Speaker 2>and composing and writing and trying to understand why I

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<v Speaker 2>was feeling the way I'm feeling.

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<v Speaker 1>I think that this album NA focused on on me

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<v Speaker 1>a little, You.

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<v Speaker 5>And suh better or not important.

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<v Speaker 7>Te Yoda.

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<v Speaker 4>And contra.

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<v Speaker 1>You know, sometimes when you feel so so so angry

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<v Speaker 1>that you start crying. I don't know if that happens

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<v Speaker 1>to you, but that happens to me a lot.

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<v Speaker 2>And I feel that I was like in this album,

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<v Speaker 2>each song plays with a vulnerability of mind. I feel

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<v Speaker 2>like this album became very personal and more introspective, like

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<v Speaker 2>for me, because like I talk about things that I

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<v Speaker 2>was like more afraid to talk about and that sometimes

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<v Speaker 2>we feel ashamed to speak about, but we shouldn't be

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<v Speaker 2>because it's it's normal.

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<v Speaker 1>It's part of life, you know.

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<v Speaker 2>The song that for me maybe represents the whole album

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<v Speaker 2>is ning the song that I did with Treno. It

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<v Speaker 2>defines how I was actually feeling, you know.

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<v Speaker 1>Lado than.

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<v Speaker 5>Coming and so Guerda Kiren Reportaken said control.

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<v Speaker 1>He took the song where he needed to to go.

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<v Speaker 2>You know, it was incredible because it made it about

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<v Speaker 2>a fight with yourself and how to end up triumphant

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<v Speaker 2>from that fight.

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<v Speaker 4>A consent, comment them and get them and go get

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<v Speaker 4>the road. I never expected to have so many collaborations

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<v Speaker 4>in this album.

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<v Speaker 1>The whole collaboration process was very.

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<v Speaker 6>New to me.

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<v Speaker 2>I'm used to working on my own. It was incredible

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<v Speaker 2>to work with other people. And the experience of hearing

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<v Speaker 2>other colors, other textures, voices, words, you know, like another

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<v Speaker 2>brain with you was was.

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<v Speaker 1>An incredible experience to have. Working with ev was incredible.

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<v Speaker 2>She was like my female reference when I thought about

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<v Speaker 2>Regaton female singers.

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<v Speaker 1>I mean, when I was little, like she was my

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<v Speaker 1>only reference. She was not only just a woman doing

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<v Speaker 1>I mean she.

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<v Speaker 2>Was speaking from a feminine perspective and she was very

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<v Speaker 2>firm and very straightforward about it. Lina, I still can't

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<v Speaker 2>believe that she's in this album.

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<v Speaker 1>For me, it is great. And also this song that

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<v Speaker 1>for me, is so powerful, don't get.

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<v Speaker 2>Any Natarilla comes from a Puerto Rican phrase that we

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<v Speaker 2>use a lot in Puerto Rico. The whole phrase is

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<v Speaker 2>nacari loriente, kind of not on with a lot of attitude,

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<v Speaker 2>and I love that phrase. Like we sometimes you said

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<v Speaker 2>short like la caille, or sometimes we say nakinaki. And

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<v Speaker 2>it was like my way of transcending a little the

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<v Speaker 2>process of making this album that was in another difficult moment,

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<v Speaker 2>like in the pandemic, with the quarantine and all that.

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<v Speaker 2>So for me, Nakaili is just like a way of

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<v Speaker 2>thinking all that in a way. But at the same time,

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<v Speaker 2>you know, I'm not staying there the way that I

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<v Speaker 2>protest through my music. I'm not sure how it has

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<v Speaker 2>evolved exactly, but I'm more focused in what I believe in.

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<v Speaker 2>Sometimes we expect change to happen quickly, and.

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<v Speaker 1>I'm part of that, you know, sometimes I feel that way.

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<v Speaker 1>But when I try to focus.

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<v Speaker 2>My perspective in the changes that are really happening, we

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<v Speaker 2>have to.

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<v Speaker 1>Start from somewhere. That's how everything develops.

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<v Speaker 2>And for me, I'm I think maybe has evolved a

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<v Speaker 2>little from that. Not focusing on how little it may seem,

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<v Speaker 2>but how powerful the change can be.

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<v Speaker 3>This episode was produced by Julia Rocha with help from

0:18:30.840 --> 0:18:35.760
<v Speaker 3>Elizabeth Lowenthal Torres. He was edited by Alejandra Salsad and

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<v Speaker 3>mixed by Julia Caruso. The Latino USA team includes Jessica Ellis,

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<v Speaker 3>Victoria Strada, Dominiquinestrosa, Renaldo Lean Junior, Stephanie Lebau, Andrea Lotez Crusado,

0:18:48.200 --> 0:18:52.159
<v Speaker 3>Greis Luna, Lori mar Marquez, Marta Martinez, Nor Saudi and

0:18:52.320 --> 0:18:56.359
<v Speaker 3>Nancy Trujillo. Penileiramirez is our co executive producer along with

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<v Speaker 3>myself and I'm your host Marianna Posa join us again

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<v Speaker 3>our next episode. In the meantime, I'll see all of

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<v Speaker 3>you on all of our social media and especially on instains.

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<v Speaker 7>Appro Latino USA is made possible in part by the

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<v Speaker 7>Ford Foundation, working with visionaries on the front lines of

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<v Speaker 7>social change worldwide, the John D.

0:19:21.960 --> 0:19:22.600
<v Speaker 1>And Catherine T.

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<v Speaker 7>MacArthur Foundation, and the Heising Simons Foundation unlocking knowledge, opportunity

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<v Speaker 7>and possibilities. More at hsfoundation dot org.

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<v Speaker 1>This Acon'm gonna make basis Halse