1 00:00:01,000 --> 00:00:03,600 Speaker 1: My past is beautiful. It's my past. It's not better 2 00:00:03,600 --> 00:00:06,440 Speaker 1: than my present. Actually, my president is the only thing 3 00:00:06,480 --> 00:00:09,280 Speaker 1: that I have. I'm looking forward to working with people 4 00:00:09,360 --> 00:00:12,760 Speaker 1: that have very different styles from mine. It's not a 5 00:00:12,800 --> 00:00:16,479 Speaker 1: record company advice. It's not a management or a marketing advice. 6 00:00:16,880 --> 00:00:18,520 Speaker 1: I just love being alive. 7 00:00:23,000 --> 00:00:27,240 Speaker 2: From Futuro Media and p RX. It's Latino Usa. I'm 8 00:00:27,240 --> 00:00:32,240 Speaker 2: Maria noo Posa Today a portrait of Uruayyan singer songwriter. 9 00:00:32,240 --> 00:00:43,040 Speaker 3: Or head Drexler, So for her. 10 00:00:43,120 --> 00:00:47,920 Speaker 2: Drexler completely smashed the latest Latin Grammys. 11 00:00:48,080 --> 00:00:50,800 Speaker 1: In case you didn't know, yeh Latin Grama. 12 00:00:54,160 --> 00:00:59,840 Speaker 2: Charles, the Uruayan singer songwriter won seven. 13 00:00:59,400 --> 00:01:04,360 Speaker 1: Awards Okay Okay. 14 00:01:03,360 --> 00:01:07,759 Speaker 2: And he won in diverse categories from the Best Singer 15 00:01:07,800 --> 00:01:14,800 Speaker 2: Songwriter Album with Dindatiempo to Best Alternative Song to Song 16 00:01:14,920 --> 00:01:18,919 Speaker 2: of the Year with the hit Togart for his collaboration 17 00:01:19,120 --> 00:01:29,400 Speaker 2: with Spanish rapper se Tangana Horha. Drexler is living one 18 00:01:29,400 --> 00:01:33,240 Speaker 2: of the sweetest moments of his career, which by the way, 19 00:01:33,480 --> 00:01:38,360 Speaker 2: spans over thirty years. But he first caught the world's 20 00:01:38,400 --> 00:01:41,959 Speaker 2: attention in two thousand and five when for his song 21 00:01:44,280 --> 00:01:47,520 Speaker 2: included in the movie The Motorcycle Diaries. 22 00:01:47,319 --> 00:01:47,880 Speaker 4: Jev. 23 00:01:49,640 --> 00:01:54,240 Speaker 2: Became the first Spanish language song to ever win an Oscar, 24 00:01:58,560 --> 00:02:03,600 Speaker 2: and Horex became the first Uruwaiyan to ever win an 25 00:02:03,640 --> 00:02:04,440 Speaker 2: Academy Award. 26 00:02:04,720 --> 00:02:06,240 Speaker 4: Eli laid. 27 00:02:11,280 --> 00:02:15,639 Speaker 2: Shortly before his huge success at the Latin Grammys. Jorgues 28 00:02:15,680 --> 00:02:19,160 Speaker 2: stopped by our Harlem Studios in New York City last 29 00:02:19,200 --> 00:02:26,120 Speaker 2: October and we wanted to talk about some of those 30 00:02:26,480 --> 00:02:29,760 Speaker 2: key moments in his life, from growing up as the 31 00:02:29,800 --> 00:02:33,840 Speaker 2: son of a Holocaust survivor, becoming a doctor and then 32 00:02:33,880 --> 00:02:37,600 Speaker 2: deciding to drop his career to pursue music, to why 33 00:02:37,639 --> 00:02:41,400 Speaker 2: he turned down the opportunity to become a global pop 34 00:02:41,440 --> 00:02:45,160 Speaker 2: star after winning that Oscar, And of course we're going 35 00:02:45,240 --> 00:02:49,720 Speaker 2: to talk about his latest hit album, dimda Etimpo and 36 00:02:49,840 --> 00:02:52,919 Speaker 2: why it almost didn't come to life. 37 00:02:53,080 --> 00:02:57,560 Speaker 4: No matro vico. 38 00:03:02,000 --> 00:03:05,120 Speaker 2: Okay, First of all, welcome to Latino, USA. I was 39 00:03:05,160 --> 00:03:08,520 Speaker 2: trying to remember when I interviewed you last. It turns 40 00:03:08,520 --> 00:03:10,519 Speaker 2: out I spoke with you in two thousand and five. 41 00:03:11,120 --> 00:03:12,320 Speaker 1: Yeah to the Oscars. 42 00:03:12,320 --> 00:03:16,960 Speaker 2: I think, yes, right after the Oscars and you were 43 00:03:17,000 --> 00:03:24,000 Speaker 2: so happy. Yeah, and here we are comestas well. 44 00:03:24,480 --> 00:03:27,560 Speaker 1: I'm happy I'm in New York. It's really a pleasure 45 00:03:27,600 --> 00:03:29,640 Speaker 1: to be here. Thank you first of all for inviting me, 46 00:03:30,040 --> 00:03:32,680 Speaker 1: for having me here today. 47 00:03:33,040 --> 00:03:35,600 Speaker 2: Here's the crazy thing. So as I was prepping for 48 00:03:35,640 --> 00:03:38,000 Speaker 2: the interview, and of course I'm reading about you listening 49 00:03:38,000 --> 00:03:40,560 Speaker 2: to your music all the time, which was a gift, 50 00:03:41,000 --> 00:03:43,680 Speaker 2: and then I at one point I turned around, I 51 00:03:43,720 --> 00:03:50,040 Speaker 2: was like, wundo itra otto rino. My father was an 52 00:03:50,080 --> 00:03:54,200 Speaker 2: ear nose and throat doctor. Really, my father was doctor 53 00:03:55,640 --> 00:03:58,680 Speaker 2: from the University of Chicago, helped to create the cochlear implant, 54 00:03:58,880 --> 00:04:03,160 Speaker 2: Eliza to the endos to gone the electron microscope. 55 00:04:03,360 --> 00:04:06,680 Speaker 1: My father and my mother both were illnos and throat doctors. 56 00:04:07,440 --> 00:04:10,560 Speaker 1: I helped them for six years in surgery. We never 57 00:04:10,600 --> 00:04:13,760 Speaker 1: did implantic or cochlear implant, but we would work a 58 00:04:13,800 --> 00:04:18,000 Speaker 1: lot with many illness that affect the hearing. The cockle 59 00:04:18,200 --> 00:04:20,880 Speaker 1: is a little harp that turns two and a half 60 00:04:20,960 --> 00:04:23,039 Speaker 1: times inside a shell. 61 00:04:23,240 --> 00:04:25,440 Speaker 2: And that's inside your and that's inside. 62 00:04:25,080 --> 00:04:28,040 Speaker 1: Your ear, and that's the harp that resonates with the sounds. 63 00:04:28,040 --> 00:04:31,479 Speaker 1: If I saying there's one little string in that heart 64 00:04:31,520 --> 00:04:33,640 Speaker 1: that's raising as if you do it with a guitar 65 00:04:33,720 --> 00:04:38,880 Speaker 1: or with a real harp. You know, I never finished 66 00:04:38,960 --> 00:04:42,479 Speaker 1: Hearnson throat. I stopped studying in the second of the 67 00:04:42,560 --> 00:04:46,280 Speaker 1: third year of the post degree. But I do love 68 00:04:46,640 --> 00:04:49,920 Speaker 1: heronos and throat. I do love physiology and anatomy. And 69 00:04:50,200 --> 00:04:53,280 Speaker 1: my brother is a in tea. My sister she's a 70 00:04:54,040 --> 00:04:58,080 Speaker 1: she's an ordontologist, so it's a whole family of that. 71 00:05:02,240 --> 00:05:05,640 Speaker 1: I'm the older son of a Jewish family, half Jewish 72 00:05:05,680 --> 00:05:08,240 Speaker 1: at least because my mother converted to marry my father. 73 00:05:08,279 --> 00:05:11,800 Speaker 1: But she's from Christian Spanish origins, so I was really 74 00:05:11,800 --> 00:05:14,480 Speaker 1: supposed to follow the family tradition. 75 00:05:15,640 --> 00:05:18,360 Speaker 4: Those heneracion as mens. 76 00:05:18,640 --> 00:05:23,640 Speaker 1: I grew grew up in a very closed environment Uruguaian dictatorship, 77 00:05:23,920 --> 00:05:27,120 Speaker 1: the house of two e in t doctors. All their 78 00:05:27,120 --> 00:05:32,839 Speaker 1: friends were et doctors and no musicians around solo. Just 79 00:05:34,279 --> 00:05:36,560 Speaker 1: I really had a good life. I had a very 80 00:05:36,560 --> 00:05:40,400 Speaker 1: good job. But at the same time, all that time, 81 00:05:40,480 --> 00:05:42,880 Speaker 1: since I was five years old, I was studying music 82 00:05:42,960 --> 00:05:46,160 Speaker 1: and I started writing songs when I was fifteen sixteen, 83 00:05:47,200 --> 00:05:51,440 Speaker 1: and I never stopped doing music. So at some point I, 84 00:05:51,480 --> 00:05:54,440 Speaker 1: when I looked deepped inside myself, I said, what I 85 00:05:54,480 --> 00:05:56,839 Speaker 1: really want to do is to make a living on music. 86 00:05:57,000 --> 00:05:58,440 Speaker 1: So I moved to Spain. 87 00:05:58,200 --> 00:06:01,080 Speaker 2: And your mom and dad were like CCC no. 88 00:06:00,839 --> 00:06:03,640 Speaker 1: No, they got completely crazy. When I left. My father 89 00:06:03,720 --> 00:06:07,400 Speaker 1: had been training me for six years in secret microsurgery 90 00:06:07,400 --> 00:06:10,239 Speaker 1: techniques that he had learned in Germany. And he said, 91 00:06:10,279 --> 00:06:13,680 Speaker 1: you're throwing away something that people are graving for. But 92 00:06:13,880 --> 00:06:18,359 Speaker 1: you know, I'm a really, really lucky person. Even loving 93 00:06:19,279 --> 00:06:22,359 Speaker 1: this thing, I had another one that I loved more, 94 00:06:22,520 --> 00:06:35,120 Speaker 1: so I moved to that one. Porkala Muru Lamento and 95 00:06:35,279 --> 00:06:41,480 Speaker 1: Herusaleen Ladora. My father. I can't completely understand him, I mean, 96 00:06:41,760 --> 00:06:44,159 Speaker 1: but he did the same with his own father. His 97 00:06:44,240 --> 00:06:46,440 Speaker 1: own father a Jewish immigrant that my father was born 98 00:06:46,480 --> 00:06:49,800 Speaker 1: in Berlin too. He escaped the Nazis when he was 99 00:06:50,000 --> 00:06:53,839 Speaker 1: five years old in nineteen thirty nine, and his father 100 00:06:54,520 --> 00:06:57,440 Speaker 1: lost everything his family. They started again in Bolivia. They 101 00:06:57,480 --> 00:07:01,000 Speaker 1: lived in Bolivia for twelve years, in Uru, in Altiplano, 102 00:07:01,320 --> 00:07:02,960 Speaker 1: in Uro In Oruro. 103 00:07:03,120 --> 00:07:06,000 Speaker 2: Wait a second, yeah, wait wait wait from Berlieu wit 104 00:07:06,920 --> 00:07:08,480 Speaker 2: what year are we talking about? 105 00:07:08,680 --> 00:07:13,640 Speaker 1: Nineteen thirty nine until nineteen fifty something like that. 106 00:07:13,840 --> 00:07:18,920 Speaker 2: I just am having a moment of your grandfather and 107 00:07:19,040 --> 00:07:22,600 Speaker 2: your dad at five years old somehow getting from Berlin 108 00:07:23,800 --> 00:07:26,280 Speaker 2: to Duro. Can you just give me the short version 109 00:07:26,320 --> 00:07:27,600 Speaker 2: of how the hell that happens. 110 00:07:28,120 --> 00:07:32,320 Speaker 1: German Jews were very, very German. They didn't want to 111 00:07:32,360 --> 00:07:35,720 Speaker 1: leave Germany. They felt really proud of being German. They 112 00:07:35,760 --> 00:07:38,320 Speaker 1: thought that that was what was happening. The Holocaust was 113 00:07:38,320 --> 00:07:40,280 Speaker 1: something that was going to happen to the other Jews, 114 00:07:40,360 --> 00:07:40,640 Speaker 1: you know. 115 00:07:41,000 --> 00:07:44,200 Speaker 2: Not to them, because they were lighter skinned, and they 116 00:07:44,280 --> 00:07:47,800 Speaker 2: were they were educated, they were wealthy. 117 00:07:47,520 --> 00:07:50,760 Speaker 1: They were like every immigrant. They wanted to release their past. 118 00:07:50,840 --> 00:07:53,760 Speaker 1: They changed a surname why they came into Germany. They 119 00:07:53,800 --> 00:07:56,680 Speaker 1: wanted to have a new identity. They wanted to leave 120 00:07:56,720 --> 00:08:00,000 Speaker 1: all the stittle and the Yiddish. And although they spoke Yiddish, 121 00:08:00,000 --> 00:08:02,280 Speaker 1: they didn't want to speak Eadish at home. They thought 122 00:08:02,280 --> 00:08:04,360 Speaker 1: German was better. So they didn't want to live and 123 00:08:04,400 --> 00:08:06,840 Speaker 1: they left in the thirty nine after the Crystal Nach, 124 00:08:07,400 --> 00:08:09,640 Speaker 1: the moment that they decided to live, it was almost 125 00:08:09,640 --> 00:08:16,960 Speaker 1: impossible to live already. The only country that stayed open 126 00:08:17,200 --> 00:08:21,360 Speaker 1: to Jewish refugees was Bolivia. It was a very brave nation. 127 00:08:21,440 --> 00:08:23,920 Speaker 1: I have a song called Bolivia. It's a song that 128 00:08:24,000 --> 00:08:26,240 Speaker 1: I wrote to thank you know, the poorest country in 129 00:08:26,280 --> 00:08:30,560 Speaker 1: South America giving asylum to one of the richest country 130 00:08:30,560 --> 00:08:34,079 Speaker 1: in Europe, you know, and we should not forget that. 131 00:08:38,320 --> 00:08:47,880 Speaker 1: And obviously and Totos young cannot and last consis because 132 00:08:47,920 --> 00:08:50,160 Speaker 1: that goes back and forth all the time. I mean, 133 00:08:50,200 --> 00:08:53,080 Speaker 1: we come and we go, and we receive and we 134 00:08:53,440 --> 00:08:54,800 Speaker 1: ask for as I. 135 00:08:54,760 --> 00:09:01,120 Speaker 4: Look Antil. 136 00:09:08,480 --> 00:09:11,280 Speaker 1: In nineteen fifty one, I think, so they entered a 137 00:09:11,320 --> 00:09:15,200 Speaker 1: while from scratch. My grandfather built a a short factory, 138 00:09:15,400 --> 00:09:19,800 Speaker 1: like a very Jewish profession, Jewish profession. He did really good, 139 00:09:20,200 --> 00:09:23,040 Speaker 1: and at some point he offered the factory to his 140 00:09:23,720 --> 00:09:26,800 Speaker 1: two sons, my father and his brother, and both of 141 00:09:26,840 --> 00:09:29,640 Speaker 1: them said, I want my own life. I want to 142 00:09:29,640 --> 00:09:32,680 Speaker 1: be a doctor. So that happened again with me and. 143 00:09:32,600 --> 00:09:43,800 Speaker 4: With him, and lad verme Korason Espera saying saberm okay. 144 00:09:44,480 --> 00:09:49,920 Speaker 2: So the trauma, the exodus, the fear, the persecution. Were 145 00:09:50,000 --> 00:09:53,640 Speaker 2: you growing up with a sense of six million Jewish, 146 00:09:53,640 --> 00:09:57,320 Speaker 2: including my own family, were persecuted? How did you understand 147 00:09:57,400 --> 00:09:59,800 Speaker 2: that part of your legacy. 148 00:10:01,480 --> 00:10:04,920 Speaker 1: My father is a war child. He doesn't trust reality, 149 00:10:05,040 --> 00:10:08,880 Speaker 1: and he doesn't think that situations are continuous. He knows 150 00:10:08,920 --> 00:10:11,079 Speaker 1: that they change, and he knows that they can change 151 00:10:11,120 --> 00:10:13,880 Speaker 1: for bad. So he's always been prepared for that, and 152 00:10:14,000 --> 00:10:17,400 Speaker 1: he always transmitted that fear and that you know that 153 00:10:18,080 --> 00:10:21,400 Speaker 1: alert to us too. So I think it takes more 154 00:10:21,480 --> 00:10:24,959 Speaker 1: than two or three generations to lose that feeling of 155 00:10:25,320 --> 00:10:27,400 Speaker 1: you know, the feeling that the children in Ukrainia are 156 00:10:27,440 --> 00:10:32,439 Speaker 1: having today, that trauma is not going away easily. I 157 00:10:32,600 --> 00:10:35,319 Speaker 1: also got my share because I grew up in a dictatorship. 158 00:10:35,400 --> 00:10:39,880 Speaker 1: I entered the dictatorship with nine years and I came 159 00:10:39,920 --> 00:10:43,600 Speaker 1: out with twenty. All my emotional life, my sex life, 160 00:10:43,679 --> 00:10:48,200 Speaker 1: all my relationship life was built in a very oppressive system, 161 00:10:48,760 --> 00:10:50,800 Speaker 1: and that's going to take a long time. I had 162 00:10:50,840 --> 00:10:54,680 Speaker 1: to write. I had to make a record called by Ladinaqueva, 163 00:10:55,240 --> 00:10:58,120 Speaker 1: just to take the dictatorship out of my joints because 164 00:10:58,160 --> 00:11:12,040 Speaker 1: I couldn't dance while la, why la, I'm still fighting 165 00:11:12,160 --> 00:11:16,199 Speaker 1: that I'm still Dictatorship is a very It's inside me 166 00:11:16,440 --> 00:11:19,800 Speaker 1: and I go everywhere with it. And Holocaust it's also 167 00:11:19,880 --> 00:11:22,680 Speaker 1: inside me through my father and I read. 168 00:11:25,480 --> 00:11:26,120 Speaker 4: My stuff and. 169 00:11:29,920 --> 00:11:35,120 Speaker 1: You in life, if you can celebrate, do celebrate, because 170 00:11:35,800 --> 00:11:38,599 Speaker 1: celebrating is a way of acknowledge that you will not 171 00:11:39,000 --> 00:11:43,000 Speaker 1: always be able to celebrate. So just grasp that little 172 00:11:43,080 --> 00:11:45,679 Speaker 1: joy that you find, because we come and go from 173 00:11:45,760 --> 00:11:51,600 Speaker 1: sadness to by La. I have a lot of sadness 174 00:11:51,640 --> 00:11:54,920 Speaker 1: and melancholy my songs too. But but if I can celebrate, 175 00:11:55,080 --> 00:11:57,960 Speaker 1: I think, and I celebrate. You know, it's a choice. 176 00:11:58,160 --> 00:12:10,000 Speaker 1: It's a choice, Kayla, not in singing Kyla and La cuela. 177 00:12:12,880 --> 00:12:15,480 Speaker 2: You made this decision to say, my boy, and I'm 178 00:12:15,520 --> 00:12:19,880 Speaker 2: going to become an immigrant by your own choice in Spain. 179 00:12:20,720 --> 00:12:23,280 Speaker 2: And there were many places that you could choose to live. 180 00:12:23,640 --> 00:12:24,679 Speaker 2: What was it about Spain? 181 00:12:25,520 --> 00:12:28,240 Speaker 1: It wasn't a conscious decision. I was thirty years old, 182 00:12:28,280 --> 00:12:31,400 Speaker 1: I wasn't young, and I had my own flat, my 183 00:12:31,520 --> 00:12:34,199 Speaker 1: own practice, and I moved to Spain to share a 184 00:12:34,640 --> 00:12:39,240 Speaker 1: flat with nine other year whites in Madrid with no 185 00:12:39,440 --> 00:12:44,040 Speaker 1: mind and I think maybe two bathrooms lightly so more 186 00:12:44,160 --> 00:12:48,000 Speaker 1: soon as passim. Yeah, I'm just playing little cafes for 187 00:12:48,120 --> 00:12:52,439 Speaker 1: forty people. And nine days later I met the mother 188 00:12:52,559 --> 00:12:55,559 Speaker 1: of my first child, Anna, and of my first son, 189 00:12:55,720 --> 00:12:57,760 Speaker 1: and I fell in love with her as well it 190 00:12:57,800 --> 00:13:04,280 Speaker 1: should really, it wasn't a a brain decision. Actually stamos fibos, 191 00:13:04,320 --> 00:13:14,920 Speaker 1: polkist tamos and movie mento. But I have to say, 192 00:13:15,160 --> 00:13:17,840 Speaker 1: when I got to Spain very quickly, I was invited 193 00:13:17,880 --> 00:13:23,079 Speaker 1: by Joaquin Savina Mervos, Spanish musician. He invited me to 194 00:13:23,160 --> 00:13:25,240 Speaker 1: perform with him in Spain and I got to meet 195 00:13:25,320 --> 00:13:30,080 Speaker 1: through him many other artists that I admired, and very 196 00:13:30,160 --> 00:13:34,079 Speaker 1: quickly they started asking me for compositions a Avelen, Victor, 197 00:13:34,160 --> 00:13:42,640 Speaker 1: Manuel Quetama, Pablo Milanaise Rosario flores Is. At first, my 198 00:13:42,720 --> 00:13:46,400 Speaker 1: parents were like horrified because I was throwing a whole 199 00:13:46,480 --> 00:13:51,280 Speaker 1: life and prosperity and a career outside. But then I 200 00:13:51,440 --> 00:13:54,280 Speaker 1: started making a little place for me in the Spanish 201 00:13:54,400 --> 00:13:57,680 Speaker 1: music as a writer, and they very quickly they moved 202 00:13:57,720 --> 00:14:03,040 Speaker 1: to being just sad because I was away. Love overcame 203 00:14:03,200 --> 00:14:05,520 Speaker 1: that feeling of I think you ruined your life. But 204 00:14:05,600 --> 00:14:07,680 Speaker 1: at some point that they realized that I was really 205 00:14:07,720 --> 00:14:16,320 Speaker 1: happy and that made them happy too. I started making 206 00:14:16,400 --> 00:14:19,200 Speaker 1: a living on music when I was thirty, but I 207 00:14:19,360 --> 00:14:23,200 Speaker 1: started doing good when I was forty already, and that 208 00:14:23,440 --> 00:14:26,000 Speaker 1: was the first time I was having a little success 209 00:14:26,520 --> 00:14:29,280 Speaker 1: and it came all together. You know, Before that, the 210 00:14:29,360 --> 00:14:32,520 Speaker 1: first ten years in Spain were really hard. I didn't 211 00:14:32,560 --> 00:14:35,960 Speaker 1: sell records. I was a completely failure in my own 212 00:14:36,080 --> 00:14:39,000 Speaker 1: selling record history. Although I was really happy. I was 213 00:14:39,040 --> 00:14:41,440 Speaker 1: writing for other people and I was making the records. 214 00:14:41,480 --> 00:14:46,120 Speaker 1: I wanted to make that was an important thing. La 215 00:14:46,240 --> 00:14:47,320 Speaker 1: plazure grew my. 216 00:14:47,520 --> 00:14:48,320 Speaker 4: Rest plan to. 217 00:14:50,960 --> 00:14:52,800 Speaker 1: Elviento del. 218 00:14:54,360 --> 00:15:01,400 Speaker 2: Bocasus coming up on Latino USA. He Drexler's career as 219 00:15:01,440 --> 00:15:05,160 Speaker 2: a singer songwriter takes off to the very top. 220 00:15:05,840 --> 00:15:11,280 Speaker 3: Stay with us, not say yes either. 221 00:15:11,280 --> 00:15:56,640 Speaker 5: The love love you, Hey, We're back. 222 00:15:57,200 --> 00:16:00,200 Speaker 2: Before the break, we were speaking with Uru Wayans, singer 223 00:16:00,280 --> 00:16:04,480 Speaker 2: songwriter for Hit Drexler about abandoning his career as an 224 00:16:04,560 --> 00:16:08,120 Speaker 2: ear nose and throat doctor in order to pursue his 225 00:16:08,360 --> 00:16:12,560 Speaker 2: passion for music, leaving his country and moving to Spain 226 00:16:13,480 --> 00:16:16,800 Speaker 2: after a decade of struggling to make it on his own, 227 00:16:17,400 --> 00:16:19,760 Speaker 2: for his life took an unexpected turn. 228 00:16:20,600 --> 00:16:23,200 Speaker 5: Now that you've heard all nominated songs, it's time to 229 00:16:23,280 --> 00:16:26,320 Speaker 5: announce who will receive the Oscar for Original Song. 230 00:16:26,400 --> 00:16:29,360 Speaker 2: Two thousand and five, he won the Academy Award for 231 00:16:29,520 --> 00:16:33,760 Speaker 2: Best Song with Alotro Lado Delrio, which was the theme 232 00:16:33,840 --> 00:16:36,920 Speaker 2: music for the movie The Motorcycle Diary. This is the 233 00:16:37,000 --> 00:16:38,360 Speaker 2: first Academy award and. 234 00:16:38,560 --> 00:16:40,520 Speaker 3: Nomination for fort Hey Drexler. 235 00:16:41,000 --> 00:16:45,680 Speaker 2: His speech made international headlines because instead of talking for 236 00:16:45,920 --> 00:16:48,600 Speaker 2: his sang the song a cappella. 237 00:16:48,760 --> 00:16:53,320 Speaker 1: Clavo miremone lagua jevo tu reimon elmeo. 238 00:16:54,040 --> 00:16:57,600 Speaker 2: This was in response to the Academy's controversial decision to 239 00:16:57,720 --> 00:17:03,000 Speaker 2: have actor Antonio Banderas for his song during the ceremony 240 00:17:03,440 --> 00:17:07,640 Speaker 2: instead of ho headrestor, because well, they thought he wasn't 241 00:17:07,800 --> 00:17:17,920 Speaker 2: famous enough. Your big moment, of course, is in two 242 00:17:17,960 --> 00:17:21,560 Speaker 2: thousand and five, when you win the Oscar. You can't 243 00:17:21,600 --> 00:17:24,080 Speaker 2: get any higher than winning an Oscar and performing and 244 00:17:24,160 --> 00:17:27,520 Speaker 2: people falling in love with you as a result, And 245 00:17:27,640 --> 00:17:29,960 Speaker 2: then you go into a very dark place. You end 246 00:17:30,080 --> 00:17:32,960 Speaker 2: up getting a divorce, and you end up making an 247 00:17:33,000 --> 00:17:34,800 Speaker 2: album about your divorce. 248 00:17:35,520 --> 00:17:37,760 Speaker 1: How do you understand that process. 249 00:17:38,640 --> 00:17:39,240 Speaker 2: The falling? 250 00:17:39,400 --> 00:17:42,320 Speaker 1: I think it's a natural process. That's one thing with 251 00:17:42,480 --> 00:17:45,680 Speaker 1: prices and with expectations. I mean, there is no good 252 00:17:45,720 --> 00:17:48,720 Speaker 1: way out of expectations. If you do achieve what you 253 00:17:48,840 --> 00:17:55,080 Speaker 1: expected to achieve, the void that comes after that. You know, 254 00:17:55,600 --> 00:17:58,280 Speaker 1: I actually didn't expect to win that. It was a 255 00:17:58,400 --> 00:18:00,080 Speaker 1: crazy thing. It was the first price I go in 256 00:18:00,160 --> 00:18:02,440 Speaker 1: my life, and it was the highest after the Oscars. 257 00:18:02,560 --> 00:18:06,760 Speaker 1: I had the choice to decide whether I wanted to 258 00:18:06,960 --> 00:18:11,280 Speaker 1: follow the circumstances or to have agency in my life. Immediately, 259 00:18:11,480 --> 00:18:14,080 Speaker 1: everybody told me, you moved to Miami and to LA 260 00:18:14,560 --> 00:18:16,639 Speaker 1: and you know you have an oscar. Every door is 261 00:18:16,720 --> 00:18:20,520 Speaker 1: going to be open. You can make your big crossover record, 262 00:18:20,640 --> 00:18:25,000 Speaker 1: your big Latin happy crossover record. And I said, okay, 263 00:18:25,160 --> 00:18:27,480 Speaker 1: but you know what I have to choose. If I'm 264 00:18:27,480 --> 00:18:30,240 Speaker 1: going to make a record in what I am actually feeling, 265 00:18:30,240 --> 00:18:35,800 Speaker 1: which is sadness, twelve seconds of darkness the name of 266 00:18:35,840 --> 00:18:38,680 Speaker 1: the record, A very dark the darkest record. If I 267 00:18:38,760 --> 00:18:42,199 Speaker 1: have to follow my instinct and my truth, or if 268 00:18:42,280 --> 00:18:45,000 Speaker 1: I have to follow the circumstances. And I said, I'm 269 00:18:45,000 --> 00:18:47,639 Speaker 1: going to follow my truth. I mean, it's as that symbol. 270 00:18:53,119 --> 00:18:55,240 Speaker 1: I got a divorce. We're already thinking about that for 271 00:18:55,320 --> 00:18:58,760 Speaker 1: a long time. But then I fell in love really 272 00:18:58,840 --> 00:19:01,440 Speaker 1: quickly after the divorce, and I couldn't cope with that 273 00:19:01,720 --> 00:19:05,920 Speaker 1: mixture of success and the happiness and sadness at the 274 00:19:05,920 --> 00:19:08,800 Speaker 1: same time, because divorcing with children it was the toughest 275 00:19:08,840 --> 00:19:09,880 Speaker 1: thing that happened in my life. 276 00:19:10,560 --> 00:19:15,360 Speaker 4: Jus Umbo the Regresso sing Contra. 277 00:19:17,040 --> 00:19:19,920 Speaker 1: I think it's my most important record actually, and I'm 278 00:19:19,960 --> 00:19:22,440 Speaker 1: so proud because after that, I realized, why am I 279 00:19:22,520 --> 00:19:24,879 Speaker 1: a songwriter? Why do I write songs for? 280 00:19:25,080 --> 00:19:29,119 Speaker 2: You know? Because you are like a deeply emotional person 281 00:19:29,160 --> 00:19:30,359 Speaker 2: and you're connected with all of. 282 00:19:30,400 --> 00:19:32,920 Speaker 1: These and I respect my emotions too more than I 283 00:19:33,000 --> 00:19:34,280 Speaker 1: respect the circumstances. 284 00:19:35,400 --> 00:20:01,320 Speaker 2: Far O No said, So, I want to talk about 285 00:20:01,320 --> 00:20:05,199 Speaker 2: your evolution as a musician a little bit through your 286 00:20:05,280 --> 00:20:07,840 Speaker 2: own songs. And yeah, I'm gonna take you back a 287 00:20:07,920 --> 00:20:10,960 Speaker 2: little bit. So I want you to pick a song 288 00:20:11,440 --> 00:20:16,720 Speaker 2: from your album This is Caabe. It's two thousand and eight, okay, 289 00:20:16,920 --> 00:20:20,720 Speaker 2: three years after the Oscar It's a two hour long 290 00:20:21,080 --> 00:20:24,720 Speaker 2: live album. So one song from Gabe that you're like, yeah, 291 00:20:25,200 --> 00:20:26,960 Speaker 2: this is this one captures it. 292 00:20:27,440 --> 00:20:29,200 Speaker 1: I have the only song that I've co written with 293 00:20:29,280 --> 00:20:35,440 Speaker 1: my wife, and it's called Doves Doves Dova, which is 294 00:20:35,480 --> 00:20:38,679 Speaker 1: a very strange songs. That's the only song we wrote together, 295 00:20:39,320 --> 00:20:42,359 Speaker 1: and it's a song try lingual helf in Spanish, a 296 00:20:42,440 --> 00:20:44,840 Speaker 1: little bit in Italian, and a little bit in English. 297 00:20:45,600 --> 00:20:47,800 Speaker 1: We wrote it together. We were in the first years 298 00:20:47,840 --> 00:20:50,120 Speaker 1: of our relationship and it's a song I really love 299 00:20:50,240 --> 00:20:52,320 Speaker 1: and I never got to air too much. 300 00:20:55,080 --> 00:21:05,000 Speaker 2: You go and away, all right, we're gonna move forward 301 00:21:05,080 --> 00:21:09,080 Speaker 2: to twenty ten. Yeah, you release a mad la rama. 302 00:21:10,000 --> 00:21:11,760 Speaker 2: Is there one that stands out for you? 303 00:21:12,600 --> 00:21:15,960 Speaker 1: Yeah? I have two songs that sound out actually after 304 00:21:16,320 --> 00:21:18,680 Speaker 1: those wos a very dark record. This is a record 305 00:21:18,840 --> 00:21:22,320 Speaker 1: filled with a in the name ahmar la trama really 306 00:21:22,480 --> 00:21:26,760 Speaker 1: open feeling, open chest feeling. It's an homage to Madrid. 307 00:21:28,800 --> 00:21:31,000 Speaker 4: Comino for Madrid and to company. 308 00:21:33,200 --> 00:21:34,800 Speaker 1: I was leaving for a long time, but I fell 309 00:21:34,840 --> 00:21:36,320 Speaker 1: in love with the city. I fell in love with 310 00:21:36,440 --> 00:21:41,240 Speaker 1: this amazing woman. We had this amazing son. So there's 311 00:21:41,280 --> 00:21:44,240 Speaker 1: two songs that one called La tral Listen Lassi that's 312 00:21:44,359 --> 00:21:58,920 Speaker 1: dedicated to leonor Signal Damasquez, and there's noct Luca dedicated 313 00:21:59,000 --> 00:22:01,639 Speaker 1: to my son. Luca is a when I realized it 314 00:22:01,760 --> 00:22:03,840 Speaker 1: was going to be a father and for the second time, 315 00:22:03,960 --> 00:22:08,480 Speaker 1: and all the healing that came to my life, not 316 00:22:08,680 --> 00:22:17,959 Speaker 1: just vas with having that second child, that put everything 317 00:22:18,000 --> 00:22:21,560 Speaker 1: in an order in your life after a very happy 318 00:22:21,640 --> 00:22:25,480 Speaker 1: but difficult years, you know, of transition from one life 319 00:22:25,520 --> 00:22:32,520 Speaker 1: to another. Buzz that's the bis is. 320 00:22:38,080 --> 00:22:42,280 Speaker 2: In twenty fourteen, you release by Latin La Cueva and 321 00:22:42,680 --> 00:22:47,560 Speaker 2: this is of course where you collaborate with Kaitoso. This 322 00:22:47,800 --> 00:22:51,600 Speaker 2: is the album where you sing the song Bolivia dedicated 323 00:22:51,680 --> 00:22:55,399 Speaker 2: to the country that basically saves your dad's life. And 324 00:22:55,480 --> 00:22:58,080 Speaker 2: I'm just wondering a little bit about that album, and 325 00:22:58,240 --> 00:23:01,160 Speaker 2: you said that by Latin like Cueva, I was actually 326 00:23:01,960 --> 00:23:04,760 Speaker 2: about learning to be in touch with your body and 327 00:23:04,960 --> 00:23:05,960 Speaker 2: learning how to dance. 328 00:23:06,840 --> 00:23:09,160 Speaker 1: I have this way of looking at people and at 329 00:23:09,440 --> 00:23:12,880 Speaker 1: songs and with the three parts that compose a human being, 330 00:23:12,960 --> 00:23:16,080 Speaker 1: the logical part, the emotional part. I mean, I'm touching 331 00:23:16,160 --> 00:23:18,560 Speaker 1: my head and I'm touching my chest now, the emotional 332 00:23:18,680 --> 00:23:21,720 Speaker 1: part and the body part. It's like the movement, It's 333 00:23:21,800 --> 00:23:24,879 Speaker 1: like the hips, you know. I had this feeling, for example, 334 00:23:24,920 --> 00:23:29,280 Speaker 1: that Kaitano Beloso on ruenblaz Rebilas that were complete artists. 335 00:23:29,440 --> 00:23:32,840 Speaker 1: They had these amazing ideas in the head, these very 336 00:23:32,880 --> 00:23:36,200 Speaker 1: emotional songs in your chest, you know, and people would 337 00:23:36,280 --> 00:23:36,840 Speaker 1: dance to them. 338 00:23:37,200 --> 00:23:40,199 Speaker 5: No no, no starting and. 339 00:23:43,760 --> 00:23:46,080 Speaker 1: You would go to a ruin Blas concertant it will 340 00:23:46,119 --> 00:23:49,080 Speaker 1: be two three hours of dancing all the time. And 341 00:23:49,200 --> 00:23:52,600 Speaker 1: I felt incomplete. I knew I had good ideas and 342 00:23:52,680 --> 00:23:56,840 Speaker 1: I could write intelligent lyrics. I knew I could easily 343 00:23:56,880 --> 00:23:59,879 Speaker 1: get into emotions in songs, but I wasn't able to 344 00:24:00,040 --> 00:24:03,640 Speaker 1: bring my body inside into the experience. And I related 345 00:24:03,720 --> 00:24:06,439 Speaker 1: that with the dictatorship. I related that with that stiffness 346 00:24:06,800 --> 00:24:09,760 Speaker 1: and so I learned that very late. I started dancing 347 00:24:09,800 --> 00:24:11,880 Speaker 1: when I was forty years old, and I'm a very 348 00:24:12,600 --> 00:24:14,439 Speaker 1: I'm not I don't know if I'm a good dancer, 349 00:24:14,560 --> 00:24:17,800 Speaker 1: but I'm a convinced dancer, which is better than being good. 350 00:24:24,160 --> 00:24:34,120 Speaker 2: Program talk to me about doing the song with Mercedes. 351 00:24:35,000 --> 00:24:38,000 Speaker 2: I mean, it is one of your great hits. Mercedes 352 00:24:38,160 --> 00:24:41,359 Speaker 2: was older at that point, But what was that like? 353 00:24:42,000 --> 00:24:46,040 Speaker 2: Given that she is such an extraordinary musical human being 354 00:24:46,160 --> 00:24:46,920 Speaker 2: for the planet. 355 00:24:47,840 --> 00:24:51,280 Speaker 1: She is more than a singer. She's like the deepest 356 00:24:51,440 --> 00:25:00,200 Speaker 1: voice of our continent. Know me, money, I have heard 357 00:25:00,200 --> 00:25:02,680 Speaker 1: her for my whole life, since I was a little child. 358 00:25:02,880 --> 00:25:06,119 Speaker 1: And unfortunately we didn't get to record this in person. 359 00:25:06,240 --> 00:25:08,320 Speaker 1: I was in Spain at the moment, and she she 360 00:25:08,480 --> 00:25:11,640 Speaker 1: was already ill, and so they sent me the truck 361 00:25:11,680 --> 00:25:13,920 Speaker 1: and I sang with her in the distance. 362 00:25:15,680 --> 00:25:18,959 Speaker 3: Oh those los Arambi honest Japs. 363 00:25:20,359 --> 00:25:22,040 Speaker 1: And when I was supposed to meet her, she had 364 00:25:22,040 --> 00:25:27,640 Speaker 1: already died. To song, Lisa, Come on, You know when 365 00:25:27,720 --> 00:25:29,520 Speaker 1: when you write the song and you think you know 366 00:25:29,680 --> 00:25:31,639 Speaker 1: the song that you wrote and you realize that you 367 00:25:31,840 --> 00:25:34,760 Speaker 1: didn't really know the song until you heard it in 368 00:25:34,840 --> 00:25:37,840 Speaker 1: another circumstance like sung by myself or something. 369 00:25:45,840 --> 00:25:52,959 Speaker 2: So right before Natalia Laura goes on stage, she's backstage 370 00:25:52,960 --> 00:25:58,359 Speaker 2: at Carnegie Hall again, and she pulls out her phone 371 00:25:59,560 --> 00:26:07,040 Speaker 2: and she was an Instagram live and you all start 372 00:26:07,119 --> 00:26:11,400 Speaker 2: having this conversation, and this is where you say to Natalia, 373 00:26:18,040 --> 00:26:21,239 Speaker 2: how was it for you during the pandemic, because yo, 374 00:26:21,520 --> 00:26:25,280 Speaker 2: for me, it was pretty terrible. It got really dark, 375 00:26:25,920 --> 00:26:28,480 Speaker 2: and Natalia was just like, no, you know, actually I 376 00:26:29,040 --> 00:26:37,560 Speaker 2: was able to finally create. I just want to know 377 00:26:37,640 --> 00:26:40,480 Speaker 2: if you can talk a little bit about that, considering 378 00:26:40,520 --> 00:26:45,080 Speaker 2: that you create your album thet Dimple through that period 379 00:26:45,119 --> 00:26:48,280 Speaker 2: of time. But take us to Horghead Drexler at the 380 00:26:48,359 --> 00:26:50,440 Speaker 2: high point of the pandemic. What was going on for 381 00:26:50,560 --> 00:26:54,399 Speaker 2: you creatively? It was a really crazy time and it 382 00:26:54,560 --> 00:26:57,480 Speaker 2: was really hard. Although I had the time, I didn't 383 00:26:57,520 --> 00:27:01,280 Speaker 2: have this mindset to write songs. I wrote a lot. 384 00:27:01,440 --> 00:27:04,200 Speaker 1: I started lots of songs, I couldn't finish them. I 385 00:27:04,359 --> 00:27:08,600 Speaker 1: realized that you don't write alone. You write together with 386 00:27:09,200 --> 00:27:11,960 Speaker 1: the people that witness what you do, and that writing 387 00:27:12,119 --> 00:27:17,800 Speaker 1: is a bi directional craft. If you pulled just from 388 00:27:17,880 --> 00:27:20,639 Speaker 1: your side, that you don't tense to string. So I 389 00:27:20,760 --> 00:27:22,840 Speaker 1: couldn't finish the songs, and I thought I didn't have 390 00:27:22,960 --> 00:27:25,639 Speaker 1: the songs for the record. But after a while, when 391 00:27:25,720 --> 00:27:29,040 Speaker 1: we started meeting people again, I realized that I actually 392 00:27:29,080 --> 00:27:31,760 Speaker 1: had a lot of songs, and that they weren't worse 393 00:27:32,320 --> 00:27:34,520 Speaker 1: than the other ones that I put in my record 394 00:27:34,760 --> 00:27:37,359 Speaker 1: or better. I mean, they were my songs, and I 395 00:27:37,480 --> 00:27:40,240 Speaker 1: couldn't I could make this record. For a long time, 396 00:27:40,280 --> 00:27:42,080 Speaker 1: I thought I was not going to be able to. 397 00:27:44,080 --> 00:27:49,200 Speaker 2: Ask, so it planned my Estro. I mean, that's like 398 00:27:49,320 --> 00:27:53,320 Speaker 2: a pretty big title, the master Plan. This is on 399 00:27:53,480 --> 00:27:56,520 Speaker 2: the album. This is probably written by your cousin who 400 00:27:56,600 --> 00:27:59,879 Speaker 2: lives in Venezuela, who is an astrophysicist. You have a 401 00:28:00,080 --> 00:28:06,680 Speaker 2: very high performing family. You talk about having the relationship 402 00:28:07,160 --> 00:28:11,680 Speaker 2: of humanity close to you as you write. So you 403 00:28:11,960 --> 00:28:15,400 Speaker 2: write this song with your cousin who's in Venezuela when 404 00:28:15,400 --> 00:28:17,560 Speaker 2: you're in Madrid. How are you doing it together and 405 00:28:17,640 --> 00:28:20,359 Speaker 2: how did this play into you? Know, you have to 406 00:28:20,440 --> 00:28:22,600 Speaker 2: have a relationship in music when you're writing it. 407 00:28:24,040 --> 00:28:27,080 Speaker 1: She's my cousin, she has the same age. I'm only 408 00:28:27,160 --> 00:28:30,040 Speaker 1: a few months older than her, so we have this 409 00:28:30,400 --> 00:28:35,360 Speaker 1: really strong connection, like an umbilical connection. Correa Era del 410 00:28:35,440 --> 00:28:41,840 Speaker 1: Meso Guanda Queesa Slula Visionaria. I don't have told this anyone, 411 00:28:41,880 --> 00:28:44,640 Speaker 1: but we actually operate like twins with her. We have 412 00:28:44,760 --> 00:28:48,320 Speaker 1: the same age. We were best friends where we were children. 413 00:28:48,720 --> 00:28:51,400 Speaker 1: We shared these common interests, like we have the same 414 00:28:51,520 --> 00:28:54,800 Speaker 1: hard disk. You know, she is a scientist, but she's 415 00:28:54,880 --> 00:28:57,440 Speaker 1: also a poet. We always feel this connection. And we 416 00:28:57,520 --> 00:29:00,000 Speaker 1: started writing songs when we were fifty five years old. 417 00:29:01,040 --> 00:29:04,240 Speaker 1: And and she's been the great the biggest influence I 418 00:29:04,320 --> 00:29:06,120 Speaker 1: had in my in my music in the last years. 419 00:29:11,280 --> 00:29:13,800 Speaker 1: When you go to my concert, the concert is opened 420 00:29:13,840 --> 00:29:17,160 Speaker 1: by her voice. She speaks for four minutes talking about 421 00:29:17,200 --> 00:29:23,960 Speaker 1: the invention of love in the Mesoproterozoic era one thousand, 422 00:29:24,040 --> 00:29:27,040 Speaker 1: six hundred years ago. Well, the first two cells got together. 423 00:29:27,960 --> 00:29:29,040 Speaker 3: It's a love story. 424 00:29:35,200 --> 00:29:37,840 Speaker 1: She wrote this beautiful decimo, which is a very complex 425 00:29:37,960 --> 00:29:40,920 Speaker 1: verse form that you have in Mexico, in the San 426 00:29:40,960 --> 00:29:48,320 Speaker 1: Carocho and the Wapanguo. It's a ten verse structure that 427 00:29:48,440 --> 00:29:51,680 Speaker 1: you have all over Latin America Underselos does hang on 428 00:29:52,320 --> 00:30:00,080 Speaker 1: who's carrying out in Huparaha, they have the galleon in 429 00:30:00,160 --> 00:30:06,040 Speaker 1: Venezuela and Peru, pajay Repentistas in Cuba, Pajas in Chile, 430 00:30:06,320 --> 00:30:09,600 Speaker 1: that they use the same verse form everywhere what Pang 431 00:30:09,720 --> 00:30:12,120 Speaker 1: in Mexico came and Panama. 432 00:30:15,920 --> 00:30:21,200 Speaker 2: Miss So one of the things that you and I 433 00:30:21,480 --> 00:30:24,200 Speaker 2: are lucky about, Jorge is that one that we're still here, 434 00:30:24,760 --> 00:30:25,560 Speaker 2: that we're still alive. 435 00:30:25,840 --> 00:30:26,480 Speaker 1: That's a big one. 436 00:30:27,040 --> 00:30:27,680 Speaker 3: That's a big one. 437 00:30:27,960 --> 00:30:31,360 Speaker 2: And you and I are lucky in this one particular way, Jorge, 438 00:30:31,520 --> 00:30:33,400 Speaker 2: that you and I still have a little bit of 439 00:30:33,560 --> 00:30:38,160 Speaker 2: cred with the younger generations. Yeah, oh, Jo, I mean 440 00:30:38,240 --> 00:30:41,680 Speaker 2: you're playing with Catrees, you're playing with Natalia and so 441 00:30:41,800 --> 00:30:44,600 Speaker 2: many others, and I just you know, when you pause 442 00:30:44,680 --> 00:30:47,560 Speaker 2: and you think about that, just how do you understand 443 00:30:47,680 --> 00:30:49,840 Speaker 2: to process this as we get older and at the 444 00:30:49,880 --> 00:30:53,920 Speaker 2: same time that you got some intergenerational cred. Young people 445 00:30:54,000 --> 00:30:54,520 Speaker 2: love you too. 446 00:30:55,280 --> 00:30:57,760 Speaker 1: I was taught this by my father actually, when he 447 00:30:57,960 --> 00:31:01,400 Speaker 1: was forty he had the beat records. It was the 448 00:31:01,520 --> 00:31:05,040 Speaker 1: only person in his generation in Eurohite that would actually 449 00:31:05,160 --> 00:31:08,240 Speaker 1: understand that there was a newer world and that newer 450 00:31:08,280 --> 00:31:11,400 Speaker 1: world wasn't worse than the older world. When when he 451 00:31:11,680 --> 00:31:13,960 Speaker 1: grew up, and I mean he grew up with jazz music, 452 00:31:14,320 --> 00:31:17,000 Speaker 1: but he understood the Beatles and he gave the Beatles 453 00:31:17,040 --> 00:31:19,960 Speaker 1: to me when we got into Bob Marley. He said, 454 00:31:20,360 --> 00:31:23,080 Speaker 1: can I hear that again? That's really interesting. I mean, 455 00:31:23,120 --> 00:31:26,440 Speaker 1: who's this guy? And it's my music in my generation. 456 00:31:27,000 --> 00:31:29,080 Speaker 1: But he was open to my music and he gave 457 00:31:29,160 --> 00:31:33,360 Speaker 1: me this message. Older people are still alive. I remember 458 00:31:33,480 --> 00:31:37,640 Speaker 1: reading a book about Mario and Treja and asking him 459 00:31:38,040 --> 00:31:40,280 Speaker 1: this book this is crazy. I was a teenager. It's 460 00:31:40,320 --> 00:31:42,440 Speaker 1: a book about a forty year old guy that falls 461 00:31:42,480 --> 00:31:45,480 Speaker 1: in love. I mean, that can't be possible. You don't 462 00:31:45,480 --> 00:31:47,560 Speaker 1: fall in love when you're forty or fifty. And he said, 463 00:31:47,920 --> 00:31:52,480 Speaker 1: we have to have this talk yesterday. You know, love 464 00:31:52,560 --> 00:31:57,200 Speaker 1: has no age, Beauty has no age, sex has no age, 465 00:31:57,240 --> 00:31:59,480 Speaker 1: and art has no age. And you can be open 466 00:31:59,600 --> 00:32:01,400 Speaker 1: to think that are new. 467 00:32:02,880 --> 00:32:03,200 Speaker 4: Is okay? 468 00:32:03,360 --> 00:32:03,760 Speaker 1: Look at. 469 00:32:05,240 --> 00:32:08,680 Speaker 4: Oka, Look at Oka, look at Oka. 470 00:32:08,760 --> 00:32:12,840 Speaker 1: Getto I have this world that I started using a 471 00:32:12,920 --> 00:32:16,320 Speaker 1: few months ago. That it's called neophobia. Neophobia like the 472 00:32:16,400 --> 00:32:20,040 Speaker 1: phobia to the new. It's a generational thing. I think 473 00:32:20,480 --> 00:32:25,080 Speaker 1: younger people accept you and listen to you just because 474 00:32:25,680 --> 00:32:29,280 Speaker 1: you listen to them. That's the secret. Because when I 475 00:32:29,440 --> 00:32:32,280 Speaker 1: hear bad Bunny, I tried to understand what's going on. 476 00:32:32,440 --> 00:32:34,960 Speaker 1: And I'm not lying when I say I really admire 477 00:32:35,040 --> 00:32:37,800 Speaker 1: his work. He's very different from me. Setangan is his 478 00:32:38,000 --> 00:32:40,080 Speaker 1: age which I worked a lot, and he was one 479 00:32:40,120 --> 00:32:42,640 Speaker 1: of the other big influences in my musical. 480 00:32:43,800 --> 00:32:46,120 Speaker 4: Talk cut it. 481 00:32:47,640 --> 00:32:50,120 Speaker 1: My daughter, eleven year old. She comes and showed me 482 00:32:50,200 --> 00:32:52,320 Speaker 1: some music. I sit down on the floor and I 483 00:32:52,440 --> 00:32:55,920 Speaker 1: listened very carefully to her advice. I take it really seriously. 484 00:32:55,960 --> 00:32:59,840 Speaker 1: It's like breathing new for me. I want to know 485 00:33:00,040 --> 00:33:05,440 Speaker 1: what the world is about, just because I hate being nostalgic. 486 00:33:05,960 --> 00:33:08,600 Speaker 1: I hate thinking that the best part of my life 487 00:33:08,640 --> 00:33:21,960 Speaker 1: has already passed. There are great things that I learn 488 00:33:22,120 --> 00:33:25,200 Speaker 1: right now, and that you know, my past is beautiful. 489 00:33:25,240 --> 00:33:27,800 Speaker 1: It's my past. It's not better than my present. Actually, 490 00:33:29,160 --> 00:33:31,320 Speaker 1: my presence is the only thing that I have, so 491 00:33:31,480 --> 00:33:34,840 Speaker 1: it should be I should take it seriously. So I 492 00:33:35,080 --> 00:33:37,640 Speaker 1: love urban music. I listen to urban music a lot. 493 00:33:38,120 --> 00:33:40,800 Speaker 1: I'm looking forward to working with people that have very 494 00:33:40,840 --> 00:33:44,640 Speaker 1: different styles from mine. It's not a record company advice, 495 00:33:45,040 --> 00:33:48,120 Speaker 1: it's not a management or a marketing advice. I just 496 00:33:48,440 --> 00:33:49,200 Speaker 1: love being. 497 00:33:49,040 --> 00:33:55,240 Speaker 4: Alive, tidming tim and. 498 00:33:55,360 --> 00:33:58,520 Speaker 1: I love the present. I love dancing a lot, going 499 00:33:58,600 --> 00:34:03,160 Speaker 1: out and meeting people and trying to feel that life 500 00:34:03,280 --> 00:34:06,680 Speaker 1: is still has a lot of things of course to offer. 501 00:34:06,560 --> 00:34:12,360 Speaker 4: You cantar linamente Lucacio. 502 00:34:13,680 --> 00:34:16,000 Speaker 2: Thank you for offering me this time. It has been 503 00:34:16,160 --> 00:34:16,959 Speaker 2: just so much fun. 504 00:34:19,080 --> 00:34:30,480 Speaker 4: Thank you, Ti pimpo, tend tim Ti timom. 505 00:34:40,120 --> 00:34:43,400 Speaker 2: This episode was produced by Patricia Sulbaran and edited by 506 00:34:43,520 --> 00:34:47,640 Speaker 2: Marta Martinez. It was mixed by Judi Crusso and gabriel 507 00:34:47,680 --> 00:34:52,320 Speaker 2: A Bias. The Latino USA team includes Andrea Lopez Cruzado, 508 00:34:52,680 --> 00:34:57,680 Speaker 2: Daisy Contreres, Mike Sergent, Victoria Strada, Rinaldo, Leanos Junior and 509 00:34:57,760 --> 00:35:01,640 Speaker 2: Julia Rocha, with help from Raoul Perez. Our editorial director 510 00:35:01,800 --> 00:35:05,520 Speaker 2: is Fernandes Santos. Our director of Engineering is Stephanie Lebau. 511 00:35:05,680 --> 00:35:10,440 Speaker 2: Our associate engineer is Jjkrubin. Our marketing manager is Luis Luna. 512 00:35:10,560 --> 00:35:14,520 Speaker 2: Our New York Women's Foundation fellow is Elizabeth Lowendal Torres. 513 00:35:14,680 --> 00:35:17,839 Speaker 2: Our theme music was composed by zay E Rubinos. I'm 514 00:35:17,880 --> 00:35:21,480 Speaker 2: your host and executive producer marieo Josa. Remember to join 515 00:35:21,560 --> 00:35:23,480 Speaker 2: us on our next episode. In the meantime, look for 516 00:35:23,600 --> 00:35:27,759 Speaker 2: us on social media and nottodestva Yes Joao. 517 00:35:30,760 --> 00:35:35,040 Speaker 6: Latino Usa is made possible in part by the Heising 518 00:35:35,120 --> 00:35:42,240 Speaker 6: Simons Foundation. Unlocking Knowledge Opportunity and possibilities. More at hsfoundation 519 00:35:42,520 --> 00:35:46,960 Speaker 6: dot org, the Ford Foundation, working with visionaries on the 520 00:35:47,000 --> 00:35:51,520 Speaker 6: front lines of social change worldwide, and the John D. 521 00:35:51,840 --> 00:35:53,560 Speaker 6: And Catherine T. MacArthur Foundation. 522 00:35:57,600 --> 00:35:59,080 Speaker 1: I hope I didn't speak to no. 523 00:35:59,239 --> 00:35:59,960 Speaker 3: That was perfect. 524 00:36:00,719 --> 00:36:02,800 Speaker 1: Well, I guess I speak too much. Event that's what 525 00:36:02,920 --> 00:36:05,000 Speaker 1: we want. But you can edit it so I don't 526 00:36:05,040 --> 00:36:05,080 Speaker 1: have