1 00:00:03,560 --> 00:00:11,360 Speaker 1: I believe something something that is very important. Miosik, miusik 2 00:00:11,600 --> 00:00:15,920 Speaker 1: will play are very important or in the recovering of 3 00:00:15,960 --> 00:00:16,800 Speaker 1: the society. 4 00:00:22,600 --> 00:00:26,200 Speaker 2: From futuro media, it's Latino Usa. I'm Maria no posa. 5 00:00:26,600 --> 00:00:31,080 Speaker 2: Today Gustavo du da Mel, the prolific Venezuelan conductor, talks 6 00:00:31,120 --> 00:00:35,519 Speaker 2: about how is weathering the pandemic and how he stays connected. 7 00:00:35,200 --> 00:00:36,040 Speaker 1: With his roots. 8 00:00:48,720 --> 00:00:53,240 Speaker 2: Maestro Gustavo Dudamel is one of the world's most celebrated conductors. 9 00:00:54,040 --> 00:00:57,360 Speaker 2: He's currently the music and artistic director of the Los 10 00:00:57,400 --> 00:01:00,240 Speaker 2: Angeles Philharmonic, a post he's held since he he was 11 00:01:00,400 --> 00:01:05,600 Speaker 2: just twenty seven years old. He's been at the La 12 00:01:05,720 --> 00:01:08,840 Speaker 2: phil for over a decade and will continue there at 13 00:01:08,920 --> 00:01:12,800 Speaker 2: least through the twenty twenty five season. But that's just 14 00:01:12,920 --> 00:01:17,600 Speaker 2: the latest entry in Dudamel's already legendary career. He is 15 00:01:17,640 --> 00:01:21,440 Speaker 2: the most famous graduate of El Sistema, the national children's 16 00:01:21,520 --> 00:01:25,040 Speaker 2: music program of his home country of Venezuela. In the 17 00:01:25,160 --> 00:01:29,080 Speaker 2: years since, he's conducted orchestras across the globe, from the 18 00:01:29,080 --> 00:01:33,320 Speaker 2: Gothenburg Symphony to the Vienna Philharmonic. He's won a litany 19 00:01:33,319 --> 00:01:36,600 Speaker 2: of international awards and was honored with his own star 20 00:01:36,760 --> 00:01:41,800 Speaker 2: on the Hollywood Walk of Fame in twenty nineteen. You 21 00:01:41,840 --> 00:01:44,880 Speaker 2: don't need to follow classical music to know who du 22 00:01:44,959 --> 00:01:49,040 Speaker 2: Da mel is, though most likely you've already heard his work. 23 00:01:55,000 --> 00:01:57,880 Speaker 2: In twenty sixteen, he performed at the Super Bowl along 24 00:01:57,920 --> 00:02:13,000 Speaker 2: with Coldplay, Bruno Mars and The Answer. John Williams invited 25 00:02:13,080 --> 00:02:16,040 Speaker 2: him to guest conduct the score for Star Wars The 26 00:02:16,080 --> 00:02:30,320 Speaker 2: Force Awakens. He's also dabbled in children's media. He did 27 00:02:30,360 --> 00:02:32,760 Speaker 2: an interview with Elmo on Sesame Street. 28 00:02:33,160 --> 00:02:33,800 Speaker 3: I'm a riches. 29 00:02:33,960 --> 00:02:37,000 Speaker 1: He could show you something very great and amazing right now, 30 00:02:37,200 --> 00:02:38,320 Speaker 1: but Alma doesn't know. 31 00:02:38,520 --> 00:02:40,280 Speaker 4: We're to find anything stupendes. 32 00:02:40,480 --> 00:02:42,919 Speaker 1: Well, you know, Elmo, I'm a conductor of an orchestra, 33 00:02:43,120 --> 00:02:45,480 Speaker 1: and I get to see and hear some stupendous things 34 00:02:45,520 --> 00:02:49,040 Speaker 1: all the time. Really, absolutely, will you allow me to 35 00:02:49,040 --> 00:02:52,919 Speaker 1: show you something stupende? I'm a wod Okay, here's a 36 00:02:53,000 --> 00:02:54,760 Speaker 1: ship playing the biole. 37 00:02:54,600 --> 00:03:01,640 Speaker 2: Okay, and do them. He has continued to appear on 38 00:03:01,680 --> 00:03:04,840 Speaker 2: both the small and big screens with guest turns in 39 00:03:04,880 --> 00:03:05,639 Speaker 2: The Simpsons. 40 00:03:05,919 --> 00:03:10,800 Speaker 5: Each year, one graduate receives the prestigious Golden Baton Award 41 00:03:11,040 --> 00:03:13,600 Speaker 5: for the most impressive future conductor. 42 00:03:13,800 --> 00:03:17,799 Speaker 2: But this year we have two worthy recipients. 43 00:03:20,120 --> 00:03:24,720 Speaker 6: That's right, Gustavo do Domel and local wounded. 44 00:03:24,440 --> 00:03:26,040 Speaker 2: Key Mozart in the jungle. 45 00:03:26,360 --> 00:03:31,119 Speaker 1: One thing is to conduct Moser in another labor negotiations. Yeah, 46 00:03:31,200 --> 00:03:34,400 Speaker 1: I know you have to come here, save us. Please, 47 00:03:36,000 --> 00:03:42,560 Speaker 1: we hate our work, conductor really okay? One ready enjoy, 48 00:03:42,720 --> 00:03:43,040 Speaker 1: Thank you. 49 00:03:44,800 --> 00:03:48,840 Speaker 2: And the twenty twenty film Trolls World Tour, he plays 50 00:03:48,880 --> 00:03:52,200 Speaker 2: a classical music loving troll, which is of course named 51 00:03:52,560 --> 00:04:05,920 Speaker 2: Trolls Art Classical. Gustavo Dudamel began his musical career as 52 00:04:05,960 --> 00:04:08,800 Speaker 2: a violinist, but by his teens he was already at 53 00:04:08,840 --> 00:04:13,440 Speaker 2: the conductor's podium, baton in hand. He was just eighteen 54 00:04:13,520 --> 00:04:16,200 Speaker 2: years old when he was appointed music director of the 55 00:04:16,279 --> 00:04:25,000 Speaker 2: Orchesta Sinfonicassimon Bolivar, Venezuela's national youth orchestra. Dudamel is deeply 56 00:04:25,120 --> 00:04:29,440 Speaker 2: influenced by El Sistema, the program that puts musical instruments 57 00:04:29,640 --> 00:04:33,640 Speaker 2: into the hands of children across Ennezuela. He was living 58 00:04:33,760 --> 00:04:36,680 Speaker 2: up to that ethos when he founded the Youth Orchestra 59 00:04:36,800 --> 00:04:40,119 Speaker 2: of Los Angeles in South LA in two thousand and seven. 60 00:04:40,640 --> 00:04:43,520 Speaker 2: Dudamel wanted to create a place where local kids could 61 00:04:43,640 --> 00:04:48,360 Speaker 2: learn and play music, receive academic support, and build a community. 62 00:04:49,240 --> 00:04:52,839 Speaker 2: Dudamel's belief in the power of music inspired other projects 63 00:04:52,880 --> 00:04:56,680 Speaker 2: down the line, including starting his own charity, the Dudamel Foundation. 64 00:04:57,320 --> 00:05:04,960 Speaker 2: The organization promotes universal music education in underserved communities. Even 65 00:05:05,080 --> 00:05:08,200 Speaker 2: amid a global pandemic, Do the Male is still sharing 66 00:05:08,240 --> 00:05:12,039 Speaker 2: his passion for music with the world. He spent the 67 00:05:12,040 --> 00:05:15,440 Speaker 2: past year between Los Angeles and Madrid, and that's where 68 00:05:15,480 --> 00:05:17,920 Speaker 2: my estra is calling from. Today. We're going to talk 69 00:05:17,960 --> 00:05:21,680 Speaker 2: about finding creative ways to continue expanding access to the 70 00:05:21,839 --> 00:05:25,719 Speaker 2: arts and above all, ways to keep the music playing. 71 00:05:31,640 --> 00:05:38,320 Speaker 2: So gustavomna raso virtual in canto, Oh my god, do 72 00:05:38,480 --> 00:05:42,680 Speaker 2: the mel? I always call you do thea mel? I'm sorry, 73 00:05:42,800 --> 00:05:44,640 Speaker 2: perfect two people call you do thea mel? 74 00:05:44,720 --> 00:05:47,600 Speaker 1: Or do I mean the male? Of course, the only 75 00:05:47,680 --> 00:05:51,200 Speaker 1: one that calls me Gusta Wadolfo is my mother when 76 00:05:51,240 --> 00:05:53,000 Speaker 1: she is like angry with. 77 00:05:53,040 --> 00:05:57,479 Speaker 2: Me, Gusta Wolfole exactly. 78 00:06:01,279 --> 00:06:01,599 Speaker 1: That was. 79 00:06:01,760 --> 00:06:04,120 Speaker 2: Let me remind you because I know you're gonna remember 80 00:06:04,720 --> 00:06:09,119 Speaker 2: when we met. We were in Boston and you came 81 00:06:09,279 --> 00:06:14,320 Speaker 2: to conduct in a rehearsal with the MIT student orchestra. 82 00:06:15,000 --> 00:06:18,719 Speaker 7: If you sink in your the shower that I love 83 00:06:18,800 --> 00:06:21,520 Speaker 7: to sing because it's the best acoustic in the world. 84 00:06:21,839 --> 00:06:25,839 Speaker 7: You know, you have all the echo, all the best 85 00:06:25,960 --> 00:06:32,760 Speaker 7: you know, restaurants. You don't think, you don't. 86 00:06:32,600 --> 00:06:41,680 Speaker 1: Think like, wow, yes, I remember. Wow. You know how 87 00:06:41,839 --> 00:06:47,440 Speaker 1: time passed? My god, that was this was eleven years ago, I. 88 00:06:47,320 --> 00:06:51,000 Speaker 2: Think exact eleven years ago, mas Menos. 89 00:06:50,800 --> 00:06:52,920 Speaker 1: Exactly, Mahamelo. 90 00:06:53,240 --> 00:06:55,600 Speaker 2: It was just around the time that you had arrived 91 00:06:55,760 --> 00:06:59,559 Speaker 2: in Los Angeles at the La Philharmonic, and I think 92 00:07:00,080 --> 00:07:03,440 Speaker 2: you remember there were flags with your face on them 93 00:07:03,520 --> 00:07:06,680 Speaker 2: all across Los Angeles on the highways and the freeways, 94 00:07:06,680 --> 00:07:09,120 Speaker 2: and everybody was so excited. It was like, oh my god, 95 00:07:10,320 --> 00:07:15,280 Speaker 2: the male has arrived to LA. And now basically you're 96 00:07:15,360 --> 00:07:18,600 Speaker 2: like a guy from LA. You're like an institution in LA. 97 00:07:18,680 --> 00:07:20,680 Speaker 1: Now, yes, I'm an old conductor. 98 00:07:21,440 --> 00:07:24,640 Speaker 2: You're an old conductor. So how do you how do 99 00:07:24,760 --> 00:07:30,920 Speaker 2: you see your life in California, in Los Angeles with privilege, 100 00:07:31,200 --> 00:07:38,200 Speaker 2: you know, doing dream projects now a decade in commonobis Mirah. 101 00:07:38,560 --> 00:07:42,600 Speaker 1: This is something beautiful to have the opportunity and the 102 00:07:42,720 --> 00:07:47,360 Speaker 1: privilege to be in different places. I feel very proud 103 00:07:47,560 --> 00:07:51,960 Speaker 1: to have developed this relation with an orchestra, with an 104 00:07:52,000 --> 00:07:57,160 Speaker 1: amazing orchestra, and with an amazing community as is Los Angeles, 105 00:07:57,880 --> 00:08:04,600 Speaker 1: And honestly, I feel very proud Angelino Venezuelan Spanish citizen 106 00:08:04,680 --> 00:08:07,480 Speaker 1: of the world. And this is one of the privileges 107 00:08:07,520 --> 00:08:10,600 Speaker 1: of what I do. You know, when you go as 108 00:08:10,600 --> 00:08:15,960 Speaker 1: a guest, as a conductor, you travel around, you do things, 109 00:08:16,080 --> 00:08:20,360 Speaker 1: and you feel connected and reflected in the different societies, 110 00:08:20,600 --> 00:08:24,400 Speaker 1: the different communities that you visit. But when you have 111 00:08:24,560 --> 00:08:30,080 Speaker 1: the chance to build a personality together and you can 112 00:08:30,120 --> 00:08:35,040 Speaker 1: combine all of what you have with your background and 113 00:08:35,040 --> 00:08:40,520 Speaker 1: a lot of that is the most amazing thing. Never 114 00:08:40,640 --> 00:08:46,280 Speaker 1: losing your roots, but also making that roots infinite, and 115 00:08:46,360 --> 00:08:48,160 Speaker 1: that is something that is very beautiful. 116 00:08:51,080 --> 00:08:52,800 Speaker 2: You know, every time I speak to you or when 117 00:08:52,840 --> 00:08:55,640 Speaker 2: I think about you, like preparing for this interview, I 118 00:08:55,640 --> 00:08:58,079 Speaker 2: always think, well, how has it been for Doda men 119 00:08:58,240 --> 00:09:02,240 Speaker 2: to leave Venezuela. So I just wonder how you're processing 120 00:09:02,800 --> 00:09:06,320 Speaker 2: as you become limitless in terms of your roots. What's 121 00:09:06,360 --> 00:09:08,480 Speaker 2: going on for you when you're thinking about Venezuela. When 122 00:09:08,520 --> 00:09:09,680 Speaker 2: was the last time you were back? 123 00:09:11,520 --> 00:09:15,680 Speaker 1: I see, I have been out of Venezuela for these 124 00:09:15,720 --> 00:09:21,440 Speaker 1: last four years, you know, it's like crazy. I will say, 125 00:09:21,520 --> 00:09:24,360 Speaker 1: you know that we are living a very difficult time 126 00:09:25,000 --> 00:09:29,080 Speaker 1: in the world. We are trying to make our best 127 00:09:29,400 --> 00:09:33,800 Speaker 1: I don't know if to recover, but to transform the 128 00:09:34,000 --> 00:09:38,760 Speaker 1: path that we have been building as human beings. And 129 00:09:38,800 --> 00:09:42,600 Speaker 1: we are living now with this pandemic for example, that 130 00:09:42,720 --> 00:09:47,040 Speaker 1: we are trying to understand the real meaning of our 131 00:09:47,200 --> 00:09:51,600 Speaker 1: presence in this world. I will say that, of course, 132 00:09:51,679 --> 00:09:57,800 Speaker 1: my country is crossing a very complex time of social, politically, economically. 133 00:09:58,280 --> 00:10:01,600 Speaker 1: Fighting COVID nineteen is a major challenge in most countries, 134 00:10:01,960 --> 00:10:05,080 Speaker 1: but in Venezuela, where hospitals are running short of medicines 135 00:10:05,120 --> 00:10:09,000 Speaker 1: and staff, the battle is even harder. The Maduro regime 136 00:10:09,040 --> 00:10:11,680 Speaker 1: has regained control of the National Assembly after Juan Guado 137 00:10:11,840 --> 00:10:15,240 Speaker 1: and other opposition leaders boycotted the December sixth elections. 138 00:10:15,360 --> 00:10:19,599 Speaker 8: Today, Venezuela's democratic institutions and its economy are in shambles. 139 00:10:19,880 --> 00:10:22,120 Speaker 8: The country has the highest inflation rate in the world, 140 00:10:22,440 --> 00:10:26,200 Speaker 8: making food medicine inaccessible to most Venezuelans. Over the last 141 00:10:26,240 --> 00:10:28,800 Speaker 8: four years, it's GDP has found thirty five percent. 142 00:10:28,960 --> 00:10:32,679 Speaker 1: In the polemic of the political, or the economically, or 143 00:10:32,720 --> 00:10:37,760 Speaker 1: whatever is happening, you have to be very clever of 144 00:10:38,000 --> 00:10:41,920 Speaker 1: how you manage the message that you want to send. 145 00:10:45,960 --> 00:10:48,800 Speaker 1: But one of the things that I will tell you, 146 00:10:49,800 --> 00:10:54,679 Speaker 1: I will never speak bad about my country. I will say, 147 00:10:54,720 --> 00:10:58,560 Speaker 1: you know, well, there is things that doesn't work, but 148 00:10:58,720 --> 00:11:02,960 Speaker 1: my country is a mad See. My country and my land, 149 00:11:03,559 --> 00:11:07,920 Speaker 1: the place where I was born, made me what I 150 00:11:07,960 --> 00:11:11,040 Speaker 1: am right now. And this is the thing. I'm a 151 00:11:11,040 --> 00:11:15,720 Speaker 1: citizen of the world because Venezuela maybe be a citizen 152 00:11:15,760 --> 00:11:16,360 Speaker 1: of the world. 153 00:11:18,360 --> 00:11:21,600 Speaker 2: It always has felt like to me, you as an 154 00:11:21,760 --> 00:11:29,199 Speaker 2: artist and as a Venezuela no where democracy flourished. Actually 155 00:11:29,840 --> 00:11:34,120 Speaker 2: there wasn't a fear of disagreeing. I've always felt that 156 00:11:34,160 --> 00:11:36,480 Speaker 2: you're like, that's part of how the art gets created. 157 00:11:36,960 --> 00:11:41,760 Speaker 1: But that of course, look if one time we see 158 00:11:41,800 --> 00:11:48,920 Speaker 1: each other and we see the richness of our differences 159 00:11:49,480 --> 00:11:54,080 Speaker 1: and we take from that something important, that will be 160 00:11:54,120 --> 00:11:58,200 Speaker 1: the most important thing. Sometimes I feel that people says, 161 00:11:58,280 --> 00:12:00,640 Speaker 1: you know, but you don't understand what is happening there. 162 00:12:01,559 --> 00:12:04,920 Speaker 1: People don't understand that it was in Pvenezuela all the time. 163 00:12:05,400 --> 00:12:07,920 Speaker 1: Publicly they want to know that I was there or 164 00:12:07,960 --> 00:12:10,920 Speaker 1: conducting or doing a concert. Sometimes I went to Venezuela 165 00:12:10,960 --> 00:12:12,960 Speaker 1: and not to do a concert, if not to teach 166 00:12:13,520 --> 00:12:16,760 Speaker 1: or to a system a program in different cities. And 167 00:12:16,800 --> 00:12:19,360 Speaker 1: that was a reality, and it's a reality still right 168 00:12:19,400 --> 00:12:23,200 Speaker 1: now because thanks God the technology that we have the 169 00:12:23,240 --> 00:12:26,720 Speaker 1: possibility to talk right now is like that. But I 170 00:12:26,960 --> 00:12:30,920 Speaker 1: know the reality and I know the complexity of the 171 00:12:31,040 --> 00:12:36,000 Speaker 1: situation completely at the same time. And I think for 172 00:12:36,120 --> 00:12:39,439 Speaker 1: the world, not only for my country, we need voices 173 00:12:39,559 --> 00:12:49,320 Speaker 1: that make a vision of understanding each other's it's not 174 00:12:49,360 --> 00:12:55,360 Speaker 1: to agree. That is something that is misunderstand in the process. 175 00:12:55,720 --> 00:13:01,480 Speaker 1: And when I see my country completely divide indifferences of 176 00:13:02,320 --> 00:13:04,840 Speaker 1: if I believe in this and I believe of that, 177 00:13:05,120 --> 00:13:10,160 Speaker 1: I will say, thanks God, I was growing up in 178 00:13:10,200 --> 00:13:14,240 Speaker 1: a movement that is a systema that may all the 179 00:13:14,280 --> 00:13:20,360 Speaker 1: people of Venezuela feel connected. It was a British at 180 00:13:20,360 --> 00:13:24,240 Speaker 1: the end. We will find the solution of this. But 181 00:13:24,480 --> 00:13:31,480 Speaker 1: always understanding issures. I always put the example of an 182 00:13:31,559 --> 00:13:35,320 Speaker 1: orchestra always when people say like, yes, this is a 183 00:13:35,440 --> 00:13:40,280 Speaker 1: very naive message or an answer of one of that wall. 184 00:13:40,559 --> 00:13:43,280 Speaker 1: But I will say, you know, in an orchestra is 185 00:13:43,360 --> 00:13:50,760 Speaker 1: nothing more diverse the musicians, but more also is the instruments. 186 00:13:50,760 --> 00:13:54,560 Speaker 1: The instruments and the musician when you play a symphony, 187 00:13:54,840 --> 00:13:57,800 Speaker 1: you listen only to the violence, or to the flutes, 188 00:13:57,880 --> 00:13:58,720 Speaker 1: or to the troubles. 189 00:14:00,080 --> 00:14:09,719 Speaker 2: Send to everybody, I love this image. Part of your 190 00:14:09,760 --> 00:14:13,840 Speaker 2: life is in fact saying all of this difference. I'm 191 00:14:13,840 --> 00:14:17,000 Speaker 2: not afraid of that, because in fact I can lead 192 00:14:17,080 --> 00:14:19,600 Speaker 2: you in a form of unity. Of course that turns 193 00:14:19,640 --> 00:14:21,680 Speaker 2: out to be art. I really love that, Gustavo. 194 00:14:22,200 --> 00:14:27,040 Speaker 1: I think that is the most beautiful example of how 195 00:14:27,200 --> 00:14:32,800 Speaker 1: our society have to behave Even if we have differences, 196 00:14:32,960 --> 00:14:37,560 Speaker 1: even if we sound different, even if we believe differently, 197 00:14:38,200 --> 00:14:42,880 Speaker 1: we can make harmony, and we can make a beautiful symphony. 198 00:14:43,400 --> 00:14:46,280 Speaker 1: We can make a beautiful operah or a beautiful song, 199 00:14:46,440 --> 00:14:50,040 Speaker 1: or a beautiful jazz improvisation and a beautiful hip hop 200 00:14:50,360 --> 00:14:53,640 Speaker 1: song or whatever if you have. That is the thing. 201 00:14:55,640 --> 00:15:00,000 Speaker 1: And of course, in the moments of crisis, it's a acophony. 202 00:15:00,960 --> 00:15:04,920 Speaker 1: There is a lot of wonderful composers that have made music, 203 00:15:05,120 --> 00:15:08,280 Speaker 1: beautiful music from a cacophony. And this is the thing, 204 00:15:09,000 --> 00:15:11,760 Speaker 1: you know, we have to create from that cacophony, a 205 00:15:11,880 --> 00:15:16,800 Speaker 1: beautiful harmony. 206 00:15:18,640 --> 00:15:22,040 Speaker 2: You know, before we leave Venezuela, you brought up your mom. 207 00:15:22,560 --> 00:15:25,760 Speaker 2: Is she still in Venezuela or has she left. 208 00:15:25,360 --> 00:15:30,560 Speaker 1: My mother, my father, my grandmother, my my family generally 209 00:15:30,640 --> 00:15:31,720 Speaker 1: is in Venezuela. 210 00:15:32,040 --> 00:15:35,160 Speaker 2: How are you staying in touch? How often do you 211 00:15:35,200 --> 00:15:38,040 Speaker 2: speak with them? You know, what are those conversations? 212 00:15:38,160 --> 00:15:38,240 Speaker 6: Like? 213 00:15:39,120 --> 00:15:41,840 Speaker 2: How much harder is it now in the last four 214 00:15:41,920 --> 00:15:45,080 Speaker 2: years and in the last year to be in touch? 215 00:15:46,800 --> 00:15:49,920 Speaker 1: Well, look, I talk to my family every single day, 216 00:15:50,560 --> 00:15:53,200 Speaker 1: every day, every day. 217 00:15:52,880 --> 00:15:55,280 Speaker 2: And you just call your like oll a, mama. 218 00:15:55,280 --> 00:16:00,600 Speaker 9: Saludos, saludos, how are you and everything all of that, 219 00:16:00,960 --> 00:16:06,440 Speaker 9: and how is everything I'm connected with my friends, with musicians, 220 00:16:06,760 --> 00:16:11,440 Speaker 9: with everybody, because that is very important since I became 221 00:16:11,680 --> 00:16:12,440 Speaker 9: a traveler. 222 00:16:13,400 --> 00:16:18,800 Speaker 1: Let's say, I remember years ago I was waking up 223 00:16:18,840 --> 00:16:22,080 Speaker 1: in the middle of the night and I was feeling 224 00:16:22,120 --> 00:16:26,280 Speaker 1: I have to call my grandmother or my mother, even 225 00:16:26,360 --> 00:16:27,920 Speaker 1: it was the middle of the night and I was 226 00:16:27,960 --> 00:16:31,240 Speaker 1: talking to them few hours before. And it has been 227 00:16:31,320 --> 00:16:33,920 Speaker 1: like this all the time. It hasn't changed. 228 00:16:34,440 --> 00:16:36,240 Speaker 2: Sometimes you'll still just wake up in the middle of 229 00:16:36,240 --> 00:16:37,280 Speaker 2: the night and you'll call. 230 00:16:37,720 --> 00:16:41,760 Speaker 1: Completely like Glan yesterday, for example, I talked to my 231 00:16:41,760 --> 00:16:45,400 Speaker 1: grandmother at two o'clock in the morning here for me, 232 00:16:45,960 --> 00:16:47,160 Speaker 1: for her was eight o'clock. 233 00:16:47,240 --> 00:16:51,240 Speaker 2: I think I love that Gustavo. That's that's kind of 234 00:16:51,280 --> 00:16:52,680 Speaker 2: like adorable. 235 00:16:55,120 --> 00:16:58,920 Speaker 1: Well, but you know it's like that Simonia song. My 236 00:16:59,400 --> 00:17:10,920 Speaker 1: channel is gonna and Dario. 237 00:17:06,680 --> 00:17:23,720 Speaker 10: Only Galleendario g you know, you know, wow, hege Galleendario. 238 00:17:26,680 --> 00:17:29,720 Speaker 1: I have learned this through times, you know, and I 239 00:17:29,880 --> 00:17:33,000 Speaker 1: always have been connected with my family, and that have 240 00:17:33,200 --> 00:17:36,639 Speaker 1: been one of the reasons of the beauty of what 241 00:17:36,760 --> 00:17:40,280 Speaker 1: I do. I will tell you something. This time have 242 00:17:40,400 --> 00:17:43,119 Speaker 1: been for reflection and to think about what we have 243 00:17:43,200 --> 00:17:45,800 Speaker 1: been doing, what we have done and what And I 244 00:17:45,840 --> 00:17:48,919 Speaker 1: remember I went to conduct the Israel Filler Money in 245 00:17:48,920 --> 00:17:53,720 Speaker 1: two thousand and five and before one of the concerts, 246 00:17:53,800 --> 00:17:57,200 Speaker 1: I was in the room of the hotel I had launched. 247 00:17:57,680 --> 00:18:00,320 Speaker 1: I took a nap, but it was in possible to 248 00:18:00,359 --> 00:18:03,479 Speaker 1: sleep because I was like, oh my god, it's a 249 00:18:03,520 --> 00:18:06,080 Speaker 1: concert with the Zilli Filler Money. This is very important. 250 00:18:06,119 --> 00:18:10,040 Speaker 1: Its mother fifths in for enough. And then I went 251 00:18:10,359 --> 00:18:17,840 Speaker 1: and I was listening Abolero from Juliujara video and I 252 00:18:17,920 --> 00:18:21,440 Speaker 1: put my my pons and I was listening to that 253 00:18:21,520 --> 00:18:31,080 Speaker 1: and I was like, this was one of the songs 254 00:18:31,119 --> 00:18:35,320 Speaker 1: that my grandmother and my mother but every Sunday when 255 00:18:35,320 --> 00:18:36,840 Speaker 1: they were cleaning the house. 256 00:18:36,800 --> 00:18:43,320 Speaker 2: Oh my gosh, honestly, and it brought me the comfort. 257 00:18:44,400 --> 00:18:49,199 Speaker 1: Of whatever I was. I was there with them and 258 00:18:49,240 --> 00:18:58,280 Speaker 1: they were advising me. So this is my connection all 259 00:18:58,359 --> 00:19:01,800 Speaker 1: the time with my friend. For example, my father, he 260 00:19:01,960 --> 00:19:05,320 Speaker 1: still plays in Drommone. He has a band and he's 261 00:19:05,400 --> 00:19:08,520 Speaker 1: doing recordings and all of that. And that inspired me 262 00:19:08,640 --> 00:19:12,080 Speaker 1: because when he sent me something, I put my headphones 263 00:19:12,280 --> 00:19:15,080 Speaker 1: and I'm conducting wherever I am and I'm listening to 264 00:19:15,119 --> 00:19:24,840 Speaker 1: that music. I love that, and you know, and then 265 00:19:24,920 --> 00:19:27,919 Speaker 1: after the concert, I half the time I connect with 266 00:19:28,000 --> 00:19:31,480 Speaker 1: my family. I have a conversation and a long conversation 267 00:19:31,600 --> 00:19:32,760 Speaker 1: with my family. 268 00:19:41,600 --> 00:19:42,280 Speaker 2: Coming up on that. 269 00:19:42,400 --> 00:19:42,560 Speaker 1: You know. 270 00:19:42,680 --> 00:19:45,480 Speaker 2: USA Gusta wud Do da Man had big plans for 271 00:19:45,560 --> 00:19:49,680 Speaker 2: twenty twenty. Then COVID nineteen happened and like all of us, 272 00:19:49,840 --> 00:20:01,280 Speaker 2: El Maestro had to adapt to a changed world. Stay 273 00:20:01,320 --> 00:20:52,560 Speaker 2: with us, notas hey, we're back, and I've been speaking 274 00:20:52,600 --> 00:20:56,719 Speaker 2: with Conductor Gustavo to the mel Do. The male wears 275 00:20:56,840 --> 00:20:59,879 Speaker 2: many hats. When he's not working as the director of 276 00:20:59,880 --> 00:21:03,720 Speaker 2: the La Philharmonic, he's leading a new educational initiative through 277 00:21:03,760 --> 00:21:08,720 Speaker 2: his foundation, or he's guest conducting international orchestras or he's 278 00:21:08,720 --> 00:21:10,879 Speaker 2: focusing on one of the many projects he has in 279 00:21:10,920 --> 00:21:15,320 Speaker 2: the works. But when the COVID nineteen pandemic unfolded last year, 280 00:21:15,680 --> 00:21:19,879 Speaker 2: Dudamel was forced to rethink his role as a conductor, musician, 281 00:21:20,359 --> 00:21:23,880 Speaker 2: artist and educator, and it was a time of deep 282 00:21:24,040 --> 00:21:28,439 Speaker 2: important personal reflection as well. Okay, so I have to 283 00:21:28,600 --> 00:21:32,200 Speaker 2: ask you, Gustavo, because when we were preparing for this interview, 284 00:21:32,800 --> 00:21:34,400 Speaker 2: I told my team, I was like, oh my god. 285 00:21:34,600 --> 00:21:37,160 Speaker 2: I mean, you guys know that I love to give abrassos. 286 00:21:37,240 --> 00:21:40,760 Speaker 2: I'm a huge hugger. I'm hugging everybody, I'm kissing everybody. 287 00:21:40,880 --> 00:21:45,920 Speaker 2: I'm you know, and you the same thing. You're smiling, hugging. 288 00:21:46,240 --> 00:21:48,240 Speaker 2: This is a very hard time for people like you 289 00:21:48,320 --> 00:21:51,679 Speaker 2: and me that love to be with human beings. So 290 00:21:52,119 --> 00:21:56,080 Speaker 2: how has this affected you as a human being, as 291 00:21:56,119 --> 00:21:59,239 Speaker 2: a partner, as an artist. 292 00:22:00,080 --> 00:22:02,720 Speaker 1: Was talking yesterday to a friend. It was a very 293 00:22:02,760 --> 00:22:08,600 Speaker 1: open conversation and we said, like, did we really understand 294 00:22:08,760 --> 00:22:16,959 Speaker 1: in our life what a hug means or a handshake means? 295 00:22:17,680 --> 00:22:21,520 Speaker 1: You know, after all of this, because as you are saying, 296 00:22:22,880 --> 00:22:27,040 Speaker 1: we love that it's kind of part of our identity. 297 00:22:27,960 --> 00:22:33,240 Speaker 1: But I think after all of this pandemic moments, it 298 00:22:33,280 --> 00:22:37,600 Speaker 1: will mean a different thing. It will mean the real connection, 299 00:22:39,359 --> 00:22:46,159 Speaker 1: hugging and shaking. I love that it was natural. It 300 00:22:46,280 --> 00:22:49,960 Speaker 1: was my way to express the beauty of me people, 301 00:22:50,800 --> 00:23:00,680 Speaker 1: of sharing love without any limitation of love. How we 302 00:23:00,880 --> 00:23:06,920 Speaker 1: interact with other people and how we miss that connection. 303 00:23:07,320 --> 00:23:11,160 Speaker 1: It's like to play music. You know, when you play 304 00:23:11,280 --> 00:23:15,879 Speaker 1: music for an audience, miss something different than when you 305 00:23:15,960 --> 00:23:21,200 Speaker 1: play for our recording. When you listen to our recording, 306 00:23:21,240 --> 00:23:24,920 Speaker 1: you can be connected, but it's not the same thing. 307 00:23:25,400 --> 00:23:28,600 Speaker 1: If you have the musicians in front of you, that 308 00:23:28,800 --> 00:23:33,480 Speaker 1: is a moment. Live music is a moment. It's like 309 00:23:33,520 --> 00:23:33,840 Speaker 1: a hug. 310 00:23:38,880 --> 00:23:42,480 Speaker 2: We've watched a lot of businesses, organizations. There are people 311 00:23:42,600 --> 00:23:46,000 Speaker 2: who have been able to thrive by going virtual, or 312 00:23:46,040 --> 00:23:49,800 Speaker 2: they've had to cut back, or you know, in terms 313 00:23:49,840 --> 00:23:54,160 Speaker 2: of let's say they're programming, or some organizations arts institutions 314 00:23:54,640 --> 00:23:57,879 Speaker 2: have just shut down. People have lost their jobs. I 315 00:23:57,920 --> 00:24:01,200 Speaker 2: see that in terms of your work, your work has changed. 316 00:24:01,520 --> 00:24:04,439 Speaker 2: You hosted a radio show at home with Gustavo. 317 00:24:04,080 --> 00:24:08,400 Speaker 11: La from the Fourth Symphony by Johannes Brahms. We heard 318 00:24:08,400 --> 00:24:12,399 Speaker 11: the La fil In concert conducted by Gustavo Dudamt this 319 00:24:12,600 --> 00:24:16,760 Speaker 11: is at home with Gustavo, a partnership between Classical KUSC, 320 00:24:17,000 --> 00:24:22,439 Speaker 11: Classical KDFC and the La Film and from Brahms to 321 00:24:22,720 --> 00:24:25,000 Speaker 11: Mozart the clarinet concerto. 322 00:24:24,760 --> 00:24:28,359 Speaker 7: Exactly, and it was Moza was a champion of the clarinet. 323 00:24:28,440 --> 00:24:31,280 Speaker 7: It was his favorite instrument. And I will tell you 324 00:24:31,359 --> 00:24:34,119 Speaker 7: a personal history about this piece. 325 00:24:34,720 --> 00:24:38,080 Speaker 2: You conducted a virtual performance at the Hollywood Bowl and 326 00:24:38,480 --> 00:24:41,000 Speaker 2: right now you're in Madrid because you're working on a 327 00:24:41,119 --> 00:24:43,200 Speaker 2: virtual reality of VR project. 328 00:24:43,440 --> 00:24:48,280 Speaker 6: La Keisha Foundation presents Symphony, an immersive project that will 329 00:24:48,320 --> 00:24:51,040 Speaker 6: tour a number of towns and cities in Spain to 330 00:24:51,119 --> 00:24:56,520 Speaker 6: bring classical music to all kinds of audiences. By Gustavo 331 00:24:56,560 --> 00:25:00,640 Speaker 6: Dudamel and the prestigious Mala Chamber Orchestra spe Tatus will 332 00:25:00,640 --> 00:25:04,600 Speaker 6: embark on an emotional journey through music, contemplating and listening 333 00:25:04,600 --> 00:25:07,880 Speaker 6: to the instruments from their interior and feeling like another 334 00:25:07,960 --> 00:25:09,560 Speaker 6: member of the symphony orchestra. 335 00:25:12,119 --> 00:25:15,200 Speaker 2: So tell me a little bit about how you've been 336 00:25:15,680 --> 00:25:19,800 Speaker 2: adapting to this new reality with your projects. 337 00:25:20,320 --> 00:25:24,320 Speaker 1: Sometimes we don't see things coming, or we don't understand 338 00:25:24,440 --> 00:25:28,000 Speaker 1: things that are happening. I remember when this came we 339 00:25:28,040 --> 00:25:33,600 Speaker 1: didn't understood anything. This terrible virus. When you see the reality, 340 00:25:33,680 --> 00:25:39,080 Speaker 1: you feel really like a shock. Now, I remember we 341 00:25:39,080 --> 00:25:43,560 Speaker 1: were doing a beautiful festival called Power to the People. 342 00:25:50,760 --> 00:25:55,000 Speaker 1: We have Herbie Hanko. We have Rene that was from 343 00:25:55,080 --> 00:26:07,159 Speaker 1: cajetric oh Rene Rene resident for suquetto Romano Maravilloso. We 344 00:26:07,280 --> 00:26:11,480 Speaker 1: have him there doing a concert, a complete concert with 345 00:26:11,560 --> 00:26:16,119 Speaker 1: the Philharmonic, with a symphonic orchestra. We have Julanda Adams 346 00:26:16,160 --> 00:26:22,879 Speaker 1: doing gospel combined by classical composers for American composers, Latin composers. 347 00:26:22,960 --> 00:26:26,640 Speaker 1: It was a beautiful combination. And we try to reflect 348 00:26:26,640 --> 00:26:29,679 Speaker 1: the needs of the society to be expressed in the 349 00:26:29,720 --> 00:26:36,720 Speaker 1: culture and in the arts. And suddenly we were stopped. 350 00:26:37,560 --> 00:26:41,280 Speaker 1: I have a beautiful project with the dol Foundation to 351 00:26:41,440 --> 00:26:46,680 Speaker 1: do Videlio, to travel the Fidelio Opera, to do around Europe. 352 00:26:47,080 --> 00:26:49,639 Speaker 1: We were working on that and then it came like 353 00:26:50,880 --> 00:26:56,320 Speaker 1: everything was stop completely. So this was time for reflection. 354 00:26:57,080 --> 00:27:00,680 Speaker 1: For me. It was very important because sometimes we live 355 00:27:00,840 --> 00:27:06,440 Speaker 1: in a very routinary and fast life where you don't 356 00:27:06,560 --> 00:27:10,280 Speaker 1: see the importance of the things that we do. And 357 00:27:10,520 --> 00:27:13,880 Speaker 1: in the time of thinking and seeing that the orchestra 358 00:27:14,320 --> 00:27:17,080 Speaker 1: was not playing and all of that it came, you know, 359 00:27:17,680 --> 00:27:21,000 Speaker 1: this radio program at home we do, Gustavo, that we 360 00:27:21,200 --> 00:27:22,080 Speaker 1: try to create. 361 00:27:24,119 --> 00:27:27,280 Speaker 11: On this program La Film, music and artistic director, Gustavo 362 00:27:27,320 --> 00:27:30,520 Speaker 11: Dudamel will share some of his favorite recordings with us. 363 00:27:30,880 --> 00:27:33,879 Speaker 1: It was an experiment, you know, and the name was 364 00:27:33,920 --> 00:27:35,399 Speaker 1: an experiment for sure. 365 00:27:35,520 --> 00:27:38,400 Speaker 11: Times. He's at his home in Los Angeles and I'm 366 00:27:38,400 --> 00:27:40,480 Speaker 11: at mine, and together we invite you to pull up 367 00:27:40,520 --> 00:27:46,040 Speaker 11: a chair and let the music transport you, and Gustavo 368 00:27:46,080 --> 00:27:49,600 Speaker 11: Dudamel joins us. Now, Gustavo, you wanted to start with 369 00:27:49,760 --> 00:27:52,959 Speaker 11: the music of Bach and Gustavo, why are we starting 370 00:27:52,960 --> 00:27:53,720 Speaker 11: here today? 371 00:27:53,840 --> 00:27:57,720 Speaker 7: Well, we are going, you know, to what kind of 372 00:27:57,720 --> 00:28:01,000 Speaker 7: a genesis of the music and having the chance to 373 00:28:01,080 --> 00:28:06,399 Speaker 7: share a beautiful and unique recording of Auto Klemperer conducting 374 00:28:06,440 --> 00:28:09,920 Speaker 7: our orchestra. And I will say that in this way 375 00:28:10,640 --> 00:28:14,119 Speaker 7: is a very romantic way to interpret my back and 376 00:28:14,200 --> 00:28:18,680 Speaker 7: I love that. I remember sitting at home and watching 377 00:28:18,840 --> 00:28:23,920 Speaker 7: and listening some recordings of Toscanini, for example. 378 00:28:23,800 --> 00:28:28,480 Speaker 1: During the Second World World where the family was sitting 379 00:28:28,560 --> 00:28:36,040 Speaker 1: at home and listening life of some recordings or some 380 00:28:36,240 --> 00:28:39,680 Speaker 1: concerts in a time of the day you know, four o'clock, 381 00:28:40,000 --> 00:28:43,560 Speaker 1: five o'clock, six o'clock, and that was like, you know, 382 00:28:43,600 --> 00:28:47,120 Speaker 1: we are living a difficult time. Look, let's do something. 383 00:28:47,280 --> 00:28:56,200 Speaker 1: And we did at home with John Adams, at home 384 00:28:56,280 --> 00:29:02,840 Speaker 1: with Juja Warn, at home with John Williams. At the end, 385 00:29:03,280 --> 00:29:07,840 Speaker 1: at home with Ustabo, became at home with everybody. Then 386 00:29:07,920 --> 00:29:14,400 Speaker 1: it was the desire to bring the orchestra together. And 387 00:29:14,480 --> 00:29:19,920 Speaker 1: then we are blessed to have the Hollywood Boat that 388 00:29:20,080 --> 00:29:23,280 Speaker 1: is an opener venue and one of the most emblematic 389 00:29:23,560 --> 00:29:29,840 Speaker 1: open stage in the planet. We were doing music. 390 00:29:29,520 --> 00:29:36,120 Speaker 5: By Mather by Livers, by different composers, the music of 391 00:29:36,240 --> 00:29:41,440 Speaker 5: the Americas, Duke Ellington, the Toven because it was the 392 00:29:41,600 --> 00:29:42,160 Speaker 5: Toban year. 393 00:29:45,720 --> 00:29:49,200 Speaker 1: When I finished that, I came to Europe. I was 394 00:29:49,280 --> 00:29:52,760 Speaker 1: finishing the score for West Side Story, the Steven Spieler 395 00:29:52,880 --> 00:29:57,520 Speaker 1: version of West Side Story. And you know, it has 396 00:29:57,560 --> 00:30:02,320 Speaker 1: been a combination of things. Right now, every. 397 00:30:02,120 --> 00:30:07,160 Speaker 3: Place it has their own reality, even if we have 398 00:30:07,240 --> 00:30:10,920 Speaker 3: the same reality. We are trying to deal with our 399 00:30:11,160 --> 00:30:13,880 Speaker 3: own things, with the reality that we are living. 400 00:30:16,320 --> 00:30:19,560 Speaker 2: You're talking about how music and the arts can save 401 00:30:19,640 --> 00:30:21,920 Speaker 2: us and give us a little bit of peace in 402 00:30:21,960 --> 00:30:25,479 Speaker 2: the anxiety. But then I also get to the point 403 00:30:25,600 --> 00:30:29,080 Speaker 2: of how is it going to look, How are we 404 00:30:29,160 --> 00:30:31,920 Speaker 2: going to fill those seats for the La fil How 405 00:30:32,040 --> 00:30:34,960 Speaker 2: is Broadway going to come back to life? You're saying 406 00:30:35,120 --> 00:30:37,960 Speaker 2: the arts are gonna save us. Paint the picture for 407 00:30:38,040 --> 00:30:40,880 Speaker 2: us of how that looks in your mind, of how 408 00:30:40,920 --> 00:30:43,200 Speaker 2: the arts will save us, and how we as the 409 00:30:43,240 --> 00:30:45,200 Speaker 2: public will also save the arts. 410 00:30:45,880 --> 00:30:48,720 Speaker 1: I will try to tell you something from a book 411 00:30:48,760 --> 00:30:54,400 Speaker 1: that I was reading called La Philo, Sophia and a Consul. 412 00:30:55,560 --> 00:30:59,160 Speaker 1: It's a Spanish writer called Ramon and Res, and at 413 00:30:59,200 --> 00:31:03,920 Speaker 1: the beginning of the book he put a beautiful, beautiful 414 00:31:04,040 --> 00:31:10,360 Speaker 1: phrase of kanneti el kanneti from the Provincia Lambre, where 415 00:31:10,400 --> 00:31:14,320 Speaker 1: he said something very important. He says something like this, 416 00:31:15,080 --> 00:31:19,040 Speaker 1: it will come the times when only through the music 417 00:31:19,920 --> 00:31:24,040 Speaker 1: we will have the possibilities to get out of our 418 00:31:24,600 --> 00:31:44,360 Speaker 1: pragmatical functions, something like that. Ben the music in Knowing Fluida, 419 00:31:44,760 --> 00:31:55,320 Speaker 1: they were considered is important spiritual, but it means that 420 00:31:55,640 --> 00:32:00,719 Speaker 1: music and art it plays this role in the healing 421 00:32:00,800 --> 00:32:08,080 Speaker 1: of the soul of the society, of the community. I 422 00:32:08,160 --> 00:32:12,760 Speaker 1: believe sometimes I was giving so much importance to some 423 00:32:12,880 --> 00:32:17,120 Speaker 1: things that were not important, and right now we will 424 00:32:17,240 --> 00:32:23,120 Speaker 1: understand what is really important for us as human beings, 425 00:32:23,240 --> 00:32:26,880 Speaker 1: part of an as society, of our community, as a 426 00:32:26,920 --> 00:32:34,480 Speaker 1: world that we can make better and music and art, 427 00:32:34,680 --> 00:32:38,240 Speaker 1: not only music, I believe art in general will play 428 00:32:38,280 --> 00:32:42,880 Speaker 1: a very important role in the inspiration and the creativity 429 00:32:42,960 --> 00:32:47,800 Speaker 1: to create this new world, this new, beautiful and better 430 00:32:47,880 --> 00:32:48,680 Speaker 1: world that we need. 431 00:32:59,360 --> 00:33:01,400 Speaker 2: I'm so glad that you're in it, and that you're 432 00:33:01,440 --> 00:33:05,000 Speaker 2: still Gonanas, and that you're only turning forty. That means 433 00:33:05,040 --> 00:33:07,360 Speaker 2: we're going to have you around for a very long time. 434 00:33:07,520 --> 00:33:10,160 Speaker 2: So keep on bringing it. We're so happy. Thank you 435 00:33:10,200 --> 00:33:12,920 Speaker 2: so much for speaking with me today. 436 00:33:13,040 --> 00:33:17,160 Speaker 1: Can super in Cantam place it. 437 00:33:25,520 --> 00:33:30,040 Speaker 2: That was Gustavo Dudamel, conductor, arts educator and the music 438 00:33:30,080 --> 00:33:59,800 Speaker 2: and artistic director of the Los Angeles Philharmonic. This episode 439 00:33:59,840 --> 00:34:02,200 Speaker 2: was produced by Alejandra sa Rasadu with help from our 440 00:34:02,240 --> 00:34:05,880 Speaker 2: intern Samantha Friedman, and edited by Andrea Lopez Cruzsalo. The 441 00:34:05,960 --> 00:34:10,960 Speaker 2: Latino USA team includes Miel Macias, Marta Martinez, Julieta Martinelli, 442 00:34:11,080 --> 00:34:15,640 Speaker 2: Alisa Escarce, Gini Montalbo, Renaldo Leanos Junior, and Julia Rocha, 443 00:34:15,880 --> 00:34:19,000 Speaker 2: with help from Raoul Frees. Our engineers are staffany the Bo, 444 00:34:19,160 --> 00:34:21,920 Speaker 2: Julia Caruso and Liah Shaw, with help from Elisia ba 445 00:34:21,920 --> 00:34:25,680 Speaker 2: YouTube and Gabriela Bayez. Our digital editor is Louis Luna. 446 00:34:25,840 --> 00:34:28,920 Speaker 2: Our intern is Carli Rubin. Our theme music was composed 447 00:34:28,920 --> 00:34:31,239 Speaker 2: by Zane Robinos. If you like the music you heard 448 00:34:31,239 --> 00:34:34,040 Speaker 2: on this episode, stop by Latinousa dot org and check 449 00:34:34,040 --> 00:34:36,840 Speaker 2: out our weekly Spotify playlist. I'm your host and executive 450 00:34:36,840 --> 00:34:39,800 Speaker 2: producer Marino Posa. Join us again for our next episode, 451 00:34:39,800 --> 00:34:41,279 Speaker 2: and in the meantime, look for us on all of 452 00:34:41,280 --> 00:34:43,719 Speaker 2: your social media. Hylos waco Jao. 453 00:34:47,200 --> 00:34:51,440 Speaker 4: Latino USA is made possible in part by the Heising 454 00:34:51,520 --> 00:34:58,720 Speaker 4: Simons Foundation, Unlocking knowledge, opportunity and possibilities more at hsfoundation 455 00:34:58,960 --> 00:35:02,920 Speaker 4: dot org, the John D. And Catherine T. MacArthur Foundation, 456 00:35:03,760 --> 00:35:08,360 Speaker 4: and the Ford Foundation, working with visionaries on the front 457 00:35:08,360 --> 00:35:11,440 Speaker 4: lines of social change worldwide. 458 00:35:14,400 --> 00:35:19,120 Speaker 2: Gustavo making your roots infinite? Oh my god, I love that. 459 00:35:19,239 --> 00:35:21,280 Speaker 2: Have you said You've said that a lot in the past, 460 00:35:21,280 --> 00:35:22,160 Speaker 2: because I really love that. 461 00:35:22,239 --> 00:35:26,359 Speaker 1: Saying never I think because in three days I will 462 00:35:26,360 --> 00:35:26,840 Speaker 1: be forty. 463 00:35:27,160 --> 00:35:30,600 Speaker 2: So no, Gustav it's what I bring out in you 464 00:35:30,680 --> 00:35:31,920 Speaker 2: get the. 465 00:35:33,080 --> 00:35:37,720 Speaker 1: Absolutely Maythe's clear, it's because that absolutely. 466 00:35:39,280 --> 00:35:43,040 Speaker 2: I'm Maria no Kosa. Next time on Latino USA, we 467 00:35:43,080 --> 00:35:46,360 Speaker 2: look at the Rio Grande Valley through a sci fi lens. 468 00:35:46,800 --> 00:35:51,440 Speaker 2: Fut Unto, a collaborative album featuring more than thirty local artists, 469 00:35:51,800 --> 00:35:56,000 Speaker 2: imagines what the RGV looks like centuries into the future. 470 00:35:57,200 --> 00:36:05,040 Speaker 2: That's next time on Latino USA and drown mister Causer.