1 00:00:00,920 --> 00:00:04,040 Speaker 1: This is Latino USA, the radio journal of News and 2 00:00:04,160 --> 00:00:08,880 Speaker 1: Kurturre Latino USC is Latin Latino USA. I'm Maria Inojosa. 3 00:00:09,200 --> 00:00:12,480 Speaker 1: We bring you stories that are underreported but that mattered 4 00:00:12,600 --> 00:00:14,720 Speaker 1: to you, overlooked by the rest of the media, and 5 00:00:14,760 --> 00:00:16,840 Speaker 1: while the country is struggling to deal with these, we 6 00:00:16,960 --> 00:00:19,960 Speaker 1: listen to the stories of black and Latinos. Studio United 7 00:00:20,079 --> 00:00:24,919 Speaker 1: Latino Front, a cultural renaissance organizing at the forefront of 8 00:00:24,960 --> 00:00:32,280 Speaker 1: the movement. I'm Maria ino jossaaan, Hey, Latino USA listener, 9 00:00:32,600 --> 00:00:35,280 Speaker 1: Here's a show the Los Archivos. 10 00:00:38,840 --> 00:00:42,120 Speaker 2: I believe something, something that is very important. 11 00:00:44,280 --> 00:00:50,479 Speaker 3: Miosik Miuci will play a very important or in the 12 00:00:50,520 --> 00:00:52,080 Speaker 3: recovering of the society. 13 00:00:58,160 --> 00:01:02,280 Speaker 1: From Futura Media and PR It's Latino USA. I'm Maria 14 00:01:02,360 --> 00:01:07,800 Speaker 1: no Josa. Today Gustavo du Damel, prolific Venezuelan conductor, talks 15 00:01:07,840 --> 00:01:25,199 Speaker 1: about how he stays connected with his roots. Maestro Gustavo 16 00:01:25,319 --> 00:01:30,320 Speaker 1: Dudamel is one of the world's most celebrated conductors. He's 17 00:01:30,360 --> 00:01:34,160 Speaker 1: currently the music and Artistic director of the Los Angeles Philharmonic, 18 00:01:34,520 --> 00:01:36,920 Speaker 1: a post he's held since he was just twenty seven 19 00:01:37,000 --> 00:01:41,440 Speaker 1: years old. He's been at the La Phil for over 20 00:01:41,480 --> 00:01:45,680 Speaker 1: a decade, and in twenty twenty six Gustavo Dudamel would 21 00:01:45,720 --> 00:01:49,120 Speaker 1: become the next music director of the New York Philharmonic. 22 00:01:49,880 --> 00:01:52,639 Speaker 1: But that's just the latest entry in his already pretty 23 00:01:52,720 --> 00:01:57,320 Speaker 1: legendary cv. Dudamel is the most famous graduate of El Sistema, 24 00:01:57,760 --> 00:02:01,320 Speaker 1: the national children's music program of his home country of Venezuela. 25 00:02:01,840 --> 00:02:05,920 Speaker 1: In the years since, he has conducted orchestras across the globe, 26 00:02:06,360 --> 00:02:09,960 Speaker 1: from the Gutenberg Symphony to the Vienna Philharmonic. He's won 27 00:02:10,040 --> 00:02:12,680 Speaker 1: a litany of international awards and was honored with his 28 00:02:12,760 --> 00:02:16,400 Speaker 1: own star on the Hollywood Walk of Fame in twenty nineteen. 29 00:02:17,360 --> 00:02:21,079 Speaker 1: And you don't need to follow classical music to know 30 00:02:21,160 --> 00:02:25,760 Speaker 1: who Dudamel is. Most likely you've already heard his work. 31 00:02:30,440 --> 00:02:34,880 Speaker 1: In twenty sixteen, he performed at the Super Bowl with Coldplay, 32 00:02:35,280 --> 00:02:48,919 Speaker 1: Bruno Mars and Beyonce. John Williams invited him to guest 33 00:02:49,000 --> 00:03:03,320 Speaker 1: conduct the score for Star Wars The Force Awakens. He's 34 00:03:03,400 --> 00:03:06,360 Speaker 1: also dabbled in children's media. He did an interview with 35 00:03:06,440 --> 00:03:09,799 Speaker 1: Elmo on Sesame Street, a which is he could show 36 00:03:09,840 --> 00:03:12,560 Speaker 1: you something very great and amazing right now, but. 37 00:03:13,040 --> 00:03:15,560 Speaker 2: Ara doesn't know we're the final against Pandies. 38 00:03:15,760 --> 00:03:18,200 Speaker 3: Well you know, Elmo, I'm a conductor of an orchestra, 39 00:03:18,400 --> 00:03:21,160 Speaker 3: and I get to see and hear some stupendous things. 40 00:03:20,800 --> 00:03:21,520 Speaker 2: All the time. 41 00:03:21,919 --> 00:03:25,520 Speaker 3: Really, absolutely, will you allow me to show you something stupende? 42 00:03:26,240 --> 00:03:29,919 Speaker 3: I'm a red Okay, here is a ship playing the bio. 43 00:03:29,880 --> 00:03:36,920 Speaker 1: Okay, and do the Male has continued to appear on 44 00:03:37,000 --> 00:03:40,040 Speaker 1: both the small and big screens with guest turns in 45 00:03:40,200 --> 00:03:45,240 Speaker 1: The Simpsons. Each year one graduate receives the prestigious Golden 46 00:03:45,280 --> 00:03:48,880 Speaker 1: Batan Award for the most Impressive Future conductor. 47 00:03:49,080 --> 00:03:53,080 Speaker 2: But this year we have two worthy recipients. 48 00:03:55,400 --> 00:04:00,040 Speaker 4: That's right, Gustavo do the Mel and local Wounded Key. 49 00:04:00,120 --> 00:04:01,320 Speaker 1: Mozart in the Jungle. 50 00:04:01,640 --> 00:04:06,400 Speaker 3: One thing is to conduct Moser in another labor negotiations. Yeah, 51 00:04:06,480 --> 00:04:09,680 Speaker 3: I know you have to come here, save us please, 52 00:04:11,280 --> 00:04:17,840 Speaker 3: we hate our conductor. Really stage okay, one ready enjoy, 53 00:04:18,040 --> 00:04:18,360 Speaker 3: Thank you. 54 00:04:20,080 --> 00:04:24,120 Speaker 1: And the twenty twenty film Trolls World Tour, he plays 55 00:04:24,200 --> 00:04:28,560 Speaker 1: a classical music loving troll, which is of course named Trolls. 56 00:04:28,279 --> 00:04:29,720 Speaker 2: Art Classical. 57 00:04:38,640 --> 00:04:42,320 Speaker 1: Mustard. Damel began his musical career as a violinist, but 58 00:04:42,400 --> 00:04:45,280 Speaker 1: by his teens he was already at the conductor's podium 59 00:04:45,360 --> 00:04:49,360 Speaker 1: baton in hand. He was just eighteen years old when 60 00:04:49,400 --> 00:04:53,520 Speaker 1: he was appointed music director of the Orchestra Symfon Casimon Boliva, 61 00:04:54,320 --> 00:05:01,000 Speaker 1: Venezuela's national youth orchestra. Doda Male is de deeply influenced 62 00:05:01,040 --> 00:05:05,159 Speaker 1: by El Sistema, the program that puts musical instruments into 63 00:05:05,200 --> 00:05:09,200 Speaker 1: the hands of children across Venezuela. He was living up 64 00:05:09,240 --> 00:05:12,159 Speaker 1: to that ethos when he founded the Youth Orchestra of 65 00:05:12,200 --> 00:05:15,400 Speaker 1: Los Angeles in South LA in two thousand and seven. 66 00:05:15,960 --> 00:05:18,599 Speaker 1: Duda Met wanted to create a place where local kids 67 00:05:18,640 --> 00:05:22,919 Speaker 1: could learn and play music, receive academic support, and build 68 00:05:23,000 --> 00:05:26,279 Speaker 1: a community. Do de mets belief in the power of 69 00:05:26,360 --> 00:05:30,039 Speaker 1: music inspired other projects down the line, including starting his 70 00:05:30,120 --> 00:05:34,440 Speaker 1: own charity, the d Demed Foundation. The organization promotes universal 71 00:05:34,520 --> 00:05:40,480 Speaker 1: music education in underserved communities. We're going to talk about 72 00:05:40,520 --> 00:05:44,960 Speaker 1: finding creative ways to continue expanding access to the arts 73 00:05:45,000 --> 00:05:54,000 Speaker 1: and above all, ways to keep the music playing. So 74 00:05:54,120 --> 00:06:00,720 Speaker 1: Gustavo demanduna braso virtual in Cantario. Oh my god, do 75 00:06:00,760 --> 00:06:01,279 Speaker 1: the male. 76 00:06:02,920 --> 00:06:03,200 Speaker 2: The male? 77 00:06:03,240 --> 00:06:05,560 Speaker 1: I always call you do the male. I'm sorry, perfect 78 00:06:05,760 --> 00:06:06,760 Speaker 1: two people call you do the. 79 00:06:06,760 --> 00:06:09,640 Speaker 3: Mall or do I mean the male of course. The 80 00:06:09,680 --> 00:06:13,599 Speaker 3: only one that calls me is my mother when she 81 00:06:13,800 --> 00:06:15,440 Speaker 3: is like angry with. 82 00:06:15,320 --> 00:06:20,200 Speaker 2: Me, the male exactly. 83 00:06:23,000 --> 00:06:25,920 Speaker 1: When let me remind you because I know you're gonna 84 00:06:25,960 --> 00:06:31,000 Speaker 1: remember when we met. We were in Boston and you 85 00:06:31,120 --> 00:06:35,240 Speaker 1: came to conduct in a rehearsal with the M. I. T. 86 00:06:35,480 --> 00:06:36,600 Speaker 1: Student Orchestra. 87 00:06:37,279 --> 00:06:40,760 Speaker 3: If you sing in your or the shower that I 88 00:06:40,800 --> 00:06:43,599 Speaker 3: love to sing because it's the best acoustic in the world. 89 00:06:44,120 --> 00:06:48,120 Speaker 3: You know, you have all the echo, all the best 90 00:06:48,240 --> 00:06:49,080 Speaker 3: you know, restaurants. 91 00:06:53,520 --> 00:06:55,039 Speaker 2: You don't think, you don't. 92 00:06:54,880 --> 00:07:03,960 Speaker 5: Think like, wow, yes, I remember, Wow, you know how 93 00:07:04,120 --> 00:07:05,400 Speaker 5: time passed? 94 00:07:06,200 --> 00:07:09,720 Speaker 2: My god, that was this was eleven years ago, I. 95 00:07:09,600 --> 00:07:13,760 Speaker 1: Think exact eleven years ago, Masmenos. 96 00:07:13,080 --> 00:07:15,240 Speaker 2: Exactly, Mahomeo. 97 00:07:15,520 --> 00:07:17,880 Speaker 1: It was just around the time that you had arrived 98 00:07:18,040 --> 00:07:22,000 Speaker 1: in Los Angeles at the LA Philharmonic, and I think 99 00:07:22,280 --> 00:07:25,720 Speaker 1: you remember there were flags with your face on them 100 00:07:25,800 --> 00:07:28,960 Speaker 1: all across Los Angeles on the highways and the freeways, 101 00:07:28,960 --> 00:07:31,440 Speaker 1: and everybody was so excited. It was like, oh, my god, 102 00:07:32,760 --> 00:07:37,720 Speaker 1: male has arrived to LA. And now basically you're like 103 00:07:37,760 --> 00:07:40,880 Speaker 1: a guy from LA. You're you're like an institution in LA. 104 00:07:41,000 --> 00:07:42,960 Speaker 2: Now, yes, I'm an old conductor. 105 00:07:43,720 --> 00:07:46,920 Speaker 1: You're an old conductor. So how do you how do 106 00:07:47,040 --> 00:07:53,240 Speaker 1: you see your life in California, in Los Angeles with privilege, 107 00:07:53,480 --> 00:08:00,400 Speaker 1: you know, doing dream projects now a decade in komonobs Mira. 108 00:08:00,840 --> 00:08:04,920 Speaker 3: This is something beautiful to have the opportunity and the 109 00:08:05,000 --> 00:08:09,640 Speaker 3: privilege to be in different places. I feel very proud 110 00:08:09,840 --> 00:08:14,280 Speaker 3: to have developed this relation with an orchestra, with an 111 00:08:14,280 --> 00:08:19,640 Speaker 3: amazing orchestra, and with an amazing community as is Los Angeles. 112 00:08:20,160 --> 00:08:26,040 Speaker 3: And honestly, I feel a very proud Angelino Venezuelan Spanish 113 00:08:26,440 --> 00:08:29,200 Speaker 3: citizen of the world, and this is one of the 114 00:08:29,240 --> 00:08:32,600 Speaker 3: privileges of what I do. You know, when you go 115 00:08:32,679 --> 00:08:37,400 Speaker 3: as a guest, as a conductor, you travel around, you 116 00:08:37,480 --> 00:08:41,080 Speaker 3: do things, and you feel connected and reflected in the 117 00:08:41,120 --> 00:08:46,440 Speaker 3: different societies, the different communities that you visit. But when 118 00:08:46,440 --> 00:08:51,960 Speaker 3: you have the chance to build a personality together and 119 00:08:52,000 --> 00:08:56,600 Speaker 3: you can combine all of what you have with your 120 00:08:56,640 --> 00:08:59,440 Speaker 3: background and a lot of that is the most amazing thing. 121 00:09:02,559 --> 00:09:08,080 Speaker 3: Never losing your roots, but also making that roots infinite, 122 00:09:08,480 --> 00:09:10,439 Speaker 3: and that is something that is very beautiful. 123 00:09:13,360 --> 00:09:15,079 Speaker 1: You know, every time I speak to you or when 124 00:09:15,120 --> 00:09:17,920 Speaker 1: I think about you, like preparing for this interview, I 125 00:09:17,920 --> 00:09:20,360 Speaker 1: always think, well, how has it been for Doda mel 126 00:09:20,520 --> 00:09:24,559 Speaker 1: to leave Venezuela. So I just wonder how you're processing 127 00:09:25,080 --> 00:09:28,640 Speaker 1: as you become limitless in terms of your roots. What's 128 00:09:28,640 --> 00:09:30,760 Speaker 1: going on for you when you're thinking about Venezuela. When 129 00:09:30,800 --> 00:09:31,960 Speaker 1: was the last time you were back? 130 00:09:33,840 --> 00:09:37,240 Speaker 3: I see when I have been out of Venezuela for 131 00:09:37,760 --> 00:09:39,319 Speaker 3: these last four years. 132 00:09:39,880 --> 00:09:41,679 Speaker 2: You know, it's like crazy. 133 00:09:42,920 --> 00:09:45,480 Speaker 3: I will say, you know that we are living a 134 00:09:45,600 --> 00:09:47,920 Speaker 3: very difficult time in the world. 135 00:09:48,880 --> 00:09:50,680 Speaker 2: We are trying to make. 136 00:09:50,559 --> 00:09:53,960 Speaker 3: Our best I don't know if to recover, but to 137 00:09:54,120 --> 00:09:59,480 Speaker 3: transform the path that we have been building as a 138 00:09:59,600 --> 00:10:04,000 Speaker 3: human we are living now with this pandemic, for example, 139 00:10:04,800 --> 00:10:09,040 Speaker 3: that we are trying to understand the real meaning of 140 00:10:09,120 --> 00:10:13,920 Speaker 3: our presence in this world. I will say that, of course, 141 00:10:13,960 --> 00:10:20,120 Speaker 3: my country is crossing a very complex time of a social, politically, economically. 142 00:10:20,559 --> 00:10:23,920 Speaker 3: Fighting COVID nineteen is a major challenge in most countries, 143 00:10:24,240 --> 00:10:27,400 Speaker 3: but in Venezuela, where hospitals are running short of medicines 144 00:10:27,400 --> 00:10:31,280 Speaker 3: and staff, the battle is even harder. The Maduro regime 145 00:10:31,320 --> 00:10:34,000 Speaker 3: has regained control of the National Assembly after Juan Guado 146 00:10:34,120 --> 00:10:37,520 Speaker 3: and other opposition leaders boycotted the December sixth elections. 147 00:10:37,640 --> 00:10:41,880 Speaker 6: Today, Venezuela's democratic institutions and its economy are in shambles. 148 00:10:42,160 --> 00:10:44,400 Speaker 6: The country has the highest inflation rate in the world, 149 00:10:44,760 --> 00:10:48,440 Speaker 6: making food medicine inaccessible to most Venezuelans. Over the last 150 00:10:48,520 --> 00:10:51,200 Speaker 6: four years, it's GDP has found thirty five percent. 151 00:10:51,240 --> 00:10:55,000 Speaker 3: In the polemic of the political, or the economically, or 152 00:10:55,040 --> 00:10:57,360 Speaker 3: whatever is happening, you have. 153 00:10:57,280 --> 00:11:03,000 Speaker 2: To be very clever of how you manage the message 154 00:11:03,120 --> 00:11:09,000 Speaker 2: that you want to send. But one of. 155 00:11:08,880 --> 00:11:12,840 Speaker 3: The things that I will tell you, I will never 156 00:11:13,000 --> 00:11:17,680 Speaker 3: speak bad about my country. I will say, you know, well, 157 00:11:18,320 --> 00:11:22,520 Speaker 3: there is things that doesn't work, but my country is amazing. 158 00:11:23,880 --> 00:11:27,520 Speaker 3: My country, my land, the place where I was born, 159 00:11:28,559 --> 00:11:31,079 Speaker 3: made me what I am right now. 160 00:11:31,840 --> 00:11:32,760 Speaker 2: And this is the thing. 161 00:11:32,960 --> 00:11:37,280 Speaker 3: I'm a citizen of the world because Venezuela maybe be 162 00:11:37,360 --> 00:11:38,640 Speaker 3: a citizen of the world. 163 00:11:40,640 --> 00:11:43,880 Speaker 1: It always has felt like to me, you as an 164 00:11:44,040 --> 00:11:51,480 Speaker 1: artist and as a Venezuela no where democracy flourished. Actually 165 00:11:52,160 --> 00:11:56,400 Speaker 1: there wasn't a fear of disagreeing. I've always felt that 166 00:11:56,440 --> 00:11:58,760 Speaker 1: you're like, that's part of how the art gets created. 167 00:11:59,240 --> 00:12:04,040 Speaker 2: But that of course, look if one time we see 168 00:12:04,080 --> 00:12:11,000 Speaker 2: each other and we see the richness of our differences 169 00:12:11,760 --> 00:12:16,319 Speaker 2: and we take from that something important, that will be 170 00:12:16,400 --> 00:12:20,800 Speaker 2: the most important thing. Sometimes I feel that people says, yeah, 171 00:12:20,800 --> 00:12:24,640 Speaker 2: but you don't understand what is happening there. People don't 172 00:12:24,679 --> 00:12:28,240 Speaker 2: understand that it was in Venezuela all the time. Publicly 173 00:12:28,280 --> 00:12:30,800 Speaker 2: they want to know that I was there or conducting 174 00:12:30,920 --> 00:12:33,320 Speaker 2: or doing a concert. Sometimes I went to Venezuela and 175 00:12:33,320 --> 00:12:35,920 Speaker 2: not to do a concert, if not to teach or 176 00:12:35,960 --> 00:12:39,200 Speaker 2: to be a systema program in different cities. And that 177 00:12:39,360 --> 00:12:41,760 Speaker 2: was a reality, and it's a reality still. 178 00:12:41,480 --> 00:12:45,320 Speaker 3: Right now because thanks God, the technology that we have 179 00:12:45,400 --> 00:12:48,640 Speaker 3: the possibility to talk right now is like that. But 180 00:12:48,920 --> 00:12:53,080 Speaker 3: I know the reality and I know the complexity of 181 00:12:53,120 --> 00:12:58,160 Speaker 3: the situation completely at the same time. And I think 182 00:12:58,200 --> 00:13:01,120 Speaker 3: for the world, not only for my country. We need 183 00:13:01,240 --> 00:13:11,400 Speaker 3: voices that make a vision of understanding each other's it's 184 00:13:11,480 --> 00:13:16,200 Speaker 3: not to agree. That is something that is misunderstand in 185 00:13:16,240 --> 00:13:17,040 Speaker 3: the process. 186 00:13:18,000 --> 00:13:19,120 Speaker 2: And when I. 187 00:13:18,840 --> 00:13:25,040 Speaker 3: See my country completely divide in differences of if I 188 00:13:25,120 --> 00:13:28,080 Speaker 3: believe in this, and I believe that, I will say, 189 00:13:29,200 --> 00:13:33,760 Speaker 3: thanks God, I was growing up in a movement that 190 00:13:33,960 --> 00:13:37,599 Speaker 3: is a systema that may all the people of Venezuela 191 00:13:37,720 --> 00:13:38,559 Speaker 3: feel connected. 192 00:13:39,200 --> 00:13:43,040 Speaker 2: It was a British At the end. 193 00:13:43,240 --> 00:13:48,479 Speaker 3: We will find the solution of this. But always understanding 194 00:13:48,520 --> 00:13:54,280 Speaker 3: each others. I always put the example of an orchestra. 195 00:13:54,800 --> 00:13:57,880 Speaker 3: Always when people say like, yes, this is a very 196 00:13:57,960 --> 00:14:02,840 Speaker 3: naive such or an answer of one of that way. 197 00:14:02,880 --> 00:14:05,560 Speaker 3: But I will say, you know, in an orchestra is 198 00:14:05,640 --> 00:14:13,040 Speaker 3: nothing more diverse the musicians, but more also is the instruments, 199 00:14:13,040 --> 00:14:14,360 Speaker 3: the instruments and the musician. 200 00:14:15,320 --> 00:14:17,640 Speaker 2: When you play a symphony, you don't. 201 00:14:17,480 --> 00:14:20,240 Speaker 3: Listen only to the violence or to the flutes or 202 00:14:20,280 --> 00:14:21,000 Speaker 3: to the tomos. 203 00:14:21,960 --> 00:14:29,440 Speaker 2: You listen to everybody. 204 00:14:30,320 --> 00:14:32,720 Speaker 1: I love this image. Part of your life is in 205 00:14:32,760 --> 00:14:36,920 Speaker 1: fact saying all of this difference. I'm not afraid of that, 206 00:14:37,000 --> 00:14:40,600 Speaker 1: because in fact I can lead you in a form 207 00:14:40,600 --> 00:14:42,600 Speaker 1: of unity. Of course that turns out to be art. 208 00:14:42,640 --> 00:14:43,960 Speaker 1: I really love that, Gustavo. 209 00:14:44,480 --> 00:14:49,280 Speaker 3: I think that is the most beautiful example of how 210 00:14:49,480 --> 00:14:55,120 Speaker 3: a society have to behave Even if we have differences, 211 00:14:55,240 --> 00:14:59,840 Speaker 3: even if we sound different, even if we believe differently, 212 00:15:00,520 --> 00:15:03,720 Speaker 3: we can make harmony, and we can make. 213 00:15:03,560 --> 00:15:05,160 Speaker 2: A beautiful symphony. 214 00:15:05,720 --> 00:15:08,560 Speaker 3: We can make a beautiful opera, or a beautiful song, 215 00:15:08,720 --> 00:15:12,560 Speaker 3: or a beautiful jazz improvisation, and a beautiful hip hop. 216 00:15:12,640 --> 00:15:15,920 Speaker 2: Song or whatever. If you have a dad is the thing. 217 00:15:17,920 --> 00:15:22,280 Speaker 3: And of course, in the moments of crisis is a cacophony. 218 00:15:23,240 --> 00:15:27,240 Speaker 3: There is a lot of wonderful composers that have made music, 219 00:15:27,400 --> 00:15:30,560 Speaker 3: beautiful music from a cacophony, and this is the thing, 220 00:15:31,280 --> 00:15:34,120 Speaker 3: you know, we have to create from that cacophony, a 221 00:15:34,160 --> 00:15:39,120 Speaker 3: beautiful harmony. 222 00:15:40,920 --> 00:15:44,480 Speaker 1: You know, before we leave Venezuela, you brought up your mom. 223 00:15:44,840 --> 00:15:47,240 Speaker 1: Is she still in Venezuela or is she left? 224 00:15:47,680 --> 00:15:52,360 Speaker 3: My mother, my father, my grandmother, my my family in 225 00:15:52,440 --> 00:15:54,080 Speaker 3: generally is Venezuela. 226 00:15:54,320 --> 00:15:57,440 Speaker 1: How are you staying in touch? How often do you 227 00:15:57,480 --> 00:16:00,560 Speaker 1: speak with them? You know, what are those conversations? Like 228 00:16:01,400 --> 00:16:04,120 Speaker 1: how much harder is it now in the last four 229 00:16:04,240 --> 00:16:07,400 Speaker 1: years and in the last year to be in touch? 230 00:16:09,080 --> 00:16:12,200 Speaker 2: Well, look, I talked to my family every single day, 231 00:16:12,840 --> 00:16:14,600 Speaker 2: every day, every. 232 00:16:14,400 --> 00:16:15,920 Speaker 1: Day, and you just call. 233 00:16:16,040 --> 00:16:20,240 Speaker 7: You're like all a mama, saludos, saludos, how are you 234 00:16:21,200 --> 00:16:24,800 Speaker 7: and everything and all of that and how is everything? 235 00:16:25,000 --> 00:16:30,440 Speaker 3: I'm connected with my friends, with musicians, with everybody, because 236 00:16:30,800 --> 00:16:36,280 Speaker 3: that is very important since I became a traveler. Let's say, 237 00:16:36,920 --> 00:16:41,360 Speaker 3: I remember years ago, I was waking up in the 238 00:16:41,400 --> 00:16:44,760 Speaker 3: middle of the night and I was feeling I have 239 00:16:44,840 --> 00:16:49,000 Speaker 3: to call my grandmother or my mother even it was 240 00:16:49,040 --> 00:16:50,720 Speaker 3: the middle of the night and I was talking to 241 00:16:50,760 --> 00:16:53,840 Speaker 3: them few hours before. And it have been like this 242 00:16:54,000 --> 00:16:56,200 Speaker 3: all the time. It hasn't changed. 243 00:16:56,720 --> 00:16:58,520 Speaker 1: Sometimes you'll still just wake up in the middle of 244 00:16:58,560 --> 00:16:59,560 Speaker 1: the night and you'll call. 245 00:17:00,040 --> 00:17:02,840 Speaker 2: Completely lean yes. Right. 246 00:17:02,920 --> 00:17:06,159 Speaker 3: For example, I talked to my grandmother at two o'clock 247 00:17:06,240 --> 00:17:07,679 Speaker 3: in the morning here for me. 248 00:17:08,240 --> 00:17:09,440 Speaker 2: For her was eight o'clock. 249 00:17:09,520 --> 00:17:13,520 Speaker 1: I think I love that Gustavo. That's that's kind of 250 00:17:13,600 --> 00:17:14,960 Speaker 1: like adorable. 251 00:17:17,400 --> 00:17:27,840 Speaker 8: Well, but you know it's like that, Simonia so Chanel Galendario. 252 00:17:28,840 --> 00:17:43,960 Speaker 9: You on need Callendari, you know, you know, wow, you 253 00:17:44,119 --> 00:17:46,000 Speaker 9: need Callendario. 254 00:17:48,960 --> 00:17:51,199 Speaker 2: I have learned this through times, you know. 255 00:17:51,720 --> 00:17:54,800 Speaker 3: And I always have been connected with my family, and 256 00:17:55,000 --> 00:17:58,640 Speaker 3: that have been one of the reasons of the beauty 257 00:17:58,680 --> 00:17:59,480 Speaker 3: of what I do. 258 00:18:00,200 --> 00:18:02,960 Speaker 2: I will tell you something. This time have been for 259 00:18:03,080 --> 00:18:05,960 Speaker 2: reflection and to think about what we have been doing, 260 00:18:06,119 --> 00:18:06,920 Speaker 2: what we have done. 261 00:18:07,000 --> 00:18:10,440 Speaker 3: And I remember I went to conduct the Israel Filler 262 00:18:10,520 --> 00:18:15,040 Speaker 3: Money in two thousand and five and before one of 263 00:18:15,080 --> 00:18:18,200 Speaker 3: the concerts, I was in the room of the hotel 264 00:18:18,560 --> 00:18:21,800 Speaker 3: I had launched. I took a nap, but it was 265 00:18:21,840 --> 00:18:25,200 Speaker 3: impossible to sleep because I was like, oh my god, 266 00:18:25,400 --> 00:18:27,359 Speaker 3: it's a concert with the zill Filler Money. 267 00:18:27,400 --> 00:18:30,080 Speaker 2: This is very important. It's small fifths infor enough. 268 00:18:30,920 --> 00:18:35,080 Speaker 3: And then I went and I was listening aboleto from 269 00:18:35,200 --> 00:18:42,720 Speaker 3: Juliujara video and I put my pones and I was 270 00:18:42,920 --> 00:18:52,639 Speaker 3: listening to that, and I was like, this was one 271 00:18:52,680 --> 00:18:55,840 Speaker 3: of the songs that my grandmother and my mother put 272 00:18:56,200 --> 00:18:58,800 Speaker 3: every Sunday when they were cleaning the house. 273 00:18:59,080 --> 00:19:04,960 Speaker 2: Oh my god, honestly, and it brought me the comfort 274 00:19:06,680 --> 00:19:11,399 Speaker 2: of whatever I was. I was there with them and 275 00:19:11,520 --> 00:19:12,639 Speaker 2: they were embracing me. 276 00:19:17,119 --> 00:19:22,439 Speaker 3: So this is my connection all the time with my family. 277 00:19:22,600 --> 00:19:26,080 Speaker 3: For example, my father he still plays drummond, he has 278 00:19:26,160 --> 00:19:29,119 Speaker 3: a band and he's doing recordings and all of that. 279 00:19:29,640 --> 00:19:32,600 Speaker 3: And that inspired me because when he sent me something, 280 00:19:33,040 --> 00:19:36,320 Speaker 3: I put my headphones and I'm conducting wherever I am 281 00:19:36,400 --> 00:19:37,920 Speaker 3: and I'm listening to that music. 282 00:19:39,880 --> 00:19:40,520 Speaker 2: I loved that. 283 00:19:45,920 --> 00:19:48,760 Speaker 3: And you know, and then after the concert, I have 284 00:19:48,960 --> 00:19:50,720 Speaker 3: the time I connect with my family. 285 00:19:51,000 --> 00:19:54,960 Speaker 2: I have a conversation and a long conversation with my family. 286 00:20:03,920 --> 00:20:06,959 Speaker 1: Coming up on Latino USA. Gusta U du Damin had 287 00:20:07,000 --> 00:20:10,879 Speaker 1: big plans for twenty twenty. Then COVID nineteen happened, and 288 00:20:11,119 --> 00:20:13,760 Speaker 1: like all of us, El Maestro had to adapt to 289 00:20:13,920 --> 00:21:12,720 Speaker 1: a changed world. Stay with us, not the bays. Hey, 290 00:21:13,080 --> 00:21:17,160 Speaker 1: we're back and I've been speaking with conductor Gustavo Dudamel. 291 00:21:18,160 --> 00:21:21,960 Speaker 1: Dudamel wears many hats. When he's not working as the 292 00:21:22,040 --> 00:21:25,400 Speaker 1: director of the La Philharmonic, he's leading a new educational 293 00:21:25,440 --> 00:21:30,280 Speaker 1: initiative through his foundation, or he's guest conducting international orchestras, 294 00:21:30,920 --> 00:21:33,080 Speaker 1: or he's focusing on one of the many projects he 295 00:21:33,160 --> 00:21:37,200 Speaker 1: has in the works. But when the COVID nineteen pandemic unfolded, 296 00:21:37,240 --> 00:21:41,400 Speaker 1: Dudamel was forced to rethink his role as a conductor, musician, 297 00:21:41,960 --> 00:21:45,480 Speaker 1: artist and educator, and it was a time of deep 298 00:21:45,600 --> 00:21:49,960 Speaker 1: important personal reflection as well. Okay, so I have to 299 00:21:50,160 --> 00:21:53,680 Speaker 1: ask you, Gustavo, because when we were preparing for this interview, 300 00:21:54,400 --> 00:21:55,960 Speaker 1: I told my team I was like, oh my god. 301 00:21:56,160 --> 00:21:58,760 Speaker 1: I mean, you guys know that I love to give abrassos. 302 00:21:58,840 --> 00:22:02,360 Speaker 1: I'm a huge hugger. I'm hugging everybody. I'm kissing everybody. 303 00:22:02,480 --> 00:22:06,960 Speaker 1: I'm you know, and you the same thing. You're smiling, hugging. 304 00:22:07,800 --> 00:22:09,800 Speaker 1: This is a very hard time for people like you 305 00:22:09,880 --> 00:22:13,200 Speaker 1: and me that love to be with human beings. So 306 00:22:13,720 --> 00:22:17,640 Speaker 1: how has this affected you as a human being, as 307 00:22:17,680 --> 00:22:20,120 Speaker 1: a partner, as an artist. 308 00:22:21,320 --> 00:22:23,960 Speaker 2: I was talking yesterday to a friend. It was a 309 00:22:24,119 --> 00:22:29,360 Speaker 2: very open conversation, and we said, like, did we really 310 00:22:29,520 --> 00:22:35,760 Speaker 2: understand in our life what a hug means or a 311 00:22:36,119 --> 00:22:37,440 Speaker 2: handshake means? 312 00:22:39,240 --> 00:22:43,040 Speaker 3: You know, after all of this, because as you are saying, 313 00:22:44,440 --> 00:22:48,560 Speaker 3: we love that it's kind of part of our identity. 314 00:22:49,560 --> 00:22:54,800 Speaker 3: But I think after all of this pandemic moments, it 315 00:22:54,840 --> 00:22:56,200 Speaker 3: will mean a different thing. 316 00:22:56,560 --> 00:23:03,879 Speaker 2: It will mean the real connection hogging and shaking. I 317 00:23:04,080 --> 00:23:06,200 Speaker 2: love that. It was natural. 318 00:23:07,640 --> 00:23:11,520 Speaker 3: It was my way to express the beauty of me people, 319 00:23:12,359 --> 00:23:22,159 Speaker 3: of sharing love without any limitation of love. How we 320 00:23:22,440 --> 00:23:28,439 Speaker 3: interact with other people and how we miss that connection. 321 00:23:28,880 --> 00:23:30,080 Speaker 2: It's like to play music. 322 00:23:31,880 --> 00:23:35,760 Speaker 3: You know, when you play music for an audience means 323 00:23:35,920 --> 00:23:41,440 Speaker 3: something different than when you play for a recording. When 324 00:23:41,520 --> 00:23:45,080 Speaker 3: you listen to a recording, you can be connected, but 325 00:23:45,200 --> 00:23:46,480 Speaker 3: it's not the same thing. 326 00:23:46,960 --> 00:23:50,200 Speaker 2: If you have the musicians in front of you, that 327 00:23:50,400 --> 00:23:55,040 Speaker 2: is a moment. Live music is a moment. It's like 328 00:23:55,119 --> 00:23:55,440 Speaker 2: a hug. 329 00:24:00,480 --> 00:24:04,000 Speaker 1: We've watched a lot of businesses, organizations. There are people 330 00:24:04,160 --> 00:24:07,480 Speaker 1: who have been able to thrive by going virtual, or 331 00:24:07,600 --> 00:24:11,400 Speaker 1: they've had to cut back, or you know, in terms 332 00:24:11,400 --> 00:24:15,720 Speaker 1: of let's say they're programming, or some organizations, arts institutions 333 00:24:16,240 --> 00:24:19,399 Speaker 1: have just shut down. People have lost their jobs. I 334 00:24:19,480 --> 00:24:22,760 Speaker 1: see that in terms of your work, your work has changed. 335 00:24:23,119 --> 00:24:25,920 Speaker 1: You hosted a radio show at Home with Gustavo. 336 00:24:25,680 --> 00:24:29,960 Speaker 10: La from the Fourth Symphony by Johannes Brahms. We heard 337 00:24:29,960 --> 00:24:33,960 Speaker 10: the La Phil in concert conducted by Gustavo dudamt. This 338 00:24:34,200 --> 00:24:38,200 Speaker 10: is at Home with Gustavo, a partnership between Classical KUSC, 339 00:24:38,560 --> 00:24:44,000 Speaker 10: Classical KDFC and the La Fil And from Broms to 340 00:24:44,320 --> 00:24:46,640 Speaker 10: Mozart the clarinet concerto. 341 00:24:46,280 --> 00:24:49,879 Speaker 3: Exactly, and it was Mozart was a champion of the clarinet. 342 00:24:50,040 --> 00:24:52,840 Speaker 3: It was his favorite instrument. And I will tell you 343 00:24:52,960 --> 00:24:55,640 Speaker 3: a personal history about this piece. 344 00:24:56,280 --> 00:24:59,520 Speaker 1: You conducted a virtual performance at the Hollywood Bowl and 345 00:25:00,119 --> 00:25:02,320 Speaker 1: right now you're in Madrid because you're working on a 346 00:25:02,680 --> 00:25:04,760 Speaker 1: virtual reality a VR project. 347 00:25:05,040 --> 00:25:09,840 Speaker 4: La Kereisha Foundation presents Symphony, an immersive project that will 348 00:25:09,880 --> 00:25:12,600 Speaker 4: tour a number of towns and cities in Spain to 349 00:25:12,680 --> 00:25:18,040 Speaker 4: bring classical music to all kinds of audiences. By Gustavo 350 00:25:18,160 --> 00:25:22,600 Speaker 4: Dudamel and the prestigious Mala Chamber Orchestra, Spectators will embark 351 00:25:22,680 --> 00:25:26,240 Speaker 4: on an emotional journey through music, contemplating and listening to 352 00:25:26,320 --> 00:25:29,840 Speaker 4: the instruments from their interior and feeling like another member 353 00:25:29,920 --> 00:25:31,120 Speaker 4: of the symphony orchestra. 354 00:25:33,720 --> 00:25:36,760 Speaker 1: So tell me a little bit about how you've been 355 00:25:37,280 --> 00:25:40,920 Speaker 1: adapting to this new reality with your projects. 356 00:25:41,920 --> 00:25:45,840 Speaker 3: Sometimes we don't see things coming, or we don't understand 357 00:25:46,040 --> 00:25:49,520 Speaker 3: things that are happening. I remember when this came, we 358 00:25:49,640 --> 00:25:55,160 Speaker 3: didn't understood anything. This terrible virus. When you see the reality, 359 00:25:55,240 --> 00:26:01,320 Speaker 3: you feel really like shock. Remember we were doing a 360 00:26:02,280 --> 00:26:13,480 Speaker 3: beautiful festival called Power to the People. We have Herbie Hanko. 361 00:26:13,760 --> 00:26:18,400 Speaker 3: We have Renee that was from cajatreci. 362 00:26:17,840 --> 00:26:29,400 Speaker 7: Oh resident Rene Residental Sugueto, Romano Maravilloso. We have him 363 00:26:29,760 --> 00:26:33,840 Speaker 7: there doing a concert, a complete concert with the philharmonic 364 00:26:33,960 --> 00:26:38,560 Speaker 7: or a symphonic orchestra. We have Yolanda Adams doing gospel 365 00:26:38,960 --> 00:26:44,480 Speaker 7: combined by classical composers for American composers, Latin composers. 366 00:26:44,560 --> 00:26:48,160 Speaker 2: It was a beautiful combination. And we try to reflect 367 00:26:48,240 --> 00:26:51,200 Speaker 2: the needs of the society to be expressed in the 368 00:26:51,320 --> 00:26:58,280 Speaker 2: culture and in the arts. And suddenly we were stopped. 369 00:26:59,160 --> 00:27:02,840 Speaker 3: I have a beautiful project with the dol Foundation to 370 00:27:03,000 --> 00:27:08,200 Speaker 3: do Videlio, to travel the Fidelio Opera, to do around Europe. 371 00:27:08,680 --> 00:27:12,840 Speaker 2: We were working on that and it came like everything 372 00:27:12,960 --> 00:27:17,880 Speaker 2: was just top completely. So this was time for reflection. 373 00:27:18,640 --> 00:27:22,480 Speaker 3: For me was very important because sometimes we live in 374 00:27:22,600 --> 00:27:28,280 Speaker 3: a very routinary and fast life where you don't see 375 00:27:28,520 --> 00:27:30,680 Speaker 3: the importance of the things that we do. 376 00:27:31,720 --> 00:27:34,800 Speaker 2: And in the time of thinking and seeing that the 377 00:27:34,960 --> 00:27:37,080 Speaker 2: orchestra was not playing. 378 00:27:36,720 --> 00:27:39,960 Speaker 3: And all of that, it came, you know, this radio 379 00:27:40,040 --> 00:27:43,600 Speaker 3: program at home, we do sta that we try to create. 380 00:27:45,720 --> 00:27:48,760 Speaker 10: On this program, LA Film music and artistic director Gustav 381 00:27:48,920 --> 00:27:52,040 Speaker 10: Dumel will share some of his favorite recordings with us. 382 00:27:52,440 --> 00:27:55,440 Speaker 2: It was an experiment, you know, and the name was 383 00:27:55,520 --> 00:27:57,439 Speaker 2: an experiment for sure. Times. 384 00:27:57,800 --> 00:28:00,359 Speaker 10: He's at his home in Los Angeles and I'm mine 385 00:28:00,440 --> 00:28:02,440 Speaker 10: and together we invite you to pull up a chair 386 00:28:02,920 --> 00:28:09,560 Speaker 10: and let the music transport you. And Gustavo Duramel joins us. Now, Gustavo, 387 00:28:10,160 --> 00:28:13,760 Speaker 10: you wanted to start with the music of Bach and Gustavo, 388 00:28:13,760 --> 00:28:15,240 Speaker 10: why are we starting here today? 389 00:28:15,440 --> 00:28:19,240 Speaker 3: Well, we are going, you know, to a kind of 390 00:28:19,320 --> 00:28:22,520 Speaker 3: a genesis of the music and having the chance to 391 00:28:22,680 --> 00:28:27,920 Speaker 3: share a beautiful and unique recording of Otto Klemperer conducting 392 00:28:28,040 --> 00:28:31,480 Speaker 3: our orchestra. And I will say that in this way 393 00:28:32,200 --> 00:28:35,639 Speaker 3: is a very romantic way to interpret a back and 394 00:28:35,760 --> 00:28:40,200 Speaker 3: I love that I remember sitting at home and watching 395 00:28:40,400 --> 00:28:45,760 Speaker 3: and listening some recordings of Toscanini, for example during the 396 00:28:45,840 --> 00:28:47,000 Speaker 3: Second World World. 397 00:28:48,360 --> 00:28:52,320 Speaker 2: Where the family was sitting at home and listening. 398 00:28:53,480 --> 00:28:59,440 Speaker 3: Life of some recordings or some concerts in a time 399 00:28:59,520 --> 00:29:03,000 Speaker 3: of day, you know, four o'clock, five o'clock, six o'clock, 400 00:29:03,600 --> 00:29:04,480 Speaker 3: and that was. 401 00:29:04,600 --> 00:29:06,800 Speaker 2: Like, you know, we are living a difficult time. Look, 402 00:29:07,800 --> 00:29:09,400 Speaker 2: let's do something. And we did. 403 00:29:15,200 --> 00:29:17,920 Speaker 3: We did at home with John Adams, at home with 404 00:29:18,600 --> 00:29:24,400 Speaker 3: Juja One, at home with John Williams. At the end, 405 00:29:24,840 --> 00:29:29,400 Speaker 3: at home with Ustabo, became at home with everybody. Then 406 00:29:29,480 --> 00:29:35,920 Speaker 3: it was the desire to bring the orchestra together. And 407 00:29:36,080 --> 00:29:41,480 Speaker 3: then we are blessed to have the Hollywood Boat that 408 00:29:41,680 --> 00:29:44,800 Speaker 3: is an opener venue and one of the most emblematic 409 00:29:45,120 --> 00:29:47,440 Speaker 3: open stage in the planet. 410 00:29:49,520 --> 00:29:52,040 Speaker 2: We were doing music by Mather. 411 00:29:52,720 --> 00:29:58,680 Speaker 3: By Livers, by different composers, the music of the Americas. 412 00:29:59,200 --> 00:30:03,760 Speaker 3: Duke ellingt the to nd because it was the Toban Yiar. 413 00:30:07,320 --> 00:30:10,720 Speaker 3: When I finished that, I came to Europe. I was 414 00:30:10,840 --> 00:30:14,280 Speaker 3: finishing the score for West Side Story, the Steven Spielder 415 00:30:14,440 --> 00:30:15,840 Speaker 3: version of West Side Story. 416 00:30:18,000 --> 00:30:20,680 Speaker 11: And you know, it has been a combination of things 417 00:30:22,080 --> 00:30:28,280 Speaker 11: right now, every place it has their own reality even 418 00:30:28,320 --> 00:30:29,840 Speaker 11: if we have the same reality. 419 00:30:30,240 --> 00:30:33,880 Speaker 2: We are trying to deal with our own things, with 420 00:30:34,000 --> 00:30:35,400 Speaker 2: the reality that we are living. 421 00:30:37,880 --> 00:30:41,120 Speaker 1: You're talking about how music and the arts can save 422 00:30:41,240 --> 00:30:43,480 Speaker 1: us and give us a little bit of peace in 423 00:30:43,560 --> 00:30:47,000 Speaker 1: the anxiety. But then I also get to the point 424 00:30:47,160 --> 00:30:50,640 Speaker 1: of how is it going to look. How are we 425 00:30:50,720 --> 00:30:53,480 Speaker 1: going to fill those seats for the La film? How 426 00:30:53,600 --> 00:30:56,560 Speaker 1: is Broadway going to come back to life? You're saying 427 00:30:56,680 --> 00:30:59,480 Speaker 1: the arts are gonna save us. Paint the picture for 428 00:30:59,600 --> 00:31:02,440 Speaker 1: us of how that looks in your mind, of how 429 00:31:02,520 --> 00:31:04,720 Speaker 1: the arts will save us and how we as the 430 00:31:04,840 --> 00:31:06,520 Speaker 1: public will also save the arts. 431 00:31:07,440 --> 00:31:10,240 Speaker 3: I will try to tell you something from a book 432 00:31:10,360 --> 00:31:17,280 Speaker 3: that I was reading called La Philosia and Consuelo. He's 433 00:31:17,320 --> 00:31:21,280 Speaker 3: a Spanish writer called Ramon Andres, and at the beginning 434 00:31:21,360 --> 00:31:22,280 Speaker 3: of the book. 435 00:31:23,120 --> 00:31:26,120 Speaker 2: He put a beautiful, beautiful. 436 00:31:25,640 --> 00:31:30,920 Speaker 3: Phrase of Connetti Elias kanneti from La Provincia. 437 00:31:30,520 --> 00:31:34,320 Speaker 2: Lombre, where he said something very important. 438 00:31:34,840 --> 00:31:38,040 Speaker 3: He says something like this, it will come the times 439 00:31:38,200 --> 00:31:43,400 Speaker 3: when only through the music we will have the possibilities 440 00:31:43,920 --> 00:31:48,440 Speaker 3: to get out of our pragmatical functions, something like that. 441 00:31:49,480 --> 00:32:00,400 Speaker 2: Ben de la mus Con. 442 00:32:04,680 --> 00:32:15,120 Speaker 3: In Knowing Fluida, they were considered as important spiritual, but 443 00:32:15,400 --> 00:32:19,840 Speaker 3: mean it means that music and art, it plays this 444 00:32:20,680 --> 00:32:25,240 Speaker 3: role in the healing of the soul of the society, 445 00:32:25,960 --> 00:32:32,560 Speaker 3: of the community. I believe sometimes I was giving so 446 00:32:32,760 --> 00:32:36,800 Speaker 3: much importance to some things that were not important, and 447 00:32:37,120 --> 00:32:42,000 Speaker 3: right now we will understand what is really important for 448 00:32:42,360 --> 00:32:47,760 Speaker 3: us as human beings, part of an society, of our community, 449 00:32:48,120 --> 00:32:50,880 Speaker 3: as a world that we can make better. 450 00:32:54,480 --> 00:32:58,160 Speaker 2: And music and art, not only music, I believe art 451 00:32:58,680 --> 00:32:59,520 Speaker 2: in general. 452 00:32:59,320 --> 00:33:03,200 Speaker 3: Will play a very important role in the inspiration and 453 00:33:03,360 --> 00:33:08,720 Speaker 3: the creativity to create this new world, this new, beautiful 454 00:33:08,960 --> 00:33:09,960 Speaker 3: and better world. 455 00:33:09,760 --> 00:33:10,200 Speaker 2: That we need. 456 00:33:20,080 --> 00:33:22,560 Speaker 1: Because Gustavo, I'm so glad that you're in it, and 457 00:33:22,680 --> 00:33:25,920 Speaker 1: that you're still gon ganas and that you're only turning forty. 458 00:33:26,280 --> 00:33:28,200 Speaker 1: That means we're gonna have you around for a very 459 00:33:28,320 --> 00:33:28,920 Speaker 1: long time. 460 00:33:29,120 --> 00:33:30,440 Speaker 2: So keep on bringing it. 461 00:33:30,520 --> 00:33:32,760 Speaker 1: We're so happy. Thank you so much for speaking with 462 00:33:32,880 --> 00:33:38,560 Speaker 1: me today and cant super in Cantam place. 463 00:33:38,640 --> 00:33:38,680 Speaker 6: It. 464 00:33:47,120 --> 00:33:51,560 Speaker 1: That was Gustavo Dudamel, conductor, arts educator and the music 465 00:33:51,640 --> 00:34:21,360 Speaker 1: and artistic director of the Los Angeles Philharmonic. This episode 466 00:34:21,520 --> 00:34:24,840 Speaker 1: was produced by Alejandra Salasad with help from Samantha Friedman, 467 00:34:25,040 --> 00:34:27,960 Speaker 1: who was edited by Andreando Pez Grusado and mixed by 468 00:34:28,040 --> 00:34:33,160 Speaker 1: Julia Caruso. The Latino USA team includes Victoria Estrada Rinaldo, 469 00:34:33,239 --> 00:34:38,120 Speaker 1: Leanos Junior, Joni mart Marquez, Marta Martinez, Penile Ramirez, Mike Sargent, 470 00:34:38,239 --> 00:34:42,239 Speaker 1: Nor Saudi and Nancy Trujillo. Our director of Engineering is 471 00:34:42,480 --> 00:34:46,640 Speaker 1: Stephanie Lebau, Additional engineering support by Gabriel Lebias and j J. 472 00:34:46,800 --> 00:34:47,280 Speaker 2: Carubin. 473 00:34:47,680 --> 00:34:51,239 Speaker 1: Our marketing manager is Luis Luna. Our theme music was 474 00:34:51,320 --> 00:34:54,600 Speaker 1: composed by Sania Rubinos. I'm your host and executive producer 475 00:34:54,640 --> 00:34:57,600 Speaker 1: Maria Jojosa. Join us again on our next episode. In 476 00:34:57,680 --> 00:34:59,960 Speaker 1: the meantime, look for us on all of your soci 477 00:35:00,000 --> 00:35:04,080 Speaker 1: social media and remember not the yasstell approxima ye. 478 00:35:08,800 --> 00:35:13,480 Speaker 12: Latino USA is made possible in part by California Endowment 479 00:35:13,840 --> 00:35:17,120 Speaker 12: building a strong state by improving the health of all Californians, 480 00:35:17,800 --> 00:35:24,000 Speaker 12: The Heising Simon's Foundation Unlocking knowledge, opportunity and possibilities. More 481 00:35:24,200 --> 00:35:29,160 Speaker 12: at hsfoundation dot org and the John D. And Catherine T. 482 00:35:29,360 --> 00:35:30,280 Speaker 12: MacArthur Foundation. 483 00:35:34,719 --> 00:35:39,279 Speaker 1: Gustavo making your roots infinite. Oh my god, I love that. 484 00:35:39,560 --> 00:35:41,560 Speaker 1: Have you said You've said that a lot in the past, 485 00:35:41,600 --> 00:35:42,799 Speaker 1: because I really love that scene. 486 00:35:43,200 --> 00:35:47,120 Speaker 2: Never I think because in three days I will be forty. 487 00:35:47,440 --> 00:35:50,680 Speaker 1: So no, it's what I bring out in. 488 00:35:50,800 --> 00:35:51,239 Speaker 2: You get the 489 00:35:53,400 --> 00:35:57,319 Speaker 3: Absolutely let may feels clear, it is because that absolutely