WEBVTT - The Stories Inside Us

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<v Speaker 1>Good morning, Keeps, and welcome to wok F Daily with

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<v Speaker 1>me your Girl Danielle Moody pre recording from the home Bunker, Folks.

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<v Speaker 1>So often on WOKF, I try to find the good

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<v Speaker 1>balance between delivering sometimes really difficult news of the day

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<v Speaker 1>as well as providing some voices of inspiration and hope

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<v Speaker 1>and creativity and just a way for us to tap

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<v Speaker 1>back in to joy. And today, I am really excited

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<v Speaker 1>to bring onto the show a musician, an artist, a

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<v Speaker 1>fellow podcaster, MacLea Hadero, who is an ethio jazz performer

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<v Speaker 1>as well as the host of the podcas cast movement

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<v Speaker 1>that uses music to talk about varied migration stories. And

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<v Speaker 1>you know, so often I talk about on WOKF that

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<v Speaker 1>my purpose has always been to try and make you

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<v Speaker 1>know the news more digestible and to have in depth

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<v Speaker 1>conversations that are worthy of twenty minutes as opposed to

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<v Speaker 1>you know, the thirty second or ninety second soundbites that

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<v Speaker 1>you get on cable news. That some things are worth

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<v Speaker 1>more than just that hot take, right, that they're worth

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<v Speaker 1>a conversation. And that's what I hope that you're able

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<v Speaker 1>to receive on WOKAF because that's my goal. But when

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<v Speaker 1>I think that mccleat is doing by being able to

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<v Speaker 1>tell these stories, for other musicians from around the world,

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<v Speaker 1>to be able to tell their stories of migration through

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<v Speaker 1>their music is something that is just extraordinarily special. And

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<v Speaker 1>she'll say something in this episode that I think is

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<v Speaker 1>just so important, which is about our collective and our

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<v Speaker 1>shared humanity that I'm going to be talking about at

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<v Speaker 1>nauseum because folks, we are losing it. We are losing

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<v Speaker 1>it as well as losing our fucking minds on a

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<v Speaker 1>regular basis with following the headlines and if we are not,

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<v Speaker 1>I can't say this enough. Taking care of ourself. If

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<v Speaker 1>that is turning up some music and dancing around your home,

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<v Speaker 1>if that is swaying, if that is creating, if it

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<v Speaker 1>is knitting, if it is gardening, if it is listening

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<v Speaker 1>to poetry, if it's walking, if it's lifting, if it's

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<v Speaker 1>doing anything. You need to do it every day. You

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<v Speaker 1>need to double down on it and triple down on it,

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<v Speaker 1>because I feel pieces of ourselves being pulled away from us,

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<v Speaker 1>you know, and just getting down to the bone. And

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<v Speaker 1>I want to keep feeling. I want to keep having

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<v Speaker 1>and compassion and love and not just sitting in a

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<v Speaker 1>place of rage, because I'm telling you, folks, if rage

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<v Speaker 1>truly was the answer, then the doors would have been opened,

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<v Speaker 1>piece would have happened, right. And so there this is

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<v Speaker 1>where I am in my life right now, which is

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<v Speaker 1>trying to figure out if there is another way. And

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<v Speaker 1>I believe that compassion and love, thoughtfulness and critical thinking

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<v Speaker 1>and reflection are those ways, are those pathways forward? And

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<v Speaker 1>I really hope that you enjoy this conversation with mcleat Hadero.

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<v Speaker 1>The podcast is Movement, and I hope that you check

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<v Speaker 1>it out wherever you get your podcasts, folks. I am

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<v Speaker 1>very excited to welcome to OKAF Daily for the very

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<v Speaker 1>first time mcleat Hadero, who is the host of a

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<v Speaker 1>fantastic podcast, radio series and live show that stories of

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<v Speaker 1>global migration through music. Mcleed is a vocalist, songwriter, composer

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<v Speaker 1>and has found this medium as a way to tell

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<v Speaker 1>the stories that I tell that you listen to on

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<v Speaker 1>a regular basis, but much more interesting, mcleid, how did

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<v Speaker 1>movement get started and why?

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<v Speaker 2>Well, movement got started quite a few years ago, and

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<v Speaker 2>it really began because I was out there in the

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<v Speaker 2>world going to all these music festivals as a songwriter

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<v Speaker 2>composer and meeting people from every corner of the globe

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<v Speaker 2>who had these really interesting, dynamic migration stories, and we'd

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<v Speaker 2>kind of find we'd learn about each other in like

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<v Speaker 2>the green rooms of festivals or those places that they

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<v Speaker 2>set up for all the artists to have dinner together.

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<v Speaker 2>And I started to realize that, you know, I'm a refugee.

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<v Speaker 2>I make ethio jazz, I make music that I think

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<v Speaker 2>of as migration music, and it's not just me, you know.

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<v Speaker 2>And I started to think about how many people had

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<v Speaker 2>stories similar to mine, that were making incredibly genre bending, innovative,

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<v Speaker 2>bumping music, and that had these stories that had resonance

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<v Speaker 2>with each other, but that weren't being put together in

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<v Speaker 2>the same spaces to kind of build solidarity share narratives.

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<v Speaker 2>But you know that we were being put together in

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<v Speaker 2>the sense of like we would be at music festivals together,

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<v Speaker 2>but people weren't thinking of our music as having anything

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<v Speaker 2>in common because it might be like an electronic artist,

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<v Speaker 2>a hip hop artist, and me being in this more

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<v Speaker 2>acoustic ethio jazz space. So I started to think about,

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<v Speaker 2>and I've always thought about, how can I tell bigger

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<v Speaker 2>stories together with others than I can tell by myself,

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<v Speaker 2>and Movement was born out of that. We started as

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<v Speaker 2>a podcast, but very quickly became a live show because

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<v Speaker 2>I just love the experience of not just being able

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<v Speaker 2>to tell our stories with our voices, which is so

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<v Speaker 2>incredibly important and the spoken stories are narratives, but also

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<v Speaker 2>be able to shine that through the songs that we

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<v Speaker 2>make and the way that those songs together get to

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<v Speaker 2>give an experience, an actual, like visceral, physical, bumping, musical,

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<v Speaker 2>creative experience of just a radically diverse world.

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<v Speaker 1>I love that, Oh my god. So first of all,

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<v Speaker 1>I am a fan of jazz. I've never heard of

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<v Speaker 1>ethio jazz, so I want you to describe the sound

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<v Speaker 1>for me so that then I can when we get off,

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<v Speaker 1>I'm gonna pull it up and listen to it. But

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<v Speaker 1>what is the vibe? Can you? Can you explain it

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<v Speaker 1>to us? Yeah?

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<v Speaker 2>Yeah, absolutely? And there are great stories in this so

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<v Speaker 2>Ethiopian jazz. Ethio jazz was born in late sixties and

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<v Speaker 2>early seventies. It was created by a person by the

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<v Speaker 2>name of Mulato Astatke, who was the first African to

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<v Speaker 2>ever attend the Berkeley College of music in Boston, and

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<v Speaker 2>then after he attended Burke, he was this like incredible composer.

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<v Speaker 2>He was really really really inspired by the Cubans, and

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<v Speaker 2>so he was in New York after Berkeley College of

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<v Speaker 2>after he went to Berkeley, and he was like listening

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<v Speaker 2>to the Cubans bring their traditional music into jazz. And

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<v Speaker 2>then he had this fateful encounter with John Coltrane, who

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<v Speaker 2>was like Coltrane in the in this like back green room,

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<v Speaker 2>was like, man, you gotta do this with your traditional music.

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<v Speaker 2>Latoastak went back to Ethiopia and he built Ethiopian jazz,

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<v Speaker 2>bringing together the pentatonic scales of Ethiopian music with the

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<v Speaker 2>kind of chordal approaches to jazz. He was building a

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<v Speaker 2>hyphenated hybrid sound that was incredibly African. I mean, jazz

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<v Speaker 2>is already African, right.

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<v Speaker 1>Right, right right, yeah, it was.

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<v Speaker 2>It was like it for me, like I love and

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<v Speaker 2>found my space in ethio jazz because like jazz as

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<v Speaker 2>this black music as a music born rooted in black

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<v Speaker 2>communities and an experience of a forced migration. And then

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<v Speaker 2>Mulatasatke migrates to the United States, absorbs this, collaborates, learns

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<v Speaker 2>about it, with reverence and respect and this real depth

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<v Speaker 2>and then migrates back to Ethiopia and then me as

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<v Speaker 2>a refugee coming to the United States, like I found

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<v Speaker 2>my space in Ethiopian jazz to be like deeply, deeply

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<v Speaker 2>rooted as a black person in America while being able

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<v Speaker 2>to hold on to express, evolve and can remain connected

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<v Speaker 2>to my Ethiopian nests and my Ethiopian sounds.

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<v Speaker 1>Oh my god, such a vibe. I love this so much.

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<v Speaker 1>And you know, because oftentimes I feel like artists, all

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<v Speaker 1>different types of artists, whether it's musicians or you know,

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<v Speaker 1>visual artists, call there's you know, chefs paining. You know,

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<v Speaker 1>the realm poets are the ones that can better tell

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<v Speaker 1>our stories. And I wonder some of the stories that

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<v Speaker 1>have come up, you know, in your pod and in

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<v Speaker 1>Movement now that it's grown into you know, a live show,

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<v Speaker 1>what are some of the stories that you can share

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<v Speaker 1>with us to kind of you know, whatet our appetites

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<v Speaker 1>for for your show, but also what surprised you that

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<v Speaker 1>you learned?

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<v Speaker 2>Well, first of all, you know, when we started making

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<v Speaker 2>Movement as a live show, what we really discovered and

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<v Speaker 2>what we really wanted to honor is that you know,

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<v Speaker 2>immigrant communities are not the same in every space that

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<v Speaker 2>you go to, and so we actually remake our live show.

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<v Speaker 2>We remake half the live show to be local to

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<v Speaker 2>the place that we go. So half the show is

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<v Speaker 2>my songs and stories, and then half the show is

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<v Speaker 2>local to the spaces that we go to. On October

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<v Speaker 2>twenty eighth, will be in la and will be featuring

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<v Speaker 2>Choum Nimo, who is an incredible Cambodian vocalist. She's actually

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<v Speaker 2>telling the story of her of a song called twenty

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<v Speaker 2>two Nights, which was based on a time when she

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<v Speaker 2>was where she was detained by border control in an

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<v Speaker 2>ice facility with other women and had this incredible experience

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<v Speaker 2>though connecting with women from all over the globe and

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<v Speaker 2>then wrote music based on that. We're also working with

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<v Speaker 2>Clarissa Bitar, a beautiful Queer Palestinian ood virtuoso who like

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<v Speaker 2>shines her the spirit of her community through this virtuosic

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<v Speaker 2>ood playing, as well as a singer called Sancha who

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<v Speaker 2>is a Mexican American singer who grew up in the

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<v Speaker 2>queer communities and the and the drag communities of the

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<v Speaker 2>San Francisco Bay Area. Specifically and then found her home

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<v Speaker 2>in Los Angeles, and she is just an incredible songwriter

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<v Speaker 2>grounded in Rancherira music, and it has reclaimed Rancheria as

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<v Speaker 2>her own. What has really surprised me is how how

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<v Speaker 2>important intimate storytelling is. I once heard someone say that

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<v Speaker 2>the more specific you get, the more universal you are.

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<v Speaker 2>So we are like taking this very, very very you know,

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<v Speaker 2>almost a microscopic look at people's lives. We're thinking about

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<v Speaker 2>brothers and sisters and aunties and uncles. We're thinking about

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<v Speaker 2>an instrument that was hung in a home for an

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<v Speaker 2>entire life and then finding the stories that resonate out

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<v Speaker 2>of that. We're thinking about the ways that people and

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<v Speaker 2>communities surprise you. You know. Sancha tells an incredible story

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<v Speaker 2>of just being welcomed by what might from the outside

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<v Speaker 2>look like a very conservative community in Mexico, but then

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<v Speaker 2>finding her home as a queer person able to claim

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<v Speaker 2>her tradition music from that space. And so we're what

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<v Speaker 2>we're finding is that when you get to this intimate,

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<v Speaker 2>intimate level, you can really explore these large scale issues

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<v Speaker 2>in ways that are just people living their lives and

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<v Speaker 2>you laugh, you like you dance you know, I'm always

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<v Speaker 2>talking about the ways that music is like this ancient

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<v Speaker 2>technology that we have for bringing people together. You know,

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<v Speaker 2>there's this thing called entrainment. So when you listen to music,

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<v Speaker 2>your brain waves they synchronize to the rhythm. And that

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<v Speaker 2>means that everyone in an audience like think whatever you

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<v Speaker 2>want about that music. Think it's strange, think it's new,

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<v Speaker 2>think it's incredible. It actually doesn't matter. Your brain is

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<v Speaker 2>responding to that, Your heartbeat is responding to the music.

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<v Speaker 2>When people sing together, they breathe together. This is like

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<v Speaker 2>an ancient technology that we have for bringing people together.

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<v Speaker 2>And these are the spaces that we need to create,

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<v Speaker 2>spaces where we can be surprised, where we can be

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<v Speaker 2>like taken from a space of like reflection to joy,

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<v Speaker 2>where you want to dance, where you want to sing together,

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<v Speaker 2>and then you want to just you know, you want

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<v Speaker 2>to reflect on the world differently. And so that's why

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<v Speaker 2>we do what we do, and every show is a

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<v Speaker 2>surprise because it is local to the place that we go.

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<v Speaker 1>You know, I think now in particular about how much

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<v Speaker 1>music is needed, right, like I think about trying to

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<v Speaker 1>make sense of the world we are living in. Right,

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<v Speaker 1>everything has been. I don't care where you are, right,

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<v Speaker 1>it's been utterly disrupted, like the reality, the norms that

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<v Speaker 1>we that we knew, everything has been utterly disrupted, and

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<v Speaker 1>it's really hard, I think, for our brains to make

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<v Speaker 1>sense of it. What do you think it is? You know,

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<v Speaker 1>and you described it a bit about the wavelengths and

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<v Speaker 1>the and the shared vibrations that you have with music,

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<v Speaker 1>But what do you think it is about art and

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<v Speaker 1>in the importance of it in times of crisis, in

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<v Speaker 1>times of deep trauma, to really remind people of our

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<v Speaker 1>shared humanity.

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<v Speaker 2>You're absolutely right, we do need art to remind us

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<v Speaker 2>of our shared humanity. I think that, you know, I

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<v Speaker 2>have a lot of answers to this question, and some

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<v Speaker 2>of them come from my heart, and some of them

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<v Speaker 2>come from my mind, and some of them come from

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<v Speaker 2>the places that I've stored trauma in my own body.

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<v Speaker 2>But what I think the most basic thing is that

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<v Speaker 2>we are in this for the long haul. We have

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<v Speaker 2>got to have the medicine. We have got to have

0:14:50.200 --> 0:14:53.960
<v Speaker 2>the medicine in the struggle, because if we don't have that,

0:14:54.240 --> 0:14:57.080
<v Speaker 2>like we actually like, we're not going to be able

0:14:57.120 --> 0:15:01.600
<v Speaker 2>to keep showing up for each other. As an artist,

0:15:02.320 --> 0:15:05.840
<v Speaker 2>what's really important for me is the simple act of

0:15:05.960 --> 0:15:09.280
<v Speaker 2>singing is an act of connecting to my own body.

0:15:10.080 --> 0:15:13.160
<v Speaker 2>And as I practice, I've learned that I have a

0:15:13.200 --> 0:15:16.960
<v Speaker 2>practice where when I sing, Oh, okay, now I'm gonna

0:15:17.000 --> 0:15:20.280
<v Speaker 2>resonate the sound in my cheekbones. Now I'm going to

0:15:20.360 --> 0:15:22.240
<v Speaker 2>resonate it in my heart. Now I'm gonna let it

0:15:22.320 --> 0:15:25.400
<v Speaker 2>go all the way down into the bottom of my lungs.

0:15:25.440 --> 0:15:27.520
<v Speaker 2>And you know, in Chinese medicine they say that the

0:15:27.600 --> 0:15:29.640
<v Speaker 2>lungs are the place where you store grief, where you

0:15:29.720 --> 0:15:34.080
<v Speaker 2>process grief. Okay, now I'm gonna let the sound resonate

0:15:34.120 --> 0:15:36.120
<v Speaker 2>in there for a while. And so for me, it

0:15:36.280 --> 0:15:40.240
<v Speaker 2>is literally my medicine where I check in with myself,

0:15:40.280 --> 0:15:43.680
<v Speaker 2>where I connect with my body. That can happen. You

0:15:43.720 --> 0:15:45.720
<v Speaker 2>don't have to be a singer for that to happen.

0:15:45.760 --> 0:15:48.320
<v Speaker 2>You can do it through dance, You can do it

0:15:48.400 --> 0:15:51.840
<v Speaker 2>through listening. You could, but an attentive listening, you know,

0:15:52.960 --> 0:15:56.240
<v Speaker 2>not a background music. But yeah, let it wash over

0:15:56.280 --> 0:16:00.840
<v Speaker 2>you and you let it. You let yourself res with it,

0:16:01.000 --> 0:16:05.000
<v Speaker 2>you know, because there's this funny thing where Okay, the

0:16:05.080 --> 0:16:08.200
<v Speaker 2>air in our lungs is like have you ever felt

0:16:08.240 --> 0:16:10.760
<v Speaker 2>the base in your chest? Have you ever felt have

0:16:10.840 --> 0:16:13.480
<v Speaker 2>you ever like listened to base and you feel it like.

0:16:13.440 --> 0:16:16.520
<v Speaker 1>A big base, like yes, yes, yes, yes, yes.

0:16:16.600 --> 0:16:22.640
<v Speaker 2>That's the air and the space in your body. The

0:16:23.120 --> 0:16:26.880
<v Speaker 2>air you know, sound waves travel through air. Okay, there's

0:16:26.920 --> 0:16:30.160
<v Speaker 2>air in your lungs. When when that base frequency hits

0:16:30.200 --> 0:16:32.880
<v Speaker 2>your lungs, where there's the air and your lungs resonating,

0:16:32.960 --> 0:16:36.040
<v Speaker 2>like this is how we get to our bodies. And

0:16:36.120 --> 0:16:39.320
<v Speaker 2>so it's both like the medicine for when I'm feeling

0:16:39.720 --> 0:16:43.280
<v Speaker 2>in crisis and trauma. It's how I remember that I

0:16:43.320 --> 0:16:47.520
<v Speaker 2>am here and that I can ground to my physical being.

0:16:47.640 --> 0:16:50.320
<v Speaker 2>I can say, Okay, in this moment, I am safe,

0:16:50.720 --> 0:16:53.840
<v Speaker 2>I'm in this room. Now what can I do now?

0:16:53.880 --> 0:16:55.960
<v Speaker 2>What can I do now? How can I reach out?

0:16:56.600 --> 0:17:00.680
<v Speaker 2>And so for me, it's about the long haul. Musicians

0:17:00.720 --> 0:17:04.960
<v Speaker 2>are natural storytellers, you know, we need storytellers in the

0:17:05.000 --> 0:17:08.879
<v Speaker 2>spaces that we are trying to build a better world together.

0:17:08.960 --> 0:17:12.359
<v Speaker 2>We are all storytellers. Actually would look at anybody like

0:17:12.440 --> 0:17:16.440
<v Speaker 2>I see the stories that are inside of them. So

0:17:16.640 --> 0:17:19.119
<v Speaker 2>these are tools that we have to keep going to

0:17:19.200 --> 0:17:21.440
<v Speaker 2>be the medicine for ourselves and for each other.

0:17:21.960 --> 0:17:25.280
<v Speaker 1>I love it. When you said medicine and the struggle,

0:17:26.480 --> 0:17:30.000
<v Speaker 1>for so long I have been looking for the bomb,

0:17:30.480 --> 0:17:33.280
<v Speaker 1>you know what I'm saying for the wound, right, Like

0:17:33.359 --> 0:17:37.159
<v Speaker 1>I often talk about where we are in this certain

0:17:37.280 --> 0:17:40.359
<v Speaker 1>in this climate, which is that we are just a

0:17:40.440 --> 0:17:44.680
<v Speaker 1>bunch of open wounds walking around that have not excavated

0:17:45.560 --> 0:17:49.920
<v Speaker 1>the cause, right, and we just keep bumping into each other,

0:17:50.000 --> 0:17:52.760
<v Speaker 1>bumping into each other. We need to clean it out

0:17:53.080 --> 0:17:54.840
<v Speaker 1>in order to heal it. And there needs to be

0:17:54.920 --> 0:17:59.320
<v Speaker 1>a bomb, a soothing for it, right Otherwise like we

0:17:59.520 --> 0:18:01.680
<v Speaker 1>just were always going to be reacting. We can never

0:18:01.720 --> 0:18:04.960
<v Speaker 1>get to a place of creating because we're in consistent pain.

0:18:06.040 --> 0:18:10.560
<v Speaker 1>So when you said medicine and the struggle, I'm like, yes, yes, yes, Yes.

0:18:10.560 --> 0:18:13.640
<v Speaker 2>Actually wrote a whole album for that. It's like, oh,

0:18:13.720 --> 0:18:17.480
<v Speaker 2>people need a ball, but you know, and it's also

0:18:17.560 --> 0:18:19.240
<v Speaker 2>to share it that we're not alone in it.

0:18:20.200 --> 0:18:26.040
<v Speaker 1>Yeah. What what do you want folks, you know, to

0:18:26.200 --> 0:18:30.120
<v Speaker 1>take away from movement? Like when they you know, when

0:18:30.160 --> 0:18:32.760
<v Speaker 1>they connect and they are able to see it in

0:18:32.800 --> 0:18:35.439
<v Speaker 1>person when they listen to the pod, Like, what do

0:18:35.480 --> 0:18:39.080
<v Speaker 1>you want people to take away?

0:18:40.359 --> 0:18:44.880
<v Speaker 2>I mean there's so many things. One is that the

0:18:44.920 --> 0:18:48.680
<v Speaker 2>sound of a radically diverse world is bumping. The soundtrack

0:18:48.840 --> 0:18:53.760
<v Speaker 2>is bumping, and like and so, and learning about other

0:18:53.760 --> 0:18:58.600
<v Speaker 2>people's cultures is a way that we get to experience

0:18:58.680 --> 0:19:02.200
<v Speaker 2>that that has joy and so celebration and communal, communal

0:19:02.240 --> 0:19:05.240
<v Speaker 2>spaces in it. Even as we are in this state

0:19:05.280 --> 0:19:09.240
<v Speaker 2>of crisis, we don't want to disconnect. I don't want

0:19:09.280 --> 0:19:12.080
<v Speaker 2>to disconnect from my capacity for joy. I don't want

0:19:12.119 --> 0:19:14.520
<v Speaker 2>to Yes, every time I sing, I can connect to

0:19:14.560 --> 0:19:16.879
<v Speaker 2>my capacity for joy, every time I hear music, I

0:19:16.880 --> 0:19:21.000
<v Speaker 2>can connect to that. I want people to, you know,

0:19:21.600 --> 0:19:27.639
<v Speaker 2>have an understanding that immigrants, migrants and refugees are like

0:19:28.200 --> 0:19:34.760
<v Speaker 2>wildly creative people who are contributing so much culturally. And

0:19:35.000 --> 0:19:41.320
<v Speaker 2>I want folks to understand that. You know, the ways

0:19:41.400 --> 0:19:43.520
<v Speaker 2>that we are open to each other, the ways that

0:19:43.560 --> 0:19:45.879
<v Speaker 2>we are curious about each other, the ways that we

0:19:45.960 --> 0:19:49.960
<v Speaker 2>approach each other with question rather than and I don't

0:19:49.960 --> 0:19:53.280
<v Speaker 2>mean like judgmental question, but like genuine curiosity rather than

0:19:53.359 --> 0:19:56.440
<v Speaker 2>judgment opens up the stories inside of all of us.

0:19:57.000 --> 0:19:59.639
<v Speaker 2>And that space can be a space where we can

0:19:59.680 --> 0:20:04.399
<v Speaker 2>find solutions and where we can find ways of advocating

0:20:04.480 --> 0:20:07.880
<v Speaker 2>for each other across struggles as well and looking at

0:20:07.920 --> 0:20:10.800
<v Speaker 2>intersectionality is really important for us as well.

0:20:13.800 --> 0:20:18.120
<v Speaker 1>Beautiful. So you said November twenty eighth is where? Hey,

0:20:18.680 --> 0:20:19.320
<v Speaker 1>what do you say?

0:20:19.640 --> 0:20:20.639
<v Speaker 2>October twenty Hey?

0:20:20.760 --> 0:20:24.680
<v Speaker 1>October okay? October twenty eighth, you are in.

0:20:24.119 --> 0:20:28.639
<v Speaker 2>La Yes, Yes, at the new Nimoy Theater at UCLA.

0:20:29.119 --> 0:20:33.800
<v Speaker 1>Okay, And then how can people stay connected? Find the

0:20:33.880 --> 0:20:35.359
<v Speaker 1>dates of where you're going to be? When do you

0:20:35.440 --> 0:20:37.080
<v Speaker 1>ever come to the East coast? Do you ever come

0:20:37.119 --> 0:20:37.840
<v Speaker 1>to the East Coast?

0:20:38.200 --> 0:20:41.439
<v Speaker 2>Yes? We did a live show at Lincoln Center in

0:20:41.600 --> 0:20:45.960
<v Speaker 2>March in New York. We'll be back, don't worry. And

0:20:46.040 --> 0:20:49.560
<v Speaker 2>we're going to Washington, d C. To the DMV area.

0:20:49.680 --> 0:20:53.280
<v Speaker 2>We'll be in Silver Spring, Maryland at Montgomery College on

0:20:53.359 --> 0:20:56.399
<v Speaker 2>February fifteenth for the live show as well. And of

0:20:56.400 --> 0:20:58.560
<v Speaker 2>course you can get the podcast anywhere you listen to

0:20:58.640 --> 0:21:03.200
<v Speaker 2>podcasts Movement with macleadero, and you can stay in touch

0:21:03.240 --> 0:21:07.000
<v Speaker 2>with me, you know. Okay. So I'm based in San Francisco,

0:21:07.160 --> 0:21:09.840
<v Speaker 2>And even if you forget my name, if you google

0:21:10.000 --> 0:21:12.359
<v Speaker 2>Ethiopian singer San Francisco's right.

0:21:15.720 --> 0:21:18.919
<v Speaker 1>I love that, like I'm at the top of the list.

0:21:19.040 --> 0:21:23.040
<v Speaker 1>I am the list lickly.

0:21:23.280 --> 0:21:23.720
<v Speaker 2>It was.

0:21:23.920 --> 0:21:28.000
<v Speaker 1>It's such a pleasure to meet you. I'm so grateful

0:21:28.560 --> 0:21:31.199
<v Speaker 1>for the work that you're doing, for the inspiration that

0:21:31.240 --> 0:21:35.480
<v Speaker 1>you're providing, for the art that you're bringing in to

0:21:36.040 --> 0:21:42.159
<v Speaker 1>the world. Because yeah, we and especially especially in times

0:21:42.200 --> 0:21:45.520
<v Speaker 1>of pain, in times of prices, in trauma, we cannot

0:21:45.560 --> 0:21:49.000
<v Speaker 1>forget our joy and we cannot forget our shared humanity.

0:21:49.119 --> 0:21:53.280
<v Speaker 1>And music is a wonderful, wonderful balmb So, thank you

0:21:53.359 --> 0:21:54.679
<v Speaker 1>so much for making me time.

0:21:55.160 --> 0:21:57.600
<v Speaker 2>Thank you so much for having me. It's been such

0:21:57.600 --> 0:21:58.080
<v Speaker 2>a pleasure.

0:22:02.119 --> 0:22:05.639
<v Speaker 1>M That is it for me today. Dear friends on

0:22:06.119 --> 0:22:09.879
<v Speaker 1>woke f as always, power to the people and to

0:22:10.080 --> 0:22:14.160
<v Speaker 1>all the people power, get woke and stay woke as fuck.