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Speaker 1: I'm Lisa and Akazawa join me on season two of

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Speaker 1: Stars and Stars with Lisa, where I sit down with

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Speaker 1: some of the most exciting stars of our time to

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Speaker 1: find out what their birth chart reveals about their life's purpose,

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Speaker 1: their relationships and their challenges. Winner of the Signal Award

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Speaker 1: for Most Inspirational Podcast, Stars and Stars will help you

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Speaker 1: make sense of today's complicated times. Even if you're an

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Speaker 1: astrology skeptic. You can listen to Stars and Stars with

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Speaker 1: Lisa wherever you get your podcasts. Don't forget to follow

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Speaker 1: the show so you never miss an episode.

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Speaker 2: Today, we're going to Buenos Aires, Argentina's capital and the

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Speaker 2: mecca of dango. You know, when I think about dango,

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Speaker 2: I think of something very regal, a kind of couple

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Speaker 2: that are you know, the man is in a sued

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Speaker 2: the woman is in a silky dress with a super

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Speaker 2: high split. But what if I told you that tango

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Speaker 2: wasn't always danced by elegant heterosexual couples. Why don't you

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Speaker 2: join us on this look at the little known and

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Speaker 2: controversial roots of the ultimate Argentinian music genre, dango. Our

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Speaker 2: Story first aired in twenty twenty two from Fuduro media,

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Speaker 2: It's Latino Usa, I'm Maria, no josaf and today all

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Speaker 2: things dango. Before it became the defining music of Argentina,

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Speaker 2: tango was actually condemned by elites and the Catholic Church

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Speaker 2: as well, which saw it as obscene and transgressive. The

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Speaker 2: dance's reign was also threatened by the worldwide phenomenon of

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Speaker 2: rock and roll, and then all but buried by Argentina's

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Speaker 2: Dirty War. When dungo began its revival in the nineteen

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Speaker 2: eighties and nineties, a new era of dango artists began

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Speaker 2: challenging rigid norms established in the early half of the

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Speaker 2: twentieth century, breaking from traditional gender roles and shining a

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Speaker 2: light on the black history of dungo. These artists aimed

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Speaker 2: to invoke dango's past to make way for a more

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Speaker 2: inclusive future. In this episode, we're going to travel to

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Speaker 2: Argentina and meet three women who are going to help

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Speaker 2: us understand the controversial roots of dungo and how they're

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Speaker 2: helping to give new life to a dance very much

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Speaker 2: rooted in tradition. Producer Jessica Bonds will lead us on

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Speaker 2: that journey.

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Speaker 3: He sure Buenos Aires native entango dancer and instructor, has

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Speaker 3: had a relationship with tango for as long as she

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Speaker 3: can remember.

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Speaker 4: My memories are from my family, my very young years,

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Speaker 4: because in the parties in the Christmas, in the New Year,

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Speaker 4: or birthdays, the family was in the party to it

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Speaker 4: and dance, So I danced on the feet of my

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Speaker 4: father like a doll as part of the ceremony in

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Speaker 4: the family.

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Speaker 3: It was the nineteen forties and fifties tango's golden age.

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Speaker 3: Back then, Shushu was just a little girl, but she

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Speaker 3: remembers hearing music's building out of cafes and cabarets into

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Speaker 3: the streets of Buenos Aires. Every night it was danced

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Speaker 3: in clubs, saloons and carnivals. Tango became a reflection of Buenosidres' identity,

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Speaker 3: a metropolis that did not sleep, and tango was its

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Speaker 3: nocturnal news. Then, during the sixties and seventies, rock and

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Speaker 3: roll was introduced to the world. This new sound, inspired

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Speaker 3: by the sexual and political revolutions of the time, influenced

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Speaker 3: a new generation across the globe. Youth rejected everything that

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Speaker 3: seemed old and antiquated. For Argentines, tango fell into this category. Shushu,

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Speaker 3: who by then was well into her teenage years, remembers

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Speaker 3: that time.

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Speaker 4: I don't want it to listen to tango for me worried,

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Speaker 4: or I changed the radio because oh that.

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Speaker 5: Is music for old people.

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Speaker 3: I want rock and roll, and then all the music stopped.

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Speaker 3: Argentina's last military dictatorship ruled from nineteen seventy six to

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Speaker 3: nineteen eighty three and was known for its human rights atrocities.

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Speaker 3: The regime also halted the evolution of art and culture

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Speaker 3: through strict curfews and extreme censorship. Shushu was in her

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Speaker 3: early twenties at the time, even though she wasn't into

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Speaker 3: the tango scene as much, she remembers how tango suffered

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Speaker 3: during this period.

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Speaker 4: We so for many nine of different things, and one

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Speaker 4: of that was the impossibility to connect with our identity,

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Speaker 4: our roots. Many tangos was censored and many plays to

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Speaker 4: Dan's Tango was closed too, and the militars entered in

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Speaker 4: one place and stop all the music, or ask you documents,

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Speaker 4: or maybe you finish your night in the police office.

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Speaker 3: The dictatorship traumatized the country. Tens of thousands were disappeared

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Speaker 3: in those seven years. Assassinations were carried out via mass shootings,

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Speaker 3: and people were drugged and thrown from airplanes into the ocean. Additionally,

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Speaker 3: twelve thousand prisoners, many of whom did not have a

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Speaker 3: fair trial, were detained in a network of secret concentration

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Speaker 3: camps located throughout Argentina. By the nineteen eighties, economic collapse,

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Speaker 3: public discontent, and the disastrous handling of the Falcons War

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Speaker 3: between Argentina and England resulted in the end of the

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Speaker 3: military junta. When democracy was finally restored in nineteen eighty three,

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Speaker 3: Shushoo says people were eager for new ways of expression

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Speaker 3: and they found it in tango.

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Speaker 5: Tango always wait for you.

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Speaker 4: Was there like a seed into very deep hole into

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Speaker 4: the ground, waiting to the winter lifts, and in that

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Speaker 4: moment start the spring of tango.

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Speaker 5: The tango start to develop again from sero.

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Speaker 3: The repression she and others her age experience during Argentina's

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Speaker 3: Dirty War awoke Shushoo's childhood memories her family parties when

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Speaker 3: she would dance tango on top of her dad's feet.

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Speaker 3: She too wanted to reclaim her identity, so at age

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Speaker 3: twenty five read she began taking tango classes, but it

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Speaker 3: wasn't enough. She wanted to become a pro ad.

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Speaker 4: What I love is teach, So I needed to learn

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Speaker 4: how to lead. I needed to dominate both roles.

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Speaker 3: Traditionally, in tango, the leader role is assigned to the

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Speaker 3: male partner and the follower role to the female. So

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Speaker 3: when she should try to learn both roles, she faced

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Speaker 3: a lot of resistance.

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Speaker 4: In the old times, If you, for example, take a lesson,

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Speaker 4: you say to the teacher, ah, I am here because

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Speaker 4: I want to lead.

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Speaker 5: And the teacher say, no, you are a woman, but

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Speaker 5: I pay you.

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Speaker 4: No, no, you are a woman. You cannot lead, or

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Speaker 4: the other women. No, I don't want to dance with you.

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Speaker 4: I am here to embrace a man. No embrace a woman.

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Speaker 4: I just feel that I was alone. I am crazy,

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Speaker 4: But she should wasn't.

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Speaker 3: While she was reconnecting with tango for herself in young adulthood,

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Speaker 3: Mareno do Campo, as a teenager who came of age

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Speaker 3: during the Dirty War, was finding tango for the first time.

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Speaker 6: At the end of the military process. With the beginning

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Speaker 6: of the democracy, these old milongios of the forties started

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Speaker 6: to go out again to the clubs to dance.

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Speaker 3: A milongo is a person who dances tango in social settings.

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Speaker 3: The word comes from the term milonga, a derivative of

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Speaker 3: Bundtu language, which made its way to Argentina through enslavement.

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Speaker 3: Milonga also refers to a tango dance event.

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Speaker 6: And the young people started to go to these class

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Speaker 6: learning from these old milangiras.

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Speaker 3: Wanting more freedom and flexibility, young dancers started clashing with

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Speaker 3: the old guard. Madana didn't grow up with tango the

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Speaker 3: way she shoot it because it wasn't around during her childhood.

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Speaker 3: Tango from Mariana was something new, almost foreign, but the

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Speaker 3: exoticness of it quickly faded for her.

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Speaker 6: I started to take lessons in a place that called Elgachito.

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Speaker 6: The people that used to go there were very old people,

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Speaker 6: and it was in a traditional place where the men

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Speaker 6: lad and the woman followed.

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Speaker 3: Marina realized tengo's codes weren't lining up with the increasingly

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Speaker 3: gender inclusive Buenos Aires society of the nineteen nineties. While

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Speaker 3: Argentina was moving away from rigid gender expectations, an entire

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Speaker 3: generation of dango was still frozen in time.

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Speaker 6: I wanted to dance, and I didn't want to dance

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Speaker 6: only with men. I didn't want to wait for the

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Speaker 6: men all the time, or the other thing was that

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Speaker 6: they all the knowledge in the in the classes where

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Speaker 6: it was given to the men. The women helped the

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Speaker 6: men to dance. And also I started to see the

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Speaker 6: old men always dancing with young women, and the old

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Speaker 6: women needn't dance or wait all the night. And I

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Speaker 6: was ribellos against this.

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Speaker 3: The idea of reforming tango seemed like an impossible task

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Speaker 3: for both Madiana and Shushu, but that didn't seem to

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Speaker 3: stop them. In the decades after, both of them worked

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Speaker 3: tirelessly towards mantling their rigid, heteronormative and superficial elements of

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Speaker 3: antiquated and unevolved tango. Meanwhile, tango was infiltrating the foreign market,

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Speaker 3: and by two thousand and four it reached Shilene Oliveda

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Speaker 3: for the first time. Silena was a Brazilian college student

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Speaker 3: in Cuba. She was only seventeen when a Bolivian roommate

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Speaker 3: introduced her to the music and dance. As a black woman,

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Speaker 3: she Lena found it hard to connect with tango at first.

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Speaker 7: For me, it was really something really unthinkable because I had,

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Speaker 7: as I guess everyone passed that image of tango, very European,

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Speaker 7: very white, very chic.

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Speaker 3: But when she Lena started to study the lyrics, to

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Speaker 3: really look closely at the music, she gained a completely

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Speaker 3: new perspective on tango.

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Speaker 2: Stay with us, not yes, hey, we're back. She'd Lene,

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Speaker 2: a Brazilian woman, fell fast in love with dango. She

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Speaker 2: Juju and Marianna shared that connection to the music, and

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Speaker 2: they had started teaching it to others too. So let's

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Speaker 2: get back to the story.

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Speaker 7: Now, we in Brazil are very like separated of the

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Speaker 7: rest of America Latina. We just don't talk of Spanish.

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Speaker 7: So when I started to heard it, I realized that

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Speaker 7: the lyrics were very, very humans, very deep, and very

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Speaker 7: close of me.

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Speaker 3: Sheilene, who was able to understand Spanish, fell hard for tango.

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Speaker 3: She wasn't a dancer, she wanted to sing. As a

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Speaker 3: young teenager, she'd been a singer in Brazil, and tango

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Speaker 3: sparked her interest in music all over again. In two

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Speaker 3: thousand and eight, after finishing college, she Lena visited her

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Speaker 3: roommate back in Bolivia. That's where she met her roommate's mother,

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Speaker 3: who was a tango dancer and singer. She became she

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Speaker 3: Lena's first mentor in tango.

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Speaker 7: She was really determinated to make me understand that I

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Speaker 7: could sing, and she gave to me three different tangles

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Speaker 7: to learn, and she give to me an appointment with

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Speaker 7: a musician who was playing in the Casagentina there in

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Speaker 7: la pace. That place were descinated to Argentine tradiction, and

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Speaker 7: I didn't have a lot of choice, so I go,

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Speaker 7: I started to sing to learn.

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Speaker 3: She then realized that she could turn this new passion

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Speaker 3: into an actual career. But tragedy struck. Her friend's mother

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Speaker 3: became very ill and died.

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Speaker 7: Suddenly, my friends invite me to sing tango in her funeral.

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Speaker 3: She learned using gua a tango classic.

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Speaker 7: Nadasti free.

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Speaker 5: Elvient nextra la.

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Speaker 7: But as you.

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Speaker 8: In la sombra me androsa yes and to.

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Speaker 7: That were my de boots. My first time officially singing

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Speaker 7: tango done me.

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Speaker 3: In that moment she learned it finally connected with tango passion,

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Speaker 3: overtook all those stereotypes, those rigid tropes, they didn't matter anymore.

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Speaker 3: All that mattered was the music.

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Speaker 8: Guba sol steplacet coassong, trancia sing.

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Speaker 7: The endo was really beautiful more than said was beautiful,

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Speaker 7: and the whole family were very happy to give this

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Speaker 7: last gift to her.

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Speaker 3: Sheilena's relationship to doango wouldn't always be this simple, though.

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Speaker 3: She decided to move to Buenos Aires to pursue her career,

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Speaker 3: but she was still an outsider entering a world that

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Speaker 3: was still largely stuck in the past when it came

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Speaker 3: to matters of race, gender, and quote unquote tradition. So

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Speaker 3: Sheilina decided to fight for a more inclusive future for dango,

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Speaker 3: a vision shared by Shushu, by Marianna, and by the

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Speaker 3: next generation of performers pushing the boundaries of Argentina's quintessential dance.

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Speaker 3: Shushu and other performers and instructors like Mariana and Sheilene

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Speaker 3: want to open dango to everyone. For Shushu, that means

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Speaker 3: closing your eyes literally, but it's ok. After twenty five

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Speaker 3: years in a ango scene, today she she was a

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Speaker 3: well regarded instructor in Buenos Aires and she's not. For

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Speaker 3: a pretty unique lesson plan, she blindfolds her students while

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Speaker 3: they dance, a technique she thought would help dispenser stereotypes.

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Speaker 4: They cannot see if you are fat or you are short,

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Speaker 4: or if you are at all, or you are black

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Speaker 4: or you are white. It's not important if you have

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Speaker 4: a nice dress to be invited to dance, or if

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Speaker 4: you look very good you're on that, or how you

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Speaker 4: move with no no, no, you cannot see, so all

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Speaker 4: the things that you judge to the person through your

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Speaker 4: eyes are.

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Speaker 5: Not there, so as much more that you can get

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Speaker 5: without your eyes.

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Speaker 3: She s even went an extra mile to teach the

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Speaker 3: visually impaired. She says she learns from them.

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Speaker 4: I started to experiment with the lightbeople was very emotional.

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Speaker 4: People feel something absolutely new and they was very happy

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Speaker 4: because they can dance together, move in one space with

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Speaker 4: other persons. That is something very strong.

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Speaker 3: Similarly, for Marianna, contributing to the evolution of tangle meant

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Speaker 3: breaking down gender and racial stereotypes. When I came to

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Speaker 3: her own practice and teaching, Marina focused on really finding

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Speaker 3: traditional roles in tango.

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Speaker 6: I studied to teach in a lesbian place called like

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Speaker 6: Assael and Guentro, and the men who were forbidden men

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Speaker 6: could not enter the For me, my idea was teaching

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Speaker 6: tangle to everybody and exchange roles.

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Speaker 3: For Mariana queer tango was an act of female empowerment.

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Speaker 6: The queer tango is it's difficult to define when I started.

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Speaker 6: I won't need to separate the role from the sender.

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Speaker 9: End.

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Speaker 6: It has to do with the feminist position.

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Speaker 3: Madanna began teaching tango to queer Argentines and later in

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Speaker 3: two thousand and five, she founded Tango Queer, a weekly

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Speaker 3: party where women dance with women and men with men freely.

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Speaker 3: Approach might seem a bit radical to some hardline tango traditionalists,

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Speaker 3: but a dive into the history of dango reveals its

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Speaker 3: origins were quite flexible when it came to gender roles.

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Speaker 2: We'll be right back. Hey, we're back. Let's continue with

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Speaker 2: the unknown history of tango.

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Speaker 6: The queer tangle exists from the beginning of the history

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Speaker 6: of the tango, men dancing with men and women with

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Speaker 6: women from the very beginning, and you can see that

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Speaker 6: in the photos that you can find very easy in Internet.

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Speaker 3: What's believed to be the first published photo of tango

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Speaker 3: dancers did it back to nineteen oh three depicts two

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Speaker 3: men made embrace. They're wearing loose fitted pants, blazers, hats,

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Speaker 3: and boots. One of them has its pants tucked into

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Speaker 3: his boots, sort of like a gaucho the Argentine cowboy.

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Speaker 6: The history tells that the men before entering in the brathons,

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Speaker 6: they did dance two together to practice the steps. But

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Speaker 6: also there are also photographs of women dancing together, especially

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Speaker 6: foreign European prostitutes. All these environments were very queer. In

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Speaker 6: one way, it was not so strict. The tango was

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Speaker 6: very amoral. Then tango became famous in Paris in nineteen.

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Speaker 3: Ten, primarily danced by workers and sailors. Both Argentine and European.

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Speaker 3: Tango crossed the Atlantic Ocean at the start of the

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Speaker 3: twentieth century and entered the cabarets and brothels of France.

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Speaker 3: The dance was eventually embraced by the upper class, becoming

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Speaker 3: a sensation in Paris.

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Speaker 6: Then when they come to Buenos Aires, in this on

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Speaker 6: it was taken by the high class and then started

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Speaker 6: all the morality around the tango. But before it was

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Speaker 6: very andmoral and it was not necessarily that they were

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Speaker 6: lesbians or gays. They just exchanged roles.

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Speaker 3: Mariana says that those very defined gender roles a man

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Speaker 3: leading a woman following, do have a basis in tango's history,

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Speaker 3: but only with respect to the nineteen forties and fifties.

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Speaker 6: In the goldern Nags, the clubs were full of people

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Speaker 6: of middle class and in this moment the mora was

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Speaker 6: very strong. And what we receive indy, this was this tango,

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Speaker 6: not the tango of the origins. That's why when we

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Speaker 6: started with the queer tango and people say, oh, the

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Speaker 6: tango is men and women, our argument was, but the

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Speaker 6: tango started queer.

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Speaker 3: But tango's origins aren't just queer. Seen as a predominantly

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Speaker 3: white dance, tango in fact has black roots. That Telenderiano

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Speaker 3: considered the first tango in history. It was composed in

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Speaker 3: eighteen ninety seven by the Afro Argentine musician Rosendo men Disabal.

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Speaker 3: He was known as one of the greatest local pianists

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Speaker 3: at the time and was a regular and many venues

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Speaker 3: where tango was becoming popular. Understanding tango's past is Kidra

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Speaker 3: building its future Mariano, and so does she Lenez. After

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Speaker 3: moving from her native Brasil to Buenos Aires in twenty twelve,

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Speaker 3: she Lena began exploring the history of tango. She discovered

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Speaker 3: its African influences and that opened a new dimension and

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Speaker 3: tango for her.

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Speaker 7: In the beginning of the centuries, half a part of

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Speaker 7: people here was black. Here in Buenos Aires, specifically places

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Speaker 7: with marginal people, they are also doing things to have fun,

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Speaker 7: to create something to escape of the sadness to be

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Speaker 7: in this condition of slavery. Sperandos spiral after to discovery

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Speaker 7: the Black African origin of the style of this music

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Speaker 7: more and more and it's like, okay, this is like

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Speaker 7: a lot of music styles, like somebody, this is like

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Speaker 7: funk jazz. And the beginning was really like, oh, I

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Speaker 7: have to learn it's so outside of my culture, which

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Speaker 7: is true, but not that much.

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Speaker 10: Lavina sona milong i guess bylanus Via Solan.

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Speaker 3: Tango evolved from a drum heavy music style that came

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Speaker 3: from free slaves in South America. It later fused with

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Speaker 3: other immigrant music before becoming milonga and finally tango. The

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Speaker 3: word tango itself was used to describe the place where

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Speaker 3: former slaves gathered to dance. Black musicians put tango on

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Speaker 3: the map. Composers such as Mendi Saba Kaas, Kishimo Barvieri,

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Speaker 3: Juaquin Mora, and more recently Oraso Salagan were instrumental in

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Speaker 3: creating the dango we know today. Their contributions to dango, however,

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Speaker 3: have been hidden over time, much like Argentina's historical black population.

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Speaker 3: Even though Afri descendants accounted for thirty percent of the

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Speaker 3: country's population at the start of the eighteenth century, Argentina

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Speaker 3: strove to present itself to the world as a homogeneously

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Speaker 3: white nation of European descent. In the late nineteenth century,

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Speaker 3: war and diseases decimated Argentina's black population. Serving in the

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Speaker 3: army and living in segregated neighborhoods were diseases such as

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Speaker 3: yellow fever and cholera spread. It was in until twenty

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Speaker 3: ten that Argentina's national census began counting people of African

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Speaker 3: descent for the first time. Afri descendants currently make less

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Speaker 3: than one percent of the forty one million people living

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Speaker 3: in Argentina. She Lenna says she often faces resistance and

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Speaker 3: judgment for being a black woman and Buenos Aires, and

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Speaker 3: especially for being a black tango singer.

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Speaker 7: I guess it's always going to be some kind of

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Speaker 7: surprise to people who doesn't want to recognizing how the

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Speaker 7: city try to hide the black culture here. I have

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Speaker 7: a lot of memories and phrases of people who's very

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Speaker 7: surprising to see me just because I'm black.

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Speaker 3: She Lena says. These interactions range from mild and easy

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Speaker 3: to dismiss to threatening or demoralizing. It's part of the job.

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Speaker 7: She says, I was invited to sing in very undergrounds.

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Speaker 7: Mi long as I was there in the middle of

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Speaker 7: the place, without Sonido, without Mike, just with the voice

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Speaker 7: listening gas si vic. Now they econ sol.

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Speaker 5: And me auflicks you.

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Speaker 3: And uh.

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Speaker 7: Some men just said, okay, now you're gonna start the

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Speaker 7: dance samba. Ha ha. He saw me as a black

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Speaker 7: woman there and the first thing that he can connected

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Speaker 7: is with the sambo and dancing. And I just said,

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Speaker 7: I came here to sing tango today.

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Speaker 3: She Lena uses her platform as a tango singer to

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Speaker 3: educate people about the African roots of tango. She performs

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Speaker 3: music by black composers and explains the audiences how her

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Speaker 3: performances tie back to their black roots.

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Speaker 11: Mil Nis Venus swear people in Sara monte pasional tangetra.

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Speaker 7: When I do tango, I put that real part of

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Speaker 7: this history in the table, because I guess it's some

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Speaker 7: kind of interchange. The tango gives so much to me.

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Speaker 7: I am a different singer now, I am a different artist.

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Speaker 7: Now I travel singing tango. People who knows me singing

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Speaker 7: tango knows how how much I care about it. So

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Speaker 7: it's some kind of part of give back what tango

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Speaker 7: gives to me, recognizing those beginnings or the birth or

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Speaker 7: la jasies. It's a very large relationship and we are

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Speaker 7: happy to get them in the tango.

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Speaker 3: Yes, tango is slowly changing, much like its birthplace. After

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Speaker 3: living in Buenos Aires for ten years, Chilene has started

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Speaker 3: to feel more accepted.

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Speaker 7: Two weeks ago, I sink here in Congresso Plaza. When

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Speaker 7: I finished the thing, some kind of old men past

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Speaker 7: and said, oh you you really has a good voice,

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Speaker 7: really have a good voice. You are on the way,

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Speaker 7: very Argentinian, very old men, dacsional Covin Okay. When I

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Speaker 7: lost she was not surprising with my look, the fact

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Speaker 7: that I'm black, and that was something that makes me

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Speaker 7: feel really happy.

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Speaker 3: Contributing to Mariennas and others efforts to make dango more

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Speaker 3: relatable for everybody, Buenos aireist's society has also become more inclusive.

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Speaker 6: Clara happened at the same time of different political events

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Speaker 6: for the LGTV community and the women also, for example,

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Speaker 6: the equal Mattunioitario equal marriage identity law. It was a

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Speaker 6: period more than about fifteen years where we did have

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Speaker 6: a lot of improvement in these kind of laws, but

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Speaker 6: would change in the end of the nineties beginning of

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Speaker 6: the two thousand. What is the position and the visivility

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Speaker 6: and the political conscience. We took what was our rights,

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Speaker 6: and one of these rights we were dancing with the

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Speaker 6: person with whom you wanted to dance.

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Speaker 3: Mariana is also very optimistic about the future.

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Speaker 6: It's time there are more women than sintango, more men following,

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Speaker 6: less problems with the queers, and the society is each

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00:30:51,720 --> 00:30:52,480
Speaker 6: time more open.

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Speaker 3: Trail Plazers like Mariana she Lene and she should live

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Speaker 3: by that. Mandra Tango and the society they live in

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00:31:02,840 --> 00:31:04,200
Speaker 3: should be open for all.

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Speaker 4: It's not important what is your relation, what is your ideology.

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Speaker 5: Political ideology, what is your right? What is your age?

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Speaker 5: You can dunstable and we don't need to discuss.

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00:31:18,120 --> 00:31:22,080
Speaker 4: Because when you doance, you need to make silence to

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Speaker 4: listen to your heart. So no discussions, don't fight More,

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Speaker 4: Rice Less, wark Less, Hate.

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Speaker 9: Oh, Suicain Cobo, record a photos and co the bus.

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Speaker 9: There is your Money Go.

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Speaker 2: That's it for today. Our story first aired in twenty

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Speaker 2: twenty two. It was produced by Jessica Bones and Alejandra Salasad.

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Speaker 2: It was edited by Andrea Lopez Cruzado, and it was

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Speaker 2: mixed by Stephanie Lebau and Julia Caruso. Fact Checking for

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Speaker 2: this episode by Elisa Baena and Andrew vignanis Special thanks

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00:32:25,520 --> 00:32:30,600
Speaker 2: to Schidlene Oliveira and Finisterere Dango for sharing their music

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00:32:30,640 --> 00:32:34,760
Speaker 2: with us for this episode. The Latino USA team also

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Speaker 2: includes Roxana Guire, Jessica Ellis, Rebecca Bara, Renando Lanos, Junior,

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Speaker 2: Luis Luna Rimad Marquez, Julieta Martimelli, Monica Morales, Garcia, j J. Grubin,

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Speaker 2: Adriana Rodriguez and Nancy Trujillo. Fernando Echavari is our managing editor.

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Speaker 2: Penni Leiramirez and I are executive producers. I'm Your Host

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00:32:55,920 --> 00:32:59,880
Speaker 2: Maria j Josa. Latino USA is part of Iheart's Mike

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00:33:00,640 --> 00:33:05,680
Speaker 2: podcast Network. Executive producers at iHeart are Leo Gomez and

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00:33:05,880 --> 00:33:09,160
Speaker 2: Arlene Santana. Join us again on our next episode. In

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Speaker 2: the meantime, we'll see you on all of our social media.

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Speaker 2: And don't forget, dear listener, Join futuro Plus. It's our

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Speaker 2: new membership program. You get to listen to everything ad

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