1 00:00:00,960 --> 00:00:02,320 Speaker 1: We've been through so much. 2 00:00:02,720 --> 00:00:07,400 Speaker 2: It takes away your energy and you feel like, yeah, 3 00:00:07,480 --> 00:00:11,760 Speaker 2: like you're stuck, but at the same time, like we 4 00:00:11,960 --> 00:00:14,920 Speaker 2: have to find a way to give each other strength. 5 00:00:15,600 --> 00:00:18,760 Speaker 2: I was focusing more on the courage that I feel 6 00:00:18,760 --> 00:00:21,720 Speaker 2: that we all have inside of us. That is actually 7 00:00:21,760 --> 00:00:25,680 Speaker 2: what makes us react and gives us the strength and 8 00:00:25,760 --> 00:00:29,360 Speaker 2: the impulse that we need to send the message that 9 00:00:29,440 --> 00:00:30,200 Speaker 2: we want to send. 10 00:00:34,240 --> 00:00:37,880 Speaker 3: From Futuro Media and pr X, it's Latino usay, I'm 11 00:00:38,000 --> 00:00:42,680 Speaker 3: Maria nor Hoosa today. Puerto Rican singer songwriter Ile on 12 00:00:42,800 --> 00:00:44,680 Speaker 3: the evolution of her music. 13 00:00:44,760 --> 00:00:46,520 Speaker 1: As a form of protest. 14 00:00:51,720 --> 00:00:56,360 Speaker 3: For Puerto Rican singer songwriter Ileana Cabra, better known by 15 00:00:56,360 --> 00:01:00,319 Speaker 3: her stage name Ile, music has always been a way 16 00:01:00,320 --> 00:01:04,119 Speaker 3: to understand the world around her, even from a young age. 17 00:01:05,080 --> 00:01:07,000 Speaker 2: I was a little one in the house where I 18 00:01:07,080 --> 00:01:11,760 Speaker 2: grew up, so I kind of absorbed all that musicality 19 00:01:11,800 --> 00:01:13,520 Speaker 2: that my whole family was listening to. 20 00:01:14,000 --> 00:01:18,400 Speaker 3: Ille remembers listening to salsa and boleros with her family, 21 00:01:19,000 --> 00:01:22,440 Speaker 3: often taking note of the political messages in the lively 22 00:01:22,880 --> 00:01:23,840 Speaker 3: danceable songs. 23 00:01:24,400 --> 00:01:28,280 Speaker 2: My dad always likes to try to find the background 24 00:01:28,319 --> 00:01:31,280 Speaker 2: of songs that he likes, so I remember, for example, 25 00:01:31,319 --> 00:01:34,720 Speaker 2: there's a song from Ruin Blades that is called Tiburon, 26 00:01:35,440 --> 00:01:38,480 Speaker 2: and he wrote it in Puerto Rico, and it is 27 00:01:38,600 --> 00:01:44,760 Speaker 2: very connected to the history and our situation still being 28 00:01:44,760 --> 00:01:54,920 Speaker 2: a colony from the United States. 29 00:01:54,960 --> 00:02:00,920 Speaker 3: In Tiburon, Ruben Blades things about a ruthless shark symbolizing 30 00:02:01,080 --> 00:02:05,040 Speaker 3: the United States. It prais on the Caribbean, and for Ele, 31 00:02:05,600 --> 00:02:10,760 Speaker 3: songs like this cemented the relationship between the musical and 32 00:02:10,800 --> 00:02:14,280 Speaker 3: the political. They often went hand in hand. 33 00:02:14,760 --> 00:02:16,720 Speaker 2: Even though you enjoy it and you danced to it, 34 00:02:17,240 --> 00:02:20,880 Speaker 2: when you sing the lyrics, it is very powerful. 35 00:02:25,200 --> 00:02:28,760 Speaker 3: When Ele was a teenager, she began to sing with 36 00:02:28,880 --> 00:02:33,480 Speaker 3: her older brothers, Rene Perez and Eduardo Cavra, also known 37 00:02:33,560 --> 00:02:44,040 Speaker 3: as Residente and Misitante from the rap duo Gaye. Under 38 00:02:44,160 --> 00:02:48,959 Speaker 3: the stage name PG thirteen. Ile performed with Gaietrece through 39 00:02:49,000 --> 00:02:54,640 Speaker 3: her mid twenties, but even as Ele was touring the 40 00:02:54,680 --> 00:02:58,880 Speaker 3: world with Gaietrece, she continued to explore the rich legacies 41 00:02:58,919 --> 00:03:03,560 Speaker 3: of music in the and in twenty sixteen, she decided 42 00:03:03,600 --> 00:03:09,280 Speaker 3: to go solo, releasing her debut album Ileviabre with lush 43 00:03:09,320 --> 00:03:13,000 Speaker 3: boleros and Latin jazz grooves. The album has the feel 44 00:03:13,120 --> 00:03:17,160 Speaker 3: of a different era, but through her lyricism, Ile captures 45 00:03:17,400 --> 00:03:19,760 Speaker 3: the feminist spirit of her generation. 46 00:03:21,440 --> 00:03:24,040 Speaker 2: La gobardiafa sore. 47 00:03:25,480 --> 00:03:32,760 Speaker 3: Ile often sings about power Baya. Her second album, al Madura, 48 00:03:33,360 --> 00:03:37,320 Speaker 3: was released in twenty nineteen, and Ile wrote these songs 49 00:03:37,320 --> 00:03:40,400 Speaker 3: in the aftermath of Hurricane Maria. 50 00:03:41,040 --> 00:03:52,920 Speaker 4: And the album draws from a vast range of Caribbean 51 00:03:53,000 --> 00:03:57,720 Speaker 4: musicality to talk about the politics of colonialism in Puerto Rico. 52 00:03:58,200 --> 00:04:02,880 Speaker 2: Her home No Ninguno, I've goneak now Yes, Elimpia. 53 00:04:02,440 --> 00:04:07,400 Speaker 3: Romanoquio composed in the throes of the pandemic. The twenty 54 00:04:07,480 --> 00:04:11,880 Speaker 3: twenty two album by Elay called Nakarile Now finds her 55 00:04:12,200 --> 00:04:13,640 Speaker 3: looking within. 56 00:04:13,800 --> 00:04:18,520 Speaker 2: Thenlcorazon, expresto stot. 57 00:04:19,600 --> 00:04:23,520 Speaker 3: The album brings together the personal and the political, getting 58 00:04:23,600 --> 00:04:29,040 Speaker 3: introspective about how she moves through patriarchy and colonialism without 59 00:04:29,160 --> 00:04:33,000 Speaker 3: losing hope. We had Elay on the show back in 60 00:04:33,040 --> 00:04:35,680 Speaker 3: twenty twenty three, and we're happy to bring her to 61 00:04:35,760 --> 00:04:39,400 Speaker 3: you today. Let's listen to Elay as she takes a 62 00:04:39,440 --> 00:04:42,960 Speaker 3: look back at her own artistic journey and how she 63 00:04:43,040 --> 00:04:45,599 Speaker 3: embodies resistance through her music. 64 00:04:46,080 --> 00:04:54,280 Speaker 2: So skam alkancer simero demasia. My name is ele I 65 00:04:54,320 --> 00:04:59,800 Speaker 2: am from Puerto Rico and I am a singer. Is 66 00:05:01,240 --> 00:05:03,720 Speaker 2: where I grew up, there was a lot of music 67 00:05:04,360 --> 00:05:07,159 Speaker 2: going around, like from different types. 68 00:05:06,839 --> 00:05:09,520 Speaker 1: Of genres as Puerto Rico's. 69 00:05:09,560 --> 00:05:13,440 Speaker 2: We listened to salsa and boleros, but at the same 70 00:05:13,480 --> 00:05:17,240 Speaker 2: time we heard like rock music and also throw a 71 00:05:17,360 --> 00:05:21,480 Speaker 2: like more folklore from Puerto Rico Latin America, and also 72 00:05:22,440 --> 00:05:24,279 Speaker 2: there are a lot of protest songs. 73 00:05:25,279 --> 00:05:27,880 Speaker 1: I think maybe in. 74 00:05:27,800 --> 00:05:32,280 Speaker 2: My teenage years, suddenly I feel that I was missing 75 00:05:33,200 --> 00:05:37,640 Speaker 2: out on listening female singers in this type of music 76 00:05:37,720 --> 00:05:40,400 Speaker 2: like salsa and boleros that I've heard so much. 77 00:05:42,640 --> 00:05:47,560 Speaker 5: And I remember having that transitional moment in my life 78 00:05:47,640 --> 00:05:55,880 Speaker 5: where my dad presented me to U La lupe Yeah, because. 79 00:05:55,600 --> 00:05:58,120 Speaker 2: It was like, oh my God, Like she's like, this 80 00:05:58,200 --> 00:06:03,239 Speaker 2: is deep stuff, what she's singing, the way she's doing it, 81 00:06:03,440 --> 00:06:06,400 Speaker 2: like there was a lot of emotion going on that 82 00:06:06,640 --> 00:06:11,360 Speaker 2: I wasn't expecting, And I remember that I felt her 83 00:06:11,560 --> 00:06:16,200 Speaker 2: so real and so passionate and so breath taking. The 84 00:06:16,240 --> 00:06:19,960 Speaker 2: way she sang and the way she interpreted the song 85 00:06:20,080 --> 00:06:23,480 Speaker 2: she was singing was like a shock for me, and 86 00:06:23,520 --> 00:06:27,719 Speaker 2: it captured my attention a lot to listen to this real, 87 00:06:28,080 --> 00:06:34,120 Speaker 2: feminine powerful voice, and I've always sang since I was little, 88 00:06:34,600 --> 00:06:38,000 Speaker 2: but I've always seen singing as more of a hobby. 89 00:06:39,080 --> 00:06:42,920 Speaker 2: Little by little, I started digging more into more female 90 00:06:43,040 --> 00:06:46,120 Speaker 2: voices in that genre of Saxain Boletto, and I keep 91 00:06:46,200 --> 00:06:49,680 Speaker 2: digging even more, and I've learned from them, you know, 92 00:06:49,960 --> 00:06:53,560 Speaker 2: even if I've never met them before, I feel like 93 00:06:53,600 --> 00:06:55,200 Speaker 2: I do in a way, like they. 94 00:06:55,120 --> 00:06:57,000 Speaker 1: Are my teachers. 95 00:07:03,920 --> 00:07:07,760 Speaker 2: In my first album, I was coming from a big 96 00:07:07,880 --> 00:07:12,160 Speaker 2: transition in my life. I was like ten years touring 97 00:07:12,200 --> 00:07:15,720 Speaker 2: with my brothers with their group. I really wanted to 98 00:07:15,880 --> 00:07:19,040 Speaker 2: experiment on side of me that I've always wanted to 99 00:07:19,360 --> 00:07:29,360 Speaker 2: play with that Polero very more classic. But for me, 100 00:07:30,240 --> 00:07:34,200 Speaker 2: the risky part was how to play with all that 101 00:07:34,520 --> 00:07:37,560 Speaker 2: in this moment, you know, in this time where I 102 00:07:37,640 --> 00:07:41,400 Speaker 2: feel very different from the songs that I listen to, 103 00:07:41,520 --> 00:07:44,440 Speaker 2: you know, even though I enjoy them and I feel 104 00:07:44,560 --> 00:07:48,120 Speaker 2: a lot listening to them, I'm in another moment, you know, 105 00:07:48,320 --> 00:07:49,880 Speaker 2: from another generation. 106 00:07:53,320 --> 00:07:56,600 Speaker 1: Sees. 107 00:07:59,800 --> 00:08:03,320 Speaker 2: So I was thinking a lot in myself, you know, 108 00:08:03,400 --> 00:08:06,320 Speaker 2: as a woman, but mostly the women in my family, 109 00:08:06,600 --> 00:08:11,280 Speaker 2: the women that surround me, and how normal it has 110 00:08:11,360 --> 00:08:15,160 Speaker 2: been for us as women to struggle so much. 111 00:08:15,480 --> 00:08:17,600 Speaker 1: And I think especially. 112 00:08:17,280 --> 00:08:23,040 Speaker 2: In relationships, you see so many abusive patterns, So yeah, 113 00:08:23,120 --> 00:08:27,200 Speaker 2: maybe represents more that side of me of just like 114 00:08:27,600 --> 00:08:31,840 Speaker 2: confronting the reality that the tough reality of what it. 115 00:08:31,760 --> 00:08:33,120 Speaker 1: Is to be a woman in this world. 116 00:08:34,240 --> 00:08:43,959 Speaker 2: But kilas well, in Almadura, I wanted to play with 117 00:08:44,000 --> 00:08:55,679 Speaker 2: my roots as a Puerto Rican Caribbean soling body though 118 00:08:57,840 --> 00:09:06,760 Speaker 2: natural I've always enjoyed so so much like percussion. 119 00:09:06,800 --> 00:09:10,520 Speaker 1: I love percussion and I love rhythm. 120 00:09:10,000 --> 00:09:13,360 Speaker 2: And for me, it was connected to the way that 121 00:09:13,400 --> 00:09:16,920 Speaker 2: I was feeling as well. When I was creating that album, 122 00:09:17,040 --> 00:09:18,559 Speaker 2: I was very angry. 123 00:09:18,720 --> 00:09:20,679 Speaker 1: Towards Hurraga Maria. 124 00:09:20,760 --> 00:09:24,040 Speaker 2: But it was like kind of disgusting to see the 125 00:09:24,120 --> 00:09:27,079 Speaker 2: way the US government as well as the Puerto Rican 126 00:09:27,160 --> 00:09:31,600 Speaker 2: government were managing the whole situation. You felt not taken 127 00:09:31,640 --> 00:09:34,320 Speaker 2: care of at all, and it was like a big 128 00:09:34,360 --> 00:09:39,640 Speaker 2: shock for us as a country to just realize that, Okay, 129 00:09:39,720 --> 00:09:43,040 Speaker 2: like we are not going to receive the help or 130 00:09:43,080 --> 00:09:46,080 Speaker 2: the attention that we were expecting, so we need to 131 00:09:46,440 --> 00:09:48,600 Speaker 2: find a way to do it on our own. And 132 00:09:48,679 --> 00:09:51,360 Speaker 2: that's what we did in Hurakan Marian. That's what we 133 00:09:51,480 --> 00:09:55,559 Speaker 2: keep doing. Like I just needed to let all that out, 134 00:09:55,880 --> 00:09:59,000 Speaker 2: and that's what I did with with Almlura. 135 00:10:00,520 --> 00:10:03,280 Speaker 1: Finding a way to heal myself at. 136 00:10:03,120 --> 00:10:08,800 Speaker 2: The same time, and for example, Contrato for me is 137 00:10:08,880 --> 00:10:16,640 Speaker 2: the song that best defines the whole album. 138 00:10:17,280 --> 00:10:18,400 Speaker 6: Is the way. 139 00:10:34,280 --> 00:10:35,600 Speaker 1: We've been through so much. 140 00:10:36,160 --> 00:10:40,880 Speaker 2: It takes away your energy and you feel like, yeah, 141 00:10:40,960 --> 00:10:44,920 Speaker 2: like like you're stuck, but at the same time like 142 00:10:45,120 --> 00:10:48,319 Speaker 2: we have to find a way to give each other strength. 143 00:11:00,480 --> 00:11:03,640 Speaker 1: I was focusing more on the courage that I feel 144 00:11:03,640 --> 00:11:05,800 Speaker 1: that we all have inside of us. 145 00:11:05,840 --> 00:11:09,600 Speaker 2: That is actually what makes us react and gives us 146 00:11:09,600 --> 00:11:13,600 Speaker 2: the strength and the impulse that we need to send 147 00:11:13,600 --> 00:11:19,839 Speaker 2: the message that we want to send. Especially after Maria, 148 00:11:19,840 --> 00:11:25,480 Speaker 2: I feel that many people felt the obligation of having 149 00:11:25,520 --> 00:11:29,200 Speaker 2: to leave the country and it was very painful to watch. 150 00:11:33,280 --> 00:11:37,800 Speaker 2: Tiagi is a song that speaks about people that stay 151 00:11:38,040 --> 00:11:50,800 Speaker 2: and people that leave their country. Nadal saka siam that 152 00:11:50,880 --> 00:11:53,320 Speaker 2: it says like no one gets us out of here 153 00:11:53,520 --> 00:11:57,160 Speaker 2: if here is where we were born. It's a very 154 00:11:57,360 --> 00:12:02,000 Speaker 2: important phrase for me because nowadays we are really really 155 00:12:02,040 --> 00:12:06,840 Speaker 2: feeling that we in Puerto Rico are being totally the 156 00:12:06,960 --> 00:12:16,719 Speaker 2: plasas displaced. The dugid yeah yea, the yucky, the duga 157 00:12:17,480 --> 00:12:24,280 Speaker 2: yeah yucky. Twenty twenty the year that we all thought 158 00:12:24,480 --> 00:12:29,920 Speaker 2: was going to be amazing, incredible. I was actually going 159 00:12:29,960 --> 00:12:32,840 Speaker 2: to tour, you know, with Almadura that year. 160 00:12:33,400 --> 00:12:37,280 Speaker 5: Suddenly everything changed drastically. 161 00:12:42,320 --> 00:12:43,679 Speaker 1: In the pandemic. 162 00:12:43,800 --> 00:12:47,200 Speaker 2: Like I was with myself a lot, and I couldn't 163 00:12:47,760 --> 00:12:51,760 Speaker 2: go anywhere, you know, so I was just looking at 164 00:12:51,800 --> 00:12:55,319 Speaker 2: the window and trying to escape a little from there 165 00:12:55,360 --> 00:12:58,960 Speaker 2: and composing and writing and trying to understand why I 166 00:12:59,080 --> 00:13:00,400 Speaker 2: was feeling the way I'm feeling. 167 00:13:01,559 --> 00:13:10,079 Speaker 1: I think that this album focused on me a little, You. 168 00:13:12,080 --> 00:13:13,120 Speaker 5: And Suh. 169 00:13:14,440 --> 00:13:28,559 Speaker 6: Better or not important Yoda contra. 170 00:13:31,200 --> 00:13:33,840 Speaker 1: You know sometimes when you feel so so so angry 171 00:13:33,880 --> 00:13:36,040 Speaker 1: that you start crying. I don't know if that happens 172 00:13:36,040 --> 00:13:37,760 Speaker 1: to you, but that happens to me a lot. 173 00:13:38,520 --> 00:13:40,959 Speaker 2: And I feel that I was like in this album, 174 00:13:41,240 --> 00:13:47,280 Speaker 2: each song plays with a vulnerability of mind. I feel 175 00:13:47,280 --> 00:13:52,120 Speaker 2: like this album became very personal and more introspective, like 176 00:13:52,240 --> 00:13:55,880 Speaker 2: for me, because like I spoke about things that I 177 00:13:56,000 --> 00:13:59,240 Speaker 2: was like more afraid to talk about and that sometimes 178 00:13:59,320 --> 00:14:04,040 Speaker 2: we feel as changed to speak about, but we shouldn't be, 179 00:14:04,040 --> 00:14:05,520 Speaker 2: because it's it's normal. 180 00:14:05,559 --> 00:14:06,600 Speaker 1: It's part of life, you know. 181 00:14:12,679 --> 00:14:16,400 Speaker 2: The song that for me maybe represents the whole album 182 00:14:16,559 --> 00:14:29,520 Speaker 2: is Ning. The song that I did with Treno. It 183 00:14:29,680 --> 00:14:37,560 Speaker 2: defines how I was actually feeling, you know, Lado than 184 00:14:39,600 --> 00:14:45,440 Speaker 2: coming and so run a guerda kiren report a keno second. 185 00:14:48,600 --> 00:14:54,080 Speaker 1: He said control. He took the song where he needed 186 00:14:54,400 --> 00:14:54,840 Speaker 1: to go. 187 00:14:54,920 --> 00:14:57,960 Speaker 2: You know. It was incredible because he made it about 188 00:14:58,480 --> 00:15:03,520 Speaker 2: a fight with yourself and how to end up triumphants 189 00:15:03,560 --> 00:15:11,360 Speaker 2: from that fight, cost them and get them and look 190 00:15:11,400 --> 00:15:16,200 Speaker 2: at the rot. I never expected to have so many 191 00:15:16,240 --> 00:15:17,960 Speaker 2: collaborations in this album. 192 00:15:18,320 --> 00:15:21,520 Speaker 1: The whole collaboration process was very new to me. 193 00:15:21,960 --> 00:15:26,240 Speaker 2: I'm used to working on my own. It was incredible 194 00:15:26,320 --> 00:15:29,760 Speaker 2: to work with other people and the experience of hearing 195 00:15:29,800 --> 00:15:33,560 Speaker 2: O their colors, other textures, voices, words, you know, like 196 00:15:33,600 --> 00:15:36,000 Speaker 2: another brain with you was. 197 00:15:35,520 --> 00:15:53,960 Speaker 1: Was an incredible experience to have. Working with Ev was incredible. 198 00:16:00,000 --> 00:16:03,800 Speaker 2: It was like my female reference when I thought about 199 00:16:04,160 --> 00:16:06,800 Speaker 2: Regaton female singers. I mean when I was little, like 200 00:16:06,960 --> 00:16:11,520 Speaker 2: she was my only reference. She was not only just 201 00:16:11,560 --> 00:16:14,720 Speaker 2: a woman doing I mean she was speaking from a 202 00:16:14,760 --> 00:16:19,280 Speaker 2: feminine perspective and she was very firm and very straightforward 203 00:16:19,360 --> 00:16:30,880 Speaker 2: about it. 204 00:16:32,720 --> 00:16:35,800 Speaker 1: I still can't believe that she's in this album. For me, 205 00:16:36,360 --> 00:16:38,440 Speaker 1: it is great. And also this song that for me 206 00:16:38,520 --> 00:16:41,560 Speaker 1: is so powerful honey, don't. 207 00:16:43,280 --> 00:16:43,600 Speaker 4: Honey. 208 00:16:46,040 --> 00:16:50,240 Speaker 2: Natarilla comes from Puerto Rican phrase that we use a 209 00:16:50,280 --> 00:16:51,520 Speaker 2: lot in Puerto Rico. 210 00:16:51,960 --> 00:16:53,720 Speaker 1: The whole phrase is nakari. 211 00:16:53,680 --> 00:16:57,400 Speaker 2: Oriente like a kind of not with a lot of attitude. 212 00:16:57,760 --> 00:17:00,200 Speaker 2: And I love that phrase, like we sometimes used it 213 00:17:00,280 --> 00:17:02,560 Speaker 2: like la caille or sometimes we say in nakinaki. 214 00:17:03,240 --> 00:17:07,320 Speaker 1: And it was like my way of transcending a. 215 00:17:07,280 --> 00:17:11,800 Speaker 2: Little the process of making this album that was in 216 00:17:11,840 --> 00:17:14,840 Speaker 2: another difficult moment, like in the pandemic, with the quarantine 217 00:17:14,840 --> 00:17:17,399 Speaker 2: and all that. So for me, Nakaili is just like 218 00:17:17,920 --> 00:17:20,399 Speaker 2: a way of thinking all that in a way. But 219 00:17:20,480 --> 00:17:23,200 Speaker 2: at the same time, you know, I'm not staying there 220 00:17:27,080 --> 00:17:30,800 Speaker 2: the way that I protest through my music. I'm not 221 00:17:30,840 --> 00:17:36,200 Speaker 2: sure how it has evolved exactly, but I'm more focused 222 00:17:36,240 --> 00:17:40,199 Speaker 2: in what I believe in. Sometimes we expect change to 223 00:17:40,280 --> 00:17:42,480 Speaker 2: happen quickly, and I'm part of. 224 00:17:42,440 --> 00:17:44,280 Speaker 1: That, you know, sometimes I feel that way. 225 00:17:44,920 --> 00:17:49,359 Speaker 2: But when I try to focus my perspective in the 226 00:17:49,480 --> 00:17:52,200 Speaker 2: changes that are really happening, we have to. 227 00:17:52,200 --> 00:17:53,360 Speaker 1: Start from somewhere. 228 00:17:53,960 --> 00:17:58,560 Speaker 2: That's how everything develops, and for me, I think maybe 229 00:17:58,720 --> 00:18:03,720 Speaker 2: has evolved a little from that, not focusing on how 230 00:18:03,920 --> 00:18:08,439 Speaker 2: little it may seem, but how powerful the change can be. 231 00:18:22,680 --> 00:18:25,520 Speaker 3: This episode was produced by Julia Rocha with help from 232 00:18:25,560 --> 00:18:29,320 Speaker 3: Elizabeth Lowenthal Torres, who was edited by Alejandra Salasad and 233 00:18:29,440 --> 00:18:34,880 Speaker 3: mixed by Julia Caruso. The Latino USA team includes Victoria Estrada, 234 00:18:35,080 --> 00:18:40,440 Speaker 3: Renaldo Leanos Junior, Andrea Lopez, Cruzado, Gloori, mar Marquez, Marta Martinez, 235 00:18:40,480 --> 00:18:45,119 Speaker 3: Mike Sargent, Nor Saudi and Nancy Trujillo. Benilee Ramirez is 236 00:18:45,119 --> 00:18:49,399 Speaker 3: our co executive producer. Our director of Engineering is Stephanie Lebau. 237 00:18:49,760 --> 00:18:53,480 Speaker 3: Our marketing manager is Luis Luna. Our theme music was 238 00:18:53,560 --> 00:18:56,840 Speaker 3: composed by Sanie Robinos. I'm your host and co executive 239 00:18:56,880 --> 00:18:59,960 Speaker 3: producer Mariao Posa. Join us again on our next episode. 240 00:19:00,080 --> 00:19:02,280 Speaker 3: In the meantime, look for us on all of your 241 00:19:02,320 --> 00:19:05,520 Speaker 3: social media. I'll see you on Instagram, but catch us 242 00:19:05,600 --> 00:19:11,440 Speaker 3: on Eggs, on YouTube and on ditk Astapproxima Joe. 243 00:19:13,040 --> 00:19:17,080 Speaker 7: Latino USA is made possible in part by the Heising 244 00:19:17,160 --> 00:19:24,360 Speaker 7: Simons Foundation, Unlocking knowledge, opportunity and possibilities More at Hsfoundation 245 00:19:24,560 --> 00:19:30,120 Speaker 7: dot Org. Agnes Gunn and Hispanics in Philanthropy 246 00:19:35,280 --> 00:19:37,280 Speaker 5: Make Basisse la Passe