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Speaker 1: La Brega is back this season.

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Speaker 2: We're spending time with the people and symbols that represent

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Speaker 2: Puerto Rico.

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Speaker 1: We're proud Borricos and what does that mean?

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Speaker 3: And we are still terrified.

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Speaker 2: We're telling stories about champions from a place worth fighting for,

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Speaker 2: stories that will inspire you no matter where you're from.

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Speaker 2: Come ok, wow, this is La Brega Campeones. Listen early

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Speaker 2: and ad free with Fuluto Plus.

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Speaker 4: It's Maria no Josa and I have a quick favor

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Speaker 4: to ask you. If you like listening to Let you

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Speaker 4: Know USA on Spotify, will you take a second and

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Speaker 4: hit follow us on the show page because I want

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Speaker 4: to make sure you don't miss a single episode and

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Speaker 4: that you don't waste time looking for episodes every week.

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Speaker 4: And if you found us through one of Spotify's daily mixes,

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Speaker 4: following the show directly is the best way to keep

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Speaker 4: the episodes coming. Yes, yes, and here's the show. I'm

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Speaker 4: in the studio today with Latino USA producer Gini Montalbo.

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Speaker 1: All right, Maria, I know that you and I share

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Speaker 1: a love of old music, so I know that you

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Speaker 1: know this song.

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Speaker 4: What a difference a Dame may Maria? Yes, name that tune,

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Speaker 4: What a difference to day makes?

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Speaker 1: Good job? Did you actually know that that song was

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Speaker 1: written by a Mexican woman composer in nineteen thirty four.

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Speaker 1: Maria Griever wrote upwards of like eight hundred songs and

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Speaker 1: she was in Mexico. She was Mexican. Okay, there's so

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Speaker 1: much more. She wrote for Paramount Pictures, Fox MGM. She

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Speaker 1: wrote musicals and operas like literally, she was huge. But

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Speaker 1: have you ever heard her.

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Speaker 3: Name Maria Griever? No?

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Speaker 4: No, no idea who She's interesting? I mean, I feel

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Speaker 4: like I need to call it mom phone of friend,

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Speaker 4: not write this second?

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Speaker 3: Okay, all right?

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Speaker 4: And now the interesting thing is is that the version

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Speaker 4: of this song that I know best is Idie Gourmet

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Speaker 4: singing with.

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Speaker 3: Los Banchos is de sologo.

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Speaker 4: That song was played in my house over and over

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Speaker 4: and over again on Sunday mornings, which is.

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Speaker 3: Why I know all the lyrics.

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Speaker 5: Good one was originally written in nineteen thirty four, translated

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Speaker 5: into English by Stanley Adams as Dan du Dun, What

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Speaker 5: a difference a Day makes?

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Speaker 3: What's funny is that, like I know that song, she.

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Speaker 1: Is like the most famous unknown person You didn't know

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Speaker 1: you knew.

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Speaker 3: Why don't we know more about her?

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Speaker 1: That was my question. After researching this story, I realized

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Speaker 1: she was pretty prolific. She remained active until she passed

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Speaker 1: in nineteen fifty one, and they even made a biopic

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Speaker 1: about her in nineteen fifty four with a fairly well

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Speaker 1: known Mexican Argentine actress, Libertad la Marque. So what happened?

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Speaker 1: And so began my quest. I bought a book, which

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Speaker 1: was great, but then when it came to find a voice, Nada.

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Speaker 1: The more I started to dig, the more I couldn't

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Speaker 1: believe what I found. Like the cliffs Notes version is,

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Speaker 1: she was alone in New York City with two kids

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Speaker 1: and had a career starting in the late twenties up

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Speaker 1: until nineteen fifty one. And this is a time when

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Speaker 1: women didn't do those things.

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Speaker 4: See, there's this whole element of Mexican women who are okay,

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Speaker 4: badasses ossa mucheres in cansables in parables right.

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Speaker 1: My names would consist of finding a name, going back

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Speaker 1: and forth from Webb to book to public records to obit,

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Speaker 1: and then one day I finally found a name that

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Speaker 1: matched and a confirmed a great grandson. So I called

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Speaker 1: them on the phone and I.

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Speaker 4: Left him as oh gosh, so does he call you back.

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Speaker 1: On a Friday afternoon when I was feeling particularly defeated.

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Speaker 1: This is Lee Grever, great grandson Maria Griever.

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Speaker 4: Oh my god, so the great grandson of Maria Griever.

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Speaker 3: It's amazing. Yes, I want to know all of the details.

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Speaker 1: I'm going to tell you everything that I've learned, as

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Speaker 1: well as the roller coaster that has been to research

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Speaker 1: this story.

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Speaker 4: Okay, well, let's go from Futuro Media. It's Latino USA.

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Speaker 4: I'm Maria no Josa today, a musical genius Unahina musica

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Speaker 4: Maria Griever. We profiled her in twenty twenty two for

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Speaker 4: a mini series about notable women in music for Bringing

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Speaker 4: It Back for Women's History Month.

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Speaker 3: So let's get back to it. So who was Badia Griever?

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Speaker 1: Maria Jakine de la Portia Torres, who was born in

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Speaker 1: eighteen eighty five in Mexico, half Mexican and half Spanish.

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Speaker 1: She had dark hair and light skin, more leaning towards

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Speaker 1: her Spanish ancestry in European features. Her record state that

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Speaker 1: she wrote her first song at a very young age

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Speaker 1: because they were a wealthy family. They had the means

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Speaker 1: to travel. She went back and forth from Mexico to

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Speaker 1: Spain until she was about fifteen. Her father passes away

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Speaker 1: and they moved back for good. This is right around

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Speaker 1: the turn of the century. Flash forward to nineteen oh seven,

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Speaker 1: where Maria marries Leon Griever, a businessman who was the

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Speaker 1: best man at her sister's wedding. They have four children,

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Speaker 1: only two of which survived past childhood. She's writing in

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Speaker 1: Mexico music that would get published later.

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Speaker 3: Okay, so she's getting her name out there.

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Speaker 1: Right, So we're now in nineteen sixteen. This is where

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Speaker 1: things start to get hazy. The widely published story is

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Speaker 1: that Maria Griever and her children were sent by her

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Speaker 1: husband to live in New York City due to political

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Speaker 1: instability during the Mexican Revolution. She would have been probably

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Speaker 1: around the thirty one years.

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Speaker 4: Old and her husband Leon, so he stays behind, Yeah.

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Speaker 1: For work. But there's more to this which I found

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Speaker 1: out from the family. For now we know, Maria Griever

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Speaker 1: is heading alone with her two kids to the Big Apple. Remember,

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Speaker 1: Maria was a child prodigy, so she sang and she

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Speaker 1: played several instruments, but her future really was as a composer.

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Speaker 1: And what do people in New York City do when

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Speaker 1: they want something.

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Speaker 3: Well, they hustled, exactly.

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Speaker 1: You and I both know that if you don't hustle

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Speaker 1: in New York City, you don't go anywhere. And Maria

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Speaker 1: Griever hustled. In this book, it's called Maria Griever O

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Speaker 1: and it's by Maria Luisa Rodriguez Lee. There's articles where

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Speaker 1: she's quoted as being a great conversationalist, and she knew

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Speaker 1: how to make friends, and she obviously knew how to network.

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Speaker 1: The Brooklyn Daily Eagle.

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Speaker 3: Maria Griva is one of the busiest women in all New.

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Speaker 4: York, which is interesting because it was a time that

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Speaker 4: was pretty unforgiving to women who were kind of owning

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Speaker 4: their voice their power.

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Speaker 1: Exactly. Yeah.

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Speaker 6: So when Maria Griver moved to the States, this is.

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Speaker 1: Doctor Leong Garcia Corona. He's a doctor in musicology and

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Speaker 1: assistant professor at Northern Arizona University.

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Speaker 6: So when she moved to the States, she was in

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Speaker 6: the middle of the development of mass media. We have

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Speaker 6: the radio, we have records, and we also have movies.

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Speaker 6: You have to know people and you have to be

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Speaker 6: within the network of people who are.

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Speaker 1: Part of it, and that network pays off when Maria

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Speaker 1: Griaver gets published by G. Shermer, a big publishing house

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Speaker 1: in nineteen twenty six.

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Speaker 4: Right, So basically people buy the sheet music and then

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Speaker 4: it's played at a recital or a concert or a party,

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Speaker 4: because this was the decade where theater actually was king,

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Speaker 4: and Maria got into the theaters in New York City

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Speaker 4: and was doing that kind of work.

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Speaker 2: Right.

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Speaker 1: The song she publishes is Whoam I, which Maria, I'm

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Speaker 1: pretty sure you've heard.

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Speaker 3: Memories.

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Speaker 1: So, as the story goes, Jose Mohica, who became a

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Speaker 1: very famous Mexican tenor, randomly picked up the sheet music

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Speaker 1: at a music shop with this pianist and recorded Houram

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Speaker 1: in nineteen twenty seven, and.

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Speaker 4: Huam is basically saying, swear to me, swear to me

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Speaker 4: that you love me, Swear to me, swear to me

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Speaker 4: that you won't leave. Very dramatic, and so are you

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Speaker 4: saying that the song was a major success, even though

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Speaker 4: the song was performed always in Spanish.

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Speaker 1: Yeah, here's doctor Garcia Corona again and he was.

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Speaker 6: Received in beyond the constraints of language. Again. The melody

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Speaker 6: the lyricism of the music transcended political boundaries and transcended

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Speaker 6: also language parriners.

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Speaker 1: With the success of Huram, she starts to get published

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Speaker 1: even more. And like we heard in the beginning, Maria

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Speaker 1: writes Kwando batulado or what a difference to day makes?

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Speaker 1: In nineteen thirty four and she starts to get contracts

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Speaker 1: from the big movie houses. She scores for Paramount and

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Speaker 1: GM Fox. This is the nineteen thirties, the golden age

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Speaker 1: of radio, and Maria Griever was everywhere. Aside from radio plays,

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Speaker 1: she's also playing at Carnegie Hall. Here's the transcriptions of

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Speaker 1: old radio programs and newspaper clippings in the late thirties

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Speaker 1: and forties.

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Speaker 7: A song from the panel of Latin America's favorite lyric composer.

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Speaker 6: Maria Green.

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Speaker 3: Of the best known composers living today, who was.

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Speaker 1: Born and brought up in le Maria Greever.

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Speaker 6: A composer of the suddenly sensational hit.

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Speaker 1: The biggest blockbuster hit for her comes in nineteen thirty eight,

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Speaker 1: and it's a song called Diepiting.

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Speaker 4: Deep, Dieping, diep Jing, diep diepn teepon igabon stealing a feeling.

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Speaker 1: She was satisfied that songs. I spent six weeks at

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Speaker 1: the number one spot what was known as your Hip Parade.

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Speaker 4: So kind of like the Billboard Hot one hundred right exactly.

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Speaker 1: The interesting thing here is that even though Marie had

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Speaker 1: several hits to her name at that point, publishers didn't

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Speaker 1: want to publish the song. And then Forthta Music Publishing

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Speaker 1: Company was born.

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Speaker 4: You know, sometimes when you say no to a Mexican woman,

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Speaker 4: she'll just say, well, I'll do it on my own.

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Speaker 1: So Maria Griever is now a household name. She's translated

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Speaker 1: lyrics for Cole Porter, and in nineteen forty four they

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Speaker 1: use one of her songs as the main theme for

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Speaker 1: a movie called Bathing Beauty starring Esther Williams and Red Skelton.

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Speaker 3: Oh my god, she really did it all.

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Speaker 1: She really did. And think about who her competition was.

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Speaker 1: Back then. Her contemporaries were Irving Berlin, Cole Porter, Gershwin,

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Speaker 1: Luana from Cuba, Gottavan, Argentina. She was one of the

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Speaker 1: very few women or even men composers who wrote the

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Speaker 1: music and lyrics. So in nineteen forty eight, when she

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Speaker 1: was in her early sixties, Maria Griever suffered a stroke

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Speaker 1: and that left her paralyzed on one side. She still

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Speaker 1: managed to be a huge force.

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Speaker 4: So I guess what I'm not understanding is that Maria

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Speaker 4: Griever was doing pretty big, like into the nineteen fifties.

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Speaker 4: So again, when does she kind of fade into the darkness?

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Speaker 1: I had so many more questions. What happened to her husband?

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Speaker 1: Why did he send her to New York City? How

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Speaker 1: did she make it work? Why don't we all know

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Speaker 1: her name?

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Speaker 4: So we're going to find out more about Maria Griever's

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Speaker 4: interesting life and what happened to her legacy, And we're

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Speaker 4: going to find that all out when we return.

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Speaker 8: Hey, it's Anna Sale, host of Death, Sex and Money,

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Speaker 8: the show from Slate about the things we think about

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Speaker 8: a lot and need to talk about more. Many of

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Speaker 8: us have something going on behind closed doors, like a

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Speaker 8: listener we called Elizabeth, who told us she's a hoarder.

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Speaker 4: I see mess beyond probably what most people think of

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Speaker 4: when they think of mes.

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Speaker 8: We'll work through it all together on Death, Sex and Money.

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Speaker 8: Listen wherever you get podcasts.

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Speaker 3: It's let you know Usa.

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Speaker 4: I'm Marie know Hossan and before the break, we were

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Speaker 4: telling you this story of a musical henya a genius

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Speaker 4: Maria Griever, who was a Mexican composer in the early

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Speaker 4: twentieth century, a time when women and weren't really composers

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Speaker 4: or entrepreneurs, and especially weren't moving to New York City

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Speaker 4: alone with two kids. Madia left Mexico in nineteen sixteen,

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Speaker 4: before women were even granted the right to vote in

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Speaker 4: the United States. So producer Genie Montago, a fellow mom

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Speaker 4: and a music engineer herself, wanted to really understand what

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Speaker 4: was behind this decision by Madia Griever, And luckily Ginni

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Speaker 4: was able to speak with Mada's great grandson, Lee Griever,

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Speaker 4: and we got some answers.

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Speaker 7: I obviously wish I had had gotten to meet her.

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Speaker 6: She seemed like a total badass.

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Speaker 8: She just seemed like a very strong person, and so

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Speaker 8: I can only imagine the challenges she had a long.

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Speaker 1: The way, challenges like New York City as a destination,

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Speaker 1: the city's expensive and with two kids on your own,

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Speaker 1: why would you do that if you want to make

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Speaker 1: it in New York City, Yes, but as a random

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Speaker 1: choice to flee the revolution, New York City is a

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Speaker 1: super tough place to target, and so I began to

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Speaker 1: read between the lines.

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Speaker 6: Well, New York City was in many ways a cultural hub.

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Speaker 1: This is doctor Leon Garcia Corona, again, the doctor of

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Speaker 1: musicology we heard from in part one.

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Speaker 6: If you wanted to make it in the music industry,

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Speaker 6: you have to go to New York City because this

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Speaker 6: is where you have the publishers. You have to be there,

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Speaker 6: you have to be talking to the producers. So everyone

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Speaker 6: was there.

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Speaker 1: New York City is definitely where her career blossom didn't

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Speaker 1: reach New Heights and Maria. Further making my case was

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Speaker 1: when I realized that Leon Griever, her husband was not

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Speaker 1: from New York. He was from Ohio. So as a

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Speaker 1: mother myself, like you said, I would obviously go somewhere

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Speaker 1: I knew someone and had help, unless, of course, you

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Speaker 1: had other motives. That makes sense exactly. Women didn't just

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Speaker 1: write music at the time. It wasn't a job you did,

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Speaker 1: But Maria did it.

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Speaker 6: The music that Maria Griver was composed and spoke to that,

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Speaker 6: to that feeling of vulnerability and the sentimentality kind of

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Speaker 6: echo in the hearts of listeners.

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Speaker 4: I mean, people can love music in Spanish, but they

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Speaker 4: aren't always so welcoming to people around them speaking it.

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Speaker 4: I mean, this is just kind of a fascinating contradiction

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Speaker 4: that has existed in the United States for a long time.

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Speaker 1: Yeah, and it hasn't changed. Really. People hate it, but

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Speaker 1: people buy it. People don't like Mexicans, but they love

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Speaker 1: Mexican restaurants. There's always been a lens of interest on

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Speaker 1: the other right, what's different, what seems exotic.

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Speaker 6: Yes, you can have an ideological position, but if there's

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Speaker 6: somebody who will buy this album, then there's space for that.

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Speaker 4: So there was a market for what Maria Griver was

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Speaker 4: putting out this bite.

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Speaker 1: Being a woman and an immigrant.

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Speaker 7: It was a time period where it wasn't what they

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Speaker 7: were supposed to be doing, right, So you can imagine

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Speaker 7: the conflict.

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Speaker 1: Marie, Ye, I'm super excited to introduce you to Stuart Livingston,

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Speaker 1: Maria Griever's other great grandson, who Lee Griever connected me with.

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Speaker 4: Way, wait, another great.

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Speaker 1: Grandson, yes, so real quick. Maria Griever's two kids were

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Speaker 1: Charles Griever and Carmen Livingston. Lee, who we heard from earlier,

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Speaker 1: is on the Griever side, and Stuart is obviously on

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Speaker 1: the Livingston Side.

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Speaker 7: She was a single mother in a time where that

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Speaker 7: was certainly not who you were supposed to be, and

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Speaker 7: she was pursuing a career which was not the perceived

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Speaker 7: right way for a woman to act.

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Speaker 4: Not the right way for a woman to act, and

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Speaker 4: add to that a Mexican woman.

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Speaker 1: I asked Stuart what it was like to grow up

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Speaker 1: with such a musical legacy and tend to have. And

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Speaker 1: we don't get into our grandparents until we're older, and

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Speaker 1: by then it's usually hard to get to know more.

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Speaker 1: So he eventually started working with his uncle, Bob Griever,

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Speaker 1: he knew.

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Speaker 7: Her as his grandmother, but they lived in New Jersey

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Speaker 7: and she lived in Manhattan, so, as he says, she

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Speaker 7: was sort of a mystery to him too. And it

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Speaker 7: wasn't until he got into his father's music publishing business

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Speaker 7: and started working in Mexico that he started to learn

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Speaker 7: a great deal more about his grandmother. But even then,

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Speaker 7: comparing stories that my father understood with stories that my

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Speaker 7: deal understood, you know, there were either gaps or completely

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Speaker 7: different stories.

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Speaker 1: And these gaps, Maria, are exactly what I was trying

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Speaker 1: to figure out. There's probably so much more, but I

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Speaker 1: was able to piece together from my investigations in speaking

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Speaker 1: with the family. One of my big questions was whatever

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Speaker 1: happened to her husband, because it adds a layer to

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Speaker 1: how we perceive her story.

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Speaker 4: Because you had said her husband had stayed behind in

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Speaker 4: Mexico to work, and she's going alone to New York,

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Speaker 4: and it wasn't clear whether or not they were ever reunited.

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Speaker 1: Because nothing ever says that they did.

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Speaker 7: That part is a real mystery. He never joined the

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Speaker 7: family in New York, as I understand it. Now. That

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Speaker 7: may be the clean version.

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Speaker 4: Oh, the clean version, Okay, So then there's a whole

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Speaker 4: underground version that's becoming even more intriguing.

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Speaker 1: All right, Yeah, no one ever talks about reunion because apparently.

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Speaker 7: Let's just say that from the circumstances, it was fairly

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Speaker 7: clear that there was a separation.

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Speaker 1: So you've got a woman in the twenties and thirties

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Speaker 1: who has separated from her husband with two kids and

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Speaker 1: later founded her own publishing company.

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Speaker 4: I mean, she really was just going to make things

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Speaker 4: happen for herself, with or without a man.

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Speaker 3: I mean that's super forward thinking.

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Speaker 1: Super yeah. And all of her documentation that is a

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Speaker 1: public record says married because I guess on paper in

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Speaker 1: the nineteen thirties, you didn't really get divorced. But I

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Speaker 1: think it's a fascinating piece of the puzzle because it

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Speaker 1: means she actively chose New York for her career. And

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Speaker 1: Stuart even told me that the family lore he heard

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Speaker 1: growing up was that someone actually came to post her

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Speaker 1: from Mexico. This well known group of entertainers came and

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Speaker 1: convinced her to move to New York City, which was

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Speaker 1: a thing back then.

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Speaker 3: I just think it's so adventurous.

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Speaker 1: It just changes the story completely. It's less about fleeing

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Speaker 1: a revolution. It's more of like taking an active role

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Speaker 1: in your destiny. I guess if you want to say

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Speaker 1: it that.

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Speaker 4: Way, We'll be right back. Yes, hey, we're back. Let's

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Speaker 4: wrap up our deep dive into the life and career

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Speaker 4: of composer Mariac Griever. I'm definitely seeing a more driven

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Speaker 4: Maria Griever who was wanting to make it in New York.

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Speaker 4: But I can also begin to see why the history

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Speaker 4: books have it one way because of the time period.

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Speaker 1: Yeah, I mean, for what she accomplished, I really imagined

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Speaker 1: her as this go getter, rebel like hustling in the

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Speaker 1: city because the city, let's face it, is for hustlers.

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Speaker 1: And here she was a single mother with two kids

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Speaker 1: working in an industry dominated by men. It's hard to

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Speaker 1: be a woman in music today, and as her great

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Speaker 1: grandson told me, it was even harder back then.

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Speaker 7: You had a lot of publishers who took advantage of

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Speaker 7: that situation. So she often times sold her music as

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Speaker 7: opposed to keeping ownership and collecting royalties. It was due

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Speaker 7: to her genius that she was able to make it work.

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Speaker 1: So Maria, royalties are what songwriters and artists collect on

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Speaker 1: music they've written, based on how much it sells.

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Speaker 4: Right and how difficult it is for musicians to collect

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Speaker 4: those royalties, which is what they can live off of.

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Speaker 7: You know, she was prolific in producing her music and

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Speaker 7: as a result, that's how you know she succeeded and survived.

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Speaker 7: But in those days, there just was no collection process

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Speaker 7: that really worked. That was the issue, is that she

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Speaker 7: actually was always struggling day to day, week to week,

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Speaker 7: month to month to pay the bills.

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Speaker 1: And because she often sold the rights to her music, well, we.

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Speaker 7: Actually don't know how many songs she actually wrote. I've

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Speaker 7: heard numbers that are as high as a thousand and

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Speaker 7: as low as seven hundred, which would still be a

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Speaker 7: phenomenal body of work. But in terms of music that

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Speaker 7: was in her catalog that she was collecting royalties on,

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Speaker 7: we only have roughly about ninety four ninety five pieces.

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Speaker 1: That's one seventh or one tenth of the work she produced.

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Speaker 1: She does this Jorian. Another newspaper interview from nineteen thirty

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Speaker 1: six from the Rodriguez Lee Book, read by one of

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Speaker 1: our fellow producers, Victoria Estrada. She was performing a concert

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Speaker 1: at Carnegie Hall when someone yells out Viva Mexico.

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Speaker 7: Or the moon.

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Speaker 9: In Stante Silenzio orchesta, he pronounce estas palavas, comosa, gritar

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Speaker 9: totos pim Viva Mexico, odelo si concerto.

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Speaker 1: She stopped the orchestra because people tried to show them

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Speaker 1: and said, if we don't all shout Viva Mexico, I'm

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Speaker 1: not going to continue the concert.

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Speaker 7: She was truly, truly proud to represent Mexico in terms

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Speaker 7: of her music, and you can feel it in the melodies,

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Speaker 7: and it showed in her son, Charlie Griever was always proud.

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Speaker 1: Charles creates Crever Music Publishing or Griaver International, which became

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Speaker 1: a powerhouse and had a huge Mexican music catalog.

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Speaker 7: And then it showed in her grandson, Bob Greaver.

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Speaker 1: Bob Greaver was actually a huge deal. He owned a

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Speaker 1: record label and said Antonio, Texas called Kara Records. He

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Speaker 1: was often called the Tetano music giant and was actually

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Speaker 1: the first person to sign our very favorite Selena.

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Speaker 3: Wow. This is like an incredibly musical family.

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Speaker 7: They were very, very proud of their Mexican roots and

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Speaker 7: they built their business based on their Mexican roots.

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Speaker 4: So Maria Griever, did she ever get any recognition while

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Speaker 4: she was alive.

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Speaker 1: Right before she passed, Maria Griever received the Medal of

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Speaker 1: Civil Merit and the Medal of the Heart of Mexico

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Speaker 1: in nineteen forty nine, and after she passed, her obituary

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Speaker 1: was actually in the New York Times, and in Mexico

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Speaker 1: there's a scholarship named after her. Mexico also made the

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Speaker 1: biopic that we've been talking about from nineteen fifty four,

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Speaker 1: Guendo Melaya, and it really kind of brings her back

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Speaker 1: into light.

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Speaker 7: The film itself in Latin America was hugely successful. In fact,

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Speaker 7: reintroduced her music to a whole new generation of Latinos

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Speaker 7: and it played all over South America and Central America

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Speaker 7: and Mexico.

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Speaker 1: It starred Liberta la Marque, the Mexican Argentine actress who

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Speaker 1: mentioned earlier. She was hugely popular in the fifties. She

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Speaker 1: also made an album to go along with it called

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Speaker 1: Liberta la Marque Maria Griever or Songs of Maria Griever, which.

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Speaker 7: Became one of the most successful albums of that era,

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Speaker 7: and that was one of the first big windfalls of

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Speaker 7: royalties to gree republishing, was the success of that album.

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Speaker 4: It's very similar to what happens with a lot of

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Speaker 4: artists now, you know, they don't basically reap the benefits

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Speaker 4: of their work until they're very late in life or

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Speaker 4: after they've died.

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Speaker 7: Even without the monetary success, she was unbelievably successful in

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Speaker 7: terms of perception, in terms of how the Mexican community

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Speaker 7: looked at her. She was a true icon.

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Speaker 1: Maria Griever was never forgotten. There just wasn't anyone around

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Speaker 1: to tell her story. And so it falls on us

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Speaker 1: to keep people like her present. Someone with an accent,

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Speaker 1: someone who left home, someone who was other eyes.

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Speaker 4: It says a lot that as a woman, as a

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Speaker 4: Mexican woman, you can break all of these barriers and

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Speaker 4: be this huge success. So I'm really glad that you

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Speaker 4: did this work, Jennie, because I'll never think of the

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Speaker 4: song What a Difference a Daymakes in the same way

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Speaker 4: Maria Griever is going to be very present.

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Speaker 3: In my mind. And I kind of love that.

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Speaker 4: The song that Maria wrote that we've been hearing, What

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Speaker 4: a Difference a Daymakes, is in the Grammy Hall of Fame.

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Speaker 3: And that's it for this episode.

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Speaker 4: This episode, which originally aired in twenty twenty two, was

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Speaker 4: produced by Cini Montalgo. It was edited by Mia Bonchaki

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Speaker 4: and Marta Martinez. It was mixed by Stepane Lebau and

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Speaker 4: Julia Caruso. Fact checking for this episode by Monica Morales Garcia.

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Speaker 4: Fernando Echavari is our managing editor. Nancy Trujillo is our

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Speaker 4: production manager Special thanks to Maria Luisa Rodriguez Lei. She's

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Speaker 4: the author of the book Maria griver Oeta I compositorra

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Speaker 4: also Richard Blandette and the Griever and Livingston families.

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Speaker 3: The Latino USA.

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Speaker 4: Team also includes Roxana guire Rebeccae Barra, Renaldo Leanuz, Junior,

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Speaker 4: Luis Luna, ri Mar Marquez, Julieta Martinelli, Adriana Rodriguez and

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Speaker 4: Nicole Rothwell.

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Speaker 3: Penilee Ramirez and I are executive producers.

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Speaker 4: I'm your host Mariao Hoosa Latino USA is part of

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Speaker 4: Iheart's Mike Gududa podcast network. Executive producers over at iHeart

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Speaker 4: Our Leo Gomez and Arlene Santana join us again for

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Speaker 4: our next episode, Dear Listener. In the meantime, you can

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Speaker 4: find us on our social media and don't forget Dear

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Speaker 4: Listener to join Fudua Plus, you'll be able to listen

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Speaker 4: to episodes ad free and get bonus episodestvay Yes Jelle.

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Speaker 8: Latino USA is made possible in part by Skyline Foundation,

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00:27:29,920 --> 00:27:35,479
Speaker 8: the Tao Foundation, and New York Women's Foundation. The New

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00:27:35,560 --> 00:27:39,280
Speaker 8: York Women's Foundation funding women leaders that build solutions in

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Speaker 8: their communities and celebrating thirty years of radical generosity