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Speaker 1: Pushkin. According to Time magazine, singer an Joli Quijo is

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Speaker 1: Africa's premiere diva. In addition to racking up prestigious accolades

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Speaker 1: throughout her forty year career, Angelique has always leveraged her

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Speaker 1: success to protect and educate young girls living in sub

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Speaker 1: Saharan Africa. An Jolie Kuijo started out singing traditional music

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Speaker 1: as a teenager in her native Benin, West Africa. In

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Speaker 1: nineteen eighty three, she escapes the conflict riddled Benin for Paris,

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Speaker 1: where she studied music and eventually married a French music producer.

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Speaker 1: Angelique became one of Paris's most popular live performers, and

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Speaker 1: in nineteen ninety one she signed her first record deal

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Speaker 1: with Island Records. Angelika since released sixteen alums and won

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Speaker 1: four World Music Grammys. Her latest album, Mother Nature, was

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Speaker 1: released in June and features young African musicians like Sampa

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Speaker 1: the Great and Burna Boy. On today's episode, Bruce Headlam

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Speaker 1: talks to Angeli Quijo about the nature of African rhythm

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Speaker 1: and why I can confuse Western musicians. She also explains

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Speaker 1: how she lets her songs dictate what language her lyrics

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Speaker 1: should be and how she managed to escape her home

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Speaker 1: country despite being a recognizable national pop star. This is

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Speaker 1: broken record liner notes for the digital age. I'm justin Richmondtin.

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Speaker 1: Here's Bruce Headlam with Angeli Quijo. It is so nice

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Speaker 1: to have you here. Do I need my headphone? No,

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Speaker 1: I don't think so. You don't like headphones. I hate studios.

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Speaker 1: I only like stage. You don't like studios. I mean

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Speaker 1: I come from a culture where you want to play,

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Speaker 1: just get drums out, and you have phoney people coming around.

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Speaker 1: I start on stage when I was six years old.

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Speaker 1: I was twenty when I first step step be food

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Speaker 1: in the studio and I hated it. I was doing

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Speaker 1: my first album and I have to record from ten

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Speaker 1: am in the morning to eight pm doing all the songs.

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Speaker 1: The producer was not there. I was just left alone

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Speaker 1: with the sound engineer doing the backing and everything. Getting

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Speaker 1: there and I get out there's no son. I'm like,

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Speaker 1: what kind of world is that? I'm not a cave woman.

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Speaker 1: I want to be out. I don't want to be

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Speaker 1: singing to the wall. I want to sing to somebody

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Speaker 1: that You've done fifteen albums at least since then. Yeah,

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Speaker 1: do you try and record in different kinds of studios

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Speaker 1: or you. Oh yeah, I tried recording spaces that aren't

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Speaker 1: studio like the thing is. In two thousand, I decided

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Speaker 1: it was enough of going to the studio and prepare editing.

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Speaker 1: I want everybody in the same room. So when I

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Speaker 1: have the musician with me, it is great and I

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Speaker 1: like that now. When I did my album Ginging with

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Speaker 1: Tony Viscountry, He's like, I haven't done this kind of

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Speaker 1: album since the sixties. When you opened my voice, the

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Speaker 1: drums and everybody, I said, that's if you want me

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Speaker 1: to perform the album, you better get me the studio

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Speaker 1: where I feel like all in my living room or

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Speaker 1: out or something. I just can't do it like that.

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Speaker 1: So we went to Electric Lady and he brought in lamp.

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Speaker 1: It was like a souk in Marrakesh and the musician

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Speaker 1: with all their people, benin his percussion players, Pugibell on

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Speaker 1: drums and Fiddler on keyboard. It was like one of

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Speaker 1: my best memorial studio. We had lots of fun to school.

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Speaker 1: The album finished, I'm like, is it over? Yeah, it's over.

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Speaker 1: Two weeks. I didn't see he passed by, so I

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Speaker 1: loved it. And you know he'd produced David Bowie, he'd

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Speaker 1: produced everybody. Yeah, never done it like that. He never

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Speaker 1: just had all the musicians, he said, I didn't do

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Speaker 1: it since the sixties. Yes, And I said, well, are

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Speaker 1: you gonna follow me in that one? Because I was

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Speaker 1: bringing the traditional percussional player from being in and we

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Speaker 1: have to rehearse before in his life. Are you sure

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Speaker 1: we need all this? He was a little nervous. He

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Speaker 1: looked completely worried, as aid, Tony, Chill, it's gonna be

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Speaker 1: all right, and he go okay, and he's not the calabash.

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Speaker 1: I was explaining to him that we have a rhythm

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Speaker 1: that we play with calabash in the water in the buckets,

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Speaker 1: and when he heard the sound, this smight just lead

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Speaker 1: up his face. I'm like, you're seeing possibilities and he goes,

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Speaker 1: oh yeah. I said, where till we get to the studio, man,

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Speaker 1: let them play the folded carbell for you. There's folded carver,

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Speaker 1: I say, they have tons of different kind of carbell.

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Speaker 1: So we're gonna make it easy for you. Just play

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Speaker 1: the music and you do your arrangement, you do your producing.

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Speaker 1: And that wasn't so you said there's a particular rhythm

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Speaker 1: that's played on that cowbell. Can you explain what that

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Speaker 1: rhythm is? The fact that the carbell is folded like

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Speaker 1: a paper, so the rhythm goes both ways. And sometimes

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Speaker 1: they put it on the head to played. Sometimes they

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Speaker 1: put in the hand, but they can't keep their hand flat.

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Speaker 1: They need the resonance. And it has distinctive sound, very clear,

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Speaker 1: not too high. It has body and take getting and

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Speaker 1: he has like I never heard a sound of carbe

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Speaker 1: like this, But I'm like, hey that terms of them

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Speaker 1: vers you have sainphonies of carbell in the village is

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Speaker 1: where you have from the smallest one to the biggest one.

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Speaker 1: It's huge and it's played on the ground and it's

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Speaker 1: a wall of sound that you just get into the village.

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Speaker 1: Stop playing, you go WHOA Okay? Why are there so

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Speaker 1: many cowpels. Every village have their own rhythm. That's the

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Speaker 1: complexity of my country, almost twelve million people. When you

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Speaker 1: go from one village to the other, the rhythm is

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Speaker 1: completely different, The drums are completely different. And there is

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Speaker 1: a village in the southern part of Being where I

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Speaker 1: come from, called a Jah, where from father to son

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Speaker 1: they are taught how to make the drum. You pick

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Speaker 1: the tree and in the back of tree and they

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Speaker 1: do the drum you want for you. First of all,

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Speaker 1: you said, you know, every town has their own rhythm,

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Speaker 1: their own sense of music. What was and your town

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Speaker 1: was got I grew up in the economic capital of Beling.

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Speaker 1: What was your town's music? My town with music was

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Speaker 1: a cosmopolitan music town, because that's where you have all

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Speaker 1: the band, the Belines band, Polyrithmo or elrego Na Spedule,

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Speaker 1: all of those guys. But the thing that is interesting

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Speaker 1: for when it comes to rhythm is that you grow

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Speaker 1: up in it. Everywhere you go there's rhythm. Not one

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Speaker 1: person in Africa will tell you I don't know how

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Speaker 1: to dance unless they don't want to dance, because they

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Speaker 1: know how to put the time on. Our body was

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Speaker 1: an instrument too. The men are a naked from the

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Speaker 1: shoulder from the head to the waist, and they have

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Speaker 1: buckets of water so they play. It depends, it depends

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Speaker 1: if they want difference sown. They put the water on

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Speaker 1: themselves and they play. Is an amazing rhythm is called

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Speaker 1: a chown. And the way they just go and doing

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Speaker 1: the singing at the same time, you just you mesme,

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Speaker 1: can you just clap out? What that rhythm would be?

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Speaker 1: Like the corbell is doing this to bo bo boom boo.

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Speaker 1: All the bodies just play and then you go. And

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Speaker 1: when it is that they start spitting is because somebody's

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Speaker 1: dancing the word. One thing that is really interesting in

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Speaker 1: the traditional music in my country, and I think pretty

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Speaker 1: much everywhere in Africa you're playing, the rhythm you dancing

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Speaker 1: is always in a circle or semi circle. So you

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Speaker 1: have somebody start the song, the people start answering, the

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Speaker 1: carbir comes in, and the drum comes in and the

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Speaker 1: rhythm is set. Then when the dancer comes into circle,

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Speaker 1: then the drums start looking at the foot of the dancers.

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Speaker 1: The dancer that dictates if the rhythm is gonna be

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Speaker 1: faster or slower. You tell a very funny story in

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Speaker 1: your autobiography, and this is years later after he met

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Speaker 1: your husband. You would be singing traditional songs and talking

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Speaker 1: about rhythm and he just kept saying, just tell me

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Speaker 1: where the downbeat is and you're like, yeah, it doesn't

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Speaker 1: work that way. How did you guys ever figure that out?

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Speaker 1: I mean, the thing is till he arrived and start

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Speaker 1: digging deep in the traditional music. He had hard time

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Speaker 1: because he's come from a cultural one two three four

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Speaker 1: one two three four, you count the time, all right,

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Speaker 1: And then finally he goes, actually is a cycle. It's

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Speaker 1: always a cycle. It's going on around and around. That's

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Speaker 1: what creates a trends. And it's a language also that

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Speaker 1: you have to learn. Because he witnessed that. So the

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Speaker 1: person that is playing the carbell, he wants to go

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Speaker 1: to the restroom. Somebody picked up the carbell exactly where

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Speaker 1: he stopped and it goes. He continued, we are fed

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Speaker 1: with that, we're living that, it's in our breathing is

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Speaker 1: everything because music is an essential part for being and

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Speaker 1: he has to understand it. That's a different mindset from

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Speaker 1: the Western world and us in Africa. It's all about

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Speaker 1: the instinct. It's all about how we feel from the

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Speaker 1: bottom of our feet all the way to the head.

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Speaker 1: And my husband when I used to explain all that

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Speaker 1: to him, that we are not a tradition of recording.

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Speaker 1: And when we were traveling and recording rhythm, I said,

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Speaker 1: one day you're gonna get the question. Is that now

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Speaker 1: everybody's used to recording? I said, nope. So when the

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Speaker 1: guy came. The guy was standing up looking at us like,

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Speaker 1: these white people are crazy, man, what is all this thing?

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Speaker 1: And we didn't have electricity most of the time. We

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Speaker 1: plug the instruments on the car battery. It's crazy, right.

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Speaker 1: So the guy came in and and tap the shoulder

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Speaker 1: of my husband and said, what are you doing? What

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Speaker 1: is the green? What is the red light? I saw

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Speaker 1: sometimes you put in green, sometime it's red. And John said,

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Speaker 1: when it's red, it's means to be a recording. And

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Speaker 1: when he's green with listening, and he's stayed back and

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Speaker 1: look at him, saying, why you want to record something

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Speaker 1: that we can play for you endless see that you

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Speaker 1: can listen to all the time. And I look at

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Speaker 1: my husband. He looked at me. I said, I told

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Speaker 1: you so, Yeah, you thought I was making it up.

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Speaker 1: That's it for you. I mean. And people have to dress,

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Speaker 1: they just they just cannot take the dress the drums

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Speaker 1: start playing. They have to be ready. I mean, there's

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Speaker 1: no question asked about it. Why you have to be

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Speaker 1: clean and sharp dressed to play the drums. It is

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Speaker 1: because you are giving something. You are talking to people

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Speaker 1: fo the drums and the drums are inviting people to

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Speaker 1: be part of something. It's the moment, because we believe

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Speaker 1: deeply that every moment should be leave to the fullest

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Speaker 1: because we don't know if we're gonna be here tomorrow.

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Speaker 1: So every time we bring the drums out, whatever the circumstances,

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Speaker 1: so I can't be baptism. Even when somebody passed away,

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Speaker 1: we sing the person to the grave and we celebrate

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Speaker 1: the memory, the good memory and the bad memory of

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Speaker 1: the person, because it's like a part of us that

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Speaker 1: is gone, but that partly we're gonna keep it. So

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Speaker 1: we're gonna celebrate. And when my mom passed away in

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Speaker 1: last June, she always used to tell us the day

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Speaker 1: I die, and I want you to sing my Lika

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Speaker 1: for me. I said, Mom, I'm gonna do that. She said,

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Speaker 1: even if you're crying. I want that in my ears

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Speaker 1: before you put me in a caffin. So I did,

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Speaker 1: which was really hard for me to do. I didn't

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Speaker 1: couldn't even finish the song. But she really summoned us

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Speaker 1: and said, I don't want anybody to wear black, and

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Speaker 1: I don't want you to be crying. I want you

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Speaker 1: to play music all the time. Play me some fune

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Speaker 1: some R and B, some hip hop, all kind of

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Speaker 1: music that she dares to. People are looking at us, like,

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Speaker 1: your mom just diing, you're having fun. You guys are crazy.

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Speaker 1: Some people make comment saying that I lost my soul

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Speaker 1: because I was dancing, and I'm like, that's what my

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Speaker 1: mom wants. We liked it or not. As hard as

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Speaker 1: it was for us her children, we didn't have the

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Speaker 1: choice but to do what she asked us to do,

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Speaker 1: even though we were all in pain or on tears

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Speaker 1: and crying. We did because that's the person my mom is.

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Speaker 1: She's very artistic. She loved theater, she loved music. She

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Speaker 1: taught me how to sing, how to dress all my

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Speaker 1: stage outfit. When I was a little girl, she would

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Speaker 1: go to the extent of finding different fabric, telling me, well,

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Speaker 1: you can't wear your everyday clothes. People wear them all

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Speaker 1: the time. When you're on stage, not only you singing,

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Speaker 1: you are performing, you have to see you in different gowns.

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Speaker 1: We should say, your mom ran a theater. Yes, yes,

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Speaker 1: she ran the largest theater in West Africa till today.

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Speaker 1: And what was interesting in my upbringing is the fact

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Speaker 1: that my parents the love of music, for art in general,

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Speaker 1: and their passion also for sport were combined because they

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Speaker 1: always said, whatever instrument you play, even with your voice,

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Speaker 1: you anybody, your body needs to be in fit. You

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Speaker 1: need to work out to be able to to have

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Speaker 1: a healthy life. And me, I was born with asthma,

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Speaker 1: so so I start running fifteen meters in athletic club

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Speaker 1: in Benin and start swimming. People are telling my parents

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Speaker 1: you're Chris. You're gonna kill your child and my mom

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Speaker 1: dad said, no, she has to strengthen her length. I

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Speaker 1: step by steps, she's gonna be able to have a

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Speaker 1: normal life, not being crippled by asthma. My mom and

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Speaker 1: dad also we bring us all kinds of music. If

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Speaker 1: the music is this, someone on this planet, they find

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Speaker 1: it and they bring it. Is it true your dad

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Speaker 1: bought a bunch of instruments because he wanted your brothers

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Speaker 1: to be like the Jackson five. My father managed to

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Speaker 1: take a loan to buy the instruments and didn't tell

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Speaker 1: anything to my mom, no to my brothers. My mom

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Speaker 1: was pissed off. He said, how are you gonna pay

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Speaker 1: for this? My dad said, don't worry about it. We'll

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Speaker 1: find a way to play it. And while my older

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Speaker 1: brother was a nasturale musician. He taught himself to play

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Speaker 1: all the instruments he can play, keyboard, guitar, bass, drum,

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Speaker 1: whatever you bring put in his hand, he would play.

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Speaker 1: And my mom and dad loved me. Basically, my mom

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Speaker 1: used to play when she was in high school in

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Speaker 1: the band where she played the clarinet and sayings too.

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Speaker 1: But the thing is, my father was that kind of

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Speaker 1: person that believe that the world, as big as it is,

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Speaker 1: he can bring part of it to us through music

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Speaker 1: and culture in general, and always urge us to think

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Speaker 1: beyond the door of the house, saying to us, when

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Speaker 1: you get out of here, you're a citizen of this world,

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Speaker 1: and I hope I've given you enough tool for you

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Speaker 1: to live in this diverse world and challenging world we're living.

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Speaker 1: So music was part of that too, because sometimes he

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Speaker 1: would bring some stuff, weird music sometimes, But when he

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Speaker 1: started bringing classical music, were life that what is this?

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Speaker 1: Especially me? I said that music has no reason to us.

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Speaker 1: I think it was Beethove, and I don't know which

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Speaker 1: one he brought them, Like, man, Dad, we can't dance

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Speaker 1: on that now. How did you discover that you had

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Speaker 1: this powerhouse? Voice, because you know, one of your heroes

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Speaker 1: growing up was Aretha Franklin. You had the amazing Grace record.

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Speaker 1: You know, she at the church. That's where she found

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Speaker 1: out she could sing like that. How did you find

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Speaker 1: out that you had this booming voice? My father used

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Speaker 1: to say to me when people asked that question, how

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Speaker 1: come your daughter is singing? My first? I can't tell

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Speaker 1: you what I remember when she starts speaking, she would

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Speaker 1: be talking to me singing. I started singing before I

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Speaker 1: started making phrases, just because I was surrounded by song.

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Speaker 1: There's always ceremony somewhere, and I'll be sitting on the

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Speaker 1: lap of my mom and I'll be clapping my hand.

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Speaker 1: When I was two or three years or not understanding

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Speaker 1: anything about anything, and I developed that musical memory, not

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Speaker 1: knowing that I was gonna be a singer, because till

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Speaker 1: I make the leap to be a singer, I wanted

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Speaker 1: to be a human right lawyer or a surgeon. Your

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00:16:05,796 --> 00:16:10,436
Speaker 1: country was under a communist dictatorship, and in a strange way,

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Speaker 1: it almost helped you in music at first, because they

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Speaker 1: declared everybody had to have like a cooperative they called

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Speaker 1: it at school, and so you formed the band that

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Speaker 1: was called the Sphinx. So we start playing the thing

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Speaker 1: that was not clear about that we were making. The

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Speaker 1: head of the high school allowed us to do that

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Speaker 1: because it was imposed by the government. But what does

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Speaker 1: the money go? Because they sell tickets and we were

293
00:16:35,076 --> 00:16:38,556
Speaker 1: not paid, why does the money go? So we don't

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Speaker 1: know what the money goes. But we figured out that

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00:16:41,196 --> 00:16:42,876
Speaker 1: the head of the school was taking the money to

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Speaker 1: build his house nice and I'm like, okay, enough for

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Speaker 1: this nonsense. I mean, two years before I finished high school,

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Speaker 1: I'm saying, I said to myself enough, I'll do my

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Speaker 1: own stuff and I'll be paid. I don't want to

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Speaker 1: do this anymore. We'll be right back with more from

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Speaker 1: Angelique Kijo after a quick break. We're back with Angelique Kijo.

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Speaker 1: When you were listening to Western albums when you were

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Speaker 1: a kid, because you always had music in the house.

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Speaker 1: You mentioned James Brown, you really liked Curtis Mayfield. I

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00:17:18,476 --> 00:17:21,516
Speaker 1: think did it sound stilted? You did it sound like one, two,

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00:17:21,556 --> 00:17:23,836
Speaker 1: three four? Did it sound western? Or did you hear

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00:17:23,876 --> 00:17:26,956
Speaker 1: your music in it? Africa is the James Brown is

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Speaker 1: the first one that put the beat first beat on there.

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Speaker 1: He changed a lot of things. And for me, as

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Speaker 1: an African young little girl, when I first heard James

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Speaker 1: Brown like, it's not only the rhythm that attract me

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Speaker 1: to him, is how he plays his voice. He made

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Speaker 1: the English language rhythmic for me. Till then it was

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Speaker 1: another language like others, and I was not paying that

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Speaker 1: much attention to it in school when I was learning it.

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Speaker 1: And from the moment I started hearing James Brown sing

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Speaker 1: in English, I'm like God, singly like this guy because

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Speaker 1: I love rhythm. You speak and sing and I think

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Speaker 1: at least five languages. Yes, Indeed, is English a harder

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Speaker 1: language to be rhythmic in? No, it's easy. It's easier

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Speaker 1: than in French. French is more, much more complicated. The

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Speaker 1: difference is how can I say this? The English language

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Speaker 1: you can say things with one word, and the same

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00:18:25,836 --> 00:18:28,836
Speaker 1: thing you say in one word in English you need

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Speaker 1: two or three. In France it's more descriptive the French language,

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Speaker 1: and the sounds are not the same. The vowel or

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Speaker 1: constoms are not pronounced the same. How does that compare? Then,

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Speaker 1: your father was so you spoke that language, yeah, and

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Speaker 1: your mother was Yoruba and phon both. It's absolutely not

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00:18:49,956 --> 00:18:52,036
Speaker 1: the same sound at all. How do they compare in

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00:18:52,116 --> 00:18:55,316
Speaker 1: terms of singing in those languages, it's different. For example,

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Speaker 1: if you want to say good morning in Yoruba and

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00:18:59,756 --> 00:19:07,716
Speaker 1: in font it's already it's Ecaro, it's already singing. And

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Speaker 1: Phon is the anguage of the Amazon, so it is

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Speaker 1: a language of power. Every time I go back to

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00:19:14,236 --> 00:19:17,476
Speaker 1: being in and I start speaking, people turn around and

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00:19:17,516 --> 00:19:20,716
Speaker 1: look at me, like, you've left this country for how long?

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Speaker 1: And you speak this long better than us? I said,

339
00:19:22,516 --> 00:19:25,316
Speaker 1: because I live in the complexity of this language. Time

340
00:19:25,356 --> 00:19:27,876
Speaker 1: I'm trying to write a song, as you're writing, does

341
00:19:27,876 --> 00:19:30,836
Speaker 1: it naturally occur to you? It fits this language? You know?

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00:19:30,956 --> 00:19:34,636
Speaker 1: Sometimes I'm inspired to sing something in all the language.

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Speaker 1: I mean, when I was prepared the album Modern Nature

344
00:19:37,156 --> 00:19:39,876
Speaker 1: versus song on my demo that didn't make it to

345
00:19:39,916 --> 00:19:42,676
Speaker 1: the album, we were composing it and I was writing it.

346
00:19:43,236 --> 00:19:45,796
Speaker 1: I said to me, it comes like had to be Portuguese.

347
00:19:46,796 --> 00:19:50,076
Speaker 1: No other language was fitting into this. So I wrote

348
00:19:50,276 --> 00:19:53,236
Speaker 1: my stuff and I put in Google Translation and start

349
00:19:53,276 --> 00:19:55,756
Speaker 1: singing Portuguese. And I call my friend and say, is

350
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Speaker 1: this right? This is what I'm trying to say. So

351
00:19:57,676 --> 00:20:01,556
Speaker 1: she corrected it and it fits perfectly, So I just

352
00:20:01,676 --> 00:20:05,076
Speaker 1: follow what comes with the song. I don't know what

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Speaker 1: it's going to be. I don't have any control on

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00:20:08,396 --> 00:20:12,836
Speaker 1: my inspiration. And that's something that I realize and I

355
00:20:12,956 --> 00:20:15,636
Speaker 1: learn hardly. When I'm in spiled to do something that

356
00:20:15,876 --> 00:20:17,916
Speaker 1: I will record it and I'll put it aside and

357
00:20:17,916 --> 00:20:20,276
Speaker 1: I try to make something beautifully fitted to it. It

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00:20:20,316 --> 00:20:24,476
Speaker 1: doesn't work. And when it hits me that less is more,

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00:20:25,876 --> 00:20:28,596
Speaker 1: that's when I realized that the thing that comes first,

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00:20:28,836 --> 00:20:31,636
Speaker 1: the thing that burst out of you, you gotta keep that.

361
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Speaker 1: You gotta keep it into that integrity of the thing,

362
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Speaker 1: otherwise it doesn't sound right. When did you learn that? Lesson? Oh,

363
00:20:41,676 --> 00:20:44,476
Speaker 1: I was writing music since I was eleven years old.

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00:20:44,716 --> 00:20:50,236
Speaker 1: I read Verse and I'm like, something not working. I'm

365
00:20:50,236 --> 00:20:53,476
Speaker 1: trying too hard. It's not what I wanted to say

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Speaker 1: at the beginning. Then I'll go back and say, let

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00:20:55,236 --> 00:20:57,436
Speaker 1: me try what I say. And when I when I

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00:20:57,556 --> 00:20:59,756
Speaker 1: close to it, then I find my lyrics and I

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00:20:59,796 --> 00:21:03,316
Speaker 1: find my melody in my rhythm too, because the rhythm

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00:21:03,396 --> 00:21:05,956
Speaker 1: is there in the world. The rhythms are there. Everything

371
00:21:06,196 --> 00:21:11,076
Speaker 1: comes if you listen carefully to your furation. Everything is

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00:21:11,116 --> 00:21:14,476
Speaker 1: already lay out for you and all the rest. It's

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00:21:14,556 --> 00:21:18,236
Speaker 1: just ornament. When you were growing up, you were teased

374
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Speaker 1: for singing? Was it? It was mainly men who sang

375
00:21:21,836 --> 00:21:26,156
Speaker 1: and boys, men and girls. I mean what was hard

376
00:21:26,476 --> 00:21:31,316
Speaker 1: was when I arrived in high school because I when

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00:21:31,356 --> 00:21:33,236
Speaker 1: I was when I was in primary school, it was

378
00:21:33,316 --> 00:21:36,556
Speaker 1: girls because of jealousy because I was singing. I will

379
00:21:36,636 --> 00:21:39,076
Speaker 1: tell them, well, last night when I was out singing

380
00:21:39,076 --> 00:21:41,076
Speaker 1: in the club, this disc happened. They look at me,

381
00:21:41,316 --> 00:21:45,556
Speaker 1: you lie, you no way you can get I'm okay.

382
00:21:45,716 --> 00:21:49,156
Speaker 1: So I stopped talking about my concert because they were

383
00:21:49,196 --> 00:21:51,396
Speaker 1: annoyed and they didn't like it at all. And I

384
00:21:51,556 --> 00:21:56,236
Speaker 1: have many friends either. And when I arrived my first

385
00:21:56,316 --> 00:21:59,716
Speaker 1: year in high school was her on nerve. The first

386
00:21:59,796 --> 00:22:03,356
Speaker 1: day I arrived, I saw a couple of guys at

387
00:22:03,396 --> 00:22:08,996
Speaker 1: the door seeing nonsense, insulting people. I'm like, okay, funny whatever,

388
00:22:09,596 --> 00:22:11,636
Speaker 1: and they will say, you don't be along here, you

389
00:22:11,716 --> 00:22:13,436
Speaker 1: already finished primary school. What the hell are you doing?

390
00:22:13,476 --> 00:22:15,596
Speaker 1: You should get married and get out of our way.

391
00:22:15,676 --> 00:22:18,556
Speaker 1: I'm like, really, don't dare? I mean, I grew up

392
00:22:18,556 --> 00:22:21,436
Speaker 1: you seven brothers. The next step was to try to

393
00:22:21,556 --> 00:22:25,276
Speaker 1: humiliate you so they will find a stick of wood,

394
00:22:25,756 --> 00:22:28,116
Speaker 1: and I don't know how they do that. They put

395
00:22:28,156 --> 00:22:29,956
Speaker 1: mirror on it and you're walking. They tried to look

396
00:22:29,996 --> 00:22:34,556
Speaker 1: under your your dress and that I get mad. And

397
00:22:34,956 --> 00:22:37,636
Speaker 1: I remember getting back, coming back from schooling, telling my dad,

398
00:22:37,756 --> 00:22:41,036
Speaker 1: you say not to fight physical fight a couple of boys.

399
00:22:41,236 --> 00:22:45,196
Speaker 1: I want to just crap the teeth of My father said, no,

400
00:22:45,596 --> 00:22:48,796
Speaker 1: you aren't doing that. I didn't teach you violence. My

401
00:22:48,796 --> 00:22:51,716
Speaker 1: father's aren't too smart. They think they're smarter than you

402
00:22:51,756 --> 00:22:53,716
Speaker 1: because they've been into high school before you came in.

403
00:22:55,236 --> 00:22:59,996
Speaker 1: I'll smother them, find something they can't understand, invent a

404
00:23:00,036 --> 00:23:02,996
Speaker 1: world that means something for you that they don't know.

405
00:23:04,516 --> 00:23:07,716
Speaker 1: I'm like, gee, that's hard. Oh I'm gonna do this.

406
00:23:08,116 --> 00:23:10,276
Speaker 1: So I came up with the world batonga, which means

407
00:23:10,436 --> 00:23:13,596
Speaker 1: care off my bag. I will do whatever I want

408
00:23:13,596 --> 00:23:16,396
Speaker 1: to do and whoever I want to be. How did

409
00:23:16,396 --> 00:23:18,116
Speaker 1: you come up with that word? I don't know. I

410
00:23:18,156 --> 00:23:20,516
Speaker 1: woke up one day, was there in my mind? So

411
00:23:20,556 --> 00:23:23,796
Speaker 1: I go ba tonga and the guys go, is she crazy?

412
00:23:23,796 --> 00:23:26,996
Speaker 1: What kind of language is that? Oh? She crazy? This

413
00:23:26,996 --> 00:23:29,556
Speaker 1: man is crazy. She wanted last in school. That's how

414
00:23:29,716 --> 00:23:31,996
Speaker 1: they let me. That became a big song. For you,

415
00:23:32,396 --> 00:23:36,636
Speaker 1: it's your foundation. Yeah, that stays with me because I

416
00:23:36,796 --> 00:23:41,796
Speaker 1: realized that when you outsmart people in a good way,

417
00:23:42,116 --> 00:23:46,396
Speaker 1: even if there's no conversation after that, you have escaped fight.

418
00:23:46,996 --> 00:23:51,076
Speaker 1: We underestimate our ability to talk people out of nonsense.

419
00:23:52,516 --> 00:23:55,556
Speaker 1: And from that moment on, for me, it was obvious

420
00:23:55,636 --> 00:23:59,476
Speaker 1: that fight wore all those things our incapacity to come

421
00:23:59,516 --> 00:24:03,276
Speaker 1: to understanding. Everybody want to win. It's not possible. What

422
00:24:03,396 --> 00:24:05,876
Speaker 1: do I care about what people think about me. They

423
00:24:05,876 --> 00:24:08,556
Speaker 1: a'n't paying my bill, They're not my family, they're not

424
00:24:08,636 --> 00:24:10,236
Speaker 1: my friend. If you can say whatever you want to

425
00:24:10,236 --> 00:24:14,316
Speaker 1: give them. I learned that because of school, you're pretty

426
00:24:14,316 --> 00:24:19,236
Speaker 1: fearless about going in the countries in Africa. You know,

427
00:24:19,356 --> 00:24:22,156
Speaker 1: you got it up in front of pretty hostile crowds

428
00:24:22,316 --> 00:24:26,356
Speaker 1: and talked about in general mutilation of girls and all

429
00:24:26,436 --> 00:24:29,356
Speaker 1: kinds of issues and slavery and sexual abuse. You don't

430
00:24:29,356 --> 00:24:32,356
Speaker 1: seem to have any fear about talking about stuff on stage. Well,

431
00:24:32,396 --> 00:24:34,436
Speaker 1: you know, fear is the beginning of the end of

432
00:24:34,476 --> 00:24:36,876
Speaker 1: all our humanity. I, having wrote the song and this

433
00:24:36,996 --> 00:24:41,516
Speaker 1: new album, said we are our own enemies. Fear work

434
00:24:41,596 --> 00:24:46,236
Speaker 1: hand in hand with violence and hate. So unless we

435
00:24:46,356 --> 00:24:49,916
Speaker 1: decide that we are all equal, free and equal, as

436
00:24:49,956 --> 00:24:53,716
Speaker 1: the first article of the Human Right Declaration, and we

437
00:24:53,716 --> 00:24:56,516
Speaker 1: are not doing it. There are problems in this world

438
00:24:56,556 --> 00:25:02,076
Speaker 1: and lots of them are created by our complacency, our

439
00:25:02,196 --> 00:25:05,556
Speaker 1: silence to accept that if it profits me, it doesn't

440
00:25:05,556 --> 00:25:09,356
Speaker 1: profit other people are okare with it? So everything down

441
00:25:09,436 --> 00:25:14,876
Speaker 1: we make your choice off. Saying being silent is more

442
00:25:14,916 --> 00:25:18,516
Speaker 1: comfortable for me, you are putting over other people in danger.

443
00:25:19,876 --> 00:25:26,116
Speaker 1: You're allowing people to abuse, to rape, to kill and

444
00:25:26,196 --> 00:25:29,156
Speaker 1: to profit from it. Where if I live in fear,

445
00:25:29,636 --> 00:25:32,196
Speaker 1: I won't be here today as a union step would

446
00:25:32,196 --> 00:25:35,916
Speaker 1: be an ambassador. I've seen so many suffering for children.

447
00:25:36,236 --> 00:25:40,676
Speaker 1: That's what makes me mad. Does that not the rage,

448
00:25:40,756 --> 00:25:43,996
Speaker 1: but the lack of fear? Has that always carried over

449
00:25:44,076 --> 00:25:46,116
Speaker 1: in your art as well? I've done You've done a

450
00:25:46,116 --> 00:25:48,836
Speaker 1: lot of big projects all the time. Have you never

451
00:25:49,556 --> 00:25:51,876
Speaker 1: said I'm a little worried about this, or I'm not

452
00:25:51,916 --> 00:25:55,116
Speaker 1: sure I'm getting this right, or you know, you did

453
00:25:55,156 --> 00:25:57,956
Speaker 1: a very ambitious set of albums which is really all

454
00:25:58,036 --> 00:26:01,236
Speaker 1: about the spread of West African music through the world.

455
00:26:02,596 --> 00:26:05,876
Speaker 1: We should mention for our listeners. You know where you

456
00:26:05,916 --> 00:26:10,036
Speaker 1: come from. Its basically the cradle of so much Western music.

457
00:26:10,396 --> 00:26:14,836
Speaker 1: It's kind of the vienna of pop music. You've never

458
00:26:14,836 --> 00:26:17,916
Speaker 1: been afraid as an artist to put something out at

459
00:26:17,996 --> 00:26:19,956
Speaker 1: the end of my day on this earth, I want

460
00:26:19,956 --> 00:26:22,596
Speaker 1: to be able to die and said I've done my best,

461
00:26:22,836 --> 00:26:25,636
Speaker 1: I've done my share. I don't want to die as

462
00:26:25,716 --> 00:26:29,876
Speaker 1: thinking well I should have, because if you look like

463
00:26:29,956 --> 00:26:33,356
Speaker 1: live like that, you become bitter, You become a person

464
00:26:33,436 --> 00:26:36,076
Speaker 1: that you don't want to be. But that's helping other people.

465
00:26:36,356 --> 00:26:39,556
Speaker 1: Are you as confident You've written so many songs, you've

466
00:26:39,556 --> 00:26:42,996
Speaker 1: done so many albums, you don't ever question yourself. You

467
00:26:43,076 --> 00:26:47,076
Speaker 1: always feel you're giving your best always, Especially with my music.

468
00:26:47,156 --> 00:26:49,516
Speaker 1: There's don't lie in it because I can't live with it.

469
00:26:50,236 --> 00:26:53,756
Speaker 1: My inspiration is what I follow. There's not one song

470
00:26:53,916 --> 00:26:56,876
Speaker 1: in my repertoire that I won't see with pleasure today,

471
00:26:57,036 --> 00:27:01,076
Speaker 1: all of it, because it's right to say what you

472
00:27:01,156 --> 00:27:04,436
Speaker 1: have to say. I come from a culture of orality,

473
00:27:05,196 --> 00:27:08,476
Speaker 1: where the story of my ancestor the story of little

474
00:27:08,596 --> 00:27:11,036
Speaker 1: have been told to me by elderly people, and it's

475
00:27:11,076 --> 00:27:13,396
Speaker 1: different from anything you can read in the book. That

476
00:27:13,596 --> 00:27:16,356
Speaker 1: interested me in reading your book because you said you

477
00:27:16,436 --> 00:27:21,436
Speaker 1: got a great education, but they didn't teach you about slavery,

478
00:27:21,996 --> 00:27:25,556
Speaker 1: and you didn't. You learned about slavery when your brother

479
00:27:25,876 --> 00:27:28,316
Speaker 1: brought home a Jimi Hendrix album. Can you tell me

480
00:27:28,356 --> 00:27:33,236
Speaker 1: that story. What was interesting on that album is two things.

481
00:27:33,356 --> 00:27:36,836
Speaker 1: That two things the snake above his head. I've never

482
00:27:36,876 --> 00:27:40,836
Speaker 1: seen snake on any album that much, right, and the

483
00:27:40,916 --> 00:27:45,596
Speaker 1: Afro For me, those two things you gotta be African,

484
00:27:46,036 --> 00:27:49,636
Speaker 1: especially from Benie, because we worshiped the python in my

485
00:27:49,716 --> 00:27:52,676
Speaker 1: family and I'm scared of it, so I don't like snake.

486
00:27:53,276 --> 00:27:56,036
Speaker 1: But then I see my brother that was my brother

487
00:27:56,116 --> 00:27:58,916
Speaker 1: was born with no hair, and he never had any hair.

488
00:27:59,196 --> 00:28:03,156
Speaker 1: He would wear a long tunic and we put Afroweek

489
00:28:03,196 --> 00:28:05,956
Speaker 1: on every time he put that album on. And I

490
00:28:05,996 --> 00:28:09,636
Speaker 1: went to him, I said, what I was nice? I said,

491
00:28:10,036 --> 00:28:12,756
Speaker 1: explain to me, do you need enough frow week to

492
00:28:12,756 --> 00:28:15,156
Speaker 1: play the guitar of this guy? And by the way,

493
00:28:16,036 --> 00:28:20,476
Speaker 1: he's African, right, And then he goes, well, he's African American.

494
00:28:21,956 --> 00:28:23,636
Speaker 1: I said, are you trying to pull my leg? Because

495
00:28:23,636 --> 00:28:25,316
Speaker 1: I'm nine years old? You think I'm stupid enough not

496
00:28:25,316 --> 00:28:27,116
Speaker 1: to understand you can't be African and American at the

497
00:28:27,116 --> 00:28:30,796
Speaker 1: same time. It's two different continent. I know that so far.

498
00:28:31,476 --> 00:28:35,276
Speaker 1: And he's like, well, if I start answering you, I'm

499
00:28:35,276 --> 00:28:37,436
Speaker 1: not going to practice my guitar, right, So go ask

500
00:28:37,636 --> 00:28:41,116
Speaker 1: go ask a grandma. So the only grandma can put

501
00:28:41,156 --> 00:28:44,076
Speaker 1: my hand on was my mom's mother. And she starts

502
00:28:44,076 --> 00:28:46,276
Speaker 1: telling me the story of slavery. And I look at

503
00:28:46,316 --> 00:28:52,356
Speaker 1: him like she's having a dementia. Man, this is not right.

504
00:28:52,956 --> 00:28:57,116
Speaker 1: She's losing a mama. Because my mom and dad we

505
00:28:57,236 --> 00:28:59,316
Speaker 1: always say to us before we leave the house, a

506
00:28:59,396 --> 00:29:01,876
Speaker 1: human being is not a matter of color. Don't come

507
00:29:01,876 --> 00:29:04,076
Speaker 1: back here tell us you felt because you're black. And

508
00:29:04,116 --> 00:29:07,236
Speaker 1: I'd be just like I grew up with that, So

509
00:29:07,516 --> 00:29:11,076
Speaker 1: I brush it off. I'm like, yeah, well, I guess

510
00:29:11,076 --> 00:29:14,316
Speaker 1: nobody's gonna tell me anything about slavery. Then I turned

511
00:29:14,316 --> 00:29:19,236
Speaker 1: fifteen and I learned about apathey in South Africa. It's

512
00:29:19,316 --> 00:29:23,236
Speaker 1: just like I was hit by a twin running, I

513
00:29:23,276 --> 00:29:27,516
Speaker 1: mean a fast train boom, and I just lost it.

514
00:29:27,676 --> 00:29:30,356
Speaker 1: And did you learn about that in school? No? No,

515
00:29:30,516 --> 00:29:34,716
Speaker 1: they didn't TV, they didn't teach apartheid. No, I just

516
00:29:34,756 --> 00:29:36,396
Speaker 1: saw it. I just thought we did in Mandela talking

517
00:29:36,396 --> 00:29:39,596
Speaker 1: about Nelson Mandela just and I lost it, literally and

518
00:29:39,636 --> 00:29:42,756
Speaker 1: I turned around and see my mother for the first time,

519
00:29:42,756 --> 00:29:45,636
Speaker 1: I said, why are you lying to me? And I

520
00:29:45,756 --> 00:29:48,796
Speaker 1: never scream at my parents. You're not allowed to disrespect

521
00:29:48,796 --> 00:29:52,556
Speaker 1: your parents in Africa, And I smashed the door, walk

522
00:29:52,596 --> 00:29:56,276
Speaker 1: into my room, starts crabbing. Lie. I was mad and

523
00:29:56,436 --> 00:30:01,436
Speaker 1: afraid at the same time, because suddenly I realized that

524
00:30:01,596 --> 00:30:05,036
Speaker 1: being black can be a death sentence for me, because

525
00:30:05,036 --> 00:30:08,116
Speaker 1: what is going on in South Africa. And then slavery

526
00:30:08,156 --> 00:30:11,436
Speaker 1: come to my m J and I start panicking. Then

527
00:30:11,476 --> 00:30:14,996
Speaker 1: I wrote a song and my first draft was so hateful.

528
00:30:16,356 --> 00:30:19,236
Speaker 1: I'm going out they kill everybody that is getting black people.

529
00:30:19,236 --> 00:30:22,676
Speaker 1: And my father said, hey, I listen to my song

530
00:30:22,756 --> 00:30:26,836
Speaker 1: and go, are you serious? Did I teach you hating

531
00:30:26,916 --> 00:30:29,036
Speaker 1: this house? Didn't I tell you that they're never gonna

532
00:30:29,076 --> 00:30:32,036
Speaker 1: be hating. Violence allowed here. There's no platform for this,

533
00:30:32,356 --> 00:30:35,716
Speaker 1: no outlet. If you want to sing, you want to

534
00:30:35,756 --> 00:30:39,236
Speaker 1: be an artist, you better think again. I say, what

535
00:30:39,276 --> 00:30:42,196
Speaker 1: do you mean? He said to me. I understand you're mad,

536
00:30:42,236 --> 00:30:46,396
Speaker 1: you're afraid everything, but that reaction that you have it's

537
00:30:46,436 --> 00:30:48,556
Speaker 1: not from the smart girl that I know. You better

538
00:30:48,596 --> 00:30:51,996
Speaker 1: think about it again. You can write about this situation,

539
00:30:52,476 --> 00:30:54,836
Speaker 1: but you have to write in a way that go

540
00:30:55,036 --> 00:30:58,956
Speaker 1: toward solution. My father said, you can't find everybody on

541
00:30:58,996 --> 00:31:02,436
Speaker 1: this planet. You don't have the power to as an artist,

542
00:31:02,516 --> 00:31:04,676
Speaker 1: as you've told because they told me that my musician,

543
00:31:04,716 --> 00:31:07,996
Speaker 1: the traditional musicians say it's a gift, and that gift

544
00:31:07,996 --> 00:31:10,996
Speaker 1: you use it to bring people together. So how do

545
00:31:11,036 --> 00:31:13,636
Speaker 1: you do that? So I went back and rewrite the

546
00:31:13,676 --> 00:31:16,236
Speaker 1: song and it become an anthem for peace. And then

547
00:31:16,236 --> 00:31:18,916
Speaker 1: he said, do you feel better now? As he yes that.

548
00:31:19,996 --> 00:31:22,356
Speaker 1: He said, as long as you understand the purpose of

549
00:31:22,396 --> 00:31:25,156
Speaker 1: what you're doing and why are you doing it, and

550
00:31:25,236 --> 00:31:27,596
Speaker 1: you understand that you are in a position where you

551
00:31:27,676 --> 00:31:30,476
Speaker 1: hold keys to open doors that are closed that I've

552
00:31:30,516 --> 00:31:34,036
Speaker 1: been closed forever through your voice for what you write,

553
00:31:35,516 --> 00:31:37,756
Speaker 1: then you can be an artist, the full artist that

554
00:31:37,836 --> 00:31:41,236
Speaker 1: we go into the world and work with everybody. It

555
00:31:41,236 --> 00:31:44,196
Speaker 1: stays with me. When you learned about South Africa, was

556
00:31:44,236 --> 00:31:48,876
Speaker 1: that when you started listening to another one of your heroes.

557
00:31:49,116 --> 00:31:51,476
Speaker 1: I was listening to her without knowing anything about it.

558
00:31:51,676 --> 00:31:54,636
Speaker 1: You didn't know this is Miriam mcabe. Yeah, I wanna

559
00:31:54,676 --> 00:31:57,796
Speaker 1: start listened to Miriam mcabbe. Was I was a little

560
00:31:57,836 --> 00:31:59,716
Speaker 1: The first song of Miriam mcabbe that I sang I

561
00:31:59,756 --> 00:32:03,996
Speaker 1: was eight years old, and it was the retreat song

562
00:32:04,596 --> 00:32:07,436
Speaker 1: that my mom and some of her friends have chosen

563
00:32:07,916 --> 00:32:11,556
Speaker 1: to march in the street asking for women's rights to

564
00:32:11,676 --> 00:32:16,956
Speaker 1: vote to this no more arranged marriage. Their body belongs

565
00:32:16,996 --> 00:32:19,956
Speaker 1: to all those those things we're talking about. They were

566
00:32:19,956 --> 00:32:22,636
Speaker 1: talking about it at that time in nineteen sixty eight.

567
00:32:23,036 --> 00:32:26,276
Speaker 1: My mom said, come. Her friends said, we can't sing.

568
00:32:26,476 --> 00:32:28,116
Speaker 1: You're the one. You one. They tell my mom, you're

569
00:32:28,156 --> 00:32:31,476
Speaker 1: only one that can't sing. We sing like, oh it's bad.

570
00:32:31,556 --> 00:32:33,916
Speaker 1: Bring on your little girl. She sings good. We're gonna

571
00:32:33,916 --> 00:32:36,076
Speaker 1: put on the front and she can sing and everything follow.

572
00:32:36,676 --> 00:32:40,756
Speaker 1: So I started singing that song that they use. They

573
00:32:40,836 --> 00:32:44,316
Speaker 1: use the music and they put the words of their

574
00:32:44,396 --> 00:32:48,956
Speaker 1: demands in fun. So I was singing that. I mean

575
00:32:49,116 --> 00:32:51,156
Speaker 1: I like it because I was on the supervision of

576
00:32:51,156 --> 00:32:52,756
Speaker 1: my mom. I was all doing my homework and I

577
00:32:52,836 --> 00:32:55,156
Speaker 1: was like having fun. And I didn't even know what

578
00:32:55,276 --> 00:32:58,156
Speaker 1: the power to message that I was singing it. At eight,

579
00:32:58,516 --> 00:33:01,796
Speaker 1: I was there among all those people singing. But never

580
00:33:01,876 --> 00:33:07,116
Speaker 1: thought of South Africa because it's not told. TV came

581
00:33:07,156 --> 00:33:11,996
Speaker 1: to being in very late early eighties, so none of

582
00:33:11,996 --> 00:33:14,836
Speaker 1: those information comes in. My father will listen to the

583
00:33:14,876 --> 00:33:17,436
Speaker 1: news on the radio. It's a different thing. That's seeing

584
00:33:17,516 --> 00:33:21,196
Speaker 1: images you hear from far and you don't pay attention

585
00:33:21,236 --> 00:33:24,196
Speaker 1: to it because when he's listening to news in the morning,

586
00:33:24,236 --> 00:33:26,076
Speaker 1: I'm running to get ready to go to school, so

587
00:33:26,076 --> 00:33:28,796
Speaker 1: I don't pay attention to what he's listening to. And

588
00:33:29,556 --> 00:33:34,596
Speaker 1: and it's it's really take its toll on me. How

589
00:33:35,276 --> 00:33:40,316
Speaker 1: do we manage to convince ourselves throughout centuries that harming

590
00:33:40,396 --> 00:33:43,956
Speaker 1: another person and profiting from it is good. We haven't

591
00:33:43,996 --> 00:33:47,956
Speaker 1: dealt with the scope of the damage, the damages of slavery.

592
00:33:48,196 --> 00:33:51,236
Speaker 1: It doesn't matter we concincolor you have because we're still

593
00:33:51,316 --> 00:33:54,196
Speaker 1: living the truma of it today. We'll be right back

594
00:33:54,236 --> 00:34:01,276
Speaker 1: in a moment with more from Angelique Keijo. We're back

595
00:34:01,316 --> 00:34:04,676
Speaker 1: with the rest of Bruce Heathlam's conversation with Angelique Keijo

596
00:34:05,316 --> 00:34:08,596
Speaker 1: and with politics eventually that made you have to leave

597
00:34:08,636 --> 00:34:11,236
Speaker 1: your country. You know, one of the things that interested

598
00:34:11,276 --> 00:34:13,636
Speaker 1: me so much on this new album is how many

599
00:34:13,676 --> 00:34:17,156
Speaker 1: young artists you work with and established artists too. You know,

600
00:34:17,156 --> 00:34:20,196
Speaker 1: you've got burned a boy on this sample. The grade

601
00:34:20,356 --> 00:34:24,476
Speaker 1: and different artists. They no longer have to leave Africa,

602
00:34:24,916 --> 00:34:28,396
Speaker 1: but you did in order to pursue your art and

603
00:34:28,436 --> 00:34:30,516
Speaker 1: do what you wanted to. But they have the technology

604
00:34:30,556 --> 00:34:32,636
Speaker 1: to stay. I didn't have that at that time. You

605
00:34:32,676 --> 00:34:35,036
Speaker 1: said your family couldn't talk politics anymore, that there was

606
00:34:35,396 --> 00:34:39,076
Speaker 1: I mean censorship, and there was fear. Well, the thing

607
00:34:39,196 --> 00:34:41,876
Speaker 1: is today, I when I listen to people talking about addictatorship,

608
00:34:41,876 --> 00:34:45,036
Speaker 1: I look at them outten myself. You don't even understand

609
00:34:45,116 --> 00:34:49,316
Speaker 1: what it is. You don't know what it is. But

610
00:34:49,476 --> 00:34:52,476
Speaker 1: what was it for you living in a home that

611
00:34:52,636 --> 00:34:55,876
Speaker 1: become a jail cell. Well, you don't trust anybody that

612
00:34:55,956 --> 00:34:58,356
Speaker 1: walked in and you always have to look over your

613
00:34:58,356 --> 00:35:00,876
Speaker 1: shoulder when you when I call your dad dad instead

614
00:35:00,876 --> 00:35:04,356
Speaker 1: of calling him comrade, he's my dad. Somebody coming in

615
00:35:04,356 --> 00:35:06,476
Speaker 1: and you're calling your father dad. You can't help in jail.

616
00:35:06,916 --> 00:35:09,596
Speaker 1: I mean people crazy. Mean you used to take to

617
00:35:09,756 --> 00:35:11,516
Speaker 1: get out of your house to do whatever you want

618
00:35:11,516 --> 00:35:13,516
Speaker 1: to do. You can't take your car and go anywhere

619
00:35:13,556 --> 00:35:17,556
Speaker 1: you are. Somebody can come anytime in your house and

620
00:35:17,636 --> 00:35:20,876
Speaker 1: check you out. The man are like something you say,

621
00:35:20,956 --> 00:35:22,716
Speaker 1: Well something where you put something, You end up in

622
00:35:22,796 --> 00:35:25,956
Speaker 1: jail and sometimes people disappear. And how did you get

623
00:35:25,956 --> 00:35:27,916
Speaker 1: out when you left? I mean it took a year

624
00:35:27,956 --> 00:35:33,596
Speaker 1: to for my parents to organize me living because you

625
00:35:33,636 --> 00:35:36,756
Speaker 1: don't trust anybody, so you got out. Really be careful.

626
00:35:37,396 --> 00:35:40,716
Speaker 1: No one knew I was living. My mom and dad

627
00:35:41,036 --> 00:35:44,036
Speaker 1: were witnessed at a wedding of one of our cousin

628
00:35:44,556 --> 00:35:46,916
Speaker 1: and they live not far from the airport. So we

629
00:35:47,036 --> 00:35:49,516
Speaker 1: make sure that everybody in the street where I grew

630
00:35:49,596 --> 00:35:52,076
Speaker 1: up knew about that wedding that we were gonna go

631
00:35:52,596 --> 00:35:56,556
Speaker 1: to that wedding. We played a game like that, addressed

632
00:35:57,036 --> 00:35:58,996
Speaker 1: like I was into the party. While in the car,

633
00:35:59,876 --> 00:36:02,276
Speaker 1: my father put the car home in the trunk. I

634
00:36:02,316 --> 00:36:05,156
Speaker 1: put all my stuff. So when my father and I

635
00:36:05,316 --> 00:36:07,996
Speaker 1: left after the dinner, because I took the flight that

636
00:36:08,116 --> 00:36:11,156
Speaker 1: was living at fifty five, I have to change my

637
00:36:11,236 --> 00:36:16,236
Speaker 1: clothes in the car of my dad and pray from

638
00:36:16,276 --> 00:36:18,236
Speaker 1: the women he dropped me. I was my hours on

639
00:36:18,276 --> 00:36:21,516
Speaker 1: my own. I was over twenty one, so if something happened,

640
00:36:21,516 --> 00:36:24,436
Speaker 1: I'll go to jail, not my parents. So I would

641
00:36:24,436 --> 00:36:27,116
Speaker 1: die to protect my parents. I won't say anything, but

642
00:36:27,156 --> 00:36:29,996
Speaker 1: I was lucky enough that the custom agent that I

643
00:36:30,036 --> 00:36:34,516
Speaker 1: saw was a friend of my brothers, and he just

644
00:36:34,916 --> 00:36:38,596
Speaker 1: asked me to just run, and I run. That's how

645
00:36:38,636 --> 00:36:42,036
Speaker 1: I left my country. You were already a pop star. Yeah,

646
00:36:42,036 --> 00:36:45,916
Speaker 1: that's why. That's why I couldn't say I was going

647
00:36:46,356 --> 00:36:49,796
Speaker 1: because I was already on the radar. Because when I

648
00:36:49,836 --> 00:36:51,916
Speaker 1: did my album, I didn't I didn't write any song

649
00:36:51,996 --> 00:36:55,796
Speaker 1: about the regime. I didn't write any song saying ready

650
00:36:55,836 --> 00:36:59,116
Speaker 1: for the revolution to fight country. I refused that. I said,

651
00:36:59,116 --> 00:37:01,676
Speaker 1: I'm not gonna say about an idology. My father had

652
00:37:01,676 --> 00:37:04,956
Speaker 1: taught me that don't use your music for any political

653
00:37:04,996 --> 00:37:06,516
Speaker 1: party because they come and they go. You want to

654
00:37:06,516 --> 00:37:08,836
Speaker 1: have a career, don't be linked to it. So then

655
00:37:09,156 --> 00:37:11,036
Speaker 1: went to Paris. You had to start all over again.

656
00:37:11,076 --> 00:37:14,076
Speaker 1: You went to school, you work. Oh that was much

657
00:37:14,116 --> 00:37:17,636
Speaker 1: more exciting than anything else you like. Oh yeah, I

658
00:37:17,636 --> 00:37:22,236
Speaker 1: mean what I love was that I realized that now

659
00:37:22,436 --> 00:37:25,596
Speaker 1: every decision that I made for myself can be a

660
00:37:25,596 --> 00:37:27,516
Speaker 1: good one or a bad one, and that I have

661
00:37:27,636 --> 00:37:31,316
Speaker 1: grown up. Now I'm an adult because ford my dad,

662
00:37:31,956 --> 00:37:34,236
Speaker 1: I have to pay a rent, I have to find food,

663
00:37:34,636 --> 00:37:37,436
Speaker 1: I have to work. I mean, the fact that I

664
00:37:37,516 --> 00:37:39,916
Speaker 1: have to start from scrush was really exciting for me.

665
00:37:40,476 --> 00:37:44,076
Speaker 1: Nobody knew me, nobody knows so for once I wanted

666
00:37:44,116 --> 00:37:46,076
Speaker 1: to be a backing singer. I couldn't do it. Because

667
00:37:46,116 --> 00:37:48,556
Speaker 1: I was a phone runner. Also, around this time in

668
00:37:49,076 --> 00:37:54,796
Speaker 1: Western music there were artists like Talking Heads and Peter

669
00:37:54,876 --> 00:37:58,076
Speaker 1: Gabriel and later Paul Simon, this was in the eighties

670
00:37:58,316 --> 00:38:02,756
Speaker 1: who started embracing a lot of African rhythms, African sounds.

671
00:38:03,396 --> 00:38:05,516
Speaker 1: You were not struggling in your career but working on

672
00:38:05,556 --> 00:38:08,196
Speaker 1: your career, and suddenly you hear these people come in

673
00:38:08,236 --> 00:38:10,516
Speaker 1: and start using these sounds. What did you think, Well,

674
00:38:10,556 --> 00:38:13,276
Speaker 1: the thing is, when I arrived in France, that's when

675
00:38:13,276 --> 00:38:16,716
Speaker 1: I discover all those things, like the Talking Heads. But

676
00:38:16,876 --> 00:38:19,596
Speaker 1: the thing was, I didn't know anything about the talking

677
00:38:19,636 --> 00:38:22,916
Speaker 1: Heads at all till I get to Paris and here

678
00:38:24,876 --> 00:38:28,116
Speaker 1: with a friend, we were at the students place, and

679
00:38:28,156 --> 00:38:31,676
Speaker 1: then they started playing the cassettes. When I arrived in

680
00:38:31,756 --> 00:38:35,236
Speaker 1: nineteen eighty three, I was in music junkie because I

681
00:38:35,276 --> 00:38:38,316
Speaker 1: have the feeling that the world the ten past years,

682
00:38:38,436 --> 00:38:42,356
Speaker 1: the world have just left me behind, and I wanted

683
00:38:42,396 --> 00:38:44,876
Speaker 1: to catch up so bad. And when I heard the

684
00:38:44,876 --> 00:38:47,516
Speaker 1: song once in a lifetime, I was so happy and

685
00:38:47,596 --> 00:38:50,556
Speaker 1: I was like dancing, And then of course you always

686
00:38:50,556 --> 00:38:53,596
Speaker 1: have some stupid racist person saying, what are you doing atally,

687
00:38:53,756 --> 00:38:58,036
Speaker 1: this is not African music. I'm like well, sorry for ignorance.

688
00:38:58,196 --> 00:39:00,756
Speaker 1: This is African music man, And he looked at me

689
00:39:00,756 --> 00:39:03,516
Speaker 1: and go no, I'm like, just get off my bag.

690
00:39:04,396 --> 00:39:08,596
Speaker 1: But let on, I realized all those things. But the

691
00:39:08,676 --> 00:39:12,196
Speaker 1: African rhythm have always been in every music. As I

692
00:39:12,236 --> 00:39:16,436
Speaker 1: said before, recognizing it or not recognizing it doesn't go

693
00:39:16,476 --> 00:39:19,996
Speaker 1: away because it's in your DNA. So later, of course

694
00:39:20,156 --> 00:39:24,196
Speaker 1: you covered the whole album remaining light. What made you

695
00:39:24,236 --> 00:39:27,116
Speaker 1: want to do that? Because here you are taking songs

696
00:39:27,196 --> 00:39:30,316
Speaker 1: that were written to African rhythms by these by this

697
00:39:30,476 --> 00:39:33,836
Speaker 1: band in New York. What made you want to do that? Well?

698
00:39:35,236 --> 00:39:38,276
Speaker 1: Two things. The first time I heard the song once

699
00:39:38,316 --> 00:39:41,756
Speaker 1: in a lifetime, I was seeing my period in France

700
00:39:41,796 --> 00:39:46,276
Speaker 1: where I will cry every day because of the ignorance

701
00:39:46,316 --> 00:39:48,516
Speaker 1: of people in the hate that I have to go through,

702
00:39:48,596 --> 00:39:54,356
Speaker 1: the racism stlure that goes on. The time I opened

703
00:39:54,396 --> 00:39:56,596
Speaker 1: my mouth to speak, why can't Why can't you speak?

704
00:39:56,596 --> 00:39:59,036
Speaker 1: From time you understand? We need an encyclopedia to understand you.

705
00:39:59,116 --> 00:40:01,796
Speaker 1: I'm like, but it's your language, That's what I learned

706
00:40:01,836 --> 00:40:03,276
Speaker 1: in school. What do you want me to speak? What

707
00:40:04,236 --> 00:40:07,876
Speaker 1: to pay a tribute to that song? That that day

708
00:40:08,036 --> 00:40:11,476
Speaker 1: with all those students around me when we were ready

709
00:40:11,476 --> 00:40:13,596
Speaker 1: in the fridge of one of them, because he invalied

710
00:40:13,636 --> 00:40:17,476
Speaker 1: all of us to see so many young kids so

711
00:40:17,716 --> 00:40:22,156
Speaker 1: ignorant about about the culture. And that song like that

712
00:40:22,396 --> 00:40:25,436
Speaker 1: that day when I listened to it, it brings it

713
00:40:25,476 --> 00:40:28,796
Speaker 1: brings miles to my face, and it made my day.

714
00:40:29,196 --> 00:40:32,436
Speaker 1: So I've been looking for because on the cassette there's

715
00:40:32,436 --> 00:40:35,076
Speaker 1: no name you. I look everywhere to find the name

716
00:40:35,116 --> 00:40:37,076
Speaker 1: of this. I didn't know it. Oh you didn't know. No,

717
00:40:37,956 --> 00:40:40,836
Speaker 1: I didn't know because cassette, I mean students were doing cassete.

718
00:40:40,836 --> 00:40:42,356
Speaker 1: They would let the stuff they put on the cassete,

719
00:40:42,356 --> 00:40:45,796
Speaker 1: they don't put the title of the stuff. So from

720
00:40:45,796 --> 00:40:48,636
Speaker 1: time to time, the melody you come back to me

721
00:40:49,396 --> 00:40:54,956
Speaker 1: m mmmmmmmmm. And that's that's the only thing that I

722
00:40:55,036 --> 00:40:59,596
Speaker 1: remember till I start talking to my friend of mine,

723
00:40:59,676 --> 00:41:05,076
Speaker 1: Danny Capillion, my husband management, and I was like, there's

724
00:41:05,076 --> 00:41:07,156
Speaker 1: a song. I mean, I don't know where it comes from,

725
00:41:07,156 --> 00:41:10,156
Speaker 1: but I love to listen to it. And said, I said,

726
00:41:10,156 --> 00:41:13,076
Speaker 1: I don't know the title. I just remember the melody

727
00:41:13,076 --> 00:41:19,196
Speaker 1: goes mmmmmmmmmmmmm. And then they go, what that's once in

728
00:41:19,196 --> 00:41:22,796
Speaker 1: the left, And I said what? And I listened to

729
00:41:22,796 --> 00:41:25,276
Speaker 1: it I said, I have to cover this album. They're

730
00:41:25,316 --> 00:41:28,356
Speaker 1: gonna actually let you joking, right, I said to my husband,

731
00:41:28,436 --> 00:41:31,196
Speaker 1: let's get to the studio. There are a couple of

732
00:41:31,236 --> 00:41:34,316
Speaker 1: songs that we record with the traditional women when we

733
00:41:34,356 --> 00:41:38,836
Speaker 1: were recording because for me, bonn on the Punches when

734
00:41:38,836 --> 00:41:41,956
Speaker 1: I was I would listen to it. I'm like, this

735
00:41:42,196 --> 00:41:47,676
Speaker 1: is talking about corruption for me. Corruption. Imagine the amount

736
00:41:47,716 --> 00:41:57,436
Speaker 1: of money that corruption take away from investing in education, roads, health.

737
00:41:58,276 --> 00:42:01,316
Speaker 1: And that's what you were hearing and in remaining life.

738
00:42:01,516 --> 00:42:04,436
Speaker 1: That's why I started, when I started with the world

739
00:42:04,476 --> 00:42:11,756
Speaker 1: that I started started is z we oh z zoya daza,

740
00:42:11,836 --> 00:42:15,836
Speaker 1: which mean when you start a fire and you don't

741
00:42:15,836 --> 00:42:20,276
Speaker 1: know how to stop it, the fire gonna eat everything

742
00:42:20,436 --> 00:42:24,196
Speaker 1: up and even you to start the fight. And that's

743
00:42:24,236 --> 00:42:27,036
Speaker 1: what corruption is doing to our system. When you finally

744
00:42:27,076 --> 00:42:29,436
Speaker 1: met David Byrne after you recorded it, did you talk

745
00:42:29,516 --> 00:42:33,156
Speaker 1: to him about how you interpreted his album? Yeah, he

746
00:42:33,236 --> 00:42:37,196
Speaker 1: knows I told him that about it. Yeah, you're like, well, okay,

747
00:42:37,236 --> 00:42:39,556
Speaker 1: I do have a request, but could you just say

748
00:42:39,716 --> 00:42:42,916
Speaker 1: one line when you sing the shotgun shot line? Yeah?

749
00:42:42,996 --> 00:42:44,716
Speaker 1: Could you just say that for me? And you may

750
00:42:44,836 --> 00:42:48,236
Speaker 1: find yourself living in a shotgun shock, And you may

751
00:42:48,356 --> 00:42:51,556
Speaker 1: find yourself in another part of the world, and you

752
00:42:51,676 --> 00:42:55,076
Speaker 1: may find yourself behind the wheel of a logo to mobile,

753
00:42:55,476 --> 00:42:58,156
Speaker 1: and you may find yourself in a beautiful house with

754
00:42:58,316 --> 00:43:02,116
Speaker 1: a beautiful wife, and you may ask yourself, well, how

755
00:43:02,196 --> 00:43:05,316
Speaker 1: did I get here? Let him do days go by?

756
00:43:06,516 --> 00:43:09,396
Speaker 1: That is so fabulous. Oh, you just made my day,

757
00:43:11,436 --> 00:43:15,036
Speaker 1: So you know you did. You started putting out albums

758
00:43:15,236 --> 00:43:18,716
Speaker 1: and then you did your big album which was Legozo.

759
00:43:18,956 --> 00:43:21,196
Speaker 1: Did that have Batongo on? It was that on that

760
00:43:22,556 --> 00:43:24,196
Speaker 1: and it was it was your first album for Chris

761
00:43:24,396 --> 00:43:28,036
Speaker 1: Blackwell in Island, and it was produced by the Think

762
00:43:29,116 --> 00:43:32,676
Speaker 1: the drummer for Miami, Sam Michies exactly, and a lot

763
00:43:32,756 --> 00:43:36,276
Speaker 1: of people, if they don't remember all the songs, remember

764
00:43:36,316 --> 00:43:40,436
Speaker 1: the album cover. Yes, because you in that strike kind

765
00:43:40,516 --> 00:43:42,876
Speaker 1: of look you look like, kind of like the world's

766
00:43:42,876 --> 00:43:47,916
Speaker 1: coolest superhero at that point. Well, you know that album.

767
00:43:47,996 --> 00:43:51,596
Speaker 1: I called it Logoso, which mean tortoys. For me, it

768
00:43:51,956 --> 00:43:56,316
Speaker 1: was my experience when I arrive in France. The Westerner

769
00:43:56,396 --> 00:43:59,996
Speaker 1: were looking at for me, My image of them is tortoys.

770
00:44:00,316 --> 00:44:02,756
Speaker 1: They're all going around by business. Something happened. Nobody want

771
00:44:02,756 --> 00:44:04,556
Speaker 1: to be involved to come back in the show. So

772
00:44:04,796 --> 00:44:08,316
Speaker 1: that's why you have the three The logo I put

773
00:44:08,436 --> 00:44:14,396
Speaker 1: is here, And is that how you felt like a tortoise?

774
00:44:14,556 --> 00:44:17,836
Speaker 1: I was living in a tortural society because nobody just

775
00:44:18,116 --> 00:44:20,476
Speaker 1: cared about you unless they want to give you some

776
00:44:21,996 --> 00:44:27,556
Speaker 1: racist comment. And that zebra suit was really interesting because

777
00:44:28,356 --> 00:44:31,196
Speaker 1: I just didn't want somebody to put me in the

778
00:44:31,316 --> 00:44:34,036
Speaker 1: outfit that the thing is okay for an African person,

779
00:44:34,476 --> 00:44:37,676
Speaker 1: because I've heard that all the time. Well, African people,

780
00:44:38,396 --> 00:44:40,636
Speaker 1: they work around with their breast naked. Why don't you

781
00:44:40,716 --> 00:44:44,236
Speaker 1: do that? I'm like, really, I live what jeans in

782
00:44:44,356 --> 00:44:47,916
Speaker 1: BENI I grew up wearing versus modernity. I never wear

783
00:44:47,956 --> 00:44:50,436
Speaker 1: aune and I'll never walk around with my TV up out.

784
00:44:50,476 --> 00:44:53,356
Speaker 1: So I went out and bought my own stuff. I

785
00:44:53,516 --> 00:44:55,796
Speaker 1: bought my chump suit, and I'm not wearing it. You

786
00:44:55,876 --> 00:44:57,916
Speaker 1: don't like it or not, that's the way it's gonna go. Man.

787
00:44:58,476 --> 00:45:02,796
Speaker 1: And you became friends with Miriam later. Yeah, she did

788
00:45:02,916 --> 00:45:06,156
Speaker 1: not like the phrase. She didn't like the box she

789
00:45:06,316 --> 00:45:09,956
Speaker 1: was put in, which was world music. You have want

790
00:45:09,996 --> 00:45:12,276
Speaker 1: a lot of the World Music Grammys. Do you feel

791
00:45:12,276 --> 00:45:15,196
Speaker 1: it just puts you in a kind of disadvantage. Yeah,

792
00:45:15,236 --> 00:45:19,396
Speaker 1: the thing is when we're talking about our music in general,

793
00:45:20,276 --> 00:45:24,796
Speaker 1: and we call music pop this and that, and we

794
00:45:24,916 --> 00:45:27,636
Speaker 1: want if we just forgot that the blues will not

795
00:45:27,756 --> 00:45:30,516
Speaker 1: exist without the slaves here and from the blues, how

796
00:45:30,596 --> 00:45:32,796
Speaker 1: many forms of music come from the blues? Tell me

797
00:45:33,236 --> 00:45:39,676
Speaker 1: all of it? So why should African artists, let alone,

798
00:45:39,756 --> 00:45:41,756
Speaker 1: or the artists that are not speaking English or French

799
00:45:41,876 --> 00:45:44,236
Speaker 1: or Portuguese or whatever it is, have to have a

800
00:45:44,316 --> 00:45:48,476
Speaker 1: category that is kind of a ghetto category. I mean,

801
00:45:48,676 --> 00:45:52,236
Speaker 1: we want we want everybody to be music, to be

802
00:45:53,516 --> 00:45:56,636
Speaker 1: set telling the truth or not, because when it comes

803
00:45:56,676 --> 00:45:59,596
Speaker 1: to music, there's no genre for me. As long as

804
00:45:59,676 --> 00:46:02,396
Speaker 1: you can speak the music, language doesn't matter what you

805
00:46:02,476 --> 00:46:05,396
Speaker 1: do as a music We are the one that put

806
00:46:05,996 --> 00:46:09,996
Speaker 1: artagory on music. So we like to divide things. We

807
00:46:10,156 --> 00:46:12,036
Speaker 1: like to put things in category to be able to

808
00:46:12,116 --> 00:46:14,636
Speaker 1: leave our set with ourselves because we don't want to

809
00:46:14,716 --> 00:46:18,396
Speaker 1: even face our own complexity. A human being is not simple.

810
00:46:18,796 --> 00:46:22,076
Speaker 1: In your autobiography you talk about this. It is so

811
00:46:22,276 --> 00:46:26,956
Speaker 1: fascinating that the music you grew up with, you know,

812
00:46:27,036 --> 00:46:30,756
Speaker 1: which was voice and rhythm, was split up by slavery,

813
00:46:31,196 --> 00:46:34,316
Speaker 1: which is why the blues came out of North America.

814
00:46:34,356 --> 00:46:37,956
Speaker 1: Because the American slavers, they took away the drums. Yes, indeed,

815
00:46:38,236 --> 00:46:42,876
Speaker 1: the ignorance make them believe that with the drum from

816
00:46:42,956 --> 00:46:45,716
Speaker 1: cotton field to cotton field, they can slaves can come

817
00:46:45,796 --> 00:46:48,276
Speaker 1: quicker when they can speak through the drum, because for

818
00:46:48,316 --> 00:46:51,156
Speaker 1: a long time, drums has been the medium that was

819
00:46:51,276 --> 00:46:54,396
Speaker 1: used by the king to rally the people. What interested

820
00:46:54,396 --> 00:46:56,836
Speaker 1: in musically is, of course, what happened with the blues

821
00:46:57,076 --> 00:47:00,956
Speaker 1: is it's a it's a West African scale. Yeah, absolutely,

822
00:47:01,156 --> 00:47:03,836
Speaker 1: it's a five notes or six five notes scale. And

823
00:47:03,916 --> 00:47:06,476
Speaker 1: when you were first you met your husband Jehan in

824
00:47:07,276 --> 00:47:10,236
Speaker 1: Paris jazz school. In the jazz school, you started working together.

825
00:47:10,636 --> 00:47:16,116
Speaker 1: You were singing traditional songs, traditional melody lines, and he

826
00:47:16,316 --> 00:47:18,716
Speaker 1: was sitting at the piano trying to sort of figure

827
00:47:18,756 --> 00:47:21,876
Speaker 1: out how to put harmonies underneath it. Yeah, what was

828
00:47:21,916 --> 00:47:25,196
Speaker 1: that exercise? Like? It was great because we come up

829
00:47:25,236 --> 00:47:27,196
Speaker 1: with our own ammunization. That is kind of a little

830
00:47:27,356 --> 00:47:30,636
Speaker 1: weird because I would ammonize and then you go, I

831
00:47:30,636 --> 00:47:33,036
Speaker 1: didn't hear that, and then you go, can you put

832
00:47:33,076 --> 00:47:36,356
Speaker 1: it here like this? I'm like, yeah, let's right. And

833
00:47:36,476 --> 00:47:38,796
Speaker 1: it was never shy to try anything as long as

834
00:47:38,836 --> 00:47:43,196
Speaker 1: it serves the song. So it was easy. I would

835
00:47:43,196 --> 00:47:46,556
Speaker 1: say easy because he knows the blues. He was in

836
00:47:46,636 --> 00:47:49,156
Speaker 1: a jazz school. He has master degree in philosophy, but

837
00:47:49,316 --> 00:47:51,116
Speaker 1: he has listened to a lot of blues. It was

838
00:47:51,196 --> 00:47:55,156
Speaker 1: easy for us to start a communication in the musical

839
00:47:55,316 --> 00:47:59,756
Speaker 1: language from that blues. Actually that comes. I mean, there

840
00:47:59,796 --> 00:48:02,556
Speaker 1: are songs in my village, in my family. When they

841
00:48:02,596 --> 00:48:05,436
Speaker 1: starts singing it, you just want to cry your heart out.

842
00:48:05,876 --> 00:48:09,036
Speaker 1: Can you just give me one of those melodies? There's

843
00:48:09,236 --> 00:48:12,196
Speaker 1: one of them that I really um, that really touches me.

844
00:48:12,396 --> 00:48:16,556
Speaker 1: Is this one. I'm gonna Ammy Wilo, I got damn

845
00:48:16,636 --> 00:48:20,956
Speaker 1: in jail a quay, I'm gonna Amy Wailo, I got

846
00:48:21,116 --> 00:48:27,956
Speaker 1: damn in jail o quae Coca Nada. Yeah, name, I'm

847
00:48:27,956 --> 00:48:35,396
Speaker 1: gonna amy, I got damn in jail oqua Cooca nada. Yeah.

848
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Speaker 1: That song is spite time I sing it's just and

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00:48:42,076 --> 00:48:48,756
Speaker 1: what's that song? What's it song? For sure, it's talking

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00:48:48,796 --> 00:48:54,676
Speaker 1: about vulnerability in the face of death. There's nothing we

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00:48:54,716 --> 00:48:58,196
Speaker 1: can do when death come knocking, and he's talking about

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00:48:58,476 --> 00:49:01,996
Speaker 1: what have you done so wrong that every year death

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00:49:02,076 --> 00:49:06,076
Speaker 1: come back come by and take its too, take the

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00:49:06,196 --> 00:49:08,876
Speaker 1: good or the bad, and mostly take the good people.

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00:49:10,476 --> 00:49:13,876
Speaker 1: How do we can we leave? We've dev always not

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00:49:13,956 --> 00:49:17,276
Speaker 1: giving us a chance to breathe. Wow, that seems like

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00:49:18,196 --> 00:49:21,756
Speaker 1: a great song for the last year. Thank you so much,

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00:49:22,196 --> 00:49:25,436
Speaker 1: Thank you for doing this. It's just been a huge treat.

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00:49:25,676 --> 00:49:31,356
Speaker 1: Thank you. Thank you to Angelique Kijo for talking through

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00:49:31,396 --> 00:49:33,956
Speaker 1: our history and career with us. You can hear a

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00:49:34,036 --> 00:49:37,556
Speaker 1: new album, Mother Nature along with our favorite Angeli Kijo

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00:49:37,676 --> 00:49:41,236
Speaker 1: songs at broken Record podcast dot com. Be sure to

863
00:49:41,276 --> 00:49:44,436
Speaker 1: subscribe to our YouTube channel at YouTube dot com slash

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00:49:44,516 --> 00:49:47,436
Speaker 1: Broken Record Podcast, where we can find all of our

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00:49:47,516 --> 00:49:51,196
Speaker 1: new episodes. You can follow us on Twitter at broken Record.

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00:49:51,876 --> 00:49:55,516
Speaker 1: Broken Record is produced with help from Lea Rose, Jason Gambrel,

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00:49:55,876 --> 00:50:01,036
Speaker 1: Martin Gonzalez, Eric Sandler, and Jennifer Sanchez, with engineering help

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00:50:01,076 --> 00:50:05,916
Speaker 1: from Nick Chafee. Our executive producer is Miolbell. Broken Record

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00:50:06,036 --> 00:50:08,796
Speaker 1: is a production of Pushkin Industries. If you love this

870
00:50:08,836 --> 00:50:13,076
Speaker 1: show and others from Pushkin Industries, consider subscribing to Pushkin Plus.

871
00:50:14,036 --> 00:50:17,636
Speaker 1: Pushkin Plus is a podcast subscription that offers bonus content

872
00:50:18,116 --> 00:50:21,436
Speaker 1: an uninterrupted ad free listening for four ninety nine a month.

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00:50:21,956 --> 00:50:25,676
Speaker 1: Look for Pushkin Plus on Apple podcast subscriptions. Please remember

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00:50:25,756 --> 00:50:27,596
Speaker 1: to share rate and review us on your podcast. App

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00:50:27,836 --> 00:50:30,436
Speaker 1: Our theme musics by Kenny Beats on Just Much