1 00:00:00,160 --> 00:00:04,800 Speaker 1: So Rene, Residente, com to gra whatever you want like. 2 00:00:05,080 --> 00:00:08,360 Speaker 2: It could be Residente, but people in the street called 3 00:00:08,400 --> 00:00:11,600 Speaker 2: me both Residente, Renee and sometimes Ka. 4 00:00:16,120 --> 00:00:32,840 Speaker 3: From Futuro media. It's Latino USA. I'm Maria Ino Rosa. 5 00:00:33,120 --> 00:00:35,760 Speaker 3: In two thousand and five, a duo of Puerto Rican 6 00:00:35,840 --> 00:00:37,760 Speaker 3: artists released their first. 7 00:00:37,479 --> 00:00:41,800 Speaker 1: Album, Closer Stop. 8 00:00:49,479 --> 00:00:54,200 Speaker 3: Their mix of reggaeton, rap and well raunchy lyrics took 9 00:00:54,240 --> 00:00:57,520 Speaker 3: the LATINX music scene by storm, and it got them 10 00:00:57,600 --> 00:01:03,280 Speaker 3: three Latin Grammy Awards for their first album, Yes Lenadores. 11 00:01:11,200 --> 00:01:11,440 Speaker 4: Caya. 12 00:01:11,480 --> 00:01:15,959 Speaker 3: Trece's band members went by the names of Residente and Die, 13 00:01:16,520 --> 00:01:19,880 Speaker 3: and although initially they became known for their sexy and 14 00:01:20,040 --> 00:01:31,000 Speaker 3: scandalous lyrics, a social message was behind their songs all along. 15 00:01:36,000 --> 00:01:39,039 Speaker 3: Soon Caatres started collaborating with some of the biggest and 16 00:01:39,160 --> 00:01:51,919 Speaker 3: most respected names in Latino music, like Cafetava and Ruben Blate. 17 00:02:06,560 --> 00:02:09,480 Speaker 3: Their meteoric rise won them a total of twenty two 18 00:02:09,560 --> 00:02:13,840 Speaker 3: Latin Grammys, but Care didn't shy away from controversy. They 19 00:02:13,840 --> 00:02:17,120 Speaker 3: were critical of other artists in the urban scene, and 20 00:02:17,680 --> 00:02:21,720 Speaker 3: they denounced the music industry for their profit making practices. 21 00:02:29,960 --> 00:02:52,320 Speaker 4: Maimingario. 22 00:02:53,639 --> 00:02:59,040 Speaker 3: Over time, their content became increasingly political. Songs like Elaan, 23 00:02:59,600 --> 00:03:03,080 Speaker 3: which translates roughly to your capacity to keep on going 24 00:03:03,639 --> 00:03:07,920 Speaker 3: became hymns of human resilience in the face of global crisis. 25 00:03:09,160 --> 00:03:15,440 Speaker 2: For look where Pokay porlock, Where I find that. 26 00:03:17,480 --> 00:03:19,079 Speaker 4: The fares Thanks done. 27 00:03:20,520 --> 00:03:29,640 Speaker 3: So Yeah, And in twenty fourteen, they released their last 28 00:03:29,760 --> 00:03:30,600 Speaker 3: record as. 29 00:03:30,440 --> 00:03:35,480 Speaker 5: A band, Yeah Me and Sana. 30 00:03:40,560 --> 00:03:48,640 Speaker 6: Yeah sing me yeah, yes, yes, said fanis this bofo 31 00:03:49,360 --> 00:03:52,040 Speaker 6: Gasati yahds? 32 00:03:55,720 --> 00:03:59,960 Speaker 3: But Rene Pere is hoglad or Recidente was nowhere need 33 00:04:00,440 --> 00:04:10,520 Speaker 3: being done. In twenty seventeen, Rene released his first solo album. 34 00:04:11,080 --> 00:04:16,480 Speaker 3: It was a conceptual album called Residente, and in order 35 00:04:16,560 --> 00:04:20,400 Speaker 3: to find inspiration, he took a DNA test and then 36 00:04:20,600 --> 00:04:24,159 Speaker 3: Residente traveled to every part of the world that showed 37 00:04:24,200 --> 00:04:27,599 Speaker 3: up in his test, and there he collaborated with local musicians. 38 00:04:39,960 --> 00:04:43,320 Speaker 3: Now Residente is working on his second solo album, and 39 00:04:43,440 --> 00:04:46,120 Speaker 3: for this one, he's collaborating with professors at Yale and 40 00:04:46,240 --> 00:04:49,919 Speaker 3: New York University to turn the brain patterns of worms 41 00:04:50,040 --> 00:04:53,880 Speaker 3: and mice into music. He also used the brain waves 42 00:04:54,240 --> 00:05:08,800 Speaker 3: of a man in Muslim prayer to find music see 43 00:05:11,640 --> 00:05:15,000 Speaker 3: and most recently, resident the release perhaps his most personal 44 00:05:15,160 --> 00:05:18,760 Speaker 3: track to date. It's titled after his birth name Rene. 45 00:05:20,560 --> 00:05:22,920 Speaker 3: In this track, he tackles themes all the way from 46 00:05:22,960 --> 00:05:28,080 Speaker 3: his childhood to the present, including friendship, his success, his roots, 47 00:05:28,600 --> 00:05:29,960 Speaker 3: and even depression. 48 00:05:30,920 --> 00:05:45,000 Speaker 6: Casina yaqui aaquii Hengel Mario de la fiette, Guerta guero 49 00:05:45,080 --> 00:05:49,120 Speaker 6: yaod Agan. 50 00:05:51,160 --> 00:05:53,280 Speaker 3: Today we're going to dig into the mind of the 51 00:05:53,400 --> 00:05:56,800 Speaker 3: man who has made so much music and talk to 52 00:05:56,960 --> 00:06:00,200 Speaker 3: him about how his art is evolving. Rene pe so 53 00:06:00,320 --> 00:06:03,520 Speaker 3: glad resident. They welcome to Latino, USA. It's great to 54 00:06:03,560 --> 00:06:04,000 Speaker 3: have you here. 55 00:06:04,560 --> 00:06:04,840 Speaker 1: Thank you. 56 00:06:05,680 --> 00:06:07,640 Speaker 3: So I want to talk for a moment about your 57 00:06:07,720 --> 00:06:10,679 Speaker 3: mom and dad actually, because your dad is a lawyer 58 00:06:11,040 --> 00:06:14,520 Speaker 3: in an activist in Puerto Rico, your mom is an actress. 59 00:06:14,880 --> 00:06:17,480 Speaker 3: Tell us a little bit about you know, what's the 60 00:06:17,520 --> 00:06:21,279 Speaker 3: connection between them and what they were doing in Puerto 61 00:06:21,400 --> 00:06:23,840 Speaker 3: Rico and how you were raised and the work that 62 00:06:23,920 --> 00:06:24,520 Speaker 3: you're doing now. 63 00:06:24,760 --> 00:06:29,160 Speaker 2: Actually, my mom, she's an actress. She acts sometimes like 64 00:06:29,240 --> 00:06:32,279 Speaker 2: in shorts and stuff, but she's very into religion. She's 65 00:06:32,360 --> 00:06:37,559 Speaker 2: a Franciscan, but she's hardcore, like she actually helps people 66 00:06:38,040 --> 00:06:41,880 Speaker 2: like a lot. She do that physical work of helping others. 67 00:06:42,080 --> 00:06:45,240 Speaker 3: So Franciscans. I'm trying to think Franciscans, we mostly know 68 00:06:45,360 --> 00:06:46,640 Speaker 3: them as like monks, right. 69 00:06:46,640 --> 00:06:47,760 Speaker 1: But she doesn't dress like that. 70 00:06:48,120 --> 00:06:50,520 Speaker 3: Okay, but the whole thing is like to help, is 71 00:06:50,560 --> 00:06:51,000 Speaker 3: it about? 72 00:06:51,160 --> 00:06:54,760 Speaker 1: They're very for the people, like San Francisco. Yes, he is, 73 00:06:54,920 --> 00:06:55,159 Speaker 1: like he. 74 00:06:56,640 --> 00:06:58,680 Speaker 2: What I know that he did is that he left 75 00:06:58,839 --> 00:07:02,760 Speaker 2: everything to help people and he gave his life for 76 00:07:02,920 --> 00:07:06,560 Speaker 2: the people. And that's what I think Franciscans do, like 77 00:07:06,680 --> 00:07:09,640 Speaker 2: like they like my mom. She was working with drug 78 00:07:09,840 --> 00:07:13,480 Speaker 2: users in San Juan, people in the streets, you know 79 00:07:13,600 --> 00:07:17,160 Speaker 2: sometimes you know, I remember passing by her house in 80 00:07:17,280 --> 00:07:20,960 Speaker 2: old San Juan and she was preparing meals and oh 81 00:07:21,120 --> 00:07:23,240 Speaker 2: for me, for us, no, no, this is for the 82 00:07:23,760 --> 00:07:25,640 Speaker 2: like she gave it to the people who needed, like 83 00:07:25,720 --> 00:07:29,040 Speaker 2: they were hungry. She's like that, like super but also 84 00:07:29,120 --> 00:07:32,760 Speaker 2: she's very political, so it's like a mix and she's 85 00:07:32,880 --> 00:07:35,560 Speaker 2: very open minded. Like the other day I saw a 86 00:07:35,720 --> 00:07:41,000 Speaker 2: performance with my sister, my older sister, and my mom 87 00:07:42,200 --> 00:07:47,040 Speaker 2: where my older my older sister is pressing her breast 88 00:07:47,520 --> 00:07:51,000 Speaker 2: and putting out milk, you know, and my mom is 89 00:07:51,160 --> 00:07:54,240 Speaker 2: naked on her side. Like I'm like, what is happening 90 00:07:54,320 --> 00:07:56,880 Speaker 2: that someone send me a video? Why I have to 91 00:07:57,760 --> 00:08:00,960 Speaker 2: see this, you know, But I'm seeing it and I 92 00:08:01,120 --> 00:08:04,400 Speaker 2: like it. I feel I feel is a. 93 00:08:05,960 --> 00:08:07,800 Speaker 1: Also ye're proud, like I feel proud about it. 94 00:08:08,000 --> 00:08:09,840 Speaker 2: You know that I have such a good mom and 95 00:08:10,640 --> 00:08:13,240 Speaker 2: she's very interesting, you know, you have that mix of 96 00:08:13,400 --> 00:08:16,800 Speaker 2: having a Francis kind of doing all this. It's kind 97 00:08:16,840 --> 00:08:18,800 Speaker 2: of like and then my sister like, oh, my family. 98 00:08:18,840 --> 00:08:23,640 Speaker 2: And then my dad is more into social activism. Since 99 00:08:23,680 --> 00:08:25,840 Speaker 2: I'm a kid, like I grew up going to protest, 100 00:08:26,000 --> 00:08:30,040 Speaker 2: like I went with him. Like, the workers in back 101 00:08:30,120 --> 00:08:34,240 Speaker 2: home respect him a lot because he was their lawyer, 102 00:08:34,480 --> 00:08:37,559 Speaker 2: you know, like so he was a good one, you know, 103 00:08:37,880 --> 00:08:40,960 Speaker 2: even though he didn't earn everything that a lawyer can earn. 104 00:08:41,360 --> 00:08:45,360 Speaker 2: He was working for them twenty four to seven and 105 00:08:45,480 --> 00:08:47,680 Speaker 2: that's why they respect him. So every time that there's 106 00:08:47,760 --> 00:08:51,480 Speaker 2: a protest, like you know, the workers every time they 107 00:08:51,559 --> 00:08:53,839 Speaker 2: see me and they don't say hi because of me, 108 00:08:54,720 --> 00:08:56,679 Speaker 2: because of my dad, Like, oh man, your dad is 109 00:08:56,720 --> 00:08:58,760 Speaker 2: the best, you know. And he was a musician too. 110 00:08:58,920 --> 00:09:03,240 Speaker 2: He was a sax player. He was a great musician. 111 00:09:03,360 --> 00:09:15,920 Speaker 2: He had a band called Latin Temple with Luigarsia. Again, 112 00:09:22,000 --> 00:09:24,719 Speaker 2: and then I grew up also with my stepdad that 113 00:09:24,920 --> 00:09:27,880 Speaker 2: he was a musician too, so we I remember going 114 00:09:27,960 --> 00:09:32,640 Speaker 2: to boil Us to weddings and to different things and 115 00:09:32,800 --> 00:09:36,360 Speaker 2: during Christmas because that's that was high season for him, 116 00:09:36,960 --> 00:09:39,880 Speaker 2: and we were helping him to connect cables and stuff 117 00:09:39,960 --> 00:09:44,640 Speaker 2: and you know, bringing things to stage when we were little. 118 00:09:44,960 --> 00:09:47,160 Speaker 1: So I grew up, you know, with dad with the 119 00:09:47,440 --> 00:09:50,640 Speaker 1: acting and political things and music. 120 00:09:51,000 --> 00:09:53,960 Speaker 3: I'm imagining that your dad, your stepdad, and your mom 121 00:09:55,040 --> 00:09:58,040 Speaker 3: one they've probably looked at things that you've done and said, 122 00:09:58,120 --> 00:10:00,720 Speaker 3: why is Renee doing this? The same that you're looking 123 00:10:00,760 --> 00:10:03,199 Speaker 3: at your mom and your sister acting on stage and 124 00:10:03,200 --> 00:10:05,400 Speaker 3: you're like, why are they doing that? They probably were like, yeah, 125 00:10:05,559 --> 00:10:08,959 Speaker 3: ra guestaciendo. But I also imagine that they had a 126 00:10:09,120 --> 00:10:12,760 Speaker 3: very particular moment when they saw that photograph from the 127 00:10:12,840 --> 00:10:17,080 Speaker 3: protests over the summer in Puerto Rico where you were 128 00:10:18,280 --> 00:10:23,199 Speaker 3: at the top of the protests with Bad Bunny, with 129 00:10:23,640 --> 00:10:38,760 Speaker 3: Ricky Martin. It was the three of you just dislike, 130 00:10:38,840 --> 00:10:43,080 Speaker 3: what will be a historic photograph forever. And I'm wondering 131 00:10:43,160 --> 00:10:45,160 Speaker 3: if you talk to them about that and what that 132 00:10:45,400 --> 00:10:47,280 Speaker 3: was like for you to realize, you know, you grew 133 00:10:47,400 --> 00:10:50,000 Speaker 3: up looking at protests in Puerto Rico and around the world, 134 00:10:50,480 --> 00:10:53,400 Speaker 3: and now people are looking up at you as an 135 00:10:53,520 --> 00:10:58,400 Speaker 3: artist and as a deeply political human being, as really 136 00:10:58,480 --> 00:10:59,480 Speaker 3: as a symbol for them. 137 00:11:00,080 --> 00:11:04,400 Speaker 2: Like for me during that period and those protests, it 138 00:11:04,559 --> 00:11:08,839 Speaker 2: was very organic. I've been working socially, not only with 139 00:11:08,960 --> 00:11:14,320 Speaker 2: Puerto Rico, with other countries in Puerto Rico. I don't measure. 140 00:11:14,720 --> 00:11:17,240 Speaker 2: I just cope with what I feel in my heart. 141 00:11:17,400 --> 00:11:19,520 Speaker 2: I felt that that we had to do something. So 142 00:11:20,080 --> 00:11:23,400 Speaker 2: I spoke with Benito and I spoke with Regy. I 143 00:11:23,520 --> 00:11:26,559 Speaker 2: called them both. I called Reggy like bro like, like 144 00:11:26,720 --> 00:11:29,040 Speaker 2: I was messaging. I'm all the time, like kind of 145 00:11:29,160 --> 00:11:32,719 Speaker 2: like in paining the ass, not too much, but with them, 146 00:11:32,880 --> 00:11:34,920 Speaker 2: with people that I know, like I send them stuff. 147 00:11:35,360 --> 00:11:39,320 Speaker 3: So you mean because you want them to be engaged, active, aware, Yeah, 148 00:11:39,400 --> 00:11:40,079 Speaker 3: as artists. 149 00:11:40,200 --> 00:11:40,400 Speaker 4: Yeah. 150 00:11:41,120 --> 00:11:46,880 Speaker 2: Like Riggy he's been engaged more with the LGBT community, 151 00:11:47,160 --> 00:11:50,040 Speaker 2: but he's aware of things. But I think this was 152 00:11:50,200 --> 00:11:52,160 Speaker 2: kind of like the first time that he that it 153 00:11:52,280 --> 00:11:55,319 Speaker 2: was more political in that sense. And Benito it was 154 00:11:55,400 --> 00:11:59,080 Speaker 2: kind of also his first time. But he was truly mad, 155 00:11:59,280 --> 00:12:02,800 Speaker 2: and he took a plane from Spain to Puerto Rico. 156 00:12:02,840 --> 00:12:04,199 Speaker 2: But it's not only a plane like he was in 157 00:12:04,240 --> 00:12:07,160 Speaker 2: a private plane. But the thing is that he paid 158 00:12:07,200 --> 00:12:10,160 Speaker 2: all that, like it's a lot of money and it's 159 00:12:10,440 --> 00:12:13,079 Speaker 2: for him, for an artist like him, that in between 160 00:12:13,120 --> 00:12:16,400 Speaker 2: a tour, he took a plane to go to Puerto 161 00:12:16,520 --> 00:12:20,000 Speaker 2: Rico when that it's that's a lot. And I was like, man, 162 00:12:20,080 --> 00:12:22,559 Speaker 2: this kid is like he has that energy. And that's 163 00:12:22,559 --> 00:12:25,520 Speaker 2: why I've been a friend of him and trying to 164 00:12:26,400 --> 00:12:29,559 Speaker 2: be on his side because he's, uh, you know, he's 165 00:12:29,559 --> 00:12:31,640 Speaker 2: gonna he's the future, and he's going to have a voice. 166 00:12:32,120 --> 00:12:35,120 Speaker 1: He's having a voice already, But it's how you use it. 167 00:12:35,440 --> 00:12:39,440 Speaker 5: You know. So so you look at the Harom. 168 00:12:41,840 --> 00:12:48,559 Speaker 6: Puel Condi and La Cima Mi pile Once so Pacao, 169 00:12:49,000 --> 00:12:56,040 Speaker 6: manoel Oura campus in Paratu, Consumo pens the predil. 170 00:12:57,000 --> 00:12:57,880 Speaker 1: And so you cannot. 171 00:12:58,640 --> 00:13:03,040 Speaker 3: So you have developed this public image that is it. Well, 172 00:13:03,200 --> 00:13:09,040 Speaker 3: it's really revolutionary. Your lyrics are very anti establishment, and 173 00:13:09,520 --> 00:13:12,160 Speaker 3: that has made some people think that you align with 174 00:13:12,520 --> 00:13:17,560 Speaker 3: certain kinds of governments and for example, like the regime 175 00:13:17,679 --> 00:13:18,360 Speaker 3: in Venezuela. 176 00:13:19,200 --> 00:13:21,400 Speaker 1: But who told you that I don't support that? Ah? 177 00:13:22,000 --> 00:13:24,679 Speaker 2: So people the people told that, you know, I went 178 00:13:24,760 --> 00:13:27,040 Speaker 2: on so clarify that. Everyone, like a lot of people 179 00:13:27,160 --> 00:13:30,559 Speaker 2: think that, but it's because they can see you. If 180 00:13:30,600 --> 00:13:32,480 Speaker 2: they see you in a picture with someone, they think 181 00:13:32,520 --> 00:13:35,480 Speaker 2: that you're supporting that person. And that doesn't mean that 182 00:13:35,720 --> 00:13:38,839 Speaker 2: like I like one time, like a guy, show me 183 00:13:38,960 --> 00:13:41,200 Speaker 2: oh and put me a picture, Like the only picture 184 00:13:41,360 --> 00:13:42,800 Speaker 2: with me and Chaws. 185 00:13:44,200 --> 00:13:48,679 Speaker 1: Exists because I put it out because otherwise no one 186 00:13:49,000 --> 00:13:49,360 Speaker 1: will know. 187 00:13:49,800 --> 00:13:51,640 Speaker 2: And I put it out when he died, and I 188 00:13:51,679 --> 00:13:54,040 Speaker 2: put it out with a quote that I said it 189 00:13:54,240 --> 00:13:56,640 Speaker 2: was one of the most interesting conversations that I had 190 00:13:57,240 --> 00:13:57,920 Speaker 2: because it's. 191 00:13:57,840 --> 00:14:01,160 Speaker 1: True period, right, not that it was great, problem that 192 00:14:01,240 --> 00:14:01,480 Speaker 1: it was. 193 00:14:01,559 --> 00:14:04,920 Speaker 2: I'm not saying that I'm a supporter, but it's borderline 194 00:14:04,960 --> 00:14:07,679 Speaker 2: in the sense that some people can read it in 195 00:14:08,040 --> 00:14:12,160 Speaker 2: another way, and also thinking because I'm pro independence, then 196 00:14:12,240 --> 00:14:15,160 Speaker 2: they think I'm the cliche of a left wing guy. 197 00:14:15,720 --> 00:14:18,199 Speaker 2: And I'm not with any sight because I think that 198 00:14:18,480 --> 00:14:22,800 Speaker 2: people should create something new. But I don't support what's 199 00:14:22,800 --> 00:14:25,880 Speaker 2: happening in Queua, and I don't support what's happening in Venezuela. 200 00:14:26,120 --> 00:14:29,360 Speaker 2: And the thing is that people think that things are 201 00:14:29,560 --> 00:14:32,320 Speaker 2: white or black, and sometimes it's gray and sometimes and 202 00:14:32,400 --> 00:14:35,720 Speaker 2: I'm not like, not everyone is so simple, like and 203 00:14:35,880 --> 00:14:39,200 Speaker 2: this is gonna sound so bad, but I can't. I 204 00:14:39,320 --> 00:14:42,920 Speaker 2: think I can connect with every human being, even if 205 00:14:42,960 --> 00:14:44,880 Speaker 2: it's bad or wrong. I'm not going to mention names 206 00:14:45,840 --> 00:14:49,320 Speaker 2: in different ways, you know, but not connecting in a 207 00:14:49,400 --> 00:14:51,880 Speaker 2: good way of a friendly way, but like maybe we 208 00:14:52,000 --> 00:14:54,480 Speaker 2: have something in common. If I had the opportunity to 209 00:14:54,560 --> 00:14:56,440 Speaker 2: make Trump, I would meet him and I will ask 210 00:14:56,560 --> 00:14:59,160 Speaker 2: him questions for real. That doesn't mean that I support him. 211 00:14:59,640 --> 00:15:01,520 Speaker 2: I that means that I want to understand him. Like 212 00:15:01,560 --> 00:15:05,240 Speaker 2: I met Almagaro. That is the opposite of Chaves. He 213 00:15:05,320 --> 00:15:07,840 Speaker 2: took a picture with me, like I have a picture 214 00:15:07,920 --> 00:15:11,480 Speaker 2: with the Governor Rosello because I did an interview for 215 00:15:11,640 --> 00:15:15,120 Speaker 2: the DNA documentary. It's not that I sit down with 216 00:15:15,200 --> 00:15:17,840 Speaker 2: everyone because I don't care. It's the total opposite that 217 00:15:17,880 --> 00:15:20,920 Speaker 2: I care so much that I want to understand what 218 00:15:21,440 --> 00:15:23,040 Speaker 2: was in their heads and I need to. 219 00:15:23,520 --> 00:15:25,600 Speaker 1: In order to know someone, you have to sit down 220 00:15:25,680 --> 00:15:40,280 Speaker 1: and talk. You know, when we spoke the. 221 00:15:40,320 --> 00:15:45,600 Speaker 3: Last time, you had released Multivirial with I mean that 222 00:15:45,720 --> 00:15:51,120 Speaker 3: album was extraordinarily political. It opened with Eduardo, you know, 223 00:15:51,280 --> 00:15:56,440 Speaker 3: may he rest in peace. He's a coupa Ressiana Ceo 224 00:15:57,680 --> 00:16:05,520 Speaker 3: de Barcelona, the second man. You had collaborations with Silria Rodriguez, 225 00:16:05,560 --> 00:16:07,400 Speaker 3: with Tomorello, even Julian mas Sange. 226 00:16:08,040 --> 00:16:11,720 Speaker 7: We lived in the world with your propaganda made where 227 00:16:11,800 --> 00:16:14,120 Speaker 7: you think you are strong, You're a week week your 228 00:16:14,200 --> 00:16:17,280 Speaker 7: lives tell us the truth we will use against your 229 00:16:17,360 --> 00:16:19,480 Speaker 7: secrecy shows us where we will strive. 230 00:16:20,520 --> 00:16:23,120 Speaker 3: And it made me think as we were getting ready 231 00:16:23,160 --> 00:16:26,120 Speaker 3: to talk about what's happening now with your music and 232 00:16:26,240 --> 00:16:30,960 Speaker 3: with your work about Novam. 233 00:16:46,800 --> 00:16:52,640 Speaker 2: Yes the Las Yes At Jo Sat Jos Salvia. 234 00:16:57,080 --> 00:17:02,400 Speaker 3: So if people say that your music is music Cancio, 235 00:17:02,760 --> 00:17:04,920 Speaker 3: you know three point zero, what do you say. 236 00:17:05,800 --> 00:17:08,520 Speaker 2: I'm kind of against the labels like I don't. I 237 00:17:08,560 --> 00:17:13,879 Speaker 2: don't think I belong to any genera, in particular musical genera. 238 00:17:14,320 --> 00:17:18,120 Speaker 2: Like I think I like as an artist, I express 239 00:17:18,560 --> 00:17:23,160 Speaker 2: everything that I feel that affects me, everything that surrounds 240 00:17:23,200 --> 00:17:26,960 Speaker 2: me affects me, and because of that, I try to 241 00:17:27,040 --> 00:17:29,320 Speaker 2: be completely honest with what I'm feeling, and that's what 242 00:17:29,400 --> 00:17:34,119 Speaker 2: I do. So I think it's very elastic my proposal. 243 00:17:34,560 --> 00:17:37,080 Speaker 2: It's been always like that since Kaya Dresse, and now 244 00:17:37,160 --> 00:17:41,119 Speaker 2: with Residente, I think I'm even more elastic and mixing 245 00:17:41,240 --> 00:17:41,720 Speaker 2: more things. 246 00:17:42,320 --> 00:17:46,240 Speaker 3: Where does this come from for you? This feeling of 247 00:17:47,480 --> 00:17:50,000 Speaker 3: not wanting to be boxed in, not wanting to be 248 00:17:50,160 --> 00:17:51,880 Speaker 3: labeled the only ps. 249 00:17:52,560 --> 00:17:57,520 Speaker 2: I think it's about being honest and honestly. I don't 250 00:17:57,560 --> 00:18:01,680 Speaker 2: think that my music belongs to something as specific, and 251 00:18:01,840 --> 00:18:03,040 Speaker 2: I always thought about it. 252 00:18:03,080 --> 00:18:04,240 Speaker 1: When I was making music. 253 00:18:05,000 --> 00:18:07,640 Speaker 2: I'm kind of like a very low fight guy most 254 00:18:07,680 --> 00:18:09,639 Speaker 2: of the time, kind of emo in a way, like 255 00:18:09,720 --> 00:18:12,640 Speaker 2: I like Radiohead and stuff like that, and I don't 256 00:18:12,680 --> 00:18:14,440 Speaker 2: know cigarettes after sex like that. 257 00:18:14,520 --> 00:18:16,560 Speaker 1: It's a band, so I like it too, you know. 258 00:18:16,600 --> 00:18:18,679 Speaker 1: I like things that are very slow. 259 00:18:20,040 --> 00:18:23,520 Speaker 2: I like the Nationals too like but at the same time, 260 00:18:23,640 --> 00:18:26,159 Speaker 2: I like salsa music from back in the days. I 261 00:18:26,680 --> 00:18:29,639 Speaker 2: like a lot of hip hop too so, and I 262 00:18:29,800 --> 00:18:34,959 Speaker 2: like rock music. So since I have all these things 263 00:18:35,040 --> 00:18:38,440 Speaker 2: happening in my head, I I like the fact that 264 00:18:38,520 --> 00:18:42,520 Speaker 2: it's difficult to label what I'm doing. People label it 265 00:18:43,000 --> 00:18:46,240 Speaker 2: and they try to label it as political. It's social 266 00:18:46,320 --> 00:18:48,720 Speaker 2: because everything is social, even the parties are social. But 267 00:18:49,720 --> 00:18:52,360 Speaker 2: being honest is something that is difficult to label. 268 00:18:52,400 --> 00:18:59,120 Speaker 6: No matter regal mass libros organ or Leo, lo que, Brendillo, borgloveo, 269 00:18:59,320 --> 00:19:03,560 Speaker 6: mentrust as person Los Angeles, my contra Pianzo. 270 00:19:07,359 --> 00:19:10,280 Speaker 3: Coming up on Latin the USA, my conversation with residents 271 00:19:10,320 --> 00:19:14,119 Speaker 3: that continues, and he shares the creativity behind his solo 272 00:19:14,200 --> 00:19:15,439 Speaker 3: albums Stay with. 273 00:19:15,520 --> 00:19:22,200 Speaker 6: Us, Not Damperoka, Last Rubin as Young, Non com pay 274 00:19:22,440 --> 00:19:28,160 Speaker 6: No ten, Calculado, Nimia result So the Gona Sorisa. 275 00:19:28,359 --> 00:19:38,119 Speaker 5: Yes no no no no no. 276 00:19:44,800 --> 00:19:45,440 Speaker 4: No no no. 277 00:20:07,240 --> 00:20:09,639 Speaker 3: Hey, we're back and we're going to continue now with 278 00:20:09,720 --> 00:20:14,199 Speaker 3: our conversation with Rene Perez Roglad, also known as Residente, 279 00:20:14,640 --> 00:20:17,600 Speaker 3: and we're going to jump into his twenty seventeen first 280 00:20:17,800 --> 00:20:21,600 Speaker 3: solo album. We missed talking with you when you released 281 00:20:21,640 --> 00:20:25,960 Speaker 3: your first solo album, Residente and the documentary called Residente 282 00:20:26,040 --> 00:20:28,879 Speaker 3: that you directed. So tell us a little bit about 283 00:20:29,480 --> 00:20:31,200 Speaker 3: the notion. And by the way, I just did my 284 00:20:31,320 --> 00:20:32,080 Speaker 3: DNA as well. 285 00:20:32,480 --> 00:20:32,680 Speaker 1: Nice. 286 00:20:32,920 --> 00:20:35,000 Speaker 3: Yeah, and it's so you know, it confirms and then 287 00:20:35,080 --> 00:20:39,000 Speaker 3: confuses you, which I love. So how did the process 288 00:20:39,280 --> 00:20:43,199 Speaker 3: challenge you of one getting the DNA results and then 289 00:20:43,280 --> 00:20:46,160 Speaker 3: kind of recognizing and saying, wow, this is who I am. 290 00:20:46,960 --> 00:20:50,240 Speaker 3: And of all the places that you went, what was 291 00:20:50,320 --> 00:20:53,440 Speaker 3: the place that you felt the most connected to kind 292 00:20:53,480 --> 00:20:55,800 Speaker 3: of like I feel this and the place that you 293 00:20:55,880 --> 00:20:57,720 Speaker 3: were most surprised that you ended up in. 294 00:20:58,240 --> 00:21:02,080 Speaker 2: I think that every place surprised me because I really 295 00:21:02,680 --> 00:21:06,760 Speaker 2: tried to focus and to connect while I was there, 296 00:21:07,000 --> 00:21:10,080 Speaker 2: Like for example, in Siberia was more nostalgic. I was 297 00:21:10,160 --> 00:21:14,399 Speaker 2: surrounded by mountains and wolves. We were in the border 298 00:21:14,600 --> 00:21:18,879 Speaker 2: with Mongolia, so I had time to think about what 299 00:21:19,040 --> 00:21:21,480 Speaker 2: I was doing, you know, like why I'm here and 300 00:21:21,920 --> 00:21:25,080 Speaker 2: what I've been doing during all these years. Like I 301 00:21:25,240 --> 00:21:28,560 Speaker 2: was thinking about, I don't know, I should do this 302 00:21:28,760 --> 00:21:30,920 Speaker 2: and quit, like I want to do other things in 303 00:21:31,040 --> 00:21:34,720 Speaker 2: my life, like you know, to understand, to understand myself better. 304 00:21:35,359 --> 00:21:38,119 Speaker 2: That was Siberia. Then I don't know, when I went 305 00:21:38,160 --> 00:21:42,280 Speaker 2: to Burkina Faso, it woke me up another part of 306 00:21:42,480 --> 00:21:46,560 Speaker 2: my of me, you know, like I was very into 307 00:21:46,840 --> 00:21:51,320 Speaker 2: Thomas Sankara and his fight and the revolution, and I 308 00:21:51,520 --> 00:21:52,480 Speaker 2: was like very into that. 309 00:21:52,840 --> 00:21:56,080 Speaker 1: It was intense for me. It was dark. At the 310 00:21:56,119 --> 00:21:59,160 Speaker 1: same time, it was beautiful because I met beautiful people. 311 00:21:59,280 --> 00:22:02,520 Speaker 1: Like it was different. China gave me another thing. 312 00:22:02,600 --> 00:22:05,920 Speaker 2: So every every country, then Serbia, or when I went 313 00:22:06,000 --> 00:22:10,280 Speaker 2: to Georgia and then Armenia, and I was into the 314 00:22:10,400 --> 00:22:14,399 Speaker 2: war and I was into the refugees, so everything was 315 00:22:14,440 --> 00:22:16,320 Speaker 2: special in a different way. 316 00:22:16,400 --> 00:22:20,200 Speaker 3: You know. You approach everything, you know, your art, your creation, 317 00:22:21,480 --> 00:22:24,000 Speaker 3: and your communication with other people with so much respect. 318 00:22:24,640 --> 00:22:26,680 Speaker 3: I think that's one of the things that everybody takes 319 00:22:26,680 --> 00:22:30,359 Speaker 3: away from you. So how did you approach songwriting in 320 00:22:30,480 --> 00:22:33,680 Speaker 3: cultures that you didn't really know really well? 321 00:22:34,280 --> 00:22:38,200 Speaker 2: When I was doing this project, for example, I tried 322 00:22:38,240 --> 00:22:41,920 Speaker 2: to do everything. I just wanted to be connected with 323 00:22:42,040 --> 00:22:44,919 Speaker 2: what I was feeling. You know, before I met anyone 324 00:22:45,000 --> 00:22:47,760 Speaker 2: who was gonna make music with me. I wanted to 325 00:22:47,800 --> 00:22:51,159 Speaker 2: be prepared before I met. For example, in Siberia, I 326 00:22:51,280 --> 00:22:54,480 Speaker 2: had already, like I wrote things before I got to 327 00:22:54,560 --> 00:23:00,359 Speaker 2: the studio. With the throat singers, they stand, they stand, 328 00:23:00,680 --> 00:23:19,600 Speaker 2: they stay, they stay. And then since they're not used 329 00:23:19,600 --> 00:23:23,879 Speaker 2: to record like like they they record before, but not 330 00:23:24,000 --> 00:23:26,639 Speaker 2: in the same way like I couldn't. It's not that 331 00:23:26,680 --> 00:23:28,800 Speaker 2: I'm going to put a bit and say, okay, go 332 00:23:29,000 --> 00:23:29,360 Speaker 2: and sing. 333 00:23:29,520 --> 00:23:30,280 Speaker 1: You have to sing this. 334 00:23:30,880 --> 00:23:33,840 Speaker 2: No, I just wanted them to feel comforable. So I said, 335 00:23:33,880 --> 00:23:36,480 Speaker 2: what's your favorite song? What what do you want to sing? 336 00:23:36,640 --> 00:23:39,439 Speaker 2: And I want to learn from you so you can 337 00:23:39,520 --> 00:23:42,159 Speaker 2: show them, and they started to sing. I started to 338 00:23:42,240 --> 00:23:45,800 Speaker 2: listen with them. Then, when we were feeling like family, 339 00:23:45,920 --> 00:23:48,920 Speaker 2: then I show them I have this beat. It's just 340 00:23:49,000 --> 00:23:53,000 Speaker 2: a drum. Maybe we can sing something like this here 341 00:23:53,640 --> 00:23:57,240 Speaker 2: I wrote this, maybe I can I translated to English. 342 00:23:57,640 --> 00:24:00,520 Speaker 2: If you want, you can translate this to your language. 343 00:24:01,200 --> 00:24:01,960 Speaker 1: We can sing it. 344 00:24:02,200 --> 00:24:05,200 Speaker 2: How do you feel about it? I feel okay, maybe 345 00:24:05,280 --> 00:24:09,080 Speaker 2: I can't do this, Yeah, do whatever. I ended up 346 00:24:09,200 --> 00:24:13,680 Speaker 2: like giving them royalties, even though most of them didn't compose, 347 00:24:14,160 --> 00:24:17,680 Speaker 2: but I wanted to share that with them, like I 348 00:24:17,800 --> 00:24:21,000 Speaker 2: did it also with with in Ghana, in Northern Ghana, 349 00:24:21,800 --> 00:24:24,280 Speaker 2: like they were singing songs that there it's already like 350 00:24:24,359 --> 00:24:26,320 Speaker 2: it's kind of like songs that has. 351 00:24:26,280 --> 00:24:30,480 Speaker 1: Been for years, ancestral ancestral songs and. 352 00:24:33,000 --> 00:24:47,960 Speaker 6: Yello yalla yai yeah nyambaramb. 353 00:24:46,119 --> 00:24:48,520 Speaker 2: But just because of the fact that it was beautiful 354 00:24:48,680 --> 00:24:51,920 Speaker 2: and how they were singing, I not only paid them 355 00:24:52,000 --> 00:24:54,520 Speaker 2: for that, but also I kept them. I'm going to 356 00:24:54,600 --> 00:24:57,760 Speaker 2: give you a percentage of the song of the composing, 357 00:24:57,880 --> 00:25:01,159 Speaker 2: even though it's it was another composed you know, and 358 00:25:01,240 --> 00:25:04,600 Speaker 2: they were happy, and I just I just wanted to 359 00:25:04,840 --> 00:25:08,359 Speaker 2: collaborate with them in a in a proper way, you know. 360 00:25:08,880 --> 00:25:12,040 Speaker 2: And and also I wanted people to know that these 361 00:25:12,080 --> 00:25:16,080 Speaker 2: people exist and they are talented and and to feel 362 00:25:16,200 --> 00:25:18,720 Speaker 2: their hearts through my music. 363 00:25:18,800 --> 00:25:19,119 Speaker 1: Also. 364 00:25:39,400 --> 00:25:41,239 Speaker 3: So Renee, I want to ask you a little bit 365 00:25:41,240 --> 00:25:44,680 Speaker 3: about something that is really a big part of who 366 00:25:44,800 --> 00:25:47,840 Speaker 3: you are as an artist, and that's what happens during 367 00:25:47,920 --> 00:25:52,439 Speaker 3: your live performances. Your concerts are all about having a party. 368 00:25:52,960 --> 00:25:55,560 Speaker 3: It is about saying there is a lot that we 369 00:25:55,640 --> 00:26:00,400 Speaker 3: can think about and get angry and suffer, but really 370 00:26:00,880 --> 00:26:06,400 Speaker 3: you want people dancing, jumping, singing. So when you're doing 371 00:26:06,560 --> 00:26:09,119 Speaker 3: that and you're getting you're seeing that coming from the 372 00:26:09,200 --> 00:26:13,000 Speaker 3: people who love your work. How does that impact you? 373 00:26:13,359 --> 00:26:16,440 Speaker 3: Like talking about brain weys, like what does that feel like? 374 00:26:17,080 --> 00:26:20,720 Speaker 2: Oh, it feels great. It gives you energy. Sometimes during 375 00:26:20,840 --> 00:26:23,240 Speaker 2: tour you can be low energy. You know, Yeah, you 376 00:26:23,320 --> 00:26:26,200 Speaker 2: feel not only tired, you feel low energy, like you 377 00:26:26,320 --> 00:26:29,320 Speaker 2: feel sad, even like you feel nostalgic. You want to 378 00:26:29,359 --> 00:26:32,760 Speaker 2: be with your family or you want to do at 379 00:26:32,880 --> 00:26:35,359 Speaker 2: least me. I say, man, I want to do something else. 380 00:26:35,560 --> 00:26:37,840 Speaker 2: It's not because I don't like it. It's because, well 381 00:26:37,880 --> 00:26:42,560 Speaker 2: I hate planes. There are different things about how the 382 00:26:42,680 --> 00:26:44,720 Speaker 2: industry works that I don't like. So it's kind of 383 00:26:44,880 --> 00:26:47,399 Speaker 2: like and sometimes you feel like that, like the press 384 00:26:47,640 --> 00:26:50,920 Speaker 2: and and I people doesn't know that, and then you 385 00:26:51,000 --> 00:26:55,560 Speaker 2: have to sing and feel happy about it. And I thought, 386 00:26:56,080 --> 00:26:59,120 Speaker 2: you know, when people give me energy, that helps a lot, 387 00:26:59,560 --> 00:27:03,159 Speaker 2: That turns me. Yeah, that turns me on, It's like, 388 00:27:03,720 --> 00:27:06,720 Speaker 2: and it helps helps me a lot, so much, and 389 00:27:06,960 --> 00:27:10,800 Speaker 2: sometimes I feel like sad coming into a concert, and 390 00:27:11,200 --> 00:27:12,359 Speaker 2: I ended up. 391 00:27:12,320 --> 00:27:14,639 Speaker 1: Like happy, you know, and with a lot of energy, 392 00:27:14,960 --> 00:27:16,320 Speaker 1: and then I can't go to sleep. 393 00:27:16,960 --> 00:27:18,320 Speaker 2: You know what is good. 394 00:27:20,640 --> 00:27:21,199 Speaker 4: Out there? 395 00:27:21,440 --> 00:27:24,920 Speaker 1: Swear old God, Yeah, swear you don't scareboard? 396 00:27:25,000 --> 00:27:31,240 Speaker 5: Ye hold about it? All was my. 397 00:27:32,840 --> 00:27:35,120 Speaker 1: Going over all, it's not so spreading. 398 00:27:35,200 --> 00:27:42,560 Speaker 3: Shut a stuck head, no, no stops help. So while 399 00:27:42,640 --> 00:27:45,159 Speaker 3: I was preparing for this interview, I was on a 400 00:27:45,280 --> 00:27:48,040 Speaker 3: plane and I was looking at your Instagram feed and 401 00:27:48,160 --> 00:27:51,159 Speaker 3: I'm like, kissdaiente, what you know? I mean, I just 402 00:27:51,200 --> 00:27:54,280 Speaker 3: saw it first, and I was watching intently, and then 403 00:27:54,280 --> 00:27:57,520 Speaker 3: all of a sudden I began to see there's a 404 00:27:57,600 --> 00:27:59,600 Speaker 3: Muslim man who's praying. But then all of a sudden 405 00:27:59,720 --> 00:28:03,119 Speaker 3: you were talking about Yale brain scientists, you know, and 406 00:28:03,160 --> 00:28:04,840 Speaker 3: I'm just watching, And then I turned up the sound 407 00:28:04,960 --> 00:28:06,800 Speaker 3: right because I was like, I need to know what 408 00:28:07,040 --> 00:28:10,280 Speaker 3: is going on here? Did Resident decide that he's become 409 00:28:10,320 --> 00:28:12,600 Speaker 3: a neuroscientist now? And he went back to school and 410 00:28:12,680 --> 00:28:17,480 Speaker 3: he got a medical degree. I really didn't know, And well, 411 00:28:17,640 --> 00:28:21,760 Speaker 3: for people who don't know, just explain comapas Osto, were 412 00:28:21,760 --> 00:28:23,800 Speaker 3: you just like kind of like, Okay, let me think, 413 00:28:24,320 --> 00:28:26,520 Speaker 3: I want to know what's going on in the brain 414 00:28:26,600 --> 00:28:29,520 Speaker 3: waves of a man who is happens to be Muslim, 415 00:28:29,560 --> 00:28:31,960 Speaker 3: happens to be praying to Allah. But I just want 416 00:28:32,000 --> 00:28:34,159 Speaker 3: to know what brain waves look like when people go 417 00:28:34,240 --> 00:28:35,800 Speaker 3: into a spiritual place. 418 00:28:36,680 --> 00:28:36,880 Speaker 5: Yeah. 419 00:28:37,000 --> 00:28:41,440 Speaker 2: I was looking for a concept that I can write 420 00:28:41,480 --> 00:28:46,480 Speaker 2: about whatever I want, but maintaining a concept. So because 421 00:28:46,520 --> 00:28:49,360 Speaker 2: of that, I stayed thinking, Okay, so I should study 422 00:28:49,440 --> 00:28:52,480 Speaker 2: my brain. And then I thought, oh no, I should 423 00:28:52,480 --> 00:28:57,520 Speaker 2: study other people's brains, and then I should study animals brains. 424 00:28:58,280 --> 00:29:01,760 Speaker 2: And because of that, I started to make research and 425 00:29:02,000 --> 00:29:06,400 Speaker 2: I ended up meeting with scientists from n y U 426 00:29:06,560 --> 00:29:10,920 Speaker 2: and Yale University, and I started to work with brain frequencies. 427 00:29:11,600 --> 00:29:13,080 Speaker 1: So our brain has. 428 00:29:14,600 --> 00:29:18,960 Speaker 2: Millions of millions of neurons, and the neurons they have 429 00:29:19,920 --> 00:29:26,280 Speaker 2: energy and power, and that energy you can quantify that energy. 430 00:29:26,720 --> 00:29:29,320 Speaker 2: And if you have numbers, you can make numbers into 431 00:29:29,440 --> 00:29:33,760 Speaker 2: music because you just establish parameters in between zero and 432 00:29:33,840 --> 00:29:37,960 Speaker 2: eighty eight, which is the amount of notes that you have, 433 00:29:39,080 --> 00:29:41,480 Speaker 2: and with that I can make music. So I started 434 00:29:41,560 --> 00:29:43,800 Speaker 2: to create a concept around everything that I have in 435 00:29:43,880 --> 00:29:44,960 Speaker 2: my head, but also. 436 00:29:46,360 --> 00:29:48,600 Speaker 1: Working with brain waves and numbers. 437 00:29:49,520 --> 00:29:54,160 Speaker 6: So a resident the palmponent then goes since. 438 00:29:59,000 --> 00:30:00,920 Speaker 1: Cansetting cookies and creams. 439 00:30:00,960 --> 00:30:10,520 Speaker 3: So these neurologists were they like, oh yeah, sure or 440 00:30:10,600 --> 00:30:16,520 Speaker 3: were they like what or were they completely unintended on 441 00:30:16,640 --> 00:30:17,920 Speaker 3: your wavelength, your brain weight. 442 00:30:18,120 --> 00:30:21,400 Speaker 2: They're super down, like they're so happy, and they were like, 443 00:30:21,480 --> 00:30:23,280 Speaker 2: oh my god, this is great. Yeah, this is great, 444 00:30:23,400 --> 00:30:26,440 Speaker 2: and one of the like there's also there's a Puerto 445 00:30:26,520 --> 00:30:31,200 Speaker 2: Rican team. There's a really nice neuroscientist. His name is 446 00:30:31,240 --> 00:30:33,880 Speaker 2: Daniel Colon and he's super respected and he's in Yale 447 00:30:34,360 --> 00:30:39,960 Speaker 2: and he works with worms. So I did a song 448 00:30:40,240 --> 00:30:45,080 Speaker 2: using the brain waves of worms with him and no, actually, 449 00:30:45,200 --> 00:30:47,200 Speaker 2: like there is texting me all the times and in 450 00:30:47,320 --> 00:30:51,160 Speaker 2: me like a lot of information and stuff, and I 451 00:30:51,280 --> 00:30:55,480 Speaker 2: love it and I think it's another way of doing 452 00:30:55,560 --> 00:30:57,720 Speaker 2: something creative and making new music. 453 00:31:00,640 --> 00:31:06,440 Speaker 5: Cave Ja Cavez jam cave. 454 00:31:09,000 --> 00:31:13,360 Speaker 1: That hits. 455 00:31:16,240 --> 00:31:28,800 Speaker 5: Paolestres Fermo, I said. 456 00:31:34,000 --> 00:31:36,640 Speaker 3: And I'm wondering, Renee, as we get ready to say goodbye, 457 00:31:37,440 --> 00:31:39,720 Speaker 3: you know what about if you were to talk to 458 00:31:40,320 --> 00:31:44,640 Speaker 3: younger Renee who was just starting out, who was just 459 00:31:44,800 --> 00:31:47,800 Speaker 3: thinking about what he wanted to do, What do you 460 00:31:47,920 --> 00:31:52,280 Speaker 3: say in particular to Latino Latina artists who are feeling 461 00:31:52,520 --> 00:31:57,200 Speaker 3: so it's easy to feel beat down these days. Yeah, 462 00:31:57,560 --> 00:32:01,080 Speaker 3: so what do you say to them to to keep 463 00:32:01,160 --> 00:32:04,320 Speaker 3: them committed to their art? What would you say to 464 00:32:04,440 --> 00:32:05,720 Speaker 3: yourself when you were younger? 465 00:32:06,440 --> 00:32:09,320 Speaker 2: No, for me, I know that I may make mistakes, 466 00:32:09,520 --> 00:32:13,320 Speaker 2: of course, like everyone else. I don't know if I 467 00:32:15,480 --> 00:32:17,400 Speaker 2: you know, I like the mistakes that I that I 468 00:32:17,520 --> 00:32:20,320 Speaker 2: did and I learned and you know, I know it's 469 00:32:20,440 --> 00:32:22,400 Speaker 2: kind of it could be like a cliche answer, but 470 00:32:22,480 --> 00:32:25,800 Speaker 2: it's true, like I learned from them and I grew 471 00:32:25,920 --> 00:32:31,400 Speaker 2: up learning from mistakes. I think that people have to 472 00:32:31,480 --> 00:32:34,200 Speaker 2: be unique and have to be honest when they are artists. 473 00:32:34,520 --> 00:32:37,640 Speaker 2: That's part of art, Like you can't be like scared. 474 00:32:37,760 --> 00:32:41,440 Speaker 2: Being scared doesn't go with for me, doesn't go with art. 475 00:32:41,520 --> 00:32:45,120 Speaker 2: Like artists, the opposite is being free and being honest, 476 00:32:45,920 --> 00:32:48,480 Speaker 2: and I think that every young artist they should be 477 00:32:48,680 --> 00:32:51,920 Speaker 2: that way. They should be without scared, without being scared, 478 00:32:52,160 --> 00:32:53,640 Speaker 2: being honest with what they feel. 479 00:32:54,720 --> 00:32:57,400 Speaker 1: And in my case, the way I did it is 480 00:32:57,440 --> 00:32:58,640 Speaker 1: that I maintained a balance. 481 00:32:58,720 --> 00:33:01,120 Speaker 2: I tried to do art in everything that I was doing, 482 00:33:01,200 --> 00:33:05,000 Speaker 2: even with Trevede, which is a more pop song. I 483 00:33:05,120 --> 00:33:07,280 Speaker 2: tried to put my art, but also I balance it 484 00:33:07,360 --> 00:33:09,320 Speaker 2: and I have Latin America do and I have all 485 00:33:09,360 --> 00:33:12,280 Speaker 2: the songs, So you don't look for that balance, but 486 00:33:12,480 --> 00:33:13,719 Speaker 2: you have to be honest. 487 00:33:14,040 --> 00:33:25,120 Speaker 6: Gero wel Vera quando nor gerolvera aquandin here yo gerol Vera. 488 00:33:24,960 --> 00:33:28,640 Speaker 3: Sero Renee, thank you for joining us on Latino USA. 489 00:33:29,040 --> 00:33:29,320 Speaker 1: Thank You. 490 00:33:36,240 --> 00:33:40,200 Speaker 3: Resident's latest single, Renee, is out now. His new album 491 00:33:40,400 --> 00:33:50,200 Speaker 3: is set to be released later this year. This episode 492 00:33:50,360 --> 00:33:53,320 Speaker 3: was produced by Mighel Massias with help from Jane Yamoca 493 00:33:53,480 --> 00:33:57,320 Speaker 3: and edited banks of Yeaparisaka. The Latino USA team includes 494 00:33:57,640 --> 00:34:02,800 Speaker 3: Luis Trees, Antonio Serjido Aescarce, and Alejandra Salasad with help 495 00:34:02,880 --> 00:34:07,520 Speaker 3: from Joanne Luna. Our engineers are Stephanie Lebau and Julia Caruso. 496 00:34:07,920 --> 00:34:11,240 Speaker 3: Additional engineering this week by Leah Shaw. Our production manager 497 00:34:11,320 --> 00:34:15,600 Speaker 3: is Natalia Fiedelholtz. Our digital editor Isamandel Cantra. Our interns 498 00:34:15,640 --> 00:34:19,319 Speaker 3: are Julia Nez Esparsa and Julia Rocha. Our theme music 499 00:34:19,480 --> 00:34:22,080 Speaker 3: was composed by Sene Renos. If you like the music 500 00:34:22,120 --> 00:34:24,879 Speaker 3: you heard on this episode, stop by Latinousa dot org 501 00:34:25,160 --> 00:34:28,160 Speaker 3: and check out our weekly Spotify playlist. I'm your host 502 00:34:28,239 --> 00:34:31,520 Speaker 3: and executive producer Maria Inojosa. Join us again on our 503 00:34:31,560 --> 00:34:34,080 Speaker 3: next episode, and in the meantime, look for us on 504 00:34:34,280 --> 00:34:37,480 Speaker 3: all of your social media. Astella Proxima Cchao. 505 00:34:39,920 --> 00:34:44,320 Speaker 8: Latino USA is made possible in part by W. K. 506 00:34:44,640 --> 00:34:49,280 Speaker 8: Kellogg Foundation, a partner with Communities where Children Come First, 507 00:34:50,160 --> 00:34:54,680 Speaker 8: the John D. And Catherine T. MacArthur Foundation, and the 508 00:34:54,800 --> 00:34:58,520 Speaker 8: Ford Foundation, working with visionaries on the front lines of 509 00:34:58,640 --> 00:34:59,960 Speaker 8: social change worldwide. 510 00:35:04,320 --> 00:35:07,600 Speaker 3: One second, because someone is desperately trying to reach you, 511 00:35:08,640 --> 00:35:11,080 Speaker 3: Is it one of your long lost family members from Siberia. 512 00:35:11,760 --> 00:35:13,160 Speaker 1: No, it's lassy stuff.