1
00:00:02,759 --> 00:00:06,040
Speaker 1: So corrido tomorrow will probably sound very little like the

2
00:00:06,040 --> 00:00:08,160
Speaker 1: one of today or of the past, and so we

3
00:00:08,200 --> 00:00:10,880
Speaker 1: wanted to have fun imagining what that could possibly be

4
00:00:11,039 --> 00:00:12,800
Speaker 1: and sound like and one of the things that they

5
00:00:12,800 --> 00:00:14,680
Speaker 1: could be talking about in the future.

6
00:00:25,920 --> 00:00:29,640
Speaker 2: From Futuro Media, It's Latino Usa. I'm Maria ino Hoosa.

7
00:00:30,160 --> 00:00:30,560
Speaker 3: Today.

8
00:00:30,800 --> 00:00:35,199
Speaker 2: Our How I Made It series looks at Futuroo, a

9
00:00:35,280 --> 00:00:38,720
Speaker 2: musical project that takes us into Texas Rio Grand Valley

10
00:00:39,240 --> 00:00:48,720
Speaker 2: centuries into the future. The year is twenty two hundred.

11
00:00:49,440 --> 00:00:53,560
Speaker 2: The place is the Rio Grand Valley in Texas, though

12
00:00:53,800 --> 00:00:58,320
Speaker 2: in this future imagined by artists Charlie Vela and Jonathan Leale,

13
00:00:58,880 --> 00:01:04,240
Speaker 2: it's now known as as Rio Grista. That's the fictional

14
00:01:04,319 --> 00:01:09,880
Speaker 2: world of Futuro Conjunto, a multimedia science fiction narrative made

15
00:01:09,880 --> 00:01:14,640
Speaker 2: in collaboration with local artists and activists. Together they imagine

16
00:01:14,640 --> 00:01:17,959
Speaker 2: what the Texas Valley would sound and look like in

17
00:01:18,000 --> 00:01:23,240
Speaker 2: one hundred years. Futuro Conjunto opens with a man who

18
00:01:23,280 --> 00:01:28,080
Speaker 2: stumbles across this damaged bootleg recording of an underground concert

19
00:01:28,360 --> 00:01:31,559
Speaker 2: from the year twenty one to twenty that's about eighty

20
00:01:31,640 --> 00:01:35,640
Speaker 2: years in the past for him. This recording tells the

21
00:01:35,680 --> 00:01:39,800
Speaker 2: story of the Flickering Century, the period between what is

22
00:01:39,840 --> 00:01:43,280
Speaker 2: for us today and the year twenty one to twenty.

23
00:01:43,640 --> 00:01:48,080
Speaker 4: Records indicate that notable local developments within the Flickering Century

24
00:01:48,240 --> 00:01:51,160
Speaker 4: include the uprisings of twenty twenty three, Navause of twenty

25
00:01:51,200 --> 00:01:53,160
Speaker 4: twenty eight to Themar's Mission of twenty thirty three.

26
00:01:53,800 --> 00:01:57,520
Speaker 2: It's a tragically eventful time. The Rio Grande Valley is

27
00:01:57,640 --> 00:02:00,640
Speaker 2: ravaged by a hurricane and his host of the Second

28
00:02:00,760 --> 00:02:06,280
Speaker 2: Mexican American War. Colonies are established on Mars, new religions

29
00:02:06,360 --> 00:02:13,960
Speaker 2: take hold. Futro Conjundo is a massive work of speculative fiction.

30
00:02:14,560 --> 00:02:18,200
Speaker 2: It craft's narratives about a distant future full of fantasy,

31
00:02:18,720 --> 00:02:22,080
Speaker 2: but at the same time, it revolves around urgent issues

32
00:02:22,120 --> 00:02:27,160
Speaker 2: of our present, like climate change, war, and socioeconomic inequalities.

33
00:02:32,480 --> 00:02:36,639
Speaker 2: The innovative project features more than thirty local artists and activists.

34
00:02:37,000 --> 00:02:41,119
Speaker 2: Along with the album, Futuro Conjunto has an interactive website,

35
00:02:41,320 --> 00:02:47,600
Speaker 2: graphics and animations designed to further develop this imagined world. Now,

36
00:02:47,639 --> 00:02:50,520
Speaker 2: this isn't the first time that Charlie and Jonathan have

37
00:02:50,720 --> 00:02:54,000
Speaker 2: documented the music and the history of the Rio Grande Valley,

38
00:02:54,160 --> 00:02:58,920
Speaker 2: where they're both from They previously collaborated on Wild Tongue

39
00:02:59,160 --> 00:03:03,919
Speaker 2: That's a compilation featuring local artists. Charlie, a musician and producer,

40
00:03:03,960 --> 00:03:07,520
Speaker 2: co directed a documentary about the region's musical history called

41
00:03:08,040 --> 00:03:11,960
Speaker 2: As I Walked Through the Valley. While creating Futuro Conjunto

42
00:03:12,000 --> 00:03:15,920
Speaker 2: with Charlie, Jonathan was also earning his PhD in Modern

43
00:03:15,960 --> 00:03:20,680
Speaker 2: Thought and Literature from Stanford University. During the program, he

44
00:03:20,760 --> 00:03:24,480
Speaker 2: researched musical narratives from the valley and secured funding that

45
00:03:24,600 --> 00:03:31,519
Speaker 2: made Futuro Conjunto possible. As the architects behind Futuro Conjunto,

46
00:03:32,000 --> 00:03:35,200
Speaker 2: Charlie and Jonathan wrote the story and the songs that

47
00:03:35,240 --> 00:03:39,840
Speaker 2: this complex and expansive project is built on. On this

48
00:03:39,960 --> 00:03:43,320
Speaker 2: episode of our How I Made It series, they take

49
00:03:43,440 --> 00:03:47,240
Speaker 2: us through the exciting process of imagining the future of

50
00:03:47,280 --> 00:03:50,920
Speaker 2: the Rio Grande Valley while also walking us through some

51
00:03:51,000 --> 00:03:54,880
Speaker 2: of the vibrant musical history of the territory that inspired

52
00:03:54,880 --> 00:03:55,600
Speaker 2: this project.

53
00:03:57,600 --> 00:04:00,400
Speaker 1: I'm Charlie Vella, I'm co creator of Futuro Conjunto.

54
00:04:00,080 --> 00:04:02,320
Speaker 4: And I'm Jonathan Leel, the other co creator of fut

55
00:04:03,800 --> 00:04:09,120
Speaker 4: Fututo at its Core is a fictional multimedia story. Multimedia narrative.

56
00:04:09,560 --> 00:04:13,000
Speaker 4: It combines music and visual art and animation and theater

57
00:04:13,160 --> 00:04:17,520
Speaker 4: and universe artifacts and this interactive website that we created

58
00:04:17,600 --> 00:04:19,920
Speaker 4: to tell a story about the potential future of the

59
00:04:20,000 --> 00:04:22,360
Speaker 4: Rio Grand Valley, where both Charlie and I are from.

60
00:04:23,160 --> 00:04:26,200
Speaker 4: So in twenty eighteen, Charlie and Ronnie Garza came out

61
00:04:26,240 --> 00:04:28,839
Speaker 4: to Stanford to do a screening of their film.

62
00:04:28,960 --> 00:04:30,360
Speaker 3: As I walk through the valley.

63
00:04:30,160 --> 00:04:32,880
Speaker 5: Once you leave San Antonio, there's a long stretch of

64
00:04:32,880 --> 00:04:34,840
Speaker 5: desert and there really is nothing, and then all of

65
00:04:34,880 --> 00:04:42,880
Speaker 5: a sudden, this whole borderline comes to life.

66
00:04:41,160 --> 00:04:46,680
Speaker 4: I had just gotten through co teaching a course called

67
00:04:46,720 --> 00:04:51,960
Speaker 4: After the Apocalypse. That class was essentially designed for people

68
00:04:51,960 --> 00:04:54,800
Speaker 4: from across the humanities and sciences to come together and

69
00:04:54,880 --> 00:04:57,880
Speaker 4: kind of engage with speculative fiction. And then a few

70
00:04:57,880 --> 00:05:00,599
Speaker 4: months go by and Charlie sent me an email after

71
00:05:00,760 --> 00:05:03,479
Speaker 4: he had been doing some additional research in music production,

72
00:05:04,160 --> 00:05:09,560
Speaker 4: and in the email was the title Futuro Bunjunto. My

73
00:05:09,640 --> 00:05:12,120
Speaker 4: brain started going in a zillion different directions when I

74
00:05:12,120 --> 00:05:15,360
Speaker 4: saw that, and my sort of literal interpretation of it,

75
00:05:15,440 --> 00:05:19,200
Speaker 4: even beyond thinking of the really important musical tradition from

76
00:05:19,240 --> 00:05:21,880
Speaker 4: the valley, was thinking of the literal translation of a

77
00:05:21,880 --> 00:05:25,240
Speaker 4: future community or a future together. I was starting to think,

78
00:05:25,480 --> 00:05:28,200
Speaker 4: you know, what would a future underground community look like,

79
00:05:28,440 --> 00:05:31,800
Speaker 4: and specifically an underground community from South Texas that has

80
00:05:31,839 --> 00:05:35,239
Speaker 4: such rich connections to this Conjunto and Corrillo tradition.

81
00:05:35,880 --> 00:05:39,919
Speaker 1: Conjunto music is a style of regional folk music that

82
00:05:40,000 --> 00:05:42,800
Speaker 1: originated here in the Rio Grand Valley. It's a Spanish

83
00:05:42,960 --> 00:05:45,520
Speaker 1: language form of music, but it's an American art form

84
00:05:45,920 --> 00:05:48,200
Speaker 1: and the musical form like a big part of it

85
00:05:48,240 --> 00:05:54,240
Speaker 1: is the corrida tradition, where you tell stories about local history, heroes, tragedies,

86
00:05:54,279 --> 00:05:56,960
Speaker 1: things that have occurred as a way of commemorating events.

87
00:06:00,480 --> 00:06:03,120
Speaker 1: Accord that does come to mind. It was written by

88
00:06:03,320 --> 00:06:07,560
Speaker 1: Esteban Hoddan, the themed accordion player from the Rogrand Valleys

89
00:06:07,560 --> 00:06:18,720
Speaker 1: from Elsa, Texas. He wrote a song commemorating the farm

90
00:06:18,760 --> 00:06:22,719
Speaker 1: workers march from San Juan, Texas all the way to

91
00:06:22,800 --> 00:06:24,240
Speaker 1: the national capital.

92
00:06:25,279 --> 00:06:27,880
Speaker 3: A saga shows.

93
00:06:32,720 --> 00:06:35,240
Speaker 1: One of my previous projects was a documentary I co

94
00:06:35,360 --> 00:06:37,680
Speaker 1: directed about music in the Rio Grand Valley, and in

95
00:06:37,720 --> 00:06:43,200
Speaker 1: the process of doing that movie, I bought so many

96
00:06:43,480 --> 00:06:46,360
Speaker 1: like local records. I just bought hundreds and so I

97
00:06:46,360 --> 00:06:49,960
Speaker 1: would go through them, and I would see songs commemorating

98
00:06:50,400 --> 00:06:52,800
Speaker 1: things like hurricanes, like there was a hurricane that hit

99
00:06:52,839 --> 00:06:55,640
Speaker 1: the Rogrand Valley in the nineteen sixties called Hurricane Beula,

100
00:06:55,760 --> 00:06:56,960
Speaker 1: and there were songs about it.

101
00:06:58,160 --> 00:07:03,440
Speaker 3: I'm see yes.

102
00:07:04,080 --> 00:07:07,480
Speaker 4: Narratively speaking, the core of the project is this musical album, right,

103
00:07:07,520 --> 00:07:11,040
Speaker 4: which is this damaged bootleg recording of an underground concert

104
00:07:11,080 --> 00:07:13,120
Speaker 4: that takes place in one hundred years in the year

105
00:07:13,120 --> 00:07:16,280
Speaker 4: twenty one to twenty and by then abandoned South Texas

106
00:07:16,360 --> 00:07:17,080
Speaker 4: rocket facilities.

107
00:07:17,160 --> 00:07:19,080
Speaker 5: This is Alado and I'm streaming from the old rocket

108
00:07:19,080 --> 00:07:20,480
Speaker 5: facility down in Boca Chica.

109
00:07:20,680 --> 00:07:21,840
Speaker 2: Big concert tonight, and.

110
00:07:22,080 --> 00:07:24,920
Speaker 4: Six different bands perform at that concert, and all of

111
00:07:24,920 --> 00:07:28,040
Speaker 4: them are playing these different genres that we haven't heard before,

112
00:07:28,600 --> 00:07:31,040
Speaker 4: and they're all singing songs inspired by the heroes and

113
00:07:31,080 --> 00:07:34,280
Speaker 4: the tragedies that their world had been built upon. We

114
00:07:34,720 --> 00:07:38,240
Speaker 4: each would try our hand at composing, imagining what these

115
00:07:38,240 --> 00:07:40,120
Speaker 4: different genres and bands would sound like, and then we

116
00:07:40,120 --> 00:07:43,120
Speaker 4: would swap them and then kind of tear them all

117
00:07:43,160 --> 00:07:45,560
Speaker 4: apart and rebuild them, try to find the golden brick

118
00:07:45,680 --> 00:07:48,080
Speaker 4: of an idea that we could build a house out of.

119
00:07:50,080 --> 00:07:52,600
Speaker 1: It was a way of layering history into the sounds.

120
00:07:53,200 --> 00:07:55,200
Speaker 1: What are the things that artists of one hundred years

121
00:07:55,200 --> 00:07:57,600
Speaker 1: from now are going to be taking from the past,

122
00:07:57,760 --> 00:07:59,760
Speaker 1: What are the things that they're going to be mashing

123
00:07:59,840 --> 00:08:02,320
Speaker 1: up from the past or from their past. And so

124
00:08:02,440 --> 00:08:05,040
Speaker 1: by kind of like building the song up, taking one

125
00:08:05,040 --> 00:08:06,720
Speaker 1: little piece of it, throwing the rest of it away,

126
00:08:06,800 --> 00:08:08,760
Speaker 1: building it all up again around that one little piece,

127
00:08:09,040 --> 00:08:11,360
Speaker 1: it was a way of kind of embedding it with

128
00:08:11,440 --> 00:08:15,400
Speaker 1: a musical history that hasn't occurred yet. A number of

129
00:08:15,440 --> 00:08:19,480
Speaker 1: the events that we put into this future timeline echo

130
00:08:19,560 --> 00:08:21,760
Speaker 1: with things that have happened in reality.

131
00:08:24,560 --> 00:08:27,000
Speaker 4: At this our Hurricane Harvey continues and make its way

132
00:08:27,040 --> 00:08:29,920
Speaker 4: closer to shore. We have team coverts across the valley.

133
00:08:30,000 --> 00:08:33,240
Speaker 5: PBS forced even see the stop Buy Valley International Airport today,

134
00:08:33,280 --> 00:08:36,199
Speaker 5: and airport that he says is pretty much deserted.

135
00:08:36,600 --> 00:08:40,000
Speaker 1: The hurricane AVSISO is an echo of Hurricane Beula and

136
00:08:40,040 --> 00:08:43,160
Speaker 1: Hurricane Harvey, which we watched happen in real time here

137
00:08:43,280 --> 00:08:45,600
Speaker 1: in the state of Texas. These are all things that

138
00:08:45,679 --> 00:08:48,440
Speaker 1: have some sort of current or historical significance, and we're

139
00:08:48,480 --> 00:08:51,000
Speaker 1: just kind of taking them and pushing them somewhat.

140
00:08:52,520 --> 00:08:55,760
Speaker 4: I wrote a short story which had these fictional bands

141
00:08:55,760 --> 00:08:58,520
Speaker 4: with these different genres that didn't exist yet, So chip

142
00:08:58,520 --> 00:09:02,280
Speaker 4: hop and palm wave, Futura, Squatscha, things like that. And

143
00:09:02,320 --> 00:09:05,240
Speaker 4: I sent that to Charlie, and you know, Charlie's brain

144
00:09:05,280 --> 00:09:07,400
Speaker 4: started going in a bunch of different directions, because then

145
00:09:07,440 --> 00:09:09,840
Speaker 4: our task was to figure out, Okay, what do these

146
00:09:09,880 --> 00:09:11,040
Speaker 4: bands actually sound like?

147
00:09:11,080 --> 00:09:13,200
Speaker 3: How can we make this world something that feels real?

148
00:09:13,800 --> 00:09:16,480
Speaker 1: So I would read, you know, the word palm wave

149
00:09:16,840 --> 00:09:19,400
Speaker 1: as a genre title and think, you know what, as

150
00:09:19,440 --> 00:09:20,280
Speaker 1: a palm wave band.

151
00:09:21,280 --> 00:09:24,440
Speaker 4: Palm wave is the fictional genre that corresponds to the

152
00:09:24,440 --> 00:09:27,720
Speaker 4: band Simo Nada. The thing that I liked about palm

153
00:09:27,760 --> 00:09:30,840
Speaker 4: wave was is that it just basically started as a portmanteau,

154
00:09:30,880 --> 00:09:33,880
Speaker 4: as a word, a suggestive word on a piece of paper.

155
00:09:34,480 --> 00:09:39,160
Speaker 4: Ethereal really beautiful accordion sounds, these very dreamy guitars and

156
00:09:39,200 --> 00:10:02,319
Speaker 4: these very like beautiful lush vocal harmonies. So with one

157
00:10:02,360 --> 00:10:05,520
Speaker 4: of the songs, which was the zas Tune amor Superno,

158
00:10:06,200 --> 00:10:09,080
Speaker 4: that originally just started off as a complete like vocal

159
00:10:09,120 --> 00:10:19,160
Speaker 4: a cappella track, and we slowly built it up and

160
00:10:19,240 --> 00:10:21,920
Speaker 4: I have a very sort of minimalist tendency, and Charlie

161
00:10:21,960 --> 00:10:25,000
Speaker 4: eventually and rightly said, we really need drums in this.

162
00:10:25,080 --> 00:10:26,480
Speaker 4: We need this and this, we need this and this,

163
00:10:26,920 --> 00:10:29,240
Speaker 4: and so we started to add that in and the

164
00:10:29,280 --> 00:10:31,760
Speaker 4: song started coming to life. Everything started to really take

165
00:10:31,800 --> 00:10:35,080
Speaker 4: on a character. And then when we started working with

166
00:10:35,440 --> 00:10:38,080
Speaker 4: Diano Tovar and Bruti Serda, who are the vocalists on

167
00:10:38,160 --> 00:10:41,839
Speaker 4: that track, then everything like, oh okay, I can hear

168
00:10:41,880 --> 00:10:50,600
Speaker 4: what's happening here. The song is a love story between

169
00:10:50,640 --> 00:10:55,040
Speaker 4: these two characters who are distanced by space and presumably

170
00:10:55,080 --> 00:10:58,920
Speaker 4: also distance by time. One of them is leading an

171
00:10:58,920 --> 00:11:01,520
Speaker 4: expedition to Mars and the others left on the planet

172
00:11:01,520 --> 00:11:03,040
Speaker 4: Earth looking up at the stars.

173
00:11:03,280 --> 00:11:10,600
Speaker 3: I mean, how much more romantic could you be? They

174
00:11:10,600 --> 00:11:12,720
Speaker 3: had the idea to frame the whole thing, the whole.

175
00:11:12,520 --> 00:11:15,400
Speaker 4: Story, as a duet, and so you have this proximity

176
00:11:15,440 --> 00:11:19,200
Speaker 4: happening in the music that isn't happening in the story.

177
00:11:19,240 --> 00:11:20,880
Speaker 3: There's nothing but distance in the story.

178
00:11:21,360 --> 00:11:22,880
Speaker 4: And so when we heard that in one of those

179
00:11:22,960 --> 00:11:26,520
Speaker 4: late night mixing sessions, we finally kind of agreed that

180
00:11:26,640 --> 00:11:29,840
Speaker 4: the missing rhythmic element was this batshata that turned the

181
00:11:29,840 --> 00:11:32,520
Speaker 4: whole song into an astrobat shata. It's one of my

182
00:11:32,520 --> 00:11:35,160
Speaker 4: favorite songs in the whole album because of how many

183
00:11:35,200 --> 00:11:43,960
Speaker 4: AHA moments were part of the process of composing it.

184
00:11:46,480 --> 00:11:49,080
Speaker 1: The headliner of the fictional concert is a band called Sochi.

185
00:11:49,640 --> 00:11:52,880
Speaker 1: There was a group in the seventies and eighties called

186
00:11:53,360 --> 00:12:00,640
Speaker 1: Las Potra. They have this fantastic video where it's an

187
00:12:00,640 --> 00:12:05,400
Speaker 1: all woman gonjunto and they're wearing these like sparkly leotards

188
00:12:05,920 --> 00:12:10,000
Speaker 1: and the guitarist is playing Gibson less Paul through a

189
00:12:10,040 --> 00:12:12,960
Speaker 1: Marshall stack and it's like distorted and loud, and it

190
00:12:13,040 --> 00:12:16,520
Speaker 1: sounds very punk, and so we took inspiration from that originally,

191
00:12:16,520 --> 00:12:20,079
Speaker 1: and so it was this sort of guitar led punk

192
00:12:20,559 --> 00:12:27,520
Speaker 1: Corrido Rancheta type thing. We got to the end of

193
00:12:27,520 --> 00:12:30,000
Speaker 1: the writing process and we thought, okay, so this is

194
00:12:30,040 --> 00:12:34,520
Speaker 1: the headliner band. Something about this arrangement doesn't feel big enough,

195
00:12:35,760 --> 00:12:38,200
Speaker 1: and we were kind of like putting off dealing with

196
00:12:38,240 --> 00:12:41,400
Speaker 1: it because it was like a big question. And what

197
00:12:41,480 --> 00:12:44,440
Speaker 1: we eventually did is we took the underlying chord structure.

198
00:12:44,800 --> 00:12:50,480
Speaker 1: We completely turned it into this sort of like anthemic synth,

199
00:12:51,120 --> 00:12:53,600
Speaker 1: big sound, but we kept the structure in the vocal

200
00:12:53,600 --> 00:12:57,599
Speaker 1: harmony intact, and the song just opened up suddenly. I

201
00:12:57,640 --> 00:13:01,000
Speaker 1: could see how this band in the future could be

202
00:13:01,720 --> 00:13:09,960
Speaker 1: the band that everybody was there to see. You know,

203
00:13:10,080 --> 00:13:12,599
Speaker 1: you're writing it, but at the same time, there's this

204
00:13:12,640 --> 00:13:17,240
Speaker 1: psychological distance from it being for these imagined characters, and

205
00:13:17,320 --> 00:13:20,440
Speaker 1: so it becomes a lot easier to criticize them from

206
00:13:20,480 --> 00:13:22,640
Speaker 1: this kind of outside perspective, like you don't feel so

207
00:13:23,440 --> 00:13:29,440
Speaker 1: emotionally attached to anything that's happening in the music. On

208
00:13:29,520 --> 00:13:32,679
Speaker 1: that song, we were honored to have a steff On

209
00:13:32,720 --> 00:13:35,560
Speaker 1: Hold on the third, the son of Steve Jordan, performing

210
00:13:35,600 --> 00:13:39,880
Speaker 1: the accordion. He's basically portraying the holographic version of his father.

211
00:13:43,920 --> 00:13:46,520
Speaker 4: We wanted to make sure that it was a project

212
00:13:46,520 --> 00:13:49,760
Speaker 4: that would be for and also from the Rio Grand Valley,

213
00:13:49,760 --> 00:13:52,520
Speaker 4: and so everybody who contributed to it in any way

214
00:13:52,640 --> 00:13:56,960
Speaker 4: really has some strong biographical historical connection to the region.

215
00:13:58,640 --> 00:14:02,560
Speaker 1: We worked with a good number of local artists and

216
00:14:02,640 --> 00:14:05,920
Speaker 1: a few people who are sort of in the overlap

217
00:14:05,960 --> 00:14:10,319
Speaker 1: between art and activism. Queen Beatrix is a local dragtivist

218
00:14:10,600 --> 00:14:14,920
Speaker 1: who does work around HIV AIDS prevention, immigrant rights and

219
00:14:14,960 --> 00:14:17,280
Speaker 1: things like this, but does it through drag. So we

220
00:14:17,360 --> 00:14:20,400
Speaker 1: had them come in and lend a voice to Mima,

221
00:14:20,520 --> 00:14:23,600
Speaker 1: which is this sort of cybernetic version of Beatrix from

222
00:14:23,600 --> 00:14:24,000
Speaker 1: the future.

223
00:14:24,280 --> 00:14:27,360
Speaker 2: A Maya collector has put a great show for you tonight.

224
00:14:28,400 --> 00:14:31,600
Speaker 2: It's our way to commemorate those people in places leave

225
00:14:31,680 --> 00:14:33,760
Speaker 2: lost in this ridiculous war.

226
00:14:34,680 --> 00:14:38,000
Speaker 1: In the music, explicitly, there are lots of references to

227
00:14:38,480 --> 00:14:42,560
Speaker 1: historical artists. For example, the song called Aluriclaya is the

228
00:14:42,640 --> 00:14:46,280
Speaker 1: nickname of Naziso Martinez, who is one of the founders

229
00:14:46,440 --> 00:14:53,960
Speaker 1: of music, and so we titled the song after him

230
00:14:54,320 --> 00:14:58,720
Speaker 1: and made the song about a literal hurricane. This is

231
00:14:58,760 --> 00:15:01,880
Speaker 1: a place we know very intimately, and it is a

232
00:15:01,880 --> 00:15:05,680
Speaker 1: place that never sees itself represented in the national conversation

233
00:15:05,720 --> 00:15:09,080
Speaker 1: except for the horrible It's something that's very very present

234
00:15:09,120 --> 00:15:13,040
Speaker 1: in our minds currently. In the album, the hurricane track

235
00:15:13,080 --> 00:15:17,560
Speaker 1: a lot like kind Ayah is about this natural disaster

236
00:15:17,920 --> 00:15:20,320
Speaker 1: cutting through here and the fact that we will be

237
00:15:20,400 --> 00:15:23,080
Speaker 1: left on our own, like there's no help coming. And

238
00:15:23,200 --> 00:15:26,320
Speaker 1: it feels so strange to have written that last year

239
00:15:27,040 --> 00:15:31,280
Speaker 1: about weather disaster and then to see it happen in

240
00:15:31,320 --> 00:15:33,400
Speaker 1: the context of a health disaster.

241
00:15:35,760 --> 00:15:37,800
Speaker 3: Do you want to go swimming?

242
00:15:38,520 --> 00:15:41,280
Speaker 2: Swimming the lots and scenes.

243
00:15:41,920 --> 00:15:44,320
Speaker 4: When we started this, there was no pandemic yet, but

244
00:15:44,520 --> 00:15:47,840
Speaker 4: because of histories of neglect of the region, we were

245
00:15:47,960 --> 00:15:51,440
Speaker 4: really interested in kind of focusing on our shared anxieties

246
00:15:51,480 --> 00:15:54,360
Speaker 4: and fears about what might happen in the future, and

247
00:15:54,400 --> 00:16:01,920
Speaker 4: then to kind of alchemize them into art. To imagine

248
00:16:01,920 --> 00:16:04,520
Speaker 4: yourself in the future, and for the people of the

249
00:16:04,600 --> 00:16:07,240
Speaker 4: Rio Grande Valley and people who have connections to it,

250
00:16:07,320 --> 00:16:09,160
Speaker 4: you know, for all of us, to imagine ourselves in

251
00:16:09,160 --> 00:16:09,960
Speaker 4: the future.

252
00:16:09,720 --> 00:16:11,320
Speaker 3: Is itself a very radical act.

253
00:16:15,840 --> 00:16:17,880
Speaker 4: That's one of the major takeaways of the whole project

254
00:16:17,960 --> 00:16:19,560
Speaker 4: is the sense that you have a say in your

255
00:16:19,560 --> 00:16:21,040
Speaker 4: own destinies.

256
00:16:32,400 --> 00:16:35,360
Speaker 2: The voices of Charlie Bela and Jonathan na the co

257
00:16:35,480 --> 00:16:39,640
Speaker 2: creators of Put. The project is available for streaming on

258
00:16:39,760 --> 00:16:42,680
Speaker 2: band camp, and proceeds from the album are donated to

259
00:16:42,720 --> 00:16:47,840
Speaker 2: local nonprofits Raises Texas, Black Lives Matter, Index and switch

260
00:16:48,000 --> 00:17:25,600
Speaker 2: r GV. This episode was produced by Alejandra Salasad and

261
00:17:25,720 --> 00:17:30,200
Speaker 2: edited by Marta Martinez. The Latino USA team includes Mien Massias,

262
00:17:30,320 --> 00:17:35,760
Speaker 2: Andrea Lopez Crusado, Julieta Martinelli, Alissa Escarce, Gini Montalgo, Rinaldo

263
00:17:35,840 --> 00:17:39,120
Speaker 2: Lanos Junior, and Julia Rocha, with help from Raul prees.

264
00:17:39,400 --> 00:17:43,080
Speaker 2: Our engineers are Stephanie Lebau, Julia Caruso, and Lia Shaw,

265
00:17:43,359 --> 00:17:46,840
Speaker 2: with help from Elishiba YouTube and Gabriel Bayez. Our digital

266
00:17:46,960 --> 00:17:50,199
Speaker 2: editor is Luis Luna. Our interns are Samantha Friedman and

267
00:17:50,280 --> 00:17:53,960
Speaker 2: Carl Rubin. Our theme music was composed by Sane Robinos.

268
00:17:54,119 --> 00:17:56,000
Speaker 2: If you like the music you heard on this episode,

269
00:17:56,040 --> 00:17:58,520
Speaker 2: stop by Latino Usa dot org and check out our

270
00:17:58,520 --> 00:18:02,520
Speaker 2: weekly Spotify playlist. I'm your host and executive producer Marienno Josa.

271
00:18:02,800 --> 00:18:04,960
Speaker 2: Join us on our next episode, and I'll see you

272
00:18:05,000 --> 00:18:08,040
Speaker 2: on all of our social media Astan approximate YAO.

273
00:18:11,160 --> 00:18:15,399
Speaker 5: Latino USA is made possible in part by the Heising

274
00:18:15,480 --> 00:18:22,640
Speaker 5: Simons Foundation, unlocking knowledge, opportunity and possibilities more at hsfoundation

275
00:18:22,880 --> 00:18:26,880
Speaker 5: dot org, the John D. And Catherine T. MacArthur Foundation,

276
00:18:27,680 --> 00:18:32,280
Speaker 5: and the Ford Foundation, working with visionaries on the front

277
00:18:32,320 --> 00:18:35,280
Speaker 5: lines of social change worldwide socio.

278
00:18:35,720 --> 00:18:37,600
Speaker 1: I don't even know if we define their genre, did we?

279
00:18:39,600 --> 00:18:39,879
Speaker 3: No?

280
00:18:39,880 --> 00:18:39,960
Speaker 1: No?

281
00:18:40,040 --> 00:18:42,720
Speaker 4: I mean if ut was a genre, It isn't really,

282
00:18:42,760 --> 00:18:44,720
Speaker 4: but if it was, it would be that band for sure.