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Speaker 1: Loka Tora Radio is a radiophonic novella.

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Speaker 2: Which is just a very extra way of saying a podcast.

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Speaker 1: I'm diosa m and I am Mala Munjos. Lokatra Radio

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Speaker 1: is yr Brima's favorite podcast, hosted by us Mala and Viosa.

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Speaker 2: We're two ig friends turned podcast partners, breaking down pop culture, feminism,

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Speaker 2: sexual wellness, and offering fresh takes on trending topics through

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Speaker 2: nuanced interviews with up and coming LATINX creatives.

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Speaker 1: Known as Las Lokatas, Las Mammis of Myth and Bullshit

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Speaker 1: and Las Borgas Prosas. We were podcasting independently since twenty sixteen,

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Speaker 1: but joined iHeartMedia's Microtura network in twenty twenty two.

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Speaker 2: This year, we're continuing to share stories from the LATINX community.

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Speaker 1: Barto el Mundo, Welcome to season eight.

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Speaker 2: Are you listening?

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Speaker 1: O La la Loka Motives, Welcome to season eight of

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Speaker 1: Loka Dora Radio.

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Speaker 3: I'm the Osa and I'm Ala.

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Speaker 1: You're tuning in to Capitols one eighty two.

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Speaker 2: Last time on loc A Thota Radio, we celebrated our

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Speaker 2: seven year lookaversary with an anniversary episode. Go ahead, tune

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Speaker 2: into that episode, Subscribe to look at Thought our radio,

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Speaker 2: leave us a review and share with a friend.

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Speaker 1: So for today's episode, we are going to be talking

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Speaker 1: to a Bogota based music ensemble called Monsieur Erne, and

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Speaker 1: we wanted to talk to them because one they're in

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Speaker 1: La this week, but also we thought it would be

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Speaker 1: a good way to continue the conversation about art and

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Speaker 1: activism here at Loka Dora. We've been having these conversations

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Speaker 1: since our inception, and we've interviewed musicians that write music

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Speaker 1: and create art that center activism, like Ele and Anatiju.

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Speaker 1: So you can listen to those past episodes. I will

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Speaker 1: link them in show notes. And we've also talked to

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Speaker 1: other incredible artists and activists over the years that aren't

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Speaker 1: musicians but are in the arts field.

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Speaker 2: We've also interviewed Katalina of Reggaeton La Gata. She of

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Speaker 2: course centers history and activism, centering the African diaspora in

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Speaker 2: her music, criticism, and writing and producing work. So yeah,

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Speaker 2: go back, and we've been interviewing all kinds of people

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Speaker 2: for many, many years now, and it's really fun to

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Speaker 2: see where they were when we interviewed them with their

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Speaker 2: art and their activism and where they are now years later.

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Speaker 1: More about Monsieur Perne. They are a Bogota based music

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Speaker 1: group from Colombia with an Afro Colombia with an Afro

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Speaker 1: Colombian sound that mixes Latin and European flavors. And their

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Speaker 1: lead singer, Catalina is in La this week and she's

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Speaker 1: actually set to perform with the La Philharmonic for an

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Speaker 1: event titled Ganto and Resistencia. The group is also nominated

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Speaker 1: for two Latin Grammys this year, and we're going to

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Speaker 1: be talking all about their new album today. So we're

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Speaker 1: so excited to be joined by Catalina Garcia and we're

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Speaker 1: gonna be talking about her latest album. It's nominated for

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Speaker 1: two line Grammys.

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Speaker 3: So welcome, thank you.

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Speaker 4: I'm super happy to be here in La. And yeah,

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Speaker 4: we have this new album that it's called I know

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Speaker 4: that it's really a tricky word because yeah, it's it's

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Speaker 4: hard to accept that we are leaving the ap right.

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Speaker 1: And I wanted to ask you more about that because

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Speaker 1: I think sometimes we think like the apocalypse is like

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Speaker 1: yet to come, but then we're like, oh no, we're

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Speaker 1: living it.

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Speaker 3: How we are?

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Speaker 1: Tell me, tell me more about the name and the

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Speaker 1: inspo behind it.

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Speaker 4: So we started writing this album without knowing that it

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Speaker 4: was going to be, you know, like a full concept album.

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Speaker 3: We didn't know.

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Speaker 4: We started just writing songs before Pandemic.

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Speaker 3: So it was twenty nineteen. We were in a really

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Speaker 3: rough tour.

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Speaker 4: We did I don't know, like more than one hundred

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Speaker 4: shows twenty nineteen.

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Speaker 3: It was a very tiring year.

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Speaker 4: But whenever we had some time to you know, like

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Speaker 4: to chill and to relax, we tried to create songs.

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Speaker 4: And that's how it started, you know, this new album. Yeah,

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Speaker 4: like Intentions. And then twenty twenty Pandemia and everything changed

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Speaker 4: for musicians, especially because I think we were like the

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Speaker 4: last the lastest latest that went back to work, so

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Speaker 4: we had to wait too.

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Speaker 3: Much and everything changed.

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Speaker 4: We were all the time, like touring, going all around

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Speaker 4: the world, and suddenly that wasn't happening anymore. So we

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Speaker 4: use our studio and you know, like this time to

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Speaker 4: be I don't know, like connected to two more Slow.

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Speaker 3: Way to Live. It was beautiful.

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Speaker 4: It was like a huge present for us, even if

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Speaker 4: it was rough time for everyone in the whole world.

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Speaker 4: I think music hells, you know, has that power to

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Speaker 4: heal to connect. And I think what we feared the

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Speaker 4: most were the disconnection between humans when when we were

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Speaker 4: in pandemia. So we decided to you know, like reunite

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Speaker 4: just Santiaguan, me and my partner, like in the studio

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Speaker 4: and start exploring again without planning too much where you know,

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Speaker 4: where the music was going to get and how it

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Speaker 4: was going to sound. More like being connected to our

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Speaker 4: intuition of course, to all the music that we were

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Speaker 4: listening and you know, like being inspired by and of

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Speaker 4: course we we were not expecting anything, just like having

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Speaker 4: fun and you know, like embracing the fact that we

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Speaker 4: could create in a really rough time.

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Speaker 3: It was so special.

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Speaker 4: And in Colombia we were living not just pandemia, but

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Speaker 4: like a huge massive social explosion, you know.

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Speaker 3: Like people.

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Speaker 4: We were not happy with what was going on in

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Speaker 4: like with the government and all the political you know,

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Speaker 4: like shit, I'm sorry for the word.

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Speaker 3: That's great, that's correct.

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Speaker 4: Yeah, a lot of corruption, a lot of inequalities, Like

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Speaker 4: we can see it all around the world. You know,

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Speaker 4: I don't know, humans are full of hate and and

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Speaker 4: I don't like disconnected. I think we are disconnected to

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Speaker 4: our true nature. And I think artists.

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Speaker 3: We can have another I don't know, another.

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Speaker 4: Energy, you know, another capacity to I don't know, to

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Speaker 4: make like a big healing process with ourselves of course,

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Speaker 4: but for the people also. We could realize in pandemic

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Speaker 4: how powerful this art for our you know, day by

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Speaker 4: day living, and that's how we found Boletto Apocalyptico. You know,

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Speaker 4: it's like to survive through this rough times, you have

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Speaker 4: to love and you have to learn how to love

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Speaker 4: yourself and of course love everything that you do the

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Speaker 4: people that is around you. And it's not very easy

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Speaker 4: to understand what is love. You know, it's it's not

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Speaker 4: just being happy, and but you have to be courageous,

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Speaker 4: you know, like versa accept so mirol morenois.

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Speaker 3: Felie.

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Speaker 4: And that's why Apocalyptico, because you know, we are living

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Speaker 4: a moment where all the values that we had before

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Speaker 4: are not working anymore. We're learning trying to learn how to,

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Speaker 4: you know, to survive.

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Speaker 3: It's hard.

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Speaker 4: Whenever you touch the screen it's like, oh my god,

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Speaker 4: I don't want to live in this world so far.

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Speaker 2: I'm so curious about the way that making the album

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Speaker 2: during the pandemic influenced the sound. Does it sound apocalyptic.

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Speaker 2: Does it sound like a pandemic album?

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Speaker 3: I think so. I don't know. I think we had

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Speaker 3: a lot of time.

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Speaker 4: We never had so much time to create an album. Never,

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Speaker 4: it's like we're all time touring. So this this time

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Speaker 4: for this album, we were at home, you know, quiet,

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Speaker 4: no people from our I don't know, like our.

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Speaker 3: Team or no.

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Speaker 4: People from the sketa anywhere, like, no friends, just the

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Speaker 4: two of us looking at each other, you know, like

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Speaker 4: going inside of you know, going deep. I too to

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Speaker 4: find also like something smooth, like the contrast of what

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Speaker 4: we were living. It was okay, let's have fun, you know,

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Speaker 4: making music.

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Speaker 3: Let's have fun.

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Speaker 4: We cannot go out, we cannot see our friends anything.

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Speaker 4: It's like so hard, let's have fun with music. And

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Speaker 4: I think that was very important. So it has this

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Speaker 4: mood of, you know, trying.

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Speaker 2: To to.

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Speaker 4: Recoupeartas on deliver Tab the connection, the gos So, the Circania,

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Speaker 4: the Intimidad and momento styles come on karaerke Experanza. It

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Speaker 4: was okay, internal experanza, know this suta intens communist a ittsesteticamente.

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Speaker 4: Also we were exploring with instruments that we were not

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Speaker 4: exploring before, like the sound.

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Speaker 3: It's kind of.

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Speaker 4: Symbiosis, like this machine human machine.

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Speaker 3: Tension all the time, you know, like.

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Speaker 4: Because we are I don't know, it's we are losing

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Speaker 4: our nature, our you know, like kind of freedom because

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Speaker 4: we're all the time connected to those apparatos like phones

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Speaker 4: and everything, like all the time, like all the time.

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Speaker 3: So it's like let's come.

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Speaker 4: On and P and L disco makin a restruction the

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Speaker 4: stri muchoo amost all for Manaloga that's truemos a questoria

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Speaker 4: more distinct Como Una and different and jpends have muccho

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Speaker 4: momental processor that sly am harden times harden and in

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Speaker 4: the studio studio is sally a mutual hard case will

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Speaker 4: be a common at Ira Mucho Las plants I commo

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Speaker 4: plants cris and TLAs greatas colors Una versa depends on

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Speaker 4: and inessa sa and and the moment does it del

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Speaker 4: apocalyptico come on and is that massive destruction?

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Speaker 1: We have love to survive, you know absolutely, And I

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Speaker 1: think you know, when I was listening to the album,

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Speaker 1: I thought like, not only is it about love? And

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Speaker 1: how do you think love can play a part of

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Speaker 1: political movements or even like you mentioned how can that

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Speaker 1: feel us? And how can art feel us?

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Speaker 3: Yes?

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Speaker 4: I think like when when you have to go through

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Speaker 4: hard experiences is when you learn how to know yourself

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Speaker 4: more than when you are happy. You know, happiness is

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Speaker 4: just uh smooth, and you know likesnasona la felicias.

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Speaker 3: As soon as stado came escumo.

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Speaker 4: Lineal la school constas and foul constas, fust constas, triste

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Speaker 4: stamento U the jna cosa, the mont rs, the mirror,

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Speaker 4: Eski palentro, la felicie, los felicia eristesa grand lugard, the

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Speaker 4: the the prendisai. It came came de larte much personas

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Speaker 4: no solo las crean. You know, let's receiving supposibly the

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Speaker 4: encounterra una Formama's uman, the transformer deficialists. It's it's span

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Speaker 4: amas deficialists and noela's opportunias. Nos caminos pil save the transformers.

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Speaker 4: There is the low profundo, Larte is fundamental social mucho

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Speaker 4: mas is much and socialist and las be vimos constantinente.

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Speaker 3: Gan testcoes and yeah, al.

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Speaker 4: Alfaltapportunia is alacr j so the Columbia opportunias, the t

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Speaker 4: in musica, har pars, the territorial, eco, particular projectors, localists,

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Speaker 4: the musicas andero, the musica, the is, the musica.

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Speaker 3: And Lohan difficulties.

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Speaker 4: Say look significant para on a persona tenor, instrumental in

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Speaker 4: on arma ems.

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Speaker 3: Are embed of the hacks, expander and el romano.

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Speaker 4: So art is so powerful, you know, and for us

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Speaker 4: it's like we are very committed with what we do

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Speaker 4: through the music, and you know, we love to to

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Speaker 4: have this opportunity and you know, I don't know, I

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Speaker 4: think it's a huge gift.

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Speaker 3: To be on the side of the story.

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Speaker 2: You know. I'm super serious about process and when you

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Speaker 2: when you two sit down to write a song or

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Speaker 2: put the album together, how do you divide up the

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Speaker 2: songwriting and the production and who does what?

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Speaker 3: Okay, so Santi is.

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Speaker 4: I think it's more like the producer of everything that

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Speaker 4: we do, like the music in the music side, he

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Speaker 4: has more this producer head and way to work. He

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Speaker 4: loves to write all the arrangements and he's very helo

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Speaker 4: l T and posta asciendo musica Trajian instrumental explorando lot

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Speaker 4: different test on you instrumental Sue Studios, special is record,

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Speaker 4: el mundo a traves instrumental per our dna muchos, the lauds,

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Speaker 4: the stinta epocas because our sounds start like from acoustic

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Speaker 4: sound and and then like real sound is not just machines,

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Speaker 4: so it has to be played by by a person,

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Speaker 4: and you know it's like Tavia Auna grand differencia and

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Speaker 4: Loki sientees port loci, sientees guando escuchas aest interprets.

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Speaker 3: Temple, Superman de le ro.

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Speaker 4: Anti production, pesto parti, lamosamo camos, referentes, a s moscurs

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Speaker 4: ax lest scuchamos, nauchamos tenamous busy as ottalment riqueesecratio, the

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Speaker 4: milo mis la lettra I commo po c l como

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Speaker 4: comestruum concepto, como elartos, concepto u berlos.

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Speaker 3: Ilartos, his stories.

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Speaker 4: And concepto Jimmy cla mas coment conversation, visual compania, ell

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Speaker 4: vers thses, referentees, lass story as los, video clips, las

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Speaker 4: directories and lastica ilas letras, santi scree p jo pom

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Speaker 4: and masco and la parte musical loss composamoscamos, Yeah, I

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Speaker 4: was estambian is important and La Latinsion is poosa Canaja

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Speaker 4: Gaga is sally Forencia.

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Speaker 3: So I was casa kosake.

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Speaker 4: Par in como tameno gustatao ands.

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Speaker 3: Amos kazakin sanos.

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Speaker 1: Yeah, the conflict can help you grow separately and together

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Speaker 1: right as artists and how you create something. Yeah, I

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Speaker 1: wanted to ask you about one of one of my

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Speaker 1: favorite songs from the album is Kumbia Valiente and we've

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Speaker 1: actually had anati ju in the past as a guest,

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Speaker 1: and so I wanted to talk to ask you more

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Speaker 1: about that collaboration. The song Resistencia evalo tell me more

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Speaker 1: about its creation.

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Speaker 4: See, so it was twenty twenty and not just pandemia,

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Speaker 4: but also like massive social I don't know, like yeah, explosion,

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Speaker 4: I don't know how to say it, but yeah, explosion

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Speaker 4: in Colombia and also in different countries in Latin America,

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Speaker 4: as Chile, also Argentina, everywhere. You know, like if you see,

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Speaker 4: the world is full of problems, and we were living

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Speaker 4: in my country of really difficult times, a lot of fear,

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Speaker 4: a lot of tension, violence on the streets. People were

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Speaker 4: absolutely tired to be living as we were living, and

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Speaker 4: you know, like all the massive corruption. So every body

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Speaker 4: was on the streets, everyone like a lot of young

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Speaker 4: people and and you know, like persecuted by police, and

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Speaker 4: you know it was very hard. I live in downtown

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Speaker 4: and I had to to leave, you know, to be

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Speaker 4: running on the streets and trying to get to my

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Speaker 4: house and trying to help my friends that were you know,

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Speaker 4: like just in the protestas normal mentem cor rai porke

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Speaker 4: and last the policea stand mandando stars yaman gasmo renos

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Speaker 4: just bombasket move take a gases causes the difficult respiration,

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Speaker 4: the point, the point last.

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Speaker 3: And Paris, los artistas, the cemos and Chile como.

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Speaker 4: Protest us bien doo como artists, different hens in port

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Speaker 4: Final in port Yahn, especially the Resistancia and la Kay

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Speaker 4: especially neutros, the resistencia for calafnal.

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Speaker 3: Els notici and coms.

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Speaker 4: If we have party political relakmas pasi the hena your

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Speaker 4: supporting comingo politico that transformation cambio and the SMOs cremos

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Speaker 4: espasi simus for some mo grande para.

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Speaker 3: Como darle was dosto corendo.

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Speaker 4: Artistas and different est parties yams commos ya ya ya samos.

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Speaker 3: Coke prolement and appropria. I mean NASAs buenatos and.

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Speaker 4: Says lad schedule stram triste como frustration in sag and

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Speaker 4: and corason come on the consulo toses consanti vimos para

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Speaker 4: and plito Kea and later Colombia you know, and ramos

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Speaker 4: and and and nakasas create musica strata musica thamos com

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Speaker 4: we know sam and tempt medici yes if ke Nazi

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Speaker 4: Cumbia alike canto speranza Perotamian.

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Speaker 3: It's common manifesto.

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Speaker 4: Loves Cumbia commos media cultural mais compartmental toil continent pas

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Speaker 4: called Cumbia and males personas n Latin America. Compartos is

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Speaker 4: a media cultural case. Noestra fersa then rises in dinas

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Speaker 4: case cars is still at las influenzias de la musica

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Speaker 4: al mundos transformation and the estra porta Argentina os de

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Speaker 4: North Mexico, Cumbia and quisse the spiritual concise in Baran

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Speaker 4: t super ke es posto like columb post consulucha coz

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Speaker 4: contexto consue on the levels.

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Speaker 3: It is really a problems. More important.

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Speaker 4: The con no sola and Mundo in spirit music, our

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00:26:11,119 --> 00:26:21,639
Speaker 4: mean spirato parties, the continent creat Esposi and akm be alian.

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Speaker 1: I love that.

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Speaker 2: Given given all the political and social turmoil, do you

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Speaker 2: ever get nervous about putting out music that addresses the

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Speaker 2: those issues? Do you ever fear like censorship or negative reactions?

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Speaker 3: I think I don't fear that.

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Speaker 4: I know that that maybe that's gonna happen, because people

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Speaker 4: is full of fear of you know, like everything, So

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Speaker 4: whenever something is powerful, they fear and they have to

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00:26:57,920 --> 00:27:03,760
Speaker 4: you know, to bullying and you know, bad comments, and

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Speaker 4: sometimes it's like, oh but this is not gonna be

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Speaker 4: you know, like commercial, mainstream whatever.

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Speaker 3: I don't care.

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Speaker 4: I am not an artist because I because I'm gonna

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Speaker 4: make money. Of course, if my music goes and people

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Speaker 4: like it and people want to comment and see my

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Speaker 4: show and.

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Speaker 3: Buy what I do, thank you. Of course.

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Speaker 4: I love to to to work and I put all

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Speaker 4: my love in what I do. But I am not

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Speaker 4: an artist because I'm gonna get money, you know, I

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Speaker 4: don't care. I need to speak for myself and I

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Speaker 4: need to transform myself, and I found art to make it.

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Speaker 1: So, yeah, I wanted to ask you about Columbia and

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Speaker 1: it's musical traditions, and it seems like there's a lot

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Speaker 1: of artists coming out of Columbia that are maybe hitting

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Speaker 1: like more mainstream and more globally recognized. Like why from

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Speaker 1: your perspective as an artist and as a Columbiana, Like

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Speaker 1: why do you think Colombia is hitting that way?

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Speaker 3: You know what I mean?

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Speaker 4: Yeah, Pes, Colombia is absolute Ala santos privilehiado and terminus

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00:28:23,000 --> 00:28:28,440
Speaker 4: com ucas and planeta yes so I h o q

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00:28:29,480 --> 00:28:36,480
Speaker 4: ten gamos much as influenzias culturalist kean for la costa pacifica,

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00:28:37,119 --> 00:28:42,520
Speaker 4: la costa Atlantica, ke gamos la fuersa de la reis

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00:28:43,320 --> 00:28:57,680
Speaker 4: indigena and nostro sandstras cordigeras kes colonaeque etna mundo colombo

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00:29:00,200 --> 00:29:10,000
Speaker 4: vida come on, come vibus la resta vivaca montageous antigua

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00:29:12,000 --> 00:29:19,320
Speaker 4: No Colombia's birthday Sta viva, yes so sersa at oke

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00:29:19,680 --> 00:29:29,960
Speaker 4: screa bien here betal importante ponente Stoke is Moody versa

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00:29:31,600 --> 00:29:36,240
Speaker 4: and Paris Moody verso, and says tambi and I como

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00:29:36,640 --> 00:29:40,600
Speaker 4: supposibly that the doesn't Calle del mundo come.

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Speaker 3: Cons possibly as.

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00:29:46,240 --> 00:29:59,480
Speaker 4: The representao and and tantas cosques Columbia's mo musical moil

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00:29:59,600 --> 00:30:06,920
Speaker 4: anti the fiesta cele festivales fias eat different tests so

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00:30:07,120 --> 00:30:13,880
Speaker 4: nios Henero's format, the cantar a sentos format latosos and

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00:30:14,000 --> 00:30:23,280
Speaker 4: will best area and tall pies croqu flumo so familiar,

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00:30:23,720 --> 00:30:29,720
Speaker 4: tambien com crokema sta marc.

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Speaker 3: Dificial, la.

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Speaker 4: In forma, the the transformer as the la musica Yeah yeah,

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Speaker 4: la com.

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Speaker 3: Yeah, tart.

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00:30:56,120 --> 00:31:08,120
Speaker 4: Coronea esperanzaca musica, sespasio says como Colombia I lata de

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00:31:09,200 --> 00:31:15,280
Speaker 4: conti and the un al mundo and ra and musica.

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00:31:15,880 --> 00:31:27,440
Speaker 4: There's the l lambana con carl Giakira slaina, the del

355
00:31:27,520 --> 00:31:35,560
Speaker 4: Mundo Grande poor positional mohr and notra perspective, antel mundo

356
00:31:36,080 --> 00:31:51,160
Speaker 4: Latina intelligent, Creadora du camino, saveez am asante and finn

357
00:31:53,200 --> 00:32:06,520
Speaker 4: pertabien las musicas traditionalees last stares tambien in the tonos

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00:32:06,880 --> 00:32:12,800
Speaker 4: in tango, I project those Grammys, Latinos and Colombia in

359
00:32:12,920 --> 00:32:16,240
Speaker 4: a rock and which just causa note p in Colombia.

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00:32:15,840 --> 00:32:22,760
Speaker 2: Is yes, You're performing in la at a show called

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00:32:22,840 --> 00:32:25,720
Speaker 2: canto and Resistance. Yeah, tell us about that show. And

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00:32:25,760 --> 00:32:28,280
Speaker 2: I'm so curious about what it's like for you performing

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00:32:28,960 --> 00:32:33,360
Speaker 2: in Colombia and then performing your music for American audiences.

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00:32:33,640 --> 00:32:35,360
Speaker 2: How is that experience different for you?

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00:32:35,960 --> 00:32:39,560
Speaker 4: I am super happy, excited. I cannot believe that I'm

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00:32:39,600 --> 00:32:43,200
Speaker 4: going to sing in the World Disney Concert Hall. Oh

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00:32:43,280 --> 00:32:49,320
Speaker 4: my god, what a massive instrument, like a piece of art.

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00:32:49,400 --> 00:32:53,720
Speaker 4: I don't know, It's like so beautiful and incredible. With

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00:32:53,920 --> 00:32:59,080
Speaker 4: the phil La Filarmonica Los Angeles is Las del mundo,

370
00:32:59,400 --> 00:33:13,840
Speaker 4: untal my melt latino, nor gujo, hiante, joke chojni aga,

371
00:33:13,920 --> 00:33:19,760
Speaker 4: tartus Canes is pretty Privilegio to Como Viviendo Grandgo, La

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00:33:19,840 --> 00:33:28,480
Speaker 4: Vida Canton Resistancia is the project to Para coma Junta Rosas.

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00:33:29,800 --> 00:33:33,200
Speaker 3: Bosses, the Rosas, since.

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00:33:33,560 --> 00:33:42,480
Speaker 4: Canto Amino alam monstos, los espertarlas, yea ricono serla Puna,

375
00:33:42,680 --> 00:33:48,560
Speaker 4: the lass Partes, The Canto Somos Nas then stra Vida,

376
00:33:48,920 --> 00:33:59,880
Speaker 4: Crevimos Nostra contamos historias and toss Croquestio Sicio a feminist

377
00:34:00,200 --> 00:34:06,640
Speaker 4: Pero Masque, d V D. Lokesler Lombre, Locate Santo Music

378
00:34:06,800 --> 00:34:17,520
Speaker 4: Integra y permitted reco integration, Tarkemos the hurricane and tenmos

379
00:34:17,640 --> 00:34:28,760
Speaker 4: to us standard here in Il Lumnino Asio precomas house car, Construas,

380
00:34:29,000 --> 00:34:36,520
Speaker 4: contard mundotra vision, as soon as Leake, Canto, Resistancia, Pamusa

381
00:34:36,560 --> 00:34:42,839
Speaker 4: star an a Tissue, Eligera, Lila downs go Yo, Compatria

382
00:34:45,239 --> 00:34:50,480
Speaker 4: silvan Strata Minesta and in lost As Proximos la Field

383
00:34:50,840 --> 00:34:57,640
Speaker 4: and a Moment Too and ales in Contraoscellos Angeles Tamenes

384
00:34:57,800 --> 00:35:04,000
Speaker 4: comes the melting Pot, Cultura del Latino del Mundo. I

385
00:35:04,040 --> 00:35:09,160
Speaker 4: mean it's La Casa de los Latinos, Yes and Iraqi

386
00:35:09,280 --> 00:35:13,360
Speaker 4: and Contra to us as Influenzas and toll and.

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00:35:15,440 --> 00:35:16,360
Speaker 3: Express Aki.

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00:35:19,360 --> 00:35:23,680
Speaker 4: For us playing outside of Colombia, it's like something that

389
00:35:23,800 --> 00:35:27,040
Speaker 4: we have been doing, like since the beginning of our

390
00:35:27,239 --> 00:35:34,040
Speaker 4: story because I don't know, it's it's kind of sad

391
00:35:34,160 --> 00:35:37,160
Speaker 4: to say it, but it's hard to be a musicians

392
00:35:37,200 --> 00:35:40,360
Speaker 4: in our country and to survive, you know, like because

393
00:35:40,400 --> 00:35:43,080
Speaker 4: you have to you need I don't know, this is

394
00:35:43,600 --> 00:35:50,800
Speaker 4: this is not a not an easy career and we

395
00:35:50,960 --> 00:35:54,640
Speaker 4: had to go and travel around the world to keep it,

396
00:35:55,400 --> 00:36:00,880
Speaker 4: you know, to keep it working. So since twenty twelve,

397
00:36:01,080 --> 00:36:06,480
Speaker 4: we have been touring outside of our country and the

398
00:36:06,640 --> 00:36:09,040
Speaker 4: United States of America, it's like one of the countries

399
00:36:09,120 --> 00:36:12,239
Speaker 4: that we've been touring the most. We love to come

400
00:36:12,320 --> 00:36:16,080
Speaker 4: and play here. We did, like I don't know, seven

401
00:36:16,239 --> 00:36:19,560
Speaker 4: or eight years ago, we did a tiny esque session.

402
00:36:19,920 --> 00:36:24,160
Speaker 4: We were like the first a South American band to

403
00:36:24,840 --> 00:36:30,760
Speaker 4: record a Chinese esque session, and that changed our audience

404
00:36:30,840 --> 00:36:36,640
Speaker 4: here in States. It changed because it was not just Latinos,

405
00:36:37,320 --> 00:36:40,880
Speaker 4: but like people from Asia or I don't know, like

406
00:36:41,360 --> 00:36:43,480
Speaker 4: different parts of the world that live here and just

407
00:36:43,719 --> 00:36:48,440
Speaker 4: found and loved what we do and they go. So

408
00:36:48,640 --> 00:36:53,120
Speaker 4: we when we make shows here and we tour in States,

409
00:36:54,080 --> 00:36:58,120
Speaker 4: there's people from all around the world, and that's lovely.

410
00:36:58,520 --> 00:37:02,800
Speaker 4: I love that that energy, like different ways to feel

411
00:37:02,920 --> 00:37:06,600
Speaker 4: and you know, to approach to the music and put

412
00:37:06,640 --> 00:37:09,440
Speaker 4: it all together is beautiful. Of course we love to

413
00:37:10,440 --> 00:37:13,600
Speaker 4: our Columbian people that it's all the time, like with

414
00:37:13,800 --> 00:37:14,800
Speaker 4: the flag, you know.

415
00:37:16,200 --> 00:37:18,920
Speaker 3: I love that to you know, to feel part of

416
00:37:19,120 --> 00:37:19,800
Speaker 3: my community.

417
00:37:20,239 --> 00:37:23,520
Speaker 4: And also like people from Mexico that for us, Mexico

418
00:37:23,640 --> 00:37:27,360
Speaker 4: is like our second home and I think LA it's that,

419
00:37:27,600 --> 00:37:32,760
Speaker 4: you know, it's like Mexico, Latin America, n Teto asparto

420
00:37:32,800 --> 00:37:37,480
Speaker 4: del Mundo and of course a lot of entertainment, you know,

421
00:37:37,680 --> 00:37:38,480
Speaker 4: like movements.

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00:37:38,840 --> 00:37:40,680
Speaker 3: It's beautiful. We love to play here.

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00:37:41,080 --> 00:37:42,759
Speaker 2: Well, we're looking forward to the show. We're going to

424
00:37:42,800 --> 00:37:43,320
Speaker 2: be attending.

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00:37:43,680 --> 00:37:46,080
Speaker 3: Thank you, We're excited, We're very excited.

426
00:37:46,200 --> 00:37:48,840
Speaker 2: So thanks for thank you for coming to LA and

427
00:37:48,960 --> 00:37:50,200
Speaker 2: for sharing your music with us.

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00:37:50,440 --> 00:37:51,279
Speaker 3: Thank you so much.

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00:37:53,000 --> 00:37:56,040
Speaker 2: Look at Our Radio A radio funding novella is executive

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Speaker 2: produced and hosted by Me Mala Munios ANDOSFM.

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Speaker 1: Story editing by me FIOSA.

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Speaker 2: Audio editing by Stephanie Franco.

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Speaker 1: Thank you to our locomotives, our listeners for all of

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Speaker 1: your support.

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Speaker 3: bestI FoST.

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Speaker 2: Look at Radio A radio phonic Nobela hosted by Mala Munos.

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Speaker 1: And diosa fem.

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Speaker 2: Take us to your network.

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Speaker 4: H