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Speaker 1: Loka Tota Radio is a radiophonic novela.

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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 fiosa fem.

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Speaker 2: And I am Ma la Munjos. We're podcasting through another

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Speaker 2: Trump election year. We've been podcasting through election years, a

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Speaker 2: global pandemic, civic unrest, political controversies, the Me Too movement,

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Speaker 2: the rise of TikTok, and we are still here. We're

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Speaker 2: not done telling stories.

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Speaker 1: We're still making podcasts. We're older, we're wiser, We're even

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Speaker 1: podcasting through a new decade of our lives.

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Speaker 2: Since twenty sixteen, we've been making Loka to Our Radio

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Speaker 2: independently until we joined iHeartMedia's Michael Dura Network in twenty

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Speaker 2: twenty two.

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Speaker 1: From our Lips to your Ears, fall in love with

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Speaker 1: Locata Radio like you never have before.

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Speaker 2: Welcome to Season nine. Love that First Listen.

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Speaker 1: O La La Loka Modes. Welcome to season nine of

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Speaker 1: Look At Our Radio.

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Speaker 2: I'm the Osa and I'm Mala Lok.

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Speaker 1: I Thought Our Radio is a podcast dedicated to archiving

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Speaker 1: our present and shifting the culture forward. You're tuning in

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Speaker 1: to Capitoo Cento Squadro two O four.

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Speaker 2: Last Time on Loca Radio, we interviewed London based Colombian

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Speaker 2: singer Sophie Castillo. Tune into that interview. It's super fun

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Speaker 2: stream Sophie's music. She's an incredible new talent. I just

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Speaker 2: really enjoyed that episode.

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Speaker 1: I really did. It's so fun interviewing new to US

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Speaker 1: musicians and artists, and like when their music is just

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Speaker 1: like the music we really like, you know, it's just

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Speaker 1: like the perfect and not that we've ever interviewed artists

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Speaker 1: that we don't like their music.

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Speaker 2: We like, I hate that music, but you know what I.

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Speaker 1: Mean, like it's it just hits even better.

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Speaker 2: It's tickling the right part of the brain.

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Speaker 1: Yes, yes, yes, so yeah, I hope that y'all listened.

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Speaker 1: I hope that y'all love that interview as well.

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Speaker 2: So today we're introducing a very very very new episode.

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Speaker 1: Yes, we have been honestly playing with these segments, these

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Speaker 1: segment names, these concepts since twenty sixteen. Literally we literally

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Speaker 1: had a photo shoot to announce these segments. That's right,

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Speaker 1: way back then.

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Speaker 2: That is so right. I totally forgot about that photo shoot.

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Speaker 1: Yeah, the photos were beautiful and we just weren't ready.

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Speaker 1: Time wasn't right. We were focusing on all the other things,

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Speaker 1: and even when we signed with iHeart, we were like

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Speaker 1: trying to bring these segments out into the world. But

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Speaker 1: again I don't think it was the right time here,

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Speaker 1: But here we are.

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Speaker 2: Here we are, and these segments we're talking about way

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Speaker 2: back when we thought, oh, we can bring in individual

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Speaker 2: hosted segments Dyos a Vise and Malas Palabras as their

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Speaker 2: own standalone moments within the look at radio podcasts multiverse.

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Speaker 2: And so we brought you other segments. Right, We're things

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Speaker 2: white women say, oh ya, lokas, we have like our

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Speaker 2: latinas and politics, which is more than a segment, it's

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Speaker 2: more like a series, a series. And so we have

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Speaker 2: these individual segments that we've been wanting to tease out

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Speaker 2: and we have finally done it. So this episode, we

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Speaker 2: don't have an interview, we don't have a guest. It's

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Speaker 2: each other. So Theosa is going to take the mic

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Speaker 2: for half the episode, and I'm going to take the

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Speaker 2: mic for the other half of the episode, and we're

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Speaker 2: going to divide it up into the Yosa, Lisa and

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Speaker 2: Malas Palabras. How exciting, so exciting, It's here, It's here.

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Speaker 1: I hope that y'all love it.

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Speaker 2: Me too. I hope you love it too, And if

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Speaker 2: you don't, who cares. We're gonna keep doing it anyway,

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Speaker 2: I think.

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Speaker 1: Yeah, I mean, I care, and I would love some feedback.

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Speaker 1: Let us know what you liked about it, let us

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Speaker 1: know what you want to see in these segments. I

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Speaker 1: thrive off of the feedback, the constructive feedback.

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Speaker 2: Constructive feedback, give us something we can work with, you

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Speaker 2: know what I mean? Uh yeah, we always love to

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Speaker 2: hear from our listeners. You know, leave us comments. Oh,

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Speaker 2: not only leave us comments on Apple podcasts, but on

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Speaker 2: Spotify specifically, you can respond to individual episodes.

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Speaker 1: Yes, and that's a new feature that Spotify has rolled

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Speaker 1: out in the past year. And it's not from what

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Speaker 1: I've seen, our listeners tend to listen on Apple podcasts,

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Speaker 1: but there are many of you that listen on Spotify,

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Speaker 1: and I think it's such a fun feature where you

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Speaker 1: can engage with the podcast and individual episodes. You can't

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Speaker 1: do that on Apple podcasts. And so the listeners that

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Speaker 1: listen on Spotify will respond to the episodes and give

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Speaker 1: us their feedback. And I love that. I love that

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Speaker 1: because the ig is not popping the way it used

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Speaker 1: to be, where y'all used to like comment and tell

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Speaker 1: us what you liked about the episode. Yeah, because we're

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Speaker 1: just not living there anymore, like nobody really is, but

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Speaker 1: we keep it active, right, and so to still have

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Speaker 1: that engagement on the Spotify page for me is really gratifying.

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Speaker 2: Yeah, my mom comments on the Spotify she does, she's

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Speaker 2: in there, she's in there, and my mom is actually

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Speaker 2: the inspiration for the subject of today's Malas Balabras segment,

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Speaker 2: So more more from her up.

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Speaker 1: I'm so excited to bring to you my new segment

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Speaker 1: called theos Lisa Dyosa Lisse for the good Girl Ready

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Speaker 1: to be Bad. I dedicate Dyosa Lisa to all of

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Speaker 1: you in your so called villain era. Is it a

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Speaker 1: villain era or are you just learning to set boundaries?

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Speaker 1: Are you finally done people pleasing? Or maybe you're leaning

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Speaker 1: more the Ablita than Dyosita these days. All reasons are valid.

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Speaker 2: I get it.

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Speaker 1: When I started thinking about this segment many many, many

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Speaker 1: years ago, I wanted it to be a self care segment.

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Speaker 1: That's what made sense to me back then. That's what

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Speaker 1: made sense for me in my life. But now, what

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Speaker 1: can I really teach you about self care. What I

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Speaker 1: can speak to is my current understanding of myself and

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Speaker 1: the journey that I've been on. As I sit with

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Speaker 1: darkness and some grief today, I want to talk to

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Speaker 1: you about an uncomfortable feeling rage. In the beginning of

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Speaker 1: the year, I was dealing with many changes in my family.

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Speaker 1: I was overwhelmed by them. I was really sad by them,

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Speaker 1: and honestly, I had a nervous breakdown when my therapist

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Speaker 1: recommended that I go to a rage room. I told

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Speaker 1: her that does not feel natural to me, that doesn't

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Speaker 1: feel good to me. That's not how I process my feelings.

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Speaker 1: And she told me anger is not really an emotion

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Speaker 1: that you access. Maybe you should try it. I looked

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Speaker 1: into it, I thought about it, but ultimately I decided

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Speaker 1: I was okay without it. I've developed all these tools

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Speaker 1: over the years, and so I thought, let me try

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Speaker 1: some of those, like my weekly therapy sessions, running, lifting weights, journaling, reading,

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Speaker 1: hanging out with my friends, getting my nails done, rewatching

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Speaker 1: all my comfort shows like Ugly Betty and Gilmore Girls,

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Speaker 1: and of course, spending time with my dog. I've had

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Speaker 1: my dog, da Heen since twenty fifteen, he's currently nine

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Speaker 1: years old. We've been through so many milestones together, like

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Speaker 1: living in Santa Barbara together, my senior year of undergrad,

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Speaker 1: graduating from U SEE Santa Barbara, moving back to LA

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Speaker 1: job transitions, a global pandemic, graduate school, getting married, and

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Speaker 1: of course the daily stressers of life. In twenty twenty one,

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Speaker 1: a new dog, Gusco, came into my family's life serendipitously.

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Speaker 1: We were not looking to adopt another dog, but when

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Speaker 1: my best friend Jackie sent me a picture of an

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Speaker 1: adorable German shepherd puppy who needed a home, how could

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Speaker 1: I say no. He was the cutest puppy with big

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Speaker 1: wolf ears, sharp teeth, and a rambunctious personality. We bonded immediately.

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Speaker 1: He became my new companion, a natural protector. He'd follow

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Speaker 1: me around the house. My family would call him my shadow,

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Speaker 1: but I would affectionately call him my chiclet. He laid

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Speaker 1: by my side while I got ready, He laid outside

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Speaker 1: the restroom door while I showered. He brought me his

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Speaker 1: toys so I could play with him. He was just

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Speaker 1: always around me. Du protector, my dad would say, and

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Speaker 1: he was right, of course. I named Gusco after the

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Speaker 1: city Gusco in Peru, but it's also a reference to

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Speaker 1: the Disney movie The New Groove. And like many dog parents,

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Speaker 1: Gusco was not his only name. I had so many

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Speaker 1: nicknames for him, like Gusquito, big Papa, handsome boy, sweet boy.

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Speaker 1: He was all of that and more. And when I

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Speaker 1: got married and Fernando moved in with us, Guscoll quickly said,

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Speaker 1: by Mom, I have a dad now, and they created

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Speaker 1: their own bond without me. They spent many many days together.

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Speaker 1: Since Fernando worked from home, Fernando would share everything with him.

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Speaker 1: Any snacks he was having his oatmeal, slices of apples,

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Speaker 1: whatever he was munching on, he would share with Gusco.

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Speaker 1: And when Gusco chewed on something crunchy, a little crease

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Speaker 1: on his forehead would form. It made him look so expressive.

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Speaker 1: It was one of my favorite things about him. Goosgo

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Speaker 1: was ninety seven pounds. He was a big boy and

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Speaker 1: the only person who could handle him on walks was Fernando,

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Speaker 1: so they shared all that time together too. In November

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Speaker 1: of twenty twenty three, Gusgoll turned three years old, and

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Speaker 1: like a good dog mom, I bought him presents, put

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Speaker 1: a candle on a cookie and saying him Happy Birthday.

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Speaker 1: I made a birthday promise to him on that day.

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Speaker 1: I said, gousgo, we're gonna get it together. We're gonna

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Speaker 1: get you a trainer so I can start walking you

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Speaker 1: by myself. Next summer, we're going to go to the beach.

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Speaker 1: I'm going to bring you on my runs. I envisioned

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Speaker 1: a future where we'd be experiencing life together. It's no

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Speaker 1: surprise that my entire life changed when Gusgoll suddenly died

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Speaker 1: in the month of May. When he died, a piece

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Speaker 1: of me died with him. I was inconsolable. I was devastated.

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Speaker 1: I kept asking myself, how could this be real? How

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Speaker 1: could this be my reality? And you know that phrase

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Speaker 1: that people say, like wake me up from this nightmare.

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Speaker 1: I had never viscerally felt that before. I sat in

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Speaker 1: shock for days, unable to get out of bed. I sobbed,

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Speaker 1: I wailed, I cried in ways I've never cried before.

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Speaker 1: And then my shock transformed into anger. It transformed into rage.

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Speaker 1: I was angry at everybody, at myself, at my family,

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Speaker 1: even at Gusco. How could this happen? The tools that

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Speaker 1: I had acquired over the years.

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Speaker 2: No longer worked.

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Speaker 1: I continued to meet with my therapist, I talked to friends.

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Speaker 1: I took time off from work. But no book, TV show,

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Speaker 1: or nail appointment could help me through this grief. Staying

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Speaker 1: in bed wasn't helpful. I couldn't get myself to run.

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Speaker 1: I couldn't do anything. But then I remembered the rage room,

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Speaker 1: the rage room that I had resisted going to months before.

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Speaker 1: So on a Thursday afternoon, four days after Gusco died,

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Speaker 1: I went to Rage Ground in downtown LA. When I

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Speaker 1: got there, I nervously waited for the employee to check

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Speaker 1: me in. She gave me protective gear. She was really nice.

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Speaker 1: I put on some forest green overalls, goggles, gloves.

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Speaker 2: And a red helmet.

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Speaker 1: She gave me a crate of empty bottles, beer bottles,

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Speaker 1: wine bottles, glass bottles, you name it. Heavy metal music

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Speaker 1: was playing, and she asked if I wanted her to

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Speaker 1: change the music. But I thought the playlist was fitting.

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Speaker 1: I mean, what music was I going to smash all

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Speaker 1: these bottles to? Anyway? Bad Bunny didn't really fit the

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Speaker 1: vibe here, you know, and I didn't want to associate

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Speaker 1: a familiar song with this experience. When she closed the

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Speaker 1: door for a split second, I thought, there's no way

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Speaker 1: that I can do this. This feels so counterintuitive to

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Speaker 1: who I am. I'm not destructive, I'm not an angry person.

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Speaker 2: This is not me.

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Speaker 1: But then I thought, maybe that's okay. Try the unexpected. Next.

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Speaker 1: I picked my instrument, a black baseball bat. I smashed

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Speaker 1: the glasses, I threw the bottles. I used my body

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Speaker 1: in ways I never have before. I never thought that

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Speaker 1: I'd be hurling a glass bottle at a wall, but

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Speaker 1: here I was. I thought I would cry, I thought

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Speaker 1: I would sob some more, but instead I felt a release,

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Speaker 1: a release of the anger, the negative thoughts, the pain.

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Speaker 1: I could still feel it, but at least it was

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Speaker 1: leaving my It was a safe, contained way to get

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Speaker 1: rid of the anger sitting inside of me. After I left,

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Speaker 1: I wish I could say I felt better, but that's

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Speaker 1: not true. I miss Gusco every day. I think about

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Speaker 1: him daily, and this loss changed me. And as I

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Speaker 1: sat with the anger and I sat with the rage

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Speaker 1: and all the uncomfortable feelings, I realized, for me and

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Speaker 1: for many of us, anger and rage are not emotions

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Speaker 1: were encouraged to feel or even express, especially as women,

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Speaker 1: especially as Latina's. Personally, in my family, I've been called

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Speaker 1: in an ohona my whole life sian pret noches, my

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Speaker 1: family would tell me. And this is why my therapist

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Speaker 1: suggested the rage room in the first place. She said,

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Speaker 1: take your anger seriously. Your anger hasn't been taken seriously before.

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Speaker 1: What can you learn from it? I wasn't ready to

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Speaker 1: learn from it then, but losing Cusco forced me to

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Speaker 1: take my anger seriously as Latina, as a lot of us,

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Speaker 1: we're taught to pray the pain away or do something

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Speaker 1: productive with it. We alchemize our pain into lessons anecdotes

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Speaker 1: and say things like something dramatic like that right, And

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Speaker 1: we can be angry about the inner workings of our life,

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Speaker 1: the drama in our families. Maybe we've experienced a big loss,

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Speaker 1: or maybe we continue to process the ongoing pain of

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Speaker 1: the world. There is so much to be enraged about.

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Speaker 1: Of course, we should never use this anger to harm

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Speaker 1: ourselves or those around us, but we shouldn't avoid it either.

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Speaker 1: This week on Theosa Diisse, I encourage all of you

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Speaker 1: to feel that emotion you've buried, because it will spill

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Speaker 1: over into your life, Say hello to it, feel it,

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Speaker 1: say goodbye.

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Speaker 2: When you're ready, cover your ears. It's time for Malas

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Speaker 2: ba Labras, a segment where I talk about and this

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Speaker 2: is Malas Balabras Verse one, bad words for bad Girls.

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Speaker 2: So this segment I've been teasing out for a few

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Speaker 2: years now, and I haven't known exactly what I wanted

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Speaker 2: to do with it, but I knew that I wanted

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Speaker 2: Malas Balabras to be all about words, about how we

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Speaker 2: use them, why we use them, and the art of

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Speaker 2: the way that we string them together. And on today's

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Speaker 2: segment in particular, I want to talk about the fact

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Speaker 2: that there are so many words for women that we

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Speaker 2: don't like. Now let me give you some context. Yesterday

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Speaker 2: I hit the beat, I went roller skating, I smoked

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Speaker 2: a little, I tanned, I did some writing, and while

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Speaker 2: I'm out there skating, my mom calls me. And I

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Speaker 2: love when my mom calls me because I never know

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Speaker 2: what she's going to say. She is full of surprises.

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Speaker 2: This lady is hilarious and she has a lot going

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Speaker 2: on in her mind. So when she calls me, I

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Speaker 2: know it's there's probably going to be a gem, there's

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Speaker 2: probably going to be something good, and I was out

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Speaker 2: there seeking inspiration for this particular segment for Malas Palabras.

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Speaker 2: So it's beach season in La. It's ninety degrees, it's

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Speaker 2: hot and sunny, the skies are blue, the beach is packed,

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Speaker 2: and my skates are on right. I get this call

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Speaker 2: from my mom and she starts telling me about a

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Speaker 2: movie that she saw recently in which one of the

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Speaker 2: main protagonists doesn't like her daughter in law or her

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Speaker 2: mother in law. I'll go a see. I don't know

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Speaker 2: the movie. I don't remember the exact details, but what

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Speaker 2: stuck out to my mom was that this protagonist had

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Speaker 2: a really harsh phrase that she used to describe her

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Speaker 2: daughter in law, who she absolutely does not like in

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Speaker 2: this movie. So my mom's telling me about it, and

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Speaker 2: she says, yeah, this lady uses the word the term

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Speaker 2: vieha leprosa to mean like an old lady with leprosy

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Speaker 2: to describe her daughter in law, like very mean, very biting,

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Speaker 2: and like where did she come up with that? That's terrible?

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Speaker 2: And so my mom says, isn't that terrible? Via lebrosa,

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Speaker 2: that's my new word. I'm going to use that to

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Speaker 2: describe a woman I don't like. And I'm like, Mom, honestly,

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Speaker 2: you have so many words for women that you don't like.

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Speaker 2: Do we need more? Like, do we really need more?

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Speaker 2: You have like a thesaurs full, a library full. And

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Speaker 2: she starts laughing because it's so true. She is my

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Speaker 2: first teacher, right like our mothers are our first teachers.

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Speaker 2: And one of the things that I have learned from

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Speaker 2: her is this very I have this vast vocabulary of terms,

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Speaker 2: mostly in Spanish, to describe in very biting, vicious, mean,

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Speaker 2: but kind of poetic ways to describe women that we

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Speaker 2: don't like, and for a lot of different reasons, because

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Speaker 2: we don't like the way they look, the way they talk,

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Speaker 2: the way they dress, the way they act, the way

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Speaker 2: they move. And I know that we are not the

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Speaker 2: only ones because I texted Theosa and I said, you're

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Speaker 2: not going to believe what my mom just said to

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Speaker 2: me viaheleprosa from this movie, and she loves it and

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Speaker 2: she's going to incorporate it into her lexicon. And my

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Speaker 2: mom is sometimes so mean to women, especially on TV,

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Speaker 2: and there's always like, oh, she looks so old and

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Speaker 2: she's mugrosa and this spnavan, this, that and the other,

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Speaker 2: and theosa's like, oh my god, my mom too. And

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Speaker 2: I know that listeners out there especially are Latinas. I

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Speaker 2: know you guys have moms and theas who are just

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Speaker 2: are just cutting with their descriptions of other women sometimes

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Speaker 2: and the way that we critique and really criticize women,

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Speaker 2: especially women on the screen, or women that we don't know,

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Speaker 2: or women that we don't like, or women that we

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Speaker 2: want to be shady towards. So there's like all these words, right,

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Speaker 2: and I want to go down the list and talk

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Speaker 2: about some of them. So of course, my mom's favorite,

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Speaker 2: and she would tell you this if you met her.

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Speaker 2: Her favorite term to really like talk shit about somebody

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Speaker 2: is vieh he gondanada. Now, of course, if you call

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Speaker 2: anybody vieha already starting off, you're really going there. You're

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Speaker 2: calling them old, You're calling them an old lady. And

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Speaker 2: in the culture, it just there's just something to that.

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Speaker 2: And it's also funny because vieha can also be like

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Speaker 2: a term of endearment, like a man might refer to

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Speaker 2: his girlfriend or his wife as his vieha, his vahita. Right, So,

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Speaker 2: but when women use it towards other women, unless you're

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Speaker 2: actually talking about a little old lady, unless she's actually

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Speaker 2: a yahita, which then it's like, oh, that's cute and

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Speaker 2: that's you know, comforting, and that's a kind word. But

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Speaker 2: if it's like a middle aged woman, if it's a

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Speaker 2: younger woman and you call her via ha anything, right,

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Speaker 2: we're really getting to the insult here. So via he Gondanada,

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Speaker 2: I think is so funny because gondanada kind of means

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Speaker 2: like condemned, doomed, damned, cursed, So you're calling somebody like

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Speaker 2: a condemned old woman, a curse, a cursed old woman,

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Speaker 2: which I think is kind of hilarious. Now I want

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Speaker 2: to I want to say I'm not advocating for us

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Speaker 2: to go around calling each other via Helebrosa and viahe

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Speaker 2: gond Nada and mugros and all this stuff, but we

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Speaker 2: do it anyways. It already happens. I'm just analyzing and

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Speaker 2: speaking on this mean streak that we have in the community.

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Speaker 2: But I also want to talk about the art of it,

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Speaker 2: because these words are kind of funny and they roll

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Speaker 2: off the tongue and they're very dramatic, and we've seen

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Speaker 2: them definitely in our novelas and in movies and in TV.

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Speaker 2: And this is something that I actually think cuts across

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Speaker 2: a lot of cultures. And this is not just like

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Speaker 2: a LATINX thing, right, but let's go back to vehic

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Speaker 2: on Danada, because there's more words. There's like classic words,

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Speaker 2: Like one of our favorites is chuankluda, which is sort

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Speaker 2: of you know, if you're chunk lula, that's like how

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Speaker 2: you are in the house. You're in your chunk glass.

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Speaker 2: You're just no bra hair's not done, you're just bopping around.

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Speaker 2: You're not expecting company. You don't want anyone to see you.

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Speaker 2: If you go out chunk luda, you know, you're you're

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Speaker 2: taking your inside look outside for the world to see.

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Speaker 2: And there's also like this Spanada, right, Okay, your hair's

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Speaker 2: not done, you're not put together, you don't have your

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Speaker 2: makeup on your clothes, a renkled like this Spanada, you're

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Speaker 2: just you're not put together. Bruta is a good one.

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Speaker 2: That's a strong one, and that can mean sort of

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Speaker 2: like gross or like a brute. And then I love

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Speaker 2: how you can combine the words so you could you

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Speaker 2: you could be unabi ahead chunk luda una by ahead

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Speaker 2: that spannada unabiyah bruta. Right, we can add it to

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Speaker 2: the list and you could just mix and match in

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Speaker 2: all these different ways. So there really is a sort

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Speaker 2: of art form to this. So there's like those appearance

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Speaker 2: and like hygiene based insults, and then there's also these

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Speaker 2: sort of like behaviorally these behavioral based insults. For example,

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Speaker 2: a classic one of our favorites, buta right, And this

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Speaker 2: is where the slug shaming comes in, so like a bouta,

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Speaker 2: you're a whore, you're a slut, you know, you're a skank.

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Speaker 2: There's also zorra, which is kind of like a bitch.

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Speaker 2: And I've been called a zora before, and I had

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Speaker 2: never heard that term. I had to look it up

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Speaker 2: because and I was like, wait, what are they calling

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Speaker 2: me right now? And I kind of like that one

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Speaker 2: because it feels a little old school to me, or

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Speaker 2: maybe it's like just not a term that is used

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Speaker 2: so much like where I'm coming from in my context.

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Speaker 2: But then again, like we can do some combinations here.

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Speaker 2: You could be and I think that that's hilarious. I

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Speaker 2: think that's great. And again I'm not saying like, oh,

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Speaker 2: it's good that we call each other these things. Obviously,

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Speaker 2: this cultural tendency that we have to use the slut

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Speaker 2: shamy agis sexist whatever terminology to degrade one another is

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Speaker 2: a symptom of the patriarchy and machismo and marinismo and

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Speaker 2: all these things. But it also sort of reminds me

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Speaker 2: of like reading and shade and that scene in Paris

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Speaker 2: is Burning where the main protagonists are describing the roots

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Speaker 2: and the uses of shade and reading, and so it's

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Speaker 2: a way of like insulting each other, but you're doing

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Speaker 2: it very poetically and accurately, and you're like demonstrating what

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Speaker 2: a wordsmith you are. And I see that, like there's

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Speaker 2: something to that with like our moms and ar theas

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Speaker 2: and us and the way we insult one another in

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Speaker 2: really creative ways. So this, I think sort of mean

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Speaker 2: streak among women and girls and talking shit about one

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Speaker 2: another is it's not relegated to latinas. It's not relegated

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Speaker 2: to black trans women or the ballroom scene such as

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00:25:09,119 --> 00:25:12,200
Speaker 2: is demonstrated in Paris is Burning or in Pose right.

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Speaker 2: This is also a cross culture and race, and we

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Speaker 2: see this in pop culture. So some of my favorite

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Speaker 2: movies and some of the most quotable scenes are movies

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Speaker 2: that include strong female characters. Sometimes they're pitted against each other,

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Speaker 2: sometimes their enemies, and they're going at it and they're

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Speaker 2: insulting each other and they're talking shit and they're in

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Speaker 2: verbal warfare. But those are some of the most quotable

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Speaker 2: moments and some of the most iconic characters, and those

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00:25:40,480 --> 00:25:43,520
Speaker 2: scenes that live in your mind rent free. So as

418
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Speaker 2: much as it's like negative, it's also like such a

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Speaker 2: big part of our presence and the writing behind a

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Speaker 2: lot of women in film and television, And so I

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Speaker 2: think that there's something there that we can at once

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Speaker 2: like celebrate kind of, but then also unpack and analyze

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Speaker 2: further while also saying like, hey, you know, they're not

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00:26:05,359 --> 00:26:07,680
Speaker 2: like beating each other up. They're just saying mean shit

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Speaker 2: to one another. And maybe there's like some level here

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00:26:10,680 --> 00:26:14,199
Speaker 2: where there's a form of accountability being practiced, or it's

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00:26:14,480 --> 00:26:18,840
Speaker 2: like an attempt of accountability, Like for example, in My

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00:26:18,920 --> 00:26:25,639
Speaker 2: Best Friend's Wedding, Julia Roberts plays Jules right, and she

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00:26:26,000 --> 00:26:29,200
Speaker 2: is trying to break up the wedding between her best

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00:26:29,320 --> 00:26:32,000
Speaker 2: friend played by Dylan McDermott. I hope I said the

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00:26:32,080 --> 00:26:33,719
Speaker 2: right one because I always confuse him with the other

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00:26:33,720 --> 00:26:35,600
Speaker 2: one who has a similar name and looks similar. But

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00:26:35,760 --> 00:26:40,679
Speaker 2: Dylan McDermott is Michael and he is engaged to Kimmy

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00:26:40,880 --> 00:26:44,080
Speaker 2: played by Cameron Diaz, and Julia roberts character Jules is

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00:26:44,160 --> 00:26:48,760
Speaker 2: trying to break up their wedding because Dylan McDermott's character

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00:26:48,880 --> 00:26:51,960
Speaker 2: Michael is her best friend. She kisses him. Kimmy, played

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00:26:51,960 --> 00:26:55,439
Speaker 2: by Cameron Diaz, sees them kissing. There's a chase. They

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00:26:55,520 --> 00:26:58,720
Speaker 2: end up at the train station. Julia Roberts finds Cameron

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00:26:58,720 --> 00:27:01,679
Speaker 2: Diaz in the bathroom. They try and they like kind

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00:27:01,720 --> 00:27:04,840
Speaker 2: of duke it out, and there's this moment where Kimmy,

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00:27:05,800 --> 00:27:08,720
Speaker 2: this is one of my favorite scenes of cinema. Kimmy

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00:27:09,280 --> 00:27:13,600
Speaker 2: says to Julia Roberts, You're a two faced, big haired

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00:27:14,000 --> 00:27:18,600
Speaker 2: food critic, and everybody in the bathroom's like ooh, like

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00:27:19,640 --> 00:27:23,280
Speaker 2: like got her. And it's so funny because you know,

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00:27:23,840 --> 00:27:26,560
Speaker 2: those that string of words together, and the way that

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00:27:26,640 --> 00:27:30,240
Speaker 2: the punchline and the worst part of that that drag

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00:27:30,560 --> 00:27:32,760
Speaker 2: was calling out Julia Roberts her character for being a

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00:27:32,840 --> 00:27:35,600
Speaker 2: food critic is just so funny to me. And then

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00:27:35,640 --> 00:27:38,720
Speaker 2: I think about like clueless there's the classic like you're

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00:27:38,760 --> 00:27:41,879
Speaker 2: a virgin who can't drive, Like that's great, Like how

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00:27:41,960 --> 00:27:44,760
Speaker 2: awful to be called a virgin who can't drive when

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00:27:44,800 --> 00:27:47,120
Speaker 2: you're trying to like win an argument. I mean, you're done,

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00:27:47,160 --> 00:27:52,080
Speaker 2: you're obliterated. It's mean, but it's also poetic. So I

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00:27:52,080 --> 00:27:54,760
Speaker 2: don't know. I just in this segment in Malas Baalabras,

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00:27:54,880 --> 00:27:58,159
Speaker 2: I want to explore language, the way that we use it,

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00:27:58,400 --> 00:28:00,840
Speaker 2: the way that we weaponize it, but the way that

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00:28:01,160 --> 00:28:04,480
Speaker 2: it's part of our culture. It's part of our the

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00:28:04,560 --> 00:28:07,280
Speaker 2: way we relate to one another. It's it's in the

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00:28:07,359 --> 00:28:09,440
Speaker 2: movies that we watch, it's in the songs that we

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00:28:09,600 --> 00:28:14,119
Speaker 2: listen to. It's in the communication between us and our

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00:28:14,160 --> 00:28:17,879
Speaker 2: mothers and artheas and our friends. And I don't know.

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00:28:18,200 --> 00:28:23,000
Speaker 2: I don't recommend calling people mean names. I think that

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00:28:23,040 --> 00:28:25,440
Speaker 2: when you hear it happening, and you hear us talking

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00:28:25,520 --> 00:28:27,560
Speaker 2: to each other in these ways where we're pointing out

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00:28:27,600 --> 00:28:29,359
Speaker 2: things I don't like about you. I don't like the

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00:28:29,440 --> 00:28:31,600
Speaker 2: way you are, the way you act, the way you dress,

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00:28:31,920 --> 00:28:33,840
Speaker 2: the way you look. So I'm gonna let you know

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00:28:34,080 --> 00:28:37,440
Speaker 2: by calling you unabiyahpudrida. You know what I mean? I

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00:28:37,480 --> 00:28:39,720
Speaker 2: don't know. Let's just pause and think about it and

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00:28:39,800 --> 00:28:42,000
Speaker 2: where is it coming from. But if it's really good

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00:28:42,040 --> 00:28:44,840
Speaker 2: and really funny, I think we can also appreciate the burn.

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00:28:45,480 --> 00:28:48,360
Speaker 2: So this has been my first verse, my first segment

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00:28:48,560 --> 00:28:52,080
Speaker 2: of Malas Balabras bad words for bad girls. Thank you

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00:28:52,160 --> 00:28:54,800
Speaker 2: for listening, Okay, lookam what as?

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00:28:54,840 --> 00:28:58,240
Speaker 1: We hope you enjoyed our two new segments. Let us

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00:28:58,320 --> 00:28:58,920
Speaker 1: know what you think.

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00:28:59,320 --> 00:29:04,520
Speaker 2: We thrive. Feedback, yes, send us a little note on Spotify,

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00:29:04,840 --> 00:29:06,280
Speaker 2: like directly to this episode.

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00:29:07,960 --> 00:29:13,600
Speaker 1: All right, we'll catch you next time, bes us. Look

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00:29:13,640 --> 00:29:16,640
Speaker 1: at a Radio is executive produced by Viosa Fem and

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00:29:16,800 --> 00:29:17,600
Speaker 1: Mala Munios.

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00:29:17,920 --> 00:29:19,800
Speaker 2: Stephanie Franco is our producer.

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00:29:20,240 --> 00:29:22,880
Speaker 1: Story editing by Me Viosa.

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00:29:22,640 --> 00:29:24,320
Speaker 2: Creative direction by me Mala.

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00:29:24,560 --> 00:29:27,480
Speaker 1: Look At Radio is a part of iHeartRadio's Michael Dura

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00:29:27,600 --> 00:29:28,480
Speaker 1: podcast network.

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00:29:28,720 --> 00:29:31,280
Speaker 2: You can listen to look at Radio on the iHeartRadio

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Speaker 2: app or wherever you get your podcasts.

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Speaker 1: Leave us a review and share with your prima or

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Speaker 1: share with your homegirl.

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Speaker 2: And thank you to our loc a. Morees to