Speaker 1: I'm Lisaakazawa. Join me on season two of Stars and
Speaker 1: Stars with Lisa, where I sit down with some of
Speaker 1: the most exciting stars of our time to find out
Speaker 1: what their birth chart reveals about their life's purpose, their relationships,
Speaker 1: and their challenges. Winner of the Signal Award for Most
Speaker 1: Inspirational Podcast, Stars and Stars will help you make sense
Speaker 1: of today's complicated times. Even if you're an astrology skeptic.
Speaker 1: You can listen to Stars and Stars with Lisa wherever
Speaker 1: you get your podcasts. Don't forget to follow the show
Speaker 1: so you never miss an episode.
Speaker 2: From Futuromia. It's Latino USA. I'm Maria your Hosa.
Speaker 3: Love on Love one.
Speaker 4: Ye.
Speaker 2: Drexler, the famous Uruayyan singer songwriter, first caught the world's
Speaker 2: attention in two thousand and five when his song al
Speaker 2: Otro Lado del Rio was in the movie The Motorcycle Diaries.
Speaker 2: Jorge became the first Uruayan to ever win an Oscar.
Speaker 2: This is the first Academy award and nomination for fort
Speaker 2: Hay Drexler, and this was the first time a Spanish
Speaker 2: language song received an Academy Award.
Speaker 5: Clavo Miremone Lavua Jevo tureimon Elmeo.
Speaker 2: I spoke with Jorge about key moments in his life
Speaker 2: as a young artist, from growing up as the son
Speaker 2: of a Holocaust survivor to becoming a doctor and then
Speaker 2: deciding to drop his career in order to pursue music.
Speaker 2: He also tells us why he turned down the opportunity
Speaker 2: to become a global pop star just after winning the Oscar,
Speaker 2: and of course we talk about his album Binta Epimpo
Speaker 2: and why it almost didn't come to life. Our interview
Speaker 2: first aired in twenty twenty three.
Speaker 5: No No Ma's mascotro Vicu.
Speaker 3: Nina.
Speaker 2: Okay, first of all, welcome to Latino, USA. I was
Speaker 2: trying to remember when I interviewed you last. It turns
Speaker 2: out I spoke with you in two thousand and five.
Speaker 3: Yeah to the Oscars.
Speaker 2: I think, yes, right after the Oscars, and you were
Speaker 2: so happy. Yeah, and here we are comest us.
Speaker 6: Well, I'm happy, I'm in New York. It's really a
Speaker 6: pleasure to be here. Thank you first of all for
Speaker 6: inviting me, for having me here today.
Speaker 2: Here's the crazy thing. So as I was prepping for
Speaker 2: the interview, and of course I'm reading about you, listening
Speaker 2: to your music all the time, which was a gift.
Speaker 4: And then I at one point I turned around.
Speaker 2: I was like wundo itra otto rino. My father was
Speaker 2: an ear nose and throat doctor. Really my father was
Speaker 2: doctor Raulins from the University of Chicago. Helped to create
Speaker 2: the cochlear implant, eliztabs to the and gone the electron microscope.
Speaker 6: My father and my mother both were illnos and throat doctors.
Speaker 3: I helped them for six years in surgery.
Speaker 6: We never did implantic or cochlear implant, but we would
Speaker 6: work a lot with many illness that you that affect
Speaker 6: the hearing. The cockle is a little harp that turns
Speaker 6: two and a half times inside a shell.
Speaker 4: And that's inside your that's inside.
Speaker 3: Your ear, and that's the harp that resonates with the sounds.
Speaker 3: If I saying there's.
Speaker 6: One little string in that heart that's raising as if
Speaker 6: you do it with a guitar or with a real heart.
Speaker 3: You know.
Speaker 6: I never finished illnoson throat. I stopped studying in the
Speaker 6: second of the third year of the post degree. But
Speaker 6: I do love Ironos's throat. I do love physiology and anatomy.
Speaker 6: And my my brother is a in t. My sister,
Speaker 6: she's a she's an ordontologist, so it's a whole family
Speaker 6: of that. I'm the older son of a Jewish family,
Speaker 6: half Jewish at least because my mother converted to marry
Speaker 6: my father. But she's from Christian Spanish origins, so I
Speaker 6: was really supposed to follow the family tradition, those heneracion
Speaker 6: as manners. I grew grew up in a very closed
Speaker 6: environment Uruguaian dictatorship, the house of two e in t doctors.
Speaker 6: All their friends were et doctors, and no musicians around solo.
Speaker 3: Just I really had a good life. I had a
Speaker 3: very good job.
Speaker 6: But at the same time, all that time, since I
Speaker 6: was five years old, I was studying music and I
Speaker 6: started writing songs when I was fifteen sixteen, and I
Speaker 6: never stopped doing music. So at some point I, when
Speaker 6: I looked deeped inside myself, I said, what I really
Speaker 6: want to do is to make a living on music.
Speaker 3: So I moved to Spain.
Speaker 4: And your mom and dad were like cc no.
Speaker 3: No, they got completely crazy. When I left. My father
Speaker 3: had been training me for six years in secret microsurgery
Speaker 3: techniques that he had learned in Germany, and he said,
Speaker 3: you're throwing away something that people are graving for. But
Speaker 3: you know, I'm a really, really lucky person.
Speaker 6: Even loving this thing, I had another one that I
Speaker 6: loved more, so I moved to that one.
Speaker 5: Porkala Muru lamento and herusalen la.
Speaker 6: My father, I can't completely understand him, I mean, but
Speaker 6: he had He did the same with his own father.
Speaker 6: His own father a Jewish immigrant that my father was
Speaker 6: born in Berlin too. He escaped the Nazis when he
Speaker 6: was five years old in nineteen thirty nine, and his
Speaker 6: father lost everything his family.
Speaker 3: They started again in Bolivia.
Speaker 6: They lived in Bolivia for twelve years, in Oruro, in Altiplano.
Speaker 3: In Oruro, in Oruro.
Speaker 2: Wait a second, yeah, wait, wait wait from Berliev. Wait
Speaker 2: what year are we talking about?
Speaker 6: Nineteen thirty nine until nineteen fifty something like that.
Speaker 2: I just am having a moment of your grandfather and
Speaker 2: your dad at five years old somehow getting from Berlin
Speaker 2: to Duro. Can you just give me the short version
Speaker 2: of how the hell that happens?
Speaker 6: German Jews were very, very German. They didn't want to
Speaker 6: leave Germany. They felt really proud of being German. They
Speaker 6: thought that that was what was happening in the Holocaust
Speaker 6: was something that was going to happen to the other Jews,
Speaker 6: you know.
Speaker 2: Not to them, because they were lighter skinned, and they
Speaker 2: were educated, they were wealthy.
Speaker 6: They were like every immigrant. They wanted to release their pasts.
Speaker 6: They changed a surname when they came into Germany. They
Speaker 6: wanted to have a new identity. They wanted to leave
Speaker 6: all the stettle and the Yiddish and although they spoke Yiddish,
Speaker 6: they didn't want to speak English at home. They thought
Speaker 6: German was better. So they didn't want to live and
Speaker 6: they left in the thirty nine after the Crystal Nach,
Speaker 6: the moment that they decided to live, it was almost
Speaker 6: impossible to live. Already, the only country that stayed open
Speaker 6: to Jewish refugees was Bolivia. It was a very brave nation.
Speaker 6: I have a song called Bolivia. It's a song that
Speaker 6: I wrote to thank you know, the poorest country in
Speaker 6: South America giving asylum to one of.
Speaker 3: The richest country in Europe, you know. And we should
Speaker 3: not forget that. And obviously and the young cannot and
Speaker 3: last conci because that goes back and forth all the time.
Speaker 6: I mean, we we come and we go, and we
Speaker 6: receive and we ask for.
Speaker 3: As I look.
Speaker 2: Anti from.
Speaker 6: In nineteen fifty one, I think so they entered little
Speaker 6: while from scratch. My grandfather built a a short factory.
Speaker 3: Like a very Jewish professional Jewish profession.
Speaker 6: He did really good, and at some point he offered
Speaker 6: the factory to his two sons, my father and his brother,
Speaker 6: and both of them said, I want my own life.
Speaker 3: I want to be a doctor. So that happened again
Speaker 3: with me and.
Speaker 5: With him and lad Vermev korason Espera sing Sabermivia.
Speaker 2: Okay, So the trauma, the exodus, the fear, the persecution.
Speaker 2: Were you growing up with a sense of six million Jewish,
Speaker 2: including my own family, were persecuted. How did you understand
Speaker 2: that part of your legacy.
Speaker 3: My father is a war child.
Speaker 6: He doesn't trust reality, and he doesn't think that situations
Speaker 6: are continuous. He knows that they change, and he knows
Speaker 6: that they can change for bad. So he's always been
Speaker 6: prepared for that, and he always transmitted that fear and
Speaker 6: that you know, that alert to us too. So I
Speaker 6: think it takes more than two or three generations to
Speaker 6: lose that feeling of you know, the feeling that the
Speaker 6: children in Ukrainia are having today that trauma is not
Speaker 6: going away easily. I also got my share because I
Speaker 6: grew up in a dictatorship. I entered the dictatorship with
Speaker 6: nine years and I came.
Speaker 3: Out with twenty.
Speaker 6: All my emotional life, my sex life, all my relationship
Speaker 6: life was built in a very oppressive system.
Speaker 3: And that's going to take a long time. I had
Speaker 3: to write.
Speaker 6: I had to make a record called by just to
Speaker 6: take the dictatorship out of my joints because I couldn't dance.
Speaker 5: By Layla while La.
Speaker 3: By Lay, I'm.
Speaker 6: Still fighting that, I'm still Dictatorship is a very It's
Speaker 6: inside me and I go everywhere with it.
Speaker 3: And holocaust is also inside me through my father and.
Speaker 5: I read my Starff and s and you.
Speaker 6: In life, if you can celebrate, do celebrate, because celebrating
Speaker 6: is a way of acknowledge that you will not always
Speaker 6: be able to celebrate.
Speaker 3: So just grasp that little joy that you find.
Speaker 6: Because we come and go from saddness to by lay.
Speaker 3: I have a lot of sadness and melancholy my songs too.
Speaker 6: But but if I can celebrate, I think, and I celebrate.
Speaker 3: You know, it's a choice, it's a choice. A man,
Speaker 3: Kayla sing pila and la cuela.
Speaker 2: You make this decision to say, my boy, and I'm
Speaker 2: going to become an immigrant by your own choice in Spain.
Speaker 2: And there were many places that you could choose to live.
Speaker 2: What was it about Spain?
Speaker 3: It wasn't a conscious decision.
Speaker 6: I was thirty years old, I wasn't young, and I
Speaker 6: had my own flat, my own practice, and I moved
Speaker 6: to Spain to share a flat.
Speaker 3: With nine other year wires in.
Speaker 6: Madrid with no money and I think maybe two bathrooms
Speaker 6: lightly so.
Speaker 3: More so nice passim.
Speaker 6: Yeah, I'm just playing little cafes for forty people and
Speaker 6: not the Nine days later, I met the mother of
Speaker 6: my first child, Anna, and of my first son, and
Speaker 6: I fell in love with her so well I should
Speaker 6: really it wasn't a brain decision.
Speaker 5: Actually, stamos vilos, polkist tamos and movie mento.
Speaker 6: But I have to say when I got to Spain,
Speaker 6: very quickly I was invited by Joaquin Savina, mervous Spanish musician.
Speaker 6: He invited me to perform with him in Spain and
Speaker 6: I got to meet through him many other artists that
Speaker 6: I admired, and very quickly they started asking me for
Speaker 6: compositions and Abilene Victor, Manuel Keetama, Pablo Milanaise Rosario Flores.
Speaker 6: At first, my parents were like horrified because I was
Speaker 6: throwing a whole life and prosperity and a career outside.
Speaker 6: But then I started making a little place for me
Speaker 6: in the Spanish music as a writer, and very quickly
Speaker 6: they moved to being just sad because I was away.
Speaker 6: Love overcame that feeling of I think you ruined your life,
Speaker 6: But at some point that they realized that I was.
Speaker 3: Really happy and that made them happy too.
Speaker 6: I started making a living of music when I was thirty,
Speaker 6: but I started doing good when I was forty already,
Speaker 6: and that was the first time I was having a
Speaker 6: little success and it came all together.
Speaker 2: You know.
Speaker 6: Before that, the first ten years in Spain were really hard.
Speaker 6: I didn't sell records. I was a completely failure in
Speaker 6: my own selling record history.
Speaker 3: Although I was really happy.
Speaker 6: I was writing for other people and I was making
Speaker 6: the records I wanted to make.
Speaker 3: That was an important thing. Laplace through my rest plan
Speaker 3: to Elviento del.
Speaker 2: Bocasus coming up on Latino USA Porte head Drexler's career
Speaker 2: as a singer songwriter takes off to the very top.
Speaker 3: Stay with us.
Speaker 4: Either Lovelazlan.
Speaker 2: Welcome back to Latino, USA. And before the break, I
Speaker 2: was speaking with Uruwayyan singer songwriter Porthhead Drexler about abandoning
Speaker 2: his career as an ear nosen throat doctor and then
Speaker 2: making it as a musician in Spain. I wanted to
Speaker 2: ask him about the aftermath of winning that Academy Award
Speaker 2: in two thousand and five, because Horge became be first
Speaker 2: Uruaian to ever win an Oscar and this was the
Speaker 2: first time a Spanish language song received.
Speaker 4: An Academy Award.
Speaker 2: You can't get any higher than winning an Oscar and
Speaker 2: performing and people falling in love with you as a result,
Speaker 2: And then you go into a very dark place. You
Speaker 2: end up getting a divorce, and you end up making
Speaker 2: an album about your divorce. How do you understand that process,
Speaker 2: the falling?
Speaker 3: I think it's a natural process.
Speaker 6: That's one thing with prices and with expectations. I mean,
Speaker 6: there is no good way out of expectations. If you
Speaker 6: do achieve what you expected to achieve, the void that
Speaker 6: comes after that. You know, I actually didn't expect to
Speaker 6: win that. It was a crazy thing. It was the
Speaker 6: first price I got in my life, and it was
Speaker 6: the highest after the oscars. I had the choice to
Speaker 6: decide whether I wanted to follow the circumstances or to
Speaker 6: have agency in my life. Immediately, everybody told me, you
Speaker 6: moved to Miami and to la and you know you
Speaker 6: have an oscar.
Speaker 3: Every door is going to be open.
Speaker 6: You can make your big crossover record, your big Latin
Speaker 6: happy crossover record. And I said, okay, but you know
Speaker 6: what I have to choose. If I'm going to make
Speaker 6: a record in what I am actually feeling, which is sadness,
Speaker 6: twelve seconds of darkness the name of the record, A
Speaker 6: very dark the darkest record, if I have to follow
Speaker 6: my instinct and my truth or if I have to
Speaker 6: follow the circumstances. And I said, I'm going to follow
Speaker 6: my truth. I mean, it's as that symbol. I got
Speaker 6: a divorce. We're already thinking about that for a long time.
Speaker 6: But then I fell in love really quickly after the divorce,
Speaker 6: and I couldn't cope with that mixture of success and
Speaker 6: the happiness and sadness at the same time. Because divorcing
Speaker 6: with children, it was the toughest thing that happened in my.
Speaker 5: Life, jos cab Lumbo, the Regresso sing.
Speaker 6: I think it's my most important record actually, and I'm
Speaker 6: so proud because after that I realized.
Speaker 3: Why am I a songwriter?
Speaker 2: What?
Speaker 3: Why do I write songs for?
Speaker 1: You know?
Speaker 2: Because you are like a deeply emotional person and you're
Speaker 2: connected with all of.
Speaker 6: These and I respect my emotions to more than I
Speaker 6: respect the circumstances.
Speaker 2: Ok No, sys, So I want to talk about your
Speaker 2: evolution as a musician a little bit through your own songs,
Speaker 2: and yeah, I'm gonna take you back a little bit.
Speaker 2: So I want you to pick a song from your album.
Speaker 2: This is Carabe. It's two thousand and eight, okay, three
Speaker 2: years after the oscar It's a two hour long live album.
Speaker 2: So one song from Caabe that you're like, yeah, this
Speaker 2: is this one captures it.
Speaker 3: I have the only song that I've co written with
Speaker 3: my wife, and it's called Doves Doves bela Dova, which
Speaker 3: is a very strange song. It's that's the only song
Speaker 3: we wrote together.
Speaker 6: And it's a song try lingual, half in Spanish, a
Speaker 6: little bit in Italian and a little bit in English.
Speaker 3: We wrote it together.
Speaker 6: We were in the first years of our relationship and
Speaker 6: it's a song I really love that I never got
Speaker 6: to air too much.
Speaker 3: You go on a way away time.
Speaker 2: All right, we're gonna move forward to twenty ten. Yeah,
Speaker 2: you release a Madla Drama is there and that stands
Speaker 2: out for you?
Speaker 6: Yeah, I have two songs that send out Actually after
Speaker 6: those wos a very dark record.
Speaker 3: This is a record filled with a.
Speaker 6: In the name ahmar La Trama really open feeling, open
Speaker 6: chest feeling.
Speaker 3: It's an homage to Madrid.
Speaker 5: Camino for Madrid and to company.
Speaker 6: I was living order for a long time, but I
Speaker 6: fell in love with the city. I fell in love
Speaker 6: with this amazing woman. We had this amazing son. And
Speaker 6: so there's two songs that one called La tram Listen
Speaker 6: Lassi that's dedicated.
Speaker 3: To leonor Signal da Mosquez.
Speaker 6: And there's no the Luca dedicated to my son Luca,
Speaker 6: which is when I realized it was going to be
Speaker 6: a father and for the second time, and all the
Speaker 6: healing that came to my life, not just with having
Speaker 6: that second child, that put everything in an order in
Speaker 6: your life after a very happy but difficult years, you know,
Speaker 6: of transition from one life to another.
Speaker 4: We will be right back, Hey, we're back.
Speaker 2: We're gonna pick up where we left off with what
Speaker 2: head Wrexler and talk about his song Plan Maestro, The
Speaker 2: master Plan, So planned Maestro. I mean, that's like a
Speaker 2: pretty big title, The master Plan. This is on the album.
Speaker 2: This is written by your cousin who lives in Venezuela,
Speaker 2: who is an astrophysicist. You have a very high performing family.
Speaker 2: You talk about having the relationship of humanity close to
Speaker 2: you as you write. So you write this song with
Speaker 2: your cousin who's in Venezuela when you're in Madrid. How
Speaker 2: are you doing it together? And how did this play
Speaker 2: into you? Know, you have to have a relationship in
Speaker 2: music when you're writing it.
Speaker 6: She's my cousin. She has the same age. I'm only
Speaker 6: a few months older than her. So we have this
Speaker 6: really strong connection, like an umbilical connection.
Speaker 5: Kria Era del Mesoku Guanda Queesa Slula Visionaria.
Speaker 6: I don't have told this anyone, but we actually operate
Speaker 6: like twins with her. We have the same age, We
Speaker 6: were best friends where we were children. We shared these
Speaker 6: common interests, like we have the same hard disk. You know,
Speaker 6: she is a scientist, but she's also a poet, we
Speaker 6: always feel this connection. And we started writing songs when
Speaker 6: we were fifty five years old. And she's been the
Speaker 6: great the biggest influence I had in my in my
Speaker 6: music in the last years. When you go to my concert,
Speaker 6: the concert is opened by her voice. She speaks for
Speaker 6: four minutes talking about the invention of love in the
Speaker 6: Mesoproterozoic era.
Speaker 3: One thousand, six.
Speaker 6: Hundred years ago, were the first two cells got together.
Speaker 4: It's a love story.
Speaker 6: She wrote this beautiful decimo, which is a very complex
Speaker 6: verse form that you have in Mexico in the Sanjarrocho
Speaker 6: and the Wapangu. It's a ten verse structure that you
Speaker 6: have all over Latin America.
Speaker 3: Unbriselos does who's carrying out.
Speaker 4: In Paraham.
Speaker 6: They have the galeron in Venezuela in Peru, Pajaores in Uhy,
Speaker 6: Repentistas in Kuba, Pajas in Chile.
Speaker 3: That they use the same verse form everywhere.
Speaker 6: What pang in Mexico come to Panama vers.
Speaker 2: So one of the things that you and I are
Speaker 2: lucky about, Jorge, is that one that we're still here,
Speaker 2: that we're still alive.
Speaker 3: That's a big one.
Speaker 4: That's a big one.
Speaker 2: And you and I are lucky in this one particular way, Jorge,
Speaker 2: that you and I still have a little bit of
Speaker 2: cred with the younger generations. Yeah, oh, Jo, I mean
Speaker 2: you're playing with Dietrees, You're playing with Natalia and so
Speaker 2: many others, and I just you know, when you pause
Speaker 2: and you think about that, just how do you understand
Speaker 2: to process this as we get older and at the
Speaker 2: same time that you got some intergenerational cred.
Speaker 4: Young people love you too.
Speaker 6: I was taught this by my father actually, when he
Speaker 6: was forty he had the Beatles records. It was the
Speaker 6: only person in his generation in euro White that would
Speaker 6: actually understand that there was a newer world and that
Speaker 6: newer world wasn't worse than the older world.
Speaker 3: When when he grew up, and.
Speaker 6: I mean he grew up with jazz music, but he
Speaker 6: understood the Beatles and he gave the Beatles to me.
Speaker 6: When we got into Bob Marley, he said, can I
Speaker 6: hear that again?
Speaker 3: That's really interesting? I mean, who's this guy?
Speaker 6: And it's my music in my generation, but he was
Speaker 6: open to my music and he gave me this message.
Speaker 6: Older people are still alive. I remember reading a book
Speaker 6: about Mario and Treja and asking him this book this
Speaker 6: is crazy I was a teenager. It's a book about
Speaker 6: a forty year old guy that falls in love. I mean,
Speaker 6: that can't be possible. You don't fall in love when
Speaker 6: you're forty or fifty. And he said, we have to
Speaker 6: have this talk. Yes today, you know love has no age,
Speaker 6: beauty has no age, sex has no age, and art
Speaker 6: has no age.
Speaker 3: And you can be open to things that are new.
Speaker 5: Okay, look oka, look atz Oka, look at Oko.
Speaker 6: I have this world that I started using a few
Speaker 6: months ago. That it's called neophobia. Neophobia like the phobia
Speaker 6: to the new. It's a generational thing. I think younger
Speaker 6: people accept you and listen to you just because you
Speaker 6: listen to them.
Speaker 3: That's the secret.
Speaker 6: Because when I hear but Bunny, I tried to understand
Speaker 6: what's going on. And I'm not lying when I say
Speaker 6: I really admire his work. He's very different from me.
Speaker 6: Setangan is his age, which I worked a lot, and
Speaker 6: he was one of the other big influences in my music.
Speaker 6: Talk my daughter, eleven year old, she comes and shows
Speaker 6: me some music.
Speaker 3: I sit down on the floor and I listened very
Speaker 3: carefully to her advice. I take it really seriously. It's
Speaker 3: like breathing new air for me.
Speaker 6: I want to know what the world is about, just
Speaker 6: because I hate being nostalgic. I hate thinking that the
Speaker 6: best part of my life has already passed.
Speaker 3: There are great things that I learn right now, and
Speaker 3: that you know. My past is beautiful. It's my past.
Speaker 3: It's not better than my present.
Speaker 6: Actually, my presence is the only thing that I have,
Speaker 6: so it should be I should take it seriously.
Speaker 3: So I love urban music. I listen to urban music
Speaker 3: a lot.
Speaker 6: I'm looking forward to working with people that have very
Speaker 6: different styles from mine. It's not a record company advice.
Speaker 6: It's not a management or a marketing advice.
Speaker 3: I just love being.
Speaker 6: Alive, dmingdim and I love the present. I love dancing
Speaker 6: a lot, going out and meeting people and trying to
Speaker 6: feel that life is still has a lot of things,
Speaker 6: of course, to offer you.
Speaker 3: I decantar linamente Luez.
Speaker 4: Thank you for offering me this time. It has been
Speaker 4: just so much fun.
Speaker 5: Thank you, Pimp Didi tim Didi Timo.
Speaker 2: This episode was produced by Patricia Sulvaran. It was edited
Speaker 2: by Marta Martinez. It was mixed by Julia Caruso and
Speaker 2: Gabriela Bias. Fernando Echavari is our managing editor. The Latino
Speaker 2: USA team also includes Roxanna Guire, Jessica Elis, Rebecca Renaldo Junior,
Speaker 2: Stephanie LAbau, Andrea Lopez Cruzado, Yorman Marquez, Julieta Martinelli, Monica
Speaker 2: Moreles Garcia, JJ Krubin, Adriana Rodriez, Nancy Trujillo, Benile Ramires
Speaker 2: and I are co executive producers.
Speaker 4: I'm Your Host Maria Josa.
Speaker 2: Latino USA is part of Iheart's Mykeldura podcast network. Executive
Speaker 2: producers at iHeart are Leo Gomez and Arlene Santana. Join
Speaker 2: us again on our next episode. In the meantime, we'll
Speaker 2: see you on all of our social media. And don't forget,
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Speaker 4: Cool bonus content. What's not to love?
Speaker 2: Join futuro Plus and you'll be happy you did. Asta
Speaker 2: approximayas Chiao.
Speaker 7: Latino USA is made possible in part by the Heising
Speaker 7: Simons Foundation, Unlocking knowledge, opportunity and possibilities. More at hsfoundation
Speaker 7: dot org. The Ford Foundation, working with visionaries on the
Speaker 7: front lines of social change worldwide, and the John D.
Speaker 7: And Catherine T. MacArthur Foundation