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Speaker 1: Hey, I'm Norah Jones and today I'm playing along with

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Speaker 1: Ela Bamba.

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Speaker 2: I'm just playing lo.

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Speaker 3: Wezy, I'm just playing in lone Weazy.

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Speaker 1: Hey, I'm Nourra and with me as always is Sarah Oda.

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Speaker 4: Welcome to the show.

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Speaker 1: Welcome to the show.

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Speaker 4: Our guest today is Ila Bamba. We sit down with singer,

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Speaker 4: songwriter guitarist LUs Elda Mendoza Ramos to talk about their

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Speaker 4: influences growing up with traditional Mexican music styles that lend

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Speaker 4: themselves to the art of storytelling.

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Speaker 1: This was such a fun episode. I just love their

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Speaker 1: music so much, so it was really fun for me

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Speaker 1: to meet them and get to share this time with

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Speaker 1: them and play music.

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Speaker 4: I know you touch on this in the episode, but

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Speaker 4: they sing in both Spanish and English, but it's like

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Speaker 4: you don't have to understand what's being said to feel

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Speaker 4: like your heart strings are being pulled on.

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Speaker 1: Yes, I don't don't speak Spanish and I don't know

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Speaker 1: what the meaning is, but it just feels so emotional

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Speaker 1: when I hear it.

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Speaker 4: It's so powerful to kind of transcend language music.

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Speaker 1: I loved hanging with Louse and I'm so happy to

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Speaker 1: share this episode with you, So please enjoy ela.

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Speaker 5: Bamba okay so want to want.

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Speaker 6: To dun.

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Speaker 7: Since I two yan style strang manask on me if

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Speaker 7: fins canuspa don't care they lie in calla callous russ

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Speaker 7: as I don't know.

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Speaker 8: I carry.

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Speaker 9: Seven Cameo survey.

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Speaker 5: Seven, Como.

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Speaker 9: Seven and como seven Como et mana the save.

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Speaker 7: Its madera the sill No my frant doll baracay.

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Speaker 5: Be there is.

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Speaker 6: Javis Guandoles no cre say seven co.

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Speaker 5: Seven co.

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Speaker 7: Javis Guandola's conservesten seven come.

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Speaker 2: Seven.

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Speaker 5: Come take it.

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Speaker 10: Away into my nada the same into my na save

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Speaker 10: no my fast padacay.

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Speaker 5: Be game.

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Speaker 6: You have a squandole Let's course no save.

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Speaker 5: Seven come.

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Speaker 11: Seven.

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Speaker 7: Come you have as Grandolet's course has no set seven

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Speaker 7: come seven co.

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Speaker 11: Malory heresum quin traversy medico ever Connell pooosenties b.

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Speaker 12: U Heresam queen travancy medico ever Connado styto.

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Speaker 13: Malco Ever Connel booty malco Ever, gonna polo say.

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Speaker 6: Dorata data.

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Speaker 5: That was fun.

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Speaker 1: That was from the new record or how old is

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Speaker 1: the record?

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Speaker 5: I like you're yeah, probably, I mean I wrote a

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Speaker 5: lot of these songs, like during the shutdown.

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Speaker 1: Yeah, so now they're pretty heavy, right, yeah.

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Speaker 5: I mean, and then a lot of people when they

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Speaker 5: interview I don't know, when you get interviewed, they're like,

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Speaker 5: tell us about the record. I always forget to talk

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Speaker 5: about a lot about the production part of it, where

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Speaker 5: I'm like, yeah, I just got things together and lah

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Speaker 5: blah blah because I'm just learning, you know, I'm learning

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Speaker 5: as a producer as I go along with like good

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Speaker 5: engineers and stuff like that. And like, but like when

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Speaker 5: I hear the record'm like cool, Like sonically that's what

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Speaker 5: it sounds like. But the words and all that are

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Speaker 5: like very covid, very in that time, very during the

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Speaker 5: whole George Floyd, like the uprising, that everything, it's hard

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Speaker 5: not to like be like what happened, like time traveling,

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Speaker 5: what is still happening?

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Speaker 12: You know?

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Speaker 1: Yeah, well it was an intense time, and I mean

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Speaker 1: I feel like it all comes out and when you're writing,

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Speaker 1: how you're feeling, and that makes a lot of sense.

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Speaker 5: Yeah.

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Speaker 1: Did you record all this stuff in a studio or

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Speaker 1: did you sort of piece it together? Did you do

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Speaker 1: a lot of stuff at home or.

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Speaker 5: I did everything? I did stuff. I worked a lot

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Speaker 5: with my my friend Ryan Oxford. He's the engineer that

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Speaker 5: I've been working with like the last couple of records,

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Speaker 5: and he and I collaborated, I like on Hughes. He

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Speaker 5: like he did the production on that, Like he did

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Speaker 5: the guitars. I mean we did together, but he already

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Speaker 5: laid out like this beat and this guitar, and I

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Speaker 5: was like, oh, this is awesome. So we did that

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Speaker 5: on that song. And then the rest were you know,

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Speaker 5: me just changing some songs a little bit here and

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Speaker 5: there until I finally was like, oh, yeah, this is it.

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Speaker 5: And then when we moved to Mexico and I finished it,

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Speaker 5: like I added like percussion and bass and stuff like that.

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Speaker 5: Moving to Mexico and doing that was like the incentive,

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Speaker 5: Like the incentive is that the right thing to say,

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Speaker 5: I don't know, like the moving force of that, and

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Speaker 5: like having me meet community and musicians and stuff like

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Speaker 5: kind of using like me finishing my record there being like, oh,

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Speaker 5: like I'm meeting people with.

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Speaker 1: More local musicians out there.

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Speaker 5: Oh okay, And but I always make the same mistakes

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Speaker 5: so too. But that's another conversation, you know, just as

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Speaker 5: a woman and like as her divergent person in the

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Speaker 5: studio and like so many things. I can go on

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Speaker 5: and on and on, and I'm like so shy talking

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Speaker 5: about but it's but at the end of the day,

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Speaker 5: like that's part of the process, m mine.

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Speaker 14: You know.

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Speaker 1: Yeah, well, I feel like everybody has their own and

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Speaker 1: it's not there's no wrong way to do it, and

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Speaker 1: whatever makes you comfortable is the way you should do.

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Speaker 15: It, you know.

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Speaker 5: Yeah, it's interesting trying to tailor that.

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Speaker 1: Yeah, and I feel like it's a never ending learning

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Speaker 1: process too.

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Speaker 5: Yeah.

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Speaker 1: I've made a lot of records and I'm still like,

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Speaker 1: wait a second, I shouldn't have done it.

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Speaker 5: Like that, I know, but but that's the way it

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Speaker 5: was done, the way it was done.

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Speaker 4: Yeah.

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Speaker 5: And then and then that's and that's part of the growth,

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Speaker 5: the growth of it all, you know. I don't know

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Speaker 5: how else other people see all of that process of

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Speaker 5: being a creative or just being like this, you know,

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Speaker 5: open channel. I don't know, there's like there's limited language

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Speaker 5: for it, but just like being this just available for

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Speaker 5: it to come out or whatever.

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Speaker 9: You know.

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Speaker 1: Yeah, well that's kind of that's the most sensitive part

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Speaker 1: of the job, right and it's the part that is

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Speaker 1: unpredictable and for me, that can be frustrating, but I

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Speaker 1: feel like if you're open, it finds its way in

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Speaker 1: and out. I feel like making records. I think it's

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Speaker 1: so fun and I love it, and I love being

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Speaker 1: creative in the studio. I don't like to overthink things.

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Speaker 1: I like to do a lot of off the cuff takes,

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Speaker 1: and you know, I don't like to over overthink the music.

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Speaker 1: But then when it comes down to finishing it and

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Speaker 1: mixing or something, I get really like task master. Yeah,

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Speaker 1: because if it doesn't sound right the way I know

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Speaker 1: it sounded in a rough mix or something, I get God.

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Speaker 5: I drive you because because you already heard what it

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Speaker 5: sounded like, you have different you have context, yeah, different versions.

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Speaker 5: Oh yeah, yeah, I drive.

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Speaker 1: I'm driving people crazy right now. But the process you know,

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Speaker 1: of doing it is so fun.

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Speaker 5: Man, we can go on for a long time.

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Speaker 1: I know, it's so fun. Well, so you live in

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Speaker 1: Mexico City. Now, where did you grow up?

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Speaker 5: I grew up in So. I was born in California,

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Speaker 5: my mom's side of the family. They slowly started to

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Speaker 5: migrate to California, like the ninety nine Highway ninety nine,

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Speaker 5: like harvesting fruit and nuts. So they lived in the

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Speaker 5: migrant camps and worked out of them for that was

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Speaker 5: like the lifestyle like in the late seventies and stuff

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Speaker 5: for them. And then my dad crossed the border with

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Speaker 5: the Coyota three times, went through the river through tunnel,

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Speaker 5: you know. But that was like that was in the

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Speaker 5: late seventies, eighties, late seventies. And then I was, you know,

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Speaker 5: born nineteen eighty two, raised in southern Oregon, even though

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Speaker 5: I was born in California, went and visited a lot

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Speaker 5: in California, spent like a lot of it's had my

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Speaker 5: KINSGNAA there, my baptism, like all the all that stuff.

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Speaker 1: You're part California.

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Speaker 5: Yeah, I feel it. Even though I wasn't like didn't

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Speaker 5: go to high school there or like anything, I spent

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Speaker 5: a lot of my time there, and like it was

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Speaker 5: awkward for me in southern Oregon. We also only hung

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Speaker 5: out with Mexican families and Mexican communities in Southern Oregon.

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Speaker 5: So this is an interesting upbringing. I'm trying to skip

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Speaker 5: all this other stuff. But and then I moved to

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Speaker 5: Portland when I was like twenty four.

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Speaker 1: And you weren't in Portland. You didn't grow up that

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Speaker 1: you were in.

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Speaker 5: No in southern Oregon.

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Speaker 1: Was it a Medford community Portland or the.

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Speaker 15: Where you grew up.

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Speaker 5: Yeah, it'sch of small little town's like it's beautiful. Southern

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Speaker 5: Oregon's beautiful, like Grands Pass, Ashland, Medford. Medford was where

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Speaker 5: I went to school and all that. Okay, but we

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Speaker 5: all we had a huge, large population in Mexico, like

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Speaker 5: you know of a Latino community in southern Oregon. Portland

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Speaker 5: was just way later till like twenty four.

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Speaker 1: To twenty five, okay. And then did you live there

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Speaker 1: until you moved to Mexico City a few years?

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Speaker 5: Yes, and then I so that's really your I moved

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Speaker 5: to Guada la Caada in twenty nineteen. I mean, I

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Speaker 5: was like pretending. I'm like, yeah, I moved to ga

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Speaker 5: Da Laada. But I was touring a lot, and then

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Speaker 5: the shutdown happened. And when the shutdown, I was in

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Speaker 5: twenty twenty twenty nineteen December, and then twenty twenty January,

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Speaker 5: I was in Mexico City. I was like, I'm gonna

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Speaker 5: try in Mexico City next, that's cool. And then I

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Speaker 5: did on too. It went on tour durand Jones and

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Speaker 5: then tour ended in February. February twenty ninth, I stayed

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Speaker 5: in la I was like super like, came off of

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Speaker 5: like a really awesome two year olds all positive and stuff.

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Speaker 5: And then March fourth, you know, I'm in a hot

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Speaker 5: looking at all this cold COVID shit in co Coroda.

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Speaker 5: And then I went to Portland because I had a

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Speaker 5: job with a choir, with a high school choir. So

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Speaker 5: if I didn't have that, I would have just went

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Speaker 5: back to Mexico. Go. So I stayed in Portland for

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Speaker 5: the whole duration of that time. So I was already

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Speaker 5: done with Portland but it was but at the same time, like,

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Speaker 5: I'm sure you can relate or empathize. It felt the

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Speaker 5: safest place to be during that time.

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Speaker 1: Well at least it was familiar.

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Speaker 5: It was super familiar. Mexico City was awesome. I made friends,

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Speaker 5: but I was like, so like, this is what the hell?

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Speaker 5: Like what am I? You know, like, am I gonna

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Speaker 5: be isolated someone? It's new and huge in Mexicity.

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Speaker 1: That would have been really scary.

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Speaker 5: I think it would have taxed my mental health in

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Speaker 5: a different way.

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Speaker 1: So when did you make it down there?

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Speaker 15: For a year and a half ago, Like for real,

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Speaker 15: with my dog. I brought my dog and nice.

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Speaker 5: But it's also part of my neurodivergent uh way of

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Speaker 5: organizing myself and thinking about identity and my roots and stuff,

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Speaker 5: like I have to be in Mexico to do all

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Speaker 5: that work. Like it's so visceral for me to be there,

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Speaker 5: Like my parents are not from Mexico City. They're from

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Speaker 5: like the the sticks of you know, we talk and

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Speaker 5: they're like the're ranchers. They come from like working the

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Speaker 5: land and stuff.

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Speaker 1: Okay, not even a town.

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Speaker 15: They go to school, you.

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Speaker 5: Know, stuff like that. Like Wow, there's a whole other

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Speaker 5: story that I want to bore you with about like

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Speaker 5: what I know about my family's history, but the whole

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Speaker 5: like like trying to decolonize and all that, you know,

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Speaker 5: Like for me, being in Mexico is where it starts

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Speaker 5: when I actually do that work of decolonizing and understanding

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Speaker 5: like my diaspora, my roots, my being biracial and like

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Speaker 5: what it all means and like everything. Just like I think,

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Speaker 5: being there's like so humbling because the conversations are different

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Speaker 5: and they're necessary and I need to hear them as

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Speaker 5: like a Mexican American in Mexico. So it's like, I'm

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Speaker 5: glad that I'm out of the context of the nationalism

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Speaker 5: of being just American here, but being put in a

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Speaker 5: place where traumatized my parents and informed and shaved my

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Speaker 5: parents and my culture.

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Speaker 15: So it's like I grew up with it, so I'm

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Speaker 15: there and it's familiar.

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Speaker 5: That's why. That's why it's not I'm gonna say it's easy,

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Speaker 5: but it's Visceral's natural to be there. But there's so

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Speaker 5: much more that I need to educate myself in a

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Speaker 5: way that they couldn't educate me of another part of

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Speaker 5: Mexico that I'm like, WHOA, like the politics and the yeah,

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Speaker 5: so much, so much stuff, so much sounds like a

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Speaker 5: just like my ayahuasca even though I never done I've

255
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Speaker 5: never done that, but I'm like, WHOA. I'm like, face

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Speaker 5: to face with this machismo, the capitalistic, the trauma of

257
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Speaker 5: like all that, you know, Like it's just in Mexico

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Speaker 5: is a different face. You know in the United States

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Speaker 5: is a different face with being there and see what

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Speaker 5: it did to my parents and what it continues to

261
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Speaker 5: you know, all of it's it's all the same. It's

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Speaker 5: all the root of violence and power, and you know

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Speaker 5: that is the whitness and all that stuff.

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Speaker 1: Well, and also you're just you're just like diving right

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Speaker 1: into your own self by being there, probably you know,

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Speaker 1: and you're you're finding out more and more about yourself.

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Speaker 5: Yeah, it's very humbling forty one and like trying to

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Speaker 5: not take space, but then take the space. Come should

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Speaker 5: come and visit. I would love to.

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Speaker 1: I've only spent I've only been in Mexico City a

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Speaker 1: couple of times, and I got I got really I

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Speaker 1: think I got altitude sickness. Both times, I.

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Speaker 5: Would get bloody noses. The first few months that I

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Speaker 5: was traveling back and forth, really it was wild. I

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Speaker 5: would wake up and I'm like what.

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Speaker 1: Everyone always tells me, it's the best city and the

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Speaker 1: coolest and every time I get there, I just I can't.

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Speaker 1: I gotta like stay in bed. I can't. I can't

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Speaker 1: hang there for a month exactly.

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Speaker 5: I just got to get this sickness to get rid

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Speaker 5: of the week long or whatever we'll do to your body.

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Speaker 1: And then, just like you talking about that makes me

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Speaker 1: think of something that is so for me. Because my

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Speaker 1: my dad was Indian and I didn't really grow up.

285
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Speaker 1: I went there a couple times. When I was little,

286
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Speaker 1: but I didn't really grow up in that with that

287
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Speaker 1: side of my family so much. But I always wondered

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Speaker 1: what it would be like to really go and spend

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Speaker 1: time there. I've spent I have spent time there, but

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Speaker 1: like to live there. The whole other thing.

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Speaker 5: There's not a lot of Mexican Americans that I know

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Speaker 5: that are living in Mexico City. Yeah, there's this reverse

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Speaker 5: assimilationship going on or so really I'm still trying to

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Speaker 5: unpack it all. Like that's why I like hesitate talking

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Speaker 5: about it.

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Speaker 15: But I'm like trying to find the root.

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Speaker 5: I'm like, oh, yeah, like there's certain similar things from

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Speaker 5: code switching in spaces or American culture or whatever, because

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Speaker 5: I grew up in just like Mexican Mexicano all, you know,

300
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Speaker 5: those type of conversations of I don't know, just know,

301
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Speaker 5: just knowing how to participate in a different like your

302
00:17:32,800 --> 00:17:38,600
Speaker 5: culture's political affairs or emotional affairs, spiritual affairs like ancestral affairs,

303
00:17:38,680 --> 00:17:41,240
Speaker 5: like all this stuff that just you know, there's people

304
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Speaker 5: that don't care about these conversations, these topics, or they do,

305
00:17:43,680 --> 00:17:44,960
Speaker 5: but I just can't help it, you know.

306
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Speaker 15: I'm like, oh, like like we are like algorithms of

307
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Speaker 15: our ancestors, you know, like.

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Speaker 5: These you know, like yeah, and it's for me, it's

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Speaker 5: if we have access to and it is a privilege

310
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Speaker 5: to like, you know, investigate what you come from, or

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Speaker 5: go to that to go to the country where your

312
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Speaker 5: parents are from, or like. But there's not a lot

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Speaker 5: of us in Mexico City that get to experience you know,

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Speaker 5: Mexico City is Mexican, like Mexican Americans that come from

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Speaker 5: communities that we came from, like my might you know

316
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Speaker 5: like that. Yeah, it's interesting taking that space. And I

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Speaker 5: don't want to be like, hey, in the United States,

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Speaker 5: we talk about identity politics like this, and so you know,

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Speaker 5: like you don't, you don't, you can't apply that shit.

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Speaker 1: No, it's like a whole different way of being.

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Speaker 5: Right, Yeah, and I wonder what it would be like,

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Speaker 5: you know, I'm sure I can empathize with you, like

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Speaker 5: I'm hearing a little I don't know you, but like

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Speaker 5: you didn't grow up with that side of the family.

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Speaker 15: But that shit will never go away. Yeah, that sh

326
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Speaker 15: it's like so you I'm sure right.

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Speaker 1: Well, and I'm close to them now and I was

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Speaker 1: close to my dad. You know after age eighteen, So

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Speaker 1: I it wasn't like it's not like they're complete strangers

330
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Speaker 1: to me. But having not grown up in it, it's

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Speaker 1: a weird place to be, like to feel like I'm

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Speaker 1: not really a part of it in between. Yeah, even

333
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Speaker 1: though they're kind and welcoming once I was a part

334
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Speaker 1: of it. It's different to grow up in it than

335
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Speaker 1: to be on the outside of it.

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Speaker 5: So who am I? Yeah?

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Speaker 1: Yeah, yeah, but what did you listen to growing up?

338
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Speaker 1: Did you listen to just traditional Mexican music?

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Speaker 5: Yeah? Yeah, thanks for asking that question. I grew up

340
00:19:25,960 --> 00:19:30,320
Speaker 5: listening to so the music that informed my ears, my spirit,

341
00:19:30,440 --> 00:19:34,600
Speaker 5: my brain, my whole environment was Mexican music. It was

342
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Speaker 5: corrios corios like like Ramona Yela, Los Bravos and Norte Cornelio,

343
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Speaker 5: Orna Musica del Campo, like from I can send you

344
00:19:46,320 --> 00:19:53,560
Speaker 5: playlist like Plas Hilgerias Las Palomasca, you know, duets like

345
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Speaker 5: like from like the Ranch, like just You. And then

346
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Speaker 5: there's a lot of music that I grew up listening

347
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Speaker 5: to is kind of misogynistic now but it just didn't

348
00:20:02,320 --> 00:20:04,720
Speaker 5: age well. But it's still nostalgic for me. Like a

349
00:20:04,800 --> 00:20:07,600
Speaker 5: lot of like those corridos, you know, are like but

350
00:20:07,840 --> 00:20:12,280
Speaker 5: it really tells a story of how people are living,

351
00:20:12,680 --> 00:20:15,280
Speaker 5: you know, even if it's like you know, and and

352
00:20:15,359 --> 00:20:19,720
Speaker 5: then also seeing like misogynist, misogynistic men singing, there is

353
00:20:19,800 --> 00:20:23,879
Speaker 5: that deep wound of paid, the deep wound of patriarchy.

354
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Speaker 5: The sensitive man just like singing that's the only way

355
00:20:27,000 --> 00:20:29,480
Speaker 5: to like express their emotions. At least I'm saying it

356
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Speaker 5: from like the men that I grew up with, and

357
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Speaker 5: my dad specifically is like such a macho dude, but

358
00:20:34,400 --> 00:20:36,719
Speaker 5: like they don't share their emotions, but they will definitely

359
00:20:36,760 --> 00:20:38,320
Speaker 5: sing a song on top of their lungs.

360
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Speaker 14: You know.

361
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Speaker 5: That's amazing long And I'm sure like a lot of

362
00:20:40,960 --> 00:20:44,200
Speaker 5: like cultures are similar, Like I don't know, the American

363
00:20:44,240 --> 00:20:48,520
Speaker 5: culture is like something totally different, but like I know,

364
00:20:48,800 --> 00:20:51,240
Speaker 5: I know a Mexican culture like when we emote and

365
00:20:51,359 --> 00:20:58,800
Speaker 5: like Mariacci music to like like it's just you're emoting.

366
00:20:58,960 --> 00:21:02,160
Speaker 5: You're like saying something like Juan Gabrielle, you see that guy,

367
00:21:02,240 --> 00:21:04,440
Speaker 5: it's you know, rest in peace. When you saw that

368
00:21:04,520 --> 00:21:07,560
Speaker 5: person seeing holy crap, you know that person was with

369
00:21:07,720 --> 00:21:10,199
Speaker 5: conviction and say something, And a lot of the men

370
00:21:10,240 --> 00:21:13,080
Speaker 5: would watch and be like, oh, like kind of uncomfortable

371
00:21:13,119 --> 00:21:16,360
Speaker 5: from like their homophobia and seeing a gay like man

372
00:21:16,520 --> 00:21:19,359
Speaker 5: really just sing, but like they couldn't help to empathize

373
00:21:19,400 --> 00:21:21,000
Speaker 5: and be like, oh, I feel the same, I feel

374
00:21:21,119 --> 00:21:24,600
Speaker 5: like this pain because they can identify but not you know,

375
00:21:24,880 --> 00:21:27,160
Speaker 5: like I still love that music.

376
00:21:27,520 --> 00:21:30,119
Speaker 15: I love love love, like all the the.

377
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Speaker 5: Guitars, like the the Rinkinto's And even though a lot

378
00:21:34,880 --> 00:21:36,800
Speaker 5: of the lyrics. I didn't grow up listening to Boletos

379
00:21:36,840 --> 00:21:39,520
Speaker 5: though that much Bolettos and Mariaci. I grew up listening

380
00:21:39,520 --> 00:21:42,680
Speaker 5: to Mariacci, but Bolettos was more commercial. From what I hear,

381
00:21:43,160 --> 00:21:47,840
Speaker 5: I understand it was more like around beautiful. Bolettles are beautiful, Okay.

382
00:21:48,400 --> 00:21:51,200
Speaker 1: I don't know all the difference between there's I'm learning.

383
00:21:52,760 --> 00:21:54,400
Speaker 1: I mean, I know Mariacci probably the best.

384
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Speaker 5: It's very commercial.

385
00:21:56,119 --> 00:21:57,639
Speaker 1: That's why it's commercial, okay, or.

386
00:21:57,720 --> 00:22:00,760
Speaker 5: Like commercial in the sense where it was more what's

387
00:22:00,800 --> 00:22:04,760
Speaker 5: that word, more accessible or it was I don't know

388
00:22:04,840 --> 00:22:07,720
Speaker 5: the right word. But Boleros and Mariachi was the stuff

389
00:22:07,720 --> 00:22:10,200
Speaker 5: that you always heard around. It was like the most

390
00:22:10,280 --> 00:22:13,240
Speaker 5: go to and then all that corridos ands I think

391
00:22:13,320 --> 00:22:14,760
Speaker 5: were I think a lot of there's a lot of

392
00:22:14,840 --> 00:22:19,480
Speaker 5: classicism too, with like the type of music that people

393
00:22:19,560 --> 00:22:22,600
Speaker 5: listen to, like I like, people would discriminate like mus

394
00:22:23,680 --> 00:22:26,000
Speaker 5: be like, oh you're from that class You're like a rancher,

395
00:22:26,119 --> 00:22:27,440
Speaker 5: so you listen to that type of music.

396
00:22:27,560 --> 00:22:29,440
Speaker 1: Would it be comparable to like folk music?

397
00:22:29,760 --> 00:22:32,040
Speaker 5: I think so. In the day, I think so. I

398
00:22:32,400 --> 00:22:34,560
Speaker 5: always try to find I always try to compare. But

399
00:22:34,880 --> 00:22:36,120
Speaker 5: you know, at the end of the day, you can't

400
00:22:36,520 --> 00:22:38,560
Speaker 5: talk about Indian folk music. You're like, you can't really

401
00:22:38,600 --> 00:22:40,920
Speaker 5: compare it to like, you're no American folk or like,

402
00:22:41,000 --> 00:22:44,200
Speaker 5: go to American folk music. But even it's like kinda

403
00:22:45,280 --> 00:22:48,080
Speaker 5: it's not the same. You can't compare Indian folk music

404
00:22:48,119 --> 00:22:51,919
Speaker 5: with American folk music. Yeah, you can't compare Mexican music too,

405
00:22:52,080 --> 00:22:55,280
Speaker 5: totally American folk music. But it is it could be

406
00:22:55,440 --> 00:22:57,520
Speaker 5: somewhat similar. And that's yeah.

407
00:22:57,920 --> 00:23:02,560
Speaker 1: Home strumming, Yeah, singing together and picking guitar pick no,

408
00:23:02,800 --> 00:23:06,520
Speaker 1: like you know, huge production, right, Okay, yeah, yeah, you

409
00:23:06,760 --> 00:23:09,800
Speaker 1: asked me to sing a song of yours, which I'm stoked.

410
00:23:09,960 --> 00:23:11,119
Speaker 5: Okay, you want to do it?

411
00:23:12,440 --> 00:23:14,040
Speaker 1: Has this been released on anything? No?

412
00:23:15,000 --> 00:23:15,840
Speaker 15: I don't you know what I do.

413
00:23:16,000 --> 00:23:18,480
Speaker 5: I'm really bad, So I do a lot of songs live.

414
00:23:19,960 --> 00:23:21,840
Speaker 5: I don't record them. There's a lot of songs that

415
00:23:21,840 --> 00:23:27,239
Speaker 5: I'm like. Grema Malone is also not on that one.

416
00:23:27,400 --> 00:23:30,040
Speaker 5: But we we should do this one. Let's do this

417
00:23:30,160 --> 00:23:31,480
Speaker 5: one so you'll.

418
00:23:31,320 --> 00:23:34,040
Speaker 1: Sing I'm good. I'm going to sing it. I can't

419
00:23:34,119 --> 00:23:35,639
Speaker 1: sing it like you, but I'm going to sing it

420
00:23:35,720 --> 00:23:35,920
Speaker 1: like me.

421
00:23:36,600 --> 00:23:40,840
Speaker 5: Yes, I'm excited. I'm excited. I always like, I want

422
00:23:40,880 --> 00:23:43,359
Speaker 5: to write songs for people to sing, and I just

423
00:23:43,440 --> 00:23:44,520
Speaker 5: get really intimidated.

424
00:23:44,720 --> 00:23:48,040
Speaker 1: I've never done that. I've never written something for someone else.

425
00:23:49,240 --> 00:23:52,680
Speaker 5: Imposter syndrome, intimidy. But I want someone to hear I

426
00:23:52,760 --> 00:23:54,879
Speaker 5: want to hear someone else sing my song, you know.

427
00:23:55,560 --> 00:23:58,400
Speaker 1: Yeah, I feel like it's a different mindset and it's

428
00:23:58,680 --> 00:24:01,080
Speaker 1: it's hard to get in there and you.

429
00:24:01,160 --> 00:24:02,240
Speaker 5: Feel confident about it.

430
00:24:03,320 --> 00:24:05,920
Speaker 1: It's also I feel, I do think sometimes it's hard

431
00:24:06,680 --> 00:24:08,720
Speaker 1: for someone else to sing her a song like you

432
00:24:09,680 --> 00:24:11,800
Speaker 1: as good as you. Yeah, don't sing it like me, no,

433
00:24:11,920 --> 00:24:15,119
Speaker 1: but I mean to embody the feeling and the actual

434
00:24:15,280 --> 00:24:19,040
Speaker 1: soul of it. It's hard to do when you didn't

435
00:24:19,040 --> 00:24:22,000
Speaker 1: write it. And the people, you know, great interpreters are

436
00:24:22,040 --> 00:24:26,800
Speaker 1: of course, can do it. But I mean, I could imagine,

437
00:24:26,880 --> 00:24:29,960
Speaker 1: like you giving a song to someone and then thinking, hmm,

438
00:24:30,040 --> 00:24:32,080
Speaker 1: I think I can do that because you're so good.

439
00:24:33,280 --> 00:24:38,320
Speaker 5: I'm surely I'm intimidated. I've been writing. So I wrote

440
00:24:38,320 --> 00:24:40,080
Speaker 5: a song for my friend Emma. She's gonna put on

441
00:24:40,160 --> 00:24:42,920
Speaker 5: a record, and she's learning how to produce herself, and

442
00:24:43,040 --> 00:24:46,360
Speaker 5: she's learning the whole like asking me questions like, hey,

443
00:24:46,400 --> 00:24:48,840
Speaker 5: so I'm recording with this guy. He's asked me for

444
00:24:48,960 --> 00:24:51,159
Speaker 5: this much like she's asking me these questions, you know.

445
00:24:51,560 --> 00:24:53,119
Speaker 5: And I was like, here, here's a song, Like I

446
00:24:53,119 --> 00:24:55,520
Speaker 5: don't care about royalties or anything or whatever. I wrote

447
00:24:55,520 --> 00:24:57,440
Speaker 5: a song. You put it on your record and like

448
00:24:57,520 --> 00:24:59,960
Speaker 5: I'll produce it for you or whatever, and you don't

449
00:25:00,040 --> 00:25:02,720
Speaker 5: owe me anything because no other fucking dude is going

450
00:25:02,800 --> 00:25:04,800
Speaker 5: to give that to you, you know, like it's a clock,

451
00:25:05,240 --> 00:25:07,680
Speaker 5: you know. Like people are like, okay, time is money.

452
00:25:07,960 --> 00:25:10,639
Speaker 5: But sometimes like we I don't know, especially as a

453
00:25:10,720 --> 00:25:13,119
Speaker 5: woman for me, like we need a little bit of

454
00:25:13,240 --> 00:25:16,720
Speaker 5: like you know, a learning curve. We need like space, yeah,

455
00:25:16,920 --> 00:25:17,560
Speaker 5: more space.

456
00:25:18,200 --> 00:25:21,160
Speaker 1: Yeah, it's hard to know how to go about things sometimes.

457
00:25:34,240 --> 00:25:42,120
Speaker 5: Okay. Nice. The reason why this is so hard is because, well,

458
00:25:42,160 --> 00:25:44,760
Speaker 5: now that I know that it's been recorded and everything.

459
00:25:44,560 --> 00:25:45,440
Speaker 1: Now you're overthinking it.

460
00:25:45,960 --> 00:25:48,119
Speaker 5: Well, yeah, I'm like, oh no, because I'm just like

461
00:25:48,160 --> 00:25:50,960
Speaker 5: blah blah blah blah blah. And also just it's so

462
00:25:51,080 --> 00:25:53,800
Speaker 5: different like having people watching you. Oh, I know, you know,

463
00:25:54,000 --> 00:25:54,960
Speaker 5: I just met you.

464
00:25:55,560 --> 00:25:55,960
Speaker 1: Oh I know.

465
00:25:56,480 --> 00:25:59,399
Speaker 5: It's hard to process, just like meeting. Yeah, come on,

466
00:26:00,119 --> 00:26:01,520
Speaker 5: it's a weird bit, I know.

467
00:26:01,600 --> 00:26:02,840
Speaker 15: It is totally.

468
00:26:04,080 --> 00:26:06,080
Speaker 1: Okay, So safe space though.

469
00:26:07,840 --> 00:26:13,680
Speaker 5: So the beginning of the song is oh yeah, you

470
00:26:13,840 --> 00:26:15,960
Speaker 5: start from the beginning and then I'm gonna come in.

471
00:26:21,480 --> 00:26:23,920
Speaker 5: This song too, has a lot to do with not

472
00:26:24,160 --> 00:26:27,560
Speaker 5: masking anymore. A lot of the words are just like

473
00:26:28,520 --> 00:26:31,320
Speaker 5: part of my healing journey of learning who I am

474
00:26:31,359 --> 00:26:35,119
Speaker 5: as a person in this world. It's like seeing like

475
00:26:35,240 --> 00:26:37,320
Speaker 5: something something You're right, I know, I can tell. It's

476
00:26:37,359 --> 00:26:41,119
Speaker 5: like always knowing that I've you know, just been a

477
00:26:41,200 --> 00:26:45,080
Speaker 5: little different, not just from trauma and sistraal trauma and

478
00:26:45,119 --> 00:26:48,680
Speaker 5: stuff like that, but it's just way more, so much

479
00:26:48,760 --> 00:26:52,040
Speaker 5: more complex and being on this journey being later diagnosed

480
00:26:52,400 --> 00:26:56,520
Speaker 5: and trying to process all those feelings, unpack all of that,

481
00:26:56,720 --> 00:26:59,199
Speaker 5: like kind of like worry or not. I won't be ashamed. Darkness,

482
00:26:59,280 --> 00:27:02,399
Speaker 5: it waits silence unknown. I'm still recovering. It is like

483
00:27:02,440 --> 00:27:04,560
Speaker 5: wrapping my bones, all of my body, like being conscious

484
00:27:04,560 --> 00:27:07,000
Speaker 5: of my physical body and the spirit that's holding it,

485
00:27:07,160 --> 00:27:11,399
Speaker 5: carrying it around. And then the part of like how

486
00:27:11,560 --> 00:27:16,000
Speaker 5: curious I'm curious what will be done now? Ah, Like

487
00:27:16,160 --> 00:27:20,440
Speaker 5: the curiosity of what we're going to do as a people,

488
00:27:20,520 --> 00:27:22,200
Speaker 5: as a community as you know.

489
00:27:23,320 --> 00:27:26,280
Speaker 1: Yeah, And I can feel that from these lyrics. But

490
00:27:26,880 --> 00:27:33,399
Speaker 1: it's they're so clear but also so universally applicable. It's

491
00:27:33,480 --> 00:27:34,639
Speaker 1: like the best kind of song.

492
00:27:34,640 --> 00:27:38,200
Speaker 5: Right, yeah, you know, I'm talking about eating yogurt.

493
00:27:39,600 --> 00:27:42,320
Speaker 1: You know not, but not in a shallow way, in

494
00:27:42,720 --> 00:27:46,400
Speaker 1: a deep way. It's like that that simple prayer kind

495
00:27:46,480 --> 00:27:46,720
Speaker 1: of thing.

496
00:27:49,920 --> 00:27:50,040
Speaker 9: Hi.

497
00:27:50,320 --> 00:27:52,400
Speaker 5: I kind of like singing high I write. I also

498
00:27:52,520 --> 00:27:55,439
Speaker 5: write songs are not my register a lot on purpose

499
00:27:55,560 --> 00:27:57,119
Speaker 5: or just because of your purpose, just because I like

500
00:27:58,000 --> 00:27:59,760
Speaker 5: I can't I hear them that way, and I like

501
00:28:00,040 --> 00:28:02,359
Speaker 5: seeing him like that. But when I'm live, everyone's like

502
00:28:02,480 --> 00:28:05,359
Speaker 5: they can't hear me, you know, But I'm singing in

503
00:28:05,400 --> 00:28:08,000
Speaker 5: my falsetto and like, just I like it.

504
00:28:08,320 --> 00:28:12,200
Speaker 1: It's a vulnerable place to saying. I think that's probably

505
00:28:12,240 --> 00:28:14,680
Speaker 1: why it rings like more true. But I love it.

506
00:28:16,760 --> 00:28:18,439
Speaker 1: Should we just go for it and see what happens.

507
00:28:18,560 --> 00:28:20,320
Speaker 5: Yeah, okay, I'll.

508
00:28:23,480 --> 00:28:27,920
Speaker 2: So something.

509
00:28:33,080 --> 00:28:42,280
Speaker 5: I know how I can tell you're not.

510
00:28:44,680 --> 00:28:57,040
Speaker 3: Wall be shade, darkness, ways, silence.

511
00:28:57,640 --> 00:29:10,600
Speaker 8: No, I'm still recovering, robbing my balls, all of my bow.

512
00:29:13,560 --> 00:29:15,160
Speaker 5: As my speed.

513
00:29:17,000 --> 00:29:19,240
Speaker 2: Warners around.

514
00:29:22,360 --> 00:29:23,240
Speaker 8: I'm curious.

515
00:29:24,080 --> 00:29:34,600
Speaker 2: Word will be done Now? I might give a dame.

516
00:29:52,120 --> 00:29:59,720
Speaker 3: Pass, may change like the rain in the summer to.

517
00:30:00,040 --> 00:30:02,840
Speaker 2: You might not be the same.

518
00:30:08,600 --> 00:30:11,360
Speaker 6: Candle it calls.

519
00:30:12,000 --> 00:30:12,480
Speaker 5: As my.

520
00:30:13,960 --> 00:30:15,120
Speaker 9: Face. The night.

521
00:30:16,640 --> 00:30:19,280
Speaker 2: Had the pain?

522
00:30:25,000 --> 00:30:30,880
Speaker 1: Who who.

523
00:30:38,760 --> 00:30:52,600
Speaker 2: Gary? Its spinning drove me away? Toscape?

524
00:30:55,840 --> 00:30:57,120
Speaker 1: Nothing to prove.

525
00:30:58,720 --> 00:30:59,520
Speaker 2: Today?

526
00:31:03,520 --> 00:31:04,880
Speaker 5: What is life.

527
00:31:07,520 --> 00:31:12,480
Speaker 12: We face? Ah?

528
00:31:14,000 --> 00:31:17,360
Speaker 2: They God give it a try.

529
00:31:20,000 --> 00:31:20,480
Speaker 12: To re.

530
00:31:24,120 --> 00:31:31,480
Speaker 2: Zagon take am I give a dam.

531
00:31:35,600 --> 00:31:55,640
Speaker 5: Oh m hmm. And then the fairies came out of sky.

532
00:31:56,280 --> 00:31:59,080
Speaker 5: That I love that.

533
00:32:02,600 --> 00:32:03,840
Speaker 1: That felt really beautiful.

534
00:32:04,480 --> 00:32:07,120
Speaker 5: And that's a I've never sung that song, has never

535
00:32:07,880 --> 00:32:08,440
Speaker 5: been sunk.

536
00:32:09,840 --> 00:32:12,440
Speaker 1: That's amazing. But what's the recording you sent me from?

537
00:32:12,560 --> 00:32:13,960
Speaker 1: Was it a demo or was it from a show.

538
00:32:14,640 --> 00:32:16,840
Speaker 5: No, it's a demo from my house. So you hear

539
00:32:16,880 --> 00:32:18,920
Speaker 5: the lady outside selling I heard that.

540
00:32:19,080 --> 00:32:19,640
Speaker 15: Yeah she was.

541
00:32:20,000 --> 00:32:23,880
Speaker 5: She's not selling anything, She's it's this audio recording. You

542
00:32:23,960 --> 00:32:27,240
Speaker 5: hear all throughout Mexico with all these trucks trying to

543
00:32:27,240 --> 00:32:30,360
Speaker 5: pick up like your old mattresses, your old like refrigerators

544
00:32:30,480 --> 00:32:33,000
Speaker 5: or appliances, and they pick them up like recycle them.

545
00:32:33,440 --> 00:32:38,280
Speaker 14: So you hear the demnon and I laughed, and then

546
00:32:38,320 --> 00:32:41,080
Speaker 14: it's I started singing immediately, and it didn't even she

547
00:32:41,240 --> 00:32:43,480
Speaker 14: was outside, but didn't even or it was outside, didn't

548
00:32:43,560 --> 00:32:44,960
Speaker 14: keep going, so it's like a perfect time.

549
00:32:45,280 --> 00:32:48,160
Speaker 1: That's great going the song. It's funny in the beginning,

550
00:32:48,760 --> 00:32:51,160
Speaker 1: that first part it almost felt like Irish to me

551
00:32:51,360 --> 00:32:53,400
Speaker 1: or something because you heard the chant.

552
00:32:55,040 --> 00:32:55,960
Speaker 15: No, just the way.

553
00:32:57,680 --> 00:32:59,280
Speaker 1: It was funny. I was singing and I was like,

554
00:32:59,600 --> 00:33:01,880
Speaker 1: I feel irish all of a sudden. That's strange.

555
00:33:02,680 --> 00:33:04,360
Speaker 5: I don't know I have one percent Irish in me.

556
00:33:04,520 --> 00:33:07,760
Speaker 1: It's so funny how how the different ways of singing

557
00:33:07,920 --> 00:33:11,240
Speaker 1: in completely different parts of the world sometimes just sort

558
00:33:11,320 --> 00:33:14,080
Speaker 1: of are similar. You know what I love?

559
00:33:14,440 --> 00:33:19,280
Speaker 5: I love I love Indian music and the non conventional,

560
00:33:19,360 --> 00:33:22,800
Speaker 5: the non the intervals, like all like all the hidden

561
00:33:22,880 --> 00:33:24,480
Speaker 5: in between, because that's.

562
00:33:24,360 --> 00:33:24,920
Speaker 15: What the world is.

563
00:33:24,920 --> 00:33:26,880
Speaker 5: There's no binary so when you look at it, when

564
00:33:26,920 --> 00:33:30,120
Speaker 5: you look at a fret, to me, it's binary. Yeah, yeah,

565
00:33:30,200 --> 00:33:33,960
Speaker 5: it's straight because there's like but and it's also like

566
00:33:34,080 --> 00:33:36,200
Speaker 5: in this what is it tuned in? In this like

567
00:33:36,840 --> 00:33:40,080
Speaker 5: American Western kind of like whatever. But then you see

568
00:33:40,120 --> 00:33:42,400
Speaker 5: all this the fluidity. I feel like when you go,

569
00:33:42,800 --> 00:33:45,760
Speaker 5: I'm so super ignorant, but like India is so fluid

570
00:33:45,960 --> 00:33:49,800
Speaker 5: with so many things. It's like it's a huge, big

571
00:33:50,000 --> 00:33:52,720
Speaker 5: it's non it feels non it feels non binary. It

572
00:33:52,760 --> 00:33:56,080
Speaker 5: feels like there's place for so so much spirit and

573
00:33:56,200 --> 00:33:58,120
Speaker 5: so much Yeah, but I don't know.

574
00:33:58,680 --> 00:33:59,200
Speaker 1: I don't either.

575
00:33:59,280 --> 00:34:03,720
Speaker 5: So that's music. I'm like, oh, like if people are playing,

576
00:34:04,000 --> 00:34:07,000
Speaker 5: you know, different cultures are playing, like music that is

577
00:34:07,080 --> 00:34:09,160
Speaker 5: like like a violin or like you know, a symphony,

578
00:34:09,200 --> 00:34:13,399
Speaker 5: it's like you can just really capture so much more

579
00:34:13,480 --> 00:34:13,920
Speaker 5: than like the.

580
00:34:15,400 --> 00:34:18,480
Speaker 1: Yeah, yeah, yeah, it's beautiful, love it. It's funny too.

581
00:34:18,560 --> 00:34:22,120
Speaker 1: With piano, it's very like I can't bend any notes, but.

582
00:34:22,520 --> 00:34:26,400
Speaker 5: You can bend your vocal totally. What's up? That's what's up?

583
00:34:26,600 --> 00:34:27,239
Speaker 2: That's what's up.

584
00:34:27,880 --> 00:34:29,400
Speaker 1: Well this was great.

585
00:34:30,000 --> 00:34:32,200
Speaker 5: Yeah, I mostly just I really wanted to meet you

586
00:34:32,480 --> 00:34:34,759
Speaker 5: and just be in your presence and hang out. And

587
00:34:36,520 --> 00:34:38,640
Speaker 5: I'm after this after I walk away and be like,

588
00:34:38,680 --> 00:34:39,560
Speaker 5: what the hell just happened?

589
00:34:39,600 --> 00:34:40,040
Speaker 4: What did I do?

590
00:34:40,239 --> 00:34:40,759
Speaker 5: What's going on?

591
00:34:41,000 --> 00:34:42,839
Speaker 1: We'll send you the recording and then you remember.

592
00:34:44,040 --> 00:34:46,560
Speaker 5: All right, well then thank you. I guess this is it.

593
00:34:46,880 --> 00:34:47,600
Speaker 5: This was awesome.

594
00:34:48,360 --> 00:34:49,799
Speaker 1: You were great, you were great.

595
00:34:50,280 --> 00:34:51,080
Speaker 5: It was so fun.

596
00:34:53,480 --> 00:34:54,479
Speaker 1: Oh that was so nice.

597
00:34:54,640 --> 00:34:54,879
Speaker 8: Great.

598
00:34:55,000 --> 00:34:57,080
Speaker 4: There's such an open and beautiful soul.

599
00:34:57,600 --> 00:35:01,400
Speaker 1: Yes, very open, and I would really thankful for that.

600
00:35:02,040 --> 00:35:03,920
Speaker 4: Felt very connected to the music.

601
00:35:04,200 --> 00:35:05,120
Speaker 1: Yeah, it was great.

602
00:35:05,320 --> 00:35:06,000
Speaker 5: I learned a lot.

603
00:35:08,040 --> 00:35:10,160
Speaker 1: The first song in that episode was de Boo Hoos

604
00:35:10,239 --> 00:35:13,200
Speaker 1: de mi Alma, which came out in twenty twenty three

605
00:35:13,320 --> 00:35:16,359
Speaker 1: on the album called Lucca. The second song we did

606
00:35:16,520 --> 00:35:19,160
Speaker 1: is called I Might. I had so much fun singing

607
00:35:19,239 --> 00:35:22,520
Speaker 1: that song. Thanks again for listening. Today's episode was recorded

608
00:35:22,520 --> 00:35:26,000
Speaker 1: by Matt Marinelli, mixed by Jamie Landry, edited by Sarah Oda.

609
00:35:26,280 --> 00:35:29,840
Speaker 1: Additional recording by Jamie Landry, Additional editing and mixing by

610
00:35:29,960 --> 00:35:34,520
Speaker 1: Matthew Vasquez. Artwork by Eliza Frye. Photography by Shervin Linez.

611
00:35:35,080 --> 00:35:39,239
Speaker 1: Coordinating producer Rachel Ward. Produced by Nora Jones and Sarah Oda.

612
00:35:39,520 --> 00:35:41,000
Speaker 15: Hey that's me and you, Hee,