1
00:00:00,080 --> 00:00:04,680
Speaker 1: So Rene Residente, como to gerra whatever you want like

2
00:00:04,960 --> 00:00:08,200
Speaker 1: it could be Residente, but people in the street called

3
00:00:08,280 --> 00:00:14,840
Speaker 1: me both resident Rene. Sometimes from futuro media, it's let

4
00:00:14,840 --> 00:00:19,919
Speaker 1: Ino Usa. I'm Mariao Posa Today a portrait of Renee

5
00:00:20,040 --> 00:00:33,239
Speaker 1: Peres Poglad, although you might know him as Residente. In

6
00:00:33,280 --> 00:00:36,400
Speaker 1: two thousand and five, a duo of Puerto Rican artists

7
00:00:36,440 --> 00:00:38,200
Speaker 1: released their first album.

8
00:00:41,560 --> 00:00:45,960
Speaker 2: Stat.

9
00:00:49,520 --> 00:00:54,120
Speaker 3: Their mix of reggaet rap and well raunchy lyrics to

10
00:00:54,280 --> 00:00:57,560
Speaker 3: the LATINX music scene by storm, and it got them

11
00:00:57,640 --> 00:01:11,559
Speaker 3: three Latin Grammy Awards for their first album, Ardes. Caya

12
00:01:11,560 --> 00:01:15,559
Speaker 3: Trece's band members went by the names of Residente and Dic,

13
00:01:16,600 --> 00:01:19,920
Speaker 3: and although initially they became known for their sexy and

14
00:01:20,080 --> 00:01:31,040
Speaker 3: scandalous lyrics, a social message was behind their songs all along.

15
00:01:36,040 --> 00:01:39,080
Speaker 3: Soon Cayatres started collaborating with some of the biggest and

16
00:01:39,240 --> 00:01:51,960
Speaker 3: most respected names in Latino music, like Cafetuba and Ruben Blate.

17
00:02:06,600 --> 00:02:09,560
Speaker 3: Their meteoric rise won them a total of twenty two

18
00:02:09,639 --> 00:02:13,919
Speaker 3: Latin Grammys, but Cares didn't shy away from controversy. They

19
00:02:13,919 --> 00:02:17,200
Speaker 3: were critical of other artists in the urban scene, and

20
00:02:17,760 --> 00:02:26,880
Speaker 3: they denounced the music industry for their profit making practices.

21
00:02:53,680 --> 00:02:59,080
Speaker 3: Over time, their content became increasingly political. Songs like Elan,

22
00:02:59,680 --> 00:03:03,160
Speaker 3: which translates roughly to your capacity to keep on going,

23
00:03:03,720 --> 00:03:08,000
Speaker 3: became hymns of human resilience in the face of global crisis.

24
00:03:09,480 --> 00:03:15,480
Speaker 1: Look where poor okay porloka, Whether find that.

25
00:03:17,560 --> 00:03:19,280
Speaker 2: Thefts done?

26
00:03:19,440 --> 00:03:20,960
Speaker 4: Leman so Yeah.

27
00:03:27,200 --> 00:03:30,680
Speaker 3: And in twenty fourteen they released their last record as.

28
00:03:30,520 --> 00:03:45,440
Speaker 5: A band and sang many nossa sikom Yeah, yes said

29
00:03:45,480 --> 00:03:52,080
Speaker 5: a fantais this bofu gia si yados?

30
00:03:55,800 --> 00:04:01,120
Speaker 3: But Rene perees hoglad or Recidente was nowhere near being done.

31
00:04:07,160 --> 00:04:11,160
Speaker 3: In twenty seventeen, Rene released his first solo album. It

32
00:04:11,400 --> 00:04:16,640
Speaker 3: was a conceptual album called Residente, and in order to

33
00:04:16,720 --> 00:04:21,200
Speaker 3: find inspiration, he took a DNA test and then Residente

34
00:04:21,360 --> 00:04:24,359
Speaker 3: traveled to every part of the world that showed up

35
00:04:24,400 --> 00:04:27,640
Speaker 3: in his test, and there he collaborated with local musicians.

36
00:04:40,000 --> 00:04:43,400
Speaker 3: Now Residente is working on his second solo album, and

37
00:04:43,520 --> 00:04:46,200
Speaker 3: for this one, he's collaborating with professors at Yale and

38
00:04:46,279 --> 00:04:50,000
Speaker 3: New York University to turn the brain patterns of worms

39
00:04:50,120 --> 00:04:53,920
Speaker 3: and mice into music. He also used the brain waves

40
00:04:54,279 --> 00:05:07,400
Speaker 3: of a man in Muslim prayer to find music, and

41
00:05:07,839 --> 00:05:11,880
Speaker 3: most recently Residente won twenty twenty Song of the Year

42
00:05:12,080 --> 00:05:16,120
Speaker 3: at the Latin Grammys for perhaps his most personal track today,

43
00:05:16,640 --> 00:05:21,360
Speaker 3: titled after his birth name Renee. In this track, he

44
00:05:21,480 --> 00:05:24,720
Speaker 3: tackles themes all the way from his childhood to the present,

45
00:05:25,080 --> 00:05:30,039
Speaker 3: including friendship, his success, his roots, and even depression.

46
00:05:30,279 --> 00:05:38,360
Speaker 6: Janou Casina yaqui jan gueroteraqui messilo ki hengan mabiel de

47
00:05:38,480 --> 00:05:49,599
Speaker 6: la fiette, Guerrottetta Guero ya mazo de awergian Conte.

48
00:05:51,240 --> 00:05:53,320
Speaker 3: Today we're going to dig into the mind of the

49
00:05:53,480 --> 00:05:56,880
Speaker 3: man who has made so much music and talk to

50
00:05:57,000 --> 00:06:00,240
Speaker 3: him about how his art is evolving. Renee is so

51
00:06:00,360 --> 00:06:03,560
Speaker 3: glad resident They welcome to Latino, USA. It's great to

52
00:06:03,640 --> 00:06:04,080
Speaker 3: have you here.

53
00:06:04,600 --> 00:06:04,920
Speaker 2: Thank you.

54
00:06:05,720 --> 00:06:07,720
Speaker 3: So I want to talk for a moment about your

55
00:06:07,760 --> 00:06:10,760
Speaker 3: mom and dad actually, because your dad is a lawyer

56
00:06:11,120 --> 00:06:14,600
Speaker 3: in an activist in Puerto Rico. Your mom is an actress.

57
00:06:14,960 --> 00:06:17,520
Speaker 3: Tell us a little bit about you know, what's the

58
00:06:17,600 --> 00:06:21,359
Speaker 3: connection between them and what they were doing in Puerto

59
00:06:21,440 --> 00:06:23,920
Speaker 3: Rico and how you were raised and the work that

60
00:06:23,960 --> 00:06:24,600
Speaker 3: you're doing now.

61
00:06:24,839 --> 00:06:29,200
Speaker 1: Actually, my mom, she's an actress. She acts sometimes like

62
00:06:29,279 --> 00:06:32,360
Speaker 1: in shorts and stuff, but she's very into religion. She's

63
00:06:32,440 --> 00:06:37,599
Speaker 1: a Franciscan, but she's hardcore, like she actually helps people

64
00:06:38,080 --> 00:06:41,920
Speaker 1: like a lot. She do that physical work of helping others.

65
00:06:42,160 --> 00:06:45,320
Speaker 3: So Franciscans, I'm trying to think Franciscans, we mostly know

66
00:06:45,440 --> 00:06:48,440
Speaker 3: them as like monks, right, but she doesn't dress like that, Okay,

67
00:06:48,600 --> 00:06:51,039
Speaker 3: But the whole thing is like to help, is it about.

68
00:06:51,240 --> 00:06:54,840
Speaker 2: They're very for the people, like San Francisco. Yes, he is,

69
00:06:54,960 --> 00:06:55,240
Speaker 2: like he.

70
00:06:56,720 --> 00:06:58,760
Speaker 1: What I know that he did is that he left

71
00:06:58,920 --> 00:07:02,800
Speaker 1: everything to help people and he gave his life for

72
00:07:03,000 --> 00:07:06,600
Speaker 1: the people. And that's what I think Franciscans do, like

73
00:07:06,760 --> 00:07:09,680
Speaker 1: like they like my mom. She was working with drug

74
00:07:09,920 --> 00:07:13,560
Speaker 1: users in San Juan, people in the streets you know

75
00:07:13,680 --> 00:07:17,200
Speaker 1: sometimes you know. I remember passing by her house in

76
00:07:17,320 --> 00:07:21,040
Speaker 1: old San Juan and she was preparing meals and oh

77
00:07:21,200 --> 00:07:23,320
Speaker 1: for me, for us, No, no, this is for the

78
00:07:23,800 --> 00:07:25,680
Speaker 1: like she gave it to the people who needed, like

79
00:07:25,800 --> 00:07:29,080
Speaker 1: they were hungry. She's like that, like super but also

80
00:07:29,200 --> 00:07:32,840
Speaker 1: she's very political, so it's like a mix and she's

81
00:07:32,960 --> 00:07:35,640
Speaker 1: very open minded. Like the other day, I saw a

82
00:07:35,760 --> 00:07:40,640
Speaker 1: performance with my sister and my older sister and my

83
00:07:40,840 --> 00:07:44,120
Speaker 1: mom where my older my older sister is.

84
00:07:44,280 --> 00:07:45,080
Speaker 2: Pressing her.

85
00:07:46,760 --> 00:07:50,800
Speaker 1: Breast and putting out milk, you know, and my mom

86
00:07:51,040 --> 00:07:53,800
Speaker 1: is naked on her side, Like I'm like, what is

87
00:07:53,960 --> 00:07:55,600
Speaker 1: happening That someone sent me a video?

88
00:07:56,240 --> 00:08:00,200
Speaker 2: Why I have to see this? You know, but I'm

89
00:08:00,200 --> 00:08:02,440
Speaker 2: seeing it and I like it. I feel I feel.

90
00:08:04,280 --> 00:08:04,440
Speaker 6: Is a.

91
00:08:06,280 --> 00:08:07,840
Speaker 2: Yeah, proud, Like I feel proud about it.

92
00:08:08,040 --> 00:08:09,920
Speaker 1: You know that I have such a good mom and

93
00:08:10,680 --> 00:08:13,280
Speaker 1: she's very interesting, you know, you have that mix of

94
00:08:13,440 --> 00:08:16,920
Speaker 1: having a Francis kinda doing all this. It's kind of

95
00:08:17,040 --> 00:08:18,920
Speaker 1: like and then my sister like, oh, my family. And

96
00:08:19,000 --> 00:08:23,880
Speaker 1: then my dad is more into social activism since I'm

97
00:08:23,920 --> 00:08:26,120
Speaker 1: a kid, like I grew up going to protest, like

98
00:08:26,200 --> 00:08:30,960
Speaker 1: I went with him. Like the workers back home respect

99
00:08:31,040 --> 00:08:34,719
Speaker 1: him a lot because he was their lawyer, you know,

100
00:08:34,960 --> 00:08:38,160
Speaker 1: Like so he was a good one, you know, even

101
00:08:38,240 --> 00:08:41,040
Speaker 1: though he didn't earn everything that a lawyer can earn.

102
00:08:41,440 --> 00:08:45,439
Speaker 1: He was working for them twenty four to seven and

103
00:08:45,520 --> 00:08:47,760
Speaker 1: that's why they respect him. So every time that there's

104
00:08:47,840 --> 00:08:51,560
Speaker 1: a protest, like you know, the workers every time they

105
00:08:51,640 --> 00:08:53,880
Speaker 1: see me and they don't say hi because of me,

106
00:08:54,800 --> 00:08:56,720
Speaker 1: because of my dad, Like, oh man, your dad.

107
00:08:56,679 --> 00:08:58,840
Speaker 2: Is the best, you know. And he was a musician too.

108
00:08:59,000 --> 00:09:03,320
Speaker 1: He was at a player. He was a great musician.

109
00:09:03,440 --> 00:09:07,720
Speaker 1: He had a band called Latin Tempo with Luigarsia.

110
00:09:15,600 --> 00:09:15,960
Speaker 6: Again.

111
00:09:22,040 --> 00:09:24,760
Speaker 1: And then I grew up also with my stepdad that

112
00:09:24,960 --> 00:09:27,960
Speaker 1: he was a musician too, so we I remember going

113
00:09:28,000 --> 00:09:32,719
Speaker 1: to board us to weddings and to different things, and

114
00:09:32,840 --> 00:09:36,439
Speaker 1: during Christmas because that's that was high season for him,

115
00:09:37,040 --> 00:09:39,920
Speaker 1: and we were helping him to connect cables and stuff

116
00:09:40,000 --> 00:09:44,680
Speaker 1: and you know, bringing things to stage when we were little.

117
00:09:45,000 --> 00:09:47,240
Speaker 1: So I grew up, you know with dad with the

118
00:09:47,520 --> 00:09:50,680
Speaker 1: acting and political things and music.

119
00:09:51,080 --> 00:09:54,000
Speaker 3: I'm imagining that your dad, your stepdad, and your mom

120
00:09:55,080 --> 00:09:58,080
Speaker 3: one they've probably looked at things that you've done and said,

121
00:09:58,160 --> 00:10:00,760
Speaker 3: why is Renette doing this? Say way that you're looking

122
00:10:00,800 --> 00:10:03,240
Speaker 3: at your mom and your sister acting on stage and

123
00:10:03,280 --> 00:10:05,480
Speaker 3: you're like, why are they doing that? They probably were like, yeah,

124
00:10:05,640 --> 00:10:09,040
Speaker 3: Ra Guestacio. But I also imagine that they had a

125
00:10:09,200 --> 00:10:12,839
Speaker 3: very particular moment when they saw that photograph from the

126
00:10:12,920 --> 00:10:17,120
Speaker 3: protests over the summer in Puerto Rico where you were

127
00:10:18,320 --> 00:10:23,240
Speaker 3: at the top of the protests with Bad Bunny, with

128
00:10:23,679 --> 00:10:38,800
Speaker 3: Ricky Martin. It was the three of you just dislike,

129
00:10:38,880 --> 00:10:43,160
Speaker 3: what will be a historic photograph forever And I'm wondering

130
00:10:43,240 --> 00:10:45,199
Speaker 3: if you talk to them about that and what that

131
00:10:45,440 --> 00:10:47,360
Speaker 3: was like for you to realize. You know, you grew

132
00:10:47,440 --> 00:10:50,040
Speaker 3: up looking at protests in Puerto Rico and around the world,

133
00:10:50,559 --> 00:10:53,440
Speaker 3: and now people are looking up at you as an

134
00:10:53,600 --> 00:10:58,480
Speaker 3: artist and as a deeply political human being as really

135
00:10:58,559 --> 00:10:59,520
Speaker 3: as a symbol for them.

136
00:11:00,080 --> 00:11:04,240
Speaker 1: I like, for me during that period and those protests,

137
00:11:04,440 --> 00:11:08,800
Speaker 1: it was very organic. I've been working socially, not only

138
00:11:08,880 --> 00:11:13,679
Speaker 1: with Puerto Rico, with other countries. In Puerto Rico. I

139
00:11:13,720 --> 00:11:16,839
Speaker 1: don't measure. I just cope with what I feel in

140
00:11:16,920 --> 00:11:19,280
Speaker 1: my heart. I felt that that we had to do something.

141
00:11:19,520 --> 00:11:22,440
Speaker 1: So I spoke with Benito and I spoke with Regy.

142
00:11:23,400 --> 00:11:25,719
Speaker 1: I called them both. I called Reggy like bro like,

143
00:11:26,600 --> 00:11:29,040
Speaker 1: like I was messaging. I'm all the time, like kind

144
00:11:29,080 --> 00:11:32,120
Speaker 1: of like in paining the ass not too much, but

145
00:11:32,360 --> 00:11:34,440
Speaker 1: with them, with people that I know, like I send

146
00:11:34,520 --> 00:11:34,959
Speaker 1: them stuff.

147
00:11:35,440 --> 00:11:39,559
Speaker 3: So you mean, because you want them to be engaged, active, aware, Yeah.

148
00:11:39,440 --> 00:11:40,120
Speaker 4: As artists.

149
00:11:40,280 --> 00:11:46,920
Speaker 1: Yeah, Like Riggy he's been engaged more with the LGBT community,

150
00:11:47,200 --> 00:11:50,079
Speaker 1: but he's aware of things. But I think this was

151
00:11:50,240 --> 00:11:52,400
Speaker 1: kind of like the first time that he that was

152
00:11:52,520 --> 00:11:55,640
Speaker 1: more political in that sense. And Benito it was kind

153
00:11:55,640 --> 00:11:59,160
Speaker 1: of also his first time, but he was truly mad,

154
00:11:59,360 --> 00:12:02,840
Speaker 1: and he took a plane from Spain to Puerto Rico.

155
00:12:02,880 --> 00:12:04,240
Speaker 1: But it's not only a plane, like he was in

156
00:12:04,320 --> 00:12:07,240
Speaker 1: a private plane. But the thing is that he paid

157
00:12:07,280 --> 00:12:10,240
Speaker 1: all that, like it's a lot of money and it's

158
00:12:10,480 --> 00:12:13,120
Speaker 1: for him, for an artist like him, that in between

159
00:12:13,200 --> 00:12:16,839
Speaker 1: a tour, he took a plane to go to Puerto Rico.

160
00:12:16,960 --> 00:12:19,240
Speaker 2: When that it's that's a lot.

161
00:12:19,320 --> 00:12:21,120
Speaker 1: And I was like, man, this kid is like he

162
00:12:21,320 --> 00:12:24,000
Speaker 1: has that energy and that's why I've been a friend

163
00:12:24,080 --> 00:12:28,040
Speaker 1: of him and trying to be on his side because he's, uh,

164
00:12:29,240 --> 00:12:31,200
Speaker 1: you know, he's gonna he's the future, and he's gonna

165
00:12:31,200 --> 00:12:34,360
Speaker 1: have a voice. He's having a voice already, but it's

166
00:12:34,440 --> 00:12:35,679
Speaker 1: how you use it, you know.

167
00:12:36,800 --> 00:12:42,840
Speaker 7: So it's so you look at the harm soul Condido

168
00:12:42,880 --> 00:12:47,040
Speaker 7: and la simo missile once so.

169
00:12:49,080 --> 00:12:50,600
Speaker 2: Manoel over a campus.

170
00:12:50,400 --> 00:12:54,640
Speaker 7: In Paratu, consumo entred.

171
00:12:57,080 --> 00:12:57,960
Speaker 2: And so you cannot.

172
00:12:58,720 --> 00:13:03,079
Speaker 3: So you have developed this public image that is well,

173
00:13:03,240 --> 00:13:09,079
Speaker 3: it's really revolutionary. Your lyrics are very anti establishment, and

174
00:13:09,600 --> 00:13:12,199
Speaker 3: that has made some people think that you align with

175
00:13:12,559 --> 00:13:17,640
Speaker 3: certain kinds of governments and for example, like the regime

176
00:13:17,720 --> 00:13:18,439
Speaker 3: in Venezuela.

177
00:13:19,240 --> 00:13:21,440
Speaker 1: But who told you that I don't support that ah,

178
00:13:22,040 --> 00:13:24,760
Speaker 1: so people the people took that, you know, I went

179
00:13:24,800 --> 00:13:27,120
Speaker 1: on so clarify that everyone, like a lot of people

180
00:13:27,200 --> 00:13:30,600
Speaker 1: think that, but it's because they can see you. If

181
00:13:30,640 --> 00:13:32,559
Speaker 1: they see you in a picture with someone, they think

182
00:13:32,600 --> 00:13:35,520
Speaker 1: that you're supporting that person. And that doesn't mean that

183
00:13:35,800 --> 00:13:38,920
Speaker 1: like I like one time, like a guy show me

184
00:13:39,040 --> 00:13:41,240
Speaker 1: oh and put me a picture, like the only picture

185
00:13:41,400 --> 00:13:42,800
Speaker 1: with me and Chaws.

186
00:13:44,240 --> 00:13:48,760
Speaker 2: Exists because I put it out because otherwise no one

187
00:13:49,080 --> 00:13:49,439
Speaker 2: will know.

188
00:13:49,840 --> 00:13:51,679
Speaker 1: And I put it out when he died, and I

189
00:13:51,760 --> 00:13:54,079
Speaker 1: put it out with a quote that I said it

190
00:13:54,280 --> 00:13:56,720
Speaker 1: was one of the most interesting conversations that I had

191
00:13:57,320 --> 00:14:00,959
Speaker 1: because it's true period, right, Not that it was great problem,

192
00:14:01,280 --> 00:14:03,800
Speaker 1: it was I'm not saying that I'm a supporter, but

193
00:14:04,120 --> 00:14:07,520
Speaker 1: this borderline in the sense that some people can read

194
00:14:07,600 --> 00:14:12,040
Speaker 1: it in another way and also thinking because I'm pro independence,

195
00:14:12,120 --> 00:14:15,000
Speaker 1: then they think I'm the cliche of a left wing

196
00:14:15,080 --> 00:14:18,199
Speaker 1: guy and I'm not with any sight because I think

197
00:14:18,240 --> 00:14:22,600
Speaker 1: that people should create something new. But I don't support

198
00:14:22,640 --> 00:14:25,280
Speaker 1: what's happening in Queua, and I don't support what's happening

199
00:14:25,280 --> 00:14:28,040
Speaker 1: in Venezuela. And the thing is that people think that

200
00:14:28,960 --> 00:14:31,800
Speaker 1: things are white or black, and sometimes it's gray. And

201
00:14:31,880 --> 00:14:34,880
Speaker 1: sometimes and I'm not, like, not everyone is so simple,

202
00:14:35,240 --> 00:14:38,640
Speaker 1: like and this is gonna sound so bad, but I can't.

203
00:14:39,200 --> 00:14:43,000
Speaker 1: I think I can connect with every human believing if

204
00:14:43,000 --> 00:14:44,920
Speaker 1: it's bad or wrong. I'm not going to mention names

205
00:14:45,920 --> 00:14:49,360
Speaker 1: in different ways, you know, but not connecting in a

206
00:14:49,480 --> 00:14:51,960
Speaker 1: good way of a friendly way, but like maybe we

207
00:14:52,080 --> 00:14:54,520
Speaker 1: have something in common. If I had the opportunity to

208
00:14:54,640 --> 00:14:56,520
Speaker 1: make Trump, I would meet him and I will ask

209
00:14:56,600 --> 00:14:59,240
Speaker 1: him questions for real. That doesn't mean that I support him.

210
00:14:59,680 --> 00:15:01,600
Speaker 1: I that means that I want to understand him. Like

211
00:15:01,640 --> 00:15:05,280
Speaker 1: I met Almagaro. That is the opposite of Chaves. He

212
00:15:05,360 --> 00:15:07,920
Speaker 1: took a picture with me, like I have a picture

213
00:15:07,960 --> 00:15:11,280
Speaker 1: with the governor rose Yo. Because I did an interview

214
00:15:11,520 --> 00:15:15,120
Speaker 1: for the DNA documentary. It's not that I sit down

215
00:15:15,160 --> 00:15:17,880
Speaker 1: with everyone because I don't care. It's the total oppositely

216
00:15:17,880 --> 00:15:20,880
Speaker 1: that I care so much that I want to understand

217
00:15:20,920 --> 00:15:23,120
Speaker 1: what was in their heads and I need to.

218
00:15:23,600 --> 00:15:25,680
Speaker 2: In order to know someone, you have to sit down

219
00:15:25,760 --> 00:15:26,120
Speaker 2: and talk.

220
00:15:26,280 --> 00:15:41,560
Speaker 3: You know, when we spoke the last time, you had

221
00:15:41,600 --> 00:15:48,119
Speaker 3: released Multivirial with I mean that album was extraordinarily political.

222
00:15:48,800 --> 00:15:52,360
Speaker 3: It opened with Eduardo, you know, may he rest in peace.

223
00:15:54,440 --> 00:16:01,440
Speaker 3: He's a Coupa, Ressiana Ceo de Barcelona, this second man.

224
00:16:03,480 --> 00:16:07,480
Speaker 3: You had collaborations with Siria Rodriguez, with Tomorello, even Juliana Sange.

225
00:16:08,120 --> 00:16:11,520
Speaker 3: We live in the world with your propaganda made the

226
00:16:11,600 --> 00:16:13,800
Speaker 3: way you think you are strong, you are weak. Week

227
00:16:14,040 --> 00:16:16,600
Speaker 3: your lives tell us the truth we will use against

228
00:16:16,640 --> 00:16:21,480
Speaker 3: your secretly shows us where we will strive. And it

229
00:16:21,640 --> 00:16:23,520
Speaker 3: made me think as we were getting ready to talk

230
00:16:23,560 --> 00:16:26,600
Speaker 3: about what's happening now with your music and with your

231
00:16:26,680 --> 00:16:31,320
Speaker 3: work about Nova protest.

232
00:16:40,200 --> 00:16:40,280
Speaker 4: I.

233
00:16:46,880 --> 00:16:52,680
Speaker 2: Yes the las yes at Jo Salvia a jo Salvia.

234
00:16:57,160 --> 00:17:02,440
Speaker 3: So if people say that your music is musical Cacio,

235
00:17:02,840 --> 00:17:05,000
Speaker 3: you know three point zero, what do you say.

236
00:17:05,840 --> 00:17:08,560
Speaker 1: I'm kind of against the labels like I don't. I

237
00:17:08,640 --> 00:17:13,919
Speaker 1: don't think I belong to any genera, in particular musical genera.

238
00:17:14,359 --> 00:17:18,160
Speaker 1: Like I think I like as an artist, I express

239
00:17:18,600 --> 00:17:23,200
Speaker 1: everything that I feel that affects me, everything that surrounds

240
00:17:23,280 --> 00:17:26,960
Speaker 1: me affects me. And because of that, I I try

241
00:17:27,000 --> 00:17:29,280
Speaker 1: to be completely honest with what I'm feeling, and that's

242
00:17:29,320 --> 00:17:34,200
Speaker 1: what I do. So I think it's very elastic my proposal.

243
00:17:34,640 --> 00:17:37,159
Speaker 1: It's been always like that since Kaya Trese and now

244
00:17:37,200 --> 00:17:41,199
Speaker 1: with Residente. I think I'm even more elastic and mixing

245
00:17:41,280 --> 00:17:41,800
Speaker 1: more things.

246
00:17:42,400 --> 00:17:45,399
Speaker 3: Where does this come from for you? Rene, This this

247
00:17:45,640 --> 00:17:49,880
Speaker 3: feeling of not wanting to be boxed in, not wanting

248
00:17:49,920 --> 00:17:51,920
Speaker 3: to be labeled the only ps.

249
00:17:52,600 --> 00:17:57,600
Speaker 1: I think it's about being honest and honestly. I don't

250
00:17:57,600 --> 00:18:01,760
Speaker 1: think that my music belongs to something as specific, and

251
00:18:01,880 --> 00:18:04,320
Speaker 1: I always thought about it when I was making music.

252
00:18:05,040 --> 00:18:07,720
Speaker 1: I'm kind of like a very low fight guy most

253
00:18:07,760 --> 00:18:09,680
Speaker 1: of the time, kind of emo in a way, like

254
00:18:09,760 --> 00:18:12,720
Speaker 1: I like Radiohead and stuff like that, and I don't

255
00:18:12,720 --> 00:18:15,680
Speaker 1: know cigarettes after sex like that it's a band, so

256
00:18:15,760 --> 00:18:16,600
Speaker 1: I like it too, you know.

257
00:18:16,640 --> 00:18:18,760
Speaker 2: I like things that are very slow.

258
00:18:20,080 --> 00:18:23,600
Speaker 1: I like the Nationals too like but at the same time,

259
00:18:23,680 --> 00:18:26,240
Speaker 1: I like salsa music from back in the days. I

260
00:18:26,720 --> 00:18:29,680
Speaker 1: like a lot of hip hop too so and I

261
00:18:29,840 --> 00:18:35,000
Speaker 1: like rock music. So since I have all these things

262
00:18:35,119 --> 00:18:38,480
Speaker 1: happening in my head, I I like the fact that

263
00:18:38,560 --> 00:18:42,600
Speaker 1: it's difficult to label what I'm doing. People labeled it

264
00:18:43,080 --> 00:18:46,280
Speaker 1: and they try to label it as political. It's social

265
00:18:46,400 --> 00:18:48,800
Speaker 1: because everything is social, even the parties are social. But

266
00:18:49,760 --> 00:18:52,200
Speaker 1: being honest is something that is difficult to label.

267
00:18:52,480 --> 00:18:59,560
Speaker 7: No mas libros borgan or leo loque apprendio borgeloveo mean

268
00:18:59,640 --> 00:19:03,640
Speaker 7: trust mass Person, Los Agneles, My Contra Pianzo.

269
00:19:04,080 --> 00:19:09,520
Speaker 3: Jem, coming up on Lack in the USA. My conversation

270
00:19:09,680 --> 00:19:13,679
Speaker 3: with Residents that continues, and he shares the creativity behind

271
00:19:13,720 --> 00:19:15,480
Speaker 3: his solo albums Stay with.

272
00:19:15,600 --> 00:19:15,960
Speaker 4: Us, not.

273
00:19:18,400 --> 00:19:25,359
Speaker 7: Damperok Last rubin as ng nom comay no ten, Calculado, Nimia,

274
00:19:25,480 --> 00:19:28,200
Speaker 7: resta sona Sorisa.

275
00:19:28,440 --> 00:19:37,960
Speaker 4: Yes, no no no, no.

276
00:19:44,680 --> 00:20:08,840
Speaker 3: No no no. Hey, we're back and we're going to

277
00:20:08,880 --> 00:20:12,680
Speaker 3: continue now with our conversation with Rene Perez Roglad, also

278
00:20:12,800 --> 00:20:15,639
Speaker 3: known as Residente, and we're going to jump into his

279
00:20:15,840 --> 00:20:20,720
Speaker 3: twenty seventeen first solo album. We missed talking with you

280
00:20:20,800 --> 00:20:24,240
Speaker 3: when you released your first solo album, Residente and the

281
00:20:24,320 --> 00:20:27,960
Speaker 3: documentary called Recidente that you directed. So tell us a

282
00:20:28,000 --> 00:20:30,480
Speaker 3: little bit about the notion And by the way, I

283
00:20:30,680 --> 00:20:33,280
Speaker 3: just did my DNA as well. Nice yeah, and it's

284
00:20:33,320 --> 00:20:36,120
Speaker 3: so you know, it confirms and then confuses you, which

285
00:20:36,280 --> 00:20:40,040
Speaker 3: I love. So how did the process challenge you of

286
00:20:40,200 --> 00:20:44,120
Speaker 3: one getting the DNA results and then kind of recognizing

287
00:20:44,200 --> 00:20:47,680
Speaker 3: and saying, wow, this is who I am. And of

288
00:20:47,800 --> 00:20:50,560
Speaker 3: all the places that you went, what was the place

289
00:20:50,640 --> 00:20:53,520
Speaker 3: that you felt the most connected to kind of like

290
00:20:53,640 --> 00:20:56,200
Speaker 3: I feel this and the place that you were most

291
00:20:56,320 --> 00:20:58,560
Speaker 3: surprised that you ended up in I think.

292
00:20:58,480 --> 00:21:02,800
Speaker 1: That every place so prized me because I really tried

293
00:21:02,880 --> 00:21:06,920
Speaker 1: to focus and to connect while I was there, Like

294
00:21:07,040 --> 00:21:09,480
Speaker 1: for example, in Siberia was more nostalgic.

295
00:21:09,720 --> 00:21:12,320
Speaker 2: I was surrounded by mountains and wolves.

296
00:21:13,320 --> 00:21:16,880
Speaker 1: We were in the border with Mongolia, so I had

297
00:21:16,960 --> 00:21:19,840
Speaker 1: time to think about what I was doing, you know,

298
00:21:20,000 --> 00:21:23,000
Speaker 1: like why I'm here and what I've been doing during

299
00:21:23,160 --> 00:21:26,560
Speaker 1: all these years. Like I was thinking about, I don't know,

300
00:21:26,680 --> 00:21:29,720
Speaker 1: I should do this and quit, like I want to

301
00:21:29,760 --> 00:21:32,920
Speaker 1: do other things in my life, like you know, to understand,

302
00:21:33,200 --> 00:21:34,600
Speaker 1: to understand myself better.

303
00:21:35,200 --> 00:21:37,520
Speaker 2: That was Siberia. Then I don't know.

304
00:21:37,640 --> 00:21:40,760
Speaker 1: When I went to Burkina Faso, it woke me up

305
00:21:41,440 --> 00:21:45,040
Speaker 1: another part of my of me, you know, like I

306
00:21:45,240 --> 00:21:50,720
Speaker 1: was very into Thomas Sankara and his fight and the revolution,

307
00:21:51,040 --> 00:21:52,320
Speaker 1: and I was like very into that.

308
00:21:52,720 --> 00:21:55,960
Speaker 2: It was intense for me. It was dark. At the

309
00:21:56,000 --> 00:21:59,040
Speaker 2: same time, it was beautiful because I met beautiful people.

310
00:21:59,119 --> 00:22:02,480
Speaker 1: Like it was different. China gave me another thing. So

311
00:22:02,640 --> 00:22:05,920
Speaker 1: every every country, then Serbia or when I went to

312
00:22:06,600 --> 00:22:10,480
Speaker 1: Georgia and then Armenia, and I was into the war

313
00:22:11,119 --> 00:22:14,800
Speaker 1: and I was into the refugees so everything was special

314
00:22:15,119 --> 00:22:16,200
Speaker 1: in a different way.

315
00:22:16,280 --> 00:22:20,040
Speaker 3: You know, you approach everything, you know, your art, your creation,

316
00:22:21,359 --> 00:22:23,880
Speaker 3: and your communication with other people with so much respect.

317
00:22:24,520 --> 00:22:26,560
Speaker 3: I think that's one of the things that everybody takes

318
00:22:26,560 --> 00:22:30,240
Speaker 3: away from you. So how did you approach songwriting in

319
00:22:30,359 --> 00:22:33,560
Speaker 3: cultures that you didn't really know really well?

320
00:22:34,119 --> 00:22:38,080
Speaker 1: When I was doing this project, for example, I tried

321
00:22:38,119 --> 00:22:41,800
Speaker 1: to do everything. I just wanted to be connected with

322
00:22:41,920 --> 00:22:44,800
Speaker 1: what I was feeling. You know, before I met anyone

323
00:22:44,880 --> 00:22:47,600
Speaker 1: who was gonna make music with me. I wanted to

324
00:22:47,680 --> 00:22:51,040
Speaker 1: be prepared before I met. For example, in Siberia, I

325
00:22:51,160 --> 00:22:54,320
Speaker 1: had already, like I wrote things before I got to

326
00:22:54,440 --> 00:22:59,200
Speaker 1: the studio. With throat singers standing, they stand, they do.

327
00:23:17,400 --> 00:23:21,800
Speaker 1: And then since they're not used to record like like

328
00:23:21,920 --> 00:23:24,879
Speaker 1: they record before, but not in the same way like

329
00:23:25,280 --> 00:23:27,119
Speaker 1: I couldn't. It's not that I'm going to put a

330
00:23:27,200 --> 00:23:29,760
Speaker 1: bit and say, okay, go and sing, you have to

331
00:23:29,840 --> 00:23:32,680
Speaker 1: sing this. No, I just wanted them to feel comfortable.

332
00:23:32,800 --> 00:23:35,720
Speaker 1: So I say, what's your favorite song? What what do

333
00:23:35,760 --> 00:23:38,040
Speaker 1: you want to sing? And I want to learn from

334
00:23:38,080 --> 00:23:41,000
Speaker 1: you so you can show them, and they started to sing.

335
00:23:41,560 --> 00:23:44,719
Speaker 1: I started to listen with them. Then when we were

336
00:23:44,800 --> 00:23:48,040
Speaker 1: feeling like family, then I show them I have this beat.

337
00:23:48,400 --> 00:23:52,080
Speaker 1: It's just a drum. Maybe we can sing something like

338
00:23:52,240 --> 00:23:56,520
Speaker 1: this here I wrote this. Maybe I can. I translated

339
00:23:56,560 --> 00:23:59,520
Speaker 1: to English. If you want, you can translate this to

340
00:23:59,640 --> 00:24:00,399
Speaker 1: your life language.

341
00:24:01,080 --> 00:24:01,840
Speaker 2: We can sing it.

342
00:24:02,040 --> 00:24:05,080
Speaker 1: How do you feel about it? I feel okay, Maybe

343
00:24:05,160 --> 00:24:08,959
Speaker 1: I can't do this, Yeah, do whatever. I ended up

344
00:24:09,080 --> 00:24:13,520
Speaker 1: like giving them royalties, even though most of them didn't compose,

345
00:24:14,000 --> 00:24:17,560
Speaker 1: but I wanted to share that with them, like I

346
00:24:17,640 --> 00:24:20,879
Speaker 1: did it also with with in Ghana, in Northern Ghana,

347
00:24:21,680 --> 00:24:24,159
Speaker 1: Like they were singing songs that there. It's already like

348
00:24:24,240 --> 00:24:27,040
Speaker 1: it's kind of like songs that has been for years,

349
00:24:27,320 --> 00:24:29,080
Speaker 1: ancestral ancestral songs.

350
00:24:30,480 --> 00:24:42,240
Speaker 7: Yea look, yalla yai, yeah, niyamba.

351
00:24:41,640 --> 00:24:42,040
Speaker 4: Aramba.

352
00:24:46,000 --> 00:24:48,400
Speaker 1: But just because of the fact that it was beautiful

353
00:24:48,560 --> 00:24:51,760
Speaker 1: and how they were singing, I not only paid them

354
00:24:51,880 --> 00:24:54,399
Speaker 1: for that, but also I kept them I'm going to

355
00:24:54,440 --> 00:24:57,639
Speaker 1: give you a percentage of the song of the composing

356
00:24:57,760 --> 00:25:01,000
Speaker 1: even though it's it was another composer, you know, and

357
00:25:01,080 --> 00:25:04,480
Speaker 1: they were happy, and I just I just wanted to

358
00:25:04,720 --> 00:25:08,240
Speaker 1: collaborate with them in a in a proper way, you know.

359
00:25:08,760 --> 00:25:11,920
Speaker 1: And and also I wanted people to know that these

360
00:25:11,960 --> 00:25:15,960
Speaker 1: people exist and they are talented and and to feel

361
00:25:16,040 --> 00:25:19,240
Speaker 1: their hearts through my music also.

362
00:25:39,280 --> 00:25:41,080
Speaker 3: So, Renee, I want to ask you a little bit

363
00:25:41,119 --> 00:25:44,560
Speaker 3: about something that is really a big part of who

364
00:25:44,680 --> 00:25:47,720
Speaker 3: you are as an artist, and that's what happens during

365
00:25:47,760 --> 00:25:52,320
Speaker 3: your live performances. Your concerts are all about having a party.

366
00:25:52,840 --> 00:25:55,399
Speaker 3: It is about saying there is a lot that we

367
00:25:55,520 --> 00:26:00,320
Speaker 3: can think about and get angry and suffer, but really

368
00:26:00,760 --> 00:26:06,280
Speaker 3: you want people dancing, jumping, singing. So when you're doing

369
00:26:06,400 --> 00:26:09,000
Speaker 3: that and you're getting you're seeing that coming from the

370
00:26:09,040 --> 00:26:12,879
Speaker 3: people who love your work. How does that impact you?

371
00:26:13,240 --> 00:26:16,280
Speaker 3: Like talking about brain weys, like what does that feel like?

372
00:26:16,960 --> 00:26:19,119
Speaker 2: Oh, it feels great. It gives you energy.

373
00:26:19,240 --> 00:26:23,000
Speaker 1: Sometimes during tour you can be low energy, you know, Yeah,

374
00:26:23,040 --> 00:26:25,840
Speaker 1: you feel not only tired, you feel low energy, like

375
00:26:26,000 --> 00:26:29,120
Speaker 1: you feel sad, even like you feel nostalgic. You want

376
00:26:29,119 --> 00:26:31,520
Speaker 1: to be with your family or you want to do

377
00:26:32,520 --> 00:26:34,440
Speaker 1: at least me. I say, man, I want to do

378
00:26:34,640 --> 00:26:36,880
Speaker 1: something else. It's not because I don't like it. It's

379
00:26:36,880 --> 00:26:41,480
Speaker 1: because well, I hate planes. There are different things about

380
00:26:41,920 --> 00:26:44,280
Speaker 1: how the industry works that I don't like. So it's

381
00:26:44,400 --> 00:26:46,680
Speaker 1: kind of like and sometimes you feel like that like

382
00:26:46,800 --> 00:26:50,520
Speaker 1: the press and and I people doesn't know that, and

383
00:26:50,600 --> 00:26:53,639
Speaker 1: then you have to sing and feel happy about it.

384
00:26:53,760 --> 00:26:57,800
Speaker 1: And I thought, you know, when people give me energy,

385
00:26:57,960 --> 00:26:59,000
Speaker 1: that helps a lot.

386
00:26:59,440 --> 00:27:02,480
Speaker 2: That turns me. Yeah, that turns me on.

387
00:27:02,720 --> 00:27:05,920
Speaker 1: It's like, and it helps helps me a lot, so much,

388
00:27:06,560 --> 00:27:10,520
Speaker 1: and sometimes I feel like sad coming into a concert.

389
00:27:10,640 --> 00:27:13,480
Speaker 2: And I ended up like happy, you know, and with

390
00:27:13,640 --> 00:27:16,200
Speaker 2: a lot of energy, and then I can't go to sleep.

391
00:27:16,840 --> 00:27:17,960
Speaker 2: You know what is good?

392
00:27:21,320 --> 00:27:22,600
Speaker 5: Swear God?

393
00:27:22,680 --> 00:27:25,399
Speaker 8: Yeah, man, swear you don't scareboard here. I don't all

394
00:27:25,440 --> 00:27:30,960
Speaker 8: about hers.

395
00:27:33,760 --> 00:27:37,240
Speaker 2: It's not so misspreading, surest strap and slams.

396
00:27:41,720 --> 00:27:44,760
Speaker 3: So while I was preparing for this interview, I was

397
00:27:44,840 --> 00:27:47,240
Speaker 3: on a plane and I was looking at your Instagram

398
00:27:47,320 --> 00:27:50,760
Speaker 3: feed and I'm like, Kista Residente, what you know? I mean,

399
00:27:50,800 --> 00:27:53,720
Speaker 3: I just saw it first, and I was watching intently,

400
00:27:53,880 --> 00:27:56,160
Speaker 3: and then all of a sudden I began to see

401
00:27:57,119 --> 00:27:59,040
Speaker 3: there's a Muslim man who's praying. But then all of

402
00:27:59,080 --> 00:28:02,920
Speaker 3: a sudden you were talking about Yale brain scientist, you know,

403
00:28:02,960 --> 00:28:04,399
Speaker 3: and I'm just watching, And then I turned up the

404
00:28:04,480 --> 00:28:06,520
Speaker 3: sound right because I was like, I need to know

405
00:28:06,640 --> 00:28:09,639
Speaker 3: what is going on here? Did resident to decide that

406
00:28:09,720 --> 00:28:12,040
Speaker 3: he's become a neuroscientist now? And he went back to

407
00:28:12,080 --> 00:28:15,240
Speaker 3: school and he got a medical degree. I really didn't know,

408
00:28:16,280 --> 00:28:21,399
Speaker 3: and well, for people who don't know, just explain komapas osto.

409
00:28:21,480 --> 00:28:23,680
Speaker 3: Were you just like kind of like, Okay, let me think.

410
00:28:24,200 --> 00:28:26,400
Speaker 3: I want to know what's going on in the brain

411
00:28:26,480 --> 00:28:29,359
Speaker 3: waves of a man who is happens to be Muslim,

412
00:28:29,440 --> 00:28:31,800
Speaker 3: happens to be praying to Allah. But I just want

413
00:28:31,840 --> 00:28:34,040
Speaker 3: to know what brain waves look like when people go

414
00:28:34,119 --> 00:28:35,679
Speaker 3: into a spiritual place.

415
00:28:36,520 --> 00:28:36,760
Speaker 2: Yeah.

416
00:28:36,880 --> 00:28:41,320
Speaker 1: I was looking for a concept that I can write

417
00:28:41,320 --> 00:28:46,360
Speaker 1: about whatever I want, but maintaining a concept. So because

418
00:28:46,400 --> 00:28:49,200
Speaker 1: of that, I stayed thinking, Okay, so I should study

419
00:28:49,280 --> 00:28:52,320
Speaker 1: my brain. And then I thought, oh no, I should

420
00:28:52,360 --> 00:28:57,360
Speaker 1: study other people's brains, and then I should study animals brains.

421
00:28:58,160 --> 00:29:01,880
Speaker 1: And because of that order to make research, and I

422
00:29:02,080 --> 00:29:06,440
Speaker 1: ended up meeting with scientists from n y U and

423
00:29:06,600 --> 00:29:10,800
Speaker 1: Yale University, and I started to work with brain frequencies.

424
00:29:11,480 --> 00:29:12,960
Speaker 2: So our brain has.

425
00:29:14,480 --> 00:29:18,840
Speaker 1: Millions of millions of neurons, and the neurons they have

426
00:29:19,800 --> 00:29:26,120
Speaker 1: energy and power, and that energy you can quantify that energy,

427
00:29:26,560 --> 00:29:29,200
Speaker 1: and if you have numbers, you can make numbers into

428
00:29:29,320 --> 00:29:33,640
Speaker 1: music because you just establish parameters in between zero and

429
00:29:33,720 --> 00:29:37,640
Speaker 1: eighty eight, which is the amount of notes that you

430
00:29:37,800 --> 00:29:40,920
Speaker 1: have and with that I can make music. So I

431
00:29:41,040 --> 00:29:43,480
Speaker 1: started to create a concept around everything that I have

432
00:29:43,600 --> 00:29:48,480
Speaker 1: in my head, but also working with brain waves and numbers.

433
00:29:49,360 --> 00:29:55,080
Speaker 1: So resident the maximum ponent goes sink.

434
00:29:58,880 --> 00:30:00,800
Speaker 4: Cansetting and creams.

435
00:30:00,800 --> 00:30:10,400
Speaker 3: So these neurologists were they like, oh yeah, sure or

436
00:30:10,480 --> 00:30:16,400
Speaker 3: were they like what or were they completely punintended on

437
00:30:16,520 --> 00:30:17,800
Speaker 3: your wavelength, your brain weight.

438
00:30:18,000 --> 00:30:21,240
Speaker 1: They're super down, like they're so happy, and they were like,

439
00:30:21,360 --> 00:30:23,160
Speaker 1: oh my god, this is great. Yeah, this is great.

440
00:30:23,240 --> 00:30:26,320
Speaker 1: And one of the like there's also there's a Puerto

441
00:30:26,400 --> 00:30:31,040
Speaker 1: Rican team. There's a really nice neuroscientist. His name is

442
00:30:31,120 --> 00:30:33,760
Speaker 1: Daniel Colon and he's super respected and he's in Yale

443
00:30:34,240 --> 00:30:39,840
Speaker 1: and he works with worms. So I did a song

444
00:30:40,120 --> 00:30:44,959
Speaker 1: using the brain waves of worms with him and no, actually,

445
00:30:45,080 --> 00:30:47,040
Speaker 1: like there is texting me all the times and in

446
00:30:47,200 --> 00:30:51,040
Speaker 1: me like a lot of information and stuff and I

447
00:30:51,160 --> 00:30:55,320
Speaker 1: love it and I think it's another way of doing

448
00:30:55,400 --> 00:30:57,560
Speaker 1: something creative and making new music.

449
00:31:00,080 --> 00:31:06,320
Speaker 8: The ra Cavez jam cave jam cave.

450
00:31:08,880 --> 00:31:13,240
Speaker 2: That hits.

451
00:31:16,120 --> 00:31:26,600
Speaker 4: Paolestresmo.

452
00:31:28,160 --> 00:31:35,840
Speaker 3: I said, and I'm wondering, Renee, as we get ready

453
00:31:35,880 --> 00:31:38,920
Speaker 3: to say goodbye, you know what about if you were

454
00:31:38,960 --> 00:31:43,960
Speaker 3: to talk to younger Renee, who was just starting out,

455
00:31:44,000 --> 00:31:46,800
Speaker 3: who was just thinking about what he wanted to do.

456
00:31:47,320 --> 00:31:51,360
Speaker 3: What do you say, in particular to Latino Latina artists

457
00:31:51,440 --> 00:31:55,200
Speaker 3: who are feeling so it's easy to feel beat down

458
00:31:55,480 --> 00:31:58,800
Speaker 3: these days. Yeah, so what do you say to them

459
00:31:59,040 --> 00:32:03,760
Speaker 3: to to keep them committed to their art? What would

460
00:32:03,800 --> 00:32:06,320
Speaker 3: you say to yourself when you were younger? No?

461
00:32:06,520 --> 00:32:09,840
Speaker 2: For me, I know that I make make mistakes, of course,

462
00:32:10,680 --> 00:32:13,240
Speaker 2: like everyone else. I don't know if I.

463
00:32:15,360 --> 00:32:17,280
Speaker 1: You know, I like the mistakes that I that I

464
00:32:17,400 --> 00:32:20,200
Speaker 1: did and I learned and you know, I know it's

465
00:32:20,320 --> 00:32:22,240
Speaker 1: kind of it could be like a cliche answer, but

466
00:32:22,360 --> 00:32:25,680
Speaker 1: it's true, like I learned from them and I grew

467
00:32:25,800 --> 00:32:31,280
Speaker 1: up learning from mistakes. I think that people have to

468
00:32:31,360 --> 00:32:34,080
Speaker 1: be unique and have to be honest when they are artists.

469
00:32:34,360 --> 00:32:37,520
Speaker 1: That's part of art, Like you can't be like scared.

470
00:32:37,600 --> 00:32:41,000
Speaker 1: Being scared doesn't go with for me, doesn't go with

471
00:32:41,200 --> 00:32:45,000
Speaker 1: art like artists, the opposite is being free and being honest.

472
00:32:45,800 --> 00:32:48,360
Speaker 1: And I think that every young artist they should be

473
00:32:48,560 --> 00:32:51,800
Speaker 1: that way. They should be without scared, without being scared,

474
00:32:52,040 --> 00:32:53,520
Speaker 1: being honest with what they feel.

475
00:32:54,600 --> 00:32:57,280
Speaker 2: And in my case, the way I did it is

476
00:32:57,320 --> 00:32:58,520
Speaker 2: that I maintained a balance.

477
00:32:58,560 --> 00:33:00,520
Speaker 1: I tried to do art in every thing that I

478
00:33:00,680 --> 00:33:03,040
Speaker 1: was doing, even with a Trevete, which is a more

479
00:33:03,400 --> 00:33:06,440
Speaker 1: pop song. I tried to put my art, but also

480
00:33:06,480 --> 00:33:08,720
Speaker 1: I balance it. And I have Latin America too, and

481
00:33:08,800 --> 00:33:09,680
Speaker 1: I have other songs.

482
00:33:09,720 --> 00:33:12,600
Speaker 2: So you don't look for that balance, but you have

483
00:33:12,760 --> 00:33:13,600
Speaker 2: to be honest.

484
00:33:13,960 --> 00:33:22,080
Speaker 6: Jero wel Vera quando nor gero olvera a queen here

485
00:33:22,760 --> 00:33:25,000
Speaker 6: yo gerol Vera.

486
00:33:24,840 --> 00:33:28,520
Speaker 3: Serrio renee, thank you for joining us on Latino USA.

487
00:33:28,920 --> 00:33:29,200
Speaker 2: Thank You.

488
00:33:38,200 --> 00:33:50,280
Speaker 3: Resident's latest single t is out now. This episode was

489
00:33:50,360 --> 00:33:53,120
Speaker 3: produced by Me and Masis with help from Jane Yamoca

490
00:33:53,440 --> 00:33:57,280
Speaker 3: and edited by Sophia Palisaka. The Latino USA team includes

491
00:33:57,600 --> 00:34:03,240
Speaker 3: Andrea Lopez Cruzado, Urieta Batin, Alisa Scarce, Gini Montalbo Alejandra

492
00:34:03,360 --> 00:34:07,720
Speaker 3: salasad Reinaldo, Leagnos Junior, and Julia Rochak, with help from

493
00:34:07,800 --> 00:34:11,680
Speaker 3: Marta Martinez and ra Ubrees. Our engineers are Stephanie Lebau,

494
00:34:11,840 --> 00:34:15,360
Speaker 3: Julia Caruso and Lia Shaw, with help from Alisha ba YouTube.

495
00:34:15,640 --> 00:34:18,640
Speaker 3: Our digital editor is Luis Luna. Our theme music was

496
00:34:18,680 --> 00:34:21,360
Speaker 3: composed by Sea Rubinos. If you like the music you

497
00:34:21,440 --> 00:34:24,279
Speaker 3: heard on this episode, stop by Latino USA dot org

498
00:34:24,520 --> 00:34:27,399
Speaker 3: and check out our weekly Spotify playlist. I'm your host

499
00:34:27,480 --> 00:34:30,480
Speaker 3: and executive producer Marie no Josa. Join us again for

500
00:34:30,520 --> 00:34:32,560
Speaker 3: our next episode, and in the meantime, look for us

501
00:34:32,600 --> 00:34:35,480
Speaker 3: on all of your social media. Hi los BeO, pastella,

502
00:34:35,560 --> 00:34:36,479
Speaker 3: proxima cao.

503
00:34:40,080 --> 00:34:44,240
Speaker 8: Latino USA is made possible in part by the Heising

504
00:34:44,320 --> 00:34:51,440
Speaker 8: Simons Foundation unlocking knowledge, opportunity and possibilities more at hsfoundation

505
00:34:51,719 --> 00:34:56,000
Speaker 8: dot org, The Ford Foundation working with visionaries on the

506
00:34:56,040 --> 00:35:01,200
Speaker 8: front lines of social change worldwide, and Latino USA is

507
00:35:01,280 --> 00:35:04,000
Speaker 8: made possible in part by the John D. And Catherine T.

508
00:35:04,239 --> 00:35:05,120
Speaker 8: MacArthur Foundation.

509
00:35:09,400 --> 00:35:12,640
Speaker 4: One second, because someone's desperately trying to reach you.

510
00:35:13,200 --> 00:35:15,440
Speaker 3: Yea, is it one of your long lost family members

511
00:35:15,480 --> 00:35:16,160
Speaker 3: from Siberia.

512
00:35:16,840 --> 00:35:18,240
Speaker 2: No, it's stuff.

513
00:35:21,200 --> 00:35:24,680
Speaker 3: I'm Marie Josa. And next time on Latino USA, we

514
00:35:24,880 --> 00:35:27,240
Speaker 3: bring you one of our How I Made It segments.

515
00:35:27,600 --> 00:35:31,279
Speaker 3: This time Grammy nominated artist Jesse ray Is sings from

516
00:35:31,320 --> 00:35:34,920
Speaker 3: the soul That's next time on Latino USA and on.

517
00:35:35,000 --> 00:35:38,120
Speaker 4: The Bible, I thank you the love of my life.

518
00:35:39,200 --> 00:35:41,400
Speaker 8: Maybe gus a half on a flight to find me.

519
00:35:41,800 --> 00:35:43,880
Speaker 2: I feel like I did an beside