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Speaker 1: De Hano has this really interesting way of capturing a

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Speaker 1: very intense emotion within one song and you can escape.

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Speaker 2: It from PRX and futro media. It's let you know, Usa,

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Speaker 2: I'm Maria no Josa today Tejano singer Verronique Medrano and

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Speaker 2: her career in a male dominated industry and what she's

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Speaker 2: doing to preserve the future of t Hanno for generations

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Speaker 2: to come. Veronique Medrano loves going to Lapulga in Brownsville,

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Speaker 2: Texas with her family.

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Speaker 3: It's not a flea, it's like it's a flea market.

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Speaker 4: She says.

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Speaker 2: Lapulga is a place where vendors bring their goods to sell. Yes,

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Speaker 2: but it's also a perfect little bubble where Mexican and

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Speaker 2: American cultures blend and mingle in the open air.

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Speaker 1: It's the one physical place you can see, a place

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Speaker 1: where you walk in and you realize that's where the

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Speaker 1: beauty of the valley is, and these little pockets are

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Speaker 1: real people reside, real people like you and me.

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Speaker 3: The culture, the food, the language.

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Speaker 2: The flea market in Brownsville has deep meaning for Vitonique

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Speaker 2: for a lot of reasons. It's one of the places

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Speaker 2: where she draws inspiration for her songwriting, and it also

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Speaker 2: inspired one of her hit songs, It's Lapulga, and it

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Speaker 2: went viral back in twenty sixteen. By drawing on inspiration

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Speaker 2: from the border, her life and her culture is part

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Speaker 2: of Vinonik's identity as an artist in Tejano. It's a

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Speaker 2: style that fuses Mexican, US and European influences to create

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Speaker 2: a really unique sound. Vinonique has released three albums, picked

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Speaker 2: up several Djano Music Award nominations, and was recently invited

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Speaker 2: to the Latin Grammy Awards.

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Speaker 1: So today is the day of the Latin Grammy and I.

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Speaker 5: Am wearing this beautiful like purple outfit.

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Speaker 1: I'm just feeling so good right now. I just I

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Speaker 1: really can't believe that I'm here.

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Speaker 2: On today's episode of How I Made It, Verdonique walks

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Speaker 2: us through the origins and diversity of the Hanno music

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Speaker 2: and what she's doing to preserve it for generations to come.

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Speaker 6: Hi, my name is Veronique Medrano and I am a

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Speaker 6: Tejano and Spanish country singer out of Brownsville, texass.

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Speaker 1: And Meal Yeah n the Semana and Ustan Milsnami Baba.

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Speaker 7: And I have been born and raised here all my life,

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Speaker 7: and so this duality of the Mexican American culture is

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Speaker 7: very very present in the art that I make and

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Speaker 7: in what I do.

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Speaker 1: Sane de Hano music, it is definitely American music. But

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Speaker 1: it's because it was born out of La Fronterra.

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Speaker 2: It was.

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Speaker 1: It was a blending of polka and German music and

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Speaker 1: Mexican music and music from South America. You know, there's

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Speaker 1: always like a oh, what is real to Hanno? But

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Speaker 1: de Hanno is really an evolution of sound. It started

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Speaker 1: from conjunto music, and conjunto music was standing bass accordion,

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Speaker 1: either a bajo or a guitar of some kind. It's

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Speaker 1: real simple, and that was the purpose, because hello, if

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Speaker 1: you're a migrant worker, you know, living and you're working

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Speaker 1: all over the United States, it has to be something

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Speaker 1: you can just stick in your your bag, your car, whatever,

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Speaker 1: and you go.

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Speaker 3: You're gone in the next city to work.

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Speaker 1: It came from immigration, It came from migrant workers, it

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Speaker 1: came from the farmers a lot more than people realized.

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Speaker 1: To Hanno and have a really large role to play

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Speaker 1: in the Chicano movement. It was the music of the people.

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Speaker 1: It was from the border. It was the best encapsulation

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Speaker 1: of being a Mexican in America or a Latino in America,

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Speaker 1: and all of these things that over time evolved as

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Speaker 1: it became more modern. The big difference really is the

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Speaker 1: electric instruments. You know, you go from an accordion to

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Speaker 1: a keyboard, you go from a standing bass to a

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Speaker 1: bajo to a bass guitar, you go from an acoustic

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Speaker 1: guitar to an electric and in certain cases, de Hano

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Speaker 1: has its even its own branching offs. You have big band,

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Speaker 1: the hanl you know, like Little Joe. You have the

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Speaker 1: more Norteno styled Hanna, which is, you know, the Michael Salgados,

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Speaker 1: and then you have the more modern which is of

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Speaker 1: course Selena. Hanno has this really interesting way of capturing

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Speaker 1: a very intense emotion within one song. Yes, and you

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Speaker 1: can't escape it. Whether it's joy, whether it's passion, whether

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Speaker 1: it's first love, first kiss, first breakup, first cheating. Literally

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Speaker 1: you're capturing that emotion and it's raw. There's something that

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Speaker 1: hits your roots, it's something that just hits your soul.

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Speaker 1: Different when you hear that music in Spanish and you

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Speaker 1: understand it, and you understand the emotions. But Mexican regional

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Speaker 1: music to hanaud really is the from concentrate, no holds

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Speaker 1: bars like I mean, look at it. Look at some

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Speaker 1: of the classic I'm giving you all of these examples

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Speaker 1: because they are some of the most iconic Mexican regional songs,

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Speaker 1: because they captured that feeling so intensely.

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Speaker 5: I was all right.

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Speaker 2: For a w.

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Speaker 1: I could smile full, but I saw you last night.

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Speaker 1: You held my hands so tent as you stopped to say.

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Speaker 1: When I was three or four, I was still not vocal,

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Speaker 1: not babbling, not anything. And so my my mom was

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Speaker 1: a little concerned because this is the nineties, so of

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Speaker 1: course the concern is like, Okay, is there something else

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Speaker 1: that we're just not saying. Do we need to go

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Speaker 1: get tests? They did all the tests, they spoke with

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Speaker 1: all the doctors. They told her there was nothing wrong.

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Speaker 1: You know, my mom's working full time and my grandmother's

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Speaker 1: taking care of me, and so it would kind of

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Speaker 1: like switch off between them. So she would go work

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Speaker 1: and she would leave me with the grandmothers. And so

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Speaker 1: it wasn't until I was watching Johnny Canalis and he

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Speaker 1: had put Selena out on stage.

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Speaker 4: All right, gets yes, yes, no, no, no, ready, you

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Speaker 4: got it, take it away, yes, sir.

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Speaker 1: I started babbling. So I started trying to sing along,

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Speaker 1: and my grandmother, of course, immediately calls my mother up

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Speaker 1: and I'm still going, and so my grandmother's like Cynthia,

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Speaker 1: and you know, she's she's exclaiming to my mother that

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Speaker 1: I'm trying to talk or trying to sing. I guess

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Speaker 1: to what I'm hearing and what I'm seeing, As my

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Speaker 1: mother loves to joke. Once I started, I couldn't stop.

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Speaker 6: I was not good.

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Speaker 1: I'd like you to know I was not a child prodigy.

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Speaker 1: I was not there, you know, like singing opera music

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Speaker 1: at four please, I was singing Chico badly, badly. There

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Speaker 1: is audio tape of me singing that song. I'm so

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Speaker 1: cute though, Like you, you have to admit, when a

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Speaker 1: child tries to sing, you just you just go that's

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Speaker 1: the most adorable thing in the world.

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Speaker 6: And it was okay.

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Speaker 3: But I'm like, girl, no, you were.

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Speaker 7: You were on your own.

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Speaker 1: But that goes back to the power of art and

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Speaker 1: the power of music to relate to someone at any age.

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Speaker 5: It is why I do what I do.

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Speaker 1: It is my calling, it is my purpose. It wouldn't

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Speaker 1: be until I was twenty one twenty two till I

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Speaker 1: actually pursued it professionally. So I had made the decision then,

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Speaker 1: and so I started finally dipping my toe into too

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Speaker 1: music again. The glad when is the Concio.

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Speaker 6: Casino.

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Speaker 1: I'm very blessed because I have an artistic family. They're

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Speaker 1: just artistic and they're all little way like you know,

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Speaker 1: my mom she helps me with the songwriting whenever I

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Speaker 1: have trouble, like she's able to understand that vision and

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Speaker 1: then give me a word to help me. My mom

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Speaker 1: works with me on the outfits. That's art, like picking

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Speaker 1: the colors, the choosing that the styles, and then we

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Speaker 1: do the photo shoot. She knew the poses, she knew

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Speaker 1: what would kind of bring people in. And now we

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Speaker 1: actually have a team. It's a small and intimate team

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Speaker 1: and I like it that way, and I feel like

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Speaker 1: if I didn't have them for everything that they're doing,

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Speaker 1: I don't think I would have gotten to the heights

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Speaker 1: that I would have wanted to in the very short

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Speaker 1: amount of time that I've done it. But there was

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Speaker 1: a lot of criticisms about the music I had other

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Speaker 1: people who were big in the industry, artists call my

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Speaker 1: songwriting mediocre. People question LA like crazy.

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Speaker 7: Musket sign.

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Speaker 1: So when I wrote LA, it came literally from me

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Speaker 1: and my mom had gone the weekend prior to seventy

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Speaker 1: seven Flea Market, and so so this was one of

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Speaker 1: those songs that I wrote like half English, half Spanish,

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Speaker 1: like it was a little bit of both. And it

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Speaker 1: was the first time that I felt really supported in

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Speaker 1: regards to my bilingualism for writing, because I was trying

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Speaker 1: really hard to like at least get the essence of

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Speaker 1: what I was trying to say, and going back and

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Speaker 1: editing it and then showing it to my mom and

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Speaker 1: then like we we had some people come over and

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Speaker 1: all of this was done around the kitchen table over

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Speaker 1: a few weeks, and it was the etis line that

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Speaker 1: we had the hardest time with because we were trying

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Speaker 1: to say like junk food, but we couldn't fit. You're

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Speaker 1: out of way to say like elotes and like junk food,

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Speaker 1: Like how are you going to say that? That doesn't

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Speaker 1: sound right, that sounds nasty, like that like it doesn't

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Speaker 1: sound cute at all, And and we finally, like one

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Speaker 1: of our friends like was like two judios and we're like, oh,

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Speaker 1: that sounds cute, Like it's like am like like it

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Speaker 1: had its little like twist to it, Siego yah, And

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Speaker 1: in a sense was the love letter to the valley,

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Speaker 1: to my my childhood and and and my grandmother and

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Speaker 1: my mother and and really the beauty of our multiculturalness here,

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Speaker 1: our Mexican American news, because I talk about that in

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Speaker 1: the song it doesn't matter whether you have a lot

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Speaker 1: of money or a little money, everybody's the same here.

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Speaker 1: I think the line that best encapsulates it is in

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Speaker 1: the song dolos on bienvenidos amigos ikonosos, and it's saying

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Speaker 1: like everyone's welcome, whether you're a stranger or whether you're

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Speaker 1: somebody that goes there every weekend, and the vendors know you.

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Speaker 1: A person can go to this place and they truly understand.

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Speaker 1: Like you're seeing these kids and adults code switching between

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Speaker 1: English and Spanish and there's no judgment. You understand each other,

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Speaker 1: and it's just this perfect little bubble of seeing how

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Speaker 1: the Mexican and American culture blend. The Burga has such

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Speaker 1: a special place in my heart because it made me

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Speaker 1: realize that my voice and.

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Speaker 3: My story was valued.

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Speaker 1: I've written other songs, you know, I've written Loteria based

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Speaker 1: off of, you know, the experiences.

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Speaker 7: Of my life.

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Speaker 1: I was trying to understand my role in the world,

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Speaker 1: and Lotaria was based off of the Lotaria cards literally,

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Speaker 1: but it was looking at the cards at this very

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Speaker 1: pivotal moment in my life when I didn't know if

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Speaker 1: I was truly Mexican. I think because I am of

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Speaker 1: both worlds, it becomes so hard to validate whether you

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Speaker 1: are a true Mexican. The best way to say it

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Speaker 1: is there was the line that Edward James almost says

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Speaker 1: in the nineties Selena movie. It's like, you're not Mexican

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Speaker 1: enough for the Mexicans and you're not American enough for

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Speaker 1: the Americans. You have to be both one hundred percent

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Speaker 1: at the same time, and it's exhausting. Being a woman

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Speaker 1: in the industry in a male dominated industry is one

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Speaker 1: where you will be questioned for every little success you have.

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Speaker 1: When I first got into the industry, I was barely

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Speaker 1: six months in and I was already nominated for Best

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Speaker 1: New Female Artists of the Year. People did not understand

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Speaker 1: why that happened, but am.

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Speaker 5: The female newcomers to this generation, the best new female.

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Speaker 1: There was a lot of criticisms about the music, about

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Speaker 1: my outfits.

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Speaker 3: These criticisms came from people who.

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Speaker 1: Are very die hard stands, as you would put it,

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Speaker 1: or fans of the genre of a certain type of artists.

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Speaker 1: That's where it came from. So they expect you to

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Speaker 1: sound like XYZ artists. They expect you to look like

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Speaker 1: XYZ artists. A lot of artists wear the cowboy hats

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Speaker 1: and the boots, and so there was a lot of

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Speaker 1: criticism as to why I chose to do rockabilly and

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Speaker 1: vintage with a little bit of modern stylings. Women are

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Speaker 1: not seen as the lead very often, and those who

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Speaker 1: are are just having to do more. There's just more

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Speaker 1: that's expected of us as as female solo artists. There's

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Speaker 1: at least thirty plus solo female artists. Back in the

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Speaker 1: eighties and nineties when it was big, you could count

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Speaker 1: five five to thirty. That's a huge leap. But when

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Speaker 1: you put that into perspective as to what my experience

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Speaker 1: has been, it has been a lot of hard.

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Speaker 6: Work in this.

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Speaker 1: I've been fighting for the handle music for years, so

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Speaker 1: much so that I went back to school so that

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Speaker 1: I could get a master's, so I could protect the genre,

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Speaker 1: protect the music, start educating in it. It's about preserving

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Speaker 1: and archiving the Mexican and LATINX culture here in the

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Speaker 1: States so that it doesn't get forgotten. You know, a

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Speaker 1: lot of people don't realize the importance of let's just say,

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Speaker 1: you know, Freddy Fender's.

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Speaker 7: Stuff wasteed days in waiting line.

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Speaker 1: Freddie Fender does not in the Country Music Hall of

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Speaker 1: Fame despite his great and many accomplishments for that industry.

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Speaker 1: And they only have a few things. But that's not

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Speaker 1: their fault. How have we as a community preserved the

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Speaker 1: things that were his Like people who went to his shows?

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Speaker 3: Did they save the tickets?

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Speaker 6: Is it in some bin in some.

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Speaker 3: Box in the bottom of the seat?

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Speaker 1: And you would be so shocked at to how these

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Speaker 1: little things that you might have could create an interesting

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Speaker 1: narrative of who this person was. Like records that maybe

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Speaker 1: have been lost to time because.

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Speaker 3: They were literally records.

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Speaker 7: Y'all.

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Speaker 1: All of these things are important. And that's really the

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Speaker 1: purpose is that we don't want for people to forget,

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Speaker 1: but for Latinos, a Mexicanos, LATINX the purpose of our

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Speaker 1: having a preservation is to not be forgotten. That is

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Speaker 1: what you leave behind, and so I would like to

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Speaker 1: leave that behind. A beautiful and very rich and complex

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Speaker 1: image of the Rio Grande Valley, of the border towns

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Speaker 1: in Sun Santons, Yolanda, Unos.

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Speaker 6: Give the real.

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Speaker 1: I finally have the opportunity to show the Rio grand

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Speaker 1: Valley and show the success that can come from being

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Speaker 1: here to people who never in their wildest dreams would

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Speaker 1: have thought that, like, oh, she's from Bronzwell, like she

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Speaker 1: probably doesn't live here, and then when it dawns on

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Speaker 1: them that like, no, I still live here, like hi, guys,

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Speaker 1: I'm at And the beauty of the valleys over our

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Speaker 1: own little microcosm, and the fact that I can.

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Speaker 3: I can do this music and I can be artistic

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Speaker 3: in it, and I don't have to leave. I don't

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Speaker 3: have to go to some big city. No offense to

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Speaker 3: big cities. I like y'all, but I don't have to

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Speaker 3: go there to be artistically successful.

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Speaker 8: My music and everything I've done has come from the

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Speaker 8: joy of being a Mexican American, the joy of finally

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Speaker 8: discovering who I am and owning who I am because

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Speaker 8: it took some time.

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Speaker 2: This episode was produced by Rinaldo Leannos Junior and edited

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Speaker 2: by Mitra Monschahi. It was mixed by j. J. Grubin.

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Speaker 2: The Latino USA team includes Andrea Lopes Crusado, Marta Martinez,

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Speaker 2: Mike Sargent, Julia Ta Martinelli, Victori Estrada, Patricia Sulbaran, Gini

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Speaker 2: montalbo Alejandra Salasad and Julia Rocha, with help from Raoul Verez.

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Speaker 3: Our editorial director is Julio Ricardo Barella.

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Speaker 2: Our supervising senior engineer is Stephanie Lebau, our assistant senior

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Speaker 2: engineer is Julia Caruso, and our associate engineer is Gabriela Bayez.

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Speaker 2: Our digital editor is Luis Luna. Our fellows r Monica

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Speaker 2: Garcia Morales, Elisa Baena and Andrew Bignalez. Our theme music

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Speaker 2: was composed by Zenie Rubinos. If you like the music

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Speaker 2: you heard on this episode, stop by Latino Usa dot

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Speaker 2: org and check out our weekly Spotify playlist. I'm your

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Speaker 2: host and executive producer Mariao Kosa join us again on

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Speaker 2: our next episode. In the meantime, look for us on

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Speaker 2: all of your social media at Gerda de a start approximate.

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Speaker 4: Jao.

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Speaker 5: Latino USA is made possible in part by the Anni E.

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Speaker 5: Casey Foundation. Creates a brighter future for the nation's children

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Speaker 5: by strengthening families, building greater economic opportunity, and transforming communities.

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Speaker 5: The wind Coat Foundation and funding for Latino USA is

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Speaker 5: Coverage of a culture of health is made possible in

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Speaker 5: part by a grant from the Robert Wood Johnson Foundation.

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Speaker 3: I know it's a party boat.

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Speaker 2: It's a party boat on the ocean, and you can

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Speaker 2: hear the dunkunku, all right,