1 00:00:00,560 --> 00:00:04,600 Speaker 1: I'm here with producer Ginni Montalbo and Latino USA fellow 2 00:00:04,880 --> 00:00:06,080 Speaker 1: Andrew Vignellis. 3 00:00:06,240 --> 00:00:09,280 Speaker 2: Hey Maria, Hey Maria. So Maria, I know you've been 4 00:00:09,280 --> 00:00:11,639 Speaker 2: living in New York since like the early eighties. I 5 00:00:11,680 --> 00:00:14,120 Speaker 2: think it is. So I'm going to assume that you 6 00:00:14,200 --> 00:00:15,880 Speaker 2: have to know about Lalupe. 7 00:00:16,239 --> 00:00:23,280 Speaker 3: See you know the singer of this song, see what Deemestu, 8 00:00:23,720 --> 00:00:25,599 Speaker 3: the Cuban singer who kind of shook things up in 9 00:00:25,600 --> 00:00:27,600 Speaker 3: the sixties pro Claro. 10 00:00:28,400 --> 00:00:30,320 Speaker 4: Did you ever see her perform? 11 00:00:30,520 --> 00:00:35,800 Speaker 1: So I learned about Lalupe by watching trans women performing. 12 00:00:36,120 --> 00:00:38,920 Speaker 1: We called it lip syncing to Lalupe. 13 00:00:39,680 --> 00:00:41,760 Speaker 2: That's amazing, that is so cool. 14 00:00:42,120 --> 00:00:44,919 Speaker 1: We would go to a really cool place called La 15 00:00:45,000 --> 00:00:53,040 Speaker 1: Squalita and Lea Squalita was the only Latino Latina queer 16 00:00:53,520 --> 00:00:56,200 Speaker 1: bar that we knew of in Manhattan. 17 00:00:56,440 --> 00:00:58,680 Speaker 4: I know that bar. That's where I met my wife 18 00:00:58,680 --> 00:01:01,080 Speaker 4: before they closed down. Oh my god, that's so cool 19 00:01:01,080 --> 00:01:02,280 Speaker 4: that you know Le's Qualita. 20 00:01:02,840 --> 00:01:05,440 Speaker 1: So let me tell you what what happened was that 21 00:01:06,120 --> 00:01:09,440 Speaker 1: suddenly this Star Wars theme would come on, you know, 22 00:01:11,840 --> 00:01:13,880 Speaker 1: and like all of the lights would go down and 23 00:01:13,959 --> 00:01:16,760 Speaker 1: everybody would scatter to try to find a place to 24 00:01:16,800 --> 00:01:20,680 Speaker 1: sit you would see the women who were interpreting her 25 00:01:21,319 --> 00:01:24,679 Speaker 1: as doing stuff with their nose. You know, it was 26 00:01:24,720 --> 00:01:27,920 Speaker 1: clear that she had, you know, used cocaine, and so 27 00:01:28,000 --> 00:01:31,440 Speaker 1: I was like, wait what they went over the top 28 00:01:31,920 --> 00:01:35,959 Speaker 1: in using this myth that she was addicted to drugs, 29 00:01:36,400 --> 00:01:40,720 Speaker 1: this cold kind of incorporation into their performance, that this 30 00:01:41,000 --> 00:01:43,080 Speaker 1: was who La Lupe was and what she did. And 31 00:01:43,120 --> 00:01:45,120 Speaker 1: I think for someone like me, it was very confusing. 32 00:01:45,840 --> 00:01:47,840 Speaker 4: You know, it's really interesting that you used to bring 33 00:01:47,920 --> 00:01:50,600 Speaker 4: that up because there are a lot of things that 34 00:01:50,680 --> 00:01:54,000 Speaker 4: are spread about La Lupe and her drug use is 35 00:01:54,040 --> 00:01:56,440 Speaker 4: one of them, and that's kind of what we wanted 36 00:01:56,480 --> 00:01:57,320 Speaker 4: to talk about today. 37 00:01:57,600 --> 00:02:00,040 Speaker 3: Yeah, it's crazy how she gets this bad reputation, but 38 00:02:00,080 --> 00:02:03,400 Speaker 3: in New York City she's still super respected. She had 39 00:02:03,440 --> 00:02:12,120 Speaker 3: this soulful voice that was over top these Caribbean rhythms. 40 00:02:12,280 --> 00:02:14,680 Speaker 3: She commanded the stage and she was a force. But 41 00:02:14,760 --> 00:02:17,440 Speaker 3: it's kind of interesting how both of those things can coexist. 42 00:02:17,560 --> 00:02:19,120 Speaker 4: Yeah, you know, I grew up in the Bronx and 43 00:02:19,160 --> 00:02:24,120 Speaker 4: we loved Lalupe. I loved her range from moaning and 44 00:02:24,360 --> 00:02:28,960 Speaker 4: groaning through her boletos, so her using her Afro Cuban 45 00:02:29,000 --> 00:02:32,560 Speaker 4: religious sounds. I remember listening to this with my family 46 00:02:32,800 --> 00:02:34,880 Speaker 4: and all the queer folks in my life, and we 47 00:02:35,040 --> 00:02:38,320 Speaker 4: just love her. To me, she was a true artist. 48 00:02:39,040 --> 00:02:42,080 Speaker 1: To make it in this world, to believe in your 49 00:02:42,200 --> 00:02:46,560 Speaker 1: artistic voice and your calling, to be incredibly independent, to 50 00:02:46,560 --> 00:02:50,880 Speaker 1: be a black woman, an Afro Latina, to really develop 51 00:02:50,960 --> 00:02:55,040 Speaker 1: your own style. There's no one else like Lalupe. 52 00:02:55,320 --> 00:02:58,280 Speaker 3: You're right, there isn't anyone like Lalupe and like us 53 00:02:58,280 --> 00:03:00,919 Speaker 3: in New York. We want everyone to see that. Andrey, 54 00:03:00,960 --> 00:03:02,560 Speaker 3: you told me there's a street named after her in 55 00:03:02,600 --> 00:03:03,400 Speaker 3: the Bronx. 56 00:03:03,120 --> 00:03:06,760 Speaker 4: Right exactly, Laalupe Way. And I used to work in 57 00:03:06,760 --> 00:03:09,840 Speaker 4: that neighborhood back in two thousand and two. A group 58 00:03:09,880 --> 00:03:12,960 Speaker 4: of people decided that they could come together and name 59 00:03:13,040 --> 00:03:15,480 Speaker 4: the street after her because they knew she was a 60 00:03:15,560 --> 00:03:19,400 Speaker 4: really important part of our history. And every day I 61 00:03:19,440 --> 00:03:22,800 Speaker 4: would go and refilled with so much pride because she 62 00:03:23,000 --> 00:03:24,320 Speaker 4: was in my community. 63 00:03:24,840 --> 00:03:27,359 Speaker 1: Oh my god, that is so cool. I had no 64 00:03:27,480 --> 00:03:31,080 Speaker 1: idea that there's Lalupe Way in the Bronx, Like, I 65 00:03:31,120 --> 00:03:33,399 Speaker 1: gotta go there. I have to see this for myself. 66 00:03:36,880 --> 00:03:39,360 Speaker 4: So I went down to Lalupe Way the other weekend, 67 00:03:39,600 --> 00:03:43,800 Speaker 4: and I brought someone with me. Why I met up 68 00:03:43,840 --> 00:03:46,680 Speaker 4: with Rainbow Garcia Lalopez Way, Lalupe's. 69 00:03:46,240 --> 00:03:48,960 Speaker 2: Daughter at THEE So I go on to discuss. 70 00:03:49,280 --> 00:03:50,600 Speaker 4: She showed me where they lived. 71 00:03:50,840 --> 00:03:54,200 Speaker 5: Joe Gonx Borgues. 72 00:03:56,560 --> 00:03:58,760 Speaker 1: So I love that she says that she chose this 73 00:03:58,880 --> 00:04:02,920 Speaker 1: part of the Bronx because it's a legend, just like 74 00:04:03,200 --> 00:04:03,960 Speaker 1: La Lupe was. 75 00:04:04,400 --> 00:04:08,480 Speaker 5: I encourage her public, especially her fans, you know, so 76 00:04:08,560 --> 00:04:11,720 Speaker 5: don't believe the hype. 77 00:04:11,800 --> 00:04:14,160 Speaker 2: There is someone type out there. I'm curious where it 78 00:04:14,160 --> 00:04:14,840 Speaker 2: all came from. 79 00:04:15,120 --> 00:04:17,159 Speaker 4: So that's what we're gonna do today. We're going to 80 00:04:17,240 --> 00:04:20,000 Speaker 4: debunk those myths and paint a more complex picture of 81 00:04:20,080 --> 00:04:24,599 Speaker 4: Lalupe as the Afro Latina queer feminist icon. That's who was. 82 00:04:25,040 --> 00:04:28,719 Speaker 1: Okay, Jennie and Andrew, you can take over from here 83 00:04:32,960 --> 00:04:36,680 Speaker 1: from Futuro Media and PRX. It's Latino Usa. I'm Maria 84 00:04:36,800 --> 00:04:40,880 Speaker 1: na Posa. Today we continue our series Henyas in Music 85 00:04:41,000 --> 00:04:45,000 Speaker 1: with Lalupe, a look at the life and myths surrounding 86 00:04:45,040 --> 00:04:46,760 Speaker 1: this inmiable Cuban singer. 87 00:04:50,160 --> 00:04:52,960 Speaker 4: So we have the Queen of Salsa, Celia Cruz An 88 00:04:53,000 --> 00:04:55,960 Speaker 4: Tito Puente is the king of Latin jazz, and Aretha 89 00:04:56,000 --> 00:04:58,800 Speaker 4: Franklin is the Queen of soul. So, who do you 90 00:04:58,839 --> 00:05:01,400 Speaker 4: think is the queen of Latin ha Ha? 91 00:05:01,279 --> 00:05:06,839 Speaker 3: That is obviously La Loupe so Andrew. This is Hanna's 92 00:05:06,880 --> 00:05:10,680 Speaker 3: and music celebrating notable women throughout history who broke barriers 93 00:05:10,680 --> 00:05:14,359 Speaker 3: in the field, and for our second installment, we chose 94 00:05:14,440 --> 00:05:18,880 Speaker 3: La Loupe and Andrew. For those who don't know who 95 00:05:18,960 --> 00:05:21,520 Speaker 3: Lalupe is, why don't you give us some details? 96 00:05:21,920 --> 00:05:26,200 Speaker 4: While Lalupe was a legendary Afrocuban performer and singer who 97 00:05:26,320 --> 00:05:30,120 Speaker 4: was a sensation in the sixties and seventies. She starts 98 00:05:30,120 --> 00:05:32,600 Speaker 4: her career in Cuba and later moves to New York 99 00:05:32,640 --> 00:05:35,479 Speaker 4: and works with the greats and you have to know 100 00:05:35,560 --> 00:05:39,320 Speaker 4: her music. She's famous for boletos like Quete Belli and 101 00:05:39,520 --> 00:05:47,040 Speaker 4: Latiana segumvila. 102 00:05:46,440 --> 00:05:48,839 Speaker 6: Yours la La. 103 00:05:49,040 --> 00:05:52,640 Speaker 4: She became known for her eccentric performance style, so would 104 00:05:52,640 --> 00:05:56,760 Speaker 4: even say she was possessed on stage. In nineteen sixty seven, 105 00:05:56,920 --> 00:06:00,640 Speaker 4: Lalupe won a popularity contest in New York, and if 106 00:06:00,640 --> 00:06:04,080 Speaker 4: that wasn't enough, they holted an official coronation at the 107 00:06:04,120 --> 00:06:08,320 Speaker 4: Hotel Saint George, where Tito Puente placed an eighteen carried 108 00:06:08,400 --> 00:06:09,760 Speaker 4: gold crown on her head. 109 00:06:09,839 --> 00:06:11,560 Speaker 2: And that's where they called her the Queen of Soul. 110 00:06:11,960 --> 00:06:16,240 Speaker 4: That's exactly right. And legend has it that they had 111 00:06:16,320 --> 00:06:18,960 Speaker 4: to call the fire department because they thought the floor 112 00:06:19,240 --> 00:06:20,440 Speaker 4: was going to cave in. 113 00:06:21,000 --> 00:06:25,200 Speaker 3: That's insane. I love New York stories like that. It's 114 00:06:25,240 --> 00:06:25,920 Speaker 3: so in New York. 115 00:06:26,200 --> 00:06:28,680 Speaker 2: Okay. So she's born in Cuba, right right? 116 00:06:28,920 --> 00:06:29,080 Speaker 7: So. 117 00:06:29,200 --> 00:06:32,640 Speaker 4: Lupe Victoria Yolin Raymond was born in nineteen thirty six 118 00:06:32,680 --> 00:06:35,960 Speaker 4: in Santiago at Gouba. Her mom named her after the 119 00:06:36,040 --> 00:06:40,040 Speaker 4: Mexican volga star Lupe Vanez from the twenties. So, if 120 00:06:40,040 --> 00:06:42,479 Speaker 4: I had to describe La Lupe, she was kind of 121 00:06:42,520 --> 00:06:45,000 Speaker 4: a lighter skinned black woman. She had a gap in 122 00:06:45,040 --> 00:06:48,600 Speaker 4: her front two she had high brows. Frankly, she looked 123 00:06:48,640 --> 00:06:51,080 Speaker 4: like a bunch of people in my family, and I 124 00:06:51,200 --> 00:06:52,920 Speaker 4: thought she looks beautiful. 125 00:06:53,400 --> 00:06:57,680 Speaker 3: For all intensive purposes, she sounds beautiful. When did she 126 00:06:57,720 --> 00:07:00,080 Speaker 3: start kind of showing an affinity for music. 127 00:07:00,320 --> 00:07:03,600 Speaker 4: Well, she always had an affinity for music. As a kid. 128 00:07:03,720 --> 00:07:06,200 Speaker 4: She was in the church choir. But when her parents 129 00:07:06,240 --> 00:07:09,000 Speaker 4: divorced when she was nine, her dad remarried and her 130 00:07:09,360 --> 00:07:12,920 Speaker 4: mom was really nasty to her. She even mocked her 131 00:07:12,960 --> 00:07:15,040 Speaker 4: for wanting to be a singer because she was black. 132 00:07:16,520 --> 00:07:18,880 Speaker 4: This is a testimony from La Lupe, recorded at a 133 00:07:19,000 --> 00:07:21,680 Speaker 4: church in New York City, used with permission of her family. 134 00:07:29,800 --> 00:07:32,600 Speaker 3: She says in this testimony, who ever heard of a 135 00:07:32,640 --> 00:07:34,160 Speaker 3: black girl singing in Spanish? 136 00:07:34,480 --> 00:07:36,200 Speaker 6: You know what she's telling her is you poor and 137 00:07:36,240 --> 00:07:39,760 Speaker 6: you're black? Number one? You've got those two things going 138 00:07:39,800 --> 00:07:40,280 Speaker 6: against you. 139 00:07:40,440 --> 00:07:40,600 Speaker 8: Right. 140 00:07:41,160 --> 00:07:44,800 Speaker 4: This is Jadelle McPherson, an Africuban performance based artist and scholar. 141 00:07:45,120 --> 00:07:47,160 Speaker 6: But she's telling me you don't have the right look for 142 00:07:47,200 --> 00:07:49,520 Speaker 6: the white masses here to accept you. 143 00:07:49,920 --> 00:07:51,880 Speaker 4: This makes a lot of sense knowing where La Lupe 144 00:07:51,920 --> 00:07:54,480 Speaker 4: is from, Santia. 145 00:07:53,600 --> 00:07:55,560 Speaker 3: And San Diego is on the eastern side of the island, 146 00:07:55,760 --> 00:07:58,000 Speaker 3: not the capital Havana, right. 147 00:07:57,920 --> 00:08:00,680 Speaker 4: So there's a long history of white supremacy there. You 148 00:08:00,760 --> 00:08:03,160 Speaker 4: have the white land owning class living right next to 149 00:08:03,240 --> 00:08:06,440 Speaker 4: the Maroon communities. I'm talking about a lot of money, 150 00:08:06,840 --> 00:08:11,200 Speaker 4: like Baccardi family money. Their distillery had been in Santiago 151 00:08:11,240 --> 00:08:14,880 Speaker 4: since eighteen sixty two and that's where Lupe's dad worked. 152 00:08:15,400 --> 00:08:18,880 Speaker 4: They were working class and didn't have much money. Another 153 00:08:18,960 --> 00:08:22,120 Speaker 4: famous Cuban singer was a Santiago He was the star 154 00:08:22,280 --> 00:08:32,600 Speaker 4: of a beloved American sitcom in the fifties rinty nine. 155 00:08:29,360 --> 00:08:32,800 Speaker 2: The One and Only Dassi Arnaz from I Love Lucy Yep. 156 00:08:32,920 --> 00:08:36,280 Speaker 4: His dad De Sierio Ernaz Senior was the mayor of 157 00:08:36,360 --> 00:08:40,160 Speaker 4: Santiago in the nineteen twenties, and in Santiago they're famous 158 00:08:40,160 --> 00:08:41,679 Speaker 4: for the comparza or canabal. 159 00:08:42,880 --> 00:08:46,160 Speaker 8: It usually has percussion instruments, a lot of what you 160 00:08:46,240 --> 00:08:49,040 Speaker 8: might see in like a marching band or marti gras. 161 00:08:50,320 --> 00:08:53,840 Speaker 8: A lot of the music from Santiago to UWA is 162 00:08:54,400 --> 00:09:01,040 Speaker 8: religious and secular, embodied performances, so movement, it's so important 163 00:09:01,040 --> 00:09:01,959 Speaker 8: to all of this music. 164 00:09:02,960 --> 00:09:05,560 Speaker 3: That's so interesting because that to me already says so 165 00:09:05,679 --> 00:09:08,480 Speaker 3: much about her performance style. If she grew up seeing 166 00:09:08,480 --> 00:09:11,440 Speaker 3: those kind of embodied performances, then it only makes sense 167 00:09:11,480 --> 00:09:13,000 Speaker 3: that that would form her as an artist. 168 00:09:13,640 --> 00:09:16,400 Speaker 4: Yes, but even though it was a huge event in town, 169 00:09:16,880 --> 00:09:19,120 Speaker 4: don't think it wasn't a target of anti blackness. 170 00:09:21,760 --> 00:09:25,760 Speaker 8: A Na Senior was always passing these laws like, oh, 171 00:09:25,840 --> 00:09:28,280 Speaker 8: y'all can't have carnival this year. Oh y'all can't play 172 00:09:28,280 --> 00:09:32,439 Speaker 8: the drum. There's this intense white supremacy that's telling you, 173 00:09:32,800 --> 00:09:34,040 Speaker 8: y'all can't walk down this street. 174 00:09:34,160 --> 00:09:35,920 Speaker 6: You go down here you're gonna be arrested. 175 00:09:36,480 --> 00:09:39,120 Speaker 4: So, as you can see, La Lube was born into 176 00:09:39,200 --> 00:09:42,040 Speaker 4: a place that was not that different from Jim crow 177 00:09:42,160 --> 00:09:44,880 Speaker 4: us and this had real consequences. 178 00:09:45,120 --> 00:09:47,679 Speaker 2: Wow, So getting told what she can and can't do 179 00:09:47,800 --> 00:09:49,880 Speaker 2: is nothing new for her, and she's getting it in 180 00:09:49,880 --> 00:09:51,839 Speaker 2: her hometown and from her stepmom. 181 00:09:52,480 --> 00:09:55,480 Speaker 4: Yeah, her dad wasn't done with the idea either, because 182 00:09:55,559 --> 00:09:58,480 Speaker 4: it wasn't a respectable career. He wanted her to be 183 00:09:58,520 --> 00:09:59,040 Speaker 4: a teacher. 184 00:09:59,360 --> 00:10:01,680 Speaker 2: So at what point and she's like, I'm gonna do 185 00:10:01,679 --> 00:10:02,640 Speaker 2: it anyways. 186 00:10:02,640 --> 00:10:05,560 Speaker 4: Well, one day she escapes school to compete in a 187 00:10:05,600 --> 00:10:11,040 Speaker 4: local radio contest and sang a rendition of She knocks 188 00:10:11,080 --> 00:10:16,480 Speaker 4: it out the park and wins. Everybody loves her, told 189 00:10:16,480 --> 00:10:16,720 Speaker 4: me the. 190 00:10:20,440 --> 00:10:33,520 Speaker 9: Wanda imedi A. 191 00:10:33,520 --> 00:10:35,320 Speaker 2: All of her neighbors are congratulating her. 192 00:10:35,559 --> 00:10:38,200 Speaker 3: She gets home, her step mom is still saying, wait 193 00:10:38,240 --> 00:10:39,320 Speaker 3: till your dad gets home. 194 00:10:39,360 --> 00:10:41,040 Speaker 2: He's gonna beat you. That's horrible. 195 00:10:48,880 --> 00:10:51,640 Speaker 4: But when he does get home, he says, the next 196 00:10:51,679 --> 00:10:54,280 Speaker 4: time you go to sing you let me know and 197 00:10:54,520 --> 00:10:57,920 Speaker 4: I'll take you. That's when her father finally supports her 198 00:10:58,640 --> 00:11:02,559 Speaker 4: and thus begins La Lupe. But she still had to 199 00:11:02,600 --> 00:11:03,360 Speaker 4: get her degree. 200 00:11:03,760 --> 00:11:06,719 Speaker 3: That's the story of so many musicians like, get your 201 00:11:06,760 --> 00:11:09,000 Speaker 3: degree because music is not a real thing, and then 202 00:11:09,000 --> 00:11:12,200 Speaker 3: maybe you can do music after that. So where does 203 00:11:12,240 --> 00:11:13,240 Speaker 3: she end up going to school? 204 00:11:13,640 --> 00:11:16,600 Speaker 4: She moves to Lajuana, the capitol in nineteen fifty five. 205 00:11:17,200 --> 00:11:19,840 Speaker 4: Then she gets married at twenty two because her dad 206 00:11:19,840 --> 00:11:22,760 Speaker 4: says she can't work in the cabarets until she's married. 207 00:11:23,160 --> 00:11:26,400 Speaker 4: Until then, she had to follow his rules. With her 208 00:11:26,400 --> 00:11:31,000 Speaker 4: first husband, Elohio Yoyo Reas, she forms a trio Los Tropickuba, 209 00:11:31,040 --> 00:11:33,720 Speaker 4: but launches her own career after he leaves her for 210 00:11:33,760 --> 00:11:35,280 Speaker 4: the other woman in the trio. 211 00:11:35,520 --> 00:11:40,839 Speaker 3: Scandalous, but hey whatever, Thanks to that, she goes solo. Right, So, 212 00:11:41,160 --> 00:11:44,240 Speaker 3: this is right before the people revolution, Havanas in its heyday. 213 00:11:44,280 --> 00:11:46,840 Speaker 3: It's like basically an amusement park for the United States. 214 00:11:46,840 --> 00:11:49,520 Speaker 3: It's like their playground. Right Like, night life is booming, 215 00:11:49,720 --> 00:11:53,679 Speaker 3: the music, the casinos, the cabarets scene in Havana, just 216 00:11:53,720 --> 00:11:57,120 Speaker 3: like this travel archive from Havana's Holidays in nineteen fifty nine. 217 00:11:57,640 --> 00:12:01,439 Speaker 1: At night, the city takes on a new complexion. Amid 218 00:12:01,520 --> 00:12:05,199 Speaker 1: a blaze of lights, the cabarets come to life, offering 219 00:12:05,240 --> 00:12:07,040 Speaker 1: a variety of Latin entertainment. 220 00:12:08,520 --> 00:12:11,360 Speaker 4: Right, so, Ladred was a cabaret and was huge for 221 00:12:11,440 --> 00:12:14,800 Speaker 4: big artist types like Pablo Picasso and Tennessee Williams and 222 00:12:14,960 --> 00:12:17,959 Speaker 4: Simonde de Bouvar. They all hung out there. Even Ernest 223 00:12:18,040 --> 00:12:22,600 Speaker 4: Hemingway was apparently a huge La Lupe fan. She started 224 00:12:22,600 --> 00:12:26,320 Speaker 4: attracting a following because her performing style was a little different. 225 00:12:26,679 --> 00:12:28,800 Speaker 2: Well what do you mean by different? What was her 226 00:12:28,840 --> 00:12:29,800 Speaker 2: performance style like? 227 00:12:31,040 --> 00:12:34,800 Speaker 4: Well, it's kind of hard to describe. Imagine being in 228 00:12:34,840 --> 00:12:38,520 Speaker 4: a space and you have no idea what the performer 229 00:12:38,600 --> 00:12:41,200 Speaker 4: is going to do next. She could at one minute 230 00:12:41,280 --> 00:12:45,560 Speaker 4: be crying and moaning, the next minute she's throwing her shoes. 231 00:12:49,080 --> 00:12:53,040 Speaker 4: The other moment, she's giving you so much emotion. She 232 00:12:53,080 --> 00:12:57,320 Speaker 4: would throw her wigs, tear her jewelry off. It was amazing. 233 00:12:57,600 --> 00:13:01,800 Speaker 4: She was unique. 234 00:13:04,240 --> 00:13:06,960 Speaker 3: So this is her performing live at Mitada show on 235 00:13:07,000 --> 00:13:09,840 Speaker 3: WAPA TV in Puerto Rico in the sixties, which is 236 00:13:09,920 --> 00:13:13,280 Speaker 3: pretty till compared to her later years. She's dancing and 237 00:13:13,320 --> 00:13:16,600 Speaker 3: clapping and making big gestures with her hands. You can 238 00:13:16,640 --> 00:13:20,200 Speaker 3: tell that she just had a really big personality. So 239 00:13:20,240 --> 00:13:22,360 Speaker 3: she's starting to make a name for herself in Havana right. 240 00:13:22,840 --> 00:13:26,280 Speaker 4: Absolutely, she was an act that everyone wanted to see. 241 00:13:26,360 --> 00:13:29,520 Speaker 4: You didn't want to miss her. With my surprise some people. 242 00:13:30,000 --> 00:13:33,600 Speaker 4: Her first big hit in Cuba was Fever in nineteen 243 00:13:33,640 --> 00:13:34,480 Speaker 4: sixty when. 244 00:13:34,320 --> 00:13:36,959 Speaker 6: You put your rockside out me I got. 245 00:13:38,679 --> 00:13:42,400 Speaker 4: You get the rock song right, Fever Yeah, and it 246 00:13:42,440 --> 00:13:45,400 Speaker 4: gained a lot of popularity amongst the youth at the time. 247 00:13:48,679 --> 00:13:52,200 Speaker 7: You ever heard that Lupa singing Fever. She was a 248 00:13:52,240 --> 00:13:56,480 Speaker 7: twenty three year old kid and she's singing Fever and 249 00:13:56,559 --> 00:13:59,240 Speaker 7: putting all that feeling into this song. 250 00:13:59,679 --> 00:14:02,640 Speaker 4: This is Juan modern over Alaskaz. He wrote a biography 251 00:14:02,720 --> 00:14:05,480 Speaker 4: on Lalupe and was a professor at Bodika College in 252 00:14:05,520 --> 00:14:08,560 Speaker 4: New York City and was the entertainment editor at the 253 00:14:08,600 --> 00:14:09,679 Speaker 4: Auto Lapenza. 254 00:14:09,840 --> 00:14:12,560 Speaker 7: She was able to do it because she had it 255 00:14:12,760 --> 00:14:18,200 Speaker 7: in her and then she start screaming it. 256 00:14:23,600 --> 00:14:26,080 Speaker 4: Lalupe was one of the top performers in Kuba right 257 00:14:26,120 --> 00:14:28,920 Speaker 4: around the time of the Cuban Revolution, with people like 258 00:14:29,000 --> 00:14:32,720 Speaker 4: Benni More and olgaki Yo. But not everyone liked La Lupe. 259 00:14:33,160 --> 00:14:35,440 Speaker 7: There was a problem she had. The problem was she 260 00:14:35,480 --> 00:14:36,360 Speaker 7: had got through. 261 00:14:36,760 --> 00:14:37,800 Speaker 2: Uh oh okay. 262 00:14:37,960 --> 00:14:40,600 Speaker 3: So now we're in the middle of the Cuban Revolution 263 00:14:41,360 --> 00:14:44,120 Speaker 3: and in nineteen fifty nine, the revolutionary is led by 264 00:14:44,120 --> 00:14:49,160 Speaker 3: Fidel Castro overthrew the dictator for Hensio Batista. But what 265 00:14:49,480 --> 00:14:53,240 Speaker 3: happened that made Castro turn against La Loupe we can't say. 266 00:14:53,120 --> 00:14:55,960 Speaker 4: For sure, but what is clear is that Lalupe was 267 00:14:56,040 --> 00:14:59,920 Speaker 4: not okay with being censored. He's got Lupe's testimony. 268 00:15:00,760 --> 00:15:01,920 Speaker 9: Yeah, you mean, listen to you. 269 00:15:10,200 --> 00:15:13,040 Speaker 3: So in nineteen sixty one, Fel Castro's people come to 270 00:15:13,080 --> 00:15:15,640 Speaker 3: her on his behalf, saying that she was taking away 271 00:15:15,640 --> 00:15:19,240 Speaker 3: from his spotlight. So for then essentially kicks her out, 272 00:15:19,720 --> 00:15:22,360 Speaker 3: and then she plans a concert in Mexico, and from 273 00:15:22,440 --> 00:15:25,800 Speaker 3: Mexico hits New York City. She basically plotted her own 274 00:15:25,880 --> 00:15:26,760 Speaker 3: escape to the US. 275 00:15:26,880 --> 00:15:30,240 Speaker 4: No, I mean, her very livelihood was at stake, and 276 00:15:30,320 --> 00:15:33,240 Speaker 4: she knew she was born to be a performer. So 277 00:15:33,240 --> 00:15:35,240 Speaker 4: she goes where any young star would want to go 278 00:15:35,520 --> 00:15:37,440 Speaker 4: to make it in the Latin music industry. 279 00:15:38,160 --> 00:15:41,240 Speaker 3: I mean, obviously it's a good time for Latin music 280 00:15:41,280 --> 00:15:41,760 Speaker 3: in New York. 281 00:15:42,880 --> 00:15:45,680 Speaker 2: The mambo craze. New York was on fire. 282 00:15:46,120 --> 00:15:49,840 Speaker 3: The Palladium Ballroom, there was Machito and the Afro Cubans 283 00:15:49,880 --> 00:15:53,080 Speaker 3: and the fluffy shirts like it was the place to be. 284 00:15:53,760 --> 00:15:57,800 Speaker 4: Absolutely, So this is the era between mambo and salsa. 285 00:15:57,920 --> 00:16:01,720 Speaker 4: When Lalupe did Beaver, she situated herself in this emerging 286 00:16:01,800 --> 00:16:05,680 Speaker 4: Afro LATINX music genre made by first and second generation 287 00:16:05,920 --> 00:16:09,680 Speaker 4: immigrants from the Caribbean. They were mixing Afrocuban rhythms with 288 00:16:09,800 --> 00:16:13,160 Speaker 4: soul music and bebop and rock and roll, and La 289 00:16:13,200 --> 00:16:16,280 Speaker 4: Loupe was really one of the only women in this mix. 290 00:16:16,520 --> 00:16:20,160 Speaker 3: And that basically became known as boogaloo, which was born 291 00:16:20,200 --> 00:16:22,320 Speaker 3: in New York City. It's like you said, it's the 292 00:16:22,360 --> 00:16:25,440 Speaker 3: marriage of sounds that their parents were listening to with 293 00:16:25,520 --> 00:16:27,680 Speaker 3: the sounds that they were hearing on the radio. 294 00:16:28,240 --> 00:16:29,760 Speaker 4: Right now, here's Ja Dell again. 295 00:16:31,240 --> 00:16:33,720 Speaker 8: So that's part of her musical genius is that she 296 00:16:34,680 --> 00:16:39,040 Speaker 8: started to create musical arrangements that you could say are polyrhythmic, 297 00:16:39,600 --> 00:16:42,600 Speaker 8: and she's putting them into sounds that you hear with 298 00:16:42,680 --> 00:16:46,120 Speaker 8: like R and B and pop music and soul music, 299 00:16:46,520 --> 00:16:48,360 Speaker 8: and she's making it her own. 300 00:16:48,760 --> 00:16:51,840 Speaker 3: So it really was perfect timing Fever comes out amidst 301 00:16:51,840 --> 00:16:54,480 Speaker 3: the Boogaloo craze, so she's kind of set for success. 302 00:16:55,000 --> 00:16:56,840 Speaker 3: Did she know anybody when she got to New York City? 303 00:16:57,320 --> 00:16:59,840 Speaker 4: Well, when she gets to town, the Afrocuban p C 304 00:17:00,480 --> 00:17:02,840 Speaker 4: Mongo Santa Maria was one of the first people she 305 00:17:02,920 --> 00:17:03,400 Speaker 4: worked with. 306 00:17:04,040 --> 00:17:06,119 Speaker 2: Mango is a huge deal. He did a lot of 307 00:17:06,200 --> 00:17:08,240 Speaker 2: Latin jazz and booloo, right. 308 00:17:08,119 --> 00:17:10,800 Speaker 4: And the first record La Loupe Records in exile is 309 00:17:10,840 --> 00:17:16,959 Speaker 4: with him. It's called Mongo Santa Maria introduces La Lupe. 310 00:17:20,200 --> 00:17:23,600 Speaker 3: Super creative and that album does it kind of cement 311 00:17:23,640 --> 00:17:24,480 Speaker 3: her in New York City. 312 00:17:24,840 --> 00:17:28,040 Speaker 4: Yes, but there's more. There's another man who's a really 313 00:17:28,119 --> 00:17:31,360 Speaker 4: important character in La Lupez story. I know you know him. 314 00:17:31,520 --> 00:17:39,480 Speaker 4: He's like the most famous Latin percussionist ever, let me guess, obviously. 315 00:17:40,040 --> 00:17:42,679 Speaker 4: So she signs with Tico Records, and Tito and La 316 00:17:42,720 --> 00:17:47,960 Speaker 4: Loupe recorded several albums together, including the famous nineteen sixty 317 00:17:48,000 --> 00:17:52,480 Speaker 4: five Tito Swings and the Exciting Lupe Sings. It included 318 00:17:52,520 --> 00:17:55,760 Speaker 4: one of her biggest hits, the bolero Tepeti. 319 00:18:00,880 --> 00:18:01,359 Speaker 5: I know what. 320 00:18:01,840 --> 00:18:06,760 Speaker 7: In Puerto Rico, we had a saying Queta peli and 321 00:18:06,880 --> 00:18:10,040 Speaker 7: it was because Gueta Peri was on the radio. We 322 00:18:10,240 --> 00:18:12,560 Speaker 7: changed one station to the other end. It was Queta 323 00:18:12,560 --> 00:18:14,520 Speaker 7: Pelli and Queta Pelei and Queta Peli. 324 00:18:15,200 --> 00:18:17,879 Speaker 4: You remember Juan well, he heard that song on the 325 00:18:17,960 --> 00:18:20,800 Speaker 4: radio all the time. In Puerto Rico, I mean understandable. 326 00:18:21,200 --> 00:18:24,080 Speaker 2: Also one of my favorite songs mine too. 327 00:18:25,480 --> 00:18:30,359 Speaker 4: So together with La Loupe, all these Folksta Maria, Johnny 328 00:18:30,400 --> 00:18:34,520 Speaker 4: Pacheco were solidifying a New York Caribbean diasporic. 329 00:18:34,000 --> 00:18:37,040 Speaker 3: Sound, right, because this is also the time that Fania 330 00:18:37,160 --> 00:18:40,679 Speaker 3: Records is getting going. You mentioned Johnny Pacheco, and so 331 00:18:41,040 --> 00:18:43,960 Speaker 3: just for those who don't know, Fania was the motown 332 00:18:44,040 --> 00:18:47,120 Speaker 3: of Satasa and they were just getting started in the sixties. 333 00:18:47,640 --> 00:18:49,920 Speaker 3: This is a really exciting time for Latin music in 334 00:18:50,000 --> 00:18:52,760 Speaker 3: New York. Plus, we mentioned soul music was really hot 335 00:18:52,800 --> 00:18:55,000 Speaker 3: in the sixties. That's why they called her the Queen 336 00:18:55,000 --> 00:18:58,640 Speaker 3: of Latin Soul, right, Yes, and no part. 337 00:18:58,480 --> 00:19:01,080 Speaker 4: Of it was a marketing strategy to Cell Records, But 338 00:19:01,160 --> 00:19:04,560 Speaker 4: La Loupe was also really inspired by other black artists 339 00:19:04,600 --> 00:19:06,359 Speaker 4: even before she came to the US. 340 00:19:06,600 --> 00:19:07,919 Speaker 3: I mean you can hear it in her voice, how 341 00:19:07,960 --> 00:19:11,560 Speaker 3: she crosses genres. La Lupe's vocal style definitely reminds me 342 00:19:11,640 --> 00:19:13,680 Speaker 3: of Aretha Franklin her Nina Simona. 343 00:19:13,480 --> 00:19:23,040 Speaker 4: Jo the power. Can you hear that? But what's missing 344 00:19:23,080 --> 00:19:25,800 Speaker 4: here is how La Loupe was not just admired by 345 00:19:25,840 --> 00:19:29,760 Speaker 4: the Latin music scene, but because of her ties with 346 00:19:29,800 --> 00:19:32,760 Speaker 4: the cabarets and the soul music at the time, African 347 00:19:32,800 --> 00:19:35,720 Speaker 4: Americans and queer communities also. 348 00:19:35,560 --> 00:19:39,119 Speaker 3: Loved La Loupe. So La Lupe really found her niche 349 00:19:39,119 --> 00:19:39,640 Speaker 3: in New York. 350 00:19:40,080 --> 00:19:43,880 Speaker 4: Yeah, I mean she was thriving. She performed at Carnegie Hall, 351 00:19:44,160 --> 00:19:46,560 Speaker 4: and she was even one of the headliners at a 352 00:19:46,600 --> 00:19:49,800 Speaker 4: show at Madison Square Garden. She was also performing on 353 00:19:49,880 --> 00:19:51,840 Speaker 4: late night shows in her style. 354 00:19:51,960 --> 00:19:55,440 Speaker 7: Has been described as sex, fire, soul, and voodoo. 355 00:19:55,560 --> 00:19:58,080 Speaker 4: She was really breaking boundaries, welcome for the. 356 00:19:58,080 --> 00:20:00,000 Speaker 9: First time on our show. 357 00:20:01,520 --> 00:20:03,879 Speaker 3: This description of her performance style is from one of 358 00:20:03,880 --> 00:20:06,480 Speaker 3: those late night shows, The Mike Douglas Show. 359 00:20:06,920 --> 00:20:09,640 Speaker 4: But even while her career is really building on itself, 360 00:20:09,880 --> 00:20:12,760 Speaker 4: she was dealing with some really difficult things in her 361 00:20:12,760 --> 00:20:16,800 Speaker 4: personal life, starting with her second husband, Billy Garcia. Here's 362 00:20:16,840 --> 00:20:19,280 Speaker 4: one again who wrote the biography on La Lupit. 363 00:20:19,359 --> 00:20:25,560 Speaker 7: Really was a drug addic and was schizophrenic, and Lupe 364 00:20:25,640 --> 00:20:31,080 Speaker 7: will take care of that man like loving wife would, 365 00:20:31,400 --> 00:20:35,679 Speaker 7: and she will be going nuts over what really may 366 00:20:35,720 --> 00:20:36,440 Speaker 7: could go through. 367 00:20:36,920 --> 00:20:39,679 Speaker 4: Well, around this time, she starts getting this reputation of 368 00:20:39,720 --> 00:20:43,160 Speaker 4: being kind of a difficult person to manage and hard 369 00:20:43,240 --> 00:20:46,160 Speaker 4: to work with because of her personal circumstances, and this 370 00:20:46,200 --> 00:20:48,240 Speaker 4: is when the rumors start to really mount. 371 00:20:48,480 --> 00:20:53,080 Speaker 7: People believe that she was using drugs. Nobody care about asking. 372 00:20:53,680 --> 00:20:56,280 Speaker 3: Rumors like that are a game of telephone. They just 373 00:20:56,359 --> 00:21:00,679 Speaker 3: keep getting perpetuated without anybody checking the facts. I remember 374 00:21:00,720 --> 00:21:03,880 Speaker 3: she also parted ways professionally with Tito in the late 375 00:21:03,960 --> 00:21:07,280 Speaker 3: nineteen sixties. They even immortalized it in the song orient 376 00:21:14,200 --> 00:21:17,719 Speaker 3: and not to mention that his new singer was the 377 00:21:17,760 --> 00:21:19,560 Speaker 3: one and only Celia Cruz. 378 00:21:20,040 --> 00:21:25,320 Speaker 4: La Rena herself. So Lalupe has hit a low point 379 00:21:25,480 --> 00:21:28,680 Speaker 4: and because of everything that's happening around her, they only 380 00:21:28,720 --> 00:21:30,600 Speaker 4: put fire to the rumors that have started. 381 00:21:32,920 --> 00:21:35,600 Speaker 3: Let's continue with the next chapter of La Loupe's life 382 00:21:35,640 --> 00:21:38,200 Speaker 3: and start debunking some of these myths. After the break, 383 00:21:38,800 --> 00:23:08,119 Speaker 3: stay with us. 384 00:22:32,680 --> 00:22:35,080 Speaker 2: Hey, we're back. I'm producer Ginnie Montaro. 385 00:22:35,400 --> 00:22:39,199 Speaker 3: And before the break, Latino USA fellow Andrew Vignalis was 386 00:22:39,359 --> 00:22:41,480 Speaker 3: just getting into what was happening behind the scenes of 387 00:22:41,560 --> 00:22:43,800 Speaker 3: La Loupe's life. That led to a lot of the 388 00:22:43,840 --> 00:22:47,360 Speaker 3: speculations and rumors around her that tarnished her legacy. 389 00:22:48,720 --> 00:22:51,400 Speaker 4: The myths has started to spread and she's got all 390 00:22:51,520 --> 00:22:55,240 Speaker 4: this personal stuff going on Despite all of that, La 391 00:22:55,359 --> 00:22:58,720 Speaker 4: Lupe was still popular throughout the seventies. She went the 392 00:22:58,760 --> 00:23:01,840 Speaker 4: lead role in a Broadway mute, the opposite Rau Julia 393 00:23:01,960 --> 00:23:05,639 Speaker 4: and Shakespeare's adaptation of Two Gentlemen of Arona, and she 394 00:23:05,800 --> 00:23:07,760 Speaker 4: was frequently on tour in Latin America. 395 00:23:07,840 --> 00:23:10,679 Speaker 3: Wow, I didn't know she did a musical, but even so, 396 00:23:11,080 --> 00:23:12,040 Speaker 3: people keep talking. 397 00:23:12,359 --> 00:23:16,280 Speaker 4: There were other rumors involving another Afro Cuban legendary singer. 398 00:23:16,200 --> 00:23:19,000 Speaker 3: Celia Cruz, who replaced her in the Dida Buente Orchestra, 399 00:23:19,080 --> 00:23:19,800 Speaker 3: Celia Cruz. 400 00:23:20,080 --> 00:23:23,080 Speaker 4: Yep Lupe said something to a reporter about Celia's husband 401 00:23:23,320 --> 00:23:24,480 Speaker 4: that kind of offended her. 402 00:23:24,800 --> 00:23:27,359 Speaker 2: No kidding, but that's not true. I thought they were friends. 403 00:23:27,560 --> 00:23:30,320 Speaker 4: It's hard to verify that info, right. What we do 404 00:23:30,440 --> 00:23:33,880 Speaker 4: know is that Fania monopolized the Latin music industry by 405 00:23:33,920 --> 00:23:35,840 Speaker 4: acquiring all these other Latin. 406 00:23:35,640 --> 00:23:39,840 Speaker 3: Labels, right, So like in nineteen seventy four, it was 407 00:23:39,880 --> 00:23:43,359 Speaker 3: when Fania acquired Dico, which was the record label that 408 00:23:43,480 --> 00:23:46,720 Speaker 3: La Lupe signed with, and Allegre, which was another record label. 409 00:23:47,119 --> 00:23:50,440 Speaker 3: So basically that meant that Fania had every important Latin 410 00:23:50,480 --> 00:23:53,320 Speaker 3: player in the city on their label, including now La 411 00:23:53,400 --> 00:23:56,720 Speaker 3: Lupe and the one and only Celia Cruz, but only 412 00:23:56,800 --> 00:23:59,159 Speaker 3: one was with the All Stars, which we know is 413 00:23:59,200 --> 00:23:59,919 Speaker 3: Celia Cruz. 414 00:24:00,200 --> 00:24:01,639 Speaker 2: Do you know what the deal was behind that? 415 00:24:02,080 --> 00:24:04,840 Speaker 4: So Celia was coming into the scene, and according to Juan, 416 00:24:05,080 --> 00:24:07,760 Speaker 4: who was friends with Sailor, she was easier to market 417 00:24:08,080 --> 00:24:12,679 Speaker 4: and manage than Lupet because of her personality and personal circumstances. 418 00:24:12,920 --> 00:24:15,640 Speaker 3: I've heard that Jerry Masucci, the owner of Fania, wasn't 419 00:24:15,680 --> 00:24:17,920 Speaker 3: too interested in taking l Lupe under their management. 420 00:24:18,320 --> 00:24:22,480 Speaker 4: They were technically contractually obligated to work on some new records, 421 00:24:22,520 --> 00:24:25,199 Speaker 4: but they never really put any support for that. They 422 00:24:25,200 --> 00:24:27,560 Speaker 4: were too busy with the salsa scene, and La Lupe 423 00:24:27,800 --> 00:24:31,560 Speaker 4: was pushed away. Here's one again. 424 00:24:32,000 --> 00:24:36,159 Speaker 7: When Finia became the thing, Lupe's music was no longer 425 00:24:36,840 --> 00:24:41,399 Speaker 7: sounds was the thing that people dance. Lupe was the 426 00:24:41,480 --> 00:24:45,760 Speaker 7: thing that people listened to. It was a different feeling. 427 00:24:46,160 --> 00:24:48,480 Speaker 7: So the world changed. 428 00:24:48,880 --> 00:24:51,320 Speaker 3: Right, which is something that happens a lot. As musical 429 00:24:51,359 --> 00:24:54,800 Speaker 3: tastes changed, sometimes artists or even full genres get left behind. 430 00:24:55,400 --> 00:24:58,639 Speaker 4: Exactly. So, since Finia didn't really work to support or 431 00:24:58,720 --> 00:25:02,240 Speaker 4: promo La Lupe didn't really bother with her anymore. And 432 00:25:02,280 --> 00:25:04,120 Speaker 4: this is true to a lot of acts in bugoloo 433 00:25:04,200 --> 00:25:06,880 Speaker 4: music that catered to the New York community. They were 434 00:25:06,880 --> 00:25:07,600 Speaker 4: cast it out. 435 00:25:07,840 --> 00:25:09,760 Speaker 3: It's a bummer. But like one said, you know, like 436 00:25:09,880 --> 00:25:12,560 Speaker 3: times were changing. So I'm wondering, I mean, what did 437 00:25:12,560 --> 00:25:13,960 Speaker 3: she do to adapt well? 438 00:25:14,040 --> 00:25:17,560 Speaker 4: She goes back to her roots. Remember she was inspired 439 00:25:17,600 --> 00:25:21,560 Speaker 4: by comparasas and blues and cabarets. She moved on because 440 00:25:21,600 --> 00:25:26,120 Speaker 4: she kind of had to. Here's a Lucas testimony again. 441 00:25:32,240 --> 00:25:37,399 Speaker 2: Utena sinkmin coo cool cool. 442 00:25:37,640 --> 00:25:41,280 Speaker 3: It's nineteen seventy five and she's doing pretty well for herself. 443 00:25:41,920 --> 00:25:45,240 Speaker 3: Twenty five gold records, the word to fill up three windows, 444 00:25:45,280 --> 00:25:47,640 Speaker 3: five leather coats, five cars. 445 00:25:50,440 --> 00:25:54,480 Speaker 9: Ga wow. 446 00:25:54,520 --> 00:25:56,760 Speaker 2: But she was unhappy. She felt empty. 447 00:25:57,400 --> 00:26:00,040 Speaker 4: La Lupez suffered from depression and while things were on 448 00:26:00,119 --> 00:26:02,719 Speaker 4: the up and up, she was struggling. And in the 449 00:26:02,760 --> 00:26:04,920 Speaker 4: Bronx things are even more difficult for her. 450 00:26:06,440 --> 00:26:09,680 Speaker 3: This time period is particularly difficult in the Bronx in general. 451 00:26:10,040 --> 00:26:12,640 Speaker 3: The seventies is the time with the Bronx Fires, where 452 00:26:12,640 --> 00:26:15,080 Speaker 3: they purposely set the buildings on fire to drive out 453 00:26:15,119 --> 00:26:18,200 Speaker 3: the poor people. A large part of the South Bronx 454 00:26:18,240 --> 00:26:20,960 Speaker 3: was burned or abandoned between nineteen seventy and nineteen eighty 455 00:26:21,920 --> 00:26:22,360 Speaker 3: right she. 456 00:26:22,440 --> 00:26:25,680 Speaker 4: Was living in the poorest congressional district in the country. 457 00:26:25,880 --> 00:26:28,919 Speaker 4: La Lupe was experiencing all kinds of pressure from the 458 00:26:29,000 --> 00:26:32,120 Speaker 4: record companies, to her fans, to her family. By now 459 00:26:32,200 --> 00:26:34,920 Speaker 4: she had two kids. She had a lot to deal 460 00:26:34,960 --> 00:26:37,200 Speaker 4: with and a lot of stress in her life. 461 00:26:37,600 --> 00:26:41,680 Speaker 3: It's such a bummer that women continue to get labeled 462 00:26:41,960 --> 00:26:46,720 Speaker 3: certain ways when things get complicated, like you really don't 463 00:26:46,720 --> 00:26:50,040 Speaker 3: know what people are going through, or you know, performance 464 00:26:50,080 --> 00:26:53,200 Speaker 3: styles or what have you, and it's easier to label 465 00:26:53,240 --> 00:26:56,080 Speaker 3: someone as difficult than it is to really dig and 466 00:26:56,119 --> 00:26:57,879 Speaker 3: see what's going on behind the curtain. 467 00:26:58,520 --> 00:27:01,679 Speaker 4: But even so, she's still performing and has a huge 468 00:27:01,760 --> 00:27:04,520 Speaker 4: following with a queer community and in local shows at 469 00:27:04,520 --> 00:27:09,080 Speaker 4: Theocle Puerto Rico. She starts performing at avant garde clubs 470 00:27:09,080 --> 00:27:11,320 Speaker 4: on the Lower East Side in Escualita, which is this 471 00:27:11,520 --> 00:27:16,000 Speaker 4: iconic gay club we mentioned earlier. But sadly, there are 472 00:27:16,000 --> 00:27:19,480 Speaker 4: a few tragic events that happened to her. First, she's 473 00:27:19,520 --> 00:27:23,240 Speaker 4: partially paralyzed after falling from hanging curtains in nineteen eighty four. 474 00:27:23,920 --> 00:27:28,560 Speaker 4: Then there's an electrical fire in her apartment. The losses 475 00:27:28,560 --> 00:27:31,320 Speaker 4: were pretty bad, so bad that she hosts a benefit 476 00:27:31,359 --> 00:27:34,160 Speaker 4: concert and her old friends like Tito Puente and Mongo 477 00:27:34,200 --> 00:27:38,120 Speaker 4: Santa Maria show up. Here'sente performing with her at Club 478 00:27:38,160 --> 00:27:39,560 Speaker 4: Broadway in nineteen eighty six. 479 00:27:41,720 --> 00:27:42,800 Speaker 7: Isaa O. 480 00:27:47,680 --> 00:27:48,000 Speaker 2: For love. 481 00:27:48,040 --> 00:27:53,639 Speaker 3: Watching in these old archival videos, I remember seeing a 482 00:27:53,680 --> 00:27:56,760 Speaker 3: quote by Tito and Juan's biography here it is read 483 00:27:56,760 --> 00:27:59,960 Speaker 3: by another percussionist and educator from the Bronx, the One 484 00:28:00,080 --> 00:28:01,440 Speaker 3: and Only Bobby's Sinnatria. 485 00:28:01,560 --> 00:28:03,840 Speaker 10: With all that has been said about La Lupe, she 486 00:28:04,000 --> 00:28:07,119 Speaker 10: was also a very humble and unpretentious woman. She was 487 00:28:07,160 --> 00:28:10,320 Speaker 10: an incredible talent, and she could be difficult, but she 488 00:28:10,359 --> 00:28:12,520 Speaker 10: had a tremendous sense of humor and was one of 489 00:28:12,560 --> 00:28:15,240 Speaker 10: the most talented people I have ever met in my life. 490 00:28:16,720 --> 00:28:19,320 Speaker 4: This performance was the last time they ever performed together. 491 00:28:20,040 --> 00:28:22,280 Speaker 4: Because of all of her hardships, she is taken in 492 00:28:22,320 --> 00:28:25,119 Speaker 4: by the Christian community in the neighborhood and becomes a minister. 493 00:28:25,680 --> 00:28:27,840 Speaker 4: She has a heart attack in nineteen ninety two. She 494 00:28:28,000 --> 00:28:30,840 Speaker 4: was only fifty five years old at the time she died. 495 00:28:31,480 --> 00:28:32,480 Speaker 2: That's so young. 496 00:28:33,560 --> 00:28:36,600 Speaker 3: I've lived in New York for about fifteen years now, 497 00:28:36,680 --> 00:28:39,680 Speaker 3: and I feel like she's still very present. But it's 498 00:28:39,760 --> 00:28:43,840 Speaker 3: kind of like those who know know, so I guess 499 00:28:44,040 --> 00:28:47,000 Speaker 3: you know all the sensational stuff, the myths, and you 500 00:28:47,000 --> 00:28:49,240 Speaker 3: know her characterization as a diva. 501 00:28:49,720 --> 00:28:51,680 Speaker 2: It's sad that that's what sticks, right. 502 00:28:52,480 --> 00:28:54,800 Speaker 4: So there are a couple of reasons why these myths 503 00:28:54,840 --> 00:28:58,200 Speaker 4: are everlasting. Juan, who wrote the biography The Mystifying a 504 00:28:58,240 --> 00:29:01,640 Speaker 4: Diva who we met earlier, thought these stereotypes were an 505 00:29:01,680 --> 00:29:03,800 Speaker 4: easy way to explain a complicated woman. 506 00:29:04,120 --> 00:29:10,120 Speaker 7: Balupo was a myth. Daloupe was something fantastic, extraordinary, and 507 00:29:10,200 --> 00:29:14,160 Speaker 7: people in order to explain her, they have to invent 508 00:29:14,560 --> 00:29:15,920 Speaker 7: extraordinary stuff. 509 00:29:16,560 --> 00:29:19,000 Speaker 4: And I think that's part of the story. But another 510 00:29:19,040 --> 00:29:21,960 Speaker 4: part is her alleged drug use and how that rumor 511 00:29:22,080 --> 00:29:25,160 Speaker 4: was fueled by where she lived and the easiest stereotype 512 00:29:25,160 --> 00:29:28,400 Speaker 4: of the Afro Latina living in the Bronx at the time. 513 00:29:29,000 --> 00:29:31,320 Speaker 4: At the end of her life, she was unwelfare and 514 00:29:31,440 --> 00:29:34,840 Speaker 4: she fits this easy stereotype narrative. But often, as you 515 00:29:34,920 --> 00:29:38,240 Speaker 4: and I know, these stereotypes aren't true exactly. 516 00:29:38,400 --> 00:29:40,840 Speaker 3: It's easy to stereotype, but people don't want to put 517 00:29:40,840 --> 00:29:43,200 Speaker 3: in the work to find out the truth, you know. 518 00:29:43,240 --> 00:29:45,160 Speaker 3: I also think it's an interesting point that a lot 519 00:29:45,200 --> 00:29:48,880 Speaker 3: of times people can't separate the performer from the person exactly. 520 00:29:49,280 --> 00:29:52,160 Speaker 4: This really goes back to her performance style. Remember she's 521 00:29:52,200 --> 00:29:55,760 Speaker 4: throwing bangles and clothes, and she would do things that 522 00:29:55,800 --> 00:29:59,080 Speaker 4: were dramatic and people would say that she was possessed. 523 00:29:59,520 --> 00:30:02,760 Speaker 4: Here's the again, the artist, scholar, performer. 524 00:30:03,360 --> 00:30:06,080 Speaker 8: She would get phrenetic and she would her eyes would 525 00:30:06,120 --> 00:30:09,160 Speaker 8: roll back in her head and she would start, you know, 526 00:30:09,640 --> 00:30:12,880 Speaker 8: really moving the energy through her body. 527 00:30:13,040 --> 00:30:15,520 Speaker 6: These are embodied practices. 528 00:30:15,320 --> 00:30:18,560 Speaker 4: And because she was associated with Santeria, it was an 529 00:30:18,560 --> 00:30:21,360 Speaker 4: easy narrative to call her possessed on stage. 530 00:30:21,800 --> 00:30:23,720 Speaker 3: So for people who don't know, can you give us, 531 00:30:23,760 --> 00:30:26,480 Speaker 3: like a cliffsnote version of what Santaria is La. 532 00:30:26,480 --> 00:30:31,600 Speaker 4: Lu Bit practice Santharia Santeria is an Afrocuban religion with 533 00:30:31,680 --> 00:30:35,360 Speaker 4: its foundation in Yoruba philosophy and cosmology. Part of the 534 00:30:35,400 --> 00:30:37,920 Speaker 4: practice is music and dance as a way to heal 535 00:30:38,000 --> 00:30:41,760 Speaker 4: and communicate with Risha's like yeah Maya or Ochun or chango. 536 00:30:42,640 --> 00:30:45,240 Speaker 4: But in a nutshell, La Lupe was really proud of 537 00:30:45,280 --> 00:30:48,520 Speaker 4: her religion and at the time the religion continued to 538 00:30:48,520 --> 00:30:52,120 Speaker 4: be hidden, but it was still stigmatized because of her 539 00:30:52,400 --> 00:30:56,000 Speaker 4: positionality as a black woman doing these things and an 540 00:30:56,040 --> 00:30:58,760 Speaker 4: actual practitioner, it gets used against her. 541 00:30:59,160 --> 00:31:01,720 Speaker 3: And again, if it's something that people don't understand, they 542 00:31:01,760 --> 00:31:03,000 Speaker 3: automatically get labeled. 543 00:31:06,560 --> 00:31:10,040 Speaker 4: Exactly here's Rainbow Garcia again Lalupa's. 544 00:31:09,600 --> 00:31:15,640 Speaker 5: Daughter Lalupe La La Lupe in a stage e Tea 545 00:31:15,760 --> 00:31:18,800 Speaker 5: said parasu publico Luasilla. 546 00:31:19,120 --> 00:31:20,360 Speaker 2: That's such a good point. 547 00:31:20,480 --> 00:31:23,560 Speaker 3: There was Lalupe for the stage, and she did what 548 00:31:23,600 --> 00:31:25,400 Speaker 3: she had to do for her public. And like I 549 00:31:25,400 --> 00:31:28,400 Speaker 3: said earlier, if you don't understand something, it's just easier 550 00:31:28,400 --> 00:31:31,240 Speaker 3: to say, oh, she's on drugs, especially during the seventies 551 00:31:31,240 --> 00:31:33,760 Speaker 3: in New York City where that was the thing in 552 00:31:33,800 --> 00:31:35,280 Speaker 3: the music industry. 553 00:31:35,440 --> 00:31:38,120 Speaker 4: And the drug use was largely celebrated. 554 00:31:38,680 --> 00:31:41,280 Speaker 3: People like Ector Lavo, the like the really famous Sizza 555 00:31:41,320 --> 00:31:46,400 Speaker 3: singer from the seventies, has this reputation. He was a 556 00:31:46,440 --> 00:31:50,640 Speaker 3: known drug user, He was with many women and had 557 00:31:50,720 --> 00:31:53,800 Speaker 3: lots of issues in his professional career because of the 558 00:31:53,880 --> 00:31:57,720 Speaker 3: drug use. But he's like largely celebrated in Santi Ficado 559 00:31:57,840 --> 00:32:02,200 Speaker 3: despite all of this. But with Lalupa, who people think 560 00:32:02,360 --> 00:32:05,960 Speaker 3: was on drugs, who is possibly was not the case, 561 00:32:06,480 --> 00:32:09,720 Speaker 3: and you have her painted in this really different light 562 00:32:09,800 --> 00:32:11,880 Speaker 3: and it just kind of goes to show like The 563 00:32:12,000 --> 00:32:17,280 Speaker 3: Machismo in the general sense of how we remember. 564 00:32:17,000 --> 00:32:19,800 Speaker 2: People, and I think that's really unfortunate. 565 00:32:19,600 --> 00:32:23,280 Speaker 4: And she's receiving all these negative stereotypes against her. She's 566 00:32:23,320 --> 00:32:26,200 Speaker 4: from the Bronx, she's a black woman, she's lost everything. 567 00:32:26,480 --> 00:32:28,440 Speaker 4: It didn't land on her the same way it landed 568 00:32:28,480 --> 00:32:29,320 Speaker 4: on Elector Lavox. 569 00:32:29,720 --> 00:32:32,240 Speaker 3: Sort of feels like La Lupe is getting targeted in 570 00:32:32,280 --> 00:32:34,200 Speaker 3: her memory and her legacy. 571 00:32:34,080 --> 00:32:35,840 Speaker 4: Exactly here's Juan again. 572 00:32:36,280 --> 00:32:40,520 Speaker 7: She deserved to be remembered for what she was and 573 00:32:40,680 --> 00:32:43,320 Speaker 7: not as a drug addict, because she was not. 574 00:32:45,400 --> 00:32:49,600 Speaker 4: Her daughter. Rainbow denies any drug use. In fact, everyone 575 00:32:49,640 --> 00:32:52,320 Speaker 4: I spoke to while reporting the story said La Lupe 576 00:32:52,400 --> 00:32:56,000 Speaker 4: wasn't using drugs, and frankly, Rainbow believes that there are 577 00:32:56,080 --> 00:32:59,760 Speaker 4: way too many stories about her mom's mischaracterization that she 578 00:33:00,240 --> 00:33:03,280 Speaker 4: didn't want to talk about it. She said that there 579 00:33:03,360 --> 00:33:05,800 Speaker 4: was more things about La Lupe that should be talked 580 00:33:05,840 --> 00:33:07,360 Speaker 4: about than this stereotype. 581 00:33:08,200 --> 00:33:08,480 Speaker 2: He used. 582 00:33:08,520 --> 00:33:15,480 Speaker 5: Rainbow again, I encourage people getso Ala Brenza. 583 00:33:15,720 --> 00:33:18,000 Speaker 4: She says that she encourages people to not pay so 584 00:33:18,080 --> 00:33:20,680 Speaker 4: much attention to media that has been made about her 585 00:33:20,720 --> 00:33:24,520 Speaker 4: mom without her family's permissioners. 586 00:33:24,560 --> 00:33:29,160 Speaker 5: So I understand that she's a public figure. 587 00:33:30,280 --> 00:33:30,800 Speaker 2: She's right. 588 00:33:30,920 --> 00:33:32,480 Speaker 3: A lot of times people think that they can just 589 00:33:32,480 --> 00:33:34,520 Speaker 3: say whatever because somebody is a public figure. 590 00:33:35,000 --> 00:33:36,600 Speaker 2: But it's important to do it with the respect. 591 00:33:37,120 --> 00:33:40,000 Speaker 4: Yes, and people in my community are doing the work 592 00:33:40,000 --> 00:33:42,800 Speaker 4: to tell lalupez story with the grace and nuance that 593 00:33:42,880 --> 00:33:45,640 Speaker 4: she deserves. Where I grew up in the Bronx, I 594 00:33:45,680 --> 00:33:48,480 Speaker 4: remember feeling like La Lupe was loved and revered by 595 00:33:48,520 --> 00:33:51,600 Speaker 4: everyone in my community. It's funny because when I was 596 00:33:51,600 --> 00:33:54,720 Speaker 4: on Laalupe Way with Lupe's daughter Rainbow. 597 00:33:55,320 --> 00:33:57,000 Speaker 6: Her thirtieth anniversary that. 598 00:33:58,800 --> 00:34:02,120 Speaker 4: It happened to be close to thirty years since Lalupe died, 599 00:34:02,520 --> 00:34:04,880 Speaker 4: and as we were standing there sharing memories of her mother, 600 00:34:05,680 --> 00:34:10,240 Speaker 4: people on the block recognized Rainboat Mana and started sharing 601 00:34:10,239 --> 00:34:15,959 Speaker 4: their own memories. Mama see see cimprek yim. 602 00:34:16,680 --> 00:34:18,720 Speaker 2: I listened to her. It's so amazing. 603 00:34:19,160 --> 00:34:19,720 Speaker 5: Don't cry. 604 00:34:19,920 --> 00:34:22,240 Speaker 6: I'm not gonna cry, but that was my girl. 605 00:34:22,600 --> 00:34:25,560 Speaker 4: She made a lot of music. Then they started singing. 606 00:34:28,520 --> 00:34:29,120 Speaker 5: Jo so. 607 00:34:43,680 --> 00:34:46,240 Speaker 2: I love, I love love love. 608 00:34:47,040 --> 00:34:51,920 Speaker 3: How people loved and respected her and they have so 609 00:34:52,160 --> 00:34:55,480 Speaker 3: many beautiful memories. That really says a lot about who 610 00:34:55,560 --> 00:34:58,600 Speaker 3: she was and how it respected she was and how 611 00:34:58,640 --> 00:35:00,719 Speaker 3: important she was to the communities. 612 00:35:01,920 --> 00:35:05,200 Speaker 4: You know, Rainbow was apprehensive even to talk to us. 613 00:35:05,560 --> 00:35:08,279 Speaker 4: So when she finally did on the Loupe Way, the 614 00:35:08,480 --> 00:35:11,360 Speaker 4: very first thing Rainbow told me was that she was 615 00:35:11,560 --> 00:35:15,040 Speaker 4: just a normal person Eda Komika. 616 00:35:23,520 --> 00:35:26,719 Speaker 2: She's just like anyone else. Funny, they laughed a lot. 617 00:35:26,880 --> 00:35:30,080 Speaker 3: She was a char latang who liked animals like literally 618 00:35:30,160 --> 00:35:31,239 Speaker 3: could be your neighbor. 619 00:35:31,239 --> 00:35:33,759 Speaker 4: And she was a neighbor. And the truth is, she 620 00:35:33,880 --> 00:35:37,080 Speaker 4: reminds me of my family, and Rainbow and I shared 621 00:35:37,120 --> 00:35:40,239 Speaker 4: a very special moment together. She agreed to talk to 622 00:35:40,280 --> 00:35:42,040 Speaker 4: me when I made it clear that we wanted to 623 00:35:42,080 --> 00:35:45,840 Speaker 4: include her in our series about Hennias and music, because 624 00:35:45,880 --> 00:35:48,520 Speaker 4: her mom deserves to be remembered for who she was. 625 00:35:48,960 --> 00:35:52,839 Speaker 4: A musical genius who was composing her own music, advancing 626 00:35:52,920 --> 00:35:56,160 Speaker 4: black musical genres in Cuba and in the US, but 627 00:35:56,320 --> 00:35:59,080 Speaker 4: also someone who was described by those who knew her 628 00:35:59,120 --> 00:36:03,440 Speaker 4: as an incredibly giving person, a spiritual leader, an active 629 00:36:03,440 --> 00:36:04,480 Speaker 4: member of her community. 630 00:36:04,640 --> 00:36:05,840 Speaker 5: But done. 631 00:36:07,960 --> 00:36:08,960 Speaker 6: A ya stand out. 632 00:36:12,360 --> 00:36:15,360 Speaker 3: She was a character even though she wanted to be normal, 633 00:36:15,520 --> 00:36:18,880 Speaker 3: she still stood out, which as a performer and as 634 00:36:18,880 --> 00:36:22,480 Speaker 3: a musician, you have to stand out otherwise anybody can 635 00:36:22,520 --> 00:36:22,959 Speaker 3: be a star. 636 00:36:23,719 --> 00:36:27,200 Speaker 2: The otherness is what makes you great, right. 637 00:36:27,120 --> 00:36:29,880 Speaker 4: And we have to make sure La Lupa's impact isn't erase. 638 00:36:30,600 --> 00:36:32,880 Speaker 3: And this is exactly why we're doing the series and 639 00:36:32,920 --> 00:36:36,200 Speaker 3: what we talked about with Maria Griever, the Mexican composer 640 00:36:36,200 --> 00:36:38,919 Speaker 3: from the nineteen thirties and forties. We have to put 641 00:36:38,920 --> 00:36:41,280 Speaker 3: in the work to make sure that these women stay present. 642 00:36:42,040 --> 00:36:44,759 Speaker 3: Unlike Maria Griever's case, where we just didn't know much 643 00:36:44,800 --> 00:36:47,799 Speaker 3: about her and we were trying to keep her legacy alive. 644 00:36:48,080 --> 00:36:50,279 Speaker 2: In La Lupa's case, people still remember her. 645 00:36:50,840 --> 00:36:54,239 Speaker 3: You have a strong, passionate woman who because of racism, 646 00:36:54,360 --> 00:36:57,640 Speaker 3: because of these harmful narratives, just is not getting the 647 00:36:57,760 --> 00:36:59,600 Speaker 3: do that she deserves in her legacy. 648 00:37:00,160 --> 00:37:02,520 Speaker 2: And it's very clear that La Loupe means a lot 649 00:37:02,560 --> 00:37:07,080 Speaker 2: to a lot of people, exactly. 650 00:37:07,400 --> 00:37:10,160 Speaker 4: And so when I asked Rainbow how we should remember 651 00:37:10,280 --> 00:37:14,239 Speaker 4: and memorialize my mother, she requested an afrienda to commemorate 652 00:37:14,280 --> 00:37:16,239 Speaker 4: the thirtieth anniversary of her death. 653 00:37:17,080 --> 00:37:25,480 Speaker 5: Meetunas Flores So Maria Bartoki say Lalupez. 654 00:37:25,520 --> 00:37:27,960 Speaker 4: Way before I met up with Rainbow, she asked me 655 00:37:28,040 --> 00:37:30,840 Speaker 4: to bring a dozen yellow roses and thirty yellow and 656 00:37:30,840 --> 00:37:34,960 Speaker 4: white balloons balloon because she wanted to give an offering 657 00:37:35,000 --> 00:37:38,480 Speaker 4: to her mother at Lalupe Way, which is right in 658 00:37:38,520 --> 00:37:40,080 Speaker 4: the middle of where she grew up. 659 00:37:43,680 --> 00:37:43,759 Speaker 7: La. 660 00:37:44,960 --> 00:37:47,280 Speaker 4: It was a way to commemorate her like the queen 661 00:37:47,320 --> 00:37:47,879 Speaker 4: that she is. 662 00:37:48,400 --> 00:37:51,080 Speaker 3: I really wish that I had been there to see this. 663 00:37:51,440 --> 00:37:53,920 Speaker 3: What a beautiful tribute. She really deserves it. 664 00:37:54,000 --> 00:37:56,040 Speaker 5: And sunflowers that was her favorite color. 665 00:37:56,120 --> 00:37:59,440 Speaker 4: It was beautiful and for me, telling Lalupe's story required 666 00:37:59,480 --> 00:38:02,200 Speaker 4: us to give something in return. In a sense, it 667 00:38:02,239 --> 00:38:03,840 Speaker 4: felt like asking for her blessing. 668 00:38:04,800 --> 00:38:08,839 Speaker 5: I'm very happy because people still remember. 669 00:38:08,360 --> 00:38:12,600 Speaker 4: Her despite everything. I want her to be remembered for 670 00:38:12,840 --> 00:38:16,160 Speaker 4: the black feminist queer icon that she was, who formed 671 00:38:16,200 --> 00:38:19,799 Speaker 4: part of the sonic landscape of my childhood and is 672 00:38:19,840 --> 00:38:22,000 Speaker 4: an unforgettable figure in the Bronx. 673 00:38:31,480 --> 00:38:33,160 Speaker 2: Thank you for getting loose to La Lupe. 674 00:38:41,000 --> 00:38:45,560 Speaker 1: I think that here and around the world, powerful women 675 00:38:45,600 --> 00:38:48,879 Speaker 1: who don't conform, who basically like La Lupe, had her 676 00:38:48,960 --> 00:38:52,440 Speaker 1: own way of doing things and was never. 677 00:38:52,320 --> 00:38:53,160 Speaker 2: Going to change. 678 00:38:53,920 --> 00:38:58,000 Speaker 1: What people fail to understand is that that is actually 679 00:38:58,040 --> 00:39:02,399 Speaker 1: the essence of an artist. That is why people are 680 00:39:02,520 --> 00:39:05,000 Speaker 1: drawn to people like Lalupe. 681 00:39:05,520 --> 00:39:07,440 Speaker 3: Yeah, it's like we were saying earlier she had to 682 00:39:07,480 --> 00:39:10,320 Speaker 3: stand out and when people don't understand, they just label 683 00:39:10,400 --> 00:39:13,680 Speaker 3: you one way and those myths get perpetuated as time passes. 684 00:39:14,239 --> 00:39:16,319 Speaker 2: But for those who know, like really know. 685 00:39:16,400 --> 00:39:19,799 Speaker 3: La Loupe, her eccentricities are what made her great and 686 00:39:19,840 --> 00:39:21,480 Speaker 3: that's why we included her in the series. 687 00:39:23,320 --> 00:39:26,200 Speaker 1: I'm really loving the fact that we're giving so many 688 00:39:26,280 --> 00:39:30,319 Speaker 1: flowers to these hen Yes in Music, and so I 689 00:39:30,360 --> 00:39:31,840 Speaker 1: want to know who's coming. 690 00:39:31,719 --> 00:39:32,359 Speaker 2: Up next month. 691 00:39:33,239 --> 00:39:36,680 Speaker 3: Next month, we're heading to Chile to learn about Joletta 692 00:39:36,719 --> 00:39:38,280 Speaker 3: Barra and La Chilena. 693 00:39:39,080 --> 00:39:42,279 Speaker 1: So that's incredible because Joletta Barra changed my life the 694 00:39:42,360 --> 00:39:44,719 Speaker 1: way La Lupe had a big impact in my life. 695 00:39:45,120 --> 00:39:48,000 Speaker 1: So I look forward to hearing that. Thanks to Genie 696 00:39:48,000 --> 00:39:51,080 Speaker 1: and Andrew for telling lalupez story and clearing up the myths. 697 00:39:51,719 --> 00:39:55,240 Speaker 1: Dear listener, do stay with us for next month. Heyyes 698 00:39:55,440 --> 00:40:16,560 Speaker 1: in Music. This episode was produced by Elisa Baena, Gini Montalbo, 699 00:40:16,640 --> 00:40:19,719 Speaker 1: and Andrew Vignalis, and it was edited by MITCHA Moanshahi 700 00:40:19,800 --> 00:40:23,520 Speaker 1: and Marta Martinez. It was mixed by Stephanie LAbau and 701 00:40:23,600 --> 00:40:28,240 Speaker 1: Julia Caruso. Fact checking for this episode by Daisy Contredras. 702 00:40:28,400 --> 00:40:32,760 Speaker 1: The Latino USA team includes Andrea Lopez Gruzado, Mike Sargent, 703 00:40:33,080 --> 00:40:39,080 Speaker 1: Julieta Martinelli, Victoria Strada, Rinaldo Leanos Junior Alejandra Slasar, Patricia 704 00:40:39,120 --> 00:40:43,040 Speaker 1: Sulvard and Julia Rocha, with help from Raoul Perez. Our 705 00:40:43,160 --> 00:40:48,400 Speaker 1: editorial director is Julio Ricardorella. Special thanks to Huil Damiros 706 00:40:48,640 --> 00:40:52,680 Speaker 1: and Rainbow Garcia. Our associate engineers are Gabriela Biez and 707 00:40:52,800 --> 00:40:56,279 Speaker 1: j J Carubin. Our marketing manager is Res Luna. Our 708 00:40:56,360 --> 00:41:00,880 Speaker 1: fellow is Monica Moreles Garcia. Our theme music was composed 709 00:41:00,920 --> 00:41:04,680 Speaker 1: by sang Evribinos. Music in this episode was also provided 710 00:41:04,680 --> 00:41:08,920 Speaker 1: by Bobby Sanabria from his Multiverse album. The Williamsburg says 711 00:41:08,960 --> 00:41:14,279 Speaker 1: that Orchestra as well as Renee ghost Ednesto Luca and Fulasso. 712 00:41:14,760 --> 00:41:18,040 Speaker 1: I'm your host and executive producer Marie Josa, join us 713 00:41:18,040 --> 00:41:21,239 Speaker 1: again on our next episode and remember not yes, and 714 00:41:21,320 --> 00:41:23,440 Speaker 1: I'll see you on all of our social media. 715 00:41:23,600 --> 00:41:30,279 Speaker 8: Joe Latino USA is made possible in part by New 716 00:41:30,360 --> 00:41:31,600 Speaker 8: York Women's Foundation. 717 00:41:32,400 --> 00:41:35,880 Speaker 6: The New York Women's Foundation funding women leaders that build 718 00:41:35,880 --> 00:41:40,799 Speaker 6: solutions in their communities and celebrating thirty years of radical generosity, 719 00:41:41,680 --> 00:41:48,040 Speaker 6: the wind Coat Foundation and the Heisin Simon's Foundation, Unlocking knowledge, 720 00:41:48,200 --> 00:41:53,279 Speaker 6: opportunity and possibilities. 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