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Speaker 1: Loka to A Radio is a radiophonic novella.

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Speaker 2: Which is just a very extra way of saying a podcast.

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Speaker 1: I'm diosa m.

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Speaker 3: And I am Mala Munos.

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Speaker 1: Lokatra Radio is yr Brima's favorite podcast, hosted by us

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Speaker 1: Mala and Viosa.

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Speaker 2: We're two ig friends turned podcast partners, breaking down pop culture, feminism,

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Speaker 2: sexual wellness, and offering fresh takes on trending topics through

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Speaker 2: nuanced interviews with up and coming LATINX creatives.

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Speaker 1: Known as Las Lokatas, Las Mammis of Myth and Bullshit

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Speaker 1: and Las borgas Prosas. We were podcasting independently since twenty sixteen,

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Speaker 1: but joined iHeartMedia's Microtura network in twenty twenty two.

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Speaker 2: This year, we're continuing to share stories from the LATINX community.

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Speaker 3: Barto el Mundo.

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Speaker 1: Welcome to season eight.

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Speaker 3: Are you listening?

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Speaker 1: O La la Loka Motes, Welcome to season eight of

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Speaker 1: lok At Radio. I'm Theosa and ii Mala. You're tuning

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Speaker 1: into Capitol Senta Sinko one seventy five.

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Speaker 2: Last time on look at Our Radio, we talked about

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Speaker 2: all things LATINX Heritage Month. Go ahead and tune into

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Speaker 2: that interview, leave us a review, share with a friend

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Speaker 2: and let us know if we missed a super pivotal

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Speaker 2: moment in Hispanic heritage history. And maybe you want to

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Speaker 2: send us a speak pipe voicemail. Visit lokato O radio

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Speaker 2: dot com and leave us a little gift.

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Speaker 1: There were so many that I thought of afterwards, like

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Speaker 1: Eve Queen and her existence, yes, and every banger she's

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Speaker 1: put out for decades. So there were definitely a lot

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Speaker 1: more that we could cover, but I think we did

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Speaker 1: a good job covering some pretty big ones.

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Speaker 3: Oh absolutely.

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Speaker 2: We only had so much time and there are so

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Speaker 2: many latinos. How can we cover it all? You know,

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Speaker 2: So go ahead and reach out to us, leave us

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Speaker 2: a comment, leave us a review, and share more.

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Speaker 1: Remember you can follow Loka Dora Radio on all social

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Speaker 1: media platforms at lokat Dora Underscore Radio Girl.

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Speaker 3: So what's been new, What's been happening? What's going on?

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Speaker 1: Everything is going on. I'm turning thirty very soon, and

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Speaker 1: so I'm just pripando in all the ways, the beauty,

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Speaker 1: the nails, the hair. A trip that we'll talk about later,

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Speaker 1: but just lots of things are happening. I feel like

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Speaker 1: I've really grown up on this podcast, which is wild.

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Speaker 2: Truly over the airwaves, documented the entirety of your twenties.

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Speaker 1: Really truly, it's pretty wild to think about. But here

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Speaker 1: we are. I mean, I'm same for you, like same.

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Speaker 3: This is a time capsule, it really is.

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Speaker 1: It's the audio archive, it really is.

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Speaker 2: And the fact that years ago we started calling it

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Speaker 2: an audio archive and it's just become that is I

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Speaker 2: think pretty genius. I know, look at us, look at us,

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Speaker 2: we're just thinking out of the box here. Thank you

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Speaker 2: all for tuning in for all these years and listening

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Speaker 2: to us through our twenties and now into our thirties.

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Speaker 4: Wow.

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Speaker 1: Yeah, it's fun to also see our listeners grow up

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Speaker 1: with us, you know. I think that's one of the

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Speaker 1: really fun things for me to see, like because y'all

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Speaker 1: comment and engage and come to our shows, so, you know,

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Speaker 1: we get to know you in some capacity. And so

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Speaker 1: to see y'all also graduate college, graduate high school even

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Speaker 1: and then become grown ups like us. It's really fun

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Speaker 1: to see.

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Speaker 2: Grown ups just like us, just like us, just like us.

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Speaker 2: It's very very cool and we're just happy to be here.

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Speaker 1: Yeah, what's going on with you? You've been very busy

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Speaker 1: as well.

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Speaker 2: Yeah, a lot going on, lots of shows. I recently

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Speaker 2: performed at the Hollywood Improv and I hosted Marcella Aguayo's

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Speaker 2: headlining set. It was her first time headlining the main

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Speaker 2: room at the Improv, and she asked me to host.

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Speaker 2: Nico Santos was on the lineup. He Guardians of the

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Speaker 2: Galaxy Three, Restore Crazy Rich Asians, hilarious stand up. If

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Speaker 2: you didn't know that he was also a stand up,

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Speaker 2: he was on the lineup. Frankie Gigiones famously you might

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Speaker 2: know him as Cholo Fit Creeper. He's also in This Fool.

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Speaker 2: He was on the lineup. And Joey Bragg, who like

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Speaker 2: has been around since he was a kid. He's been

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Speaker 2: doing stand up since he was a kid, and he's

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Speaker 2: been on TV and he's really super cool.

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Speaker 3: So that was a very fun show.

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Speaker 2: And at the time of this recording tonight, I'm going

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Speaker 2: to be headlining for the very first time myself at

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Speaker 2: the stand.

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Speaker 3: Up in Bellflower.

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Speaker 2: So after we we wrap here, I'm going to head

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Speaker 2: to Bellflower and do my little headlining gig.

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Speaker 3: So it's been fun, it's been cool.

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Speaker 1: Yeah, I'll be right behind you because I'm also attending.

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Speaker 3: Yes, Dius, I got a booth. Girl.

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Speaker 1: Yes, my friend Edma is like she texted our other

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Speaker 1: friend and was like, I got a booth. So we're

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Speaker 1: going to be the signottas in the back with the booth.

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Speaker 3: I love it so extraordinary. It's going to be fun

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Speaker 3: doing it in style.

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Speaker 1: So today we have a really fun interview with the

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Speaker 1: Hannah singer songwri Verdonique Medrano, and we're really excited to

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Speaker 1: talk to her about her work. She is releasing new music,

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Speaker 1: a brand new album, and you know she as we

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Speaker 1: mentioned she's at the Hannah. She doesn't necessarily do regional

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Speaker 1: Mexican music. But I think this moment in time where

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Speaker 1: we're seeing regional Mexican music become really mainstream and popular

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Speaker 1: and global, it's just a very fascinating time. And I'm

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Speaker 1: excited to share this interview with y'all one.

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Speaker 2: And just some of Vedonik's credits. She was featured by

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Speaker 2: the Grammys as one of the five Latin Artists Reimagining

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Speaker 2: Country Music. Vedonik was also named nashville Scenes twelve Country

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Speaker 2: Musicians to Watch by The Boot and the Billboard, and

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Speaker 2: Vedonik has been described k SAT twelve's Good Morning San

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Speaker 2: Antonio as a tex mex artist with a voice as

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Speaker 2: big as the Lone Star State, so we're super excited

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Speaker 2: to have her on the pod. This was a really

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Speaker 2: fun episode. Vedonik has a lot of like music history knowledge,

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Speaker 2: so I think you guys are really going to enjoy

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Speaker 2: this one.

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Speaker 3: All right.

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Speaker 2: Veronique Madrano Behana singers songwriter zooming in.

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Speaker 3: Where are you right now? Are you in New York?

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Speaker 4: Yes, I'm in New York City for LAMC and a

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Speaker 4: few other different projects. But yeah, we're out here in

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Speaker 4: the Big Apple. And it's crazy to say that I've

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Speaker 4: been here more times than I ever thought I would

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Speaker 4: at eighteen years old for music specifically, Yes, for music specifically.

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Speaker 4: I've come out here for a Broadway audition. I've come

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Speaker 4: out here for like music stuff, And it's such a

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Speaker 4: weird thing to be out here for the arts when

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Speaker 4: I come from a very small town and that is

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Speaker 4: not an option, like that's you dream you dream girl,

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Speaker 4: you become a dream girl, but that it's not like

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Speaker 4: it almost feels very weird when the dreams become reality

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Speaker 4: and you're in that space and you're like, oh shit,

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Speaker 4: like I'm.

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Speaker 5: Really doing it.

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Speaker 1: Can you let our listeners know what LAMC is.

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Speaker 4: So LAMC is the Latin Alternative Music Conference out here

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Speaker 4: in New York. They've posted it here for quite some time,

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Speaker 4: and they do cater to alternative music. Now they started

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Speaker 4: adding a little bit more vegetton, but at the time

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Speaker 4: it was just alternative rock, alternative pop. And now they've

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Speaker 4: kind of expanded who they serve, and so you're seeing

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Speaker 4: a lot of different kinds of people.

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Speaker 5: I literally saw a poet yesterday that was here for

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Speaker 5: this conference.

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Speaker 1: I love that. Can you take us all the way

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Speaker 1: to the beginning and tell us how did you get

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Speaker 1: your start in music and songwriting and performing?

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Speaker 4: I always tell people like you always hear the very

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Speaker 4: unfortunately cliche story of I started when I was five.

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Speaker 4: I'm gonna tell you all. I did not start when

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Speaker 4: I was five. I was a choked chicken singing at

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Speaker 4: like that. There's no way we're gonna say I'm the

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Speaker 4: next Maria Callas at five.

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Speaker 5: Let's end that.

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Speaker 4: I didn't start professionally getting into the industry till right

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Speaker 4: after high school. I actually came out here to New

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Speaker 4: York at eighteen for a competition I had wanted a competition,

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Speaker 4: a state competition, and was given the opportunity to come

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Speaker 4: out here saw the Phantom of the Opera and was

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Speaker 4: immediately just floored by the production, by the musicality, by

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Speaker 4: just the level of professionalism, but also performanceship that is

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Speaker 4: required at these bigger levels. And from that moment on,

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Speaker 4: I was enamored, but not necessarily given the opportunity with

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Speaker 4: open arms, because local community theater didn't have the space

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Speaker 4: for me, like it was always someone else that looked

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Speaker 4: a little bit more like you know, the woman in

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Speaker 4: the Sound of Music, you know, stuff like that, like

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Speaker 4: you know, you have to fit a certain type. And

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Speaker 4: so I immediately ran into that. And then my own

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Speaker 4: you know, struggles with the music department at my local

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Speaker 4: college and quit music at nineteen and really didn't think

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Speaker 4: I was going to get back into it. So I

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Speaker 4: threw myself into English creative writing and threw myself into

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Speaker 4: poetry and creating poetry and creating written word and books

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Speaker 4: and novels and stuff like that and just the things

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Speaker 4: that go into writing creatively.

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Speaker 5: And that's where I honed my pen.

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Speaker 4: That is where the pen and the story was honed

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Speaker 4: through that experience in college graduated with my English degree

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Speaker 4: and then was like, you know what, I think I'm

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Speaker 4: now mature enough to get back into.

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Speaker 5: The music business, but let's treat it like a business.

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Speaker 5: I'm not going to let it treat me.

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Speaker 4: I'm going to treat it and went into it with

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Speaker 4: eyes wide of open and very green and experienced most

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Speaker 4: of what people discuss is the underbelly of what the

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Speaker 4: music industry is, and I experienced it in one of

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Speaker 4: the genres that is possibly the most beloved by a

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Speaker 4: lot of Mechicanos, which is the hand of music. And

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Speaker 4: so I got to experience, you know, the sexism and

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Speaker 4: all of these different things that just come with just

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Speaker 4: being in a predominantly male dominated space and still managed

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Speaker 4: to thrive and still manage to, you know, make mark

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Speaker 4: a space for myself because everything I have done when

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Speaker 4: it comes to my art has been my way. I

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Speaker 4: never at any point said, oh yeah, let me cater

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Speaker 4: to x y Z person, let me do x y

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Speaker 4: z things. Every song that's gotten big for me, whether

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Speaker 4: it's lapulga, wastresquas, things that were very much a part

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Speaker 4: of my culture in my life, and things that I

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Speaker 4: could relate to labels or indie labels or people who

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Speaker 4: were guiding me were telling me I was doing it wrong,

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Speaker 4: and they weren't in my life for very long, so

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Speaker 4: you know I was. I was real chingo na vibes

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Speaker 4: and have been for most of my music career. I

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Speaker 4: needed to pave away for myself because it just was

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Speaker 4: something that coming from a small town, coming from a

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Speaker 4: small border town, it's kind of ingrained in you that

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Speaker 4: nothing will come easy because it'll either be the color

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Speaker 4: of your skin, the place that you're from.

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Speaker 5: Oh did you get an IVY league? You know, the degree?

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Speaker 4: Like there's always something to nitpick at, and if I

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Speaker 4: can always answer it first with you know myself, then

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Speaker 4: it's really hard for other people to really say anything.

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Speaker 2: I love the way you describe your journey. It's so

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Speaker 2: exciting to hear. Like your musical origins. You have this

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Speaker 2: album coming out September first Mehia Americana, But it sounds

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Speaker 2: like when you first really started digging into music, your

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Speaker 2: entry was musical theater, which is so fun.

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Speaker 5: Oh yeah, musical theater has always Musical theater and jazz

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Speaker 5: have always really been a big part of my musical upbringing.

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Speaker 4: So while I wasn't performing professionally, and I wasn't in

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Speaker 4: school for performing. I was actually sneaking away to the

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Speaker 4: jazz band to go and try out and then perform

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Speaker 4: at their concerts.

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Speaker 5: And I didn't have to take the class. I just

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Speaker 5: had to make sure to show up to rehearsal. So

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Speaker 5: I like, show it to rehearsal and do and do

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Speaker 5: the thing.

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Speaker 4: And so there's videos out there of me during that

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Speaker 4: gap time where I wasn't really performing, where you see

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Speaker 4: just me out there just making little spaces for myself wherever.

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Speaker 4: If you open a crack in a door, I will

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Speaker 4: shove my whole night size foot in it.

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Speaker 5: And so that's kind of a vibe.

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Speaker 3: Just let the girl sing the girl wants to sing.

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Speaker 1: You mentioned, you know, honing your craft and your songwriting

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Speaker 1: skills through your English degree major through creative writing. So

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Speaker 1: what would you say now is your approach to songwriting.

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Speaker 5: It has not changed. I mean, I have a whole

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Speaker 5: poetry book.

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Speaker 4: There were certain like lines, stanzas and sections from it

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Speaker 4: that I've had for at least ten years that went

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Speaker 4: into this album. That foundation is why I say, you know,

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Speaker 4: that's why I am as successful as I am because

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Speaker 4: that's what I've used to make the career that I've

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Speaker 4: made because I was just I threw myself one hundred

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Speaker 4: and twenty percent into creative writing, to the point that

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Speaker 4: I was out there pitching, you know, pitching decks of

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Speaker 4: or chat books as they call them, of you know,

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Speaker 4: short story poetry, going into these poetry writing writing camps,

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Speaker 4: going into these classes fully ready to be disassembled and

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Speaker 4: reassembled again at my desire. Because I know a lot

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Speaker 4: of people who are writers will say, well, shoot, that's

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Speaker 4: a huge risk going into these creating creative writing spaces.

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Speaker 5: I'm not even gonna lie to you because.

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Speaker 4: They're predominantly Anglo leaning, and they have an idea of

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Speaker 4: what our story is that is not correct.

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Speaker 5: And so I love to debate. So I love to

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Speaker 5: be like, you can say what you like, but are

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Speaker 5: you this?

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Speaker 4: And a lot of the times it would come with

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Speaker 4: like an absolute stop, like they don't have any response,

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Speaker 4: there's no rebuttal. And so I used those spaces to

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Speaker 4: understand what I would come up against as a writer,

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Speaker 4: but also to be like, Okay, there is some constructive

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Speaker 4: criticism here that I can come back in from, and

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Speaker 4: especially as a songwriter, that is going to be the

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Speaker 4: biggest lesson to learn when you're in studio spaces that

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Speaker 4: are not your own, that a lot of the times

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Speaker 4: you have to be willing to have a producer, to

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Speaker 4: have somebody be like, hey, you know what, this is

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Speaker 4: just not meshing right, This isn't syncopating. Understanding meter and

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Speaker 4: understanding how words flow, how they can.

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Speaker 5: Rise and fall.

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Speaker 4: Truly like I'm I'm waxing poetic here, but like quite literally,

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Speaker 4: the aspect of writing has not left me because of that,

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Speaker 4: just solid foundation.

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Speaker 5: And I was super blessed that I had teachers who

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Speaker 5: were poet laureates.

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Speaker 4: In Texas who are maxikanas and you know, and and

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Speaker 4: women writers who were like really the foundation for it

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Speaker 4: before moving into you know, male Anglo teachers who were

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Speaker 4: writers like that.

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Speaker 5: Having that and understanding that and reading that changed so

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Speaker 5: much for me.

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Speaker 3: Super cool.

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Speaker 1: I love that because I was also creative writing major

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Speaker 1: and I had a very similar experience, but I approached

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Speaker 1: it very differently. I was like, fuck, y'all, I'm going

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Speaker 1: to go to Chicauto Chicano Studies. I'm going to go

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Speaker 1: to Black Studies and Feminist Studies and take all the

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Speaker 1: creative writing classes in there. Because I don't need to

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Speaker 1: workshop my shit with y'all. And that also was very

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Speaker 1: formative and I think led to being able to create

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Speaker 1: this project that we know as look at now. So

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Speaker 1: I love hearing that story and how you responded to it.

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Speaker 5: I'm just a little shithead sometimes truly.

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Speaker 4: I mean, I know the type of vibes I give,

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Speaker 4: especially in a creative space, and the older I've gotten,

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Speaker 4: the more I'm really proud of a younger me that

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Speaker 4: didn't always bend and bend to those things because I

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Speaker 4: think an even younger version of me would have because

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Speaker 4: she didn't know any better. And that, honestly is the

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Speaker 4: root of a lot of the dual identity that happens

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Speaker 4: with Mexican American and Latino American people. Yeah, creatives, especially

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Speaker 4: because we do not know where we land on the spectrum.

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Speaker 4: We love Rossio, Drugad and Britney Spears, we love you know,

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Speaker 4: justin Timberlake, and we love Luis Miguel like they're like

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Speaker 4: change out the Spanish artists. You're still going to have,

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Speaker 4: you know, the the other side of it. You know,

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Speaker 4: you have your Juanas and then you have your you know,

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Speaker 4: John Legend, Like you're gonna have that other side of

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Speaker 4: the coin, depending on what your influences are and what

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Speaker 4: you like.

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Speaker 5: But there's always that and it's exhausting.

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Speaker 4: It's frustrating because you have to learn how to create

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Speaker 4: in that middle space and pull from those buckets without

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Speaker 4: being more one than the other.

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Speaker 2: Your music is technically Dejano music, but in listening to

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Speaker 2: your music, you hear a lot of different influences. And

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Speaker 2: I think that's touching on what you're describing here. How

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Speaker 2: would you describe your sound to roots music.

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Speaker 4: It's it's music that was created due to our relationship

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Speaker 4: with Mexico on the border. I would not necessarily anymore

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Speaker 4: typify it as to Hanno, because so much of the

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Speaker 4: music is so many things borrow from Cumbia and and

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Speaker 4: so many of the things that de Hano has done

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Speaker 4: borrows from you know, Brazil, and from and from Puerto

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Speaker 4: Rico and from so.

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Speaker 5: Many other things. It's it's definitely a melting pot of sound.

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Speaker 5: I mean, you see it. You can get some type

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Speaker 5: of influence from the interior of.

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Speaker 6: Mexico, but then you have Puerto Rico with you know,

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Speaker 6: the thesa like all that that stuff, like all of

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Speaker 6: it blends together when we listen to Cumbia and especially

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Speaker 6: like looking at like nineties to Hanno, which a lot

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Speaker 6: of people do, and they like to compare current artists two.

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Speaker 5: Nighties to Hanno. That is a totally different sound with totally.

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Speaker 4: Different electronic you know, capabilities, Like you know, Selena was

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Speaker 4: ahead of her time because of electronic guitar and that

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Speaker 4: influx of synthesizer and everything else entering the music Latin

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Speaker 4: space that you know, her and her family and her

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Speaker 4: brother especially, you know, we're riding that wave before everybody else.

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Speaker 4: And so you know, the comparisons are really harder now

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Speaker 4: because our music just does not sound the same.

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Speaker 5: It will not sound the same.

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Speaker 2: That like literally leads into a question we wanted to

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Speaker 2: ask you about Selena. Obviously, even just in your descriptions

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Speaker 2: of your own experiences in the music industry and in Texas,

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Speaker 2: it there's a lot of parallels to Selena's story, Like

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Speaker 2: it sounds very similar, and you know this is decades later.

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Speaker 2: So I'm so curious not only how has the sound

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Speaker 2: changed since Selena, but how has the industry changed? How

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Speaker 2: has the Hano music and the culture around it changed

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Speaker 2: since the eighties and.

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Speaker 4: The nineties in good ways and in bad With everything,

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Speaker 4: you know, with growth and advancement, unfortunately there's things that

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Speaker 4: get left behind, and for me, one of those things

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Speaker 4: is definitely that the music then was very influenced and

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Speaker 4: still going through its big band and then going into

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Speaker 4: the R and B movement and trying to be R

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Speaker 4: and B and it was catering to its time it was.

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Speaker 4: It was catering to whether it was R and B,

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Speaker 4: electronic synthesizer. There was a lot more of that moving in.

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Speaker 4: But what people a lot of the times don't remember,

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Speaker 4: because of course history is for the ones that tell it,

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Speaker 4: is that Selena was not the most well liked artist

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Speaker 4: at the time for.

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Speaker 5: Doing the things that she did.

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Speaker 4: It wasn't until there was monetarily commercial success that the

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Speaker 4: industry began to really accept her, because how can you not.

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Speaker 4: There's money to be made, there is there's a there's

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Speaker 4: a machine, there's a system to be made. You know,

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Speaker 4: upon the backs of Emilio and Ram and Selena and

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Speaker 4: all of these people like Stephanie Montiel, Shelley Lattice, like,

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Speaker 4: there was an entire group of people.

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Speaker 5: I think back in the day there was maybe like

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Speaker 5: five maybe six active women in the.

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Speaker 4: Industry and now there's thirty two nice So so like

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Speaker 4: that total night and day difference, we can already point

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Speaker 4: that out women have a lot more space to create

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Speaker 4: and be open and put out their own style. At

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Speaker 4: the same token, you know, there's the unfortunate aspect of

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Speaker 4: Selena dum which is that she is not just a

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Speaker 4: patron saint to many artists. She's almost like a ghost

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Speaker 4: that many fans want us to ghostbuster and want her

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Speaker 4: to like and and want us.

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Speaker 5: To like.

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Speaker 4: Take her spot, but not really, they want us to

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Speaker 4: fight the ghost. But why, Like there's there will never

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Speaker 4: be a comparison because the artist of today is very

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Speaker 4: different than the artist of the nineties, the way they

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Speaker 4: carry themselves, what they were doing, you.

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Speaker 5: Know what they were standing for, you know what they

396
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Speaker 5: stood up for.

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Speaker 4: The artist of today has to be so multifaceted and

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Speaker 4: different than the artist of Selena's generation. And so you

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Speaker 4: look at those two things and it's just the space

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Speaker 4: has changed, the music has changed. It now leans a

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Speaker 4: little bit more Mexican regional because Mexican regional is big

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Speaker 4: right now.

403
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Speaker 5: Like like all of these things kind of feed into

404
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Speaker 5: the other.

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Speaker 4: Unfortunately, and so you know when a lot of people ask,

406
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Speaker 4: you know, where is the hon And now it's still active, thriving.

407
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Speaker 5: Music comes out every week like in every other industry.

408
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Speaker 4: There's new new artists, new bands, legacy artists, legacy bands.

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Speaker 5: You know, it's still thriving. It's just maybe not to

410
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Speaker 5: the level people expect, which is, you know, the the

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Speaker 5: bombastic money making years of the nineties.

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Speaker 1: I love that you mentioned the rise of Mexican regional

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Speaker 1: music because I have a question about that. I'm super

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Speaker 1: fascinated by seeing this meteor rise. You know, my family,

415
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Speaker 1: my Mexican family is from Guahula and Chihuahua, like nor

416
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Speaker 1: Daniel's all the way. So I'm super fascinated how it's

417
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Speaker 1: become very mainstream. And so you on the inside, as

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Speaker 1: an artist as at Tihana, as a Mexican American, how

419
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Speaker 1: do you see this rise and what's your take on it.

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Speaker 4: I think it was bound to happen once you saw

421
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Speaker 4: the Latin takeover of Bad Bunny, just like anyone, you know, eventually,

422
00:23:45,920 --> 00:23:47,600
Speaker 4: like you get tired of eating the.

423
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Speaker 5: Same thing, unless you're the diet then you just gotta

424
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Speaker 5: but like you're.

425
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Speaker 4: Tired of eating the same thing, So you're going to

426
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Speaker 4: search out something that's slightly similar. And while I know

427
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Speaker 4: some people will be like, oh, Mexican regional nothing lie,

428
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Speaker 4: I'm like, I'm.

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Speaker 5: Like, I got you, I get you. I understand what

430
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Speaker 5: he did do a Mexican regional.

431
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Speaker 1: Yeah, he's done like two at this point.

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Speaker 5: And it's kind of like he understands.

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Speaker 4: Like when the biggest artist of this generation is understanding

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Speaker 4: that there's a shift in the market, can he shift there?

435
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Speaker 5: Can he creatively shift there?

436
00:24:25,200 --> 00:24:28,040
Speaker 4: Realistically, we don't know because most of it has been features,

437
00:24:28,600 --> 00:24:31,920
Speaker 4: it has not been a full production. But you know

438
00:24:32,000 --> 00:24:34,840
Speaker 4: you're seeing this bessel bluma, Like these people have been

439
00:24:34,960 --> 00:24:38,359
Speaker 4: out there working, you know, these last few years. They

440
00:24:38,400 --> 00:24:41,920
Speaker 4: have not just suddenly come up. It's just that right time,

441
00:24:42,480 --> 00:24:45,600
Speaker 4: right place, right moment. I mean, my god, you know,

442
00:24:45,680 --> 00:24:48,440
Speaker 4: Betty G takes him out and like there was already

443
00:24:48,520 --> 00:24:52,720
Speaker 4: songs in the works, you know, like Bad Bunny brings

444
00:24:52,760 --> 00:24:54,760
Speaker 4: them out because they literally had a song in the works.

445
00:24:54,920 --> 00:24:58,960
Speaker 4: Like timing was just really well. And so you have

446
00:24:59,800 --> 00:25:05,600
Speaker 4: this representation again of mexicanos that is very different than

447
00:25:05,720 --> 00:25:10,200
Speaker 4: representation of latinos. So you know, you're shifting over and

448
00:25:10,320 --> 00:25:12,560
Speaker 4: that's why I think it's happening because we're starting to

449
00:25:12,640 --> 00:25:14,640
Speaker 4: get into this renaissance again.

450
00:25:15,160 --> 00:25:17,800
Speaker 5: Of I know this sounds really wild because I've been

451
00:25:17,840 --> 00:25:19,800
Speaker 5: talking about the nineties like crazy and like is she

452
00:25:20,480 --> 00:25:23,399
Speaker 5: that's all she talked about? But it's it's almost like

453
00:25:23,440 --> 00:25:24,720
Speaker 5: a night's parallels.

454
00:25:24,880 --> 00:25:29,120
Speaker 4: Yeah, there there's a lot of parallels, and like everything,

455
00:25:29,320 --> 00:25:32,560
Speaker 4: history repeats itself, and so you know, just like the

456
00:25:32,680 --> 00:25:35,480
Speaker 4: Ricky Martin face, you know who came up right after

457
00:25:35,600 --> 00:25:37,280
Speaker 4: Ricky Martin, Christina Aguilera.

458
00:25:37,480 --> 00:25:39,800
Speaker 5: Like and she was she was you know, she is

459
00:25:39,840 --> 00:25:42,280
Speaker 5: who she is. Like it just it is what it is.

460
00:25:42,400 --> 00:25:44,920
Speaker 4: And so you're looking at all these parallels, like you said,

461
00:25:45,000 --> 00:25:47,760
Speaker 4: and that's why I think it's just it's common sense.

462
00:25:48,119 --> 00:25:50,280
Speaker 4: Like to me, is if you're going to try to

463
00:25:50,400 --> 00:25:53,520
Speaker 4: ride that Latin wave, the Latin wave hasn't really hit

464
00:25:53,680 --> 00:25:56,480
Speaker 4: and touch everything that it can to really make the

465
00:25:56,600 --> 00:25:58,520
Speaker 4: most money for the music industry.

466
00:25:59,000 --> 00:26:01,560
Speaker 5: And they're aware of how much money there is left

467
00:26:01,600 --> 00:26:02,119
Speaker 5: on the table.

468
00:26:02,720 --> 00:26:06,640
Speaker 4: With the Carol g Tour, with the Bad Bunny Tour,

469
00:26:07,160 --> 00:26:11,320
Speaker 4: with the Daddy Yankee tour, You're only getting a small

470
00:26:11,400 --> 00:26:13,520
Speaker 4: part of the pie when you really think about it.

471
00:26:13,680 --> 00:26:18,520
Speaker 4: Because Mexicans have the other half and haven't completely come

472
00:26:18,600 --> 00:26:19,000
Speaker 4: all the way.

473
00:26:19,520 --> 00:26:22,040
Speaker 5: Now we're starting to see money movement. Now we're starting

474
00:26:22,119 --> 00:26:22,520
Speaker 5: to see like.

475
00:26:22,600 --> 00:26:24,480
Speaker 4: Okay, like we need to invest, we need to invest,

476
00:26:24,520 --> 00:26:26,840
Speaker 4: we need to find and in the music industry, I'm

477
00:26:26,840 --> 00:26:29,000
Speaker 4: going to tell you every industry has been touched by that.

478
00:26:29,560 --> 00:26:32,520
Speaker 4: Meetings upon meetings on you know, these conversations and it's

479
00:26:32,640 --> 00:26:36,560
Speaker 4: all like, how can we find the right person or

480
00:26:36,600 --> 00:26:40,479
Speaker 4: right find the right people that can push that money machine.

481
00:26:40,760 --> 00:26:43,240
Speaker 4: And it's unfortunate that I talk about it that way,

482
00:26:43,280 --> 00:26:44,080
Speaker 4: but it's a business.

483
00:26:44,720 --> 00:26:47,040
Speaker 5: This is a business. It's not the music cobby.

484
00:26:47,080 --> 00:26:50,520
Speaker 3: It's the music yea, It's an economy.

485
00:26:51,880 --> 00:26:56,359
Speaker 5: It's it's a complete industry, complete industry that you know.

486
00:26:56,840 --> 00:26:59,120
Speaker 4: Why do people are like, oh, the Flame and Hot

487
00:26:59,200 --> 00:27:03,640
Speaker 4: movie like a Chicano story, a story about a Chicano,

488
00:27:03,680 --> 00:27:07,359
Speaker 4: a Mexican American, you know here in the States, and

489
00:27:08,000 --> 00:27:11,480
Speaker 4: that thing has done gangbusters. We will see more movies

490
00:27:11,520 --> 00:27:14,639
Speaker 4: like that. There's another one coming out about the Gentleman

491
00:27:14,680 --> 00:27:18,480
Speaker 4: who was an astronaut when I'm hit to Space with

492
00:27:18,600 --> 00:27:21,000
Speaker 4: the guy from Marvel. But like, there's so many different

493
00:27:21,160 --> 00:27:23,920
Speaker 4: projects that were already in the works. I guess you know,

494
00:27:24,000 --> 00:27:27,320
Speaker 4: I'm working on a documentary project right now that you know.

495
00:27:27,480 --> 00:27:31,400
Speaker 4: It's it's in process about another you know, Chicano icon.

496
00:27:31,560 --> 00:27:34,639
Speaker 4: So these things, while it seems new to the public,

497
00:27:34,840 --> 00:27:36,399
Speaker 4: it's not new behind the scenes.

498
00:27:36,520 --> 00:27:39,399
Speaker 5: It's something that's been building and brewing, of.

499
00:27:39,480 --> 00:27:43,800
Speaker 2: Course, and Latinos have been contributing to the entertainment industry,

500
00:27:43,880 --> 00:27:46,160
Speaker 2: in the music industry for years and years and years

501
00:27:46,240 --> 00:27:50,440
Speaker 2: before Selena for decades. Sheila E is getting her star

502
00:27:50,560 --> 00:27:53,159
Speaker 2: on the Hollywood Walk of Fame. Yes I was on

503
00:27:53,240 --> 00:27:56,640
Speaker 2: the news yesterday. I saw which is very exciting, famous

504
00:27:56,760 --> 00:27:59,280
Speaker 2: Mexican American percussionist.

505
00:28:00,040 --> 00:28:00,760
Speaker 3: Word with Prince.

506
00:28:00,920 --> 00:28:03,880
Speaker 2: Prince loved Chila E, which I think is super cool.

507
00:28:04,800 --> 00:28:07,440
Speaker 2: You know that she was there, you know, and making

508
00:28:07,520 --> 00:28:09,720
Speaker 2: her mark. And you have been in the midst of

509
00:28:10,320 --> 00:28:13,880
Speaker 2: all of your music and all the advancements being made

510
00:28:14,119 --> 00:28:17,600
Speaker 2: in Phano music and in Latin music in general. You've

511
00:28:17,760 --> 00:28:21,680
Speaker 2: been championing this petition to get an icon into the

512
00:28:21,760 --> 00:28:25,080
Speaker 2: Country Music Hall of Fame Freddie Fender, And I wanted

513
00:28:25,119 --> 00:28:29,000
Speaker 2: to ask you, can you share with our listeners why

514
00:28:29,119 --> 00:28:33,160
Speaker 2: Freddie Fender? What was what is his impact on country music,

515
00:28:33,320 --> 00:28:36,399
Speaker 2: on music in general, and why is he important for you?

516
00:28:37,240 --> 00:28:40,080
Speaker 4: I don't think the mechs part of text Mex would

517
00:28:40,120 --> 00:28:43,160
Speaker 4: be what it is without Freddie Fender. You cannot have

518
00:28:43,360 --> 00:28:46,240
Speaker 4: text mes without Freddie Funder. You cannot have the way

519
00:28:46,280 --> 00:28:48,960
Speaker 4: it sounds, you cannot have the way it feels, you

520
00:28:49,040 --> 00:28:52,400
Speaker 4: can't have the way it just hits you right right

521
00:28:52,480 --> 00:28:53,920
Speaker 4: in the chest and makes.

522
00:28:53,840 --> 00:28:58,040
Speaker 5: It makes you like you just you can't. You don't.

523
00:28:58,560 --> 00:29:00,640
Speaker 4: And there's a lot of artists like me, be clear,

524
00:29:00,840 --> 00:29:04,640
Speaker 4: I know of the Retrimino, the Mavericks, like there was.

525
00:29:04,640 --> 00:29:06,800
Speaker 5: A lot of different artists, you know, a flack of

526
00:29:06,880 --> 00:29:07,800
Speaker 5: human is, but.

527
00:29:08,760 --> 00:29:12,800
Speaker 4: A lot of them had their they were in a

528
00:29:12,920 --> 00:29:17,400
Speaker 4: certain pocket of the industry. But Freddie Fender was a

529
00:29:17,640 --> 00:29:19,120
Speaker 4: cross over.

530
00:29:20,400 --> 00:29:21,440
Speaker 5: Icon like there was.

531
00:29:21,880 --> 00:29:27,240
Speaker 4: The album itself was considered a Tejano record. The label

532
00:29:27,520 --> 00:29:32,640
Speaker 4: released it as Adhano record, this is a bilingual tex

533
00:29:32,800 --> 00:29:33,680
Speaker 4: mex album.

534
00:29:34,280 --> 00:29:38,920
Speaker 5: And it went number one on the country charts.

535
00:29:39,440 --> 00:29:42,800
Speaker 4: And then you listen to the sounds of Freddie Fender

536
00:29:42,840 --> 00:29:45,680
Speaker 4: at the time and you look kind of backwards, like

537
00:29:45,800 --> 00:29:48,360
Speaker 4: hold on Sebastian, Like there was a lot of people

538
00:29:48,680 --> 00:29:53,520
Speaker 4: doing Spanish country music before Freddie Fender agreed, but they

539
00:29:53,640 --> 00:29:54,880
Speaker 4: didn't reach those heights.

540
00:29:54,960 --> 00:29:56,440
Speaker 5: They ended up switching to others.

541
00:29:57,280 --> 00:30:00,360
Speaker 4: They weren't making the money, it wasn't charting. They had

542
00:30:00,440 --> 00:30:02,400
Speaker 4: to make a switch, and they did and they made

543
00:30:02,440 --> 00:30:05,520
Speaker 4: more money. Freddy Fender didn't. And because of that, and

544
00:30:05,640 --> 00:30:09,120
Speaker 4: because of his style of sound, he was you know,

545
00:30:09,360 --> 00:30:14,160
Speaker 4: his songs were performed by Dolly Parton, Loretta Lynn, Tim McGraw,

546
00:30:14,840 --> 00:30:21,160
Speaker 4: like everyone who's anyone in the country music industry knows

547
00:30:21,560 --> 00:30:24,920
Speaker 4: Freddy Fender from the newest artist to the art to

548
00:30:25,040 --> 00:30:28,480
Speaker 4: the mainstay artist because of his impact with that one

549
00:30:28,600 --> 00:30:31,000
Speaker 4: record to start. And I know a lot of people go,

550
00:30:31,480 --> 00:30:33,479
Speaker 4: which I get this all the time because of this petition,

551
00:30:33,680 --> 00:30:36,280
Speaker 4: Oh well he just had a one hit, No honey,

552
00:30:36,360 --> 00:30:37,040
Speaker 4: he had twenty.

553
00:30:37,440 --> 00:30:40,080
Speaker 3: This is a really yeah, really great music history.

554
00:30:40,280 --> 00:30:42,400
Speaker 2: That a lot of it because you're naming artists that

555
00:30:42,520 --> 00:30:45,760
Speaker 2: people love, Loretta Lynn, Dolly Parton, assuming that every song

556
00:30:45,800 --> 00:30:49,040
Speaker 2: they've sang they've written themselves. But you know there are

557
00:30:49,040 --> 00:30:51,400
Speaker 2: other songwriters in Freddy Fender being one of them.

558
00:30:51,880 --> 00:30:55,000
Speaker 4: Yeah, they loved his song so much that they went

559
00:30:55,080 --> 00:30:59,960
Speaker 4: and covered it, like how like you cannot imagine somebody

560
00:31:00,160 --> 00:31:04,640
Speaker 4: with that much impact. Lito Super Seven, that supergroup, those

561
00:31:04,760 --> 00:31:09,760
Speaker 4: bands of the Texas Tornadoes were helped by Freddie Fender's

562
00:31:09,880 --> 00:31:13,320
Speaker 4: influence and impact in country music. To be a loud

563
00:31:13,480 --> 00:31:18,120
Speaker 4: space into those markets, you really have to be honest,

564
00:31:18,160 --> 00:31:20,520
Speaker 4: like nobody else was at that level. Yes, they were

565
00:31:20,560 --> 00:31:22,760
Speaker 4: at that level maybe in other genres, that's why they're

566
00:31:22,760 --> 00:31:25,960
Speaker 4: a supergroup, but not in the country market. You have

567
00:31:26,120 --> 00:31:30,360
Speaker 4: to acknowledge that Freddy really blew through there, created a

568
00:31:30,520 --> 00:31:35,800
Speaker 4: sound that was just so Mexican Texas, like even California.

569
00:31:36,160 --> 00:31:39,040
Speaker 5: He brought in zydeco, he brought in that Chicano.

570
00:31:38,720 --> 00:31:44,200
Speaker 4: Soul sound, and he really did something for Mexicanos, Americanos,

571
00:31:44,920 --> 00:31:48,840
Speaker 4: Chicanos that really I don't think any other artist has

572
00:31:48,880 --> 00:31:51,720
Speaker 4: been able to kind of capture that because you have

573
00:31:51,880 --> 00:31:53,120
Speaker 4: to understand those.

574
00:31:53,000 --> 00:31:53,840
Speaker 5: Sounds, you know.

575
00:31:54,000 --> 00:31:57,680
Speaker 4: All of that combined along with the fact that he

576
00:31:58,440 --> 00:32:01,320
Speaker 4: had been working for so many years actively pretty much

577
00:32:01,320 --> 00:32:03,440
Speaker 4: all the way up until he passed away, he was

578
00:32:03,520 --> 00:32:06,600
Speaker 4: working on an album. He was very active in the

579
00:32:06,680 --> 00:32:09,760
Speaker 4: music industry, especially the country music industry.

580
00:32:10,080 --> 00:32:13,440
Speaker 1: I love that music history so much. I want to

581
00:32:13,520 --> 00:32:15,720
Speaker 1: ask you specifically, I want to go back and ask

582
00:32:15,800 --> 00:32:18,880
Speaker 1: you about your album because that's why you're here today.

583
00:32:19,040 --> 00:32:22,640
Speaker 1: You have a new album coming out and you're this

584
00:32:22,840 --> 00:32:26,600
Speaker 1: is a bilingual album. So tell us more about creating

585
00:32:26,680 --> 00:32:29,960
Speaker 1: a bilingual album. To my knowledge, your previous albums have

586
00:32:30,120 --> 00:32:33,560
Speaker 1: been all in Spanish. But this is like the Mechi

587
00:32:33,640 --> 00:32:37,920
Speaker 1: Americana album. It's bilingual, there's some genre blending.

588
00:32:38,240 --> 00:32:42,960
Speaker 5: Like tell us more, Mexia Americana is ninety percent written

589
00:32:43,040 --> 00:32:48,760
Speaker 5: by me. There's only three songs I think maybe a

590
00:32:48,800 --> 00:32:51,600
Speaker 5: fourth that are not this record.

591
00:32:52,320 --> 00:32:56,320
Speaker 4: And making a bilingual record was the most natural to

592
00:32:56,440 --> 00:33:00,240
Speaker 4: me because it was really allowing me to play with

593
00:33:00,440 --> 00:33:02,560
Speaker 4: language in a way that I play with it every

594
00:33:02,600 --> 00:33:04,960
Speaker 4: single day, in a way that I engage with it

595
00:33:05,000 --> 00:33:07,680
Speaker 4: every single day. You know, I can be talking to

596
00:33:07,800 --> 00:33:09,840
Speaker 4: my mom in English and then switch over to a

597
00:33:09,880 --> 00:33:14,320
Speaker 4: conversation with my grandmother in Spanish. And that duality and

598
00:33:14,520 --> 00:33:18,800
Speaker 4: that blending and that just code switching. It's constant in

599
00:33:18,920 --> 00:33:20,720
Speaker 4: my daily life in Rosvel, Texas.

600
00:33:20,840 --> 00:33:24,360
Speaker 5: And I say, here, is it just perfect? We just

601
00:33:24,400 --> 00:33:27,920
Speaker 5: said I was in New York, But it's just I think.

602
00:33:28,320 --> 00:33:30,520
Speaker 4: Even you know, walking down the streets of New York

603
00:33:30,600 --> 00:33:34,120
Speaker 4: where I can I can understand the two languages playing

604
00:33:34,200 --> 00:33:38,840
Speaker 4: around it. It's a space and it's something that I

605
00:33:38,920 --> 00:33:44,680
Speaker 4: don't I don't feel has been captured my way. And

606
00:33:44,920 --> 00:33:47,920
Speaker 4: so that's really why I did it, you know, trying

607
00:33:48,000 --> 00:33:53,680
Speaker 4: to go from you know, Mexican regional tihano into country

608
00:33:54,680 --> 00:34:00,040
Speaker 4: and and you know, an alternative country music styling, but

609
00:34:00,160 --> 00:34:04,440
Speaker 4: the most natural to me in my songwriting because of

610
00:34:04,520 --> 00:34:06,520
Speaker 4: how I live and how I breathe and how I

611
00:34:06,640 --> 00:34:09,880
Speaker 4: interact with the world on a daily basis. But there

612
00:34:10,000 --> 00:34:13,800
Speaker 4: was a lot of growth going through that, and it

613
00:34:13,960 --> 00:34:19,399
Speaker 4: wasn't pretty growth. It was some ugly like me having

614
00:34:19,480 --> 00:34:21,680
Speaker 4: to reckon with a lot of things that I did

615
00:34:22,640 --> 00:34:26,239
Speaker 4: in my youth into my adulthood, into my young womanhood

616
00:34:27,040 --> 00:34:30,440
Speaker 4: and now me, you know, at thirty, kind of looking

617
00:34:30,560 --> 00:34:34,400
Speaker 4: back on all that and looking back on the relationships

618
00:34:34,440 --> 00:34:40,160
Speaker 4: that I made myself smaller for the people that you know,

619
00:34:41,080 --> 00:34:45,480
Speaker 4: suddenly were went from people who appreciated my art to

620
00:34:45,719 --> 00:34:49,319
Speaker 4: become haters and just you know, think that they had

621
00:34:49,520 --> 00:34:52,920
Speaker 4: ownership of me, and or people that just wanted to

622
00:34:52,960 --> 00:34:55,480
Speaker 4: be with me because I was an artist and they

623
00:34:55,719 --> 00:35:02,520
Speaker 4: liked that energy and that vibe. Unfortunately, that's as an artist,

624
00:35:02,600 --> 00:35:07,880
Speaker 4: and especially as an artist of color, protecting my space,

625
00:35:08,040 --> 00:35:10,360
Speaker 4: protecting my peace, and then on top of that, just

626
00:35:10,440 --> 00:35:12,520
Speaker 4: dealing with all the medical things I was dealing with

627
00:35:12,680 --> 00:35:18,120
Speaker 4: throughout this record, I lost myself in the pain.

628
00:35:19,440 --> 00:35:24,480
Speaker 5: Of healing a broken heart and healing a body that

629
00:35:24,960 --> 00:35:26,879
Speaker 5: was that was trying to die.

630
00:35:27,520 --> 00:35:30,920
Speaker 2: So in it sounds like the writing of the album

631
00:35:31,160 --> 00:35:36,080
Speaker 2: was very emotional and reflective, and given the whole conversation

632
00:35:36,160 --> 00:35:38,719
Speaker 2: we've had today, I'm so curious, like, what does it

633
00:35:39,080 --> 00:35:42,640
Speaker 2: take to get an album made, not just to write

634
00:35:42,680 --> 00:35:46,360
Speaker 2: the songs, but to get the thing made and produced

635
00:35:46,520 --> 00:35:48,000
Speaker 2: so that I can be shared with the world.

636
00:35:48,360 --> 00:35:51,520
Speaker 5: I always practice caution with people who are like, ah,

637
00:35:51,600 --> 00:35:53,279
Speaker 5: I want to be you know, I want to do

638
00:35:53,320 --> 00:35:57,080
Speaker 5: what you do. I'm like, well, you have to come

639
00:35:57,239 --> 00:35:59,080
Speaker 5: in with the idea that.

640
00:36:00,760 --> 00:36:03,000
Speaker 4: One you have to be really confident about what it is,

641
00:36:03,120 --> 00:36:04,759
Speaker 4: is the message that you're wanting to get out to

642
00:36:04,840 --> 00:36:07,000
Speaker 4: the world, and how you want it to sound. But

643
00:36:07,080 --> 00:36:09,680
Speaker 4: then you also have to be open to that sound changing.

644
00:36:10,520 --> 00:36:13,640
Speaker 4: Because you pick a producer, you pick somebody to go

645
00:36:13,719 --> 00:36:17,080
Speaker 4: into the studio with, who's going to arrange it or whatever.

646
00:36:17,719 --> 00:36:19,480
Speaker 4: A lot of the times, the way you think it's

647
00:36:19,520 --> 00:36:21,640
Speaker 4: going to come out in your head sometimes doesn't come

648
00:36:21,680 --> 00:36:24,840
Speaker 4: out exactly like that. Because it's a collaborative process, you

649
00:36:25,000 --> 00:36:28,719
Speaker 4: have to be open to collaborating, changing, changing how you

650
00:36:28,840 --> 00:36:31,920
Speaker 4: want to say something unless it's just like you are

651
00:36:32,000 --> 00:36:34,680
Speaker 4: damned like I've been that way. I'm like, ah, I'm

652
00:36:34,760 --> 00:36:38,080
Speaker 4: not changing this hook. I can change everything else. This

653
00:36:38,200 --> 00:36:43,040
Speaker 4: hook is staying. They're like, and it's just it's a

654
00:36:43,120 --> 00:36:45,560
Speaker 4: super collaborative process, and you have to be open to that,

655
00:36:45,880 --> 00:36:49,279
Speaker 4: and you have to be very mindful of your surroundings,

656
00:36:49,520 --> 00:36:52,240
Speaker 4: very mindful of the energy that you're not just bringing

657
00:36:52,360 --> 00:36:55,000
Speaker 4: into the room, but who's in the room. And with

658
00:36:55,160 --> 00:36:58,399
Speaker 4: that being said, be prepared for it to cost some money,

659
00:37:00,120 --> 00:37:05,440
Speaker 4: prepared for it to feel soul tearing, because you're gonna

660
00:37:05,520 --> 00:37:08,360
Speaker 4: really you can't treat every little thing like your baby.

661
00:37:09,000 --> 00:37:10,319
Speaker 5: You have to be willing to.

662
00:37:10,480 --> 00:37:13,440
Speaker 4: Just kind of like let things get taken apart and

663
00:37:13,520 --> 00:37:16,040
Speaker 4: then put back together. You have to be willing to

664
00:37:16,200 --> 00:37:20,080
Speaker 4: have that collaborative process be very much a part of it. Now,

665
00:37:20,160 --> 00:37:21,680
Speaker 4: if it's abusive, you can tell them to go.

666
00:37:21,760 --> 00:37:23,239
Speaker 5: Fuck themselves and get your money back.

667
00:37:23,360 --> 00:37:27,160
Speaker 4: The ideal process is you go in with a song

668
00:37:27,560 --> 00:37:31,759
Speaker 4: with a message, being open to it not sounding how

669
00:37:31,840 --> 00:37:34,360
Speaker 4: you thought it would sound. And I say sound, not

670
00:37:34,600 --> 00:37:37,719
Speaker 4: message per se, because the message should be exactly the

671
00:37:37,800 --> 00:37:40,040
Speaker 4: message you want to get out to the world. It's

672
00:37:40,120 --> 00:37:41,480
Speaker 4: just a lot of the times you go up, what

673
00:37:41,640 --> 00:37:43,879
Speaker 4: I wanted to do a low fight track, Well, here.

674
00:37:43,840 --> 00:37:47,360
Speaker 5: Comes a rock song like that. That is how like?

675
00:37:47,719 --> 00:37:49,680
Speaker 5: That is what I mean by like. You should be

676
00:37:49,760 --> 00:37:53,200
Speaker 5: open to it telling you how it wants to exist

677
00:37:53,280 --> 00:37:53,760
Speaker 5: in the world.

678
00:37:54,080 --> 00:37:57,200
Speaker 4: If you still want that low firecord on wabel, then

679
00:37:57,840 --> 00:37:59,880
Speaker 4: maybe find a different producer who can do that.

680
00:38:00,440 --> 00:38:03,560
Speaker 5: But if it's telling you this is the this is where.

681
00:38:03,360 --> 00:38:06,680
Speaker 4: It wants to go, it'll tell you creative things, whether

682
00:38:06,719 --> 00:38:08,360
Speaker 4: it's writing, whether it's anything.

683
00:38:08,880 --> 00:38:11,040
Speaker 5: It dictates what it would like to be out in

684
00:38:11,120 --> 00:38:13,560
Speaker 5: the world. You are just a vessel for it to

685
00:38:15,200 --> 00:38:15,640
Speaker 5: come out.

686
00:38:16,640 --> 00:38:19,880
Speaker 4: But after it's out, it dictates. It tells you what

687
00:38:20,000 --> 00:38:22,360
Speaker 4: it wants. You don't tell it what it wants. And

688
00:38:22,400 --> 00:38:24,200
Speaker 4: a lot of times you can hear it. You can

689
00:38:24,280 --> 00:38:26,279
Speaker 4: hear it on certain songs that are like, oh, like

690
00:38:27,040 --> 00:38:31,200
Speaker 4: some something just doesn't it's almost there, And those moments

691
00:38:31,239 --> 00:38:33,520
Speaker 4: where you're like, ah, it's almost there is because somebody

692
00:38:33,600 --> 00:38:36,359
Speaker 4: else dictated where it should have gone, and it's still

693
00:38:36,480 --> 00:38:39,640
Speaker 4: wanted to marinate, it's still wanted to grow, it's still wanted.

694
00:38:39,400 --> 00:38:40,239
Speaker 5: To be something else.

695
00:38:40,719 --> 00:38:41,160
Speaker 3: I love that.

696
00:38:41,360 --> 00:38:45,839
Speaker 1: That's incredible advice for any creative and any field. Thank

697
00:38:45,880 --> 00:38:48,320
Speaker 1: you so much for joining us today. I have to

698
00:38:48,440 --> 00:38:50,800
Speaker 1: let you know that one of my favorite songs on

699
00:38:50,880 --> 00:38:53,200
Speaker 1: the album, which I know as a single, is Gweva.

700
00:38:53,960 --> 00:38:57,719
Speaker 1: It's so good because I don't like to cook. I'm

701
00:38:57,800 --> 00:39:03,279
Speaker 1: like Les Moets like I agree. Thank you so much

702
00:39:03,360 --> 00:39:06,560
Speaker 1: for sharing so much today. This has been an incredible episode.

703
00:39:06,800 --> 00:39:08,960
Speaker 1: We can't wait to see you when you're in LA.

704
00:39:09,360 --> 00:39:12,400
Speaker 1: We'd love to make something happen out here with all

705
00:39:12,440 --> 00:39:14,320
Speaker 1: our listeners that be in Absolutely.

706
00:39:14,440 --> 00:39:16,600
Speaker 2: Can you let our listeners know where they can follow

707
00:39:16,640 --> 00:39:19,840
Speaker 2: you and where they can stream your album when it

708
00:39:19,960 --> 00:39:20,279
Speaker 2: is out.

709
00:39:20,680 --> 00:39:25,080
Speaker 5: Yes, you guys can find me on dot com v

710
00:39:25,200 --> 00:39:30,399
Speaker 5: E r O n I q U E D. I've

711
00:39:30,440 --> 00:39:32,040
Speaker 5: done this so many times spelling my name.

712
00:39:32,880 --> 00:39:34,840
Speaker 4: But you can find me anywhere you choose me on

713
00:39:34,880 --> 00:39:40,880
Speaker 4: your friends, whether it's TikTok, threads, so ned, Facebook, Instagram,

714
00:39:41,280 --> 00:39:44,360
Speaker 4: wherever you guys are at, I am on there Be, Onique,

715
00:39:44,600 --> 00:39:47,960
Speaker 4: Medad and of course on on streaming platforms.

716
00:39:48,040 --> 00:39:49,399
Speaker 5: I am everywhere under.

717
00:39:50,760 --> 00:39:51,520
Speaker 1: Thank you so much.

718
00:39:51,840 --> 00:39:53,400
Speaker 2: Thank you for joining us here at look at thot

719
00:39:53,480 --> 00:39:53,879
Speaker 2: our Radio.

720
00:39:54,160 --> 00:39:55,120
Speaker 1: We'll catch you next time.

721
00:39:55,680 --> 00:40:00,560
Speaker 2: This thos look at What our Radio A Radio five novella.

722
00:40:00,719 --> 00:40:03,680
Speaker 2: Is executive produced and hosted by Me Mala Munos and

723
00:40:03,800 --> 00:40:04,480
Speaker 2: VIOSA Fem.

724
00:40:04,800 --> 00:40:07,000
Speaker 1: Story editing by Me FIOSA.

725
00:40:06,840 --> 00:40:08,440
Speaker 3: Audio editing by Stephanie Franco.

726
00:40:08,640 --> 00:40:10,960
Speaker 1: Thank you to our locomotives, our listeners for all of

727
00:40:11,000 --> 00:40:16,520
Speaker 1: your support. Beti Fos.

728
00:40:23,600 --> 00:40:28,760
Speaker 2: Look at Radio a radio phonic novela hosted by Mala

729
00:40:28,840 --> 00:40:30,839
Speaker 2: Munos and Theosa Fem.

730
00:41:14,080 --> 00:41:15,320
Speaker 5: Take us to your network.

731
00:41:18,560 --> 00:41:18,600
Speaker 6: H