1 00:00:00,880 --> 00:00:04,200 Speaker 1: All right, Maria, I know that you and I share 2 00:00:04,240 --> 00:00:07,920 Speaker 1: a love of old music, so I know that you 3 00:00:08,000 --> 00:00:08,920 Speaker 1: know this song. 4 00:00:09,000 --> 00:00:17,599 Speaker 2: What a Difference a Day May Maria, Yes, name that tune, 5 00:00:17,800 --> 00:00:20,520 Speaker 2: What a Difference to Day makes. 6 00:00:21,760 --> 00:00:25,040 Speaker 1: Good job? That was released by Dinah Washington in nineteen 7 00:00:25,120 --> 00:00:25,680 Speaker 1: fifty nine. 8 00:00:26,280 --> 00:00:30,200 Speaker 3: The thing is is that Dinah Washington was somebody that 9 00:00:30,280 --> 00:00:31,840 Speaker 3: I grew up hearing. 10 00:00:32,440 --> 00:00:36,360 Speaker 1: Well, the story is not about Dinah Washington. Okay, did 11 00:00:36,440 --> 00:00:39,360 Speaker 1: you actually know that that song was written by a 12 00:00:39,400 --> 00:00:43,360 Speaker 1: Mexican woman composer in nineteen thirty four, and she was 13 00:00:43,560 --> 00:00:49,199 Speaker 1: actually huge. Maria Griever wrote upwards of like eight hundred songs, 14 00:00:49,400 --> 00:00:52,280 Speaker 1: and she was in Mexico. She was Mexican. Okay, there's 15 00:00:52,320 --> 00:00:56,520 Speaker 1: so much more. She wrote for Paramount Pictures, Fox MGM, 16 00:00:57,120 --> 00:01:00,400 Speaker 1: she wrote musicals and operas like literally she was huge. 17 00:01:00,440 --> 00:01:01,600 Speaker 1: But have you ever heard her. 18 00:01:01,600 --> 00:01:04,759 Speaker 4: Name Maria Griever? No? 19 00:01:04,760 --> 00:01:08,520 Speaker 3: No, it wasn't never Maria Greb or Maria Griver No, no, 20 00:01:08,520 --> 00:01:09,760 Speaker 3: no idea who she's interesting? 21 00:01:09,800 --> 00:01:10,920 Speaker 4: I mean, I feel like I need to. 22 00:01:10,840 --> 00:01:13,200 Speaker 3: Call it mom phone a friend, not write the second Okay, 23 00:01:13,240 --> 00:01:15,560 Speaker 3: all right, and now the interesting thing is is that 24 00:01:15,760 --> 00:01:19,039 Speaker 3: the version of the song that I know best is 25 00:01:19,520 --> 00:01:21,399 Speaker 3: Idie Gourmet singing with. 26 00:01:21,440 --> 00:01:22,840 Speaker 4: Los banchos. 27 00:01:28,200 --> 00:01:35,800 Speaker 5: Is de sologo las cosasque de vigo nola repeatas hummas 28 00:01:36,120 --> 00:01:41,119 Speaker 5: Borg Bason. That song was played in my house over 29 00:01:41,200 --> 00:01:44,600 Speaker 5: and over and over again on Sunday mornings, which. 30 00:01:44,400 --> 00:01:45,800 Speaker 4: Is why I know all the lyrics. 31 00:01:45,920 --> 00:01:52,080 Speaker 1: Good one So was originally written in nineteen thirty four, 32 00:01:52,600 --> 00:01:56,760 Speaker 1: translated into English by Stanley Adams as Dan D Dan. 33 00:01:57,000 --> 00:01:58,080 Speaker 1: What a difference a day? 34 00:01:58,120 --> 00:01:58,400 Speaker 6: Mikes? 35 00:01:58,760 --> 00:02:01,280 Speaker 4: What's funny is that, like, I know that song. 36 00:02:01,760 --> 00:02:04,040 Speaker 1: And it's not going to be the last song you recognize. 37 00:02:04,240 --> 00:02:07,840 Speaker 1: She is like the most famous unknown person you didn't 38 00:02:07,880 --> 00:02:08,840 Speaker 1: know you knew. 39 00:02:09,639 --> 00:02:11,880 Speaker 4: Why don't we know more about her? 40 00:02:12,240 --> 00:02:16,080 Speaker 1: That was my question. After researching this story, I realized 41 00:02:16,240 --> 00:02:20,359 Speaker 1: she was pretty prolific. She remained active until she passed 42 00:02:20,360 --> 00:02:23,280 Speaker 1: in nineteen fifty one, and they even made a biopic 43 00:02:23,320 --> 00:02:25,679 Speaker 1: about her in nineteen fifty four with a fairly well 44 00:02:25,680 --> 00:02:30,400 Speaker 1: known Mexican Argentine actress, Live Tad la Marque. So what happened? 45 00:02:30,919 --> 00:02:34,640 Speaker 1: And so began my quest. I bought a book, which 46 00:02:34,720 --> 00:02:37,360 Speaker 1: was great, but then when it came to find a 47 00:02:37,440 --> 00:02:42,560 Speaker 1: voice Nada. The more I started to dig, the more 48 00:02:42,600 --> 00:02:46,000 Speaker 1: I couldn't believe what I found, like the Cliffsnes version 49 00:02:46,360 --> 00:02:48,520 Speaker 1: is she was alone in New York City with two 50 00:02:48,639 --> 00:02:51,079 Speaker 1: kids and had a career starting in the late twenties 51 00:02:51,160 --> 00:02:53,840 Speaker 1: up until nineteen fifty one. And this is a time 52 00:02:54,240 --> 00:02:56,480 Speaker 1: when women didn't do those things. 53 00:02:56,720 --> 00:03:00,600 Speaker 3: See, there's this whole element of Mexican women who are 54 00:03:01,280 --> 00:03:02,560 Speaker 3: okay badasses. 55 00:03:03,240 --> 00:03:04,320 Speaker 4: Muchis in. 56 00:03:06,680 --> 00:03:09,480 Speaker 1: Right. So this is why I knew I had to 57 00:03:09,520 --> 00:03:12,800 Speaker 1: tell this story. But also where I kept coming to 58 00:03:13,000 --> 00:03:16,560 Speaker 1: a literal dead ends. Well, I found a bunch of 59 00:03:16,600 --> 00:03:19,360 Speaker 1: information in the book I bought. I couldn't find much else, 60 00:03:20,280 --> 00:03:23,720 Speaker 1: but I keep going. My days would consist of finding 61 00:03:23,760 --> 00:03:26,600 Speaker 1: a name, going back and forth from Webb to book 62 00:03:26,680 --> 00:03:29,720 Speaker 1: to public records to obit. And then one day I 63 00:03:29,960 --> 00:03:34,040 Speaker 1: finally found a name that matched and a confirmed a 64 00:03:34,160 --> 00:03:38,280 Speaker 1: great grandson. So I wrote him an email and so 65 00:03:38,480 --> 00:03:41,440 Speaker 1: he writes back, not right away. So I called him 66 00:03:41,440 --> 00:03:42,600 Speaker 1: on the phone and I left him. 67 00:03:43,360 --> 00:03:45,360 Speaker 4: Oh gosh, so does he call you back? 68 00:03:45,480 --> 00:03:49,200 Speaker 1: On a Friday afternoon when I was feeling particularly defeated, 69 00:03:49,400 --> 00:03:52,640 Speaker 1: this is Lee Straat, grandson Maria Griever. 70 00:03:53,040 --> 00:03:57,480 Speaker 3: Oh my god, so the great grandson of Maria Griever. 71 00:03:57,760 --> 00:03:58,600 Speaker 4: It's amazing. 72 00:03:59,280 --> 00:04:02,680 Speaker 1: Yes, Oh, I was starstruck. 73 00:04:02,880 --> 00:04:04,520 Speaker 4: I want to know all of the details. 74 00:04:04,640 --> 00:04:07,080 Speaker 1: I'm going to tell you everything that I've learned, as 75 00:04:07,080 --> 00:04:09,360 Speaker 1: well as the roller coaster that has been to research 76 00:04:09,400 --> 00:04:09,880 Speaker 1: this story. 77 00:04:10,040 --> 00:04:18,720 Speaker 3: Okay, well, let's go from Fudro Media and PRX. It's Latino, USA. 78 00:04:18,920 --> 00:04:22,839 Speaker 3: I'm Maria no Josa. Today we start hen Yes, a 79 00:04:22,960 --> 00:04:27,240 Speaker 3: series remembering notable women in music. First up, the prolific 80 00:04:27,320 --> 00:04:28,919 Speaker 3: composer Maria Griever. 81 00:04:32,440 --> 00:04:34,520 Speaker 7: I obviously wish I had gotten to meet her. 82 00:04:34,640 --> 00:04:36,280 Speaker 1: She seemed like a total badass. 83 00:04:36,520 --> 00:04:39,159 Speaker 8: She's just seemed like a very strong person, and so 84 00:04:39,640 --> 00:04:41,880 Speaker 8: I can only imagine the challenges she had along the way. 85 00:04:42,320 --> 00:04:47,440 Speaker 3: Okay, Jeanie, so Lee Griever calls you, that is Madia 86 00:04:47,480 --> 00:04:52,520 Speaker 3: Greaver's great grandson, and you're kind of like, oh my god, 87 00:04:52,640 --> 00:04:53,520 Speaker 3: you're starstruck. 88 00:04:54,080 --> 00:04:58,120 Speaker 1: Yep. I honestly thought I would not hear back, but 89 00:04:58,480 --> 00:05:01,239 Speaker 1: I also knew I would find way to tell this story. 90 00:05:01,480 --> 00:05:03,320 Speaker 1: So we'll hear more from the family later on. 91 00:05:03,760 --> 00:05:07,560 Speaker 3: Do you have any idea what was her story before 92 00:05:07,800 --> 00:05:09,239 Speaker 3: you were pitching this story? 93 00:05:09,600 --> 00:05:12,680 Speaker 1: I actually did not, Like I said, she was ultra famous, 94 00:05:12,760 --> 00:05:16,719 Speaker 1: like Google did a doodle last February. She's Google doodle famous. Wow, 95 00:05:17,080 --> 00:05:20,400 Speaker 1: it's actually super random how I fell upon Maria Griever. 96 00:05:20,480 --> 00:05:24,280 Speaker 1: And it was before the Doodle, during the pandemic. We're 97 00:05:24,320 --> 00:05:26,680 Speaker 1: FaceTime in with my family a lot, and my mom 98 00:05:26,720 --> 00:05:30,039 Speaker 1: starts singing this lallabyte mating. My son, who has this 99 00:05:30,160 --> 00:05:33,039 Speaker 1: insane ability to pick up music and lyrics, learned the 100 00:05:33,120 --> 00:05:35,720 Speaker 1: song and I had to look up the song online 101 00:05:35,760 --> 00:05:37,720 Speaker 1: so that I could sing the song with my then 102 00:05:37,760 --> 00:05:41,239 Speaker 1: two year old. Okay, and so I'm digging and digging 103 00:05:41,360 --> 00:05:46,880 Speaker 1: and I can't find anything, and finally there it was, 104 00:05:46,960 --> 00:05:55,080 Speaker 1: in all its glory, the ghetto, the HOASTI also known 105 00:05:55,240 --> 00:06:04,280 Speaker 1: as Muniki de So I read and I'm like music 106 00:06:04,320 --> 00:06:06,200 Speaker 1: and lyrics by Maria Griever. 107 00:06:06,680 --> 00:06:07,000 Speaker 4: Huh. 108 00:06:07,040 --> 00:06:10,960 Speaker 1: And I was like, oh, cool a woman. And then 109 00:06:11,000 --> 00:06:15,240 Speaker 1: I was like, wait, she's Mexican. Wait she composed eight 110 00:06:15,320 --> 00:06:19,000 Speaker 1: hundred songs in the nineteen thirties. Wait for Paramount. Wait 111 00:06:19,160 --> 00:06:21,560 Speaker 1: she wrote what a Difference of Daymakes? And then like 112 00:06:22,080 --> 00:06:26,560 Speaker 1: literally my mind exploded because Maria, I am a music engineer. 113 00:06:26,960 --> 00:06:29,400 Speaker 1: It's hard to be a woman in music today. So 114 00:06:29,440 --> 00:06:30,440 Speaker 1: I just couldn't get enough. 115 00:06:31,240 --> 00:06:33,520 Speaker 3: So take a step back and tell me a moment. Now, 116 00:06:34,080 --> 00:06:35,760 Speaker 3: So who was buddy at. 117 00:06:35,600 --> 00:06:41,560 Speaker 1: Griever Maria joaquinell La Portia Torres was born in eighteen 118 00:06:41,600 --> 00:06:45,960 Speaker 1: eighty five in Mexico, half Mexican and half Spanish. She 119 00:06:46,040 --> 00:06:49,160 Speaker 1: had dark hair and light skin, more leaning towards her 120 00:06:49,160 --> 00:06:52,919 Speaker 1: Spanish ancestry. In European features. Her record state that she 121 00:06:52,960 --> 00:06:55,640 Speaker 1: wrote her first song at a very young age, a 122 00:06:55,680 --> 00:06:56,640 Speaker 1: simple Christmas song. 123 00:06:57,520 --> 00:07:00,120 Speaker 9: You have to remember she was a child prodigy. She 124 00:07:00,160 --> 00:07:02,080 Speaker 9: started writing when she was seven years old. 125 00:07:02,400 --> 00:07:05,359 Speaker 1: This is Bob Greever, her grandson, in an interview with 126 00:07:05,400 --> 00:07:08,800 Speaker 1: the San Antonio News right before he passed in twenty sixteen. 127 00:07:09,160 --> 00:07:13,160 Speaker 3: Wow, I'm fascinated by child prodigies. Was she a child star? 128 00:07:13,600 --> 00:07:15,960 Speaker 1: Well, not a child star in a published sense, but 129 00:07:16,400 --> 00:07:18,200 Speaker 1: it just kind of goes to show how the family 130 00:07:18,240 --> 00:07:20,720 Speaker 1: recognized that she had talent at a very young age, 131 00:07:21,080 --> 00:07:23,280 Speaker 1: and because they were a wealthy family, they had the 132 00:07:23,360 --> 00:07:24,120 Speaker 1: means to travel. 133 00:07:24,760 --> 00:07:27,480 Speaker 9: She went from Spain and that she studied in France 134 00:07:27,520 --> 00:07:31,000 Speaker 9: and then she studied in Italy. They sent her all over. 135 00:07:31,720 --> 00:07:37,520 Speaker 1: Maria actually took classes with Claude WC. Debussy, Like yeah, whatc. 136 00:07:38,200 --> 00:07:40,480 Speaker 1: She went back and forth from Mexico to Spain until 137 00:07:40,520 --> 00:07:43,520 Speaker 1: she was about fifteen. Her father passes away and they 138 00:07:43,560 --> 00:07:45,800 Speaker 1: moved back for good. This is right around the turn 139 00:07:45,840 --> 00:07:49,559 Speaker 1: of the century. Flashed forward to nineteen oh seven, where 140 00:07:49,560 --> 00:07:52,760 Speaker 1: Maria marries Leon Griever, a businessman who was the best 141 00:07:52,840 --> 00:07:56,000 Speaker 1: man at her sister's wedding. They have four children, only 142 00:07:56,080 --> 00:07:59,920 Speaker 1: two of which survived past childhood. She's writing in Mexico 143 00:08:00,240 --> 00:08:01,800 Speaker 1: music that would get published later. 144 00:08:02,440 --> 00:08:04,920 Speaker 4: Okay, so she's getting her name out there, right. 145 00:08:05,000 --> 00:08:08,600 Speaker 1: So we're now in nineteen sixteen, So this is where 146 00:08:08,600 --> 00:08:12,480 Speaker 1: things start to get hazy. The widely published story is 147 00:08:12,480 --> 00:08:15,120 Speaker 1: that Maria Griever and her children were sent by her 148 00:08:15,200 --> 00:08:17,720 Speaker 1: husband to live in New York City due to political 149 00:08:17,720 --> 00:08:21,480 Speaker 1: instability during the Mexican Revolution. She would have been probably 150 00:08:21,520 --> 00:08:22,840 Speaker 1: around thirty one years. 151 00:08:22,680 --> 00:08:26,400 Speaker 3: Old and her husband Leon, so he stays behind. 152 00:08:26,400 --> 00:08:29,640 Speaker 1: Yeah, for work. So in this book that I bought, 153 00:08:29,840 --> 00:08:35,160 Speaker 1: it's called Maria Griever Boeta and it's by Maria Luisa 154 00:08:35,240 --> 00:08:41,040 Speaker 1: Rodriguez Lee, Charles Griever, Maria's son, details having fled amidst 155 00:08:41,040 --> 00:08:43,800 Speaker 1: the revolution. But there's more to this which I found 156 00:08:43,800 --> 00:08:47,199 Speaker 1: out from the family. For now, we know Maria Griever 157 00:08:47,400 --> 00:08:53,000 Speaker 1: is heading alone with her two kids to the Big Apple. Remember, 158 00:08:53,080 --> 00:08:56,400 Speaker 1: Maria was a child prodigy so she sang, and she 159 00:08:56,480 --> 00:08:59,559 Speaker 1: played several instruments. She was a soprano, so it's a 160 00:08:59,600 --> 00:09:01,800 Speaker 1: person who sings at the top of the vocal range. 161 00:09:02,160 --> 00:09:05,160 Speaker 1: But her future really was as a composer. I found 162 00:09:05,240 --> 00:09:07,800 Speaker 1: a newspaper clipping of a recital as far back as 163 00:09:07,920 --> 00:09:10,840 Speaker 1: nineteen nineteen. It was a review of a performance at 164 00:09:10,840 --> 00:09:12,880 Speaker 1: the Princess Theater and it states. 165 00:09:12,960 --> 00:09:15,400 Speaker 10: Her voice was not well controlled and in a moment 166 00:09:15,480 --> 00:09:18,960 Speaker 10: of greatest intensity, the tones were spread. Miss Griever needs 167 00:09:19,000 --> 00:09:20,680 Speaker 10: more technique, less emotions. 168 00:09:21,120 --> 00:09:23,760 Speaker 4: Oooooo yikes, not good. 169 00:09:24,320 --> 00:09:26,840 Speaker 1: You know, she wasn't really singing her songs just yet, 170 00:09:26,880 --> 00:09:28,520 Speaker 1: but it was kind of a way to get yourself 171 00:09:28,559 --> 00:09:30,720 Speaker 1: out there and known. And what do people in New 172 00:09:30,760 --> 00:09:34,400 Speaker 1: York City do when they want something, Well, they hustled, exactly. 173 00:09:34,520 --> 00:09:37,240 Speaker 1: You and I both know that if you don't hustle 174 00:09:37,280 --> 00:09:40,080 Speaker 1: in New York City, you don't go anywhere. And Maria 175 00:09:40,120 --> 00:09:44,160 Speaker 1: Griever hustled. In this book, there's articles where she's quoted 176 00:09:44,160 --> 00:09:46,520 Speaker 1: as being a great conversationalist, and she knew how to 177 00:09:46,559 --> 00:09:50,080 Speaker 1: make friends, and she obviously knew how to network. The 178 00:09:50,120 --> 00:09:51,040 Speaker 1: Brooklyn Daily. 179 00:09:50,840 --> 00:09:53,720 Speaker 10: Eagle Mary agreed that is one of the busiest women 180 00:09:53,760 --> 00:09:54,480 Speaker 10: in all New. 181 00:09:54,400 --> 00:09:58,400 Speaker 3: York, which is interesting because it was a time that 182 00:09:58,480 --> 00:10:02,240 Speaker 3: was pretty unforgiving to women who were kind of owning 183 00:10:02,320 --> 00:10:04,439 Speaker 3: their voice their power exactly. 184 00:10:04,760 --> 00:10:08,839 Speaker 1: Yeah, this is doctor Leong Garcia Corona. He's a doctor 185 00:10:08,880 --> 00:10:12,479 Speaker 1: in musicology and assistant professor at Northern Arizona University. 186 00:10:12,920 --> 00:10:16,640 Speaker 11: So when Maria Griver moved to the States, she was 187 00:10:16,800 --> 00:10:18,880 Speaker 11: in the middle of the development of mass media. We 188 00:10:18,920 --> 00:10:23,680 Speaker 11: have the radio, we have records, and we also have movies. 189 00:10:24,120 --> 00:10:25,920 Speaker 11: You have to know people and you have to be 190 00:10:26,600 --> 00:10:29,559 Speaker 11: within the network of people who are part of. 191 00:10:29,520 --> 00:10:32,720 Speaker 1: It, and that network pays off. When Maria Griever gets 192 00:10:32,760 --> 00:10:36,240 Speaker 1: published by G. Schrmer, a big publishing house in nineteen 193 00:10:36,280 --> 00:10:39,040 Speaker 1: twenty six, it wasn't the first, but it was the 194 00:10:39,080 --> 00:10:40,760 Speaker 1: first one to make big waves. 195 00:10:41,000 --> 00:10:44,760 Speaker 3: So this term published, I mean, that's not exactly how 196 00:10:44,840 --> 00:10:45,760 Speaker 3: music works today. 197 00:10:45,880 --> 00:10:47,880 Speaker 4: So what does that mean publishing? 198 00:10:48,360 --> 00:10:51,559 Speaker 1: So sheet music was how you sold your music. Sheet 199 00:10:51,640 --> 00:10:54,880 Speaker 1: music was the LPCD or MP three of that time. 200 00:10:55,200 --> 00:10:57,880 Speaker 3: So that's like actually on paper, right, it's where you're 201 00:10:57,960 --> 00:11:00,559 Speaker 3: seeing the notes charts. 202 00:11:00,679 --> 00:11:03,240 Speaker 4: You use that to play music exactly. 203 00:11:03,320 --> 00:11:05,439 Speaker 1: So in order to get your music heard, you had 204 00:11:05,480 --> 00:11:08,600 Speaker 1: to have your music published by a publishing house, right. 205 00:11:08,480 --> 00:11:11,720 Speaker 3: And so basically people buy the sheet music and then 206 00:11:11,760 --> 00:11:14,520 Speaker 3: it's played at a recital or a concert or a party. 207 00:11:15,200 --> 00:11:19,640 Speaker 3: Because this was the decade where theater actually was king, and. 208 00:11:19,640 --> 00:11:21,680 Speaker 1: One of the experts I spoke with about early New 209 00:11:21,760 --> 00:11:23,920 Speaker 1: York City said that theaters were how people in those 210 00:11:24,000 --> 00:11:26,800 Speaker 1: days were exposed to other cultures and saw what was 211 00:11:26,840 --> 00:11:29,840 Speaker 1: relevant in pop culture. If you got a theater gig, 212 00:11:29,880 --> 00:11:32,239 Speaker 1: you basically made it. It was like peak celebrity. 213 00:11:32,520 --> 00:11:35,480 Speaker 3: And Maria got into the theaters in New York City 214 00:11:35,480 --> 00:11:36,960 Speaker 3: and was doing that kind of work. 215 00:11:37,040 --> 00:11:40,200 Speaker 1: Right, She's out there making things happen. The song she 216 00:11:40,240 --> 00:11:50,719 Speaker 1: publishes is huamh, which Maria, I'm pretty sure you've heard 217 00:11:51,240 --> 00:11:52,880 Speaker 1: little Luis miguh ju. 218 00:11:54,280 --> 00:11:55,319 Speaker 4: I'm so right there. 219 00:11:55,480 --> 00:11:59,400 Speaker 3: I mean, it's just like memories, memories, and Hudam is 220 00:11:59,440 --> 00:12:01,719 Speaker 3: basically saying, swear to me, swear to me that you 221 00:12:01,840 --> 00:12:03,560 Speaker 3: love me, swear to me, swear to me that you 222 00:12:03,600 --> 00:12:04,080 Speaker 3: won't leave. 223 00:12:04,320 --> 00:12:06,400 Speaker 1: Very dramatic, super dramatic. 224 00:12:06,760 --> 00:12:09,600 Speaker 3: And so are you saying that the song was a 225 00:12:09,800 --> 00:12:14,600 Speaker 3: major success, even though the song was performed always in Spanish. 226 00:12:15,200 --> 00:12:18,839 Speaker 1: Yeah, it was well received. Here's doctor Garcia Corona again. 227 00:12:19,240 --> 00:12:23,280 Speaker 11: And it was received in beyond the constraints of language, 228 00:12:23,280 --> 00:12:25,440 Speaker 11: because I mean she will compose something in Spanish. But 229 00:12:25,920 --> 00:12:30,960 Speaker 11: again the melody, the lyricism of the music transcended political 230 00:12:31,000 --> 00:12:33,679 Speaker 11: boundaries and transcended also language. 231 00:12:33,679 --> 00:12:40,280 Speaker 1: Parriners, Maria Griaver wrote tangle as well, It's as Balero's 232 00:12:40,520 --> 00:12:42,520 Speaker 1: and all of that. Tried to keep as much of 233 00:12:42,559 --> 00:12:46,880 Speaker 1: her roots as possible, and so although Maria Griver left Mexico, 234 00:12:47,679 --> 00:12:52,080 Speaker 1: Mexico never left her as cliche as said, she was 235 00:12:52,240 --> 00:12:55,400 Speaker 1: very adamant about being Mexican and showcasing her Mexican music 236 00:12:55,440 --> 00:12:58,920 Speaker 1: and pride. From an interview printed in the Rodriguez Lee Book, 237 00:12:59,120 --> 00:13:02,600 Speaker 1: Maria's quoted to saying the following statement read by one 238 00:13:02,640 --> 00:13:06,320 Speaker 1: of our fellow producers, Victoria Estrada, I. 239 00:13:06,200 --> 00:13:09,280 Speaker 12: Am interested in your American jazz, and I'm interested in 240 00:13:09,280 --> 00:13:12,320 Speaker 12: modern music, but I'm interested most of all in my 241 00:13:12,400 --> 00:13:15,160 Speaker 12: own Mexican music, and I want to try and present 242 00:13:15,200 --> 00:13:17,959 Speaker 12: it for the Americans. I do not think that they 243 00:13:18,040 --> 00:13:20,640 Speaker 12: know very much about it, and it is worth knowing. 244 00:13:21,520 --> 00:13:23,640 Speaker 12: There is a wealth of song culture in Mexico. 245 00:13:25,920 --> 00:13:30,000 Speaker 3: All right, So I'm following along, But you know, from 246 00:13:30,040 --> 00:13:34,720 Speaker 3: getting your sheet music published on paper to uramy becoming 247 00:13:34,760 --> 00:13:35,439 Speaker 3: a big hit. 248 00:13:35,840 --> 00:13:36,640 Speaker 4: How does it happen? 249 00:13:37,200 --> 00:13:41,120 Speaker 1: So, as the story goes, Jose Mohica, who became a 250 00:13:41,320 --> 00:13:45,560 Speaker 1: very famous Mexican tenor, randomly picked up the sheet music 251 00:13:45,640 --> 00:13:48,920 Speaker 1: at a music shop with this pianist and recorded Houram 252 00:13:49,080 --> 00:14:06,240 Speaker 1: in nineteen twenty seven. With the success of Hua Men, 253 00:14:06,840 --> 00:14:09,520 Speaker 1: she starts to get published even more. And like we 254 00:14:09,600 --> 00:14:12,840 Speaker 1: heard in the beginning, Maria writes guando batulado or what 255 00:14:12,920 --> 00:14:15,880 Speaker 1: a difference to day makes in nineteen thirty four, and 256 00:14:15,960 --> 00:14:18,360 Speaker 1: she starts to get contracts from the big movie houses. 257 00:14:18,720 --> 00:14:25,280 Speaker 1: She scores for Paramount MGM Box. This is the nineteen thirties, 258 00:14:25,680 --> 00:14:29,160 Speaker 1: the golden age of radio, and Maria Griever was everywhere. 259 00:14:29,360 --> 00:14:32,240 Speaker 1: Aside from radio plays, she's also playing at Carnegie Hall. 260 00:14:33,280 --> 00:14:37,000 Speaker 1: Here's the transcriptions of old radio programs and newspaper clippings 261 00:14:37,000 --> 00:14:38,320 Speaker 1: in the late thirties and forties. 262 00:14:38,560 --> 00:14:42,520 Speaker 10: A song from the panel Latin America's favorite lyric composer 263 00:14:42,800 --> 00:14:46,080 Speaker 10: Maria Green, the best known composers living today, who was 264 00:14:46,120 --> 00:14:49,240 Speaker 10: born and brought up in Maria Greever a composer of 265 00:14:49,280 --> 00:14:51,480 Speaker 10: the suddenly tentational hit Tippy Keen. 266 00:14:52,120 --> 00:14:56,600 Speaker 1: The biggest blockbuster hit for her comes in nineteen thirty eight, 267 00:14:56,960 --> 00:15:02,000 Speaker 1: and it's a song called Dippy Thing, Deep Dip Dip 268 00:15:02,120 --> 00:15:08,440 Speaker 1: Dip dn T, dog Bones, dealing adage satisfying. Here's a 269 00:15:08,520 --> 00:15:11,440 Speaker 1: quote from an interview with Maria Griever in the Cincinnati 270 00:15:11,520 --> 00:15:13,560 Speaker 1: Inquirer from April nineteen thirty eight. 271 00:15:14,400 --> 00:15:17,480 Speaker 12: Critically ill and in great pain, I had just received 272 00:15:17,480 --> 00:15:20,880 Speaker 12: a sedative. The effect made me faint, and I remarked 273 00:15:20,920 --> 00:15:24,720 Speaker 12: to the doctor, I feel tippy. The word tippy caught 274 00:15:24,760 --> 00:15:28,440 Speaker 12: my fancy. Somehow, it seemed to have a happy message. 275 00:15:28,920 --> 00:15:32,560 Speaker 12: The piano was at my bedside within three minutes time. 276 00:15:32,960 --> 00:15:34,200 Speaker 12: I had composed the song. 277 00:15:36,320 --> 00:15:39,560 Speaker 1: That song spent six weeks at the number one spot 278 00:15:39,560 --> 00:15:41,880 Speaker 1: on what was known as your Hip Parade, so kind 279 00:15:41,920 --> 00:15:45,480 Speaker 1: of like the Billboard Hot one hundred right exactly. The 280 00:15:45,640 --> 00:15:48,360 Speaker 1: interesting thing here is that even though Marie had several 281 00:15:48,440 --> 00:15:51,000 Speaker 1: hits to her name at that point, publishers didn't want 282 00:15:51,040 --> 00:15:54,360 Speaker 1: to publish the song. From a newspaper interview documented in 283 00:15:54,440 --> 00:15:57,000 Speaker 1: the rodriez Lee book, Maria Griever says. 284 00:15:57,520 --> 00:16:00,120 Speaker 12: I had such a strong faith in the song, but 285 00:16:00,200 --> 00:16:03,400 Speaker 12: the publishers thought I was crazy. I had been twenty 286 00:16:03,560 --> 00:16:06,960 Speaker 12: years before an audience, and as a sensitive artist, I 287 00:16:07,040 --> 00:16:10,280 Speaker 12: feel the vibrations of the public. I knew the song 288 00:16:10,280 --> 00:16:13,600 Speaker 12: would be a success, so I published it myself. 289 00:16:14,080 --> 00:16:17,160 Speaker 1: And then Fortida Music Publishing Company was born. 290 00:16:17,520 --> 00:16:20,000 Speaker 3: You know, sometimes when you say no to a Mexican woman, 291 00:16:20,160 --> 00:16:22,320 Speaker 3: she'll just say, well, I'll do it on my own. 292 00:16:24,880 --> 00:16:28,080 Speaker 1: So Maria Griever is now a household name. She's translated 293 00:16:28,200 --> 00:16:31,760 Speaker 1: lyrics for cole Porter. She wrote music for a Broadway 294 00:16:31,800 --> 00:16:35,720 Speaker 1: show in nineteen forty one called Viva O'Brien. It didn't 295 00:16:35,760 --> 00:16:39,200 Speaker 1: do well, but the music was praised, and in nineteen 296 00:16:39,280 --> 00:16:41,560 Speaker 1: forty four they use one of her songs as the 297 00:16:41,640 --> 00:16:44,680 Speaker 1: main theme for a movie called Bathing Beauty starring Esther 298 00:16:44,800 --> 00:16:50,200 Speaker 1: Williams in Red Skelton. The movie was a commercial success, 299 00:16:50,640 --> 00:16:52,720 Speaker 1: and the song isn't just like one of the songs 300 00:16:52,760 --> 00:16:55,600 Speaker 1: from the movie. It's the main melody. It's the theme 301 00:16:55,720 --> 00:16:58,760 Speaker 1: that's played over and over throughout. She's fun to be people, 302 00:17:00,160 --> 00:17:08,680 Speaker 1: and you're going to recognize the song because Kitai, we're 303 00:17:08,840 --> 00:17:09,199 Speaker 1: back to. 304 00:17:09,240 --> 00:17:14,000 Speaker 4: The lullaby Munyikita Linda. Oh my god, she really did 305 00:17:14,080 --> 00:17:16,040 Speaker 4: it all, she really did. 306 00:17:16,440 --> 00:17:19,719 Speaker 1: And think about who her competition was back then. Her 307 00:17:19,800 --> 00:17:24,840 Speaker 1: contemporaries were Irving Berlin, Coleporter Gershwin, l Guana from Cuba, 308 00:17:25,240 --> 00:17:28,720 Speaker 1: Gaavel from Argentina. She was one of the very few 309 00:17:28,800 --> 00:17:32,480 Speaker 1: women or even men composers who wrote the music and lyrics. 310 00:17:34,720 --> 00:17:36,720 Speaker 1: So in nineteen forty eight, when she was in her 311 00:17:36,840 --> 00:17:40,800 Speaker 1: early sixties, Maria Griever suffered a stroke and that left 312 00:17:40,840 --> 00:17:44,000 Speaker 1: her paralyzed on one side, she still managed to be 313 00:17:44,119 --> 00:17:47,800 Speaker 1: a huge force. Here's Bob Griever, Maria's grandson, from the 314 00:17:47,880 --> 00:17:49,320 Speaker 1: San Antonio News interview. 315 00:17:49,359 --> 00:17:52,800 Speaker 9: Again, I remember we were in Carnegie Hall and she 316 00:17:52,880 --> 00:17:57,000 Speaker 9: couldn't walk, so will in a wheelchair. And when they finished, 317 00:17:57,320 --> 00:18:01,280 Speaker 9: they started yelling at your her, where's Maria Griever? We 318 00:18:01,440 --> 00:18:05,040 Speaker 9: want to see Maria Griever by bye. Our place is 319 00:18:05,160 --> 00:18:09,040 Speaker 9: jammed and she couldn't get up, but she forced herself 320 00:18:09,200 --> 00:18:11,560 Speaker 9: up and turn and face the audience. 321 00:18:13,280 --> 00:18:14,080 Speaker 1: That's a strong woman. 322 00:18:14,160 --> 00:18:16,359 Speaker 4: I love that. I love the story. I love her strength. 323 00:18:16,920 --> 00:18:19,800 Speaker 3: So I guess what I'm not understanding is that Maria 324 00:18:20,080 --> 00:18:25,280 Speaker 3: Griever was doing pretty big like into the nineteen fifties. 325 00:18:26,160 --> 00:18:29,040 Speaker 3: So again, when does she kind of fade into the darkness? 326 00:18:29,840 --> 00:18:33,160 Speaker 1: Well, Maria, while I finally got some answers, I had 327 00:18:33,320 --> 00:18:36,800 Speaker 1: so many more questions. What happened to her husband? Why 328 00:18:36,840 --> 00:18:39,000 Speaker 1: did he send her to New York City? How did 329 00:18:39,040 --> 00:18:42,120 Speaker 1: she make it work? Why don't we all know her name? 330 00:18:42,680 --> 00:18:45,800 Speaker 3: So we're going to find out more about Maria Griever's 331 00:18:46,000 --> 00:18:50,520 Speaker 3: interesting life and what happened to her legacy. And we're 332 00:18:50,520 --> 00:18:53,800 Speaker 3: going to find that all out when we return. Remember, yes, 333 00:18:54,000 --> 00:19:54,360 Speaker 3: stay with us, Hey, we're back. So when we left off, 334 00:19:54,560 --> 00:19:58,159 Speaker 3: producer Genie Montago had just given us the breakdown on 335 00:19:58,520 --> 00:20:02,760 Speaker 3: Maria Griever's life. But Ginni, I get the timeline, and 336 00:20:03,200 --> 00:20:06,680 Speaker 3: I understand that she was successful, but I guess I'm 337 00:20:06,720 --> 00:20:09,640 Speaker 3: really interested about the struggles and the challenges, the ones 338 00:20:09,720 --> 00:20:13,080 Speaker 3: that her great grandson Lee Greaver mentioned when you were 339 00:20:13,160 --> 00:20:16,480 Speaker 3: finally able to get someone from the family to speak 340 00:20:16,520 --> 00:20:16,680 Speaker 3: with you. 341 00:20:17,200 --> 00:20:20,000 Speaker 1: Yes, Maria, I also wanted to know more because on 342 00:20:20,119 --> 00:20:23,680 Speaker 1: paper she was married and all we see is success 343 00:20:23,880 --> 00:20:27,520 Speaker 1: and how prolific. She wasn't composing, but something was missing 344 00:20:27,560 --> 00:20:30,320 Speaker 1: for me, and that was New York City as a destination. 345 00:20:31,840 --> 00:20:32,000 Speaker 9: Yeah. 346 00:20:32,080 --> 00:20:33,840 Speaker 3: I mean, the thing is is that New York City 347 00:20:34,000 --> 00:20:36,960 Speaker 3: has always been expensive, and it was expensive back then too. 348 00:20:37,560 --> 00:20:41,200 Speaker 1: Yes, And as a woman with two kids, it didn't 349 00:20:41,200 --> 00:20:44,040 Speaker 1: make any sense if, like all you wanted to do 350 00:20:44,400 --> 00:20:47,640 Speaker 1: was leave political turmoil. You know, we mentioned in part 351 00:20:47,720 --> 00:20:50,280 Speaker 1: one that Maria Griever left amidst the Mexican Revolution. 352 00:20:50,760 --> 00:20:53,160 Speaker 3: Yeah, so it would be logical that you would move 353 00:20:53,240 --> 00:20:55,360 Speaker 3: somewhere where you had family so you could have help, 354 00:20:55,440 --> 00:20:58,040 Speaker 3: because no, we didn't have a lot of rights back 355 00:20:58,080 --> 00:20:59,160 Speaker 3: then in nineteen sixteen. 356 00:20:59,359 --> 00:21:01,280 Speaker 4: You know, white just got the right to vote. 357 00:21:01,280 --> 00:21:07,200 Speaker 3: In nineteen twenty, Madia Griever, a Mexican immigrant, more than likely. 358 00:21:07,280 --> 00:21:10,240 Speaker 4: Would not have even been able to work bingo. 359 00:21:10,920 --> 00:21:13,720 Speaker 1: So if you want to make it in New York City, yes, 360 00:21:14,240 --> 00:21:17,919 Speaker 1: but as a random choice to flee the revolution, New 361 00:21:18,040 --> 00:21:21,000 Speaker 1: York City is a super tough place to target. And 362 00:21:21,200 --> 00:21:23,480 Speaker 1: so I began to read between the lines. 363 00:21:25,840 --> 00:21:29,800 Speaker 11: Well, New York City was in many ways a cultural hub. 364 00:21:30,240 --> 00:21:33,440 Speaker 1: This is doctor Leong Garcia Corona, again, the doctor of 365 00:21:33,560 --> 00:21:35,200 Speaker 1: musicology we heard from in part one. 366 00:21:35,560 --> 00:21:37,400 Speaker 11: If you wanted to make it in the music industry, 367 00:21:37,520 --> 00:21:39,240 Speaker 11: you have to go to New York City because this 368 00:21:39,440 --> 00:21:43,640 Speaker 11: is where you have the Timpan Ali, you have the publishers. 369 00:21:44,240 --> 00:21:46,960 Speaker 1: Tinpan Alley was a street in the early twentieth century 370 00:21:47,040 --> 00:21:50,400 Speaker 1: that basically was a hub for music publishers. In those days, 371 00:21:50,440 --> 00:21:52,600 Speaker 1: it was typical for businesses to kind of group together 372 00:21:52,720 --> 00:21:55,080 Speaker 1: in certain areas. So if you wanted to get your 373 00:21:55,160 --> 00:21:57,919 Speaker 1: music published, you'd try at one and. 374 00:21:57,960 --> 00:21:59,680 Speaker 4: Then if it didn't work out, you'd just like walked 375 00:21:59,680 --> 00:22:00,360 Speaker 4: down this street. 376 00:22:00,960 --> 00:22:03,000 Speaker 11: If you wanted to make it, you have to be there. 377 00:22:03,080 --> 00:22:04,920 Speaker 11: You have to be talking to the publisher, you have 378 00:22:05,000 --> 00:22:06,879 Speaker 11: to be talking to the producers, you have to be 379 00:22:07,720 --> 00:22:11,280 Speaker 11: within the musicians. So everyone was there, the companies like RCA, 380 00:22:11,480 --> 00:22:14,520 Speaker 11: Victory Columbia Records copyrighting a lot of music. 381 00:22:16,800 --> 00:22:19,560 Speaker 1: New York City is definitely where her career blossom. Didn't 382 00:22:19,560 --> 00:22:22,400 Speaker 1: reach New Heights because, as we've been seeing, New York 383 00:22:22,520 --> 00:22:25,680 Speaker 1: is where everything was happening. And Maria further making my 384 00:22:25,880 --> 00:22:29,280 Speaker 1: case was when I realized that Leon Griever, her husband, 385 00:22:29,560 --> 00:22:32,840 Speaker 1: was not from New York. He was from Ohio. So 386 00:22:33,200 --> 00:22:36,600 Speaker 1: as a mother myself, like you said, I would obviously 387 00:22:36,680 --> 00:22:40,280 Speaker 1: go somewhere I knew someone and had help, unless, of course, 388 00:22:40,440 --> 00:22:44,200 Speaker 1: you had other motives. That makes sense, and Maria Griever 389 00:22:44,359 --> 00:22:47,080 Speaker 1: navigated the city. In a difficult period of US history, 390 00:22:47,520 --> 00:22:48,199 Speaker 1: the world was. 391 00:22:48,280 --> 00:22:51,399 Speaker 11: Going through a lot of very important transformations and a 392 00:22:51,440 --> 00:22:56,640 Speaker 11: lot of vulnerability was in the air, either economic vulnerability 393 00:22:56,920 --> 00:22:58,879 Speaker 11: or also political vulnerability. 394 00:22:59,440 --> 00:23:01,480 Speaker 1: What was happening in the world also gave me a 395 00:23:01,520 --> 00:23:05,159 Speaker 1: glimpse of understanding how her music blew up. Obviously, there 396 00:23:05,240 --> 00:23:08,560 Speaker 1: was the Mexican Revolution, which was primarily a civil war, 397 00:23:08,840 --> 00:23:11,520 Speaker 1: and of course the US got involved, as they often do, 398 00:23:12,200 --> 00:23:14,720 Speaker 1: so there's a lot of tension between the US and Mexico. 399 00:23:15,240 --> 00:23:17,960 Speaker 1: You've got the stock market crash of nineteen twenty nine. 400 00:23:18,200 --> 00:23:19,560 Speaker 4: Right, the Great Depression. 401 00:23:20,000 --> 00:23:25,280 Speaker 3: There was the massive deportation of Mexicans and Mexican Americans 402 00:23:25,440 --> 00:23:28,120 Speaker 3: in the nineteen thirties, then the beginning of World War 403 00:23:28,200 --> 00:23:29,480 Speaker 3: two exactly. 404 00:23:29,960 --> 00:23:33,040 Speaker 1: So women didn't just write music at that time. It 405 00:23:33,200 --> 00:23:35,840 Speaker 1: wasn't a job you did, but Maria did it. 406 00:23:38,440 --> 00:23:42,920 Speaker 11: The music that Maria Griever was composing spoke to that, 407 00:23:43,200 --> 00:23:47,440 Speaker 11: to that feeling of vulnerability and the sentimentality kind of 408 00:23:47,600 --> 00:23:51,560 Speaker 11: echo in the hearts of listeners. I think that's why 409 00:23:52,240 --> 00:23:56,920 Speaker 11: her music was so well received, not only by music publishers, 410 00:23:56,960 --> 00:23:58,760 Speaker 11: but by a larger audience. 411 00:23:59,320 --> 00:24:01,320 Speaker 4: Wow, that's so interesting. 412 00:24:01,560 --> 00:24:07,080 Speaker 3: I mean, people can love music in Spanish, but they 413 00:24:07,520 --> 00:24:11,200 Speaker 3: aren't always so welcoming to people around them speaking it. 414 00:24:12,280 --> 00:24:15,520 Speaker 3: I mean, this is just kind of a fascinating contradiction 415 00:24:16,000 --> 00:24:18,920 Speaker 3: that has existed in the United States for a long time. 416 00:24:19,400 --> 00:24:21,760 Speaker 1: Yeah, and it hasn't changed really. People hate it, but 417 00:24:21,840 --> 00:24:24,240 Speaker 1: people buy it. People don't like Mexicans, but they love 418 00:24:24,320 --> 00:24:27,840 Speaker 1: Mexican restaurants. There's always been a lens of interest on 419 00:24:27,960 --> 00:24:31,080 Speaker 1: the other right, what's different, what seems exotic. 420 00:24:31,840 --> 00:24:34,840 Speaker 11: Yes, you can have an ideological position, but if there's 421 00:24:34,880 --> 00:24:37,960 Speaker 11: somebody who will buy this album, then there's space for that. 422 00:24:38,920 --> 00:24:41,920 Speaker 3: So basically, Jeannie, I'm feeling like you're saying, there was 423 00:24:41,960 --> 00:24:45,560 Speaker 3: a market for what Maria Griever was putting out this bite. 424 00:24:45,600 --> 00:24:47,360 Speaker 1: Being a woman and an immigrant. 425 00:24:48,000 --> 00:24:50,520 Speaker 6: It was a time period where it wasn't what they 426 00:24:50,560 --> 00:24:53,359 Speaker 6: were supposed to be doing, right, So you can imagine 427 00:24:53,520 --> 00:24:54,520 Speaker 6: the conflict. 428 00:24:55,880 --> 00:24:59,720 Speaker 1: Marie. Yeah, I'm super excited to introduce you to Stuart, 429 00:25:01,040 --> 00:25:05,080 Speaker 1: Maria Griever's other great grandson, who Lee Griever connected me with. 430 00:25:05,640 --> 00:25:08,720 Speaker 4: Way, wait, another great grandson. 431 00:25:09,240 --> 00:25:13,720 Speaker 1: Yeah, so real quick. Maria Griever's two kids were Charles 432 00:25:13,800 --> 00:25:17,280 Speaker 1: Griever and Carmen Livingston. Lee, who we heard from earlier, 433 00:25:17,480 --> 00:25:20,080 Speaker 1: is on the Griever side, and Stuart is obviously on 434 00:25:20,200 --> 00:25:21,040 Speaker 1: the Livingston side. 435 00:25:21,640 --> 00:25:25,120 Speaker 7: Okay, back to Stuart, and then in my great great 436 00:25:25,160 --> 00:25:26,080 Speaker 7: grandmother's case. 437 00:25:26,480 --> 00:25:28,639 Speaker 6: You know, she had left Mexico, she had left her 438 00:25:28,680 --> 00:25:31,440 Speaker 6: husband behind, She was a single mother in a time 439 00:25:31,520 --> 00:25:34,600 Speaker 6: where that was certainly not who you were supposed to be. 440 00:25:35,320 --> 00:25:39,800 Speaker 6: And she was pursuing a career which was not the 441 00:25:40,520 --> 00:25:46,280 Speaker 6: perceived right way for a woman to act, not. 442 00:25:46,440 --> 00:25:49,280 Speaker 4: The right way for a woman to act. And add 443 00:25:49,440 --> 00:25:51,320 Speaker 4: to that a Mexican woman. 444 00:25:51,720 --> 00:25:54,760 Speaker 1: Well, it's like we were discussing earlier, what were women 445 00:25:54,880 --> 00:25:57,720 Speaker 1: doing in the early part of the twentieth century, certainly 446 00:25:57,960 --> 00:26:03,600 Speaker 1: not what Maria Griever was doing. I asked Stuart what 447 00:26:03,680 --> 00:26:06,120 Speaker 1: it was like to grow up with such a musical legacy, 448 00:26:06,480 --> 00:26:09,159 Speaker 1: And as tend to happen, we don't get into our 449 00:26:09,200 --> 00:26:12,600 Speaker 1: grandparents until we're older, and by then it's usually hard 450 00:26:12,680 --> 00:26:15,920 Speaker 1: to get to know more. So he eventually started working 451 00:26:15,960 --> 00:26:18,680 Speaker 1: with his uncle, Bob Griever, which we've been talking about, 452 00:26:19,200 --> 00:26:21,800 Speaker 1: and that was his main connection to learning more about her. 453 00:26:23,000 --> 00:26:25,280 Speaker 6: He knew her as his grandmother, but they lived in 454 00:26:25,320 --> 00:26:29,320 Speaker 6: New Jersey and she lived in Manhattan, so, as he says, 455 00:26:30,000 --> 00:26:31,960 Speaker 6: she was sort of a mystery to him too. And 456 00:26:32,080 --> 00:26:36,080 Speaker 6: it wasn't until he got into his father's music publishing 457 00:26:36,160 --> 00:26:39,639 Speaker 6: business and started working in Mexico that he started to 458 00:26:39,720 --> 00:26:43,040 Speaker 6: learn a great deal more about his grandmother. But even then, 459 00:26:43,560 --> 00:26:47,320 Speaker 6: comparing stories that my father understood with stories that my 460 00:26:47,440 --> 00:26:52,560 Speaker 6: deal understood, you know, there were either gaps or completely 461 00:26:52,720 --> 00:26:53,480 Speaker 6: different stories. 462 00:26:55,880 --> 00:26:58,320 Speaker 1: And these gaps, Maria, are exactly what I was trying 463 00:26:58,359 --> 00:27:01,960 Speaker 1: to figure out. There probably so much more, but I 464 00:27:02,200 --> 00:27:05,320 Speaker 1: was able to piece together from my investigations in speaking 465 00:27:05,400 --> 00:27:06,000 Speaker 1: with the family. 466 00:27:06,640 --> 00:27:10,399 Speaker 6: She clearly stayed to herself, or she kept the music 467 00:27:10,520 --> 00:27:13,639 Speaker 6: side of her life away from her family. She was 468 00:27:13,720 --> 00:27:17,080 Speaker 6: such an accomplished composer that the movie studio sought her out, 469 00:27:17,480 --> 00:27:18,640 Speaker 6: So there's sort of this whole. 470 00:27:19,040 --> 00:27:22,080 Speaker 7: Clearly a lot going on professionally with her, but she 471 00:27:22,320 --> 00:27:23,920 Speaker 7: kept that separate from her family. 472 00:27:24,320 --> 00:27:27,719 Speaker 1: It's this generation of women who didn't really speak about career, 473 00:27:28,040 --> 00:27:30,879 Speaker 1: and that silence gets perpetuated through the generations. 474 00:27:31,520 --> 00:27:36,399 Speaker 6: My father and my uncle always made a point of 475 00:27:36,640 --> 00:27:40,800 Speaker 6: not talking about her personal life, Okay, which when you 476 00:27:40,880 --> 00:27:43,160 Speaker 6: look back on it, I think it speaks volumes. 477 00:27:44,040 --> 00:27:47,240 Speaker 4: I'm sure this is the story in so many families. 478 00:27:47,720 --> 00:27:50,960 Speaker 1: I mean, personally, my grandmother was kind of similar. Like 479 00:27:51,119 --> 00:27:53,280 Speaker 1: I found out a bunch of stuff after she passed 480 00:27:53,359 --> 00:27:55,879 Speaker 1: about her career and all of the accomplishments she had made, 481 00:27:55,920 --> 00:27:58,120 Speaker 1: but it was something that she absolutely never talked about. 482 00:27:58,920 --> 00:28:01,600 Speaker 1: So it becomes clear as to why the information that's 483 00:28:01,600 --> 00:28:04,040 Speaker 1: out there is all the same. It's because there wasn't 484 00:28:04,080 --> 00:28:05,760 Speaker 1: that much personal information to find. 485 00:28:06,440 --> 00:28:08,640 Speaker 4: But didn't Stuart say she was a single mother? 486 00:28:09,240 --> 00:28:12,840 Speaker 1: Good catch, Maria. One of my big questions was whatever 487 00:28:12,920 --> 00:28:15,639 Speaker 1: happened to her husband, because it adds a layer to 488 00:28:15,680 --> 00:28:17,200 Speaker 1: how we perceive her story. 489 00:28:17,440 --> 00:28:19,520 Speaker 3: Because you had said her husband had stayed behind in 490 00:28:19,640 --> 00:28:23,920 Speaker 3: Mexico to work, and she's going alone to New York. 491 00:28:24,280 --> 00:28:27,399 Speaker 3: And it wasn't clear whether or not they were ever reunited. 492 00:28:27,280 --> 00:28:29,960 Speaker 1: Because nothing ever says that they did. Everything says he 493 00:28:30,000 --> 00:28:33,120 Speaker 1: stayed behind to work, or in the movie it says 494 00:28:33,160 --> 00:28:34,600 Speaker 1: that he had to go back to deal with the 495 00:28:34,640 --> 00:28:38,200 Speaker 1: business falling apart, but it's never clear if they got 496 00:28:38,240 --> 00:28:38,760 Speaker 1: back together. 497 00:28:39,280 --> 00:28:41,920 Speaker 6: That part is a real mystery. He never joined the 498 00:28:42,000 --> 00:28:45,160 Speaker 6: family in New York, as I understand it now. That 499 00:28:45,400 --> 00:28:46,640 Speaker 6: may be the clean version. 500 00:28:47,840 --> 00:28:50,800 Speaker 3: Oh, the clean version, Okay, So then there's a whole 501 00:28:51,080 --> 00:28:54,160 Speaker 3: underground version that's becoming even more intriguing. 502 00:28:54,320 --> 00:28:59,040 Speaker 1: All right, Yeah, no one ever talks about reunion because apparently, let's. 503 00:28:58,880 --> 00:29:02,360 Speaker 7: Just say that from the circumstance it was fairly clear 504 00:29:02,480 --> 00:29:03,440 Speaker 7: that there was a separation. 505 00:29:04,800 --> 00:29:06,680 Speaker 1: So you've got a woman in the twenties and thirties 506 00:29:06,720 --> 00:29:09,160 Speaker 1: who has separated from her husband with two kids and 507 00:29:09,320 --> 00:29:11,440 Speaker 1: later founded her own publishing company. 508 00:29:12,080 --> 00:29:14,520 Speaker 3: I mean, she really was just going to make things 509 00:29:14,560 --> 00:29:17,560 Speaker 3: happen for herself, with or without a man. I mean 510 00:29:17,640 --> 00:29:19,480 Speaker 3: that's super forward thinking. 511 00:29:19,840 --> 00:29:22,520 Speaker 1: Super yeah. And all of her documentation that is a 512 00:29:22,600 --> 00:29:25,680 Speaker 1: public record says married, because I guess on paper in 513 00:29:25,760 --> 00:29:29,240 Speaker 1: the nineteen thirties you didn't really get divorced. But I 514 00:29:29,400 --> 00:29:31,800 Speaker 1: think it's a fascinating piece of the puzzle because it 515 00:29:31,920 --> 00:29:35,560 Speaker 1: means she actively chose New York for her career. And 516 00:29:35,800 --> 00:29:38,560 Speaker 1: Stuart even told me that the family lore he heard 517 00:29:38,640 --> 00:29:41,080 Speaker 1: growing up was that someone actually came to post her 518 00:29:41,160 --> 00:29:44,360 Speaker 1: for Mexico. This well known group of entertainers came and 519 00:29:44,520 --> 00:29:47,200 Speaker 1: convinced her to move to New York City, which was 520 00:29:47,240 --> 00:29:47,920 Speaker 1: a thing back then. 521 00:29:49,000 --> 00:29:51,560 Speaker 3: I mean, that's a pretty big deal, right, Somebody comes 522 00:29:51,640 --> 00:29:53,640 Speaker 3: and says, hey, we think you're an incredible songwriter. 523 00:29:54,000 --> 00:29:56,000 Speaker 4: We want you to move to New York. Come on. 524 00:29:56,320 --> 00:29:58,880 Speaker 4: I mean, I just think it's so adventurous. 525 00:29:59,280 --> 00:30:02,000 Speaker 1: It just changes this is the story completely. It's less 526 00:30:02,040 --> 00:30:05,560 Speaker 1: about fleeing a revolution, and it's more of like taking 527 00:30:05,680 --> 00:30:08,400 Speaker 1: an active role in your destiny. I guess if you 528 00:30:08,480 --> 00:30:09,480 Speaker 1: want to say it that way. 529 00:30:12,760 --> 00:30:17,160 Speaker 3: I'm definitely seeing a more driven Maria Griever who is 530 00:30:17,240 --> 00:30:19,120 Speaker 3: wanting to make it in New York. But I can 531 00:30:19,280 --> 00:30:21,920 Speaker 3: also begin to see why the history books have it 532 00:30:22,040 --> 00:30:24,120 Speaker 3: one way because of the time period. 533 00:30:24,480 --> 00:30:26,880 Speaker 1: Yeah, I mean, it's curious to me because in the 534 00:30:26,920 --> 00:30:30,600 Speaker 1: biopic from nineteen fifty four, it's super nineteen fifties. 535 00:30:33,160 --> 00:30:33,520 Speaker 10: Move to. 536 00:30:36,760 --> 00:30:39,480 Speaker 1: It made her character in the movie, like not necessarily weak, 537 00:30:40,040 --> 00:30:41,959 Speaker 1: but that thing has just kind of happened to her. 538 00:30:46,720 --> 00:30:49,560 Speaker 1: I really kind of imagine her as this go get 539 00:30:49,640 --> 00:30:52,120 Speaker 1: her rebel like hustling to make it in the city, 540 00:30:52,920 --> 00:30:56,160 Speaker 1: a single mother with two kids, working in an industry 541 00:30:56,360 --> 00:30:59,480 Speaker 1: dominated by men. Here's Stuart Livingston again. 542 00:31:00,040 --> 00:31:02,880 Speaker 6: You had a lot of publishers who took advantage of 543 00:31:02,920 --> 00:31:07,640 Speaker 6: that situation, so she oftent times sold her music as 544 00:31:07,720 --> 00:31:10,840 Speaker 6: opposed to keeping ownership and collecting royalties. 545 00:31:11,840 --> 00:31:15,280 Speaker 7: It was due to her genius that she was able 546 00:31:15,320 --> 00:31:15,920 Speaker 7: to make it work. 547 00:31:16,640 --> 00:31:20,120 Speaker 1: So Maria, royalties are what songwriters and artists collect on 548 00:31:20,280 --> 00:31:22,480 Speaker 1: music they've written based on how much it sells. 549 00:31:22,880 --> 00:31:25,880 Speaker 3: Right, And you always hear about these fights with the 550 00:31:25,960 --> 00:31:30,080 Speaker 3: streaming services and how difficult it is for musicians to 551 00:31:30,200 --> 00:31:33,280 Speaker 3: collect those royalties, which is what they can live off of. 552 00:31:34,000 --> 00:31:37,840 Speaker 1: And back then you could sell sheet music and get royalties, 553 00:31:38,280 --> 00:31:40,520 Speaker 1: or sometimes if you were desperate, you would do a 554 00:31:40,600 --> 00:31:43,560 Speaker 1: buyout and just sell the music, and that still happens today, 555 00:31:43,960 --> 00:31:46,720 Speaker 1: but that obviously doesn't favor you if you wrote the 556 00:31:46,800 --> 00:31:47,760 Speaker 1: next dis Masito. 557 00:31:49,120 --> 00:31:52,280 Speaker 13: You know, she was prolific in producing her music and 558 00:31:52,480 --> 00:31:55,840 Speaker 13: as a result, that's how you know she succeeded and survived. 559 00:31:56,480 --> 00:31:59,400 Speaker 7: But in those days, there just was no collection process 560 00:31:59,560 --> 00:32:00,280 Speaker 7: that really was worked. 561 00:32:00,840 --> 00:32:04,040 Speaker 6: That was the issue is that she actually was always 562 00:32:04,120 --> 00:32:06,840 Speaker 6: struggling day to day, week to week, month to month 563 00:32:07,120 --> 00:32:07,959 Speaker 6: to pay the bills. 564 00:32:08,680 --> 00:32:11,280 Speaker 1: And because she often sold the rights to her music, 565 00:32:12,000 --> 00:32:12,280 Speaker 1: we we. 566 00:32:12,360 --> 00:32:15,320 Speaker 7: Actually don't know how many songs she actually wrote. 567 00:32:16,040 --> 00:32:18,600 Speaker 6: I've heard numbers that are as high as a thousand 568 00:32:18,800 --> 00:32:21,200 Speaker 6: and as low as seven hundred, which would still be 569 00:32:21,480 --> 00:32:25,400 Speaker 6: a phenomenal body of work. But in terms of music 570 00:32:25,480 --> 00:32:28,280 Speaker 6: that was in her catalog that she was collecting royalties on, 571 00:32:29,080 --> 00:32:33,000 Speaker 6: we only have roughly about ninety four ninety five pieces. 572 00:32:33,760 --> 00:32:37,280 Speaker 1: That's one seventh or one tenth of the work she produced. 573 00:32:37,560 --> 00:32:40,160 Speaker 3: That's so sad that so much of her music isn't 574 00:32:40,280 --> 00:32:41,240 Speaker 3: linked to her name. 575 00:32:41,880 --> 00:32:43,640 Speaker 1: Just think about how much she had to be writing 576 00:32:43,760 --> 00:32:45,760 Speaker 1: for a minute to have a catalog of let's say, 577 00:32:45,760 --> 00:32:46,640 Speaker 1: a thousand songs. 578 00:32:46,720 --> 00:32:46,840 Speaker 14: Right. 579 00:32:47,480 --> 00:32:50,240 Speaker 1: Here's a quote from a newspaper interview with Maria Grieber 580 00:32:50,280 --> 00:32:53,080 Speaker 1: from nineteen forty three. I found in the Rodriguez Lie. 581 00:32:53,000 --> 00:33:00,680 Speaker 8: Book Agmis Canciones and treso quatro minutos LTMOPA interpretla amisunan 582 00:33:00,720 --> 00:33:03,640 Speaker 8: as a sid is Kriville, but express spenzamientos. 583 00:33:04,320 --> 00:33:06,840 Speaker 1: Rodriguez Lee says it wasn't clear if this was always 584 00:33:06,920 --> 00:33:09,360 Speaker 1: the case, but think about it, like, if she could 585 00:33:09,360 --> 00:33:11,640 Speaker 1: write a song in three or four minutes, how many 586 00:33:11,760 --> 00:33:14,240 Speaker 1: songs could she write in a day or a week. 587 00:33:16,360 --> 00:33:16,560 Speaker 3: Wow. 588 00:33:20,000 --> 00:33:22,960 Speaker 1: What is also incredible is how she really never lost 589 00:33:23,000 --> 00:33:25,440 Speaker 1: sight of her roots either. You know, we were talking 590 00:33:25,560 --> 00:33:28,120 Speaker 1: earlier about her mexicanida and how she really tried to 591 00:33:28,160 --> 00:33:30,680 Speaker 1: pull that into her music. She tells the story, and 592 00:33:30,760 --> 00:33:33,880 Speaker 1: another newspaper interview from nineteen thirty six from the Rodriguez 593 00:33:33,960 --> 00:33:36,640 Speaker 1: Lee book, she was performing a concert at Carnegie Hall 594 00:33:36,760 --> 00:33:38,320 Speaker 1: when someone yells out, Viva. 595 00:33:38,200 --> 00:33:44,760 Speaker 8: Mexico, placi caaeral by Sano and Tom says avanceel proseno 596 00:33:45,200 --> 00:33:52,120 Speaker 8: or the new Instante Silenzio orquesta he pronounce estas palavassosi, 597 00:33:52,440 --> 00:33:55,720 Speaker 8: Viva Mexico o de lo contra sil concerto. 598 00:33:56,360 --> 00:33:59,120 Speaker 1: She stopped the orchestra because people tried to shosh them 599 00:33:59,600 --> 00:34:03,080 Speaker 1: and said, if we don't all shout Viva Mexico, I'm 600 00:34:03,120 --> 00:34:04,360 Speaker 1: not going to continue the concert. 601 00:34:04,760 --> 00:34:05,840 Speaker 4: Wow, that's incredible. 602 00:34:06,280 --> 00:34:07,120 Speaker 1: Here's Stuart again. 603 00:34:07,560 --> 00:34:12,799 Speaker 6: She was truly, truly proud to represent Mexico in terms 604 00:34:12,840 --> 00:34:15,520 Speaker 6: of her music, and you can feel it in the melodies. 605 00:34:16,360 --> 00:34:19,440 Speaker 7: And it showed in her son, Charlie Greaver was always. 606 00:34:19,200 --> 00:34:24,439 Speaker 1: Proud Charles Creates Greaver Music Publishing or Griaver International, which 607 00:34:24,520 --> 00:34:27,400 Speaker 1: became a powerhouse and had a huge Mexican music catalog. 608 00:34:28,080 --> 00:34:30,080 Speaker 7: And then it showed in her grandson Bob Greaver. 609 00:34:31,160 --> 00:34:34,160 Speaker 1: Bob Greaver was actually a huge deal. He owned a 610 00:34:34,200 --> 00:34:37,640 Speaker 1: record label in San Antonio, Texas called Kara Records. He 611 00:34:37,840 --> 00:34:41,160 Speaker 1: was often called the Tane music giant and was actually 612 00:34:41,239 --> 00:34:44,400 Speaker 1: the first person to sign our very favorite Selena. 613 00:34:44,920 --> 00:34:49,359 Speaker 3: Wow, this is like an incredibly musical family for him 614 00:34:49,760 --> 00:34:51,480 Speaker 3: to sign Selena. 615 00:34:52,200 --> 00:34:54,359 Speaker 1: Yeah, the Selena at twelve years old. 616 00:34:54,719 --> 00:34:57,239 Speaker 13: They were very, very proud of their Mexican roots, and 617 00:34:57,520 --> 00:34:59,839 Speaker 13: they built their business based on their Mexican roots. 618 00:35:04,560 --> 00:35:07,719 Speaker 4: So Maria Griever did she ever get any recognition while 619 00:35:07,760 --> 00:35:08,320 Speaker 4: she was alive. 620 00:35:08,680 --> 00:35:11,320 Speaker 1: Right before she passed, Maria Griever received the Medal of 621 00:35:11,400 --> 00:35:14,040 Speaker 1: Civil Merit and the Medal of the Heart of Mexico 622 00:35:14,120 --> 00:35:17,560 Speaker 1: in nineteen forty nine, and after she passed, her obituary 623 00:35:17,719 --> 00:35:20,120 Speaker 1: was actually in the New York Times, and in Mexico 624 00:35:20,160 --> 00:35:23,400 Speaker 1: there's a scholarship named after her. Mexico also made the 625 00:35:23,480 --> 00:35:26,239 Speaker 1: biopic that we've been talking about from nineteen fifty four, 626 00:35:26,440 --> 00:35:29,319 Speaker 1: Guando Melaya, and it really kind of brings her back 627 00:35:29,320 --> 00:35:29,759 Speaker 1: into light. 628 00:35:30,320 --> 00:35:35,319 Speaker 6: The film itself in Latin America was hugely successful. In fact, 629 00:35:35,480 --> 00:35:39,719 Speaker 6: reintroduced her music to a whole new generation of Latinos 630 00:35:40,400 --> 00:35:43,280 Speaker 6: and it played all over South America, in Central America 631 00:35:43,360 --> 00:35:43,880 Speaker 6: and Mexico. 632 00:35:44,320 --> 00:35:47,600 Speaker 1: It starred Libertad la Marque, the Mexican Argentine actress we 633 00:35:47,680 --> 00:35:51,080 Speaker 1: mentioned earlier. She was hugely popular in the fifties. She 634 00:35:51,239 --> 00:35:53,200 Speaker 1: also made an album to go along with it called 635 00:35:53,280 --> 00:35:57,360 Speaker 1: Liberta la Marque Canta Cans Maria Griver or Songs of 636 00:35:57,440 --> 00:36:01,160 Speaker 1: Maria Griever, of which I bought the LP of Course. 637 00:36:01,000 --> 00:36:05,360 Speaker 13: You Did, which became one of the most successful albums 638 00:36:05,680 --> 00:36:08,640 Speaker 13: of that era, and that was one of the first 639 00:36:08,800 --> 00:36:12,760 Speaker 13: big windfalls of royalties to gree republishing, was the success 640 00:36:12,800 --> 00:36:13,320 Speaker 13: of that album. 641 00:36:14,239 --> 00:36:16,960 Speaker 3: It's very similar to what happens with a lot of 642 00:36:17,560 --> 00:36:20,840 Speaker 3: artists now, you know, they don't basically reap the benefits 643 00:36:20,920 --> 00:36:25,000 Speaker 3: of their work until they're very late in life or 644 00:36:25,280 --> 00:36:26,400 Speaker 3: after they've died. 645 00:36:27,080 --> 00:36:33,560 Speaker 6: Even without the monetary success, she was unbelievably successful in 646 00:36:33,680 --> 00:36:37,840 Speaker 6: terms of perception, in terms of how the Mexican community 647 00:36:37,960 --> 00:36:38,440 Speaker 6: looked at her. 648 00:36:38,920 --> 00:36:39,920 Speaker 7: She was a true icon. 649 00:36:41,000 --> 00:36:43,600 Speaker 1: In nineteen fifty two, she was named Women of the 650 00:36:43,640 --> 00:36:46,239 Speaker 1: Americas by the Union of Women of the Americas. And 651 00:36:46,400 --> 00:36:48,400 Speaker 1: the song we talked about in the beginning, What a 652 00:36:48,440 --> 00:36:51,560 Speaker 1: Difference a Day Makes by Dinah Washington nineteen fifty nine, 653 00:36:51,760 --> 00:36:54,640 Speaker 1: won the Grammy that year for Best Rhythm and Blues Performance, 654 00:36:55,200 --> 00:36:57,840 Speaker 1: and that was Dinah Washington's first top ten hit on 655 00:36:57,920 --> 00:37:01,040 Speaker 1: the Billboard Hot one hundred. Doctor in the Grammy Hall 656 00:37:01,080 --> 00:37:02,359 Speaker 1: of Fame in nineteen ninety eight. 657 00:37:03,640 --> 00:37:09,280 Speaker 6: She was an extraordinary woman. She was a gifted composer. 658 00:37:10,280 --> 00:37:12,960 Speaker 6: You know, you look at her life and in spite 659 00:37:13,000 --> 00:37:16,840 Speaker 6: of the hardships. She succeeded at everything she tried to do, 660 00:37:17,360 --> 00:37:21,880 Speaker 6: and that's an amazing statement, and it's a particularly amazing 661 00:37:22,000 --> 00:37:25,839 Speaker 6: statement for a woman who raised two children on her 662 00:37:25,880 --> 00:37:29,719 Speaker 6: own during that time period. I'm incredibly proud of who 663 00:37:29,840 --> 00:37:32,239 Speaker 6: she was as a composer, but what I'm also saying 664 00:37:32,320 --> 00:37:34,960 Speaker 6: is I'm incredibly proud of who she was as a 665 00:37:35,080 --> 00:37:35,560 Speaker 6: human being. 666 00:37:37,880 --> 00:37:52,319 Speaker 14: Yakita Lida Dekapeos Dedo Baby Intestine de Pellas Lobbios. 667 00:37:55,120 --> 00:37:58,440 Speaker 3: So, Jeannie, after you've been through this pretty incredible journey, 668 00:37:58,440 --> 00:38:01,200 Speaker 3: I'm wondering, what's your biggest take way about Maria Griever. 669 00:38:02,000 --> 00:38:04,520 Speaker 1: I think what's really been fascinating to me Maria is 670 00:38:04,840 --> 00:38:07,719 Speaker 1: one finding Maria Griaver's family and getting to speak with 671 00:38:07,760 --> 00:38:11,160 Speaker 1: them directly about her history and her legacy, but also 672 00:38:11,239 --> 00:38:13,880 Speaker 1: being able to understand her more as a person. I 673 00:38:14,000 --> 00:38:17,400 Speaker 1: feel like women musicians throughout history are not really that 674 00:38:17,560 --> 00:38:19,800 Speaker 1: different from who we are today. They just didn't have 675 00:38:19,880 --> 00:38:22,239 Speaker 1: as many rights as we do today. And when you 676 00:38:22,360 --> 00:38:24,960 Speaker 1: hear these stories about these pioneers, they all have in 677 00:38:25,080 --> 00:38:27,839 Speaker 1: common that they were hustlers, and I feel like that's 678 00:38:27,840 --> 00:38:30,120 Speaker 1: a big part of why we're telling her story. 679 00:38:30,400 --> 00:38:33,840 Speaker 3: And so, Genie, we have decided to continue on this journey. 680 00:38:34,520 --> 00:38:36,719 Speaker 3: Every month for the next few months, we're gonna look 681 00:38:36,760 --> 00:38:40,680 Speaker 3: at the life of one woman musician and their influential work. 682 00:38:41,239 --> 00:38:43,759 Speaker 1: Right, So you're gonna follow me with a couple other 683 00:38:43,800 --> 00:38:46,840 Speaker 1: producers to highlight the stories of pioneers you may or 684 00:38:46,880 --> 00:38:49,200 Speaker 1: may not know, but we thought it was important to 685 00:38:49,280 --> 00:38:50,040 Speaker 1: tell their stories. 686 00:38:50,640 --> 00:38:56,160 Speaker 3: And Mike by Sanna, Mike Tokaya fellow Maria Mehkana kicked 687 00:38:56,239 --> 00:38:58,399 Speaker 3: us off in our series in a big way. 688 00:38:58,920 --> 00:39:02,640 Speaker 1: Maria Griever was never forgotten. There just wasn't anyone around 689 00:39:02,680 --> 00:39:05,160 Speaker 1: to tell her story, and so it falls on us 690 00:39:05,320 --> 00:39:07,880 Speaker 1: to keep people like her present. You know, there's a 691 00:39:07,960 --> 00:39:10,760 Speaker 1: saying they say a lot in women's music industry circles, 692 00:39:11,320 --> 00:39:13,279 Speaker 1: if you can see it, you can be it. So 693 00:39:13,440 --> 00:39:15,800 Speaker 1: we need to see someone like Maria Griever in history, 694 00:39:16,280 --> 00:39:19,399 Speaker 1: someone with an accent, someone who left home, someone who 695 00:39:19,520 --> 00:39:20,160 Speaker 1: was other eyes. 696 00:39:20,920 --> 00:39:23,759 Speaker 3: It says a lot that as a woman, as a 697 00:39:23,840 --> 00:39:26,840 Speaker 3: Mexican woman, you can break all of these barriers and. 698 00:39:26,960 --> 00:39:28,760 Speaker 4: Be this huge success. 699 00:39:30,120 --> 00:39:32,360 Speaker 3: So I'm really glad that you did this work, Jennie, 700 00:39:32,400 --> 00:39:37,200 Speaker 3: because I'll never think of the song. What a difference 701 00:39:37,200 --> 00:39:40,080 Speaker 3: A day makes in the same way. Maria Griever is 702 00:39:40,160 --> 00:39:44,680 Speaker 3: going to be very present in my mind, and I 703 00:39:44,760 --> 00:39:45,840 Speaker 3: kind of love that, and. 704 00:39:45,920 --> 00:39:48,600 Speaker 1: I hope that she stays present in everyone's mind for 705 00:39:48,800 --> 00:39:49,839 Speaker 1: as many years to come. 706 00:40:01,960 --> 00:40:04,880 Speaker 3: This episode was produced by Ginmi Montalgo and edited by 707 00:40:05,000 --> 00:40:08,960 Speaker 3: Mitra Bonchahi and Marta Martinez. It was mixed by Stefane 708 00:40:09,040 --> 00:40:12,520 Speaker 3: Lebau and Julia Caruso. Fact checking for this episode by 709 00:40:12,640 --> 00:40:17,360 Speaker 3: Monica Morales. The Latino USA team includes Andrea Lopez Rusado, 710 00:40:17,719 --> 00:40:23,520 Speaker 3: Daisy Contredras, Mike Sargent, Julietta Martinelli, Victoria Estrada, Rinaldo, Leanos 711 00:40:23,600 --> 00:40:28,120 Speaker 3: Junior Alejandra Salassa, Patricia Ulbaran, and Julia Rocha, with help 712 00:40:28,160 --> 00:40:29,080 Speaker 3: from Raoul Perez. 713 00:40:29,320 --> 00:40:31,600 Speaker 4: Our editorial director is Julio Ricardo Barella. 714 00:40:32,000 --> 00:40:35,960 Speaker 3: Special thanks to Maria Luisa Rodriguez Lee, author of the 715 00:40:36,000 --> 00:40:41,240 Speaker 3: book Maria Griver Poeta e Composita, Richard Blondette, the Griver 716 00:40:41,480 --> 00:40:46,080 Speaker 3: and Livingston families. Our associate engineers are Gabriel A Baez 717 00:40:46,120 --> 00:40:47,080 Speaker 3: and JJ Carubin. 718 00:40:47,480 --> 00:40:49,640 Speaker 4: Our digital editor is Luis Luna. 719 00:40:49,880 --> 00:40:53,320 Speaker 3: Our fellows are Elisa Bayena, Monica Morales, and Andrew Vignalis. 720 00:40:53,680 --> 00:40:56,600 Speaker 3: Our theme music was composed by Zane Robinos. I'm your 721 00:40:56,600 --> 00:40:59,480 Speaker 3: host and executive producer marian Jojosa. Remember note ba yas 722 00:41:00,120 --> 00:41:01,960 Speaker 3: and I'll see you on the next episode. 723 00:41:02,400 --> 00:41:02,720 Speaker 4: Show. 724 00:41:08,560 --> 00:41:12,719 Speaker 15: Latino USA is made possible in part by New York 725 00:41:12,840 --> 00:41:17,400 Speaker 15: Women's Foundation. The New York Women's Foundation, funding women leaders 726 00:41:17,520 --> 00:41:21,480 Speaker 15: that build solutions in their communities and celebrating thirty years 727 00:41:21,600 --> 00:41:26,719 Speaker 15: of radical generosity, The Ford Foundation, working with visionaries on 728 00:41:26,800 --> 00:41:31,120 Speaker 15: the front lines of social change worldwide, and the John D. 729 00:41:31,440 --> 00:41:33,160 Speaker 15: And Catherine T. MacArthur Foundation. 730 00:41:37,360 --> 00:41:40,680 Speaker 4: Uh okay, here we go. All right, that was a 731 00:41:40,760 --> 00:41:41,239 Speaker 4: weird laugh. 732 00:41:44,880 --> 00:41:45,320 Speaker 6: What is that? 733 00:41:45,520 --> 00:41:48,360 Speaker 4: That's from my cousin Vinny. Okay, here we go.