1 00:00:00,760 --> 00:00:03,880 Speaker 1: Dear listener, a quick warning. The episode you're about to 2 00:00:03,920 --> 00:00:08,639 Speaker 1: listen to mentioned suicide, so take care before listening. I'm 3 00:00:08,680 --> 00:00:12,200 Speaker 1: in my studio and I'm joined by Latino USA producers 4 00:00:12,440 --> 00:00:16,040 Speaker 1: Gini Montalbo, Hi Maria, and Victoria Strada. 5 00:00:16,239 --> 00:00:19,880 Speaker 2: Hey Maria, So Mariam, I think you have a good 6 00:00:19,920 --> 00:00:21,880 Speaker 2: guess of why we're in the studio today. 7 00:00:22,680 --> 00:00:25,680 Speaker 1: Well, I think I have a pretty good guess, because 8 00:00:25,720 --> 00:00:29,560 Speaker 1: it's time now for another episode in our heinyes In 9 00:00:29,760 --> 00:00:33,599 Speaker 1: music series about the lives of notable women musicians and 10 00:00:33,640 --> 00:00:34,800 Speaker 1: their influential work. 11 00:00:35,360 --> 00:00:37,400 Speaker 2: You got it, And this time we're going to talk 12 00:00:37,440 --> 00:00:40,000 Speaker 2: about a Chilean musician who is one of the legendary 13 00:00:40,080 --> 00:00:43,800 Speaker 2: Latin American folk composers of the twentieth century. Vio Leta bar. 14 00:00:45,200 --> 00:00:45,560 Speaker 3: Is here. 15 00:00:46,360 --> 00:00:49,199 Speaker 2: She's been called the mother of La Nueva Cancion or 16 00:00:49,360 --> 00:00:52,520 Speaker 2: the New Song, an important folk music movement that became 17 00:00:52,760 --> 00:00:55,480 Speaker 2: very popular across Latin America in the nineteen seventies. 18 00:00:55,840 --> 00:00:58,600 Speaker 3: And Maria, we know this movement means a lot to 19 00:00:58,640 --> 00:01:02,160 Speaker 3: you because you had you're starting radio hosting a program 20 00:01:02,240 --> 00:01:03,480 Speaker 3: about Lenova Cancion. 21 00:01:04,760 --> 00:01:05,040 Speaker 2: Yeah. 22 00:01:05,080 --> 00:01:08,560 Speaker 1: In fact, the name of the show is Nova Canci 23 00:01:08,720 --> 00:01:15,000 Speaker 1: Masjski Purama can Mas. I was new in college and 24 00:01:15,080 --> 00:01:17,800 Speaker 1: I was, you know, very immigranty. I was trying to 25 00:01:17,800 --> 00:01:21,320 Speaker 1: take advantage of everything that I could, and I was like, 26 00:01:21,600 --> 00:01:23,840 Speaker 1: maybe I should check out the radio station. And then 27 00:01:23,880 --> 00:01:25,559 Speaker 1: they were like, hey, we need you to host a show. 28 00:01:25,600 --> 00:01:28,000 Speaker 1: And I was like, well, my favorite music is Lenova 29 00:01:28,040 --> 00:01:29,680 Speaker 1: Concion and I've got like ten albums. 30 00:01:29,680 --> 00:01:30,840 Speaker 2: They were like, good, start with that. 31 00:01:32,760 --> 00:01:35,000 Speaker 3: Do you remember what those ten albums were. 32 00:01:35,560 --> 00:01:44,200 Speaker 1: Well, let's see, there was Big Dorjara, Mercedes Sosa, combi 33 00:01:44,280 --> 00:01:49,520 Speaker 1: Alo super Visia. But it was hard to get your 34 00:01:49,560 --> 00:01:52,400 Speaker 1: hands on an album by Ba By now, you know, 35 00:01:52,480 --> 00:01:54,320 Speaker 1: I had read in and so I knew that she 36 00:01:54,480 --> 00:01:57,960 Speaker 1: was a key figure in the cancion and actually that 37 00:01:58,080 --> 00:02:00,240 Speaker 1: a lot of the songs that I loved you really 38 00:02:00,400 --> 00:02:03,120 Speaker 1: were written by her. So as soon as I could 39 00:02:03,160 --> 00:02:08,680 Speaker 1: when I got to Mexico, I bought one of her albums, Lavia. 40 00:02:10,960 --> 00:02:15,120 Speaker 1: So you know, her voice is very distinctive, very dramatic, 41 00:02:15,840 --> 00:02:19,680 Speaker 1: and you begin to sense this tension between the melancholy 42 00:02:19,840 --> 00:02:23,080 Speaker 1: sounds of the music, but you're actually speaking about love 43 00:02:23,400 --> 00:02:28,560 Speaker 1: and gratitude. I mean, you know, sadness but joy at 44 00:02:28,600 --> 00:02:30,640 Speaker 1: the same time, and. 45 00:02:30,760 --> 00:02:31,920 Speaker 3: LA's mortiit this. 46 00:02:33,720 --> 00:02:38,320 Speaker 2: Gui and gra Lavia is also one of my favorites, 47 00:02:38,720 --> 00:02:42,079 Speaker 2: and I think most people probably know the version by Marsa, 48 00:02:42,280 --> 00:02:44,120 Speaker 2: who is pretty much a Hanya in her own right. 49 00:02:44,440 --> 00:02:47,280 Speaker 3: You're right about that. This song has been covered a 50 00:02:47,360 --> 00:02:50,400 Speaker 3: bunch of times, and at first the covers were by 51 00:02:50,440 --> 00:02:54,520 Speaker 3: other folkorists like Mercedes Sosa and then even Joan Bias. 52 00:02:54,680 --> 00:02:58,080 Speaker 3: In nineteen seventy four, she recorded an album in Spanish 53 00:02:58,200 --> 00:03:03,920 Speaker 3: that opens with this song. But then the song just 54 00:03:04,040 --> 00:03:06,400 Speaker 3: took on a life of its own. I mean, in 55 00:03:06,440 --> 00:03:15,880 Speaker 3: twenty fourteen, Michael Buble uploaded this to his Instagram. 56 00:03:15,960 --> 00:03:18,320 Speaker 1: I'm just kind of having a moment because I mean, 57 00:03:18,360 --> 00:03:20,840 Speaker 1: I don't really know much of Buble. I know that 58 00:03:20,919 --> 00:03:24,840 Speaker 1: he's huge, but the song is Glavia, thank you to life, 59 00:03:25,240 --> 00:03:29,040 Speaker 1: and I think the message is anyone can find this 60 00:03:29,120 --> 00:03:32,040 Speaker 1: deep connection to this song, right. 61 00:03:32,360 --> 00:03:35,720 Speaker 3: But I think that anything that gets copied over and 62 00:03:35,760 --> 00:03:39,280 Speaker 3: over again, its message or its essence can start to 63 00:03:39,360 --> 00:03:44,120 Speaker 3: stray from the original because eventually we're going to get 64 00:03:44,240 --> 00:03:46,520 Speaker 3: to this cue. 65 00:03:46,560 --> 00:03:48,240 Speaker 4: As yes, lovey. 66 00:03:50,160 --> 00:03:53,559 Speaker 2: Wow, an ad for patron Tikila. 67 00:03:54,800 --> 00:03:57,880 Speaker 1: Look, that is a beautiful interpretation. I'm sorry, I don't 68 00:03:57,880 --> 00:04:02,320 Speaker 1: know the artist, but the thought that it's to sell tequila. 69 00:04:02,520 --> 00:04:04,320 Speaker 1: It just kind of grosses me out. 70 00:04:04,480 --> 00:04:07,920 Speaker 2: Yeah, I don't think that's where Violetta was going. Pretty 71 00:04:07,920 --> 00:04:10,360 Speaker 2: sure she'd roll over in her grave if she knew 72 00:04:10,440 --> 00:04:11,880 Speaker 2: that's where her song would end up. 73 00:04:12,640 --> 00:04:14,760 Speaker 1: And I think the reason why Yoletta would be kind 74 00:04:14,760 --> 00:04:19,320 Speaker 1: of uncomfortable is because she was a deeply existential person who, 75 00:04:19,360 --> 00:04:22,040 Speaker 1: by the way, lad very facil. 76 00:04:21,640 --> 00:04:26,520 Speaker 3: But I exactly Violetta managed to create timeless music which 77 00:04:26,560 --> 00:04:32,440 Speaker 3: is completely Chilean but also universal. So today we want 78 00:04:32,480 --> 00:04:35,240 Speaker 3: to show some of that complexity of this great musician, 79 00:04:35,760 --> 00:04:38,920 Speaker 3: to make sure Violetta and what she fought for is 80 00:04:38,960 --> 00:04:40,159 Speaker 3: not lost. 81 00:04:40,520 --> 00:04:43,440 Speaker 1: I'm so excited to hear what's going to happen next. 82 00:04:43,800 --> 00:04:52,640 Speaker 1: So Genie and Victoria take it away from Futuro Media 83 00:04:52,680 --> 00:04:57,039 Speaker 1: and PRX. It's Latino Usa. I'm Maria no Josa Today. 84 00:04:57,360 --> 00:05:01,760 Speaker 1: Henyas in Music is back, this time with Yoletta Barrat, 85 00:05:01,800 --> 00:05:14,880 Speaker 1: the Chilean artist whose political songs transcend borders. 86 00:05:15,080 --> 00:05:15,359 Speaker 5: GINI. 87 00:05:15,480 --> 00:05:18,400 Speaker 3: What we're hearing right now was recorded in Chile during 88 00:05:18,440 --> 00:05:22,680 Speaker 3: the massive twenty nineteen protests, which were over income inequality 89 00:05:22,720 --> 00:05:26,159 Speaker 3: and metro fair hikes. This is Yoletta song Ariva ta 90 00:05:26,200 --> 00:05:28,400 Speaker 3: mandosol or under the Burning Sun. 91 00:05:33,520 --> 00:05:35,680 Speaker 2: You know, something that's really stuck out to me is 92 00:05:35,880 --> 00:05:39,080 Speaker 2: how much music plays a part in Chile's protests. You 93 00:05:39,120 --> 00:05:42,560 Speaker 2: see it over and over again, from the Jota Bara 94 00:05:43,640 --> 00:05:46,599 Speaker 2: to even the eighties punk rock group Loschrisionidos, who are 95 00:05:46,839 --> 00:05:53,000 Speaker 2: one of my faves. It's usually the first thing I 96 00:05:53,080 --> 00:05:54,680 Speaker 2: pick up on as a music gig. 97 00:05:55,240 --> 00:05:58,760 Speaker 3: Right, It's like protests in Chile have their own soundtrack. 98 00:05:58,560 --> 00:06:01,120 Speaker 2: They do, and I think think it's kind of amazing. 99 00:06:01,360 --> 00:06:03,640 Speaker 2: What better way to make an impact than with a song? 100 00:06:04,040 --> 00:06:05,760 Speaker 3: And where do you think all this started? 101 00:06:06,000 --> 00:06:09,560 Speaker 2: Well, my obvious choices with Violetta Bara, La Madre de 102 00:06:09,640 --> 00:06:10,479 Speaker 2: la rie Canzil. 103 00:06:11,080 --> 00:06:14,400 Speaker 3: Yeah, and you know you mentioned Victor Hara, the Chilean 104 00:06:14,440 --> 00:06:19,040 Speaker 3: singer songwriter. Victor Hara himself has cited Violetta Bara as 105 00:06:19,080 --> 00:06:22,719 Speaker 3: the person who started it all. Her music has impacted 106 00:06:22,760 --> 00:06:27,719 Speaker 3: several generations. Basically, there's a before and then after Violetta 107 00:06:27,760 --> 00:06:28,680 Speaker 3: in the music of Chile. 108 00:06:30,520 --> 00:06:32,760 Speaker 2: So for those of you who don't know Violetta Bara, 109 00:06:33,200 --> 00:06:36,200 Speaker 2: she was a larger than life singer songwriter. She kind 110 00:06:36,200 --> 00:06:39,200 Speaker 2: of ushered in change and love for Chile's own national 111 00:06:39,320 --> 00:06:42,600 Speaker 2: music in the nineteen fifties. At the same time, her 112 00:06:42,640 --> 00:06:45,400 Speaker 2: life was marked by illness and death, and at the 113 00:06:45,440 --> 00:06:49,159 Speaker 2: age of forty nine, she committed suicide after dropping her masterpiece, 114 00:06:49,240 --> 00:06:51,800 Speaker 2: the album that contained the song racis a la villa, 115 00:06:52,080 --> 00:06:57,200 Speaker 2: the song that we mentioned earlier. So, Victoria, where do 116 00:06:57,320 --> 00:07:00,919 Speaker 2: we start deconstructing Violetta so we can all better understand 117 00:07:00,960 --> 00:07:02,320 Speaker 2: her life and message. 118 00:07:02,720 --> 00:07:05,840 Speaker 3: So Boletta grew up with music around her. She was 119 00:07:05,880 --> 00:07:09,480 Speaker 3: born in nineteen seventeen in a small village south of Santiago, 120 00:07:09,600 --> 00:07:12,720 Speaker 3: the capital of Chile. Her father was a school teacher 121 00:07:12,840 --> 00:07:15,400 Speaker 3: and he played the guitar, and her mother was a 122 00:07:15,440 --> 00:07:18,720 Speaker 3: seamstress and sang. Boletta picked up the guitar when she 123 00:07:18,880 --> 00:07:21,640 Speaker 3: was around seven years old and taught herself how to 124 00:07:21,680 --> 00:07:26,720 Speaker 3: play behind her parents back. Her mom didn't want any 125 00:07:26,760 --> 00:07:30,360 Speaker 3: of her children to become musicians, but after her father 126 00:07:30,440 --> 00:07:33,720 Speaker 3: died when she was thirteen years old, she just started 127 00:07:33,720 --> 00:07:36,400 Speaker 3: to perform in the streets with her siblings because the 128 00:07:36,480 --> 00:07:38,240 Speaker 3: family struggled to make ends meet. 129 00:07:38,720 --> 00:07:41,600 Speaker 2: It's interesting to see how so many musicians start that way. 130 00:07:41,640 --> 00:07:45,160 Speaker 2: I mean, just to get heard or because finances dictate. 131 00:07:45,560 --> 00:07:49,760 Speaker 3: Yeah, that's right. Then at seventeen, Violeta moved to Santiago 132 00:07:49,840 --> 00:07:53,960 Speaker 3: and she started performing in bars and small venues. She 133 00:07:54,040 --> 00:07:57,560 Speaker 3: got married soon after at twenty one and had two kids. 134 00:07:58,040 --> 00:08:01,840 Speaker 3: She continued playing music publicly when she could, but after 135 00:08:01,960 --> 00:08:05,120 Speaker 3: ten years of marriage, Violetta made the bold move separating 136 00:08:05,160 --> 00:08:08,280 Speaker 3: from her husband because he was very traditional and he 137 00:08:08,320 --> 00:08:11,080 Speaker 3: didn't want Violetta to play music. He wanted her to 138 00:08:11,120 --> 00:08:12,920 Speaker 3: stay home and just be a mother. 139 00:08:14,480 --> 00:08:17,520 Speaker 2: Well, I'm noticing a trend here. All the Hennyas we've 140 00:08:17,520 --> 00:08:20,560 Speaker 2: been portraying in this series separated from their husbands early 141 00:08:20,600 --> 00:08:24,120 Speaker 2: in their careers. They couldn't stand the Latino machista way 142 00:08:24,160 --> 00:08:26,680 Speaker 2: of life and conform to what was expected of a 143 00:08:26,720 --> 00:08:28,960 Speaker 2: woman back then. Like none of them were going to 144 00:08:29,000 --> 00:08:30,840 Speaker 2: be Ama la casa exactly. 145 00:08:30,960 --> 00:08:34,040 Speaker 3: And it shows that Violetta wasn't going to let anything 146 00:08:34,120 --> 00:08:37,520 Speaker 3: get in the way of what she wanted to do. Regardless. 147 00:08:37,679 --> 00:08:41,520 Speaker 3: By nineteen fifty three, she's married again, she has three children, 148 00:08:41,760 --> 00:08:45,120 Speaker 3: and she's restless. All this time, she had been playing 149 00:08:45,160 --> 00:08:48,679 Speaker 3: whatever music was popular at the time, Boletos ranchas. You know, 150 00:08:48,760 --> 00:08:51,800 Speaker 3: a lot of Mexican music, but she wanted to try 151 00:08:51,840 --> 00:08:55,959 Speaker 3: something new, so one day, Violetta goes to visit her 152 00:08:56,000 --> 00:08:57,800 Speaker 3: older brother, Nica or Parra. 153 00:08:58,000 --> 00:09:00,000 Speaker 2: And he would later become a famous poet. 154 00:09:00,280 --> 00:09:06,200 Speaker 3: Right that yes, that n Nica had just returned from 155 00:09:06,200 --> 00:09:08,559 Speaker 3: Oxford and now that he was in his country, he 156 00:09:08,640 --> 00:09:12,200 Speaker 3: was very interested in traditional forms of poetry, and he 157 00:09:12,520 --> 00:09:16,360 Speaker 3: encouraged her to go out and start collecting traditional folk 158 00:09:16,400 --> 00:09:22,319 Speaker 3: songs of Chile. It was the songs that they had 159 00:09:22,360 --> 00:09:27,959 Speaker 3: heard growing up from her mom, from the people around them. 160 00:09:28,880 --> 00:09:30,079 Speaker 2: Yah ladi YadA. 161 00:09:31,120 --> 00:09:33,880 Speaker 3: He just told her, this is what you should be doing. 162 00:09:36,360 --> 00:09:38,679 Speaker 2: That's amazing. I had the foresight to do this because 163 00:09:38,679 --> 00:09:41,000 Speaker 2: I mean, that's the only way music gets passed on. 164 00:09:41,280 --> 00:09:43,800 Speaker 2: It's if somebody takes the initiative to go out and 165 00:09:43,840 --> 00:09:45,640 Speaker 2: collect it and write it down and perform it. 166 00:09:45,920 --> 00:09:49,680 Speaker 3: Yeah, and Violetta she felt a calling to preserve this 167 00:09:49,840 --> 00:09:53,880 Speaker 3: traditional music from Chile because at the time in Chile, 168 00:09:54,240 --> 00:09:57,400 Speaker 3: the government was promoting a different kind of folk music. 169 00:10:00,120 --> 00:10:06,000 Speaker 5: Before Violetta, Chile had this really canned artificial folklore. 170 00:10:06,440 --> 00:10:09,920 Speaker 3: This is but Lisa Vilchiz, an academic who studied Violetta 171 00:10:10,040 --> 00:10:11,640 Speaker 3: for over two decades. 172 00:10:11,720 --> 00:10:16,760 Speaker 5: Like, Oh, beautiful women dancing with gorgeous men and this 173 00:10:16,880 --> 00:10:22,440 Speaker 5: wonderful relationship between the landlore and the tenants. You know, 174 00:10:22,520 --> 00:10:24,000 Speaker 5: we're all having a beautiful time. 175 00:10:24,320 --> 00:10:33,679 Speaker 3: Very fake groups like Los Wassos Cinceto's were promoted by 176 00:10:33,679 --> 00:10:37,680 Speaker 3: the government because they painted an idealized version of the country, 177 00:10:37,960 --> 00:10:41,600 Speaker 3: and Violetta took a stand against that idealized image in 178 00:10:41,640 --> 00:10:44,480 Speaker 3: many ways, and one of them was how she looked. 179 00:10:45,040 --> 00:10:47,840 Speaker 3: Let that contracted smallpox when she was young, and it 180 00:10:47,880 --> 00:10:50,920 Speaker 3: almost killed her. She was left with her face card, 181 00:10:51,480 --> 00:10:53,880 Speaker 3: and as an adult, she made it a point to 182 00:10:54,000 --> 00:10:57,040 Speaker 3: never wear makeup, and she had very little patience for 183 00:10:57,120 --> 00:11:03,480 Speaker 3: the women who did, and she told them so. Oh, 184 00:11:03,760 --> 00:11:07,040 Speaker 3: so she followed her brother's advice. She would go looking 185 00:11:07,080 --> 00:11:10,200 Speaker 3: for elders and would just tell them that she was 186 00:11:10,200 --> 00:11:12,800 Speaker 3: on this mission, and she would ask them to play 187 00:11:12,840 --> 00:11:16,080 Speaker 3: the songs for her. She would memorize the music and 188 00:11:16,160 --> 00:11:19,280 Speaker 3: write down the lyrics because she didn't actually know how 189 00:11:19,320 --> 00:11:20,280 Speaker 3: to write sheet music. 190 00:11:21,120 --> 00:11:23,200 Speaker 2: She was truly, truly committed. 191 00:11:23,720 --> 00:11:25,880 Speaker 3: Yeah, and I want to play you or recording that 192 00:11:25,960 --> 00:11:29,199 Speaker 3: she did in nineteen fifty nine, and you can hear 193 00:11:29,480 --> 00:11:31,440 Speaker 3: just how Violta is working her. 194 00:11:31,400 --> 00:11:40,560 Speaker 6: Charmmarcito, I'm gonna cantorpo and thin. 195 00:11:50,160 --> 00:11:56,320 Speaker 2: Give some Metro. It's beautiful to hear her talking with 196 00:11:56,360 --> 00:11:59,560 Speaker 2: what I assume as an older gentleman. She's asking him 197 00:11:59,600 --> 00:12:03,120 Speaker 2: to sing her and flattering him, saying that everyone knows 198 00:12:03,120 --> 00:12:04,800 Speaker 2: that he's a famous singer. 199 00:12:04,520 --> 00:12:07,440 Speaker 3: And poet, right and you can hear that. At first, 200 00:12:07,520 --> 00:12:11,440 Speaker 3: he refuses, saying that those verses are just for playing 201 00:12:11,440 --> 00:12:13,720 Speaker 3: at bars and with friends. But then he says he's 202 00:12:13,760 --> 00:12:17,200 Speaker 3: going to sing an important verse so Yoletta can record it. 203 00:12:17,320 --> 00:12:19,280 Speaker 3: Here's Patricia the researcher again. 204 00:12:19,559 --> 00:12:22,920 Speaker 5: She had something that the other researchers didn't have, because 205 00:12:23,000 --> 00:12:27,120 Speaker 5: most of them were academics. She built a relationship with 206 00:12:27,400 --> 00:12:32,440 Speaker 5: her informants as equals, and they trusted her. 207 00:12:32,760 --> 00:12:36,160 Speaker 2: That's so important because if you're going to these communities 208 00:12:36,200 --> 00:12:39,640 Speaker 2: in these places, if you can gain their trust, then 209 00:12:39,720 --> 00:12:41,960 Speaker 2: it's much easier to gather than what you're trying to gather. 210 00:12:42,520 --> 00:12:46,319 Speaker 3: And this is Yoletta in her own words. She's describing 211 00:12:46,440 --> 00:12:49,800 Speaker 3: the work she did, and she's speaking in nineteen sixty 212 00:12:49,960 --> 00:12:54,920 Speaker 3: at Radioconcepcion in Chile. This is the only recorded interview 213 00:12:55,000 --> 00:12:57,400 Speaker 3: I was able to find a Yoletta. 214 00:13:00,200 --> 00:13:04,280 Speaker 6: Sul Alma su Ben Saminto. 215 00:13:07,200 --> 00:13:09,320 Speaker 2: I love it when people take interest in their folklore 216 00:13:09,360 --> 00:13:11,760 Speaker 2: and wanting to kind of document that music. And you 217 00:13:11,800 --> 00:13:14,559 Speaker 2: can really tell how much they love it. Even her 218 00:13:14,600 --> 00:13:17,760 Speaker 2: talking about it is somewhat poetic, right, She's trying to 219 00:13:17,800 --> 00:13:20,280 Speaker 2: collect it from the traditional singers so they can share 220 00:13:20,320 --> 00:13:26,640 Speaker 2: their soul, their thoughts and just like she heard them exactly. 221 00:13:26,840 --> 00:13:29,120 Speaker 3: And at the same time, she was also coming in 222 00:13:29,160 --> 00:13:33,920 Speaker 3: contact with Chile's artistic and intellectual elites through her brother 223 00:13:34,120 --> 00:13:38,640 Speaker 3: Nika nor For example, she meets Pabloda the poet in 224 00:13:38,800 --> 00:13:39,720 Speaker 3: nineteen fifty three. 225 00:13:40,080 --> 00:13:43,160 Speaker 2: Oh, I love Pablo Nerula and his poetry. He's one 226 00:13:43,200 --> 00:13:45,640 Speaker 2: of the most famous Chilean poets who later won the 227 00:13:45,640 --> 00:13:48,800 Speaker 2: Nobel Prize for Literature. But wasn't he exiled from the 228 00:13:48,840 --> 00:13:50,920 Speaker 2: country because I thought he was a senator for the 229 00:13:50,920 --> 00:13:51,720 Speaker 2: Communist Party. 230 00:13:52,120 --> 00:13:55,720 Speaker 3: Yeah, he was exiled, but the warrant against Nedudha was 231 00:13:55,800 --> 00:13:59,000 Speaker 3: dropped and he was able to return to Chile the 232 00:13:59,080 --> 00:14:03,960 Speaker 3: year before. Bioletta Para's biography The Spose run Siglo, which 233 00:14:04,000 --> 00:14:08,600 Speaker 3: means after living for a century, written by Victorero, describes 234 00:14:08,679 --> 00:14:12,440 Speaker 3: how Bioletta goes to a party hosted by Neduda. At 235 00:14:12,440 --> 00:14:14,760 Speaker 3: some point, she sits by a tree in the patio 236 00:14:14,880 --> 00:14:17,160 Speaker 3: and she pulls out her guitar and starts. 237 00:14:16,880 --> 00:14:17,920 Speaker 2: Playing and singing. 238 00:14:19,080 --> 00:14:22,360 Speaker 3: Then they say that a circle began to form around her. 239 00:14:23,480 --> 00:14:27,000 Speaker 3: A journalist described her singing as not something you would 240 00:14:27,000 --> 00:14:29,600 Speaker 3: call beautiful, but that she was captivating. 241 00:14:30,560 --> 00:14:32,520 Speaker 6: They can't see, Princi Pieto. 242 00:14:35,680 --> 00:14:38,320 Speaker 3: There's no recording or list of the songs she played then, 243 00:14:38,400 --> 00:14:41,360 Speaker 3: but this is one of the earlier songs she compiled, 244 00:14:41,480 --> 00:14:45,600 Speaker 3: called versos Paa. The people at the party probably heard 245 00:14:45,720 --> 00:14:46,360 Speaker 3: something like this. 246 00:14:53,520 --> 00:14:55,880 Speaker 2: I can see what the journalist was saying. You can 247 00:14:55,960 --> 00:14:58,240 Speaker 2: tell that it's not a trained voice. You can tell 248 00:14:58,320 --> 00:14:59,920 Speaker 2: that it's a little ralph and a little out of 249 00:15:00,000 --> 00:15:02,960 Speaker 2: tune at times, but it's engaging. It just kind of 250 00:15:03,080 --> 00:15:05,400 Speaker 2: like sucks you into what she's saying. I mean, you 251 00:15:05,480 --> 00:15:06,640 Speaker 2: really can't turn away. 252 00:15:06,560 --> 00:15:10,280 Speaker 6: And dinessy Principiao. 253 00:15:13,360 --> 00:15:16,560 Speaker 3: After that impression she made at Neduda's house, more doors 254 00:15:16,600 --> 00:15:21,080 Speaker 3: started opening for Violetta. She received an invitation to host 255 00:15:21,160 --> 00:15:23,840 Speaker 3: her own radio show called Ask. 256 00:15:25,400 --> 00:15:28,000 Speaker 2: Or Violeta Para sings like this Yeah. 257 00:15:27,880 --> 00:15:31,760 Speaker 3: And in that show, Violetta wasn't interested in just playing 258 00:15:31,880 --> 00:15:34,880 Speaker 3: the songs she had collected. She wanted listeners to value 259 00:15:35,000 --> 00:15:38,160 Speaker 3: the people that those songs represented, right. 260 00:15:38,120 --> 00:15:40,000 Speaker 2: The men and women who had worked for years in 261 00:15:40,080 --> 00:15:42,680 Speaker 2: the fields, not the kind of people you hear on 262 00:15:42,760 --> 00:15:43,520 Speaker 2: the radio often. 263 00:15:43,920 --> 00:15:47,360 Speaker 3: Yeah. And what she did is that she had those singers, 264 00:15:47,400 --> 00:15:51,560 Speaker 3: those cantoes who Violetta called mis bhitos, she had them 265 00:15:51,600 --> 00:15:53,880 Speaker 3: on the show and she interviewed them. 266 00:15:54,240 --> 00:15:56,720 Speaker 2: It's another testament to who she was that she didn't 267 00:15:56,800 --> 00:15:59,320 Speaker 2: just want to take the glory for herself. She really 268 00:15:59,400 --> 00:16:02,120 Speaker 2: wanted to get credit to the people who had been 269 00:16:02,360 --> 00:16:05,000 Speaker 2: working for years and working on that music and taking 270 00:16:05,080 --> 00:16:09,080 Speaker 2: that to generation to generation. O Jello and. 271 00:16:10,960 --> 00:16:15,560 Speaker 3: Really, and these were songs that had never been heard 272 00:16:15,680 --> 00:16:18,640 Speaker 3: on the radio in Chile before. There were songs that 273 00:16:18,920 --> 00:16:22,960 Speaker 3: documented the history of Chile, its religious traditions, the life 274 00:16:23,120 --> 00:16:27,680 Speaker 3: of peasants and farmers, and that history was being lost 275 00:16:27,800 --> 00:16:31,320 Speaker 3: as radio had gotten more popular, people have moved away 276 00:16:31,440 --> 00:16:34,840 Speaker 3: from listening to live music, and more foreign music was 277 00:16:34,880 --> 00:16:35,640 Speaker 3: coming into Chile. 278 00:16:37,000 --> 00:16:39,560 Speaker 2: Right, it's now the nineteen fifties, so what they would 279 00:16:39,600 --> 00:16:41,560 Speaker 2: be hearing is rock and roll from the US and 280 00:16:41,720 --> 00:16:43,600 Speaker 2: the UK sweeping through Latin America. 281 00:16:44,600 --> 00:16:49,160 Speaker 3: Yes, but Rioletta wasn't having it. She eventually collected over 282 00:16:49,320 --> 00:16:53,720 Speaker 3: three thousand songs, folk tales, proverbs, and riddles from all 283 00:16:53,760 --> 00:16:57,120 Speaker 3: over Chile. And what's unique about Juletta is that she 284 00:16:57,360 --> 00:17:02,720 Speaker 3: wasn't just a musicologist or in anthropologist interested in documenting. 285 00:17:03,000 --> 00:17:06,240 Speaker 3: She also started composing songs inspired by. 286 00:17:06,240 --> 00:17:07,360 Speaker 2: The ones she was gathering. 287 00:17:13,200 --> 00:17:16,359 Speaker 3: This is La Carrinerra or the Gardner, one of the 288 00:17:16,520 --> 00:17:20,800 Speaker 3: first original songs she recorded. Although she's using these traditional 289 00:17:20,960 --> 00:17:24,040 Speaker 3: forms that she collected, she's giving them a twist. 290 00:17:24,920 --> 00:17:27,679 Speaker 2: So even though it's a heartbreak song, Violeita doesn't write 291 00:17:28,119 --> 00:17:31,879 Speaker 2: a woman as a victim. She is writing from a 292 00:17:31,960 --> 00:17:35,200 Speaker 2: place of like, Okay, this happened, and I'm going to 293 00:17:35,720 --> 00:17:36,440 Speaker 2: move on from it. 294 00:17:36,840 --> 00:17:40,800 Speaker 3: Right And after the radio show, Violeta's career has completely changed, 295 00:17:41,000 --> 00:17:44,520 Speaker 3: and in nineteen fifty four she actually receives a national 296 00:17:44,680 --> 00:17:46,840 Speaker 3: award for the best Folklorist in Chile. 297 00:17:47,400 --> 00:17:49,760 Speaker 2: Oh, so she's finally getting some recognition in Chile. 298 00:17:50,280 --> 00:17:50,720 Speaker 1: She is. 299 00:17:50,960 --> 00:17:53,720 Speaker 3: And then in the summer of nineteen fifty five, she 300 00:17:53,920 --> 00:17:57,600 Speaker 3: gets an invitation to participate in the fifth World Festival 301 00:17:57,720 --> 00:18:00,639 Speaker 3: of Youth and Students in Warsaw what was then the 302 00:18:00,720 --> 00:18:02,000 Speaker 3: Polish People's Republic. 303 00:18:02,320 --> 00:18:03,840 Speaker 2: And I think this can tell you a lot about 304 00:18:03,920 --> 00:18:08,200 Speaker 2: Violetta's politics. Although the festival was presented as pluralists. It 305 00:18:08,320 --> 00:18:11,800 Speaker 2: was attended by mostly on communists from all over the world. 306 00:18:12,200 --> 00:18:16,280 Speaker 3: Yeah, and Violetta sympathized with Communists, but as far as 307 00:18:16,359 --> 00:18:18,920 Speaker 3: her biographers can tell, she was not a member of 308 00:18:19,040 --> 00:18:23,119 Speaker 3: the party. They say she had problems with its rigid structures. 309 00:18:23,680 --> 00:18:26,359 Speaker 3: But in her own way, the work that Violetta was 310 00:18:26,440 --> 00:18:29,080 Speaker 3: doing was political and she wanted to do her part 311 00:18:29,200 --> 00:18:32,040 Speaker 3: for her country by promoting the tradition so the people 312 00:18:32,119 --> 00:18:34,720 Speaker 3: she had met and just bringing them to the world. 313 00:18:34,720 --> 00:18:37,320 Speaker 2: And getting She accepted the invitation to go to Warsaw. 314 00:18:37,680 --> 00:18:41,480 Speaker 3: Yes, Violetta wanted to accept, but there was one issue. 315 00:18:42,320 --> 00:18:46,240 Speaker 3: Her fourth daughter, Rosa Clara, was around nine months old 316 00:18:46,359 --> 00:18:49,840 Speaker 3: at this time. Yoletta consulted with her family and she 317 00:18:50,080 --> 00:18:52,680 Speaker 3: told them that the sacrifice would be for the good 318 00:18:52,720 --> 00:18:57,359 Speaker 3: of Chile. Her family agreed, and Violetta left Rosa Clada 319 00:18:57,480 --> 00:19:01,080 Speaker 3: with her husband. She traveled by boat. The trip was 320 00:19:01,160 --> 00:19:03,399 Speaker 3: long and it took her weeks to get to Europe. 321 00:19:04,240 --> 00:19:08,240 Speaker 3: Soon after she arrived, she received news that Rosa Klara, 322 00:19:08,640 --> 00:19:14,159 Speaker 3: her baby, had died of pneumonia. By the time she 323 00:19:14,280 --> 00:19:24,160 Speaker 3: read that letter, they had already buried her daughter. Violetta 324 00:19:24,280 --> 00:19:27,720 Speaker 3: was so devastated that she didn't see much point in 325 00:19:27,920 --> 00:19:33,040 Speaker 3: going back to Chile alone in a foreign country, she 326 00:19:33,200 --> 00:19:33,960 Speaker 3: turned to music. 327 00:19:39,760 --> 00:19:42,439 Speaker 2: We'll hear more about Viola Parra's life when we come 328 00:19:42,520 --> 00:20:32,560 Speaker 2: back from the break. Stay with us. Hey, we're back. 329 00:20:33,080 --> 00:20:35,920 Speaker 2: I'm producer Genie Montado and I'm here with fellow producer 330 00:20:36,040 --> 00:20:39,920 Speaker 2: Victoria Estra. Today we're telling the story of Violetta Para's life, 331 00:20:40,440 --> 00:20:43,600 Speaker 2: one of our henyas and music. So before the break, 332 00:20:43,720 --> 00:20:46,399 Speaker 2: Violetta had just gone to Europe on a mission. She 333 00:20:46,520 --> 00:20:48,880 Speaker 2: wanted the whole world to know about the traditional folk 334 00:20:49,000 --> 00:20:52,439 Speaker 2: music of Chile. But sadly, while she was in Europe, 335 00:20:52,640 --> 00:20:56,359 Speaker 2: her baby daughter died of pneumonia. Violetta stayed abroad for 336 00:20:56,560 --> 00:20:57,879 Speaker 2: almost two years. 337 00:20:58,440 --> 00:21:01,520 Speaker 3: Right and even though Violetta was depressed about the loss 338 00:21:01,560 --> 00:21:05,960 Speaker 3: of Rossa Clara, she put her entire self into her music. 339 00:21:06,680 --> 00:21:11,800 Speaker 3: She moved to Paris, she performed in festivals, she recorded 340 00:21:12,000 --> 00:21:15,240 Speaker 3: her first LP, and she even had a steady gig 341 00:21:15,320 --> 00:21:18,560 Speaker 3: playing a small venue in Paris. And there she met 342 00:21:18,800 --> 00:21:22,880 Speaker 3: other musicians from Latin America who she actually converted into 343 00:21:22,960 --> 00:21:25,639 Speaker 3: her vision of what traditional folk music should be. 344 00:21:26,640 --> 00:21:29,560 Speaker 2: I'm curious what that was, because that can mean a 345 00:21:29,600 --> 00:21:31,200 Speaker 2: lot of things to a lot of different people. 346 00:21:31,320 --> 00:21:34,240 Speaker 3: But what was her vision When she arrived in Paris, 347 00:21:34,440 --> 00:21:37,240 Speaker 3: the Latin American musicians there, they were playing music that 348 00:21:37,520 --> 00:21:40,600 Speaker 3: was festive. They were using it to have a good time, 349 00:21:40,720 --> 00:21:44,600 Speaker 3: and everyone says that when Bioletta arrived, she said, no, 350 00:21:45,560 --> 00:21:48,639 Speaker 3: that wasn't how you were supposed to approach things. She 351 00:21:49,160 --> 00:21:53,159 Speaker 3: asked everyone to remain silent and listen as she was playing. 352 00:22:00,960 --> 00:22:04,800 Speaker 6: Laura Suntimogru. 353 00:22:06,359 --> 00:22:09,560 Speaker 3: And Violetta did. After almost two years in Europe, she 354 00:22:09,760 --> 00:22:12,639 Speaker 3: felt like she had succeeded in her mission to have 355 00:22:12,840 --> 00:22:16,880 Speaker 3: people take folk music seriously, and it was only then 356 00:22:16,960 --> 00:22:21,400 Speaker 3: that she returned to Chile. There she recorded her first 357 00:22:21,440 --> 00:22:25,040 Speaker 3: Selpie back Home, with mostly songs she had compiled from 358 00:22:25,200 --> 00:22:28,640 Speaker 3: all over the country, but she did include two original 359 00:22:28,760 --> 00:22:32,600 Speaker 3: songs she composed. One of them was called verso. 360 00:22:33,800 --> 00:22:36,560 Speaker 2: Oh Wow. Since that means versus for a dead girl, 361 00:22:36,800 --> 00:22:38,639 Speaker 2: I'm going to guess that that was dedicated to her 362 00:22:38,680 --> 00:22:39,560 Speaker 2: baby that passed away. 363 00:22:40,800 --> 00:22:41,080 Speaker 1: It was. 364 00:22:41,640 --> 00:22:42,720 Speaker 3: Here's a bit of that song. 365 00:22:43,240 --> 00:22:50,240 Speaker 2: He not Adeveo. She says that she spends her nights 366 00:22:50,320 --> 00:22:53,119 Speaker 2: restless and she sees her in her dreams and that 367 00:22:53,200 --> 00:22:55,160 Speaker 2: her sorrow and suffering will last forever. 368 00:22:56,640 --> 00:22:59,520 Speaker 3: Yes, and it's clear that Yoletta didn't get over what 369 00:22:59,640 --> 00:23:03,280 Speaker 3: happened with her baby daughter. I mean, how could she not? 370 00:23:05,359 --> 00:23:07,080 Speaker 2: Maybeen iimisuvreemen. 371 00:23:11,440 --> 00:23:16,200 Speaker 3: In addition to compiling music, Violetta also started an intense 372 00:23:16,359 --> 00:23:18,840 Speaker 3: period of experimentation in her art. 373 00:23:19,400 --> 00:23:21,439 Speaker 2: You mean in her music or was she doing other stuff? 374 00:23:22,160 --> 00:23:25,680 Speaker 3: It is her music, but she also started experimenting in 375 00:23:25,880 --> 00:23:29,720 Speaker 3: other art forms. In nineteen fifty nine, she fell ill 376 00:23:29,840 --> 00:23:34,040 Speaker 3: to hepatitis and was bedridden for weeks. She couldn't sing 377 00:23:34,320 --> 00:23:37,440 Speaker 3: or play guitar, and so she started painting and also 378 00:23:37,560 --> 00:23:41,920 Speaker 3: started sewing these large woold tapestries, which are called arbilliras 379 00:23:42,040 --> 00:23:45,640 Speaker 3: it's a traditional art form in Cheereh. She also got 380 00:23:45,800 --> 00:23:50,040 Speaker 3: into ceramics and making sculptures with wire and treated cardboard. 381 00:23:50,560 --> 00:23:52,880 Speaker 2: It shows that when you kind of have that creativeness 382 00:23:52,920 --> 00:23:55,520 Speaker 2: inside of you and it's taken away, whether it's guitar 383 00:23:55,880 --> 00:23:59,040 Speaker 2: music or singing, you're gonna just find an outlet for 384 00:23:59,119 --> 00:23:59,880 Speaker 2: that in other ways. 385 00:24:00,600 --> 00:24:03,960 Speaker 3: That's exactly what Bioletta did. And actually when she recovered 386 00:24:04,000 --> 00:24:08,520 Speaker 3: from her illness, she also started experimenting with music, She 387 00:24:08,840 --> 00:24:11,919 Speaker 3: recorded a few instrumental songs with just her and her 388 00:24:12,000 --> 00:24:17,200 Speaker 3: guitar and called them antiquecas. Here's the antiqueca number five 389 00:24:17,440 --> 00:24:18,520 Speaker 3: recorded by Buletta. 390 00:24:23,320 --> 00:24:26,840 Speaker 2: The sounds are dissonant and more like modernist classical music 391 00:24:26,920 --> 00:24:28,359 Speaker 2: of the early twentieth century. 392 00:24:29,200 --> 00:24:33,200 Speaker 3: Yeah. When people asked about these compositions, she responded that 393 00:24:33,600 --> 00:24:36,840 Speaker 3: not everything is joy, and that to express her pain 394 00:24:37,240 --> 00:24:42,359 Speaker 3: she found atonal music. It seems like any laws or 395 00:24:42,440 --> 00:24:46,080 Speaker 3: pain she was dealing with, Bioletta just managed to use 396 00:24:46,160 --> 00:24:49,480 Speaker 3: it in her music. This is Violetta again from the 397 00:24:49,560 --> 00:24:50,560 Speaker 3: nineteen sixty. 398 00:24:50,320 --> 00:24:56,720 Speaker 2: Interview Miquel. 399 00:24:57,119 --> 00:24:59,919 Speaker 6: Canto Academic. 400 00:25:00,000 --> 00:25:00,240 Speaker 4: You know. 401 00:25:06,119 --> 00:25:09,200 Speaker 2: Basically that pain can't be sung by an academic voice. 402 00:25:09,200 --> 00:25:11,160 Speaker 2: It can only be sung by a voice like her, 403 00:25:11,760 --> 00:25:13,720 Speaker 2: which had been suffering for forty years. 404 00:25:14,680 --> 00:25:18,320 Speaker 3: But pain and suffering were not the only things Violata experienced. 405 00:25:18,880 --> 00:25:22,480 Speaker 3: She famously had a character that was larger than life. 406 00:25:23,119 --> 00:25:27,680 Speaker 3: Sabina Drisdale, a journalist who's also written about Bioletta, describes 407 00:25:27,720 --> 00:25:28,119 Speaker 3: it like this. 408 00:25:28,760 --> 00:25:32,159 Speaker 4: I think she just was a volcano and it was 409 00:25:32,240 --> 00:25:35,680 Speaker 4: going to explode. She couldn't care less if the person 410 00:25:35,800 --> 00:25:38,800 Speaker 4: in front of her was a woman. Or a man 411 00:25:39,359 --> 00:25:44,200 Speaker 4: or a politician. She was who she was and nothing 412 00:25:44,280 --> 00:25:45,040 Speaker 4: would stop her. 413 00:25:45,680 --> 00:25:47,200 Speaker 2: Wow, that's an intense description. 414 00:25:50,280 --> 00:25:52,960 Speaker 3: There's a story that she broke her guitar in the 415 00:25:53,000 --> 00:25:55,160 Speaker 3: head of a man who was cheating on a friend 416 00:25:55,240 --> 00:25:58,359 Speaker 3: of hers, and they say she broke guitars like this 417 00:25:58,920 --> 00:26:01,159 Speaker 3: at least four eight other times. 418 00:26:02,080 --> 00:26:02,359 Speaker 2: Wow. 419 00:26:03,640 --> 00:26:07,600 Speaker 3: Yeah. The strength and the volatility of her personality is 420 00:26:07,680 --> 00:26:10,480 Speaker 3: something that I saw time and time again mentioned in 421 00:26:10,600 --> 00:26:14,560 Speaker 3: the testimonies of people who knew her. Here's seven again. 422 00:26:17,320 --> 00:26:21,600 Speaker 4: Now we learned that her character was very special and 423 00:26:21,760 --> 00:26:25,960 Speaker 4: that it was bipolar. In those days you said manic depressive. 424 00:26:26,359 --> 00:26:29,840 Speaker 4: So also that I think is something that you have 425 00:26:30,040 --> 00:26:32,840 Speaker 4: to take in mind when we talk about her. 426 00:26:36,440 --> 00:26:40,720 Speaker 3: I imagine Violetta was intense in many ways because she 427 00:26:41,040 --> 00:26:45,520 Speaker 3: did struggle with mental illness. But despite her challenges, she 428 00:26:45,840 --> 00:26:49,960 Speaker 3: was also loved and had many dear friends. I found 429 00:26:50,080 --> 00:26:53,440 Speaker 3: many stories talking about Bioletta as a teacher, saying that 430 00:26:53,720 --> 00:26:56,240 Speaker 3: if she saw an honest interest in a person to 431 00:26:56,359 --> 00:27:00,159 Speaker 3: sing or play or learn, she would share every thing 432 00:27:00,280 --> 00:27:03,280 Speaker 3: she knew. She was very generous with her time and 433 00:27:03,520 --> 00:27:06,160 Speaker 3: also with her money. It didn't matter that she didn't 434 00:27:06,200 --> 00:27:06,600 Speaker 3: have much. 435 00:27:11,000 --> 00:27:14,200 Speaker 4: I think she needed to be real, and she was. 436 00:27:14,760 --> 00:27:19,080 Speaker 4: There's nothing not real in her, for good or for bad. 437 00:27:20,040 --> 00:27:22,920 Speaker 2: I think a lot of times, when you have big 438 00:27:23,000 --> 00:27:26,520 Speaker 2: emotions and big personalities and are dealing with a lot 439 00:27:26,560 --> 00:27:29,200 Speaker 2: of pain, it's very difficult to not be real. I 440 00:27:29,280 --> 00:27:31,480 Speaker 2: mean that totally makes sense. 441 00:27:31,920 --> 00:27:35,400 Speaker 3: Yes, And sometimes being real exposes you to a lot 442 00:27:35,440 --> 00:27:38,440 Speaker 3: of hurt because the world around you is just not 443 00:27:38,720 --> 00:27:43,760 Speaker 3: used to that. Regardless, Violetta continued to travel across the country, 444 00:27:44,359 --> 00:27:47,040 Speaker 3: but she kept growing more and more enraged by the 445 00:27:47,200 --> 00:27:50,760 Speaker 3: exploitation and the poverty that she was seeing in farms 446 00:27:50,840 --> 00:27:55,399 Speaker 3: and small towns and mines across rural Chile. In nineteen 447 00:27:55,440 --> 00:27:59,119 Speaker 3: fifty eight, a conservative coalition had returned to power with 448 00:27:59,240 --> 00:28:02,439 Speaker 3: the election of a man named Jorge Alessandri. 449 00:28:03,160 --> 00:28:06,159 Speaker 2: And that name was familiar to people in Chile because 450 00:28:06,200 --> 00:28:09,200 Speaker 2: his father had been president of Chile three times in 451 00:28:09,280 --> 00:28:12,160 Speaker 2: the first decades of the twentieth century, and he'd carried 452 00:28:12,200 --> 00:28:15,199 Speaker 2: out a brutal repression of the worker movements, and. 453 00:28:15,320 --> 00:28:18,560 Speaker 3: Now his son was coming into power. And it's around 454 00:28:18,640 --> 00:28:23,080 Speaker 3: this time that Yolita starts writing her most overtly political songs. 455 00:28:23,600 --> 00:28:28,520 Speaker 3: One of those is a very famous one called jocanto aladiferencia. 456 00:28:28,720 --> 00:28:37,480 Speaker 3: That means I sing to the difference jo Bundle. In 457 00:28:37,600 --> 00:28:42,080 Speaker 3: this Angoletta is denouncing the hypocrisy of celebrating the Chilean 458 00:28:42,200 --> 00:28:45,160 Speaker 3: independence when she can see that children are hungry, that 459 00:28:45,400 --> 00:28:48,520 Speaker 3: mothers are homeless, and people are still suffering. 460 00:28:49,560 --> 00:28:52,280 Speaker 2: She's also saying she's not interested in singing things that 461 00:28:52,360 --> 00:28:55,600 Speaker 2: aren't true, which goes back to her being real. 462 00:29:06,400 --> 00:29:10,120 Speaker 3: From here, Yolita's political phase is only going to intensify. 463 00:29:10,720 --> 00:29:13,040 Speaker 3: She goes back to Europe for a second time in 464 00:29:13,160 --> 00:29:16,840 Speaker 3: nineteen sixty two and settles again in Paris, and. 465 00:29:16,960 --> 00:29:20,120 Speaker 2: The sixties across the globe were a time for big change. 466 00:29:20,760 --> 00:29:23,240 Speaker 2: Waves of social movements across the world marked a time 467 00:29:23,280 --> 00:29:26,720 Speaker 2: of restlessness. I mean, the US was amidst the Cold War, 468 00:29:27,240 --> 00:29:29,640 Speaker 2: they were at odds with the USSR for influence. In 469 00:29:29,720 --> 00:29:33,520 Speaker 2: Latin America and inside the United States, the civil rights 470 00:29:33,600 --> 00:29:36,400 Speaker 2: movement was at a high point, and in France the 471 00:29:36,520 --> 00:29:39,320 Speaker 2: massive student protests that would erupt in nineteen sixty eight 472 00:29:39,400 --> 00:29:40,280 Speaker 2: had started brewing. 473 00:29:40,920 --> 00:29:44,160 Speaker 3: Yes, and Paris was one of the centers of that activity. 474 00:29:44,840 --> 00:29:47,440 Speaker 3: Artists from all across the world passed through the French 475 00:29:47,520 --> 00:29:50,640 Speaker 3: capital in these years, and you can make a case 476 00:29:50,760 --> 00:29:54,200 Speaker 3: that her work was more appreciated in Paris than in Chile. 477 00:29:54,880 --> 00:29:58,240 Speaker 3: When she was back home, she didn't receive steady institutional 478 00:29:58,320 --> 00:30:01,840 Speaker 3: support for the work she did electing Chilean music. She 479 00:30:02,040 --> 00:30:05,080 Speaker 3: mostly made her money playing shows, and sometimes she got 480 00:30:05,200 --> 00:30:09,280 Speaker 3: royalties for the songs she had recorded. But Violetta's main 481 00:30:09,360 --> 00:30:12,840 Speaker 3: complaint was that her work wasn't recognized by the wider 482 00:30:12,920 --> 00:30:17,600 Speaker 3: Chilean public. This is Violetta again from that nineteen sixty interview. 483 00:30:21,400 --> 00:30:22,440 Speaker 2: Nila de. 484 00:30:24,240 --> 00:30:34,960 Speaker 6: Supercludo castaner Les Mari wow Riolita says that even after 485 00:30:35,200 --> 00:30:37,440 Speaker 6: years of going at it, the work is just as 486 00:30:37,480 --> 00:30:38,560 Speaker 6: hard as when she started. 487 00:30:38,960 --> 00:30:42,400 Speaker 2: That not even one inten Chileans can recognize the importance 488 00:30:42,520 --> 00:30:44,040 Speaker 2: of Chilean folk music. 489 00:30:44,840 --> 00:30:47,680 Speaker 3: And to put it in stark contrast, in Paris, Violetta 490 00:30:47,800 --> 00:30:50,840 Speaker 3: was able to do something that no other Latin American 491 00:30:51,160 --> 00:30:55,040 Speaker 3: artists had ever done before. She had an exhibition of 492 00:30:55,160 --> 00:30:59,200 Speaker 3: her tapestries, her arbigeras, her paintings sculptures at. 493 00:30:59,120 --> 00:31:01,560 Speaker 2: The Louver Museum. Oh that's so cool. 494 00:31:02,640 --> 00:31:05,479 Speaker 3: But back in Chile her art had been dismissed. They 495 00:31:05,600 --> 00:31:09,320 Speaker 3: said it was something that any peasant woman can make just. 496 00:31:09,360 --> 00:31:12,200 Speaker 2: Goes to show that Latin America really hasn't changed that much. 497 00:31:12,720 --> 00:31:15,000 Speaker 2: I mean, we're talking about the sixties, but there's still 498 00:31:15,200 --> 00:31:17,440 Speaker 2: a lot of that kind of class's mentality that goes 499 00:31:17,480 --> 00:31:17,880 Speaker 2: on today. 500 00:31:18,720 --> 00:31:22,640 Speaker 3: Yeah, and Pierletta's tapestries are denouncing the violence that the 501 00:31:22,840 --> 00:31:26,800 Speaker 3: Chilean government had used against their own people, against workers 502 00:31:26,960 --> 00:31:32,720 Speaker 3: and indigenous people historically. It's something that Yoletta also incorporates 503 00:31:32,760 --> 00:31:37,360 Speaker 3: into her songs. For example, there's a song called La Carta. 504 00:31:37,120 --> 00:31:37,680 Speaker 2: Or the Letter. 505 00:31:41,680 --> 00:31:45,360 Speaker 3: This song details a specific incident that happened in Chile. 506 00:31:46,000 --> 00:31:49,640 Speaker 3: There was a general strike demanding a wage increase, and 507 00:31:49,760 --> 00:31:53,800 Speaker 3: the government not only refused their demands, but actually sent 508 00:31:53,960 --> 00:31:58,360 Speaker 3: in the army. Six people were killed, dozens others were 509 00:31:58,600 --> 00:32:03,480 Speaker 3: arrested and injured. One of them was Roberto Parra, Bioletta's brother. 510 00:32:04,120 --> 00:32:06,640 Speaker 2: She says here that she's waiting for news from back 511 00:32:06,720 --> 00:32:10,560 Speaker 2: home and that what the letter tells her is that 512 00:32:10,640 --> 00:32:14,160 Speaker 2: there's no justice in Chile. The Hungary ask for bread 513 00:32:14,840 --> 00:32:22,480 Speaker 2: and what they're given is bullets. Jeez. This reminds me 514 00:32:22,560 --> 00:32:25,960 Speaker 2: that even recently, during the twenty nineteen protests, Chile was 515 00:32:26,000 --> 00:32:28,120 Speaker 2: in the news a lot, not just for the massive 516 00:32:28,200 --> 00:32:31,520 Speaker 2: social uprising that took place, but also because of reports 517 00:32:31,520 --> 00:32:35,760 Speaker 2: of excessive force against protesters by the government. The military 518 00:32:35,840 --> 00:32:41,160 Speaker 2: shot rubber bullets at the protesters and left dozens blinds. Yeah, 519 00:32:44,120 --> 00:32:50,800 Speaker 2: he loves see. 520 00:32:54,720 --> 00:32:58,719 Speaker 3: In nineteen sixty five, Bioletta returns to Chile from Europe. 521 00:32:59,520 --> 00:33:03,240 Speaker 3: By then her eldest children Isabel and Angel, who were 522 00:33:03,400 --> 00:33:06,560 Speaker 3: musicians in their own right. They had opened a venue 523 00:33:06,640 --> 00:33:10,680 Speaker 3: to play folk music, which was called Lapagna Rospara, and. 524 00:33:10,880 --> 00:33:14,560 Speaker 2: That place would actually become the birthplace of La ne 525 00:33:14,720 --> 00:33:19,400 Speaker 2: Ra Cancion. Victor Hada was part of that venia, as 526 00:33:19,440 --> 00:33:23,200 Speaker 2: well as Patricio Manz, almost everyone who was anyone in 527 00:33:23,360 --> 00:33:25,000 Speaker 2: folk music at that time in Chile. 528 00:33:25,560 --> 00:33:29,280 Speaker 3: Yeah, and when Violetta arrived in Chile, she also performed 529 00:33:29,320 --> 00:33:34,160 Speaker 3: at Lapegna. But there was an issue. Here's Savinia again. 530 00:33:35,080 --> 00:33:39,320 Speaker 4: She started to get very uncomfortable with this like bourgeois 531 00:33:39,760 --> 00:33:44,240 Speaker 4: where her children were taking so she started having problems 532 00:33:44,320 --> 00:33:47,160 Speaker 4: with them. They were making a lot of money, they 533 00:33:47,240 --> 00:33:50,520 Speaker 4: were successful, but she felt she had to go back 534 00:33:50,560 --> 00:33:51,200 Speaker 4: to the roots. 535 00:33:52,080 --> 00:33:54,760 Speaker 3: So what Yoletta decided to do is that she was 536 00:33:54,800 --> 00:33:58,000 Speaker 3: going to open her own place. It was called La 537 00:33:58,120 --> 00:34:02,080 Speaker 3: Carpella Rena. The intent she wanted to build there what 538 00:34:02,240 --> 00:34:06,160 Speaker 3: she envisioned as the University of Folklore, where there were 539 00:34:06,240 --> 00:34:09,960 Speaker 3: classes and workshops so that anyone who wanted could learn 540 00:34:10,000 --> 00:34:14,160 Speaker 3: to play traditional music and also danced and cook traditional food. 541 00:34:14,480 --> 00:34:16,040 Speaker 3: So tapestries paint. 542 00:34:16,560 --> 00:34:19,680 Speaker 2: That's amazing, because that's that's the way that you pass 543 00:34:19,719 --> 00:34:20,880 Speaker 2: it on to the next generation. 544 00:34:21,920 --> 00:34:22,080 Speaker 5: Right. 545 00:34:22,200 --> 00:34:25,799 Speaker 3: But because Bioletta was interested in making this as real 546 00:34:25,920 --> 00:34:28,640 Speaker 3: as possible, let's just say it was not a very 547 00:34:28,719 --> 00:34:33,080 Speaker 3: comfortable place to go. When it rained, the tent would leak, 548 00:34:33,680 --> 00:34:37,080 Speaker 3: and Violetta actually lived there along with her youngest daughter, 549 00:34:37,239 --> 00:34:41,400 Speaker 3: Carmel Luisa and Gilbert Pabre, who had been Violetta's romantic 550 00:34:41,520 --> 00:34:43,120 Speaker 3: partner for the last five years. 551 00:34:43,800 --> 00:34:49,759 Speaker 2: Wow, she really took real to the next level, like 552 00:34:50,480 --> 00:34:52,000 Speaker 2: she wanted to live like what she was preaching. 553 00:34:52,480 --> 00:34:54,800 Speaker 3: Yes, and it wasn't just the space, but also the 554 00:34:54,880 --> 00:34:59,040 Speaker 3: location was a problem. The Carpala Rena was located in 555 00:34:59,120 --> 00:35:02,080 Speaker 3: a well off neighbor It was far from downtown, so 556 00:35:02,360 --> 00:35:04,560 Speaker 3: it was very hard to get there if you didn't 557 00:35:04,560 --> 00:35:04,960 Speaker 3: have a car. 558 00:35:05,400 --> 00:35:09,200 Speaker 2: That's unfortunate because then basically the people that Violetta wanted 559 00:35:09,320 --> 00:35:12,920 Speaker 2: to reach would have had the hardest time getting there. 560 00:35:13,120 --> 00:35:16,239 Speaker 3: Yeah, exactly. And it said that La Carpa had a 561 00:35:16,320 --> 00:35:20,200 Speaker 3: capacity for around two hundred and fifty people, but it 562 00:35:20,360 --> 00:35:25,520 Speaker 3: was never once full. Sometimes it was even completely empty, 563 00:35:25,960 --> 00:35:30,000 Speaker 3: and most of the courses and workshops that Yoletta had 564 00:35:30,120 --> 00:35:34,440 Speaker 3: envisioned never opened. At the same time, the work was 565 00:35:34,600 --> 00:35:39,560 Speaker 3: overwhelming for Yoletta since she was mostly alone. She cooked, 566 00:35:39,640 --> 00:35:43,239 Speaker 3: she cleaned, she sold tickets, and sometimes she didn't even 567 00:35:43,320 --> 00:35:47,840 Speaker 3: have time to play music. As this was happening, Violetta 568 00:35:48,360 --> 00:35:51,279 Speaker 3: started to resent her family and her friends for not 569 00:35:51,400 --> 00:35:52,279 Speaker 3: supporting her more. 570 00:35:53,239 --> 00:35:57,160 Speaker 2: It's obvious when you start to take on too much 571 00:35:57,520 --> 00:36:01,560 Speaker 2: and things become overwhelming that you are going to start 572 00:36:01,640 --> 00:36:04,560 Speaker 2: to resent people around you because you need help, and 573 00:36:04,680 --> 00:36:06,879 Speaker 2: that's unfortunate that she didn't really listen. 574 00:36:07,840 --> 00:36:10,800 Speaker 3: She didn't, and Violetta's help took a turn for the worst. 575 00:36:11,520 --> 00:36:14,440 Speaker 3: She was taking pills to be able to sleep. She 576 00:36:14,600 --> 00:36:18,439 Speaker 3: would go from manic stages to lethargy, and she really 577 00:36:18,520 --> 00:36:23,040 Speaker 3: couldn't do much. Also, her relationship with Jilbert was falling apart. 578 00:36:24,160 --> 00:36:27,640 Speaker 3: After a particularly nasty fight with him, she took too 579 00:36:27,719 --> 00:36:31,680 Speaker 3: many pills and ended up in the hospital. Shortly after that, 580 00:36:32,120 --> 00:36:36,360 Speaker 3: Gilbert left the country. This was in January of nineteen 581 00:36:36,400 --> 00:36:38,200 Speaker 3: sixty six, so. 582 00:36:38,400 --> 00:36:41,200 Speaker 2: Nineteen sixty six is a key year in Violetta's life. 583 00:36:41,800 --> 00:36:45,200 Speaker 2: That's the year she records her album Las Ultimus Compositiones, 584 00:36:46,000 --> 00:36:48,560 Speaker 2: and in Spanish, the title can be understood to mean 585 00:36:49,080 --> 00:36:53,279 Speaker 2: the latest compositions, but it can also mean the last compositions. 586 00:36:53,840 --> 00:36:58,040 Speaker 3: Yes, and this album is widely regarded as her masterpiece. 587 00:36:58,920 --> 00:37:01,880 Speaker 3: This is the album that opens with the song Gracia 588 00:37:01,920 --> 00:37:05,440 Speaker 3: sala vida, and experts have said that it's a synthesis 589 00:37:05,600 --> 00:37:08,160 Speaker 3: and the combination of all the work she had done 590 00:37:08,320 --> 00:37:13,040 Speaker 3: up until this moment. Angel Para Rego, Violetta's grandson, explained 591 00:37:13,080 --> 00:37:14,400 Speaker 3: it like this when we spoke to. 592 00:37:14,440 --> 00:37:23,000 Speaker 2: Him letras On. 593 00:37:25,440 --> 00:37:26,880 Speaker 1: For a non brigadil dico. 594 00:37:30,080 --> 00:37:32,800 Speaker 2: He's describing how really this is an album that Violeta 595 00:37:32,920 --> 00:37:36,160 Speaker 2: planned from the order of the songs, how the lyrics 596 00:37:36,160 --> 00:37:39,320 Speaker 2: should be printed, to the design in general, and that 597 00:37:39,440 --> 00:37:42,439 Speaker 2: she recorded them with their children, Isabel and Anghel, which 598 00:37:42,440 --> 00:37:45,680 Speaker 2: I'm assuming with the father of this ahead that's right. 599 00:37:46,480 --> 00:37:49,719 Speaker 3: And actually Anghil the one we just heard, along with 600 00:37:49,920 --> 00:37:54,960 Speaker 3: his sister Javirapara and other musicians. They recorded a version 601 00:37:55,200 --> 00:37:58,800 Speaker 3: of this album, Las Utimus Composition, which came out in 602 00:37:58,880 --> 00:38:08,960 Speaker 3: twenty seventeen. Luce they talked with me about what recording 603 00:38:09,080 --> 00:38:13,040 Speaker 3: this album meant. This is Cabra and. 604 00:38:25,400 --> 00:38:35,400 Speaker 2: A whatever. Javiera is saying that recording the album was 605 00:38:35,440 --> 00:38:38,920 Speaker 2: a cathartic experience for her, but that really anyone can 606 00:38:38,960 --> 00:38:42,200 Speaker 2: connect with since the album is about the whole range 607 00:38:42,239 --> 00:38:49,239 Speaker 2: of experiences that come after living life for a few years, lost, maternity, love, heartbreak, 608 00:38:49,480 --> 00:38:50,160 Speaker 2: life itself. 609 00:38:51,160 --> 00:38:54,560 Speaker 3: The album is made of fourteen songs, and eight of 610 00:38:54,640 --> 00:38:57,920 Speaker 3: them speak about love. But one of the experts that 611 00:38:57,960 --> 00:39:01,799 Speaker 3: I spoke to about this album that it's not romantic 612 00:39:01,960 --> 00:39:05,279 Speaker 3: love what Violetta is presenting in the songs, but it's 613 00:39:05,400 --> 00:39:09,280 Speaker 3: love as an ethical principle with which to face the world. 614 00:39:10,040 --> 00:39:14,759 Speaker 3: It's what you hear very clearly in Graces Salavida, and 615 00:39:14,880 --> 00:39:18,440 Speaker 3: I think it's clear at least the scope of what 616 00:39:18,680 --> 00:39:23,600 Speaker 3: Violetta did in this album. Anquirpara, her son, has said 617 00:39:23,680 --> 00:39:27,680 Speaker 3: that with this last album, Bioletta said everything she needed 618 00:39:27,719 --> 00:39:34,319 Speaker 3: to say. Three months after Las Utima's Composition Is were 619 00:39:34,360 --> 00:39:40,040 Speaker 3: published on February fifth of nineteen sixty seven, Yoletta ended 620 00:39:40,080 --> 00:39:43,399 Speaker 3: her life. She was forty nine years old. 621 00:39:52,000 --> 00:39:54,520 Speaker 2: It's that that Violetta wouldn't live to see the changes 622 00:39:54,560 --> 00:39:58,440 Speaker 2: in Chile and how her music movement became the basis 623 00:39:58,560 --> 00:39:59,880 Speaker 2: for protests going forward. 624 00:40:00,280 --> 00:40:03,480 Speaker 3: Yeah, and Victor Hara, one of the key figures of 625 00:40:03,600 --> 00:40:07,960 Speaker 3: the movement, always recognized Violetta as the seed of Lannova Cancion. 626 00:40:08,640 --> 00:40:11,680 Speaker 3: Here's Victor Hara in a nineteen seventy three interview for 627 00:40:11,880 --> 00:40:14,759 Speaker 3: the channel Panaminicana television in Peru. 628 00:40:15,760 --> 00:40:23,759 Speaker 2: Lava that he's describing how the truth and authenticity of 629 00:40:23,800 --> 00:40:27,120 Speaker 2: the album latmus compositionists showed them the way for a 630 00:40:27,239 --> 00:40:28,240 Speaker 2: new path in music. 631 00:40:29,440 --> 00:40:32,719 Speaker 7: Joleta marcl Camino for a A. 632 00:40:32,760 --> 00:40:36,800 Speaker 3: Couple of months after that interview was recorded, a military 633 00:40:36,920 --> 00:40:43,160 Speaker 3: coup backed by the US overthrew Allendes government lost the 634 00:40:43,200 --> 00:40:48,000 Speaker 3: Candle Palace La Mone. The Nixten administration saw Yende as 635 00:40:48,040 --> 00:40:51,680 Speaker 3: a threat to democracy in Latin America, and soon after 636 00:40:51,920 --> 00:40:57,160 Speaker 3: a military dictatorship led by Augusto Pinochet was instituted. Victor 637 00:40:57,200 --> 00:41:01,439 Speaker 3: Hada was arrested and brutally murdered by Nosche's government. Soon after, 638 00:41:02,120 --> 00:41:10,280 Speaker 3: Bioletta's children managed to flee the country. Pinochette's regime was brutal. 639 00:41:10,960 --> 00:41:14,719 Speaker 3: More than forty thousand people were killed or disappeared in 640 00:41:14,800 --> 00:41:18,520 Speaker 3: the seventeen years he was in power. Anything that was 641 00:41:18,719 --> 00:41:23,560 Speaker 3: associated with communism or with left wing ideologies was silence. 642 00:41:24,239 --> 00:41:28,520 Speaker 3: Yoletta's more political songs were censored, but they were never forgotten. 643 00:41:30,600 --> 00:41:33,840 Speaker 3: As we heard at the top, Yoletta's songs are alive 644 00:41:33,920 --> 00:41:38,280 Speaker 3: in Chile. They were heard constantly during the twenty nineteen protest. 645 00:41:39,280 --> 00:41:46,320 Speaker 3: Bioletta could not be silenced. When I spoke with Javiera 646 00:41:46,400 --> 00:41:51,279 Speaker 3: and Angelpara, Yoletta's grandchildren, they said something about Yoletta that 647 00:41:51,560 --> 00:41:53,120 Speaker 3: seemed to go to her essence. 648 00:42:02,600 --> 00:42:06,120 Speaker 2: I can see that Violetta's reach went so far. She 649 00:42:06,320 --> 00:42:10,520 Speaker 2: really was infinite. Within everything Violetta touched, she left her realness, 650 00:42:11,040 --> 00:42:16,040 Speaker 2: her entire heart and soul for everything she stood for exactly. 651 00:42:15,760 --> 00:42:18,200 Speaker 3: And GINI, the last thing I want to share with 652 00:42:18,320 --> 00:42:22,160 Speaker 3: you speaks to this quality of hers. As I was 653 00:42:22,280 --> 00:42:25,160 Speaker 3: talking to people for this episode, I asked each of 654 00:42:25,239 --> 00:42:31,280 Speaker 3: them what their favorite song was, and no two people 655 00:42:31,600 --> 00:42:45,479 Speaker 3: chose the same song, just too many. You know, there's 656 00:42:45,520 --> 00:42:48,000 Speaker 3: something in Bota that speaks to everyone. 657 00:42:53,400 --> 00:43:05,040 Speaker 8: Yazak colony. 658 00:43:11,040 --> 00:43:13,239 Speaker 1: I think part of the message, right is that when 659 00:43:13,280 --> 00:43:16,080 Speaker 1: the music is written with such kind of honesty and 660 00:43:16,280 --> 00:43:20,520 Speaker 1: urgency and passion, right, it becomes universal. And for me, 661 00:43:20,760 --> 00:43:22,879 Speaker 1: that's what I witnessed when I had my radio show 662 00:43:22,880 --> 00:43:27,560 Speaker 1: on WKCR back in the nineteen eighties, that specifically Latinos 663 00:43:27,600 --> 00:43:31,000 Speaker 1: and Latinas here in the United States, we're connecting with 664 00:43:31,200 --> 00:43:34,520 Speaker 1: this music because life in Latin America and for Latinos 665 00:43:34,560 --> 00:43:38,040 Speaker 1: and Latinas in this country can be complicated, and so 666 00:43:38,160 --> 00:43:40,520 Speaker 1: I think we connect with the melody and also kind 667 00:43:40,560 --> 00:43:41,600 Speaker 1: of the roots part of it. 668 00:43:42,360 --> 00:43:44,560 Speaker 2: I wonder, Maria, if this also has to do with 669 00:43:44,719 --> 00:43:48,040 Speaker 2: so many people having left these countries because of political turmoil. 670 00:43:48,480 --> 00:43:50,439 Speaker 2: You know, the music spoke to them because it gave 671 00:43:50,520 --> 00:43:53,880 Speaker 2: them this longing for home, but also kind of like 672 00:43:54,120 --> 00:43:56,640 Speaker 2: the reality of why they left there in the first place. 673 00:43:57,480 --> 00:44:04,239 Speaker 1: That is exactly right. Everything about em is political and 674 00:44:04,880 --> 00:44:07,680 Speaker 1: the melancholy in the music. Again, it is the longing, 675 00:44:07,960 --> 00:44:10,640 Speaker 1: but it's the words that then get you in the 676 00:44:10,719 --> 00:44:13,400 Speaker 1: heart and you're like, oh, and Violetta delivers. 677 00:44:13,800 --> 00:44:16,719 Speaker 2: She does. And I hope everyone can find their own 678 00:44:16,760 --> 00:44:18,399 Speaker 2: connection with a Violetta Bara song. 679 00:44:19,160 --> 00:44:25,200 Speaker 1: I hope so too completely, so, Genie, so many people 680 00:44:25,320 --> 00:44:27,880 Speaker 1: have learned so much from this impactful series. 681 00:44:28,480 --> 00:44:31,840 Speaker 2: What's coming up next our next and final episode of 682 00:44:31,880 --> 00:44:35,360 Speaker 2: Henyes and Music. We're going to Columbia's Caribbean coast to 683 00:44:35,440 --> 00:44:39,120 Speaker 2: meet Petrona Martinez and learn more about our legacy in Bunge, 684 00:44:39,440 --> 00:44:42,680 Speaker 2: the percussive and female led music developed by black communities. 685 00:44:43,120 --> 00:44:46,440 Speaker 1: Oh my god, I'm so intrigued. Thank you so much, 686 00:44:46,600 --> 00:44:50,200 Speaker 1: Genie and Victoria for this deep dive into Biolita Bara 687 00:44:50,960 --> 00:44:54,120 Speaker 1: and dear listener, don't miss out on our next episode 688 00:44:54,160 --> 00:44:55,560 Speaker 1: of heynyas in Music. 689 00:44:56,280 --> 00:44:59,480 Speaker 2: See you next time, Yes Or. 690 00:45:15,480 --> 00:45:18,480 Speaker 1: This episode was produced by Victoria Strada with help from 691 00:45:18,600 --> 00:45:22,920 Speaker 1: Gini Montalbo. It was edited by Mitra Bonshahi and Marta Martinez, 692 00:45:23,120 --> 00:45:26,480 Speaker 1: who was mixed by Julia Caruso and j J Carubin. 693 00:45:26,800 --> 00:45:30,160 Speaker 1: Fact checking for this episode by Daisy Condreras. The Latino 694 00:45:30,280 --> 00:45:34,719 Speaker 1: USA team includes Andrea Lopez Cruzado, Mike Sargent, Julieta Martinelli, 695 00:45:35,080 --> 00:45:40,160 Speaker 1: Rinaldo Leanos, Junior Alejandra Salasad, Patricia Sulvaran and Julia Rocha, 696 00:45:40,280 --> 00:45:43,600 Speaker 1: with help from Raoul Perees. Our editorial director Julio Ricardo 697 00:45:43,640 --> 00:45:50,360 Speaker 1: Barella Special thanks to Nicolas Alonso, Karen Curshon, Paula Miranda, filmmaker, 698 00:45:50,480 --> 00:45:54,840 Speaker 1: Andres Wood, and the Violetta Barra Foundation. Our director of 699 00:45:54,880 --> 00:45:58,920 Speaker 1: Engineering is Stephanie LAbau. Our associate engineer is gabriel A Biez. 700 00:45:59,280 --> 00:46:03,560 Speaker 1: Our marketing manager is Luis Luna. Our fellows are Elisa Vaena, 701 00:46:03,680 --> 00:46:07,759 Speaker 1: Monica Morales Garcia and Andrew Vignalis. Our theme music was 702 00:46:07,840 --> 00:46:11,400 Speaker 1: composed by Sega Rubinos, I'm your host and executive producer 703 00:46:11,560 --> 00:46:14,600 Speaker 1: Maria noo Josa. Join us again on our next episode 704 00:46:14,640 --> 00:46:16,239 Speaker 1: and in the meantime, look for us on all of 705 00:46:16,280 --> 00:46:20,319 Speaker 1: your social media at Acuerda, Dee Yes, and Chahu. 706 00:46:22,040 --> 00:46:26,040 Speaker 7: Latino. Usa is made possible in part by the Heising 707 00:46:26,120 --> 00:46:33,280 Speaker 7: Simons Foundation unlocking knowledge, opportunity and possibilities more at hsfoundation 708 00:46:33,520 --> 00:46:37,880 Speaker 7: dot org, the Ford Foundation, working with visionaries on the 709 00:46:37,920 --> 00:46:42,279 Speaker 7: front lines of social change worldwide, and the John D. 710 00:46:42,600 --> 00:46:44,360 Speaker 7: And Catherine T. MacArthur Foundation. 711 00:46:48,280 --> 00:46:51,160 Speaker 2: Stay tuned at the end of Hanyaz for your tests. 712 00:46:51,320 --> 00:46:53,800 Speaker 2: You should be taking notes because we are testing you