1 00:00:05,120 --> 00:00:07,360 Speaker 1: Hey, this is Annie and Samantha. I'm welcome to stuff 2 00:00:07,360 --> 00:00:09,120 Speaker 1: I've never told your production. iHeart radio. 3 00:00:18,560 --> 00:00:21,639 Speaker 2: And it's time for another edition of Female First, the 4 00:00:21,800 --> 00:00:24,880 Speaker 2: very first of twenty twenty six, which means we are 5 00:00:24,920 --> 00:00:28,200 Speaker 2: once again joined by the admirable, the amazing Eeves. 6 00:00:28,280 --> 00:00:29,120 Speaker 1: Welcome Eves. 7 00:00:29,440 --> 00:00:32,160 Speaker 3: Hello, thank you for the welcome, per usual. 8 00:00:33,680 --> 00:00:36,320 Speaker 2: Thank you for coming on per usual. You know we 9 00:00:36,400 --> 00:00:39,479 Speaker 2: always have to check Eves. What have you been up to? 10 00:00:39,640 --> 00:00:40,120 Speaker 3: How are you? 11 00:00:40,159 --> 00:00:42,120 Speaker 1: How has the new year been for you? 12 00:00:42,120 --> 00:00:45,239 Speaker 4: You know, the new year has been very calm. I 13 00:00:45,280 --> 00:00:47,400 Speaker 4: have been easing my way into the new year. I 14 00:00:47,479 --> 00:00:50,160 Speaker 4: really don't have much to report. I have been quite 15 00:00:50,159 --> 00:00:56,560 Speaker 4: a homebody lately, actually, which is pretty refreshing. I've been 16 00:00:57,320 --> 00:01:01,320 Speaker 4: practicing yoga in the morning's meditating, going for walks, and 17 00:01:01,400 --> 00:01:04,040 Speaker 4: going grocery shopping, and it's lovely. 18 00:01:05,000 --> 00:01:07,160 Speaker 5: I like grocery shopping. Is at it to the end of. 19 00:01:07,120 --> 00:01:09,959 Speaker 4: That, well, see, I don't actually like grocery shopping, but 20 00:01:10,160 --> 00:01:14,480 Speaker 4: I mean it's just a standard but it's it's just 21 00:01:14,520 --> 00:01:16,600 Speaker 4: a standard part of the day though. It's like it's 22 00:01:16,720 --> 00:01:20,640 Speaker 4: just road. It is routine, you know, And I grocery 23 00:01:20,640 --> 00:01:23,319 Speaker 4: shop a lot more here than I would in the 24 00:01:23,400 --> 00:01:27,160 Speaker 4: United States because I'm walking to the grocery store and 25 00:01:27,240 --> 00:01:31,200 Speaker 4: so I only get a small amount, and the fridge 26 00:01:31,240 --> 00:01:33,440 Speaker 4: isn't huge. I mean, it's it's just me anyway, So 27 00:01:34,120 --> 00:01:37,880 Speaker 4: but you know, I'm just I'm chilling. I don't really 28 00:01:37,920 --> 00:01:42,280 Speaker 4: have much report enjoying enjoying the weather. It's nice and 29 00:01:42,360 --> 00:01:46,720 Speaker 4: warm here and sunny, so jealous. 30 00:01:47,360 --> 00:01:50,800 Speaker 2: Yes, I was complaining about how, at least for Atlanta 31 00:01:50,920 --> 00:01:51,840 Speaker 2: is quite cold today. 32 00:01:52,160 --> 00:01:55,480 Speaker 5: Yes, like it's twenty six degrees and no snow. That's 33 00:01:55,480 --> 00:01:57,120 Speaker 5: what I don't I'm very sad about it. If it's going 34 00:01:57,160 --> 00:01:58,640 Speaker 5: to be dark and cold, at least give me a 35 00:01:58,640 --> 00:02:01,880 Speaker 5: little bit of snow. Yeah, none to be seen yet. 36 00:02:03,160 --> 00:02:08,720 Speaker 1: Yeah, yeah, fingers crossed. And we're like some of the 37 00:02:08,760 --> 00:02:10,799 Speaker 1: only people who are excited for snow. 38 00:02:12,280 --> 00:02:14,200 Speaker 5: Such an anomally though, that's why. 39 00:02:14,680 --> 00:02:16,760 Speaker 1: Yeah, only a couple of snows that all the time? 40 00:02:16,880 --> 00:02:17,760 Speaker 3: No, yeah, exactly. 41 00:02:18,639 --> 00:02:20,359 Speaker 4: There needs to be a nice balance, and I don't 42 00:02:20,360 --> 00:02:21,560 Speaker 4: have to go anywhere during it. 43 00:02:21,639 --> 00:02:24,000 Speaker 5: Yeah. Let me be at home, let me have food, 44 00:02:24,160 --> 00:02:25,640 Speaker 5: and let me have my electric blanket. 45 00:02:26,520 --> 00:02:26,960 Speaker 1: I'm good. 46 00:02:27,560 --> 00:02:28,440 Speaker 3: Yes, that sounds. 47 00:02:28,560 --> 00:02:32,119 Speaker 4: And a fireplace, don't forget if there's a fireplace evolved. Yeah, 48 00:02:32,600 --> 00:02:33,640 Speaker 4: that really makes my nice. 49 00:02:34,440 --> 00:02:35,160 Speaker 1: Yeah. 50 00:02:35,520 --> 00:02:39,840 Speaker 2: Yeah, a lot of jealousy already happening in this episode. 51 00:02:40,320 --> 00:02:41,960 Speaker 2: That does sound like a wonderful. 52 00:02:41,639 --> 00:02:42,280 Speaker 3: Chill new year. 53 00:02:43,320 --> 00:02:46,880 Speaker 2: Uh, I wish I could. Samantha and I've been talking 54 00:02:46,880 --> 00:02:49,320 Speaker 2: about I just don't feel like the new year has happens. 55 00:02:49,560 --> 00:02:51,440 Speaker 2: I'm also being chill about it, but not in a 56 00:02:51,560 --> 00:02:56,200 Speaker 2: nearly as healthy way as you are. I'm mostly like 57 00:02:56,639 --> 00:03:01,040 Speaker 2: trying to convince myself to go do something. He said, 58 00:03:01,040 --> 00:03:03,720 Speaker 2: it doesn't feel like a new year, not to me. 59 00:03:04,120 --> 00:03:11,120 Speaker 2: I was actually shocked today that just the way our 60 00:03:11,320 --> 00:03:13,320 Speaker 2: publishing calendar works, I was like, oh my gosh, it's 61 00:03:13,320 --> 00:03:19,799 Speaker 2: already time for that episode. Oh no, but yeah, it's 62 00:03:20,080 --> 00:03:21,919 Speaker 2: it feels kind of like a danger. It feels like 63 00:03:21,960 --> 00:03:23,560 Speaker 2: a dream or something. 64 00:03:23,880 --> 00:03:24,280 Speaker 3: You know what. 65 00:03:24,320 --> 00:03:27,079 Speaker 4: You're right about that, because before we got on this call, 66 00:03:27,200 --> 00:03:29,480 Speaker 4: I was thinking, I feel like I just talked to y'all, 67 00:03:30,080 --> 00:03:33,000 Speaker 4: and it took me a second to realize that this 68 00:03:33,200 --> 00:03:35,520 Speaker 4: was the first episode of the year. I was thinking 69 00:03:35,560 --> 00:03:38,840 Speaker 4: that we had already like we had already done an 70 00:03:38,840 --> 00:03:44,040 Speaker 4: episode this year. I was like, wait, no, this is January. Yeah, 71 00:03:44,080 --> 00:03:47,080 Speaker 4: so I kind of I'm with you there, It doesn't 72 00:03:47,280 --> 00:03:51,520 Speaker 4: to me. It was just I mean, this year's it's 73 00:03:51,600 --> 00:03:54,200 Speaker 4: just felt like a continuation of whatever was happening at 74 00:03:54,200 --> 00:03:56,960 Speaker 4: the end of last year, which is I guess true. 75 00:03:57,680 --> 00:04:00,840 Speaker 1: It's true. It is. 76 00:04:02,200 --> 00:04:07,000 Speaker 2: So. I know we've talked about this before about musical 77 00:04:07,040 --> 00:04:11,560 Speaker 2: abilities and talents and instruments abilities and talents. Was there 78 00:04:11,600 --> 00:04:14,800 Speaker 2: any songwriting and did any of you try to do 79 00:04:14,840 --> 00:04:16,440 Speaker 2: any of that when you were younger? 80 00:04:16,800 --> 00:04:19,520 Speaker 3: Oh, have we talked about this before? I don't know. 81 00:04:19,560 --> 00:04:21,960 Speaker 4: I know we've talked about instruments, but I don't know 82 00:04:21,960 --> 00:04:25,560 Speaker 4: if we talked about songwriting. I will embarrass myself again 83 00:04:26,279 --> 00:04:28,800 Speaker 4: if we did talk about it before and say that, 84 00:04:29,160 --> 00:04:32,680 Speaker 4: yes I did. I was one of those kids that 85 00:04:32,800 --> 00:04:37,920 Speaker 4: song wrote. And I actually have been thinking about lately 86 00:04:38,000 --> 00:04:41,360 Speaker 4: how much fun that was, because in the process of 87 00:04:42,000 --> 00:04:44,039 Speaker 4: working on the book that I'm working on, I have 88 00:04:45,080 --> 00:04:48,760 Speaker 4: been drawing inspiration from songwriting a lot. It's been really 89 00:04:48,800 --> 00:04:49,400 Speaker 4: helpful to me. 90 00:04:50,000 --> 00:04:50,640 Speaker 3: And I. 91 00:04:52,400 --> 00:04:54,160 Speaker 4: Was thinking about how I used to songwrite, but I 92 00:04:54,200 --> 00:04:55,359 Speaker 4: would write raps y'all. 93 00:04:58,520 --> 00:04:59,320 Speaker 3: There was a point in my. 94 00:04:59,400 --> 00:05:01,920 Speaker 4: Life where I was like, I you know, I don't 95 00:05:01,960 --> 00:05:03,880 Speaker 4: know how serious I was about being a rapper, but 96 00:05:04,000 --> 00:05:08,680 Speaker 4: I really enjoyed rapping and writing raps and it was 97 00:05:08,760 --> 00:05:11,000 Speaker 4: just fun to me. It was like it was always 98 00:05:11,080 --> 00:05:14,760 Speaker 4: pretty lighthearted and it was me and a friend of mine. 99 00:05:14,880 --> 00:05:17,360 Speaker 4: We had like our little duo. We would get together 100 00:05:17,560 --> 00:05:20,400 Speaker 4: and we would write raps. And I still I still 101 00:05:20,400 --> 00:05:22,479 Speaker 4: remember some of them. Don't ask me to rap it though, 102 00:05:22,600 --> 00:05:25,680 Speaker 4: don't do that. I'm not going to do it. But 103 00:05:25,839 --> 00:05:28,479 Speaker 4: I still remember them, and I still have the binder. 104 00:05:29,839 --> 00:05:34,400 Speaker 4: I still have the binder from like that has the wraps, 105 00:05:34,400 --> 00:05:36,440 Speaker 4: and it's somewhere in the garage, which I'm actually about 106 00:05:36,440 --> 00:05:37,160 Speaker 4: to clean out soon. 107 00:05:38,000 --> 00:05:40,960 Speaker 3: So maybe I will read some of them one day. 108 00:05:41,080 --> 00:05:43,640 Speaker 4: Maybe I'll divulge them on the Instagram story so it 109 00:05:43,680 --> 00:05:45,160 Speaker 4: can go away in twenty four hours. 110 00:05:47,360 --> 00:05:48,880 Speaker 5: Can we get a heads up so we don't miss 111 00:05:48,920 --> 00:05:51,640 Speaker 5: it because we're not often so we need to need 112 00:05:51,680 --> 00:05:53,279 Speaker 5: to know that it's coming. 113 00:05:53,720 --> 00:05:55,960 Speaker 4: I'll text you. I'd be like, all right, it's coming today, 114 00:05:56,279 --> 00:06:02,520 Speaker 4: don't live it. Debut alarms, I'm never going to see 115 00:06:02,560 --> 00:06:03,040 Speaker 4: this again. 116 00:06:03,880 --> 00:06:06,160 Speaker 5: I was one of those kids that loved to sing 117 00:06:06,240 --> 00:06:08,360 Speaker 5: and really thought that I had a career in singing. 118 00:06:08,400 --> 00:06:11,760 Speaker 5: By the way, I don't, but I sat I remember 119 00:06:11,800 --> 00:06:13,760 Speaker 5: my Dad's one of my dad's favorite memories, Like he 120 00:06:13,800 --> 00:06:17,600 Speaker 5: loves to share is. We would go sometimes with my 121 00:06:17,640 --> 00:06:20,080 Speaker 5: brothers fishing, which, by the way, they were really annoyed 122 00:06:20,080 --> 00:06:21,720 Speaker 5: by because I would sit on the bank with my 123 00:06:21,800 --> 00:06:25,640 Speaker 5: dad making up songs half Korean and half English, which 124 00:06:25,680 --> 00:06:28,360 Speaker 5: is hilarious because I can't remember the Korean. But my 125 00:06:28,440 --> 00:06:30,560 Speaker 5: dad was really into it. He said that he loved it. 126 00:06:30,680 --> 00:06:35,320 Speaker 5: There is some recordings of me singing yeah, I think they. 127 00:06:35,160 --> 00:06:37,000 Speaker 1: All burned, thank goodness all. 128 00:06:39,040 --> 00:06:41,560 Speaker 5: But yeah, I do remember like I did do that. 129 00:06:41,600 --> 00:06:42,159 Speaker 1: Growing up. 130 00:06:42,520 --> 00:06:46,240 Speaker 5: I really thought, like my group, my trio friends, we 131 00:06:46,240 --> 00:06:49,040 Speaker 5: were gonna be Wilson Phillips. I've talked about that many 132 00:06:49,040 --> 00:06:52,440 Speaker 5: a times, thinking that we got this. I did like 133 00:06:52,760 --> 00:06:55,359 Speaker 5: love singing enough, but then I try to translate my 134 00:06:55,400 --> 00:07:00,840 Speaker 5: poetry into song. That did not work out well. That 135 00:07:00,880 --> 00:07:03,279 Speaker 5: did not work out well, I will say that. But yeah, 136 00:07:03,279 --> 00:07:05,760 Speaker 5: I really had a moment of like I can do this. 137 00:07:05,839 --> 00:07:09,040 Speaker 5: When I was in the middle school, I played trombone 138 00:07:09,480 --> 00:07:11,400 Speaker 5: and being able to read music, I was like, I'm 139 00:07:11,440 --> 00:07:13,080 Speaker 5: going to use this. I did not. 140 00:07:15,400 --> 00:07:21,280 Speaker 4: Spoiler alert still time, I can't remember anything. 141 00:07:21,480 --> 00:07:22,560 Speaker 3: Annie, did you do this? 142 00:07:23,840 --> 00:07:28,800 Speaker 2: I did very briefly. I think longtime listeners of the 143 00:07:28,840 --> 00:07:31,520 Speaker 2: show No. I went through a huge emo phase and 144 00:07:31,560 --> 00:07:35,000 Speaker 2: I went through a huge Green Day phase, and they 145 00:07:35,120 --> 00:07:38,640 Speaker 2: used to have this thing where during the song long View, 146 00:07:38,680 --> 00:07:41,880 Speaker 2: they would pull up an audience member and have you 147 00:07:41,960 --> 00:07:44,360 Speaker 2: play on the guitar, and then they would give you 148 00:07:44,400 --> 00:07:44,760 Speaker 2: the guitar. 149 00:07:45,440 --> 00:07:48,360 Speaker 1: And it was my dream that they would choose. 150 00:07:48,120 --> 00:07:50,200 Speaker 2: Me, and then obviously they'd be like, she has so 151 00:07:50,320 --> 00:07:54,320 Speaker 2: much talent, we must So through this, I learned how 152 00:07:54,320 --> 00:07:58,360 Speaker 2: to play the guitar and very briefly joined a band 153 00:07:59,160 --> 00:08:02,400 Speaker 2: called Left Turn That's Right, and I did. I wrote 154 00:08:02,480 --> 00:08:04,640 Speaker 2: some songs for that, and one of them I still remember, 155 00:08:04,720 --> 00:08:06,400 Speaker 2: and it's kind of funny looking back, but it was 156 00:08:06,400 --> 00:08:08,760 Speaker 2: called I Don't Believe in Love, and I still remember 157 00:08:08,920 --> 00:08:11,400 Speaker 2: like it was so emo. It was like the most 158 00:08:11,440 --> 00:08:14,480 Speaker 2: emo lyrics. But I thought the guitar part I wrote 159 00:08:14,520 --> 00:08:17,920 Speaker 2: was pretty good. I think it was pretty good. But 160 00:08:17,960 --> 00:08:20,680 Speaker 2: then I got stage fright after one show and that 161 00:08:20,800 --> 00:08:24,280 Speaker 2: was the end of that, just one show. 162 00:08:24,440 --> 00:08:27,040 Speaker 4: Well, at least you knew early you didn't continue, you know, 163 00:08:27,120 --> 00:08:28,840 Speaker 4: forcing yourself to do a thing that made you. 164 00:08:30,480 --> 00:08:31,000 Speaker 1: I mean, I. 165 00:08:33,679 --> 00:08:36,640 Speaker 2: Did enjoy like the writing part, I think, but the 166 00:08:37,640 --> 00:08:40,640 Speaker 2: I never felt very confident in the performing part. I 167 00:08:40,640 --> 00:08:43,320 Speaker 2: couldn't even like I learned tabs so I didn't even know. 168 00:08:43,360 --> 00:08:45,080 Speaker 2: If you'd like asked me to play a d I'd 169 00:08:45,120 --> 00:08:45,439 Speaker 2: be like. 170 00:08:46,160 --> 00:08:47,760 Speaker 1: What numbers are that? Five and three? 171 00:08:47,920 --> 00:08:48,439 Speaker 4: What is that? 172 00:08:49,800 --> 00:08:52,640 Speaker 2: I feel very confident in it, and yet I still 173 00:08:52,640 --> 00:08:54,520 Speaker 2: have the guitar. My mom was like, do you want 174 00:08:54,559 --> 00:08:56,559 Speaker 2: to give it away? And I was like, maybe one 175 00:08:56,640 --> 00:08:57,800 Speaker 2: day I'll get back into it. 176 00:08:57,880 --> 00:08:58,040 Speaker 1: Moll. 177 00:08:59,240 --> 00:09:04,560 Speaker 4: Yeah, you know, you never know, You never know. 178 00:09:15,440 --> 00:09:18,640 Speaker 2: So that does bring us to who we're talking about today. 179 00:09:18,679 --> 00:09:21,440 Speaker 2: I'm very excited to hear more about the story. So 180 00:09:21,480 --> 00:09:22,800 Speaker 2: who did you bring for us Eves? 181 00:09:23,520 --> 00:09:23,880 Speaker 3: Today? 182 00:09:23,960 --> 00:09:28,480 Speaker 4: We are talking about shi Quinya Gonzaga. So she was 183 00:09:28,520 --> 00:09:33,599 Speaker 4: the first female composer in Brazil, the first female conductor 184 00:09:33,640 --> 00:09:36,720 Speaker 4: in Brazil, and the first female pianist to perform in 185 00:09:36,840 --> 00:09:42,320 Speaker 4: public in Brazil. And her story is she's really pioneering 186 00:09:42,440 --> 00:09:46,360 Speaker 4: in music in Brazil. So I'm excited to talk about 187 00:09:46,400 --> 00:09:51,120 Speaker 4: her today. Yes, and she did a lot, She did 188 00:09:51,360 --> 00:09:54,200 Speaker 4: quite a bit. So shall we get into her story. 189 00:09:54,960 --> 00:09:55,480 Speaker 3: Yeah. 190 00:09:55,840 --> 00:10:00,480 Speaker 4: She was born Francisca Edgewidges Nevis Gonzaga in Rio de 191 00:10:00,520 --> 00:10:05,160 Speaker 4: Janniro on October seventeenth, eighteen forty seven. So her name 192 00:10:05,320 --> 00:10:08,840 Speaker 4: was Francisca, but she went by Shakinya. So I'm just 193 00:10:08,840 --> 00:10:11,040 Speaker 4: gonna call her Shakinya for the rest of the episode, 194 00:10:11,080 --> 00:10:12,880 Speaker 4: even though I don't think she was going by that 195 00:10:13,080 --> 00:10:15,640 Speaker 4: quite yet in the beginning of her life, but for 196 00:10:15,679 --> 00:10:18,640 Speaker 4: the sake of consistency, that's what we'll go by. So 197 00:10:18,679 --> 00:10:23,040 Speaker 4: she was the third of nine children, and at the time, 198 00:10:23,480 --> 00:10:27,040 Speaker 4: most of the people who lived in Rio were enslaved. 199 00:10:28,240 --> 00:10:33,280 Speaker 4: Her mother was Josa Maria Neves Jalima and her father 200 00:10:33,480 --> 00:10:37,800 Speaker 4: was Jose Basileo Gonzaga, So her mother was of mixed 201 00:10:37,840 --> 00:10:41,880 Speaker 4: European and indigenous ancestry. She was the daughter of a 202 00:10:41,920 --> 00:10:45,640 Speaker 4: woman who was mixed race and enslaved, and her father 203 00:10:46,000 --> 00:10:49,400 Speaker 4: was a white military official and he was wealthy. So 204 00:10:50,280 --> 00:10:53,200 Speaker 4: you can already see how many different influences she's going 205 00:10:53,280 --> 00:10:57,320 Speaker 4: to have in her life from a social perspective. And 206 00:10:57,559 --> 00:11:00,280 Speaker 4: I don't really know much about what they taught talked 207 00:11:00,320 --> 00:11:03,960 Speaker 4: about in the home and how she felt about her 208 00:11:04,040 --> 00:11:11,400 Speaker 4: upbringing and that mix of environments and backgrounds, but it 209 00:11:11,559 --> 00:11:16,760 Speaker 4: is clear that when hi Qingya's mother had her, she 210 00:11:16,920 --> 00:11:20,679 Speaker 4: was trying to kind of hide her because it wasn't 211 00:11:21,679 --> 00:11:24,640 Speaker 4: it wasn't really it was looked down upon. You were 212 00:11:24,679 --> 00:11:27,800 Speaker 4: mixing race this way, you were mixing class this way. 213 00:11:27,880 --> 00:11:32,040 Speaker 4: That was taboo. But Shakinga's father did accept her and 214 00:11:32,160 --> 00:11:36,400 Speaker 4: took care of her. Her father, though he did try 215 00:11:36,440 --> 00:11:42,280 Speaker 4: to integrate her into upper class society. There was a 216 00:11:42,320 --> 00:11:48,920 Speaker 4: priest that taught her reading, writing, math, languages, and religion. 217 00:11:49,600 --> 00:11:54,040 Speaker 4: And there was a maestra named Elias Alvarez Lobo who 218 00:11:54,080 --> 00:11:58,760 Speaker 4: taught her music. So she didn't have a super extensive 219 00:11:58,760 --> 00:12:01,400 Speaker 4: throughout the course of her life have a super extensive 220 00:12:01,720 --> 00:12:07,600 Speaker 4: education specifically in music, but she did learn about music 221 00:12:07,640 --> 00:12:09,400 Speaker 4: early in her life and a little bit more later 222 00:12:09,640 --> 00:12:16,400 Speaker 4: to refine her techniques through study. But in Rio in 223 00:12:16,440 --> 00:12:21,600 Speaker 4: the mid eighteen hundreds, the piano had become this status symbol. 224 00:12:21,720 --> 00:12:25,880 Speaker 4: It was super ubiquitous. There were people who were in 225 00:12:25,960 --> 00:12:28,600 Speaker 4: middle class homes and who were in upper class homes 226 00:12:28,600 --> 00:12:31,640 Speaker 4: who had the piano, and people who didn't have the 227 00:12:31,679 --> 00:12:35,000 Speaker 4: piano might have aspired to have a piano, but it 228 00:12:35,040 --> 00:12:39,600 Speaker 4: was like it was an artifact in everyday life for 229 00:12:39,840 --> 00:12:43,840 Speaker 4: many of people, obviously not everybody. There was a lot 230 00:12:43,880 --> 00:12:47,000 Speaker 4: of mix of class and what people had access to 231 00:12:47,240 --> 00:12:50,640 Speaker 4: in the city, but music was a part of people's 232 00:12:50,679 --> 00:12:53,120 Speaker 4: lives and the piano was a big part of that music. 233 00:12:53,679 --> 00:12:58,000 Speaker 4: And Chiquinya's uncle and also he was her godfather. He 234 00:12:58,080 --> 00:13:03,160 Speaker 4: was a flutist, and she performed her first composition, Shepherd's Song, 235 00:13:03,280 --> 00:13:06,760 Speaker 4: when her uncle visited during Christmas in eighteen fifty eight, 236 00:13:07,520 --> 00:13:11,760 Speaker 4: and it was you know, talked about how the family 237 00:13:11,840 --> 00:13:15,960 Speaker 4: considered her a rebellious child. Not surprising as you'll go 238 00:13:16,040 --> 00:13:17,960 Speaker 4: forward to see, that's kind of a theme of the 239 00:13:18,000 --> 00:13:21,280 Speaker 4: rest of her life that she was hard to hold 240 00:13:21,280 --> 00:13:24,559 Speaker 4: on to, Like she seemed like she was pretty fiery, 241 00:13:25,400 --> 00:13:29,960 Speaker 4: but her dad arranged her marriage with going along with 242 00:13:30,000 --> 00:13:32,920 Speaker 4: people thinking she was this fiery character. You know, she 243 00:13:33,080 --> 00:13:37,840 Speaker 4: was considered rebellious. It seemed like it was a situation 244 00:13:37,880 --> 00:13:40,320 Speaker 4: where they were like, we need to get her under 245 00:13:40,360 --> 00:13:43,360 Speaker 4: control a little bit. And of course it was a 246 00:13:43,520 --> 00:13:46,360 Speaker 4: known way of doing that to you put somebody in 247 00:13:46,360 --> 00:13:48,400 Speaker 4: a marriage, and this is going to soften them, this 248 00:13:48,440 --> 00:13:50,520 Speaker 4: is going to control them, this is going to get 249 00:13:50,520 --> 00:13:54,800 Speaker 4: them in line, essentially, and that was the case with Shaqinya. 250 00:13:55,240 --> 00:14:00,360 Speaker 4: Her dad arranged her marriage with Jacinta Jabirol Duamerale. At 251 00:14:00,360 --> 00:14:03,240 Speaker 4: the time she was sixteen and he was twenty four 252 00:14:03,760 --> 00:14:07,400 Speaker 4: and he was in the army, and that wasn't unusual 253 00:14:07,480 --> 00:14:09,840 Speaker 4: that kind of age cap and it was like, you know, 254 00:14:09,880 --> 00:14:11,160 Speaker 4: we got to get them out, we got to get 255 00:14:11,160 --> 00:14:14,960 Speaker 4: them married. But her dad did get her a piano 256 00:14:15,240 --> 00:14:19,920 Speaker 4: as a wedding present, and Chiquinya and Jacinto had their 257 00:14:19,920 --> 00:14:25,040 Speaker 4: first child, Joe al Gualberto, in eighteen sixty four, but 258 00:14:25,400 --> 00:14:28,520 Speaker 4: they had marital issues. They did go on to have 259 00:14:28,600 --> 00:14:31,720 Speaker 4: their second child, Maria, in eighteen sixty five, but their 260 00:14:31,800 --> 00:14:36,520 Speaker 4: marriage wasn't going super well, and Jacinto ended up being 261 00:14:36,600 --> 00:14:42,560 Speaker 4: deployed when the Paraguay and War began. So this seems 262 00:14:42,640 --> 00:14:47,040 Speaker 4: really petty, but Jacinto brought Shaquinya along with him to Paraguay. 263 00:14:48,120 --> 00:14:50,680 Speaker 4: He got his ship. He was like, I'm going on 264 00:14:50,720 --> 00:14:54,080 Speaker 4: the ship. You're coming with me because I can't trust 265 00:14:54,120 --> 00:14:57,240 Speaker 4: you back home with that piano and all that music 266 00:14:57,280 --> 00:14:59,680 Speaker 4: stuff you got going on, so you're coming with me 267 00:14:59,840 --> 00:15:03,200 Speaker 4: to Paraguay. He wanted to keep her away from the piano. 268 00:15:03,640 --> 00:15:07,360 Speaker 4: She left that behind, but she did get a guitar 269 00:15:08,040 --> 00:15:10,560 Speaker 4: that she learned how to play. Speaking of guitar as 270 00:15:10,760 --> 00:15:15,040 Speaker 4: any and maybe you need to be whisked away to 271 00:15:15,120 --> 00:15:20,560 Speaker 4: some South American country. Fourcedlen ship for a certain amount 272 00:15:20,560 --> 00:15:22,400 Speaker 4: of time and you'll learn how to play your guitar. 273 00:15:23,240 --> 00:15:27,680 Speaker 1: I'm her a kindle light. Yeah, it just might work. 274 00:15:29,480 --> 00:15:33,280 Speaker 4: But so won the ship. She was playing the guitar 275 00:15:33,440 --> 00:15:36,480 Speaker 4: for people. She's playing it for enslaved people who are 276 00:15:36,520 --> 00:15:39,800 Speaker 4: on the ship. Jacinto was not happy with that either, 277 00:15:40,640 --> 00:15:43,600 Speaker 4: So I don't know what the lead up to this 278 00:15:43,840 --> 00:15:48,240 Speaker 4: was not fully clear on that, but he gave her 279 00:15:48,280 --> 00:15:52,440 Speaker 4: an ultimatum, it's either him or the music. 280 00:15:52,520 --> 00:15:54,680 Speaker 3: You can't have both. It's either one or the other. 281 00:15:55,760 --> 00:16:00,400 Speaker 4: And at the time, women they played piano like saying, 282 00:16:00,400 --> 00:16:02,720 Speaker 4: you know, people have pianos in their houses if they 283 00:16:02,760 --> 00:16:06,080 Speaker 4: could afford it, but they didn't really do that in public, 284 00:16:06,120 --> 00:16:09,200 Speaker 4: and they definitely didn't become professional musicians. 285 00:16:10,280 --> 00:16:11,120 Speaker 3: So it was. 286 00:16:12,760 --> 00:16:15,520 Speaker 4: Quite unusual, quite taboo for her to be doing this 287 00:16:15,640 --> 00:16:18,480 Speaker 4: in this way. And this is before she even got 288 00:16:18,520 --> 00:16:23,480 Speaker 4: fully into her professional career. So they started their separation, 289 00:16:23,880 --> 00:16:27,200 Speaker 4: planned to be divorced, and Shakinya went back home with 290 00:16:27,280 --> 00:16:32,560 Speaker 4: her son and j just Intel filed this divorced lawsuit 291 00:16:32,600 --> 00:16:37,520 Speaker 4: against her for abandonment of the home and adultery, and 292 00:16:37,960 --> 00:16:42,960 Speaker 4: they had another child, Ela to you and her family. Still, 293 00:16:43,080 --> 00:16:47,720 Speaker 4: though they had these children together, her family still condemned 294 00:16:47,760 --> 00:16:52,600 Speaker 4: her behavior. Her mother ended up raising Maria her child, 295 00:16:53,080 --> 00:16:59,000 Speaker 4: and her aunt raised Alloreu. But her family didn't like 296 00:16:59,040 --> 00:17:02,320 Speaker 4: what she had going on and they didn't support her. 297 00:17:02,560 --> 00:17:04,400 Speaker 4: It was a lot, you know, we got this divorce 298 00:17:04,480 --> 00:17:07,600 Speaker 4: going on, She's trying to play piano. We already thought 299 00:17:07,600 --> 00:17:11,560 Speaker 4: of her as this kind of rebellious kid. That's a lot. 300 00:17:12,040 --> 00:17:15,400 Speaker 4: Her family wasn't really supportive of her in that way. 301 00:17:15,440 --> 00:17:18,080 Speaker 4: They did help raise her children, though, so her mother 302 00:17:18,160 --> 00:17:22,720 Speaker 4: raised Maria and her aunt raised Ilariu, but her family 303 00:17:22,760 --> 00:17:25,080 Speaker 4: was pushing her away. She didn't have them to turn to. 304 00:17:25,359 --> 00:17:29,080 Speaker 4: She ended up turning to musicians, and she became friends 305 00:17:29,119 --> 00:17:34,199 Speaker 4: with this flutist named Joaquim Antonia da Silva Colado, and 306 00:17:34,440 --> 00:17:38,560 Speaker 4: she began playing piano with Colado's music ensemble. It was 307 00:17:38,560 --> 00:17:43,280 Speaker 4: a chiro ensemble, and chiro is a largely instrumental genre 308 00:17:43,320 --> 00:17:47,720 Speaker 4: of Brazilian music that brought influences, like so many things 309 00:17:47,720 --> 00:17:53,040 Speaker 4: did in Brazil, from African and European musical styles, and 310 00:17:53,480 --> 00:17:57,760 Speaker 4: chirol ensembles usually have like one solo instrument like a 311 00:17:57,800 --> 00:18:02,479 Speaker 4: flute or clarinet, a guitar in the cavaquino, which is 312 00:18:02,520 --> 00:18:06,480 Speaker 4: a small four string guitar, and so Shakinya became the 313 00:18:06,520 --> 00:18:11,960 Speaker 4: first female performer to play publicly in Brazil. Her son 314 00:18:12,080 --> 00:18:15,879 Speaker 4: also joined the ensemble when he was twelve to play clarinet, 315 00:18:16,680 --> 00:18:20,600 Speaker 4: and at the same time Shakinya was earning money traveling 316 00:18:20,720 --> 00:18:26,520 Speaker 4: and teaching. She was teaching piano. She was also teaching voice, geography, history, 317 00:18:26,560 --> 00:18:31,399 Speaker 4: Portuguese and French. And she ended up finding love again 318 00:18:31,600 --> 00:18:35,359 Speaker 4: and got into a relationship with engineer Joel Thought she said, 319 00:18:35,760 --> 00:18:40,240 Speaker 4: Jukar Havalu Junior. And they moved to the state of 320 00:18:40,520 --> 00:18:43,399 Speaker 4: Mina Jerais and when he got a job on the 321 00:18:43,640 --> 00:18:45,280 Speaker 4: he had got a job on the railroad and that's 322 00:18:45,320 --> 00:18:48,600 Speaker 4: why they went there, and not long after that, once 323 00:18:48,640 --> 00:18:51,679 Speaker 4: that job was over, they went back to Rio, but 324 00:18:52,080 --> 00:18:56,480 Speaker 4: society was still looking down on their relationship. They did 325 00:18:56,560 --> 00:19:01,159 Speaker 4: have a child though, and her name was Elisa, but 326 00:19:01,320 --> 00:19:06,680 Speaker 4: their relationships soon ended as well. Around eighteen seventy five 327 00:19:06,760 --> 00:19:11,200 Speaker 4: or eighteen seventy six, Shakinya left with her son when 328 00:19:12,560 --> 00:19:15,560 Speaker 4: it seems like there was some sort of cheating situation perhaps, 329 00:19:17,240 --> 00:19:22,160 Speaker 4: but whatever way, whatever happened, she left her daughter, Elisa 330 00:19:22,240 --> 00:19:28,000 Speaker 4: behind with her father and soon the divorce went through. 331 00:19:28,760 --> 00:19:33,119 Speaker 4: She was condemned to perpetual separation from her husband just 332 00:19:33,240 --> 00:19:37,560 Speaker 4: into and the divorce was official, so she went on 333 00:19:37,680 --> 00:19:42,320 Speaker 4: with her life. She played music at pastry shops cabarets, 334 00:19:43,480 --> 00:19:47,399 Speaker 4: and she had a big song. In eighteen seventy seven, 335 00:19:47,600 --> 00:19:53,679 Speaker 4: she composed this polka song called Atrienta, which means attractive, 336 00:19:54,359 --> 00:19:58,399 Speaker 4: and she created it during a jam session, and in 337 00:19:58,440 --> 00:20:02,520 Speaker 4: eighteen seventy seven, fifteen editions of that composition were published. 338 00:20:03,160 --> 00:20:06,479 Speaker 4: And still though she was like at this she was 339 00:20:06,640 --> 00:20:10,280 Speaker 4: perceived as kind of this wild child and audacious with 340 00:20:10,359 --> 00:20:14,560 Speaker 4: all of her provocative song titles and all of these 341 00:20:15,240 --> 00:20:19,200 Speaker 4: artsy crowds and boisterous environments that she hung out in, 342 00:20:19,840 --> 00:20:23,439 Speaker 4: and also was described she had this singular manner of 343 00:20:23,520 --> 00:20:26,000 Speaker 4: dress that was kind of against the grain at the time. 344 00:20:26,960 --> 00:20:29,960 Speaker 3: So over the years. 345 00:20:29,680 --> 00:20:32,840 Speaker 4: After eighteen seventy seven, and she was composing more music, 346 00:20:33,119 --> 00:20:38,520 Speaker 4: she started to become more known for her work as 347 00:20:38,600 --> 00:20:44,440 Speaker 4: a conductor in review theater, and she ended up debuting 348 00:20:44,480 --> 00:20:49,200 Speaker 4: as the first female theatrical composer in Brazil on January seventeenth, 349 00:20:49,280 --> 00:20:54,879 Speaker 4: eighteen eighty five, with the operetta A corchi najosa, and 350 00:20:54,920 --> 00:20:58,960 Speaker 4: that was by Palyyari Hiberiro And in eighteen ninety five, 351 00:20:59,119 --> 00:21:03,359 Speaker 4: she wrote gaoush corsia ja ka, which means cowboy cut 352 00:21:03,400 --> 00:21:07,800 Speaker 4: the jackfruit, and that song was featured in musical reviews, 353 00:21:07,880 --> 00:21:10,600 Speaker 4: but it really ended up getting a lot more attention 354 00:21:10,760 --> 00:21:14,520 Speaker 4: later in nineteen fourteen when Hikina and her friend nair 355 00:21:14,720 --> 00:21:18,600 Speaker 4: Je Tefe performed it on piano and guitar at this 356 00:21:18,800 --> 00:21:21,960 Speaker 4: like upity function that they were at, So it seemed 357 00:21:22,000 --> 00:21:26,639 Speaker 4: to have gainsteam after that. I guess unusual or more 358 00:21:27,680 --> 00:21:33,879 Speaker 4: out of context environment for performing the song. So as 359 00:21:34,040 --> 00:21:37,720 Speaker 4: musical theater was becoming more popular, she wrote songs and 360 00:21:37,800 --> 00:21:42,639 Speaker 4: lyrics for musical plays, and between eighteen ninety seven and 361 00:21:42,720 --> 00:21:47,320 Speaker 4: eighteen ninety nine she composed the first written carnival march 362 00:21:47,960 --> 00:21:53,159 Speaker 4: of abrey Alis, which means make way. So you know, 363 00:21:53,359 --> 00:21:57,680 Speaker 4: imagine this within its context where crowds of people were 364 00:21:57,800 --> 00:22:02,080 Speaker 4: assembling in a parade, they were creating this rhythm and 365 00:22:02,080 --> 00:22:04,720 Speaker 4: then they were asking people to make way so they 366 00:22:04,760 --> 00:22:07,760 Speaker 4: could get through. And this is the idea where this 367 00:22:08,359 --> 00:22:11,600 Speaker 4: that this song came out of. Her song was based 368 00:22:11,600 --> 00:22:17,560 Speaker 4: on this action of making way during the carnival, and 369 00:22:17,880 --> 00:22:22,120 Speaker 4: her song kicked off this tradition of carnival marches. So 370 00:22:22,320 --> 00:22:26,480 Speaker 4: they have Shaquinya Gonzaga to thank for that. That's really, 371 00:22:26,560 --> 00:22:29,119 Speaker 4: you know, influential in all the song around Carnival that 372 00:22:29,160 --> 00:22:35,479 Speaker 4: came after. So around eighteen ninety nine, Chaquinya met a 373 00:22:35,520 --> 00:22:40,280 Speaker 4: Portuguese musician named Joe al By Cista Fernandez Laji, Yes, 374 00:22:40,560 --> 00:22:48,320 Speaker 4: another Joao, same as her ex and son. She met 375 00:22:48,400 --> 00:22:52,520 Speaker 4: him in this male only club for music enthusiasts that 376 00:22:52,600 --> 00:22:56,040 Speaker 4: she was an honorary member of. Not so sure how 377 00:22:56,040 --> 00:23:00,000 Speaker 4: she got into that either. But the big difference from 378 00:23:00,080 --> 00:23:03,600 Speaker 4: this in previous relationships, even though his name was also Joel, 379 00:23:03,960 --> 00:23:07,520 Speaker 4: was that he was a lot younger than she was, 380 00:23:07,720 --> 00:23:11,879 Speaker 4: thirty six years younger. He was sixteen and she was 381 00:23:12,119 --> 00:23:18,080 Speaker 4: fifty two. Yeah, yeah, huge difference. And previously the age 382 00:23:18,080 --> 00:23:22,280 Speaker 4: gaps weren't that similar. So I think the relationship she 383 00:23:22,359 --> 00:23:24,239 Speaker 4: was in previously to this was about I think he 384 00:23:24,280 --> 00:23:27,120 Speaker 4: was three years her senior, and as we talked about 385 00:23:27,160 --> 00:23:29,200 Speaker 4: in the beginning, it was about like a sixteen to 386 00:23:29,320 --> 00:23:31,560 Speaker 4: twenty four, which is a little bit more normal for 387 00:23:31,640 --> 00:23:35,879 Speaker 4: the time, but this was a really big gap. But 388 00:23:36,440 --> 00:23:40,320 Speaker 4: they got into a relationship. And what makes this even 389 00:23:40,640 --> 00:23:46,120 Speaker 4: what makes this even more odd and questionable, is that 390 00:23:46,880 --> 00:23:50,239 Speaker 4: she said that he was her son, because apparently she 391 00:23:50,280 --> 00:23:53,399 Speaker 4: didn't want to deal with the backlash of being in 392 00:23:53,480 --> 00:23:58,840 Speaker 4: such an age gap relationship in public. But now they 393 00:23:58,880 --> 00:24:05,639 Speaker 4: did stay together until she died, which was quite it 394 00:24:05,680 --> 00:24:13,320 Speaker 4: was many years later, so that is a really questionable 395 00:24:13,359 --> 00:24:19,119 Speaker 4: part of her history for sure. So Shaquina sold sheet 396 00:24:19,200 --> 00:24:23,760 Speaker 4: music door to door to raise funds for the Liberation Confederation, 397 00:24:24,560 --> 00:24:27,760 Speaker 4: and she used that money from the sale of her 398 00:24:27,840 --> 00:24:31,240 Speaker 4: music to help enslave people a lot of the time. 399 00:24:31,640 --> 00:24:34,159 Speaker 4: So in this case, she bought the freedom of an 400 00:24:34,280 --> 00:24:42,800 Speaker 4: enslaved musician. And she also spent time in Portugal, and 401 00:24:42,840 --> 00:24:46,280 Speaker 4: there was a couple of times documented at least that 402 00:24:46,320 --> 00:24:48,119 Speaker 4: she was over there in a time that was a 403 00:24:48,119 --> 00:24:50,080 Speaker 4: longer period of a few years that she seemed to 404 00:24:50,080 --> 00:24:53,919 Speaker 4: be over in Europe. But in nineteen two, when she 405 00:24:54,080 --> 00:24:57,920 Speaker 4: was in Europe, she found publications of her music under 406 00:24:58,200 --> 00:25:02,360 Speaker 4: other people's names. So when she got back to Brazil, 407 00:25:02,400 --> 00:25:04,160 Speaker 4: she was like, what's up with that. She got back 408 00:25:04,160 --> 00:25:07,120 Speaker 4: to Brazil, she did some further digging. She found out 409 00:25:07,240 --> 00:25:10,840 Speaker 4: that she had a student who had a husband, and 410 00:25:11,000 --> 00:25:15,919 Speaker 4: that husband she was also friends with him, and he 411 00:25:16,359 --> 00:25:22,200 Speaker 4: had published her music without her approval. So it ended 412 00:25:22,280 --> 00:25:25,080 Speaker 4: up that years later she ended up co founding this 413 00:25:25,160 --> 00:25:29,640 Speaker 4: association for theatrical authors. It was called the Brazilian Society 414 00:25:29,640 --> 00:25:36,000 Speaker 4: of Theatrical Authors or SBAT, and that you know, she 415 00:25:36,160 --> 00:25:41,000 Speaker 4: was already invested in this kind of copyright cause, but 416 00:25:41,320 --> 00:25:43,600 Speaker 4: it was later on that she co founded along with 417 00:25:43,680 --> 00:25:46,040 Speaker 4: other people. I think I believe it was nineteen seventeen 418 00:25:47,040 --> 00:25:52,399 Speaker 4: that organization that was an extension of the work and 419 00:25:52,400 --> 00:25:56,840 Speaker 4: the advocacy that she was already doing. But in nineteen 420 00:25:56,880 --> 00:25:59,639 Speaker 4: thirty three, when she was eighty five years old, she 421 00:26:00,000 --> 00:26:03,240 Speaker 4: posed her last piece. It was for the Operetta Maria, 422 00:26:04,000 --> 00:26:07,680 Speaker 4: and she composed over the course of her life many 423 00:26:07,840 --> 00:26:10,960 Speaker 4: many pieces across many genres, including the shuro which we 424 00:26:11,040 --> 00:26:18,280 Speaker 4: talked about earlier, the march, tango, polka, watts, avaneras, and 425 00:26:18,600 --> 00:26:23,240 Speaker 4: other genres as well. And by the end of her life, 426 00:26:23,320 --> 00:26:27,920 Speaker 4: her family did, along with many other people, recognize her 427 00:26:28,000 --> 00:26:30,800 Speaker 4: as this great musician, and her children seem to be 428 00:26:30,920 --> 00:26:35,760 Speaker 4: supportive of her, even though she wasn't as active of 429 00:26:35,840 --> 00:26:39,480 Speaker 4: a parent in their lives. But she died on February 430 00:26:39,480 --> 00:26:42,639 Speaker 4: twenty eighth, nineteen thirty five, in Rio, when she was 431 00:26:42,720 --> 00:26:47,320 Speaker 4: eighty seven years old, and in two thousand and five, 432 00:26:48,520 --> 00:26:52,639 Speaker 4: through an agreement with the SBAT that Brazilian Society of 433 00:26:52,680 --> 00:26:57,040 Speaker 4: Theatrical Authors, the Morea Salis Institute took over her archive, 434 00:26:57,760 --> 00:27:04,480 Speaker 4: and in that archive there are more than a musical scores, photos, letters, 435 00:27:04,800 --> 00:27:09,720 Speaker 4: newspaper clips and lots of other material that is available 436 00:27:09,960 --> 00:27:13,760 Speaker 4: about her life. And there were two pianists who also 437 00:27:14,040 --> 00:27:19,359 Speaker 4: established the Shaquina Gonzaga digital archive. Their names were alis 438 00:27:19,400 --> 00:27:22,200 Speaker 4: Chandre Diaz and Andre Braga. 439 00:27:23,119 --> 00:27:25,240 Speaker 3: So a lot all. 440 00:27:25,119 --> 00:27:27,720 Speaker 4: Of the sheet music from her collection that's online. You 441 00:27:27,760 --> 00:27:29,959 Speaker 4: can find it. And if you want to listen to 442 00:27:30,560 --> 00:27:33,920 Speaker 4: her music, the music that she composed, you can also 443 00:27:34,080 --> 00:27:36,320 Speaker 4: go on YouTube and listen to some of that music. 444 00:27:36,840 --> 00:27:39,760 Speaker 4: So it's available for everyone to hear and also in 445 00:27:40,480 --> 00:27:47,240 Speaker 4: pop music of today from Brazil in carnival marches. Is 446 00:27:48,480 --> 00:27:50,160 Speaker 4: her legacy, her influence. 447 00:28:01,080 --> 00:28:03,959 Speaker 2: Like I said, she really did so much and clearly 448 00:28:04,000 --> 00:28:07,440 Speaker 2: has this lasting impact. I'm glad you can still hear 449 00:28:07,520 --> 00:28:12,040 Speaker 2: the music and read the music. That's something I've been 450 00:28:12,040 --> 00:28:15,720 Speaker 2: curious about too, when we were talking about our music 451 00:28:15,720 --> 00:28:18,880 Speaker 2: writing abilities are not is that it is really cool 452 00:28:18,920 --> 00:28:21,160 Speaker 2: to read the sheet music. It feels like you're kind 453 00:28:21,160 --> 00:28:24,399 Speaker 2: of reading a different language. Yea and hearing it in 454 00:28:24,400 --> 00:28:27,560 Speaker 2: your head, and so I do recommend listeners go check 455 00:28:27,600 --> 00:28:31,159 Speaker 2: all that out. And it's really interesting her story of 456 00:28:31,320 --> 00:28:34,720 Speaker 2: just this rebellied rebelliousness that you pointed out Eves, where 457 00:28:34,760 --> 00:28:35,280 Speaker 2: she was like. 458 00:28:36,800 --> 00:28:39,640 Speaker 1: No, I'm going to do I'm going to do this thing. 459 00:28:40,560 --> 00:28:43,240 Speaker 1: I can't believe her husband would be like it's me 460 00:28:43,400 --> 00:28:45,320 Speaker 1: or the music like music good? Why? 461 00:28:46,960 --> 00:28:50,960 Speaker 4: Yeah? And I think there's definitely a lot lost. And 462 00:28:51,800 --> 00:28:58,280 Speaker 4: in the fact that I can't read Portuguese, there is 463 00:28:58,320 --> 00:29:01,000 Speaker 4: a biography of hers that is written in Portuguese. So 464 00:29:01,080 --> 00:29:04,560 Speaker 4: if you can read Portuguese, and if you're I mean 465 00:29:05,240 --> 00:29:08,480 Speaker 4: everyone you know it can benefit from understanding her history. 466 00:29:08,480 --> 00:29:11,600 Speaker 4: But if you know Portuguese, I'm sure that'll be at 467 00:29:11,920 --> 00:29:16,520 Speaker 4: a great boon to you in the discovery of her story. 468 00:29:16,880 --> 00:29:21,000 Speaker 4: But I'm happy that there is still an archive of 469 00:29:21,040 --> 00:29:26,920 Speaker 4: hers that can be dug through. And apparently her partner 470 00:29:27,040 --> 00:29:32,360 Speaker 4: at the end of her life was largely responsible for 471 00:29:32,560 --> 00:29:37,720 Speaker 4: the collection and the preservation and the distribution of her 472 00:29:37,760 --> 00:29:42,360 Speaker 4: work after she died and is the reason why a 473 00:29:42,400 --> 00:29:45,520 Speaker 4: lot of it is available to go through today. But 474 00:29:45,680 --> 00:29:48,320 Speaker 4: also those people who are working on the digital archive 475 00:29:48,480 --> 00:29:53,000 Speaker 4: are still are also integrol in us being able to 476 00:29:53,080 --> 00:29:53,960 Speaker 4: learn more about her. 477 00:29:54,520 --> 00:29:57,880 Speaker 2: Yes, and it's always important to shout out those people 478 00:29:58,120 --> 00:30:01,360 Speaker 2: because a lot of the stuff we do we couldn't 479 00:30:01,400 --> 00:30:07,680 Speaker 2: do without them focusing on, Yeah, that stuff very specifically. Yes, 480 00:30:08,320 --> 00:30:10,520 Speaker 2: shout out to them always. 481 00:30:11,280 --> 00:30:13,840 Speaker 4: Yes, thank you and thank you to the multi linguals. 482 00:30:13,920 --> 00:30:16,840 Speaker 4: I'm working on it, y'all. Just I'm working on it. 483 00:30:18,640 --> 00:30:19,280 Speaker 1: Language. 484 00:30:19,800 --> 00:30:22,280 Speaker 4: I've been working on Spanish for forever, but now that 485 00:30:22,320 --> 00:30:24,760 Speaker 4: I'm here in South Africa, I would really like to 486 00:30:24,840 --> 00:30:29,040 Speaker 4: learn Elsa. I'm gonna work on I'm working on the clicks. Okay, 487 00:30:29,280 --> 00:30:33,240 Speaker 4: I got a lot to work on. But yeah, and 488 00:30:33,360 --> 00:30:36,120 Speaker 4: there are others on the list too. I do still 489 00:30:36,120 --> 00:30:39,120 Speaker 4: want to learn Mandarin, but that might that'll that'll be 490 00:30:39,200 --> 00:30:41,160 Speaker 4: down the line. 491 00:30:41,320 --> 00:30:43,240 Speaker 5: Any could work together. 492 00:30:44,520 --> 00:30:50,280 Speaker 1: You've got to help me out, Annie, Uh, I can 493 00:30:50,400 --> 00:30:51,840 Speaker 1: help you out, but you know. 494 00:30:54,440 --> 00:31:00,320 Speaker 2: It's a difficult, difficult one. You can get the tones. Yeah. 495 00:31:00,360 --> 00:31:02,320 Speaker 2: They would always correct me, and I'm like, it sounds 496 00:31:02,360 --> 00:31:05,160 Speaker 2: the same, and I know they were right. 497 00:31:05,240 --> 00:31:07,840 Speaker 1: They were correct, but to me, I was like, it's 498 00:31:07,840 --> 00:31:08,400 Speaker 1: the same. 499 00:31:09,200 --> 00:31:10,280 Speaker 3: Yeah. 500 00:31:10,640 --> 00:31:12,760 Speaker 1: It was the writing that actually killed me though more 501 00:31:12,840 --> 00:31:17,959 Speaker 1: than anything. Oh yeah, yeah, I could do that. I 502 00:31:17,960 --> 00:31:21,280 Speaker 1: can't help you with that one. Right away, I tell you. 503 00:31:22,320 --> 00:31:24,200 Speaker 4: Yeah, I don't know if I would fully get there. 504 00:31:25,120 --> 00:31:29,320 Speaker 4: I think writing, I don't know. Maybe reading, Yeah, reading 505 00:31:29,360 --> 00:31:32,080 Speaker 4: I could do, but the writing there's a like order 506 00:31:32,160 --> 00:31:32,480 Speaker 4: you go. 507 00:31:32,840 --> 00:31:38,480 Speaker 2: And even though to me it was mind blowing, people 508 00:31:38,520 --> 00:31:40,240 Speaker 2: could always tell you didn't do this in the right order, 509 00:31:40,280 --> 00:31:48,240 Speaker 2: and I was like, oh okay, yeah, yes, yes, yes yes. 510 00:31:48,560 --> 00:31:53,120 Speaker 2: Well as always, thank you to you Ease for doing 511 00:31:53,360 --> 00:31:57,080 Speaker 2: this research and for being here. We always love catching 512 00:31:57,120 --> 00:32:00,560 Speaker 2: up with you and hearing these stories. Where can the 513 00:32:00,560 --> 00:32:01,480 Speaker 2: good listeners find you? 514 00:32:02,360 --> 00:32:05,240 Speaker 4: Y'all can find me if you go directly to my website, 515 00:32:05,320 --> 00:32:09,040 Speaker 4: which is Eves jeffcot dot com. That's spelled y V 516 00:32:09,160 --> 00:32:11,600 Speaker 4: E s j E F F C O A t 517 00:32:11,880 --> 00:32:16,040 Speaker 4: dot com. You can follow the threads from there and 518 00:32:16,080 --> 00:32:18,160 Speaker 4: get to all of the other things the other places 519 00:32:18,200 --> 00:32:21,000 Speaker 4: I'm at. But if you want to go directly to Instagram, 520 00:32:21,120 --> 00:32:25,200 Speaker 4: I'm at not apologizing. I'm also here on Sminty, on 521 00:32:25,320 --> 00:32:29,400 Speaker 4: many many other episodes of Female First talking about people 522 00:32:29,440 --> 00:32:31,240 Speaker 4: in history. 523 00:32:31,360 --> 00:32:35,000 Speaker 2: Yes, so go check all of that out if you 524 00:32:35,040 --> 00:32:38,880 Speaker 2: haven't already, listeners, and if you would like to contact us, 525 00:32:39,000 --> 00:32:41,040 Speaker 2: you can you can email us at Hello at stuff. 526 00:32:41,040 --> 00:32:42,080 Speaker 1: I'll never told you dot com. 527 00:32:42,200 --> 00:32:44,160 Speaker 2: You can find us on Blue Sky at mom Stuff 528 00:32:44,160 --> 00:32:46,239 Speaker 2: podcast or on Instagram and TikTok at stuff I Never 529 00:32:46,280 --> 00:32:49,400 Speaker 2: Told You First on YouTube. We have new merchandise dot 530 00:32:49,440 --> 00:32:51,000 Speaker 2: com Heuro and we have a book you can get 531 00:32:51,000 --> 00:32:54,280 Speaker 2: wherever you get your books. Thanks as always too, our supers, Christina, 532 00:32:54,320 --> 00:32:57,080 Speaker 2: our executive produce, My Andro, contributor Joey, Thank you and 533 00:32:57,160 --> 00:32:59,320 Speaker 2: thanks to you for listening Stuff I Never Told You, Quection, 534 00:32:59,480 --> 00:33:01,120 Speaker 2: my Hurry You more podcasts from my Heart Radio. You 535 00:33:01,160 --> 00:33:02,960 Speaker 2: can check out the heart Radio app, Apple Podcasts, or 536 00:33:02,960 --> 00:33:04,320 Speaker 2: wherever you listen to your favorite chip