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Speaker 1: Welcome back to another Icons in the making, where instead

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Speaker 1: of looking back, we're taking a little look forward.

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Speaker 2: And it's one of our favorites to be honest.

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Speaker 1: Yeah, So join us one more time as we peer

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Speaker 1: into the future to talk about a new generation of icons.

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Speaker 1: These icons are all about fancy, fast cars and drinking

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Speaker 1: Don Perignon, Lady.

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Speaker 2: Gaga and that's rich bitch. I'm your host, Lilianavosca and

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Speaker 2: I'm Joseph Carrio and this is Becoming an Icon.

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Speaker 1: A weekly podcast where we give you the rundown on

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Speaker 1: how today's most famous latinv stars have shaped pop culture.

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Speaker 2: And given the world some extra leuble. Sit back and

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Speaker 2: get comfortable.

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Speaker 3: Because we are going in the only way we know

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Speaker 3: how with Buena's with us, whenasriesas some es, and a

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Speaker 3: lot of opinions, as we relive their greatest achievements on

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Speaker 3: our journey to find out what makes them so iconic.

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Speaker 1: Okay, Joseph, So, just like we did a few moons

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Speaker 1: ago with the future Queens of Reggaeton, today we're going

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Speaker 1: to take a peek into the future of the ones

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Speaker 1: responsible for making Musika Mexicana affectually known as Gorridosumbus and.

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Speaker 2: You already know we're not doing this alone.

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Speaker 1: Hanging we are stronger as three, and one of our

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Speaker 1: favorite journalists is here with us, joining us today on

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Speaker 1: becoming an icon is Thomas Mire, who is a staff

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Speaker 1: writer at Rolling Stone, where he covers some of the

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Speaker 1: biggest names in pop and Latin music and of course

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Speaker 1: all things trending now. Before he worked at Rolling Stone,

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Speaker 1: Thomas was a digital music writer at People and an

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Speaker 1: intern at the La Times and also fact he was

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Speaker 1: also an intern at The Today Show and helped produce

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Speaker 1: an amazing interview with John Legend. For me, one of

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Speaker 1: the best things about the Moss is he's Mexicano, just

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Speaker 1: like Joseph and I. And to be honest, you guys,

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Speaker 1: he's one of the best and just truly the brightest

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Speaker 1: in the music industry right now.

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Speaker 2: I am so excited to see where he goes.

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Speaker 1: And Joseph the Moss is on the show with us

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Speaker 1: a few times, right, honey.

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Speaker 3: He has been here to spill the he and share

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Speaker 3: his music wisdom and to show us the future of

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Speaker 3: Latin music. So we love to have him with us,

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Speaker 3: and he's already pretty much part of the family.

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Speaker 1: He's basically our third co host, so the mass me

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Speaker 1: welcome back to becoming an icon.

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Speaker 4: Hey y'all, how y'all doing. I feel like that meme

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Speaker 4: of when they walk into the room and they're.

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Speaker 2: Like, hey, I.

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Speaker 5: Keep coming back.

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Speaker 2: I know, it's like it's you again. We love you.

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Speaker 1: Right, It's like your brims that like are always at

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Speaker 1: your house and you're like, you don't live here, and

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Speaker 1: they're like, oh.

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Speaker 2: I don't live here. Yeah, just expect.

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Speaker 4: Now.

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Speaker 1: Last time we heard from you, Thomas, I think we

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Speaker 1: were right in the middle of our season and we

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Speaker 1: had been talking about Guanga, Celia, Selina and I think

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Speaker 1: since then we've also covered Christina Aguilera, Mana Vicente Fernandez, Willi, Colonne,

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Speaker 1: and Talia. And you actually told us one of the

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Speaker 1: most moving stories I think I've heard ever on this

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Speaker 1: show about your experience with Digres del Norte.

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Speaker 2: You actually used.

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Speaker 1: Their song to create some connection and comfort in coming

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Speaker 1: out to your dad.

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Speaker 5: Right, Yeah, that's right.

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Speaker 4: That song brings me back so much joy and thinking

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Speaker 4: about it always makes me super emotional.

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Speaker 1: I can't really listen to that song without thinking about

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Speaker 1: you and also really thinking about how that isn't obviously

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Speaker 1: it's such an important memory for you, but that's probably

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Speaker 1: a shared experience for a lot of young Latinos like

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Speaker 1: I you know what I mean. I think so many

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Speaker 1: people have found connection through that song, and it's kind

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Speaker 1: of like, I think that's the purpose of songwriting, right,

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Speaker 1: It's like to give people a way to connect outside

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Speaker 1: of just using their words. It's like you use their

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Speaker 1: words to find connection with the people that important in

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Speaker 1: your life. So I think think it is in Northea,

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Speaker 1: I mean, have brought people together in so many ways

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Speaker 1: unexpected for some right, but whether they're telling the stories

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Speaker 1: of got pacinos or factory workers, or helping you connect

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Speaker 1: with your father on coming out. You know, like Mexican

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Speaker 1: and Latinos in the US have always seen their life

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Speaker 1: really being represented through these biggest songs.

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Speaker 2: But now the landscape has changed.

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Speaker 3: There's a new generation of icons in the regional Mexicano scene,

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Speaker 3: the ones breaking the charts for their corridos to battles.

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Speaker 3: So what are your thoughts on the regional Mexicano scene

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Speaker 3: the mass You.

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Speaker 4: Know what, We've talked a lot about this in the

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Speaker 4: industry and among journalists and people within the people that

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Speaker 4: are making the music about changing the word that we

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Speaker 4: use to describe Mexican music, and now there's this term.

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Speaker 4: It's very simpleman. So it's just Mexican music as as

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Speaker 4: an overarching term for the different genres that come out

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Speaker 4: of Mexico, because the term dejonal might suggest like coming

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Speaker 4: from certain regions in the country, which is true, sure,

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Speaker 4: But since Mexican music has become so global now, it's

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Speaker 4: become this like giant entity with so many of these

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Speaker 4: of these different branches, and it's pretty sick to see

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Speaker 4: something like Corridos Tombalo's grab what's been built and run

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Speaker 4: with it and become what's introduced Mexican music to a

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Speaker 4: massive global audience.

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Speaker 3: Wait, one of the craziest things is that I don't know, Liliana,

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Speaker 3: if you know this or not, but you were at

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Speaker 3: a contract and I was obviously stalking your Instagram and

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Speaker 3: you saw bestl Pluma and I had no idea who

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Speaker 3: that was.

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Speaker 2: And you were like talking about pestol Ploma like I should.

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Speaker 3: Have because like we have a podcast about Mesic and

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Speaker 3: I had no idea. But what contract was this that

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Speaker 3: you had seen him? Or why did you see pestl ploma.

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Speaker 3: I just want to remember.

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Speaker 5: I think it was that he had little bit of

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Speaker 5: like an Amazon Music event.

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Speaker 4: He was doing a big concert for that first album

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Speaker 4: that he made, and it was a way of like

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Speaker 4: bringing together like this big impact that he had with

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Speaker 4: Ami La Sola, his song with Iso, that was the

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Speaker 4: one that completely took over and kind of propelled the

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Speaker 4: genre to the height that it is right now, for sure.

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Speaker 2: And really quickly.

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Speaker 1: We are actually going to get to this later in

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Speaker 1: the episode, right We're going to be talking about.

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Speaker 2: Fesl, Plumaira and Nada.

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Speaker 1: But do you think there was a pivotal moment that

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Speaker 1: allowed you know, call it Mexican music or specifically these

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Speaker 1: corridos umbos, Like do you think there was that one

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Speaker 1: moment and was it Besso's moment that really accelerated the

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Speaker 1: pace of the acceptance of this music on a more

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Speaker 1: global scale, Because for me, the answer is yes. Like

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Speaker 1: when I saw him on with Jimmy Fallon, I thought,

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Speaker 1: what in the fuck, Like I've grown up with this music.

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Speaker 1: I never thought I would see the day were those

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Speaker 1: kinds of songs that like Mike Yos listened to at

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Speaker 1: the Gannasada would now be on the Tonight Show with

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Speaker 1: Jimmy Fallon, like that was a really big deal, And

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Speaker 1: I just want to talk about for you as a journalist,

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Speaker 1: did that feel as significant for you as it did

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Speaker 1: for me? Or did you think did you see this

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Speaker 1: coming long before it happened.

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Speaker 5: No, I think you're definitely right.

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Speaker 4: I think that moment on on like Late Night Show,

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Speaker 4: it was a Late Night Show history moment, you know,

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Speaker 4: having a Mexican artist on a platform that big, not

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Speaker 4: just performing but doing a full interview, and it was

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Speaker 4: bringing what my parents were listening to in my at

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Speaker 4: the Carnasada, but propelling it to a new generation of

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Speaker 4: listeners that are born in the US like I am,

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Speaker 4: and are listening to music in both Spanish and English,

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Speaker 4: but are still connected to those deep Mexican roots. And

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Speaker 4: I think that's what makes this different. It's not Lostida's

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Speaker 4: at northey're born in Mexico making music for Mexican people

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Speaker 4: who now live here. It's the kids of Lostida's at

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Speaker 4: Norte making music for kids who born here.

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Speaker 5: And I think that that's what I'm saying now right, And.

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Speaker 3: You know it's funny you saying that, because I feel

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Speaker 3: like it's also helping the Leonosabo kids learn Spanish just

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Speaker 3: you know, because they know some words, but they're just

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Speaker 3: getting a little bit more familiar with singing it because

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Speaker 3: the sound is cool, like as opposed to being embarrassed,

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Speaker 3: where you know, someone might have felt like that before

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Speaker 3: because the music wasn't ass popular.

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Speaker 2: Yeah, no doubt about that.

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Speaker 1: I mean, I think there's always this kind of you know,

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Speaker 1: when you're first generation, like I am right born here,

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Speaker 1: both my parents not born here.

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Speaker 2: Yeah, you're kind of like ni that, yimi that yem.

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Speaker 1: Yeah, No, That's what I'm saying, you know, And sometimes

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Speaker 1: you're like, but am I American?

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Speaker 2: Or am I Mexican? Can I be both?

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Speaker 1: And so to have this music Gomas, like you said,

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Speaker 1: that's really derivative of our parents' generation, but first and

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Speaker 1: foremost created for this generation, it feels like we now

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Speaker 1: have something of our own, and I think that's a

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Speaker 1: really beautiful.

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Speaker 2: Space to exist in.

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Speaker 1: And I do want to quickly do a Gorrillos bumbados

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Speaker 1: one oh one, because a lot of our listeners like

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Speaker 1: this could be the first time they're really assigning the

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Speaker 1: genre to hearing that music, You're like, well, I've heard it.

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Speaker 2: I like it, but what exactly is it?

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Speaker 1: So if you're listening and you're not too familiar with

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Speaker 1: the genre, So these songs come from classic Mexican gorridos, right, which,

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Speaker 1: like Domas was saying, is kind of this like subgenre

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Speaker 1: of regional Mexican music, and gorridos umbados kind of combine

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Speaker 1: the sounds of regional Mexican music with more modern sounds,

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Speaker 1: so things that you might hear in more urban music,

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Speaker 1: whether that's like hip hop or tracked.

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Speaker 2: Right. And when you look at lyrics right.

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Speaker 1: Sometimes you see a lot of explicit content in there,

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Speaker 1: not gonna lie, and they do address a lot of

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Speaker 1: like common themes that you used to see present in

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Speaker 1: Mexico and across Mexico, so like violence, life in different

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Speaker 1: types of neighborhoods. There's a lot of references to firearms.

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Speaker 1: Domas and I leave anything out like goes that a

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Speaker 1: good explanation of what it kind of is.

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Speaker 5: Yeah, I think so.

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Speaker 4: I think if you think of corridos, the classic corrido,

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Speaker 4: it's storytelling at its finest. It's telling a story about

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Speaker 4: what happened in your pueblo that you want to share

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Speaker 4: with another bueblo. That's how they would get stories across

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Speaker 4: and tell the stories of their communities in Mexico.

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Speaker 5: And so now we bring that to the.

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Speaker 4: Twenty first century with the existence of rap and hip

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Speaker 4: hop and also the changing landscape of like nacuoculture in Mexico,

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Speaker 4: and it's now kids singing about their current lifestyles and

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Speaker 4: what they're going through and they're living today. So it's

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Speaker 4: bringing those like that same sort of storytelling but to

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Speaker 4: the twenty first century and with a touch of like personality.

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Speaker 3: Yeah, because I was going to say, I kind of

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Speaker 3: feel like sometimes the song can feel a little emo

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Speaker 3: like emo, like how Juice World had emo rap totally,

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Speaker 3: Like I kind of feel like they talk about like

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Speaker 3: it's a little more emotional than just like what it

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Speaker 3: used to be the corridos that we heard before, Like

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Speaker 3: these guys are also just kind of like, oh well,

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Speaker 3: I'm kind of going through.

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Speaker 2: This where it wasn't really like that before.

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Speaker 4: Yeah, so you'll here, of course, like how Leanna was

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Speaker 4: saying about there being parties and drugs maybe in violence.

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Speaker 4: But there's also a lot of the Emao songs of

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Speaker 4: like I Miss You So Much. There's one Vessel Pluma

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Speaker 4: song called Lagunas where he sings with this songwriter Hasel

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Speaker 4: Nunez about swimming through lagunas like these poles of water

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Speaker 4: in my brain of how much I love you and

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Speaker 4: miss you and and it's like these displays of affection

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Speaker 4: that you see in Mexican telenovela, but you're hearing them

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Speaker 4: in a corrido tumbalo maybe.

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Speaker 2: H yeah.

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Speaker 1: I mean that's what I found about it, And I

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Speaker 1: think it's so important that you brought that up, because

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Speaker 1: I do think that storytelling is at the forefront, right,

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Speaker 1: like when you think of the word gorrido, right, Like

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Speaker 1: we're literally running our stories from town to town, and

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Speaker 1: now these kids are using a different medium to tell

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Speaker 1: those stories, right, Like they didn't have TikTok back then.

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Speaker 1: Like now we're sharing this socially, right, We're able to

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Speaker 1: share these stories digitally with each other. And I think

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Speaker 1: that has really led to this explosion of this music,

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Speaker 1: because you can live in the farthest end of the

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Speaker 1: world and still be able to hear a story that

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Speaker 1: you connect with musically, which I think is amazing. But

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Speaker 1: I also from a fashion perspective, what I think is

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Speaker 1: amazing is when I think about Lospiga's right I think

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Speaker 1: of like a very classic Mexican dress, right, Like I'm

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Speaker 1: thinking of the jeans, the bortas, like the big belt buckle,

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Speaker 1: the sombreros.

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Speaker 2: Like there's horses in the videos.

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Speaker 1: These guys like Beeso Pluma Nada. That's not how they're dressing.

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Speaker 1: I mean they are in like head to toe designer.

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Speaker 1: They're like cruisin on ATVs in the desert. They have

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Speaker 1: really adopted a very different set of visuals to represent

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Speaker 1: their music. Do you think that's also helped really popularize

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Speaker 1: the genre as well?

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Speaker 5: I think so.

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Speaker 4: I mean, I think it's part of that's just part

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Speaker 4: of their lifestyle now. You know, you see kids in

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Speaker 4: Mexico and they're not going to be wearing sombreros and

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Speaker 4: writing horses, you know, like a mixed no. And it

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Speaker 4: goes back to those hip hop influences a lot of

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Speaker 4: the times as well. You think of somebody like Naa

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Speaker 4: Nata who came to the US, or for Satahia that

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Speaker 4: grew up in southern California surrounded by these neighborhoods that

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Speaker 4: were probably Black dominated. We're black and Latino dominated, and

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Speaker 4: those two cultures come together to produce what we're seeing now.

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Speaker 4: With with the Corrios Tomlos that connects specifically with the

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Speaker 4: kids that were born over here, you know, and those

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Speaker 4: no kids that you were mentioning Jessin do.

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Speaker 2: You know Sabo, No question about it.

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Speaker 1: And I think with this explosion in their popularity, I

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Speaker 1: want to get into them specifically.

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Speaker 2: You know.

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Speaker 1: We keep saying the same three names because those are

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Speaker 1: the ones that keep coming up for us, so besl Pluma,

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Speaker 1: Natan and Sara Hida. And as we were producing this

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Speaker 1: episode and writing it, we're like, we need to get

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Speaker 1: themas in here to really fill us in on how

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Speaker 1: they started and most importantly where they're going. Right, we

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Speaker 1: want to know what the future is going to look

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Speaker 1: like for them. So let's kick it off with bessel Pluma.

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Speaker 1: How do you think Besl became the face of this

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Speaker 1: genre the mus.

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Speaker 4: I mean, that's that's such a loaded question, you know,

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Speaker 4: because it took four or five six bezol Pluma before

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Speaker 4: bezl Pluma for us to get the one that would

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Speaker 4: really propel the genre. And it was in part are

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Speaker 4: very much thanks to a by La Sola, which is

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Speaker 4: actually a Laos song that besil Bluma's featured on, but

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Speaker 4: around the time that that song took off.

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Speaker 5: Bessel Bluma had another song, lave Bee, which is.

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Speaker 4: More of a song that he was on love that

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Speaker 4: song that was also taking off, So it just propelled it.

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Speaker 5: You know, he really blew up and it was top

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Speaker 5: of the charts.

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Speaker 1: You know, I mean not just top of the charts,

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Speaker 1: you guys, I mean he actually was the most stream

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Speaker 1: artist on Spotify in March twenty twenty three, meaning he

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Speaker 1: surpassed bad Bunny, who was one of I think our

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Speaker 1: opening icon when we started this series. So even though

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Speaker 1: it might have felt, you know, to the Maass's point

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Speaker 1: like overnight, it wasn't. There was a lot of foundational

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Speaker 1: that allowed him to kind of step into this role. Now,

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Speaker 1: what do you know about bessel Pluma's background that might

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Speaker 1: be interesting to our listeners? The must that we may

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Speaker 1: not know because I know you've done a lot of

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Speaker 1: writing about him. I know you've covered an his album

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Speaker 1: in great detail. So what are some interesting things about

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Speaker 1: him as a person that could be interesting to us totally?

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Speaker 4: Well, everybody, if you think of bessel Pluma, you think

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Speaker 4: of his haircut.

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Speaker 5: Yes, the haircut was an accident, accident.

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Speaker 4: Yeah, he said before that he got a haircut and

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Speaker 4: it like the guy like walked away or something and

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Speaker 4: he saw he was like, wait, I'm just going to

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Speaker 4: keep it like that, So it wasn't meant to be,

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Speaker 4: and then he kept it and now he's back to

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Speaker 4: this like sexy best of Bluma like that you would

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Speaker 4: never expect. But Besol grew up in Walladajda surrounded by

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Speaker 4: a lot of musical friends. He was in those environments

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Speaker 4: that maybe weren't the safest and that really played a

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Speaker 4: role in the sort of music he started to make.

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Speaker 4: Really early on, he connected with a lot of artists

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Speaker 4: that he's still connected with today, back when they were

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Speaker 4: not famous at all. I mentioned this songwriter, Hacier Nunez,

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Speaker 4: who is kind of his like right hand pen, you know,

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Speaker 4: he's his songwriter.

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Speaker 5: He's now signed to his label.

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Speaker 4: And they met really early on when when Bessel was

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Speaker 4: a teenager and maybe had like one YouTube video out,

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Speaker 4: and they quickly built a friendship and have been together

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Speaker 4: through the ups and downs and most recently the ups,

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Speaker 4: you know, of building this career. So I think it's

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Speaker 4: really cool to see how they've built family within the

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Speaker 4: genre and like have used each other to really like

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Speaker 4: grow and propel their careers together.

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Speaker 1: And Somas where do you see him going? Like, what

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Speaker 1: do you think is the next natural evolution for him

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Speaker 1: as a musician. Do you see him continuing to stay

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Speaker 1: kind of honest and true to this genre or do

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Speaker 1: you think he has aspirations to step out of this.

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Speaker 4: I think it's a good mix because I think he's

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Speaker 4: always going to be a corrio tumlo artist. He's always

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Speaker 4: going to be making Mexican music. I think he shines

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Speaker 4: sometimes when he steps out of his comfort zone. He

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Speaker 4: has a song with Kayli Uccis or his voice is

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Speaker 4: like it's not on a pop song and I'm like,

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Speaker 4: holy smack, Like why why is my gay radar is

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Speaker 4: like ooh, this is music?

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Speaker 5: I like, you know what I mean?

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Speaker 4: Like It's like I can sometime I feel like I

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Speaker 4: would tune into my Mexican radar and then my gay one.

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Speaker 4: When I listened to Kylie wach Is the gay one,

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Speaker 4: and I'm like, here's special coming into that world and

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Speaker 4: it works. It makes sense because Besil has such a

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Speaker 4: distinct voice, but he can play around with it and

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Speaker 4: really do something special.

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Speaker 2: I love that. I can't wait to see what he does.

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Speaker 1: Honestly, I mean, I really think even watching interviews, like

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Speaker 1: I remember watching him in an interview when he was

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Speaker 1: a guest with Becky g I think you were at

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Speaker 1: his Coachella set with her, and I remember watching an

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Speaker 1: interview and thinking, Wow, he really needs some media training.

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Speaker 1: Like he could I could tell that fame was really new, right,

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Speaker 1: this was like an unchartered waters for him, and watching

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Speaker 1: him recently, he's really stepping into his own and it's

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Speaker 1: incredible to watch the growth that has happened. I mean

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Speaker 1: that was literally a year and a half ago, and

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Speaker 1: I feel like so much has changed for him musically,

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Speaker 1: and we just can't wait to see what happens next.

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Speaker 1: Somebody else that we've got to talk about is a

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Speaker 1: Natano who is affectionately referred to as Nata.

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Speaker 2: So share with us a little bit about his background.

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Speaker 1: We know that he moved to La to start his

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Speaker 1: music career when I think he was just seventeen, But

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Speaker 1: what is his kind of space and what is the

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Speaker 1: territory that he really dominates in this genre?

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Speaker 4: If you ask pessol Pluma who the king of corios

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Speaker 4: Tomos is, it's natan Cano. He is the person who

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Speaker 4: like baptized this genre as corrio tombalo.

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Speaker 5: He's the one who created this. So the movement starts

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Speaker 5: with Nata.

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Speaker 4: Well, actually I would say aria caa macho, who is

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Speaker 4: an artist that came before Natanel Well maybe the godfather

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Speaker 4: who like introduced what would become asquiral toumbabo. But in

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Speaker 4: its essence, Natano is that artist that really created this

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Speaker 4: genre and this space for artists who who live that

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Speaker 4: like in between line between him pop trap and corridos

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Speaker 4: and combine the.

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Speaker 5: Two super effortlessly.

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Speaker 4: And he was the first one to collaborate with Bad

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Speaker 4: Bunny really way before we had Mickel Porciento, like before

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Speaker 4: all of that. Really yeah, Bad Bad Bunny believes in

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Speaker 4: not Acano's vision and joined him for a remix because

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Speaker 4: he knew.

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Speaker 5: This was going to be it.

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Speaker 2: That's amazing. I had no idea.

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Speaker 1: I thought that was the first time Bad Bunny had touched,

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Speaker 1: you know, like you said this the genre. I didn't

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Speaker 1: realize that they had collaborated even earlier than that.

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Speaker 2: Also, not even that, No pressure, how old is this guy?

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Speaker 2: Twenty four?

404
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Speaker 4: Yeah, he's a young one, and he's literally called the King,

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Speaker 4: Like okay, he's like, yo, get over here.

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Speaker 1: But also smart on Bad Bunny, and I also think

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Speaker 1: that this is why we opened our entire Becoming an

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Speaker 1: Icon's podcast with him is because I think his ability

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Speaker 1: to see the future musically and not just see it,

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Speaker 1: but provides support and like a hand to these artists,

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Speaker 1: Like it's one of the loveliest things about him in

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Speaker 1: this business.

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Speaker 2: So I love, I absolutely love hearing this.

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Speaker 1: And by the way, Bad Bunny's not the only collaborator

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Speaker 1: that Nata has had.

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Speaker 2: We're talking Snoop Dogg, Steve Aoki.

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Speaker 1: I mean, he's really gone across so many different genres

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Speaker 1: and when asked about why he did this, he said, quote,

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Speaker 1: I did those collapse for the culture and for people

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Speaker 1: to know who I am, so that people would understand

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Speaker 1: this Corridos Umbado's movement and that we're on the same

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Speaker 1: level as them.

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Speaker 2: Boom. I mean we're here for that.

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Speaker 5: That's it.

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Speaker 3: That's all he had to say, because it's true, like

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Speaker 3: if you're working with that person, it's because you're you're there.

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Speaker 1: Absolutely, Domas, how would you describe not that's vibe like

428
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Speaker 1: his visual vibe totally.

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Speaker 4: I mean in gate terms, he's a twink. I'm just

430
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Speaker 4: like ah built man, which I think changes up the

431
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Speaker 4: aesthetic that you think of when you think of maybe

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Speaker 4: like a strong Corrillo singer.

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Speaker 5: He's like thin, a little smaller, but he dresses in me.

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Speaker 4: He's like like Gucci brought up big brand names. So

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Speaker 4: bringing it back to that hip hop culture that I

436
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Speaker 4: mentioned earlier, and I feel like that's been a really

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Speaker 4: big part of what's propelled this genre.

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Speaker 5: Right.

439
00:21:10,880 --> 00:21:12,760
Speaker 3: I was gonna say, this seems to be like the

440
00:21:12,800 --> 00:21:16,120
Speaker 3: style like that they're all kind of wearing totally.

441
00:21:16,160 --> 00:21:21,520
Speaker 4: It's like the big jewelry, the hoods, the snapbacks. That's

442
00:21:21,520 --> 00:21:24,200
Speaker 4: been all of it, and that started with this artist.

443
00:21:24,280 --> 00:21:27,360
Speaker 4: His name is Codisiato. He was in a group called Colisiato,

444
00:21:27,480 --> 00:21:30,960
Speaker 4: and he's known for being the first Directorona Act to

445
00:21:31,040 --> 00:21:34,120
Speaker 4: be like I'm gonna wear my street fashion even though

446
00:21:34,119 --> 00:21:37,119
Speaker 4: I'm making Mexican music. And so it started with Goliato

447
00:21:37,200 --> 00:21:39,280
Speaker 4: on the looks, and then nothing else can really built

448
00:21:39,280 --> 00:21:43,120
Speaker 4: that up and continued it with his style and how

449
00:21:43,160 --> 00:21:44,800
Speaker 4: he looks, and now everyone does it.

450
00:21:44,800 --> 00:21:46,480
Speaker 5: It's not even like a question anymore.

451
00:21:46,880 --> 00:21:48,160
Speaker 2: No, Like I'm not gonna lie.

452
00:21:48,240 --> 00:21:51,439
Speaker 3: I need to actually get some of those outfits because

453
00:21:51,440 --> 00:21:54,280
Speaker 3: I think I would look super delicious in them.

454
00:21:55,080 --> 00:21:56,720
Speaker 2: I think you would look so good in them.

455
00:21:56,880 --> 00:22:00,760
Speaker 1: I mean, you guys aren't exactly like the same vibe,

456
00:22:01,160 --> 00:22:03,160
Speaker 1: but I do feel like you are one of those

457
00:22:03,160 --> 00:22:07,000
Speaker 1: fashion chameleons who can kind of pull off any look.

458
00:22:07,280 --> 00:22:10,159
Speaker 1: But I think for me, when I really first started

459
00:22:10,200 --> 00:22:12,760
Speaker 1: seeing what these guys were wearing and the brands they

460
00:22:12,760 --> 00:22:16,800
Speaker 1: were pulling, I thought, there's a real study and contrast there, right,

461
00:22:16,840 --> 00:22:20,640
Speaker 1: And I think it also shares and shows how important

462
00:22:20,680 --> 00:22:23,120
Speaker 1: the visuals of who these guys are and what they

463
00:22:23,160 --> 00:22:27,040
Speaker 1: represent means to the genre, because if you just listen

464
00:22:27,160 --> 00:22:29,439
Speaker 1: to the music, you have an idea of what they

465
00:22:29,520 --> 00:22:32,719
Speaker 1: might look like historically based on what these guys have

466
00:22:32,840 --> 00:22:35,800
Speaker 1: looked like, right, But then you see them, and then

467
00:22:35,880 --> 00:22:39,320
Speaker 1: instantly the music feels modern, it feels cool, it feels

468
00:22:39,440 --> 00:22:42,399
Speaker 1: current because of how they visually represent themselves. And I

469
00:22:42,400 --> 00:22:44,320
Speaker 1: think it's so cool that they're able to really take

470
00:22:44,720 --> 00:22:48,919
Speaker 1: this very kind of like old, deeply rooted in history

471
00:22:48,960 --> 00:22:51,480
Speaker 1: and culture when it comes to the sound, and move

472
00:22:51,520 --> 00:22:53,639
Speaker 1: it forward and advance it just with the way that

473
00:22:53,680 --> 00:22:56,560
Speaker 1: they produce the songs, but also how they produce themselves visually.

474
00:22:56,560 --> 00:22:57,800
Speaker 2: I think it's so cool to watch it.

475
00:22:58,160 --> 00:23:03,080
Speaker 3: Nothing says modern Life, head to toe, Birdberry, Gucci.

476
00:23:03,320 --> 00:23:10,119
Speaker 1: Prontclair says, nowadays nothing says get that new money, honey.

477
00:23:12,680 --> 00:23:17,800
Speaker 1: Now we cannot continue without talking about Forsa Rehida. Now

478
00:23:18,000 --> 00:23:22,399
Speaker 1: talk to me about them because they are very much

479
00:23:23,160 --> 00:23:27,560
Speaker 1: American but so very Mexicano, which is exactly what you

480
00:23:27,560 --> 00:23:30,600
Speaker 1: were saying earlier. This is music that our parents listened to,

481
00:23:30,960 --> 00:23:36,080
Speaker 1: but really driven by our experiences as being American first

482
00:23:36,480 --> 00:23:38,360
Speaker 1: by birth right totally.

483
00:23:38,400 --> 00:23:42,600
Speaker 4: I mean that's probably that sign of like like born

484
00:23:42,600 --> 00:23:46,240
Speaker 4: over here with these Mexican roots, grew up watching YouTube.

485
00:23:46,640 --> 00:23:48,439
Speaker 5: These guys have a super interesting story.

486
00:23:48,560 --> 00:23:52,480
Speaker 4: So the front man, his name is Jops is what

487
00:23:52,520 --> 00:23:55,040
Speaker 4: it spells out to, but you call him Jop, that's

488
00:23:55,080 --> 00:23:58,399
Speaker 4: the street name. And he's somebody who who really like

489
00:23:58,440 --> 00:24:01,639
Speaker 4: started on the vlockspace on YouTube. So as he was

490
00:24:01,680 --> 00:24:05,360
Speaker 4: trying to build his band performing at local shows, King

491
00:24:05,400 --> 00:24:09,560
Speaker 4: Signeta's weddings in San Bernardino County where he's from, he

492
00:24:09,720 --> 00:24:13,080
Speaker 4: was building up a fan base online through these YouTube

493
00:24:13,119 --> 00:24:16,119
Speaker 4: flogs and he was able to combine the two and

494
00:24:16,160 --> 00:24:19,840
Speaker 4: that's how started to become the band that we know today.

495
00:24:20,280 --> 00:24:24,159
Speaker 1: Now for sarahid that for me, I think they're this

496
00:24:24,240 --> 00:24:26,359
Speaker 1: example of like you said, started really small right with

497
00:24:26,880 --> 00:24:29,000
Speaker 1: can you imagine you like had them play your King Signetta?

498
00:24:29,080 --> 00:24:31,480
Speaker 3: Like just as I was literally like also what I

499
00:24:31,520 --> 00:24:33,560
Speaker 3: love about that we keep talking about all these icons,

500
00:24:33,600 --> 00:24:35,720
Speaker 3: Like most of their assess was really up in the

501
00:24:36,320 --> 00:24:38,479
Speaker 3: in the King Signetta as in the local bars, like

502
00:24:39,280 --> 00:24:41,800
Speaker 3: to be those people that like you you had them

503
00:24:41,840 --> 00:24:44,000
Speaker 3: at your Kintanneta, Like, yeah, you had.

504
00:24:43,880 --> 00:24:46,480
Speaker 1: Them at your King sit two years ago. But now

505
00:24:46,520 --> 00:24:49,400
Speaker 1: they're signed to Sony Music USA. I mean that's a

506
00:24:49,440 --> 00:24:51,320
Speaker 1: big leap in a very short.

507
00:24:51,080 --> 00:24:51,760
Speaker 2: Amount of time.

508
00:24:52,600 --> 00:24:55,920
Speaker 1: The most, how do you find that these labels are

509
00:24:56,600 --> 00:24:59,720
Speaker 1: expanding their roster in this space? Like do you feel

510
00:24:59,760 --> 00:25:01,879
Speaker 1: like they're out there looking for these bands playing at

511
00:25:01,960 --> 00:25:04,160
Speaker 1: Keene says being like who's going to be the new

512
00:25:04,200 --> 00:25:06,240
Speaker 1: for Sarahida? Or do you feel like they're like, oh, yeah,

513
00:25:06,240 --> 00:25:08,399
Speaker 1: we're at capacity. We already have enough. Like where do

514
00:25:08,480 --> 00:25:11,679
Speaker 1: you feel the A and R side and the label

515
00:25:11,760 --> 00:25:15,800
Speaker 1: side is like are they are they bullish right or

516
00:25:15,800 --> 00:25:18,840
Speaker 1: are they bearish on this category of music?

517
00:25:19,240 --> 00:25:19,440
Speaker 5: Oh?

518
00:25:19,520 --> 00:25:22,840
Speaker 4: The record labels are putting the eggs in the Mexican basket.

519
00:25:22,880 --> 00:25:25,840
Speaker 4: They're getting Mexican chickens, Mexican eggs, and putting them in

520
00:25:25,920 --> 00:25:28,760
Speaker 4: the Mexican basket. And I say this because you've been

521
00:25:28,800 --> 00:25:32,120
Speaker 4: seeing it in a lot of really huge label signings

522
00:25:32,160 --> 00:25:34,639
Speaker 4: over the last few years. My brain goes to the

523
00:25:34,720 --> 00:25:37,359
Speaker 4: singer Hobby who has this iconic song that was released

524
00:25:37,400 --> 00:25:41,160
Speaker 4: in the last year called who signed to Innerscope Records

525
00:25:41,200 --> 00:25:43,919
Speaker 4: in this like really massive deal for a small artist.

526
00:25:44,200 --> 00:25:46,800
Speaker 4: They signed him before he was big, developed him over

527
00:25:47,359 --> 00:25:50,480
Speaker 4: two to three years and then bam drops the song drops.

528
00:25:50,520 --> 00:25:53,359
Speaker 4: Another one gets top of the charts and becomes this

529
00:25:53,440 --> 00:25:56,720
Speaker 4: like staple of the genre super quickly. And you saw

530
00:25:56,760 --> 00:26:01,080
Speaker 4: that with the treatment of Natanaelkano before having this other artist,

531
00:26:01,160 --> 00:26:04,960
Speaker 4: Ivan Cornejo, who's also massive, was signed to Interscope, and

532
00:26:05,920 --> 00:26:09,480
Speaker 4: it showed the people within the labels that this is

533
00:26:09,520 --> 00:26:12,160
Speaker 4: where the money's at, Like, yeah, if you tap into

534
00:26:12,160 --> 00:26:14,879
Speaker 4: Mexican people, we will buy tickets to your show, we

535
00:26:15,000 --> 00:26:17,639
Speaker 4: will be streaming the music, and we're going to be

536
00:26:17,640 --> 00:26:19,000
Speaker 4: supporting along the way.

537
00:26:19,520 --> 00:26:21,560
Speaker 5: And that's I think what they're tapping into now.

538
00:26:21,600 --> 00:26:25,040
Speaker 4: And you see a lot of Latino slash Mexican artists

539
00:26:25,040 --> 00:26:27,640
Speaker 4: who don't necessarily make music in that space now being

540
00:26:27,720 --> 00:26:31,760
Speaker 4: supported as they pursue music in that space because the

541
00:26:31,840 --> 00:26:34,520
Speaker 4: labels are understanding, oh, this is real and this is

542
00:26:34,520 --> 00:26:35,800
Speaker 4: going to be here to stay period.

543
00:26:36,200 --> 00:26:39,720
Speaker 1: And to that point, let's talk about el Hefe featuring

544
00:26:40,359 --> 00:26:43,359
Speaker 1: because there we have somebody, I mean, I think to

545
00:26:43,400 --> 00:26:45,840
Speaker 1: your point though us right, it's you see somebody like

546
00:26:45,880 --> 00:26:47,960
Speaker 1: Shakidah who by the way, can make her own music.

547
00:26:48,040 --> 00:26:50,200
Speaker 1: She doesn't need to collab with anybody, like she stands

548
00:26:50,200 --> 00:26:53,680
Speaker 1: on her own like she's shocky right. And she also

549
00:26:53,760 --> 00:26:55,680
Speaker 1: is somebody who I think is a true musician at heart.

550
00:26:55,760 --> 00:26:58,760
Speaker 1: So when you listen to these corridos like this is

551
00:26:58,840 --> 00:27:01,800
Speaker 1: real music, right, this is a it's a band, right

552
00:27:01,880 --> 00:27:04,520
Speaker 1: like this, there's the sound there. This is even though

553
00:27:04,520 --> 00:27:07,320
Speaker 1: it can be very produced, the core of this is

554
00:27:07,359 --> 00:27:10,840
Speaker 1: the musicality of it. What did you think of el Hefe,

555
00:27:11,000 --> 00:27:16,520
Speaker 1: because that I think is probably Reida's most mainstream song yet.

556
00:27:16,680 --> 00:27:18,159
Speaker 2: Did you love it or did you hate it? The

557
00:27:18,240 --> 00:27:19,600
Speaker 2: must that's a good question.

558
00:27:19,680 --> 00:27:21,480
Speaker 5: I liked it. I don't think I loved it.

559
00:27:21,560 --> 00:27:25,080
Speaker 4: I think it was in my opinion, more of of

560
00:27:25,119 --> 00:27:29,720
Speaker 4: for sa Rahida giving Shakira space within the Mexican music

561
00:27:30,240 --> 00:27:33,119
Speaker 4: genre to build on that because on this album that

562
00:27:33,160 --> 00:27:35,640
Speaker 4: Shakida dropped, she also worked with a group of Fromtera,

563
00:27:35,800 --> 00:27:39,359
Speaker 4: so she was definitely dabbling in the Mexican music space

564
00:27:39,800 --> 00:27:42,120
Speaker 4: and as opposed to it helping Forsa.

565
00:27:42,240 --> 00:27:45,119
Speaker 5: I think it was Shakira coming into a space.

566
00:27:44,880 --> 00:27:47,080
Speaker 4: That was new for her and I really enjoy when

567
00:27:47,240 --> 00:27:50,000
Speaker 4: when artists, and usually the ones to take the risk

568
00:27:50,040 --> 00:27:50,879
Speaker 4: are female artists.

569
00:27:50,880 --> 00:27:53,600
Speaker 5: I will say, so her doing that, I'm all here

570
00:27:53,640 --> 00:27:53,919
Speaker 5: for it.

571
00:27:54,920 --> 00:27:57,320
Speaker 4: I saw my favorite song of hers, definitely not my

572
00:27:57,320 --> 00:27:59,960
Speaker 4: favorite for Sara Hida song who in the last year

573
00:28:00,080 --> 00:28:03,800
Speaker 4: have become like these like symbols of like making banger

574
00:28:03,960 --> 00:28:07,160
Speaker 4: after banger. They also have a song with Marshmallow that's

575
00:28:07,200 --> 00:28:11,000
Speaker 4: gone really huge that I think really like encapsulates what

576
00:28:11,119 --> 00:28:13,480
Speaker 4: their whole energy is in the space and how they're

577
00:28:13,480 --> 00:28:16,159
Speaker 4: building it beyond just Mexican people.

578
00:28:16,400 --> 00:28:18,679
Speaker 1: Well, on that note, talk to us a little bit

579
00:28:18,680 --> 00:28:23,400
Speaker 1: about what you see as the future of Corridos bumbados

580
00:28:23,520 --> 00:28:27,560
Speaker 1: and how do these three players really fit into that vision.

581
00:28:28,119 --> 00:28:29,040
Speaker 5: That's a good question.

582
00:28:29,119 --> 00:28:32,280
Speaker 4: So I just did an album review about bessel Pluma's

583
00:28:32,280 --> 00:28:36,080
Speaker 4: second album, Exolo, and I will say that I feel

584
00:28:36,080 --> 00:28:38,000
Speaker 4: like I was a little bit harsh on them on.

585
00:28:37,920 --> 00:28:39,280
Speaker 5: Him because.

586
00:28:40,440 --> 00:28:42,880
Speaker 2: You know what, now that I'm reflecting back you.

587
00:28:42,840 --> 00:28:44,760
Speaker 1: Know what's so funny is you know you you're because

588
00:28:44,760 --> 00:28:46,640
Speaker 1: you guys are listening to Thomas and we're looking at

589
00:28:46,720 --> 00:28:49,040
Speaker 1: him and he has like the sweetest baby face. He's

590
00:28:49,360 --> 00:28:53,200
Speaker 1: so kind, he is warm and like just pure like

591
00:28:53,320 --> 00:28:56,240
Speaker 1: joy and love. But then give that bitch a pen

592
00:28:56,560 --> 00:28:58,400
Speaker 1: and like he will cut some one.

593
00:28:58,720 --> 00:29:01,840
Speaker 2: He is so precise. He is so honest.

594
00:29:02,200 --> 00:29:04,320
Speaker 1: And that's what I think it stands out about your

595
00:29:04,320 --> 00:29:07,200
Speaker 1: writing is that it's really truthful and it's authentic and

596
00:29:07,240 --> 00:29:09,840
Speaker 1: it's real and you come at it with heart.

597
00:29:10,120 --> 00:29:13,440
Speaker 2: So definitely read his article. But tell us now what you.

598
00:29:13,440 --> 00:29:16,360
Speaker 5: Said, Thank you. I appreciate that.

599
00:29:16,720 --> 00:29:19,680
Speaker 4: No, I stand by what I wrote, and what I

600
00:29:19,720 --> 00:29:22,080
Speaker 4: said in the X of the review was that I

601
00:29:22,160 --> 00:29:25,320
Speaker 4: wish Besel had taken the extra step. I could see

602
00:29:25,360 --> 00:29:29,360
Speaker 4: him trying to combine like different sounds like EDM or

603
00:29:29,400 --> 00:29:33,000
Speaker 4: electronic music in goridles, but he would just like just

604
00:29:33,080 --> 00:29:35,520
Speaker 4: go back to what he knew. And he separated his

605
00:29:35,520 --> 00:29:37,840
Speaker 4: album too, so he had like eight songs that were

606
00:29:37,880 --> 00:29:40,240
Speaker 4: reggaeton or outside of the genre, and the rest of

607
00:29:40,280 --> 00:29:43,880
Speaker 4: the album was all corridos and Mexican music, but there

608
00:29:43,880 --> 00:29:47,120
Speaker 4: were elements of electronic music, elements of hip hop in

609
00:29:47,160 --> 00:29:49,000
Speaker 4: the other music that I wish had just.

610
00:29:48,920 --> 00:29:50,080
Speaker 5: Been infused completely.

611
00:29:50,560 --> 00:29:53,760
Speaker 4: But then for Rechi that dropped their most recent album

612
00:29:54,080 --> 00:29:59,800
Speaker 4: and they penned this term called Jersey Corridos. Not yeah,

613
00:30:00,360 --> 00:30:03,760
Speaker 4: like it's like it was basically like house music, but

614
00:30:03,920 --> 00:30:09,320
Speaker 4: with the gorrillo sound and the corrido lyricism, and in

615
00:30:09,360 --> 00:30:12,880
Speaker 4: my personal opinion, that album did not land at all.

616
00:30:13,560 --> 00:30:17,240
Speaker 4: But I really really commend for Khida for taking that

617
00:30:17,360 --> 00:30:20,280
Speaker 4: step and being like, you know what, fuck it, let's

618
00:30:20,320 --> 00:30:23,240
Speaker 4: just do something completely new and completely different and put

619
00:30:23,280 --> 00:30:26,280
Speaker 4: it all out there. And they did exactly that that

620
00:30:26,320 --> 00:30:29,520
Speaker 4: with this last album. It's probably gonna be one of

621
00:30:29,560 --> 00:30:31,360
Speaker 4: those albums that they're gonna look back and be like,

622
00:30:31,600 --> 00:30:33,520
Speaker 4: remember when we did this, you know. And there's one

623
00:30:33,600 --> 00:30:35,800
Speaker 4: or two songs that do stand out for me, but

624
00:30:35,960 --> 00:30:38,560
Speaker 4: overall it was too far of a stretch, Like for

625
00:30:38,640 --> 00:30:40,520
Speaker 4: Best Of was like, just do a little more, and

626
00:30:40,520 --> 00:30:43,400
Speaker 4: then fore was like, oho, you know. So I think

627
00:30:43,600 --> 00:30:45,760
Speaker 4: meeting it in the middle is going to be, in

628
00:30:45,760 --> 00:30:48,560
Speaker 4: my opinion, the future of the genre, finding ways to

629
00:30:48,760 --> 00:30:50,120
Speaker 4: incorporate it with other.

630
00:30:49,960 --> 00:30:51,840
Speaker 5: Genres and also building on.

631
00:30:51,960 --> 00:30:54,120
Speaker 4: That foundation that we already have, which I think is

632
00:30:54,160 --> 00:30:56,040
Speaker 4: already really really strong for sure.

633
00:31:05,480 --> 00:31:09,239
Speaker 1: Let's talk about dream collaborations because you have such a

634
00:31:09,280 --> 00:31:12,000
Speaker 1: wealth of musical knowledge. I had learned so much from

635
00:31:12,000 --> 00:31:13,760
Speaker 1: you every time you were on the show with us.

636
00:31:14,160 --> 00:31:17,479
Speaker 1: So I want you to put your like you know,

637
00:31:17,600 --> 00:31:21,760
Speaker 1: future hat on and think five ten years down the road. Okay,

638
00:31:22,640 --> 00:31:27,120
Speaker 1: if you could have these artists collab with anybody in

639
00:31:27,160 --> 00:31:29,960
Speaker 1: the music industry, who would it be and why?

640
00:31:30,360 --> 00:31:31,959
Speaker 2: Let's start with Bessel Pluma.

641
00:31:32,600 --> 00:31:34,280
Speaker 5: Ooh oh my gosh.

642
00:31:34,280 --> 00:31:38,240
Speaker 4: Beessill has already done really big collapse Carol g He's

643
00:31:38,280 --> 00:31:41,480
Speaker 4: done Kaalie Uccis as I mentioned, But I would have

644
00:31:41,520 --> 00:31:44,080
Speaker 4: liked to see him with like post Malone or somebody

645
00:31:44,160 --> 00:31:46,560
Speaker 4: along those lines, because you know how post Malone just

646
00:31:46,560 --> 00:31:47,840
Speaker 4: did his little country flair.

647
00:31:48,280 --> 00:31:50,480
Speaker 5: So I would love to see post Malone.

648
00:31:50,200 --> 00:31:52,320
Speaker 4: Step into like a musika meh Khana vibe, and I

649
00:31:52,360 --> 00:31:53,880
Speaker 4: feel like they would become good friends.

650
00:31:54,080 --> 00:31:56,880
Speaker 1: Wow, I love that pairing. Let's make it happen. From

651
00:31:56,920 --> 00:31:59,200
Speaker 1: your lips to God's ears. Okay, what about nat Don

652
00:31:59,440 --> 00:32:02,120
Speaker 1: who is on the collab dream list?

653
00:32:02,280 --> 00:32:02,680
Speaker 2: For him?

654
00:32:03,360 --> 00:32:05,640
Speaker 4: This one's crazy, but one of his biggest songs is

655
00:32:05,640 --> 00:32:11,200
Speaker 4: called Madonna. I yes, and so I was I could

656
00:32:11,240 --> 00:32:15,360
Speaker 4: see Natan Nael tapping or madonna'ld be like, who is

657
00:32:15,440 --> 00:32:15,800
Speaker 4: this guy?

658
00:32:15,920 --> 00:32:18,360
Speaker 5: You know, who is this guy? Let me do a collab?

659
00:32:18,400 --> 00:32:21,040
Speaker 4: Like because she's cool like that she is exactly So

660
00:32:21,120 --> 00:32:23,600
Speaker 4: I could see that happening for Nathan I and.

661
00:32:23,480 --> 00:32:27,600
Speaker 2: For for who is their dream collab in your eyes?

662
00:32:28,080 --> 00:32:31,640
Speaker 4: So when I got to interview Jop, he kept bringing

663
00:32:31,680 --> 00:32:32,400
Speaker 4: up Little Baby.

664
00:32:32,440 --> 00:32:33,600
Speaker 5: He's like, I love little Baby.

665
00:32:33,600 --> 00:32:36,320
Speaker 4: Little Baby's an icon, Like that's somebody that I really

666
00:32:36,360 --> 00:32:40,400
Speaker 4: really admire. So I want to continue manifesting that for him,

667
00:32:40,440 --> 00:32:43,840
Speaker 4: and I hope he gets that dream collaboration because it's

668
00:32:44,160 --> 00:32:46,480
Speaker 4: out of the ordinary, but it is fusing that hip

669
00:32:46,480 --> 00:32:49,000
Speaker 4: hop and Mexican music feel that we were talking about earlier.

670
00:32:49,520 --> 00:32:51,120
Speaker 4: And I think he'd be down.

671
00:32:51,880 --> 00:32:53,400
Speaker 2: I think he'd so, I mean, he'd be dumb not

672
00:32:53,440 --> 00:32:54,520
Speaker 2: to be down. I think it's what you said.

673
00:32:54,520 --> 00:32:56,320
Speaker 1: It's the same thing that the record labels see, right,

674
00:32:56,400 --> 00:33:00,080
Speaker 1: Like I will say that Latino's generally over index and

675
00:33:00,120 --> 00:33:04,440
Speaker 1: it comes to consuming content on streaming channels, whether that's

676
00:33:04,440 --> 00:33:08,440
Speaker 1: your Netflix or Spotify or YouTube. We love it. We

677
00:33:08,520 --> 00:33:12,000
Speaker 1: love the content content the better. We're also really loyal.

678
00:33:12,360 --> 00:33:15,840
Speaker 1: So if you follow that money, you're following it to latinos.

679
00:33:15,920 --> 00:33:19,600
Speaker 1: And if you're really getting specific, like Mexikanos in this country,

680
00:33:19,640 --> 00:33:22,880
Speaker 1: like we're going to be the majority. So you want longevity,

681
00:33:23,160 --> 00:33:26,360
Speaker 1: you want cash, you want streaming numbers, like, come get it.

682
00:33:26,560 --> 00:33:27,240
Speaker 2: We're here for you.

683
00:33:28,360 --> 00:33:31,080
Speaker 1: Okay, guys, get out your pens and pencils or just

684
00:33:31,320 --> 00:33:34,200
Speaker 1: your notes app and your iPhone because this is one

685
00:33:34,240 --> 00:33:36,800
Speaker 1: of our favorite things to do with the Mass, because

686
00:33:36,920 --> 00:33:40,640
Speaker 1: this is truly going to change your next playlist.

687
00:33:40,960 --> 00:33:44,360
Speaker 2: We like to play a game called sipe Gusta.

688
00:33:43,720 --> 00:33:46,200
Speaker 1: So we're gonna give you some really popular songs by

689
00:33:46,200 --> 00:33:49,440
Speaker 1: some of the three different artists we talked about today,

690
00:33:49,800 --> 00:33:52,280
Speaker 1: and the MASS is gonna tell us who we would

691
00:33:52,360 --> 00:33:57,520
Speaker 1: like in that same space. Okay, So sipe Gusta, Tommy

692
00:33:57,560 --> 00:34:00,120
Speaker 1: and Pamela, it's Beecil Pluma featuring.

693
00:34:02,960 --> 00:34:04,080
Speaker 5: Oh my God.

694
00:34:04,480 --> 00:34:08,600
Speaker 4: Okay, I did prepare for today's episode the share I

695
00:34:08,680 --> 00:34:13,440
Speaker 4: will say for that song, I think Keenya Os is

696
00:34:13,440 --> 00:34:16,520
Speaker 4: somebody that we're just not paying attention to as much

697
00:34:16,520 --> 00:34:17,080
Speaker 4: as we should.

698
00:34:17,440 --> 00:34:18,600
Speaker 5: So best of Pluma.

699
00:34:18,360 --> 00:34:21,480
Speaker 4: Tapping her in Mexico she's massive, but in the US

700
00:34:21,520 --> 00:34:23,000
Speaker 4: she needs to have her moment.

701
00:34:23,120 --> 00:34:26,680
Speaker 5: So listen to Os.

702
00:34:27,520 --> 00:34:29,319
Speaker 4: But if we're going to choose a different artist. There's

703
00:34:29,360 --> 00:34:34,839
Speaker 4: also this other cunty girl. Her name is Yerimir right.

704
00:34:35,920 --> 00:34:38,600
Speaker 4: She's so she's so cute like that, she's very silly,

705
00:34:38,680 --> 00:34:41,920
Speaker 4: she's hilarious and she makes kind of like those tongue

706
00:34:41,920 --> 00:34:44,160
Speaker 4: in cheap, tongue in cheek kind of songs.

707
00:34:44,719 --> 00:34:51,400
Speaker 1: Her song is yeah, exactly, great answer, I'm writing it down, okay,

708
00:34:51,840 --> 00:34:55,200
Speaker 1: see Gusta three hundred notes, which is not that I

709
00:34:55,200 --> 00:34:56,920
Speaker 1: don't off featuring Belinda.

710
00:34:58,120 --> 00:35:00,080
Speaker 4: And this one's a classic. And she's been around for

711
00:35:00,120 --> 00:35:02,719
Speaker 4: a really long time. But her last album was so great.

712
00:35:02,760 --> 00:35:06,000
Speaker 4: I'm gonna say Dana formerly known as Dana, don't call

713
00:35:06,000 --> 00:35:07,680
Speaker 4: her more though.

714
00:35:08,080 --> 00:35:10,719
Speaker 2: Oh my god, so we can't call her Anna Paula.

715
00:35:10,640 --> 00:35:11,200
Speaker 5: No girl.

716
00:35:11,360 --> 00:35:14,600
Speaker 4: She she put out the statement that she is gone.

717
00:35:14,680 --> 00:35:18,239
Speaker 4: It's not just Dana. But her latest album was really

718
00:35:18,320 --> 00:35:21,799
Speaker 4: really good. The album cover is beautiful. It's like her

719
00:35:22,040 --> 00:35:25,120
Speaker 4: above these like demon creatures like and the album is

720
00:35:25,160 --> 00:35:28,600
Speaker 4: called child Star about her experience like going through being

721
00:35:28,600 --> 00:35:30,880
Speaker 4: a child star and and and all of that. And

722
00:35:30,920 --> 00:35:33,440
Speaker 4: the album is really really good. That's why I would suggest,

723
00:35:33,600 --> 00:35:35,719
Speaker 4: especially if you like the Belinda side of that song.

724
00:35:36,120 --> 00:35:39,160
Speaker 3: I did the cover of her makeup for El Mexico

725
00:35:39,360 --> 00:35:39,960
Speaker 3: by the way.

726
00:35:39,840 --> 00:35:41,439
Speaker 5: Oh I saw that. Why do you think I mentioned

727
00:35:41,480 --> 00:35:42,319
Speaker 5: in MoMA there you go.

728
00:35:42,400 --> 00:35:44,560
Speaker 2: It looks so good. She looks so good.

729
00:35:44,640 --> 00:35:47,240
Speaker 1: She did look absolutely beautiful. You did such an amazing

730
00:35:47,280 --> 00:35:51,240
Speaker 1: job on that. What she was really really, really nice.

731
00:35:51,560 --> 00:35:53,480
Speaker 1: She was like singing we were listening to her album.

732
00:35:53,560 --> 00:35:55,840
Speaker 1: She had just come out with the album at the time.

733
00:35:56,160 --> 00:35:57,960
Speaker 3: And they just weren't sure what to do with and

734
00:35:58,040 --> 00:36:01,920
Speaker 3: this guy had tattoos and so he put the photographer

735
00:36:02,080 --> 00:36:03,200
Speaker 3: was just kind of like, why don't you put your

736
00:36:03,200 --> 00:36:03,919
Speaker 3: hand on her face?

737
00:36:03,960 --> 00:36:06,799
Speaker 2: It would it look like tattoos? And that was like

738
00:36:06,840 --> 00:36:09,560
Speaker 2: the shot. And she was just so sweet about everything.

739
00:36:10,000 --> 00:36:12,840
Speaker 2: She was like in hedgetuble garis or whatever. She's shak

740
00:36:12,960 --> 00:36:17,799
Speaker 2: She's done it. Get it chic chic shake. Okay. Last I.

741
00:36:22,480 --> 00:36:25,800
Speaker 4: Mentioned hav earlier, and while he does have two songs

742
00:36:25,800 --> 00:36:28,879
Speaker 4: that are massive, I think we're still waiting for him

743
00:36:28,880 --> 00:36:32,319
Speaker 4: to break with that debut album. So if you're here now,

744
00:36:32,560 --> 00:36:35,840
Speaker 4: tap into the heavy hype now so when the album

745
00:36:35,840 --> 00:36:38,319
Speaker 4: comes out, you're ready to just embrace it.

746
00:36:38,840 --> 00:36:40,080
Speaker 5: His voice is incredible.

747
00:36:40,360 --> 00:36:42,080
Speaker 4: He reminds me of best of Pluma in a lot

748
00:36:42,120 --> 00:36:44,879
Speaker 4: of ways with the raspiness of his vocals, but he's

749
00:36:44,920 --> 00:36:47,799
Speaker 4: also a songwriter, and he's one of those artists that

750
00:36:47,880 --> 00:36:51,120
Speaker 4: I think I'm definitely eyeing for being the next best

751
00:36:51,160 --> 00:36:51,560
Speaker 4: of Plum.

752
00:36:51,960 --> 00:36:52,919
Speaker 5: Did I say that? Oh?

753
00:36:53,560 --> 00:36:55,319
Speaker 2: Whoa wait, I.

754
00:36:55,400 --> 00:36:58,000
Speaker 1: Just I just wait, hold on, I just I just

755
00:36:58,040 --> 00:36:59,879
Speaker 1: posted that on Instagra, just tweeted that.

756
00:37:00,040 --> 00:37:02,799
Speaker 2: And don't forget I also do.

757
00:37:03,160 --> 00:37:05,200
Speaker 5: Yeah, turning my notifications off.

758
00:37:07,840 --> 00:37:10,399
Speaker 1: I mean, this is why we love having you here.

759
00:37:10,680 --> 00:37:14,680
Speaker 1: I feel like you make me infinitely cooler just by

760
00:37:14,760 --> 00:37:18,160
Speaker 1: listening to what you have to say on what's happening

761
00:37:18,200 --> 00:37:21,120
Speaker 1: in the industry, what's coming in the industry, who to

762
00:37:21,160 --> 00:37:23,000
Speaker 1: listen to, why I should listen to them. I really

763
00:37:23,000 --> 00:37:27,359
Speaker 1: feel like you should have your own podcast. iHeart thank

764
00:37:27,440 --> 00:37:33,480
Speaker 1: you coming give it to him. He is, let's manifest

765
00:37:33,480 --> 00:37:36,440
Speaker 1: this for you. Speaking of what are you working on

766
00:37:36,520 --> 00:37:39,799
Speaker 1: right now, because rumor has it you are perhaps in

767
00:37:39,840 --> 00:37:41,839
Speaker 1: the talks to do some big interviews here in La.

768
00:37:42,600 --> 00:37:45,279
Speaker 4: Oh my god, well, you know I love to be

769
00:37:45,360 --> 00:37:49,480
Speaker 4: around town that I'm talking about the Grammy Museum in

770
00:37:49,560 --> 00:37:54,200
Speaker 4: downtown La tonight. This will probably happen before this episode

771
00:37:54,239 --> 00:37:56,560
Speaker 4: comes out, but I'm doing an interview with Orville Peck,

772
00:37:56,920 --> 00:37:59,239
Speaker 4: who is an amazing gay country singer. So I've been

773
00:37:59,239 --> 00:38:01,719
Speaker 4: doing a lot of these live interviews with musicians and

774
00:38:01,760 --> 00:38:04,759
Speaker 4: having a conversation about the records, and we might have

775
00:38:04,840 --> 00:38:07,840
Speaker 4: one pretty cool with another artist that I enjoy, and

776
00:38:08,680 --> 00:38:09,840
Speaker 4: you both are invited.

777
00:38:09,960 --> 00:38:11,320
Speaker 5: Joseph fly Down said.

778
00:38:11,800 --> 00:38:14,799
Speaker 4: Don't start, because I will. I'll be there and we'll

779
00:38:14,800 --> 00:38:16,080
Speaker 4: go to Clube Temple together.

780
00:38:16,360 --> 00:38:18,480
Speaker 3: Oh my god, no please. But also before you go,

781
00:38:18,760 --> 00:38:20,640
Speaker 3: what are where can we find you? Where are your

782
00:38:20,680 --> 00:38:21,440
Speaker 3: social handles?

783
00:38:21,880 --> 00:38:25,200
Speaker 4: Yes, so I'm at Thomas Underscore meed on x and

784
00:38:25,320 --> 00:38:28,960
Speaker 4: Instagram and at Thomas Meed on TikTok, and then you

785
00:38:29,000 --> 00:38:31,440
Speaker 4: can read my stories at Rollingstone dot com.

786
00:38:31,239 --> 00:38:34,759
Speaker 2: And your only fans. You forgot to leave the lank.

787
00:38:35,640 --> 00:38:41,160
Speaker 5: My all is linked in my bio. My venno is at.

788
00:38:42,520 --> 00:38:46,160
Speaker 1: I love it well, Thomas. As always, it is such

789
00:38:46,160 --> 00:38:48,440
Speaker 1: a pleasure talking with you. Thank you for sharing all

790
00:38:48,480 --> 00:38:51,759
Speaker 1: of your knowledge and your wisdom and your wittingness with us.

791
00:38:51,800 --> 00:38:53,560
Speaker 1: We are not worthy and we cannot wait to have

792
00:38:53,640 --> 00:38:55,920
Speaker 1: you back. Have a wonderful day. I can't wait to

793
00:38:55,920 --> 00:38:57,560
Speaker 1: see you on that stage at the Grammy Museum.

794
00:38:57,560 --> 00:38:59,719
Speaker 5: Thank you. I love you, guys. I really appreciate joining

795
00:38:59,719 --> 00:39:00,200
Speaker 5: the show.

796
00:39:05,400 --> 00:39:08,839
Speaker 1: On the next becoming an icon. It's time for the

797
00:39:09,040 --> 00:39:14,080
Speaker 1: season finale. Join us as we relive the best moments

798
00:39:14,120 --> 00:39:15,280
Speaker 1: from our second season.

799
00:39:15,719 --> 00:39:18,280
Speaker 2: The tea will be typing hot Hanging.

800
00:39:22,080 --> 00:39:25,800
Speaker 1: Becoming an Icon is presented by Sonoo and Iheart's Michael

801
00:39:25,840 --> 00:39:29,719
Speaker 1: Duda podcast Network. Listen to Becoming an Icon on the

802
00:39:29,760 --> 00:39:34,320
Speaker 1: iHeartRadio app, Apple podcast, or wherever you get your podcast