WEBVTT - A Live Performance and Interview with Venezuelan Musician Ella Bric 

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<v Speaker 1>Dear Latino USA listener. Before we start, you should know

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<v Speaker 1>that if you want to listen to this episode ad free,

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<v Speaker 1>behind the scenes access and yes, some cheese may so

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<v Speaker 1>click the link in the episode description and after you

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<v Speaker 1>do that, then click play. Let's go to the show.

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<v Speaker 1>Hey Latino USA listener, comestas, we have a special treat

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<v Speaker 1>for you today. A few weeks ago, Futuro Media collaborated

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<v Speaker 1>with WNYC here in New York City to hold a

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<v Speaker 1>live event to celebrate Futuro Media's new podcast. It's called

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<v Speaker 1>Our Thing, The Birth of Salsa in Nova York. It's

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<v Speaker 1>all about the legends behind salsa music and the label

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<v Speaker 1>that defined it, Fina Records, often called the motown of Salsa.

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<v Speaker 1>On today's episode, you'll get to hear a portion of

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<v Speaker 1>a conversation with the host of NYC Now, Janey Pierre.

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<v Speaker 1>She sat down with Venezuela and born Ella Brick, a

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<v Speaker 1>two time Latin Grammy winner whose music takes her classical

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<v Speaker 1>training and uproots it with Afro Venezuelan rhythms, jazz and

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<v Speaker 1>contemporary Beats. She also was the composer for Our Thing.

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<v Speaker 1>Janey speaks to Ella about the recent earthquakes in Venezuela,

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<v Speaker 1>how her career changed after winning a Grammy, and where

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<v Speaker 1>she sees salsa history in New York Today. And dear listener,

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<v Speaker 1>you are in for a treat because the episode is

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<v Speaker 1>not only a conversation. Ella Brick performs four songs live

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<v Speaker 1>in a duet with Cuban pianist Camille Cordina. So grab

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<v Speaker 1>a snack, your favorite, maybe that, and settle in. Here's

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<v Speaker 1>Jenne Pierre of NYC Now with Ella Brick.

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<v Speaker 2>Hello, Hello, Hello, good evening. Come on, you can do

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<v Speaker 2>better than that. That's right, you brave the heat to

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<v Speaker 2>be here. Give it up for yourselves.

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<v Speaker 3>You look so good.

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<v Speaker 2>Good evening, everyone, It is so nice to have all

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<v Speaker 2>of you here at the green space here at WNYC.

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<v Speaker 2>My name is Jeanne Pierre. I host NYC Now. That's

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<v Speaker 2>WNYC's local news podcast, And if you haven't heard about it,

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<v Speaker 2>I'm gonna take a moment to tell you. Basically, it's

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<v Speaker 2>a show for everyday New Yorkers. We make sense of

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<v Speaker 2>the city for the people who live here and for

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<v Speaker 2>the people who want to stay here now. I don't

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<v Speaker 2>know about y'all, but I'm feeling like a little groove.

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<v Speaker 2>I'm feeling like, you know, we don't have enough space

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<v Speaker 2>to dance, but you can move your shoulders, right, ma'am,

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<v Speaker 2>you got it all right?

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<v Speaker 4>Just back here.

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<v Speaker 2>Just want to do a shoulder check over here. Everybody's

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<v Speaker 2>feeling good, Okay, cool? Because I am really in the

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<v Speaker 2>mood for some music. And I don't know about you,

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<v Speaker 2>but I could sure use some live music. I wonder

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<v Speaker 2>if anyone has a piano or a trumpet. Wow, when

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<v Speaker 2>did you get there? All right, y'all, I want to

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<v Speaker 2>welcome to the stage now Venezuelan born musician Ella Brick

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<v Speaker 2>two and Ella Good. All right, So before we get started,

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<v Speaker 2>I just want to know what's the first song you

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<v Speaker 2>have for us?

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<v Speaker 3>We have lamonica?

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<v Speaker 2>All right, well, let's do it.

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<v Speaker 3>I want to decay this song to the people of Venezuela.

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<v Speaker 5>Yes hm.

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<v Speaker 4>Ha se navi.

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<v Speaker 6>Soma pari go komorna love roma condesseba to pessaro sin

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<v Speaker 6>coolpania boomas been the therefore to rege d regard the

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<v Speaker 6>musimplement sal gongol free vagabona prend delvia o Yama, Lina

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<v Speaker 6>get the bars sabola notes a gel mongada hilasi pretas

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<v Speaker 6>set a basel colo and to Nova aran n why

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<v Speaker 6>are you and doesn't know the canto dampna.

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<v Speaker 4>Health yea.

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<v Speaker 6>Conta meli in Daganta contwn mel In da Canta, countdown mel.

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<v Speaker 3>In Nakanta.

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<v Speaker 6>Emporers, So come down, Melinda Canta, countdown, mill in Dakanda,

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<v Speaker 6>condown Melinda Gandakikandara.

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<v Speaker 3>Superbody.

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<v Speaker 6>Tell me Linda Canta can't tell me. Linda Canta can't

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<v Speaker 6>tell me. Linda Ganda she can't.

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<v Speaker 3>So can't tu me.

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<v Speaker 6>Linda Canta can't down me. Linda Conda can't damn Melinda Ganda.

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<v Speaker 6>Candary to super what.

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<v Speaker 2>Beautiful? That was beautiful?

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<v Speaker 7>Ella?

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<v Speaker 2>Thank you you were born and raised in Venezuela. Before

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<v Speaker 2>we get deeper into this conversation, you know our hearts

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<v Speaker 2>are with your family, your loved ones, and all of

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<v Speaker 2>Venezuelans impacted by the earthquakes on last week. I'm wondering, like,

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<v Speaker 2>how did that news unfold for you?

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<v Speaker 3>I heard voice notes from my mom saying that she survived.

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<v Speaker 8>Thanks because she was She did a special prayer and

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<v Speaker 8>that gave her enough time to buy time to take

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<v Speaker 8>her dogs my brother to run to.

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<v Speaker 3>She's a an eighth floor and she have enough.

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<v Speaker 8>I'm surprisingly to go down and wait for whatever is

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<v Speaker 8>gonna unfold after that. And then the second earthquake impact

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<v Speaker 8>her while she was on the street already, and many

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<v Speaker 8>of my family members saw buildings falling next to them,

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<v Speaker 8>many kids trapped in the moment, many people very confused,

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<v Speaker 8>not understanding what's going on. They didn't know if this was,

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<v Speaker 8>you know, related to something else. And at the beginning,

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<v Speaker 8>everybody was like, Okay, one building fall here, But then

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<v Speaker 8>as the time started passing, we start receiving devastating news

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<v Speaker 8>about the whole country being affected by this. It's pretty much,

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<v Speaker 8>according to our reporting and the CNN, a mix of

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<v Speaker 8>nine to eleven, and the image is similar to well

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<v Speaker 8>being seeing happening and in other parts of the world.

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<v Speaker 2>I'm so sorry to hear that. How's your mom now?

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<v Speaker 3>She's just good. Most of my family lost a lot,

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<v Speaker 3>but they're good, better than the rest.

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<v Speaker 1>I know.

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<v Speaker 2>We tried to meet up over the weekend to hang

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<v Speaker 2>and you were running around getting donations. So if folks

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<v Speaker 2>here want to help you, you know, get donations out

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<v Speaker 2>what should they do?

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<v Speaker 8>They should follow on Instagram and Instagram. I'm posting about

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<v Speaker 8>two campaigns that I'm supporting. I'm supporting in the local restaurants.

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<v Speaker 8>At the moment, they are sending medicine and local aid

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<v Speaker 8>to sending trucks full of medicine being sent to Venezuela,

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<v Speaker 8>which it should arrive on this Wednesday. So basically we're

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<v Speaker 8>raising funds to cover the cost of sending those strocks

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<v Speaker 8>to Miami and making sure that the medicine and the

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<v Speaker 8>food's gonna arrive on time.

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<v Speaker 2>I can't imagine being a daughter so far away from

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<v Speaker 2>home during natural catastrophe like this. How does music help

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<v Speaker 2>you cope in times like this?

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<v Speaker 8>I feel like music always helps, But during this moment,

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<v Speaker 8>I recognize that I have to remind myself that I'm

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<v Speaker 8>a human being first, and I have to allow myself

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<v Speaker 8>to feel the anger, the grief and allow myself to

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<v Speaker 8>try to be present for them, trying to do the

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<v Speaker 8>activism using the platform that I have available at the

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<v Speaker 8>same time of knowing when to stop and do meditation,

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<v Speaker 8>prayers and try to send as much as prayers to

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<v Speaker 8>those who are still affected and.

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<v Speaker 3>You know, suffering.

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<v Speaker 2>Yeah, yeah, tell us about, you know, your musical background.

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<v Speaker 2>I saw you pick up that trumpet so quickly, like

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<v Speaker 2>it it just came to your hand. Like you guys

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<v Speaker 2>have spent a lot of time some years together. Can

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<v Speaker 2>you tell me about your background.

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<v Speaker 3>Yeah, I come from a musicians or family. I come

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<v Speaker 3>from a family of musicians.

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<v Speaker 8>My uncle was one of the saxophone players for Mario

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<v Speaker 8>Balsa t Puente.

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<v Speaker 3>His name is Rolando Risa, and yeah, but perhaps to him.

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<v Speaker 8>And he left a lot of impact on my dad's

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<v Speaker 8>although that they didn't grow up together. He came to

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<v Speaker 8>New York City very very early, and my dad, you know,

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<v Speaker 8>he took a different route, staying in Venezuela, and that's

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<v Speaker 8>where I came. And yeah, my dad never stopped talking

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<v Speaker 8>to me about jazz and about.

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<v Speaker 3>The importance of you know, knowing your roots.

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<v Speaker 8>And he did a lot of like mixing, and then

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<v Speaker 8>that's pretty much how I got involved in music. Also,

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<v Speaker 8>Venezuela has an amazing program name and systema where we

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<v Speaker 8>were exposed at a very young.

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<v Speaker 3>Age, exposed to classical music. And that was my training, right.

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<v Speaker 8>He started with classical music, then I switched to jazz,

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<v Speaker 8>and then I started improvising, and I started mixing with

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<v Speaker 8>all the genres pop music, and I start producing music.

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<v Speaker 2>Also, let's talk a bit more about classical music, because

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<v Speaker 2>mixing that into the fold it's a lot. How does

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<v Speaker 2>that influence your overall sound?

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<v Speaker 8>Well, I feel like thanks to classical music, I allow

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<v Speaker 8>myself to have a good technique and the instrument trumpet

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<v Speaker 8>is a very physical instrument that requires a lot of discipline,

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<v Speaker 8>a lot of techniques, and I use a lot of

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<v Speaker 8>like the formations of classical trumpet players, just as Marise

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<v Speaker 8>Andres and a lot of big names who have paved

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<v Speaker 8>the way for for us to be able to build

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<v Speaker 8>a solid career as trumpet players. Right, and then I

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<v Speaker 8>took a different route, But I feel like the switch

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<v Speaker 8>between classical music, it adds something else to the voice

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<v Speaker 8>that I wanted to develop as a musician.

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<v Speaker 3>First.

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<v Speaker 2>All right, so we have a whole set list to

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<v Speaker 2>get through. What's the next song you have for us?

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<v Speaker 3>I think we are going to start with.

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<v Speaker 8>The funny thing is that this music is the music

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<v Speaker 8>that we created specifically thanks to you Montalbo, who.

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<v Speaker 3>Gave me this gig.

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<v Speaker 8>Yeah for the podcast, Yeah, and for the podcast, And

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<v Speaker 8>it was a big responsibility to write music for for

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<v Speaker 8>a podcast that is talking about the funnial all the starts,

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<v Speaker 8>but we we we try to honor them and get

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<v Speaker 8>closer the most I can with the tools that we

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<v Speaker 8>were given.

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<v Speaker 3>So I think we're gonna do U Should we do Rombo? Okay?

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<v Speaker 6>We we were.

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<v Speaker 3>I was very lacy in naming the tracks.

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<v Speaker 2>So they still have the trucks seven and I was like,

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<v Speaker 2>is it called team seven?

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<v Speaker 3>So we don't have a percussion is today?

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<v Speaker 8>But we have the beautiful and amazing genius right from

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<v Speaker 8>Coula Camilla Cortina.

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<v Speaker 9>She's us today.

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<v Speaker 2>Day, take your time.

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<v Speaker 4>Girl, over and over.

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<v Speaker 6>And him.

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<v Speaker 1>A coming up on Latino U s A. A. Brick

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<v Speaker 1>talks about leaving Venezuela's.

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<v Speaker 8>Like, You're going to New York City to get your

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<v Speaker 8>ass kicked, and I'm like, damn, okay, I need that.

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<v Speaker 8>And then I came to New York City and exactly

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<v Speaker 8>how she said, and it makes me a better human being.

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<v Speaker 3>See with Us Yes.

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<v Speaker 5>Hm, whole podcast, see the Uta Elbasi long, the Guta

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<v Speaker 5>Ela to.

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<v Speaker 3>Vitoria and Tony podcast format, the podcast.

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<v Speaker 1>Hey We're back. We're going to continue with an excerpt

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<v Speaker 1>from an episode of NYC Now with host Janey Pier.

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<v Speaker 1>We recently collaborated on a live event at w NYC

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<v Speaker 1>here in New York City, and now she continues her

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<v Speaker 1>conversation with two time Latin Grammy winning musician Ela Brick.

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<v Speaker 1>Here's Jena Pierre.

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<v Speaker 2>Linda Barcinio. You've used that name throughout your career, and

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<v Speaker 2>now you're going by Ela Brick. Why the change?

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<v Speaker 3>The changes?

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<v Speaker 8>Because I'm very in a good sense. I'm a prideful

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<v Speaker 8>and independent woman.

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<v Speaker 6>Come on now.

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<v Speaker 8>And there comes a time where a lot of people

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<v Speaker 8>were associating me only as the daughter of or the

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<v Speaker 8>niece of, and I wanted to create a name by

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<v Speaker 8>myself doing things that neither my uncle or my dad did.

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<v Speaker 3>And then I was able to.

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<v Speaker 8>Discover the music of Ella Viziceral and I'm like, what

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<v Speaker 8>a beautiful story and how hard it is, everything that

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<v Speaker 8>she went through and the figure that you represents, I

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<v Speaker 8>feel like this figure represents me. I would like to

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<v Speaker 8>call my name Ella and cut my last name in

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<v Speaker 8>half and create my own last name, at least artistically,

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<v Speaker 8>and show the world that yes, I will always honor

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<v Speaker 8>my ancestors. But at the same time, they're gonna hear

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<v Speaker 8>something new coming from these veins.

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<v Speaker 2>So yeah, I love that, you know, breaking away to

0:21:41.800 --> 0:21:42.840
<v Speaker 2>make a name for yourself.

0:21:43.160 --> 0:21:43.360
<v Speaker 5>Yeah.

0:21:43.600 --> 0:21:46.760
<v Speaker 2>What was it like leaving Venezuela and how old were

0:21:46.800 --> 0:21:47.359
<v Speaker 2>you when you did it?

0:21:47.840 --> 0:21:50.120
<v Speaker 3>I left Venezuela when I was in my twenties, similar

0:21:50.200 --> 0:21:53.840
<v Speaker 3>to Camilla. We were talking about the way that we

0:21:54.200 --> 0:21:56.120
<v Speaker 3>left our countries, and it was very similar.

0:21:56.640 --> 0:21:58.200
<v Speaker 2>What impacted that decision.

0:22:00.040 --> 0:22:03.320
<v Speaker 8>Social issues in our countries. Coula and Venezuela share a

0:22:03.400 --> 0:22:09.000
<v Speaker 8>similar political history. Sorry, and I wanted to do other things.

0:22:09.040 --> 0:22:11.760
<v Speaker 8>I wanted to eat the world, and what best way

0:22:11.800 --> 0:22:14.200
<v Speaker 8>to eat it? By going to the place that has

0:22:14.400 --> 0:22:15.200
<v Speaker 8>an apple eat it?

0:22:15.680 --> 0:22:15.840
<v Speaker 2>Yea.

0:22:16.200 --> 0:22:17.680
<v Speaker 3>So I arrived here.

0:22:17.760 --> 0:22:22.240
<v Speaker 8>I got a full scholarship, the same as Camilla. It

0:22:22.400 --> 0:22:25.920
<v Speaker 8>was very hard at the beginning, but you know, I

0:22:26.119 --> 0:22:30.919
<v Speaker 8>was blessed and I always had got by myself, by

0:22:31.000 --> 0:22:34.200
<v Speaker 8>my side, and a lot of people who helped me

0:22:35.080 --> 0:22:37.520
<v Speaker 8>get through this, and every single musician who gave me

0:22:37.640 --> 0:22:41.719
<v Speaker 8>jobs for the first time, the shady gigs, the good gigs,

0:22:41.880 --> 0:22:42.600
<v Speaker 8>and here I am.

0:22:42.680 --> 0:22:46.919
<v Speaker 2>You know, what's the difference between the music scene here

0:22:47.000 --> 0:22:50.480
<v Speaker 2>in New York City and the music scene back and Caracas?

0:22:51.400 --> 0:22:52.679
<v Speaker 3>The scene is not much different.

0:22:54.680 --> 0:22:58.960
<v Speaker 8>I mean the scale New York City is three point

0:22:59.040 --> 0:23:03.720
<v Speaker 8>zero like this mega right, But the musician's culture is

0:23:03.840 --> 0:23:07.760
<v Speaker 8>very similar. People here is very ambitious, very disciplined, and

0:23:07.880 --> 0:23:10.640
<v Speaker 8>you come here to be going to become a better musician.

0:23:10.960 --> 0:23:13.040
<v Speaker 8>I remember when I was in Venezuela and not going

0:23:13.160 --> 0:23:14.480
<v Speaker 8>busing a great clarentist.

0:23:15.240 --> 0:23:16.480
<v Speaker 3>She's like, you going to.

0:23:16.520 --> 0:23:21.119
<v Speaker 8>New York City to get your ass kick, and I'm like, damn, okay,

0:23:21.320 --> 0:23:23.199
<v Speaker 8>I need that. And then I came to New York

0:23:23.200 --> 0:23:25.720
<v Speaker 8>City and exactly how she said, and it makes me

0:23:25.800 --> 0:23:29.280
<v Speaker 8>a better human being. But at the same time, I

0:23:29.359 --> 0:23:32.480
<v Speaker 8>came also prepared because Karakas is also a very competitive

0:23:33.119 --> 0:23:35.480
<v Speaker 8>city where a lot of great musicians are coming from

0:23:35.640 --> 0:23:36.200
<v Speaker 8>great training.

0:23:36.280 --> 0:23:37.320
<v Speaker 3>Same as Cool as well.

0:23:38.280 --> 0:23:43.080
<v Speaker 8>And I feel like also Venezuela has a big culture

0:23:43.119 --> 0:23:46.199
<v Speaker 8>of salsa music. We have cardeleone, We have a lot

0:23:46.240 --> 0:23:48.800
<v Speaker 8>of important figures, you know, like in Manziel Latina, a

0:23:48.880 --> 0:23:50.840
<v Speaker 8>lot of people who also pave the way.

0:23:50.960 --> 0:23:53.680
<v Speaker 3>So I come also from from that background.

0:23:54.640 --> 0:23:57.359
<v Speaker 2>I talked a bit about the way you sort of

0:23:57.520 --> 0:24:00.399
<v Speaker 2>mix all these genres together, but when I've failed to

0:24:00.560 --> 0:24:05.080
<v Speaker 2>mention was pop classical meats pop. How do you do that, Like,

0:24:05.160 --> 0:24:06.440
<v Speaker 2>what's the thought process?

0:24:07.119 --> 0:24:09.760
<v Speaker 8>I feel like, yes, I am a big consumer of

0:24:09.840 --> 0:24:15.080
<v Speaker 8>pop music. Because America music the Cable arrived in Venezuela.

0:24:15.640 --> 0:24:18.960
<v Speaker 8>We were always connected to America music and especially black music.

0:24:19.160 --> 0:24:23.240
<v Speaker 8>Right We were visited by Michael Jackson and a lot

0:24:23.280 --> 0:24:25.920
<v Speaker 8>of big figures of black history.

0:24:26.000 --> 0:24:27.440
<v Speaker 3>Jazz musicians also came here.

0:24:27.480 --> 0:24:30.680
<v Speaker 8>I think Ella came to New York to Caracas as well,

0:24:30.760 --> 0:24:33.960
<v Speaker 8>so we always were surrounded by great influence for Americas.

0:24:34.640 --> 0:24:38.400
<v Speaker 8>But I feel like the way that I interpret pop

0:24:38.600 --> 0:24:40.639
<v Speaker 8>was very different from the pop that was happening in

0:24:40.680 --> 0:24:43.600
<v Speaker 8>the two thousands. Pop meaning for me, r within and

0:24:43.680 --> 0:24:48.119
<v Speaker 8>fire when I was twelve. When I was twelve, my

0:24:48.280 --> 0:24:51.119
<v Speaker 8>people they were consuming Brittany and all of those stuff

0:24:51.200 --> 0:24:53.960
<v Speaker 8>which I also learned, and syn Koreraphism and all of that.

0:24:54.800 --> 0:24:59.359
<v Speaker 8>But I feel like that was my closest expression of

0:25:00.119 --> 0:25:03.639
<v Speaker 8>understanding that necessarily what people is consuming is a reflection

0:25:03.800 --> 0:25:06.920
<v Speaker 8>of what our communities are at the moment, and trying

0:25:06.960 --> 0:25:08.639
<v Speaker 8>to work with that and do something with it that

0:25:08.720 --> 0:25:13.159
<v Speaker 8>also transcends, and also allow myself to honor ancestor and

0:25:13.280 --> 0:25:14.520
<v Speaker 8>the music that came before me.

0:25:15.119 --> 0:25:18.600
<v Speaker 2>You know, talking about music that transcends as we mentioned

0:25:18.760 --> 0:25:22.040
<v Speaker 2>you composed a lot of the music for our thing,

0:25:22.160 --> 0:25:24.120
<v Speaker 2>the Birth of Sousa and Nueve York.

0:25:25.240 --> 0:25:27.399
<v Speaker 7>Like, how do you how do you do that?

0:25:27.560 --> 0:25:30.840
<v Speaker 2>Like, it's so much music, so many different themes right

0:25:30.920 --> 0:25:34.160
<v Speaker 2>that you have to touch on. You have something upbeat,

0:25:34.320 --> 0:25:37.040
<v Speaker 2>something somber. What's your approach?

0:25:37.880 --> 0:25:39.840
<v Speaker 8>I feel like I had a lot of help from

0:25:39.920 --> 0:25:43.640
<v Speaker 8>the team of Futuro, especially Jian Montalbo, because they gave

0:25:43.720 --> 0:25:48.520
<v Speaker 8>me very specific references, and I try to be as

0:25:48.600 --> 0:25:51.760
<v Speaker 8>much as respectful with those references, not to appropriate, not

0:25:51.920 --> 0:25:54.119
<v Speaker 8>to copy anything, but at the same time using the

0:25:54.160 --> 0:25:56.879
<v Speaker 8>same rhythms, like this, we want this song to have

0:25:57.040 --> 0:25:59.000
<v Speaker 8>the feeling of bongaloo.

0:25:59.359 --> 0:26:01.600
<v Speaker 3>We want this to be a roomba. We want this

0:26:01.760 --> 0:26:02.760
<v Speaker 3>to be an op tempo.

0:26:02.880 --> 0:26:04.720
<v Speaker 8>We want this to sound a little bit more like

0:26:05.320 --> 0:26:09.320
<v Speaker 8>Actor Lao or also represent Aleto made by Lalupe in

0:26:09.440 --> 0:26:12.840
<v Speaker 8>this case, which was the composer. So I tried to

0:26:12.920 --> 0:26:16.879
<v Speaker 8>mix all of those ideas and try to honor that

0:26:17.080 --> 0:26:21.440
<v Speaker 8>and give also my my contribution, and that's how that's

0:26:21.640 --> 0:26:25.080
<v Speaker 8>how it came. I also need to mention that this music,

0:26:26.359 --> 0:26:30.720
<v Speaker 8>you know, whoever left the Funny Time, they live the

0:26:30.800 --> 0:26:35.200
<v Speaker 8>best golden years of music because not many people is

0:26:35.359 --> 0:26:37.240
<v Speaker 8>recording this music as used to be.

0:26:37.440 --> 0:26:37.600
<v Speaker 10>There.

0:26:37.920 --> 0:26:42.720
<v Speaker 8>Most of the rangers who are wrote arrange and orchestra

0:26:42.880 --> 0:26:45.239
<v Speaker 8>for these big orchestras. They are no longer with us,

0:26:45.840 --> 0:26:49.040
<v Speaker 8>and there is no enough people investing money so this

0:26:49.240 --> 0:26:53.920
<v Speaker 8>music can keep working and keep existing as it used to.

0:26:54.119 --> 0:26:58.719
<v Speaker 8>So I relied on a team of Venezuela musicians who

0:26:58.800 --> 0:27:02.080
<v Speaker 8>were back home, who we're interested in making this with

0:27:02.200 --> 0:27:05.159
<v Speaker 8>a little budget that we have available. I mean, it

0:27:05.320 --> 0:27:08.920
<v Speaker 8>was amazing to have people back home recording this. So

0:27:09.160 --> 0:27:13.000
<v Speaker 8>what you heard is a team of full Venezuelan's trying

0:27:13.040 --> 0:27:15.480
<v Speaker 8>to make it work, and it came amazingly.

0:27:15.600 --> 0:27:18.480
<v Speaker 2>You know, it sounds like you had a really cool

0:27:18.600 --> 0:27:20.120
<v Speaker 2>homework project of shit.

0:27:20.200 --> 0:27:22.119
<v Speaker 8>Yeah, it was a big challenge, but it was a

0:27:22.200 --> 0:27:23.960
<v Speaker 8>lot of fun, right, It was a lot of fun

0:27:24.000 --> 0:27:26.680
<v Speaker 8>and a lot of learning experience and home mumbee. And

0:27:27.160 --> 0:27:32.639
<v Speaker 8>it humbled me because I still am learning rhythms, different

0:27:32.760 --> 0:27:36.840
<v Speaker 8>types of montunos and my musicians. I always surround myself

0:27:36.880 --> 0:27:39.880
<v Speaker 8>with great musicians and they are patient enough to understand

0:27:39.960 --> 0:27:42.440
<v Speaker 8>that I had the mind of a producer. I'm not

0:27:42.560 --> 0:27:46.760
<v Speaker 8>necessarily the most virtuoso musician, but I can make things happen,

0:27:47.000 --> 0:27:48.000
<v Speaker 8>and that's how it came.

0:27:48.920 --> 0:27:51.159
<v Speaker 2>All right. I think we're ready for Team seven.

0:27:51.600 --> 0:27:56.560
<v Speaker 3>Team six, actually six hopefully after today. You guys can

0:27:56.640 --> 0:27:59.080
<v Speaker 3>help me give a decent name to these pieces.

0:28:00.080 --> 0:28:01.280
<v Speaker 2>One of them Jane's favorite.

0:28:01.440 --> 0:28:02.160
<v Speaker 3>Yeah, yeah, yeah.

0:28:03.720 --> 0:28:08.080
<v Speaker 8>And also consider that it's a big challenge to create

0:28:08.119 --> 0:28:11.200
<v Speaker 8>all this music that was recorded with a big percussions

0:28:11.359 --> 0:28:15.040
<v Speaker 8>instruments from bone. So we did a big challenge today

0:28:15.119 --> 0:28:17.000
<v Speaker 8>by reducing.

0:28:16.640 --> 0:28:18.000
<v Speaker 7>This to do it.

0:28:18.200 --> 0:28:22.040
<v Speaker 3>So I hope, yeah, I know, I mean not. I

0:28:22.080 --> 0:28:23.359
<v Speaker 3>feel like we're uplifting it.

0:29:48.440 --> 0:30:05.840
<v Speaker 9>Th the thing?

0:30:23.320 --> 0:30:23.840
<v Speaker 6>How many.

0:31:03.880 --> 0:31:04.120
<v Speaker 4>Got me?

0:31:04.200 --> 0:31:04.800
<v Speaker 3>Not gonna do now?

0:31:04.800 --> 0:31:05.120
<v Speaker 2>Anybody?

0:31:51.120 --> 0:31:51.720
<v Speaker 6>I was great.

0:31:54.840 --> 0:31:56.760
<v Speaker 2>Shout out to my shoulder shakers over here.

0:31:57.320 --> 0:31:58.880
<v Speaker 3>I see you, ladies.

0:32:03.760 --> 0:32:04.480
<v Speaker 6>We'll be right back.

0:32:05.040 --> 0:32:05.640
<v Speaker 4>I guess.

0:32:25.160 --> 0:32:28.200
<v Speaker 1>Hey, we're back. Let's wrap up the conversation between La

0:32:28.280 --> 0:32:29.560
<v Speaker 1>Brick and Jane Pierre.

0:32:30.640 --> 0:32:32.680
<v Speaker 2>You know, La, you wear a lot of different heads.

0:32:32.720 --> 0:32:37.400
<v Speaker 2>You're a producer, songwriter, trumpeter. Which of these roles feel

0:32:37.760 --> 0:32:38.720
<v Speaker 2>more at home to you?

0:32:38.880 --> 0:32:41.360
<v Speaker 3>And why ah singer song writer.

0:32:42.640 --> 0:32:44.880
<v Speaker 8>I feel like I was telling a Camilla that I

0:32:44.960 --> 0:32:47.840
<v Speaker 8>have to wear so many hats that I would like

0:32:47.920 --> 0:32:50.160
<v Speaker 8>to think that in the future I can become someone

0:32:50.280 --> 0:32:53.160
<v Speaker 8>like Patano Eloso but doing Venezuela music, you're.

0:32:53.200 --> 0:32:56.160
<v Speaker 3>Yeah, yeah, so big, big, big difference.

0:32:56.320 --> 0:32:56.440
<v Speaker 6>Right.

0:32:56.960 --> 0:32:59.240
<v Speaker 8>I still need to have ninety years old to become that,

0:32:59.600 --> 0:33:02.120
<v Speaker 8>so I have a lot of things to experiment.

0:33:02.280 --> 0:33:04.200
<v Speaker 2>Yeah, what's top of mind right now?

0:33:05.000 --> 0:33:06.240
<v Speaker 3>It's not stopping me right now.

0:33:06.280 --> 0:33:09.800
<v Speaker 8>I feel like I have the full blessings of surrounding

0:33:09.840 --> 0:33:13.080
<v Speaker 8>myself with great musicians and producers who are allowing me

0:33:13.200 --> 0:33:18.000
<v Speaker 8>to become that. One of my co producers, which is

0:33:18.080 --> 0:33:22.120
<v Speaker 8>a great producer from Honduras, Truco, is with us today.

0:33:22.840 --> 0:33:27.040
<v Speaker 8>He's a genius and he's helping me find my sound,

0:33:28.200 --> 0:33:34.800
<v Speaker 8>mixing Afro Venezuelan music with current sounds, and I feel

0:33:34.840 --> 0:33:36.960
<v Speaker 8>like we are in the in the in the search

0:33:37.040 --> 0:33:39.880
<v Speaker 8>of finding that enlightenment.

0:33:40.120 --> 0:33:43.120
<v Speaker 2>Artistically, Yeah, we talked a bit about how your work

0:33:43.240 --> 0:33:49.080
<v Speaker 2>bridges Afro Venezuelan traditions with jazz, electronic music and Latin jazz.

0:33:50.280 --> 0:33:52.000
<v Speaker 2>I wonder though, like what's your inspiration?

0:33:54.160 --> 0:33:54.200
<v Speaker 4>Like?

0:33:54.320 --> 0:34:01.120
<v Speaker 8>Music wise, I feel like, I, oh, that's a good

0:34:01.680 --> 0:34:05.480
<v Speaker 8>When they asked me what's your favorite song, it's very complex,

0:34:05.560 --> 0:34:07.600
<v Speaker 8>like where do you pick from? I feel like I

0:34:08.239 --> 0:34:12.240
<v Speaker 8>feel passionate about musicians who live in mark with social justice,

0:34:12.440 --> 0:34:16.160
<v Speaker 8>such as Nina Simon is like a big influence mixed

0:34:16.239 --> 0:34:22.040
<v Speaker 8>with yeah big perhaps Nina Simon at the same time

0:34:22.200 --> 0:34:25.640
<v Speaker 8>with I don't know. I love b orc music as

0:34:25.680 --> 0:34:29.200
<v Speaker 8>well as much as I love the songs of you know, like,

0:34:29.320 --> 0:34:31.840
<v Speaker 8>I feel like there are a lot of places to

0:34:31.960 --> 0:34:36.200
<v Speaker 8>pick from, but I feel like if you have the

0:34:36.360 --> 0:34:39.120
<v Speaker 8>chance to, you don't have never the chance to perform

0:34:39.200 --> 0:34:42.080
<v Speaker 8>for the same hundred people. So we are impacted lives

0:34:42.160 --> 0:34:44.280
<v Speaker 8>from one hundred to hundred. So we have the platform

0:34:44.640 --> 0:34:48.279
<v Speaker 8>that a politician will die to have. So I like

0:34:48.400 --> 0:34:52.040
<v Speaker 8>to think that we are using that the best way

0:34:52.120 --> 0:34:54.440
<v Speaker 8>that we can to impact and make a change in

0:34:54.520 --> 0:34:54.920
<v Speaker 8>the world.

0:34:55.560 --> 0:34:58.840
<v Speaker 2>When it comes to mixing all of these genres together,

0:34:59.719 --> 0:35:01.600
<v Speaker 2>what challenges have you faced.

0:35:02.520 --> 0:35:05.240
<v Speaker 8>I feel like the challenge I mean as a producer,

0:35:06.000 --> 0:35:08.800
<v Speaker 8>we represent the one or two percent in the recording

0:35:08.880 --> 0:35:12.920
<v Speaker 8>studios as much as engineers. Female engineers, we face a

0:35:13.000 --> 0:35:17.120
<v Speaker 8>lot of misogyny in the studios. Also in the music

0:35:17.239 --> 0:35:20.399
<v Speaker 8>industry is very challenging for us as well as women. Right,

0:35:20.600 --> 0:35:25.280
<v Speaker 8>that's the first one, which it's sad to recognize twenty

0:35:25.400 --> 0:35:28.000
<v Speaker 8>twenty six and there's still those things happens, right, Having

0:35:28.200 --> 0:35:32.160
<v Speaker 8>so many movements in pro women right, But unfortunately those

0:35:32.160 --> 0:35:35.839
<v Speaker 8>things still happens, and it is our duty to keep,

0:35:36.080 --> 0:35:38.120
<v Speaker 8>you know, giving visibility to do that and try to

0:35:38.239 --> 0:35:40.480
<v Speaker 8>create a change. I feel like the challenge also as

0:35:40.520 --> 0:35:45.279
<v Speaker 8>an immigrant woman is always finding the right space to

0:35:45.920 --> 0:35:50.080
<v Speaker 8>create this music at the same time of surviving a

0:35:50.160 --> 0:35:55.040
<v Speaker 8>city that is kicking out immigrants constantly and is becoming

0:35:55.120 --> 0:35:59.000
<v Speaker 8>more expensive and unaffordable. So in the a of in

0:35:59.120 --> 0:36:02.360
<v Speaker 8>the age of AI as well, it's very challenging to

0:36:02.520 --> 0:36:05.240
<v Speaker 8>understand where the music is gonna go if these machines

0:36:05.280 --> 0:36:08.400
<v Speaker 8>are taking and stealing music from.

0:36:08.360 --> 0:36:09.279
<v Speaker 3>Creators like us.

0:36:09.400 --> 0:36:11.520
<v Speaker 8>So it's a conversation that needs to happen, and I

0:36:11.600 --> 0:36:14.960
<v Speaker 8>feel like that's what concerns me the most, and it's

0:36:15.000 --> 0:36:17.080
<v Speaker 8>gonna be the challenge for us to understand how to

0:36:18.200 --> 0:36:20.799
<v Speaker 8>receive the technology and use it for the good at

0:36:20.840 --> 0:36:24.000
<v Speaker 8>the same time of not losing and protecting creators to

0:36:24.120 --> 0:36:26.719
<v Speaker 8>keep doing this music and creating more spaces for us.

0:36:27.520 --> 0:36:29.759
<v Speaker 2>Now, I wanted to share a secret with you all.

0:36:29.840 --> 0:36:34.520
<v Speaker 2>It's really not a secret, but it's it's old news. Homegirl,

0:36:34.560 --> 0:36:37.720
<v Speaker 2>Ella here is a Latin Grammy Award winner.

0:36:38.160 --> 0:36:39.040
<v Speaker 7>Can we give it up for that?

0:36:39.600 --> 0:36:45.520
<v Speaker 2>It's a big deal, Okay, a big deal. First woman

0:36:45.680 --> 0:36:47.160
<v Speaker 2>to win Producer.

0:36:46.840 --> 0:36:47.359
<v Speaker 5>Of the Year.

0:36:48.719 --> 0:36:55.120
<v Speaker 2>Flex all right, So I have to ask, because I

0:36:55.239 --> 0:37:01.200
<v Speaker 2>have never had a conversation with a Grammy winner, what's

0:37:01.239 --> 0:37:07.000
<v Speaker 2>it like? I mean, take us all back to the moment.

0:37:07.560 --> 0:37:08.280
<v Speaker 3>It was amazing.

0:37:08.719 --> 0:37:14.160
<v Speaker 8>It was amazing because especially the Latin side of things,

0:37:14.280 --> 0:37:17.239
<v Speaker 8>especially with the Latin grammars is, it's always it has

0:37:17.320 --> 0:37:22.320
<v Speaker 8>a tendency of I mean, the AWAR is supposedly to

0:37:23.320 --> 0:37:27.920
<v Speaker 8>give the award to someone who leave a really big

0:37:28.040 --> 0:37:32.279
<v Speaker 8>mark on the music in Latin America, right, and what

0:37:32.600 --> 0:37:37.400
<v Speaker 8>we've been consuming as audience has been you know, new rhythms,

0:37:37.640 --> 0:37:42.520
<v Speaker 8>reggaeton and all of those things. So I came nominated

0:37:42.640 --> 0:37:45.880
<v Speaker 8>in that category where I was competing with someone who

0:37:45.960 --> 0:37:50.400
<v Speaker 8>produced something for Lava Posini, someone who did something for Residente.

0:37:51.560 --> 0:37:55.360
<v Speaker 8>Many huge producers who were the spacific producers were nominated

0:37:55.840 --> 0:37:59.800
<v Speaker 8>there and I was nominated with two independent projects and

0:38:00.120 --> 0:38:03.160
<v Speaker 8>Rememblades used to it happened to be in one of

0:38:03.200 --> 0:38:07.920
<v Speaker 8>those projects by luck, and they decide to give the

0:38:08.000 --> 0:38:11.720
<v Speaker 8>award to these two honest and very independent projects.

0:38:12.560 --> 0:38:13.840
<v Speaker 11>And I feel like it was.

0:38:15.480 --> 0:38:18.719
<v Speaker 8>It became not about me. He became a conversation worldwide

0:38:18.960 --> 0:38:23.280
<v Speaker 8>about women in the studios and the importance of creating

0:38:23.360 --> 0:38:28.120
<v Speaker 8>spaces and amplifying those voices. And it really changed me.

0:38:28.440 --> 0:38:31.279
<v Speaker 8>And I'm grateful and humble that it was given to me.

0:38:31.920 --> 0:38:36.680
<v Speaker 8>And I'm hopefully rooting for my teammates to keep you know,

0:38:36.800 --> 0:38:38.920
<v Speaker 8>being nominated. But at the same time, more than we

0:38:39.080 --> 0:38:41.440
<v Speaker 8>need their work in the future is that they can

0:38:41.960 --> 0:38:45.600
<v Speaker 8>create a less hostile environment in the recording studios and

0:38:45.800 --> 0:38:48.919
<v Speaker 8>can make a living of what they are doing, you know, yeah,

0:38:49.200 --> 0:38:51.360
<v Speaker 8>for sure, you know.

0:38:52.680 --> 0:38:56.160
<v Speaker 2>Naturally, I want to ask, like, how has receiving the

0:38:56.239 --> 0:38:59.960
<v Speaker 2>award changed your career or helped your career, But I'll

0:39:00.000 --> 0:39:01.840
<v Speaker 2>also want to know how has it helped your peers.

0:39:04.040 --> 0:39:09.120
<v Speaker 8>It helped my peers, and it didn't make a big change.

0:39:09.280 --> 0:39:11.760
<v Speaker 8>I thought I thought it would change my life.

0:39:11.920 --> 0:39:15.040
<v Speaker 2>Yeah, that's what the in the in the checks.

0:39:15.640 --> 0:39:20.400
<v Speaker 3>Yeah right, But it didn't. And and it's okay because

0:39:22.000 --> 0:39:22.600
<v Speaker 3>I feel like.

0:39:25.200 --> 0:39:31.200
<v Speaker 8>My heart is in not compromising the creative process just

0:39:31.360 --> 0:39:37.360
<v Speaker 8>to follow the the algorithm or the or how music

0:39:37.520 --> 0:39:40.440
<v Speaker 8>is being released more in the business side of things.

0:39:40.560 --> 0:39:45.040
<v Speaker 8>Maybe that's why you don't see my music being in

0:39:45.200 --> 0:39:50.840
<v Speaker 8>playlists or big million listeners monthly. Because I have decided

0:39:50.920 --> 0:39:53.719
<v Speaker 8>that I want to allow myself, as an immigrant woman

0:39:53.800 --> 0:39:56.200
<v Speaker 8>who has different challenges every day in New York City,

0:39:57.040 --> 0:40:01.560
<v Speaker 8>to create music when I want to create it, and

0:40:01.840 --> 0:40:06.640
<v Speaker 8>trying to like be sure that my music is going

0:40:06.719 --> 0:40:08.840
<v Speaker 8>to have the integrity that I wanted to have and

0:40:09.600 --> 0:40:13.640
<v Speaker 8>hopefully that can connect with the people, whether they discovered

0:40:13.680 --> 0:40:17.239
<v Speaker 8>me today on this amazing event or whether they discover me.

0:40:18.760 --> 0:40:20.960
<v Speaker 3>On a random playlist of someone in Japan.

0:40:21.120 --> 0:40:25.120
<v Speaker 2>You know, all right, we have another another jam.

0:40:25.760 --> 0:40:28.640
<v Speaker 3>Yeah, this is our last jam, which is Google.

0:40:28.719 --> 0:40:30.239
<v Speaker 2>Oh this is the last one.

0:40:30.880 --> 0:40:32.239
<v Speaker 3>Well, I don't know how much time we have, how

0:40:32.280 --> 0:40:32.759
<v Speaker 3>much I don't know.

0:40:32.760 --> 0:40:34.000
<v Speaker 2>No one ever weighed me down.

0:40:35.200 --> 0:40:36.440
<v Speaker 3>I think we can do this forever.

0:40:36.800 --> 0:40:37.640
<v Speaker 2>I have tires.

0:40:38.160 --> 0:40:40.040
<v Speaker 3>I have time for one more because we don't want

0:40:40.040 --> 0:40:40.960
<v Speaker 3>the people to fall asleep.

0:40:41.160 --> 0:40:42.040
<v Speaker 2>That's right, This is right.

0:40:42.120 --> 0:40:44.880
<v Speaker 3>This is I've been here listening, and you know, I

0:40:45.080 --> 0:40:46.680
<v Speaker 3>like to make to keep it short. But yeah, you

0:40:46.719 --> 0:40:47.680
<v Speaker 3>guys want one more?

0:40:47.760 --> 0:40:49.960
<v Speaker 6>You more?

0:40:53.640 --> 0:40:57.279
<v Speaker 3>This is my favorite one, by the way, mm hmm hmmm.

0:41:14.520 --> 0:41:46.000
<v Speaker 9>The gamestadt the b Staver, other things.

0:41:47.360 --> 0:42:42.960
<v Speaker 4>Back the things at.

0:43:21.360 --> 0:44:07.360
<v Speaker 3>About La Cordela.

0:45:38.560 --> 0:46:37.239
<v Speaker 7>Nina sing with us, Oh now you hear me?

0:46:38.000 --> 0:46:40.480
<v Speaker 11>Now is our time to sing how about that. Can

0:46:40.560 --> 0:46:41.719
<v Speaker 11>we all sing collectively?

0:46:43.560 --> 0:46:44.880
<v Speaker 3>Just let'sting.

0:46:46.640 --> 0:46:52.880
<v Speaker 7>That again.

0:46:54.840 --> 0:47:10.160
<v Speaker 10>That's it, and now you're going higher, next one.

0:47:16.200 --> 0:47:19.160
<v Speaker 3>And then on this side, well it's a little less.

0:47:19.200 --> 0:47:26.520
<v Speaker 3>People do a bead, bad.

0:47:30.719 --> 0:47:35.239
<v Speaker 7>Bad, oh my god.

0:47:35.360 --> 0:47:57.319
<v Speaker 11>Okay to the dead, and then they finished the song.

0:48:00.680 --> 0:48:03.680
<v Speaker 7>Alabs, thanks so much for joining us.

0:48:06.280 --> 0:48:06.560
<v Speaker 6>Thank you.

0:48:11.920 --> 0:48:14.440
<v Speaker 1>That was an episode of NYC Now hosted by jan

0:48:14.520 --> 0:48:17.879
<v Speaker 1>A Pire. We recently collaborated with on a live event

0:48:18.120 --> 0:48:20.480
<v Speaker 1>at the Green Space here in New York City. You

0:48:20.560 --> 0:48:23.319
<v Speaker 1>can hear more of Ella Bricks Music wherever you listen

0:48:23.440 --> 0:48:26.160
<v Speaker 1>to your music, and you can listen to our thing,

0:48:26.320 --> 0:48:29.040
<v Speaker 1>the Birth of Salsa and ba Yo wherever you get

0:48:29.080 --> 0:48:32.960
<v Speaker 1>your podcasts. Special thanks to be Gay at the International

0:48:33.120 --> 0:48:37.600
<v Speaker 1>Salsa Museum and the Melon Foundation. Thanks to WNYC for

0:48:37.680 --> 0:48:41.000
<v Speaker 1>their collaboration. You'll hear more soon from that night here

0:48:41.160 --> 0:48:43.759
<v Speaker 1>on this feed. Look out for my live interview with

0:48:43.920 --> 0:48:48.920
<v Speaker 1>New yorekan legend Rosie Perez. I'm your host, Maria Josa Latino, USA.

0:48:49.040 --> 0:48:52.719
<v Speaker 1>Is part of Iheart's microda podcast network. Join us again

0:48:52.760 --> 0:48:55.120
<v Speaker 1>on our next episode. In the meantime, I'll see you

0:48:55.239 --> 0:48:57.919
<v Speaker 1>on all of our social media. Dear listener, don't forget

0:48:57.960 --> 0:49:00.440
<v Speaker 1>to join Fuduo Plus so you can listen to everything

0:49:00.880 --> 0:49:03.040
<v Speaker 1>ad free. Thanks so much, Joe.

0:49:29.320 --> 0:49:33.279
<v Speaker 2>Latino. USA is made possible in part by the John D.

0:49:33.600 --> 0:49:34.239
<v Speaker 3>And Catherine T.

0:49:34.440 --> 0:49:39.520
<v Speaker 2>MacArthur Foundation, W K. Kellogg Foundation, a partner with Communities

0:49:39.920 --> 0:49:45.360
<v Speaker 2>Where Children Come First, and New York Women's Foundation. The

0:49:45.440 --> 0:49:49.320
<v Speaker 2>New York Women's Foundation funding women leaders that build solutions

0:49:49.360 --> 0:49:53.640
<v Speaker 2>in their communities, and celebrating thirty years of radical generosity,